1 00:00:04,360 --> 00:00:07,320 Speaker 1: Hey, welcome to Weird House Cinema. Rewind. This is Rob 2 00:00:07,400 --> 00:00:10,879 Speaker 1: Lamb in today's episode originally aired four eighteen, twenty twenty five. 3 00:00:11,160 --> 00:00:14,920 Speaker 1: We're talking about Dungeons and Dragons, the movie from the 4 00:00:15,000 --> 00:00:19,480 Speaker 1: year two thousand. Yes, the one starring Jeremy Irons. It's 5 00:00:19,520 --> 00:00:22,160 Speaker 1: a lot of fun. It's rough at times, but this 6 00:00:22,680 --> 00:00:26,360 Speaker 1: was the episode that we selected for the two hundredth episode, 7 00:00:26,600 --> 00:00:30,720 Speaker 1: or well, the two hundredth film selection for Weird House Cinema. 8 00:00:30,840 --> 00:00:33,000 Speaker 1: So without further ado, let's jump right in. 9 00:00:35,720 --> 00:00:42,000 Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio. 10 00:00:46,200 --> 00:00:50,040 Speaker 1: Hey you welcome to Weird House Cinema. This is Rob Lamb. 11 00:00:50,080 --> 00:00:53,600 Speaker 3: And I am Joe McCormick. And today on Weird House Cinema, 12 00:00:53,640 --> 00:00:58,560 Speaker 3: we've reached a milestone. It is our two hundredth film selection. 13 00:00:58,840 --> 00:01:01,600 Speaker 3: A Rob did just have to wrecked me before we 14 00:01:01,640 --> 00:01:03,120 Speaker 3: started here. I was going to say it was a 15 00:01:03,120 --> 00:01:05,280 Speaker 3: two hundredth episode. It is not, because we had a 16 00:01:05,280 --> 00:01:08,399 Speaker 3: couple of films that went more than one episode, or 17 00:01:09,360 --> 00:01:12,760 Speaker 3: multiple films crammed into a single episode. But this is 18 00:01:12,760 --> 00:01:15,839 Speaker 3: going to be our two hundredth one, and we're keeping 19 00:01:15,840 --> 00:01:19,000 Speaker 3: with a theme we established last week where we looked 20 00:01:19,000 --> 00:01:21,759 Speaker 3: at a film for our one hundred and ninety ninth 21 00:01:21,800 --> 00:01:24,000 Speaker 3: film selection, we did a film set in the year 22 00:01:24,360 --> 00:01:29,119 Speaker 3: nineteen ninety nine. That was the cyberslop movie Virtuosity, starring 23 00:01:29,160 --> 00:01:32,720 Speaker 3: Denzel Washington and Russell Crowe. Today we decided to stick 24 00:01:32,720 --> 00:01:34,800 Speaker 3: with that into a movie I guess not set in 25 00:01:34,840 --> 00:01:37,200 Speaker 3: the year two thousand, but that came out in the 26 00:01:37,240 --> 00:01:40,280 Speaker 3: year two thousand, and that is so the year two 27 00:01:40,360 --> 00:01:43,560 Speaker 3: thousand in film in so many ways. And that is 28 00:01:43,600 --> 00:01:46,880 Speaker 3: the movie Dungeons and Dragons, not the one from twenty 29 00:01:46,920 --> 00:01:49,960 Speaker 3: twenty four, the old one, the one with Jeremy Irons, 30 00:01:50,000 --> 00:01:54,880 Speaker 3: Thora Birch, Justin Whalen, Marlon Wayans, and Bruce Payne. What 31 00:01:55,200 --> 00:01:59,000 Speaker 3: a cosmic adventure into nostalgia in the mind this was. 32 00:01:59,160 --> 00:02:01,440 Speaker 3: And we're not I'll lie to you. It's not good, 33 00:02:01,520 --> 00:02:02,840 Speaker 3: but it is a good time. 34 00:02:03,640 --> 00:02:05,960 Speaker 1: Yeah, I want to Some of you may have follow 35 00:02:06,040 --> 00:02:08,360 Speaker 1: up questions here. You might ask, well, how about some 36 00:02:08,400 --> 00:02:10,640 Speaker 1: of those films that the listeners suggested for the two 37 00:02:10,760 --> 00:02:13,200 Speaker 1: hundredth We I think we'll get back to some of 38 00:02:13,200 --> 00:02:16,360 Speaker 1: those suggestions in later episodes, but I don't know. For 39 00:02:16,440 --> 00:02:18,480 Speaker 1: my part, I begin to just feel like, oh, Man, 40 00:02:18,520 --> 00:02:20,400 Speaker 1: it's so much pressure to figure out, like what is 41 00:02:20,440 --> 00:02:22,880 Speaker 1: like the weird movie to do for two hundred, and 42 00:02:23,040 --> 00:02:25,040 Speaker 1: falling back on the idea of like two hundred two 43 00:02:25,080 --> 00:02:27,800 Speaker 1: thousand just felt a little It felt a little easier 44 00:02:27,919 --> 00:02:31,959 Speaker 1: when it came to the decision making process. And another 45 00:02:32,080 --> 00:02:34,880 Speaker 1: question you might be wondering, perhaps cowering a little bit 46 00:02:35,000 --> 00:02:37,919 Speaker 1: in fear, are we going to do the next twenty 47 00:02:37,960 --> 00:02:41,760 Speaker 1: five episodes of Weird House Cinema related to the subsequent years. 48 00:02:42,080 --> 00:02:45,280 Speaker 1: I'm going to say definitely not. I don't think we 49 00:02:45,280 --> 00:02:48,080 Speaker 1: could keep that up. I mean, we'll see what happens 50 00:02:48,120 --> 00:02:49,920 Speaker 1: next week, but it's definitely not going to be the 51 00:02:49,960 --> 00:02:51,280 Speaker 1: next twenty five episodes. 52 00:02:51,639 --> 00:02:53,320 Speaker 3: Well, next week we could do two thousand and one 53 00:02:53,320 --> 00:02:55,040 Speaker 3: of Space Odyssey and keep going. 54 00:02:55,240 --> 00:02:56,280 Speaker 1: Yeah, well that's true. 55 00:02:56,400 --> 00:02:58,760 Speaker 3: Yeah, though I don't know. I think that's more in 56 00:02:58,800 --> 00:03:02,320 Speaker 3: our category of reference text rather than subject text. 57 00:03:02,560 --> 00:03:04,600 Speaker 1: But we did do a core episode of stuff to 58 00:03:04,639 --> 00:03:07,000 Speaker 1: Blow your Mind on two thousand and one of Space Odyssey, 59 00:03:07,040 --> 00:03:09,600 Speaker 1: so there is some Space Odyssey in the vault. 60 00:03:10,200 --> 00:03:12,040 Speaker 3: Now. Obviously we're gonna have a lot to say about 61 00:03:12,120 --> 00:03:15,400 Speaker 3: Dungeons and Dragons as a movie, but I think we 62 00:03:15,440 --> 00:03:17,520 Speaker 3: also need to appreciate right here at the top that, 63 00:03:17,600 --> 00:03:20,800 Speaker 3: of course it is an adaptation of the tabletop gaming 64 00:03:21,000 --> 00:03:24,600 Speaker 3: system Dungeons and Dragons. So Rob, maybe we got to 65 00:03:24,639 --> 00:03:26,960 Speaker 3: start just by talking about that, like you're a little 66 00:03:26,960 --> 00:03:29,960 Speaker 3: bit of the short, short version of your personal history 67 00:03:29,960 --> 00:03:31,560 Speaker 3: with D and D, because I know we could both 68 00:03:31,600 --> 00:03:33,080 Speaker 3: go into a lot of detail here. 69 00:03:33,639 --> 00:03:35,960 Speaker 1: So yeah, first of all, just a reminder, Dungeons and 70 00:03:36,040 --> 00:03:40,280 Speaker 1: Dragons dates back to the mid nineteen seventies is a 71 00:03:40,320 --> 00:03:43,880 Speaker 1: role playing game. It is I often try to explain 72 00:03:43,920 --> 00:03:46,080 Speaker 1: it to people who aren't that familiar with it as 73 00:03:46,360 --> 00:03:50,920 Speaker 1: kind of a communal storytelling game where you have a 74 00:03:51,000 --> 00:03:54,320 Speaker 1: dungeon master running the game. You have players playing characters 75 00:03:54,400 --> 00:03:58,640 Speaker 1: within that game. The dungeon master is running things and 76 00:03:58,800 --> 00:04:01,760 Speaker 1: is the final say on the rule, but the players 77 00:04:01,760 --> 00:04:04,560 Speaker 1: are also contributing creatively to it. They are not being 78 00:04:04,600 --> 00:04:08,160 Speaker 1: told a story. Everyone is collaborating on the story together, 79 00:04:08,720 --> 00:04:11,040 Speaker 1: and it's just a tremendous amount of fun it is. 80 00:04:11,560 --> 00:04:14,200 Speaker 1: If you've never played Dungeons and Dragons before, or some 81 00:04:14,480 --> 00:04:17,640 Speaker 1: similar role playing game, I highly recommend it. It is 82 00:04:17,680 --> 00:04:21,960 Speaker 1: a great social, creative hobby in pastime that is also 83 00:04:22,040 --> 00:04:27,200 Speaker 1: connected to any number of additional solo hobbies in past times. 84 00:04:27,240 --> 00:04:29,520 Speaker 1: It's something that has brought a lot of joy into 85 00:04:29,560 --> 00:04:30,080 Speaker 1: my life. 86 00:04:30,560 --> 00:04:32,680 Speaker 3: Collaborative storytelling is a good way to put it for 87 00:04:32,720 --> 00:04:35,880 Speaker 3: people who aren't familiar. Imagine that essentially, the dungeon Master 88 00:04:36,400 --> 00:04:40,480 Speaker 3: creates the setting and scenario, and you create a character 89 00:04:40,600 --> 00:04:43,880 Speaker 3: within that setting in scenario, you say what your character 90 00:04:43,960 --> 00:04:46,800 Speaker 3: in particular does in reaction to that setting and scenario 91 00:04:46,920 --> 00:04:49,640 Speaker 3: created by the dungeon Master. They tell you what happens 92 00:04:49,640 --> 00:04:52,360 Speaker 3: in return, and you go back and forth. Yeah. 93 00:04:52,480 --> 00:04:56,120 Speaker 1: Yeah, So I don't remember exactly when I first started 94 00:04:56,120 --> 00:04:58,360 Speaker 1: getting into it. I definitely had watched the old nineteen 95 00:04:58,400 --> 00:05:01,520 Speaker 1: eighty three cartoon at one point, but that didn't like 96 00:05:01,600 --> 00:05:04,200 Speaker 1: really pull me in all the way. It wasn't until 97 00:05:04,240 --> 00:05:07,000 Speaker 1: I was in boy Scouts and I observed some of 98 00:05:07,000 --> 00:05:11,640 Speaker 1: the older scouts playing dungeons and dragons. The dungeon Master 99 00:05:11,760 --> 00:05:15,520 Speaker 1: kid was using his father's like pre satanic panic, like 100 00:05:15,600 --> 00:05:20,760 Speaker 1: full demon monster supplements, and it was just it looked 101 00:05:20,760 --> 00:05:22,480 Speaker 1: like a lot of fun. So I started getting into it, 102 00:05:22,560 --> 00:05:25,039 Speaker 1: and I by you know, by the mid nineties, I 103 00:05:25,160 --> 00:05:30,200 Speaker 1: was all into Forgotten Realms, Raven Loft, Kara Tour, Dark Sun, 104 00:05:30,279 --> 00:05:34,120 Speaker 1: Spell Jammer, all these different worlds and subsettings within Dungeons 105 00:05:34,160 --> 00:05:37,680 Speaker 1: and Dragons. I probably read more than I played, but 106 00:05:37,760 --> 00:05:40,160 Speaker 1: it was still a blast. But then, around the turn 107 00:05:40,160 --> 00:05:43,440 Speaker 1: of the millennium, when this film comes out, I went 108 00:05:43,480 --> 00:05:48,880 Speaker 1: to college and for idiotically didn't do any non video 109 00:05:48,920 --> 00:05:51,400 Speaker 1: game D and D stuff for like more than a decade. 110 00:05:52,040 --> 00:05:55,120 Speaker 1: So today's movie drops at a time in which I 111 00:05:55,160 --> 00:05:57,640 Speaker 1: was weirdly disinterested and out of touch with all things 112 00:05:57,760 --> 00:06:00,640 Speaker 1: D and D. I think my main memory of the 113 00:06:00,720 --> 00:06:03,040 Speaker 1: trailer was that, oh, it looks like it has Jeremy 114 00:06:03,080 --> 00:06:05,520 Speaker 1: Irons in it. But at the same time, I was 115 00:06:05,960 --> 00:06:08,400 Speaker 1: at least slightly disappointed that he appeared to not have 116 00:06:08,440 --> 00:06:10,160 Speaker 1: a wizard beard or wizard hair. 117 00:06:10,800 --> 00:06:13,680 Speaker 3: That's true, you know. I was trying to We'll talk 118 00:06:13,720 --> 00:06:15,120 Speaker 3: more about this as we go on, but I was 119 00:06:15,160 --> 00:06:17,640 Speaker 3: trying to class all the characters in the movie. I 120 00:06:17,680 --> 00:06:19,840 Speaker 3: was saying, Okay, what D and D class are you? 121 00:06:19,839 --> 00:06:22,000 Speaker 3: Because when you play the game, you pick a character 122 00:06:22,000 --> 00:06:24,159 Speaker 3: class that tells you, like what kind of skills and 123 00:06:24,240 --> 00:06:27,360 Speaker 3: powers you have. You could be a barbarian or a fighter, 124 00:06:27,480 --> 00:06:30,440 Speaker 3: or a cleric or a wizard. And I was like, man, 125 00:06:30,720 --> 00:06:32,880 Speaker 3: Jeremy Irons doesn't feel like a wizard because he doesn't 126 00:06:32,960 --> 00:06:35,400 Speaker 3: look like a wizard. He looks I don't know, it 127 00:06:35,440 --> 00:06:37,480 Speaker 3: looks like a warlock. Maybe, what do you think? 128 00:06:37,760 --> 00:06:40,000 Speaker 1: Yeah, yeah, maybe more of a warlock. Look. 129 00:06:40,400 --> 00:06:43,039 Speaker 3: I mean they never mentioned a packed patron or anything. 130 00:06:43,120 --> 00:06:46,320 Speaker 1: But yeah. And I don't know. I don't know one 131 00:06:46,360 --> 00:06:48,640 Speaker 1: hundred percent why it bugged me at the time, because 132 00:06:48,839 --> 00:06:50,760 Speaker 1: I'm not really bugged by it now. But I think 133 00:06:50,800 --> 00:06:52,640 Speaker 1: a big part of it was and I was having 134 00:06:52,640 --> 00:06:55,320 Speaker 1: to like piece together where things fell in the timeline. 135 00:06:55,920 --> 00:06:58,440 Speaker 1: I think part of it was that by April of 136 00:06:58,480 --> 00:07:01,240 Speaker 1: two thousand, Today's movie came out in like December of 137 00:07:01,240 --> 00:07:04,960 Speaker 1: two thousand. By April of two thousand, we already had 138 00:07:05,000 --> 00:07:09,200 Speaker 1: a trailer featurette for Peter Jackson's Fellowship of the Ring, 139 00:07:09,560 --> 00:07:12,400 Speaker 1: which would come out December two thousand and one, so 140 00:07:12,520 --> 00:07:16,200 Speaker 1: we already had a visual taste of what was possible 141 00:07:16,240 --> 00:07:20,600 Speaker 1: with live action high fantasy, and even from the trailers, 142 00:07:20,640 --> 00:07:23,600 Speaker 1: it was obvious that two thousands Dungeons and Dragons was 143 00:07:23,800 --> 00:07:25,840 Speaker 1: quite obviously missing the mark. 144 00:07:26,080 --> 00:07:29,040 Speaker 3: God that contrast is crazy to imagine that this was 145 00:07:29,160 --> 00:07:33,680 Speaker 3: almost like overlapping in time and that we're going to 146 00:07:33,760 --> 00:07:36,600 Speaker 3: try not to just like be mean or rag on 147 00:07:36,640 --> 00:07:38,920 Speaker 3: the movie the whole time. But yeah, the comparison is 148 00:07:39,000 --> 00:07:43,360 Speaker 3: so funny. It's like imagining that trailers for The Matrix 149 00:07:43,400 --> 00:07:46,480 Speaker 3: were already out when lawnmower Man was in theaters. 150 00:07:46,640 --> 00:07:50,040 Speaker 1: You know, yeah, I mean it's really not fair because 151 00:07:50,080 --> 00:07:51,960 Speaker 1: we're again we're talking about Lord of the Rings here, 152 00:07:52,360 --> 00:07:55,520 Speaker 1: one of and arguably the most important texts in modern 153 00:07:55,560 --> 00:07:58,200 Speaker 1: fantasy literature. It served as one of the one of 154 00:07:58,240 --> 00:08:03,120 Speaker 1: the primary inspirations for and dragons in general, and furthermore, 155 00:08:03,240 --> 00:08:06,000 Speaker 1: Peter Jackson's adaptations. No matter what your quipples might be 156 00:08:06,120 --> 00:08:10,400 Speaker 1: about the finished product, they were jaw dropping cinematic spectacles 157 00:08:10,600 --> 00:08:15,920 Speaker 1: that pushed the technological envelope, that energized fans and generated mainstream, 158 00:08:15,960 --> 00:08:19,600 Speaker 1: popular and critical success. So it's unfair to compare this 159 00:08:19,720 --> 00:08:22,560 Speaker 1: smaller picture that had I think, when all was said 160 00:08:22,560 --> 00:08:24,960 Speaker 1: and done, like half the budget, so but not that 161 00:08:25,080 --> 00:08:28,240 Speaker 1: small of a budget. You know, it is never going 162 00:08:28,280 --> 00:08:30,800 Speaker 1: to live up to what Fellowship of the Ring was 163 00:08:30,840 --> 00:08:31,679 Speaker 1: able to achieve. 164 00:08:32,040 --> 00:08:34,360 Speaker 3: You Know something I was just thinking about recently with 165 00:08:34,480 --> 00:08:37,280 Speaker 3: the Peter Jackson Lord of the Rings movies is I 166 00:08:37,320 --> 00:08:40,320 Speaker 3: don't know if they often get enough credit for how 167 00:08:40,600 --> 00:08:43,840 Speaker 3: good of a job they did simply from a writing 168 00:08:43,880 --> 00:08:47,240 Speaker 3: point of view, adapting the material. We can have our 169 00:08:47,280 --> 00:08:49,760 Speaker 3: complaints about, like, oh I wish Tom Bombadill had been 170 00:08:49,760 --> 00:08:51,800 Speaker 3: in there. You know, I don't like that they didn't 171 00:08:51,840 --> 00:08:54,480 Speaker 3: include this, or that they made this moment like, you know, 172 00:08:54,760 --> 00:08:58,080 Speaker 3: there were changes introduced, and a lot of times purists 173 00:08:58,080 --> 00:09:00,400 Speaker 3: can be upset by that. But I think think they 174 00:09:00,520 --> 00:09:04,160 Speaker 3: really did a kind of impossible task of cramming as 175 00:09:04,360 --> 00:09:08,240 Speaker 3: much of the spirit of the story into film into 176 00:09:08,960 --> 00:09:12,160 Speaker 3: reasonable I mean long but still reasonable film run times 177 00:09:12,200 --> 00:09:16,000 Speaker 3: as possible. It really, I think is a marvelous achievement 178 00:09:16,440 --> 00:09:19,080 Speaker 3: of adaptation writing. Yeah. 179 00:09:19,120 --> 00:09:23,760 Speaker 1: Absolutely, Again, it's just unfair to compare virtually anything, especially 180 00:09:23,800 --> 00:09:26,440 Speaker 1: this film, to Fellowship of the Rings and the subsequent 181 00:09:26,440 --> 00:09:30,240 Speaker 1: Peter Jackson Lord of the Rings films. They just succeeded 182 00:09:30,559 --> 00:09:31,560 Speaker 1: in so many ways. 183 00:09:32,360 --> 00:09:34,720 Speaker 3: But while we're on the subject of the differences between 184 00:09:34,840 --> 00:09:37,760 Speaker 3: Fellowship of the Ring and Dungeons and Dragons as movies 185 00:09:37,760 --> 00:09:41,200 Speaker 3: from around the same time, one big difference is that, 186 00:09:41,240 --> 00:09:44,720 Speaker 3: of course, Fellowship of the Ring is an adaptation of 187 00:09:45,040 --> 00:09:48,520 Speaker 3: a book. It's an adaptation of something that is already 188 00:09:48,640 --> 00:09:51,839 Speaker 3: a fixed narrative, which is like a you know, it's 189 00:09:52,040 --> 00:09:55,720 Speaker 3: a more familiar way of making a movie from existing 190 00:09:55,800 --> 00:09:59,320 Speaker 3: source material. The Dungeons and Dragons movie had a very 191 00:09:59,559 --> 00:10:04,000 Speaker 3: different and kind of writing assignment, which is that it 192 00:10:04,040 --> 00:10:08,600 Speaker 3: was to adapt a game system or sort of a world. 193 00:10:08,679 --> 00:10:12,920 Speaker 3: There is no fixed narrative of Dungeons Dungeons and Dragons. 194 00:10:12,920 --> 00:10:15,520 Speaker 3: I think there are some like, you know, pre written 195 00:10:15,559 --> 00:10:18,440 Speaker 3: campaigns that exist out there. Rob you can probably shed 196 00:10:18,440 --> 00:10:21,160 Speaker 3: more light on that, and there may be some like common, 197 00:10:21,320 --> 00:10:24,240 Speaker 3: commonly accepted sort of history things in the Dungeons and 198 00:10:24,280 --> 00:10:28,040 Speaker 3: Dragons world, but there's no fixed narrative like there is 199 00:10:28,080 --> 00:10:31,360 Speaker 3: in a book. Players make up their own stories. So 200 00:10:31,679 --> 00:10:34,000 Speaker 3: what your job is if you're adapting this into a 201 00:10:34,040 --> 00:10:36,720 Speaker 3: movie is you have to kind of make up a 202 00:10:36,840 --> 00:10:41,280 Speaker 3: story that packs in a lot of details about what 203 00:10:41,440 --> 00:10:46,000 Speaker 3: it's like to play the game and captures feelings of 204 00:10:47,040 --> 00:10:51,439 Speaker 3: common experiences that players have when they're playing with their friends. 205 00:10:51,600 --> 00:10:52,640 Speaker 3: Does does that make sense? 206 00:10:52,920 --> 00:10:55,000 Speaker 1: Yeah? Yeah, try it. You have to to attempt to 207 00:10:55,000 --> 00:10:56,840 Speaker 1: try and nail the vibe of the D and D 208 00:10:56,960 --> 00:10:59,000 Speaker 1: world and the vibe of playing D and D at 209 00:10:59,000 --> 00:11:01,720 Speaker 1: the same time, which, to be clear, are often in 210 00:11:01,800 --> 00:11:04,440 Speaker 1: stark opposition to each other. You may have like a 211 00:11:04,520 --> 00:11:09,120 Speaker 1: really like very serious and even dark set of events 212 00:11:09,120 --> 00:11:13,880 Speaker 1: happening within the story of the game. But yet a 213 00:11:14,080 --> 00:11:17,000 Speaker 1: gaming session of Dungeons and Dragons might be just full 214 00:11:17,080 --> 00:11:20,920 Speaker 1: of goof off moments and laughter and so forth, and 215 00:11:21,000 --> 00:11:24,240 Speaker 1: yet they can still work together at the table in 216 00:11:24,280 --> 00:11:26,560 Speaker 1: a way that might be more of a struggle thematically. 217 00:11:26,640 --> 00:11:29,720 Speaker 1: With a motion picture. I would argue that twenty twenty 218 00:11:29,720 --> 00:11:32,520 Speaker 1: three's Dungeons and Dragons Honor among Thieves, the most recent 219 00:11:32,600 --> 00:11:36,240 Speaker 1: Dungeons and Dragons film, did more of a commendable job 220 00:11:36,280 --> 00:11:40,280 Speaker 1: of pulling this off, and watching today's movie, it'd be 221 00:11:40,320 --> 00:11:43,760 Speaker 1: easier to momentarily put that aside if they didn't actually 222 00:11:43,760 --> 00:11:47,599 Speaker 1: say honor among Thieves multiple times in the dialogue. 223 00:11:48,320 --> 00:11:50,000 Speaker 3: But they didn't know that was gonna They didn't the 224 00:11:50,040 --> 00:11:51,240 Speaker 3: title of the later movie. 225 00:11:51,679 --> 00:11:55,320 Speaker 1: They didn't know. But it's impossible to avoid. But no, 226 00:11:55,400 --> 00:11:58,120 Speaker 1: you're right, it's like they're they're adapting a vibe. They're 227 00:11:58,160 --> 00:12:03,960 Speaker 1: adapting ip a world or multiple worlds and various creatures 228 00:12:03,960 --> 00:12:06,880 Speaker 1: within that world, but they're not leaning on like a 229 00:12:07,000 --> 00:12:10,320 Speaker 1: core text. But to be clear, even by nineteen ninety 230 00:12:10,360 --> 00:12:12,880 Speaker 1: and certainly by the year two thousand, there were plenty 231 00:12:12,920 --> 00:12:15,720 Speaker 1: of Dungeons and Dragons novelizations out there. I mean, they're 232 00:12:15,760 --> 00:12:19,720 Speaker 1: like a million dragon Lance novels, So there was some 233 00:12:19,920 --> 00:12:23,120 Speaker 1: material out there that could have leaned on, though you know, 234 00:12:23,200 --> 00:12:24,439 Speaker 1: I don't I don't know, I haven't read most of 235 00:12:24,480 --> 00:12:29,240 Speaker 1: those books. Not everything is you know, reasonable for adaptation 236 00:12:30,120 --> 00:12:33,800 Speaker 1: and so forth. But you know, there were and are 237 00:12:33,840 --> 00:12:36,440 Speaker 1: plenty of Dungeons and Dragons stories one could could go 238 00:12:36,520 --> 00:12:37,520 Speaker 1: to for things like this. 239 00:12:38,000 --> 00:12:41,040 Speaker 3: But one thing that makes those stories different is they're 240 00:12:41,080 --> 00:12:45,240 Speaker 3: almost like they're reading a story that someone has created 241 00:12:45,360 --> 00:12:48,720 Speaker 3: within the framework of the D and D world, but 242 00:12:48,760 --> 00:12:51,520 Speaker 3: they're not cannon for all, like players of. 243 00:12:51,520 --> 00:12:55,360 Speaker 1: D and D, right, right, Like any given person's favorite 244 00:12:55,360 --> 00:12:57,680 Speaker 1: moment from Dungeons and Dragons is going to you know, 245 00:12:57,760 --> 00:13:01,160 Speaker 1: be a little different from everyone else's moment if you're 246 00:13:01,160 --> 00:13:04,040 Speaker 1: just talking about the tabletop experience. 247 00:13:04,880 --> 00:13:07,600 Speaker 3: Yeah, So, as you said, this is something that the 248 00:13:07,840 --> 00:13:10,199 Speaker 3: more recent D and D movie did a lot of. 249 00:13:10,240 --> 00:13:11,920 Speaker 3: You could tell there were a lot of in jokes 250 00:13:11,920 --> 00:13:13,720 Speaker 3: in the movie. And I still think the more recent 251 00:13:13,760 --> 00:13:16,800 Speaker 3: movie works pretty well. I mean, I don't know, I 252 00:13:16,840 --> 00:13:18,880 Speaker 3: have played D and D, but I can imagine it 253 00:13:18,920 --> 00:13:21,280 Speaker 3: still works pretty well as a film even if you've 254 00:13:21,320 --> 00:13:23,160 Speaker 3: never played it. But there are just a lot of 255 00:13:23,160 --> 00:13:26,560 Speaker 3: little treats in there for players, because it will have 256 00:13:26,720 --> 00:13:30,320 Speaker 3: the characters in the movie getting into a situation that 257 00:13:30,440 --> 00:13:34,440 Speaker 3: players commonly find themselves in, and it's funny, too funny 258 00:13:34,440 --> 00:13:37,520 Speaker 3: to recognize, like, oh, I can't speak with dead and 259 00:13:37,559 --> 00:13:40,240 Speaker 3: I still have this many questions I can ask and 260 00:13:40,280 --> 00:13:43,800 Speaker 3: we already got the information we need, you know, and 261 00:13:43,840 --> 00:13:45,240 Speaker 3: that sort of thing over and over. 262 00:13:45,760 --> 00:13:48,200 Speaker 1: Yeah, And also I think the other thing that the 263 00:13:48,240 --> 00:13:50,760 Speaker 1: more recent film did well is that it had it 264 00:13:50,760 --> 00:13:55,360 Speaker 1: did have canonical figures that one could leave the film 265 00:13:55,400 --> 00:13:56,880 Speaker 1: and say, hey, I want to know about that that 266 00:13:57,000 --> 00:13:59,400 Speaker 1: Lich guy. I want to know more about these Red Wizards, 267 00:13:59,440 --> 00:14:01,560 Speaker 1: and they're there is material out there you can read 268 00:14:01,559 --> 00:14:06,400 Speaker 1: about them. They're part of a setting. This movie doesn't really, 269 00:14:06,760 --> 00:14:09,640 Speaker 1: I think, do much of that. You might say, oh, 270 00:14:09,640 --> 00:14:12,080 Speaker 1: that's a neat beholder. I just saw float by. I'd 271 00:14:12,080 --> 00:14:14,640 Speaker 1: like to know more about those guys. Well, there's plenty more. 272 00:14:14,920 --> 00:14:17,760 Speaker 3: But yeah, it doesn't really do much with the beholders, 273 00:14:17,800 --> 00:14:20,360 Speaker 3: does it. You briefly see one as a purple blob 274 00:14:20,440 --> 00:14:22,520 Speaker 3: that flies off screen, and then I'm like, ooh, we're 275 00:14:22,520 --> 00:14:24,080 Speaker 3: gonna come back for a beholder fight. 276 00:14:24,240 --> 00:14:28,200 Speaker 1: Nope, Nope, Nope, they're basically screen savers. 277 00:14:28,720 --> 00:14:30,600 Speaker 3: But anyway, as I was saying, the more recent D 278 00:14:30,640 --> 00:14:33,000 Speaker 3: and D movie does a lot of that, I think 279 00:14:33,120 --> 00:14:35,600 Speaker 3: this older movie does a little bit of that. There's 280 00:14:35,640 --> 00:14:40,360 Speaker 3: a little bit of nodding towards kind of common player experiences, 281 00:14:40,360 --> 00:14:43,840 Speaker 3: but a lot less. It feels more like they were 282 00:14:43,880 --> 00:14:47,080 Speaker 3: just trying to create a story roughly within the D 283 00:14:47,160 --> 00:14:48,080 Speaker 3: and D universe. 284 00:14:48,720 --> 00:14:52,960 Speaker 1: Yeah, now I should say some nice things about this film. 285 00:14:53,000 --> 00:14:57,000 Speaker 1: I think, yeah, yeah, I think it has some excellent locations, 286 00:14:57,040 --> 00:15:01,320 Speaker 1: including the sedl Ossuary and the Checker Public. Also, I 287 00:15:01,320 --> 00:15:03,840 Speaker 1: think that the Czech Republic State Opera House is used 288 00:15:03,880 --> 00:15:06,360 Speaker 1: as a location at one point, and multiple other Czech 289 00:15:06,400 --> 00:15:09,880 Speaker 1: locations that look really cool and they make good use 290 00:15:09,920 --> 00:15:10,680 Speaker 1: of them. 291 00:15:10,920 --> 00:15:15,200 Speaker 3: Gorgeous interior locations in fact, that are a quite ludicrous 292 00:15:15,240 --> 00:15:18,480 Speaker 3: contrast to like It'll cut from there to a like 293 00:15:18,640 --> 00:15:22,800 Speaker 3: CGI dungeon. It is just you could not imagine something 294 00:15:22,920 --> 00:15:25,320 Speaker 3: more like uglier and more dingy looking. 295 00:15:25,720 --> 00:15:30,240 Speaker 1: Yes, the CGI is all horrendous, but I should also 296 00:15:30,320 --> 00:15:32,840 Speaker 1: point out there are some nice practical sets as well. 297 00:15:33,200 --> 00:15:36,680 Speaker 1: There's that the Eye Room and the labyrinth. The Evil 298 00:15:36,760 --> 00:15:40,040 Speaker 1: Layer is really nice. So there's also like anything that's 299 00:15:40,080 --> 00:15:43,920 Speaker 1: not cgi in this film has at least a reasonable 300 00:15:43,960 --> 00:15:45,720 Speaker 1: shot at looking okay. 301 00:15:46,000 --> 00:15:49,680 Speaker 3: There there is at one point, it's toward the end 302 00:15:49,680 --> 00:15:51,880 Speaker 3: of the movie. I wish it had come earlier, a 303 00:15:52,200 --> 00:15:55,520 Speaker 3: quite lovely hand painted backdrop for like a a like 304 00:15:55,560 --> 00:15:58,200 Speaker 3: a mad effect when they go to when they go 305 00:15:58,240 --> 00:16:01,440 Speaker 3: to like the Thomas Kincaid LOTHLRII you know, yeah, yeah, 306 00:16:01,520 --> 00:16:03,080 Speaker 3: but it's it's like very pretty. 307 00:16:03,480 --> 00:16:06,800 Speaker 1: Yeah. Yeah. So, I mean, the practical stuff works pretty 308 00:16:06,840 --> 00:16:09,120 Speaker 1: well for the most part. And then of course we 309 00:16:09,200 --> 00:16:11,960 Speaker 1: have the performances. There are some definite duds in there, 310 00:16:12,480 --> 00:16:14,880 Speaker 1: but who there are some there are some really fun 311 00:16:14,920 --> 00:16:18,400 Speaker 1: performances to be hold on top of everything. 312 00:16:18,880 --> 00:16:21,080 Speaker 3: Yeah, we'll have to talk about that. And speaking of 313 00:16:21,120 --> 00:16:24,760 Speaker 3: continuing themes from last week, A list actors getting in 314 00:16:24,800 --> 00:16:27,800 Speaker 3: a B movie and just giving it everything they've got, 315 00:16:27,880 --> 00:16:31,680 Speaker 3: or maybe more than they've got actually, So, Rob, what's 316 00:16:31,680 --> 00:16:33,120 Speaker 3: your elevator pitch for D? 317 00:16:33,640 --> 00:16:35,840 Speaker 1: The main thing I came up with was complete a 318 00:16:35,920 --> 00:16:39,520 Speaker 1: D and D movie before Y two K, which yeah, 319 00:16:39,600 --> 00:16:41,360 Speaker 1: it comes out after Y two K, but you know 320 00:16:42,520 --> 00:16:45,760 Speaker 1: they're filming it in nineteen ninety nine, and also it 321 00:16:46,400 --> 00:16:49,720 Speaker 1: comes at it's the end of a long journey to 322 00:16:49,760 --> 00:16:52,960 Speaker 1: make a Dungeons and Dragons motion picture, and I'll get 323 00:16:52,960 --> 00:16:55,000 Speaker 1: into some of those details when we talk about the director. 324 00:16:55,280 --> 00:16:57,160 Speaker 3: I think they had to roll a twelve or above 325 00:16:57,200 --> 00:16:59,200 Speaker 3: to achieve that goal, and they rolled a twelve. 326 00:16:59,520 --> 00:17:02,600 Speaker 1: Yeah, yeah, at one point I think they rolled one 327 00:17:02,760 --> 00:17:04,679 Speaker 1: and then they realized they did have inspiration and they 328 00:17:04,680 --> 00:17:07,280 Speaker 1: were able to take that back nice. All right, let's 329 00:17:07,320 --> 00:17:09,360 Speaker 1: listen to a little bit of the tray their audio here, 330 00:17:09,400 --> 00:17:11,880 Speaker 1: and hopefully you'll get to hear Jeremy Irons a little 331 00:17:11,880 --> 00:17:12,680 Speaker 1: bit in there as well. 332 00:17:13,560 --> 00:17:21,919 Speaker 3: Yeah, in a faraway world, all people deserve to be 333 00:17:22,000 --> 00:17:25,520 Speaker 3: free and equal. The child is not fit to govern 334 00:17:25,720 --> 00:17:28,320 Speaker 3: an empire. The forces of darkness. 335 00:17:28,400 --> 00:17:32,080 Speaker 4: You can control dragons for the Dyanami my command. 336 00:17:32,359 --> 00:17:33,480 Speaker 3: I can crush the empress. 337 00:17:33,680 --> 00:17:35,760 Speaker 1: This has gotta be some twisted magic experiment. 338 00:17:36,080 --> 00:17:39,560 Speaker 3: Seriously wrong. I have threatened to conquer a kingdom. What 339 00:17:39,640 --> 00:17:41,119 Speaker 3: can I do to stop profiance? 340 00:17:41,200 --> 00:17:44,080 Speaker 1: If you can obtain a rod of Chevrial, you could 341 00:17:44,119 --> 00:17:45,560 Speaker 1: control read dragons. 342 00:17:45,840 --> 00:17:47,800 Speaker 3: I suggest we lay low. Let the whole thing blow 343 00:17:47,840 --> 00:17:52,200 Speaker 3: of a come back rob everybody. There's one small problem problem. 344 00:17:52,400 --> 00:18:06,080 Speaker 4: I kind of committed us to find it. Trust me that, 345 00:18:26,240 --> 00:18:28,240 Speaker 4: oh it's your time to die. 346 00:18:32,119 --> 00:18:36,399 Speaker 3: Dungeons and Dragons. You want to play video? 347 00:18:39,119 --> 00:18:43,880 Speaker 1: All right? Now into Dragons against Us all right. If 348 00:18:43,920 --> 00:18:47,719 Speaker 1: you want to watch Dungeons and Dragons for yourself, you 349 00:18:47,760 --> 00:18:51,800 Speaker 1: can find this one in multiple formats, including some free 350 00:18:51,840 --> 00:18:55,919 Speaker 1: streaming services. That's where I watched this film. You can 351 00:18:55,960 --> 00:18:57,840 Speaker 1: find it on your your Plex and your two b's 352 00:18:58,080 --> 00:19:01,080 Speaker 1: if those are options for you. There also there also 353 00:19:01,119 --> 00:19:03,840 Speaker 1: have been different DVD and Blu Ray releases, including Dungeons 354 00:19:03,880 --> 00:19:06,560 Speaker 1: and Dragons two Movie collection on Blu Ray. That's if 355 00:19:06,560 --> 00:19:09,600 Speaker 1: you want to be clear, you're not getting the more 356 00:19:09,600 --> 00:19:12,800 Speaker 1: recent Dungeons and Dragons adaptation in there. You're getting one 357 00:19:12,800 --> 00:19:16,720 Speaker 1: of the crappy sequels to this film. So bye, with caution. 358 00:19:16,960 --> 00:19:19,880 Speaker 3: Did any actors from this movie come back in that one? 359 00:19:20,200 --> 00:19:24,199 Speaker 1: Bruce Payne just as Bruce Payne. He came back at 360 00:19:24,320 --> 00:19:27,000 Speaker 1: least for the initial sequel. I don't know who if 361 00:19:27,000 --> 00:19:29,480 Speaker 1: anyone came back for part three. I don't know if 362 00:19:29,480 --> 00:19:35,879 Speaker 1: anyone seen Part three. 363 00:19:39,000 --> 00:19:41,520 Speaker 3: All right, let's talk about the connections. 364 00:19:41,359 --> 00:19:42,919 Speaker 1: All right. We're going to start at the top with 365 00:19:43,400 --> 00:19:49,440 Speaker 1: director producer Courtney Solomon born nineteen seventy. So to be clear, 366 00:19:49,520 --> 00:19:52,760 Speaker 1: there had been previous attempts to officially capitalize on D 367 00:19:52,800 --> 00:19:55,919 Speaker 1: and D's popularity as a film going back to the 368 00:19:55,960 --> 00:20:01,200 Speaker 1: early eighties, but nothing came together until around nineteen ninety, 369 00:20:01,720 --> 00:20:05,320 Speaker 1: that is when then nineteen year old Courtney Solomon with 370 00:20:05,480 --> 00:20:09,080 Speaker 1: basically only a passion for Dungeons and Dragons, some family 371 00:20:09,200 --> 00:20:12,479 Speaker 1: background I think on his like on mother's side in 372 00:20:12,600 --> 00:20:16,119 Speaker 1: Canadian TV production, and also we should we should, we 373 00:20:16,119 --> 00:20:19,280 Speaker 1: should realize there's probably a natural twenty charisma role in here, 374 00:20:19,320 --> 00:20:22,560 Speaker 1: because he managed to convince TSR, the parent company of 375 00:20:22,600 --> 00:20:24,720 Speaker 1: D India at the time, to give him a shot 376 00:20:24,760 --> 00:20:25,880 Speaker 1: at producing the thing. 377 00:20:26,280 --> 00:20:28,200 Speaker 3: Had he made a movie at this point. 378 00:20:28,119 --> 00:20:31,400 Speaker 1: No, he had not, as far as I can tell, No, 379 00:20:31,520 --> 00:20:34,480 Speaker 1: nothing like that had occurred. So yeah, we may rag 380 00:20:34,600 --> 00:20:37,240 Speaker 1: on this film a little bit in this episode, But man, 381 00:20:37,520 --> 00:20:40,760 Speaker 1: that was roughly my age when this movie came out, 382 00:20:40,880 --> 00:20:44,119 Speaker 1: and looking back at myself, I was barely capable of 383 00:20:44,160 --> 00:20:48,600 Speaker 1: any level of adulting, you know. Solomon, however, at nineteen 384 00:20:49,160 --> 00:20:52,639 Speaker 1: and in subsequent years won over TSR and then traveled 385 00:20:52,680 --> 00:20:56,560 Speaker 1: around the world seeking financial backers and scored one in 386 00:20:56,640 --> 00:21:01,480 Speaker 1: Hong Kong business magnate Alan Zamon and so by the 387 00:21:01,520 --> 00:21:05,600 Speaker 1: mid nineties, the plan with Solomon as producer was to 388 00:21:05,640 --> 00:21:08,280 Speaker 1: do this up as one hundred million dollar production with 389 00:21:08,359 --> 00:21:09,800 Speaker 1: a big director. 390 00:21:10,240 --> 00:21:12,960 Speaker 3: One hundred million dollars in the in the nineties. 391 00:21:13,320 --> 00:21:16,639 Speaker 1: Yeah like that. I mean, you know, you're talking about 392 00:21:16,960 --> 00:21:19,639 Speaker 1: Fellowship of the Ring range in terms of your budget. 393 00:21:19,640 --> 00:21:22,080 Speaker 1: But of course that's you know, years later. So yeah, 394 00:21:22,520 --> 00:21:25,040 Speaker 1: they were talking about having the likes of Francis Ford 395 00:21:25,080 --> 00:21:28,600 Speaker 1: Coppola or James Cameron produced. I think Stan Winston was 396 00:21:28,640 --> 00:21:32,399 Speaker 1: also attached at one point, but as often occurs in Hollywood, 397 00:21:32,920 --> 00:21:33,760 Speaker 1: plans changed. 398 00:21:34,200 --> 00:21:36,639 Speaker 3: Coming hot off of Pumpkinhead, I shall make the D 399 00:21:36,760 --> 00:21:37,480 Speaker 3: and D movie. 400 00:21:38,480 --> 00:21:41,400 Speaker 1: Wow, imagine what the effects would have looked like. Though 401 00:21:41,760 --> 00:21:43,480 Speaker 1: you have gotten a good beholder in that one. 402 00:21:43,600 --> 00:21:48,280 Speaker 3: I want to see that Francis Ford Coppola verse. Would 403 00:21:48,280 --> 00:21:50,639 Speaker 3: it have had al Pacino in it? Oh? 404 00:21:50,760 --> 00:21:53,280 Speaker 1: Yeah, Oh that would have been a different That would 405 00:21:53,280 --> 00:21:55,600 Speaker 1: have been a different evil mage villain, wouldn't it. 406 00:21:55,840 --> 00:21:59,520 Speaker 3: Oh, my lord? Imagine wizard, Yes, evil wizard al Pacino 407 00:22:00,240 --> 00:22:02,080 Speaker 3: like he is in heat, you know with the. 408 00:22:03,840 --> 00:22:06,880 Speaker 1: We joked, but I don't know, there's there. I can 409 00:22:07,000 --> 00:22:09,600 Speaker 1: see a version of this film that would have worked 410 00:22:09,600 --> 00:22:11,400 Speaker 1: with al Pacino, but I don't know, and we never 411 00:22:11,440 --> 00:22:15,840 Speaker 1: got to have it, so plans changed. Hollywood producer Joel 412 00:22:15,840 --> 00:22:18,600 Speaker 1: Silver came on board. There was talk at one point 413 00:22:18,640 --> 00:22:21,320 Speaker 1: of doing it as a TV series instead. This is 414 00:22:21,359 --> 00:22:24,800 Speaker 1: the natural one that I mentioned earlier. Then, No, I 415 00:22:24,800 --> 00:22:26,720 Speaker 1: guess the natural one was when they were considering doing 416 00:22:26,720 --> 00:22:30,080 Speaker 1: a low budget direct to video project, but they were 417 00:22:30,080 --> 00:22:32,159 Speaker 1: able to push through and get things back up to 418 00:22:32,200 --> 00:22:34,760 Speaker 1: a thirty to thirty five million dollar budget. And at 419 00:22:34,760 --> 00:22:37,240 Speaker 1: this point it was clear Solomon himself was going to 420 00:22:37,280 --> 00:22:40,840 Speaker 1: have to direct it again. This was his first directorial gig, 421 00:22:42,840 --> 00:22:44,400 Speaker 1: but he did it. He pulled it off. 422 00:22:45,119 --> 00:22:48,000 Speaker 3: It's like the artifact has attuned to you and you alone. 423 00:22:48,040 --> 00:22:49,560 Speaker 3: You mess. You're the only one. 424 00:22:49,720 --> 00:22:51,639 Speaker 1: You were the only one who can wield it. You 425 00:22:51,680 --> 00:22:56,120 Speaker 1: were the chosen one, and so he did. Now as 426 00:22:56,119 --> 00:22:58,080 Speaker 1: a director. He followed this up with two thousand and 427 00:22:58,080 --> 00:23:00,960 Speaker 1: fives in American Haunting and twenty thirteen get Away, but 428 00:23:01,040 --> 00:23:03,800 Speaker 1: it's mostly remained active as a producer on such films 429 00:23:03,800 --> 00:23:07,439 Speaker 1: as two thousand and nine Universal Soldier Regeneration, twenty twelve's 430 00:23:07,560 --> 00:23:12,240 Speaker 1: Universal Soldier, Day of Reckoning, twenty sixteen's Mister Church The 431 00:23:12,280 --> 00:23:15,120 Speaker 1: Strangers Chapter one. From recent years, and I think there's 432 00:23:15,119 --> 00:23:17,159 Speaker 1: some sequels on the way, and he's listed as a 433 00:23:17,160 --> 00:23:19,399 Speaker 1: producer on an upcoming red Sonia film. 434 00:23:19,720 --> 00:23:22,360 Speaker 3: Well, despite the criticisms I've already made, I do want 435 00:23:22,400 --> 00:23:25,359 Speaker 3: to say this story makes it even more impressive that 436 00:23:25,440 --> 00:23:28,600 Speaker 3: this film got made and is as fun as it is. 437 00:23:28,680 --> 00:23:31,800 Speaker 3: I mean, it's bad, but you're not going to be bored, 438 00:23:31,880 --> 00:23:35,040 Speaker 3: I think when you watch this movie. So yeah, hats 439 00:23:35,040 --> 00:23:37,359 Speaker 3: off to Courtney Solomon, and I do want to echo 440 00:23:37,400 --> 00:23:39,520 Speaker 3: what you said earlier. We may rag on this film, 441 00:23:39,520 --> 00:23:40,600 Speaker 3: but we rag with love. 442 00:23:40,920 --> 00:23:43,320 Speaker 1: Yeah. Yeah, We've said before it's a miracle that any 443 00:23:43,320 --> 00:23:47,840 Speaker 1: film gets finished. And kudos to him for bringing this 444 00:23:47,880 --> 00:23:51,040 Speaker 1: one home. Now the writing credits, there are two credited 445 00:23:51,040 --> 00:23:58,680 Speaker 1: writers topper, Lillian and Carol Cartwright. Lillian screenwriter and director 446 00:23:58,720 --> 00:24:00,320 Speaker 1: who also had a small part in the in the 447 00:24:00,320 --> 00:24:05,639 Speaker 1: Conehead movie nineteen ninety three's Coneheads, and then Carol Cartwright 448 00:24:06,400 --> 00:24:08,719 Speaker 1: was also one of the writers on twenty twenty two's 449 00:24:08,840 --> 00:24:12,040 Speaker 1: Missus Harris Goes to Paris, which was well received and 450 00:24:12,119 --> 00:24:15,360 Speaker 1: even earned her and her co writers an Australian Writers 451 00:24:15,359 --> 00:24:15,960 Speaker 1: Guild Award. 452 00:24:16,320 --> 00:24:19,600 Speaker 3: Oh cool. As for the Coneheads connection, I don't know 453 00:24:19,640 --> 00:24:21,600 Speaker 3: how I knew, but I felt a little bit of 454 00:24:21,600 --> 00:24:22,800 Speaker 3: Conehead's juice on this. 455 00:24:23,800 --> 00:24:25,879 Speaker 1: Like, I don't think they were involved with writing it 456 00:24:25,920 --> 00:24:28,679 Speaker 1: at all, but they showed They're credited as showing up 457 00:24:28,720 --> 00:24:30,240 Speaker 1: as one of the pilots in the code, and it 458 00:24:30,240 --> 00:24:32,800 Speaker 1: could be an IMDb error, but I'm going to assume 459 00:24:32,840 --> 00:24:33,240 Speaker 1: it's real. 460 00:24:34,160 --> 00:24:36,879 Speaker 3: Now, I think we're about to start discussing the cast 461 00:24:37,040 --> 00:24:39,199 Speaker 3: and the characters. I mentioned at the top of that 462 00:24:39,680 --> 00:24:42,439 Speaker 3: D and D the game has character classes in it 463 00:24:42,520 --> 00:24:45,320 Speaker 3: so you can cheer. You know, your rogues, your rangers, 464 00:24:45,400 --> 00:24:48,600 Speaker 3: your your clerics, and so forth. Should we take a 465 00:24:48,640 --> 00:24:52,080 Speaker 3: stab at saying what actual D and D class the 466 00:24:52,160 --> 00:24:54,920 Speaker 3: characters in this movie are supposed to be? If anything? 467 00:24:55,640 --> 00:25:00,919 Speaker 1: Yeah, yeah, we should beginning with our chief antaganist. This 468 00:25:01,080 --> 00:25:05,040 Speaker 1: is a profion, a high level mage, I would assume, now. 469 00:25:05,000 --> 00:25:06,680 Speaker 3: Rob, you know the D and D lore better than 470 00:25:06,680 --> 00:25:09,760 Speaker 3: I do. But the way I sort of understand it 471 00:25:09,800 --> 00:25:12,480 Speaker 3: is that your main magic users in D and D 472 00:25:12,760 --> 00:25:17,160 Speaker 3: are your sorcerers, your warlocks, and your wizards. The wizard 473 00:25:17,240 --> 00:25:20,600 Speaker 3: is sort of the intellectual magician who learns their powers 474 00:25:20,600 --> 00:25:25,199 Speaker 3: through study. The warlock is the sort of bound to 475 00:25:25,280 --> 00:25:28,480 Speaker 3: a demonic entity magician who gains their powers through through 476 00:25:28,520 --> 00:25:31,840 Speaker 3: this relationship with you know, something that grants the power. 477 00:25:32,280 --> 00:25:35,080 Speaker 3: And then finally your sorcerer sort of has magic in 478 00:25:35,119 --> 00:25:37,480 Speaker 3: their blood. They you know, they like come from a 479 00:25:37,520 --> 00:25:40,960 Speaker 3: magical background and they do it on instinct. It's kind 480 00:25:40,960 --> 00:25:43,320 Speaker 3: of hard to fit Jeremy Iron's character in this movie 481 00:25:43,320 --> 00:25:46,080 Speaker 3: into any of the three. You would he fits the 482 00:25:46,280 --> 00:25:49,200 Speaker 3: esthetic of a warlock the most, but they never mention 483 00:25:49,400 --> 00:25:52,240 Speaker 3: anything about a patron. So I'm gonna say, even though 484 00:25:52,280 --> 00:25:54,400 Speaker 3: he feels more warlocky, he's got to be. 485 00:25:54,320 --> 00:25:58,800 Speaker 1: A wizard, right, Yeah, Yeah, I think he's definitely a wizard. Yeah, 486 00:25:59,160 --> 00:26:01,520 Speaker 1: he is the puppet man as opposed to the puppet 487 00:26:01,600 --> 00:26:03,720 Speaker 1: or the conduit as you would have in those other 488 00:26:03,720 --> 00:26:07,879 Speaker 1: two classes. Okay, that being said, no beard, and not 489 00:26:08,000 --> 00:26:10,640 Speaker 1: that a wizard has to have a beard. But again, 490 00:26:10,840 --> 00:26:14,360 Speaker 1: at the time this bothered me. So Jeremy Irons born 491 00:26:14,440 --> 00:26:16,879 Speaker 1: nineteen forty eight. This is I believe our first Jeremy 492 00:26:16,880 --> 00:26:21,840 Speaker 1: Irons film. I've read that he joined the film during 493 00:26:21,840 --> 00:26:25,640 Speaker 1: its filming at the behest of Joel Silver and, according 494 00:26:25,680 --> 00:26:27,359 Speaker 1: to Irons, out of a need to help pay for 495 00:26:27,400 --> 00:26:28,840 Speaker 1: a castle he had just purchased. 496 00:26:29,080 --> 00:26:33,439 Speaker 3: Amazing it reminds me of that A quote from Michael 497 00:26:33,480 --> 00:26:36,359 Speaker 3: Caine about Jaws the Revenge. As somebody asked him about it, 498 00:26:36,440 --> 00:26:38,160 Speaker 3: he says, I haven't seen the film. I've heard it's 499 00:26:38,240 --> 00:26:40,320 Speaker 3: quite terrible, but I have seen the house it built 500 00:26:40,359 --> 00:26:41,040 Speaker 3: and it's lovely. 501 00:26:41,440 --> 00:26:45,479 Speaker 1: Yeah. So Irons has a long and ongoing career on 502 00:26:45,520 --> 00:26:47,920 Speaker 1: the stage, TV and the big screen, with credits going 503 00:26:47,960 --> 00:26:51,680 Speaker 1: back to nineteen seventy one. He really began to skyrocket 504 00:26:51,720 --> 00:26:55,080 Speaker 1: with TV's Brides Had Revisited in eighty one, which earned 505 00:26:55,119 --> 00:26:58,560 Speaker 1: him numerous nominations, and his nineteen eighty six was pretty stellar, 506 00:26:58,640 --> 00:27:02,600 Speaker 1: seeing him play Twin Gynecologist and David Cronenberg's Dead Ringers 507 00:27:03,720 --> 00:27:08,280 Speaker 1: and also Father Gabriel and Roland Jeffy's masterpiece The Mission, 508 00:27:08,880 --> 00:27:10,679 Speaker 1: and he then went on to win the Academy Award 509 00:27:10,680 --> 00:27:13,000 Speaker 1: for Best Actor for his portrayal of Klos von Buloh 510 00:27:13,280 --> 00:27:16,879 Speaker 1: in Reversal of Fortune opposite Glenn Close and Ron Silver. 511 00:27:17,480 --> 00:27:22,440 Speaker 1: Subsequent notable credits include David Cronenberg's m Butterfly from ninety three, 512 00:27:22,920 --> 00:27:25,359 Speaker 1: The Lion King from ninety four, in which he voiced 513 00:27:25,400 --> 00:27:29,520 Speaker 1: Scar Now that's also a very juicy voice role. 514 00:27:29,760 --> 00:27:31,639 Speaker 3: And also I think the way that a lot of 515 00:27:31,800 --> 00:27:35,800 Speaker 3: kids come to learn who Jeremy Irons is. Yeah. You know, 516 00:27:35,840 --> 00:27:38,320 Speaker 3: when I was like, I grew up watching The Lion King, 517 00:27:38,359 --> 00:27:40,920 Speaker 3: and then when I was older and like learning about movies, 518 00:27:41,320 --> 00:27:44,000 Speaker 3: I was like, why is this weird guy? His voice 519 00:27:44,040 --> 00:27:46,960 Speaker 3: is so familiar. Oh it's Scar Oh okay, And so 520 00:27:47,040 --> 00:27:48,399 Speaker 3: you make the connection that way. 521 00:27:48,840 --> 00:27:52,200 Speaker 1: Yeah, Long Live the King, I'll say always back in 522 00:27:52,280 --> 00:27:54,639 Speaker 1: ninety five with Diehard with a Vengeance, plays the villain 523 00:27:54,680 --> 00:27:57,440 Speaker 1: in that. He's in two thousand and two is the 524 00:27:57,480 --> 00:28:01,399 Speaker 1: time Machine, playing like a super intelligent more. He's in 525 00:28:01,400 --> 00:28:03,840 Speaker 1: two thousand and five's Kingdom of Heaven from Ridley Scott. 526 00:28:03,880 --> 00:28:06,200 Speaker 1: Two thousand and eight's The Color of Magic, that's a 527 00:28:06,320 --> 00:28:13,160 Speaker 1: Terry Pratchett adaptation, TV's The Borgias, the Snyder DCU Batman films, 528 00:28:13,760 --> 00:28:15,679 Speaker 1: TV's The Watchman. He's quite good in that. 529 00:28:15,840 --> 00:28:16,320 Speaker 3: And then. 530 00:28:17,760 --> 00:28:20,520 Speaker 1: Yeah, yeah, and then twenty twenty one's House of Gucci, 531 00:28:20,760 --> 00:28:23,280 Speaker 1: which I haven't seen, but of course that was a 532 00:28:23,280 --> 00:28:24,560 Speaker 1: lot of people like that as well. 533 00:28:25,000 --> 00:28:27,800 Speaker 3: So of course, Jeremy Irons is a terrific actor, and 534 00:28:27,920 --> 00:28:30,560 Speaker 3: I love him in so many roles. One that stands 535 00:28:30,560 --> 00:28:32,919 Speaker 3: out to me is a kind of one of his 536 00:28:33,080 --> 00:28:36,400 Speaker 3: unsung roles, but is really good. He plays a nasty 537 00:28:37,400 --> 00:28:40,200 Speaker 3: financial CEO in the movie Margin Call. 538 00:28:40,200 --> 00:28:41,600 Speaker 1: I don't know if you've seen Oh, I haven't seen 539 00:28:41,640 --> 00:28:41,960 Speaker 1: that one. 540 00:28:42,120 --> 00:28:44,960 Speaker 3: Yeah, he does in that A character that he often 541 00:28:45,000 --> 00:28:49,160 Speaker 3: does very well, which is a deeply morally compromised and 542 00:28:49,280 --> 00:28:51,320 Speaker 3: scummy but quite charismatic man. 543 00:28:52,040 --> 00:28:56,240 Speaker 1: Yes, scummy charismatic aristocrat is a role that he plays 544 00:28:56,360 --> 00:29:00,440 Speaker 1: very well. And I would say his performances there's often 545 00:29:00,520 --> 00:29:03,880 Speaker 1: a kind of quiet subtlety to them, like he gets 546 00:29:03,880 --> 00:29:05,960 Speaker 1: into higher energy zones. I don't want to, you know, 547 00:29:05,960 --> 00:29:09,240 Speaker 1: make it sound like he's just, you know, like just 548 00:29:09,400 --> 00:29:11,800 Speaker 1: a certain energy level for the rest of his performances, 549 00:29:12,200 --> 00:29:18,160 Speaker 1: but it's generally not high energy and not like this film. 550 00:29:18,520 --> 00:29:19,160 Speaker 1: I don't know if. 551 00:29:19,120 --> 00:29:22,840 Speaker 3: I've ever thought to describe a movie performance this way before. 552 00:29:22,880 --> 00:29:26,360 Speaker 3: But what I realized is Jeremy Irons came into this 553 00:29:26,400 --> 00:29:29,440 Speaker 3: film with the idea, what if I were to approach 554 00:29:29,520 --> 00:29:34,640 Speaker 3: acting with the goal of maximizing not quality, but quantity. 555 00:29:35,360 --> 00:29:39,480 Speaker 3: So is this good acting from Jeremy Irons? I honestly 556 00:29:39,520 --> 00:29:41,760 Speaker 3: don't even know how to answer that, But what I'm 557 00:29:41,800 --> 00:29:45,920 Speaker 3: sure of is you cannot complain about the portions of acting. 558 00:29:46,280 --> 00:29:49,080 Speaker 3: You will be taking leftovers home from from D and 559 00:29:49,160 --> 00:29:52,560 Speaker 3: D like his His performance will leave you full and 560 00:29:53,200 --> 00:29:55,120 Speaker 3: you cannot consume it all. Yeah. 561 00:29:55,240 --> 00:29:58,400 Speaker 1: If a normal Jeremy Irons performance is like a subtle knife, 562 00:29:58,560 --> 00:30:01,600 Speaker 1: this one is a chainsaw. He's on full blast the 563 00:30:01,640 --> 00:30:06,160 Speaker 1: whole time. It's glorious to behold. He's snarling, his skull 564 00:30:06,240 --> 00:30:10,440 Speaker 1: is about to pop through his face. His presence absolutely 565 00:30:10,440 --> 00:30:13,760 Speaker 1: makes this film more watchable than it would have been otherwise, 566 00:30:14,480 --> 00:30:17,000 Speaker 1: and so I think the energy level is absolutely the 567 00:30:17,080 --> 00:30:19,920 Speaker 1: right choice for this film. I honestly don't know if 568 00:30:19,920 --> 00:30:21,920 Speaker 1: this was Jeremy Iron's choice, or if this was the 569 00:30:22,200 --> 00:30:27,160 Speaker 1: director's choice or some compromise between the two, but I 570 00:30:27,160 --> 00:30:28,840 Speaker 1: cannot imagine this film without it. 571 00:30:28,960 --> 00:30:32,280 Speaker 3: We shall have to modify our plans. 572 00:30:33,320 --> 00:30:37,560 Speaker 1: Just chewing it up now, I'm not sure his performance 573 00:30:37,600 --> 00:30:42,400 Speaker 1: really lifts everyone around him up in equal measure, which 574 00:30:42,440 --> 00:30:45,080 Speaker 1: is something you sometimes see when you have a high 575 00:30:45,080 --> 00:30:49,280 Speaker 1: caliber actor working with younger and less experienced talent. But 576 00:30:49,400 --> 00:30:51,720 Speaker 1: I also have to acknowledge that maybe this film was 577 00:30:51,760 --> 00:30:54,720 Speaker 1: not exactly the sort of workshop environment for that sort 578 00:30:54,720 --> 00:30:55,040 Speaker 1: of thing. 579 00:30:55,920 --> 00:30:58,640 Speaker 3: Yeah. I don't mean this as a slight against the 580 00:30:58,640 --> 00:31:01,120 Speaker 3: great Jeremy Irons, but I would say a lot of 581 00:31:01,120 --> 00:31:04,720 Speaker 3: his scenes they don't feel very collaborative. They feel more 582 00:31:04,760 --> 00:31:07,920 Speaker 3: like he is a mad bull that has been unleashed 583 00:31:07,960 --> 00:31:11,720 Speaker 3: on the set and they've started filming. Yeah, and everybody 584 00:31:11,720 --> 00:31:13,400 Speaker 3: else is just kind of they've got to kind of 585 00:31:13,400 --> 00:31:14,720 Speaker 3: deal with it. Yeah. 586 00:31:15,240 --> 00:31:18,160 Speaker 1: Yeah, that's very much the vibe I get here too. Now, 587 00:31:18,200 --> 00:31:23,840 Speaker 1: behind every mad villain there is a henchman, and the 588 00:31:23,920 --> 00:31:27,800 Speaker 1: hinching here is provided by Bruce Payne, who plays Damadar, 589 00:31:28,360 --> 00:31:31,240 Speaker 1: who I guess he's a sword made. I think the 590 00:31:31,320 --> 00:31:35,040 Speaker 1: exact terminology changes from one edition of D and D 591 00:31:35,200 --> 00:31:38,200 Speaker 1: to the next, but it's like a wizard, a magic 592 00:31:38,280 --> 00:31:41,479 Speaker 1: user who also swings a sword around, which I mean, 593 00:31:41,520 --> 00:31:43,840 Speaker 1: it's definitely in the rules, but it always feels to 594 00:31:43,920 --> 00:31:46,080 Speaker 1: me like, come on, dude, you can choose to be 595 00:31:46,480 --> 00:31:48,680 Speaker 1: a fighter or a wizard. Why do you have to 596 00:31:48,680 --> 00:31:51,320 Speaker 1: try and be both? Share the love with the table. 597 00:31:52,600 --> 00:31:55,600 Speaker 3: Yeah exactly. Yeah. I was trying to place him as 598 00:31:55,600 --> 00:31:59,240 Speaker 3: well as having trouble. He's got big he's got big 599 00:31:59,280 --> 00:32:02,040 Speaker 3: scary arm. Okay, so, and he's got a big sword, 600 00:32:02,080 --> 00:32:03,760 Speaker 3: and that does seem to place him in the kind 601 00:32:03,760 --> 00:32:07,680 Speaker 3: of physical fighter class, but he's also peripheral to a 602 00:32:07,720 --> 00:32:09,800 Speaker 3: bunch of dark magic yeah. 603 00:32:09,560 --> 00:32:11,680 Speaker 1: And when he shows up at one point, Richard O'Brien's 604 00:32:11,720 --> 00:32:13,240 Speaker 1: character is like, get that mage out of here. No 605 00:32:13,320 --> 00:32:15,720 Speaker 1: mage is allowed, so I guess he's a mage. 606 00:32:16,160 --> 00:32:18,720 Speaker 3: But also that goes on something in the movie where 607 00:32:19,120 --> 00:32:22,040 Speaker 3: it treats mage not as a character class in the game, 608 00:32:22,080 --> 00:32:25,920 Speaker 3: but as an economic class. Like in the world of 609 00:32:26,200 --> 00:32:29,320 Speaker 3: this D and D movie, if you are a mage, 610 00:32:29,400 --> 00:32:31,840 Speaker 3: that means you're rich. Right. 611 00:32:31,960 --> 00:32:35,120 Speaker 1: The Mages control everything, as we'll get into. But then 612 00:32:35,120 --> 00:32:38,280 Speaker 1: this dude's like walking through portals, and granted, magical portals 613 00:32:38,280 --> 00:32:41,440 Speaker 1: are really thrown around in this movie with reckless abandons, 614 00:32:41,640 --> 00:32:44,600 Speaker 1: but I'm not entirely sure who's casting them. Is Damadar 615 00:32:44,720 --> 00:32:47,959 Speaker 1: casting them or does he have like a travel wizard 616 00:32:47,960 --> 00:32:48,840 Speaker 1: with him at all times? 617 00:32:48,920 --> 00:32:51,680 Speaker 3: It's like they can cast misty step without being able 618 00:32:51,720 --> 00:32:52,680 Speaker 3: to see where they're going. 619 00:32:53,120 --> 00:32:57,120 Speaker 1: Yeah. But Bruce Payne, Yes, we've talked about Bruce Payne 620 00:32:57,120 --> 00:33:00,320 Speaker 1: on the show before. Born nineteen fifty eight, British actors agent. 621 00:33:00,400 --> 00:33:05,160 Speaker 1: Screen he was in Alan Clark's snooker musical Billy the 622 00:33:05,280 --> 00:33:09,480 Speaker 1: Kid and the Green Bays Vampire, a glorious film and 623 00:33:09,800 --> 00:33:13,320 Speaker 1: a fine supporting and singing performance by Pain as the 624 00:33:13,320 --> 00:33:17,959 Speaker 1: one Akato. He's great in that, and I'm to understand 625 00:33:18,000 --> 00:33:20,840 Speaker 1: he's also really good in nineteen eighty six's Absolute Beginners. 626 00:33:21,560 --> 00:33:24,960 Speaker 1: But man, the nineteen nineties Bruce Payne that I think 627 00:33:25,000 --> 00:33:28,400 Speaker 1: most of us are familiar with are it's this Bruce Payne. 628 00:33:28,560 --> 00:33:32,720 Speaker 1: It's like looming British villain Bruce Payne, like he really 629 00:33:33,440 --> 00:33:37,280 Speaker 1: found his niche, his paying niche in the nineteen nineties. 630 00:33:38,000 --> 00:33:40,520 Speaker 1: Numerous films we can reference here in which he's playing 631 00:33:40,920 --> 00:33:42,480 Speaker 1: some variation of this bad guy. 632 00:33:42,920 --> 00:33:45,960 Speaker 3: Sometimes feels in this movie like he's trying to match 633 00:33:46,120 --> 00:33:49,520 Speaker 3: or compete with Jeremy Irons, like they were literally like betting, 634 00:33:49,560 --> 00:33:55,080 Speaker 3: which one could overact more just stunningly inappropriate line deliveries 635 00:33:55,200 --> 00:33:59,000 Speaker 3: taking four or five times longer than necessary to spit 636 00:33:59,080 --> 00:34:05,440 Speaker 3: out function very functional lines like placecards at every gate. 637 00:34:07,440 --> 00:34:12,000 Speaker 1: Yeah, exactly, like really drawn out. And the look of 638 00:34:12,040 --> 00:34:15,560 Speaker 1: this character too, we have to I mean, you mentioned 639 00:34:15,560 --> 00:34:17,640 Speaker 1: the armor he has. He has some cool looking armor, 640 00:34:17,960 --> 00:34:22,880 Speaker 1: you know, neat cape, big sword, but he also has bright. 641 00:34:22,520 --> 00:34:25,360 Speaker 3: Blue lips electric blue. 642 00:34:26,000 --> 00:34:29,279 Speaker 1: Yeah, like like he just had some sort of like 643 00:34:29,560 --> 00:34:32,920 Speaker 1: really bright slushie or something or that. It is like 644 00:34:33,000 --> 00:34:36,239 Speaker 1: just really bright blue lipstick that I kept expecting it 645 00:34:36,280 --> 00:34:38,560 Speaker 1: to be explained one way or another or another, like 646 00:34:38,560 --> 00:34:41,440 Speaker 1: there's some sort of like mentat wine that he drinks. 647 00:34:41,719 --> 00:34:43,680 Speaker 1: But I don't think they ever really make any sense 648 00:34:43,680 --> 00:34:46,560 Speaker 1: of it. It's just a bizarre visual choice. 649 00:34:46,719 --> 00:34:50,120 Speaker 3: He's one of those bald guys with blue lips. Yeah, 650 00:34:50,160 --> 00:34:52,560 Speaker 3: And then later part of What's in this World? 651 00:34:52,800 --> 00:34:56,560 Speaker 1: And later as he's infected by a bizarre CGI brain parasite, 652 00:34:57,200 --> 00:35:02,080 Speaker 1: he also begins to boast increase only inflamed ears. So 653 00:35:02,360 --> 00:35:04,279 Speaker 1: most of the scenes you end up with hav him 654 00:35:04,360 --> 00:35:07,640 Speaker 1: like close in on his head, bright blue lips, big 655 00:35:07,680 --> 00:35:09,839 Speaker 1: red ears. It's ridiculous. 656 00:35:10,000 --> 00:35:11,719 Speaker 3: Yeah, the ears look painful. 657 00:35:12,040 --> 00:35:14,960 Speaker 1: Yeah, but he manages to push through all this and 658 00:35:15,000 --> 00:35:18,160 Speaker 1: make you believe in the character's cardboard villainy. You know, 659 00:35:18,280 --> 00:35:21,920 Speaker 1: he's a cardboard villain, very much a henchman. But you 660 00:35:21,960 --> 00:35:24,879 Speaker 1: know he does a commendable job here. 661 00:35:25,320 --> 00:35:28,560 Speaker 3: He gets to do the classic you know, the hero says, hey, 662 00:35:28,640 --> 00:35:30,799 Speaker 3: you said if I gave you the artifact, you'd free 663 00:35:30,840 --> 00:35:32,680 Speaker 3: my friends. What does he get to say? 664 00:35:33,080 --> 00:35:34,160 Speaker 4: I lie? 665 00:35:36,960 --> 00:35:37,160 Speaker 3: Now. 666 00:35:37,480 --> 00:35:40,359 Speaker 1: Other Bruce Payne performances the nineteen nineties that I think 667 00:35:40,440 --> 00:35:44,239 Speaker 1: cemented his place as a go to villain. He does 668 00:35:44,280 --> 00:35:47,280 Speaker 1: have a role in nineteen ninety one's Howling the Freaks, 669 00:35:47,640 --> 00:35:51,399 Speaker 1: in which he plays a hideous dart Nosferatu character under 670 00:35:51,440 --> 00:35:53,160 Speaker 1: a lot of makeup. I don't know if I would 671 00:35:53,160 --> 00:35:56,359 Speaker 1: have ever recognized this as Bruce Payne. But then, more 672 00:35:56,400 --> 00:35:58,360 Speaker 1: to the point, he was in nineteen ninety two's Passing 673 00:35:58,360 --> 00:36:01,560 Speaker 1: Your fifty seven, in which he plays the villain opposite 674 00:36:01,640 --> 00:36:05,040 Speaker 1: Wesley Snipes. His subsequent credits included the likes of ninety 675 00:36:05,040 --> 00:36:08,320 Speaker 1: three's Necronomicon Book of the Dead, Tales from the Crypt 676 00:36:08,719 --> 00:36:11,879 Speaker 1: Warlock three, the End of Innocence, taking over the part 677 00:36:11,880 --> 00:36:16,440 Speaker 1: from Julian Sand's Highlander Endgame in two thousand and the 678 00:36:16,440 --> 00:36:18,520 Speaker 1: two thousand and five D and D sequel that we 679 00:36:18,560 --> 00:36:20,560 Speaker 1: referenced earlier, in which he was I believe the only 680 00:36:20,600 --> 00:36:21,600 Speaker 1: cast member returning. 681 00:36:22,040 --> 00:36:22,880 Speaker 3: Good to stay busy. 682 00:36:23,239 --> 00:36:34,400 Speaker 1: Yes, all right, so those are our chief antagonist and 683 00:36:34,440 --> 00:36:37,320 Speaker 1: the henchmen. Let's get into the actual adventuring. 684 00:36:36,880 --> 00:36:38,440 Speaker 3: Party here, Yeah, our heroes. 685 00:36:39,440 --> 00:36:42,840 Speaker 1: So this is one of those encounters where the dungeon 686 00:36:42,880 --> 00:36:46,880 Speaker 1: master didn't really tell everyone that they needed certain roles. 687 00:36:47,440 --> 00:36:49,840 Speaker 1: He didn't explain that somebody needs to be the cleric 688 00:36:50,000 --> 00:36:52,080 Speaker 1: because there's no cleric in the party. Now, in fact, 689 00:36:52,120 --> 00:36:53,080 Speaker 1: you have two rogues. 690 00:36:53,280 --> 00:36:56,799 Speaker 3: Two rogues. Our main two characters are both rogues. That 691 00:36:56,960 --> 00:36:58,000 Speaker 3: is imbalanced. 692 00:36:59,040 --> 00:37:02,600 Speaker 1: Imbalanced though I don't know. Anytime i'm dungeon mastering, I'm like, 693 00:37:02,960 --> 00:37:04,880 Speaker 1: just play what you want to play. If we're all rogues, 694 00:37:04,880 --> 00:37:08,280 Speaker 1: we'll roll with it, We'll find a way. But in general, 695 00:37:08,400 --> 00:37:12,040 Speaker 1: you're supposed to sort of steer everyone towards a balanced party. 696 00:37:12,480 --> 00:37:17,880 Speaker 1: So I guess our main rogue here, ultimately our lead character, 697 00:37:17,920 --> 00:37:22,560 Speaker 1: our protagonist is Ridley Freeborn, a generic rogue, I guess, 698 00:37:22,600 --> 00:37:23,880 Speaker 1: played by Justin Whalin. 699 00:37:24,239 --> 00:37:31,000 Speaker 3: My name is Maximus protagonist. Oh boy, Yeah, he's got 700 00:37:31,040 --> 00:37:35,719 Speaker 3: such like hero kid energy in this Yeah. 701 00:37:35,960 --> 00:37:38,160 Speaker 1: Yeah. All of his scenes feel like they were directed 702 00:37:38,160 --> 00:37:42,120 Speaker 1: by uncle baby Billy, you know, like major tings energy. Here. 703 00:37:43,160 --> 00:37:46,520 Speaker 1: It's not a character that I ever found myself liking 704 00:37:46,760 --> 00:37:50,360 Speaker 1: or rooting for. Not that it's the actor's fault, but 705 00:37:50,440 --> 00:37:53,520 Speaker 1: it's just like, this is our hero. I don't know. 706 00:37:53,960 --> 00:37:56,239 Speaker 3: Boy, you didn't like the Dark Knight of the Soul 707 00:37:56,360 --> 00:37:58,719 Speaker 3: scene in the late movie when he's like, why are 708 00:37:59,000 --> 00:38:00,600 Speaker 3: bad things bad? 709 00:38:02,800 --> 00:38:03,520 Speaker 1: Yeah? 710 00:38:03,800 --> 00:38:07,279 Speaker 3: Well why do we have to fight evil? Yeah? 711 00:38:07,320 --> 00:38:09,440 Speaker 1: At that point I was more like, get on with it. 712 00:38:09,640 --> 00:38:11,480 Speaker 1: Just at the scene where you fight the evil. Obviously 713 00:38:11,520 --> 00:38:12,759 Speaker 1: you're going to fight the evil, dude. 714 00:38:12,760 --> 00:38:13,040 Speaker 3: Come on. 715 00:38:14,320 --> 00:38:18,480 Speaker 1: So this actor American actor who previously worked as a 716 00:38:18,560 --> 00:38:21,239 Speaker 1: child actor on such films as nineteen eighty eight's The Deadpool, 717 00:38:21,600 --> 00:38:25,280 Speaker 1: nineteen ninety one's Child's Play three, and various TV shows 718 00:38:25,320 --> 00:38:27,960 Speaker 1: including The Wonder Years and Blossom. And he was active 719 00:38:28,000 --> 00:38:30,160 Speaker 1: through I believe around two thousand and nine when he 720 00:38:30,440 --> 00:38:31,240 Speaker 1: retired from acting. 721 00:38:31,480 --> 00:38:34,200 Speaker 3: Okay, but as we said, it's it's not just one 722 00:38:34,320 --> 00:38:36,960 Speaker 3: rogue in the lead. It's a buddy rogue movie. Yes, 723 00:38:37,400 --> 00:38:40,000 Speaker 3: so we got the other one, played by Marlon Wayans. 724 00:38:40,760 --> 00:38:45,680 Speaker 1: Yes, Marlon Wayans of the Wayans Brothers plays Snails. Snails 725 00:38:45,920 --> 00:38:49,960 Speaker 1: is another generic rogue. I believe he uses the comedic 726 00:38:50,080 --> 00:38:54,800 Speaker 1: sidekick specialization within the rogue archetype. 727 00:38:54,280 --> 00:38:56,600 Speaker 3: Here arcane prankster. 728 00:38:57,960 --> 00:38:59,600 Speaker 1: Essentially, but no magic. 729 00:38:59,680 --> 00:39:01,120 Speaker 3: Yeah yeah. 730 00:39:01,400 --> 00:39:06,480 Speaker 1: So. Born nineteen seventy two, Wayan's brother actor, writer, and 731 00:39:06,560 --> 00:39:10,600 Speaker 1: comedian who's best known for wildly over the top comedic 732 00:39:10,600 --> 00:39:14,279 Speaker 1: performances in such films as The Scary Movie Franchise, which 733 00:39:14,280 --> 00:39:16,920 Speaker 1: he also co wrote and co produced, two thousand and 734 00:39:16,920 --> 00:39:19,880 Speaker 1: four's White Chicks and two thousand and six Little Man 735 00:39:20,600 --> 00:39:22,160 Speaker 1: and I haven't seen this one, but this is the 736 00:39:22,160 --> 00:39:25,640 Speaker 1: one where he plays like a cgi face assisted baby, 737 00:39:25,719 --> 00:39:29,000 Speaker 1: like it's Marlon Wayan's face on a baby. Oh no, 738 00:39:29,920 --> 00:39:32,960 Speaker 1: so I mean it's what put him on the map, 739 00:39:33,040 --> 00:39:36,880 Speaker 1: and people enjoyed these films that made him a success, 740 00:39:38,160 --> 00:39:40,400 Speaker 1: And that is mostly the vibe we get in D 741 00:39:40,480 --> 00:39:43,640 Speaker 1: and D. He is the comedic relief. He has won 742 00:39:44,040 --> 00:39:46,920 Speaker 1: maybe two scenes but most likely one scene in this 743 00:39:47,000 --> 00:39:50,239 Speaker 1: movie where he mostly plays it straight, but for the 744 00:39:50,280 --> 00:39:52,560 Speaker 1: most part it's full scary movie mode for the rest 745 00:39:52,560 --> 00:39:53,120 Speaker 1: of the picture. 746 00:39:53,360 --> 00:39:57,600 Speaker 3: Yes, he's doing comedy, physical comedy, and character comedy for 747 00:39:57,719 --> 00:40:00,600 Speaker 3: most of the film, which makes it rather jarring. In 748 00:40:00,680 --> 00:40:03,719 Speaker 3: the scene where he gets murdered by the villain, which 749 00:40:03,800 --> 00:40:08,279 Speaker 3: is suddenly very serious, and all his friends are like, no, dead, 750 00:40:08,840 --> 00:40:11,919 Speaker 3: and I kept thinking, well, surely he can't really be dead. 751 00:40:12,000 --> 00:40:15,759 Speaker 3: That would be so totally weird, especially given how just 752 00:40:16,000 --> 00:40:18,960 Speaker 3: he's like joking all the time. But no, he's just dead. 753 00:40:19,280 --> 00:40:20,239 Speaker 3: They just killed him. 754 00:40:20,560 --> 00:40:24,160 Speaker 1: He pulls such faces in scenes where he's not even 755 00:40:24,200 --> 00:40:28,000 Speaker 1: talking that reminded me of some of the supporting performances 756 00:40:28,080 --> 00:40:32,440 Speaker 1: by this particular vaudevillian actor in Santa Claus Versus the Martians, 757 00:40:32,480 --> 00:40:35,440 Speaker 1: Like it's that level of just over the top intensity. 758 00:40:35,719 --> 00:40:36,040 Speaker 3: Yes. 759 00:40:37,960 --> 00:40:40,640 Speaker 1: But the crazy thing for me though, was I was like, 760 00:40:40,719 --> 00:40:42,880 Speaker 1: I was looking at his filmography and I realized, you know, 761 00:40:42,960 --> 00:40:46,120 Speaker 1: the year two thousand, that's also the year that Marlon 762 00:40:46,200 --> 00:40:50,240 Speaker 1: Wayans appeared and was widely considered a really solid, serious, 763 00:40:50,280 --> 00:40:53,360 Speaker 1: dramatic performance from him. And that's Darren Aronofsky's Requiem for 764 00:40:53,400 --> 00:40:53,800 Speaker 1: a Dream. 765 00:40:53,960 --> 00:40:56,680 Speaker 3: Oh yeah, I had forgotten he was in that, but yeah, 766 00:40:56,680 --> 00:40:59,879 Speaker 3: he's great in that. This is around the same time. Unbelievable. 767 00:41:00,239 --> 00:41:02,920 Speaker 1: Yeah, so, I mean, you know, the man has and 768 00:41:03,000 --> 00:41:06,879 Speaker 1: had the tools. But I mean, obviously there's a lot 769 00:41:06,920 --> 00:41:11,800 Speaker 1: more money to be made in the comedy business. But yeah, 770 00:41:11,920 --> 00:41:15,520 Speaker 1: that's snails. More on snails than in a bit, all right. 771 00:41:15,560 --> 00:41:19,000 Speaker 1: The next character, I think is obviously an NPC. I 772 00:41:19,040 --> 00:41:22,239 Speaker 1: don't think she has any marketable skills other than she 773 00:41:22,440 --> 00:41:26,280 Speaker 1: is the Empress. The Empress Savina played by Thora Birch. 774 00:41:27,239 --> 00:41:29,319 Speaker 3: Now we're gonna we're making a habit of having to 775 00:41:29,360 --> 00:41:31,560 Speaker 3: say this as we talk about every actor playing a 776 00:41:31,600 --> 00:41:33,960 Speaker 3: good character in this movie. But no offense to the 777 00:41:34,520 --> 00:41:37,359 Speaker 3: actor here, no offense to Thora Birch. But there, Yeah, 778 00:41:37,360 --> 00:41:39,560 Speaker 3: there is not much going on with this character. 779 00:41:40,000 --> 00:41:42,680 Speaker 1: Yeah, I think they were maybe going for a childlike 780 00:41:42,719 --> 00:41:45,600 Speaker 1: empress vibe here, you know, from the never ending story, 781 00:41:45,640 --> 00:41:48,520 Speaker 1: Except what if we weighed her down with like two 782 00:41:48,560 --> 00:41:52,480 Speaker 1: tons of chain mail, because she just ends up looking 783 00:41:52,640 --> 00:41:54,919 Speaker 1: uncomfortable in most of these scenes. 784 00:41:54,880 --> 00:41:58,400 Speaker 3: Well, but also force her to make speeches like engage 785 00:41:58,400 --> 00:42:03,200 Speaker 3: in political rhetoric. The childlike Empress does not do that, right. 786 00:42:04,040 --> 00:42:06,920 Speaker 1: So, born in nineteen eighty two, she kicked things off 787 00:42:06,920 --> 00:42:08,840 Speaker 1: as a child actor, and at this point had already 788 00:42:08,840 --> 00:42:11,600 Speaker 1: appeared in such films as nineteen ninety two's Patriot Games, 789 00:42:12,000 --> 00:42:14,560 Speaker 1: ninety three's hocus Pocus ninety four is clear and present 790 00:42:14,640 --> 00:42:18,480 Speaker 1: danger and very important one episode of the nineteen nineties 791 00:42:18,520 --> 00:42:22,520 Speaker 1: Outer Limits. But this film is also sandwich between two 792 00:42:22,560 --> 00:42:25,640 Speaker 1: of her most critically acclaimed films. I believe when they 793 00:42:25,719 --> 00:42:29,719 Speaker 1: filmed Dungeons and Dragons, they'd already shot nineteen ninety nine's 794 00:42:29,719 --> 00:42:33,520 Speaker 1: American Beauty, but then it comes out before D and 795 00:42:33,560 --> 00:42:36,680 Speaker 1: D comes out, obviously, and then after American Beauty came out, 796 00:42:36,760 --> 00:42:39,160 Speaker 1: of course, she received a lot of acclaim for that performance, 797 00:42:39,160 --> 00:42:40,960 Speaker 1: and then she would go on to have a really 798 00:42:40,960 --> 00:42:44,120 Speaker 1: solid performance in two thousand and one's Ghost World, opposite 799 00:42:44,160 --> 00:42:47,680 Speaker 1: Scarlett Johansson and Steve Usimmi. It's been a long time 800 00:42:47,719 --> 00:42:50,359 Speaker 1: since I've seen either of those films, but I do 801 00:42:50,400 --> 00:42:52,719 Speaker 1: remember her as being rather good in Ghost World. 802 00:42:53,960 --> 00:42:55,919 Speaker 3: Yeah, I don't think I've seen either of those since 803 00:42:55,960 --> 00:42:59,880 Speaker 3: the early two thousands. But yeah, same like thor Birch, 804 00:43:00,400 --> 00:43:03,239 Speaker 3: I like with much of the cast, I would be 805 00:43:03,320 --> 00:43:06,959 Speaker 3: curious to hear her thoughts and what she remembers about 806 00:43:07,000 --> 00:43:07,840 Speaker 3: making this film. 807 00:43:08,400 --> 00:43:13,719 Speaker 1: Yeah, because yeah, I you know, again, solid actress, but 808 00:43:13,920 --> 00:43:18,960 Speaker 1: this is not the picture. All right, let's move back 809 00:43:18,960 --> 00:43:24,200 Speaker 1: to the actual adventuring party. We also have Marina Pretensa. 810 00:43:25,239 --> 00:43:27,400 Speaker 1: She is a human mage and she was played by 811 00:43:27,520 --> 00:43:32,239 Speaker 1: Zoe mcleland born nineteen seventy four, American TV actress, best 812 00:43:32,280 --> 00:43:34,080 Speaker 1: known for this film. I think, and I have to say, 813 00:43:34,440 --> 00:43:36,080 Speaker 1: I thought she was actually pretty good in this role. 814 00:43:36,160 --> 00:43:39,920 Speaker 1: Despite the flat misogyny gags that were kind of shoehorned 815 00:43:39,920 --> 00:43:44,279 Speaker 1: in there, I don't know, she was more alive, Her 816 00:43:44,360 --> 00:43:47,960 Speaker 1: character felt more alive, and her performance therefore followed in 817 00:43:48,000 --> 00:43:49,320 Speaker 1: ways that other characters did not. 818 00:43:50,040 --> 00:43:53,560 Speaker 3: Yeah, yeah, yeah, Well, another example of not a great, 819 00:43:54,080 --> 00:43:56,560 Speaker 3: not a wonderfully written role, but she's doing what she 820 00:43:56,600 --> 00:43:57,080 Speaker 3: can with it. 821 00:43:57,239 --> 00:44:01,080 Speaker 1: Yeah, she appeared on such TV shows star Trek Voyager, 822 00:44:01,160 --> 00:44:04,320 Speaker 1: and I think she was main cast on Designated Survivor. 823 00:44:04,760 --> 00:44:08,520 Speaker 1: All right, Next up, we have el Wood Gutworthy. He 824 00:44:08,640 --> 00:44:12,160 Speaker 1: is a dwarven fighter and he is played by Lee 825 00:44:12,480 --> 00:44:18,840 Speaker 1: Arenberg born nineteen sixty two, possibly under celebrated American character actor. 826 00:44:19,080 --> 00:44:21,480 Speaker 1: You might not know his name, but you'll instantly recognize 827 00:44:21,560 --> 00:44:24,560 Speaker 1: him from such projects as the Pirates of the Caribbean movies, 828 00:44:25,000 --> 00:44:28,560 Speaker 1: which he played. His character's name is pinel Pinel. 829 00:44:28,880 --> 00:44:31,640 Speaker 3: See one of the two sort of comedy pirates, the 830 00:44:31,760 --> 00:44:33,120 Speaker 3: bad guy comedy Pirates. 831 00:44:33,320 --> 00:44:36,000 Speaker 1: Yeah, he's the bald one, the bald bearded comedy pirate. 832 00:44:37,000 --> 00:44:40,560 Speaker 1: He also has appeared on TV shows like Friends and Seinfeld. 833 00:44:41,120 --> 00:44:43,200 Speaker 1: But I think the first place I saw him was 834 00:44:43,239 --> 00:44:46,480 Speaker 1: a nineteen ninety Tales from the Crypt episode titled for 835 00:44:46,600 --> 00:44:51,560 Speaker 1: Crying Out Loud, which co starred Katie Segal, Iggy Pop 836 00:44:51,640 --> 00:44:54,919 Speaker 1: and Sam Kennison as the voice in Arenberg's head. 837 00:44:55,239 --> 00:44:58,880 Speaker 3: Sam Kennison as the voice in his head. Yes. Wow. 838 00:44:59,360 --> 00:45:02,160 Speaker 1: He also played the Eternal Flame in the nineteen ninety 839 00:45:02,160 --> 00:45:07,000 Speaker 1: three cinematic Marvel Freaked, and you'll also find him in 840 00:45:07,040 --> 00:45:09,399 Speaker 1: some other bits as well, like he plays a hold 841 00:45:09,480 --> 00:45:10,880 Speaker 1: up man in RoboCop three. 842 00:45:12,120 --> 00:45:14,000 Speaker 3: As for his role in this movie, I mean, I 843 00:45:14,040 --> 00:45:17,480 Speaker 3: hope you like seeing food in people's beards. That's a 844 00:45:17,960 --> 00:45:21,120 Speaker 3: yuck yuck. You know they're gonna go for that joke 845 00:45:21,239 --> 00:45:25,440 Speaker 3: many times, and you will actually be quite impressed how 846 00:45:25,600 --> 00:45:27,560 Speaker 3: much food they can fit in his beard. 847 00:45:28,120 --> 00:45:31,000 Speaker 1: Yeah, they just kept saying it's not funny enough. Let's 848 00:45:31,040 --> 00:45:32,640 Speaker 1: add more chicken wings to the gag. 849 00:45:32,880 --> 00:45:35,560 Speaker 3: More chicken. Yeah. Yeah, you know. 850 00:45:35,680 --> 00:45:38,480 Speaker 1: I remember being a little grumpy about the dwarf as 851 00:45:38,520 --> 00:45:42,560 Speaker 1: comic relief elements in Jackson's Lord of the Rings. But 852 00:45:43,280 --> 00:45:46,080 Speaker 1: gut worthy here is ten thousand times worse than any 853 00:45:46,080 --> 00:45:49,040 Speaker 1: of that. Like, this film's vision for a dwarf is 854 00:45:49,080 --> 00:45:52,160 Speaker 1: that of a kind of drunken, bearded umpa lumpa whose 855 00:45:52,200 --> 00:45:55,920 Speaker 1: main character traits are alcoholism, gluttony, and poor hygiene. 856 00:45:56,120 --> 00:45:59,359 Speaker 3: Yes, he drinks, he fights, he has chicken. 857 00:45:59,040 --> 00:46:02,080 Speaker 1: And beard, and that's that's pretty much. Yet it's kind 858 00:46:02,080 --> 00:46:04,960 Speaker 1: of awful. And I think like he is painted orange 859 00:46:05,480 --> 00:46:07,440 Speaker 1: or I don't like it's like he has like an 860 00:46:07,440 --> 00:46:10,279 Speaker 1: orange beard, like a bright orange beard, and I think 861 00:46:10,280 --> 00:46:13,520 Speaker 1: there's like orange pain on his face. It is it's 862 00:46:13,600 --> 00:46:16,279 Speaker 1: just everything is wrong. About this presentation. 863 00:46:16,880 --> 00:46:19,440 Speaker 3: Okay, but no confusion about class here. This is our 864 00:46:19,760 --> 00:46:22,480 Speaker 3: standard fighter. He's like, got a battle axe, That's what 865 00:46:22,520 --> 00:46:22,919 Speaker 3: he does. 866 00:46:23,000 --> 00:46:28,120 Speaker 1: He specializes, though, in background fighting, not like key villain fighting, 867 00:46:28,160 --> 00:46:29,600 Speaker 1: but just background stuff. 868 00:46:29,440 --> 00:46:32,000 Speaker 3: Doing doing a leg sweep and uh well I think 869 00:46:32,040 --> 00:46:34,120 Speaker 3: he leg sweeps Damodar one time. 870 00:46:34,200 --> 00:46:36,560 Speaker 1: Oh it gets one hit, you know, It's it's a 871 00:46:36,600 --> 00:46:37,200 Speaker 1: team effort. 872 00:46:37,360 --> 00:46:40,200 Speaker 3: Yeah, but mostly you're right. He's back there slamming around 873 00:46:40,280 --> 00:46:43,000 Speaker 3: while our more prominent characters are in the foreground. 874 00:46:43,680 --> 00:46:46,280 Speaker 1: All right. Up next, we have Norda, an Elvin ranger 875 00:46:46,719 --> 00:46:51,040 Speaker 1: played by Kristin Wilson born nineteen sixty nine, American actress 876 00:46:51,080 --> 00:46:53,759 Speaker 1: best known for playing Lisa Doolittle in nineteen ninety eight's 877 00:46:53,840 --> 00:46:58,640 Speaker 1: Doctor Doolittle and It's two thousand and one sequel. Interestingly enough, 878 00:46:58,840 --> 00:47:02,959 Speaker 1: she's married to makeup affects artist Martin Estell's who worked 879 00:47:03,000 --> 00:47:05,520 Speaker 1: on Chronicles of Riddick and also worked on this film, 880 00:47:06,000 --> 00:47:09,279 Speaker 1: So it's very possible that dungeons and dragons brought this 881 00:47:09,680 --> 00:47:10,400 Speaker 1: couple together. 882 00:47:11,600 --> 00:47:13,319 Speaker 3: What better way to find true love. 883 00:47:14,560 --> 00:47:18,000 Speaker 1: As for her performance, I mean, I think it seems fine. 884 00:47:18,040 --> 00:47:21,759 Speaker 1: They have her wearing one of those ridiculous fantasy female breastplates, 885 00:47:22,960 --> 00:47:26,239 Speaker 1: but that aside. You know, I totally bought her as 886 00:47:26,280 --> 00:47:28,360 Speaker 1: a no nonsense Elvian ranger. 887 00:47:29,200 --> 00:47:32,560 Speaker 3: She has a good funny moment when Snails is trying 888 00:47:32,600 --> 00:47:35,400 Speaker 3: to flirt with her and she's like, how old are you? 889 00:47:35,440 --> 00:47:37,480 Speaker 3: And he says twenty three and she's like, I'm two 890 00:47:37,600 --> 00:47:38,600 Speaker 3: hundred and thirty five. 891 00:47:41,160 --> 00:47:44,560 Speaker 1: That was pretty good. Yeah, all right. Next up, we 892 00:47:44,640 --> 00:47:49,040 Speaker 1: have just really a couple of kind of fun cameos, 893 00:47:49,200 --> 00:47:52,400 Speaker 1: a little side characters that are encountered. The first I 894 00:47:52,400 --> 00:47:54,799 Speaker 1: already mentioned in passing that Richard O'Brien shows up, and yes, 895 00:47:54,920 --> 00:47:59,000 Speaker 1: Richard O'Brien shows up as Zilious, a master thief born 896 00:47:59,120 --> 00:48:01,919 Speaker 1: nineteen forty two. This is, of course the mastermind behind 897 00:48:01,960 --> 00:48:04,680 Speaker 1: the Rocky Heart Picture Show, in which he also played 898 00:48:04,719 --> 00:48:08,760 Speaker 1: riff Raff. He played He played Mister Hand in nineteen 899 00:48:08,840 --> 00:48:11,440 Speaker 1: ninety eight s Dark City, and we previously mentioned him 900 00:48:11,440 --> 00:48:14,040 Speaker 1: in our episode on nineteen eighty's Flash Gordon, in which 901 00:48:14,080 --> 00:48:17,359 Speaker 1: he played a character named Falco. We're gonna come back 902 00:48:17,400 --> 00:48:19,520 Speaker 1: to O'Brien in the future when we talk about a 903 00:48:19,520 --> 00:48:22,359 Speaker 1: film in which he's more central, So you know, I'll 904 00:48:22,400 --> 00:48:25,120 Speaker 1: keep this brief and say that, yeah, he does bring 905 00:48:25,160 --> 00:48:28,600 Speaker 1: his signature charisma to this small role, but he still 906 00:48:28,640 --> 00:48:31,000 Speaker 1: manages to feel a bit out of place as well. 907 00:48:31,440 --> 00:48:33,520 Speaker 3: I'd say, once again doing what he can. 908 00:48:33,960 --> 00:48:40,279 Speaker 1: Yeah. Ooh, but then Tom Baker shows up as hal 909 00:48:40,360 --> 00:48:43,320 Speaker 1: varth An Elvin Kleric kind of late in the film. 910 00:48:43,440 --> 00:48:47,440 Speaker 1: He attempts, but what fails to resurrect Snails. Who's he healing? 911 00:48:47,719 --> 00:48:51,840 Speaker 3: He's healing justin Welle healing Ridley. He's like, he's apps 912 00:48:51,880 --> 00:48:53,480 Speaker 3: in with Yellow Zippi's apps. 913 00:48:53,600 --> 00:48:55,520 Speaker 1: That's right. Yeah, Snails is just all the way dead 914 00:48:55,560 --> 00:48:55,839 Speaker 1: at this. 915 00:48:55,800 --> 00:48:58,920 Speaker 3: Point, Snails is dead. Well, Snails does resurrect at the 916 00:48:59,040 --> 00:49:02,120 Speaker 3: end of the movie. Oh okay, remember they like they 917 00:49:02,120 --> 00:49:04,279 Speaker 3: put a thing a jewel on his grave and then 918 00:49:04,320 --> 00:49:07,200 Speaker 3: it suggests he's still alive somewhere else and they could 919 00:49:07,239 --> 00:49:07,759 Speaker 3: go meet him. 920 00:49:07,800 --> 00:49:10,439 Speaker 1: I think, oh, okay, well, all right, there's so there's 921 00:49:10,440 --> 00:49:13,520 Speaker 1: some hope for Snails. Yeah so yeah, okay, so he 922 00:49:13,520 --> 00:49:14,799 Speaker 1: heals our main protagonist. 923 00:49:15,160 --> 00:49:19,440 Speaker 3: Yes he's not. We've been saying about a lot of people. 924 00:49:19,480 --> 00:49:21,240 Speaker 3: They do what they can. I don't know. Tom Baker 925 00:49:21,280 --> 00:49:23,520 Speaker 3: feels like he's kind of sleep walking through this. When 926 00:49:23,520 --> 00:49:25,640 Speaker 3: he says his lines. It feels like he's saying them 927 00:49:25,680 --> 00:49:26,479 Speaker 3: for the first time. 928 00:49:27,000 --> 00:49:29,279 Speaker 1: Oh, I don't know. I mean, that may very well 929 00:49:29,320 --> 00:49:31,720 Speaker 1: be the case, but maybe I just find Tom Baker 930 00:49:31,760 --> 00:49:34,960 Speaker 1: captivating enough that that leak enough for me where I'm like, Hey, 931 00:49:35,360 --> 00:49:37,200 Speaker 1: this guy's doing it, this guy knows what he's doing. 932 00:49:37,239 --> 00:49:37,640 Speaker 1: Look at that. 933 00:49:38,080 --> 00:49:41,080 Speaker 3: I mean Tom Baker's Tom Baker. Yeah he So he 934 00:49:41,160 --> 00:49:45,160 Speaker 3: brings more Doctor Who energy than rasputant energy. 935 00:49:45,200 --> 00:49:48,560 Speaker 1: I'd say here, Yeah, so Tom Baker, if you're not 936 00:49:48,560 --> 00:49:53,040 Speaker 1: famire born nineteen thirty four, still active, I believe, a 937 00:49:53,160 --> 00:49:55,799 Speaker 1: British actor of stage, screen and TV, best known as 938 00:49:55,840 --> 00:49:59,640 Speaker 1: the fourth and longest serving incarnation of the doctor in 939 00:50:00,000 --> 00:50:02,719 Speaker 1: Doctor Who from nineteen seventy four to nineteen eighty one. 940 00:50:03,320 --> 00:50:06,279 Speaker 1: And there have been so many great doctors over the years, 941 00:50:06,280 --> 00:50:09,320 Speaker 1: but I think Baker still stands out as one of 942 00:50:09,360 --> 00:50:11,480 Speaker 1: the most iconic. And I think for me, he's like, 943 00:50:11,600 --> 00:50:15,000 Speaker 1: this is my Doctor Who. If I'm ever if I 944 00:50:15,000 --> 00:50:17,160 Speaker 1: remember in a room and there's a Doctor Who episode 945 00:50:17,160 --> 00:50:19,920 Speaker 1: playing and it's Tom Baker, I'm just drawn in. I've 946 00:50:19,920 --> 00:50:21,759 Speaker 1: got to see what he's gonna do, what's he's gonna say. 947 00:50:22,560 --> 00:50:23,480 Speaker 1: He's my go to. 948 00:50:24,160 --> 00:50:26,279 Speaker 3: Uh yeah, I think I know way less Doctor Who 949 00:50:26,320 --> 00:50:28,239 Speaker 3: than you do, but I do think of them. I 950 00:50:28,280 --> 00:50:31,400 Speaker 3: do think of him as the doctor among many doctors. 951 00:50:31,840 --> 00:50:34,880 Speaker 1: Yeah, so you know, he can play it all. He 952 00:50:34,880 --> 00:50:39,600 Speaker 1: can be silly, obviously. He can also play malicious characters, 953 00:50:40,160 --> 00:50:42,360 Speaker 1: such as in seventy three is the Vault of Horror 954 00:50:42,400 --> 00:50:45,120 Speaker 1: and also the Golden Voyage of Sinbad from the same year. 955 00:50:45,680 --> 00:50:48,760 Speaker 1: He can also play serious really well. And you mentioned 956 00:50:48,760 --> 00:50:52,320 Speaker 1: his role as Resputant and Nicholas and Alexandra from nineteen 957 00:50:52,360 --> 00:50:54,720 Speaker 1: seventy two, for which he was nominated for a Golden Globe. 958 00:50:55,040 --> 00:50:57,520 Speaker 3: He is mesmerizing in that role. 959 00:50:58,440 --> 00:51:00,600 Speaker 1: That's one. I still need to see ivants in that one. 960 00:51:00,760 --> 00:51:02,640 Speaker 1: But I have seen the Golden Voyage it sent that. 961 00:51:03,920 --> 00:51:06,279 Speaker 3: That's a good one. It's got some great monsters in 962 00:51:06,320 --> 00:51:07,799 Speaker 3: it all right. 963 00:51:07,840 --> 00:51:10,759 Speaker 1: And finally, the composer for this film is Justin Cain 964 00:51:10,920 --> 00:51:14,399 Speaker 1: Burnette born nineteen seventy three, American film and video game 965 00:51:14,480 --> 00:51:17,719 Speaker 1: music composer who apparently worked under Hans Zimmer early in 966 00:51:17,760 --> 00:51:20,560 Speaker 1: his career, and he's gone on to score numerous genre 967 00:51:20,680 --> 00:51:23,240 Speaker 1: pictures such as two thousand and fives in American Haunting 968 00:51:23,600 --> 00:51:26,280 Speaker 1: and some fairly big TV projects as well, like The Patient, 969 00:51:26,880 --> 00:51:29,319 Speaker 1: in addition to working in the musical department on some 970 00:51:29,360 --> 00:51:32,480 Speaker 1: pretty big films by the likes of Michael Bay and 971 00:51:32,560 --> 00:51:34,040 Speaker 1: Tony Scott and Ridley Scott. 972 00:51:34,320 --> 00:51:36,600 Speaker 3: I don't think the music in this is bad, though. 973 00:51:36,719 --> 00:51:40,000 Speaker 3: Sometimes it's kind of a funny fit. Like the opening 974 00:51:40,160 --> 00:51:43,600 Speaker 3: fanfare sounds to me a lot like the music from 975 00:51:43,680 --> 00:51:47,200 Speaker 3: a sports movie. It sounds like, oh, you know, Johnny's 976 00:51:47,239 --> 00:51:49,440 Speaker 3: running for the touchdown and you know they finally put 977 00:51:49,480 --> 00:51:51,840 Speaker 3: him in and he's gonna save the team season. 978 00:51:52,440 --> 00:51:55,200 Speaker 1: Yeah, Or it's just kind of like I mean, it's 979 00:51:55,320 --> 00:51:58,960 Speaker 1: like I've said before, you know, sometimes the film's musical 980 00:51:59,040 --> 00:52:01,960 Speaker 1: score needs to kind feel invisible. It's just working in 981 00:52:01,960 --> 00:52:04,560 Speaker 1: the background doing its thing. And you know, I guess 982 00:52:04,360 --> 00:52:06,759 Speaker 1: that's basically what the score here does. 983 00:52:16,200 --> 00:52:18,320 Speaker 3: All right, Well, are you ready to talk about the plot? 984 00:52:18,600 --> 00:52:19,759 Speaker 1: Oh? Yes, let's do it. 985 00:52:20,239 --> 00:52:23,600 Speaker 3: So the movie starts with something that absolutely feels tacked 986 00:52:23,640 --> 00:52:28,160 Speaker 3: on in post production. It's some voiceover narration playing over 987 00:52:28,239 --> 00:52:32,360 Speaker 3: a dismal gray screen with some wisps of CGI missed, 988 00:52:33,239 --> 00:52:35,480 Speaker 3: and it's just an old man's voice. I don't know 989 00:52:35,480 --> 00:52:39,360 Speaker 3: who's talking here, but it says the Empire of Ismir 990 00:52:39,520 --> 00:52:43,240 Speaker 3: has long been a divided land ruled by the Mages 991 00:52:43,400 --> 00:52:47,680 Speaker 3: an elite group of magic users. The lowly commoners, those 992 00:52:47,719 --> 00:52:52,400 Speaker 3: without magic, are little more than slaves. Izmir's young Empress 993 00:52:52,440 --> 00:52:56,760 Speaker 3: Savina wishes equality and prosperity for all, but the evil 994 00:52:56,840 --> 00:52:59,319 Speaker 3: mage Profion has other intentions. 995 00:53:00,680 --> 00:53:03,040 Speaker 1: No, I have to admit it's intriguing. Imagine if they've 996 00:53:03,080 --> 00:53:03,840 Speaker 1: shown us any of this. 997 00:53:05,000 --> 00:53:08,040 Speaker 3: Yeah, so the horns start blasting. This is the part 998 00:53:08,080 --> 00:53:10,960 Speaker 3: where it sounds like football. And then we zoom over 999 00:53:11,000 --> 00:53:14,280 Speaker 3: a bunch of CGI. So we're zooming over bridges spanning 1000 00:53:14,280 --> 00:53:18,960 Speaker 3: a waterway with a mini towered castle rising beyond. And 1001 00:53:19,320 --> 00:53:21,960 Speaker 3: real question when we get a look at this castle, 1002 00:53:22,080 --> 00:53:26,080 Speaker 3: I was genuinely wondering, is this CGI model based on 1003 00:53:26,200 --> 00:53:29,520 Speaker 3: the Disney Castle image, the more elaborate one, Because it 1004 00:53:29,560 --> 00:53:30,319 Speaker 3: looks like it. 1005 00:53:30,600 --> 00:53:33,520 Speaker 1: We are like swooping in on it. It feels like it 1006 00:53:33,719 --> 00:53:36,800 Speaker 1: very much the same trajectory as we do the Disney Castle, 1007 00:53:36,840 --> 00:53:40,719 Speaker 1: and the opening Disney logo sequence feels a lot like it. 1008 00:53:41,320 --> 00:53:44,320 Speaker 3: But then, perhaps fittingly for the theme, does the camera 1009 00:53:44,400 --> 00:53:47,240 Speaker 3: fly into a window in one of the majestic lofty 1010 00:53:47,320 --> 00:53:50,160 Speaker 3: towers in the sky. No, it does not. Instead, we 1011 00:53:50,280 --> 00:53:53,759 Speaker 3: plunge down over the surface of the moat and then 1012 00:53:53,800 --> 00:53:57,240 Speaker 3: straight through the heavy iron bars of a gate leading 1013 00:53:57,280 --> 00:53:58,520 Speaker 3: into a dungeon. 1014 00:53:59,280 --> 00:54:01,520 Speaker 1: It's fittings. You know, we didn't really get into this, 1015 00:54:01,560 --> 00:54:04,560 Speaker 1: but it's called dungeons and dragons, so you can imagine. 1016 00:54:04,560 --> 00:54:07,320 Speaker 1: Producers are like, Okay, there needs to be a dungeon 1017 00:54:07,840 --> 00:54:10,239 Speaker 1: and there needs to be a dragon, and really, if 1018 00:54:10,239 --> 00:54:11,799 Speaker 1: you could fit all of this into the first ten 1019 00:54:11,840 --> 00:54:13,799 Speaker 1: minutes of the film, that would be great. 1020 00:54:14,239 --> 00:54:17,239 Speaker 3: So the environments here, again to emphasize, are at this 1021 00:54:17,360 --> 00:54:22,239 Speaker 3: point CGI and the animation is murky and hideous. I 1022 00:54:22,280 --> 00:54:24,719 Speaker 3: was trying to describe what these environments look like. It's 1023 00:54:24,760 --> 00:54:28,400 Speaker 3: a little difficult, but like in nineties computer game terms, 1024 00:54:29,000 --> 00:54:33,120 Speaker 3: imagine the CD ROM game Missed, but make it fugly 1025 00:54:33,360 --> 00:54:38,280 Speaker 3: instead of mysterious. So it's like misst but with the drab, 1026 00:54:38,440 --> 00:54:42,480 Speaker 3: depressing color palette of the original quake. Yes, So we 1027 00:54:42,600 --> 00:54:45,359 Speaker 3: fly through a tunnel in this dungeon into a room 1028 00:54:45,400 --> 00:54:48,040 Speaker 3: where a bunch of hooded occult servants are toiling in 1029 00:54:48,080 --> 00:54:53,279 Speaker 3: the dark. There are chains, ladders, gears, lanterns, and skulls, 1030 00:54:53,360 --> 00:54:57,040 Speaker 3: lots of skulls just sitting around in random places. There's 1031 00:54:57,040 --> 00:54:59,280 Speaker 3: one thing that looks like a kind of a ramp 1032 00:54:59,360 --> 00:55:02,400 Speaker 3: or a gangway on top of a pipe that's pouring 1033 00:55:02,480 --> 00:55:05,320 Speaker 3: water into a big stone pool, and on the ramp 1034 00:55:05,360 --> 00:55:07,560 Speaker 3: there's just a skull sitting right in the middle of it. 1035 00:55:07,600 --> 00:55:08,920 Speaker 3: Somebody's gonna step on that. 1036 00:55:09,320 --> 00:55:11,880 Speaker 1: Like, oh, this one fell out, just put it on 1037 00:55:11,880 --> 00:55:12,560 Speaker 1: top of the box. 1038 00:55:12,760 --> 00:55:15,399 Speaker 3: There's some kind of big machine being operated, so we've 1039 00:55:15,440 --> 00:55:19,200 Speaker 3: got cultists. They're pulling chains and working levers. There's a 1040 00:55:19,239 --> 00:55:22,600 Speaker 3: big cogwheel revolving, and then in the middle of the 1041 00:55:22,680 --> 00:55:26,239 Speaker 3: room there is a three axis gimbal. So you might 1042 00:55:26,280 --> 00:55:28,080 Speaker 3: have seen these with like I don't know, used for 1043 00:55:28,160 --> 00:55:31,280 Speaker 3: astronaut training, where it's the rings that spin within rings 1044 00:55:31,320 --> 00:55:35,759 Speaker 3: along the different axes. And what's in the middle is 1045 00:55:35,840 --> 00:55:38,920 Speaker 3: not an astronaut. It is a large black scepter fixed 1046 00:55:38,960 --> 00:55:40,120 Speaker 3: with a green jewel. 1047 00:55:40,960 --> 00:55:43,480 Speaker 1: You know, I need to throw in here. I was 1048 00:55:43,520 --> 00:55:46,080 Speaker 1: able to get my kid to watch the first like 1049 00:55:46,280 --> 00:55:49,680 Speaker 1: thirty minutes of this film with me because they're about 1050 00:55:49,719 --> 00:55:52,840 Speaker 1: to turn thirteen and they're already super into Dungeons and Dragons. 1051 00:55:53,120 --> 00:55:56,560 Speaker 1: You know, they've read the books, they're playing the game, 1052 00:55:57,160 --> 00:55:59,440 Speaker 1: and so it was fun to watch part of this. 1053 00:55:59,560 --> 00:56:02,000 Speaker 1: I really didn't expect or demand that they watch all 1054 00:56:02,040 --> 00:56:04,239 Speaker 1: of this film with me. But at this point they 1055 00:56:04,239 --> 00:56:07,120 Speaker 1: were already like, oh, it looks like they're making a 1056 00:56:07,640 --> 00:56:09,960 Speaker 1: making a magical item there, and they started spouting all 1057 00:56:09,960 --> 00:56:12,000 Speaker 1: the rules for how long it's going to take to 1058 00:56:12,040 --> 00:56:13,840 Speaker 1: make a magical weapon and so forth. 1059 00:56:14,080 --> 00:56:15,960 Speaker 3: Did this lead to frustration. 1060 00:56:18,000 --> 00:56:20,680 Speaker 1: That they did quickly realize this is not a good film, 1061 00:56:21,400 --> 00:56:25,719 Speaker 1: but they didn't seem bored And I have to drive home. 1062 00:56:26,160 --> 00:56:30,080 Speaker 1: At this point we are into the physical sets, practical sets, 1063 00:56:30,400 --> 00:56:33,280 Speaker 1: and it's a totally different vibe, like, Yeah, I'm buying 1064 00:56:33,320 --> 00:56:35,560 Speaker 1: this as a real place and I'm intrigued by what's 1065 00:56:35,600 --> 00:56:36,200 Speaker 1: going on here. 1066 00:56:36,800 --> 00:56:39,799 Speaker 3: And then also, hey, so yeah, we've come out of 1067 00:56:39,840 --> 00:56:42,799 Speaker 3: the CGI into the real sets and we get our 1068 00:56:42,840 --> 00:56:45,640 Speaker 3: first glimpse of the main attraction, Jeremy Irons. 1069 00:56:45,800 --> 00:56:48,680 Speaker 1: Oh what an entry. It's so good. 1070 00:56:49,080 --> 00:56:52,040 Speaker 3: Yeah. So he's like an evil mage dressed in black, 1071 00:56:52,120 --> 00:56:55,400 Speaker 3: wearing a burgundy cloak, and from the very first second 1072 00:56:55,440 --> 00:56:59,360 Speaker 3: he appears, he is just squealing with raw ham energy. 1073 00:57:00,080 --> 00:57:03,840 Speaker 3: He comes waltzing down the dungeon stairs towards the scepter machine, 1074 00:57:03,880 --> 00:57:06,040 Speaker 3: and he's got his arms stretched out to the sides 1075 00:57:06,120 --> 00:57:10,160 Speaker 3: like he's doing ballet. And also off to the side, 1076 00:57:10,200 --> 00:57:14,359 Speaker 3: you've got Bruce Payne playing the henchman Damnadar, and again, yeah, 1077 00:57:14,400 --> 00:57:17,560 Speaker 3: he's like bald and haughty with with the muscle morph 1078 00:57:17,760 --> 00:57:20,360 Speaker 3: armor and the big sword and the electric blue lips. 1079 00:57:21,520 --> 00:57:24,520 Speaker 3: And then we get a close up of Profyon the 1080 00:57:24,520 --> 00:57:27,800 Speaker 3: Mage here looking evil, and it's a close up, like 1081 00:57:27,880 --> 00:57:30,680 Speaker 3: his face fills the entire frame and you can see 1082 00:57:30,720 --> 00:57:33,880 Speaker 3: all his pores. You can see that this must have 1083 00:57:33,960 --> 00:57:37,200 Speaker 3: been filmed in the afternoon because his mustache stubble is 1084 00:57:37,240 --> 00:57:40,040 Speaker 3: starting to come in, and you can see the way 1085 00:57:40,080 --> 00:57:43,200 Speaker 3: someone appears to have combed his eyebrows so that the 1086 00:57:43,280 --> 00:57:47,000 Speaker 3: hairs all flare upward. And then the evil music swells 1087 00:57:47,320 --> 00:57:51,320 Speaker 3: and it's clear he wants that scepter, so he steps 1088 00:57:51,360 --> 00:57:54,320 Speaker 3: forward and he sticks his hand out and zaps the 1089 00:57:54,440 --> 00:57:57,720 Speaker 3: rod with force lightning. Also you can see rob I've 1090 00:57:57,760 --> 00:57:59,760 Speaker 3: got a screenshot for you to look at here, but 1091 00:57:59,840 --> 00:58:03,480 Speaker 3: it's like he has to step over some little moats, 1092 00:58:03,720 --> 00:58:07,040 Speaker 3: little like gutters on the floor in order to get 1093 00:58:07,080 --> 00:58:09,000 Speaker 3: to the thing. He's gonna get his cloak wet. 1094 00:58:09,360 --> 00:58:11,840 Speaker 1: That's true. I mean you've got to just expect to 1095 00:58:11,880 --> 00:58:14,160 Speaker 1: get your cloak muddy and bloody. 1096 00:58:13,800 --> 00:58:18,080 Speaker 3: And wet in these scenarios. Yeah, So Profion starts chanting 1097 00:58:18,120 --> 00:58:20,400 Speaker 3: a magic spell. It's a bunch of nonsense words, and 1098 00:58:20,400 --> 00:58:23,720 Speaker 3: we see little cgi dragons flying around inside a kind 1099 00:58:23,760 --> 00:58:27,280 Speaker 3: of portal in the gimbal machine. And then Jeremy Irons 1100 00:58:27,360 --> 00:58:30,600 Speaker 3: keeps ratcheting up the intensity and his face bones so 1101 00:58:30,640 --> 00:58:32,840 Speaker 3: it just goes in on him and he's going off. 1102 00:58:33,720 --> 00:58:38,360 Speaker 3: His face is getting weirder and crazier, and something finally 1103 00:58:38,440 --> 00:58:42,120 Speaker 3: works with his magic. The machine stops spinning and Profion 1104 00:58:42,160 --> 00:58:45,640 Speaker 3: can approach and remove the artifact and it's glowing green. 1105 00:58:45,840 --> 00:58:49,560 Speaker 3: It casts a sickly green light over his face. And oh, 1106 00:58:49,600 --> 00:58:52,440 Speaker 3: my lord, the expressions he is making here, Like he 1107 00:58:53,000 --> 00:58:59,000 Speaker 3: projects a quivering, overtly sexual ecstasy as he takes hold 1108 00:58:59,040 --> 00:59:02,120 Speaker 3: of the magic step. So he like grabs the rod 1109 00:59:02,200 --> 00:59:05,160 Speaker 3: with this electric zapping effect and then he holds it 1110 00:59:05,240 --> 00:59:11,440 Speaker 3: up in the air, screaming yes, and just like Folks, 1111 00:59:11,560 --> 00:59:13,480 Speaker 3: even if you don't want to watch the whole movie, 1112 00:59:13,560 --> 00:59:16,400 Speaker 3: I recommend you watched this scene at the beginning, just 1113 00:59:16,440 --> 00:59:20,560 Speaker 3: to do like the Jeremy Iron's face survey, you know, 1114 00:59:20,640 --> 00:59:24,000 Speaker 3: add little tasting notes at all, the little moments where 1115 00:59:24,000 --> 00:59:27,120 Speaker 3: you get to see his teeth doing this, his tongue 1116 00:59:27,160 --> 00:59:29,800 Speaker 3: doing that. What's that sound he's making? Why is he 1117 00:59:29,840 --> 00:59:33,040 Speaker 3: going bad? It is so good. 1118 00:59:33,160 --> 00:59:35,880 Speaker 1: Yeah, if you watch nothing else, watch the first fifteen 1119 00:59:35,920 --> 00:59:38,800 Speaker 1: minutes because you will get so much of this performance. 1120 00:59:39,520 --> 00:59:42,160 Speaker 1: It is just oh, it is just a like a 1121 00:59:42,320 --> 00:59:47,840 Speaker 1: stiff shot of absolute like one twenty percent to Jeremy 1122 00:59:47,840 --> 00:59:48,880 Speaker 1: Iron's ham. 1123 00:59:49,080 --> 00:59:51,520 Speaker 3: Yeah, and of course it's it's Bruce Payne approved. He's 1124 00:59:51,520 --> 00:59:54,240 Speaker 3: sitting there like the you know, his lips tight together, 1125 00:59:54,320 --> 00:59:56,160 Speaker 3: like yep, yep, that's my boss. 1126 00:59:57,600 --> 00:59:58,760 Speaker 1: Oh god, those lips. 1127 00:59:59,520 --> 01:00:02,800 Speaker 3: So pro says, come Damadhar, and they walk up the 1128 01:00:02,840 --> 01:00:05,240 Speaker 3: steps to a big door that has what can only 1129 01:00:05,280 --> 01:00:08,080 Speaker 3: be described as a dragon logo on it. 1130 01:00:08,640 --> 01:00:08,880 Speaker 1: Yeah. 1131 01:00:08,960 --> 01:00:12,280 Speaker 3: Yeah, it's like behind this door it's dragons are us. 1132 01:00:13,040 --> 01:00:16,960 Speaker 3: And Profion calls out to his terrified hooded servants. He says, 1133 01:00:17,040 --> 01:00:21,200 Speaker 3: release him. So the guys in hoods they're trembling with fear. 1134 01:00:21,320 --> 01:00:24,120 Speaker 3: They start cranking a bunch of wheels and levers and 1135 01:00:24,320 --> 01:00:26,960 Speaker 3: the door opens up to dragons r us and what 1136 01:00:26,960 --> 01:00:29,080 Speaker 3: do you know, there's a dragon inside and it starts 1137 01:00:29,080 --> 01:00:34,800 Speaker 3: coming out, and what a dragon this is. As I've 1138 01:00:34,800 --> 01:00:37,080 Speaker 3: said many times now, we're trying not to just hate 1139 01:00:37,080 --> 01:00:39,400 Speaker 3: on the movie too much, but We've got to tell 1140 01:00:39,400 --> 01:00:41,760 Speaker 3: you straight that this is some of the worst CGI 1141 01:00:41,960 --> 01:00:44,480 Speaker 3: I can think of in any major motion picture. 1142 01:00:45,400 --> 01:00:48,720 Speaker 1: Yes, oh my goodness, I mean the dragon does does 1143 01:00:48,800 --> 01:00:53,160 Speaker 1: not look good. I mean the the CGI is not good. 1144 01:00:53,280 --> 01:00:56,240 Speaker 1: And then just it's just such a generic looking dragon 1145 01:00:56,280 --> 01:00:59,080 Speaker 1: as well. I mean, especially when you consider what's already 1146 01:00:59,080 --> 01:01:03,040 Speaker 1: come before practic We talked about Verma Thrack's pejorative in 1147 01:01:03,200 --> 01:01:07,120 Speaker 1: the Dragon Swayer on a previous episode of Weird House Cinema, 1148 01:01:07,160 --> 01:01:10,720 Speaker 1: like one of the greatest dragons ever brought to life 1149 01:01:10,760 --> 01:01:13,280 Speaker 1: on the screen. To go from something like that to 1150 01:01:13,360 --> 01:01:16,080 Speaker 1: something like this, it's just it's a travesty. 1151 01:01:16,480 --> 01:01:19,000 Speaker 3: Now, it doesn't look quite so bad at the very 1152 01:01:19,040 --> 01:01:23,320 Speaker 3: first moment because it's farther away and partially hidden in darkness. 1153 01:01:23,840 --> 01:01:26,400 Speaker 3: But then it like lunges out and it starts spitting 1154 01:01:26,480 --> 01:01:29,360 Speaker 3: fire on all the hooded cult guys and it roars 1155 01:01:29,400 --> 01:01:31,600 Speaker 3: into the camera. I think they were actually going for 1156 01:01:31,680 --> 01:01:34,200 Speaker 3: a callback to Jurassic Park. There are a couple of 1157 01:01:34,240 --> 01:01:38,000 Speaker 3: moments where it does where the CGI dragon does a 1158 01:01:38,640 --> 01:01:41,440 Speaker 3: kind of body motion or something almost exactly like a 1159 01:01:41,480 --> 01:01:44,520 Speaker 3: shot in Jurassic Park, and it seems not accidental. 1160 01:01:44,960 --> 01:01:51,120 Speaker 1: It is often sobering to realize how early Jurassic Park 1161 01:01:51,200 --> 01:01:53,560 Speaker 1: comes out in relation to some of these films with 1162 01:01:53,640 --> 01:01:55,280 Speaker 1: bad CGI monsters later on. 1163 01:01:55,600 --> 01:01:59,760 Speaker 3: Yeah, but yeah this, so this dragon is not finished baking, 1164 01:01:59,840 --> 01:02:01,959 Speaker 3: but no more time. It's out of the heaven. 1165 01:02:02,080 --> 01:02:03,880 Speaker 1: Yeah, we gotta get this out before Y two K. 1166 01:02:04,200 --> 01:02:07,560 Speaker 3: Yeah, and so Profion commands the dragon to approach him, 1167 01:02:07,720 --> 01:02:11,000 Speaker 3: and he starts gloating. He says, yes, I control dragons now, 1168 01:02:11,040 --> 01:02:15,240 Speaker 3: and Damodar is just dripping with obsequious flattery. He's like, 1169 01:02:15,320 --> 01:02:19,480 Speaker 3: you have the power of the immortals, and Profion says 1170 01:02:19,600 --> 01:02:23,440 Speaker 3: he's snarling. He says, with a dragon army at my command, 1171 01:02:23,560 --> 01:02:26,800 Speaker 3: I can crush the Impress. I can control what is 1172 01:02:26,920 --> 01:02:29,200 Speaker 3: rightfully ours. Go. I'm not going to keep trying to 1173 01:02:29,240 --> 01:02:32,560 Speaker 3: do the Jeremy Iron's voice when I quote him. So 1174 01:02:32,800 --> 01:02:35,680 Speaker 3: he just keeps doing amazingly weird stuff with his face, 1175 01:02:36,000 --> 01:02:39,200 Speaker 3: voice and tongue. Here, Rob, this is the part where 1176 01:02:39,200 --> 01:02:44,440 Speaker 3: you were talking about his skull trying to escape, and 1177 01:02:44,520 --> 01:02:46,920 Speaker 3: so he's oh, and he also he says things that 1178 01:02:47,000 --> 01:02:49,920 Speaker 3: are echoing kind of the Emperor in Return of the Jedi. 1179 01:02:50,080 --> 01:02:55,360 Speaker 3: He's like, I can use every ounce of your rage. Yeah, yeah, yeah, yeah, yeah, yeah, yeah, 1180 01:02:55,400 --> 01:03:00,919 Speaker 3: and unfortunately nothing gold can stay. There's a little pun 1181 01:03:00,920 --> 01:03:04,040 Speaker 3: because this is a gold dragon. Apparently something goes wrong 1182 01:03:04,080 --> 01:03:05,280 Speaker 3: and Profion. 1183 01:03:05,000 --> 01:03:07,200 Speaker 1: Keeps do they say it's a gold dragon? 1184 01:03:07,400 --> 01:03:11,480 Speaker 3: They say, they say that the Impresses dragons are gold dragons. 1185 01:03:12,080 --> 01:03:13,720 Speaker 1: Well, that's not right. I'm not going to get into it. 1186 01:03:14,080 --> 01:03:17,400 Speaker 1: That's that's I mean, that shouldn't be. Gold dragons are special. 1187 01:03:17,400 --> 01:03:18,560 Speaker 1: They're nobody's dungeon. 1188 01:03:18,880 --> 01:03:20,600 Speaker 3: Well no, I think we do need to get into 1189 01:03:20,600 --> 01:03:23,720 Speaker 3: this later. Because also they bring up like red dragons 1190 01:03:23,760 --> 01:03:26,960 Speaker 3: in contrast to the gold dragons, as if like it 1191 01:03:27,040 --> 01:03:30,040 Speaker 3: was like, oh, oh, red dragons, that that would be 1192 01:03:30,120 --> 01:03:33,959 Speaker 3: really that's really something, okay. 1193 01:03:33,760 --> 01:03:36,360 Speaker 1: I mean in short, like gold dragons are good and 1194 01:03:36,560 --> 01:03:39,439 Speaker 1: red dragons are bad. Okay, So it's weird that we're 1195 01:03:39,440 --> 01:03:41,160 Speaker 1: dealing with a gold dragon like. 1196 01:03:41,160 --> 01:03:44,439 Speaker 3: This, Well the gold dragon here, that makes sense because 1197 01:03:44,480 --> 01:03:47,200 Speaker 3: the gold dragon does not want to obey Profion, and 1198 01:03:47,240 --> 01:03:50,080 Speaker 3: so it like starts backing up into it. Cl It's like, no, no, 1199 01:03:50,080 --> 01:03:53,120 Speaker 3: I'm not working with this guy. And then the door 1200 01:03:53,200 --> 01:03:56,120 Speaker 3: slams shut on it and like stabs it and and 1201 01:03:56,200 --> 01:03:59,120 Speaker 3: a death recalling almost exactly in another callback to Return 1202 01:03:59,120 --> 01:04:01,320 Speaker 3: of the Jedi, the Demid the rank or in return 1203 01:04:01,360 --> 01:04:04,000 Speaker 3: of the Jedi. That's right, they rank or it and 1204 01:04:04,040 --> 01:04:08,160 Speaker 3: then we get to watch the dragon's cgi blood spill 1205 01:04:08,200 --> 01:04:11,120 Speaker 3: out and pool on the floor and then run down 1206 01:04:11,240 --> 01:04:15,800 Speaker 3: the stairs, which looks absolutely hilarious. And I have questions 1207 01:04:15,840 --> 01:04:19,680 Speaker 3: about shots like this in the movies, like how expensive 1208 01:04:19,760 --> 01:04:22,760 Speaker 3: would it have been to actually just pour some red 1209 01:04:22,840 --> 01:04:26,640 Speaker 3: krosyrup blood down a staircase versus the cost of computer 1210 01:04:26,840 --> 01:04:30,680 Speaker 3: animating flowing blood in the year two thousand? Why would 1211 01:04:30,680 --> 01:04:31,960 Speaker 3: this be done? Yeah? 1212 01:04:31,960 --> 01:04:33,600 Speaker 1: I mean, I guess we have to be at that 1213 01:04:33,640 --> 01:04:37,360 Speaker 1: tipping point here where the digital effect is cheaper than 1214 01:04:37,360 --> 01:04:39,840 Speaker 1: the practical effect, even though the digital does not look 1215 01:04:39,880 --> 01:04:40,960 Speaker 1: nearly as believable. 1216 01:04:41,520 --> 01:04:44,960 Speaker 3: How could that even be though? Like how much does 1217 01:04:45,000 --> 01:04:47,120 Speaker 3: it cost to make a bucket of fake blood? And 1218 01:04:47,200 --> 01:04:49,160 Speaker 3: just I mean, I guess the cost of the labor 1219 01:04:49,240 --> 01:04:51,080 Speaker 3: to clean it up after you've spilled it? 1220 01:04:51,200 --> 01:04:53,360 Speaker 1: Like, yeah, I don't know. I mean maybe it's it's 1221 01:04:53,400 --> 01:04:55,480 Speaker 1: there in the budget chet where they're like, we're already 1222 01:04:55,480 --> 01:04:57,680 Speaker 1: paying for these digital effects, let's have them do the blood. 1223 01:04:57,720 --> 01:05:00,920 Speaker 1: I don't know, they can't afford some just good Kensington 1224 01:05:01,000 --> 01:05:02,920 Speaker 1: Gore whip stuff on the spot. 1225 01:05:03,000 --> 01:05:07,880 Speaker 3: Bizarre anyway, Jeremy irons he like groans with frustration. It's 1226 01:05:07,920 --> 01:05:10,880 Speaker 3: like not again, and he puts his head in his hands. 1227 01:05:10,920 --> 01:05:14,880 Speaker 3: He just foiled. So he says, this is the part 1228 01:05:14,880 --> 01:05:17,680 Speaker 3: where he says, we shall have to modify our plans. 1229 01:05:18,120 --> 01:05:20,080 Speaker 3: He says they're going to summon the High Council of 1230 01:05:20,160 --> 01:05:23,280 Speaker 3: Mages and that he's going to try to turn them 1231 01:05:23,400 --> 01:05:26,560 Speaker 3: against the Impress, and Damadar says it will be done. 1232 01:05:27,720 --> 01:05:30,520 Speaker 3: And then oh, when the cgi blood hits the water below, 1233 01:05:30,600 --> 01:05:33,439 Speaker 3: the water catches fire, and then the fire runs out 1234 01:05:33,480 --> 01:05:35,920 Speaker 3: of the dungeon into the moat all around the castle. 1235 01:05:36,000 --> 01:05:38,720 Speaker 3: So the whole city can see the fire, and they 1236 01:05:38,720 --> 01:05:40,400 Speaker 3: gather around the moat to look at. 1237 01:05:40,280 --> 01:05:45,520 Speaker 1: It, but they're not like super concerned. It's kind of like, oh, 1238 01:05:44,480 --> 01:05:48,360 Speaker 1: the river's on fire again, you know, It's just this happens. 1239 01:05:48,480 --> 01:05:50,880 Speaker 1: This is just the kind of ecological nightmare we're living in. 1240 01:05:51,040 --> 01:05:55,160 Speaker 3: It's the Cuyahoga. Yeah. So on the banks of the moat, 1241 01:05:55,200 --> 01:05:58,760 Speaker 3: here we meet our two protagonists. This is our pair 1242 01:05:58,800 --> 01:06:02,160 Speaker 3: of buddy rogues. This is Ridley and Snails, Justin Whalen 1243 01:06:02,320 --> 01:06:06,600 Speaker 3: and Marlon Wayans. Ridley's first line, commenting on the water 1244 01:06:06,680 --> 01:06:09,880 Speaker 3: catching fire. He says, I'm telling you it's got to 1245 01:06:09,920 --> 01:06:15,800 Speaker 3: be some twisted magic experiment gone seriously wrong. And you know, 1246 01:06:15,880 --> 01:06:18,840 Speaker 3: Snails is less, He's got less of a bee in 1247 01:06:18,880 --> 01:06:21,760 Speaker 3: his bondet about this. He's just like, you know, Ridley, 1248 01:06:21,760 --> 01:06:24,640 Speaker 3: why are you always mad at the Mages? And Ridley says, 1249 01:06:25,000 --> 01:06:27,040 Speaker 3: I'd just love to find a way to give those 1250 01:06:27,080 --> 01:06:31,720 Speaker 3: mages some payback. So, as I said earlier, in this movie, 1251 01:06:31,880 --> 01:06:37,040 Speaker 3: mages seems to be an economic class. Mages are the rich, 1252 01:06:37,560 --> 01:06:40,800 Speaker 3: seemingly whether or not they're personally really like a wizard. 1253 01:06:41,280 --> 01:06:43,880 Speaker 3: And Ridley and Snails, on the other hand, are representatives 1254 01:06:43,920 --> 01:06:47,600 Speaker 3: of the common people. Ridley is a sort of idealistic 1255 01:06:47,880 --> 01:06:50,280 Speaker 3: class warrior who wants to fight for the poor and 1256 01:06:50,320 --> 01:06:53,800 Speaker 3: stick it to the mages, and Snails is less idealistic. 1257 01:06:53,880 --> 01:06:56,160 Speaker 3: The way he explains it, he's like, the world's never 1258 01:06:56,200 --> 01:06:58,720 Speaker 3: going to change. There are the haves, the have nots, 1259 01:06:58,800 --> 01:07:01,880 Speaker 3: and the gotta gets, and we two rogues. We are 1260 01:07:01,880 --> 01:07:05,160 Speaker 3: in the last group where the gotta gets. But Ridley 1261 01:07:05,160 --> 01:07:07,520 Speaker 3: comes up with an idea of what they should do 1262 01:07:07,600 --> 01:07:10,000 Speaker 3: to punish the Mages for setting fire to the river. 1263 01:07:10,320 --> 01:07:12,800 Speaker 3: They're going to pull off a heist at the Magic School, 1264 01:07:12,920 --> 01:07:17,520 Speaker 3: which is in the highest tower in the castle. And 1265 01:07:17,840 --> 01:07:19,600 Speaker 3: also I'm not going to narrate all this as we 1266 01:07:19,680 --> 01:07:21,360 Speaker 3: go on throughout the movie, but just be aware that 1267 01:07:21,400 --> 01:07:24,560 Speaker 3: in every scene with Ridley and Snails, there's a lot 1268 01:07:24,600 --> 01:07:27,720 Speaker 3: of what is supposed to be comedic banter and like 1269 01:07:27,800 --> 01:07:30,720 Speaker 3: you know, comedic back and forth and zany character gags, 1270 01:07:31,400 --> 01:07:33,320 Speaker 3: and I'm trying to be generous, but most of it 1271 01:07:33,360 --> 01:07:36,160 Speaker 3: does not work very well, and it is rarely very funny. 1272 01:07:36,800 --> 01:07:40,040 Speaker 1: So they have decided that they are going to get 1273 01:07:40,040 --> 01:07:42,960 Speaker 1: their revenge by breaking into the stronghold of some of 1274 01:07:43,000 --> 01:07:46,200 Speaker 1: the most powerful and dangerous people on the planet. 1275 01:07:46,240 --> 01:07:48,000 Speaker 3: Okay, yes, and they're going to steal from them. 1276 01:07:48,040 --> 01:07:53,600 Speaker 1: Ye all right, sounds good. Sounds like a good plant. 1277 01:07:58,680 --> 01:08:00,480 Speaker 3: So from here we move on to it scene that 1278 01:08:00,520 --> 01:08:04,000 Speaker 3: looks like it was filmed in the opera house in Amadeas. 1279 01:08:04,160 --> 01:08:07,960 Speaker 3: It's like a beautiful interior location, but this is the 1280 01:08:08,000 --> 01:08:10,960 Speaker 3: Council of Mages and it's got box seats full of 1281 01:08:11,000 --> 01:08:13,560 Speaker 3: old men and cloaks, and there appears to be a 1282 01:08:13,600 --> 01:08:17,400 Speaker 3: sort of floor debate going on between Profion and a 1283 01:08:17,439 --> 01:08:21,360 Speaker 3: guy who's sort of impress Savena's ally named Asmath. So 1284 01:08:22,160 --> 01:08:24,360 Speaker 3: there are a lot of old men yelling in the background, 1285 01:08:24,360 --> 01:08:27,120 Speaker 3: But basically the gist of the scene is that Profion 1286 01:08:27,240 --> 01:08:29,839 Speaker 3: is saying, the Empress is going to dissolve the Council 1287 01:08:29,920 --> 01:08:33,880 Speaker 3: of Mages and seize power for herself. He explains that 1288 01:08:33,960 --> 01:08:36,599 Speaker 3: she wants to do this because of her naive belief 1289 01:08:36,920 --> 01:08:40,360 Speaker 3: that she can bring justice and equality to all the people. 1290 01:08:40,920 --> 01:08:45,040 Speaker 3: And then as Math tries to calm him down, he's like, oh, no, no, no. 1291 01:08:45,160 --> 01:08:47,840 Speaker 3: In time, with our council, she will come to see 1292 01:08:47,920 --> 01:08:52,040 Speaker 3: why things cannot be changed. And then Profion says, maybe so, 1293 01:08:52,360 --> 01:08:54,240 Speaker 3: but is that a risk you are willing to take. 1294 01:08:54,560 --> 01:08:58,160 Speaker 3: Her revolutionary ideas have already taken root among the people. 1295 01:08:58,520 --> 01:09:01,400 Speaker 3: In time, her influence will go row. As the months 1296 01:09:01,400 --> 01:09:03,960 Speaker 3: go by, she will learn to master the powers of 1297 01:09:04,000 --> 01:09:07,000 Speaker 3: her scepter, and when she does, I have no doubt 1298 01:09:07,040 --> 01:09:09,800 Speaker 3: she will use it to enforce her changes upon us. 1299 01:09:10,600 --> 01:09:10,720 Speaker 4: Uh. 1300 01:09:10,880 --> 01:09:15,840 Speaker 3: And so you know, they're they're arguing about this political situation, 1301 01:09:15,960 --> 01:09:17,840 Speaker 3: but I feel like we need to go one step of, 1302 01:09:18,479 --> 01:09:20,760 Speaker 3: we need to go one step back. What does the 1303 01:09:20,800 --> 01:09:24,280 Speaker 3: Council of Mages do? Like, what are its powers and 1304 01:09:24,320 --> 01:09:25,520 Speaker 3: agenda currently? 1305 01:09:25,800 --> 01:09:27,639 Speaker 1: Yeah, what are the checks and balances right. 1306 01:09:28,320 --> 01:09:31,840 Speaker 3: Anyway, Profion urges the council to vote to remove the 1307 01:09:31,880 --> 01:09:35,360 Speaker 3: scepter from the Empress's control and destroy the threat of 1308 01:09:35,439 --> 01:09:38,400 Speaker 3: revolution forever. Is this supposed to be the sceptor that 1309 01:09:38,439 --> 01:09:41,439 Speaker 3: he was already trying to use in the scene before. 1310 01:09:41,640 --> 01:09:45,799 Speaker 1: I think I become increasingly confused about scepters in this movie. 1311 01:09:46,320 --> 01:09:49,320 Speaker 1: It starts out so clear, like there's the scepter, it's 1312 01:09:49,360 --> 01:09:51,679 Speaker 1: got a you know, a grain gem on it, trying 1313 01:09:51,680 --> 01:09:53,439 Speaker 1: to use it to control the dragons. But then there's 1314 01:09:53,439 --> 01:09:56,080 Speaker 1: talk of her scepter later on, there's a skeleton with 1315 01:09:56,120 --> 01:09:58,680 Speaker 1: a sceptor. Are these a rod? Are they? 1316 01:09:58,760 --> 01:09:58,880 Speaker 3: Oh? 1317 01:09:58,920 --> 01:09:59,519 Speaker 1: That's the rod? 1318 01:10:00,240 --> 01:10:00,439 Speaker 3: Rod? 1319 01:10:01,160 --> 01:10:05,960 Speaker 1: Okay? But I found myself confused at multiple times, like rod, scepter, 1320 01:10:06,479 --> 01:10:09,200 Speaker 1: multiple scepters, multiple rods. I don't know. 1321 01:10:09,600 --> 01:10:12,240 Speaker 3: Only a fool would confuse a rod with a sceptor. 1322 01:10:14,840 --> 01:10:16,840 Speaker 3: And then also we get a scene where we meet 1323 01:10:16,880 --> 01:10:21,519 Speaker 3: the Empress somewhere else in the castle, so thora Birch 1324 01:10:21,640 --> 01:10:24,320 Speaker 3: is she's the Impress, She's she's kind of goth in 1325 01:10:24,400 --> 01:10:27,080 Speaker 3: this scene, but in a later scene she's got some 1326 01:10:27,880 --> 01:10:31,320 Speaker 3: are they cool? Yeah? I guess cool? Cool weird costumes 1327 01:10:31,320 --> 01:10:33,360 Speaker 3: in this movie and this this scene, she's kind of 1328 01:10:33,360 --> 01:10:36,559 Speaker 3: goth with like pins stuck in her hair. Later on 1329 01:10:36,680 --> 01:10:39,920 Speaker 3: she'll be in like bizarre gold chain mail. 1330 01:10:40,479 --> 01:10:42,080 Speaker 1: She looks more comfortable here for sure. 1331 01:10:42,280 --> 01:10:46,400 Speaker 3: Yes, but this scene was actually shot in a very 1332 01:10:46,439 --> 01:10:48,720 Speaker 3: beautiful location. Once again, I think this must be some 1333 01:10:48,800 --> 01:10:51,760 Speaker 3: kind of cathedral or basilica somewhere. This doesn't look like 1334 01:10:51,760 --> 01:10:55,559 Speaker 3: a movie set anyway. She's been She's being advised by 1335 01:10:55,560 --> 01:10:59,240 Speaker 3: a kindly older mage named Vilden, and he explains that 1336 01:10:59,479 --> 01:11:02,160 Speaker 3: the the mages are afraid of her because she believes 1337 01:11:02,160 --> 01:11:05,160 Speaker 3: in freedom and equality for all the people, and so 1338 01:11:05,200 --> 01:11:07,600 Speaker 3: they're trying to limit her power. And he's got a 1339 01:11:07,640 --> 01:11:10,439 Speaker 3: way for her to outsmart the mage counsel and get 1340 01:11:10,439 --> 01:11:13,400 Speaker 3: the upper hand, and that is to acquire the rod. 1341 01:11:13,600 --> 01:11:16,599 Speaker 3: You know the rod. Yes, it's the mcguffin, the main 1342 01:11:16,680 --> 01:11:19,360 Speaker 3: mcguffin of the movie. She's got to acquire the Rod 1343 01:11:19,439 --> 01:11:24,280 Speaker 3: of Savriel, which controls dragons, but unlike her scepter, it 1344 01:11:24,320 --> 01:11:28,120 Speaker 3: controls red dragons. Here's what I was talking about. In 1345 01:11:28,200 --> 01:11:30,599 Speaker 3: the scene. They don't explain it. Is this something that 1346 01:11:30,640 --> 01:11:33,559 Speaker 3: the audience is supposed to understand because it's just like, oh, 1347 01:11:33,760 --> 01:11:35,799 Speaker 3: red dragons. Oh wow? 1348 01:11:35,960 --> 01:11:39,280 Speaker 1: Okay, By the way, I want to add that it 1349 01:11:39,320 --> 01:11:42,479 Speaker 1: does kind of feel like every MPC we encounter has 1350 01:11:42,520 --> 01:11:45,040 Speaker 1: a name made up on the fly by the DM 1351 01:11:45,439 --> 01:11:48,680 Speaker 1: where the game's like. And then the mage introduces his 1352 01:11:48,840 --> 01:11:53,320 Speaker 1: name as Vilden his name, and let me write that 1353 01:11:53,360 --> 01:11:54,240 Speaker 1: down so I remember it. 1354 01:11:54,320 --> 01:11:57,680 Speaker 3: Later the exact same thought. The naming game is not 1355 01:11:57,960 --> 01:12:07,280 Speaker 3: strong here Wilden, Yes, a Profion Yeah, anyway, Profion overhears 1356 01:12:07,320 --> 01:12:10,559 Speaker 3: this conversation with the help of a little magical spy creature. 1357 01:12:10,840 --> 01:12:12,400 Speaker 3: Where is this supposed to be a mefeit? 1358 01:12:12,960 --> 01:12:16,400 Speaker 1: You think, yes, I did not make this connection, but 1359 01:12:16,840 --> 01:12:19,080 Speaker 1: my kid did. They were like, oh the method. 1360 01:12:19,200 --> 01:12:21,280 Speaker 3: I think that could be right. Yeah, okay, anyway, so 1361 01:12:21,360 --> 01:12:24,160 Speaker 3: he's got a little like spy, a little gray spy 1362 01:12:24,240 --> 01:12:27,599 Speaker 3: demon that runs around peeping on things. And then he 1363 01:12:27,640 --> 01:12:30,800 Speaker 3: knows immediately. So Jeremy Irons is like, I must have 1364 01:12:30,960 --> 01:12:34,320 Speaker 3: the Rod of Savriel. He says, with one wave of it, 1365 01:12:34,400 --> 01:12:36,320 Speaker 3: he's going to be able to topple the Empress and 1366 01:12:36,439 --> 01:12:39,640 Speaker 3: bring down that useless Council of idiots with her. So 1367 01:12:40,320 --> 01:12:42,960 Speaker 3: he sends Damodar to the Magic School to steal the 1368 01:12:42,960 --> 01:12:46,479 Speaker 3: scroll that shows the location of the Rod of Savriel 1369 01:12:46,640 --> 01:12:50,400 Speaker 3: from Vilden and then kill Vilden too. So here's where 1370 01:12:50,439 --> 01:12:53,160 Speaker 3: our characters start kind of colliding with each other. So 1371 01:12:53,360 --> 01:12:56,920 Speaker 3: Ridley and Snails they sneak into the magic School to 1372 01:12:57,040 --> 01:12:59,400 Speaker 3: steal things in the night. Of course, they're using rope 1373 01:12:59,439 --> 01:13:02,040 Speaker 3: and grappling hooks. You know, they're rogues, that's what you do. 1374 01:13:03,120 --> 01:13:05,320 Speaker 3: They make a lot of jokes about how Snails, I 1375 01:13:05,360 --> 01:13:08,120 Speaker 3: think is afraid of heights, which is not great for 1376 01:13:08,200 --> 01:13:08,719 Speaker 3: a rogue. 1377 01:13:10,200 --> 01:13:13,360 Speaker 1: But rogues can always go under or through, they don't 1378 01:13:13,360 --> 01:13:14,040 Speaker 1: have to go over. 1379 01:13:14,400 --> 01:13:17,080 Speaker 3: I guess that's true. And then there's some gags here 1380 01:13:17,120 --> 01:13:20,840 Speaker 3: with like big foam dragon teeth and magical boxes of 1381 01:13:20,920 --> 01:13:24,320 Speaker 3: illusions and stuff. Meanwhile, in the room next door we 1382 01:13:24,360 --> 01:13:28,160 Speaker 3: meet another character. This is Vildun's assistant, Marina, who is 1383 01:13:28,200 --> 01:13:31,519 Speaker 3: a young mage in training. Yes her name is Marina 1384 01:13:31,680 --> 01:13:36,200 Speaker 3: like the place where boats go, and Marina is very intelligent, 1385 01:13:36,280 --> 01:13:39,679 Speaker 3: but she is also snobby and condescending to non mages. 1386 01:13:41,040 --> 01:13:43,479 Speaker 3: So Vilden and Marina are looking for the scroll that 1387 01:13:43,560 --> 01:13:45,800 Speaker 3: says where the rod is, because you know, you got 1388 01:13:45,800 --> 01:13:48,519 Speaker 3: to get the rod, and eventually they find it, but 1389 01:13:48,600 --> 01:13:52,160 Speaker 3: they are interrupted when Marina catches Ridley and Snails in 1390 01:13:52,200 --> 01:13:55,439 Speaker 3: the middle of like loading up their lut sacks. She 1391 01:13:55,640 --> 01:13:58,280 Speaker 3: ties them up with a magical lasso, but then is 1392 01:13:58,320 --> 01:14:01,160 Speaker 3: interrupted once again when damn It shows up to kill 1393 01:14:01,240 --> 01:14:06,040 Speaker 3: Vildan and take the scroll. So Damodar kills Vilden and 1394 01:14:06,120 --> 01:14:09,120 Speaker 3: Marina escapes through a magical portal, the first of many, 1395 01:14:10,080 --> 01:14:13,880 Speaker 3: with the scroll, inadvertently pulling Ridley and Snails along behind 1396 01:14:13,880 --> 01:14:16,760 Speaker 3: her with the lasso. This portal takes them out into 1397 01:14:16,800 --> 01:14:19,880 Speaker 3: the streets of the city below, and then, while running 1398 01:14:19,920 --> 01:14:23,080 Speaker 3: through the streets pursued by the bad guys, our three 1399 01:14:23,120 --> 01:14:26,080 Speaker 3: young heroes bump into a dwarf warrior who I believe 1400 01:14:26,160 --> 01:14:28,040 Speaker 3: is sleeping in a big compost heap. 1401 01:14:28,520 --> 01:14:31,679 Speaker 1: Yes, because according to this film, that's what dwarfs do. 1402 01:14:31,960 --> 01:14:35,519 Speaker 1: They drink, they eat, they don't brush their teeth, and 1403 01:14:35,640 --> 01:14:37,360 Speaker 1: they sleep on piles. 1404 01:14:37,080 --> 01:14:41,679 Speaker 3: Of garbage on compost. Yeah. So now our three heroes, 1405 01:14:41,720 --> 01:14:43,920 Speaker 3: and then now also the dwarf fighter, who we will 1406 01:14:43,920 --> 01:14:47,040 Speaker 3: come to learn is named Elwood. They all dive down 1407 01:14:47,240 --> 01:14:50,360 Speaker 3: into a drain pipe in the sewer to escape as 1408 01:14:50,439 --> 01:14:53,479 Speaker 3: Damodar closes in. So Elwood is just a member of 1409 01:14:53,479 --> 01:14:55,880 Speaker 3: the party. Now, it's that fast. They just bump into 1410 01:14:55,960 --> 01:14:58,280 Speaker 3: him in some garbage, and now he's part of the party. 1411 01:14:58,400 --> 01:15:00,799 Speaker 1: That was his call to adventure was just somebody bumped 1412 01:15:00,800 --> 01:15:04,000 Speaker 1: into him. Now we're hanging out. 1413 01:15:03,960 --> 01:15:06,160 Speaker 3: And here's where we get one of Bruce Payne's most 1414 01:15:06,360 --> 01:15:09,640 Speaker 3: unbelievable line deliveries. I wrote down exactly what it is. 1415 01:15:09,880 --> 01:15:13,519 Speaker 3: He says, post brigades at every sewer, entrance and exit. 1416 01:15:13,840 --> 01:15:16,400 Speaker 3: I want them found now. But you will just not 1417 01:15:16,640 --> 01:15:18,040 Speaker 3: believe how he says that. 1418 01:15:18,520 --> 01:15:20,920 Speaker 1: He says it like it's his only line in the film. 1419 01:15:21,320 --> 01:15:27,320 Speaker 3: Yeah. Yeah, Anyway, later we learned that Marina has been 1420 01:15:27,439 --> 01:15:30,120 Speaker 3: framed for the murder of her teacher, and the four 1421 01:15:30,160 --> 01:15:33,800 Speaker 3: heroes decide that they've got to work together. Ooh, and 1422 01:15:33,880 --> 01:15:36,400 Speaker 3: then here's where we get that great ludicrous scene where 1423 01:15:36,439 --> 01:15:41,240 Speaker 3: Jeremy Irons punishes Bruce Payne for letting them escape, so 1424 01:15:41,360 --> 01:15:46,200 Speaker 3: he puts CGI snakes in Bruce Payne's ears. I don't know, 1425 01:15:46,200 --> 01:15:48,880 Speaker 3: how would you describe the parasite implantation scene? 1426 01:15:48,960 --> 01:15:52,160 Speaker 1: Yeah, I don't know. Weird CGI creature. I'm not sure 1427 01:15:52,200 --> 01:15:55,720 Speaker 1: how it gets in exactly, Like does he shove in 1428 01:15:55,760 --> 01:15:56,200 Speaker 1: his mouth. 1429 01:15:57,120 --> 01:15:59,439 Speaker 3: He's like zaps it into him somehow. But then we 1430 01:15:59,439 --> 01:16:03,000 Speaker 3: see it like running around underneath his skin, and then 1431 01:16:03,120 --> 01:16:05,240 Speaker 3: it comes up to his ears and his ears get 1432 01:16:05,240 --> 01:16:08,040 Speaker 3: all swollen, and then the snakes pop out of his 1433 01:16:08,120 --> 01:16:10,160 Speaker 3: ears and he looks unhappy. 1434 01:16:10,760 --> 01:16:14,080 Speaker 1: Yeah, as far as I know, this is not something. 1435 01:16:14,120 --> 01:16:16,000 Speaker 1: It may be something in D and D. There are 1436 01:16:16,000 --> 01:16:17,400 Speaker 1: a lot of creatures in D and D, and this 1437 01:16:17,479 --> 01:16:19,759 Speaker 1: is not what I'm familiar with it in any case. 1438 01:16:20,640 --> 01:16:23,559 Speaker 1: But I mean, the CGI is not the best, but 1439 01:16:23,640 --> 01:16:26,400 Speaker 1: it's also not the worst, even by this movie's standards. 1440 01:16:26,439 --> 01:16:30,680 Speaker 1: It and pain does a good job selling like the 1441 01:16:30,720 --> 01:16:35,040 Speaker 1: otherworldly pain of having this creature inside his head. And 1442 01:16:35,120 --> 01:16:38,600 Speaker 1: I have to say you included a very nice screenshot 1443 01:16:38,640 --> 01:16:41,519 Speaker 1: here where Jeremy Irons is looming behind him and you 1444 01:16:41,600 --> 01:16:47,479 Speaker 1: have these like the osuary constructures like crowning his head, 1445 01:16:47,680 --> 01:16:51,800 Speaker 1: like horns of like skeletal horns. It's it's really cool. 1446 01:16:52,080 --> 01:16:56,240 Speaker 3: Yeah. Oh yeah, another actually great interior location here, but yeah, 1447 01:16:56,280 --> 01:16:58,240 Speaker 3: for a ridiculous scene. 1448 01:16:58,439 --> 01:17:01,360 Speaker 1: And it's like he's being with a fate worse than 1449 01:17:01,439 --> 01:17:03,439 Speaker 1: death for like a minor screw up. 1450 01:17:03,840 --> 01:17:06,400 Speaker 3: Yeah yeah. 1451 01:17:06,479 --> 01:17:06,639 Speaker 1: Oh. 1452 01:17:06,680 --> 01:17:10,120 Speaker 3: We also learned here that the Impress's tracker Norda, is 1453 01:17:10,160 --> 01:17:12,400 Speaker 3: in pursuit of the scroll as well. So this is 1454 01:17:12,479 --> 01:17:15,240 Speaker 3: how we're gonna work what seems like a ranger character. 1455 01:17:14,920 --> 01:17:17,559 Speaker 1: In Yeah, yeah, she's a ranger, and he's like, just 1456 01:17:17,600 --> 01:17:20,400 Speaker 1: follow her. This just got a lot easier. Also, that's 1457 01:17:20,479 --> 01:17:22,200 Speaker 1: that's the whine I put the snake in your head 1458 01:17:22,240 --> 01:17:23,839 Speaker 1: so we can follow the tracker. 1459 01:17:25,000 --> 01:17:27,479 Speaker 3: So now we go to a bar, which is basically 1460 01:17:27,520 --> 01:17:30,760 Speaker 3: the most icedly canteena scene. We just see a lot 1461 01:17:30,840 --> 01:17:33,200 Speaker 3: of people, a lot of different kinds of creatures running 1462 01:17:33,200 --> 01:17:37,400 Speaker 3: around drinking, you know, zany antics, people just dancing, just 1463 01:17:37,439 --> 01:17:39,439 Speaker 3: kind of dancing like they're at a club kind of. 1464 01:17:39,600 --> 01:17:43,320 Speaker 3: It doesn't necessarily look like the medieval aesthetic of a 1465 01:17:43,400 --> 01:17:44,880 Speaker 3: dance dance going on. 1466 01:17:45,120 --> 01:17:48,200 Speaker 1: It's a weird scene because some of the creatures just 1467 01:17:48,240 --> 01:17:51,519 Speaker 1: look like dudes in face paint. Others look like like 1468 01:17:51,800 --> 01:17:55,439 Speaker 1: serious attempts to create something like goblins or orcs. Yeah, 1469 01:17:55,479 --> 01:17:58,280 Speaker 1: and others look like they jumped off the page of 1470 01:17:58,400 --> 01:18:00,200 Speaker 1: the Garden of Earthly Delights, you know. 1471 01:18:00,320 --> 01:18:03,360 Speaker 3: Yes, yeah, yeah. This is also the scene where they're 1472 01:18:03,360 --> 01:18:05,559 Speaker 3: trying to figure out how much chicken they can fit 1473 01:18:05,600 --> 01:18:06,599 Speaker 3: in Elwood's beard. 1474 01:18:06,960 --> 01:18:09,320 Speaker 1: Yes, and the answer is a lot. 1475 01:18:09,720 --> 01:18:13,240 Speaker 3: Yeah. So he's trying to tell stories while he's eating 1476 01:18:13,360 --> 01:18:15,880 Speaker 3: like a chicken hole. You know, that's the joke like 1477 01:18:16,040 --> 01:18:17,840 Speaker 3: you just take the whole chicken and shove it in 1478 01:18:17,880 --> 01:18:21,800 Speaker 3: your face. But they seem so Our heroes seem to 1479 01:18:21,840 --> 01:18:24,080 Speaker 3: have arrived at a consensus that they can find the 1480 01:18:24,160 --> 01:18:28,360 Speaker 3: rod of Savrial themselves and that they need to do this. 1481 01:18:28,520 --> 01:18:30,800 Speaker 3: And this appeals to Marina because she's going to be 1482 01:18:30,840 --> 01:18:33,559 Speaker 3: able to clear her name. And then the others are 1483 01:18:33,600 --> 01:18:36,599 Speaker 3: tempted by the idea of a financial reward from the 1484 01:18:36,600 --> 01:18:39,720 Speaker 3: Empress when they deliver it to her. And there's a 1485 01:18:39,760 --> 01:18:44,559 Speaker 3: lot more banter and open mouth chewing related comedy. I 1486 01:18:44,640 --> 01:18:47,200 Speaker 3: was trying to think. Major takeaways from the scene are, like, 1487 01:18:47,600 --> 01:18:53,280 Speaker 3: there's class antagonism. Marina insults Ridley and Snails for being criminals, 1488 01:18:53,800 --> 01:18:56,200 Speaker 3: and they try to explain to her the concept of 1489 01:18:56,280 --> 01:19:00,120 Speaker 3: honor among thieves. That's where this comes in. She's like, well, 1490 01:19:00,160 --> 01:19:05,240 Speaker 3: commoners really are common it seems, and Elwood wants gold 1491 01:19:05,280 --> 01:19:11,439 Speaker 3: and chicken, and so it becomes clear that Ridley has 1492 01:19:11,479 --> 01:19:14,760 Speaker 3: a crush on Marina. Uh oh, So they kind of 1493 01:19:14,840 --> 01:19:17,920 Speaker 3: even though they argue, they don't part ways, they're kind 1494 01:19:17,920 --> 01:19:19,800 Speaker 3: of drawn together and they figure out how to do 1495 01:19:19,880 --> 01:19:24,840 Speaker 3: some kind of magic teleportation into inside the scroll. I 1496 01:19:24,840 --> 01:19:27,880 Speaker 3: don't remember exactly what's going on there. But also in 1497 01:19:27,920 --> 01:19:31,439 Speaker 3: the scene, Snails meets Norda, the Empress's ranger. You know, 1498 01:19:31,479 --> 01:19:36,120 Speaker 3: she's very very kind of stoic and keeps the cards 1499 01:19:36,160 --> 01:19:38,800 Speaker 3: close to the chest. But he goes up and tries 1500 01:19:38,840 --> 01:19:41,559 Speaker 3: to buy her some wine and like whispers to the bartender, 1501 01:19:41,640 --> 01:19:46,200 Speaker 3: like make it your cheapest wine. But then this scene 1502 01:19:46,320 --> 01:19:48,760 Speaker 3: is ended when Damadar and his soldiers show up. And 1503 01:19:48,800 --> 01:19:50,719 Speaker 3: this is going to be a pattern throughout the film 1504 01:19:50,840 --> 01:19:54,600 Speaker 3: where there's just like a scene that ends because Damodar 1505 01:19:54,800 --> 01:19:57,360 Speaker 3: arrives that just happens over and over and over. 1506 01:19:57,800 --> 01:20:00,320 Speaker 1: Yes, I mean it's not the worst structure have I 1507 01:20:00,320 --> 01:20:03,799 Speaker 1: guess in a story, but but yeah, it is definitely 1508 01:20:03,800 --> 01:20:04,280 Speaker 1: the pattern. 1509 01:20:04,600 --> 01:20:08,240 Speaker 3: Elwood cleverly covers their escape by flipping over a table 1510 01:20:08,320 --> 01:20:12,160 Speaker 3: and shouting bar fight yeah, which and everyone obeys. 1511 01:20:12,360 --> 01:20:15,639 Speaker 1: Yeah. 1512 01:20:15,680 --> 01:20:19,040 Speaker 3: Anyway, later Ridley and Marina they teleport like back out 1513 01:20:19,120 --> 01:20:21,479 Speaker 3: of the scroll and now they know what the next 1514 01:20:21,560 --> 01:20:23,800 Speaker 3: leg of the quest is. Somehow they know that they've 1515 01:20:23,800 --> 01:20:26,960 Speaker 3: got to get into the Temple of Dragons so they 1516 01:20:26,960 --> 01:20:29,200 Speaker 3: can get the rod. And to get into the Temple 1517 01:20:29,240 --> 01:20:32,080 Speaker 3: of Dragons, they've got to have a magic artifact called 1518 01:20:32,120 --> 01:20:36,000 Speaker 3: the Eye of the Dragon, which is held by Zylas, 1519 01:20:36,080 --> 01:20:38,639 Speaker 3: the boss of the Thieves Guild in a different city 1520 01:20:38,880 --> 01:20:41,519 Speaker 3: called Antius. You catch all that you're getting all these details. 1521 01:20:41,560 --> 01:20:43,559 Speaker 1: Are you supposed to write this on the back of 1522 01:20:43,600 --> 01:20:45,920 Speaker 1: your character sheet. I mean you can refer back to 1523 01:20:46,000 --> 01:20:48,200 Speaker 1: it and then check them off as you get them. 1524 01:20:48,200 --> 01:20:49,559 Speaker 1: It's like, Okay, first we got to get the one, 1525 01:20:49,600 --> 01:20:50,439 Speaker 1: and then we need to get. 1526 01:20:50,439 --> 01:20:53,519 Speaker 3: Okay, yeah, so that's where they're going next. And then 1527 01:20:53,560 --> 01:20:56,479 Speaker 3: they show like a couple of the nicest looking things 1528 01:20:56,479 --> 01:21:00,280 Speaker 3: in the movie are just random, like zoomed out location shot. 1529 01:21:01,120 --> 01:21:04,479 Speaker 3: So there's one going going into Antius that doesn't look 1530 01:21:04,520 --> 01:21:06,880 Speaker 3: too bad. That's like, it's kind of interesting. It's like 1531 01:21:06,920 --> 01:21:10,840 Speaker 3: showing these big kind of castle fortified castles up on 1532 01:21:10,880 --> 01:21:14,160 Speaker 3: these spires of rock rising above a valley with bridges 1533 01:21:14,200 --> 01:21:15,160 Speaker 3: spanning out to them. 1534 01:21:15,360 --> 01:21:17,680 Speaker 1: Yeah, it looks really cool. I don't really get the 1535 01:21:17,720 --> 01:21:20,200 Speaker 1: sense that the place we then go to is in 1536 01:21:20,240 --> 01:21:23,160 Speaker 1: fact this location. No, it doesn't look like it, but 1537 01:21:23,240 --> 01:21:25,559 Speaker 1: would have been neat to go there. There's a lot 1538 01:21:25,600 --> 01:21:27,719 Speaker 1: of goofing around. When our heroes arrive. 1539 01:21:27,840 --> 01:21:30,200 Speaker 3: They go to the marketplace and they just see weird 1540 01:21:30,240 --> 01:21:32,760 Speaker 3: people and creatures and it's like, oh, I'm you know, 1541 01:21:32,800 --> 01:21:35,719 Speaker 3: I'm getting distracted from our mission by various things. 1542 01:21:35,880 --> 01:21:39,360 Speaker 1: Yeah. Our mage momentarily looks at some jewelry that's being 1543 01:21:39,400 --> 01:21:41,400 Speaker 1: sold by a vendor, and the dwarf says, if I 1544 01:21:41,400 --> 01:21:43,240 Speaker 1: don't get to drink, you don't get to shop. 1545 01:21:43,920 --> 01:21:47,480 Speaker 3: And I'm like, oh my god, oh boy. And eventually 1546 01:21:47,520 --> 01:21:49,960 Speaker 3: they talk their way into a meeting with Zilas at 1547 01:21:49,960 --> 01:21:53,840 Speaker 3: the Thieves Guild played by Richard O'Brien and Marina. When 1548 01:21:53,840 --> 01:21:56,400 Speaker 3: they go in, Marina says to Justin Whalen, She's like, so, 1549 01:21:56,479 --> 01:21:59,080 Speaker 3: this is it, right, everything a thief strives for? And 1550 01:21:59,160 --> 01:22:03,080 Speaker 3: Ridley says, yea, yeah, So what a thief strives for 1551 01:22:03,320 --> 01:22:07,840 Speaker 3: is to live in like a baroque salon with purple walls, 1552 01:22:08,120 --> 01:22:12,439 Speaker 3: gold furniture, rugs and pillows everywhere, and lots of weird 1553 01:22:12,520 --> 01:22:15,840 Speaker 3: people lounging about in various states of dress, and also 1554 01:22:15,880 --> 01:22:17,200 Speaker 3: somebody to feed you grapes. 1555 01:22:17,920 --> 01:22:21,240 Speaker 1: Yeah, and he really. Richard O'Brien's character comes off more 1556 01:22:21,280 --> 01:22:23,760 Speaker 1: as like King of the Circus as opposed to like 1557 01:22:23,920 --> 01:22:24,839 Speaker 1: Prince of Thiefs. 1558 01:22:25,200 --> 01:22:29,200 Speaker 3: Yeah, yeah, I agree, there's there is a showbiz element 1559 01:22:29,320 --> 01:22:33,400 Speaker 3: to him that doesn't quite feel like the Thieves Guild. 1560 01:22:34,000 --> 01:22:37,599 Speaker 1: Yeah. Yeah, everything feels a little off with this character 1561 01:22:37,640 --> 01:22:40,640 Speaker 1: and this presentation and this whole scene. Again, none of 1562 01:22:40,640 --> 01:22:42,880 Speaker 1: this is like Richard O'Brien's fault. It's just I don't know, 1563 01:22:42,920 --> 01:22:45,320 Speaker 1: things didn't come together right. And then we also have 1564 01:22:45,360 --> 01:22:49,880 Speaker 1: that weird purple headed guy. Yeah, and the eye with 1565 01:22:49,960 --> 01:22:54,120 Speaker 1: the third eye, and also just like some very like 1566 01:22:54,240 --> 01:22:58,880 Speaker 1: strong overacting underteaeth, all that makeup that was just distracting 1567 01:22:59,160 --> 01:23:01,160 Speaker 1: every time he was on this. I was just trying 1568 01:23:01,160 --> 01:23:03,439 Speaker 1: to figure out what choices led us to this. 1569 01:23:03,960 --> 01:23:07,320 Speaker 3: So thoughts on Richard O'Brien's performance. He's not hamming it 1570 01:23:07,439 --> 01:23:10,879 Speaker 3: up with quite the rocket fuel intensity of Jeremy Irons, 1571 01:23:11,200 --> 01:23:13,479 Speaker 3: but I think he is having fun with this goofy roll. 1572 01:23:13,600 --> 01:23:18,000 Speaker 3: He's sort of a pale, greasy human eel version of 1573 01:23:18,120 --> 01:23:21,599 Speaker 3: Job of the Hut, but he's got this like wide 1574 01:23:21,760 --> 01:23:26,599 Speaker 3: ingratiating smile. He does some casual sexual harassment of Marina. 1575 01:23:26,920 --> 01:23:29,679 Speaker 3: He's a little off and he makes some vaguely threatening 1576 01:23:29,720 --> 01:23:35,440 Speaker 3: comments at them, but then eventually a deal emerges. He's like, Okay, 1577 01:23:35,479 --> 01:23:38,760 Speaker 3: there's a thing called the Antius Guild Maze. It's sort 1578 01:23:38,760 --> 01:23:42,160 Speaker 3: of a deadly obstacle course full of traps, and if 1579 01:23:42,240 --> 01:23:44,040 Speaker 3: Ridley can make it through, he's going to get the 1580 01:23:44,120 --> 01:23:47,639 Speaker 3: Dragon's Eye. And Okay, they make a deal, So I'm 1581 01:23:47,680 --> 01:23:51,000 Speaker 3: not going to narrate solving the maze, but anyway, Justin 1582 01:23:51,040 --> 01:23:53,920 Speaker 3: Whalen has to solve and avoid some Indiana Jones traps 1583 01:23:53,960 --> 01:23:55,559 Speaker 3: to get the prize at the end of the course. 1584 01:23:56,200 --> 01:23:59,320 Speaker 1: And I wonder if this maybe British listeners can chime 1585 01:23:59,400 --> 01:24:01,439 Speaker 1: in on this. I wonder if this whole thing is 1586 01:24:01,439 --> 01:24:04,920 Speaker 1: a reference to the Crystal Mayze game show that I 1587 01:24:04,960 --> 01:24:07,200 Speaker 1: know Richard O'Brien was one of the hosts of. 1588 01:24:07,720 --> 01:24:09,519 Speaker 3: Oh I know nothing of that. 1589 01:24:09,760 --> 01:24:11,639 Speaker 1: I mean, it's certainly nothing I've ever seen, but I'm 1590 01:24:11,680 --> 01:24:15,280 Speaker 1: just familiar with it from being familiar with Richard O'Brien's 1591 01:24:15,280 --> 01:24:16,160 Speaker 1: work over the years. 1592 01:24:16,640 --> 01:24:19,040 Speaker 3: Now, at the end of this whole sequence, Zilas tries 1593 01:24:19,080 --> 01:24:22,479 Speaker 3: to betray them. So it seems the prize that Justin 1594 01:24:22,479 --> 01:24:25,040 Speaker 3: Whalen retrieved from the end of the maze was the 1595 01:24:25,160 --> 01:24:28,639 Speaker 3: artifact that he wanted and Xilas has never been able 1596 01:24:28,640 --> 01:24:30,960 Speaker 3: to get this out of the maze before, so he 1597 01:24:31,000 --> 01:24:33,800 Speaker 3: tries to steal it from Ridley, but they are interrupted 1598 01:24:33,800 --> 01:24:37,360 Speaker 3: by the arrival of Damadar once again, once again, and 1599 01:24:37,479 --> 01:24:40,320 Speaker 3: yet again, a big fight breaks out and our heroes 1600 01:24:40,439 --> 01:24:44,040 Speaker 3: except for Marina, are able to escape because of the fight, 1601 01:24:44,080 --> 01:24:56,280 Speaker 3: and Marina gets captured. Later, our heroes regroup in the 1602 01:24:56,320 --> 01:24:59,360 Speaker 3: woods and they are caught by Norda, the ranger, the 1603 01:24:59,400 --> 01:25:02,760 Speaker 3: tracker who works for the Impress. Here's where you get 1604 01:25:02,800 --> 01:25:05,000 Speaker 3: a good look at her armor, and it's funny. It's 1605 01:25:05,040 --> 01:25:09,800 Speaker 3: like very reflective, I don't know, it's like glinting even 1606 01:25:09,880 --> 01:25:11,600 Speaker 3: in the dark of the forest. 1607 01:25:11,840 --> 01:25:15,000 Speaker 1: Yeah, very form fitting plate armor. And if you've ever 1608 01:25:15,240 --> 01:25:19,559 Speaker 1: seen any fantasy illustration of a female woman in armor, 1609 01:25:19,600 --> 01:25:21,280 Speaker 1: you know exactly what they're going for here. 1610 01:25:21,960 --> 01:25:24,599 Speaker 3: So she's trying to arrest them and take them back, 1611 01:25:24,880 --> 01:25:28,040 Speaker 3: take them and the scroll back to the Empress. But 1612 01:25:28,400 --> 01:25:32,640 Speaker 3: in this encounter instead she learns of the treachery of Profion, 1613 01:25:32,760 --> 01:25:35,320 Speaker 3: and then she reports back to thora Birch via a 1614 01:25:35,360 --> 01:25:39,400 Speaker 3: magical zoom call, and the Empress commands in Orda to 1615 01:25:39,680 --> 01:25:42,919 Speaker 3: instead work together with these people and seek out Damodar 1616 01:25:43,040 --> 01:25:45,799 Speaker 3: and acquire the rod. You must get the rod. Everybody 1617 01:25:45,800 --> 01:25:49,080 Speaker 3: wants the rod. So Norda is now on the same 1618 01:25:49,160 --> 01:25:53,559 Speaker 3: team as our heroes. Now Marina, of course, has been captured, 1619 01:25:53,600 --> 01:25:57,080 Speaker 3: and there's like an interrogation scene where Bruce Payne comes 1620 01:25:57,080 --> 01:26:00,679 Speaker 3: in with his blue lips and he's like, you know, ooh, 1621 01:26:00,720 --> 01:26:03,200 Speaker 3: I don't necessarily want to overthrow the Empress, but I 1622 01:26:03,200 --> 01:26:05,880 Speaker 3: have no choice. I've got ear snakes and she's like. 1623 01:26:06,240 --> 01:26:08,200 Speaker 3: He's like, can you help me? And she says no, 1624 01:26:08,240 --> 01:26:10,880 Speaker 3: I don't know how to help you. And then he 1625 01:26:10,920 --> 01:26:15,519 Speaker 3: gets real mad and he says he's like, well, I 1626 01:26:15,520 --> 01:26:17,800 Speaker 3: can suck the information I need out of your brain 1627 01:26:17,880 --> 01:26:20,479 Speaker 3: with my ear snakes, and then he does it. He 1628 01:26:20,520 --> 01:26:22,759 Speaker 3: gets the info he needs, which I think was basically 1629 01:26:22,840 --> 01:26:25,760 Speaker 3: like where are you going? Yeah, and then we're back 1630 01:26:25,800 --> 01:26:28,479 Speaker 3: with our heroes in Noorda where they're continuing their journey. 1631 01:26:28,479 --> 01:26:30,879 Speaker 3: We eventually find out they're going to come rescue Marina, 1632 01:26:31,520 --> 01:26:33,920 Speaker 3: and this is where you get that exchange between Norda 1633 01:26:33,960 --> 01:26:35,920 Speaker 3: and Snails where it's like, how old are you? I'm 1634 01:26:35,960 --> 01:26:37,080 Speaker 3: two hundred and thirty four? 1635 01:26:37,520 --> 01:26:39,599 Speaker 1: Yeah, yeah, reasonably good joke there. 1636 01:26:40,200 --> 01:26:42,839 Speaker 3: So it's time for rescue. They get to the fortress 1637 01:26:42,920 --> 01:26:45,439 Speaker 3: where Marina is being held, and Snails and Ridley sneak 1638 01:26:45,479 --> 01:26:47,880 Speaker 3: in with the grappling hooks. This is the part where 1639 01:26:47,880 --> 01:26:53,040 Speaker 3: they say Ridley look beholders, and then there's just like 1640 01:26:53,080 --> 01:26:55,679 Speaker 3: a long shot with like there are some vaguely purple 1641 01:26:55,720 --> 01:26:59,280 Speaker 3: looking things in the distance, Like what those the purple blobs? 1642 01:26:59,320 --> 01:26:59,760 Speaker 3: Way far? 1643 01:27:00,800 --> 01:27:04,040 Speaker 1: Yeah, I mean it almost feels like like the digital 1644 01:27:04,080 --> 01:27:05,760 Speaker 1: team was like, you know, we can we can throw 1645 01:27:05,760 --> 01:27:07,479 Speaker 1: some beholders into one of these scenes and you can 1646 01:27:07,520 --> 01:27:09,880 Speaker 1: do some added voiceover about it, and they're like, yeah, 1647 01:27:09,960 --> 01:27:14,839 Speaker 1: let's do it. But it's beholders. If you're not familiar 1648 01:27:14,920 --> 01:27:19,839 Speaker 1: with them, listeners. These are hideous, floating head like beings 1649 01:27:20,320 --> 01:27:24,840 Speaker 1: with numerous eyes on stalks and one central eye. They're 1650 01:27:24,840 --> 01:27:29,320 Speaker 1: incredibly dangerous creatures to run into in a Dungeons and 1651 01:27:29,360 --> 01:27:33,680 Speaker 1: Dragons campaign. They're they're very evil, they're like super paranoid. 1652 01:27:34,439 --> 01:27:35,559 Speaker 3: They don't do. 1653 01:27:35,439 --> 01:27:38,720 Speaker 1: Grunt work guarding castles. Uh. There are some other like 1654 01:27:38,760 --> 01:27:41,599 Speaker 1: beholder related creatures like spectators that I guess you could 1655 01:27:41,600 --> 01:27:44,040 Speaker 1: maybe have in that role, but beholders are not doing 1656 01:27:44,080 --> 01:27:47,320 Speaker 1: that work. Beholders are not going to just be casually encountered. 1657 01:27:47,720 --> 01:27:50,560 Speaker 1: And more to the point, they're like there's like central 1658 01:27:50,880 --> 01:27:54,960 Speaker 1: Dungeons and Dragons ip, like these are things that that 1659 01:27:54,960 --> 01:27:59,600 Speaker 1: that they're almost instantly recognizable as dungeons and dragons creations, 1660 01:27:59,640 --> 01:28:02,840 Speaker 1: so kind of I mean, it's kind of neat that 1661 01:28:02,880 --> 01:28:05,799 Speaker 1: they're included as a as an easter egg here, I guess. 1662 01:28:05,800 --> 01:28:09,880 Speaker 1: But also just they totally don't make the most out 1663 01:28:09,920 --> 01:28:10,960 Speaker 1: of a beholder appearance. 1664 01:28:11,479 --> 01:28:14,759 Speaker 3: Yeah, nobody fights one. They like throw a bone essentially 1665 01:28:14,840 --> 01:28:17,840 Speaker 3: to make one run off after it, and then they 1666 01:28:17,880 --> 01:28:22,680 Speaker 3: sneak in the Then our two rogues split up. Snails 1667 01:28:22,720 --> 01:28:26,679 Speaker 3: goes into Damodar's room and he gets he falls into 1668 01:28:26,800 --> 01:28:31,080 Speaker 3: like a pit of quicksand disguised as a rug. Is 1669 01:28:31,120 --> 01:28:34,479 Speaker 3: this something from D and D It may very well be. 1670 01:28:34,640 --> 01:28:37,479 Speaker 1: I did like the effect here, because oh yeah, this 1671 01:28:37,560 --> 01:28:39,479 Speaker 1: is a practical effect. They did some sort of like 1672 01:28:39,520 --> 01:28:42,919 Speaker 1: a painting on top of a like a movie quicksand situation, 1673 01:28:43,400 --> 01:28:44,559 Speaker 1: and he sinks into it. 1674 01:28:45,000 --> 01:28:47,720 Speaker 3: So I did like this, Yeah, I thought it looked good. 1675 01:28:48,040 --> 01:28:50,000 Speaker 3: He sinks into a bunch of oatmeal and his gross 1676 01:28:50,040 --> 01:28:53,559 Speaker 3: looking and then of course Damodar comes in and attacks Snails. 1677 01:28:54,080 --> 01:28:58,160 Speaker 3: He says something like he's like just like all thieves, 1678 01:28:58,280 --> 01:29:03,280 Speaker 3: always taking things that don't BELI long to you, like, 1679 01:29:03,320 --> 01:29:05,280 Speaker 3: that's a really good dig against a thief. 1680 01:29:05,640 --> 01:29:08,240 Speaker 1: It's true. It's true though, they're always doing it. 1681 01:29:10,200 --> 01:29:13,000 Speaker 3: And they fight, and you know, Snails before he's always 1682 01:29:13,040 --> 01:29:15,479 Speaker 3: being cowardly. He actually gets some good slashes in on 1683 01:29:15,600 --> 01:29:19,080 Speaker 3: Damadar and then he runs away and then we see 1684 01:29:19,120 --> 01:29:24,360 Speaker 3: Damadar like pursuing him at a steady march like Jason Vorhees. Meanwhile, 1685 01:29:24,479 --> 01:29:27,800 Speaker 3: Ridley rescues Marina from a dungeon. They fight their way out. 1686 01:29:28,240 --> 01:29:31,280 Speaker 3: We get one of those scenes where so many movies 1687 01:29:31,320 --> 01:29:34,479 Speaker 3: in the nineties like this, a scene where the girl 1688 01:29:34,600 --> 01:29:37,519 Speaker 3: hits a guard with a stick and the boy says nice, 1689 01:29:39,200 --> 01:29:42,519 Speaker 3: you know, and then you gotta have that. And then 1690 01:29:42,800 --> 01:29:46,519 Speaker 3: Damodar corners Snails at a dead end on the castle 1691 01:29:46,560 --> 01:29:50,120 Speaker 3: grounds and they fight and his brutal Damadar beats him 1692 01:29:50,200 --> 01:29:53,519 Speaker 3: up and like breaks his bones. We hear bones cracking 1693 01:29:53,560 --> 01:29:56,559 Speaker 3: and crunching, and then Ridley and Marina show up to 1694 01:29:56,600 --> 01:30:00,880 Speaker 3: the rescue and I was like, okay, okay, Snail's gonna 1695 01:30:00,880 --> 01:30:03,120 Speaker 3: be okay, They're gonna help him, and then nope, he 1696 01:30:03,240 --> 01:30:06,639 Speaker 3: just gets murdered. Damadar kills him. Like this is off 1697 01:30:06,800 --> 01:30:09,360 Speaker 3: tone something I don't know. It didn't feel like that 1698 01:30:09,400 --> 01:30:10,280 Speaker 3: was supposed to happen. 1699 01:30:11,280 --> 01:30:14,000 Speaker 1: Yeah, yeah, the tone on this choice is a little off, 1700 01:30:14,080 --> 01:30:19,360 Speaker 1: but yeah, kills him dead and you know, ending possibilities 1701 01:30:19,400 --> 01:30:23,839 Speaker 1: aside like he's super dead, he mostly stays dead also. 1702 01:30:24,600 --> 01:30:27,599 Speaker 3: Then then Bruce Payne stabs Ridley with the sword, and 1703 01:30:27,640 --> 01:30:29,759 Speaker 3: just when he's about to finish him off, Marina saves 1704 01:30:29,800 --> 01:30:32,519 Speaker 3: the day by zapping Damodar with pink magic and then 1705 01:30:32,560 --> 01:30:35,880 Speaker 3: teleporting them away to somewhere else once again. Yes, so 1706 01:30:35,920 --> 01:30:40,800 Speaker 3: that encounters over rip Snails. There's a brief interlude where 1707 01:30:40,800 --> 01:30:42,799 Speaker 3: we get to see the Empress giving a very wooden 1708 01:30:42,840 --> 01:30:46,759 Speaker 3: speech at the Mage's Council about the people and about 1709 01:30:46,760 --> 01:30:50,519 Speaker 3: Profion's treachery, and she says she says Profion is trying 1710 01:30:50,520 --> 01:30:53,800 Speaker 3: to take all the power for himself. Profion accuses her 1711 01:30:53,880 --> 01:30:56,599 Speaker 3: of the same. They go back and forth, and it's 1712 01:30:56,680 --> 01:31:00,280 Speaker 3: weird energy because it's like Jeremy Iron's frothing at the 1713 01:31:00,320 --> 01:31:02,520 Speaker 3: mouth versus an introverted teenager. 1714 01:31:03,120 --> 01:31:07,080 Speaker 1: Yeah, this scene just I mean, Jeremy Irons is super 1715 01:31:07,120 --> 01:31:09,960 Speaker 1: amusing as always, but yeah, I just felt bad for 1716 01:31:10,000 --> 01:31:13,280 Speaker 1: thora Birch because like this, it just feels like like 1717 01:31:13,520 --> 01:31:16,920 Speaker 1: two completely different planets of acting going on here, and 1718 01:31:17,600 --> 01:31:18,799 Speaker 1: she doesn't look comfortable. 1719 01:31:19,320 --> 01:31:23,200 Speaker 3: Elsewhere, our heroes reach their destination. This is the part 1720 01:31:23,200 --> 01:31:25,000 Speaker 3: where I'm saying it's one of the best looking things 1721 01:31:25,040 --> 01:31:27,840 Speaker 3: in the movie. Kind of I'm not sure exactly what 1722 01:31:27,920 --> 01:31:29,400 Speaker 3: this is, but it looks to me like a hand 1723 01:31:29,439 --> 01:31:32,920 Speaker 3: painted background. It's basically, you know, it's like a big, 1724 01:31:33,040 --> 01:31:36,639 Speaker 3: drooping kind of giant tree with a bunch of glowing 1725 01:31:36,760 --> 01:31:40,720 Speaker 3: lights in it. It's a little bit Thomas Kincaidlothlauri and 1726 01:31:40,800 --> 01:31:43,680 Speaker 3: a little bit Ewok village on indoor, but with some 1727 01:31:43,760 --> 01:31:46,760 Speaker 3: dark magic. And it may be very pretty, but we 1728 01:31:46,840 --> 01:31:50,240 Speaker 3: are not ready to yub nub yet because the quest 1729 01:31:50,320 --> 01:31:53,240 Speaker 3: is not complete now. When they arrive, there's an elf 1730 01:31:53,280 --> 01:31:56,160 Speaker 3: played by Tom Baker with short blonde hair who heals 1731 01:31:56,240 --> 01:31:59,920 Speaker 3: Ridley by zappanim and then Tom Baker says a bunch 1732 01:31:59,920 --> 01:32:03,160 Speaker 3: of things. He says, he's just kind of talking out 1733 01:32:03,160 --> 01:32:05,400 Speaker 3: of nowhere. I don't think this is prompted by anything. 1734 01:32:05,439 --> 01:32:08,720 Speaker 3: He's like, the Elvin peoples do not require spells to 1735 01:32:08,760 --> 01:32:12,439 Speaker 3: work with magic. You use magic. We are part of it, 1736 01:32:12,800 --> 01:32:17,519 Speaker 3: as are all living creatures, including dragons. Sadly, humans see 1737 01:32:17,560 --> 01:32:22,600 Speaker 3: only their destructive powers. And then Ridley wakes up. He 1738 01:32:22,640 --> 01:32:24,439 Speaker 3: explains he had a bad dream where he saw a 1739 01:32:24,560 --> 01:32:28,719 Speaker 3: dragon being born, and then Tom Baker explains that magic 1740 01:32:29,000 --> 01:32:32,000 Speaker 3: is the life force of nature. He keeps everything around 1741 01:32:32,040 --> 01:32:35,680 Speaker 3: us alive, so if the dragons were to be destroyed, 1742 01:32:36,040 --> 01:32:38,960 Speaker 3: it would that would destroy the fabric of magic and 1743 01:32:39,080 --> 01:32:42,599 Speaker 3: with it all life. And at this point I was like, wait, 1744 01:32:42,680 --> 01:32:48,040 Speaker 3: who is this guy? Do they even say who he is? 1745 01:32:49,200 --> 01:32:52,000 Speaker 1: I was just so pleased that Tom Baker had finally 1746 01:32:52,040 --> 01:32:56,680 Speaker 1: shown up and there was some captivating acting happening on 1747 01:32:56,720 --> 01:32:59,120 Speaker 1: the screen. I was like, yeah, I trust you completely, 1748 01:32:59,479 --> 01:33:02,040 Speaker 1: whoever you are after. 1749 01:33:01,200 --> 01:33:03,439 Speaker 3: This, So of course Ridley is healed, and then there's 1750 01:33:03,479 --> 01:33:05,639 Speaker 3: that dark Knight of the Soul scene I mentioned earlier, 1751 01:33:05,680 --> 01:33:08,679 Speaker 3: where like Ridley and Marina are they're arguing about whether 1752 01:33:08,800 --> 01:33:11,960 Speaker 3: the Impress's plan to help the common people is worth 1753 01:33:12,000 --> 01:33:16,200 Speaker 3: putting faith in, and at one point Marina says that 1754 01:33:16,600 --> 01:33:23,080 Speaker 3: Ridley is what Snails died for. But also Marina says 1755 01:33:23,120 --> 01:33:25,720 Speaker 3: that she now understands why the common people, why non 1756 01:33:25,840 --> 01:33:30,040 Speaker 3: mages are worth fighting for, and then justin Waylen's like, 1757 01:33:30,080 --> 01:33:32,519 Speaker 3: you know, for a mage, you're pretty smart, and then 1758 01:33:32,600 --> 01:33:36,080 Speaker 3: big old kiss. But of course there's a little naked 1759 01:33:36,080 --> 01:33:39,519 Speaker 3: cgi demon looking on the methods there again, so we're 1760 01:33:39,600 --> 01:33:42,479 Speaker 3: gearing up for the final showdown. Our heroes are given 1761 01:33:42,520 --> 01:33:45,479 Speaker 3: some magical weapons. Ridley gets a silver sword and Elf 1762 01:33:45,560 --> 01:33:48,479 Speaker 3: says it will protect him. I do kind of like 1763 01:33:48,520 --> 01:33:51,479 Speaker 3: these costumes we see. I don't know who these elves are. 1764 01:33:51,520 --> 01:33:53,559 Speaker 3: I guess they're like wood elves of some sort, but 1765 01:33:53,600 --> 01:33:56,719 Speaker 3: they look like Texas chainsaw elves. They've got ed gain 1766 01:33:56,880 --> 01:33:57,559 Speaker 3: masks on. 1767 01:33:57,960 --> 01:33:59,839 Speaker 1: Yeah, they look a little disturbing. 1768 01:34:00,040 --> 01:34:02,600 Speaker 3: OK, this is it's weird that a lot of the 1769 01:34:02,640 --> 01:34:05,519 Speaker 3: best looking visual stuff and I'm not saying it's that great, 1770 01:34:05,600 --> 01:34:07,640 Speaker 3: but the best stuff is like hidden away in the 1771 01:34:07,680 --> 01:34:10,439 Speaker 3: final third of the movie, but we get a scene 1772 01:34:10,479 --> 01:34:12,840 Speaker 3: where Ridley has to go into a dungeon alone to 1773 01:34:12,920 --> 01:34:16,680 Speaker 3: retrieve the rod before Belloc, I mean before Damadar gets it. 1774 01:34:17,400 --> 01:34:20,559 Speaker 3: And he's attempted by many treasures in the treasure room, 1775 01:34:20,600 --> 01:34:23,080 Speaker 3: but then he thinks better of it before removing anything. 1776 01:34:23,160 --> 01:34:25,800 Speaker 3: So he's like, gonna steal some gold, but then he's like, no, 1777 01:34:25,880 --> 01:34:27,519 Speaker 3: I shouldn't do this. He puts it back down and 1778 01:34:27,520 --> 01:34:30,320 Speaker 3: he says sorry snails, like snails would have wanted me 1779 01:34:30,400 --> 01:34:35,240 Speaker 3: to steal this. But he talks to a skeleton covered 1780 01:34:35,240 --> 01:34:40,280 Speaker 3: in cobwebs who identifies himself as sav Reel, the creator 1781 01:34:40,479 --> 01:34:44,439 Speaker 3: of the rod. Oh yeah, Now he says, be warned, 1782 01:34:44,600 --> 01:34:47,200 Speaker 3: anyone who wields the power of the Rod must suffer 1783 01:34:47,240 --> 01:34:51,640 Speaker 3: a horrible fate. And I think he says that the 1784 01:34:51,760 --> 01:34:55,760 Speaker 3: Rod must be destroyed or it's wielder will be destroyed. 1785 01:34:56,760 --> 01:34:59,600 Speaker 3: And then like absolutely out of nowhere, we just like 1786 01:34:59,680 --> 01:35:02,519 Speaker 3: cut to Jeremy Irons back in the city, back in 1787 01:35:02,560 --> 01:35:05,080 Speaker 3: some doll and he's screeching. The Impress has called out 1788 01:35:05,080 --> 01:35:08,559 Speaker 3: to dragons upon us. We see the dragons flying through 1789 01:35:08,600 --> 01:35:12,960 Speaker 3: the sky and attacking the tower. He's like, destroy them. 1790 01:35:13,280 --> 01:35:16,040 Speaker 3: So here we kind of go into action movie mode. 1791 01:35:16,120 --> 01:35:18,200 Speaker 3: A lot of the rest of the movie is just 1792 01:35:18,320 --> 01:35:23,080 Speaker 3: people fighting cgi dragons, people shooting giant ballistas at them, 1793 01:35:23,160 --> 01:35:28,000 Speaker 3: zapping them with magic, buildings exploding with dragonfire, and dragons 1794 01:35:28,120 --> 01:35:31,439 Speaker 3: versus dragons. There's like one part where a dragon gets 1795 01:35:31,560 --> 01:35:33,400 Speaker 3: zapped and it falls out of the sky and it 1796 01:35:33,439 --> 01:35:36,080 Speaker 3: gets impaled on a spire on top of a tower. 1797 01:35:36,200 --> 01:35:39,080 Speaker 3: The camera really lingers on this and it looks bad. 1798 01:35:39,680 --> 01:35:42,120 Speaker 3: And then of course a bunch of people are fighting 1799 01:35:42,160 --> 01:35:45,400 Speaker 3: for control of the Rod. So like Ridley brings it 1800 01:35:45,439 --> 01:35:48,280 Speaker 3: out of the dungeon, then Damodar steals it from Ridley 1801 01:35:48,320 --> 01:35:52,759 Speaker 3: in company. Then Ridley escapes and his friends they portal 1802 01:35:52,840 --> 01:35:55,479 Speaker 3: back to where Damodar is and then they steal the 1803 01:35:55,520 --> 01:35:56,720 Speaker 3: rod back from Profion. 1804 01:35:57,400 --> 01:35:59,920 Speaker 1: Now is it just one point each time you acquire 1805 01:35:59,920 --> 01:36:02,800 Speaker 1: the rod? Or how does the scoring work? 1806 01:36:02,800 --> 01:36:06,080 Speaker 3: Here? Very good question? Yeah, how does the experience? They're 1807 01:36:06,120 --> 01:36:08,360 Speaker 3: really racking up a lot of XP at the very 1808 01:36:08,479 --> 01:36:11,519 Speaker 3: end here. And so there's a final fight that's like 1809 01:36:11,600 --> 01:36:15,479 Speaker 3: Ridley versus Profion, And there is a line where Jeremy 1810 01:36:15,520 --> 01:36:21,960 Speaker 3: Irons says, not so talented. Hey, mister Ridley, I think 1811 01:36:22,200 --> 01:36:24,599 Speaker 3: the movie The Talented Mister Ripley had just come out 1812 01:36:24,640 --> 01:36:25,760 Speaker 3: like the year before. 1813 01:36:26,040 --> 01:36:31,080 Speaker 1: Yes, yeah, nineteen ninety nine. Yeah, solid movie. Always always 1814 01:36:31,120 --> 01:36:33,479 Speaker 1: a gamble to reference a better movie in your movie. 1815 01:36:33,680 --> 01:36:38,439 Speaker 3: Yeah, So Ridley is Ridley gets hold of the rod 1816 01:36:38,439 --> 01:36:40,680 Speaker 3: at one point and he's like, okay, now I'm going 1817 01:36:40,720 --> 01:36:42,920 Speaker 3: to use the rod. That's been the whole point of 1818 01:36:42,960 --> 01:36:44,400 Speaker 3: the story. We got to get the rod so we 1819 01:36:44,439 --> 01:36:47,120 Speaker 3: can use it against Profion. But then he has a 1820 01:36:47,240 --> 01:36:49,960 Speaker 3: tempted by the ring moment he like holds it up 1821 01:36:49,960 --> 01:36:52,080 Speaker 3: and you can see him grinning with all the power 1822 01:36:52,120 --> 01:36:54,320 Speaker 3: he has. Now it's like flowing into him, and he 1823 01:36:54,320 --> 01:36:58,360 Speaker 3: looks at the dragons and you see him realizing what's happening, 1824 01:36:58,400 --> 01:37:01,280 Speaker 3: that he's being tempted, and he turns away from the 1825 01:37:01,320 --> 01:37:03,559 Speaker 3: power of the ring or from the power of the rod, 1826 01:37:04,000 --> 01:37:06,600 Speaker 3: and he refuses it. He says, I won't become you, 1827 01:37:07,600 --> 01:37:10,880 Speaker 3: referring to Profion, and then he smashes the rod with 1828 01:37:10,960 --> 01:37:11,559 Speaker 3: his sword. 1829 01:37:12,080 --> 01:37:14,000 Speaker 1: Foolishly. I thought he was going to give in for 1830 01:37:14,040 --> 01:37:17,479 Speaker 1: a second there, and I was like this, that there's 1831 01:37:17,520 --> 01:37:19,920 Speaker 1: more to this kid than I thought. Maybe he's got 1832 01:37:20,000 --> 01:37:21,920 Speaker 1: it in him. No, he doesn't have it in him. 1833 01:37:22,240 --> 01:37:26,559 Speaker 3: So anyway, he smashes it and then they're still fighting Profion. 1834 01:37:26,600 --> 01:37:29,519 Speaker 3: At one point, Profion summons a I think like a 1835 01:37:29,560 --> 01:37:32,520 Speaker 3: ghost bone dragon to attack the Empress. 1836 01:37:33,120 --> 01:37:34,920 Speaker 1: It just kind of like climbs on her back and 1837 01:37:35,040 --> 01:37:36,040 Speaker 1: makes her squat down. 1838 01:37:36,520 --> 01:37:41,680 Speaker 3: Yeah, but the Empress uses her gold scepter against Profion, 1839 01:37:42,280 --> 01:37:44,920 Speaker 3: and that like makes all the gold dragons that are 1840 01:37:44,960 --> 01:37:48,080 Speaker 3: flying around to come and eat Profion, like one eats him, 1841 01:37:48,120 --> 01:37:49,960 Speaker 3: like the t rex eats the guy off the toilet. 1842 01:37:51,160 --> 01:37:54,439 Speaker 1: And going back to our earlier discussion, yes, it does 1843 01:37:54,479 --> 01:37:58,000 Speaker 1: make sense that she would command gold dragons instead of 1844 01:37:58,040 --> 01:38:00,800 Speaker 1: red dragons because gold dragons are good, red dragons are bad. 1845 01:38:01,280 --> 01:38:05,040 Speaker 1: But also I mean dragons and dungeons. Dragons are not 1846 01:38:05,120 --> 01:38:09,280 Speaker 1: just you know, you know, beasts, they're highly intelligent. So 1847 01:38:09,560 --> 01:38:11,120 Speaker 1: there's a whole discussion we could have here. 1848 01:38:11,439 --> 01:38:14,120 Speaker 3: Yeah, they're treated more like beasts here, like you just 1849 01:38:14,200 --> 01:38:16,360 Speaker 3: kind of bossom around and they do what you say, 1850 01:38:17,240 --> 01:38:19,599 Speaker 3: and then the dragons fly away in the end, and 1851 01:38:19,640 --> 01:38:22,360 Speaker 3: now it seems like everything's good, you know, every all 1852 01:38:22,400 --> 01:38:26,280 Speaker 3: the problems are fixed. We get we're like cutting away 1853 01:38:26,400 --> 01:38:29,280 Speaker 3: and then we see we don't even see off screen. 1854 01:38:29,479 --> 01:38:32,479 Speaker 3: We hear the Impress in voiceover saying, this is a 1855 01:38:32,560 --> 01:38:36,800 Speaker 3: direct quote people of ismir, I do declare that you 1856 01:38:36,880 --> 01:38:40,120 Speaker 3: are now all equal. Let the celebration begin. 1857 01:38:42,920 --> 01:38:46,280 Speaker 1: That easy, Yeah, and then they were good. 1858 01:38:46,640 --> 01:38:48,160 Speaker 3: Why didn't you say that from the beginning? 1859 01:38:48,320 --> 01:38:54,040 Speaker 1: Yeah, So here's a question. How many levels do you 1860 01:38:54,080 --> 01:38:58,760 Speaker 1: think these characters accrued during the during the run of 1861 01:38:58,800 --> 01:39:01,320 Speaker 1: the film here, because they feel like they start off 1862 01:39:01,360 --> 01:39:06,439 Speaker 1: at like level two and maybe cap it around level three. 1863 01:39:07,360 --> 01:39:09,599 Speaker 1: I don't feel like there's a tremendous amount of growth. 1864 01:39:10,320 --> 01:39:12,439 Speaker 3: That's funny. I was gonna say. I was going to 1865 01:39:12,479 --> 01:39:14,920 Speaker 3: say they spend most of the movie at level two 1866 01:39:15,200 --> 01:39:17,720 Speaker 3: and then in the last ten minutes they go from 1867 01:39:17,800 --> 01:39:19,440 Speaker 3: level two to level nine. 1868 01:39:19,960 --> 01:39:22,040 Speaker 1: Oh yeah, well, I mean they get some some high 1869 01:39:22,080 --> 01:39:24,160 Speaker 1: power magical weapons, that's for sure. 1870 01:39:24,680 --> 01:39:28,240 Speaker 3: Do we ever see our magic users learning additional spells? 1871 01:39:28,360 --> 01:39:29,040 Speaker 3: I don't think so. 1872 01:39:29,439 --> 01:39:31,920 Speaker 1: Do we see them throw dust around? 1873 01:39:32,720 --> 01:39:33,200 Speaker 3: They play? 1874 01:39:33,400 --> 01:39:35,200 Speaker 1: I mean, at least there are some spell components in 1875 01:39:35,200 --> 01:39:38,040 Speaker 1: the mix, but that's about all we see. I don't 1876 01:39:38,040 --> 01:39:39,719 Speaker 1: think we think we see any magical books. 1877 01:39:39,760 --> 01:39:40,439 Speaker 3: Really do we. 1878 01:39:40,560 --> 01:39:43,479 Speaker 1: See anybody reading from a tone of magic or a scroll? 1879 01:39:45,560 --> 01:39:48,639 Speaker 3: Not that I recall, and certainly not to learn a spell. 1880 01:39:48,680 --> 01:39:50,920 Speaker 3: I mean there is a library full of scrolls at 1881 01:39:50,920 --> 01:39:51,400 Speaker 3: the beginning. 1882 01:39:51,479 --> 01:39:53,800 Speaker 1: But yeah, I mean it can be disappointing if the 1883 01:39:53,840 --> 01:39:57,640 Speaker 1: prop department can't really meet your needs on that. I 1884 01:39:57,720 --> 01:40:00,599 Speaker 1: mentioned the Color of Magic earlier in the in the picture, 1885 01:40:00,640 --> 01:40:03,280 Speaker 1: which has a great cast, and of course I love 1886 01:40:03,320 --> 01:40:06,679 Speaker 1: the work of Terry Pratchett. But as memory serves, there's 1887 01:40:06,720 --> 01:40:11,120 Speaker 1: a magical book that shows up in that picture that 1888 01:40:11,160 --> 01:40:13,920 Speaker 1: they just didn't make it look believable enough for me 1889 01:40:14,479 --> 01:40:17,200 Speaker 1: to be like a tome of ancient magic, Like it 1890 01:40:17,240 --> 01:40:20,040 Speaker 1: looks like they were really rushed creating it. So it's 1891 01:40:20,080 --> 01:40:21,960 Speaker 1: kind of a gamble there. You got. The props department 1892 01:40:22,000 --> 01:40:24,840 Speaker 1: has to be able to meet you on any of 1893 01:40:24,880 --> 01:40:25,880 Speaker 1: these requests. For sure. 1894 01:40:26,000 --> 01:40:28,160 Speaker 3: It's just a paperback of how to win friends and 1895 01:40:28,200 --> 01:40:31,720 Speaker 3: influence people. Yeah. Oh, but we also alluded to this. 1896 01:40:31,760 --> 01:40:33,599 Speaker 3: There's some kind of code. There's some kind of happy 1897 01:40:33,640 --> 01:40:36,439 Speaker 3: coda where they go to Snails's grave and then they 1898 01:40:36,479 --> 01:40:39,120 Speaker 3: like put the ruby on it and it lights up, 1899 01:40:39,520 --> 01:40:42,479 Speaker 3: and then it's like, oh, Snails is still alive if 1900 01:40:42,520 --> 01:40:45,320 Speaker 3: we go somewhere else and then they turn into they 1901 01:40:45,320 --> 01:40:47,120 Speaker 3: turn into magic and fly away. 1902 01:40:47,280 --> 01:40:49,000 Speaker 1: I mean it is true in Dungeons and Dragons, there's 1903 01:40:49,000 --> 01:40:51,360 Speaker 1: always a way to bring a character back. You know, 1904 01:40:51,439 --> 01:40:55,320 Speaker 1: it's a multiverse. There are all sorts of resurrection spells. 1905 01:40:56,040 --> 01:40:59,040 Speaker 1: There's no reason that a fun character needs to stay 1906 01:40:59,040 --> 01:41:04,640 Speaker 1: dead forever. So Snails will return, but actually he won't. 1907 01:41:05,920 --> 01:41:08,519 Speaker 1: But Snails could return. You could all go home and 1908 01:41:08,680 --> 01:41:12,320 Speaker 1: roll up a Snails and tell your dungeon master, Hey, 1909 01:41:12,840 --> 01:41:17,760 Speaker 1: I'm changing characters. Snails from two thousands Dungeons and Dragons 1910 01:41:17,840 --> 01:41:19,200 Speaker 1: is now Injuring. Our campaign. 1911 01:41:19,760 --> 01:41:26,280 Speaker 3: Our party is Snails profion. And I was gonna say 1912 01:41:26,360 --> 01:41:28,720 Speaker 3: l would, but like, what's the funny twist on it? 1913 01:41:28,800 --> 01:41:31,800 Speaker 3: Like what if Elwood became a vegetarian and he was 1914 01:41:31,840 --> 01:41:34,280 Speaker 3: always just getting Satan in his beard. 1915 01:41:34,560 --> 01:41:39,599 Speaker 1: Yeah, yeah, Satan and beats. Yeah, these are good choices 1916 01:41:39,640 --> 01:41:41,400 Speaker 1: to have. You know, you need choices like this for 1917 01:41:41,479 --> 01:41:45,719 Speaker 1: your your character. It gives you some stick to fall 1918 01:41:45,760 --> 01:41:48,559 Speaker 1: back on during all the small moments of a campaign. 1919 01:41:49,360 --> 01:41:51,880 Speaker 3: All right, Is that all we've got on Dungeons and 1920 01:41:51,960 --> 01:41:53,639 Speaker 3: Dragons two thousand for now? 1921 01:41:53,800 --> 01:41:56,519 Speaker 1: I mean, there's so much more we could say. Every 1922 01:41:56,680 --> 01:42:01,240 Speaker 1: scene with Jeremy Irons is like a masterclass in overacting 1923 01:42:02,280 --> 01:42:06,320 Speaker 1: and hamming it up. There are so many weird choices, 1924 01:42:06,960 --> 01:42:10,320 Speaker 1: digital effects that don't really come together, and yet at 1925 01:42:10,360 --> 01:42:14,400 Speaker 1: the same time some admirable practical effects, some admirable sets, 1926 01:42:14,439 --> 01:42:19,519 Speaker 1: and certainly some really cool interior locations. I would say 1927 01:42:19,920 --> 01:42:22,040 Speaker 1: this is not a movie for everyone. I'm not encouraging 1928 01:42:22,080 --> 01:42:25,960 Speaker 1: everyone to go out and watch this movie in its entirety, 1929 01:42:26,240 --> 01:42:28,360 Speaker 1: but everyone must see the first fifteen minutes. 1930 01:42:28,800 --> 01:42:32,040 Speaker 3: The Emperor has decreed. All right. 1931 01:42:32,280 --> 01:42:36,040 Speaker 1: So that is two thousands Dungeons and Dragons. I hope 1932 01:42:36,080 --> 01:42:38,919 Speaker 1: you enjoyed it. I think it was a solid choice 1933 01:42:39,080 --> 01:42:42,240 Speaker 1: for our two hundred film selection here on Weird House Cinema. 1934 01:42:42,720 --> 01:42:45,200 Speaker 1: So now we just have to chug on and eventually 1935 01:42:45,280 --> 01:42:47,840 Speaker 1: start thinking about the three hundredth film. 1936 01:42:48,640 --> 01:42:50,320 Speaker 3: We will not do the movie three hundred. 1937 01:42:50,800 --> 01:42:54,280 Speaker 1: We will not do three hundred. It's true, all right, 1938 01:42:54,720 --> 01:42:56,479 Speaker 1: So we're gonna gohea and close this episode out, but 1939 01:42:56,520 --> 01:42:58,120 Speaker 1: we'd love to hear from everyone out there. We know 1940 01:42:58,200 --> 01:43:02,040 Speaker 1: that there are multiple listeners who are Dungeons and Dragons enthusiasts, 1941 01:43:02,080 --> 01:43:05,320 Speaker 1: and you may have additional insight on what's happening and 1942 01:43:05,320 --> 01:43:08,960 Speaker 1: what's not happening in this film. Likewise, if you have 1943 01:43:09,000 --> 01:43:12,360 Speaker 1: thoughts on anything we've referenced in passing different Dungeons and 1944 01:43:12,439 --> 01:43:17,960 Speaker 1: Dragons locations, Dungeons and Dragons novels, what are your favorites? 1945 01:43:18,120 --> 01:43:20,519 Speaker 1: Because I really haven't geez, I don't know that I've 1946 01:43:20,520 --> 01:43:23,640 Speaker 1: ever read one myself. I'm familiar with them, but I 1947 01:43:24,479 --> 01:43:26,320 Speaker 1: never picked one up. So if I were to pick 1948 01:43:26,320 --> 01:43:30,000 Speaker 1: one up, which one would it be? These questions and 1949 01:43:30,080 --> 01:43:33,320 Speaker 1: more write in with your answers. Just a reminder that 1950 01:43:33,360 --> 01:43:35,400 Speaker 1: Stuff to Blow Your Mind is primarily a science and 1951 01:43:35,439 --> 01:43:38,400 Speaker 1: culture podcast, with core episodes in the Stuff to Blow 1952 01:43:38,439 --> 01:43:42,760 Speaker 1: your Mind podcast feed on Thursdays and Tuesdays, and then 1953 01:43:42,800 --> 01:43:44,760 Speaker 1: on Wednesdays we do a short form episode, but on 1954 01:43:44,840 --> 01:43:47,280 Speaker 1: Fridays we set aside most serious concerns to just talk 1955 01:43:47,320 --> 01:43:49,800 Speaker 1: about a weird film here on weird House Cinema. If 1956 01:43:49,840 --> 01:43:51,000 Speaker 1: you want to see a list of all the films 1957 01:43:51,040 --> 01:43:53,719 Speaker 1: we've covered over the years, go to letterboxed dot com. 1958 01:43:53,840 --> 01:43:56,240 Speaker 1: You'll find us there. Our user name is weird House 1959 01:43:56,479 --> 01:43:58,400 Speaker 1: and we have a nice list of everything. We've covered 1960 01:43:58,439 --> 01:44:00,880 Speaker 1: all two hundred film selections, and we're going to start 1961 01:44:00,920 --> 01:44:02,920 Speaker 1: looking ahead at the future. Sometimes you can peek ahead 1962 01:44:02,920 --> 01:44:05,040 Speaker 1: and see what's coming up the following week. 1963 01:44:05,400 --> 01:44:09,120 Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway. 1964 01:44:09,400 --> 01:44:10,920 Speaker 3: If you would like to get in touch with us 1965 01:44:10,920 --> 01:44:13,360 Speaker 3: with feedback on this episode or any other, to suggest 1966 01:44:13,360 --> 01:44:15,400 Speaker 3: a topic for the future, or just to say hello, 1967 01:44:15,520 --> 01:44:18,040 Speaker 3: you can email us at contact at stuff to Blow 1968 01:44:18,080 --> 01:44:25,720 Speaker 3: your Mind dot com. 1969 01:44:25,840 --> 01:44:28,760 Speaker 2: Stuff to Blow your Mind is production of iHeartRadio. For 1970 01:44:28,840 --> 01:44:31,639 Speaker 2: more podcasts from my Heart Radio, visit the iHeartRadio app, 1971 01:44:31,800 --> 01:44:35,080 Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.