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Speaker 1: Dear listeners of Hollywood Land, does it feel like you're

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Speaker 1: stuck in limbo? Standing under a flickering street light at

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Speaker 1: the corner of Hollywood and True Crime, waiting for the

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Speaker 1: next episode of hollywood Land to drop. I got you.

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Speaker 1: Welcome to Hollywood Land, the Rap Party. What's good Your

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Speaker 1: movie geeks, your true crime freaks just like me? You

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Speaker 1: guys love your movie history, served up with a side

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Speaker 1: of grit and grime. This, of course, is the place

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Speaker 1: where we dig up the stories often lost to history,

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Speaker 1: buried there in the corner of the cutting room floor,

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Speaker 1: the stories they didn't want told, the very same ones

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Speaker 1: that have now made you the most dangerous person at

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Speaker 1: the party. I'm your host, Zeth Lundy, writer, showrunner, and

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Speaker 1: good doctor here at Double Elvison. Today in the hollywood

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Speaker 1: Land Rap Party, we are talking about some of the greatest,

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Speaker 1: uncompromising risk takers in the history. We're talking movies that

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Speaker 1: broke your impressionable minds as kids. Plus this week's full

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Speaker 1: episode subject Dennis Hopper, and so much more, including your voicemails,

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Speaker 1: your texts, and your emails. So come on, everybody, let's party. Okay, guys,

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Speaker 1: I got some bad news to bring to you at

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Speaker 1: the top of the show. Here, we apparently suck as

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Speaker 1: prognosticators when it comes to the Academy Awards. Okay, we

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Speaker 1: went as a collective team here. We went two for

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Speaker 1: six when it comes to the Big Six Awards this

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Speaker 1: past weekend. In our predictions, you know what I'm talking about.

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Speaker 1: I'm talking about the Oscar poll we ran in our Patreon.

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Speaker 1: That's our disgraced land all Access Patreon for members over there.

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Speaker 1: Last week here in the Rap Party, I went through

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Speaker 1: our top picks for each of the six major categories.

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Speaker 1: So what did we get right? Well, we got Best

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Speaker 1: Actor and Best Actress right, and that's it. Michael B.

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Speaker 1: Jordan and Jesse Buckley for Sinners and Hamnett respectively. We

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Speaker 1: got those right. I'm not sure if you saw this,

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Speaker 1: but Michael B. Jordan pulled a Paul Giamatti. Afterwards he

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Speaker 1: went to the In and Out Burger to celebrate his win.

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Speaker 1: He loved to see that. But guys, we choked in

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Speaker 1: all the other categories. We said Delroy Lindo was gonna

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Speaker 1: win for Supporting Actor. That went to Sean Penn, who

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Speaker 1: was not there, by the way, And I must say,

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Speaker 1: our guy Delroy was not looking too happy there for

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Speaker 1: about five seconds. After they announced the artist formerly known

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Speaker 1: as Madonna's Bad Boy as the winner, we also said

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Speaker 1: Woomi Masaku was gonna win for Best Supporting Actress, but

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Speaker 1: that went to Amy Madigan, better known around my household

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Speaker 1: as Shenie Koboloski from Uncle Buck, of course, winning for

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Speaker 1: her performances Unt Gladys in Weapons. She was there with

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Speaker 1: her guy Ed Harris. I got to love those two.

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Speaker 1: This is like one of my favorite Hollywood couples because

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Speaker 1: you don't see this kind of thing in Hollywood much.

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Speaker 1: They've been married for over forty years since the early

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Speaker 1: nineteen eighties, and that's pretty rare and pretty dope. So

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Speaker 1: big ups to Amy and Ed. Great actors, great people.

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Speaker 1: Ed Harris, for one, donated a lot of money to

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Speaker 1: the Art Center here in Waterville Main. The box office

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Speaker 1: at the movie theater there is named for him in

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Speaker 1: that is named for him for that honor. Real mench

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Speaker 1: that guy, I mean, I imagine that's I don't know how

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Speaker 1: their money works. I would imagine that that's Amy Madigan's

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Speaker 1: money too. Maybe they have separate I don't know. Maybe

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Speaker 1: that's how they made it work all these years, they've

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Speaker 1: got separate, separate bank accounts. I don't know, but it's

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Speaker 1: just Ed Harris got all the he got all the

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Speaker 1: love for the donation. But I got to think that

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Speaker 1: Amy Madigan has something to do with that too, right,

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Speaker 1: I don't know. Back to the Oscars, we fucked that

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Speaker 1: one up. Okay, we also fucked up Director and Best Picture.

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Speaker 1: We went all in on Sinners. We said Sinners was

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Speaker 1: going to win Best Picture. We said Ryan Coogler was

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Speaker 1: going to win Best Director. But one battle after another

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Speaker 1: and Paul Thomas Anderson were the winners, which is all good. Honestly.

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Speaker 1: This was the first Academy Awards in a long time

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Speaker 1: where I was just I was a big fan of

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Speaker 1: just about all the major films that were nominated. I

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Speaker 1: saw the majority of them, and I think that, you know,

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Speaker 1: the two bigger, biggest winners here centers in one battle.

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Speaker 1: They were both deserving for different reasons. I think they're

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Speaker 1: both going to go down as major works in the

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Speaker 1: history of films specifically and how they were both able

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Speaker 1: to be both artistically engaging and cutting edge while also

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Speaker 1: pleasing as mainstream movie going experiences. I think it's easier

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Speaker 1: to be just an arty FARTI type or just a

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Speaker 1: popcorn Jerry Bruckheimer type. But to find that sweet spot

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Speaker 1: where you can be both simultaneously. I mean, that's the

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Speaker 1: These are the kinds of movies that remind me how

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Speaker 1: much I love movies. And speaking of love, I think

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Speaker 1: I'm in love with Leonardo DiCaprio's mustache. I think it

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Speaker 1: was the most compelling part of the entire night, of

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Speaker 1: the entire Oscars broadcast. I think we need to study it, honestly,

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Speaker 1: just to see what the Seriously, though, I did love

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Speaker 1: his mustache, but I got off track there for a minute.

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Speaker 1: Woof that mustache. Speaking of love, though I thought there

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Speaker 1: was a lot of it being shared during the ceremony.

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Speaker 1: I really liked PTA's acceptance speeches, including his speech for

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Speaker 1: Best Picture, in which he recalled the Best Picture nominees

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Speaker 1: for the year nineteen seventy five, fifty years ago. This

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Speaker 1: is something we talked about a little bit while back

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Speaker 1: here on the show, but he reminded everyone that the

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Speaker 1: Best Picture nominees for that year where One flew over

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Speaker 1: the Kuko's Nest, Nashville Jaws, Dog Day Afternoon and Barry Lindon.

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Speaker 1: All of them masterpieces, none of them quote unquote better

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Speaker 1: than the others. They know they're all worthy of celebrating

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Speaker 1: and lifting up. And to this end, you see my

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Speaker 1: rant from last week about how giving awards to art

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Speaker 1: is just done. You know what else is dumb about

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Speaker 1: the Oscars. They only gave Dennis Hopper two nominations during

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Speaker 1: his lifetime. Dennis Hopper, the guy who gave the counterculture

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Speaker 1: a voice at the box office with The Easy Rider,

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Speaker 1: and by doing so arguably opened the door wider than

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Speaker 1: anyone else when it came to independent and fringe filmmakers

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Speaker 1: quote unquote new Hollywood as the sixties gave way to

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Speaker 1: the seventies, perhaps even more so than someone like John Cassavettes.

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Speaker 1: And I'm talking impact wise in terms of working within

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Speaker 1: the Hollywood system, not working outside of it, although Dennis

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Speaker 1: Hopper's own stubbornness, to put it nicely, got him booted

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Speaker 1: from within that system pretty quickly. But Hopper was only

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Speaker 1: nominated twice. He was nominated for Screenplay for an Easy

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Speaker 1: Rider in nineteen sixty nine and then for Best Supporting

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Speaker 1: Actor for Hoosier's in nineteen eighty six, but he got

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Speaker 1: no Love for Blue Velvet, or Apocalypse Now, or The

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Speaker 1: American Friend or True Romance, or River's Edge, or for

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Speaker 1: Out of the Blue, his third time in the Director's seat,

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Speaker 1: and a movie incidentally, which I'll be talking about on

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Speaker 1: Friday here in the screening Room. Hopper died back in

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Speaker 1: twenty ten at the age of seventy four, but sixteen

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Speaker 1: years later he remains with us in the ether in

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Speaker 1: a way that few other actors who have passed on

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Speaker 1: are able to do. He has just recently been posthumously

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Speaker 1: featured on the latest album by Gorillas that's the two

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Speaker 1: D virtual band conceptual project thing created by Damon Albern,

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Speaker 1: a blur and the comic book artist Jamie Hewlett. On

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Speaker 1: their latest album The Mountain, which I talked about last week.

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Speaker 1: I think in the recommendation section you can hear Dennis

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Speaker 1: Hopper on the opening title track, and what you're hearing

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Speaker 1: is an unused vocal take that Damon Albern recorded way

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Speaker 1: back in two thousand and five for the track fire

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Speaker 1: coming out of the Monkey's Head for the second Gorillas album,

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Speaker 1: My Favorite Goerrilla's album for the record Demon Days. Dennis

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Speaker 1: Hopper was also the subject of the latest album by

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Speaker 1: the water Boys. That album is called Life, Death, and

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Speaker 1: Dennis Hopper and includes song titles that allude to the

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Speaker 1: man himself, titles like Transcendental Peruvian Blues, freak Out at

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Speaker 1: the Mud Palace, Frank Parentheses, Let's Fuck, and Everybody Loves

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Speaker 1: Dennis Hopper, and then many more. This record came out

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Speaker 1: last year. It is literally a concept album about Dennis

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Speaker 1: Hopper's life. Mike Scott, the leader of the water Boys, said,

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Speaker 1: it's not a tribute album. It's an exploration, and it's

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Speaker 1: not just Dennis's story. It's a story of the times.

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Speaker 1: Speaking of the times, there's even some Dennis Hopper adjacent

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Speaker 1: content out there in the ether right now. If you're

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Speaker 1: watching The Pit on HBO, like I am. Catherine Lanassa,

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Speaker 1: the actress who plays the charge nurse Dana. You know

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Speaker 1: baby Jane Doe. She was Dennis Hopper's fourth wife for

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Speaker 1: just a couple of years back in the early nineteen nineties.

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Speaker 1: Dennis Hopper married many times. I'm guessing not the easiest

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Speaker 1: guy to live with. You know, he took a lot

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Speaker 1: of risks, both personally and professionally. He was not a

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Speaker 1: fan of compromising or even collaborating He once said that

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Speaker 1: as a director, his only collaborators were the other actors,

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Speaker 1: So you got to wonder how rough it was for

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Speaker 1: his crew. I mean, I know that he did make

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Speaker 1: one crew for the last movie in nineteen seventy one,

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Speaker 1: haul all the shit up the mountains in Peru. And

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Speaker 1: I'm not going to get into all that stuff here

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Speaker 1: that Hopper did, because you can hear that in the

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Speaker 1: scripted episode on him that we released back on Monday.

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Speaker 1: But I do want to put him in context with

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Speaker 1: these other big, thinking, fearless, crazy filmmakers from both before

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Speaker 1: and after. I think if you're creating a top five

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Speaker 1: of uncompromising risk takers from cinema, I think Dennis Hopper

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Speaker 1: has to be in that top five. He basically follows

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Speaker 1: as a director, he follows in the footsteps of an

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Speaker 1: Orson Wells in a way. Not that his directorial debut,

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Speaker 1: Easy Writer is as good as Orson wells debut Citizen Kane,

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Speaker 1: but both filmmakers famously followed up their first films with

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Speaker 1: an uncompromising second effort that essentially just shoots their budding

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Speaker 1: careers in the foot right. Wells did that with the

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Speaker 1: magnificent Amberson's which was ultimately taken away from him and recut.

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Speaker 1: And then Dennis Hopper did it with the last movie,

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Speaker 1: his nineteen seventy one follow up to Easy Writer, which

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Speaker 1: basically was the moment that Hollywood as Dad took the

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Speaker 1: keys to the car away and grounded Dennis Hopper for

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Speaker 1: quite some time. So let's look at this. I want

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Speaker 1: to talk about my top five list of uncompromising risk

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Speaker 1: takers in film filmmakers. And these are in no particular order.

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Speaker 1: Like I said, I'm going to include Dennis Hopper and here.

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Speaker 1: So Dennis Hopper is my first one, number one, Number

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Speaker 1: two the director Werner Herzog. This guy hypnotized his entire

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Speaker 1: crew of the film Heart of Glass. For one scene

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Speaker 1: while filming Aguire Wrath of God, he threatened to shoot

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Speaker 1: Klaus Kinski, the actor, if he left the set, and

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Speaker 1: then he was gonna shoot himself afterwards. And then while

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Speaker 1: they were making Fitzceraldo in the early eighties, Herzog dragged

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Speaker 1: a three hundred and twenty ton steamship over a hill.

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Speaker 1: I mean, that was the whole point of the film,

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Speaker 1: but he actually did that. Number three here in my

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Speaker 1: list of uncompromising risk takers, you got to mention Francis

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Speaker 1: for Coppola. I mean, this is the studio insider who

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Speaker 1: had it all, but who risked it all for creative

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Speaker 1: freedom and lost it all. Right, Coppola famously mortgaged his

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Speaker 1: own house just so we could finish Apocalypse Now. They

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Speaker 1: spent two hundred and thirty eight days shooting that movie.

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Speaker 1: The release of that movie was postponed five times, and

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Speaker 1: then after it comes out, he gets a deal from

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Speaker 1: MGM to make the film One from the Heart. MGM's

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Speaker 1: going to finance it, They're gonna give Coppola a big payday.

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Speaker 1: They were going to pay him a couple of million

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Speaker 1: bucks to direct it. But you know, Coppola, being the ambitious,

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Speaker 1: risk taking, uncompromising type, he just wants to make a

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Speaker 1: more ambitious film. So in order to do that, his

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Speaker 1: company bought the rights to the film, which ultimately this

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Speaker 1: ruined him. This forced his company into bankruptcy. And you know, man,

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Speaker 1: just two years ago he did it again with Megalopolis,

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Speaker 1: self financing this behemoth of a film and pushing himself

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Speaker 1: in the direction of financial ruin once again. Number four

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Speaker 1: on this list is Sam Peckhampah, the director who made

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Speaker 1: The Wild Bunch, The Getaway, Bring Me The Head of

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Speaker 1: Alfredo Garcia, to name a few. Peck and Paw made

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Speaker 1: some of the most violent movies of his time. He

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Speaker 1: was uncompromising when it came to how much violence he

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Speaker 1: showed and how he showed it to audiences, as like

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Speaker 1: this slow motion ballet. By taking those risks, he created

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Speaker 1: a new visual language and created many masterpieces that will

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Speaker 1: live on. But ultimately those risks caused tension between him

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Speaker 1: thing that ultimately broke him in the end. And then

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Speaker 1: number five here in my list of uncompromising risk takers

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Speaker 1: in Hollywood, I'm gonna say, Robert Altman, so many great movies, Nashville, California,

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Speaker 1: Split mcavee and Missus Miller, The Long Goadbye. The list

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Speaker 1: goes on and on. He was uncompromising in how he

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Speaker 1: told a story. He used ensemble casts, overlapping dialogue, lots

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Speaker 1: of anti heroes. There was a subversion to Altman's work

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Speaker 1: all the way through to the end of his career

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Speaker 1: that was the product of just not giving a fuck

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Speaker 1: and taking the risk. Even in nineteen ninety two, the

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Speaker 1: player was a risk it was a movie that bit

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Speaker 1: the hand that fed it. But the thing about most

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Speaker 1: of these uncompromising risk takers on this top five list

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Speaker 1: here is that none of them have that offset wild

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Speaker 1: life of risk that Dennis Hopper had. None of them

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Speaker 1: are sitting strapped to a chair that's rigged with dynamite

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Speaker 1: in front of a crowd, and then the dynamite is lit.

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Speaker 1: And this isn't for like a movie scene. This is

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Speaker 1: live without a net. It's one thing to be uncompromising

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Speaker 1: and risky and daring when it comes to making movies.

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Speaker 1: It's another thing entirely to do it in your own life.

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Speaker 1: And Dennis Hopper was the rare figure who talked the

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Speaker 1: talk and walked the walk. So while he was a

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Speaker 1: part of this great legacy of risk in Hollywood, a

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Speaker 1: legacy which we can say has given us and continues

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Speaker 1: to give us some of the greatest movies of all time,

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Speaker 1: while he's a part of that legacy, in a way

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Speaker 1: he exists outside that legacy, because I don't know if

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Speaker 1: any of these guys, even Herzog or Coppola, could even

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Speaker 1: exist in Hopper Skier speaking of people who exist outside

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Speaker 1: the group that defines them. Next week in hollywood Land,

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Speaker 1: we've got our episode from the archive on Alfred Hitchcock,

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Speaker 1: a director so great and so formative for so many

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Speaker 1: that we've got an adjective to describe him in his work, Hitchcockian.

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Speaker 1: That's a word defined by the Oxtra Dictionary as resembling

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Speaker 1: or characteristic of the style of the English film director

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Speaker 1: Sir Alfred Hitchcock, especially through the use of tension and suspense.

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Speaker 1: Our story here in Hollywoodland hones in on the very

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Speaker 1: messed up relationship that Alfred Hitchcock had with one of

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Speaker 1: his actresses, Tippy Hedron, on the set of The Birds,

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Speaker 1: and how Hitchcock was perhaps obsessed with her or with

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Speaker 1: the idea of actresses just like her. Hitchcock made one

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Speaker 1: of the greatest movies about obsession, Vertigo, which I'm going

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Speaker 1: to feature in next week's installment of the Screening Room

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Speaker 1: here in the Feed. But until then, thinking about Hitchcock

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Speaker 1: got me thinking about next week's question of the week,

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Speaker 1: which is what film are you obsessed with? What film

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Speaker 1: have you seen a million times and you'll have no

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Speaker 1: issue watching it a million more times in the future.

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Speaker 1: Tell me what it is why you're obsessed with it.

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Speaker 1: You can call me or text me six one seven

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Speaker 1: nine oh six six six three eight. You can email

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Speaker 1: me at disgrace lamp at gmail dot com, hit me

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Speaker 1: up on the socials at disgracelanmdpod, or if you're a

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Speaker 1: member of Disgraceland all access over on Patreon. That's where

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Speaker 1: we just voted on our Oscar picks. It's also the

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Speaker 1: only place where you can see our video podcast. This

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Speaker 1: film should be played loud. Hit me up in the

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Speaker 1: chat over there. Gotta take a quick break, but when

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Speaker 1: we return, I'm gonna dig into your responses for this

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Speaker 1: week's question of the week, all about movies you saw

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Speaker 1: Way Too Young? So stick around. Okay, we are back

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Speaker 1: and ready to dive into all your voicemails, texts, dms, etc.

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Speaker 1: Last week I asked you, guys, what movie did you

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Speaker 1: see Way Too Young? And it broke your brain? He

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Speaker 1: broke your brain, just like George McFly had his brain

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Speaker 1: broken by Darth Vader there in the hazmat suit playing

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Speaker 1: Van Halen eruption on cassette tape back in the nineteenth fifties.

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Speaker 1: Back to the future. Anyways, you guys, I got some

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Speaker 1: great responses from you guys here like this voicemail from

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Speaker 1: the three three four, mister.

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Speaker 2: Dick, mister Zes, thank you for as always presenting your

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Speaker 2: content in a way that nobody else does. As many

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Speaker 2: of other listeners have said, you guys give us the

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Speaker 2: material to be cool when we may have lost that

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Speaker 2: ability in our own right. Anyway, question of the week,

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Speaker 2: which movie did you watch at way too young of

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Speaker 2: an age that really scrambled your brain? Sadly I might

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Speaker 2: be the wrong person to ask for this because there's

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Speaker 2: far too many given my influences as a young man,

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Speaker 2: but I ended up seeing things like faces of death

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Speaker 2: which were just you don't need to be seeing that

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Speaker 2: before I was ten years old.

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Speaker 3: But as far as a.

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Speaker 2: Actually produced movie, I would have to say The Exorcist

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Speaker 2: at about five and a half six years old just

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Speaker 2: threw me for a loop that I shouldn't have been

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Speaker 2: on at that age. And yeah, man, I can't imagine

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Speaker 2: that anyone else who saw that at such a young

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Speaker 2: age was not influenced and maybe frightened beyond anything they

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Speaker 2: ever imagined after they saw that. So thank you, guys

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Speaker 2: as always for presenting what you do and keep it up.

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Speaker 3: Man.

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Speaker 2: I'm looking for some new content.

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Speaker 1: Ro Corolla, Hey, thanks so much for the kind words.

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Speaker 1: Appreciate you. Glad to help out with the cool cred

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Speaker 1: and all that. We all could use a little help

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Speaker 1: in the cool department, myself included. So glad to be there.

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Speaker 1: Listen Faces of Death. I still have never checked that out.

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Speaker 1: I just I can't. I just can't with that. I

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Speaker 1: remember I knew back in the day, like you know,

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Speaker 1: some kids had that. Some kid had it, and everyone

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Speaker 1: was like, hey, let's get together and watch this, and

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Speaker 1: it's just like I just I just couldn't. Repression of

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Speaker 1: my childhood. Man, it was just something that I just

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Speaker 1: just could not could not handle. I did see that

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Speaker 1: someone's making a new Faces of Death movie. I don't

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Speaker 1: even know what that's about, how one would do that,

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Speaker 1: But you know, Hollywood makes a movie about everything these days,

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Speaker 1: so I can't say I'm surprised. As far as the Exorcist.

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Speaker 1: You know, again here with my repressed childhood, I came

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Speaker 1: from a non horror household. We did not watch movies

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Speaker 1: like this. Incredibly, I was not tempted to watch movies

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Speaker 1: like this outside my house, like at a friend's place,

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Speaker 1: because I was just like I had like the fear

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Speaker 1: of God put to me by my parents. I can't

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Speaker 1: even imagine what my response would have been if I

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Speaker 1: had seen this when I was like ten years old,

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Speaker 1: But I will say, if I could lie down on

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Speaker 1: the imaginary couch here for a moment, I think my

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Speaker 1: fondness for strange and fucked up movies later as a

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Speaker 1: teenager and as an adult might have something to do

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Speaker 1: with all that repression in my childhood. I don't know

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Speaker 1: what makes the Exorcist so frightening though, even now as

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Speaker 1: an adult, is how rooted in reality it is. But

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Speaker 1: you know that three three four, Thanks again so much

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Speaker 1: for the call. Got another call here on the same

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Speaker 1: subject from our guy Matt in the eight one five.

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Speaker 4: It's that this is Matt Jones calling from the eight

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Speaker 4: one to five. Growing up, I was the youngest of three,

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Speaker 4: so I had two older brothers, and the blessing and

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Speaker 4: curse curses that come with out is is that they

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Speaker 4: would let me watch some movies with them. Now good

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Speaker 4: theater movies that I got to see with them when

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Speaker 4: I was like seven or eight was like Rambow three

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Speaker 4: and They Live, which was just awesome. But one of

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Speaker 4: my brothers let me watch blue velvet, David Lynch Blue velvet,

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Speaker 4: and also Twin Peak fire Walk with Me. And when

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Speaker 4: I saw Bob in fire Walk with Me, that replaced

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Speaker 4: any other existing things that was in my night there

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Speaker 4: is because Bob scared the hell out of me. I

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Speaker 4: also remember getting freaked out by the shining. I don't

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Speaker 4: know if it was just the eerie music or the

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Speaker 4: blood through the hallways. I also remember Good Fellows I

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Speaker 4: watched out when I was like ten, and just seeing

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Speaker 4: all that cocaine. I don't know, for some reason, it

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Speaker 4: really bothered me.

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Speaker 3: But that's that.

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Speaker 4: Those are my four. Thanks for all that you do,

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Speaker 4: and I look forward to seeing what you do next. Five.

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Speaker 1: Okay, uh, Matt, great call, Thank you. And I've said

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Speaker 1: this before, I maybe not here, but Bob from Twin

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Speaker 1: Peaks fire Walk with Me is the scariest fucking thing

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Speaker 1: I've ever seen, and like you, just like you. When

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Speaker 1: I saw it, it instantly replaced every scary image from

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Speaker 1: every movie I'd ever seen, and it is still the

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Speaker 1: primary image in the recesses of my subconscious that terrifies

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Speaker 1: me to this day. David Lynch one, He's succeeded by

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Speaker 1: planting that terror deep inside my brain if it's dark

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Speaker 1: in the house and like I turn around, I'm half

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Speaker 1: expecting to see Bob pop up from the couch or something,

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Speaker 1: you know, And Uh, I'm gonna get real with you here, Matt.

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Speaker 1: All Right, I still wake up the middle of the

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Speaker 1: night and the fucking the notion of Bob just pops

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Speaker 1: up in my head, like, fuck, what if he's in

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Speaker 1: the what if he's at the fucking foot of the

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Speaker 1: bed on the floor, God damn it. And then like

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Speaker 1: you got to pull your foot in from outside the sheet,

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Speaker 1: like you don't want Bob to be grabbing at it.

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Speaker 1: It's just a whole fucking thing. So thank you, Matt

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Speaker 1: for reminding me about that that David Lynch ruined my

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Speaker 1: life with Bob. Let's stay on this subject. And another

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Speaker 1: voicemail from another Matt, this one calling from the nine

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Speaker 1: toh eight.

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Speaker 3: Hey, Zeff, it's Matt from New Jersey. Yeah, movies that

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Speaker 3: broke our brain at a young age. So I guess

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Speaker 3: Falling Down came out in like ninety three or ninety four.

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Speaker 3: I was born in eighty five, and I feel like

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Speaker 3: whenever it came out on TV is when I saw it.

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Speaker 3: So probably ninety four, And I hate to say it,

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Speaker 3: but I don't think it broke my brain, but it

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Speaker 3: kind of like pushed me in a direction of nihilism.

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Speaker 3: I don't know what else to say about it, really,

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Speaker 3: you know what I mean. Like even I remember the

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Speaker 3: scene where he's at the Army Navy store. Those are

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Speaker 3: the Army Navy stores of Neo Nazi, and Michael Douglas's

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Speaker 3: character is disgusted by him. Like even that kind of

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Speaker 3: like spoke to me. But what's interesting among a lot

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Speaker 3: of things about that movie and seeing it when you're

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Speaker 3: nine years old on TV, is that if I'm not mistaken,

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Speaker 3: and I've called you in the past. And I don't

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Speaker 3: like the fact check on Google because I think it's

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Speaker 3: more fun to talk about this stuff. But I believe

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Speaker 3: the final scene on the Santa Monica Peer, Robert Duval

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Speaker 3: shoots Michael Douglas's character. I believe that is based on

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Speaker 3: a incident that happened on the Santa Monica Peer with

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Speaker 3: a gentleman named John Mascius who was a singer in

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Speaker 3: a hardcore punk band called Circle One, who had a

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Speaker 3: psychotic episode and was like throwing people off the pier

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Speaker 3: and the cops came and shot him. Shot them up

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Speaker 3: right there. I'm a pier, probably late eighties, early nineties.

426
00:24:18,160 --> 00:24:21,760
Speaker 3: I would not be surprised. I would a wager that

427
00:24:21,760 --> 00:24:26,000
Speaker 3: that scene in that setting is based on the killing

428
00:24:26,040 --> 00:24:30,119
Speaker 3: of John Mescius by the lapd. But anyway, yeah, hope.

429
00:24:29,880 --> 00:24:33,440
Speaker 1: You have a nice day later, Yo, Matt, Thanks man.

430
00:24:33,480 --> 00:24:35,320
Speaker 1: I'm not going to Google fact check you here. I agree.

431
00:24:35,320 --> 00:24:36,919
Speaker 1: It's way more fun to talk about shit like this

432
00:24:36,960 --> 00:24:39,680
Speaker 1: in an old school way. And besides, you know, Jake

433
00:24:39,760 --> 00:24:42,879
Speaker 1: Game all kinds of shit for using Shazam to figure

434
00:24:42,920 --> 00:24:45,560
Speaker 1: out of what one of the songs was used in

435
00:24:45,600 --> 00:24:47,680
Speaker 1: Boogie Nights when we did our episode of this film

436
00:24:47,720 --> 00:24:50,800
Speaker 1: should be played loud about that to my defense, Guys,

437
00:24:50,800 --> 00:24:52,880
Speaker 1: by the way, on the shazam thing, like who knows

438
00:24:52,920 --> 00:24:55,080
Speaker 1: that song? That song by the Move? Like for real,

439
00:24:55,320 --> 00:24:58,640
Speaker 1: like who knows that. I have a pretty deep knowledge

440
00:24:59,119 --> 00:25:02,760
Speaker 1: of music history of movie history. I will say I'm

441
00:25:02,760 --> 00:25:04,800
Speaker 1: really good at that kind of shit. I didn't like.

442
00:25:04,880 --> 00:25:06,760
Speaker 1: I don't know. I don't know any songs by the Move,

443
00:25:07,160 --> 00:25:10,280
Speaker 1: all due respect to Jeff Lynn, I just don't. Anyways,

444
00:25:10,560 --> 00:25:13,560
Speaker 1: back on track here, Matt, I hope you've since walked

445
00:25:13,560 --> 00:25:15,919
Speaker 1: back from a life of nihilism, you know, as the

446
00:25:15,960 --> 00:25:18,359
Speaker 1: dude says in The Big Lebowski, that must be exhausting.

447
00:25:18,840 --> 00:25:21,200
Speaker 1: I too saw Falling Down when it first came out

448
00:25:21,520 --> 00:25:24,200
Speaker 1: in nineteen ninety three. I was in high school, probably

449
00:25:24,240 --> 00:25:26,359
Speaker 1: a junior or senior when I saw it, and I

450
00:25:26,359 --> 00:25:28,879
Speaker 1: remember having a very visceral reaction to it, which is

451
00:25:28,920 --> 00:25:31,080
Speaker 1: kind of crazy because I was only sixteen or seventeen

452
00:25:31,080 --> 00:25:33,760
Speaker 1: and nowhere near beaten down by life yet like the

453
00:25:33,800 --> 00:25:36,320
Speaker 1: Michael Douglas character. But at the same time, you know,

454
00:25:36,400 --> 00:25:39,159
Speaker 1: high school is its own opera in which all of

455
00:25:39,200 --> 00:25:42,360
Speaker 1: us characters, you know, are feeling things in a way

456
00:25:42,400 --> 00:25:44,919
Speaker 1: that like they're way more important in life altering than

457
00:25:44,920 --> 00:25:47,679
Speaker 1: they actually are. So perhaps that explains some of it.

458
00:25:48,280 --> 00:25:50,960
Speaker 1: I did not know that about the Circle One singer.

459
00:25:51,000 --> 00:25:53,240
Speaker 1: I got to check in with JB to see if

460
00:25:53,240 --> 00:25:55,159
Speaker 1: he knows about that, and maybe we can do some

461
00:25:55,160 --> 00:25:58,719
Speaker 1: sort of a disgracefully in Hollywood Land thing on Circle

462
00:25:58,760 --> 00:26:02,520
Speaker 1: One and Falling Down sometime. Thank you very much for

463
00:26:02,640 --> 00:26:05,639
Speaker 1: the call. Got a text here on this subject from

464
00:26:05,880 --> 00:26:09,160
Speaker 1: the four to one six which says, I saw they

465
00:26:09,160 --> 00:26:12,680
Speaker 1: call me mister Tibbs, Sidney Poitier and Ed Asner's sequel

466
00:26:12,720 --> 00:26:15,000
Speaker 1: two in the heat of the night. When I was eight,

467
00:26:15,520 --> 00:26:17,679
Speaker 1: My dad had decided to combine a business trip with

468
00:26:17,720 --> 00:26:21,720
Speaker 1: family vacation, so we drove from Toronto, Canada, to Windsor, Ontario,

469
00:26:22,080 --> 00:26:25,119
Speaker 1: where he left my mom, me eight years old, and

470
00:26:25,200 --> 00:26:28,600
Speaker 1: my sister, aged six, stranded without the car to kill

471
00:26:28,640 --> 00:26:32,200
Speaker 1: several hours while he finished up a working day in Detroit, Michigan.

472
00:26:32,640 --> 00:26:34,760
Speaker 1: It was raining in a boring city on a weekday,

473
00:26:35,040 --> 00:26:37,000
Speaker 1: so Mom took us to a cinema at a mall

474
00:26:37,160 --> 00:26:39,960
Speaker 1: where this was the only movie playing. All I remember

475
00:26:40,280 --> 00:26:42,600
Speaker 1: is the opening scene of a naked woman in an

476
00:26:42,600 --> 00:26:46,400
Speaker 1: open blue silk robe getting murdered in an apartment. At

477
00:26:46,400 --> 00:26:48,600
Speaker 1: the time, the murder seemed to me to be a

478
00:26:48,640 --> 00:26:52,320
Speaker 1: consequence of her post coital nudity, shocking to an eight

479
00:26:52,359 --> 00:26:55,040
Speaker 1: year old in nineteen seventy. This was perhaps only a

480
00:26:55,040 --> 00:26:56,840
Speaker 1: few seconds at the start of the film, but I

481
00:26:56,880 --> 00:26:59,520
Speaker 1: never forgot that scene, although I likely napped through the

482
00:26:59,520 --> 00:27:02,679
Speaker 1: rest of this apparently bad movie. And this text has

483
00:27:02,760 --> 00:27:05,880
Speaker 1: signed Joanne. I believe it's Joanne or it's Joan, thank

484
00:27:05,880 --> 00:27:08,880
Speaker 1: you for writing in. My mom's name was Joe, while

485
00:27:08,880 --> 00:27:10,639
Speaker 1: her middle name was Joan, but she went by her

486
00:27:10,640 --> 00:27:14,720
Speaker 1: middle name Joan, and everyone called her Joni, and she

487
00:27:14,840 --> 00:27:18,320
Speaker 1: spelled it with two ends, and so whenever I see

488
00:27:18,440 --> 00:27:22,159
Speaker 1: Joanne spelled like this, my mind immediately goes to Jony,

489
00:27:22,200 --> 00:27:24,360
Speaker 1: my mom's name, and so that's why I'm tripping over

490
00:27:24,400 --> 00:27:27,119
Speaker 1: the pronunciation of it. But thank you so much for

491
00:27:27,160 --> 00:27:29,159
Speaker 1: the text. We've all got that moment, right, We've all

492
00:27:29,160 --> 00:27:33,320
Speaker 1: got that moment where we see we see nudity as

493
00:27:33,359 --> 00:27:35,639
Speaker 1: a child with a parent at a movie for the

494
00:27:35,640 --> 00:27:38,119
Speaker 1: first time. And back in the day it was easier

495
00:27:38,119 --> 00:27:40,199
Speaker 1: for this kind of thing to happen because you know,

496
00:27:41,359 --> 00:27:42,760
Speaker 1: a lot of times people will go to the movie

497
00:27:42,800 --> 00:27:44,480
Speaker 1: and be like, oh shit, I didn't know this was

498
00:27:44,600 --> 00:27:48,120
Speaker 1: going to be this movie. I have not seen this movie,

499
00:27:48,160 --> 00:27:50,000
Speaker 1: did not see it with my with my mom. I

500
00:27:50,119 --> 00:27:53,480
Speaker 1: did see Top Gun with my mom at home, and

501
00:27:53,520 --> 00:27:57,040
Speaker 1: I remember my parents fast forwarding through the sex scene

502
00:27:57,040 --> 00:27:59,479
Speaker 1: with Kelly McGillis to take my breath away scene. So

503
00:27:59,520 --> 00:28:01,879
Speaker 1: I never actually saw that scene until I was older.

504
00:28:02,080 --> 00:28:04,159
Speaker 1: Not that it really matters to the plot. It's not like,

505
00:28:04,200 --> 00:28:07,399
Speaker 1: you know, dirty dancing or whatever. But anyways, thanks again, Joanne.

506
00:28:07,440 --> 00:28:11,120
Speaker 1: Four that text. Another text here from the six to eight,

507
00:28:11,240 --> 00:28:13,919
Speaker 1: which reads a movie that I was shown well before

508
00:28:14,000 --> 00:28:15,800
Speaker 1: I should have been, and it goes with the Dennis

509
00:28:15,800 --> 00:28:19,240
Speaker 1: Hopper theme. Was blue Velvet. I was a skateboarder punk

510
00:28:19,280 --> 00:28:21,200
Speaker 1: in middle and high school. In one of the times

511
00:28:21,320 --> 00:28:23,480
Speaker 1: the skate park, the owner, who was kind of a

512
00:28:23,520 --> 00:28:26,520
Speaker 1: shady guy, had blue velvet on the big projector TV

513
00:28:27,000 --> 00:28:29,560
Speaker 1: in the little hangout room. I was quite shocked as

514
00:28:29,560 --> 00:28:31,240
Speaker 1: a thirteen year old, but to this day I love

515
00:28:31,280 --> 00:28:33,880
Speaker 1: the movie as a thirty six year old Brock from

516
00:28:33,880 --> 00:28:38,880
Speaker 1: the six to eight Brock, Yes, that scene you describe

517
00:28:39,040 --> 00:28:41,720
Speaker 1: seeing blue velvet at a skate park on a big

518
00:28:41,760 --> 00:28:45,200
Speaker 1: projector TV run by a shady guy. He is like,

519
00:28:45,960 --> 00:28:48,200
Speaker 1: I feel like that's the perfect environment to see this

520
00:28:48,360 --> 00:28:51,000
Speaker 1: movie for the first time as a thirteen year old.

521
00:28:51,080 --> 00:28:54,320
Speaker 1: Like it checks all the all the boxes of like

522
00:28:54,440 --> 00:28:58,560
Speaker 1: weird and potentially wrong. Right. You know what's crazy though,

523
00:28:58,640 --> 00:29:02,120
Speaker 1: is like even I rewatched this movie when David Lynch

524
00:29:02,200 --> 00:29:05,320
Speaker 1: died recently and I hadn't seen it in a while,

525
00:29:05,440 --> 00:29:08,880
Speaker 1: and it's still, I mean it is still as an adult.

526
00:29:09,520 --> 00:29:12,719
Speaker 1: The scene in the apartment when Dennis Hopper comes in

527
00:29:14,120 --> 00:29:17,600
Speaker 1: and has the whole thing with Isabella Russellini while Kyle

528
00:29:17,720 --> 00:29:20,400
Speaker 1: McLaughlin is hidden in the closet like that scene is

529
00:29:20,480 --> 00:29:24,720
Speaker 1: still so fucking disturbing and shocking even as an adult.

530
00:29:24,760 --> 00:29:26,400
Speaker 1: So I didn't see this movie to when I was

531
00:29:26,480 --> 00:29:28,000
Speaker 1: until I was an adult. This is another one that

532
00:29:28,000 --> 00:29:30,320
Speaker 1: would have split my brain in half. I'd seen it

533
00:29:30,360 --> 00:29:33,400
Speaker 1: as a thirteen year old Brock thank you for reaching out.

534
00:29:33,640 --> 00:29:38,360
Speaker 1: Another email here on this same subject title. The email

535
00:29:38,480 --> 00:29:42,160
Speaker 1: is for doctor Zeth and the email reads as such,

536
00:29:42,720 --> 00:29:45,000
Speaker 1: Shane from the nine to seven oh here on the

537
00:29:45,040 --> 00:29:47,920
Speaker 1: topic of films watched way too young that warped brains.

538
00:29:48,360 --> 00:29:51,040
Speaker 1: I watched twenty ten the Year We Make Contact when

539
00:29:51,040 --> 00:29:52,920
Speaker 1: it was in theaters in nineteen eighty four as a

540
00:29:53,040 --> 00:29:55,880
Speaker 1: nine year old. That wasn't the film that blew my mind, though,

541
00:29:55,920 --> 00:29:58,280
Speaker 1: when I realized it was a sequel, I just had

542
00:29:58,280 --> 00:30:00,520
Speaker 1: to see the original. So we rented two thousand and

543
00:30:00,520 --> 00:30:03,440
Speaker 1: one a Space Auditi on VHS. Holy shit, did that

544
00:30:03,480 --> 00:30:06,120
Speaker 1: movie twist my mind. I've since watched it a few

545
00:30:06,160 --> 00:30:08,680
Speaker 1: times more and always seem to find something in it

546
00:30:08,720 --> 00:30:11,440
Speaker 1: that makes it a fresh mind fuck. Also, I seem

547
00:30:11,520 --> 00:30:13,880
Speaker 1: to remember that it was recently voted the best movie

548
00:30:13,880 --> 00:30:16,160
Speaker 1: of all time. I'm interested to hear your thoughts on that.

549
00:30:16,240 --> 00:30:18,160
Speaker 1: Keep up the good work. I've been listening to all

550
00:30:18,160 --> 00:30:21,000
Speaker 1: the double Elvis stuff since the first episode of Disgraceland,

551
00:30:21,000 --> 00:30:24,360
Speaker 1: and it just keeps getting better. Shane, thank you so

552
00:30:24,480 --> 00:30:27,000
Speaker 1: much for that, And I'm glad to hear that the

553
00:30:27,040 --> 00:30:30,240
Speaker 1: things are just getting better. As the sage Howard Jones

554
00:30:30,240 --> 00:30:32,720
Speaker 1: once sang about in the nineteen eighties, things can only

555
00:30:32,840 --> 00:30:36,440
Speaker 1: get better. I never saw twenty ten two thousand and one.

556
00:30:37,040 --> 00:30:40,280
Speaker 1: The scope of that film is just like when you're

557
00:30:40,480 --> 00:30:43,600
Speaker 1: when I was younger, teenager and was really getting into

558
00:30:43,640 --> 00:30:47,280
Speaker 1: movies and was really getting into this idea of becoming

559
00:30:47,280 --> 00:30:49,520
Speaker 1: involved in the making of movies and going to film

560
00:30:49,560 --> 00:30:51,520
Speaker 1: school and all that stuff. Two thousand and one was

561
00:30:51,560 --> 00:30:54,280
Speaker 1: one of those formative movies, you know. And I saw

562
00:30:54,320 --> 00:30:57,720
Speaker 1: this movie before I did any drugs, and it made

563
00:30:57,760 --> 00:30:59,760
Speaker 1: you feel like you were on drugs. You just didn't

564
00:30:59,760 --> 00:31:02,440
Speaker 1: really know it at the time. I remember then seeing

565
00:31:02,440 --> 00:31:05,440
Speaker 1: it on the big screen in college. It was a

566
00:31:05,440 --> 00:31:08,320
Speaker 1: double feature with another movie at the Brattle Theater, one

567
00:31:08,320 --> 00:31:10,720
Speaker 1: of my favorite theaters in the Boston area and Cambridge

568
00:31:11,080 --> 00:31:14,840
Speaker 1: over by Harvard. The Brattle used to and I'm guessing

569
00:31:14,840 --> 00:31:16,440
Speaker 1: they still do. I'm not sure, but they used to

570
00:31:16,440 --> 00:31:20,240
Speaker 1: do these program double features all the time. I wonder

571
00:31:20,240 --> 00:31:22,080
Speaker 1: if it was a double feature with another Kubrick movie,

572
00:31:22,080 --> 00:31:24,600
Speaker 1: like Clockwork, Orange maybe or something. But it was a long,

573
00:31:24,840 --> 00:31:28,280
Speaker 1: long day at the movies. My guy Todd was there

574
00:31:28,280 --> 00:31:29,880
Speaker 1: with me. I think we were in like front row

575
00:31:30,040 --> 00:31:34,000
Speaker 1: or second row. And just the ingenuity of this filmmaking

576
00:31:34,360 --> 00:31:36,719
Speaker 1: using your weaknesses as strains. Because you know, this came

577
00:31:36,760 --> 00:31:39,040
Speaker 1: out in nineteen sixty eight, it's very much like a

578
00:31:39,160 --> 00:31:41,800
Speaker 1: before and after kind of movie, like this before two

579
00:31:41,840 --> 00:31:44,040
Speaker 1: thousand and one and after two thousand and one. But

580
00:31:44,120 --> 00:31:47,000
Speaker 1: the way in which Kubrick made a film that looks

581
00:31:47,120 --> 00:31:50,600
Speaker 1: as sophisticated as he does with the tools that he was,

582
00:31:50,880 --> 00:31:55,200
Speaker 1: you know, the limiting tools that he had at his disposal,

583
00:31:55,960 --> 00:31:58,760
Speaker 1: is just wild. And there's something so timeless about the

584
00:31:58,760 --> 00:32:01,800
Speaker 1: movie too, you know about it's about searching for meaning,

585
00:32:02,600 --> 00:32:04,480
Speaker 1: you as the viewer, searching for the meaning of the

586
00:32:04,480 --> 00:32:07,000
Speaker 1: monolith through the whole movie, Like is there any meaning?

587
00:32:07,120 --> 00:32:09,960
Speaker 1: And is there a point? I guess that's the whole

588
00:32:10,000 --> 00:32:12,960
Speaker 1: thing of this movie, right. I think I personally liked

589
00:32:12,960 --> 00:32:16,240
Speaker 1: this more when I was younger than I do now.

590
00:32:16,520 --> 00:32:19,000
Speaker 1: I'm still in awe of this movie. It's not my

591
00:32:19,040 --> 00:32:22,480
Speaker 1: favorite Kubrick anymore. It probably was an a time, but

592
00:32:22,520 --> 00:32:24,080
Speaker 1: that's kind of changed a little bit. And as far

593
00:32:24,080 --> 00:32:26,600
Speaker 1: as the best movie thing, I think Cite and Sound

594
00:32:26,920 --> 00:32:30,600
Speaker 1: magazine which does this like recurring poll of a lot

595
00:32:30,680 --> 00:32:33,800
Speaker 1: of critics, and I think filmmakers of the greatest movies

596
00:32:33,800 --> 00:32:36,120
Speaker 1: of all time, they do it every couple of years.

597
00:32:36,520 --> 00:32:38,720
Speaker 1: I believe. I don't think it's number one in their poll,

598
00:32:38,720 --> 00:32:40,880
Speaker 1: but it's definitely in the top ten. And I think

599
00:32:40,920 --> 00:32:42,720
Speaker 1: this movie will kind of always be in the top ten.

600
00:32:42,760 --> 00:32:46,160
Speaker 1: It's like a Citizen Kane of its time in many ways.

601
00:32:46,200 --> 00:32:49,960
Speaker 1: So great email, Shane, thanks for reaching out. I've got

602
00:32:49,960 --> 00:32:53,520
Speaker 1: so many other emails and texts and voicemails from you guys.

603
00:32:53,560 --> 00:32:56,840
Speaker 1: I got a multipron text here from the eight oh eight. Well,

604
00:32:56,880 --> 00:32:58,600
Speaker 1: this text talks about the question of the week and

605
00:32:58,640 --> 00:33:02,840
Speaker 1: also last week I was thanking Nicholas Cage movies. So

606
00:33:03,280 --> 00:33:05,240
Speaker 1: this text from the eight await hits upon both of

607
00:33:05,240 --> 00:33:08,600
Speaker 1: these things. It says movie I saw too Young, Blue

608
00:33:08,680 --> 00:33:12,280
Speaker 1: Lagoon at eight years old, uncensored, need I say more?

609
00:33:13,120 --> 00:33:16,720
Speaker 1: And then Nick Cage Top five five, The Rock four,

610
00:33:16,880 --> 00:33:21,760
Speaker 1: Wiley's Wonderland, No Dialogue three, Vampires Kiss, two con Air,

611
00:33:22,160 --> 00:33:25,800
Speaker 1: and one Face Off. Can really believe it's Travolta wearing

612
00:33:25,880 --> 00:33:29,920
Speaker 1: Cage's face. Yeah, Blue Lagoon eight years old, uncensored. That

613
00:33:30,560 --> 00:33:33,320
Speaker 1: was a bit of a legendary film back in the day.

614
00:33:33,440 --> 00:33:35,720
Speaker 1: Just sort of like the knowing about that movie and

615
00:33:37,440 --> 00:33:41,320
Speaker 1: the just not only the transgressive nature of the subject,

616
00:33:41,400 --> 00:33:43,360
Speaker 1: but of the people who made it and the ages

617
00:33:43,400 --> 00:33:46,080
Speaker 1: and all that stuff. Your Nick Cage top five. I'm

618
00:33:46,120 --> 00:33:48,080
Speaker 1: liking this very different than we both had the same

619
00:33:48,120 --> 00:33:50,160
Speaker 1: top five number five. We both had The Rock at

620
00:33:50,240 --> 00:33:52,959
Speaker 1: number five, Wiley's Wonderland. I do not know this movie

621
00:33:53,400 --> 00:33:55,800
Speaker 1: Vampires Kiss. I have not seen that in probably like

622
00:33:55,840 --> 00:33:59,520
Speaker 1: twenty years. I appreciate this list. I appreciate Face Off

623
00:33:59,520 --> 00:34:04,240
Speaker 1: at number one on Travolta and Nick Cage swapping faces.

624
00:34:04,320 --> 00:34:08,000
Speaker 1: Just great, great filmmaking. Another text from the seven to

625
00:34:08,040 --> 00:34:13,279
Speaker 1: seven nine on this subject of Nick Cage movies that says, Hey, Zeth,

626
00:34:13,320 --> 00:34:15,279
Speaker 1: I just listened to the Nick Cage episode and I

627
00:34:15,320 --> 00:34:17,560
Speaker 1: wanted to give my top five favorite films of his.

628
00:34:18,200 --> 00:34:21,439
Speaker 1: Number five, Piggy Got Married, number four, Lord of War,

629
00:34:21,960 --> 00:34:26,920
Speaker 1: number three, Moonstruck, number two, Face Off, number one, Raising Arizona,

630
00:34:27,000 --> 00:34:31,120
Speaker 1: which is actually my favorite movie of all time seven

631
00:34:31,200 --> 00:34:34,120
Speaker 1: seven nine, So some days it's my favorite movie all

632
00:34:34,200 --> 00:34:38,560
Speaker 1: time too. I have I mentioned I mentioned Letterbox before

633
00:34:38,680 --> 00:34:41,680
Speaker 1: overnd my letterbox. You know, you can do your on

634
00:34:41,760 --> 00:34:44,560
Speaker 1: your profile, you set your top four movies. It's like

635
00:34:44,600 --> 00:34:47,719
Speaker 1: they're big question that they ask people on their social accounts.

636
00:34:47,960 --> 00:34:50,879
Speaker 1: And I changed these occasionally, as I mean, listen, I'm

637
00:34:50,920 --> 00:34:52,880
Speaker 1: not gonna put my top four movies in stone and

638
00:34:52,920 --> 00:34:55,359
Speaker 1: they're going to stay that way forever. But I'm just

639
00:34:55,360 --> 00:34:57,600
Speaker 1: looking at my letterbox account right now, which, by the way,

640
00:34:58,239 --> 00:35:01,480
Speaker 1: is what zeth not seth if you guys want to

641
00:35:01,520 --> 00:35:03,960
Speaker 1: hook up over there. My favorites right now on there

642
00:35:04,000 --> 00:35:08,400
Speaker 1: are Zodiac almost famous, Raising Arizona and After Hours. That's

643
00:35:08,480 --> 00:35:13,080
Speaker 1: just sort of an example of my my style, I guess.

644
00:35:13,120 --> 00:35:16,000
Speaker 1: But yeah, seven seven nine, Raising Arizona. It's one of

645
00:35:16,040 --> 00:35:18,279
Speaker 1: the greatest of all time. It's just it's just so good,

646
00:35:18,280 --> 00:35:20,279
Speaker 1: and it's from a period of the Coen Brothers work

647
00:35:20,320 --> 00:35:22,680
Speaker 1: that is just stellar in my opinion, that first, you know,

648
00:35:22,800 --> 00:35:25,560
Speaker 1: ten fifteen years or whatever of their career is just

649
00:35:25,800 --> 00:35:29,399
Speaker 1: untouchable in my opinion. Everybody else, get at me here

650
00:35:29,600 --> 00:35:33,640
Speaker 1: with your top five lists, whether it's about uncompromising risk

651
00:35:33,680 --> 00:35:36,320
Speaker 1: takers in Hollywood, or if it's about Nick Cage movies,

652
00:35:36,840 --> 00:35:39,000
Speaker 1: or maybe it's about Coen Brothers movies. I don't know.

653
00:35:39,320 --> 00:35:41,040
Speaker 1: Give me, give me. It's some top fives I like.

654
00:35:41,160 --> 00:35:42,480
Speaker 1: I'm going to play around with these and more. I've

655
00:35:42,480 --> 00:35:44,440
Speaker 1: always been a big fan of lists. Send me a

656
00:35:44,480 --> 00:35:47,680
Speaker 1: text or leave me a voicemail. Six one seven nine

657
00:35:47,680 --> 00:35:50,120
Speaker 1: oh six six six three eight. I'm going to take

658
00:35:50,120 --> 00:36:04,120
Speaker 1: another quick break, and I'll be right back with some recommendations. Okay, everybody,

659
00:36:04,200 --> 00:36:07,560
Speaker 1: it is time for the recommendations section of the Rap Party.

660
00:36:07,840 --> 00:36:11,040
Speaker 1: Here are some of the things I've been watching, listening to, reading,

661
00:36:11,120 --> 00:36:14,239
Speaker 1: et cetera, et cetera over the last week. Among the

662
00:36:14,280 --> 00:36:16,840
Speaker 1: many many things I watched this past week, I've been

663
00:36:16,880 --> 00:36:18,600
Speaker 1: watching a lot of stuff for work, guys, A lot

664
00:36:18,600 --> 00:36:21,319
Speaker 1: of stuff for you know, not just the screening room

665
00:36:21,440 --> 00:36:24,120
Speaker 1: here in Hollywood Land, but also for this film should

666
00:36:24,120 --> 00:36:27,080
Speaker 1: be played loud over on Patreon. Just been rewatching a

667
00:36:27,080 --> 00:36:29,360
Speaker 1: lot of stuff to kind of like get these movies

668
00:36:29,400 --> 00:36:32,360
Speaker 1: back in my brain. But among all this other work stuff,

669
00:36:32,440 --> 00:36:35,080
Speaker 1: two of the things I watched this week are very

670
00:36:35,080 --> 00:36:39,600
Speaker 1: opposite ends of genre and vibe. Okay, I watched if

671
00:36:39,600 --> 00:36:41,760
Speaker 1: I had legs, I'd kick you And I also watched

672
00:36:41,880 --> 00:36:44,640
Speaker 1: Zootopia two. Let me talk about if I had legs,

673
00:36:44,680 --> 00:36:46,879
Speaker 1: I'd kick you first. This is the best title of

674
00:36:47,040 --> 00:36:49,680
Speaker 1: last year by far. It's like a Morrissey song, you

675
00:36:49,719 --> 00:36:52,360
Speaker 1: know how like Morrissey. I think it was Elvis Costello

676
00:36:52,360 --> 00:36:55,480
Speaker 1: who once said that Morrissey was like the he was

677
00:36:55,520 --> 00:36:59,080
Speaker 1: the greatest at writing song titles that the actual songs

678
00:36:59,640 --> 00:37:02,239
Speaker 1: like did not live up. The actual songs could not

679
00:37:02,280 --> 00:37:05,600
Speaker 1: live up to the greatness of the song title. This

680
00:37:05,640 --> 00:37:07,480
Speaker 1: is the movie that stars Rose Byrne. She was up

681
00:37:07,520 --> 00:37:09,520
Speaker 1: for Best Actress at the Oscars. It was written and

682
00:37:09,520 --> 00:37:13,880
Speaker 1: directed by Mary Bronstein, co starring Conan O'Brien and asap Rocky,

683
00:37:14,239 --> 00:37:18,439
Speaker 1: which is quite the eclectic cast. Asap Rocky man, I'm

684
00:37:18,520 --> 00:37:21,120
Speaker 1: really digging him. He was my favorite thing about Highest

685
00:37:21,120 --> 00:37:23,480
Speaker 1: to Lois, the Spike Lee film from last year, and

686
00:37:23,560 --> 00:37:26,080
Speaker 1: he's super great in this as well. This movie is

687
00:37:26,080 --> 00:37:28,759
Speaker 1: about a mom who's coming apart. She's got a kid

688
00:37:28,840 --> 00:37:31,760
Speaker 1: who's sick, she doesn't know what it is, her husband's

689
00:37:31,760 --> 00:37:35,279
Speaker 1: away on work, her apartment's falling apart, and the performances

690
00:37:35,400 --> 00:37:38,720
Speaker 1: are stellar across the board. Rose burn is great. Conan

691
00:37:38,719 --> 00:37:44,000
Speaker 1: O'Brien plays for therapist, and he's very icy and cold asap.

692
00:37:44,120 --> 00:37:46,800
Speaker 1: Rocky is this guy that she meets at the hotel

693
00:37:46,800 --> 00:37:49,799
Speaker 1: where she's staying when her apartment's being worked on. But

694
00:37:49,840 --> 00:37:52,399
Speaker 1: there's a choice made in this film of how it's

695
00:37:52,560 --> 00:37:57,040
Speaker 1: shot and how we remain in rose Byrne's characters headspace,

696
00:37:57,600 --> 00:38:01,040
Speaker 1: and this choice pays off one wonderfully in the film's

697
00:38:01,080 --> 00:38:05,160
Speaker 1: final moment in a very cool way. But I got

698
00:38:05,200 --> 00:38:08,000
Speaker 1: to say, just aesthetically, I did not love the choice.

699
00:38:08,080 --> 00:38:10,320
Speaker 1: I kind of wanted it to be there. I wanted

700
00:38:10,320 --> 00:38:12,799
Speaker 1: to be sort of in this headspace, maybe for an

701
00:38:12,840 --> 00:38:15,279
Speaker 1: extended amount of time, you know, a scene here or there,

702
00:38:15,880 --> 00:38:18,480
Speaker 1: but for the whole movie it was just very claustrophobic.

703
00:38:18,520 --> 00:38:20,680
Speaker 1: And I get it. I get that's the point. It

704
00:38:20,760 --> 00:38:23,319
Speaker 1: was just a a bit intense, right. It just wasn't

705
00:38:23,320 --> 00:38:26,560
Speaker 1: my thing. I get it. I understand the angle here.

706
00:38:27,080 --> 00:38:28,719
Speaker 1: But the cool thing about watching this is that my

707
00:38:28,760 --> 00:38:31,000
Speaker 1: wife and I are also watching for the first time

708
00:38:31,080 --> 00:38:33,759
Speaker 1: the show Platonic over on Apple TV. It's this show

709
00:38:33,800 --> 00:38:38,120
Speaker 1: with Rose byrn and Seth Rogen about these best friends

710
00:38:38,440 --> 00:38:41,600
Speaker 1: who reconnect as adults. We only just started watching it,

711
00:38:41,640 --> 00:38:44,480
Speaker 1: and I'm actually enjoying it quite a bit. But she's

712
00:38:44,520 --> 00:38:47,520
Speaker 1: so fucking good at comedy, like she is ridiculously good

713
00:38:47,600 --> 00:38:50,879
Speaker 1: at comedy, and so it's actually quite shocking to watch

714
00:38:50,880 --> 00:38:53,680
Speaker 1: her in something this dramatic and just how good she is.

715
00:38:54,000 --> 00:38:57,279
Speaker 1: Rose Byrn really going all in in my roseburn Stock

716
00:38:57,360 --> 00:38:59,480
Speaker 1: right now. But if I had legs, i'd kick you.

717
00:38:59,640 --> 00:39:02,000
Speaker 1: Check it out. It's a bit intense if you're a

718
00:39:02,040 --> 00:39:05,480
Speaker 1: parent or a mom, especially if you've had kids with illnesses.

719
00:39:05,560 --> 00:39:08,120
Speaker 1: It can hit a bit close to home. Just warning, Okay,

720
00:39:08,680 --> 00:39:12,520
Speaker 1: Zootopia two. I watched this on Disney Plus with my

721
00:39:12,600 --> 00:39:17,279
Speaker 1: youngest over the weekend. My youngest is twelve. She is

722
00:39:17,320 --> 00:39:21,279
Speaker 1: the only well I wouldn't say that. My oldest daughter

723
00:39:21,360 --> 00:39:24,880
Speaker 1: really loves the Spider Verse movies a lot, the animated

724
00:39:24,880 --> 00:39:28,120
Speaker 1: into the Spider Verse movies, but my youngest is still

725
00:39:28,640 --> 00:39:31,520
Speaker 1: she's still all in on animated movies more so than

726
00:39:31,600 --> 00:39:34,880
Speaker 1: live action movies. So we watched Utopia two for the

727
00:39:34,880 --> 00:39:38,560
Speaker 1: first time we've seen Zootopia before, and it was great.

728
00:39:38,719 --> 00:39:41,480
Speaker 1: It was a solid Disney movie, and what made it

729
00:39:41,520 --> 00:39:45,480
Speaker 1: really fun for me is there are references to both

730
00:39:45,520 --> 00:39:49,600
Speaker 1: the shining and silence of the lambs in this movie

731
00:39:50,120 --> 00:39:54,080
Speaker 1: that are Chef's kiss. There's a whole scene where a

732
00:39:54,160 --> 00:39:59,080
Speaker 1: character escapes and goes running through a labyrinth like the

733
00:39:59,120 --> 00:40:01,759
Speaker 1: one in The Shining and it's so funny and so

734
00:40:01,840 --> 00:40:04,560
Speaker 1: spot on, and it's just I love, you know, this

735
00:40:04,600 --> 00:40:07,239
Speaker 1: is what I love. I love about Pixar as well.

736
00:40:07,320 --> 00:40:09,360
Speaker 1: Pixar did not do this. I think it was just Disney.

737
00:40:09,760 --> 00:40:11,760
Speaker 1: I love the treats they throw in for the adults.

738
00:40:11,800 --> 00:40:14,040
Speaker 1: It's great. So it was a good time. If you

739
00:40:14,160 --> 00:40:16,680
Speaker 1: got kids and you guys did this kind of thing,

740
00:40:16,719 --> 00:40:18,640
Speaker 1: I think you like it. It was fun. It was funny.

741
00:40:18,640 --> 00:40:21,520
Speaker 1: I laughed a lot. What I've been listening to I

742
00:40:21,560 --> 00:40:24,719
Speaker 1: listened to John Coltrane a lot. When I write. I

743
00:40:24,800 --> 00:40:26,640
Speaker 1: like to listen to instrumental music. When I write. I

744
00:40:26,640 --> 00:40:28,640
Speaker 1: don't like it to be quiet. I have a really

745
00:40:28,640 --> 00:40:31,040
Speaker 1: hard time with dead Air, even when I'm not I

746
00:40:31,080 --> 00:40:32,799
Speaker 1: always have music on no matter what I'm doing. When

747
00:40:32,800 --> 00:40:34,480
Speaker 1: I write, it needs to be instrumental, because if it's

748
00:40:34,520 --> 00:40:36,640
Speaker 1: got lyrics in it, then I'm listening to the lyrics

749
00:40:36,680 --> 00:40:38,960
Speaker 1: and it just fucks me up. So Coltrane, we all

750
00:40:39,000 --> 00:40:41,279
Speaker 1: know about albums like Blue Training and Giant Steps and

751
00:40:41,280 --> 00:40:44,840
Speaker 1: I Love Supreme. But my low key favorite Coltrane album

752
00:40:45,080 --> 00:40:47,359
Speaker 1: right now and for a while is this one called

753
00:40:47,400 --> 00:40:50,319
Speaker 1: ol A Coultrane. It's from nineteen sixty one. This was

754
00:40:50,360 --> 00:40:55,320
Speaker 1: his last album for Atlantic before his contract expired, meaning

755
00:40:55,320 --> 00:40:58,160
Speaker 1: that Atlantic released other stuff after this, but this was

756
00:40:58,200 --> 00:41:00,640
Speaker 1: like the last one that he had created of control

757
00:41:00,680 --> 00:41:05,440
Speaker 1: over for that label. So his stretch at Atlantic was

758
00:41:05,960 --> 00:41:09,279
Speaker 1: giant steps, Coltrane Jazz, my favorite things, and then this one,

759
00:41:09,360 --> 00:41:13,400
Speaker 1: ol A Coltrane. This has McCoy tyner on piano, Elvin

760
00:41:13,480 --> 00:41:16,879
Speaker 1: Jones on drums. Of course, bass players, he's got two here,

761
00:41:16,920 --> 00:41:21,040
Speaker 1: Reggie Workmen and Art Davis, Freddy Hubbard trumpet, Eric Dolphie.

762
00:41:21,520 --> 00:41:24,120
Speaker 1: The first side is just one song. It's called Ola.

763
00:41:24,239 --> 00:41:27,080
Speaker 1: It's eighteen minutes long. It's a moldal jazz vamp. It's

764
00:41:27,160 --> 00:41:30,560
Speaker 1: one chord very a love Supreme in this like mantra

765
00:41:30,800 --> 00:41:33,399
Speaker 1: kind of way right. And then side B has two

766
00:41:33,440 --> 00:41:36,480
Speaker 1: tracks on it, the ballad Aisha, which is written by

767
00:41:36,840 --> 00:41:39,759
Speaker 1: McCoy tyner. It's as good as any of Coltrane's ballads

768
00:41:40,160 --> 00:41:42,040
Speaker 1: from any of his records. The Ballads record or any

769
00:41:42,360 --> 00:41:45,800
Speaker 1: other Cultrane record is so solid. So this is nineteen

770
00:41:45,840 --> 00:41:48,160
Speaker 1: sixty one right. So although it's got Eric Dolphie on here,

771
00:41:48,560 --> 00:41:51,520
Speaker 1: and although it's got this one chord vamp on side A,

772
00:41:52,160 --> 00:41:54,600
Speaker 1: this is not like out to lunch jazz. It's not

773
00:41:54,680 --> 00:41:57,640
Speaker 1: like freak out jazz. But it's on the precipice. It's

774
00:41:57,680 --> 00:42:01,160
Speaker 1: like looking through the window at far out stuff. It's

775
00:42:01,200 --> 00:42:03,759
Speaker 1: like dreaming of the future a little bit, and it's

776
00:42:03,840 --> 00:42:06,520
Speaker 1: just great music to get lost inside of. It gets

777
00:42:06,520 --> 00:42:10,040
Speaker 1: my brain chugging along like nothing else. Again, that's old

778
00:42:10,040 --> 00:42:13,759
Speaker 1: a Coltrane by John Coltrane. Stergill Simpson has a new

779
00:42:13,760 --> 00:42:17,919
Speaker 1: record out under his alter ego Johnny Bluesky's. This one's

780
00:42:17,920 --> 00:42:20,640
Speaker 1: actually called Johnny blue Skys and the Dark Clouds. The

781
00:42:20,680 --> 00:42:24,520
Speaker 1: album is called Mutiny After Midnight. It's cool. He did

782
00:42:24,560 --> 00:42:26,840
Speaker 1: this old school release thing with this where he released

783
00:42:26,880 --> 00:42:30,200
Speaker 1: it physically, so he released it on vinyl and on

784
00:42:30,280 --> 00:42:32,719
Speaker 1: CD and I think on cassette as well, but it's

785
00:42:32,760 --> 00:42:35,560
Speaker 1: currently not available streaming. He did a funny thing a

786
00:42:35,560 --> 00:42:38,360
Speaker 1: few weeks ago where he like leaked his own album

787
00:42:38,480 --> 00:42:40,640
Speaker 1: on YouTube so you could stream it on YouTube, but

788
00:42:40,840 --> 00:42:43,640
Speaker 1: he since has taken that stream down, so like the

789
00:42:43,640 --> 00:42:46,840
Speaker 1: only way to hear it is physically. My friend bought

790
00:42:46,960 --> 00:42:49,440
Speaker 1: the record and he let me borrow it the other day,

791
00:42:49,480 --> 00:42:51,840
Speaker 1: so I've been playing that. It's it's fun. You know,

792
00:42:51,840 --> 00:42:55,759
Speaker 1: Stergill Simpson's like this, you know, country bluegrass kind of guy,

793
00:42:55,760 --> 00:42:59,080
Speaker 1: but this whole Johnny Blue Sky's alter ego is more

794
00:42:59,280 --> 00:43:01,080
Speaker 1: like the rock and roll. This is like a funky

795
00:43:01,680 --> 00:43:06,439
Speaker 1: seventies era, disco era rock record. But it's like it's

796
00:43:06,520 --> 00:43:09,399
Speaker 1: like if what's going on meets let's get it on.

797
00:43:10,160 --> 00:43:15,120
Speaker 1: It's like has a social conscious, but it also is horny.

798
00:43:15,440 --> 00:43:18,399
Speaker 1: That's what this record is. It's fun. It's it's totally fun,

799
00:43:18,480 --> 00:43:20,680
Speaker 1: a fun listen. I've been enjoying it. For me, the

800
00:43:20,719 --> 00:43:23,960
Speaker 1: best Sturgeon records are still those cutting grass bluegrass records

801
00:43:24,000 --> 00:43:27,440
Speaker 1: he did. But I love when artists take chances. Talk

802
00:43:27,480 --> 00:43:30,320
Speaker 1: about risk takers, you know, Sturgel Simpson is a risk taker,

803
00:43:30,360 --> 00:43:32,960
Speaker 1: and I'm here for it and I love it. So

804
00:43:33,000 --> 00:43:34,880
Speaker 1: that's what I'm listening to. It's your turn now. I

805
00:43:34,880 --> 00:43:36,480
Speaker 1: want to know what have you been watching, what have

806
00:43:36,520 --> 00:43:37,960
Speaker 1: you been reading, what have you been listening to? What

807
00:43:38,000 --> 00:43:40,799
Speaker 1: should I check out? Hit me up and let me know?

808
00:43:40,920 --> 00:43:44,399
Speaker 1: Six one seven nine oh six six six three eight,

809
00:43:44,680 --> 00:43:46,600
Speaker 1: Hang tight, everybody and I'll take one more quick break.

810
00:43:46,680 --> 00:44:07,880
Speaker 1: I'll be right back after this. All right, gang, We

811
00:44:07,920 --> 00:44:10,000
Speaker 1: are just about at the end of another installment of

812
00:44:10,040 --> 00:44:12,960
Speaker 1: the Rap Party. Thanks to all of you for hanging out.

813
00:44:13,200 --> 00:44:16,440
Speaker 1: Thanks if you called in or texted or emailed or whatever.

814
00:44:17,239 --> 00:44:19,439
Speaker 1: Apologies if I did not get to your message this week.

815
00:44:19,520 --> 00:44:21,640
Speaker 1: Please keep in touch. There's always next week or the

816
00:44:21,640 --> 00:44:24,960
Speaker 1: week after that. I could honestly, honestly fill up the

817
00:44:25,120 --> 00:44:29,120
Speaker 1: entire episode with your messages alone, which is awesome. So again,

818
00:44:29,680 --> 00:44:31,759
Speaker 1: appreciate you all of you. We get to do this

819
00:44:32,440 --> 00:44:34,920
Speaker 1: because of all of you. I thank you everybody here

820
00:44:34,920 --> 00:44:37,680
Speaker 1: at Double Evis. Thanks you. I recently took part in

821
00:44:37,760 --> 00:44:40,440
Speaker 1: a career day at the high school here in town.

822
00:44:40,800 --> 00:44:42,839
Speaker 1: So I went into school last week and I talked

823
00:44:42,880 --> 00:44:45,040
Speaker 1: to groups of teenagers about what I do for work.

824
00:44:45,440 --> 00:44:47,879
Speaker 1: And it was another reminder of how lucky I am

825
00:44:47,920 --> 00:44:50,799
Speaker 1: to be doing what I love, and lucky too that

826
00:44:50,840 --> 00:44:52,640
Speaker 1: you guys are all responding to it and are here

827
00:44:52,680 --> 00:44:55,400
Speaker 1: for it. I've been running this Rap Party show here

828
00:44:55,480 --> 00:44:57,879
Speaker 1: for not quite a year yet. I think it will

829
00:44:57,920 --> 00:45:00,520
Speaker 1: be a year in like June, but we are full

830
00:45:00,560 --> 00:45:04,080
Speaker 1: speed ahead here in Hollywood Land and in Disgraceland. We've

831
00:45:04,080 --> 00:45:07,400
Speaker 1: got some really cool shit planned for this year twenty

832
00:45:07,480 --> 00:45:11,280
Speaker 1: twenty six, So buckle up and stay tuned, and remember

833
00:45:12,000 --> 00:45:13,680
Speaker 1: question of the week for next week. I want to

834
00:45:13,719 --> 00:45:16,520
Speaker 1: know what movie are you obsessed with? You've watched it

835
00:45:16,560 --> 00:45:18,640
Speaker 1: a million times, you can't wait to watch it a

836
00:45:18,640 --> 00:45:21,080
Speaker 1: million more. What is it and why does it speak

837
00:45:21,120 --> 00:45:24,719
Speaker 1: to you? Call me Text me six one seven nine

838
00:45:24,719 --> 00:45:28,880
Speaker 1: oh six six six three eight, email me at disgracelampod

839
00:45:28,920 --> 00:45:31,320
Speaker 1: at gmail dot com, hit me up on the socials

840
00:45:31,360 --> 00:45:34,560
Speaker 1: at disgrace lampod or in the chat over in the

841
00:45:34,560 --> 00:45:40,200
Speaker 1: Disgraceland All Access Patreon. With that said, let's recap number one.

842
00:45:40,440 --> 00:45:42,640
Speaker 1: First of all, right now in your Hollywood land, feed

843
00:45:42,719 --> 00:45:46,880
Speaker 1: our episode on Dennis Hopper. Number two coming at you

844
00:45:46,920 --> 00:45:49,480
Speaker 1: this Friday. We've got a new episode of the Screening Room,

845
00:45:49,520 --> 00:45:51,880
Speaker 1: and this week I'm talking all about the nineteen eighty

846
00:45:51,920 --> 00:45:55,440
Speaker 1: film Out of the Blue, directed by Dennis Hopper, starring

847
00:45:55,480 --> 00:45:59,480
Speaker 1: Dennis Hopper, Linda Mans and Sharon Ferrell. Number three. Next

848
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Speaker 1: week Monday, we continue our Mavericks and Outliers month with

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Speaker 1: a fully scripted and sound design episode on Alfred Hitchcock.

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Speaker 1: Number four. Over in our sister show Disgraceland. Jake just

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Speaker 1: dropped a brand new episode on Chrissy Hind of the

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Speaker 1: Pretender's kind of the origin story of the Pretenders and

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00:46:16,440 --> 00:46:20,040
Speaker 1: of Chrissy's early years in London. Basically there as an

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Speaker 1: active participant as punk rock was busy being born. Check

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Speaker 1: that out in the Disgraceland feed. Number five. Don't sleep

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Speaker 1: on Disgraceland All access over in Patreon, where you can

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Speaker 1: get ad free listening of all of our shows, plus

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00:46:33,600 --> 00:46:38,120
Speaker 1: bonus audio and video content, including our monthly video podcast.

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Speaker 1: This film should be played loud, the only place where

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Speaker 1: Disgraceland and hollywood Land come together like Starsky and Hutch

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00:46:44,800 --> 00:46:47,640
Speaker 1: or Crockett and Tubs to bring you funny and insightful

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00:46:47,680 --> 00:46:50,440
Speaker 1: conversations on the greatest music in some of the greatest

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Speaker 1: films of all time, including next week's brand new episode

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Speaker 1: all about the Big Lebowski. Just go to disgracelandpod dot

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Speaker 1: com to sign up now in honor of this week's episode.

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Speaker 1: Here's what America was watching at the movies in May

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Speaker 1: twenty ten, the month that Dennis Hopper died at the

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Speaker 1: age of seventy four. Number one Iron Man, directed by

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Speaker 1: Jon Favreau. Number two, Shrek Forever After, directed by Mike Mitchell.

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Speaker 1: Number three Robin Hood directed by Ridley Scott Midgell directed

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Speaker 1: by Gary Winnie. Number four three, Sex and the City

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Speaker 1: two directed by Michael Patrick King directed by Number five.

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Speaker 1: Nightmare on Elm Street directed by Samuel Bayer directed by

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Speaker 1: Chris Sans. Number six Letters to Juliette directed by Gary Winnick.

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Speaker 1: Number seventh Prince of Persians, the same as of Tell

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Speaker 1: and directed by Quit Talking and Start Mixing Good