WEBVTT - Mini Crush #120

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<v Speaker 1>Welcome to Movie Crush, a production of I Heart Radio.

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<v Speaker 1>Hey everybody, welcome to many Crushed Monday with no Hello Charles,

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<v Speaker 1>Uh Noel, I'm gonna catch everyone up on what we

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<v Speaker 1>were just talking about. He logged onto Skype. He said,

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<v Speaker 1>let me make a file, and I went making files

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<v Speaker 1>and he said, whatever happened to that guy? Roy Scheider? Yeah?

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<v Speaker 1>He was great in Jaws. I said he died and

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<v Speaker 1>you what did you say? I said, well, who's going

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<v Speaker 1>to make the copies? Then? Oh? Man, Rob Schneider he

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<v Speaker 1>died too. No, he did career. That's not the same thing,

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<v Speaker 1>the tiny death. I don't know how tiny that is really.

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<v Speaker 1>I mean, does he at least have a podcast? Surely

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<v Speaker 1>on the train now now now shocked. That's not fair.

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<v Speaker 1>It's not what I meant. I just meant, you know,

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<v Speaker 1>it's a thing you can do when all else fails.

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<v Speaker 1>I think I think you're right. Like Rob Schneider could

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<v Speaker 1>probably get twenty people to listen to him say something

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<v Speaker 1>into a mic. I bet he could. Uh. I mean

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<v Speaker 1>David Spade as a podcast? Does he really? Yeah? With us? No,

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<v Speaker 1>I don't know who it's with. He's got a TV

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<v Speaker 1>show that's pretty good too on Netflix where he interviews like,

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<v Speaker 1>you know, famous comedians and stuff. It's good. I like

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<v Speaker 1>it he interviews. Uh, what's the one that I saw

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<v Speaker 1>that was funny? Um? Maybe Norm McDonald? Yes, I love

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<v Speaker 1>Norm McDonald. That guy's insane. He's he's truly insane. Yeah, yeah,

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<v Speaker 1>Norm's the best. Uh. So to get things going here,

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<v Speaker 1>I want to say a big, big, huge congratulations to

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<v Speaker 1>my friend and friend of the show, actor Paul Schneider. Uh.

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<v Speaker 1>We've had Paul on the show before for the great

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<v Speaker 1>Back to the Future episode and Paul was He's a

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<v Speaker 1>film actor, is how I know and love him. He

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<v Speaker 1>was also on the TV show Parks and Wreck. And

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<v Speaker 1>Paul and his lovely wife have just had their first

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<v Speaker 1>little baby Schneids little Schneid's little Schneide's little baby girl.

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<v Speaker 1>And uh, that's all uncomfortable revealing other than that she's

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<v Speaker 1>a beautiful little girl and they are very, very over

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<v Speaker 1>the moon. And I'm so happy for my for my buddy.

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<v Speaker 1>That's lovely. Big ups to the Schneid's family. How are you, Noel,

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<v Speaker 1>I'm good. We got some sad news this week. We've

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<v Speaker 1>got a couple of big r I p s Uh, well,

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<v Speaker 1>we the movie going community. I guess we've got Fred

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<v Speaker 1>Willard passed away of you know, all the wonderful Christopher

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<v Speaker 1>guest movie fame. You know, like, what is it? Um? What?

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<v Speaker 1>What is what is the there's a TV show that

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<v Speaker 1>he's in. What happened? Yeah? That was that in? I

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<v Speaker 1>mean yeah, best in show was not a TV show,

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<v Speaker 1>h it was a movie. And so I was waiting

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<v Speaker 1>for Guffman. And of course, yes, he got his start

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<v Speaker 1>in the you know, sixties and seventies Fernwood Tonight, and

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<v Speaker 1>I believe he I think he might have been on

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<v Speaker 1>the care Burnet Show at times, or might have that wrong.

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<v Speaker 1>But Fred Willard is just one of the greats. My

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<v Speaker 1>favorite thing about Fred Willard was like just two or

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<v Speaker 1>three years ago in his early eighties when he got

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<v Speaker 1>got uh busted, I guess at a porn theater and uh,

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<v Speaker 1>the internet roundly just you know, we've come a long way. No,

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<v Speaker 1>the Internet roundly was just like, oh Fred, poor thing,

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<v Speaker 1>Like let's just show you how you do that these days? Right, Yeah,

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<v Speaker 1>you don't need to go to these theaters, no shame,

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<v Speaker 1>don't don't feel guilty about any of this. And the

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<v Speaker 1>old days people, you know, pee wee Hermann was hung

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<v Speaker 1>up by his boots. Well, I didn't realize the extent

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<v Speaker 1>of that. They apparently found like some some child porn

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<v Speaker 1>like in his correct For Paul Rubens, I heard, yeah,

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<v Speaker 1>they they rated him or something associated with that, and he,

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<v Speaker 1>you know, I think what his excuse was that he

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<v Speaker 1>had just a giant collection of like dirty materials that

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<v Speaker 1>a lot of it was just for like you know,

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<v Speaker 1>archival purposes, I guess, and within that he had some

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<v Speaker 1>stuff that he claimed he didn't know what it was,

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<v Speaker 1>and I think there was some underage stuff in there.

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<v Speaker 1>But he seems to have emerged unscathed from that. And

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<v Speaker 1>I'm glad that Fred Willard did too, because you know,

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<v Speaker 1>I love that guy. Um he did. Did you ever

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<v Speaker 1>see him at Sketch Fest? I know you always would

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<v Speaker 1>go to sketch Fest, and I saw that he appeared

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<v Speaker 1>there quite a few times. I never got to see

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<v Speaker 1>him at sketch Fest, and I never got to meet

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<v Speaker 1>the great Fred Willard. That would have been great. And boy,

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<v Speaker 1>I did not know this about Paul Rubens. That's sort

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<v Speaker 1>of distressing. Yeah, yeah, it kind of is. And also

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<v Speaker 1>Lynn Shelton his work I'm not super familiar with, but

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<v Speaker 1>I just know was a big, you know, mumble core

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<v Speaker 1>director and did The hump Day and worked with you know,

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<v Speaker 1>um the Mark Duplas a lot. And it was apparently

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<v Speaker 1>you know, in a relationship with Mark Marin, who I

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<v Speaker 1>love for the last year. So and yeah, he did

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<v Speaker 1>a really tearful kind of I didn't hear it. I

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<v Speaker 1>couldn't bring myself. It was very hard. It's about eight

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<v Speaker 1>minutes of him talking about it. And then he re

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<v Speaker 1>released his his episode where they he interviewed her and

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<v Speaker 1>when they first met, it was it was brutal to

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<v Speaker 1>listen to. Um. I Uh, I don't really know Mark.

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<v Speaker 1>I've I've talked to him a few times. I've met

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<v Speaker 1>him a couple of times, try to get him on

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<v Speaker 1>movie Crush a bunch of times and been rebuffed or

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<v Speaker 1>rather ignored, which is fine, but I'm I know that

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<v Speaker 1>there's a lot of crossover listenership and uh, it's it's

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<v Speaker 1>just brutal what happened and how it went down, and

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<v Speaker 1>we're all thinking about him and her and her kid

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<v Speaker 1>and her ex husband and it's just tough. Yeah. So

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<v Speaker 1>that sad, sad couple of days this happened really close together. Yeah,

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<v Speaker 1>I mean, boy, I can't imagine losing anyone is tough,

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<v Speaker 1>But suddenly out of the blue, seemingly healthy person just

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<v Speaker 1>sort of collapsing and dying hours later out of nowhere,

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<v Speaker 1>is uh. That's I can't imagine how someone would handle that,

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<v Speaker 1>especially Mark, who's you know, very upfront about his troubles anyway.

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<v Speaker 1>So I hope he's I hope he's gonna be all right.

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<v Speaker 1>Podcast community is rallying around him though, and h I

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<v Speaker 1>know he knows that and that is helping him a

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<v Speaker 1>little bit, no question about him. What else you've been

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<v Speaker 1>up to, nol. We haven't had you on in a

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<v Speaker 1>little bit. We had Josh on. That one went over

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<v Speaker 1>as expected. Yeah you did that again or just the

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<v Speaker 1>one time, just the one time, but it was just

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<v Speaker 1>released and got it. Boy he uh he lit up

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<v Speaker 1>the world on this show. Oh good good, it was great.

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<v Speaker 1>Good glad to be traveling in his wake. You're driving

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<v Speaker 1>the friend, I kid my friend. I'll tell I don't

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<v Speaker 1>think I yeah, I haven't really were on vacation last

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<v Speaker 1>week and we didn't really communicate much. But I'm I'm

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<v Speaker 1>moving into a bigger house. Um, ditching the roommate situation

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<v Speaker 1>and what is happening next week on Friday. I've already

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<v Speaker 1>got all my appointments for utilities and internet, so should

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<v Speaker 1>be a pretty seamless transition. I'm doing like a real

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<v Speaker 1>big boy move where I'm like packing boxes and shutting

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<v Speaker 1>them with tape and labeling the sharpies. You know you're

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<v Speaker 1>not You're not doing the eighteen trips in the car. No, No,

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<v Speaker 1>I'm past that, chuck. I've really moved on in my life,

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<v Speaker 1>and you know, it's interesting, I was kind of thinking

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<v Speaker 1>about my trajectory as a single dude, Like, you know,

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<v Speaker 1>I got divorced and was living in Athens and we

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<v Speaker 1>owned a house, and I was working in Atlanta already

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<v Speaker 1>and kind of staying in Atlanta a couple of days

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<v Speaker 1>a week with my buddy who I have lived with

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<v Speaker 1>for quite a while, and um, it was just a

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<v Speaker 1>quick fix to get a roommate, and he we already

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<v Speaker 1>lived together half the time, you know, when I was

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<v Speaker 1>up in Atlanta and the place we were living was

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<v Speaker 1>an old friend of his, and it wasn't an ideal situation.

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<v Speaker 1>So we were just like, ship, let's just get a

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<v Speaker 1>place together, and it just kind of continued. It wasn't

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<v Speaker 1>by necessity, it was more just like a comfort level thing.

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<v Speaker 1>We're just like, you know, like brothers almost, and so

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<v Speaker 1>it's kind of the end of an era. But I

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<v Speaker 1>realized it was all a product of like, oh yeah,

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<v Speaker 1>it was that that divorce and me needing to move

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<v Speaker 1>very quickly and him being kind of like a ready

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<v Speaker 1>made way of you know, because it's expensive to get divorced,

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<v Speaker 1>I needed a little you know, someone to kind of

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<v Speaker 1>help share the costs. And then it just kind of

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<v Speaker 1>stayed and we we we moved places together once and

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<v Speaker 1>now he's moving off with his girlfriend and I'm moving

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<v Speaker 1>in with a place by myself with my kid and um,

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<v Speaker 1>the thing I'm most excited about is it has a

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<v Speaker 1>giant room for all my studio stuff, which is which

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<v Speaker 1>which has been stuffed in my bedroom for the last

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<v Speaker 1>you know, handful of years. So it's a three bedroom

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<v Speaker 1>and the biggest room in the house opens to the

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<v Speaker 1>outside back porch area, So I'm gonna have likew wuches

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<v Speaker 1>in there and coffee table and all my records and

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<v Speaker 1>it's gonna be my whole man cave studio office situation,

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<v Speaker 1>especially as we're gonna continue working from home, god knows

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<v Speaker 1>how long. So inside, Oh no, that's great. I'm so

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<v Speaker 1>happy for you. And without getting too specific, where is

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<v Speaker 1>it again? I know it's closer to me, right, it's

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<v Speaker 1>very close to you. Yeah, it's East Lake Candler Road area, Like,

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<v Speaker 1>oh yeah, dude, that's right around the corner. Yep, yep,

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<v Speaker 1>I love it. Uh you know. No, there's an old

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<v Speaker 1>divorce lawyer joke. Do you know why divorced is so expensive?

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<v Speaker 1>Mm hmm have you ever heard this one? Do you

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<v Speaker 1>know why divorces so expensive? I don't because it's worth it. Yeah,

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<v Speaker 1>that's the old joke. Well, funnily enough, the new place,

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<v Speaker 1>it was actually my ex wife who found it for me,

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<v Speaker 1>and it is walking distance from their house, and I'm

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<v Speaker 1>very close with her and her husband and I have

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<v Speaker 1>a baby together. And who's my daughter's you know, uh

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<v Speaker 1>little sister. You guys are gonna be able to walk

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<v Speaker 1>to each other, walk to each other. So the whole

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<v Speaker 1>thing is great. Everything about it is just and it

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<v Speaker 1>all worked out. I had money scrolled away. I've been

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<v Speaker 1>kind of you know, I had a raise, Like I'm

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<v Speaker 1>just now really able to comfortably do this by myself.

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<v Speaker 1>And I love it, feel good about it. So I

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<v Speaker 1>can't wait. Man, Maybe I'll see you around the neighborhood.

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<v Speaker 1>No throwing, would love, would love that? Throw tomato at

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<v Speaker 1>your head. That's what neighbors do, totally. You borrow a

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<v Speaker 1>cup of sugar, you throw tomato with their head. Put

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<v Speaker 1>me in the stock aids. Do you have one of

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<v Speaker 1>those in the neighborhood, just kind of in the square? Uh? Well,

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<v Speaker 1>I have a stock Aide in my backyard, but I

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<v Speaker 1>haven't been able to use it lately because of social

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<v Speaker 1>d That's fair, all right. No, let's get going here.

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<v Speaker 1>It's good to see you again. Uh, we're gonna get started.

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<v Speaker 1>This is a Crusher special because we had some The

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<v Speaker 1>Crushers are just crushing it lately, pardon the fun with

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<v Speaker 1>some great, great posts and getting some great disc discussions going.

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<v Speaker 1>And we're gonna start off with Dan Maynard. Uh. Dan

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<v Speaker 1>is one of our oldest elson. He has now been

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<v Speaker 1>labeled a hot cup of coffee conversation starter on Facebook.

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<v Speaker 1>You know what that means adding another cup of coffee? No,

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<v Speaker 1>it just means Dan is the man. So he posted

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<v Speaker 1>this movies that aged well for you and not it

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<v Speaker 1>holds up more than it takes on a new meaning

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<v Speaker 1>as you get older. Uh, and Dan himself says ET

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<v Speaker 1>takes first place. As a kid, it was a sci

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<v Speaker 1>fi buddy adventure film. As an adult you begin to

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<v Speaker 1>recognize it's about a family dealing with a heavy divorce,

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<v Speaker 1>struggling to work as a family, and Et becomes Elliott's

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<v Speaker 1>safety blanket. Man, I haven't seen Eat in a minute,

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<v Speaker 1>you know. I watched US And actually in the last

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<v Speaker 1>couple of weeks, I watched Wayne's World with my daughter,

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<v Speaker 1>and last night we watched Wayne's World two and and

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<v Speaker 1>there's a scene at this radio station where the desk

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<v Speaker 1>woman is uh played by a very young, lovely peak

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<v Speaker 1>beauty uh Drew Barrymore and she played swede named Burgan

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<v Speaker 1>Burgen or something. And I told Mike kid because she's

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<v Speaker 1>really flirtatious, and my kid gets squigged out by that

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<v Speaker 1>kind of stuff. I'm like, that was a little girl

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<v Speaker 1>for me, and she goes, oh, that's funny. Um. You know,

0:12:11.559 --> 0:12:15.400
<v Speaker 1>we finally made the Goonies decision and watched The Goonies

0:12:15.480 --> 0:12:18.680
<v Speaker 1>with Ruby a couple of weeks ago, and uh, she

0:12:18.880 --> 0:12:21.400
<v Speaker 1>was great and it was fine, and she heard the

0:12:21.400 --> 0:12:25.480
<v Speaker 1>words ship like seven times, and that's about on par

0:12:25.600 --> 0:12:27.200
<v Speaker 1>with how many times she hears it in a week

0:12:27.240 --> 0:12:30.240
<v Speaker 1>in our house. And it was it was great. She

0:12:30.280 --> 0:12:34.040
<v Speaker 1>loved it. It was a lot of fun, so under

0:12:34.080 --> 0:12:38.280
<v Speaker 1>the belt wonderful. How old is she again? Five in July,

0:12:38.520 --> 0:12:41.400
<v Speaker 1>so yeah, yeah, I mean it's a little young for sure,

0:12:41.440 --> 0:12:43.760
<v Speaker 1>but she enjoyed it. It was a great adventure for her.

0:12:44.760 --> 0:12:49.599
<v Speaker 1>Uh let me see here. Jill Novicki Lynch says, I

0:12:49.760 --> 0:12:52.120
<v Speaker 1>just heard of Beetlejuice described as a very adult movie,

0:12:52.120 --> 0:12:53.760
<v Speaker 1>so I'd like to watch it again. I can't remember

0:12:53.760 --> 0:12:56.079
<v Speaker 1>a ton from being a kid, but I'm betting it's

0:12:56.080 --> 0:12:59.040
<v Speaker 1>a whole new movie now. Yeah, Beetlejuice is not a

0:12:59.120 --> 0:13:02.800
<v Speaker 1>kid's movie, no, I mean, it's got some kind of

0:13:02.920 --> 0:13:07.720
<v Speaker 1>borderline like gore, you know when uh they pull pull

0:13:07.760 --> 0:13:11.840
<v Speaker 1>their pull their faces off, you know, sort of silly looking.

0:13:11.880 --> 0:13:13.920
<v Speaker 1>But if you're a real little that that'd be some

0:13:14.080 --> 0:13:16.080
<v Speaker 1>nightmare fuel right there. There's definitely some stuff in it

0:13:16.120 --> 0:13:18.720
<v Speaker 1>that you could qualify as kind of scary. Yeah, I

0:13:18.720 --> 0:13:22.240
<v Speaker 1>would not. Uh yeah, Beetlejuices is not for kids. It

0:13:22.400 --> 0:13:24.400
<v Speaker 1>could be a little upsetting, I would think, m hm.

0:13:25.120 --> 0:13:27.520
<v Speaker 1>And it's just the humor is not really kid humor either.

0:13:27.559 --> 0:13:29.920
<v Speaker 1>It's like, you know, it's above their head. I think, well,

0:13:29.920 --> 0:13:33.000
<v Speaker 1>even just the way it handles death and grief and loss,

0:13:33.120 --> 0:13:38.400
<v Speaker 1>it's pretty heavy, honestly. Yeah, for sure. Let me see here.

0:13:38.440 --> 0:13:41.400
<v Speaker 1>Our old friend Menhile Data says the Matrix. I was

0:13:41.440 --> 0:13:43.520
<v Speaker 1>blown away as a preteen, but didn't really understand what

0:13:43.559 --> 0:13:45.640
<v Speaker 1>I was watching. Every time I've watched it since, I

0:13:45.679 --> 0:13:49.280
<v Speaker 1>gain more insight and appreciation, and the effects are just awesome.

0:13:49.679 --> 0:13:52.520
<v Speaker 1>Ha ha uh. Yeah, the effects I think hold up

0:13:52.520 --> 0:13:57.840
<v Speaker 1>pretty well. I completely disagree. Oh, you don't think they

0:13:57.840 --> 0:14:01.120
<v Speaker 1>hold up. I just think they're they've been copied so

0:14:01.200 --> 0:14:04.760
<v Speaker 1>much that they just it's not their fault. But it's

0:14:04.800 --> 0:14:08.040
<v Speaker 1>just that bullet time stuff and the whole spinning around

0:14:08.280 --> 0:14:11.280
<v Speaker 1>in the crane pose thing. It's just been it's just

0:14:11.320 --> 0:14:14.480
<v Speaker 1>been ripped off so many times and kind of like parodied. Yeah,

0:14:14.480 --> 0:14:17.360
<v Speaker 1>when you see it. I watched it recently, and I

0:14:17.360 --> 0:14:19.200
<v Speaker 1>watched it with my kid and we were both just

0:14:19.280 --> 0:14:21.800
<v Speaker 1>like kind of laughing how like dated it looked. But

0:14:21.880 --> 0:14:23.840
<v Speaker 1>it was so revolutionary at the time, and if you

0:14:23.960 --> 0:14:26.400
<v Speaker 1>separate it from all of the copycats, it is still

0:14:26.480 --> 0:14:28.800
<v Speaker 1>really badass. But it's so hard to do that, and

0:14:28.840 --> 0:14:30.880
<v Speaker 1>then then that's that's that's that's my problem. It's no

0:14:30.880 --> 0:14:33.880
<v Speaker 1>one else's problem. It's a great movie. I got you. Uh.

0:14:33.960 --> 0:14:36.160
<v Speaker 1>Lori Jordan says Nine to five When I'm watching as

0:14:36.160 --> 0:14:37.600
<v Speaker 1>a kid, it never occurred to me though it end

0:14:37.640 --> 0:14:41.720
<v Speaker 1>up in a career working in offices predominantly for male bosses.

0:14:42.160 --> 0:14:45.280
<v Speaker 1>Still relevant and very enjoyable. Yeah, that movie was ahead

0:14:45.280 --> 0:14:48.320
<v Speaker 1>of its time, I think, or not ahead of its time. Yeah,

0:14:48.320 --> 0:14:50.720
<v Speaker 1>it's it's a comedy. Okay, well you should see nine

0:14:50.720 --> 0:14:53.280
<v Speaker 1>to five, knowl it's to light. Yeah, okay, really really

0:14:53.320 --> 0:14:56.720
<v Speaker 1>fun movie. Uh. And that trio man Jane Fonda, Lily

0:14:56.760 --> 0:14:59.680
<v Speaker 1>Tomlin and Dolly Parton just doesn't get any better. We've

0:14:59.720 --> 0:15:02.960
<v Speaker 1>talked about this before. Yeah, isn't it doesn't Dolly pardon

0:15:03.000 --> 0:15:05.280
<v Speaker 1>smoke weed or something in it. Yeah, they have a

0:15:05.440 --> 0:15:07.600
<v Speaker 1>they have a weed scene. It's a lot of fun. Yeah,

0:15:07.800 --> 0:15:12.520
<v Speaker 1>it's funny. Jane Fonda especially is really good in the movie. Uh.

0:15:12.520 --> 0:15:15.960
<v Speaker 1>Sarah Stapleton says, Aliens still don't get many female leads

0:15:16.000 --> 0:15:20.840
<v Speaker 1>like Ripley. Yeah, that's true. Alien holds up dude. Now,

0:15:20.880 --> 0:15:24.600
<v Speaker 1>the effects in that, the practicals, it's just so based

0:15:24.640 --> 0:15:26.880
<v Speaker 1>on like their real reactions and like when the when

0:15:26.920 --> 0:15:30.000
<v Speaker 1>the face hugger pops out and everyone like freaking out

0:15:30.000 --> 0:15:32.880
<v Speaker 1>apparently they really we're seeing that effect for the first

0:15:32.920 --> 0:15:36.320
<v Speaker 1>time and genuinely freaking the funk out, Like it's so

0:15:36.560 --> 0:15:40.680
<v Speaker 1>crazy that Ridley Scott made two science fiction films in

0:15:40.680 --> 0:15:44.640
<v Speaker 1>the late seventies and early eighties that still look good.

0:15:45.040 --> 0:15:49.360
<v Speaker 1>M Yeah, it's bonkers. Blade Runner and Aliens still look

0:15:49.480 --> 0:15:51.680
<v Speaker 1>really good, and not in a like, well, I'll give

0:15:51.680 --> 0:15:55.800
<v Speaker 1>it a pass, like they look great. See that's the thing,

0:15:55.920 --> 0:15:59.920
<v Speaker 1>Chuck Matrix. All digital computer e stuff that gets into

0:16:00.000 --> 0:16:03.640
<v Speaker 1>proved upon practical effects always holds up like the thing.

0:16:03.760 --> 0:16:07.000
<v Speaker 1>I watched the thing recently. It looks awesome. You can't

0:16:07.120 --> 0:16:10.760
<v Speaker 1>mess with that practical stuff. You just can't. Yeah, I agree,

0:16:11.120 --> 0:16:14.880
<v Speaker 1>Mike Anderson, says Rushmore. It has always had three generations

0:16:15.640 --> 0:16:18.520
<v Speaker 1>to choose slash identify with, and as they get older,

0:16:18.520 --> 0:16:20.360
<v Speaker 1>I see them in different ways. Wow, I never really

0:16:20.400 --> 0:16:23.840
<v Speaker 1>thought about that, You've got I guess the three generations

0:16:23.840 --> 0:16:27.800
<v Speaker 1>would be the kids, and then the teacher, and then

0:16:27.840 --> 0:16:31.200
<v Speaker 1>Herman would be because he was that another generation to

0:16:31.240 --> 0:16:33.960
<v Speaker 1>see that much older than Yeah, I think so, I think,

0:16:34.200 --> 0:16:36.200
<v Speaker 1>I think I think he's meant to be. Yeah, it's

0:16:36.200 --> 0:16:38.720
<v Speaker 1>a good point. And I guess herman and and Max's

0:16:38.760 --> 0:16:43.480
<v Speaker 1>father would be the third generation. Yeah, I get it. Uh,

0:16:43.560 --> 0:16:51.760
<v Speaker 1>let me see here. Uh, Andre Andrea do Pui Greece says,

0:16:51.800 --> 0:16:55.120
<v Speaker 1>field of dreams that really relate strongly with different characters,

0:16:55.880 --> 0:16:57.880
<v Speaker 1>especially more now so as a parent of a teen

0:16:57.920 --> 0:17:02.120
<v Speaker 1>who will be a senior. Speaking of which, nol you

0:17:02.160 --> 0:17:04.560
<v Speaker 1>know I did. Ah, I did one of those commencement

0:17:04.560 --> 0:17:08.920
<v Speaker 1>speeches for the podcast and really enjoyed it. I did

0:17:08.960 --> 0:17:12.119
<v Speaker 1>all the voiceover bumps for them, and I enjoyed it

0:17:12.200 --> 0:17:16.440
<v Speaker 1>slightly less. Yeah, I did not recognize your voice. That's

0:17:16.480 --> 0:17:19.600
<v Speaker 1>so funny. Yeah, I'm the male one. Lauren Vogelbam did

0:17:19.640 --> 0:17:22.120
<v Speaker 1>the female ones, but I did all of the Yeah.

0:17:22.480 --> 0:17:25.480
<v Speaker 1>Lauren's she's kind of our go to. Uh she does,

0:17:25.560 --> 0:17:27.640
<v Speaker 1>she does a really great job. Well I'm the other

0:17:27.640 --> 0:17:30.080
<v Speaker 1>go to, Chuck, did you not know this? No, Well

0:17:30.119 --> 0:17:32.000
<v Speaker 1>I know your go to. Can you give the lady?

0:17:32.000 --> 0:17:35.680
<v Speaker 1>Can you give women props? For once? I did? I'm

0:17:35.720 --> 0:17:37.560
<v Speaker 1>just kidding. I'm trying to out you as a I

0:17:37.640 --> 0:17:42.600
<v Speaker 1>love women PC offender. Uh, Lawrence set up to record

0:17:42.640 --> 0:17:46.200
<v Speaker 1>at home. I need to get her On Damn Man. Absolutely, yeah,

0:17:46.480 --> 0:17:49.200
<v Speaker 1>I'm just I'm lining people up. Uh. We have some

0:17:49.480 --> 0:17:52.560
<v Speaker 1>special shows coming up everyone. I'm gonna do a Flophouse run.

0:17:53.280 --> 0:17:55.080
<v Speaker 1>All three guys in the Flophouse. I'm gonna get on

0:17:55.119 --> 0:17:57.080
<v Speaker 1>and post them all three in a row. So fans

0:17:57.119 --> 0:18:01.439
<v Speaker 1>of the Flophouse, you're gonna enjoy uh little run of crossover.

0:18:01.840 --> 0:18:04.600
<v Speaker 1>And we're also going to do since Max fun Con

0:18:04.840 --> 0:18:07.480
<v Speaker 1>is obviously canceled this year, we're still going to do

0:18:07.480 --> 0:18:11.040
<v Speaker 1>our friendly Fire crossover uh sometime around the same time

0:18:11.400 --> 0:18:14.240
<v Speaker 1>and get that out as well, which I'm very excited about.

0:18:14.600 --> 0:18:17.760
<v Speaker 1>Hell yeah, all right, let's do one more here. Baird Williams.

0:18:17.760 --> 0:18:20.880
<v Speaker 1>Swederman says Clueless SAWT in the theater as a kid

0:18:20.920 --> 0:18:23.640
<v Speaker 1>and loved it. Uh, watched all the time. Now it's

0:18:23.680 --> 0:18:25.400
<v Speaker 1>one of mine and my wife's favorite and I get

0:18:25.440 --> 0:18:27.840
<v Speaker 1>all the jokes that I missed. Is a twelve year

0:18:27.840 --> 0:18:32.240
<v Speaker 1>old great movie. Yeah, it's good stuff. Yeah, it's one

0:18:32.280 --> 0:18:33.480
<v Speaker 1>of the It's a good point that he makes because

0:18:33.480 --> 0:18:35.920
<v Speaker 1>it's one of those movies you can definitely appreciate as

0:18:35.960 --> 0:18:39.440
<v Speaker 1>a younger viewer and you don't feel talked down to

0:18:39.720 --> 0:18:41.800
<v Speaker 1>or like pandered to or anything or that anything is

0:18:41.800 --> 0:18:43.919
<v Speaker 1>like purposefully over your head. But then there's a lot

0:18:43.960 --> 0:18:46.720
<v Speaker 1>of nuance, uh as you get older that you pick

0:18:46.800 --> 0:18:48.120
<v Speaker 1>up on it, and it just kind of like keeps

0:18:48.119 --> 0:18:50.800
<v Speaker 1>revealing layers, which is funny to say about what is

0:18:50.880 --> 0:18:54.119
<v Speaker 1>ultimately kind of a vapid movie. But it's pretty smart

0:18:54.240 --> 0:18:57.560
<v Speaker 1>in its vapidness, Like it's it's really lampoon ing that

0:18:57.720 --> 0:18:59.840
<v Speaker 1>kind of culture and that kind of behavior that like

0:19:00.520 --> 0:19:04.240
<v Speaker 1>Beverly Hills, you know, bullshit culture. You know. Yeah, it's

0:19:04.280 --> 0:19:06.400
<v Speaker 1>one of Emily's favorite movies. I like it as well.

0:19:06.440 --> 0:19:12.440
<v Speaker 1>The great Amy Heckerling directed that film. She's fantastic, is alright.

0:19:12.480 --> 0:19:16.160
<v Speaker 1>So we're gonna go with our second category here from Noble,

0:19:16.280 --> 0:19:20.080
<v Speaker 1>Long and Noble. I don't believe I recognize you from

0:19:20.119 --> 0:19:23.280
<v Speaker 1>the page, but you killed it with this conversation starter,

0:19:23.400 --> 0:19:26.359
<v Speaker 1>so welcome, he says, And I can't believe we've never

0:19:26.440 --> 0:19:31.320
<v Speaker 1>done this in all favorite movie score composer, do you

0:19:31.320 --> 0:19:34.639
<v Speaker 1>have one? I have several? Well, I know you do,

0:19:34.760 --> 0:19:36.879
<v Speaker 1>and I know some of them. I know. I know

0:19:36.880 --> 0:19:40.000
<v Speaker 1>you're gonna say John Carpenter. Yeah, I love John Carpenter.

0:19:40.040 --> 0:19:41.879
<v Speaker 1>I know you're gonna say the guy the Safty brothers.

0:19:41.960 --> 0:19:44.960
<v Speaker 1>Use I do like him as well. Um. I've always

0:19:44.960 --> 0:19:49.200
<v Speaker 1>been a big fan of Ennio Morricone. He's he's sort

0:19:49.200 --> 0:19:51.679
<v Speaker 1>of known for this one sound you know, in this

0:19:51.960 --> 0:19:54.199
<v Speaker 1>uh in the sound that he's sort of invented, that

0:19:54.320 --> 0:19:58.920
<v Speaker 1>spaghetti western you know kind of thing. But he's he's

0:19:59.000 --> 0:20:01.000
<v Speaker 1>it's an ocarina, which is like this, he took a

0:20:01.040 --> 0:20:04.200
<v Speaker 1>weird instrument and kind of made it this quintessential signature,

0:20:04.320 --> 0:20:07.000
<v Speaker 1>you know, for that whole score. Um. But he also

0:20:07.040 --> 0:20:09.359
<v Speaker 1>does a lot of like Italian you know, kind of

0:20:09.400 --> 0:20:12.760
<v Speaker 1>more swinging sixties kind of scores somewhere like Bert Backer

0:20:12.840 --> 0:20:16.199
<v Speaker 1>rac And he's pretty versatile, and he's done uh, you know,

0:20:16.200 --> 0:20:18.840
<v Speaker 1>he's just some horror stuff. He obviously did the Tarantino

0:20:19.119 --> 0:20:22.639
<v Speaker 1>you know, uh uh Payful eight. And he's he's a

0:20:22.640 --> 0:20:25.320
<v Speaker 1>really just interesting versatile composer and I'm a big fan

0:20:25.359 --> 0:20:30.480
<v Speaker 1>of his. Really love Hans Simmer, another very versatile composer. Versatile,

0:20:30.520 --> 0:20:32.200
<v Speaker 1>like that's that's the thing that I think is interesting

0:20:32.480 --> 0:20:37.560
<v Speaker 1>and really really really love uh um uh the guy

0:20:37.560 --> 0:20:41.320
<v Speaker 1>from Devo Mark Mother's a bomb because he's you know

0:20:41.400 --> 0:20:45.880
<v Speaker 1>the way the way uh Wes Anderson used him. He

0:20:45.960 --> 0:20:47.800
<v Speaker 1>has this kind of thing where he can kind of

0:20:47.840 --> 0:20:50.639
<v Speaker 1>do these like styles, Like he obviously has a thing

0:20:50.720 --> 0:20:52.760
<v Speaker 1>where like, oh that's a mark Mother's bawtoon, but he

0:20:52.800 --> 0:20:56.240
<v Speaker 1>also has this chameleonic ability to kind of do different

0:20:56.280 --> 0:20:59.359
<v Speaker 1>things for different directors and become their kind of sound

0:20:59.680 --> 0:21:02.280
<v Speaker 1>really interesting dude, Yeah, I agree. And you know Hans

0:21:02.359 --> 0:21:06.560
<v Speaker 1>Zimmer was Noble Long's pick. Uh. You know all those

0:21:06.640 --> 0:21:08.879
<v Speaker 1>are on my list as well. I'm gonna go back

0:21:09.880 --> 0:21:12.560
<v Speaker 1>and shout out an old school guy though, the great

0:21:12.600 --> 0:21:17.760
<v Speaker 1>Henry Mancini. Uh he was you know Henry Mancini's work.

0:21:18.240 --> 0:21:21.639
<v Speaker 1>Oh yeah, Pink Panther, Baby, Pink Panther, Breakfast at Tiffany's

0:21:21.760 --> 0:21:25.360
<v Speaker 1>Victor Victoria, uh two. For the road Shot in the Dark,

0:21:25.359 --> 0:21:28.840
<v Speaker 1>he did a lot of Peter Sellers stuff. Um, Peter gunn.

0:21:28.960 --> 0:21:31.679
<v Speaker 1>I mean, that's one of the most legendary film scores

0:21:31.680 --> 0:21:34.199
<v Speaker 1>of all time, I think. And then Dun Dun Dun

0:21:34.280 --> 0:21:39.840
<v Speaker 1>Dun Dun Dun Dun Dun dunt. Yeah, wow, so great.

0:21:39.880 --> 0:21:42.600
<v Speaker 1>And then he did some darker, darker stuff with touch

0:21:42.640 --> 0:21:46.040
<v Speaker 1>of evil and Wait until Dark. Um, just a legend.

0:21:46.280 --> 0:21:48.760
<v Speaker 1>Like if if you look up his filmography, it's just

0:21:48.920 --> 0:21:54.920
<v Speaker 1>intimidating to stare at Baby Elephant Walk. Oh yeah, oh yeah,

0:21:55.040 --> 0:21:57.120
<v Speaker 1>so what is that? Is that just that's just a piece,

0:21:57.200 --> 0:21:59.360
<v Speaker 1>right is that from I don't think it's from a movie. Yeah,

0:21:59.359 --> 0:22:02.119
<v Speaker 1>I thought too too. Uh So, Lee Dallas says, you

0:22:02.119 --> 0:22:06.040
<v Speaker 1>mean second favorite, because you know John Williams and there's

0:22:06.040 --> 0:22:08.520
<v Speaker 1>gonna be a lot of John Williams. Um. Oh, Jeremy

0:22:08.520 --> 0:22:11.760
<v Speaker 1>Barney says, the great Danny Elfman of course, Oh, of course. Yeah,

0:22:11.760 --> 0:22:13.600
<v Speaker 1>I'm sorry. I would have mentioned him to I love

0:22:13.800 --> 0:22:16.959
<v Speaker 1>he's another one that like he's got the Danny Elfman sound,

0:22:17.280 --> 0:22:19.040
<v Speaker 1>but then he also does movies that you kind of

0:22:19.080 --> 0:22:20.760
<v Speaker 1>forget he had anything to do with. He can really

0:22:20.840 --> 0:22:24.000
<v Speaker 1>like slip in and out of like all these different styles. Yeah,

0:22:24.040 --> 0:22:25.879
<v Speaker 1>and that the boy that Tim Burton stuff is just

0:22:25.960 --> 0:22:32.960
<v Speaker 1>so signature and cinematic. It's really really great. And that's

0:22:33.000 --> 0:22:36.960
<v Speaker 1>another example of a wonderful, you know, relationship between a

0:22:37.000 --> 0:22:40.800
<v Speaker 1>director and a composer that really pushed them both kind

0:22:40.800 --> 0:22:43.159
<v Speaker 1>of two new heights, you know. I mean, you can

0:22:43.280 --> 0:22:46.479
<v Speaker 1>like Tim Burton movies and the Danny Elfman scores are

0:22:46.560 --> 0:22:48.600
<v Speaker 1>kind of inseparable for one of them, in the same

0:22:48.600 --> 0:22:51.480
<v Speaker 1>way that the Wes Anderson movies and The Mark Mother's

0:22:51.520 --> 0:22:55.359
<v Speaker 1>Boss scores are kind of you really, I have those soundtracks,

0:22:55.480 --> 0:22:57.720
<v Speaker 1>you know, growing up and all of the Mark Mother's

0:22:57.720 --> 0:22:59.479
<v Speaker 1>Boss sound cues that made it in between all those

0:22:59.520 --> 0:23:03.240
<v Speaker 1>wonderful sixties jams. Uh, we're just as memorable, you know,

0:23:03.400 --> 0:23:08.040
<v Speaker 1>totally totally old friend John Michael Epp says, Michael Giacchino

0:23:08.960 --> 0:23:11.119
<v Speaker 1>had to look him up. But now that I'm seeing

0:23:11.160 --> 0:23:14.679
<v Speaker 1>his uh filmography, just a lot of huge movies, a

0:23:14.680 --> 0:23:18.199
<v Speaker 1>lot of J. J. Abrams stuff, Planning of the Apes movies,

0:23:18.920 --> 0:23:25.840
<v Speaker 1>Jurassic World's Utopia, Dr Strange, Spider Man, Homecoming, Jojo Rabbit,

0:23:27.119 --> 0:23:34.920
<v Speaker 1>The Batman, End of Days, Landed, The Lost Cars Mission Impossible. Geez. Yeah,

0:23:34.960 --> 0:23:38.439
<v Speaker 1>he's he's one of the big big daddies. Uh. You

0:23:38.440 --> 0:23:41.200
<v Speaker 1>know what. You don't see enough of his female composers.

0:23:43.480 --> 0:23:45.639
<v Speaker 1>And it's probably for the same reason as every other

0:23:45.720 --> 0:23:49.040
<v Speaker 1>reason in Hollywood, probably, And that's a really good point.

0:23:49.080 --> 0:23:51.560
<v Speaker 1>I can't think of a bunch off the top of

0:23:51.560 --> 0:23:55.199
<v Speaker 1>my head. There's obviously the great Wendy carlos Um, who

0:23:55.480 --> 0:23:58.160
<v Speaker 1>you know, did all of the music for Clockwork Orange,

0:23:58.400 --> 0:24:00.960
<v Speaker 1>and but that was a work that already existed pre

0:24:01.040 --> 0:24:05.400
<v Speaker 1>Clockwork Orange. But a great example of repurposing something and

0:24:05.400 --> 0:24:08.240
<v Speaker 1>and making it, you know, again inseparable from the movie.

0:24:08.280 --> 0:24:10.760
<v Speaker 1>I mean, I think of those synth versions of all

0:24:10.800 --> 0:24:13.360
<v Speaker 1>those classic you know, Beethoven pieces and stuff, and it's

0:24:13.400 --> 0:24:16.480
<v Speaker 1>really just they're one and the same in my mind. Yeah,

0:24:16.520 --> 0:24:18.960
<v Speaker 1>And of course we had this discussion during the Oscars,

0:24:19.000 --> 0:24:21.760
<v Speaker 1>but this year we finally got a woman that won

0:24:21.800 --> 0:24:25.800
<v Speaker 1>the Oscar for Joker. Remember the uh Hilder, I have

0:24:25.880 --> 0:24:29.080
<v Speaker 1>no idea how to pronounce it Hilder. And then it's

0:24:29.080 --> 0:24:33.439
<v Speaker 1>a bunch of letters, yeah exactly. And that so that

0:24:33.440 --> 0:24:36.080
<v Speaker 1>that that was a beautiful score. They'll that cello piece

0:24:36.119 --> 0:24:39.240
<v Speaker 1>when he's kind of doing the slow motion dancing or whatever,

0:24:39.320 --> 0:24:41.520
<v Speaker 1>that I think was largely improvised, and he did it

0:24:41.560 --> 0:24:44.159
<v Speaker 1>to the score. I'm not mistaken. I heard an interview

0:24:44.160 --> 0:24:46.080
<v Speaker 1>where he was talking about how they played the score

0:24:46.600 --> 0:24:48.440
<v Speaker 1>and he did that kind of on the fly when

0:24:48.440 --> 0:24:50.960
<v Speaker 1>he's in the bathroom kind of dancing with himself or whatever.

0:24:51.080 --> 0:24:53.119
<v Speaker 1>You know. Yeah, and apologies for not knowing how to

0:24:53.119 --> 0:24:58.280
<v Speaker 1>pronounce her name. But it's Icelandic, and there are there

0:24:58.280 --> 0:25:01.320
<v Speaker 1>are little signs of of the letters in Icelandic that

0:25:01.359 --> 0:25:03.960
<v Speaker 1>I don't even know what they mean, Like give me

0:25:03.960 --> 0:25:05.240
<v Speaker 1>a noomle out. I know what to do with a

0:25:05.320 --> 0:25:08.479
<v Speaker 1>noom out, but I don't even know what this is.

0:25:09.280 --> 0:25:11.560
<v Speaker 1>It Mainly it makes it a sure or a bure

0:25:12.280 --> 0:25:15.760
<v Speaker 1>or a fur okay really depending I mean, I don't know, Okay,

0:25:15.920 --> 0:25:21.800
<v Speaker 1>mainly mainly sure pure fure. Are you sure she's not Swedish?

0:25:22.160 --> 0:25:25.080
<v Speaker 1>So wait, she's icelandic icelandic has the little oh's, the

0:25:25.160 --> 0:25:28.600
<v Speaker 1>little mini kind of like O O symbols the top

0:25:28.640 --> 0:25:30.399
<v Speaker 1>of them. They're like, uh, I don't even know how

0:25:30.440 --> 0:25:32.399
<v Speaker 1>to get those on a keyboard. Man, It's like some

0:25:32.480 --> 0:25:36.200
<v Speaker 1>kind of weird control and one eight nine code thing.

0:25:36.280 --> 0:25:37.840
<v Speaker 1>I don't know. It's I think you just have to

0:25:37.840 --> 0:25:39.960
<v Speaker 1>buy a computer in Iceland for that door. Probably that's

0:25:39.960 --> 0:25:44.200
<v Speaker 1>probably true. Uh. Former guest Craig Johnson, our friend is saying,

0:25:44.280 --> 0:25:49.680
<v Speaker 1>John Carpenter, of course, Danny Elfman and Basil Polodorus don't

0:25:49.800 --> 0:25:54.160
<v Speaker 1>know that person. Brad Honey says, Philip Glass, of course,

0:25:55.400 --> 0:26:00.280
<v Speaker 1>Vangelius and Morricone. Uh huh, I forgot about Vank Gallis, Yeah, yeah,

0:26:00.320 --> 0:26:04.440
<v Speaker 1>and uh Philip Glass legend. Absolutely, it seems like once

0:26:04.480 --> 0:26:06.720
<v Speaker 1>you get like I know a lot of people do

0:26:06.760 --> 0:26:08.960
<v Speaker 1>film scores because there's a ton of movies. But there's

0:26:09.280 --> 0:26:13.040
<v Speaker 1>I feel like there's like eight people that do a

0:26:13.080 --> 0:26:16.480
<v Speaker 1>lot of the movies, major movies. You know. Oh for sure,

0:26:16.600 --> 0:26:18.240
<v Speaker 1>it's like a yeah, and it's it's and it's a

0:26:18.280 --> 0:26:21.960
<v Speaker 1>total boys club, no question about it. Um. But I'm

0:26:22.000 --> 0:26:25.360
<v Speaker 1>a big fan of like you know again, like it's

0:26:25.359 --> 0:26:27.920
<v Speaker 1>the same with Danny Elfman. Like Danny Elfman was in

0:26:27.960 --> 0:26:31.800
<v Speaker 1>an eighties kind of weirdo rock band, Nano Boingo, and

0:26:31.920 --> 0:26:34.880
<v Speaker 1>he kind of had a relationship with Tim Burton for

0:26:34.920 --> 0:26:37.639
<v Speaker 1>like Peewee's Big Adventure, and he that he sort of

0:26:37.680 --> 0:26:41.320
<v Speaker 1>found his way into film scoring. He obviously was classically

0:26:41.359 --> 0:26:43.280
<v Speaker 1>trained because he you know, knew how to play keys

0:26:43.320 --> 0:26:44.880
<v Speaker 1>and knew how to read music and all that show

0:26:44.920 --> 0:26:47.800
<v Speaker 1>you can't just fake that. But he found his way

0:26:47.840 --> 0:26:50.160
<v Speaker 1>into that world. He's got one of those masterclasses. We've

0:26:50.160 --> 0:26:53.600
<v Speaker 1>seen those which I would really like to watch his.

0:26:53.760 --> 0:26:56.080
<v Speaker 1>I want to get ahold of that because he's an

0:26:56.119 --> 0:26:58.440
<v Speaker 1>interesting fellow. And the way he came by the same

0:26:58.480 --> 0:27:00.720
<v Speaker 1>way Mark Mother's Ball came by it. You know, Devo

0:27:01.000 --> 0:27:03.880
<v Speaker 1>was post punk kind of widow band and he now

0:27:04.000 --> 0:27:06.520
<v Speaker 1>is this like he makes he does full orchestral scores,

0:27:06.600 --> 0:27:08.639
<v Speaker 1>you know, like and it's just happened. Like it's one

0:27:08.640 --> 0:27:10.000
<v Speaker 1>of those fake it till you make it kind of

0:27:10.040 --> 0:27:12.280
<v Speaker 1>situations with dudes like that. And I really respect that,

0:27:12.320 --> 0:27:16.719
<v Speaker 1>respect that and appreciate and go. They were great. Uh.

0:27:16.760 --> 0:27:18.280
<v Speaker 1>And Hans Simmer, you know, he did one of my

0:27:18.320 --> 0:27:20.600
<v Speaker 1>favorite scores of all time with the True Romance score,

0:27:20.680 --> 0:27:27.960
<v Speaker 1>which was uh, which borrowed heavily from the Um Jesus Christ.

0:27:27.960 --> 0:27:31.560
<v Speaker 1>Now I can't even remember it, the bad Lands score

0:27:33.600 --> 0:27:37.000
<v Speaker 1>Terrence Malick film. I don't know who did that, Yeah,

0:27:37.400 --> 0:27:42.000
<v Speaker 1>but that he kind of borrowed from that, uh, from

0:27:42.000 --> 0:27:44.000
<v Speaker 1>that great great score. But Hans m I'm not saying

0:27:44.040 --> 0:27:47.920
<v Speaker 1>he ripped anyone off. Are you a Terence Malick fan? Yes,

0:27:49.280 --> 0:27:52.360
<v Speaker 1>like unequivocally you think he can do no wrong? Oh no, no, no.

0:27:52.520 --> 0:27:55.720
<v Speaker 1>I think he has made some of my very very

0:27:55.800 --> 0:27:59.720
<v Speaker 1>favorite movies of all time. And and I think he

0:27:59.840 --> 0:28:02.359
<v Speaker 1>is also lost his way a little bit, and I

0:28:02.400 --> 0:28:04.199
<v Speaker 1>think he might have found his way. I haven't seen it,

0:28:04.200 --> 0:28:08.560
<v Speaker 1>but this new movie. I just found The Tree of

0:28:08.600 --> 0:28:12.680
<v Speaker 1>Life to be a little too pretentious for me. Yeah,

0:28:12.840 --> 0:28:14.960
<v Speaker 1>and it kind of it kind of lost me. He

0:28:15.040 --> 0:28:17.840
<v Speaker 1>did those other I didn't even see, uh. Night of

0:28:17.880 --> 0:28:21.439
<v Speaker 1>Cups Night of Cups. I did not see that. I

0:28:21.440 --> 0:28:23.159
<v Speaker 1>don't know. It's weird for a guy to take that

0:28:23.240 --> 0:28:26.480
<v Speaker 1>much time between films and then just start churning them

0:28:26.480 --> 0:28:30.879
<v Speaker 1>out that the critics aren't loving. It's it's just an

0:28:30.920 --> 0:28:33.960
<v Speaker 1>interesting trajectory for a career. I think our good friend

0:28:34.000 --> 0:28:37.400
<v Speaker 1>Casey Pegram really stands by him every step of the way.

0:28:37.600 --> 0:28:40.440
<v Speaker 1>And uh, I respect Casey so much and his taste

0:28:40.480 --> 0:28:42.400
<v Speaker 1>and we have a lot in common. But there are

0:28:42.440 --> 0:28:44.000
<v Speaker 1>a few of those that I just don't see the

0:28:44.040 --> 0:28:46.400
<v Speaker 1>way he sees and I think it may may well

0:28:46.440 --> 0:28:49.960
<v Speaker 1>just be he's seeing the cinematography and just like you know,

0:28:50.040 --> 0:28:53.280
<v Speaker 1>the craft of it all, maybe more than I'm willing

0:28:53.360 --> 0:28:56.480
<v Speaker 1>to just overlook the fact that I think the story

0:28:56.560 --> 0:28:58.720
<v Speaker 1>is a little light and maybe a little on the

0:28:58.760 --> 0:29:02.520
<v Speaker 1>you know, pretentious side. Um, but I have you seen

0:29:02.840 --> 0:29:05.720
<v Speaker 1>have you seen a ghost story that that movie? No?

0:29:05.960 --> 0:29:09.160
<v Speaker 1>I haven't, but I'm a big fan of of the director,

0:29:09.480 --> 0:29:12.680
<v Speaker 1>and I actually know that his producing partner through Josh

0:29:12.680 --> 0:29:16.440
<v Speaker 1>and you me as a friend of There's Toby. Um.

0:29:16.640 --> 0:29:20.000
<v Speaker 1>They also did uh Ain't the uh Ain't the Body Saints?

0:29:20.040 --> 0:29:23.280
<v Speaker 1>What's the name of that movie? It's something like that. Yeah, yeah, yeah, yeah.

0:29:23.680 --> 0:29:26.000
<v Speaker 1>I was just talking about it with um with my

0:29:26.080 --> 0:29:29.960
<v Speaker 1>friend last night. Um Re kind of Terence Malick. It

0:29:30.040 --> 0:29:31.960
<v Speaker 1>kind of had those vibes, and there are parts of

0:29:31.960 --> 0:29:35.200
<v Speaker 1>it that I just thought were gorgeous and beautiful and poetic,

0:29:35.240 --> 0:29:37.160
<v Speaker 1>and there were parts of it where I was like, Okay,

0:29:37.160 --> 0:29:39.280
<v Speaker 1>come on, like I really want to see it. Yeah,

0:29:39.280 --> 0:29:40.880
<v Speaker 1>you know, I I think you should. I would love to.

0:29:40.960 --> 0:29:42.959
<v Speaker 1>I'd love to chat with you about it. Yeah, it's

0:29:42.960 --> 0:29:45.760
<v Speaker 1>it's a beautiful premise. Uh, let me see. Oh here's

0:29:45.760 --> 0:29:48.400
<v Speaker 1>the one we haven't mentioned. I think overlooked these days

0:29:49.640 --> 0:29:53.600
<v Speaker 1>because he's also a rock and roll musician. Alexi Politt says,

0:29:53.920 --> 0:30:00.160
<v Speaker 1>Trent Resner and Atticus Ross totally wonderful, good stuff. Sh

0:30:00.160 --> 0:30:04.560
<v Speaker 1>Brennan says Alan sylvestr mm hmmm, name rings a Bell.

0:30:05.560 --> 0:30:11.000
<v Speaker 1>I think he's one of those like classic old school

0:30:11.960 --> 0:30:15.280
<v Speaker 1>if I'm not mistaken. Uh, he's sort of old school.

0:30:16.520 --> 0:30:20.800
<v Speaker 1>Oh well, he did The Avengers. Yeah boy, that's a

0:30:20.840 --> 0:30:26.920
<v Speaker 1>great score for sure. Yeah. He was working in the seventies,

0:30:26.960 --> 0:30:29.200
<v Speaker 1>it looks like, and it has just done a ton

0:30:29.240 --> 0:30:35.440
<v Speaker 1>of movies, including Back to the Future, to Romancing the

0:30:35.560 --> 0:30:41.920
<v Speaker 1>Stone Fly to The Navigator, Young Guns, sub distriment. Yeah,

0:30:41.920 --> 0:30:43.680
<v Speaker 1>he did a bunch of good movies, but I think

0:30:43.680 --> 0:30:47.440
<v Speaker 1>he will forever be known for for those Avengers scores.

0:30:47.480 --> 0:30:51.560
<v Speaker 1>Those are great. You know when you really nail a scores,

0:30:51.640 --> 0:30:54.880
<v Speaker 1>when you when the score itself becomes just part of

0:30:54.920 --> 0:30:59.640
<v Speaker 1>the fabric of culture to where you can't disassociate it

0:30:59.680 --> 0:31:04.360
<v Speaker 1>from the film. You know. Sure, sure we should start

0:31:04.440 --> 0:31:07.719
<v Speaker 1>up a shoutout soundtrack show, by the way on our network.

0:31:07.760 --> 0:31:10.240
<v Speaker 1>A bunch of people here asking about the soundtrack show

0:31:10.600 --> 0:31:14.040
<v Speaker 1>and commenting on it. Really really great show on our network.

0:31:14.320 --> 0:31:17.560
<v Speaker 1>It truly is. Yeah. He does really cool kind of

0:31:17.600 --> 0:31:20.800
<v Speaker 1>dissections of of film scores and talks about the history

0:31:20.840 --> 0:31:24.280
<v Speaker 1>and the references, musical references and the uh you know,

0:31:24.400 --> 0:31:26.960
<v Speaker 1>just the craft of of of scoring. A film. Excellent

0:31:27.000 --> 0:31:30.640
<v Speaker 1>host who himself as a wonderful composer and voice actor

0:31:30.760 --> 0:31:32.160
<v Speaker 1>and really knows the ins and outs of all the

0:31:32.160 --> 0:31:34.240
<v Speaker 1>stuff that we're talking about here. So highly recommend you

0:31:34.320 --> 0:31:36.560
<v Speaker 1>checking that one out. Yeah, this is a friend of Holly's,

0:31:36.720 --> 0:31:39.880
<v Speaker 1>uh David Collins I think is his name, That is correct,

0:31:40.040 --> 0:31:42.720
<v Speaker 1>And um, it was one of the kind of when

0:31:42.720 --> 0:31:46.160
<v Speaker 1>we started opening up the network and really um going

0:31:46.160 --> 0:31:48.440
<v Speaker 1>out and sourcing talent. Holly brought him in. He was

0:31:48.480 --> 0:31:50.360
<v Speaker 1>one of the first guys we brought in. And it's

0:31:50.400 --> 0:31:55.840
<v Speaker 1>just a total total film score and soundtrack nerd in

0:31:55.880 --> 0:32:07.000
<v Speaker 1>the best way. He's he's really wonderful. Highly recommend So no,

0:32:07.400 --> 0:32:09.480
<v Speaker 1>we are going to finish up with a little stream

0:32:09.560 --> 0:32:14.440
<v Speaker 1>and this I will start while you can think about

0:32:14.440 --> 0:32:18.600
<v Speaker 1>what you've been watching. And I'm gonna continue with Red

0:32:18.600 --> 0:32:20.720
<v Speaker 1>Oaks and I've talked about it a bunch, but that

0:32:20.880 --> 0:32:22.680
<v Speaker 1>is the show that we are just now getting into

0:32:22.720 --> 0:32:26.040
<v Speaker 1>season three, the third and final season. This show has

0:32:26.080 --> 0:32:31.280
<v Speaker 1>been comfort food like you would not believe. It is wonderful.

0:32:31.320 --> 0:32:34.440
<v Speaker 1>Show said in the eighties again at a h swimming

0:32:35.520 --> 0:32:40.040
<v Speaker 1>tennis and racket club and golf Tennesse and Rackett that's

0:32:40.040 --> 0:32:42.920
<v Speaker 1>the same thing, and it just it's great, man. It's

0:32:42.960 --> 0:32:45.640
<v Speaker 1>it's an eighties thing, so it has all the feel

0:32:45.680 --> 0:32:48.480
<v Speaker 1>of an eighties movie, but there's still a lot of substance,

0:32:48.520 --> 0:32:52.360
<v Speaker 1>and the characters are just so well rounded and they

0:32:52.400 --> 0:32:54.920
<v Speaker 1>have such great arcs, and the acting is great. The

0:32:54.960 --> 0:32:59.720
<v Speaker 1>casting is just amazing. Um Hodgeman is in seasons two

0:32:59.720 --> 0:33:01.520
<v Speaker 1>and three and he does some of his best work

0:33:01.840 --> 0:33:05.520
<v Speaker 1>as an actor. I think Paul Riser is fucking phenomenal.

0:33:05.880 --> 0:33:10.200
<v Speaker 1>He's so good and the lead I actually I had

0:33:10.240 --> 0:33:12.760
<v Speaker 1>no idea. Uh. You know, it's one of these things

0:33:12.760 --> 0:33:16.080
<v Speaker 1>when you see an actor and then you find out there,

0:33:16.320 --> 0:33:19.440
<v Speaker 1>uh from another country and they're doing an American accent.

0:33:20.080 --> 0:33:23.160
<v Speaker 1>But but you find out way later. It's really really

0:33:23.160 --> 0:33:29.000
<v Speaker 1>freaky because apparently this guy, Craig Roberts is Welsh and

0:33:29.160 --> 0:33:31.400
<v Speaker 1>I never would have picked picked up on that in

0:33:31.400 --> 0:33:36.160
<v Speaker 1>a million years. He's he's fantastic. It's just not well

0:33:36.800 --> 0:33:38.720
<v Speaker 1>And how come the that come These Europeans can do

0:33:38.760 --> 0:33:41.200
<v Speaker 1>such good American accents, but Americans that's such a hard

0:33:41.200 --> 0:33:43.960
<v Speaker 1>time doing good European acts. I don't know. Man, he's

0:33:44.040 --> 0:33:47.800
<v Speaker 1>great though. He's a great face actor, Uh, just lovable

0:33:47.880 --> 0:33:50.560
<v Speaker 1>And I just can't recommend Red Oaks enough. If you

0:33:50.600 --> 0:33:54.600
<v Speaker 1>need some comfort food watching their thirty minutes shows and

0:33:54.640 --> 0:33:57.720
<v Speaker 1>you can buzz through three seasons pretty quickly, I recommend

0:33:57.800 --> 0:34:03.280
<v Speaker 1>you do so nice. I have been very much enjoying

0:34:04.200 --> 0:34:09.520
<v Speaker 1>a new show on Netflix called The Midnight Gospel. Um,

0:34:08.520 --> 0:34:12.319
<v Speaker 1>it's fucking fantastic. I mean, I don't know, it's not.

0:34:12.360 --> 0:34:16.040
<v Speaker 1>It's not for everybody, it's um it's from Pendleton Ward

0:34:16.080 --> 0:34:20.600
<v Speaker 1>who is the animator, creator, kind of genius psychedelic brain

0:34:20.680 --> 0:34:24.040
<v Speaker 1>behind Adventure Time, which I'm a huge fan of. It's

0:34:24.040 --> 0:34:26.080
<v Speaker 1>one of those great shows that's, you know, you can

0:34:26.120 --> 0:34:28.360
<v Speaker 1>definitely watch with kids. It's four kids, but there's a

0:34:28.360 --> 0:34:31.359
<v Speaker 1>lot of nuance and weirdness kind of buried in there,

0:34:31.520 --> 0:34:33.200
<v Speaker 1>or not even buried really, it's kind of right on

0:34:33.239 --> 0:34:37.359
<v Speaker 1>the surface. But The Midnight Gospel is him collaborating with

0:34:37.920 --> 0:34:43.600
<v Speaker 1>comedian thinker existential weirdo Duncan trustle Um, who has a

0:34:43.600 --> 0:34:45.920
<v Speaker 1>podcast called I think it's called The duncan trustle Family

0:34:45.960 --> 0:34:48.799
<v Speaker 1>Hour where he has these kind of metaphysical chats with

0:34:48.880 --> 0:34:52.399
<v Speaker 1>thinkers and weirdos and uh, they actually take excerpts from

0:34:52.440 --> 0:34:55.400
<v Speaker 1>that and animate to it um in addition to punching

0:34:55.440 --> 0:34:57.840
<v Speaker 1>in and adding little extra bits. And he plays the

0:34:57.880 --> 0:35:00.759
<v Speaker 1>main character who's this kind of h um, I don't

0:35:00.760 --> 0:35:02.560
<v Speaker 1>know what you call it. He wears a wizard. Had

0:35:02.640 --> 0:35:05.760
<v Speaker 1>someone to call him a space wizard, but he really

0:35:05.880 --> 0:35:09.080
<v Speaker 1>just he's a He has a space cast Um, which

0:35:09.160 --> 0:35:12.080
<v Speaker 1>is a podcast but it's you know, in space, and

0:35:12.120 --> 0:35:15.960
<v Speaker 1>he has the simulation machine that can beam him into

0:35:16.000 --> 0:35:19.680
<v Speaker 1>these simulated alternate universes where he kind of learns these

0:35:19.760 --> 0:35:23.799
<v Speaker 1>lessons um and it's all based around like dharma and

0:35:24.040 --> 0:35:28.200
<v Speaker 1>you know, Zen Buddhism and like drug culture, and it's

0:35:28.280 --> 0:35:31.280
<v Speaker 1>like it's really intensely violent at times, but it's beautiful.

0:35:31.280 --> 0:35:34.680
<v Speaker 1>It's animated kind of like that movie The Point um

0:35:34.840 --> 0:35:38.080
<v Speaker 1>or Yellow Submarine. It's kind of got that kind of big, blocky,

0:35:38.160 --> 0:35:41.640
<v Speaker 1>colorful kind of you know, designed to it, and it's

0:35:41.719 --> 0:35:43.839
<v Speaker 1>just you gotta give it a chance, chuck it might.

0:35:44.200 --> 0:35:46.160
<v Speaker 1>It's it's a bit much at first, but it's just

0:35:46.320 --> 0:35:49.000
<v Speaker 1>it's really cool. It's really really cool. I will check

0:35:49.040 --> 0:35:52.480
<v Speaker 1>that out. Uh, did you ever finish Dev's You? No?

0:35:52.600 --> 0:35:54.479
<v Speaker 1>I haven't. I need to. That's next on my list.

0:35:55.200 --> 0:35:58.319
<v Speaker 1>Next on my list is finished. Well, we're barreling through

0:35:58.320 --> 0:35:59.839
<v Speaker 1>red Oaks and then then we need to go back

0:35:59.880 --> 0:36:01.520
<v Speaker 1>to Ozark. But we kind of put that away for

0:36:01.560 --> 0:36:04.680
<v Speaker 1>a moment because we just needed the comfort food more

0:36:04.719 --> 0:36:08.080
<v Speaker 1>than we needed stressful TV shows. But then after that,

0:36:08.200 --> 0:36:11.359
<v Speaker 1>I know there's this uh stuff you should know. Fan

0:36:11.440 --> 0:36:15.960
<v Speaker 1>Mark Ruffalo is in a supposedly great new HBO short

0:36:16.040 --> 0:36:18.719
<v Speaker 1>run series called I Know This Much Is True, where

0:36:18.760 --> 0:36:20.680
<v Speaker 1>he plays a thing's based on novel where he plays

0:36:20.680 --> 0:36:24.839
<v Speaker 1>twin brothers that's supposed to be great but heavy, and

0:36:25.239 --> 0:36:27.040
<v Speaker 1>I want to see this Tales from the Loop. I've

0:36:27.040 --> 0:36:29.560
<v Speaker 1>heard it's really really good. I've seen the first three

0:36:29.600 --> 0:36:32.080
<v Speaker 1>episodes and it's wonderful. Yeah, it's it's sort of like

0:36:32.239 --> 0:36:37.479
<v Speaker 1>a less depressing Black Mirror. It's a less dystopian, uh,

0:36:37.520 --> 0:36:41.040
<v Speaker 1>slightly more hopeful, a little bit more just kinder, gentler

0:36:41.080 --> 0:36:44.080
<v Speaker 1>black Mirror. And it's got the wonderful Jonathan Price in it,

0:36:44.120 --> 0:36:47.800
<v Speaker 1>who's always a delight and he's sort of a central figure.

0:36:48.320 --> 0:36:52.719
<v Speaker 1>All the stories revolve around characters that work or are

0:36:52.800 --> 0:36:56.279
<v Speaker 1>adjacent to in some way this research facility called the

0:36:56.320 --> 0:36:59.520
<v Speaker 1>loop Um where all of these experiments are taking place

0:36:59.760 --> 0:37:02.799
<v Speaker 1>with you know, dark matter and like other kinds of

0:37:02.840 --> 0:37:06.040
<v Speaker 1>like technology. And it's beautifully shot, and it's really interesting

0:37:06.040 --> 0:37:09.960
<v Speaker 1>because it's actually based on the art of this uh

0:37:10.000 --> 0:37:17.719
<v Speaker 1>icelandic Um surrealist kind of painter um who works completely digitally,

0:37:18.680 --> 0:37:21.920
<v Speaker 1>but his stuff really looks like just these massive paintings.

0:37:22.360 --> 0:37:25.640
<v Speaker 1>And uh, it's really neat because the actual stories are

0:37:25.680 --> 0:37:29.360
<v Speaker 1>based on these wordless story books that he did, and

0:37:29.400 --> 0:37:31.960
<v Speaker 1>so they definitely like went in different directions. But all

0:37:32.160 --> 0:37:36.000
<v Speaker 1>he does these like you know, Swedish like kind of

0:37:36.080 --> 0:37:40.839
<v Speaker 1>like Sylvan landscapes interspersed with like mec robots. And he's

0:37:40.880 --> 0:37:43.400
<v Speaker 1>got a whole series two where there's like dinosaurs running

0:37:43.440 --> 0:37:45.960
<v Speaker 1>through cities and stuff. And I that'll be another name

0:37:46.000 --> 0:37:48.480
<v Speaker 1>that I'm not gonna be able to pronounce. Um let me,

0:37:48.560 --> 0:37:50.160
<v Speaker 1>let me. Let's see if I can try, though, because

0:37:50.160 --> 0:37:51.880
<v Speaker 1>you gotta check out his work, Chuck. You may have

0:37:51.880 --> 0:37:54.719
<v Speaker 1>seen some of them just pop up in memes. Uh,

0:37:54.800 --> 0:38:00.920
<v Speaker 1>let's see artists. His name is uh. Here we go

0:38:03.200 --> 0:38:09.680
<v Speaker 1>his name, Oh, I know you guys love this. Luca No,

0:38:10.200 --> 0:38:17.400
<v Speaker 1>Luca Brazzi. His name is uh Okay Simon's dalin hog

0:38:18.160 --> 0:38:19.920
<v Speaker 1>uh and it has one of those little oh's over

0:38:19.920 --> 0:38:21.799
<v Speaker 1>the e that we talked about earlier. And I think

0:38:21.800 --> 0:38:24.400
<v Speaker 1>he's Icelandic. He might be Swedish, but I think he's No,

0:38:24.560 --> 0:38:29.080
<v Speaker 1>he's Swedish yea, So check it out. Highly recommend him. Yeah,

0:38:29.080 --> 0:38:31.359
<v Speaker 1>it sounds right at my alley. And speaking of art,

0:38:32.320 --> 0:38:35.160
<v Speaker 1>I want to give a big shout out to the

0:38:35.200 --> 0:38:37.560
<v Speaker 1>illustrator for the Stuff you Should Know book that's coming

0:38:37.560 --> 0:38:40.200
<v Speaker 1>out everyone, which you can pre order now. The Stuff

0:38:40.239 --> 0:38:43.680
<v Speaker 1>you Should Know an incomplete compendium of mostly interesting things.

0:38:44.239 --> 0:38:46.799
<v Speaker 1>And we got an artist named Carly Menardo out of

0:38:46.800 --> 0:38:50.040
<v Speaker 1>New York. That is fantastic and I love her work,

0:38:50.480 --> 0:38:52.920
<v Speaker 1>and uh, it's one of my favorite things about this

0:38:52.960 --> 0:38:56.160
<v Speaker 1>book is seeing these pages come together with Carly's illustrations.

0:38:56.680 --> 0:38:58.640
<v Speaker 1>And I think you all are gonna love it as well.

0:38:58.640 --> 0:39:00.880
<v Speaker 1>It's really shaping up to be a a fun, fun book.

0:39:01.360 --> 0:39:04.720
<v Speaker 1>That's awesome, Chuck. I think there might be a book

0:39:04.800 --> 0:39:08.319
<v Speaker 1>project in in my future as well. I know. Are

0:39:08.360 --> 0:39:10.640
<v Speaker 1>you allowed to talk about it? It's it's I don't

0:39:10.640 --> 0:39:12.399
<v Speaker 1>want to talk about it quite yet because it's still

0:39:12.719 --> 0:39:15.560
<v Speaker 1>in the works, but stay tuned, and I'm really excited

0:39:15.600 --> 0:39:17.000
<v Speaker 1>to see y'alls. Man. You guys are that kind of

0:39:17.040 --> 0:39:21.520
<v Speaker 1>the first big push in our stuff family world of

0:39:21.560 --> 0:39:23.960
<v Speaker 1>books that I think is right. It's gonna be a deal,

0:39:24.600 --> 0:39:26.319
<v Speaker 1>very exciting for all of us. We've all wanted to

0:39:26.320 --> 0:39:28.479
<v Speaker 1>do books for a long time. And a big shout

0:39:28.480 --> 0:39:30.440
<v Speaker 1>out to Flat Iron Press for partnering up with us.

0:39:31.080 --> 0:39:32.680
<v Speaker 1>And like I said, you can pre order. If you

0:39:32.719 --> 0:39:35.160
<v Speaker 1>pre order, you get little special things that we're trying

0:39:35.160 --> 0:39:39.080
<v Speaker 1>to figure out what they are. So that's it for

0:39:39.120 --> 0:39:41.799
<v Speaker 1>this episode. Noel, thanks for joining me, and I'll see

0:39:41.840 --> 0:39:44.279
<v Speaker 1>you again in about a minute and we will see

0:39:44.320 --> 0:40:01.000
<v Speaker 1>everyone else in about a week. For more podcasts for

0:40:01.080 --> 0:40:04.160
<v Speaker 1>my heart Radio, visit the i heart Radio app, Apple podcasts,

0:40:04.239 --> 0:40:06.040
<v Speaker 1>or wherever you listen to your favorite shows.