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Speaker 1: Welcome to Stuff to Blow your Mind production of My

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Speaker 1: Heart Radio. Hey, welcome to Weird How Cinema. This is

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Speaker 1: Rob Lamb and I'm Joe McCormick. In Today, we're gonna

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Speaker 1: be talking about the movie that that delivers on the

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Speaker 1: promise when your Titanic sinks. This is the movie you're

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Speaker 1: gonna meet. It is Deep Blue Sea, which I feel

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Speaker 1: like we're getting into what you might call slightly dangerous

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Speaker 1: waters here because it's definitely going to be one of

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Speaker 1: the most mainstream films we've ever done. Yeah, it's Um,

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Speaker 1: it's also as dangerously close as we've come to covering

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Speaker 1: a movie from this century. It's from It's also the

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Speaker 1: most expensive film we've ever watched, more than doubling the

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Speaker 1: thirty million dollar budget of Free Jack. Um. I should

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Speaker 1: also add that it is, without a doubt, the deepest

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Speaker 1: and the bluest film that we've watched. Is this also

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Speaker 1: the first movie we've done that had its own dedicated

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Speaker 1: original pop song to go with it? I guess so

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Speaker 1: those those two tracks from that didn't quite Um, Oh

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Speaker 1: that's right, I forgot about those. Okay, so never mind,

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Speaker 1: I take it back. Oh yeah, we'll also take back

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Speaker 1: the Sun Joe because Godzilla versus Hetera had its own

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Speaker 1: track as well. That's right too. Okay, so I've just

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Speaker 1: forgotten everything, you know what. I think maybe even Teens

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Speaker 1: in the Universe had its own music, but its own

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Speaker 1: dedicated music video, which we'll get to that maybe a first.

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Speaker 1: So this is a thing I love from like big

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Speaker 1: budget nineties movies, which is the dedicated popular genre song

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Speaker 1: for the movie. So it's not a movie that's a musical.

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Speaker 1: It's just got like a song that will maybe play

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Speaker 1: on the end credits, and it's often done by a

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Speaker 1: musician who's also an actor in the movie. So like

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Speaker 1: some of the Will Smith movies and the nineties had

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Speaker 1: a song Men in Black or Wild Wild West, this

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Speaker 1: movie has LLL cool J in it in a tour

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Speaker 1: to force performance and it has the song for the

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Speaker 1: original motion picture. It's called Deepest Bluest. My hat is

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Speaker 1: like a shark's fin And if you've never seen this

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Speaker 1: music video, you must go watch right this moment. Yeah,

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Speaker 1: I mean, it's got it all. It's got it's got

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Speaker 1: water dancing and synchronized swimming, it's got L cool J

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Speaker 1: just looking ridiculously jacked. It's got sharks footage from the

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Speaker 1: film up into a shark yeah, oh yeah, and then yeah,

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Speaker 1: full on morphing into a shark human hybrid. Yeah. One

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Speaker 1: thing I like about these songs and music videos like

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Speaker 1: you said that used to come out with all these

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Speaker 1: blockbusters is they would of course come out as part

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Speaker 1: of the hype train leading up to the release of

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Speaker 1: the film, and they would, I think, to a large extent,

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Speaker 1: inform how the movie was supposed to make you feel,

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Speaker 1: you know, so like I forget which Batman movie it was,

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Speaker 1: but there were several different tracks. One of them was

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Speaker 1: a YouTube track, but then you also had that that

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Speaker 1: seal track about what I've been kissed by the thorn

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Speaker 1: of a Rose, kiss from a Rose. Yeah, it's a

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Speaker 1: that's for Batman Forever, the one with Valkill, Morris Batman,

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Speaker 1: Tommy Lee Jones's two Faced Jim Carey is the Riddler.

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Speaker 1: Nicole Kidman as a Batman's girlfriend her Her character's name

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Speaker 1: in the movie is Dr Chase Meridian, which, as Rogeriebert said,

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Speaker 1: her name sounds like a bank. Uh. That's also the

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Speaker 1: Batman movie that has the thing We've talked about several

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Speaker 1: times on the show, The the bank vault full of

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Speaker 1: boiling acid. Chase Meridian might have worked in a in

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Speaker 1: a Cronenberg film. I love a good Cronenberg name, but yeah,

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Speaker 1: you gotta be Cronenberg to get away with some of

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Speaker 1: those yes. So that song let you know that. And

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Speaker 1: I never actually saw Batman Forever, but it informed me

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Speaker 1: that this was going to be a romantic, heartfelt affair. Um.

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Speaker 1: Songs like that Aerosmith song for that movie about the

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Speaker 1: don't was what was that I don't want to miss

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Speaker 1: a thing or I don't want that close my e

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Speaker 1: I don't know, something like that, but that it made

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Speaker 1: you think though that it was about the asteroid. It's

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Speaker 1: like the asteroid hopeing it doesn't miss Earth and like

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Speaker 1: just do a narrow pass by. Well, I mean it

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Speaker 1: told you that, Yeah, this is a disaster film, but

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Speaker 1: it's about our feelings in the disaster film, it's about

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Speaker 1: our loved ones and all. And likewise, Deepest Bluest I think,

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Speaker 1: for the most part, accurately prepares you for the fact

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Speaker 1: that this film is just gonna come at you. This

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Speaker 1: film is just coming at you like a shark with

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Speaker 1: its intensity. Uh. And it um, it might play around

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Speaker 1: with you a little bit. It might play with its food,

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Speaker 1: but it is going to devour you. It's a song

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Speaker 1: full of superlatives, and the entire mood of it is

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Speaker 1: superlatives as it as it says, other fish in the sea.

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Speaker 1: But barracudas ain't equal to a half human predator created

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Speaker 1: by a needle. Then that's that's that's the plot. I

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Speaker 1: mean that that's that's accurate. LLL cool J read his

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Speaker 1: script for sure. I mean the song is easy to

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Speaker 1: make fun of because the premise is so ludicrous. But

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Speaker 1: I also want to say I think it is legitimately

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Speaker 1: like a well crafted rap song. It has a lot

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Speaker 1: of really funny word play in it. Yeah, yeah, I know,

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Speaker 1: it's it's it's. It's a sold track, much like J's

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Speaker 1: performance in this film, as we'll discussed, is really solid

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Speaker 1: um intentionally funny and just the right places, and then

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Speaker 1: intentionally cool and all just the right places. It's a

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Speaker 1: it's a nice alchemy they manage with his character. So,

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Speaker 1: in addition to being the most expensive movie we've ever done,

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Speaker 1: probably the most mainstream movie we've ever done. I guess

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Speaker 1: it depends on if you count. I don't know, like

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Speaker 1: the e Walks movie or something that kind of fits

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Speaker 1: in in a strange place, like being part of a

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Speaker 1: very mainstream franchise but being a weird sort of outgrowth

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Speaker 1: of it. Uh. And being the one of the most

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Speaker 1: recent movies we've ever done. This is also our first

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Speaker 1: shark movie, right, we haven't done another one. Yeah, I don't.

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Speaker 1: I don't think so. Um. I feel like sharks have

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Speaker 1: maybe come up just as in conversation, like in like

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Speaker 1: Death Moon, they're like, oh, it looks like a shark

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Speaker 1: at him, that kind of thing. Okay. Yeah, And the

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Speaker 1: shark movie genre is very interesting to me for a

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Speaker 1: number of reasons. So I want to talk about a

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Speaker 1: few facts. First of all, between the year's nineteen seven five,

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Speaker 1: I checked, and there have been over eighteen point six

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Speaker 1: billion shark movies produced in the United States alone during

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Speaker 1: that time. That's not even counting Italy. That's true. And

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Speaker 1: I'm imagining like Carl Sagan, uh, you know, in a

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Speaker 1: deeply somber voice saying like there are more shark movies

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Speaker 1: on Earth than there are stars in the sky. Uh.

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Speaker 1: And and so you've got that figure. I mean, like

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Speaker 1: the shark movies are just prolific, copious, you know, the

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Speaker 1: world overfloweth with shark films, and yet I can literally

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Speaker 1: only think of one shark movie ever made that I

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Speaker 1: would argue is good in an unqualified since. I would

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Speaker 1: say the closest runner up is probably the movie we're

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Speaker 1: talking about today, which is Uh, you know, you you

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Speaker 1: can level some criticisms at it, but I think this

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Speaker 1: movie definitely works. You can get this one off the lot.

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Speaker 1: So they're like a basilion shark movies. Almost all of

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Speaker 1: them are in some conventional since at least pretty bad,

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Speaker 1: and essentially all of them are in some sense derivative

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Speaker 1: of this single original film. You can probably find a

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Speaker 1: little exception here or there with something that that has

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Speaker 1: a very different approach, but almost all of them descend

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Speaker 1: from Jaws, you know, directed by Steven Spielberg, released in

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Speaker 1: nineteen seventy five. I don't really need to introduce Jaws.

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Speaker 1: I think everybody knows Jaws, and I mean you suffice

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Speaker 1: to say Jaws is a shark movie. It is the

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Speaker 1: granddaddy of all shark movies. It's also the granddaddy of

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Speaker 1: all summer blockbusters. It's one of the most influential films

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Speaker 1: of all time. Yeah, and rightly so. I mean, I

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Speaker 1: I watched Jaws almost every year. Rachel and I watched

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Speaker 1: it on fourth of July every year. It's a tradition,

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Speaker 1: and I never get tired of it. Jaws is endlessly entertaining.

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Speaker 1: It has that great seventies character driven quality, you know,

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Speaker 1: especially with Robert Shaw as Quinn. I mean, I just

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Speaker 1: never get tired of it. But it's somehow it's funny

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Speaker 1: that it has spawned this many imitators, and that almost

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Speaker 1: all of them mostly fail. And you've had a couple

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Speaker 1: of different kinds of imitators. So you've got some like

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Speaker 1: one we've alluded who several times but never devoted an

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Speaker 1: episode to Lultimo Squalo that you know, the Last Shark,

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Speaker 1: or I think it's also called Great White, which are

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Speaker 1: just direct scene by seeing ripoffs of Jaws. Yeah, yeah,

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Speaker 1: that one, we've alluded to that one before. That one

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Speaker 1: has a vic morrow and it added playing the Quint

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Speaker 1: character or their version of the Quint character. Yeah. And

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Speaker 1: and then there are others that are at a greater remove,

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Speaker 1: you know, might be several levels of abstraction away from

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Speaker 1: their progenitor. And yet still I think it's a fair

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Speaker 1: bet that almost none of these shark movies would exist

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Speaker 1: if it were not for Jaws. Yeah, absolutely, it's really

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Speaker 1: you really can't overstate it's importance, especially if you're talking

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Speaker 1: about shark movies, right, So, I think you can kind

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Speaker 1: of imagine Jaws as this grand ancestral, great king who

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Speaker 1: produced a great, many incompetent warring errors that battle for

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Speaker 1: supremacy once there, you know, once the powder Familius has

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Speaker 1: passed on into the great hall under the waves. And

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Speaker 1: so the movie we're talking about today is one of

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Speaker 1: these many warring heirs to the throne, one of these contenders,

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Speaker 1: And like a lot of these shark movies, it is

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Speaker 1: full of what are in fact conscious nods to Jaws.

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Speaker 1: For example, I saw this pointed out by one film critic,

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Speaker 1: and this was actually confirmed by one of the writers

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Speaker 1: of the movie. How long is the Shark and Jaws?

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Speaker 1: What knows to tail? What's the length? Do you remember

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Speaker 1: the line? Okay, so well, well Hooper sees that. He says,

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Speaker 1: that's a twenty footer, and then Quin says twenty five

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Speaker 1: three tons of them? Yeah, twenty five ft? How long

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Speaker 1: is the Shark? And Deep Blue sy they say in

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Speaker 1: the movie it's twenty six ft long. It's a literal

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Speaker 1: one up, and screenwriter Duncan Kennedy acknowledged that this was deliberate.

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Speaker 1: I'm not sure whose idea was. It might have been

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Speaker 1: Rinny Harland, the director, But I was also reading a

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Speaker 1: chapter from a book called Horror Zone, The Cultural Experience

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Speaker 1: of Contemporary Horror Cinema, which is a book I've I've

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Speaker 1: talked about on the show a little bit before. It's

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Speaker 1: edited by a scholar named Ian Conrich, but the chapter

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Speaker 1: was by a scholar named Stacy Abbott, and it's about

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Speaker 1: the idea of the horror blockbuster, what happens when horror

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Speaker 1: movies become like big event type films. And Stacy Abbott

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Speaker 1: points out that in the original marketing materials for the movie,

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Speaker 1: one of the taglines was quote bigger, smarter, faster, meaner.

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Speaker 1: So I think it's possible that could refer to daft punk.

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Speaker 1: I'm not sure how the the timing lines up there,

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Speaker 1: but those are also comparative words, bigger, smarter, faster, meaner

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Speaker 1: than what. I think. The unspoken part is pretty well understood.

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Speaker 1: It's it's saying bigger, smarter, faster, meaner than the shark

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Speaker 1: in Jaws or otherwise Jaws derivative movies that you've seen before.

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Speaker 1: It also seems like a setup for like, Okay, you're

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Speaker 1: gonna You're gonna make a Shark movie too, bigger, smarter, faster, meaner.

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Speaker 1: Pick two? What your was that daft punk song? By

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Speaker 1: the way, Oh man, I don't remember. If it feels

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Speaker 1: like it's just always been a part of the the

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Speaker 1: musical landscape, doesn't it. Oh I just looked it up.

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Speaker 1: That was two thousand one. Blue sy predates it, well,

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Speaker 1: it it's released, predates um an evolution in my taste

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Speaker 1: in music. So uh so it feels to me like

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Speaker 1: it's always been there. But another thing about Deep Blue

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Speaker 1: Cy is that it displays one of the ways that

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Speaker 1: a you know, a grandchild of Jaws the Great, can

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Speaker 1: distinguish itself, and that is by fusing with another film

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Speaker 1: concept and becoming a monstrous hybrid. And so I think

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Speaker 1: it's pretty clear what's going on with the elevator pitch

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Speaker 1: for Deep Blue Sy, uh it is that it is

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Speaker 1: actually supposed to be And if they made it of

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Speaker 1: two different Steven Spielberg movies. On one hand, you've got

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Speaker 1: Jaws since nearly all shark movies descend from the King.

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Speaker 1: And then on the other hand, you've got Jurassic Park,

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Speaker 1: definitely more recent Spielberg feed in and the main source

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Speaker 1: for a lot of the plot situation, plot developments throughout

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Speaker 1: the movie. You know, it's about people visiting a facility

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Speaker 1: to do a safety check up after there is a

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Speaker 1: breakout and someone is injured, and then there's stuff about

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Speaker 1: like the the animals being smarter than people expected, and

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Speaker 1: so on and so forth. I mean, it just follows

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Speaker 1: Jurassic Park almost to a t. Yeah, absolutely. I'll say

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Speaker 1: there's there's one scene in there that also feels very

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Speaker 1: Poseidon adventure. So I think there's also a fair amount

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Speaker 1: of just disaster movie d NA thrown in here. Um,

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Speaker 1: which is good. It helps it helps pat out the film, um,

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Speaker 1: because it's one of the problems with any kind of

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Speaker 1: a monster movie. What do you do when the monster

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Speaker 1: is not actively on screen, actively attacking or stalking? Right, Right,

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Speaker 1: have characters just like putting bandages on each other and

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Speaker 1: saying like, we'll make it through this. It can't just

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Speaker 1: be that, right, Yeah, you gotta have some other set

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Speaker 1: pieces in mind other than just the monster and so

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Speaker 1: I agree that there are a few other things that

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Speaker 1: get drawn on as well. I can see beside an

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Speaker 1: adventure definitely, But I would also say that it's not

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Speaker 1: just the plot mechanics. Jurassic Park, I think is also

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Speaker 1: the inspiration for the sort of scatter shot themes of

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Speaker 1: this movie, which, like Jurassic Park, basically reflects anxieties over

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Speaker 1: dangers about what could happen when arrogant scientists screw around

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Speaker 1: with Mother Nature, which is actually not just Jurassic Park.

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Speaker 1: That's more broadly a theme of a lot of sci

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Speaker 1: fi horror in the nineties, particularly fears about the emerging

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Speaker 1: field of genetic engineering, which was just starting to look

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Speaker 1: like plausible reality at the turn of the century, or

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Speaker 1: as the turn of the century approach. Do you remember,

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Speaker 1: like the Human Genome Project was launched in and then

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Speaker 1: completed in two thousand three, So this was sort of

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Speaker 1: the limbo period, the sort of what's going to happen

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Speaker 1: with genetics period? Yeah, you can basically hear a nineties

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Speaker 1: trailer narrator saying in the year nineteen ninety the Human

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Speaker 1: Genome Project began, Yeah, and and so forth, and it

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Speaker 1: ends up with something about genius Sharks. Yeah, but then

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Speaker 1: I wanted to further situate Deep Blue Sea in recent

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Speaker 1: film history by adding a note from something else in

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Speaker 1: that Stacy Abbott chapter in Horrors own so, she points

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Speaker 1: out that before it was not normal for studios to

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Speaker 1: release horror films in the summer, like the summer release

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Speaker 1: schedule is normally or at the time was normally a

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Speaker 1: time um for your mass market blockbusters in genres like

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Speaker 1: action and adventure, and traditionally most horror movies were released

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Speaker 1: in the autumn, especially around Halloween or around the Christmas season, which,

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Speaker 1: in a way I'm still partial to. I like it

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Speaker 1: when horror movies come out in October. But there was

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Speaker 1: a revolution in this principle in the summer of ninety nine,

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Speaker 1: so Abbott writes. Quote. The summer of ninety nine, however,

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Speaker 1: marked a distinctive change to this release pattern, with a

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Speaker 1: number of horror films opening throughout the summer and making

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Speaker 1: a noticeable impact upon the box office. Reconceived through the

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Speaker 1: high concept style, either in their reworking of the genre

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Speaker 1: or through their marketing. Two of the summer's major releases

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Speaker 1: drew directly from classic horror texts as source material. Stephen

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Speaker 1: Summer's remake of the universal horror film The Mummy or

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Speaker 1: generally from ninety two, and Yen de Buns The Haunting

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Speaker 1: and adaptation of the novel The Haunting of Hill House

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Speaker 1: by Shirley Jackson that had been previously made in nineteen

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Speaker 1: sixty three by Robert Wise. While Renny Harland's Deep Blue

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Speaker 1: c a film about genetically altered sharks, is not a

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Speaker 1: remake er adaptation, it clearly not only drew upon the

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Speaker 1: cultural memory of Jaws. Uh. And then she says, but

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Speaker 1: it also nodded to Jaws through this thing already brought

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Speaker 1: up the bigger, smarter, faster, meaner tagline, which seems to

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Speaker 1: be looking back. But then she notes about the the

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Speaker 1: budgets of these films. So she says, quote, the budgets

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Speaker 1: of these three horror films, The Mummy seventy six million,

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Speaker 1: The Haunting eighty million, and Deep Blue cy seventy eight million,

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Speaker 1: demonstrate the escalation of the horror classic to blockbuster status

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Speaker 1: and the expectation that higher investment will bring higher rewards,

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Speaker 1: a promise that to varying degrees, paid off. And so

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Speaker 1: I think that this is really interesting at this point

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Speaker 1: in time. Yeah. Now I'm shocked to see these numbers

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Speaker 1: here in front of me now because I didn't see

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Speaker 1: Deep Blue Sea until this week. But I did watch

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Speaker 1: The Money and The Haunting back in the day when

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Speaker 1: the you know the year they came out, and you

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Speaker 1: know the Money say what you will and for starters.

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Speaker 1: It is also kind of a hybrid. It's kind of

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Speaker 1: Indiana Jones meets The Money, say what you about the Money,

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Speaker 1: though it it makes an impact, I remember it, but

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Speaker 1: The Haunting eighty million dollars, and I think the only

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Speaker 1: thing I vaguely remember is Owen Wilson's character got his

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Speaker 1: his head bashed in by by something, and that's it.

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Speaker 1: I remember nothing. The Haunting I think suffers from bad

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Speaker 1: c G. I I recall um, and it's It's weird

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Speaker 1: that it is a very limp, banal adaptation of a

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Speaker 1: book that is actually just on the page, enormously enlivening,

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Speaker 1: lee scary and interesting. If you never read Shirley Jackson's

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Speaker 1: The Haunting of Hill House, it is a fantastic ghost

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Speaker 1: story and and it will still raise hairs today. I

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Speaker 1: think the Endabant movie is a is a prime example

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Speaker 1: of really squandering excellent source material. But anyway, with all

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Speaker 1: that context, what we have here in Deep Blue Sea

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Speaker 1: is a derivative sci fi horror mashup movie positioned in

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Speaker 1: the market as a massive summer blockbuster, which was relatively successful,

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Speaker 1: which was historically unusual at the time, but in keeping

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Speaker 1: with broader trends in the year n something was you

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Speaker 1: might say in the water in Well, what do you

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Speaker 1: think that was culturally? I mean, was it the you know,

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Speaker 1: the dawning of the millennium, was it, uh, you know

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Speaker 1: something else. Was it just the you know, the fear

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Speaker 1: of you know, genetic um advancements in science. It's a

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Speaker 1: good question. I honestly, I don't know. I mean, it's

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Speaker 1: clear that it did sustain in a way like horror,

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Speaker 1: I think, remained relatively mainstream big business in film through

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Speaker 1: the two thousands, even though a lot of the you know,

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Speaker 1: the big money making horror movies at the time we're

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Speaker 1: I would argue direct um. But it didn't go away.

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Speaker 1: And so, yeah, I I don't know exactly what changed then,

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Speaker 1: but I do think it's interesting. I mean, it could

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Speaker 1: be that there were just a number of big hits

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Speaker 1: that were more like the conventional summer movie, but had

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Speaker 1: elements of horror in them that preceded this. So Jurassic Park,

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Speaker 1: I think, is a great example there. I don't know

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Speaker 1: if people remember this, because now nobody really thinks of

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Speaker 1: Jurassic Park as a horror movie, but at the time

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Speaker 1: people did sort of semi classify it as horror. Yeah.

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Speaker 1: I mean I watched it, rewatched all those Jurassic Park

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Speaker 1: movies for the last few years, and you know that

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Speaker 1: the scarees still hold up. Yeah, I agree. And so

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Speaker 1: another thing is, despite the fact that, like I said earlier,

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Speaker 1: there are almost no post Jaws shark movies that I

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Speaker 1: would really personally argue our good in an unqualified sense,

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Speaker 1: I think Deep Blue Sea comes close. It's consciously highly derivative.

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Speaker 1: It is you could say, dumb, but like I said,

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Speaker 1: you can definitely get this one off the lot. And

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Speaker 1: you could tell that a lot of critics, even a

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Speaker 1: lot of the snootier film critics, really liked this movie

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Speaker 1: against their better instincts. You can read even some kind

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Speaker 1: of artsy critics who are I don't know, just writing

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Speaker 1: about it as if they sort of can't resist wanting

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Speaker 1: to tell you to go see Deep Blue Sea. Yeah,

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Speaker 1: I mean part of it I think comes back. I

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Speaker 1: mentioned earlier how the alchemy of the cool Day's character

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Speaker 1: in this Preacher, about how they managed to make him

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Speaker 1: just the right level of funny, just the right level

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Speaker 1: of cool in a way that works in a way

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Speaker 1: that but but but it's the sort of attempt that

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Speaker 1: often fails in other pictures, and there's a lot of

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Speaker 1: that in this film. You can point to where you

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Speaker 1: can you can realize they're doing things that are often

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Speaker 1: done poorly. Um, but they do so with finesse in

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Speaker 1: this film. I agree. I don't think there's much about

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Speaker 1: this movie that you could really classify as new or innovative,

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Speaker 1: except in a recombinatorial sense. But it has a tremendously

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Speaker 1: powerful autopilot at function. And uh and I think you're

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Speaker 1: you're not going to be sad you watched it. Yeah.

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Speaker 1: And on that note, I will will also point out

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Speaker 1: that there are at least a couple of really well

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Speaker 1: executed twists in this film. So if you haven't seen it,

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Speaker 1: if you have any interest in seeing it, um, and

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Speaker 1: you've managed to avoid these the spoilers so far, let

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Speaker 1: us not be the ones that spoil it for you.

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Speaker 1: Go out and see it and then finish this episode.

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Speaker 1: That's a good point. Yes, so there there are a

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Speaker 1: couple of glorious twists. We will be discussing them. So

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Speaker 1: so yeah, if if you would like to see the movie,

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Speaker 1: you haven't seen it, you don't want to know what

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Speaker 1: they are paused? Right here, go watch right this moment.

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Speaker 1: Always love issuing spoilers for movies that are decades old. Yeah,

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Speaker 1: because it's weird, like this is one. Like I say,

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Speaker 1: I didn't watch the year it came out. I watched

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Speaker 1: this week and there's plenty of stuff in it that

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Speaker 1: was spoiled for me just through pop culture, just because

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Speaker 1: the scenes, you know, hit well enough for for audiences

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Speaker 1: and people keep rediscovering and they become memes, etcetera. Okay,

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Speaker 1: how about the elevator pitch for this movie? I've got

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Speaker 1: to Actually, the first one is the only way to

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Speaker 1: find a cure for neurodegenerative disease is to create a

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Speaker 1: batch of ordinary, hyper intelligent mutant sharks. Fortunately they are

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Speaker 1: contained within a cage and will never escape. Uh. Second

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Speaker 1: second I would say is ll O cool J has

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Speaker 1: written a song where he turns into a supermind freak shark,

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Speaker 1: and we need a movie to go with it. I

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Speaker 1: don't think that is the actual creative process that led

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Speaker 1: to this film, but I want to believe it is. Well,

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Speaker 1: let's let's go ahead and have just a little taste

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Speaker 1: of that trailer. Then tell me, Mr Franklin, have you

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Speaker 1: ever known anyone with Alzheimers? No? What if you could

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Speaker 1: end all that suffering with a single till give me

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Speaker 1: till Monday morning, forty holis, I'll give you result, little skyrocket.

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Speaker 1: You'll stock pricing the most advanced research facility in the world. Wow,

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Speaker 1: beneath it's glassy surface, world of gliding monsters of special

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Speaker 1: lists is working against the clock. Did someone ordered the

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Speaker 1: fish or an experiment to benefit mankind? Sharks never show

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Speaker 1: any loss of brain activity as they age, with this

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Speaker 1: close to the reactivation of human brain cell, but before

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Speaker 1: they can save millions of lives. Told me, I didn't

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Speaker 1: see that they recognize that. Good. It's impossible. Sharks did

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Speaker 1: not swim back, but they can't. They'll have to find

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Speaker 1: a way to save their own. Okay, I guess it's

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Speaker 1: time to talk humans. All right. Well, let's start at

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Speaker 1: the top here with the director. It is of course,

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Speaker 1: Ranny Harlan born Finnish born director. Thus the if I

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Speaker 1: don't know if you noticed this job, but there's Finlandia

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Speaker 1: vodka in the film, which is prominently featured. I believe

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Speaker 1: that is a is a nod to the finished nationality

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Speaker 1: of the director. There are a number of nods. There's

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Speaker 1: one part where l cool J plays a chef in

425
00:23:12,000 --> 00:23:14,800
Speaker 1: the movie and he has like a chalkboard where he

426
00:23:14,840 --> 00:23:17,040
Speaker 1: has written today's specials on the wall, and one of

427
00:23:17,080 --> 00:23:20,320
Speaker 1: them says finished pancakes. I don't know what Finnish pancakes are.

428
00:23:20,720 --> 00:23:23,159
Speaker 1: How are they different than other pancakes? I have no idea,

429
00:23:23,240 --> 00:23:27,760
Speaker 1: but maybe, I mean, every culture has pancakes, um savory. Alright,

430
00:23:27,840 --> 00:23:30,760
Speaker 1: So what else did Harlan do well? He gave us

431
00:23:30,800 --> 00:23:32,760
Speaker 1: such films as A Nightmare on Elm Street for the

432
00:23:32,840 --> 00:23:36,000
Speaker 1: dream Master. Is that one of the good ones? Uh? Yeah,

433
00:23:36,160 --> 00:23:41,400
Speaker 1: that one, I mean good entertaining definitely Okay, die hard

434
00:23:41,480 --> 00:23:44,240
Speaker 1: to actually watched I heard two within the past year,

435
00:23:44,280 --> 00:23:47,640
Speaker 1: and it is odd. It's pretty entertaining. It's uh, I mean,

436
00:23:47,760 --> 00:23:51,159
Speaker 1: it's a fun watch, but it has uh. The thing

437
00:23:51,240 --> 00:23:53,080
Speaker 1: that stuck out to me about it was that it

438
00:23:53,200 --> 00:23:57,640
Speaker 1: has a lot of clangers in the in the script.

439
00:23:57,800 --> 00:23:59,439
Speaker 1: So it has a lot of these things that are

440
00:23:59,480 --> 00:24:02,359
Speaker 1: supposed to be like a pithy retort or a one liner,

441
00:24:02,760 --> 00:24:06,240
Speaker 1: but they just don't scan like they just twang like

442
00:24:06,359 --> 00:24:09,960
Speaker 1: an off like an out of tune guitar string and uh.

443
00:24:10,119 --> 00:24:12,080
Speaker 1: And I don't know. I feel like the script needed

444
00:24:12,119 --> 00:24:16,119
Speaker 1: a pass for smoothing. But otherwise, Yeah, a very effective

445
00:24:16,160 --> 00:24:18,879
Speaker 1: action movie. All right. Now I've seen the next one.

446
00:24:18,920 --> 00:24:22,160
Speaker 1: I'm going to mention Cliffhanger. That was the Sylvester Stallone

447
00:24:23,080 --> 00:24:28,359
Speaker 1: mountain climbing adventure film. That movie is a laugh riot. Yeah,

448
00:24:28,480 --> 00:24:31,800
Speaker 1: it's in the tradition of the Eiger sanction. Uh, but

449
00:24:32,480 --> 00:24:34,440
Speaker 1: with more guns. I think it. Would you want to

450
00:24:34,680 --> 00:24:38,159
Speaker 1: describe it? Um? I don't remember. Yeah, John Liftgal's in it.

451
00:24:38,320 --> 00:24:41,520
Speaker 1: He plays the Batti, right, he's the villain. I remember

452
00:24:41,600 --> 00:24:44,960
Speaker 1: enjoying it and cow made. He made for a tasty

453
00:24:45,080 --> 00:24:47,120
Speaker 1: villain in some pictures back in the day, that's for sure.

454
00:24:48,400 --> 00:24:51,080
Speaker 1: Harlan has done a lot of other work. He's one

455
00:24:51,119 --> 00:24:53,840
Speaker 1: of the directors to put out. He did a Hercules

456
00:24:53,920 --> 00:24:56,880
Speaker 1: movie in which Hercules has a buzz cut back from

457
00:24:56,920 --> 00:24:59,480
Speaker 1: that that period in cinema where it seems like we

458
00:24:59,560 --> 00:25:04,119
Speaker 1: had more multiple buzz cut treatments of of of Greek mythology.

459
00:25:04,200 --> 00:25:05,960
Speaker 1: Do you remember these? No? I don't know what you're

460
00:25:05,960 --> 00:25:11,800
Speaker 1: talking about this um. I mean, I can't really define

461
00:25:11,840 --> 00:25:13,199
Speaker 1: it by by the years, but it seems like there

462
00:25:13,280 --> 00:25:16,000
Speaker 1: was a period where you had filmed like this. You

463
00:25:16,119 --> 00:25:19,960
Speaker 1: had the what was it, the remake of Clash of

464
00:25:20,000 --> 00:25:24,000
Speaker 1: the Titans. Oh, okay, more recent years. I thought we

465
00:25:24,080 --> 00:25:26,399
Speaker 1: were going back to like the eighties or something. No, no, no, no,

466
00:25:26,680 --> 00:25:28,080
Speaker 1: Because you got back to the eighties, I think you

467
00:25:28,160 --> 00:25:30,680
Speaker 1: still had long haired. I think a lot of it

468
00:25:30,800 --> 00:25:32,240
Speaker 1: comes down to the fact that if you're going to

469
00:25:32,320 --> 00:25:35,959
Speaker 1: have a Hercules movie, no matter what you're calling that character,

470
00:25:36,119 --> 00:25:38,760
Speaker 1: if he is is he Hercules or is he Um

471
00:25:39,640 --> 00:25:41,679
Speaker 1: or is he Samson or is he I can't remember

472
00:25:41,680 --> 00:25:44,960
Speaker 1: the Italian variant. Uh. If it's if it's a muscleman movie,

473
00:25:45,280 --> 00:25:47,800
Speaker 1: then what what is your muscleman's hair going to be? Like?

474
00:25:48,000 --> 00:25:51,040
Speaker 1: What is the fashion of the day. So if short

475
00:25:51,119 --> 00:25:54,400
Speaker 1: hair is what you know a hunky muscle dude has

476
00:25:54,760 --> 00:25:56,840
Speaker 1: when the picture is being made, well, then your Hercules

477
00:25:56,880 --> 00:25:59,879
Speaker 1: is going to look like that. That's my theory. I

478
00:26:00,040 --> 00:26:01,960
Speaker 1: think my Clash of the Titans will always be the

479
00:26:02,040 --> 00:26:04,720
Speaker 1: curly locks of the guy who plays the dad and

480
00:26:04,880 --> 00:26:09,040
Speaker 1: Veronica Mars not that dead, not her dad, the movie

481
00:26:09,080 --> 00:26:13,520
Speaker 1: star dad. Oh yeah, Harry Hamlin. Oh that's right. Yeah, yeah,

482
00:26:13,560 --> 00:26:15,959
Speaker 1: that's that's my Clash of the Titans. I I recently

483
00:26:16,040 --> 00:26:18,080
Speaker 1: rewatched that one with my son. He's a big fan

484
00:26:18,160 --> 00:26:21,400
Speaker 1: of it. He likes it. It's good. All right, let's

485
00:26:21,400 --> 00:26:24,280
Speaker 1: move on to the screenwriters. Not not all. I don't

486
00:26:24,320 --> 00:26:25,280
Speaker 1: have a lot to say, but I think you have

487
00:26:25,520 --> 00:26:28,720
Speaker 1: some tidbits here. But we had Duncan Kennedy, Donna Powers,

488
00:26:28,760 --> 00:26:32,840
Speaker 1: and Wayne Powers. Uh. Duncan Kennedy also wrote a year

489
00:26:32,880 --> 00:26:35,920
Speaker 1: two thousand episode of The Outer Limits titled The Grid,

490
00:26:36,000 --> 00:26:39,000
Speaker 1: which I haven't seen yet, starring dB Sweeney, but I

491
00:26:39,240 --> 00:26:42,040
Speaker 1: will put it on the list. Yeah. So I found

492
00:26:42,080 --> 00:26:45,800
Speaker 1: an l A Times article from July so. It was

493
00:26:45,920 --> 00:26:47,520
Speaker 1: covering the lead up to the film. I think it

494
00:26:47,600 --> 00:26:49,719
Speaker 1: came out like a week before the film was released,

495
00:26:50,240 --> 00:26:53,200
Speaker 1: and it has an interview with Duncan Kennedy, one of

496
00:26:53,240 --> 00:26:56,360
Speaker 1: the screenwriters, about where the idea for the film came from.

497
00:26:56,640 --> 00:27:00,600
Speaker 1: This was a spec script. Uh so, aspiring ter's out there?

498
00:27:00,640 --> 00:27:02,600
Speaker 1: Who are just you know, you're forging your own path.

499
00:27:02,760 --> 00:27:05,200
Speaker 1: You're not trying to get into the system. You're just

500
00:27:05,320 --> 00:27:08,080
Speaker 1: writing your own idea that here's the inspiration for you.

501
00:27:08,800 --> 00:27:11,440
Speaker 1: So the article reads as follows. As a kid growing

502
00:27:11,520 --> 00:27:15,680
Speaker 1: up in Queensland, Australia, screenwriter Duncan Kennedy witnessed firsthand the

503
00:27:15,760 --> 00:27:18,840
Speaker 1: horrific effects of a shark attack when a victim washed

504
00:27:18,920 --> 00:27:21,560
Speaker 1: up on a beach near his home. Quote there was

505
00:27:21,680 --> 00:27:24,440
Speaker 1: not really much left of him, Kennedy recalled in the

506
00:27:24,560 --> 00:27:27,119
Speaker 1: years that followed, the memory of that attack might have

507
00:27:27,240 --> 00:27:31,600
Speaker 1: contributed to a recurring nightmare Kennedy had about being in

508
00:27:31,680 --> 00:27:34,840
Speaker 1: a passage way with sharks that could read his mind.

509
00:27:35,400 --> 00:27:40,000
Speaker 1: Oh man, why don't these sharks read people's minds? Almost do? Yeah?

510
00:27:40,320 --> 00:27:42,439
Speaker 1: I bet he edited that out of an early draft.

511
00:27:42,760 --> 00:27:44,360
Speaker 1: That would have been better. You should have gone full

512
00:27:44,440 --> 00:27:47,040
Speaker 1: bore sharks can read your mind, and instead in this one,

513
00:27:47,160 --> 00:27:51,840
Speaker 1: they're just they're just so smart. They come off as telepathic.

514
00:27:51,880 --> 00:27:55,399
Speaker 1: They anticipate the humans decisions before they make them. But

515
00:27:55,480 --> 00:27:57,679
Speaker 1: I think that's just because the humans are being outwitted.

516
00:27:57,800 --> 00:27:59,840
Speaker 1: You know, the sharks are better at the chess game.

517
00:28:00,520 --> 00:28:03,600
Speaker 1: I love this though, because ultimately, though the dream imagery

518
00:28:03,720 --> 00:28:08,600
Speaker 1: of sharks swimming after you and flooded passageways. UM like it.

519
00:28:08,920 --> 00:28:11,760
Speaker 1: It only makes a kind of faint dream logic. And

520
00:28:11,880 --> 00:28:15,560
Speaker 1: this film finds a science fictional way of making that

521
00:28:15,720 --> 00:28:19,359
Speaker 1: dream logic plausible. And it works in so many ways.

522
00:28:19,480 --> 00:28:22,679
Speaker 1: Like it's not just encountering the sharks out in the open,

523
00:28:23,119 --> 00:28:25,960
Speaker 1: uh you know to um just to quote Gil Scott

524
00:28:26,000 --> 00:28:30,040
Speaker 1: heron where Jaws lives. No, you're encountering them in hallways

525
00:28:30,119 --> 00:28:33,200
Speaker 1: for human habitation and human movement. They are on our turf.

526
00:28:33,320 --> 00:28:35,680
Speaker 1: They have invaded or are part of our world. Now,

527
00:28:36,080 --> 00:28:38,320
Speaker 1: I love the hallways in this movie. This movie is

528
00:28:38,400 --> 00:28:41,720
Speaker 1: all about hallways, and gimme, gimme. Yeah, they're very nice hallways,

529
00:28:41,920 --> 00:28:44,120
Speaker 1: very well done. As someone who's watching a lot of

530
00:28:44,240 --> 00:28:47,600
Speaker 1: Outer Limits episodes from the nineties, I recognize a nice

531
00:28:47,640 --> 00:28:50,440
Speaker 1: sci fi hallway. But anyway. As so, this article goes

532
00:28:50,480 --> 00:28:53,320
Speaker 1: on to say that Kennedy finally purged to those dreams

533
00:28:53,360 --> 00:28:55,320
Speaker 1: about the sharks in a hallway that could read his

534
00:28:55,440 --> 00:28:59,200
Speaker 1: mind by writing a screenplay about them, which they say

535
00:28:59,360 --> 00:29:02,320
Speaker 1: evolved into the new Warner Brothers thrillers. So perhaps in

536
00:29:02,400 --> 00:29:05,000
Speaker 1: an earlier draft of the screenplay, the sharks could read

537
00:29:05,040 --> 00:29:07,320
Speaker 1: your mind, I'm not sure that they're not clear about that.

538
00:29:07,920 --> 00:29:11,040
Speaker 1: One thing that's funny is reading about market research about

539
00:29:11,080 --> 00:29:13,560
Speaker 1: films that came out decades ago. So another thing this

540
00:29:13,800 --> 00:29:16,200
Speaker 1: article in the l A Times notes is that, uh,

541
00:29:16,440 --> 00:29:19,400
Speaker 1: is that recent tracking data shows that interest in the

542
00:29:19,520 --> 00:29:22,760
Speaker 1: film is very high among its core young male audience,

543
00:29:23,160 --> 00:29:25,800
Speaker 1: though not as high as the interest was for the

544
00:29:25,960 --> 00:29:30,520
Speaker 1: other upcoming film, the blair Witch Project, or maybe not upcoming.

545
00:29:30,600 --> 00:29:32,440
Speaker 1: Maybe at this point blair Witch had already come out.

546
00:29:32,440 --> 00:29:34,520
Speaker 1: I think it came out sometime in like July ninety

547
00:29:34,600 --> 00:29:37,000
Speaker 1: nine or something like. But let's talk about this cast,

548
00:29:37,440 --> 00:29:40,520
Speaker 1: all right. So we have Thomas Jane playing the character

549
00:29:40,800 --> 00:29:44,840
Speaker 1: Carter Blake Thomas James born nineteen nine. And he is

550
00:29:44,920 --> 00:29:48,240
Speaker 1: our he has our shark spurt uh in the film.

551
00:29:48,320 --> 00:29:51,000
Speaker 1: He has UH. He is he's our our lead hunk,

552
00:29:51,560 --> 00:29:53,720
Speaker 1: and he's he's very much in leading man mode for

553
00:29:53,840 --> 00:29:56,640
Speaker 1: this one. Um. You know, he's he's in a wet suit,

554
00:29:56,720 --> 00:30:00,080
Speaker 1: a lot um just just looking real handsome. Uh. But

555
00:30:00,160 --> 00:30:03,200
Speaker 1: he's been in a number of interesting films over the years,

556
00:30:03,320 --> 00:30:09,840
Speaker 1: ranging from Albert Piums Nemesis Cyborg Movie UH to Terence

557
00:30:09,920 --> 00:30:14,560
Speaker 1: Malox The Thin Red Line. He was in the film

558
00:30:14,600 --> 00:30:17,440
Speaker 1: adaptation of Stephen King's The Mist in two thousand and seven,

559
00:30:17,840 --> 00:30:20,920
Speaker 1: and he had a really a fun recurring role on

560
00:30:21,000 --> 00:30:23,920
Speaker 1: The Expanse. So, for my money, he's one of these

561
00:30:23,960 --> 00:30:27,040
Speaker 1: actors that you know, for a while he was very

562
00:30:27,120 --> 00:30:29,640
Speaker 1: much in the leading man mode, and he's he's gotten older,

563
00:30:29,720 --> 00:30:33,480
Speaker 1: he's kind of um aged into more interesting roles, so

564
00:30:33,640 --> 00:30:36,560
Speaker 1: you'll see him playing supporting roles where you know, he

565
00:30:36,600 --> 00:30:39,080
Speaker 1: still gets to be rugularly handsome and all, but he

566
00:30:39,160 --> 00:30:40,760
Speaker 1: gets to be a little weirder, you know, when we

567
00:30:40,800 --> 00:30:43,160
Speaker 1: get to see the weirder Thomas Jane come out. Do

568
00:30:43,280 --> 00:30:45,880
Speaker 1: I remember? Right in the Expanse he sometimes wears that

569
00:30:45,960 --> 00:30:49,800
Speaker 1: Tom Waite's hat. Yeah, he's always wearing a wearing a hat. Um.

570
00:30:49,880 --> 00:30:51,840
Speaker 1: And he's supposed to be a belter in that, so

571
00:30:52,000 --> 00:30:54,160
Speaker 1: he's I don't know if it really comes off in

572
00:30:54,200 --> 00:30:57,120
Speaker 1: the show too much, but he's Yeah, he's supposed to

573
00:30:57,160 --> 00:31:00,560
Speaker 1: be really tall and thin because he has grown up, um,

574
00:31:00,680 --> 00:31:04,040
Speaker 1: you know, out in the asteroid belt. Yeah, but he's

575
00:31:04,080 --> 00:31:07,360
Speaker 1: a fun character with kind of a noir twist to him. Um.

576
00:31:08,120 --> 00:31:09,600
Speaker 1: And I believe he had a He had a fun

577
00:31:09,760 --> 00:31:14,200
Speaker 1: role in the recent Predator movie Um, he played one

578
00:31:14,240 --> 00:31:16,120
Speaker 1: of the mercenaries in that, but he had he had

579
00:31:16,160 --> 00:31:18,040
Speaker 1: like tourette syndrome or something. We had some sort of

580
00:31:18,280 --> 00:31:21,280
Speaker 1: like a twist to his character that made his performance

581
00:31:21,280 --> 00:31:24,240
Speaker 1: a little more noteworthy. I watched that movie on an airplane.

582
00:31:24,840 --> 00:31:27,080
Speaker 1: Oh I did too. It's a great airplane movie. I

583
00:31:27,160 --> 00:31:29,479
Speaker 1: don't recall him being in it, though maybe I missed him.

584
00:31:30,320 --> 00:31:33,520
Speaker 1: Uh yeah, that was probably me. Okay, So he's are

585
00:31:33,600 --> 00:31:36,320
Speaker 1: our leading hunk for the movie. But also you could say,

586
00:31:36,680 --> 00:31:38,760
Speaker 1: you know, you could discuss the rest of the movie

587
00:31:38,840 --> 00:31:42,280
Speaker 1: and not even mention him and you'd be fine. Yeah. Yeah,

588
00:31:42,320 --> 00:31:43,960
Speaker 1: I mean he does all the things that his character

589
00:31:43,960 --> 00:31:45,920
Speaker 1: is supposed to do, and and he does well. He

590
00:31:46,000 --> 00:31:47,640
Speaker 1: does it well, but not in a way where this

591
00:31:47,760 --> 00:31:50,360
Speaker 1: is he's not the most memorable part of the film. Um.

592
00:31:51,280 --> 00:31:54,720
Speaker 1: Then we also have Saffron Burrows, who plays Dr Susan

593
00:31:54,800 --> 00:31:58,520
Speaker 1: McAllister born two. I have really not seen her in much,

594
00:31:58,560 --> 00:32:00,320
Speaker 1: so I can't say a lot about her. But she

595
00:32:00,560 --> 00:32:03,480
Speaker 1: was the star of Mozart in the Jungle, and she

596
00:32:03,640 --> 00:32:06,520
Speaker 1: was also in Wolfgang Peterson's Troy Yes, where she she

597
00:32:06,600 --> 00:32:08,800
Speaker 1: seems like an actor who's done a lot, but not

598
00:32:08,920 --> 00:32:11,760
Speaker 1: a lot that I've seen a lot of movies I've

599
00:32:11,840 --> 00:32:14,600
Speaker 1: heard of but never watched. Yeah, like, maybe she's just

600
00:32:14,640 --> 00:32:18,080
Speaker 1: gravitated towards like more serious and mainstream stuff that I

601
00:32:18,200 --> 00:32:21,160
Speaker 1: haven't necessarily seen. I think she was in one of

602
00:32:21,200 --> 00:32:23,600
Speaker 1: those Marvel shows. She was in like Agents of Shield

603
00:32:23,760 --> 00:32:27,400
Speaker 1: or something. Okay, all right, I also never saw that. Yeah,

604
00:32:27,920 --> 00:32:30,120
Speaker 1: I didn't see that one either. But uh, let's say,

605
00:32:30,120 --> 00:32:31,720
Speaker 1: but we do have some other people of note here.

606
00:32:31,760 --> 00:32:34,480
Speaker 1: I mean, most importantly, we have Samuel L. Jackson playing

607
00:32:34,560 --> 00:32:40,680
Speaker 1: Russell Franklin. Uh. Samuel Jackson born um a legend and

608
00:32:40,960 --> 00:32:44,280
Speaker 1: also has a pretty legendary scene in this film, which

609
00:32:44,360 --> 00:32:46,400
Speaker 1: I guess we'll get to in a bit. But uh,

610
00:32:46,720 --> 00:32:50,000
Speaker 1: Jackson's always an interesting character to check out his somography

611
00:32:50,080 --> 00:32:51,800
Speaker 1: because you know, he started out doing like all these

612
00:32:51,840 --> 00:32:54,840
Speaker 1: little bit roles and then he eventually evolves to become

613
00:32:55,320 --> 00:32:58,280
Speaker 1: one of the biggest names in Hollywood. Uh. And he's

614
00:32:58,480 --> 00:33:01,200
Speaker 1: always a compelling screen press, you know, whether he's you know,

615
00:33:01,320 --> 00:33:03,760
Speaker 1: Mace Window and study the Star Wars movies or Jules

616
00:33:03,800 --> 00:33:07,960
Speaker 1: Winfield and pulp fiction. Um. But of course he was

617
00:33:08,000 --> 00:33:10,800
Speaker 1: in Jurassic Park, which which was one, you know, one

618
00:33:10,840 --> 00:33:12,960
Speaker 1: of the influences for this film, and I would say

619
00:33:13,880 --> 00:33:16,680
Speaker 1: for the most part, his performance is very much Jurassic

620
00:33:16,760 --> 00:33:19,440
Speaker 1: Park mode. He's very much doing that level of character

621
00:33:19,840 --> 00:33:21,920
Speaker 1: with a little more charisma. Oh, I can see what

622
00:33:22,000 --> 00:33:23,840
Speaker 1: you're saying. I mean, I would say in both films,

623
00:33:23,920 --> 00:33:26,040
Speaker 1: I think the character that he's supposed to be playing

624
00:33:26,080 --> 00:33:29,280
Speaker 1: is kind of the steady hand. He's the guy who's

625
00:33:29,360 --> 00:33:32,440
Speaker 1: there who when everybody else is panicking, he knows what

626
00:33:32,520 --> 00:33:35,400
Speaker 1: he's doing. Yeah, And I guess that's That's something about

627
00:33:35,440 --> 00:33:38,240
Speaker 1: a lot of his most notable performances is he often

628
00:33:38,320 --> 00:33:42,600
Speaker 1: plays a character who's very steady um. And you know,

629
00:33:42,680 --> 00:33:44,720
Speaker 1: you see the extremes of that with someone like Mace Windo,

630
00:33:44,840 --> 00:33:47,840
Speaker 1: who's a very you know, very logical character, uh, very

631
00:33:47,920 --> 00:33:50,280
Speaker 1: cold and calculating to a certain extent, and even a

632
00:33:50,360 --> 00:33:53,520
Speaker 1: character like Jules Jules Winfield. You know, ultimately he has

633
00:33:53,640 --> 00:33:55,600
Speaker 1: this kind of wisdom to it, and he's like he's

634
00:33:55,600 --> 00:33:58,680
Speaker 1: always acting like he's got it figured out, even if things,

635
00:33:59,000 --> 00:34:01,800
Speaker 1: you know, fly off the hand and all at times. Yeah. Uh.

636
00:34:01,960 --> 00:34:03,680
Speaker 1: Fun fact, I don't think I quite realized this, but

637
00:34:03,760 --> 00:34:07,040
Speaker 1: he has a cameo in The Exorcist three playing dream

638
00:34:07,160 --> 00:34:10,400
Speaker 1: blind man and his voice is dubbed in it on.

639
00:34:10,960 --> 00:34:12,800
Speaker 1: I haven't looked up to see exactly what the story

640
00:34:13,120 --> 00:34:16,439
Speaker 1: is on that, but if you rewatch The Exorcist three,

641
00:34:16,960 --> 00:34:21,120
Speaker 1: which we recently uh talked about in passing uh, then

642
00:34:21,480 --> 00:34:23,960
Speaker 1: you'll find Samuel Jackson in there as well. All right.

643
00:34:24,000 --> 00:34:27,600
Speaker 1: We also have Jacqueline Mackenzie playing Janice Higgins born nineteen

644
00:34:27,680 --> 00:34:31,120
Speaker 1: sixty seven, Australian actor. I think one of the main

645
00:34:31,239 --> 00:34:32,920
Speaker 1: things in her philmography that stands out, as she was

646
00:34:32,960 --> 00:34:37,200
Speaker 1: in Romper Stomper opposite a young Russell Crowe. In this

647
00:34:37,320 --> 00:34:41,840
Speaker 1: she's what blonde scientist lady is that she's the marine biologist. Okay,

648
00:34:43,400 --> 00:34:45,800
Speaker 1: I get a little confused time what everyone's role was

649
00:34:46,000 --> 00:34:50,759
Speaker 1: in this operation, Like what does Michael Rappaport do again? Yeah?

650
00:34:50,880 --> 00:34:55,000
Speaker 1: Well Michael Rappaport Yeah, born nine seventy plays the character

651
00:34:55,120 --> 00:35:00,080
Speaker 1: Tom Scoggins. And he's at least partially part of our

652
00:35:00,160 --> 00:35:04,160
Speaker 1: comic relief for the film, um, not our primary comic relief.

653
00:35:04,360 --> 00:35:06,960
Speaker 1: He's It's interesting you when I saw his name in here,

654
00:35:07,000 --> 00:35:10,279
Speaker 1: I expected him to be more of the the dirt

655
00:35:10,360 --> 00:35:13,920
Speaker 1: bag comedic character, you know, uh, And he's he's only

656
00:35:14,040 --> 00:35:16,480
Speaker 1: partially that you expect him to be the first guy

657
00:35:16,560 --> 00:35:18,840
Speaker 1: to get chomped, and it's not the case. Yeah, it

658
00:35:18,880 --> 00:35:21,000
Speaker 1: takes a little he gets chopped, believe me, but it

659
00:35:21,120 --> 00:35:24,040
Speaker 1: it takes longer than you need to expect. Yeah, he's

660
00:35:24,080 --> 00:35:27,480
Speaker 1: a stand up turned actor, which has become pretty standard,

661
00:35:27,560 --> 00:35:30,719
Speaker 1: a pretty standard career tract trajectory. But Barrapaport did it

662
00:35:30,840 --> 00:35:32,879
Speaker 1: only I think three years into his stand up career,

663
00:35:33,160 --> 00:35:37,000
Speaker 1: and he's really been an established actor for many decades

664
00:35:37,040 --> 00:35:39,520
Speaker 1: at this point, so you'll find him in just about everything.

665
00:35:39,640 --> 00:35:41,439
Speaker 1: And uh, yeah, he's pretty good in this, but again

666
00:35:41,520 --> 00:35:43,719
Speaker 1: I expect him to be more of a comedic dirt bag,

667
00:35:44,360 --> 00:35:46,520
Speaker 1: to be more, you know, just pure shark bait, and

668
00:35:46,719 --> 00:35:49,000
Speaker 1: he's not. I think he is actually supposed to be

669
00:35:49,080 --> 00:35:50,960
Speaker 1: a scientist of some kind. But as you pointed out

670
00:35:51,000 --> 00:35:53,520
Speaker 1: with Jacqueline Mackenzie's character, there are a number of characters

671
00:35:53,560 --> 00:35:55,920
Speaker 1: in here who are vaguely some kind of scientist, but

672
00:35:56,239 --> 00:35:58,160
Speaker 1: it's not clear what they do, or maybe it is

673
00:35:58,200 --> 00:36:01,320
Speaker 1: clear and you I just didn't notice. Now it is

674
00:36:01,400 --> 00:36:04,320
Speaker 1: clear that our main scientist is the character Jim Whitlock,

675
00:36:04,760 --> 00:36:09,880
Speaker 1: played by the fabulous stellin Scars Guard. Scars Guard was

676
00:36:09,960 --> 00:36:14,239
Speaker 1: born ninety one Um legendary Swedish actor and father to

677
00:36:14,400 --> 00:36:17,839
Speaker 1: just an impressive cast of Scars Guards these days. It's

678
00:36:17,840 --> 00:36:19,680
Speaker 1: like they're they're a bunch of them, and they're all

679
00:36:20,000 --> 00:36:23,600
Speaker 1: they're all pretty good, if not great actors themselves. Um.

680
00:36:23,719 --> 00:36:25,959
Speaker 1: I think the first time I saw stellin Scars Guard

681
00:36:26,040 --> 00:36:29,560
Speaker 1: was in the spy thriller Ronan starring Robert de Niro,

682
00:36:30,360 --> 00:36:32,400
Speaker 1: which which has a fun supporting cast, you know, a

683
00:36:32,480 --> 00:36:36,839
Speaker 1: lot of like spy action hijinks. But then I subsequently

684
00:36:36,920 --> 00:36:40,799
Speaker 1: saw his work in the nineteen seven Norwegian thriller Insomnia,

685
00:36:41,120 --> 00:36:44,080
Speaker 1: in which he plays a deeply troubled homicide detective and

686
00:36:44,480 --> 00:36:47,400
Speaker 1: he's really good in that. That one got remade by

687
00:36:47,480 --> 00:36:52,000
Speaker 1: Christopher Nolan's starring al Pacino and uh Hilary Swank I think,

688
00:36:52,160 --> 00:36:55,720
Speaker 1: and and Rob Williams. Yeah, Robin Williams plays the killer

689
00:36:55,760 --> 00:36:59,680
Speaker 1: in it, and al Pacino plays the the detective role,

690
00:36:59,760 --> 00:37:01,840
Speaker 1: which I don't think I ever saw it, because I

691
00:37:01,920 --> 00:37:04,719
Speaker 1: just I was really impressed by Scars Guards performance. I

692
00:37:04,840 --> 00:37:09,200
Speaker 1: just couldn't imagine later day Pachino being able to capture

693
00:37:09,280 --> 00:37:13,160
Speaker 1: that kind of a performance because part of like Scars

694
00:37:13,160 --> 00:37:15,480
Speaker 1: Guards performance in that is, if I remember correctly, it's

695
00:37:15,480 --> 00:37:20,040
Speaker 1: just very, very sweaty, and and it's it's really getting

696
00:37:20,040 --> 00:37:22,360
Speaker 1: across the idea that you know, this character has not

697
00:37:22,560 --> 00:37:26,560
Speaker 1: slept and is miserable and is deeply troubled. And uh, yeah,

698
00:37:27,000 --> 00:37:29,960
Speaker 1: it's a memorable performance for sure. Yeah, I don't think

699
00:37:30,000 --> 00:37:32,359
Speaker 1: Pacino goes quite that far with it. He just kind

700
00:37:32,360 --> 00:37:35,000
Speaker 1: of seems more spaced out, though I do recall Insomnia

701
00:37:35,080 --> 00:37:37,800
Speaker 1: being a good movie. Well, I mean, get Christopher Dolan

702
00:37:38,880 --> 00:37:41,279
Speaker 1: now stellin Scars Guard of course, has worked with a

703
00:37:41,360 --> 00:37:44,040
Speaker 1: lot of great actors and directors over the years, too

704
00:37:44,120 --> 00:37:46,759
Speaker 1: many to even mentioned here, but I'd say that that

705
00:37:47,000 --> 00:37:48,800
Speaker 1: that we are very excited. I know a lot of

706
00:37:48,840 --> 00:37:51,160
Speaker 1: you are excited because one of his his next big

707
00:37:51,320 --> 00:37:54,960
Speaker 1: roles is he is Baron Harconan in the upcoming adaptation

708
00:37:55,000 --> 00:37:57,640
Speaker 1: of Frank Herbert's Stune. So I'm I'm super excited for

709
00:37:57,719 --> 00:38:00,600
Speaker 1: that because there's always this kind of like rumbleing um

710
00:38:01,440 --> 00:38:04,000
Speaker 1: threat in or there. He has he has in him

711
00:38:04,040 --> 00:38:06,200
Speaker 1: to create this kind of rumbling threat in his voice

712
00:38:06,560 --> 00:38:09,440
Speaker 1: and in intensity in his eyes, and I'm excited to

713
00:38:09,480 --> 00:38:13,240
Speaker 1: see what he is able to bring about with harcon

714
00:38:13,360 --> 00:38:17,120
Speaker 1: And that has not been brought to life in previous

715
00:38:17,200 --> 00:38:24,399
Speaker 1: film adaptations Preter naturally ominous. Yeah, brings full ominocity. He's

716
00:38:24,400 --> 00:38:27,320
Speaker 1: an actor who's capable of bringing a certain weirdness and

717
00:38:27,440 --> 00:38:32,040
Speaker 1: fearsomeness to his characters. But Jim Whitlock in Deep Lucy

718
00:38:32,280 --> 00:38:35,800
Speaker 1: is not one of those characters. Uh. He's he's introduced

719
00:38:35,880 --> 00:38:38,680
Speaker 1: like he's kind of a weirdo like his characters peeing

720
00:38:38,760 --> 00:38:41,719
Speaker 1: into the wind. But we meet him. He's basically just

721
00:38:41,800 --> 00:38:44,640
Speaker 1: a big, big scientist teddy bear and is not that weird.

722
00:38:45,200 --> 00:38:48,720
Speaker 1: He's not really mad in a mad scientist way. He's

723
00:38:49,200 --> 00:38:51,840
Speaker 1: he seems pretty likable. And uh, It's like most of

724
00:38:51,880 --> 00:38:54,680
Speaker 1: the human characters in this they seem fine. I don't

725
00:38:54,719 --> 00:38:57,239
Speaker 1: really want to see any of them eaten by a shark. Uh.

726
00:38:57,600 --> 00:38:59,239
Speaker 1: We'll talk more about this when we get into the

727
00:38:59,280 --> 00:39:01,680
Speaker 1: plot a little bit. But yeah, this movie does I

728
00:39:01,760 --> 00:39:06,759
Speaker 1: think have some serious human villain deficiency. All right. We also,

729
00:39:06,840 --> 00:39:08,800
Speaker 1: of course, we mentioned really we have Llo cool j

730
00:39:08,960 --> 00:39:13,120
Speaker 1: in this plays the character Preacher, who is not a preacher.

731
00:39:13,920 --> 00:39:16,719
Speaker 1: He is a chef. But is it alluded to that

732
00:39:16,840 --> 00:39:19,839
Speaker 1: he was a preacher? Is that why he's called Preacher? Oh,

733
00:39:19,920 --> 00:39:22,160
Speaker 1: I've forgotten that part. He may have been may have

734
00:39:22,239 --> 00:39:26,480
Speaker 1: been he does talk about God. Yeah, so I'm a

735
00:39:26,520 --> 00:39:29,319
Speaker 1: little vague on that, but any rate, this ll cool

736
00:39:29,360 --> 00:39:32,759
Speaker 1: J of course, hip hop legend. Uh. Star of H

737
00:39:32,880 --> 00:39:36,440
Speaker 1: two O, which is the Halloween movie, Star of Mine Hunters,

738
00:39:36,480 --> 00:39:38,600
Speaker 1: but not the good one on Netflix, the bad one

739
00:39:38,680 --> 00:39:41,839
Speaker 1: that I think Renney Harland directed, um, as well as

740
00:39:41,880 --> 00:39:46,960
Speaker 1: the universally acclaimed nine Robin Williams movie Toys. I believe

741
00:39:47,000 --> 00:39:50,520
Speaker 1: you just um yeah, but in this he's Preacher, the

742
00:39:50,600 --> 00:39:53,560
Speaker 1: chef and um. And we'll talk more about his characters

743
00:39:53,560 --> 00:39:57,160
Speaker 1: as we go on, but this, this is a memorable performance.

744
00:39:57,200 --> 00:40:00,120
Speaker 1: It's it's pretty early in his filmography, but it's really solid. Oh,

745
00:40:00,239 --> 00:40:02,720
Speaker 1: he's a he's a ray of sunshine in this film.

746
00:40:02,800 --> 00:40:05,759
Speaker 1: And every scene he's in is just delightful. Can I

747
00:40:05,840 --> 00:40:08,360
Speaker 1: mention real quick though, that he shares some scenes with

748
00:40:08,440 --> 00:40:14,000
Speaker 1: a parrot and the parrot is voiced by Frank Welker, Uh,

749
00:40:14,360 --> 00:40:17,440
Speaker 1: the vocal talent legend who who you'll find his name

750
00:40:17,440 --> 00:40:21,560
Speaker 1: in just about any animated film and un many unanimated films.

751
00:40:21,600 --> 00:40:23,720
Speaker 1: Anytime there's any you need some sort of like monster

752
00:40:23,840 --> 00:40:27,120
Speaker 1: voice or something or growls, even Frank Welker is liable

753
00:40:27,160 --> 00:40:29,480
Speaker 1: to show up and do it, And yeah, he's the

754
00:40:29,600 --> 00:40:33,040
Speaker 1: voice of the parrot which Decepticons did he do? Who?

755
00:40:33,120 --> 00:40:35,200
Speaker 1: I don't recall off hand, but he's in the mix,

756
00:40:35,280 --> 00:40:37,160
Speaker 1: like he's he's one of those guys. It's just he's

757
00:40:37,200 --> 00:40:39,840
Speaker 1: been around for a long time born So yeah, he's

758
00:40:39,880 --> 00:40:43,320
Speaker 1: been around for a whole host of like just just

759
00:40:43,640 --> 00:40:47,759
Speaker 1: multiple franchises in the animated genre. Now, before we get

760
00:40:47,760 --> 00:40:50,240
Speaker 1: off the cast, I wanted to mention one more actor quickly.

761
00:40:50,440 --> 00:40:52,760
Speaker 1: She has a small part in the movie, but Aida

762
00:40:52,800 --> 00:40:56,760
Speaker 1: Turturo is in this She ad Turturo famous for playing

763
00:40:57,160 --> 00:41:01,080
Speaker 1: Tony's sister Janis on The Sopranos. She plays a part

764
00:41:01,120 --> 00:41:04,120
Speaker 1: in this movie, I think operating a communications tower and

765
00:41:04,200 --> 00:41:07,359
Speaker 1: doesn't have many scenes interacting with the other characters, I think,

766
00:41:07,440 --> 00:41:10,239
Speaker 1: until she gets blown up by a helicopter crash, and

767
00:41:10,360 --> 00:41:13,080
Speaker 1: I feel like this is a positively criminal under use

768
00:41:13,120 --> 00:41:16,879
Speaker 1: of a fantastic cast member. So if I had been

769
00:41:17,000 --> 00:41:20,640
Speaker 1: the Meddling studio executive on this film, I would demand,

770
00:41:20,920 --> 00:41:22,719
Speaker 1: you know, if if you're worried about run time, you

771
00:41:22,800 --> 00:41:26,440
Speaker 1: can basically demote any other character's screen time except Llo

772
00:41:26,520 --> 00:41:29,759
Speaker 1: cool J and I guess except for Samuel Jackson's character.

773
00:41:29,840 --> 00:41:31,800
Speaker 1: I say, you could make you could just like remove

774
00:41:31,920 --> 00:41:33,880
Speaker 1: Thomas Jane from the movie No Offense, Tom, I mean,

775
00:41:34,080 --> 00:41:36,200
Speaker 1: you're great, but you can you take that character out

776
00:41:36,520 --> 00:41:40,400
Speaker 1: and promote aid tour Turo, escalate her screen time, make

777
00:41:40,440 --> 00:41:43,879
Speaker 1: her character a kind of vicious and manipulative schemer who

778
00:41:44,000 --> 00:41:46,560
Speaker 1: like convinces one of the sharks to go gnaw on

779
00:41:46,719 --> 00:41:49,239
Speaker 1: somebody who she thinks, I don't know, insulted her kid

780
00:41:49,400 --> 00:41:53,640
Speaker 1: or something. Yeah, I think weirdly enough, doesn't she actually

781
00:41:53,719 --> 00:41:58,000
Speaker 1: have human interactions in the music video? Like, isn't there

782
00:41:58,040 --> 00:41:59,839
Speaker 1: a scene at the very end of the music video

783
00:42:00,040 --> 00:42:03,399
Speaker 1: where she's seated around a table with other like crew

784
00:42:03,520 --> 00:42:06,040
Speaker 1: members as if they're on the you know, the ship

785
00:42:06,200 --> 00:42:08,680
Speaker 1: or the base from this film. I believe you, but

786
00:42:08,760 --> 00:42:12,120
Speaker 1: I don't remember this part. Also worth pointing out that

787
00:42:12,239 --> 00:42:15,879
Speaker 1: she is the cousin of John Taturo. So yeah, yeah,

788
00:42:16,160 --> 00:42:18,719
Speaker 1: I have to admit I'm not super familiar with her filmography.

789
00:42:19,000 --> 00:42:22,120
Speaker 1: Just looking at the list of films she's been in, Um, yeah,

790
00:42:22,160 --> 00:42:24,400
Speaker 1: I I don't think I've seen most of these. Oh

791
00:42:24,480 --> 00:42:27,640
Speaker 1: have you actually not seen the Sopranos? No, it's too late.

792
00:42:28,320 --> 00:42:30,759
Speaker 1: Oh oh, I think it's never too late to go

793
00:42:30,840 --> 00:42:34,440
Speaker 1: back and she's just I don't know how i'd classify.

794
00:42:34,640 --> 00:42:39,719
Speaker 1: She's somewhere between uh, villain and hero in it. Uh

795
00:42:40,080 --> 00:42:43,919
Speaker 1: As I guess a lot of the characters are just wonderful. Yeah,

796
00:42:44,000 --> 00:42:46,360
Speaker 1: I mean, I believe everyone who says the Sopranos is

797
00:42:46,400 --> 00:42:48,040
Speaker 1: really good. But it's just I don't think at this

798
00:42:48,120 --> 00:42:50,640
Speaker 1: point in my life, I can watch a gangster move

799
00:42:50,760 --> 00:42:54,160
Speaker 1: a movie or TV show unless it has like vampires

800
00:42:54,200 --> 00:42:56,600
Speaker 1: in it or something like it. I need something else

801
00:42:56,640 --> 00:42:59,560
Speaker 1: to drag me in, all right, And you know, before

802
00:42:59,600 --> 00:43:02,120
Speaker 1: we move on to the plot, um, I do generally

803
00:43:02,160 --> 00:43:04,279
Speaker 1: mention the music here, and the music in this film

804
00:43:04,400 --> 00:43:08,040
Speaker 1: is by Trevor Rabin born nineteen fifty four, South African

805
00:43:08,239 --> 00:43:10,640
Speaker 1: born composer who has worked a lot in the summer

806
00:43:10,680 --> 00:43:15,000
Speaker 1: blockbuster genre with scores for films such as Armageddon and

807
00:43:15,239 --> 00:43:18,640
Speaker 1: National Treasure. And uh, I don't have a lot to

808
00:43:18,680 --> 00:43:20,680
Speaker 1: say about this score. It's other than it's it's very

809
00:43:20,760 --> 00:43:23,320
Speaker 1: traditional in terms of what you expect from a blockbuster

810
00:43:23,440 --> 00:43:26,920
Speaker 1: film from this this period. It's it's effective. It does

811
00:43:27,000 --> 00:43:29,920
Speaker 1: everything it needs to do, heightening tension and all and

812
00:43:30,000 --> 00:43:32,200
Speaker 1: reminding you that everything you know, helping you propel you

813
00:43:32,719 --> 00:43:36,839
Speaker 1: through the film like water rushing through a flooded um

814
00:43:37,120 --> 00:43:39,879
Speaker 1: sea lab. But other than that, I did not find

815
00:43:39,920 --> 00:43:41,719
Speaker 1: it that memorable. You know, it's not like that John

816
00:43:41,760 --> 00:43:46,160
Speaker 1: Williams level of which is an insanely high bard to put.

817
00:43:46,239 --> 00:43:49,560
Speaker 1: I should not even really fairly compare other composers to

818
00:43:49,640 --> 00:43:51,600
Speaker 1: John Williams. But you know, it's not the kind of

819
00:43:52,040 --> 00:43:53,759
Speaker 1: film score where I heard it and then I'm like, oh,

820
00:43:53,840 --> 00:43:55,440
Speaker 1: I need to look this up. Let's see if this

821
00:43:55,520 --> 00:43:57,600
Speaker 1: is unfinal. I think what they should have done is

822
00:43:57,680 --> 00:44:01,160
Speaker 1: just looped deepest blew us under the film. You know,

823
00:44:01,280 --> 00:44:03,880
Speaker 1: it could work in any scene. Really, yeah, I mean,

824
00:44:04,200 --> 00:44:07,200
Speaker 1: and I think, yeah, I would have gone for it, Like, well,

825
00:44:07,239 --> 00:44:08,840
Speaker 1: what if they had what if they had gone for

826
00:44:09,000 --> 00:44:12,600
Speaker 1: like a hip hop instrumental style score. I don't know.

827
00:44:13,440 --> 00:44:14,920
Speaker 1: It would have been too early for that, I don't think.

828
00:44:14,960 --> 00:44:17,279
Speaker 1: I don't certainly a film this big wouldn't have taken

829
00:44:17,320 --> 00:44:19,960
Speaker 1: a risk on that. Yeah. I don't recall much about

830
00:44:19,960 --> 00:44:22,200
Speaker 1: the music, but I think it's fine. Yeah, it's fine.

831
00:44:22,239 --> 00:44:33,239
Speaker 1: There's nothing wrong with it at all. It it totally works. Okay,

832
00:44:33,320 --> 00:44:36,000
Speaker 1: So maybe we should talk about some of the specifics

833
00:44:36,120 --> 00:44:38,680
Speaker 1: of the plot. One of the things that I thought

834
00:44:38,760 --> 00:44:40,920
Speaker 1: was funny was. The more I thought about it, the

835
00:44:41,080 --> 00:44:44,400
Speaker 1: more the plot of Deep Blue Sea resembles the plot

836
00:44:44,520 --> 00:44:48,120
Speaker 1: of Jurassic Parks, almost kind of beat by beat, because

837
00:44:48,280 --> 00:44:51,600
Speaker 1: what happens at the beginning of Jurassic Park there is

838
00:44:51,640 --> 00:44:54,520
Speaker 1: an accident on the island involving one of the animals,

839
00:44:54,680 --> 00:44:58,320
Speaker 1: where someone is injured or killed, and this draws scrutiny

840
00:44:58,440 --> 00:45:02,399
Speaker 1: from the parent company and they're underwriters, and there then

841
00:45:02,480 --> 00:45:05,440
Speaker 1: this spurs and an investigation. Basically, somebody has to go

842
00:45:05,640 --> 00:45:07,520
Speaker 1: to the island to look at it and see if

843
00:45:07,560 --> 00:45:09,120
Speaker 1: everything is on the up and up, and that's how

844
00:45:09,160 --> 00:45:12,840
Speaker 1: our characters get there. Deep Blue cy starts almost exactly

845
00:45:12,920 --> 00:45:16,120
Speaker 1: the same way. Yeah, and it's it's one of these

846
00:45:16,360 --> 00:45:18,719
Speaker 1: these openings to a film that it first seems like

847
00:45:18,840 --> 00:45:21,759
Speaker 1: it's dumb, like it's just reinforcing the standards of of

848
00:45:21,840 --> 00:45:24,920
Speaker 1: the genre, you know, but then you realize that, oh no,

849
00:45:25,520 --> 00:45:27,799
Speaker 1: there's a twist to it. They're winking at us, They're

850
00:45:27,800 --> 00:45:30,640
Speaker 1: having fun with our expectations, because, yeah, the opening, it

851
00:45:30,719 --> 00:45:32,839
Speaker 1: seems like it's just gonna be straight up shark exploitation.

852
00:45:33,239 --> 00:45:37,400
Speaker 1: You have young people, some all I think in swimwear, uh,

853
00:45:37,520 --> 00:45:41,640
Speaker 1: you know, being sexy and on a yacht, you know,

854
00:45:41,719 --> 00:45:45,640
Speaker 1: being sexy, being you know, rich, and being essentially being

855
00:45:45,760 --> 00:45:47,920
Speaker 1: shark bait. You imagine that the sharks are going to

856
00:45:48,000 --> 00:45:50,960
Speaker 1: show up and eat them. It is. The sharks appear

857
00:45:51,120 --> 00:45:54,319
Speaker 1: and it looks like they're about to chop our our

858
00:45:54,400 --> 00:45:57,680
Speaker 1: victims here. But then something happens, right, uh well, one

859
00:45:57,719 --> 00:45:59,920
Speaker 1: of the things I thought was funny. So people young

860
00:46:00,160 --> 00:46:02,080
Speaker 1: rich people partying on a yacht. I think it's a

861
00:46:02,120 --> 00:46:05,080
Speaker 1: doubled hold yacht actually, and is it okay? Yeah, I

862
00:46:05,160 --> 00:46:07,320
Speaker 1: was just thinking back to our Pacific Navigation episodes. But

863
00:46:08,160 --> 00:46:10,320
Speaker 1: there's one part where they like knock over a bottle

864
00:46:10,360 --> 00:46:12,360
Speaker 1: of wine on the yacht and it like spills this

865
00:46:12,480 --> 00:46:14,880
Speaker 1: red wine into the water, so it looks like blood

866
00:46:14,960 --> 00:46:18,359
Speaker 1: going into the water like all these other shark movies. Um,

867
00:46:18,880 --> 00:46:21,279
Speaker 1: and then a shark starts attacking their boat and it's like,

868
00:46:21,320 --> 00:46:23,279
Speaker 1: oh God, is the shark going to kill them? But

869
00:46:23,360 --> 00:46:26,080
Speaker 1: at the last minute, no, there is an intervention by

870
00:46:26,120 --> 00:46:29,520
Speaker 1: the brave shark wrangler Carter Blake played by Thomas Jane,

871
00:46:29,920 --> 00:46:33,480
Speaker 1: So these people are saved from shark doom, but by

872
00:46:33,560 --> 00:46:36,440
Speaker 1: Thomas Jane at the last minute. But of course you

873
00:46:36,520 --> 00:46:38,320
Speaker 1: know that this is going to make the parent company

874
00:46:38,360 --> 00:46:42,040
Speaker 1: skittish because because of course, this shark is not just

875
00:46:42,200 --> 00:46:45,160
Speaker 1: any shark. It is a shark that has escaped captivity

876
00:46:45,280 --> 00:46:48,279
Speaker 1: from a research facility in the deep sea. Uh And

877
00:46:48,480 --> 00:46:50,279
Speaker 1: and one thing you pointed out in the scene that

878
00:46:50,320 --> 00:46:52,280
Speaker 1: I had forgotten about was that it has a teddy

879
00:46:52,320 --> 00:46:55,200
Speaker 1: Bear in it. Yea. During the the initial shark attack,

880
00:46:55,440 --> 00:46:57,520
Speaker 1: teddy Bear gets knocked off the yacht and we get

881
00:46:57,560 --> 00:46:59,759
Speaker 1: a scene of it like sinking in the water. Right,

882
00:47:00,280 --> 00:47:04,080
Speaker 1: the innocence literally sinking into the depths. Right, the sinking

883
00:47:04,160 --> 00:47:06,680
Speaker 1: teddy Bear, I think is very akin to the filthy

884
00:47:06,800 --> 00:47:10,920
Speaker 1: discarded doll trope. We've talked about the loss of innocence

885
00:47:10,960 --> 00:47:14,080
Speaker 1: in the face of the cruel reality of shark. Uh.

886
00:47:14,360 --> 00:47:16,840
Speaker 1: But so this sets up the situation of the film.

887
00:47:17,400 --> 00:47:19,640
Speaker 1: We get a kind of corporate bigwig meeting. I think

888
00:47:19,680 --> 00:47:22,160
Speaker 1: the parent company here is some big farm a company

889
00:47:22,800 --> 00:47:26,320
Speaker 1: and uh Dr Susan McAlister is there. This is Saffron

890
00:47:26,400 --> 00:47:29,800
Speaker 1: Burrows and she is a brilliant scientist who is working

891
00:47:29,840 --> 00:47:33,600
Speaker 1: on a cure for Alzheimer's disease along with her colleague

892
00:47:33,680 --> 00:47:36,480
Speaker 1: Jim Whitlock played by Stile in Scars guard and they

893
00:47:36,520 --> 00:47:39,920
Speaker 1: are studying proteins in the brains of sharks as a

894
00:47:40,000 --> 00:47:43,440
Speaker 1: possible treatment for humans. And of course we learned that

895
00:47:43,520 --> 00:47:45,520
Speaker 1: what happened in this opening scene where a boat was

896
00:47:45,560 --> 00:47:48,319
Speaker 1: attacked by shark is that one of their sharks got

897
00:47:48,400 --> 00:47:51,239
Speaker 1: out of captivity. It escaped from its pen and it

898
00:47:51,360 --> 00:47:53,600
Speaker 1: went to go have some fun with a yacht before

899
00:47:53,640 --> 00:47:57,080
Speaker 1: it was captured by by Carter Blake. So here the

900
00:47:57,120 --> 00:47:59,799
Speaker 1: Farmer company decides, well, we gotta have somebody check out

901
00:47:59,880 --> 00:48:03,400
Speaker 1: this facility and make sure everything's you know, everything is secure.

902
00:48:03,920 --> 00:48:07,400
Speaker 1: So they send their dependable executive, Russell Franklin, who is

903
00:48:07,440 --> 00:48:10,239
Speaker 1: played by Samuel L. Jackson. So I think he's sort

904
00:48:10,280 --> 00:48:12,320
Speaker 1: of going to play the role of like all the

905
00:48:12,440 --> 00:48:15,440
Speaker 1: scientists and the lawyer in Jurassic Park, the person who

906
00:48:15,520 --> 00:48:18,799
Speaker 1: shows up to do a safety review and see what's up. Uh.

907
00:48:18,920 --> 00:48:21,080
Speaker 1: And then from here, I don't know how much more

908
00:48:21,120 --> 00:48:23,800
Speaker 1: about the plot we really have to describe in detail,

909
00:48:23,880 --> 00:48:26,440
Speaker 1: because you can imagine exactly what happens. It just all

910
00:48:26,480 --> 00:48:29,400
Speaker 1: hell breaks loose. It's sharka palooza. For the rest of

911
00:48:29,440 --> 00:48:33,440
Speaker 1: the run time, people go running around through a like

912
00:48:33,520 --> 00:48:36,480
Speaker 1: a deep sea research facility as different levels of it

913
00:48:36,560 --> 00:48:39,960
Speaker 1: are flooded by sharks that, as we learn, are not

914
00:48:40,120 --> 00:48:43,160
Speaker 1: just any sharks. Now, they're smart sharks. They are hyper

915
00:48:43,239 --> 00:48:47,440
Speaker 1: intelligent sharks because Dr Stelen scars Guard and Dr Saffron

916
00:48:47,520 --> 00:48:50,640
Speaker 1: Burrows have been very naughty and they have done something

917
00:48:50,680 --> 00:48:53,720
Speaker 1: they're not supposed to. They made the sharks super smart,

918
00:48:53,960 --> 00:48:56,319
Speaker 1: and they made their brains like ten times bigger than

919
00:48:56,320 --> 00:48:58,560
Speaker 1: they're supposed to be in order to get all of

920
00:48:58,600 --> 00:49:02,040
Speaker 1: the protein they needed to you their their research. Yeah,

921
00:49:02,160 --> 00:49:05,279
Speaker 1: Like the basic the quote unquote science of the whole

922
00:49:05,320 --> 00:49:09,000
Speaker 1: picture is that sharks are incredibly resistant to various sales

923
00:49:09,040 --> 00:49:11,560
Speaker 1: and illnesses. So, uh, this is where we're gonna go

924
00:49:11,640 --> 00:49:13,759
Speaker 1: to get this special compound. But the brain is not

925
00:49:13,800 --> 00:49:15,839
Speaker 1: big enough. Gotta make those brains biggers so we can

926
00:49:15,880 --> 00:49:20,080
Speaker 1: get enough protein or you know whatever shark juice from

927
00:49:20,200 --> 00:49:24,799
Speaker 1: each shark, and so that requires making them have super brains. Uh.

928
00:49:24,880 --> 00:49:26,960
Speaker 1: They say a number of things about sharks that are

929
00:49:27,160 --> 00:49:29,680
Speaker 1: that are not true, Like you say that sharks don't

930
00:49:29,680 --> 00:49:33,200
Speaker 1: get cancer, which is not true. Right. Um yea, So

931
00:49:33,320 --> 00:49:35,280
Speaker 1: do not come to this film for your shark facts.

932
00:49:35,520 --> 00:49:38,400
Speaker 1: It's even more confusing because there are these lines. These

933
00:49:38,440 --> 00:49:42,040
Speaker 1: shark facts are often delivered uh, you know, with an

934
00:49:42,120 --> 00:49:45,359
Speaker 1: air of authenticity to them, and sometimes they actually bring

935
00:49:45,480 --> 00:49:49,960
Speaker 1: in actual um. They're the halfway dragging real facts into it.

936
00:49:50,080 --> 00:49:52,680
Speaker 1: Like at one point, Thomas Jane's character says, oh, you know,

937
00:49:53,080 --> 00:49:55,520
Speaker 1: they don't actually want to eat us that you know, uh,

938
00:49:55,960 --> 00:49:58,120
Speaker 1: they don't like the taste of humans. But then he

939
00:49:58,160 --> 00:50:02,239
Speaker 1: turns it into a jab at Samuel Jackson's characters um

940
00:50:02,560 --> 00:50:05,400
Speaker 1: um like background or something. But he but he's halfway there, like,

941
00:50:05,520 --> 00:50:08,719
Speaker 1: you know the reality that sharks are not out there

942
00:50:08,760 --> 00:50:11,719
Speaker 1: in the ocean hunting for human beings. Uh. They have

943
00:50:11,840 --> 00:50:16,520
Speaker 1: not evolved to thrive and depend on on apes in

944
00:50:16,600 --> 00:50:19,200
Speaker 1: the water. They have they have evolved to depend on

945
00:50:19,320 --> 00:50:23,359
Speaker 1: things like like seals, um and uh and other game

946
00:50:23,480 --> 00:50:25,800
Speaker 1: things that are going to actually be um. You know,

947
00:50:26,040 --> 00:50:28,040
Speaker 1: they are actually going to sustain them. And so in

948
00:50:28,160 --> 00:50:31,000
Speaker 1: some cases when you have a shark attack, what you're

949
00:50:31,000 --> 00:50:33,360
Speaker 1: having happen is a shark taking a bite out of

950
00:50:33,440 --> 00:50:35,239
Speaker 1: something to see if it's something they would want to eat.

951
00:50:35,680 --> 00:50:38,239
Speaker 1: And when that is a human there, they often will

952
00:50:38,239 --> 00:50:40,560
Speaker 1: say no, thank you, but they've already bitten into a

953
00:50:40,680 --> 00:50:43,759
Speaker 1: human right. And of course, as we'll talk about a

954
00:50:43,880 --> 00:50:47,440
Speaker 1: bit more later, I think obviously anybody who's listening to

955
00:50:47,520 --> 00:50:49,000
Speaker 1: the show at this point, I believe knows this. But

956
00:50:49,120 --> 00:50:51,960
Speaker 1: sharks are not your enemy. You know, the the convention

957
00:50:52,000 --> 00:50:55,279
Speaker 1: of sharks being the monster that relentlessly pursues humans at

958
00:50:55,320 --> 00:50:57,680
Speaker 1: any cost and just wants to wants to kill us,

959
00:50:57,719 --> 00:51:00,520
Speaker 1: all that that is a movie fantasy that that's just

960
00:51:00,640 --> 00:51:02,959
Speaker 1: not real, and it's one that they're able to sort

961
00:51:03,000 --> 00:51:07,160
Speaker 1: of circumvent in this film by having the super intelligent

962
00:51:07,239 --> 00:51:12,239
Speaker 1: sharks that ultimately aren't that interested in eating humans. They

963
00:51:12,320 --> 00:51:15,160
Speaker 1: ultimately just want to escape this facility. But then we

964
00:51:15,239 --> 00:51:16,920
Speaker 1: also have some elements of the film where it's like, oh,

965
00:51:16,960 --> 00:51:19,160
Speaker 1: we're able to trick them because they are so bloodthirsty,

966
00:51:19,280 --> 00:51:22,800
Speaker 1: So I don't know, they only kind of halfway achieved

967
00:51:22,880 --> 00:51:25,279
Speaker 1: the same. Well, you also get the sense that the

968
00:51:25,320 --> 00:51:27,920
Speaker 1: sharks in this movie don't just want to escape, they

969
00:51:28,000 --> 00:51:31,319
Speaker 1: also like have a grow they hate the humans. Yes,

970
00:51:31,600 --> 00:51:34,440
Speaker 1: they're they're like mad at them for experimenting on them.

971
00:51:34,960 --> 00:51:37,600
Speaker 1: And this is where we we reach one of the

972
00:51:37,880 --> 00:51:39,400
Speaker 1: one of the flaws in the film. Like nothing that

973
00:51:39,600 --> 00:51:43,160
Speaker 1: fatally wounds the film or anything. But I was about

974
00:51:43,200 --> 00:51:46,000
Speaker 1: thirty minutes into watching it when I realized oh man,

975
00:51:46,800 --> 00:51:49,600
Speaker 1: all these humans are mostly likable at this point, unless

976
00:51:49,680 --> 00:51:52,399
Speaker 1: they're gonna drop some bombs on me later like these

977
00:51:52,719 --> 00:51:54,759
Speaker 1: that we don't seem to have any human villains. We

978
00:51:54,840 --> 00:51:58,279
Speaker 1: don't have bad guys, human bad guys that we are

979
00:51:58,360 --> 00:52:01,600
Speaker 1: rooting against, and that we're being get consumed by sharks.

980
00:52:02,120 --> 00:52:05,200
Speaker 1: That's right. I totally agree with you on on this point.

981
00:52:05,480 --> 00:52:07,920
Speaker 1: I think it's a major oversight of the film because

982
00:52:08,680 --> 00:52:11,640
Speaker 1: usually in a movie about a killer animal, you need

983
00:52:11,800 --> 00:52:15,600
Speaker 1: a human villain to inhabit the spirit of moral evil,

984
00:52:15,840 --> 00:52:17,759
Speaker 1: you know, to be the focal point of not just

985
00:52:17,840 --> 00:52:22,280
Speaker 1: struggle for survival, but of antagonistic drama. You know, drama

986
00:52:22,400 --> 00:52:27,120
Speaker 1: typically is a conflict between people, between humans with intelligences.

987
00:52:27,560 --> 00:52:31,040
Speaker 1: And since giant killer animals in creature movies are not

988
00:52:31,120 --> 00:52:34,960
Speaker 1: really morally bad, they're just hungry, uh, they can't really

989
00:52:35,000 --> 00:52:37,640
Speaker 1: fill that role very well. I would say. The closest

990
00:52:37,719 --> 00:52:40,080
Speaker 1: thing to a villain in this movie, I guess are

991
00:52:40,200 --> 00:52:43,840
Speaker 1: the main scientists like Stelen scars Guard and Saffron Burroughs,

992
00:52:44,320 --> 00:52:47,319
Speaker 1: who are I mean, in a way, they're presented as

993
00:52:47,520 --> 00:52:51,000
Speaker 1: as arrogant and having done wrong and they must be

994
00:52:51,160 --> 00:52:54,239
Speaker 1: punished because they to use a phrase from Edwood. They

995
00:52:54,360 --> 00:52:58,360
Speaker 1: tampered in God's domain, But they are not really villains.

996
00:52:58,560 --> 00:53:01,320
Speaker 1: They're just people who did something bad and need to

997
00:53:01,400 --> 00:53:04,080
Speaker 1: be punished for it. In this movie, I think the

998
00:53:04,440 --> 00:53:08,759
Speaker 1: creators perhaps thought that they didn't need human villains since

999
00:53:08,840 --> 00:53:13,040
Speaker 1: the creatures are not only killer sharks, but hyper intelligent

1000
00:53:13,200 --> 00:53:16,480
Speaker 1: killer sharks, maybe leading to the idea that they are

1001
00:53:16,640 --> 00:53:20,120
Speaker 1: smart enough to be morally evil. It's kind of a stretch.

1002
00:53:20,200 --> 00:53:22,719
Speaker 1: It doesn't really work, and I think they should have

1003
00:53:22,800 --> 00:53:25,440
Speaker 1: committed to having at least one of the human characters

1004
00:53:25,560 --> 00:53:28,239
Speaker 1: being like a complete jerk. Yeah. It's kind of like

1005
00:53:28,320 --> 00:53:32,800
Speaker 1: the Frankenstein scenario, right with Frankenstein's monster, even if you

1006
00:53:32,880 --> 00:53:35,520
Speaker 1: have him doing despicable things like he he did not

1007
00:53:35,640 --> 00:53:38,080
Speaker 1: ask to be here. He was created, you know, and

1008
00:53:38,160 --> 00:53:40,200
Speaker 1: he bemoans this fact, you know, he says that and

1009
00:53:40,280 --> 00:53:42,719
Speaker 1: I did not ask to be created, and um and

1010
00:53:42,920 --> 00:53:45,880
Speaker 1: and therefore, how much blame can you really place on

1011
00:53:45,960 --> 00:53:48,239
Speaker 1: the monster shoulders? And the same goes for a lot

1012
00:53:48,280 --> 00:53:50,399
Speaker 1: of these sharks, I mean, for these sharks in this film.

1013
00:53:51,120 --> 00:53:53,840
Speaker 1: Another thing that comes to mind is that the not

1014
00:53:54,000 --> 00:53:57,759
Speaker 1: only are the scientists themselves not portrayed as particularly like

1015
00:53:57,920 --> 00:54:01,279
Speaker 1: morally corrupt or anything. But the ultimate aim of the

1016
00:54:01,400 --> 00:54:04,120
Speaker 1: project is totally for the good of humanity. You know,

1017
00:54:04,160 --> 00:54:07,200
Speaker 1: it's about it's about curing Alzheimer's disease, which you know

1018
00:54:07,360 --> 00:54:09,160
Speaker 1: everybody in the film is on board with. And if

1019
00:54:09,200 --> 00:54:10,880
Speaker 1: you're watching it, you're like, oh, yeah, I mean that

1020
00:54:11,040 --> 00:54:12,640
Speaker 1: makes sense. Yeah, if you've got to make some giant

1021
00:54:12,680 --> 00:54:15,840
Speaker 1: sharks to cure Alzheimer's, then let's let's do it. Like

1022
00:54:16,000 --> 00:54:18,680
Speaker 1: what if they had had a point in the film

1023
00:54:18,719 --> 00:54:21,279
Speaker 1: where they revealed or even from the answer that they

1024
00:54:21,320 --> 00:54:24,759
Speaker 1: made it clear that the start the shark research was about, say,

1025
00:54:25,360 --> 00:54:28,400
Speaker 1: creating immortality, you know, for the for the for the

1026
00:54:28,640 --> 00:54:31,040
Speaker 1: you know, the privileged and few at the very top

1027
00:54:31,160 --> 00:54:34,280
Speaker 1: of the socioeconomic ladder, you know, something of that nature.

1028
00:54:34,320 --> 00:54:36,640
Speaker 1: There their twists they could have taken with it where

1029
00:54:36,640 --> 00:54:38,840
Speaker 1: you'd be like, oh man, they were there trying to

1030
00:54:38,920 --> 00:54:42,200
Speaker 1: do that, and they're making super intelligent sharks to do it.

1031
00:54:42,640 --> 00:54:45,080
Speaker 1: That's that's a double whammy of things we shouldn't be

1032
00:54:45,120 --> 00:54:48,080
Speaker 1: doing people, And instead, what you get is that these

1033
00:54:48,120 --> 00:54:51,759
Speaker 1: are researchers who unethically cut corners in pursuit of a

1034
00:54:51,840 --> 00:54:55,000
Speaker 1: noble goal, right, which is a very different feeling for

1035
00:54:55,160 --> 00:54:57,480
Speaker 1: characters in a movie. And and you know one thing

1036
00:54:57,560 --> 00:54:59,200
Speaker 1: I will point out, I wonder what you think about this.

1037
00:54:59,760 --> 00:55:02,440
Speaker 1: I think Stelen scars Guards character in this movie is

1038
00:55:02,719 --> 00:55:06,160
Speaker 1: interesting because I think he's a little bit different in

1039
00:55:06,239 --> 00:55:09,920
Speaker 1: the finished product than his character would be on the page.

1040
00:55:10,719 --> 00:55:13,360
Speaker 1: I think he has written to play harder into the

1041
00:55:13,480 --> 00:55:16,359
Speaker 1: role of the arrogant scientist who thinks he's better than

1042
00:55:16,480 --> 00:55:19,919
Speaker 1: God and must be punished, but Stelln just doesn't really

1043
00:55:20,160 --> 00:55:24,040
Speaker 1: lean into that in his performance. Um. And uh, you

1044
00:55:24,120 --> 00:55:25,920
Speaker 1: know there was another I was reading a review of

1045
00:55:26,000 --> 00:55:29,120
Speaker 1: the movie by a film critic named John Kenneth Muir,

1046
00:55:29,320 --> 00:55:32,800
Speaker 1: and in a retrospective from many years later. Uh, and

1047
00:55:32,920 --> 00:55:35,000
Speaker 1: he pointed out something about this movie that as soon

1048
00:55:35,080 --> 00:55:36,560
Speaker 1: as I read it, I was like, Oh, God, is

1049
00:55:36,600 --> 00:55:39,480
Speaker 1: so true. You can tell as soon as you meet

1050
00:55:39,560 --> 00:55:43,600
Speaker 1: him that Stelln is doomed because he smokes cigarettes, which

1051
00:55:43,719 --> 00:55:47,360
Speaker 1: is a death sentence in any mainstream movie from the nineties.

1052
00:55:47,680 --> 00:55:52,440
Speaker 1: Isn't that true? Huh? Yeah, I guess so. Um, I'm

1053
00:55:52,480 --> 00:55:54,040
Speaker 1: gonna have to I'm gonna have to to think on

1054
00:55:54,120 --> 00:55:56,320
Speaker 1: this one. But but but certainly, yeah, we do have

1055
00:55:56,360 --> 00:55:58,960
Speaker 1: a notable scene where he's spoking early in the picture.

1056
00:55:59,239 --> 00:56:01,120
Speaker 1: But actually the something I wanted to come back to

1057
00:56:01,200 --> 00:56:04,880
Speaker 1: about the idea of human villains and intelligence and sharks

1058
00:56:05,000 --> 00:56:09,640
Speaker 1: as as a movie monster. There's another unintended consequence I

1059
00:56:09,719 --> 00:56:12,120
Speaker 1: think of of having the villains in the movie be

1060
00:56:12,280 --> 00:56:16,680
Speaker 1: hyper intelligent mutant sharks. Part of the appeal of a

1061
00:56:16,760 --> 00:56:19,360
Speaker 1: shark as a movie monster. Again, this is the fantasy

1062
00:56:19,440 --> 00:56:22,880
Speaker 1: movie shark, not sharks in real life. Is is a

1063
00:56:23,000 --> 00:56:30,560
Speaker 1: horror rooted in its apparently unthinking, unfeeling, mechanical efficiency. You know,

1064
00:56:30,600 --> 00:56:33,360
Speaker 1: as Quinn says in Jaws, it's you know, eyes like

1065
00:56:33,480 --> 00:56:36,400
Speaker 1: a doll's eyes, like it's not even alive. It's just

1066
00:56:36,600 --> 00:56:40,120
Speaker 1: a machine that kills. So it is. It's not a

1067
00:56:40,360 --> 00:56:45,520
Speaker 1: human agent that kills out of animating feelings like hate

1068
00:56:46,080 --> 00:56:50,400
Speaker 1: or malice or even sadism. It doesn't have feelings about us.

1069
00:56:50,640 --> 00:56:53,680
Speaker 1: We are simply meet. And in this way, I think

1070
00:56:53,800 --> 00:56:57,759
Speaker 1: the traditional shark movie with a regular shark actually resonates

1071
00:56:57,800 --> 00:56:59,680
Speaker 1: a little bit more with some of the themes of

1072
00:57:00,000 --> 00:57:04,400
Speaker 1: oz MC. Horror horror that is rooted in a semantic threat.

1073
00:57:04,520 --> 00:57:07,000
Speaker 1: It's not just the fear that you will be harmed

1074
00:57:07,160 --> 00:57:09,840
Speaker 1: or the fear that you will be destroyed, but the

1075
00:57:10,040 --> 00:57:13,239
Speaker 1: fear that by seeing yourself from the vantage point of

1076
00:57:13,280 --> 00:57:17,280
Speaker 1: a truly inhuman intelligence, you will see yourself as an

1077
00:57:17,400 --> 00:57:23,200
Speaker 1: object without meaning or significance, just a puny, soft, heterogeneous

1078
00:57:23,320 --> 00:57:27,440
Speaker 1: object of about nine degrees fahrenheit UM. And there are

1079
00:57:27,520 --> 00:57:30,000
Speaker 1: examples I can think of from movies that I find

1080
00:57:30,120 --> 00:57:33,920
Speaker 1: particularly amazingly scary that are on this frequency. One is

1081
00:57:34,080 --> 00:57:35,760
Speaker 1: a moment I love. I think I've mentioned it on

1082
00:57:35,800 --> 00:57:39,240
Speaker 1: the show before, but uh, from the nineteen version of

1083
00:57:39,320 --> 00:57:42,040
Speaker 1: Invasion of the Body Snatchers, which is a fantastic sci

1084
00:57:42,120 --> 00:57:45,160
Speaker 1: fi horror movie. But it is the part where um

1085
00:57:45,600 --> 00:57:47,920
Speaker 1: where a couple of the human characters have been trapped

1086
00:57:48,040 --> 00:57:51,000
Speaker 1: by some of the the alien replicants who have been turned,

1087
00:57:51,760 --> 00:57:53,880
Speaker 1: and one of the humans says to the leader of

1088
00:57:54,000 --> 00:57:56,720
Speaker 1: the aliens, I hate you, and the leader of the

1089
00:57:56,760 --> 00:58:01,320
Speaker 1: aliens says to them, we don't hate you. Foundly chilling, right,

1090
00:58:01,400 --> 00:58:04,760
Speaker 1: because it's it's actually so much scarier that the aliens

1091
00:58:04,800 --> 00:58:07,520
Speaker 1: are not doing this out of sadism and malice. We're

1092
00:58:07,600 --> 00:58:11,840
Speaker 1: just molecules to them, like they don't hate us. There's

1093
00:58:11,880 --> 00:58:16,240
Speaker 1: a there's a great twist and an old thriller novel

1094
00:58:16,280 --> 00:58:19,640
Speaker 1: by Jeffrey Household titled The Dance of the Dwarves. It

1095
00:58:19,720 --> 00:58:23,600
Speaker 1: takes place I think in South America, and Um, there's

1096
00:58:24,080 --> 00:58:27,080
Speaker 1: a lot of the plot concerns this um, these these

1097
00:58:27,160 --> 00:58:29,720
Speaker 1: deaths that have occurred that have been attributed to what's

1098
00:58:29,720 --> 00:58:32,720
Speaker 1: supposed to be a tribe of pygmies that live, you know,

1099
00:58:32,840 --> 00:58:35,240
Speaker 1: deep in the jungle. And so our our character makes

1100
00:58:35,280 --> 00:58:38,400
Speaker 1: several attempts to communicate with them and and puts out

1101
00:58:38,560 --> 00:58:41,240
Speaker 1: like beads is an offering, you know, trying to to

1102
00:58:41,320 --> 00:58:44,120
Speaker 1: make contact, and comes close, but then you reach the

1103
00:58:44,200 --> 00:58:48,600
Speaker 1: point where it is revealed that they're not pygmies. They

1104
00:58:48,720 --> 00:58:53,240
Speaker 1: are a type of giant river otter, a predatory giant

1105
00:58:53,360 --> 00:58:55,560
Speaker 1: river otter with I think some sort of a venom

1106
00:58:56,040 --> 00:59:01,120
Speaker 1: um apparatus. And he realizes that that, no, there is

1107
00:59:01,200 --> 00:59:04,160
Speaker 1: nothing to communicate with here. These are things. These are creatures,

1108
00:59:04,240 --> 00:59:06,480
Speaker 1: These are animals that are hunting me, and there's nothing

1109
00:59:06,600 --> 00:59:09,439
Speaker 1: remotely human about them. They're they're you know, they're they're

1110
00:59:09,480 --> 00:59:12,560
Speaker 1: giant otters and it's um And just saying it like

1111
00:59:12,640 --> 00:59:15,280
Speaker 1: that it might sound kind of weird. If it does

1112
00:59:15,320 --> 00:59:18,480
Speaker 1: sound weird, research giant river rotters and maybe that'll turn

1113
00:59:18,520 --> 00:59:21,400
Speaker 1: you around, because they can be quite quite fearsome if

1114
00:59:21,440 --> 00:59:23,040
Speaker 1: you if you, if you look at them in the

1115
00:59:23,160 --> 00:59:26,000
Speaker 1: right light. But but but in the in the book,

1116
00:59:26,040 --> 00:59:27,960
Speaker 1: it's very effective. It creates that same sort of level

1117
00:59:27,960 --> 00:59:30,200
Speaker 1: where you realize, yeah, you're not dealing with human agency,

1118
00:59:30,400 --> 00:59:33,480
Speaker 1: You're dealing with something more primal. Yeah, that that absolutely

1119
00:59:33,520 --> 00:59:36,320
Speaker 1: sounds very chilling and and on the same frequency is

1120
00:59:36,360 --> 00:59:38,960
Speaker 1: what I'm talking about. There was another movie I thought

1121
00:59:39,000 --> 00:59:41,840
Speaker 1: of that that had a scene, um that works in

1122
00:59:41,880 --> 00:59:43,800
Speaker 1: a similar way, and it's the movie Under the Skin.

1123
00:59:43,920 --> 00:59:46,400
Speaker 1: Have you seen this one. I'm familiar with it, but

1124
00:59:46,400 --> 00:59:48,720
Speaker 1: I've never actually watched it. Also very much has that

1125
00:59:49,320 --> 00:59:52,440
Speaker 1: that that cosmic horror fire. And one of the most

1126
00:59:52,560 --> 00:59:55,680
Speaker 1: chilling scenes in it is not even with the the

1127
00:59:55,840 --> 00:59:59,440
Speaker 1: alien doing anything to a human. It is a scene

1128
00:59:59,680 --> 01:00:06,080
Speaker 1: of an alien just watching, completely dispassionately observing as some

1129
01:00:06,360 --> 01:00:09,760
Speaker 1: humans are are caught in a like a riptide and

1130
01:00:09,840 --> 01:00:13,000
Speaker 1: are and are drowning in the ocean, and the alien

1131
01:00:13,240 --> 01:00:17,560
Speaker 1: is uh, not hateful and not sad, it's just watching.

1132
01:00:18,640 --> 01:00:20,760
Speaker 1: But but but anyway to bring everything back to Deep

1133
01:00:20,760 --> 01:00:24,360
Speaker 1: Blue Sea by making the sharks in this movie super

1134
01:00:24,480 --> 01:00:29,520
Speaker 1: intelligent mutants that are capable of executing plans and capable

1135
01:00:29,640 --> 01:00:34,280
Speaker 1: of directed sadism and grudges. I think the movie actually

1136
01:00:34,480 --> 01:00:38,920
Speaker 1: loses some of the potential for unsettling, semi cosmic horror

1137
01:00:39,320 --> 01:00:42,440
Speaker 1: that's naturally there in animals that don't have human you know,

1138
01:00:42,600 --> 01:00:44,840
Speaker 1: that we don't think of as having human like minds,

1139
01:00:44,960 --> 01:00:48,800
Speaker 1: like sharks, and it becomes something closer to a movie

1140
01:00:49,000 --> 01:00:53,320
Speaker 1: with a villain that has human motives, which is counterintuitively

1141
01:00:53,720 --> 01:00:58,560
Speaker 1: more familiar, more comfortable, and more suitable for light entertainment.

1142
01:00:59,000 --> 01:01:02,080
Speaker 1: It's easier to you, uh, to to sort of have

1143
01:01:02,400 --> 01:01:05,360
Speaker 1: fun and and do light entertainment with a plot in

1144
01:01:05,440 --> 01:01:09,320
Speaker 1: which the antagonist hates the heroes instead of just unfeelingly

1145
01:01:09,440 --> 01:01:13,520
Speaker 1: wants to disassemble them. At least, I would argue, no, No,

1146
01:01:13,640 --> 01:01:15,760
Speaker 1: I think it's that's that's that's a fair critique. It's

1147
01:01:15,840 --> 01:01:18,880
Speaker 1: like a few the monster actually despises us and and

1148
01:01:19,000 --> 01:01:23,280
Speaker 1: wants to do us harm. Now that true truth be told,

1149
01:01:23,320 --> 01:01:26,360
Speaker 1: the monsters do do some harm in this film. I

1150
01:01:26,440 --> 01:01:28,560
Speaker 1: think that the first scene where it happens, and it's

1151
01:01:28,640 --> 01:01:31,280
Speaker 1: a good good half hour into the film, it really

1152
01:01:31,640 --> 01:01:34,680
Speaker 1: takes a while setting things up. But then when when

1153
01:01:34,760 --> 01:01:37,440
Speaker 1: stuff starts going wrong, it really starts going wrong, like

1154
01:01:37,760 --> 01:01:41,240
Speaker 1: basically Whitlock's character is just moving past the shark that

1155
01:01:41,320 --> 01:01:44,560
Speaker 1: they have in this kind of like semi submerged working area,

1156
01:01:44,960 --> 01:01:47,760
Speaker 1: and it just kind of casually turns its head and

1157
01:01:48,000 --> 01:01:52,120
Speaker 1: bites his arm completely off, just completely rips his arm off. Yeah,

1158
01:01:52,160 --> 01:01:55,160
Speaker 1: and a note on special effects this movie has. It's

1159
01:01:55,240 --> 01:01:58,600
Speaker 1: not all. C G I has animatronic sharks, which I love.

1160
01:01:58,840 --> 01:02:01,760
Speaker 1: I love the animators. Sure, they basically built little shark

1161
01:02:01,920 --> 01:02:05,280
Speaker 1: robots for this movie, and they're great. Uh, there are

1162
01:02:05,360 --> 01:02:08,200
Speaker 1: some scenes where it transitions to c g I and

1163
01:02:08,320 --> 01:02:10,880
Speaker 1: I hate the c g I, which is made especially

1164
01:02:10,920 --> 01:02:13,640
Speaker 1: annoying because of the presence of these really great physical

1165
01:02:13,680 --> 01:02:15,920
Speaker 1: animatronics and the fact that most of the c g

1166
01:02:16,080 --> 01:02:20,280
Speaker 1: I shots are unnecessary. Pretty good for the day, though,

1167
01:02:20,360 --> 01:02:23,120
Speaker 1: I would say, yeah, yeah, it's ninety nine, so you know,

1168
01:02:23,240 --> 01:02:26,919
Speaker 1: this was an era of big, big budget movies having

1169
01:02:27,080 --> 01:02:29,480
Speaker 1: c g I. That does not hold up at all.

1170
01:02:39,160 --> 01:02:42,080
Speaker 1: What should we go ahead and talk about Samuel L.

1171
01:02:42,200 --> 01:02:45,400
Speaker 1: Jackson's big scene, right, the scene this is probably the

1172
01:02:45,520 --> 01:02:49,040
Speaker 1: scene that the movie is most remembered for, not probably definitely,

1173
01:02:49,160 --> 01:02:51,760
Speaker 1: this is the thing, the thing everybody remembers about it.

1174
01:02:52,560 --> 01:02:55,080
Speaker 1: So one thing that's strange about this movie is it's

1175
01:02:55,280 --> 01:02:58,560
Speaker 1: sort of in the first third or so, it feels

1176
01:02:58,560 --> 01:03:01,920
Speaker 1: like it might have three main characters. One of them

1177
01:03:02,040 --> 01:03:06,000
Speaker 1: is Saffron Burrows, the scientist, one of them is Thomas Jayne,

1178
01:03:06,040 --> 01:03:08,760
Speaker 1: the shark wrangler, and the other is Samuel L. Jackson,

1179
01:03:08,880 --> 01:03:13,120
Speaker 1: the steady handed uh, corporate executive, but who's not just

1180
01:03:13,280 --> 01:03:16,520
Speaker 1: like a suit. They set Samuel Jackson's character up so

1181
01:03:16,680 --> 01:03:20,160
Speaker 1: that he has a backstory where he's like a heroic

1182
01:03:20,280 --> 01:03:24,200
Speaker 1: survivor of of I think a mountain avalanche where he

1183
01:03:24,320 --> 01:03:27,520
Speaker 1: was trapped under ice with a bunch of people. Yeah. Yeah.

1184
01:03:27,520 --> 01:03:28,920
Speaker 1: He has some scenes where he's like, oh, you think

1185
01:03:29,560 --> 01:03:31,040
Speaker 1: you think sharks are bad, let me tell you about

1186
01:03:31,040 --> 01:03:34,440
Speaker 1: snow right, yes, but yeah, and now coming back to

1187
01:03:34,520 --> 01:03:36,560
Speaker 1: the Posidon adventure, Like, he does feel kind of like

1188
01:03:36,760 --> 01:03:39,160
Speaker 1: the Gene Hackman character in that film. You know, in

1189
01:03:39,240 --> 01:03:42,440
Speaker 1: a disaster film. He is the character who can step

1190
01:03:42,520 --> 01:03:45,360
Speaker 1: forward and lead. He is the one who can unite

1191
01:03:45,400 --> 01:03:48,360
Speaker 1: people and bring them together. Until he is right in

1192
01:03:48,440 --> 01:03:51,400
Speaker 1: the middle of giving a speech about ice, I believe

1193
01:03:51,520 --> 01:03:53,400
Speaker 1: he's like, yeah, you think sharks are bad, let me

1194
01:03:53,440 --> 01:03:55,640
Speaker 1: tell you about ice. Ice has a mind, you know,

1195
01:03:55,720 --> 01:03:58,320
Speaker 1: it hunts you. Uh, And then he's in the middle

1196
01:03:58,360 --> 01:04:00,840
Speaker 1: of of giving this this rousing speech to like get

1197
01:04:00,880 --> 01:04:04,760
Speaker 1: everybody motivated to go, say, you know, beat these things,

1198
01:04:05,200 --> 01:04:07,480
Speaker 1: and then a shark just like hops up out of

1199
01:04:07,520 --> 01:04:09,640
Speaker 1: the water and bites him and just like pulls him,

1200
01:04:10,160 --> 01:04:13,000
Speaker 1: pulls in, and then another shark joins them and just

1201
01:04:13,080 --> 01:04:15,680
Speaker 1: rips him a pilot. They make it abundantly clear this

1202
01:04:15,880 --> 01:04:19,200
Speaker 1: character is totally dead and it's not coming back. I've

1203
01:04:19,240 --> 01:04:22,680
Speaker 1: seen a lot of people compare this scene to the

1204
01:04:22,800 --> 01:04:26,960
Speaker 1: death of Tom Skarrett in Alien, Dallas in Alien, who

1205
01:04:27,080 --> 01:04:28,800
Speaker 1: at the time Alien came out. I think a lot

1206
01:04:28,840 --> 01:04:31,640
Speaker 1: of audiences, you know, we see it, having seen it

1207
01:04:31,720 --> 01:04:34,400
Speaker 1: many times and knowing about the reputation of it after

1208
01:04:34,520 --> 01:04:38,000
Speaker 1: the fact, we sometimes can look at Ripley as the

1209
01:04:38,080 --> 01:04:41,320
Speaker 1: main character from the beginning. It's not set up that way,

1210
01:04:42,040 --> 01:04:45,360
Speaker 1: Like it is very much an ensemble of characters who

1211
01:04:45,400 --> 01:04:49,280
Speaker 1: are given almost equal screen time. And if there's anybody

1212
01:04:49,400 --> 01:04:52,120
Speaker 1: who audiences would have been expected to assume was the

1213
01:04:52,200 --> 01:04:54,560
Speaker 1: main character who would be the last survivor in the

1214
01:04:54,600 --> 01:04:57,560
Speaker 1: film at the end, it was Tom Skarrett. Yeah. Yeah,

1215
01:04:57,600 --> 01:04:59,840
Speaker 1: it's kind of a it's kind of like a heightened

1216
01:05:00,560 --> 01:05:04,080
Speaker 1: twist on the like the death of the would be savior. Yeah,

1217
01:05:04,240 --> 01:05:07,240
Speaker 1: you know, probably probably a popular version of this would

1218
01:05:07,240 --> 01:05:09,560
Speaker 1: be in Hitchcock Psycho, you know, where you have a

1219
01:05:09,640 --> 01:05:12,040
Speaker 1: character that's showing up that is surely going to save

1220
01:05:12,120 --> 01:05:14,640
Speaker 1: the day, like they're the presence of law and order

1221
01:05:14,800 --> 01:05:17,400
Speaker 1: that is entering into this nightmare world. But then they're

1222
01:05:17,400 --> 01:05:20,040
Speaker 1: taking out as well. So yeah, you think Samuel Jackson

1223
01:05:20,160 --> 01:05:23,120
Speaker 1: is probably gonna become like the emergent hero of the movie. Nope,

1224
01:05:23,240 --> 01:05:26,960
Speaker 1: just gets chomped. He's gone. Um And it is a

1225
01:05:27,160 --> 01:05:30,080
Speaker 1: that's a great sequence though, Like it's I wish I

1226
01:05:30,160 --> 01:05:33,400
Speaker 1: could see it like for real without having it, you know,

1227
01:05:33,480 --> 01:05:35,960
Speaker 1: had been you know, spoiled for me. But that even

1228
01:05:36,000 --> 01:05:39,440
Speaker 1: watching it knowing what was coming, it feels like you

1229
01:05:39,560 --> 01:05:42,560
Speaker 1: really feel the bottom fallout at that point because it's like,

1230
01:05:42,640 --> 01:05:45,200
Speaker 1: oh my goodness, they're really screwed. Like this was there,

1231
01:05:45,520 --> 01:05:47,840
Speaker 1: this was their guy. You know, this guy had a

1232
01:05:47,880 --> 01:05:51,000
Speaker 1: plan and now he's just completely dead. Uh So I

1233
01:05:51,080 --> 01:05:54,480
Speaker 1: feel like it's a highly effective scene that that really

1234
01:05:54,760 --> 01:05:59,120
Speaker 1: turns audiences expectation on his head. Yeah. Uh. Now, as

1235
01:05:59,200 --> 01:06:01,280
Speaker 1: we said earlier, think there's there's not really much to

1236
01:06:01,360 --> 01:06:03,240
Speaker 1: say about plot. Most of the rest of the movie

1237
01:06:03,320 --> 01:06:05,560
Speaker 1: is just set piece after set piece of characters sort

1238
01:06:05,560 --> 01:06:08,720
Speaker 1: of scrambling around to different places in this space trying

1239
01:06:08,760 --> 01:06:11,000
Speaker 1: to get away from sharks. There is a lot of

1240
01:06:11,120 --> 01:06:14,120
Speaker 1: stuff in the middle of the movie with LLL cool

1241
01:06:14,240 --> 01:06:18,160
Speaker 1: J on his own. Uh. And they're good scenes. Their

1242
01:06:18,160 --> 01:06:21,120
Speaker 1: scenes where he's funny and he doesn't have anybody to

1243
01:06:21,200 --> 01:06:23,600
Speaker 1: act opposite. It's just him alone, well with the parent,

1244
01:06:23,760 --> 01:06:27,080
Speaker 1: him with the parent alone and like you know, hanging

1245
01:06:27,080 --> 01:06:29,080
Speaker 1: out in the kitchen or walking around to the hallways

1246
01:06:29,720 --> 01:06:32,680
Speaker 1: dealing with the shark. Eventually, L cool J does manage

1247
01:06:32,720 --> 01:06:35,080
Speaker 1: to kill a shark by blowing it up with an oven,

1248
01:06:36,640 --> 01:06:39,720
Speaker 1: which is a really good scene. But I wonder about

1249
01:06:40,040 --> 01:06:42,480
Speaker 1: what you think about this. I get a sense that

1250
01:06:42,800 --> 01:06:46,280
Speaker 1: some of this stuff with LLL cool J was reshoots

1251
01:06:46,320 --> 01:06:50,040
Speaker 1: and fill in. I I would bet that once they

1252
01:06:50,160 --> 01:06:53,920
Speaker 1: had a finished movie they were like, hey, everybody loves

1253
01:06:54,120 --> 01:06:56,600
Speaker 1: L cool J. We gotta get more scenes with him

1254
01:06:56,720 --> 01:06:59,680
Speaker 1: early on. But maybe they didn't. They couldn't re shoot

1255
01:06:59,720 --> 01:07:01,840
Speaker 1: with all of the actors there, so they just added

1256
01:07:01,960 --> 01:07:05,120
Speaker 1: more stuff with him on his own. Yeah. I don't know.

1257
01:07:06,160 --> 01:07:08,800
Speaker 1: On one hand, it's easy to look at it and think, well, okay,

1258
01:07:08,840 --> 01:07:10,760
Speaker 1: this is early in LA col Jay's career as an

1259
01:07:10,800 --> 01:07:13,520
Speaker 1: actor that you know, perhaps they didn't know that he

1260
01:07:13,640 --> 01:07:15,440
Speaker 1: was as capable, and you know, they came back and

1261
01:07:15,480 --> 01:07:17,360
Speaker 1: added more stuff. But then I also read that the

1262
01:07:17,520 --> 01:07:20,960
Speaker 1: Erney Harlan like really campaign for l cool J to

1263
01:07:21,040 --> 01:07:24,000
Speaker 1: be cast in it. Like I think maybe he knew

1264
01:07:24,040 --> 01:07:26,600
Speaker 1: that he had these capabilities, because ultimately he is. He's

1265
01:07:26,720 --> 01:07:30,120
Speaker 1: very charismatic. He's able to pull off the serious stuff,

1266
01:07:30,480 --> 01:07:34,320
Speaker 1: the wise cracking stuff, and the more comedic stuff all

1267
01:07:34,400 --> 01:07:36,600
Speaker 1: in a way that doesn't compromise the character. Like he

1268
01:07:36,720 --> 01:07:39,720
Speaker 1: never feels like a comic relief character, even though he

1269
01:07:39,760 --> 01:07:43,680
Speaker 1: provides comic relief. Um, he you know, he feels more

1270
01:07:43,760 --> 01:07:46,240
Speaker 1: like like a hero in the film, and those winking

1271
01:07:46,360 --> 01:07:49,200
Speaker 1: moments where he's he's clearly they're clearly doing stuff with

1272
01:07:49,280 --> 01:07:51,880
Speaker 1: this character to uh, you know, to to to again

1273
01:07:51,920 --> 01:07:54,360
Speaker 1: play with audience expectations and to maybe you know, get

1274
01:07:54,400 --> 01:07:56,960
Speaker 1: a laugh there. He's able to pull it off in

1275
01:07:57,000 --> 01:07:59,640
Speaker 1: a way that feels authentic, that doesn't feel like it's

1276
01:07:59,680 --> 01:08:02,760
Speaker 1: cheap to anything. Yeah. One choice that I thought was

1277
01:08:02,800 --> 01:08:06,200
Speaker 1: really funny was the decision to make his character not

1278
01:08:06,480 --> 01:08:09,440
Speaker 1: just uh, not just a chef as a profession, not

1279
01:08:09,600 --> 01:08:11,840
Speaker 1: just like somebody who cooks for a living but has

1280
01:08:11,880 --> 01:08:16,160
Speaker 1: a genuine passion for the culinary arts, like he considered.

1281
01:08:16,200 --> 01:08:18,080
Speaker 1: There's a part where I think he's like recording a

1282
01:08:18,240 --> 01:08:21,560
Speaker 1: video of like leaving his his legacy, his testament to

1283
01:08:21,680 --> 01:08:25,639
Speaker 1: his children or something, and he's describing his omblent technique. Yeah,

1284
01:08:26,439 --> 01:08:27,680
Speaker 1: it's one of those things where you need when you

1285
01:08:27,840 --> 01:08:30,120
Speaker 1: when you say it out loud, it sounds kind of hocky,

1286
01:08:30,200 --> 01:08:32,200
Speaker 1: but somehow it works in the film. Some somehow that

1287
01:08:32,640 --> 01:08:35,840
Speaker 1: it works. It's a very funny touch and it works. Yeah,

1288
01:08:36,160 --> 01:08:39,160
Speaker 1: I want a sequel where like Preacher opens up a

1289
01:08:39,200 --> 01:08:43,720
Speaker 1: Michelin Star restaurant and he gets attacked by sharks. I mean,

1290
01:08:43,800 --> 01:08:46,080
Speaker 1: it is kind of alarming that they made at least

1291
01:08:46,120 --> 01:08:48,840
Speaker 1: a couple of direct to video sequels to this film,

1292
01:08:48,880 --> 01:08:50,360
Speaker 1: and I don't I don't think they brought back any

1293
01:08:50,400 --> 01:08:53,320
Speaker 1: of the main cast, did they, or or really put

1294
01:08:53,360 --> 01:08:55,240
Speaker 1: any kind of money into them. It seems like you

1295
01:08:55,280 --> 01:08:58,080
Speaker 1: would have gone for it with a deep blue C two.

1296
01:08:58,640 --> 01:09:01,000
Speaker 1: I've never seen any of the Sea wells uh. In

1297
01:09:01,080 --> 01:09:03,479
Speaker 1: my mind, I've always classed them in the same category

1298
01:09:03,560 --> 01:09:06,880
Speaker 1: as the Starship Troopers sequels, which I also have not seen,

1299
01:09:07,000 --> 01:09:09,519
Speaker 1: and kind of don't feel like I should. Yeah. I mean,

1300
01:09:09,520 --> 01:09:11,600
Speaker 1: I guess it's probably one of those things where on

1301
01:09:11,680 --> 01:09:14,000
Speaker 1: a business level, they're like, no, this film was this

1302
01:09:14,360 --> 01:09:17,559
Speaker 1: level of a hit. If we spend this low amount

1303
01:09:17,720 --> 01:09:20,200
Speaker 1: on the sequel, it will automatically make this much money.

1304
01:09:20,439 --> 01:09:21,840
Speaker 1: This is how much you're going to spend on it.

1305
01:09:22,240 --> 01:09:25,360
Speaker 1: And they did. Yeah. So the thing that's worth talking

1306
01:09:25,400 --> 01:09:28,960
Speaker 1: about with the ending of this movie, apparently the ending

1307
01:09:29,640 --> 01:09:32,920
Speaker 1: is a product of a process that I hate in theory,

1308
01:09:33,479 --> 01:09:35,680
Speaker 1: but I'm glad it happened here because I think it

1309
01:09:35,760 --> 01:09:38,519
Speaker 1: produced a much better outcome. So the ending of this

1310
01:09:38,680 --> 01:09:42,720
Speaker 1: movie is allegedly a product of focus groups. Uh. In

1311
01:09:43,040 --> 01:09:45,200
Speaker 1: the original ending of this movie, again, this is what

1312
01:09:45,400 --> 01:09:48,320
Speaker 1: what has been alleged. I couldn't confirm this, but you

1313
01:09:48,360 --> 01:09:51,320
Speaker 1: can find people writing about this. In the original ending,

1314
01:09:51,479 --> 01:09:55,200
Speaker 1: Saffron Burrows not only survives the movie, she's the one

1315
01:09:55,240 --> 01:09:56,960
Speaker 1: who kills the shark in the end. I guess she

1316
01:09:57,040 --> 01:09:59,560
Speaker 1: redeems herself. I guess she realizes that it's bad that

1317
01:09:59,640 --> 01:10:02,160
Speaker 1: she cut all these corners in her research and she

1318
01:10:02,240 --> 01:10:05,120
Speaker 1: shouldn't have made the super intelligent sharks and regrets it,

1319
01:10:05,280 --> 01:10:08,040
Speaker 1: and she she blows the shark up in the end,

1320
01:10:08,560 --> 01:10:11,320
Speaker 1: and this one was more ambiguous. But I think it's

1321
01:10:11,360 --> 01:10:13,760
Speaker 1: also the case that in the original ending l O

1322
01:10:13,880 --> 01:10:17,280
Speaker 1: cool J may have been killed instead of Saffron Burrows.

1323
01:10:18,120 --> 01:10:20,880
Speaker 1: And I think one can see why audiences would have

1324
01:10:20,960 --> 01:10:25,559
Speaker 1: had extremely negative reactions to this, because you cannot kill

1325
01:10:25,800 --> 01:10:28,800
Speaker 1: L cool J. Yeah. Absolutely, he's a very likable character

1326
01:10:28,840 --> 01:10:31,640
Speaker 1: in this film. Um, you don't want to see him

1327
01:10:31,680 --> 01:10:34,320
Speaker 1: get eaten by a shark. And I will say that

1328
01:10:34,520 --> 01:10:36,320
Speaker 1: when I was watching it, I thought he was going

1329
01:10:36,360 --> 01:10:38,400
Speaker 1: to get eaten by the shark, because he is attacked

1330
01:10:38,439 --> 01:10:41,479
Speaker 1: by a shark laid in the picture in a way

1331
01:10:41,720 --> 01:10:44,719
Speaker 1: that looks severe enough that I'm like, oh, he's gone,

1332
01:10:45,280 --> 01:10:47,559
Speaker 1: But then he's just got a slight limp later. Yeah,

1333
01:10:47,560 --> 01:10:49,800
Speaker 1: it looks like they filmed death scene for him but

1334
01:10:49,920 --> 01:10:52,680
Speaker 1: then went back on it. Yeah, which which I'm fine with.

1335
01:10:52,840 --> 01:10:55,400
Speaker 1: It was totally the right choice. But you know, you

1336
01:10:55,439 --> 01:10:58,400
Speaker 1: look at that first film where basically a shark nudges

1337
01:10:58,520 --> 01:11:01,519
Speaker 1: still in Scars Garden, his arm fall off. You know,

1338
01:11:01,600 --> 01:11:04,839
Speaker 1: it's like he's just like boiled chicken to this monster.

1339
01:11:04,960 --> 01:11:07,320
Speaker 1: But J I mean he is, He's made it tougher stuff.

1340
01:11:07,320 --> 01:11:11,960
Speaker 1: He's he's really ripped um. But so apparently test audiences

1341
01:11:12,200 --> 01:11:16,160
Speaker 1: hated Saffron Burrows character with with some reason. I think

1342
01:11:16,200 --> 01:11:18,840
Speaker 1: they they reasoned that she caused all of this, like

1343
01:11:19,000 --> 01:11:21,880
Speaker 1: she made the killer sharks, and they did not like

1344
01:11:22,080 --> 01:11:24,759
Speaker 1: her surviving and playing a heroic role in the finale,

1345
01:11:25,280 --> 01:11:28,920
Speaker 1: So the ending was changed so that instead she sacrifices

1346
01:11:28,960 --> 01:11:32,000
Speaker 1: herself to to defeat the sharks and she gets chomped

1347
01:11:32,040 --> 01:11:35,880
Speaker 1: into pieces and L cool J survives getting bitten by

1348
01:11:35,920 --> 01:11:38,240
Speaker 1: the shark and in the end he helped save the day.

1349
01:11:38,560 --> 01:11:40,560
Speaker 1: So I think they kind of flipped the script on that.

1350
01:11:41,160 --> 01:11:44,880
Speaker 1: And then I wonder if they may have shot additional

1351
01:11:45,320 --> 01:11:48,680
Speaker 1: scenes for l cool J or additional moments for him

1352
01:11:48,760 --> 01:11:50,840
Speaker 1: to go earlier in the movie. And I read that

1353
01:11:50,920 --> 01:11:55,080
Speaker 1: they also edited out some stuff with Saffron Burrows earlier

1354
01:11:55,160 --> 01:11:58,000
Speaker 1: in the movie that makes her character more sympathetic, so

1355
01:11:58,040 --> 01:12:02,200
Speaker 1: they kind of leaned into making her less likable. Oh wow,

1356
01:12:02,680 --> 01:12:04,640
Speaker 1: I mean, so obviously it sounds like they used to

1357
01:12:04,680 --> 01:12:07,160
Speaker 1: focus group. But I'm I'm reminded of the films of

1358
01:12:07,160 --> 01:12:09,600
Speaker 1: William Castle, you know, like they could have gone in

1359
01:12:09,680 --> 01:12:11,840
Speaker 1: that direction, been like, all right, now it's time for

1360
01:12:11,920 --> 01:12:15,240
Speaker 1: audiences to vote to get to kill the shark and

1361
01:12:15,320 --> 01:12:17,599
Speaker 1: who will be eaten? That that would have been written,

1362
01:12:17,640 --> 01:12:19,719
Speaker 1: that would have gotten people to go see the movie twice.

1363
01:12:20,040 --> 01:12:22,760
Speaker 1: I'll also say that the final shark death in this

1364
01:12:22,880 --> 01:12:26,839
Speaker 1: film is of course totally Jaws. Uh. It's very reminiscent

1365
01:12:26,880 --> 01:12:30,559
Speaker 1: of that final scene where um where the main character

1366
01:12:30,640 --> 01:12:32,720
Speaker 1: shooting at the shark with the rifle trying to hit

1367
01:12:32,840 --> 01:12:37,400
Speaker 1: the um uh the canistorian its mouth. We have a

1368
01:12:37,479 --> 01:12:40,800
Speaker 1: similar but more elaborate science fiction he set up going

1369
01:12:40,880 --> 01:12:43,760
Speaker 1: on in the final moments of this film. Yeah, there

1370
01:12:43,800 --> 01:12:46,719
Speaker 1: are three mind freak sharks in this movie. One gets

1371
01:12:46,920 --> 01:12:49,800
Speaker 1: blown up by l cool j in the oven, one

1372
01:12:49,920 --> 01:12:53,240
Speaker 1: gets electrocuted by Saffron Burrows. Is that right? And then

1373
01:12:53,280 --> 01:12:55,400
Speaker 1: the third one gets blown up and when it's trying

1374
01:12:55,439 --> 01:12:58,479
Speaker 1: to escape. Yes, and so we're left with just l

1375
01:12:58,520 --> 01:13:02,320
Speaker 1: O cool j Um and our and our shark spurt character,

1376
01:13:03,640 --> 01:13:06,439
Speaker 1: Thomas Jane. Yeah, Thomas, they're gonna they're gonna best buds

1377
01:13:06,439 --> 01:13:08,360
Speaker 1: for life. Yeah, well they have. They have kind of

1378
01:13:08,439 --> 01:13:10,960
Speaker 1: fun back and forth. They're floating on the debris waiting

1379
01:13:11,000 --> 01:13:13,519
Speaker 1: to be picked up and uh, and I was waiting

1380
01:13:13,560 --> 01:13:15,880
Speaker 1: for it. I was expecting there to be some some

1381
01:13:16,080 --> 01:13:18,040
Speaker 1: dark shocker at the end, but it's no, they're good

1382
01:13:18,040 --> 01:13:22,320
Speaker 1: to go. Yeah, everybody's gonna be fine. Like I thought

1383
01:13:22,360 --> 01:13:24,240
Speaker 1: the rescue boat was gonna get eaten by the shark

1384
01:13:24,320 --> 01:13:26,280
Speaker 1: by one of the sharks that wasn't caught, like there

1385
01:13:26,400 --> 01:13:28,840
Speaker 1: was a fourth shark, which they allude to. But no,

1386
01:13:29,240 --> 01:13:31,800
Speaker 1: everything's good. So I mean makes sense. This is this

1387
01:13:31,920 --> 01:13:34,960
Speaker 1: is a big budget summer blockbuster. You want to send

1388
01:13:35,080 --> 01:13:38,360
Speaker 1: folks home happy. You know. The snooty film critic in

1389
01:13:38,439 --> 01:13:41,000
Speaker 1: me somehow rebels like part of me, part of me

1390
01:13:41,120 --> 01:13:43,800
Speaker 1: is like, oh, this is this is such a derivative film,

1391
01:13:43,880 --> 01:13:45,639
Speaker 1: And part of me is like, I hate the idea

1392
01:13:45,720 --> 01:13:48,519
Speaker 1: that they shaped the ending with focus groups, but I'm

1393
01:13:48,560 --> 01:13:51,720
Speaker 1: not gonna lie. I love Deep Blue Sea. It's great. Yeah,

1394
01:13:52,000 --> 01:13:54,000
Speaker 1: it's pretty fun. And and I and to your point,

1395
01:13:54,360 --> 01:13:59,280
Speaker 1: this this wasn't a very essential updating of of our

1396
01:13:59,360 --> 01:14:02,720
Speaker 1: expectation and regarding shark movies. They did something new with

1397
01:14:02,800 --> 01:14:05,360
Speaker 1: the Shark Movie which most shark movies did not do,

1398
01:14:05,920 --> 01:14:09,400
Speaker 1: and it was perhaps the last like good innovation, the

1399
01:14:09,479 --> 01:14:13,840
Speaker 1: last good pivot in in Sharks floitation cinema because it

1400
01:14:13,880 --> 01:14:15,920
Speaker 1: seems like, you know, you see everything that's come out

1401
01:14:15,960 --> 01:14:19,880
Speaker 1: in the wake of Shark Nado. Um has. I mean,

1402
01:14:19,920 --> 01:14:22,080
Speaker 1: I guess it's work. People like it, I assume, and

1403
01:14:22,280 --> 01:14:25,320
Speaker 1: people view it, it seems, but um I do, I

1404
01:14:25,400 --> 01:14:27,360
Speaker 1: do not for my purposes, it has not been a

1405
01:14:28,240 --> 01:14:31,479
Speaker 1: a good direction for the shark film, you know. Well,

1406
01:14:31,560 --> 01:14:33,120
Speaker 1: as I've said, you know, I don't think there are

1407
01:14:33,160 --> 01:14:35,479
Speaker 1: any shark movies other than Jaws I've seen that are

1408
01:14:35,640 --> 01:14:37,880
Speaker 1: that I would say are just unequivocally good. But at

1409
01:14:37,880 --> 01:14:40,599
Speaker 1: the same time, I've watched probably ten billion shark movies.

1410
01:14:40,640 --> 01:14:43,080
Speaker 1: I mean, you know, sometimes you just gotta put one on.

1411
01:14:43,720 --> 01:14:46,000
Speaker 1: I think the other thing worth noting is that this

1412
01:14:46,120 --> 01:14:49,519
Speaker 1: film goes a little fantastic obviously with the idea of

1413
01:14:49,560 --> 01:14:53,760
Speaker 1: super intelligent sharks, and it is very mainstream, and it's

1414
01:14:53,800 --> 01:14:56,360
Speaker 1: going for the mainstream audience. And I feel like maybe

1415
01:14:56,400 --> 01:14:58,000
Speaker 1: there is something to be said for the success of

1416
01:14:58,040 --> 01:15:01,280
Speaker 1: films like Shark Nado because they take something like the Sharks,

1417
01:15:01,320 --> 01:15:03,920
Speaker 1: something that is like an on an on an innate

1418
01:15:04,479 --> 01:15:07,479
Speaker 1: and primal level, we find fearsome. And then, of course

1419
01:15:07,840 --> 01:15:10,800
Speaker 1: it's worth saying that this fearsomeness has also been um

1420
01:15:11,320 --> 01:15:14,920
Speaker 1: reinforced over and over again by media, um much of

1421
01:15:15,000 --> 01:15:18,040
Speaker 1: which is not even fictional. Media but documentary style media

1422
01:15:18,080 --> 01:15:21,680
Speaker 1: and shark week style marketing. Um, this has all been

1423
01:15:21,720 --> 01:15:25,160
Speaker 1: reinforced and therefore something that is silly with sharks, and

1424
01:15:25,240 --> 01:15:27,040
Speaker 1: it takes some of the punch out of the shark

1425
01:15:27,120 --> 01:15:29,519
Speaker 1: for us and makes us maybe a little less afraid.

1426
01:15:30,479 --> 01:15:33,320
Speaker 1: Yeah yeah, and maybe that gets us to the place

1427
01:15:33,400 --> 01:15:34,840
Speaker 1: we should end, which is a little bit of a

1428
01:15:34,840 --> 01:15:36,479
Speaker 1: stuff to blow your mind. P. S A. We know

1429
01:15:36,560 --> 01:15:38,519
Speaker 1: a lot of our listeners already know this, but hey,

1430
01:15:38,840 --> 01:15:42,440
Speaker 1: sharks are amazing animals. They're really important parts of ocean ecosystems,

1431
01:15:42,479 --> 01:15:45,439
Speaker 1: and they're not your enemy. That's right. Let's let's dive

1432
01:15:45,560 --> 01:15:49,960
Speaker 1: through some some important realities to keep in mind about sharks.

1433
01:15:50,360 --> 01:15:53,560
Speaker 1: Enjoy your sharks ploitation cinema, but but know all of this. So,

1434
01:15:53,680 --> 01:15:57,559
Speaker 1: first of all, sharks are important, are important predator species

1435
01:15:57,960 --> 01:16:01,519
Speaker 1: that play key roles in their ecosystems. And while they

1436
01:16:01,600 --> 01:16:04,920
Speaker 1: can be fear specimens, that doesn't mean they're not vulnerable

1437
01:16:05,000 --> 01:16:08,240
Speaker 1: to overfishing. They have a they have relatively slow growth,

1438
01:16:08,400 --> 01:16:11,639
Speaker 1: late sexual maturity, and a small number of young per brewed.

1439
01:16:12,080 --> 01:16:14,720
Speaker 1: The harvesting of shark fins for shark fin soup is

1440
01:16:14,760 --> 01:16:18,519
Speaker 1: internationally a major concern, and according to the International Union

1441
01:16:18,600 --> 01:16:22,240
Speaker 1: for the Conservation of Nature, among the the approximately four

1442
01:16:22,680 --> 01:16:26,439
Speaker 1: seventies species of sharks, two point four percent or critically endangered,

1443
01:16:26,520 --> 01:16:29,000
Speaker 1: three point two percent or endangered, ten point three percent

1444
01:16:29,040 --> 01:16:32,400
Speaker 1: are vulnerable, and fourteen point four percent are near threatened.

1445
01:16:32,680 --> 01:16:35,000
Speaker 1: And the great white shark letich, of course you know,

1446
01:16:35,160 --> 01:16:38,400
Speaker 1: is the jaws species. This is among the threatened species.

1447
01:16:38,880 --> 01:16:40,679
Speaker 1: And on top of all this, as far as shark

1448
01:16:40,880 --> 01:16:44,479
Speaker 1: danger goes, uh it is. It is certainly true that

1449
01:16:44,640 --> 01:16:49,120
Speaker 1: certain species of shark can be extremely dangerous in exactly

1450
01:16:49,200 --> 01:16:54,040
Speaker 1: the right circumstances. Like nobody's denying that, but statistically, you're

1451
01:16:54,120 --> 01:16:56,639
Speaker 1: far more likely to be killed by, say, an insect

1452
01:16:56,760 --> 01:17:00,120
Speaker 1: or a dog as opposed to a shark. According to

1453
01:17:00,320 --> 01:17:04,240
Speaker 1: the i s a F Shark Attack Report, there were

1454
01:17:04,439 --> 01:17:07,960
Speaker 1: one d and twenty nine and led shark human interactions worldwide.

1455
01:17:08,160 --> 01:17:11,240
Speaker 1: In only fifty seven of these were found to be

1456
01:17:11,320 --> 01:17:16,160
Speaker 1: unprovoked attacks. The rest entailed thirty nine provoked attacks six

1457
01:17:16,320 --> 01:17:18,560
Speaker 1: boat attacks. So this is where the shark bites a

1458
01:17:18,680 --> 01:17:22,639
Speaker 1: vehicle of some sort but not a human. One scavenging incident.

1459
01:17:22,760 --> 01:17:25,200
Speaker 1: This is where like a body is found, but the

1460
01:17:25,800 --> 01:17:28,920
Speaker 1: wounds inflicted by a shark appeared to be postmortem. Uh so,

1461
01:17:29,200 --> 01:17:32,479
Speaker 1: you know, the the individual uh likely died in some

1462
01:17:32,600 --> 01:17:34,560
Speaker 1: other way and then the shark found the body in

1463
01:17:34,600 --> 01:17:40,240
Speaker 1: the water. Um one case that is labeled as public aquaria,

1464
01:17:40,320 --> 01:17:42,280
Speaker 1: which I believe means that it's something that's happened at

1465
01:17:42,280 --> 01:17:44,599
Speaker 1: an aquarium where a shark was being kept on an

1466
01:17:44,640 --> 01:17:49,439
Speaker 1: aquarium environment. Three doubtful cases, six cases where no assessment

1467
01:17:49,479 --> 01:17:53,640
Speaker 1: could be made, and sixteen not confirmed. Now it's of

1468
01:17:53,680 --> 01:17:55,559
Speaker 1: course important to note that this we're talking about twenty

1469
01:17:55,640 --> 01:17:57,479
Speaker 1: twenty so things. You know, we're a little different this

1470
01:17:57,600 --> 01:17:59,759
Speaker 1: year in terms of you know, how many people were traveling,

1471
01:18:00,080 --> 01:18:03,719
Speaker 1: you know, it's what degree law enforcement, local, and otherwise.

1472
01:18:03,760 --> 01:18:05,880
Speaker 1: It was able to weigh in on some of these cases,

1473
01:18:06,400 --> 01:18:08,880
Speaker 1: but they drive home that these numbers are more or

1474
01:18:08,960 --> 01:18:13,000
Speaker 1: less on par. There there are always fluctuations. Uh So,

1475
01:18:13,600 --> 01:18:18,479
Speaker 1: in there were there were thirteen related fatalities, uh ten

1476
01:18:18,560 --> 01:18:21,479
Speaker 1: of which were not ten of which were confirmed to

1477
01:18:21,640 --> 01:18:25,120
Speaker 1: be unprovoked. And that's above the global average of four.

1478
01:18:25,920 --> 01:18:29,759
Speaker 1: But long term trends show a decreasing number of annual

1479
01:18:30,000 --> 01:18:33,680
Speaker 1: fatalities caused by sharks. So so, so bear all all

1480
01:18:33,720 --> 01:18:35,960
Speaker 1: of that in mind. On top of that, I would

1481
01:18:35,960 --> 01:18:39,519
Speaker 1: also add that, following recent trends, um surfers and those

1482
01:18:39,560 --> 01:18:42,960
Speaker 1: participating in board sports accounted for most incidents, so six

1483
01:18:44,040 --> 01:18:46,760
Speaker 1: of the total cases that we just touched on, and

1484
01:18:47,120 --> 01:18:49,880
Speaker 1: your risk of being bitten by a shark it just

1485
01:18:50,040 --> 01:18:53,760
Speaker 1: remains extremely low. Uh So, just always keep that in

1486
01:18:53,800 --> 01:18:55,280
Speaker 1: mind when you're getting in the water. And I know,

1487
01:18:55,760 --> 01:18:58,080
Speaker 1: when you're in the water, it's easy to think about sharks.

1488
01:18:58,600 --> 01:19:02,799
Speaker 1: I I always snorkling, but I do think about sharks

1489
01:19:02,840 --> 01:19:06,040
Speaker 1: every time I am storkling, So I I know, believe me,

1490
01:19:06,160 --> 01:19:08,560
Speaker 1: I feel you on all of this. But you just

1491
01:19:08,680 --> 01:19:11,600
Speaker 1: have to remind yourself, like what the numbers say, and

1492
01:19:11,800 --> 01:19:13,639
Speaker 1: if nothing else, if you're if you're in the waters,

1493
01:19:13,880 --> 01:19:15,880
Speaker 1: you know, just think about like just the sheer number

1494
01:19:15,960 --> 01:19:19,000
Speaker 1: of people who get into those waters, and uh and

1495
01:19:19,240 --> 01:19:22,600
Speaker 1: and and and how most all of them are not

1496
01:19:22,880 --> 01:19:26,200
Speaker 1: interacting with sharks at all. Uh So, I find all

1497
01:19:26,240 --> 01:19:28,280
Speaker 1: of that, all of that is comforting. And also I

1498
01:19:29,120 --> 01:19:32,640
Speaker 1: should also point out there are some wonderful um resources

1499
01:19:32,680 --> 01:19:35,360
Speaker 1: online that give you advice about how you know how

1500
01:19:35,439 --> 01:19:37,720
Speaker 1: to avoid sharks in the water, and this these are

1501
01:19:37,880 --> 01:19:40,920
Speaker 1: some awesome important tips to keep in mind. So uh So, yeah,

1502
01:19:40,960 --> 01:19:44,080
Speaker 1: don't let shark exploitation cinema, and U you know some

1503
01:19:44,240 --> 01:19:47,040
Speaker 1: of the you know, maybe you know edgeier and more

1504
01:19:47,400 --> 01:19:52,200
Speaker 1: exploitive examples of shark documentary steer you wrong, right? I mean,

1505
01:19:52,560 --> 01:19:54,439
Speaker 1: as I said earlier, sharks are not your enemy. But

1506
01:19:54,520 --> 01:19:56,719
Speaker 1: in fact, I would also say sharks are not your friend.

1507
01:19:56,840 --> 01:19:58,880
Speaker 1: I would say sharks are to be left alone. Just

1508
01:19:59,040 --> 01:20:01,679
Speaker 1: don't mess with them. You know that you can admire

1509
01:20:01,800 --> 01:20:04,880
Speaker 1: them from afar, You can watch great documentary footage. You

1510
01:20:04,960 --> 01:20:07,760
Speaker 1: can appreciate sharks as amazing animals, but they mostly don't

1511
01:20:07,800 --> 01:20:09,920
Speaker 1: want anything to do with us, and I'd say respect

1512
01:20:09,960 --> 01:20:11,920
Speaker 1: their wishes. Yeah, I would say, by and large, we

1513
01:20:12,000 --> 01:20:14,080
Speaker 1: are a greater risk to them, uh, you know, than

1514
01:20:14,120 --> 01:20:16,840
Speaker 1: they are to us. All Right, So there you have it,

1515
01:20:17,120 --> 01:20:19,800
Speaker 1: Deep Blue Sea. I know, I for one would love

1516
01:20:19,800 --> 01:20:22,320
Speaker 1: to hear from anyone who saw this when it was

1517
01:20:22,400 --> 01:20:24,479
Speaker 1: in theaters or saw it, you know, on home video

1518
01:20:24,640 --> 01:20:26,920
Speaker 1: without any spoilers. I'd love to hear your thoughts on

1519
01:20:27,000 --> 01:20:29,360
Speaker 1: some of the twists that take place in this film,

1520
01:20:29,400 --> 01:20:31,800
Speaker 1: because it definitely has a couple of really good ones.

1521
01:20:32,280 --> 01:20:34,280
Speaker 1: Oh and you know, this is probably a good place

1522
01:20:34,320 --> 01:20:36,120
Speaker 1: as any for me to mention that, Hey, I wrote

1523
01:20:36,160 --> 01:20:39,320
Speaker 1: a short story about sharks. As As you may remember,

1524
01:20:39,360 --> 01:20:42,920
Speaker 1: our former co host, Christian Sager, masterminded a weird art

1525
01:20:43,000 --> 01:20:46,320
Speaker 1: fiction and non fiction publication called Corridor last year. The

1526
01:20:46,400 --> 01:20:49,479
Speaker 1: kickstarter was successful and copies are are said to be

1527
01:20:49,520 --> 01:20:51,760
Speaker 1: making their way to their owners. Uh So, if you

1528
01:20:51,920 --> 01:20:53,479
Speaker 1: if you didn't get in on that kickstarter, you can

1529
01:20:53,560 --> 01:20:57,439
Speaker 1: pre order yourself a copy by going to uh any

1530
01:20:57,479 --> 01:21:00,640
Speaker 1: of the Corridor magazine social media platform and following the

1531
01:21:00,720 --> 01:21:03,760
Speaker 1: link they're they're on Twitter as Corridor Pubs. Uh and

1532
01:21:03,800 --> 01:21:06,920
Speaker 1: they're on Instagram as Corridor Publications and I think that's

1533
01:21:06,920 --> 01:21:09,800
Speaker 1: also their handle on Facebook as well. So, yeah, I've

1534
01:21:09,800 --> 01:21:12,120
Speaker 1: got a sci fi shark story. If that's your kind

1535
01:21:12,120 --> 01:21:14,160
Speaker 1: of thing that you like that, you can read it

1536
01:21:14,240 --> 01:21:17,200
Speaker 1: in that magazine, so humble of course it's their kind

1537
01:21:17,200 --> 01:21:20,559
Speaker 1: of thing. Check it out and let's see if you're

1538
01:21:20,680 --> 01:21:22,680
Speaker 1: if you're maybe your lesson interested that and you're more

1539
01:21:22,680 --> 01:21:25,120
Speaker 1: about this weird house cinema stuff. Hey, go to stuff

1540
01:21:25,160 --> 01:21:27,760
Speaker 1: to Blow your mind dot com. That's the that's the

1541
01:21:27,920 --> 01:21:29,760
Speaker 1: the used to be the website now to just shoot

1542
01:21:29,760 --> 01:21:31,720
Speaker 1: you to the I heart page for our show. But

1543
01:21:31,800 --> 01:21:33,720
Speaker 1: there is a button there you can click on for

1544
01:21:33,920 --> 01:21:36,320
Speaker 1: store and if you go there. You can buy yourself

1545
01:21:36,400 --> 01:21:38,200
Speaker 1: a Weird House Cinema T shirt. You can get a

1546
01:21:38,240 --> 01:21:41,400
Speaker 1: Weird House Cinema what, a sticker, a tote bag, you

1547
01:21:41,479 --> 01:21:43,840
Speaker 1: can get just about anything except wal Art, and you

1548
01:21:43,840 --> 01:21:45,920
Speaker 1: can't get wal Art because their file wasn't big enough.

1549
01:21:45,960 --> 01:21:48,400
Speaker 1: But really, I mean it's it's big enough for all

1550
01:21:48,479 --> 01:21:51,240
Speaker 1: the other products you could possibly want, huge things. As

1551
01:21:51,240 --> 01:21:54,640
Speaker 1: always to our excellent audio producer Seth Nicholas Johnson. If

1552
01:21:54,640 --> 01:21:56,160
Speaker 1: you would like to get in touch with us with

1553
01:21:56,320 --> 01:21:59,040
Speaker 1: feedback on this episode or any other, to suggest topic

1554
01:21:59,120 --> 01:22:01,240
Speaker 1: for the future, just to say hello, you can email

1555
01:22:01,320 --> 01:22:04,559
Speaker 1: us at contact at stuff to Blow your Mind dot com.

1556
01:22:11,960 --> 01:22:14,439
Speaker 1: Stuff to Blow Your Mind is production of I Heart Radio.

1557
01:22:14,800 --> 01:22:16,880
Speaker 1: For more podcasts for my heart Radio, visit the i

1558
01:22:16,960 --> 01:22:19,720
Speaker 1: heart Radio app, Apple Podcasts, or wherever you listen to

1559
01:22:19,800 --> 01:22:20,599
Speaker 1: your favorite shows.