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Speaker 1: Welcome to Stuff to Blow your mind, a production of iHeartRadio.

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Speaker 1: Hey you welcome to Weird House Cinema. This is Rob

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Speaker 1: Lamb and this is Joe McCormack. And today, oh oh,

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Speaker 1: I got an itch for some stop motion animation. That

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Speaker 1: was what I was craving this week, I Rob. I

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Speaker 1: don't know if you're the same way I am. I

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Speaker 1: think stop motion monsters are one of my most nostalgic

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Speaker 1: film elements. They remind me of when I was a kid.

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Speaker 1: I had a VHS tape I think recorded in EP modes,

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Speaker 1: a very grainy and low quality. But I had a

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Speaker 1: tape of the Ray Harryhausen movie Sindbad and the Eye

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Speaker 1: of the Tiger, which featured battles with stop motion skeletons,

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Speaker 1: a stop motion robotic minotar called the Minoton, all kinds

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Speaker 1: of great monsters in it. And so that's what I

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Speaker 1: was in the mood forward this week, and that led

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Speaker 1: us to the selection of Clash of the Titans, another

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Speaker 1: Harry Housing classic, not directed by Ray Harryhausen, but doing

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Speaker 1: some excellent special effects. We got scorpions, we got an

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Speaker 1: all time say top three gorgon Medusa. We got Let's

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Speaker 1: see what else is in there. We got a crack

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Speaker 1: in all kinds of good stuff. Yeah, I think it's

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Speaker 1: like eight different stop motion creatures in this, which is

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Speaker 1: about tops for him. I think one Million Years BC,

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Speaker 1: a film of his from nineteen sixty six or film

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Speaker 1: that he did special effects on. I think that one

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Speaker 1: also had eight different stop motion creatures. So it's quite

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Speaker 1: a it's quite an onslaugh. This is a special effects picture, certainly,

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Speaker 1: and it is very interesting to think about in terms

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Speaker 1: of the history of stop motion the legacy of Ray Harryhausen,

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Speaker 1: because this is we'll discussed this was his last special

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Speaker 1: effects picture. He retired after this, so it's it's really

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Speaker 1: his swan song. And it's also very interesting to look

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Speaker 1: at Clash of the Titans as kind of the the

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Speaker 1: perfection of a cinematic style or technique that was also

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Speaker 1: already going out of fashion a little bit. I mean,

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Speaker 1: this wouldn't be the end of stop motion effects. We

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Speaker 1: have some fabulous stop motion effects that had come out

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Speaker 1: in pictures after this, and a lot of that has

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Speaker 1: to do with the legacy of Harry hows and how

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Speaker 1: influential he was on other effects folks. But but yeah,

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Speaker 1: this was this was his swan song. This is kind

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Speaker 1: of this film, whatever else it happens to be, it

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Speaker 1: is kind of an important effects historical marker. I was

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Speaker 1: trying to think before we started recording about why I

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Speaker 1: love stop motion effects so much for the creation of

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Speaker 1: monsters in particular, and I think it has something to

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Speaker 1: do with actual artifacts of like how the the animation

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Speaker 1: is produced, you know, adding in these still frames in

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Speaker 1: sequence to create the illusion of motion, the fact that

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Speaker 1: it's not capturing something that was in reality when being

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Speaker 1: filmed in continuous motion, the way that say people are

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Speaker 1: when you film them, but was actually holding still in

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Speaker 1: each still frame, ends up creating this kind of unnatural

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Speaker 1: lack of smoothness and the motion, this kind of jerkiness

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Speaker 1: that I think some people have singled out about stop

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Speaker 1: motion effects you in a detrimental way and saying like, well,

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Speaker 1: you know, it takes away from the realism, like there's

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Speaker 1: always limitations to what you can do with stop motion

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Speaker 1: because of that kind of jerkiness. But it's exactly that

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Speaker 1: quality that I love about them and why I think

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Speaker 1: they make for uncanny creatures especially they're they're really great,

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Speaker 1: especially for monsters and uncanny creatures. Oh, absolutely, yeah, something

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Speaker 1: about the way they're articulated. It worked really well with

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Speaker 1: It works really well with say giant crabs and things

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Speaker 1: like that. You know, insects and aracnets that have that

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Speaker 1: kind of articulation works extremely well. Like you said, with

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Speaker 1: the inhuman monsters. Reanimated the skeletons, of course, was that

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Speaker 1: Jason and the Argonauts that had the army of remanimated skeletons. Yes,

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Speaker 1: I think that's in Jason, but there's there are also

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Speaker 1: some reanimated skeleton monsters in Sinbad in the Eye of

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Speaker 1: the Tiger. I remember there's a great battle with them

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Speaker 1: where I think Sinbad ends up killing them by like,

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Speaker 1: um kicking over a giant pile of like timber of

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Speaker 1: logs and they like roll down and crushed the skeletons. Yeah.

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Speaker 1: And at the same time, though with with Harry Howson especially,

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Speaker 1: I mean there he and his crew were brave enough

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Speaker 1: to go after creatures that were far different from this,

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Speaker 1: things like as we'll see in this film, a pegasus,

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Speaker 1: a large vulture. Things that don't adhere to these qualities

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Speaker 1: and seem, at least to my eye, far more ambitious,

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Speaker 1: especially especially that pegasus really ambitious effect that they went

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Speaker 1: for there, and I think they pulled it off. Well yeah,

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Speaker 1: I mean so exactly the same qualit that I think

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Speaker 1: makes stop motion great for monsters. I think would make

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Speaker 1: it hard to do a really cute, cuddly character in

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Speaker 1: stop motion. It would be might be a little off putting.

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Speaker 1: But this movie manages it with Bubo, and it maybe

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Speaker 1: helps that Bubo is a robot. Yeah, I mean, I

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Speaker 1: don't know if I want to cuddle him, but he's

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Speaker 1: very cute, has a lot of personality. Yeah, you might

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Speaker 1: get some cuts and pinches that way. He might be

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Speaker 1: a little hot, I mean yeah, considering where it came

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Speaker 1: from too. So nineteen eighty one, Clash of the Titans. Um,

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Speaker 1: why is it called Clash of the Titans? Do you

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Speaker 1: know the answer to this? I don't, Um, I don't

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Speaker 1: have the you know, the exact answer. A lot of times,

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Speaker 1: you know, it's like, well, the producers said it should

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Speaker 1: be called this, or sometimes it's the it is the

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Speaker 1: original title. It was dreampt up. But it's always been

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Speaker 1: kind of a perplexing title because if you're going into

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Speaker 1: this film with a pre existing, you know, head full

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Speaker 1: of Greek myth facts, you're probably gonna say, WHOA hold

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Speaker 1: on a minute, there are no titans in this picture.

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Speaker 1: There are no tight to clash. How is it possibly

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Speaker 1: going to deliver on the concept? And well, technically, I

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Speaker 1: guess titans do clash in the picture, as long as

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Speaker 1: you're willing to stretch the definition of titan and really

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Speaker 1: embrace everything the movie tells you. I just watched it,

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Speaker 1: and I don't know what you're talking to. I only

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Speaker 1: recall the one they call the Krack in a titan,

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Speaker 1: But what's the other titan? They they decide that Medusa

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Speaker 1: is a titan as well, oh, which is also is

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Speaker 1: also incorrect, equally incorrect, even though at least Medusa's from

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Speaker 1: Greek mythology while the Krack is Norse mythology. So if

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Speaker 1: you if you take their word for it, Okay, technically

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Speaker 1: these titans will sort of clash. But yeah, it's a

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Speaker 1: it's a strange title, but it's a dynamic title. It

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Speaker 1: inspires a lot of action, and we do see a

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Speaker 1: lot of action in the picture. Well, to be fair,

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Speaker 1: I recall when we did our episodes on Medusa, there

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Speaker 1: were different origin stories from Medusa, so some say that

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Speaker 1: she was you know, the priestess who was wronged by

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Speaker 1: Poseidon and then uh and then doubly wronged by Athena

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Speaker 1: and cursed. Was it Athena? I think it was Athena anyway.

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Speaker 1: But then there's there's another story I think that says

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Speaker 1: that she's just sort of one of the primordial monsters

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Speaker 1: that was given birth to by some other combination of critters. Yeah.

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Speaker 1: I mean, as it's always the case when we've discussed this,

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Speaker 1: unstuffably remind a lot with myths. I mean, there's there's

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Speaker 1: there's Generally there may be famous accounts and famous attempts

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Speaker 1: to sort of create a canonical version of a particular story,

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Speaker 1: but generally there are lots of different stories regarding uh,

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Speaker 1: these these beings and these these stories and these gods

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Speaker 1: and goddesses and heroes, and then at some point somebody

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Speaker 1: comes along and kind of cobbles them together, and ultimately,

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Speaker 1: I mean that's what a film like Clash of the

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Speaker 1: Titans does. It cobbles them together and takes characters from

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Speaker 1: other myth cycles, other traditions, and other cultures and works

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Speaker 1: them into the mix, which also is exactly what has

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Speaker 1: been done in mythology and folklore and religion since time

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Speaker 1: out of mind. Yes, And I guess that's one of

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Speaker 1: the really fun things about say Greek mythology, for instance,

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Speaker 1: which is that there is no canon of Greek mythology.

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Speaker 1: You know, Greek mythology never had like a pope that

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Speaker 1: could say like, okay, this is the approved version of

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Speaker 1: the story, and other versions of the story are not authoritative.

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Speaker 1: That didn't exist, So you've just always had different versions

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Speaker 1: of the stories, different takes on these characters and themes,

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Speaker 1: and so this is another one. Yeah. Yeah, Like like

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Speaker 1: we mentioned in our episodes on the Medusa several years back,

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Speaker 1: and if you want a deep dive into Medusa or

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Speaker 1: a deeper dive in Medusa mythology, like that's the place

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Speaker 1: to go. We're not going to spend as much time

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Speaker 1: with it here, but you know, in that we point

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Speaker 1: out that it's you see literary traditions regarding these stories

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Speaker 1: and these characters, and then it's just like whatever ends

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Speaker 1: up sticking in people's minds the most. And interestingly enough,

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Speaker 1: I remember one of the authors we looked at for

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Speaker 1: the Medusa episodes pointed out that class the Titans presents

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Speaker 1: a version of the Perseus versus Medusa's story that has

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Speaker 1: really stuck in the modern film moviegoer's mind. In some ways,

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Speaker 1: it is a new authoritative version of the myth because

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Speaker 1: of how popular it is. Yeah, or at least for

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Speaker 1: a certain generation. I don't know what. I don't know

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Speaker 1: how people are watching or how often they're watching Clash

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Speaker 1: of the Titans today, But growing up watching a lot

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Speaker 1: of like TBS and TNT on cable, I feel like

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Speaker 1: they showed this movie every week. It was just always

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Speaker 1: on television. You could always watch some part of Clash

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Speaker 1: of the Titan. You might not ever watch it beginning

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Speaker 1: to end, but you know, you spend a few years

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Speaker 1: watching television, you're gonna see all of it at least

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Speaker 1: two or three times, even if you're just catching little

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Speaker 1: bits of it. You know, I actually never saw the

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Speaker 1: whole thing until I was older. Well I say, I

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Speaker 1: didn't see all of its always, or I thought I had,

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Speaker 1: And then when I went to watch it with my

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Speaker 1: son years back, I was like, I didn't realize there

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Speaker 1: was so much nudity in this film because that was

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Speaker 1: always cut from the Turner broadcast. Oh yeah, I mean

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Speaker 1: it's very tame nudity. It's like PG rated nudity, but

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Speaker 1: there there is there is a little bit of nudity

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Speaker 1: in there. You know. One thing I definitely would not

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Speaker 1: have appreciated if I had seen this movie when I

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Speaker 1: was younger, is is what what a treasure trove the

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Speaker 1: cast is? I don't know if he should even say

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Speaker 1: the full cast. I mean, this movie is full of

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Speaker 1: things you might call cameos where a well known actor

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Speaker 1: or actress is brought in to have like I don't know,

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Speaker 1: like one or two lines, or even no lines, just

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Speaker 1: be on screen. Yeah, there there are actors who do

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Speaker 1: get a fair amount of a screen time in this

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Speaker 1: film and have some some great lines. And then there, yeah,

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Speaker 1: there're others that are just kind of standing around or

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Speaker 1: they have just a just a few moments on screen. So, yeah,

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Speaker 1: this is going to be one where we might not

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Speaker 1: spend as much time with every member of the cast,

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Speaker 1: but we'll try and mention everybody of note as we

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Speaker 1: move forward towards the plot section. But before we get there,

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Speaker 1: I guess we should make up dis couple of notes here. Well, first,

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Speaker 1: let's go ahead and listen to the trailer so we

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Speaker 1: can get just a splash of the audio from Clash

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Speaker 1: of the Titans. In an ancient age before recorded time,

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Speaker 1: men were measured by their courage and women by their beauty.

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Speaker 1: Mighty gods rule the universe, and fear and destruction cover

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Speaker 1: the world. It was a time of darkness, when only

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Speaker 1: the force of love could bring back the light. Now,

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Speaker 1: Metro Goldwyn Mayer presents Clash of the Titans a sweeping

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Speaker 1: legend of a golden age. Soon the motion picture epic

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Speaker 1: of our time, enter into the wondrous world of Perseus

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Speaker 1: and Andromeda. A world of passion and power, beauty and bravery,

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Speaker 1: mystery and magic, the world that transcends fantasy into a legend.

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Speaker 1: One courageous man rides between an angry heaven and the

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Speaker 1: fury of hell on Earth. He rides a winged stallion

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Speaker 1: across the sky. He rides to save the one who

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Speaker 1: owns his heart. He rides towards wonders no man has

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Speaker 1: ever seen, and terrors no man has ever faced. Clash

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Speaker 1: of the Titans starring Laurence Olivier, Maggie Smith, Ursula andres

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Speaker 1: Burgess Meredith Claire Bloom and introducing Harry Hamlin as Perseus

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Speaker 1: and Judy Bauker as Andromeda. It will touch you, shock you,

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Speaker 1: dazzle your senses, and sweep you to the limits of

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Speaker 1: your imagination. Clash of the Titans very sweeping, very mythic,

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Speaker 1: very nineteen eighty one. I think the trailer should have

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Speaker 1: had Jefferson Starship in it. It's important to note, and

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Speaker 1: this is I mean, you can't approach this film without

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Speaker 1: realizing that it of course comes out in the wake

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Speaker 1: of Star Wars, the massive hit of the Star Wars

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Speaker 1: comes a few years later. There are aspects of the

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Speaker 1: picture that are clearly going after that Star Wars money,

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Speaker 1: kind of going after that Star Wars vibe. I had

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Speaker 1: the same thought, and one of the things that really

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Speaker 1: jumped out at me was the character of Bubo, the

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Speaker 1: robotic owl created by he faced Us, modeled on the

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Speaker 1: organic owl of Athena. This struck me as obviously R

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Speaker 1: two D two with wings. Did you have the same thought, Oh, yeah, absolutely,

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Speaker 1: It's clearly an attempt to cash in on that droid magic.

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Speaker 1: It even speaks like a droid. It kind of speaks

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Speaker 1: in its own kind of like droid whirls and beeps

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Speaker 1: and so forth. And we also get to the point

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Speaker 1: where Perseus can understand the owl when it's speaking to him,

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Speaker 1: and so we get these kind of like human droid

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Speaker 1: interactions like we see in Star Wars. And I also

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Speaker 1: thought Perseus in this movie seemed to be strongly influenced

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Speaker 1: by Luke Skywalker. Yeah, but without that sort of I

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Speaker 1: don't know, definitely some different Like it's it's kind of

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Speaker 1: it's weird to go back and look at at Luke

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Speaker 1: in the first Star Wars film and decide how you

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Speaker 1: feel about him, because he's more flawed and relatable. You know,

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Speaker 1: he's like a kind of a grumpy He's a grumpy

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Speaker 1: team and Perseus is the son of a god who

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Speaker 1: gets a lot of stuff handed to him, and so

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Speaker 1: Perseus spends a lot of the film not being particularly relatable,

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Speaker 1: I think. But oh, we can discuss that as we

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Speaker 1: move forward. I mean, I think it's kind of a

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Speaker 1: problem that exists in the core myth. Like, unlike Luke Skywalker,

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Speaker 1: he doesn't have that sense of lacking and yearning, you know,

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Speaker 1: he's just he's just grad at everything from the get go. Yeah,

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Speaker 1: all right, before we move forward, if you're you're wanting

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Speaker 1: to watch this film for yourself, well where can you

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Speaker 1: find it? Well, first of all, make sure you put

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Speaker 1: that nineteen eighty one in there, because otherwise you're gonna

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Speaker 1: end up watching the remake. I think the remake comes

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Speaker 1: up first in search, but that's a crime. I haven't

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Speaker 1: even seen it. I don't know why I judge that.

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Speaker 1: I just know without watching it that it's awful. Um,

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Speaker 1: all I can say for it is that you have

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Speaker 1: computer animated monsters instead of stop motion monsters. You have

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Speaker 1: what leam Neeson is in it, and so Is Ray

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Speaker 1: Finds is in it as well. He plays Hades, who

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Speaker 1: isn't in the Hades doesn't factor into this one, but

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Speaker 1: he pops up in the remake, and so they're fine.

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Speaker 1: You have those are two great actors. Put them in

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Speaker 1: some shiny and weird armor and they're they're they're cool.

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Speaker 1: But then there's also like a scene where the new

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Speaker 1: Perseus finds a robotic owl and like a trash can

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Speaker 1: or something and he's like no, thank you and like

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Speaker 1: shuts it, and it's like, yeah, it's clearly it has

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Speaker 1: the the opinion that it doesn't need to be cute

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Speaker 1: and impressive and needs just to be like it just

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Speaker 1: needs to be like hard and an action packed. So

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Speaker 1: I don't know I think I enjoyed it when I

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Speaker 1: watched it, and it's worth watching drag Us for a

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Speaker 1: couple of performances, but it's not as as fun and

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Speaker 1: touchable as this film. Love, a CGI laden remake that

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Speaker 1: just gets in some digs at the old movie. Yeah

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Speaker 1: that was I think that was the main dig. But

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Speaker 1: it was like, yeah, I didn't. It rubbed me the

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Speaker 1: wrong way for sure. Yeah, So where can you watch

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Speaker 1: this film if you want to watch it? Well, if

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Speaker 1: if what I know from my own experience is still true,

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Speaker 1: I would say turn on TPS now, now, go ahead

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Speaker 1: and flip to TNT whichever channel it's on, go ahead

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Speaker 1: and watch it there. But if it's not available to

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Speaker 1: you on television right now, you can rent or buy

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Speaker 1: this pretty much anywhere in any way that you get

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Speaker 1: your films. This is not one of our more obscure choices.

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Speaker 1: It's it's out there all right. Well, let's jump into

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Speaker 1: the humans involved. I'm gonna do things a little differently

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Speaker 1: here and I'm just gonna hit all the behind the

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Speaker 1: scenes folks right at the top. So the director of

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Speaker 1: this is Desmond Davis, who lived nineteen twenty six through

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Speaker 1: twenty and twenty one British camera operator turned rider and director.

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Speaker 1: His first directorial credit was nineteen sixty four Girl with

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Speaker 1: Green Eyes, starring Peter Finch and Rita Toushingham. One of

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Speaker 1: his immediate follow ups was nineteen sixty six is Time

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Speaker 1: Lost in Time Remembered aka I Was Happy There, and

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Speaker 1: nineteen sixty seven Smashing Time. The first two of these

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Speaker 1: at least seemed to be like really well remembered you,

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Speaker 1: at least within their own genre, you know. I think

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Speaker 1: it's kind of maybe a snapshot of kind of like,

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Speaker 1: you know, really cool sixties London type of stuff. He

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Speaker 1: also directed the nineteen eighty four Donald Sutherland thriller Or

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Speaker 1: Deal by Innocence, and an adaptation of the Sherlock Holmes

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Speaker 1: tale The Sign of Four starring Ian Richardson in nineteen

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Speaker 1: eighty three. He also did a lot of TV work.

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Speaker 1: I don't think I've seen any of that. Yeah, I

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Speaker 1: certainly haven't seen the older pictures. I might have seen

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Speaker 1: The Sign of Four. I'm not sure. I'd have to

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Speaker 1: go back and really look at some screenshots. Who's Sherlock

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Speaker 1: in that one? Is? Is that a Jeremy Brett movie?

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Speaker 1: I believe it's in Ian Richardson. Oh, that's what you

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Speaker 1: already said that. I'm sorry, Yeah, Jeremy Brett. All of

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Speaker 1: those were for TV, and they did the Sign of

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Speaker 1: Four at one point. All right. The writer on this

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Speaker 1: is Beverly Cross, who of nineteen thirty one through nineteen

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Speaker 1: ninety eight English playwright and screenwriter, longtime husband of actor

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Speaker 1: Maggie Smith, who is also in this picture. Until his death,

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Speaker 1: his screenplays include nineteen sixty three's Jason and the Argonauts,

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Speaker 1: nineteen sixty five, Gingha's Kahn starring Omar Sharif in nineteen

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Speaker 1: seventy seven Sinbad and the Eye of the Tiger or

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Speaker 1: in the Eye of the Tiger. I can't remember what

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Speaker 1: his relationships. Yeah, I don't think they could fit him

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Speaker 1: in the Eye of the Tiger. Now, yeah, it's and

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Speaker 1: of the Eye of the Tiger again. That movie is

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Speaker 1: incredibly dopey, some very questionable casting decisions, but also a

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Speaker 1: heck of a lot of fun. It's got great monsters

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Speaker 1: and all that. Creator of visual effects on this and

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Speaker 1: also a producer of the film is Ray Harry Housen,

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Speaker 1: who mentioned already lived nineteen twenty through twenty thirteen. You know,

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Speaker 1: I believe this is our first Harry Housen film. I

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Speaker 1: know he's come up on the show before, but I

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Speaker 1: don't remember what movie that was in the context of

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Speaker 1: maybe we were just talking about something else that had

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Speaker 1: stop motion in it. But oh man, I literally get

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Speaker 1: warm feelings inside just hearing the name Ray Harry Housen,

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Speaker 1: Like it sends the kind of like those jets of

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Speaker 1: warm water through my chest. Well yeah, it even kind

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Speaker 1: of sounds like it, right Housing, You're at how You're

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Speaker 1: at home, and Harry, it's kind of like rubbed the

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Speaker 1: fur right, yes, yes, yeah. So if you have it,

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Speaker 1: ever been into movie monsters and special effects, then you

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Speaker 1: know the name. He was an American British Oscar winning

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Speaker 1: animator and special effects creator who is a major pioneer

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Speaker 1: in the industry and created the dynamation approach to stop motion.

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Speaker 1: I remember talking with Seth about this on one of

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Speaker 1: the Weird Houses that he appeared on, probably the probably

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Speaker 1: the one we were talking about Alice. But it seems

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Speaker 1: like everybody that did stop motion they had some sort

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Speaker 1: of cool name for it that wasn't stop motion. Almost

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Speaker 1: like there was a rejection of the term stop motion,

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Speaker 1: like it sounded too boring. Or something, or maybe they just,

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Speaker 1: you know, just needed something you can copyright to call it.

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Speaker 1: I don't know anyway. Harry Howsen's credits, You know, I

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Speaker 1: usually don't list everything. I'm just gonna go and list

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Speaker 1: I think all the major films that he did here

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Speaker 1: forty nine, Mighty Joe Young, fifty three, The Beast from

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Speaker 1: twenty thousand fathoms fifty five It Came from Beneath the Sea,

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Speaker 1: fifty six, The Animal World also in fifty six, Earth

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Speaker 1: versus the Flying Saucers fifty seven, twenty million Years to

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Speaker 1: Earth fifty eight, The Seventh Voyage of the Sinbad nineteen sixty,

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Speaker 1: The Three Worlds of Gulliver nineteen sixty one, mysterious island

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Speaker 1: that has a crab in it Yea sixty three, Jason

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Speaker 1: and the Argonaut sixty four first, then in the Moon

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Speaker 1: one million years BC in sixty six, the Valley of

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Speaker 1: Guangi and sixty nine, the Golden Voyage of Sinbad in

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Speaker 1: seventy three, Sinbad and the Eye of the Tiger in

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Speaker 1: nineteen seventy seven, and then wraps it all up in

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Speaker 1: eighty one with Clash of the Titans. We may have

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Speaker 1: to come back and do at least one of these

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Speaker 1: other ones at some point, because I just love these

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Speaker 1: monsters so much. Oh yeah, yeah, there's so many just

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Speaker 1: iconic monster designs. They have so much character to them,

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Speaker 1: and you've missed that kind of thing when you're watching

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Speaker 1: something like the Luferigna Hercules movie that we covered, which

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Speaker 1: is a very fune, very very exciting picture, but with

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Speaker 1: the stop motion in that doesn't hold a candle to this.

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Speaker 1: That one did have some great visual flare, but yeah,

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Speaker 1: not so much in the monsters. Yeah, who is that

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Speaker 1: character who is like, oh, I don't know, some kind

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Speaker 1: of like wizard who lived down on an asteroid or something. Oh,

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Speaker 1: it's what's like I'm supposed to be datalless? Right? Oh

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Speaker 1: yeah is it? Maybe? Yeah? That was great? All right,

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Speaker 1: real quickly. The music and this is by Lawrence Rosenthal

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Speaker 1: born nineteen twenty six, prolific Oscar nominated in Any winning

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Speaker 1: composer who worked in TV, film, and stage. His film

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Speaker 1: scores include A Raisin in the Sun, The Miracle Worker Beckett,

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Speaker 1: and the nineteen seventy seven adaptation of the Island of

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Speaker 1: Doctor Moreau. Father of noted stem cell scientist Professor Nadia Rosenthal,

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Speaker 1: The music in this is very epic and sweeping, and

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Speaker 1: you know it does its shot. What can you say?

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Speaker 1: All right? Now? When he comes to the cast, this

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Speaker 1: is going to be the story of Perseus and Medusa.

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Speaker 1: So Perseus, you gotta have you a fresh hunk, right,

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Speaker 1: I mean no, no old hunks will do yep. And

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Speaker 1: the fresh one they had here was Harry Hamlin. I

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Speaker 1: believe the credits are the credits to the trailer if

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Speaker 1: you get with chef fans say and introducing Harry Hamlin

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Speaker 1: just removed from his original packaging, and you know, as

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Speaker 1: is often the case, it kind of feels that way

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Speaker 1: with the performance. I mean, he's good in this, but

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Speaker 1: and to be fair, he's playing Perseus, a hero, a

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Speaker 1: son of a god, so there are how do you

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Speaker 1: play that in a way that's relatable. I mean, I

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Speaker 1: think the various shows where I've seen someone portraying Perseus

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Speaker 1: and put Perseus is it's kind of a big a

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Speaker 1: lift to make this feel like a real person. So

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Speaker 1: Harry Hamlin does as finer job as you might expect. Yeah,

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Speaker 1: I mean, I'm gonna be honest, and I'm gonna say

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Speaker 1: especially because I can say good things about his later career,

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Speaker 1: I don't think his acting is stellar in this movie.

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Speaker 1: He's he's kind of a slab, but he like he

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Speaker 1: stands there and he's handsome and oo look at his

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Speaker 1: shoulders and all that. He does not really do a

424
00:23:41,119 --> 00:23:43,600
Speaker 1: great job of acting, I will say, but in his

425
00:23:43,720 --> 00:23:45,840
Speaker 1: later career he did lots of stuff where I thought

426
00:23:45,840 --> 00:23:47,639
Speaker 1: he was great. He was great and Madman. He was

427
00:23:47,720 --> 00:23:50,600
Speaker 1: great on the Veronica Mars. You know he'd oh yeah,

428
00:23:51,880 --> 00:23:53,520
Speaker 1: I don't know what. I guess he was just very

429
00:23:53,560 --> 00:23:55,680
Speaker 1: young here, Oh yeah, I mean on Daftley he was

430
00:23:55,800 --> 00:23:58,120
Speaker 1: very young. He I think he'd only been I think

431
00:23:58,119 --> 00:24:02,400
Speaker 1: he's done some stage acting. He'd had one movie appearance

432
00:24:02,440 --> 00:24:05,880
Speaker 1: before this. But yeah, I went on to be known

433
00:24:05,960 --> 00:24:08,920
Speaker 1: more for again Madman. He was in La Law for

434
00:24:09,000 --> 00:24:13,000
Speaker 1: the first five seasons of that. I would say that

435
00:24:14,040 --> 00:24:15,720
Speaker 1: I'll come back to this, but I think there's one

436
00:24:15,800 --> 00:24:21,280
Speaker 1: sequence in the film where his performance is is definitely

437
00:24:21,320 --> 00:24:24,440
Speaker 1: better than the rest of the picture, and I think

438
00:24:24,440 --> 00:24:26,959
Speaker 1: it's also the best sequence in the entire film, So

439
00:24:27,400 --> 00:24:30,159
Speaker 1: we'll discuss in a bit. But he also has some

440
00:24:30,240 --> 00:24:32,600
Speaker 1: interesting science connections as well. I didn't know about this,

441
00:24:32,680 --> 00:24:37,359
Speaker 1: but his grandfather, Chauncey Jerome Hamelin founded the Buffalo Museum

442
00:24:37,359 --> 00:24:41,800
Speaker 1: of Science, and his father, Chauncey Jerome Hamlin Junior it

443
00:24:41,880 --> 00:24:45,399
Speaker 1: was an aeronautical engineer who helped design the Saturn rocket

444
00:24:45,400 --> 00:24:49,960
Speaker 1: with doctor Verna von Braun. And yeah, Harry himself apparently

445
00:24:50,000 --> 00:24:52,800
Speaker 1: co founded the Fusion Power Company or co founded the

446
00:24:52,800 --> 00:24:57,399
Speaker 1: fusion power company TAE Technologies in nineteen ninety eight. Wow,

447
00:24:57,720 --> 00:25:00,840
Speaker 1: So yeah, I did not know he ha fusion Power

448
00:25:00,880 --> 00:25:03,720
Speaker 1: connections that. I had no idea either, But it's it's

449
00:25:03,880 --> 00:25:05,960
Speaker 1: it's listed in more than one place, so I don't

450
00:25:05,960 --> 00:25:08,160
Speaker 1: think I'm just being scammed on that. All right. Let's

451
00:25:08,160 --> 00:25:11,359
Speaker 1: see other mortals of note in the picture. Well, Sean

452
00:25:11,440 --> 00:25:15,200
Speaker 1: Phillips born nineteen thirty three is in it as Cassiopeia. Okay,

453
00:25:15,200 --> 00:25:18,760
Speaker 1: so she's playing the queen of the City of Joppa,

454
00:25:18,880 --> 00:25:23,160
Speaker 1: the mother of Princess Andromeda right right. And Sean Phillips

455
00:25:23,280 --> 00:25:25,840
Speaker 1: is notable because well, I mean she was Reverend Mother

456
00:25:25,920 --> 00:25:29,240
Speaker 1: Guy as Helen Mahiam and David Lynch's Dune in nineteen

457
00:25:29,280 --> 00:25:32,520
Speaker 1: eighty four, and she was also the Witch of Indoor

458
00:25:32,640 --> 00:25:35,680
Speaker 1: in Ewak's The Battle for Indoor in nineteen eighty five.

459
00:25:36,440 --> 00:25:38,840
Speaker 1: Terrific in both of those. She's a fun actor even

460
00:25:38,840 --> 00:25:40,720
Speaker 1: if even if she doesn't, she does get to be

461
00:25:40,760 --> 00:25:43,720
Speaker 1: a little like um. She does it like a stern

462
00:25:45,880 --> 00:25:50,280
Speaker 1: sort of female mild villain roll really well, you know,

463
00:25:50,440 --> 00:25:52,920
Speaker 1: like she she has that definite sternness to it, because

464
00:25:52,920 --> 00:25:55,560
Speaker 1: in this she's like, Okay, I will sacrifice my daughter

465
00:25:55,600 --> 00:25:57,840
Speaker 1: to the krack and it's what the gods want, so

466
00:25:57,840 --> 00:26:00,880
Speaker 1: I'm going to do it. And before there's a scene

467
00:26:00,920 --> 00:26:05,920
Speaker 1: where she earns the wrath of Maggie Smith by just

468
00:26:06,240 --> 00:26:09,240
Speaker 1: standing in front of a statue of Maggie Smith of

469
00:26:09,400 --> 00:26:12,840
Speaker 1: the goddess Thetis, and just being like, by the way,

470
00:26:13,000 --> 00:26:15,560
Speaker 1: my daughter who's about to have her wedding day is

471
00:26:15,600 --> 00:26:18,520
Speaker 1: more beautiful than the goddess I'm standing in front of

472
00:26:18,640 --> 00:26:20,679
Speaker 1: right now. And of course then the ground begins to

473
00:26:20,720 --> 00:26:24,600
Speaker 1: shake and all that. So bad call bad, call yes.

474
00:26:24,880 --> 00:26:27,199
Speaker 1: So she's a lot of fun in the picture. Judy

475
00:26:27,320 --> 00:26:31,359
Speaker 1: Bachner Plays and Drama a Board nineteen fifty four English actor,

476
00:26:31,400 --> 00:26:33,240
Speaker 1: probably best known for this film, but she was also

477
00:26:33,280 --> 00:26:36,480
Speaker 1: in the nineteen seventy seven Louis Jordan Dracula movie and

478
00:26:36,800 --> 00:26:40,560
Speaker 1: Franco Zepharelli's brother son Sister Moon in seventy two Okay,

479
00:26:40,560 --> 00:26:44,360
Speaker 1: So she plays Andromeda, the princess of the city of Joppa,

480
00:26:44,480 --> 00:26:48,640
Speaker 1: who in the original story she's she's rescued by Perseus.

481
00:26:48,640 --> 00:26:50,879
Speaker 1: Though I like how in this version of the story

482
00:26:50,880 --> 00:26:53,439
Speaker 1: there's more of a complicated backstory with the whole uh

483
00:26:53,760 --> 00:26:58,480
Speaker 1: you know, her previous betrothal to what's his name Calabass

484
00:26:58,520 --> 00:27:01,320
Speaker 1: and all that. We'll get to in a bit. All right, one, Well,

485
00:27:01,440 --> 00:27:03,240
Speaker 1: there are two more mortals of note, but the most

486
00:27:03,240 --> 00:27:07,280
Speaker 1: important mortal to discuss here is Amon, who is h

487
00:27:07,440 --> 00:27:10,600
Speaker 1: He's what's supposed to be a like a Greek dramatist

488
00:27:11,520 --> 00:27:14,720
Speaker 1: turned sort of. I don't know. He's just up for adventures, right,

489
00:27:14,720 --> 00:27:17,720
Speaker 1: He's kind of a rogue, I guess. I guess, yeah, yeah, yeah,

490
00:27:17,720 --> 00:27:20,560
Speaker 1: I mean I interpreted him as I guess a fictionalized

491
00:27:20,640 --> 00:27:23,600
Speaker 1: version of Escalus or something. Yeah, yeah, I guess he's

492
00:27:23,640 --> 00:27:25,879
Speaker 1: kind of he's kind of a bard, kind of the

493
00:27:25,920 --> 00:27:28,720
Speaker 1: bar to the party here. And he is played by

494
00:27:28,800 --> 00:27:32,520
Speaker 1: the terrific American actor of theater, film, and television, Burgess

495
00:27:32,520 --> 00:27:36,040
Speaker 1: Meredith of nineteen oh seven through nineteen ninety seven. You

496
00:27:36,119 --> 00:27:38,399
Speaker 1: gotta fight the go Rocky, you gotta fight out him.

497
00:27:39,440 --> 00:27:42,280
Speaker 1: That's right. Many people will know him best for his

498
00:27:42,400 --> 00:27:45,120
Speaker 1: role as the coach Mickey Goldmill in the Rocky franchise,

499
00:27:45,200 --> 00:27:48,439
Speaker 1: or at least the first three pictures, but he was

500
00:27:48,480 --> 00:27:50,840
Speaker 1: in so many things, like he played the penguin in

501
00:27:50,880 --> 00:27:55,439
Speaker 1: the nineteen sixties TV series Batman. He One of his

502
00:27:55,600 --> 00:27:59,640
Speaker 1: other really iconic roles is playing the character Henry Bemis

503
00:27:59,680 --> 00:28:02,600
Speaker 1: in the classic Twilight Zone episode Time Enough at Last.

504
00:28:02,760 --> 00:28:05,040
Speaker 1: This is the one about the guy who survives the

505
00:28:05,040 --> 00:28:09,679
Speaker 1: apocalypse and then destroy just he survives a destruction of

506
00:28:09,880 --> 00:28:15,159
Speaker 1: humanity and all lenses and and then he thinks he

507
00:28:15,160 --> 00:28:16,760
Speaker 1: gets to read all the books in the library, but

508
00:28:16,800 --> 00:28:19,240
Speaker 1: then he breaks his glasses and it's like, oh, the tragedy,

509
00:28:19,280 --> 00:28:22,720
Speaker 1: and you know, it's great, but it's a it's a

510
00:28:22,880 --> 00:28:26,240
Speaker 1: it's a famous episode. I was just trying to remember

511
00:28:26,320 --> 00:28:28,520
Speaker 1: what happens to his character at the end of his

512
00:28:28,720 --> 00:28:31,320
Speaker 1: arc in the Rocky movies, and I think, unless I'm

513
00:28:31,119 --> 00:28:35,480
Speaker 1: remembering wrong, that in Rocky three, mister t is so

514
00:28:35,600 --> 00:28:38,440
Speaker 1: rude to him that he has a heart attack and dies.

515
00:28:38,880 --> 00:28:43,960
Speaker 1: Oh my god, really something like that. Well, like I said,

516
00:28:44,000 --> 00:28:45,760
Speaker 1: he was in tons of stuff. I'm not going to

517
00:28:45,840 --> 00:28:48,800
Speaker 1: try and list anywhere near all of it here, but

518
00:28:48,840 --> 00:28:51,280
Speaker 1: I will say he's in nineteen eighty five Santa Claus,

519
00:28:51,360 --> 00:28:55,640
Speaker 1: the movie Um on top of some other things, he's

520
00:28:55,480 --> 00:28:58,440
Speaker 1: he's he's a tremendous actor, and he's terrific in this film.

521
00:28:58,920 --> 00:29:00,600
Speaker 1: So this is a film that feed There's a lot

522
00:29:00,600 --> 00:29:04,959
Speaker 1: of exposition, a young hunk who's very green, and then

523
00:29:05,000 --> 00:29:07,720
Speaker 1: a lot of stoic hero and god speak, you know.

524
00:29:08,480 --> 00:29:12,680
Speaker 1: But Meredith makes you believe virtually every line he delivers.

525
00:29:12,680 --> 00:29:15,680
Speaker 1: It's kind of a master class in breathing life into

526
00:29:15,720 --> 00:29:19,360
Speaker 1: lines that could otherwise fall completely flat. I agree, Yes,

527
00:29:19,440 --> 00:29:23,600
Speaker 1: this is a quality we often see in older actors

528
00:29:23,600 --> 00:29:27,360
Speaker 1: and actresses, who like, once you've been doing it long enough,

529
00:29:27,440 --> 00:29:31,520
Speaker 1: you kind of acquire a sort of cumulative magic that

530
00:29:31,600 --> 00:29:35,800
Speaker 1: allows you to transcend the written material you're given. I

531
00:29:35,960 --> 00:29:39,640
Speaker 1: rarely notice this quality in younger actors. Yeah, I mean,

532
00:29:39,680 --> 00:29:42,160
Speaker 1: this is this is exactly why you bring in an

533
00:29:42,160 --> 00:29:45,600
Speaker 1: older character actor like Burgess Meredith to play a role

534
00:29:45,680 --> 00:29:49,080
Speaker 1: like this and to work with the younger, more inexperienced

535
00:29:49,080 --> 00:29:52,080
Speaker 1: actors and sort of bring something out of them. All right.

536
00:29:52,120 --> 00:29:57,520
Speaker 1: One other mortal of note, and that is Tim Pigot Smith,

537
00:29:57,600 --> 00:30:00,880
Speaker 1: who lived nineteen forty six through twenty seventeen play Thallow.

538
00:30:01,040 --> 00:30:03,000
Speaker 1: This is kind of our He's kind of like the

539
00:30:03,080 --> 00:30:07,120
Speaker 1: miscellaneous guard dude that lasts the longest in the picture.

540
00:30:07,320 --> 00:30:08,960
Speaker 1: You know, he's just a member of the party. Just

541
00:30:09,080 --> 00:30:12,040
Speaker 1: he's like the fighter of the party. He's a soldier

542
00:30:12,200 --> 00:30:16,880
Speaker 1: in a big soldier's helmet wearing a hilariously short skirt.

543
00:30:18,480 --> 00:30:20,040
Speaker 1: That's the That's the thing I was, you know, I

544
00:30:20,040 --> 00:30:24,480
Speaker 1: always loved checking out the IMDb user submitted parental warnings

545
00:30:24,520 --> 00:30:27,600
Speaker 1: about the picture, and one of them was that saying

546
00:30:27,600 --> 00:30:30,320
Speaker 1: that the the the the star of this film, Harry

547
00:30:30,360 --> 00:30:33,240
Speaker 1: Hamlin is I think believe they said mostly nude the

548
00:30:33,440 --> 00:30:37,280
Speaker 1: entire picture, and it's like, he's not really most I

549
00:30:37,280 --> 00:30:39,800
Speaker 1: don't know if i'd say he's mostly nude, but yes, he,

550
00:30:40,080 --> 00:30:42,000
Speaker 1: like a lot of characters in the film, is you know,

551
00:30:42,040 --> 00:30:46,200
Speaker 1: often wearing a very short outfit. Anyway, Tim Pickott Smith

552
00:30:46,320 --> 00:30:48,560
Speaker 1: here is the kind of actor I'd probably spend more

553
00:30:48,600 --> 00:30:50,880
Speaker 1: time talking about in another picture that's not so loaded,

554
00:30:51,240 --> 00:30:54,280
Speaker 1: but suffice to say, accomplished English actor with a long

555
00:30:54,320 --> 00:30:56,920
Speaker 1: career on stage, screen and TV, and in the later

556
00:30:56,960 --> 00:30:59,160
Speaker 1: stages of his career, he appeared in such big productions

557
00:30:59,160 --> 00:31:01,320
Speaker 1: as Gangs of New York Work from two thousand and two,

558
00:31:01,400 --> 00:31:04,600
Speaker 1: Alexander from two thousand and four, v for Vendetta from

559
00:31:04,600 --> 00:31:07,080
Speaker 1: two thousand and five, and The Quantum of Solace from

560
00:31:07,080 --> 00:31:09,800
Speaker 1: two thousand and eight. All Right, moving on, let's get

561
00:31:09,800 --> 00:31:14,400
Speaker 1: to some monsters. We mentioned Calibos already. This is the

562
00:31:14,400 --> 00:31:18,080
Speaker 1: tragic beast man villain positioned as the son of Thetis

563
00:31:18,600 --> 00:31:23,600
Speaker 1: instead of Achilles, who's actually her son in various Greek myths,

564
00:31:23,880 --> 00:31:26,960
Speaker 1: but instead this character is actually based on Caliban from

565
00:31:27,000 --> 00:31:31,960
Speaker 1: Shakespeare's The Tempest. The Caliban connection makes sense because so

566
00:31:32,080 --> 00:31:36,200
Speaker 1: while Calabos is of course one of the villains of

567
00:31:36,200 --> 00:31:38,480
Speaker 1: the movie, he does a lot of evil and he

568
00:31:38,600 --> 00:31:42,560
Speaker 1: lashes out for revenge, he's also a character like you

569
00:31:42,560 --> 00:31:46,360
Speaker 1: feel his pain. Yeah, And I remember this from watching

570
00:31:46,800 --> 00:31:49,840
Speaker 1: this movie as a kid, even like I sympathize with

571
00:31:49,920 --> 00:31:52,240
Speaker 1: Calabos a lot, and part of that was like, yeah,

572
00:31:52,240 --> 00:31:54,680
Speaker 1: he's the monster character in a movie full of a

573
00:31:54,720 --> 00:31:57,760
Speaker 1: lot of humanoid characters. But I think also it's just

574
00:31:57,800 --> 00:32:01,480
Speaker 1: baked into the movie, like the movie stresses that, yeah,

575
00:32:01,520 --> 00:32:03,800
Speaker 1: he did some terrible things, but also the gods have

576
00:32:03,880 --> 00:32:07,800
Speaker 1: been potentially unfair to him and have punished him with

577
00:32:07,880 --> 00:32:11,320
Speaker 1: this monstrous transformation. There's like a whole scene on Mount

578
00:32:11,360 --> 00:32:14,120
Speaker 1: Olympus where the gods are talking about how oh, if

579
00:32:14,120 --> 00:32:15,880
Speaker 1: he'd been the son of Zeus and he'd done all

580
00:32:15,920 --> 00:32:18,920
Speaker 1: the same stuff, he wouldn't have gotten punished. Yeah, but

581
00:32:19,040 --> 00:32:22,920
Speaker 1: Zeus is like, but he's not, and yeah, oh god,

582
00:32:22,920 --> 00:32:25,640
Speaker 1: we'll get to Zeus in a minute. But yeah, but yeah,

583
00:32:25,720 --> 00:32:28,920
Speaker 1: it's any anyway. Calabos is played by Neil McCarthy who

584
00:32:28,960 --> 00:32:32,640
Speaker 1: lived nineteen thirty two through nineteen eighty five and yet

585
00:32:32,640 --> 00:32:35,840
Speaker 1: a very distinct face, so you'll recognize him from a

586
00:32:35,880 --> 00:32:38,800
Speaker 1: lot of pictures. He was in sixty eight Where Eagles Dare,

587
00:32:39,000 --> 00:32:42,040
Speaker 1: nineteen sixty four, Zulu, and he was in Terry Gilliam's

588
00:32:42,040 --> 00:32:45,080
Speaker 1: Time Badits from nineteen eighty one. Other monsters in this

589
00:32:45,120 --> 00:32:48,000
Speaker 1: picture that are played by human beings, we have the

590
00:32:48,200 --> 00:32:51,440
Speaker 1: Stygian witches. So there are three witches we talked, we

591
00:32:51,480 --> 00:32:54,760
Speaker 1: talk about these these characters that they're based on a

592
00:32:54,800 --> 00:32:57,120
Speaker 1: good bit in the Medusa episode. But these are the

593
00:32:57,120 --> 00:32:59,320
Speaker 1: three blind witches that Percius has to go to in

594
00:32:59,400 --> 00:33:03,920
Speaker 1: order to find Medusa essentially, and they're played by Flora

595
00:33:04,000 --> 00:33:06,200
Speaker 1: Robson who lived nineteen o two through nineteen eighty four.

596
00:33:06,240 --> 00:33:08,920
Speaker 1: Anna Manahan who lived nineteen twenty four through two thousand

597
00:33:08,920 --> 00:33:11,280
Speaker 1: and nine, and Freda Jackson who lived nineteen o seven

598
00:33:11,360 --> 00:33:15,240
Speaker 1: through nineteen ninety. Great witch performances by all three, though

599
00:33:15,280 --> 00:33:17,880
Speaker 1: I do not know which one is which, because they're

600
00:33:17,920 --> 00:33:21,040
Speaker 1: all they all have a lot of makeup on and

601
00:33:21,080 --> 00:33:23,880
Speaker 1: they all three have very packed filmography. So maybe in

602
00:33:23,880 --> 00:33:26,160
Speaker 1: the future will hit on a movie that has one

603
00:33:26,200 --> 00:33:28,040
Speaker 1: of them in and will refer back to it. But

604
00:33:28,120 --> 00:33:31,480
Speaker 1: suffice to say, great witch scene. Three great witches here

605
00:33:32,000 --> 00:33:34,360
Speaker 1: very much agree that they are great, but they kind

606
00:33:34,360 --> 00:33:39,760
Speaker 1: of act as one. They're not very individually distinctive by design. Yeah,

607
00:33:39,800 --> 00:33:41,640
Speaker 1: and you know, I think we've said this before. You know,

608
00:33:41,680 --> 00:33:43,520
Speaker 1: it's like it is. There is a lot of sexism

609
00:33:43,640 --> 00:33:48,360
Speaker 1: in the whole Older female actors end up playing witches

610
00:33:48,880 --> 00:33:50,959
Speaker 1: in a lot of pictures, but when they do it

611
00:33:51,000 --> 00:33:53,800
Speaker 1: really well, you got you gotta give them credit. And

612
00:33:53,880 --> 00:33:56,600
Speaker 1: all three of these witches are great. All right, let's

613
00:33:56,640 --> 00:34:00,200
Speaker 1: move on to the gods. Yeah, speaking of sexism, let's

614
00:34:00,200 --> 00:34:03,000
Speaker 1: get to Zeus. Well, you know he is he is

615
00:34:03,040 --> 00:34:04,600
Speaker 1: the king of the gods, so we have to start

616
00:34:04,640 --> 00:34:08,520
Speaker 1: with him, and and yeah, he is pretty sexist. But yeah,

617
00:34:08,520 --> 00:34:13,320
Speaker 1: this is the great Laurence Olivier playing Zeus. Laurence Olivia,

618
00:34:13,360 --> 00:34:15,400
Speaker 1: of course, lived nineteen o seven through nineteen eighty nine,

619
00:34:15,440 --> 00:34:18,600
Speaker 1: one of the biggest British acting names of the twentieth century,

620
00:34:18,880 --> 00:34:23,040
Speaker 1: appearing in in Clash as the Greek king of the Gods,

621
00:34:23,440 --> 00:34:25,600
Speaker 1: and what I'm to understand was largely a favor to

622
00:34:25,640 --> 00:34:28,319
Speaker 1: co star Maggie Smith and her husband. Okay, so her

623
00:34:28,400 --> 00:34:32,000
Speaker 1: husband wrote the movie and decided to really play up

624
00:34:32,120 --> 00:34:36,359
Speaker 1: the part of the goddess Thetis and then have his

625
00:34:36,400 --> 00:34:39,160
Speaker 1: wife cast in that role, and then get their friend

626
00:34:39,400 --> 00:34:42,759
Speaker 1: Lawrence Olivier to play Zeus. Right, Yes, that's what I've

627
00:34:42,920 --> 00:34:46,480
Speaker 1: that's what I've read. That being said though, and also

628
00:34:46,520 --> 00:34:49,719
Speaker 1: taking into the fact that apparently Olivier was sick during

629
00:34:49,760 --> 00:34:53,480
Speaker 1: the filming, I think he's he's really good in this.

630
00:34:53,640 --> 00:34:56,719
Speaker 1: Like it's yes, he's playing he's playing a god, he's

631
00:34:56,719 --> 00:35:00,400
Speaker 1: playing Zeus, and he may just he doesn't feel like

632
00:35:00,400 --> 00:35:03,080
Speaker 1: he's going through the motions. Maybe he was, and that's

633
00:35:03,120 --> 00:35:05,279
Speaker 1: just how good he was as an actor. But I

634
00:35:05,280 --> 00:35:08,160
Speaker 1: feel like there's some wonderful dimensions to this performance as

635
00:35:08,200 --> 00:35:13,520
Speaker 1: this egotistical, calmly threatening tyrant who is also not the

636
00:35:13,640 --> 00:35:16,359
Speaker 1: villain of the piece. No, it's interesting. Yeah, you're right,

637
00:35:16,400 --> 00:35:19,200
Speaker 1: he's not the villain, even though a lot of what's

638
00:35:19,200 --> 00:35:22,840
Speaker 1: happening in the movie as a result of his capriciousness

639
00:35:22,840 --> 00:35:28,520
Speaker 1: and hypocrisy. And there's just just it's kind of accepted,

640
00:35:28,600 --> 00:35:31,080
Speaker 1: sort of as a law of nature that Zeus is

641
00:35:31,120 --> 00:35:34,839
Speaker 1: just completely unfair and that's just the reality. It's like

642
00:35:34,840 --> 00:35:37,680
Speaker 1: the Yeah, it's just the reality everybody has to deal with. Yeah.

643
00:35:37,680 --> 00:35:39,399
Speaker 1: I kind of like the scene. I think it's very

644
00:35:39,400 --> 00:35:41,799
Speaker 1: pronounced in the scene where he asked Athena to give

645
00:35:41,880 --> 00:35:44,799
Speaker 1: up her owl to Perseus and she doesn't want to,

646
00:35:44,920 --> 00:35:47,319
Speaker 1: but he's like, but it's my wish, and he does

647
00:35:47,320 --> 00:35:50,000
Speaker 1: it in this way where it's like, oh, it's just

648
00:35:50,040 --> 00:35:53,480
Speaker 1: so good. He hits it perfectly well. Also, the backstory

649
00:35:53,560 --> 00:35:57,360
Speaker 1: is hilarious because Athena already gave Perseus a helmet that

650
00:35:57,400 --> 00:36:00,279
Speaker 1: would make him invisible. That's pretty good, right, That's that's

651
00:36:00,320 --> 00:36:03,879
Speaker 1: a good Christmas present and a percys He's like, wow,

652
00:36:03,960 --> 00:36:07,359
Speaker 1: I lost it dry dropped it in the swamp. So

653
00:36:07,480 --> 00:36:09,480
Speaker 1: Zeus is like, you will get my little boy a

654
00:36:09,600 --> 00:36:12,879
Speaker 1: new present. Yes, give him your toy, give him your

655
00:36:12,920 --> 00:36:15,640
Speaker 1: favorite thing, and uh and you know she has to

656
00:36:15,680 --> 00:36:19,160
Speaker 1: do it, but she finds a loophole anyway. Lawrence Olivier

657
00:36:19,600 --> 00:36:22,759
Speaker 1: tons of tons of pictures that he was in. He was,

658
00:36:22,800 --> 00:36:25,320
Speaker 1: of course a major Shakespearean actor of stage and screen,

659
00:36:25,400 --> 00:36:27,400
Speaker 1: and his credits and compass everything from the likes of

660
00:36:27,480 --> 00:36:32,080
Speaker 1: nineteen forties Rebecca directed by Alfred Hitchcock, forty eight's Hamlet,

661
00:36:32,719 --> 00:36:35,960
Speaker 1: and also such later day largely, I guess genre hits,

662
00:36:36,000 --> 00:36:39,240
Speaker 1: such as nineteen seventy eight's The Boys from Brazil nineteen

663
00:36:39,280 --> 00:36:42,320
Speaker 1: seventy six is Marathon Man in nineteen seventy two Sleuth.

664
00:36:42,880 --> 00:36:47,399
Speaker 1: He is the diabolical Nazi dentist in Marathon Man, right,

665
00:36:47,480 --> 00:36:50,000
Speaker 1: and he's a Nazi hunter and the Boys from Brazil,

666
00:36:50,239 --> 00:36:52,279
Speaker 1: so I guess you know they bounce out Boys from

667
00:36:52,280 --> 00:36:56,440
Speaker 1: Brazil of course, is the they Tried to clone Hitler movie. Oh,

668
00:36:56,480 --> 00:36:59,600
Speaker 1: I've never seen that one. Yeah, it's oh, it's it's uh.

669
00:37:00,120 --> 00:37:01,640
Speaker 1: I haven't seen it in a while, but I remember

670
00:37:02,239 --> 00:37:04,239
Speaker 1: thinking it was good. It has Gregory Peck in it.

671
00:37:04,320 --> 00:37:09,640
Speaker 1: Gregory Peck plays doctor Mangela on the run. Yeah, all right,

672
00:37:09,920 --> 00:37:12,400
Speaker 1: other gods and try and run through some of these

673
00:37:12,480 --> 00:37:14,480
Speaker 1: quickly because okay, we have hair up played by Claire

674
00:37:14,520 --> 00:37:17,440
Speaker 1: Bloom born nineteen thirty one, known for such films as

675
00:37:17,440 --> 00:37:19,600
Speaker 1: fifty twos, Limelight, sixty three is The Haunting in two

676
00:37:19,600 --> 00:37:23,200
Speaker 1: Thousand Tents, the King's Speech still active, still going at it.

677
00:37:23,239 --> 00:37:26,239
Speaker 1: Doesn't do much in this picture. She's got like three

678
00:37:26,280 --> 00:37:30,239
Speaker 1: lines maybe, yeah, But then we have Maggie Smith again

679
00:37:30,280 --> 00:37:34,760
Speaker 1: playing thetus born nineteen thirty four. Yeah. Legendary Maggie Smith,

680
00:37:34,880 --> 00:37:37,520
Speaker 1: known probably more to modern fans for her roles in

681
00:37:37,520 --> 00:37:41,319
Speaker 1: Gosford Park, Dalton Abbey and the Harry Potter franchise, but

682
00:37:41,400 --> 00:37:43,880
Speaker 1: she's had a very long career and is also still active.

683
00:37:43,960 --> 00:37:46,920
Speaker 1: She still has she has upcoming pictures coming down the pipe,

684
00:37:47,320 --> 00:37:49,960
Speaker 1: and she's been active on TV and screen since nineteen

685
00:37:50,000 --> 00:37:52,959
Speaker 1: fifty five. Maggie Smith is great in this She's great

686
00:37:52,960 --> 00:37:55,720
Speaker 1: in everything I've ever seen her in. She's always excellent,

687
00:37:56,120 --> 00:38:01,359
Speaker 1: and her character is really interesting because you see her

688
00:38:01,400 --> 00:38:05,560
Speaker 1: from two completely different sides to the human characters. She's

689
00:38:05,600 --> 00:38:09,319
Speaker 1: basically a villain like she imposes the need to sacrifice

690
00:38:09,360 --> 00:38:12,840
Speaker 1: Princess Andromeda to the Kraken as she speaks out of

691
00:38:12,840 --> 00:38:15,880
Speaker 1: a statue to lay a curse upon the city. But

692
00:38:16,040 --> 00:38:18,160
Speaker 1: then you also see the other side, which is that

693
00:38:18,280 --> 00:38:21,440
Speaker 1: on Mount Olympus she's the underdog. You feel for her,

694
00:38:21,560 --> 00:38:24,880
Speaker 1: and you see that Zeus mistreats her. So she appears

695
00:38:24,880 --> 00:38:29,319
Speaker 1: both as a kind of sympathetic hero and as end

696
00:38:29,360 --> 00:38:33,279
Speaker 1: as a cruel, overbearing villain, depending on whether your point

697
00:38:33,280 --> 00:38:36,319
Speaker 1: of view is earthly or heavenly. Yeah, yeah, so she

698
00:38:36,480 --> 00:38:38,239
Speaker 1: definitely gets a lot of screen time and has a

699
00:38:38,800 --> 00:38:41,560
Speaker 1: ultimately a really well defined character. And then on the

700
00:38:41,560 --> 00:38:44,319
Speaker 1: other end of the spectrum we have Ursula Andres has

701
00:38:44,520 --> 00:38:48,439
Speaker 1: Aphrodite born nineteen thirty six. She only has like one

702
00:38:48,480 --> 00:38:52,200
Speaker 1: line in this film, but the Swiss model turned actor

703
00:38:52,360 --> 00:38:54,200
Speaker 1: was a major sex symbol of her time, with a

704
00:38:54,239 --> 00:38:58,720
Speaker 1: breakout role in nineteen sixty two's Doctor No Bond film.

705
00:38:59,200 --> 00:39:01,400
Speaker 1: Her other at its are kind of all over the place, like,

706
00:39:01,400 --> 00:39:04,440
Speaker 1: for instance, she's in Sergio Martino's Slave of the Cannibal

707
00:39:04,480 --> 00:39:07,680
Speaker 1: God from nineteen seventy eight. I was not prepared for this.

708
00:39:08,120 --> 00:39:10,640
Speaker 1: On rewatching, I was like Ursula Andress Oh, I guess

709
00:39:10,840 --> 00:39:13,560
Speaker 1: it was excited to see her in this movie. She says, well,

710
00:39:13,560 --> 00:39:16,080
Speaker 1: like one thing, yeah, yeah, just one line, and I

711
00:39:16,120 --> 00:39:20,160
Speaker 1: think she was pretty highly built in the picture too. Yeah,

712
00:39:20,200 --> 00:39:23,040
Speaker 1: all right, other gods we still got multiple guns to

713
00:39:23,080 --> 00:39:27,080
Speaker 1: go here. God packed this movie, but we have Poseidon,

714
00:39:27,400 --> 00:39:32,360
Speaker 1: a severely I think depowered Poseidon played by Jack Gwillam

715
00:39:32,360 --> 00:39:34,560
Speaker 1: who lived nineteen o nine through two thousand and one.

716
00:39:34,960 --> 00:39:38,200
Speaker 1: He had parts in sixty two Lawrence of Arabia, seventies Patent.

717
00:39:38,480 --> 00:39:41,520
Speaker 1: He played Van Helsing in nineteen eighty seven's The Monster Squad,

718
00:39:41,960 --> 00:39:44,760
Speaker 1: and he was also in such films as nineteen seventies Cromwell,

719
00:39:44,880 --> 00:39:47,160
Speaker 1: nineteen sixty six is A Man for All Seasons in

720
00:39:47,280 --> 00:39:49,440
Speaker 1: nineteen sixty four is the Curse of the Mummies Tomb

721
00:39:49,800 --> 00:39:52,200
Speaker 1: A Man for All Seasons? Is that the one that

722
00:39:53,360 --> 00:39:56,680
Speaker 1: that has Robert Shaw as Henry the Eighth? I believe

723
00:39:56,800 --> 00:39:59,239
Speaker 1: that's right. I've seen this film before, but it's been

724
00:39:59,239 --> 00:40:03,919
Speaker 1: a while yet. Robert Shaw and a pretty stacked cast.

725
00:40:03,960 --> 00:40:05,560
Speaker 1: I mean, you've got people like John hurd In at

726
00:40:05,920 --> 00:40:10,680
Speaker 1: Orson Wells, etc. A really good cast. Okay, so they

727
00:40:10,840 --> 00:40:14,000
Speaker 1: brought in another heavy hitter to play Poseidon. And does

728
00:40:14,160 --> 00:40:17,839
Speaker 1: Poseidon even have one line? I don't remember. Ah, yeah,

729
00:40:17,840 --> 00:40:20,200
Speaker 1: I think he speaks, but yeah, he's a very meek

730
00:40:20,200 --> 00:40:23,000
Speaker 1: Poseidon like. Basically, his role is to go down in

731
00:40:23,040 --> 00:40:26,839
Speaker 1: the water and call up the Kraken once, Zeus has

732
00:40:26,880 --> 00:40:30,560
Speaker 1: said released the Kraken, so's he's the one who actually

733
00:40:30,560 --> 00:40:34,880
Speaker 1: does the releasing. So especially given how powerful Poseidon is

734
00:40:35,360 --> 00:40:39,040
Speaker 1: in many of the traditions of Greek mythology, really he

735
00:40:39,200 --> 00:40:42,640
Speaker 1: really feels depowered here. But I would say in this film,

736
00:40:43,600 --> 00:40:47,360
Speaker 1: Maggie Smith as Thetis fills the role that would have

737
00:40:47,480 --> 00:40:51,359
Speaker 1: been played by Poseidon. M Yeah, I think I think

738
00:40:51,360 --> 00:40:54,360
Speaker 1: you're right that rolands up absorbing a lot of the

739
00:40:54,800 --> 00:40:57,480
Speaker 1: power from various other figures in it in the film.

740
00:40:58,000 --> 00:41:01,880
Speaker 1: Oh yeah, because another one another made your character from mythology. Athena,

741
00:41:01,960 --> 00:41:05,600
Speaker 1: the goddess Athena is in this played by Susan Fleetwood,

742
00:41:05,840 --> 00:41:09,560
Speaker 1: who lived nineteen forty four through nineteen ninety five. Her

743
00:41:09,600 --> 00:41:12,759
Speaker 1: other credits include nineteen nineties The Craze, This is the

744
00:41:12,760 --> 00:41:17,719
Speaker 1: one about the Underworld, London, Underworld Twins, nineteen eighty five's

745
00:41:17,760 --> 00:41:21,640
Speaker 1: young Shirlock Holmes, and she's in apparently in Tarkovsky's nineteen

746
00:41:21,640 --> 00:41:25,400
Speaker 1: eighty six film The Sacrifice, which as I remember, is

747
00:41:25,480 --> 00:41:29,799
Speaker 1: very haunting and heavy and also very long. I love Tarkovsky,

748
00:41:29,840 --> 00:41:33,600
Speaker 1: but I haven't seen that one. It's uh, it's it's

749
00:41:33,640 --> 00:41:36,680
Speaker 1: it's kind of a it's it's good. It's a deep picture.

750
00:41:36,680 --> 00:41:38,360
Speaker 1: I saw it in college. Ye, go to see it

751
00:41:38,400 --> 00:41:41,920
Speaker 1: on the big screen. But judging by this movie, Okay, Athena,

752
00:41:42,040 --> 00:41:45,480
Speaker 1: what's she got us of you know, like wisdom, crafts

753
00:41:45,680 --> 00:41:47,920
Speaker 1: wore any of that stuff. No, I think she's got

754
00:41:48,000 --> 00:41:51,040
Speaker 1: us of owls in this movie. Yeah, Goddess of pet

755
00:41:51,040 --> 00:41:56,840
Speaker 1: ownership basically, that's all she does. Goddess of veterinary practice.

756
00:41:57,160 --> 00:41:59,000
Speaker 1: Oh but we also have one more god. We have

757
00:41:59,000 --> 00:42:02,719
Speaker 1: a Festus in this played by Pat Roach. Big Pat

758
00:42:02,800 --> 00:42:05,439
Speaker 1: Roach who lived nineteen thirty seven through two thousand and four.

759
00:42:05,760 --> 00:42:10,200
Speaker 1: He plays the robot owl repairman of the gods. Yeah, yeah,

760
00:42:10,239 --> 00:42:11,919
Speaker 1: I mean he is the one you would, I guess,

761
00:42:11,920 --> 00:42:13,799
Speaker 1: go to for this sort of thing if if you

762
00:42:13,800 --> 00:42:16,000
Speaker 1: can't get ahold of data lists, you know, if you

763
00:42:16,040 --> 00:42:19,120
Speaker 1: want to keep it in Mount Olympus, then yeah, he's

764
00:42:19,160 --> 00:42:21,560
Speaker 1: the one to go to. Well, he didn't he train

765
00:42:21,840 --> 00:42:25,840
Speaker 1: data lists given some of the traditions. Oh maybe anyway.

766
00:42:26,640 --> 00:42:30,400
Speaker 1: Pat Roach British wrestler turned actor who's really in tons

767
00:42:30,400 --> 00:42:33,359
Speaker 1: of nostalgic flicks from the eighties and nineties. I think

768
00:42:33,400 --> 00:42:35,760
Speaker 1: one of the big ones that most people were familiar

769
00:42:35,760 --> 00:42:38,000
Speaker 1: with is he of course, plays that German mechanic that

770
00:42:38,120 --> 00:42:43,280
Speaker 1: Indiana Jones fistfights underneath the propeller driven airplane in Raiders

771
00:42:43,320 --> 00:42:45,839
Speaker 1: of the Last Lost Arc in nineteen eighty one. Oh yeah,

772
00:42:45,840 --> 00:42:51,279
Speaker 1: it gets turned into Nazi soup by the propeller. He's

773
00:42:51,400 --> 00:42:53,360
Speaker 1: I think he's actually in all three of the original

774
00:42:53,400 --> 00:42:56,480
Speaker 1: Indie movies playing smaller roles, and I think he plays

775
00:42:56,520 --> 00:42:58,920
Speaker 1: another role in Raiders of the the Lost Art, but this

776
00:42:58,960 --> 00:43:01,799
Speaker 1: is the big one. He plays the wizard that turns

777
00:43:01,800 --> 00:43:04,440
Speaker 1: into a monster in nineteen eighty four is Conan the Destroyer.

778
00:43:04,560 --> 00:43:08,120
Speaker 1: So he's one of many big, meaty men in a

779
00:43:08,200 --> 00:43:11,480
Speaker 1: movie that has like a whole cast of big meeting men.

780
00:43:12,120 --> 00:43:15,800
Speaker 1: I like that you'd make even your wizard big in meady. Yeah,

781
00:43:15,840 --> 00:43:18,640
Speaker 1: I mean that's that's that's a very very meaty picture,

782
00:43:19,520 --> 00:43:21,279
Speaker 1: that one. It's weird. It's like I think if I

783
00:43:21,480 --> 00:43:24,239
Speaker 1: were to talk about a Conan film on Weird House,

784
00:43:24,280 --> 00:43:25,880
Speaker 1: I think it would need to be Knan the Destroyer.

785
00:43:26,640 --> 00:43:31,480
Speaker 1: That's the goofire one. Anyway. Pat Roach also played General

786
00:43:32,280 --> 00:43:34,680
Speaker 1: Kale or Kale I can't remember how it's pronounced in

787
00:43:34,760 --> 00:43:37,640
Speaker 1: nineteen eighty eight's Willow. This is the dude with a

788
00:43:37,640 --> 00:43:42,160
Speaker 1: big like guerrilla skull on his mask. And oh and

789
00:43:42,239 --> 00:43:45,279
Speaker 1: he also played the titan Atlas and Jim Hinson's The

790
00:43:45,280 --> 00:43:48,799
Speaker 1: Storyteller the Greek Myths. So even though he's not a

791
00:43:48,840 --> 00:43:53,120
Speaker 1: Titan in this and there are very questionable titan classifications

792
00:43:53,120 --> 00:43:55,680
Speaker 1: in this film, he has played a Titan before. That

793
00:43:55,800 --> 00:43:58,480
Speaker 1: series of Jim Hinson Storyteller, by the way, I'd say,

794
00:43:58,600 --> 00:44:02,120
Speaker 1: is probably my other favorite adaptation of this story of

795
00:44:02,160 --> 00:44:05,400
Speaker 1: like the Perseus and Medusa arc and has a I

796
00:44:05,400 --> 00:44:09,359
Speaker 1: would say, has a Medusa design to rival this one. Yeah, yeah,

797
00:44:09,360 --> 00:44:11,839
Speaker 1: I remember that one did the wings, which you do

798
00:44:11,920 --> 00:44:23,719
Speaker 1: see in a number of the accounts of old All right,

799
00:44:23,760 --> 00:44:25,560
Speaker 1: we'll show we get into the plot of Clash of

800
00:44:25,640 --> 00:44:28,239
Speaker 1: the Titans. These Titans got a clash, baby, so let's

801
00:44:28,400 --> 00:44:30,640
Speaker 1: let's find out how they do it. Okay, Well, one

802
00:44:30,640 --> 00:44:33,279
Speaker 1: thing I wanted to denote is it is amazing how

803
00:44:33,360 --> 00:44:35,800
Speaker 1: much plot they are able to cram into two hours

804
00:44:35,840 --> 00:44:39,160
Speaker 1: in this movie. We may focus in more granular detail

805
00:44:39,200 --> 00:44:41,239
Speaker 1: on the earlier parts of the movie and then hop

806
00:44:41,239 --> 00:44:44,640
Speaker 1: around for some of the later adventures. But it has

807
00:44:44,640 --> 00:44:47,799
Speaker 1: a great opening as howling wind dust blowing in the

808
00:44:47,800 --> 00:44:50,759
Speaker 1: foreground and then through a haze. We see a procession

809
00:44:50,760 --> 00:44:53,720
Speaker 1: of Greek soldiers escorting like a coffin or a litter.

810
00:44:53,880 --> 00:44:56,360
Speaker 1: It's a it's a box. And then we get the

811
00:44:56,400 --> 00:44:59,640
Speaker 1: opening lines spoken by the wicked king, a crazy Us,

812
00:45:00,120 --> 00:45:03,440
Speaker 1: who says, bear witness Zeus and all you gods on

813
00:45:03,520 --> 00:45:07,439
Speaker 1: high Olympus, I condemn my daughter Danae and her son

814
00:45:07,520 --> 00:45:11,040
Speaker 1: Perseus to the sea. Her guilt and sin have brought

815
00:45:11,120 --> 00:45:14,759
Speaker 1: shame to Argus. I A crazy Us, the king. Now

816
00:45:14,880 --> 00:45:18,480
Speaker 1: purge her crime and restore my honor. Their blood is

817
00:45:18,520 --> 00:45:22,120
Speaker 1: not on my hands. And then he has them put

818
00:45:22,160 --> 00:45:25,520
Speaker 1: into the box. Danny is clutching her baby boy and

819
00:45:25,560 --> 00:45:28,120
Speaker 1: they put him in the box, cast him into the ocean,

820
00:45:28,160 --> 00:45:31,080
Speaker 1: and we see the box being tossed cruelly by the waves.

821
00:45:31,760 --> 00:45:35,680
Speaker 1: Now we know in the story that a Crazius does

822
00:45:35,719 --> 00:45:39,480
Speaker 1: this to avert a prophecy that Perseus will bring about

823
00:45:39,600 --> 00:45:42,840
Speaker 1: his doom. Does the movie tell us this? I don't

824
00:45:42,880 --> 00:45:46,160
Speaker 1: think it does, or if it does, I missed it. No.

825
00:45:46,880 --> 00:45:48,640
Speaker 1: What I got from it was just the basic like

826
00:45:49,120 --> 00:45:52,120
Speaker 1: something's wrong. Zeus demands this, so I'm going to do it.

827
00:45:52,680 --> 00:45:54,360
Speaker 1: That's all there is to it. Zeus said it. I

828
00:45:54,400 --> 00:45:58,000
Speaker 1: believe it. There you go. But it turns out Zeus

829
00:45:58,040 --> 00:45:59,920
Speaker 1: does not want this, because we're going to go to

830
00:46:00,040 --> 00:46:01,840
Speaker 1: Mount Olympus in a minute, and Zeus is going to

831
00:46:01,920 --> 00:46:05,680
Speaker 1: be like, why did you do that? So what I

832
00:46:05,719 --> 00:46:08,359
Speaker 1: wanted to ask first, I couldn't tell where a lot

833
00:46:08,400 --> 00:46:11,080
Speaker 1: of the location shots in this movie were coming from.

834
00:46:11,520 --> 00:46:14,799
Speaker 1: There are parts right here at the opening on this coastline,

835
00:46:14,800 --> 00:46:16,799
Speaker 1: which I assume is supposed to be in Greece, but

836
00:46:16,840 --> 00:46:20,320
Speaker 1: they looked like Scotland. Yeah. I read that they filmed

837
00:46:20,440 --> 00:46:23,000
Speaker 1: at Pinewood Studios, I guess for you know, the interiors,

838
00:46:23,080 --> 00:46:27,279
Speaker 1: and then they also shot in various places in the Mediterranean,

839
00:46:27,360 --> 00:46:32,160
Speaker 1: So I mean that's ultimately I'm not sure where that

840
00:46:32,280 --> 00:46:34,920
Speaker 1: they are in this particular scene though. Well, from here

841
00:46:34,920 --> 00:46:37,200
Speaker 1: we go to the opening credits and we zoom over

842
00:46:37,280 --> 00:46:41,160
Speaker 1: beautiful landscapes and you see the mountain peaks, the spires,

843
00:46:41,239 --> 00:46:44,560
Speaker 1: glacier pockets and the crevices of the rocks. And this

844
00:46:44,640 --> 00:46:46,920
Speaker 1: is the kind of landscape stuff that always works on me,

845
00:46:47,040 --> 00:46:49,400
Speaker 1: you know, it puts me in the right mood for

846
00:46:49,440 --> 00:46:52,600
Speaker 1: an epic. I recall thinking that Krull also got a

847
00:46:52,640 --> 00:46:55,960
Speaker 1: lot of mileage out of just beautiful landscape shots that

848
00:46:56,000 --> 00:46:58,560
Speaker 1: weren't strictly related to the story. Just put a camera

849
00:46:58,680 --> 00:47:02,320
Speaker 1: up on top of the mountains and you know it works.

850
00:47:02,600 --> 00:47:05,800
Speaker 1: They do it for a reason. Well, Krol is the planet,

851
00:47:05,880 --> 00:47:07,839
Speaker 1: so you got to see a lot of her. Yet, right,

852
00:47:08,280 --> 00:47:12,319
Speaker 1: ladies and gentlemen meet Kroll. But from here we go

853
00:47:12,400 --> 00:47:15,560
Speaker 1: to Mount Olympus, which this is not on a mountain,

854
00:47:15,600 --> 00:47:19,759
Speaker 1: it's an indoor studio set, and the you know, bunch

855
00:47:19,800 --> 00:47:23,440
Speaker 1: of gods in white robes are standing around on marble

856
00:47:23,480 --> 00:47:27,760
Speaker 1: floors with big columns in the background. I'd love Clash

857
00:47:27,760 --> 00:47:30,480
Speaker 1: of the Titans, but I feel like the Olympus set,

858
00:47:30,719 --> 00:47:32,279
Speaker 1: I don't know, it feels kind of boring to me.

859
00:47:32,320 --> 00:47:34,040
Speaker 1: I feel like they could have made the gods look

860
00:47:34,120 --> 00:47:37,799
Speaker 1: more interesting. Yeah, it's like it basically looks like a

861
00:47:37,800 --> 00:47:41,440
Speaker 1: bunch of older people are about to be adult baptized.

862
00:47:41,480 --> 00:47:44,439
Speaker 1: You know, they have like baphysmal gowns on, and they're

863
00:47:44,480 --> 00:47:48,719
Speaker 1: standing around in like the standing around a big mall

864
00:47:48,800 --> 00:47:51,040
Speaker 1: somewhere with a lot of white marble. Though I do

865
00:47:51,160 --> 00:47:53,600
Speaker 1: love the Throne, The Throne. When we switched the scenes

866
00:47:53,600 --> 00:47:56,040
Speaker 1: of the Throne, it's pretty pretty great because there is

867
00:47:56,160 --> 00:48:01,440
Speaker 1: Laurence Olivier in his big sterling white robe with a

868
00:48:01,520 --> 00:48:04,640
Speaker 1: gold lion on one side, a gold snake wrapped around

869
00:48:04,680 --> 00:48:06,960
Speaker 1: an egg on the other. He is on a throne

870
00:48:06,960 --> 00:48:09,799
Speaker 1: of white marble, and behind his head is like a

871
00:48:09,800 --> 00:48:12,880
Speaker 1: blue laser show. Yes, I do like the laser show.

872
00:48:13,400 --> 00:48:16,359
Speaker 1: And I guess that's to show the power emanating from

873
00:48:16,480 --> 00:48:20,560
Speaker 1: the throne of Zeus. And he clearly he's more powerful

874
00:48:20,600 --> 00:48:22,680
Speaker 1: than all the other gods. They're not going to do

875
00:48:22,719 --> 00:48:25,920
Speaker 1: anything without his approval. So one of the gods brings

876
00:48:25,920 --> 00:48:29,279
Speaker 1: the report of what he just saw, which is King

877
00:48:29,360 --> 00:48:31,879
Speaker 1: of crazis, Hey, he threw his daughter and her baby

878
00:48:31,960 --> 00:48:35,279
Speaker 1: son into the ocean in a box. And some of

879
00:48:35,280 --> 00:48:37,440
Speaker 1: the gods here, I think maybe this is this is

880
00:48:37,760 --> 00:48:40,800
Speaker 1: Thetis or Hera, maybe Thetis. They try to defend a

881
00:48:40,880 --> 00:48:43,480
Speaker 1: crazy Us. They say, hey, look, Zeus, he built a

882
00:48:43,480 --> 00:48:46,360
Speaker 1: lot of really solid temples. He dedicated them to you.

883
00:48:47,360 --> 00:48:49,680
Speaker 1: Who really cares if you throw a woman and a

884
00:48:49,760 --> 00:48:53,400
Speaker 1: child in the ocean. But Zeus is incensed by this.

885
00:48:53,520 --> 00:48:56,680
Speaker 1: He says, a hundred good deeds cannot atone for murder.

886
00:48:56,719 --> 00:48:59,160
Speaker 1: I don't care how many temples he dedicated to me.

887
00:48:59,840 --> 00:49:02,840
Speaker 1: You can't. You can't do this to people. And in

888
00:49:02,920 --> 00:49:05,080
Speaker 1: this scene, we go around, he kind of like addresses

889
00:49:05,120 --> 00:49:08,240
Speaker 1: each of the gods. We see Athena holding her owl.

890
00:49:08,440 --> 00:49:11,960
Speaker 1: We see Aphrodite, and again this is Ursula andres here

891
00:49:12,000 --> 00:49:16,680
Speaker 1: and she It's interesting, you know, Aphrodite is supposed to

892
00:49:16,719 --> 00:49:18,920
Speaker 1: be the goddess of love, but she is making a

893
00:49:19,000 --> 00:49:21,959
Speaker 1: face like she has just handed someone a goblet full

894
00:49:22,000 --> 00:49:25,239
Speaker 1: of poisoned wine and is watching them drink it, like

895
00:49:25,320 --> 00:49:27,120
Speaker 1: she just found out that all of her dialogue got

896
00:49:27,160 --> 00:49:34,160
Speaker 1: cut from the Yeah. So Zeus is demand he demands justice.

897
00:49:34,239 --> 00:49:38,280
Speaker 1: He says, nothing can erase this horrible crime. And so

898
00:49:39,000 --> 00:49:42,239
Speaker 1: he says that King Acrazius must be punished, but not

899
00:49:42,320 --> 00:49:45,080
Speaker 1: just him, him and his people too. By the way,

900
00:49:44,760 --> 00:49:48,080
Speaker 1: let's let's just do his whole city. Let's throw them

901
00:49:48,080 --> 00:49:50,360
Speaker 1: in there. So he calls up Poseidon. He says, I

902
00:49:50,400 --> 00:49:52,799
Speaker 1: command you to raise the wind and the sea and

903
00:49:52,840 --> 00:49:57,880
Speaker 1: then let loose the kraken. Oh, and also protected Danny

904
00:49:58,000 --> 00:49:59,680
Speaker 1: and her son. He's like, make sure they get some

905
00:49:59,719 --> 00:50:02,440
Speaker 1: worse safe. Yeah, because they I don't know if it's

906
00:50:02,480 --> 00:50:04,960
Speaker 1: revealed yet, but they revealed shortly after this that, of course,

907
00:50:05,840 --> 00:50:08,879
Speaker 1: as we know from from the mythology, Perseus is Zeus's son,

908
00:50:09,120 --> 00:50:12,440
Speaker 1: So of course he's invested in this particular individual and

909
00:50:12,560 --> 00:50:15,960
Speaker 1: his mom because it's for Zeus. It's all about him,

910
00:50:16,920 --> 00:50:18,680
Speaker 1: like that's and I guess he is the king of

911
00:50:18,680 --> 00:50:21,440
Speaker 1: the universe in this narrative, so maybe he has a

912
00:50:21,440 --> 00:50:24,359
Speaker 1: reason to feel So I feel that way, But that's

913
00:50:24,360 --> 00:50:27,240
Speaker 1: how he approaches everything, right, that is what happened. And

914
00:50:27,320 --> 00:50:28,920
Speaker 1: they go back to sort of like all the god's

915
00:50:28,960 --> 00:50:31,000
Speaker 1: gossiping about it. They're all like, oh, you know what

916
00:50:31,120 --> 00:50:35,640
Speaker 1: really happened. He Zeus quote loved that girl, Danny, and

917
00:50:35,680 --> 00:50:38,760
Speaker 1: then he got her pregnant with Perseus, and so that's

918
00:50:38,800 --> 00:50:41,319
Speaker 1: his own son. So that's why he's protecting them, and

919
00:50:41,400 --> 00:50:45,200
Speaker 1: that's why he's mad. Now, Rob, did you have any

920
00:50:45,200 --> 00:50:47,400
Speaker 1: thoughts about the fact that in this movie Zeus appears

921
00:50:47,440 --> 00:50:51,400
Speaker 1: to have a miniatures hobby, As I know you sometimes

922
00:50:51,560 --> 00:50:54,360
Speaker 1: mess around with some miniatures yourself, so so yeah, what

923
00:50:54,840 --> 00:50:57,440
Speaker 1: are your thoughts. Well, I mean, I think this is

924
00:50:57,440 --> 00:51:00,680
Speaker 1: one of the great set pieces in the picture because

925
00:51:00,680 --> 00:51:03,319
Speaker 1: he has this room with this these wonderful shelves. Each

926
00:51:03,360 --> 00:51:06,239
Speaker 1: one has a mini on it, a mini representing a

927
00:51:06,280 --> 00:51:09,600
Speaker 1: different mortal in the world. Um. On one level, I've

928
00:51:09,600 --> 00:51:12,279
Speaker 1: always liked this because this is just prime. Uh, this

929
00:51:12,320 --> 00:51:15,240
Speaker 1: is a prime way to display your miniature collection. But

930
00:51:15,400 --> 00:51:18,400
Speaker 1: also it's a it's a great set and it it

931
00:51:18,560 --> 00:51:22,640
Speaker 1: really nicely displays this idea that the mortals are, in

932
00:51:22,640 --> 00:51:26,200
Speaker 1: this case literally the playthings of the gods. Like they're like,

933
00:51:26,280 --> 00:51:28,840
Speaker 1: that's that's literally, Like he'll we see this time and

934
00:51:28,880 --> 00:51:31,040
Speaker 1: time again. You know, they'll pick one of these up

935
00:51:31,040 --> 00:51:33,319
Speaker 1: and they'll do something to it. They'll break it or

936
00:51:33,360 --> 00:51:36,840
Speaker 1: they'll repair it. And it has real world ramifications for

937
00:51:36,920 --> 00:51:40,000
Speaker 1: the individual it represents. But to the gods, it's it's

938
00:51:40,000 --> 00:51:42,680
Speaker 1: solid game. It's all ultimately about them, or at least

939
00:51:42,680 --> 00:51:44,920
Speaker 1: that's what the movie is saying. So Greek Pantheon, if

940
00:51:44,920 --> 00:51:47,479
Speaker 1: you're listening, I'm just interpreting what the film is saying.

941
00:51:47,880 --> 00:51:52,360
Speaker 1: It's not me, don't turn me into a spider. We

942
00:51:52,400 --> 00:51:54,279
Speaker 1: see Zeus kind of pulled it does he pull down

943
00:51:54,320 --> 00:51:58,359
Speaker 1: the craziest mini fig here and he's like, ooh, I'm

944
00:51:58,360 --> 00:52:01,080
Speaker 1: done with you and just crushes it it. Yeah, and

945
00:52:01,080 --> 00:52:03,319
Speaker 1: then we see like basically then we see the real

946
00:52:03,400 --> 00:52:05,960
Speaker 1: life King just have a heart attack in the middle

947
00:52:06,000 --> 00:52:09,200
Speaker 1: of the street while the winds and are rolling in

948
00:52:09,239 --> 00:52:11,759
Speaker 1: and the earthquakes are beginning. Yeah, he just goes and

949
00:52:12,000 --> 00:52:15,839
Speaker 1: blood starts coming out of his mouth, and and also yes,

950
00:52:16,000 --> 00:52:20,719
Speaker 1: argos the city is doomed. So we see Poseidon. He's

951
00:52:20,800 --> 00:52:23,799
Speaker 1: underwater and he raises up the waters and causes like

952
00:52:23,840 --> 00:52:26,000
Speaker 1: a tidal wave to wash over the city, destroy all

953
00:52:26,040 --> 00:52:29,800
Speaker 1: the buildings, kill all the people, and then the cracking attacks. Yeah.

954
00:52:29,840 --> 00:52:33,080
Speaker 1: So the effects here, you know, by modern standards, are

955
00:52:33,080 --> 00:52:36,360
Speaker 1: maybe a little a little rougher around the edges, but

956
00:52:36,600 --> 00:52:38,600
Speaker 1: there's no denying the cracking when he shows up. This

957
00:52:38,719 --> 00:52:43,399
Speaker 1: is our first glimpse at the big stop motion beast here.

958
00:52:43,760 --> 00:52:46,000
Speaker 1: I've always loved this design. It's you know, there's a

959
00:52:46,000 --> 00:52:49,560
Speaker 1: certain amount of creature from the Black Lagoon wound up

960
00:52:49,560 --> 00:52:51,799
Speaker 1: in him. But you know, he also has these these

961
00:52:51,840 --> 00:52:54,000
Speaker 1: four long arms that are kind of squid like. He's

962
00:52:54,040 --> 00:52:58,959
Speaker 1: also very reminiscent of some sort of great gigantic mirbast. Yeah.

963
00:52:59,000 --> 00:53:00,880
Speaker 1: I was gonna say a cross between creature from the

964
00:53:00,880 --> 00:53:05,440
Speaker 1: Black Lagoon and kind of a Capuchin monkey. Yeah. All right,

965
00:53:05,480 --> 00:53:07,680
Speaker 1: So we get a report about that in ment Olympus.

966
00:53:08,080 --> 00:53:10,800
Speaker 1: That city's been destroyed and Danny and her child have

967
00:53:10,920 --> 00:53:13,920
Speaker 1: been brought to safety on the island of Sara Foss,

968
00:53:14,040 --> 00:53:16,759
Speaker 1: where they will be allowed to live in peace and security.

969
00:53:17,800 --> 00:53:20,120
Speaker 1: And then we get some scenes indicating that Perseus has

970
00:53:20,120 --> 00:53:22,080
Speaker 1: really grown up fast, because we see him do like

971
00:53:22,160 --> 00:53:25,480
Speaker 1: trick riding on ponies on the beach. Yeah. Yeah, he's

972
00:53:25,480 --> 00:53:29,759
Speaker 1: a strapping young lad. And Zeus is commenting on this.

973
00:53:29,920 --> 00:53:32,400
Speaker 1: He's like, the advantage of a strong body and a

974
00:53:32,440 --> 00:53:36,279
Speaker 1: handsome face. What could any mortal desire or deserve more?

975
00:53:39,120 --> 00:53:40,839
Speaker 1: He puts him up there on the shelf iget it's

976
00:53:40,840 --> 00:53:43,879
Speaker 1: great because he's like, he's like, it's a all these

977
00:53:44,000 --> 00:53:48,000
Speaker 1: these mortals are to him, are just like fancy beautiful playthings. Yeah,

978
00:53:48,400 --> 00:53:51,280
Speaker 1: this one he's personally invested in. Yeah, He's like Herah,

979
00:53:51,440 --> 00:53:55,799
Speaker 1: tell me my son is handsome. Oh. But then so

980
00:53:55,880 --> 00:53:58,600
Speaker 1: Maggie Smith comes in and she you know, he's talking

981
00:53:58,640 --> 00:54:01,600
Speaker 1: about his son, and she goes, what of my son Calibos.

982
00:54:01,719 --> 00:54:05,200
Speaker 1: This is the first we've heard of him. But Zeus

983
00:54:05,320 --> 00:54:08,560
Speaker 1: essentially is like, well, it sucks to be him. We

984
00:54:08,640 --> 00:54:11,719
Speaker 1: get the impression that Calibos was sort of a Taz

985
00:54:11,840 --> 00:54:14,920
Speaker 1: like figure, just sort of like going around destroying everything

986
00:54:14,960 --> 00:54:18,840
Speaker 1: he touched. He even killed all of Zeus's flying horses

987
00:54:19,280 --> 00:54:24,200
Speaker 1: except for the one Pegasus, and for his crimes Calibos

988
00:54:24,239 --> 00:54:26,720
Speaker 1: has been sent to live in a soggy marsh where

989
00:54:26,760 --> 00:54:29,920
Speaker 1: he is transformed into a monster, a mockery of the

990
00:54:30,000 --> 00:54:33,000
Speaker 1: human form. And we don't see Calibos yet, but we

991
00:54:33,040 --> 00:54:36,880
Speaker 1: do see a mini fig of him. Yeah, is that

992
00:54:36,960 --> 00:54:39,480
Speaker 1: I think this is kind of the transformation sequence right

993
00:54:39,480 --> 00:54:44,480
Speaker 1: where he puts He puts the figurine of human Calabos

994
00:54:44,800 --> 00:54:47,759
Speaker 1: in the middle of this arena they have there, and

995
00:54:47,800 --> 00:54:50,840
Speaker 1: then we cut to the shadow of the mini and

996
00:54:50,960 --> 00:54:54,759
Speaker 1: we see it twist and mutate into this beast man.

997
00:54:55,160 --> 00:54:57,759
Speaker 1: And so I always love this scene because, yeah, we

998
00:54:57,760 --> 00:55:00,120
Speaker 1: don't actually see a man turn into a monster. We

999
00:55:00,200 --> 00:55:02,640
Speaker 1: just see the shadow of a mini figure of that

1000
00:55:02,719 --> 00:55:06,080
Speaker 1: man turn into a monster. And it's still highly effective,

1001
00:55:06,640 --> 00:55:11,040
Speaker 1: I agree. But then, of course Maggie Smith, she's she's suffering.

1002
00:55:11,120 --> 00:55:12,719
Speaker 1: She's like, how could you do this to my son.

1003
00:55:12,880 --> 00:55:16,399
Speaker 1: He's to marry the princess Andromeda, and Zeus says, let

1004
00:55:16,440 --> 00:55:21,520
Speaker 1: the princess look upon him. Now. Now, of course, Thetis

1005
00:55:21,880 --> 00:55:25,560
Speaker 1: points out Zeus's hypocrisy here. She's like, you know, if

1006
00:55:25,920 --> 00:55:28,759
Speaker 1: if that were your son, you wouldn't do this to him.

1007
00:55:29,600 --> 00:55:32,200
Speaker 1: So eventually, when Zeus is gone, she's like, I'm going

1008
00:55:32,239 --> 00:55:35,280
Speaker 1: to get revenge. If my son is not to marry

1009
00:55:35,280 --> 00:55:38,960
Speaker 1: Princess Andromeda, then no man will I will speak to

1010
00:55:38,960 --> 00:55:42,640
Speaker 1: the priests of Joppa in dreams and omens, and as

1011
00:55:42,719 --> 00:55:46,600
Speaker 1: my son Calibas suffers so well Andromeda. So she's gonna

1012
00:55:46,680 --> 00:55:50,640
Speaker 1: send send some people some revelations that will interfere with

1013
00:55:51,800 --> 00:55:55,000
Speaker 1: Andromeda's ability to live a happy life and and with

1014
00:55:55,040 --> 00:55:58,239
Speaker 1: the general well being of the city of Joppa. But

1015
00:55:58,320 --> 00:56:00,920
Speaker 1: what of Perseus. Oh yeah, she's got to get revenge

1016
00:56:00,920 --> 00:56:05,239
Speaker 1: against Zeus's son as well. So here's where she I

1017
00:56:05,280 --> 00:56:08,160
Speaker 1: didn't quite get this, as like, why is this vengeance?

1018
00:56:08,200 --> 00:56:11,279
Speaker 1: But her vengeance is Perseus. Now he's grown up. Now

1019
00:56:11,280 --> 00:56:14,040
Speaker 1: he's Harry Hamlin. And he's just laying out on the

1020
00:56:14,040 --> 00:56:17,600
Speaker 1: beach one night, you know, just laying there and saying,

1021
00:56:17,680 --> 00:56:20,040
Speaker 1: looking at the stars, I guess, And she says, time

1022
00:56:20,120 --> 00:56:23,040
Speaker 1: to know the terrors of the dark and look on death.

1023
00:56:23,400 --> 00:56:26,640
Speaker 1: Time your eyes were open to grim reality. And she

1024
00:56:26,719 --> 00:56:29,520
Speaker 1: picks up the mini fig of him and moves it

1025
00:56:29,600 --> 00:56:35,400
Speaker 1: to an amphitheater setting, and somehow Harry Hamlin is transported

1026
00:56:35,560 --> 00:56:40,880
Speaker 1: from the island of sarah Foss to the Amphitheater of Joppa,

1027
00:56:40,960 --> 00:56:45,320
Speaker 1: and there he wakes up. Yep, did you understand why

1028
00:56:45,360 --> 00:56:47,400
Speaker 1: this was revenge? You just see, Well, I'm going to

1029
00:56:47,520 --> 00:56:51,239
Speaker 1: take you to a random different place. I yeah. I mean,

1030
00:56:51,440 --> 00:56:53,799
Speaker 1: you know, she has the forethought of a goddess, so

1031
00:56:53,920 --> 00:56:56,040
Speaker 1: maybe she knows more about it. But at the very least,

1032
00:56:56,040 --> 00:56:58,040
Speaker 1: I guess it's like, I'm going to take you away

1033
00:56:58,080 --> 00:57:00,719
Speaker 1: from your secluded beach home and I'm going to drop

1034
00:57:00,760 --> 00:57:03,360
Speaker 1: you into the middle of a very complex and dangerous

1035
00:57:03,400 --> 00:57:05,319
Speaker 1: city and we'll see, we'll see how fancy you are.

1036
00:57:07,040 --> 00:57:10,160
Speaker 1: But when he wakes up here, he meets a mysterious

1037
00:57:10,160 --> 00:57:14,160
Speaker 1: figure wearing a grotesque theater mask and shouting at him,

1038
00:57:14,200 --> 00:57:17,360
Speaker 1: who are you walking among all the smoke? But it

1039
00:57:17,360 --> 00:57:20,480
Speaker 1: turns out to be Burgess Meredith, who is perfectly friendly

1040
00:57:20,600 --> 00:57:24,280
Speaker 1: as this character am on once they get to know

1041
00:57:24,360 --> 00:57:27,959
Speaker 1: each other, and he explains, oh yeah, yeah, I see.

1042
00:57:28,000 --> 00:57:31,560
Speaker 1: I pretend that this amphitheater is haunted to keep people away.

1043
00:57:31,760 --> 00:57:34,240
Speaker 1: This is the Amphitheater of Joppa. Here's where you are now,

1044
00:57:34,720 --> 00:57:37,280
Speaker 1: and you must have made the gods angry somehow to

1045
00:57:37,320 --> 00:57:41,200
Speaker 1: get transported here. I'm not sure what the business model

1046
00:57:41,240 --> 00:57:45,160
Speaker 1: for this amphitheaters. Yeah, I wonder about that, but they

1047
00:57:45,200 --> 00:57:48,960
Speaker 1: share some backstory. It turns out Amon already knows Perseus's

1048
00:57:49,000 --> 00:57:51,920
Speaker 1: backstory because he even wrote a poem about it. It

1049
00:57:51,920 --> 00:57:55,720
Speaker 1: turns out Perseus is famous and he didn't even know it. Yeah,

1050
00:57:55,760 --> 00:57:58,240
Speaker 1: but every every moment with Amon, it's just a lot

1051
00:57:58,280 --> 00:58:02,200
Speaker 1: of fun because again it's it's a lighthearted character and

1052
00:58:02,400 --> 00:58:06,080
Speaker 1: Bertie's Meritith just brings so much to this performance. It

1053
00:58:06,120 --> 00:58:09,000
Speaker 1: just breathes life into every little line. I like how

1054
00:58:09,000 --> 00:58:11,919
Speaker 1: he's got a lot of kitty cats around his house. Yeah, yeah,

1055
00:58:12,280 --> 00:58:13,960
Speaker 1: a whole bunch of like you just can't even get

1056
00:58:14,000 --> 00:58:18,000
Speaker 1: to important paperwork because they're just kitty cats everywhere. He

1057
00:58:18,080 --> 00:58:22,280
Speaker 1: gives Perseus a prince costume, so he's like, you know,

1058
00:58:22,320 --> 00:58:25,800
Speaker 1: welcome to Joppa. You know, this is more befitting of

1059
00:58:25,800 --> 00:58:27,919
Speaker 1: your role as a prince because you are the son

1060
00:58:27,920 --> 00:58:32,480
Speaker 1: of Zeus. And then Zeus finds out that Thetis transported

1061
00:58:32,520 --> 00:58:36,280
Speaker 1: Perseus from Sara Fas to Joppa and he's mad about this.

1062
00:58:36,720 --> 00:58:38,760
Speaker 1: So what's he going to do about it? He's like, well,

1063
00:58:39,120 --> 00:58:42,200
Speaker 1: Perseus is naked. That's no good. We've got to equip

1064
00:58:42,320 --> 00:58:45,920
Speaker 1: some items with him. He says, we need weapons of

1065
00:58:46,000 --> 00:58:48,960
Speaker 1: divine temper, So what are the weapons he gets, it

1066
00:58:49,000 --> 00:58:51,680
Speaker 1: seems like only two of the three things are actually weapons,

1067
00:58:51,840 --> 00:58:55,320
Speaker 1: but let's describe them all. So he gets a magical

1068
00:58:55,440 --> 00:59:00,440
Speaker 1: helmet from Athena, he gets a sword from Aphroda and

1069
00:59:00,480 --> 00:59:02,960
Speaker 1: a shield from Hera. And what's the deal with all

1070
00:59:03,000 --> 00:59:05,960
Speaker 1: three of these things. Well, let's see what. The magical

1071
00:59:06,040 --> 00:59:08,640
Speaker 1: helmet makes him invisible. The sword is just really good.

1072
00:59:09,080 --> 00:59:11,880
Speaker 1: And the shield Zeus can talk to him through the shield.

1073
00:59:11,880 --> 00:59:14,040
Speaker 1: I think that's the main power. I think he only

1074
00:59:14,080 --> 00:59:17,680
Speaker 1: does one time though. Well. The shield is reflective, that's

1075
00:59:17,720 --> 00:59:20,280
Speaker 1: what it is. It has a nice mirror on one side.

1076
00:59:20,360 --> 00:59:23,480
Speaker 1: It's a mirrord shield, which will come in with Medusa.

1077
00:59:23,960 --> 00:59:26,840
Speaker 1: But the sword from Aphrodite, I don't know why Aphrodite

1078
00:59:26,840 --> 00:59:29,080
Speaker 1: has the strongest sword in the world, but it's a

1079
00:59:29,120 --> 00:59:32,080
Speaker 1: sword that can cut through stone. Oh yes, yeah, we

1080
00:59:32,120 --> 00:59:34,160
Speaker 1: see a scene where it cuts through the stone. That's right.

1081
00:59:34,760 --> 00:59:36,600
Speaker 1: But all of it's really shiny. All of it looks

1082
00:59:36,600 --> 00:59:39,960
Speaker 1: really good. And this is also really It also kind

1083
00:59:39,960 --> 00:59:41,640
Speaker 1: of feels at this point in the picture it's kind

1084
00:59:41,680 --> 00:59:45,960
Speaker 1: of like lazy dungeon mastering because our character has just

1085
00:59:46,000 --> 00:59:48,680
Speaker 1: been moved by the gods, dropped into a new location

1086
00:59:48,960 --> 00:59:54,520
Speaker 1: and instantly given three legendary strength magical items, which he

1087
00:59:54,600 --> 00:59:57,000
Speaker 1: doesn't have to do anything in order to get them.

1088
00:59:57,040 --> 01:00:00,320
Speaker 1: They're just laying around when he comes to But I'm

1089
01:00:00,360 --> 01:00:04,520
Speaker 1: imagining Perseus here having to do wisdom saving throws, and

1090
01:00:05,320 --> 01:00:08,120
Speaker 1: I don't know about that. Yeah, I'm gonna have a

1091
01:00:08,160 --> 01:00:10,480
Speaker 1: disadvantage there because I don't you know, he hasn't done

1092
01:00:10,480 --> 01:00:12,400
Speaker 1: any real adventuring. He's done some horse tricks on a

1093
01:00:12,400 --> 01:00:16,000
Speaker 1: beach somewhere, but we have nothing to indicate that he's

1094
01:00:16,480 --> 01:00:20,520
Speaker 1: He's ready from an experienced standpoint, to do a lot

1095
01:00:20,520 --> 01:00:23,120
Speaker 1: of adventuring. But again, he is the son of a god,

1096
01:00:23,200 --> 01:00:25,040
Speaker 1: though ideally, I guess there's a lot of this. It's

1097
01:00:25,040 --> 01:00:28,480
Speaker 1: just sort of built into his godlike DNA, I guess. So.

1098
01:00:28,600 --> 01:00:31,200
Speaker 1: But as soon as Perseus figures out that the helmet

1099
01:00:31,240 --> 01:00:33,480
Speaker 1: makes him invisible, he puts it on and runs off

1100
01:00:33,520 --> 01:00:46,840
Speaker 1: to Joppa. So in Joppa, Perseus is amazed by the culture.

1101
01:00:47,280 --> 01:00:49,320
Speaker 1: He's a small town boy, after all, he's from the

1102
01:00:49,880 --> 01:00:52,080
Speaker 1: sleepy island of Sara Fa, so I think he's never

1103
01:00:52,080 --> 01:00:54,920
Speaker 1: seen the big city before. And he goes around marveling

1104
01:00:54,920 --> 01:00:57,200
Speaker 1: at all the sights and sounds in the marketplace. The

1105
01:00:57,320 --> 01:01:00,840
Speaker 1: most impressive of which, in my opinion, is the man

1106
01:01:00,960 --> 01:01:04,000
Speaker 1: with the iron mustache. A guy who is lifting up

1107
01:01:04,240 --> 01:01:08,560
Speaker 1: this like it's got this lady getting into a harness

1108
01:01:08,800 --> 01:01:12,240
Speaker 1: and this dude uses it to lift her entire body

1109
01:01:12,280 --> 01:01:17,160
Speaker 1: off the ground with his mustache. It is most impressive. Yeah,

1110
01:01:17,200 --> 01:01:19,080
Speaker 1: and this though, I love this whole sequence here because

1111
01:01:19,120 --> 01:01:25,000
Speaker 1: it's like lepers, strong men, you know, fancy ladies, seductive ladies,

1112
01:01:25,120 --> 01:01:29,400
Speaker 1: people selling things. It's just it's it's it's a neat scene.

1113
01:01:29,640 --> 01:01:32,840
Speaker 1: But then Perseus comes across a horrible site, a body

1114
01:01:33,040 --> 01:01:36,560
Speaker 1: burning on a steak, and he meets a guard. Is

1115
01:01:36,600 --> 01:01:39,400
Speaker 1: this Thalo? Is that this would be him? Okay, yeah,

1116
01:01:39,400 --> 01:01:41,920
Speaker 1: he meets Thalo and he gets some expositions. So we

1117
01:01:42,040 --> 01:01:44,560
Speaker 1: learned that this guy burning over here, this was a

1118
01:01:44,600 --> 01:01:48,920
Speaker 1: suitor to the beautiful Princess Andromeda and Robina's mother, Cassie

1119
01:01:48,920 --> 01:01:53,400
Speaker 1: Appia originally pledged Andromeda's hand in marriage to Calabos. But

1120
01:01:53,920 --> 01:01:56,760
Speaker 1: Calibos was cruel and he did some bad stuff. He

1121
01:01:56,800 --> 01:01:59,600
Speaker 1: was kind of a taz and then he got transformed

1122
01:01:59,600 --> 01:02:02,960
Speaker 1: into a horrible monster, so now he's very ugly. And

1123
01:02:02,960 --> 01:02:06,240
Speaker 1: Andromeda refused to marry him, and as a result, the

1124
01:02:06,280 --> 01:02:10,600
Speaker 1: city is cursed, it's swarmed with stinging marsh flies. And also,

1125
01:02:10,720 --> 01:02:13,600
Speaker 1: now any man can propose to Andromeda. I guess they've

1126
01:02:13,600 --> 01:02:17,080
Speaker 1: lowered their standards. But he's got to answer a riddle first,

1127
01:02:17,360 --> 01:02:20,960
Speaker 1: and those who fail the riddle die. Perseus, however, is

1128
01:02:21,000 --> 01:02:23,560
Speaker 1: up for a challenge. He seems interested in this. He's like, well,

1129
01:02:23,560 --> 01:02:26,479
Speaker 1: maybe this is this is where I should apply myself. Right,

1130
01:02:26,560 --> 01:02:29,720
Speaker 1: So he puts on the invisible helmet sneaks up to

1131
01:02:29,760 --> 01:02:32,920
Speaker 1: Andromeda's room at night. And I was thinking, what's the

1132
01:02:33,000 --> 01:02:35,360
Speaker 1: plan here? Does he be like, Hi, you don't know me,

1133
01:02:35,440 --> 01:02:37,280
Speaker 1: but I can turn invisible. What do you say we

1134
01:02:37,320 --> 01:02:40,200
Speaker 1: get married? And I skip the riddle? Yeah? Like what?

1135
01:02:40,320 --> 01:02:42,200
Speaker 1: Denny just sort of like he just looks at her

1136
01:02:42,200 --> 01:02:44,960
Speaker 1: while she's sleeping like a creek for a little bit. Yeah,

1137
01:02:45,040 --> 01:02:48,240
Speaker 1: come on, Perseus, but I guess the ideas he confirms

1138
01:02:48,360 --> 01:02:50,840
Speaker 1: like he's loved at first sight. He realizes I am

1139
01:02:50,880 --> 01:02:52,920
Speaker 1: now in love with her. I will do whatever it

1140
01:02:53,000 --> 01:02:55,800
Speaker 1: takes to get a shot at this riddle and answer

1141
01:02:55,800 --> 01:02:58,960
Speaker 1: it right. And he sees that every night to her

1142
01:02:59,040 --> 01:03:02,440
Speaker 1: room comes lies a giant vulture like that settles on

1143
01:03:02,480 --> 01:03:06,000
Speaker 1: her balcony and brings a cage, and I think her

1144
01:03:06,200 --> 01:03:09,920
Speaker 1: soul leaves her body and it gets into the cage,

1145
01:03:10,000 --> 01:03:14,080
Speaker 1: and then the vulture carries it off. Yeah, and this

1146
01:03:14,160 --> 01:03:16,960
Speaker 1: is another great hairy house in effect, this giant vulture.

1147
01:03:17,200 --> 01:03:20,560
Speaker 1: The vulture takes it to the swampy stronghold of Calabos

1148
01:03:20,640 --> 01:03:23,720
Speaker 1: every night to receive the new riddle for her suitors.

1149
01:03:24,480 --> 01:03:26,880
Speaker 1: And so Perseus figures, hey, I could follow her to

1150
01:03:26,920 --> 01:03:29,440
Speaker 1: the enemy encampment and there I could learn the riddle

1151
01:03:29,440 --> 01:03:32,400
Speaker 1: in advance, so I can cheat the moral of the story.

1152
01:03:32,520 --> 01:03:35,320
Speaker 1: Real heroes cheat. I mean, I guess he realizes as

1153
01:03:35,320 --> 01:03:37,360
Speaker 1: a rig system. So he's gonna try and get than

1154
01:03:37,440 --> 01:03:40,520
Speaker 1: Tally needs. But in order to follow the flying vulture,

1155
01:03:40,640 --> 01:03:42,520
Speaker 1: he has to be able to fly himself. So first

1156
01:03:42,520 --> 01:03:44,720
Speaker 1: there's a scene where he has to capture Pegasus, the

1157
01:03:44,760 --> 01:03:48,919
Speaker 1: winged horse. You know, I liked Pegasus, but I don't

1158
01:03:48,920 --> 01:03:51,600
Speaker 1: really love the sequence. It feels kind of nasty when

1159
01:03:51,640 --> 01:03:54,520
Speaker 1: he's catching the horse by throwing a rope around its neck.

1160
01:03:54,640 --> 01:03:58,240
Speaker 1: It's like, oh, the poor Pegasus. Oh yeah, I didn't

1161
01:03:58,240 --> 01:04:01,520
Speaker 1: think about that. So much is so blown away by

1162
01:04:01,640 --> 01:04:04,560
Speaker 1: how good this, uh, this effect looks. He kept thinking about,

1163
01:04:04,560 --> 01:04:08,880
Speaker 1: how like you're having to animate a realistic horse, which

1164
01:04:09,280 --> 01:04:11,000
Speaker 1: is a very dynamic animal. I mean this is ben

1165
01:04:11,160 --> 01:04:14,080
Speaker 1: like an articulated crab or a scorpion, like this is

1166
01:04:14,120 --> 01:04:16,200
Speaker 1: a horse. There's a lot, there's a lot of animal,

1167
01:04:16,440 --> 01:04:18,560
Speaker 1: and then on top of that you've added these beautiful

1168
01:04:18,600 --> 01:04:21,480
Speaker 1: wings to it and so um. Yeah, it seems like

1169
01:04:21,520 --> 01:04:23,840
Speaker 1: quite a challenge, but yeah, Harry house and pulls it off.

1170
01:04:24,280 --> 01:04:27,800
Speaker 1: But the taming process works. He tames and rides the pegasus.

1171
01:04:27,840 --> 01:04:32,480
Speaker 1: So now he's got one, and the next night he's

1172
01:04:32,520 --> 01:04:35,440
Speaker 1: got one. Like there's multiple pegasus, there's just one pegasus.

1173
01:04:35,480 --> 01:04:38,880
Speaker 1: I guess he'll last one, right, Yeah, he grilled up

1174
01:04:38,920 --> 01:04:45,000
Speaker 1: the other ones. I turned him into barbecue and so yeah,

1175
01:04:45,040 --> 01:04:49,240
Speaker 1: he rides pegasus to the swamp, follows the the vulture

1176
01:04:49,280 --> 01:04:52,000
Speaker 1: at the night and they go to the swamp of Kelabos,

1177
01:04:52,040 --> 01:04:54,840
Speaker 1: you know where the bull gators beller and the panthers squall,

1178
01:04:55,520 --> 01:04:58,640
Speaker 1: and they landed there. And I love this set. It's

1179
01:04:58,680 --> 01:05:02,360
Speaker 1: a you know, a classic misty indoor for outdoor swamp

1180
01:05:02,800 --> 01:05:06,919
Speaker 1: that's got skeletons hanging from trees and a little alligators

1181
01:05:06,920 --> 01:05:10,760
Speaker 1: and all that stuff. General thoughts about the Calibos sequence,

1182
01:05:10,880 --> 01:05:14,560
Speaker 1: Rob Well, I think if memory serves. The part of

1183
01:05:14,560 --> 01:05:16,960
Speaker 1: the situation of the Calibos character is that originally it

1184
01:05:17,040 --> 01:05:19,920
Speaker 1: was going to be entirely stop motion, and then at

1185
01:05:19,960 --> 01:05:22,360
Speaker 1: some point in creating the script, they realized they wanted

1186
01:05:22,640 --> 01:05:24,360
Speaker 1: they were going to need a human to play the

1187
01:05:24,440 --> 01:05:26,200
Speaker 1: character as well. So we do a lot of cutting

1188
01:05:26,240 --> 01:05:31,640
Speaker 1: back and forth between stop motion Calibus and the actually

1189
01:05:31,640 --> 01:05:34,919
Speaker 1: actual human actor and makeup and and so I guess

1190
01:05:34,960 --> 01:05:37,160
Speaker 1: it can still be a little jarring even in a

1191
01:05:37,160 --> 01:05:39,520
Speaker 1: picture like this that kind of that has a lot

1192
01:05:39,520 --> 01:05:42,680
Speaker 1: of cutting back and forth between an integration between live

1193
01:05:42,720 --> 01:05:46,000
Speaker 1: action and stop motion. But of course that being said,

1194
01:05:46,080 --> 01:05:48,600
Speaker 1: like the stop motion Calibos looks amazing. You get that

1195
01:05:48,720 --> 01:05:54,480
Speaker 1: tail sweeping around and so forth looks really good. And then,

1196
01:05:54,520 --> 01:05:57,000
Speaker 1: like I said earlier, the character of Calibos is we

1197
01:05:57,080 --> 01:05:58,920
Speaker 1: get to know him here. You know, he's he's a

1198
01:05:58,920 --> 01:06:02,520
Speaker 1: tragic villain. Uh, he's he's seated on this throne of

1199
01:06:02,600 --> 01:06:07,000
Speaker 1: sadness in his swamp um. It's so there's a this

1200
01:06:07,080 --> 01:06:10,120
Speaker 1: is a this is a fun sequence. Yeah. So Andromeda

1201
01:06:10,200 --> 01:06:12,200
Speaker 1: is there and and she begs him, you know, lift

1202
01:06:12,240 --> 01:06:15,640
Speaker 1: the curse from Joppa, release my soul. He's like, no,

1203
01:06:15,760 --> 01:06:18,440
Speaker 1: I'm going to give you a new riddle, so you know,

1204
01:06:18,640 --> 01:06:21,320
Speaker 1: use this to to doom. He had another suitor, another

1205
01:06:21,360 --> 01:06:25,240
Speaker 1: would be hero and uh you can see also but

1206
01:06:25,280 --> 01:06:27,640
Speaker 1: there's like a scene where she she touches his face,

1207
01:06:27,720 --> 01:06:30,320
Speaker 1: I think when she's asking him to lift the curse,

1208
01:06:30,360 --> 01:06:33,240
Speaker 1: and I don't know, it is very sad, like you

1209
01:06:33,280 --> 01:06:35,440
Speaker 1: see him, you know, like wishing he could have had

1210
01:06:35,480 --> 01:06:39,640
Speaker 1: a better life. Yeah, but oh she walks away and

1211
01:06:39,720 --> 01:06:42,760
Speaker 1: then Caliboss he looks in the sand and sees what

1212
01:06:42,880 --> 01:06:46,520
Speaker 1: is that is that invisible? The footsteps of an invisible

1213
01:06:46,560 --> 01:06:51,040
Speaker 1: Harry Hamlin And then he's mad, So Harry Hamlin. We

1214
01:06:51,040 --> 01:06:54,360
Speaker 1: see him walking off into the uh, into the swamp,

1215
01:06:54,360 --> 01:06:57,120
Speaker 1: and then Calibos ambushes him and they fight for a bit.

1216
01:06:57,840 --> 01:07:01,960
Speaker 1: The helmet of invisibility gets knocked off of Perseus's belt

1217
01:07:02,000 --> 01:07:05,600
Speaker 1: and falls into the swamp waters. Bye bye. Yeah, one

1218
01:07:05,840 --> 01:07:10,000
Speaker 1: legendary magical item completely gone, just lost it. Yeah, And

1219
01:07:10,120 --> 01:07:12,160
Speaker 1: we don't know exactly how the fight resolves. We see

1220
01:07:12,160 --> 01:07:14,560
Speaker 1: Perseus like land some kind of blow with his sword,

1221
01:07:14,560 --> 01:07:17,200
Speaker 1: and then it just cuts to the next day where

1222
01:07:18,040 --> 01:07:20,760
Speaker 1: Andromeda is. They are gathered I guess in the Temple

1223
01:07:20,800 --> 01:07:24,560
Speaker 1: of Thetis in Joppa, and you know they're like, hey,

1224
01:07:24,640 --> 01:07:27,240
Speaker 1: is anybody gonna step up and propose marriage to her?

1225
01:07:27,320 --> 01:07:30,960
Speaker 1: Perseus does, and so they ask him the riddle, and

1226
01:07:31,080 --> 01:07:32,960
Speaker 1: I was like, this is not a riddle. She just

1227
01:07:33,080 --> 01:07:36,320
Speaker 1: describes a strange image and then says, what can it be?

1228
01:07:37,240 --> 01:07:40,160
Speaker 1: And the answer does not really rely on any cleverness.

1229
01:07:40,520 --> 01:07:44,120
Speaker 1: The answer is the ring on Caliboss's hand, which Harry

1230
01:07:44,160 --> 01:07:48,160
Speaker 1: Hamlin has because he cut Caliboss's hand off. Oh yeah,

1231
01:07:48,200 --> 01:07:49,960
Speaker 1: so he fills us in. He says, hey, yeah, I

1232
01:07:50,040 --> 01:07:53,160
Speaker 1: defeated Caliboss in battle. I cut off his hand and

1233
01:07:53,200 --> 01:07:55,520
Speaker 1: a spared his life on the condition that he lift

1234
01:07:55,600 --> 01:07:58,800
Speaker 1: the curse from the city. So he correctly answered the riddle,

1235
01:07:58,920 --> 01:08:02,480
Speaker 1: and the curse it seems at least has been lifted.

1236
01:08:02,760 --> 01:08:05,080
Speaker 1: So are we happily ever after now? But that wouldn't

1237
01:08:05,080 --> 01:08:07,360
Speaker 1: make sense. We're only like forty five minutes into the movie.

1238
01:08:07,720 --> 01:08:09,320
Speaker 1: I know, it seems like things are going well. The

1239
01:08:09,400 --> 01:08:12,520
Speaker 1: labyrinth is a piece of cake. But so while they're

1240
01:08:12,560 --> 01:08:16,320
Speaker 1: off partying and you know, Perseus and Andromeda are kind

1241
01:08:16,320 --> 01:08:18,040
Speaker 1: of getting to know each other, they're like, oh, yes,

1242
01:08:18,080 --> 01:08:21,400
Speaker 1: I guess we are in love now. Calibos comes into

1243
01:08:21,400 --> 01:08:25,000
Speaker 1: the temple. He kneels before the statue of Thetus, and

1244
01:08:25,040 --> 01:08:27,679
Speaker 1: he prays for a way to get revenge on Perseus.

1245
01:08:27,680 --> 01:08:30,880
Speaker 1: He says, show me how to punish Perseus for this blasphemy,

1246
01:08:31,520 --> 01:08:34,479
Speaker 1: and they just says, damn, well, can't hurt Perseus because

1247
01:08:34,520 --> 01:08:38,000
Speaker 1: Zeus protects him. So Calibos instead is like, well, then

1248
01:08:38,080 --> 01:08:41,080
Speaker 1: let me get revenge on the people Perseus loves Andromeda

1249
01:08:41,160 --> 01:08:44,080
Speaker 1: and the people of Joppa. He begs her to send

1250
01:08:44,200 --> 01:08:47,040
Speaker 1: the kraken. So I think it's the next day there's

1251
01:08:47,240 --> 01:08:50,200
Speaker 1: the marriage ceremony, They're about to be joined together forever.

1252
01:08:51,360 --> 01:08:54,679
Speaker 1: And then it's at the marriage ceremony that the Queen

1253
01:08:54,840 --> 01:08:59,240
Speaker 1: Cassiopeia is like, good thing, my daughter is even more

1254
01:08:59,280 --> 01:09:02,280
Speaker 1: beautiful than the goddess in this statue here, and then

1255
01:09:03,000 --> 01:09:06,760
Speaker 1: the statue is like and its head falls off, and

1256
01:09:06,760 --> 01:09:09,080
Speaker 1: then we get that scene where suddenly it's Maggie Smith's

1257
01:09:09,120 --> 01:09:13,080
Speaker 1: face like superimposed onto the statue speaking to them. I'm

1258
01:09:13,080 --> 01:09:15,760
Speaker 1: gonna say this effect looks funny, and I don't think

1259
01:09:15,760 --> 01:09:17,720
Speaker 1: it was supposed to. Most of the effects in this

1260
01:09:17,760 --> 01:09:20,720
Speaker 1: movie I think are beautiful, but this one is a

1261
01:09:20,720 --> 01:09:24,280
Speaker 1: bit comic. I like that. I mean one level. I

1262
01:09:24,320 --> 01:09:26,840
Speaker 1: like the effect of it. It's like you really nest up.

1263
01:09:26,880 --> 01:09:30,080
Speaker 1: You you went too far. You mocked the gods. And

1264
01:09:30,360 --> 01:09:33,000
Speaker 1: so now the goddess is appearing to you through this

1265
01:09:33,120 --> 01:09:38,639
Speaker 1: crumpled statue and pronouncing doom. That's what she does, lay

1266
01:09:38,640 --> 01:09:41,160
Speaker 1: out some doom. Yes for the insults to me and

1267
01:09:41,200 --> 01:09:45,120
Speaker 1: my son, I demand the sacrifice of Andromeda in thirty days.

1268
01:09:45,120 --> 01:09:47,720
Speaker 1: We're going to feed her to the kraken. So now

1269
01:09:47,800 --> 01:09:50,640
Speaker 1: Perseus has a new riddle to solve, and that is,

1270
01:09:51,000 --> 01:09:52,720
Speaker 1: what are we gonna do about this cracking? Yeah, how

1271
01:09:52,720 --> 01:09:56,920
Speaker 1: do you kill a kraken? Ammon originally says, no man

1272
01:09:56,960 --> 01:10:00,720
Speaker 1: knows how to kill a kraken, and so Perseus says, oh,

1273
01:10:00,760 --> 01:10:03,600
Speaker 1: that's no good. But Ammon says, but there may be

1274
01:10:03,720 --> 01:10:07,639
Speaker 1: a woman who does, actually three women. We must consult

1275
01:10:07,680 --> 01:10:11,160
Speaker 1: the Stigian witches. They may know a way, but there's

1276
01:10:11,160 --> 01:10:15,080
Speaker 1: a problem. They tend to eat people. But the heroes

1277
01:10:15,120 --> 01:10:16,960
Speaker 1: are not deterred. So all of our all of our

1278
01:10:16,960 --> 01:10:21,320
Speaker 1: friends now get together. Harry Hamlin, Burgess, Meredith, Andromeda, what's

1279
01:10:21,360 --> 01:10:24,080
Speaker 1: his name, the soldier that Thallo or whatever it is,

1280
01:10:24,080 --> 01:10:26,519
Speaker 1: and then a bunch of other unnamed soldiers who are

1281
01:10:27,800 --> 01:10:31,280
Speaker 1: might as well be wearing in a red star fleet shirts, right, Yeah,

1282
01:10:31,320 --> 01:10:33,280
Speaker 1: they're they're damn do you know that? They're just pure

1283
01:10:33,280 --> 01:10:36,240
Speaker 1: monster fodder. So they're going to head off to find

1284
01:10:36,280 --> 01:10:39,519
Speaker 1: the witches. Now I think they don't initially know how

1285
01:10:39,560 --> 01:10:43,479
Speaker 1: to find the witches, but Zeus has a way to

1286
01:10:43,479 --> 01:10:45,600
Speaker 1: help with this. We go back to the gods and

1287
01:10:45,720 --> 01:10:48,000
Speaker 1: Zeus is like, this is the part where he goes

1288
01:10:48,080 --> 01:10:50,679
Speaker 1: up to Athena. He's like, hey, that helmet you gave

1289
01:10:50,800 --> 01:10:53,160
Speaker 1: my son, well he dropped it in a swamp. He

1290
01:10:53,240 --> 01:10:56,240
Speaker 1: needs a new gift. Give him your owl, your friend

1291
01:10:56,360 --> 01:10:59,559
Speaker 1: the bubo here. You know it is all seeing, all knowing.

1292
01:11:00,080 --> 01:11:01,640
Speaker 1: You shouldn't be a problem for you to give it

1293
01:11:01,680 --> 01:11:04,240
Speaker 1: a give it to my son. And she's like, oh,

1294
01:11:04,400 --> 01:11:09,120
Speaker 1: let a mortal have my owl. That's gross. So she's

1295
01:11:09,120 --> 01:11:11,000
Speaker 1: not going to do that. Instead, she gets pat Roach

1296
01:11:11,160 --> 01:11:14,639
Speaker 1: to make him a robot owl, and we briefly see

1297
01:11:14,640 --> 01:11:16,639
Speaker 1: a scene in the Forge of effaced Us where he's

1298
01:11:16,680 --> 01:11:20,040
Speaker 1: kneeling over a table and like a watchmaker, he's messing

1299
01:11:20,040 --> 01:11:23,360
Speaker 1: with all little gears and stuff. Yeah, it's a fun Sepence.

1300
01:11:23,400 --> 01:11:24,840
Speaker 1: I don't know, it's a different type of role for

1301
01:11:25,120 --> 01:11:29,400
Speaker 1: pat Roach here. And also it's kind of like we've

1302
01:11:29,439 --> 01:11:33,840
Speaker 1: talked about the tactile nature of the stop motion effects,

1303
01:11:34,120 --> 01:11:37,559
Speaker 1: and Boobo really has that tactile feel. And it really

1304
01:11:37,560 --> 01:11:41,639
Speaker 1: begins here watching him physically assembled by a vestus. Now

1305
01:11:41,640 --> 01:11:44,280
Speaker 1: he flies up to our heroes and settles down on

1306
01:11:44,320 --> 01:11:47,439
Speaker 1: a tree branch. But Boobo was also played for comic relief,

1307
01:11:47,560 --> 01:11:49,560
Speaker 1: much like the Droids and Star Wars. He kind of

1308
01:11:49,600 --> 01:11:52,080
Speaker 1: like beepee boop, and then he falls off the branch

1309
01:11:52,120 --> 01:11:54,840
Speaker 1: and land's head first on the ground and goes whoo whoo.

1310
01:11:55,320 --> 01:11:58,639
Speaker 1: You know, yeah, this is again. Every time Boobo does something,

1311
01:11:58,800 --> 01:12:00,680
Speaker 1: there are a lot of movements to it, like a lot.

1312
01:12:00,760 --> 01:12:03,400
Speaker 1: A lot of love went into creating this effect. I

1313
01:12:03,439 --> 01:12:06,519
Speaker 1: do love Bubo, and I bet little kids especially love Bubo.

1314
01:12:07,200 --> 01:12:10,000
Speaker 1: Oh yeah. I remember showing this to my son a

1315
01:12:10,000 --> 01:12:11,920
Speaker 1: couple of years, but he loved He wasn't up for

1316
01:12:12,040 --> 01:12:14,200
Speaker 1: rewatching it. He wasn't interest in rewatching it with me

1317
01:12:14,240 --> 01:12:15,880
Speaker 1: for this episode, but he's watched it a couple of

1318
01:12:15,920 --> 01:12:18,600
Speaker 1: times in the past and loved all the monsters in

1319
01:12:18,680 --> 01:12:23,320
Speaker 1: a Dicurse and loved Boobo. The ancient Greek astromechdroid yeah

1320
01:12:23,360 --> 01:12:26,280
Speaker 1: which does it does serve a navigational function guides them

1321
01:12:26,280 --> 01:12:29,559
Speaker 1: to the three witches. That's exactly right. Bobo can lead

1322
01:12:29,600 --> 01:12:32,800
Speaker 1: them to the shrine of the Stigione witches, and so

1323
01:12:32,840 --> 01:12:34,519
Speaker 1: they go there. They have to climb a mountain to

1324
01:12:34,560 --> 01:12:37,080
Speaker 1: get up to the shrine. The three witches, just as

1325
01:12:37,120 --> 01:12:39,479
Speaker 1: in the myth. The three of them share one eye

1326
01:12:39,479 --> 01:12:41,599
Speaker 1: between them, though it's not an eye here really, it's

1327
01:12:41,640 --> 01:12:44,680
Speaker 1: like a crystal ball. They hold it up to their

1328
01:12:44,720 --> 01:12:48,639
Speaker 1: forehead into their like fleshed over eye sockets, and there's

1329
01:12:48,640 --> 01:12:51,040
Speaker 1: a certain amount of squabbling among them about who gets

1330
01:12:51,040 --> 01:12:54,080
Speaker 1: to use it next. And oh but yeah, this sequence

1331
01:12:54,120 --> 01:12:56,040
Speaker 1: is a lot of fun because there's a lot of cackling,

1332
01:12:56,080 --> 01:12:58,800
Speaker 1: there's a lot of I oh, of course, I'll tell

1333
01:12:58,840 --> 01:13:02,880
Speaker 1: you about the about way you can find I guess

1334
01:13:02,880 --> 01:13:05,479
Speaker 1: they revealed that they're not even looking for Medusa at

1335
01:13:05,479 --> 01:13:07,960
Speaker 1: this point, right, but they revealed that Medusa's a way.

1336
01:13:08,400 --> 01:13:11,080
Speaker 1: But well, but I'm getting ahead of myself. Like, in

1337
01:13:11,200 --> 01:13:14,880
Speaker 1: order to get the advantage, of course, of Perseus has

1338
01:13:14,920 --> 01:13:18,160
Speaker 1: Bubo flying and steal the eye, so now he has

1339
01:13:18,160 --> 01:13:20,840
Speaker 1: something to bargain with. Yeah, so they're like, give us

1340
01:13:20,840 --> 01:13:23,200
Speaker 1: back the eye, and he says, no, first, you got

1341
01:13:23,200 --> 01:13:24,760
Speaker 1: to tell me how I can defeat a krack in

1342
01:13:25,200 --> 01:13:28,400
Speaker 1: and they do tell him an idea, yeah, and it's

1343
01:13:28,560 --> 01:13:30,479
Speaker 1: you should go get the head of the Meduce. It

1344
01:13:30,479 --> 01:13:33,040
Speaker 1: works even if she's been slain. Of course. The only

1345
01:13:33,080 --> 01:13:35,920
Speaker 1: problem is she's more dangerous than the krack in, so

1346
01:13:36,000 --> 01:13:38,040
Speaker 1: you're you're going to have a really hard time pulling

1347
01:13:38,080 --> 01:13:41,120
Speaker 1: this off. And in the midst there's all sorts of

1348
01:13:41,120 --> 01:13:42,800
Speaker 1: fun stuff going on in here. They have a big

1349
01:13:42,800 --> 01:13:46,040
Speaker 1: cannibal stew going. They have to like push a squirming

1350
01:13:46,080 --> 01:13:49,240
Speaker 1: hand back into it. And I really love the one

1351
01:13:49,320 --> 01:13:52,280
Speaker 1: which who's she's like talking about how, yes, you'll be

1352
01:13:52,320 --> 01:13:55,799
Speaker 1: able to use the Medusa's head against against the kraken,

1353
01:13:56,040 --> 01:13:59,479
Speaker 1: a titan against a titan, and she's all excited about it.

1354
01:14:00,439 --> 01:14:03,960
Speaker 1: It really excited to deliver on the film's title, Oh yes.

1355
01:14:04,040 --> 01:14:06,959
Speaker 1: And I do love that they're disgusting cauldron of slop.

1356
01:14:07,040 --> 01:14:09,920
Speaker 1: There is very funny sound effects and when like a

1357
01:14:10,080 --> 01:14:12,519
Speaker 1: human hand reaches out of it, going like ah, and

1358
01:14:12,560 --> 01:14:14,080
Speaker 1: they just kind of like tuck it back in the

1359
01:14:14,800 --> 01:14:19,040
Speaker 1: quiet get down in there, all right. So next thing

1360
01:14:19,120 --> 01:14:21,000
Speaker 1: is they got to get the head of the Gorgon Medusa.

1361
01:14:21,120 --> 01:14:23,360
Speaker 1: So they crossed the river sticks to get to the

1362
01:14:23,400 --> 01:14:27,519
Speaker 1: island of the Gorgon. There is, of course a big battle.

1363
01:14:27,840 --> 01:14:29,840
Speaker 1: I'm not going to go into detail about everything about

1364
01:14:29,840 --> 01:14:32,759
Speaker 1: this bottle. You you just need to watch it for yourself.

1365
01:14:32,760 --> 01:14:35,559
Speaker 1: But it is wonderfully atmospheric. It's very well paced. Like

1366
01:14:35,600 --> 01:14:38,320
Speaker 1: the lead up to it, a little things they see

1367
01:14:38,360 --> 01:14:44,280
Speaker 1: approaching her layer, the human shaped stone statues that kind

1368
01:14:44,280 --> 01:14:48,080
Speaker 1: of crumble. Oh, and that, of course, we find out

1369
01:14:48,120 --> 01:14:50,080
Speaker 1: the Medusa has been working in the Kremlin with the

1370
01:14:50,080 --> 01:14:53,360
Speaker 1: two headed dog. Oh yeah. The two headed dog I

1371
01:14:53,400 --> 01:14:55,800
Speaker 1: think may have been cut from the Turner broadcast. They've

1372
01:14:55,800 --> 01:14:58,720
Speaker 1: probably cut it got the movie for length, So I

1373
01:14:58,800 --> 01:15:00,880
Speaker 1: don't remember ever seeing the two headed dog when I

1374
01:15:00,920 --> 01:15:05,040
Speaker 1: watched it. Maybe I'm wrong on that, But and the

1375
01:15:05,280 --> 01:15:07,240
Speaker 1: two it's a two headed dog instead of a three

1376
01:15:07,280 --> 01:15:11,040
Speaker 1: headed dog. It's not cebrous. It's not cerbrous. But I

1377
01:15:11,040 --> 01:15:12,880
Speaker 1: think it's because it was too much work to do

1378
01:15:12,920 --> 01:15:15,200
Speaker 1: a three headed dog. That's what I've always read, so

1379
01:15:15,240 --> 01:15:17,040
Speaker 1: they went with two. They scaled it back a bit.

1380
01:15:18,439 --> 01:15:20,840
Speaker 1: I don't love the two headed dog fight because I

1381
01:15:20,880 --> 01:15:23,400
Speaker 1: don't know. I just always seeing somebody fight a dog,

1382
01:15:23,479 --> 01:15:25,800
Speaker 1: even a vicious one with the sword, always just makes

1383
01:15:25,800 --> 01:15:30,160
Speaker 1: me feeling. Oh yeah, Like the movie doesn't lose anything

1384
01:15:30,200 --> 01:15:33,720
Speaker 1: to have that whole sequence cut in my opinion. But

1385
01:15:33,960 --> 01:15:36,320
Speaker 1: setting aside the battle with the two Headed Dog, I

1386
01:15:36,320 --> 01:15:38,479
Speaker 1: would say the Island of the Dead sequence here where

1387
01:15:38,520 --> 01:15:43,200
Speaker 1: they find Medusa's layer, go in fight Medusa. Multiple soldiers

1388
01:15:43,200 --> 01:15:46,759
Speaker 1: get killed by Medusa. We have this fabulous stop motion Medusa.

1389
01:15:47,160 --> 01:15:51,240
Speaker 1: This whole sequence is just absolutely perfect. No matter what

1390
01:15:51,360 --> 01:15:53,280
Speaker 1: problems you know you might have with the rest of

1391
01:15:53,280 --> 01:15:55,920
Speaker 1: the picture and its tone and the lazy d m

1392
01:15:56,080 --> 01:15:58,920
Speaker 1: ing and Harry Hamlin's performance and being a bit green,

1393
01:15:59,240 --> 01:16:02,280
Speaker 1: I feel like every things firing on all cylinders in

1394
01:16:02,400 --> 01:16:04,960
Speaker 1: this sequence. Even Harry Hamlin, I think is really good

1395
01:16:05,160 --> 01:16:10,400
Speaker 1: because he's he's he embodies this like hero's fear rather well.

1396
01:16:10,439 --> 01:16:12,920
Speaker 1: I think in this sequence like it feels like there

1397
01:16:12,920 --> 01:16:15,599
Speaker 1: are actual stakes, even for the son of a God.

1398
01:16:16,000 --> 01:16:19,799
Speaker 1: Completely agreed. Pretty much everything in this scene is pitch perfect.

1399
01:16:20,960 --> 01:16:23,160
Speaker 1: There are so many little details I love. I like

1400
01:16:23,240 --> 01:16:26,400
Speaker 1: how quiet it is. Actually you would have expected the

1401
01:16:26,439 --> 01:16:30,360
Speaker 1: whole thing to be, you know, ramping up with like loud,

1402
01:16:30,439 --> 01:16:33,280
Speaker 1: intense music, but there are parts of it that are

1403
01:16:33,280 --> 01:16:36,519
Speaker 1: actually very quiet, and I love that it contributes to

1404
01:16:36,560 --> 01:16:39,080
Speaker 1: the creepy atmosphere, like the part before you see the

1405
01:16:39,120 --> 01:16:42,320
Speaker 1: gorgon when they're looking for her and they're walking between

1406
01:16:42,360 --> 01:16:47,040
Speaker 1: the columns, and then suddenly you see her shadow go

1407
01:16:47,400 --> 01:16:50,439
Speaker 1: move into the move onto the wall, and there's this soft,

1408
01:16:50,600 --> 01:16:54,280
Speaker 1: almost silent slithering sound, just the sound of a snake,

1409
01:16:54,360 --> 01:16:57,920
Speaker 1: you know, moving over a stone and not even hissing yet,

1410
01:16:58,000 --> 01:17:01,559
Speaker 1: just just that little gliding and you see the shadow

1411
01:17:01,600 --> 01:17:04,080
Speaker 1: with the snakes writhing in her hair, and oh, it's

1412
01:17:04,120 --> 01:17:07,439
Speaker 1: so good. Oh yeah. The lighting is brilliant in all

1413
01:17:07,520 --> 01:17:10,920
Speaker 1: of this as well, so so many Harry Hamlin, not

1414
01:17:11,000 --> 01:17:15,479
Speaker 1: Harry Hamlet, Harry Housing scenes. You often have things going

1415
01:17:15,520 --> 01:17:18,240
Speaker 1: on in very like stark lighting U, but in this

1416
01:17:18,280 --> 01:17:20,799
Speaker 1: sequence it's you know, it's just a dark cavern with

1417
01:17:20,800 --> 01:17:25,200
Speaker 1: with fires lighting everything, deep shadows and so forth. It's

1418
01:17:25,200 --> 01:17:29,000
Speaker 1: so good. Also, the moment when you see Medusa kind

1419
01:17:29,000 --> 01:17:32,720
Speaker 1: of activate her powers to turn one of the other

1420
01:17:32,760 --> 01:17:36,120
Speaker 1: soldiers to stone, where we zoom in on her face,

1421
01:17:36,320 --> 01:17:40,200
Speaker 1: which is horrifying, and her eyes glow green and the

1422
01:17:40,479 --> 01:17:44,720
Speaker 1: power emanates from her and then's he's calcified. That is

1423
01:17:44,880 --> 01:17:49,360
Speaker 1: just it's a scene for the ages. Absolutely. I've also

1424
01:17:49,400 --> 01:17:50,640
Speaker 1: read I don't know if this is true or not,

1425
01:17:50,720 --> 01:17:54,120
Speaker 1: but I've read that Harry Hamlin himself had to argue

1426
01:17:54,240 --> 01:17:57,960
Speaker 1: for the traditional beheading of the monster. I think there

1427
01:17:58,200 --> 01:18:00,240
Speaker 1: I had read read that like some version in the

1428
01:18:00,320 --> 01:18:02,240
Speaker 1: script or the way they were going to shoot it

1429
01:18:02,280 --> 01:18:05,439
Speaker 1: was him throwing the shield and using it as a weapon.

1430
01:18:06,160 --> 01:18:08,240
Speaker 1: Supposedly it's like to have it be a little less

1431
01:18:08,280 --> 01:18:12,559
Speaker 1: gory for censors. And I don't know if this is true,

1432
01:18:12,600 --> 01:18:14,439
Speaker 1: but it said that Harry Hamlin was one of the

1433
01:18:14,439 --> 01:18:16,160
Speaker 1: ones was like, no, we should stick to the myth

1434
01:18:16,200 --> 01:18:18,280
Speaker 1: on this. I don't know, but at any rate, and

1435
01:18:18,400 --> 01:18:20,679
Speaker 1: if that is the case, I'm glad they did because

1436
01:18:20,680 --> 01:18:23,360
Speaker 1: it Yeah, I can't imagine this, this sequence playing out

1437
01:18:23,400 --> 01:18:25,800
Speaker 1: any other way. Yeah. And then he and you can

1438
01:18:25,840 --> 01:18:28,720
Speaker 1: feel the danger in the scene. Even after he has

1439
01:18:28,800 --> 01:18:31,840
Speaker 1: beheaded her, he's afraid. He's being very cautious, like because

1440
01:18:32,120 --> 01:18:34,479
Speaker 1: her blood is running out and her blood, her blood

1441
01:18:34,600 --> 01:18:37,439
Speaker 1: is like it's like the blood of the xenomorphin Alien.

1442
01:18:37,479 --> 01:18:41,320
Speaker 1: It's just this burning acid that melts his shield and

1443
01:18:41,400 --> 01:18:44,120
Speaker 1: he takes her head, but he's afraid. He's like careful

1444
01:18:44,200 --> 01:18:47,200
Speaker 1: not to accidentally even look at it. He's like holding

1445
01:18:47,240 --> 01:18:50,439
Speaker 1: it out of his view. I'm glad you mentioned Alien

1446
01:18:50,479 --> 01:18:53,120
Speaker 1: because Alien came out a few years earlier, and I

1447
01:18:53,160 --> 01:18:56,120
Speaker 1: feel like this sequence has some similarities to that final

1448
01:18:56,160 --> 01:19:01,920
Speaker 1: showdown on the Life that Soul between Ripley and the Xenomorph,

1449
01:19:01,960 --> 01:19:05,080
Speaker 1: you know, the sense of intense danger, like the monster

1450
01:19:05,280 --> 01:19:08,360
Speaker 1: is so dangerous that the wrong move will just be

1451
01:19:08,400 --> 01:19:11,599
Speaker 1: absolutely lethal. I can see exactly what you mean. Yeah,

1452
01:19:11,680 --> 01:19:16,280
Speaker 1: that similarity is there, And they also both prey take it, yes,

1453
01:19:16,439 --> 01:19:20,000
Speaker 1: both fairly dressed, yes, and the posture with which the

1454
01:19:20,040 --> 01:19:22,920
Speaker 1: hero is oriented to the monster with like with the

1455
01:19:23,080 --> 01:19:27,800
Speaker 1: back to it, but against you know, hiding behind an obstruction.

1456
01:19:28,200 --> 01:19:30,559
Speaker 1: And so when we finally finish up the Medusa secrets,

1457
01:19:30,560 --> 01:19:32,240
Speaker 1: it almost feels like we've done it. This is the

1458
01:19:32,320 --> 01:19:35,000
Speaker 1: end of the movie, right, Like it's just so satisfying,

1459
01:19:35,160 --> 01:19:37,000
Speaker 1: but we still have like a large chunk of the

1460
01:19:37,000 --> 01:19:38,720
Speaker 1: film to go at that point, because they have to.

1461
01:19:39,080 --> 01:19:41,679
Speaker 1: This is just a side quest to get something to

1462
01:19:41,680 --> 01:19:44,519
Speaker 1: defeat the ultimate threat in the picture. Though I do

1463
01:19:44,600 --> 01:19:46,439
Speaker 1: think it is the highlight. But we yeah, we do

1464
01:19:46,520 --> 01:19:49,599
Speaker 1: get several other battles. There's a great battle Caliboss shows

1465
01:19:49,640 --> 01:19:54,080
Speaker 1: back up and attacks Perseus and his friends with scorpions,

1466
01:19:54,160 --> 01:19:57,320
Speaker 1: a giant scorpions. This is your you know, this is

1467
01:19:57,360 --> 01:19:59,759
Speaker 1: about as classic Harry housing as you get you know, stop,

1468
01:19:59,800 --> 01:20:02,800
Speaker 1: most scorpions come into your heroes and they have a

1469
01:20:02,840 --> 01:20:05,720
Speaker 1: big fight. And then Calibos comes in himself and they

1470
01:20:05,760 --> 01:20:08,519
Speaker 1: fight him, and Calibos is good. He's bringing a whip,

1471
01:20:08,640 --> 01:20:11,840
Speaker 1: which is that's great. Yeah, he has the whip, and

1472
01:20:11,840 --> 01:20:14,080
Speaker 1: he also he's replaced his hand with like a stabby

1473
01:20:14,280 --> 01:20:17,400
Speaker 1: tool which he used to like stab the medusa head,

1474
01:20:17,640 --> 01:20:19,920
Speaker 1: get it bleeding and the blood turned into scorpions on

1475
01:20:19,960 --> 01:20:24,760
Speaker 1: the ground. Yeah, But Calibos is defeated in the end.

1476
01:20:24,800 --> 01:20:28,000
Speaker 1: And then finally, how is Percy is going to defeat

1477
01:20:28,040 --> 01:20:30,040
Speaker 1: the krack in? While we see Andromeda, you know, they

1478
01:20:30,080 --> 01:20:32,679
Speaker 1: take her down to the shore. It's like, yep, too bad,

1479
01:20:32,680 --> 01:20:34,280
Speaker 1: We're gonna have to give you to the ce monster

1480
01:20:34,400 --> 01:20:37,280
Speaker 1: and he pops up. Perseus at the last minute is

1481
01:20:37,320 --> 01:20:40,000
Speaker 1: able to unveil that gorgon head to show it right

1482
01:20:40,040 --> 01:20:43,200
Speaker 1: to the monster and just stone him up. Yeah, and

1483
01:20:43,240 --> 01:20:45,760
Speaker 1: then he crumbles, which is something I always liked, and

1484
01:20:45,800 --> 01:20:47,519
Speaker 1: I remember it as a kid. I was thinking about this.

1485
01:20:47,640 --> 01:20:51,200
Speaker 1: It's kind of like, Okay, the creature its body can

1486
01:20:51,200 --> 01:20:53,640
Speaker 1: physically hold itself together while it's flesh, but once it

1487
01:20:53,680 --> 01:20:57,080
Speaker 1: becomes stone like it like it just begins to crumble,

1488
01:20:57,120 --> 01:21:00,200
Speaker 1: like it can no longer stand. I don't know, is

1489
01:21:00,280 --> 01:21:05,760
Speaker 1: like that that detail? Yeah, but it introduces the brittleness. Yeah,

1490
01:21:06,240 --> 01:21:08,200
Speaker 1: and it's very dramatic too. It's like, not only is

1491
01:21:08,240 --> 01:21:11,120
Speaker 1: the monster petrified, but now it crumbles into pieces. It's

1492
01:21:11,120 --> 01:21:14,479
Speaker 1: completely destroyed. And then we get like we do get

1493
01:21:14,479 --> 01:21:16,800
Speaker 1: a little sort of outro with the gods, which felt

1494
01:21:16,840 --> 01:21:19,759
Speaker 1: kind of weird because we've we've seen how how petty

1495
01:21:19,800 --> 01:21:22,559
Speaker 1: and cruel they are, and they just have this kind

1496
01:21:22,560 --> 01:21:24,920
Speaker 1: of bit where the other gods are like, well, you know,

1497
01:21:25,080 --> 01:21:28,000
Speaker 1: these humans, these mortals really showed how heroic and brave

1498
01:21:28,080 --> 01:21:30,519
Speaker 1: they can be. It's I hope there aren't too many

1499
01:21:30,520 --> 01:21:32,800
Speaker 1: brave ones otherwise we're going to be out of a job.

1500
01:21:32,840 --> 01:21:35,400
Speaker 1: And they're just they kind of have like a bemused

1501
01:21:35,479 --> 01:21:37,439
Speaker 1: laugh at all of this, but are also kind of like, yeah,

1502
01:21:37,560 --> 01:21:41,639
Speaker 1: humans are all right after all, and they all live

1503
01:21:41,680 --> 01:21:45,839
Speaker 1: happily ever after. Yeah. So I love Clash of the Titans.

1504
01:21:46,520 --> 01:21:48,960
Speaker 1: Oh absolutely, Yeah. This is a This one's near and

1505
01:21:48,960 --> 01:21:52,360
Speaker 1: dear to me. So it's great to finally discuss it

1506
01:21:52,400 --> 01:21:55,200
Speaker 1: here on Weird House Cinema. And like you say, maybe

1507
01:21:55,200 --> 01:21:56,880
Speaker 1: in the future will come back and look at another

1508
01:21:57,360 --> 01:21:59,479
Speaker 1: Hairy Housing picture. There are a number of good ones

1509
01:21:59,520 --> 01:22:02,080
Speaker 1: to choose for them there. All right, we're gonna go

1510
01:22:02,120 --> 01:22:04,160
Speaker 1: ahead and wrap this one up. But yeah, we'd love

1511
01:22:04,240 --> 01:22:06,120
Speaker 1: to hear from everyone out there. Do you have memories

1512
01:22:06,120 --> 01:22:10,080
Speaker 1: of seeing Clash of the Titans on Turner Networks growing

1513
01:22:10,160 --> 01:22:11,920
Speaker 1: up like I do? Or did you see it in

1514
01:22:11,920 --> 01:22:14,760
Speaker 1: the theater? What was that like back in eighty one?

1515
01:22:15,560 --> 01:22:17,280
Speaker 1: Let us know. We'd love to hear from you. If

1516
01:22:17,280 --> 01:22:19,599
Speaker 1: you have suggestions for other films to cover in the future.

1517
01:22:20,120 --> 01:22:22,320
Speaker 1: Do you have favorite Harry House and Effects or monsters

1518
01:22:22,360 --> 01:22:25,880
Speaker 1: or favorite Harry House in movies? Yeah, right in we'll

1519
01:22:25,880 --> 01:22:28,760
Speaker 1: discuss it on listener Mails, which published on Mondays. We're

1520
01:22:28,760 --> 01:22:31,920
Speaker 1: primarily a science podcast, with core episodes on Tuesdays and Thursdays.

1521
01:22:32,000 --> 01:22:34,519
Speaker 1: On Wednesdays we do a short form artifact or monster fact,

1522
01:22:34,680 --> 01:22:37,200
Speaker 1: and then on Fridays we set aside most serious concerns

1523
01:22:37,200 --> 01:22:39,479
Speaker 1: to just talk about a weird film here on Weird

1524
01:22:39,520 --> 01:22:41,920
Speaker 1: House Cinema. And if you want to see a list

1525
01:22:42,000 --> 01:22:43,280
Speaker 1: of the films we've covered in the past, you can

1526
01:22:43,320 --> 01:22:45,000
Speaker 1: go to a couple of different places. I blog about

1527
01:22:45,080 --> 01:22:48,320
Speaker 1: these episodes at Samutamusic dot com, and also if you

1528
01:22:48,320 --> 01:22:51,679
Speaker 1: go to letterbox that's l tt r boxd dot com.

1529
01:22:52,000 --> 01:22:54,639
Speaker 1: Well that we have a user account there weird House,

1530
01:22:54,920 --> 01:22:56,639
Speaker 1: and we have a list of all the films we've

1531
01:22:56,640 --> 01:22:58,920
Speaker 1: covered and sometimes a peek ahead at what's coming up

1532
01:22:58,960 --> 01:23:01,360
Speaker 1: in the week to follow. Huge thanks to our audio

1533
01:23:01,439 --> 01:23:04,120
Speaker 1: producer JJ Posway. If you would like to get in

1534
01:23:04,160 --> 01:23:06,760
Speaker 1: touch with us with feedback on this episode or any other,

1535
01:23:06,800 --> 01:23:09,360
Speaker 1: to suggest a topic for the future, or just to

1536
01:23:09,439 --> 01:23:12,280
Speaker 1: say hi, you can email us at contact at stuff

1537
01:23:12,360 --> 01:23:21,519
Speaker 1: to Blow your Mind dot com. Stuff to Blow Your

1538
01:23:21,520 --> 01:23:24,640
Speaker 1: Mind is production of iHeartRadio. For more podcasts from my

1539
01:23:24,680 --> 01:23:28,080
Speaker 1: Heart Radio, visit the iHeartRadio app, Apple Podcasts, or wherever

1540
01:23:28,120 --> 01:23:29,479
Speaker 1: you listen to your favorite shows.