1 00:00:01,000 --> 00:00:03,880 Speaker 1: Dear listeners of Hollywood Land, does it feel like you're 2 00:00:03,880 --> 00:00:07,120 Speaker 1: stuck in limbo? Standing under a flickering street light at 3 00:00:07,160 --> 00:00:09,880 Speaker 1: the corner of Hollywood and True Crime, waiting for the 4 00:00:09,920 --> 00:00:11,639 Speaker 1: next episode of hollywood Land to drop. 5 00:00:12,680 --> 00:00:13,159 Speaker 2: I got you. 6 00:00:13,960 --> 00:00:29,520 Speaker 1: Welcome to hollywood Land, the Rap Party. What is up, 7 00:00:29,560 --> 00:00:32,680 Speaker 1: good people of Hollywood Land. It's me, it's you, It's us, 8 00:00:32,760 --> 00:00:35,000 Speaker 1: and we are all chilling here in the Rap Party. 9 00:00:35,360 --> 00:00:36,800 Speaker 1: This is the show that gets you from one full 10 00:00:36,800 --> 00:00:39,080 Speaker 1: episode of hollywood Land to the next. The place for 11 00:00:39,120 --> 00:00:42,720 Speaker 1: obsessives just like you, the movie geeks, the true crime freaks, 12 00:00:42,920 --> 00:00:45,640 Speaker 1: the ones who like their cinema history with a side 13 00:00:45,640 --> 00:00:48,680 Speaker 1: of grit and grime. My name is Zeth Lundy, writer 14 00:00:48,760 --> 00:00:51,479 Speaker 1: at Double Elvis, showrunner for hollywood Land, and on this 15 00:00:51,560 --> 00:00:54,840 Speaker 1: bonus episode, we are talking about this week's full episode 16 00:00:54,960 --> 00:00:59,200 Speaker 1: subject Lana Turner. We are previewing next week's episode on 17 00:00:59,280 --> 00:01:03,000 Speaker 1: Humphrey Bog. We're talking movie and music recommendations, and of 18 00:01:03,040 --> 00:01:06,360 Speaker 1: course we're gonna check out your text, your DMS, your emails. 19 00:01:06,640 --> 00:01:08,480 Speaker 1: So come on, everybody, let's. 20 00:01:08,240 --> 00:01:28,479 Speaker 3: Party this week. 21 00:01:28,640 --> 00:01:31,160 Speaker 1: We are in the sweet spot, and what I mean 22 00:01:31,240 --> 00:01:34,680 Speaker 1: by that is we've got in our full episode one 23 00:01:34,680 --> 00:01:37,520 Speaker 1: of the greatest stories in which the glitz and glamour 24 00:01:37,600 --> 00:01:41,640 Speaker 1: of Hollywood collides with the grit and grime of the 25 00:01:41,680 --> 00:01:46,120 Speaker 1: criminal underworld. These days, the actress Lana Turner may not 26 00:01:46,200 --> 00:01:49,200 Speaker 1: be as well remembered as some of her contemporaries from 27 00:01:49,200 --> 00:01:52,880 Speaker 1: the Golden Age of Hollywood, like your Lauren maccalls, your 28 00:01:53,000 --> 00:01:56,240 Speaker 1: Ingrid Bergmann's, even a Rita Hayworth or an Ava Gardner. 29 00:01:57,040 --> 00:02:00,200 Speaker 1: Lana Turner, though, was in many ways the epito me 30 00:02:00,400 --> 00:02:05,880 Speaker 1: of studio manufactured glamor, and for whatever reason, she never 31 00:02:05,960 --> 00:02:09,519 Speaker 1: got tied to a single iconic and enduring role. In fact, 32 00:02:09,639 --> 00:02:12,880 Speaker 1: she's best known for her roles in films like Peyton 33 00:02:12,960 --> 00:02:15,799 Speaker 1: Place and The Bad and the Beautiful, which are these 34 00:02:16,080 --> 00:02:20,080 Speaker 1: era defining melodramas of the nineteen fifties. Yet the melodrama 35 00:02:20,080 --> 00:02:22,720 Speaker 1: fell out of fashion over the years, and so over time, 36 00:02:22,880 --> 00:02:26,680 Speaker 1: so did Lana Turner. But it's also true that her 37 00:02:26,720 --> 00:02:30,560 Speaker 1: star power was overpowered by a scandal to end all scandals, 38 00:02:30,600 --> 00:02:33,360 Speaker 1: and of course I'm referring to her relationship with a 39 00:02:33,400 --> 00:02:38,080 Speaker 1: guy named Johnny Stompinado, a guy who notoriously was a 40 00:02:38,080 --> 00:02:42,360 Speaker 1: bagman and a driver for la mobster Mickey Cohen stomp 41 00:02:42,480 --> 00:02:45,480 Speaker 1: as he was known, was muscle. He was an extortionist. 42 00:02:45,720 --> 00:02:49,000 Speaker 1: He did that dirty work, in that dirty business until 43 00:02:49,080 --> 00:02:51,720 Speaker 1: his dirty way of life put him on the raw 44 00:02:51,919 --> 00:02:54,680 Speaker 1: end of a knife blade. And that was when Lana's 45 00:02:55,040 --> 00:02:59,080 Speaker 1: fourteen year old daughter killed Johnny Stompanado in self defense 46 00:02:59,360 --> 00:03:01,480 Speaker 1: while he was in the middle of threatening Lana for 47 00:03:01,520 --> 00:03:05,119 Speaker 1: the umpteenth time. I'm sure this is like the Hollywood 48 00:03:05,160 --> 00:03:08,280 Speaker 1: land story, okay, And this collision of worlds is why 49 00:03:08,280 --> 00:03:11,000 Speaker 1: I love this show so much, because the minute you 50 00:03:11,080 --> 00:03:14,680 Speaker 1: pull back the curtain on Hollywood's dream machine, you don't 51 00:03:14,680 --> 00:03:18,880 Speaker 1: find some diminutive wizard pulling levers in a cloud of smoke. 52 00:03:19,240 --> 00:03:22,440 Speaker 1: You find a bookie in a silk suit, a fixer 53 00:03:22,680 --> 00:03:24,800 Speaker 1: with a burner phone in his hand. You find a 54 00:03:24,840 --> 00:03:28,080 Speaker 1: producer asking a guy if he knows a guy. You 55 00:03:28,160 --> 00:03:31,000 Speaker 1: go back to the Golden Age, and there's Bugsy Siegel, 56 00:03:31,160 --> 00:03:34,040 Speaker 1: dressed better than most leading men, holding court at the 57 00:03:34,040 --> 00:03:38,120 Speaker 1: Brown Derby, hanging with his childhood friend, the actor George Raft, 58 00:03:38,760 --> 00:03:42,240 Speaker 1: an actor who plays mobsters in movies. And George Raft 59 00:03:42,280 --> 00:03:45,000 Speaker 1: is there getting a lesson from Bugsy Siegel on how 60 00:03:45,000 --> 00:03:47,320 Speaker 1: to flip a coin in his fingers. The right way, 61 00:03:47,520 --> 00:03:50,160 Speaker 1: the way that the wise guys do it. And speaking 62 00:03:50,200 --> 00:03:52,960 Speaker 1: of George raft over at the Warner's lot on the 63 00:03:53,000 --> 00:03:56,480 Speaker 1: set of the original Scarface in nineteen thirty two, there's 64 00:03:56,600 --> 00:04:01,520 Speaker 1: al Capone showing the director Howard Hawk the correct way 65 00:04:01,560 --> 00:04:04,760 Speaker 1: to fire a Tommy gun. There's all this you scratch 66 00:04:04,840 --> 00:04:07,560 Speaker 1: my back outscratch yours going on. And so when Bugsy 67 00:04:07,640 --> 00:04:10,960 Speaker 1: Siegel goes to Vegas to get into the gambling business, 68 00:04:11,040 --> 00:04:13,040 Speaker 1: of course he gets a bunch of the studio heads 69 00:04:13,080 --> 00:04:16,320 Speaker 1: to invest in his pet project, The Flamingo and the 70 00:04:16,400 --> 00:04:20,640 Speaker 1: Vegas that we now know was the brainchild of Hollywood 71 00:04:20,720 --> 00:04:23,800 Speaker 1: and the Mob and a big part of the reason 72 00:04:24,279 --> 00:04:26,960 Speaker 1: why Sinatra and the rat Pack and all those guys 73 00:04:27,000 --> 00:04:30,400 Speaker 1: became mainstays of the Vegas scene. A big part of 74 00:04:30,400 --> 00:04:32,120 Speaker 1: that has to do with the Mob forcing them to 75 00:04:32,120 --> 00:04:34,560 Speaker 1: do it. It was a payback of sorts after the 76 00:04:34,560 --> 00:04:39,159 Speaker 1: brother of Frank Sinatra's good buddy, JFK, after Bobby Kennedy 77 00:04:39,279 --> 00:04:42,160 Speaker 1: went after the mob and crime bosses like Sam g 78 00:04:42,279 --> 00:04:46,279 Speaker 1: and Conna said on wiretaps, quote, let's show those asshole 79 00:04:46,360 --> 00:04:48,800 Speaker 1: Hollywood fruitcakes that they can't get away with it, as 80 00:04:48,800 --> 00:04:52,600 Speaker 1: if nothing's happened unquote, and so instead of whacking Sinatra 81 00:04:52,680 --> 00:04:56,640 Speaker 1: on the others as maybe they would normally do, allegedly, 82 00:04:58,360 --> 00:05:00,440 Speaker 1: Sam g and Kanna had a better idea. He's like, 83 00:05:00,520 --> 00:05:03,200 Speaker 1: let's make these guys an offer they can't refuse to 84 00:05:03,320 --> 00:05:06,320 Speaker 1: perform at our venues in Las Vegas and make us 85 00:05:06,320 --> 00:05:06,920 Speaker 1: a ton of money. 86 00:05:07,000 --> 00:05:07,160 Speaker 2: Right. 87 00:05:07,680 --> 00:05:10,839 Speaker 1: I haven't even mentioned the role of the studio fixer here. 88 00:05:11,520 --> 00:05:15,200 Speaker 1: You know, legendary studio fixers like Eddie Mannix, whose sole 89 00:05:15,320 --> 00:05:17,680 Speaker 1: job was to keep the stars clean and the cops 90 00:05:17,680 --> 00:05:21,440 Speaker 1: pockets lined, and the columnists too scared or too well 91 00:05:21,480 --> 00:05:25,680 Speaker 1: paid to print the truth. Eddie Mannix was like Johnny Stompinato, 92 00:05:25,760 --> 00:05:28,839 Speaker 1: only he worked for the quote unquote legit guys. Now, 93 00:05:28,960 --> 00:05:32,360 Speaker 1: the strange or not so strange bedfellows thing of the 94 00:05:32,400 --> 00:05:35,159 Speaker 1: movies and the mob wasn't just like a golden age 95 00:05:35,160 --> 00:05:37,200 Speaker 1: of Hollywood thing. You know, by the time you get 96 00:05:37,240 --> 00:05:40,240 Speaker 1: to the nineteen seventies, you've got the mafia calling the 97 00:05:40,279 --> 00:05:43,520 Speaker 1: shots on what Francis fort Coppola could or couldn't do 98 00:05:43,640 --> 00:05:46,560 Speaker 1: or say in The Godfather. And then in addition to that, 99 00:05:46,640 --> 00:05:49,320 Speaker 1: you've got guys like Alex Rocco, guys who came up 100 00:05:49,360 --> 00:05:51,279 Speaker 1: in the world of true crime, who were now on 101 00:05:51,320 --> 00:05:53,880 Speaker 1: the other side, flipped over like a coin in the 102 00:05:53,920 --> 00:05:56,640 Speaker 1: hands of George Raft playing the part of the gangster 103 00:05:56,800 --> 00:06:00,120 Speaker 1: on the big screen. And meanwhile, James CON's over here 104 00:06:00,160 --> 00:06:02,960 Speaker 1: hanging out with dudes associated with the Columbo crime family 105 00:06:03,200 --> 00:06:06,560 Speaker 1: as he's preparing to play Sonny Corleone, just as Howard 106 00:06:06,600 --> 00:06:10,320 Speaker 1: Hawks had done all those years ago, rubbing elbows with 107 00:06:10,480 --> 00:06:15,159 Speaker 1: none other than al Capone. But my favorite story in 108 00:06:15,240 --> 00:06:18,240 Speaker 1: this ongoing saga that is Hollywood and true crime, my 109 00:06:18,360 --> 00:06:21,880 Speaker 1: absolute favorite, is what happened when law enforcement tried to 110 00:06:21,880 --> 00:06:25,560 Speaker 1: get in the game. Okay, by the nineteen eighties, the 111 00:06:25,640 --> 00:06:29,240 Speaker 1: FBI had gotten tired of chasing the mob through back 112 00:06:29,320 --> 00:06:33,200 Speaker 1: rooms and phone taps. Hollywood had been glamorizing gangsters for 113 00:06:33,240 --> 00:06:35,240 Speaker 1: half a century, so the bureau decided that they were 114 00:06:35,279 --> 00:06:37,400 Speaker 1: going to flip the script. They didn't chase the mob 115 00:06:37,440 --> 00:06:40,400 Speaker 1: into Hollywood. They brought Hollywood to the mob. So in 116 00:06:40,440 --> 00:06:44,880 Speaker 1: the eighties, the Feds ran an undercover labor racketeering investigation 117 00:06:45,480 --> 00:06:48,599 Speaker 1: that used a phony film production as the sting. So 118 00:06:48,720 --> 00:06:52,799 Speaker 1: to speak, A federal agent posed as an investment consultant 119 00:06:53,080 --> 00:06:55,480 Speaker 1: who was trying to get a non union film produced. 120 00:06:55,839 --> 00:06:59,200 Speaker 1: This was after this agent did like twelve weeks at 121 00:06:59,320 --> 00:07:02,440 Speaker 1: UCLA Film Home cool learning about film production. Okay, he 122 00:07:02,560 --> 00:07:04,800 Speaker 1: was all in. They had a phony office set up 123 00:07:04,800 --> 00:07:08,320 Speaker 1: in Santa Monica, they had a real Rolls Royce that 124 00:07:08,360 --> 00:07:11,120 Speaker 1: he could drive around in. And at the heart of 125 00:07:11,160 --> 00:07:13,920 Speaker 1: this was the fact that these gangsters, they just wanted 126 00:07:13,960 --> 00:07:15,880 Speaker 1: to be movie stars, just like the movie stars wanted 127 00:07:15,880 --> 00:07:17,680 Speaker 1: to be gangsters. And that was the hook. And of 128 00:07:17,720 --> 00:07:20,480 Speaker 1: course the movie was never made, despite the fact that 129 00:07:20,760 --> 00:07:23,600 Speaker 1: a couple of wise guys from the world of Boston 130 00:07:23,680 --> 00:07:27,800 Speaker 1: organized crime were indicted. The ending was no dramatic Hollywood ending. 131 00:07:28,320 --> 00:07:30,360 Speaker 1: But even more than that, can you imagine if that 132 00:07:30,440 --> 00:07:32,480 Speaker 1: film had ever gotten made, it could have been the 133 00:07:32,480 --> 00:07:36,200 Speaker 1: most legit mob movie of all time. So when we 134 00:07:36,320 --> 00:07:40,320 Speaker 1: talk about Lana Turner and we talk about the glitter 135 00:07:40,640 --> 00:07:43,680 Speaker 1: and the darkness that's lurking in the shadows of her 136 00:07:43,720 --> 00:07:46,720 Speaker 1: own house, we're not talking about an anomaly or an 137 00:07:46,720 --> 00:07:49,560 Speaker 1: outlier here. We're talking about a tradition, right. We're talking 138 00:07:49,560 --> 00:07:52,440 Speaker 1: about Hollywood, the only place in America where the Mob 139 00:07:52,520 --> 00:07:55,440 Speaker 1: once dreamed of winning an oscar and the FBI once 140 00:07:55,520 --> 00:07:58,480 Speaker 1: dreamed of getting its own picture made. I'm not done 141 00:07:58,520 --> 00:08:01,920 Speaker 1: with this topic yet, as you'll see next week when 142 00:08:01,920 --> 00:08:04,600 Speaker 1: we run our episode on Humphrey Bogart, which is all 143 00:08:04,600 --> 00:08:07,400 Speaker 1: about the collision of Bogie's cinematic universe with that of 144 00:08:07,480 --> 00:08:10,960 Speaker 1: Murder Inc. The infamous enforcement arm of the National Crime 145 00:08:11,000 --> 00:08:15,640 Speaker 1: Syndicate which was behind as many as one thousand contract 146 00:08:15,720 --> 00:08:18,800 Speaker 1: killings allegedly. But before we get into that story, I 147 00:08:18,840 --> 00:08:20,520 Speaker 1: need to check in with all of you and see 148 00:08:20,520 --> 00:08:22,520 Speaker 1: what you want to talk about, what you're going to 149 00:08:22,600 --> 00:08:39,040 Speaker 1: do right after this break. All right, we are back everybody. 150 00:08:39,120 --> 00:08:43,000 Speaker 1: I'm still thinking about Lana Turner and Johnny Stompinado about 151 00:08:43,040 --> 00:08:45,720 Speaker 1: Humphrey Bogart and Murder Inc. And it got me thinking, 152 00:08:46,559 --> 00:08:51,120 Speaker 1: what's your favorite underrated or unsung movie that involves organized 153 00:08:51,160 --> 00:08:54,920 Speaker 1: crime in some way? Like don't say The Godfather or Goodfellows. 154 00:08:55,000 --> 00:08:57,520 Speaker 1: We know all about those, But if you could recommend 155 00:08:57,520 --> 00:09:01,680 Speaker 1: one underrated mob or mafia movie, what would it be. 156 00:09:01,840 --> 00:09:04,480 Speaker 1: I love crime movies and I need to add some 157 00:09:04,520 --> 00:09:07,400 Speaker 1: more to my watch list over in letterboxed, So hit 158 00:09:07,440 --> 00:09:09,679 Speaker 1: me up, give me your recommendations. You can text me, 159 00:09:09,840 --> 00:09:12,840 Speaker 1: you can call me at six one seven nine oh 160 00:09:12,920 --> 00:09:16,400 Speaker 1: six six six three eight. Don't worry, You're gonna hear 161 00:09:16,480 --> 00:09:19,600 Speaker 1: Jake Brennan's voice on the phone. You can leave him 162 00:09:19,760 --> 00:09:22,480 Speaker 1: a message, you can leave me message there whatever, or 163 00:09:22,559 --> 00:09:26,719 Speaker 1: you can email me at Disgrace lampod at gmail dot com. 164 00:09:27,720 --> 00:09:30,800 Speaker 1: So last week we talked about Natalie Wood and also 165 00:09:31,000 --> 00:09:33,719 Speaker 1: at length about Thomas Nogucci, who was for a long 166 00:09:33,760 --> 00:09:37,040 Speaker 1: time the very notable chief medical examiner for Los Angeles. 167 00:09:37,080 --> 00:09:38,960 Speaker 1: I mentioned there was a new documentary on him that 168 00:09:38,960 --> 00:09:41,680 Speaker 1: came out earlier this year, and we got this text 169 00:09:41,800 --> 00:09:46,120 Speaker 1: from the three one six. Hey Zephyi's Jen and the 170 00:09:46,160 --> 00:09:49,560 Speaker 1: three one six great timing on Coroner to the Stars. 171 00:09:49,960 --> 00:09:52,200 Speaker 1: I had just seen it at the tall Grass Film 172 00:09:52,240 --> 00:09:56,400 Speaker 1: Fest a week before the Natalie Wood episode ran. It's 173 00:09:56,440 --> 00:10:01,480 Speaker 1: a fantastic doc Jen, that is awesome. Glad you saw 174 00:10:01,520 --> 00:10:04,280 Speaker 1: that the tall Grass Film Fest. What has happened in there? 175 00:10:04,720 --> 00:10:06,679 Speaker 1: Did you like do it up marathon style? Did you 176 00:10:06,679 --> 00:10:09,080 Speaker 1: see a bunch of stuff? I don't know much about 177 00:10:09,080 --> 00:10:11,720 Speaker 1: that film festival at all, but text me back at 178 00:10:11,720 --> 00:10:14,000 Speaker 1: some point and let me know what else you saw 179 00:10:14,000 --> 00:10:16,680 Speaker 1: there that was cool or that was worth a shout out. 180 00:10:16,880 --> 00:10:17,200 Speaker 2: Please. 181 00:10:17,400 --> 00:10:19,319 Speaker 1: We don't get many film fests up in my neck 182 00:10:19,360 --> 00:10:22,439 Speaker 1: of the woods. So I got to live vicariously through 183 00:10:22,480 --> 00:10:25,280 Speaker 1: the rest of you. I think there's one film fest 184 00:10:25,280 --> 00:10:29,280 Speaker 1: that I'm thinking of that I know of that happens 185 00:10:29,480 --> 00:10:31,520 Speaker 1: not super close to me, but kind of close to me. 186 00:10:32,400 --> 00:10:35,160 Speaker 1: That might be it slim Pickens, as they say, Jen, 187 00:10:35,240 --> 00:10:37,480 Speaker 1: thanks so much for chiming in on that Corner to 188 00:10:37,520 --> 00:10:40,120 Speaker 1: the Stars. That's that documentary on Thomas Nogucci we were 189 00:10:40,160 --> 00:10:44,320 Speaker 1: talking about. We were also talking about Jake and I 190 00:10:44,480 --> 00:10:47,320 Speaker 1: over on I think it was the after party. In 191 00:10:47,360 --> 00:10:51,160 Speaker 1: the all access exclusive portion of the after party, we 192 00:10:51,160 --> 00:10:54,440 Speaker 1: were talking about horror movies that aren't horror movies, like 193 00:10:54,640 --> 00:10:58,720 Speaker 1: performances or music or things in a non horror film 194 00:10:58,760 --> 00:11:00,480 Speaker 1: that scare the shit out of you, whatever, And we 195 00:11:00,559 --> 00:11:03,680 Speaker 1: mentioned one flu with the Cucko's Nest and Nurtu Ratchet. 196 00:11:03,880 --> 00:11:06,440 Speaker 1: So we got this text from the two two eight 197 00:11:07,000 --> 00:11:10,040 Speaker 1: hey disc goes, this is Michelle with one L. I'm 198 00:11:10,080 --> 00:11:12,040 Speaker 1: reaching out to tell you what I'm watching right now. 199 00:11:12,120 --> 00:11:14,480 Speaker 1: I did watch Black Rabbit, which I thought was really good. 200 00:11:14,720 --> 00:11:18,560 Speaker 1: I finished watching The Monsters with the ed Geen story. 201 00:11:18,800 --> 00:11:21,440 Speaker 1: Oh right, monster, yep. But the one I'm most excited 202 00:11:21,480 --> 00:11:23,760 Speaker 1: to tell you about is called Ratchet. It's a really, 203 00:11:23,800 --> 00:11:26,200 Speaker 1: really great movie. And the Nurse, and it is based 204 00:11:26,200 --> 00:11:28,760 Speaker 1: on the Nurse and One Flew Over the Cuckoo's Nest. 205 00:11:29,040 --> 00:11:31,239 Speaker 1: And I have one hundred percent agree with you on Strangers. 206 00:11:31,559 --> 00:11:34,040 Speaker 1: My son and I are both horror movie enthusiasts, and 207 00:11:34,080 --> 00:11:36,680 Speaker 1: we both agree that is the number one horror or 208 00:11:36,720 --> 00:11:40,160 Speaker 1: scary movie of all time. Thank you, Rock and ROLLA. 209 00:11:40,400 --> 00:11:42,480 Speaker 1: I've been listening to you for several years now, and 210 00:11:42,520 --> 00:11:45,440 Speaker 1: I've included a picture of my mirror where I jot 211 00:11:45,520 --> 00:11:47,720 Speaker 1: down things that y'all tell me I need to watch 212 00:11:47,840 --> 00:11:52,079 Speaker 1: or listen to or whatever. Okay, And then Michelle with 213 00:11:52,480 --> 00:11:56,680 Speaker 1: one L sent a photo here premirror with some titles 214 00:11:56,760 --> 00:12:01,520 Speaker 1: scrawled on it. I see Frailty, the Bitch King of 215 00:12:01,559 --> 00:12:04,120 Speaker 1: New York. I believe is on there as well. Hey, 216 00:12:04,200 --> 00:12:06,640 Speaker 1: Michelle with one out, however, you keep track works for me. 217 00:12:06,800 --> 00:12:09,200 Speaker 1: There's something so old school about this, like, fuck the 218 00:12:09,360 --> 00:12:11,439 Speaker 1: notes app on your phone? Just grab like what do 219 00:12:11,480 --> 00:12:13,160 Speaker 1: you grabbing? Is that like a marker or something looks 220 00:12:13,160 --> 00:12:15,800 Speaker 1: like a marker? Ratchet. I appreciate the recommendation on that 221 00:12:15,800 --> 00:12:17,720 Speaker 1: that's the show with Sarah Paulson, right, I do, or 222 00:12:17,720 --> 00:12:20,200 Speaker 1: the movie with Sarah Paulson. I do know of it, 223 00:12:20,240 --> 00:12:23,199 Speaker 1: but I have not seen it, so I will. I'll 224 00:12:23,240 --> 00:12:25,959 Speaker 1: look into that for sure to get our Nurse Ratchet 225 00:12:26,040 --> 00:12:27,959 Speaker 1: fixed here as you know we need. And I hope 226 00:12:27,960 --> 00:12:30,640 Speaker 1: you don't mind that I'm answering this message here in 227 00:12:30,679 --> 00:12:32,960 Speaker 1: the wrap party. This your message is relevant to both 228 00:12:33,200 --> 00:12:36,040 Speaker 1: Hollywood Land and Disgraceland. But I wanted to chime in 229 00:12:36,080 --> 00:12:39,400 Speaker 1: here on this great mirror mood board you got going on. 230 00:12:39,440 --> 00:12:41,960 Speaker 1: But I also wanted to chime in on that movie 231 00:12:42,040 --> 00:12:45,520 Speaker 1: The Strangers that Jake talked about at some point somewhere 232 00:12:45,960 --> 00:12:49,400 Speaker 1: and just say, I remember that the only direction Jake 233 00:12:49,520 --> 00:12:52,560 Speaker 1: gave me way back when I wrote the George Harrison 234 00:12:52,600 --> 00:12:55,000 Speaker 1: episode of disgrace Land. So we, Jake and I have 235 00:12:55,040 --> 00:13:00,120 Speaker 1: these editorial meetings just to sort of get grounded. I'm 236 00:13:00,120 --> 00:13:02,240 Speaker 1: writing an episode as far as you know what it's 237 00:13:02,240 --> 00:13:05,040 Speaker 1: going to be about and our take and all that stuff. 238 00:13:05,280 --> 00:13:06,800 Speaker 1: And the only direction he gave me when I was 239 00:13:06,800 --> 00:13:09,920 Speaker 1: writing the George Harrison episode, which which was all about 240 00:13:09,960 --> 00:13:12,640 Speaker 1: the home invasion that took place at George's house and 241 00:13:12,640 --> 00:13:15,040 Speaker 1: how he was nearly murdered in the process. The only 242 00:13:15,040 --> 00:13:17,679 Speaker 1: direction Jake Gamey was to watch the movie The Strangers, 243 00:13:17,760 --> 00:13:20,400 Speaker 1: which I had not seen yet, and then he was like, 244 00:13:20,520 --> 00:13:23,080 Speaker 1: just do that in the episode, and so that's what 245 00:13:23,160 --> 00:13:25,480 Speaker 1: I did. That's a little inside baseball for you there, 246 00:13:25,840 --> 00:13:29,160 Speaker 1: Michelle with one l thanks so much for that message. 247 00:13:29,600 --> 00:13:33,319 Speaker 1: Some chatter about the new movie Springsteen Delivered Me from 248 00:13:33,400 --> 00:13:36,880 Speaker 1: Nowhere over on Patreon, and then I mentioned it here. 249 00:13:37,160 --> 00:13:39,400 Speaker 1: I was wondering if anyone else had seen it. We 250 00:13:39,480 --> 00:13:42,439 Speaker 1: got this text from Keith chet Baker in the seven 251 00:13:42,440 --> 00:13:45,760 Speaker 1: to one nine. Keith writes in we saw Springsteen Delivering 252 00:13:45,800 --> 00:13:48,439 Speaker 1: Me from Nowhere yesterday on Imax. I loved it and 253 00:13:48,559 --> 00:13:52,160 Speaker 1: highly recommend it, but with several cautions. First, it isn't 254 00:13:52,160 --> 00:13:55,520 Speaker 1: a conventional biopic and shouldn't really be called one. It 255 00:13:55,559 --> 00:13:59,160 Speaker 1: covers a relatively brief period of time with some flashbacks. Second, 256 00:13:59,320 --> 00:14:02,080 Speaker 1: don't compare it to a complete unknown. They are two 257 00:14:02,160 --> 00:14:05,240 Speaker 1: quite different films with different objectives, which leads to my third. 258 00:14:05,920 --> 00:14:09,040 Speaker 1: Deliver Me from Nowhere isn't about the making of Nebraska 259 00:14:09,120 --> 00:14:12,120 Speaker 1: as much as it is about Bruce Springsteen's struggle with 260 00:14:12,240 --> 00:14:15,800 Speaker 1: two cases of depression, his own and his father's. Of 261 00:14:15,880 --> 00:14:19,000 Speaker 1: the several storylines, that is the one developed and probed 262 00:14:19,080 --> 00:14:21,800 Speaker 1: most deeply. People who have that understanding and who are 263 00:14:21,800 --> 00:14:25,640 Speaker 1: familiar with the Nebraska album, It's inspirations, Bruce's struggles at 264 00:14:25,680 --> 00:14:28,800 Speaker 1: the time, and the USA of nineteen eighty one nineteen 265 00:14:28,840 --> 00:14:32,960 Speaker 1: eighty two shouldn't be disappointed. First of all, Keith, thank 266 00:14:33,000 --> 00:14:35,280 Speaker 1: you for writing in about this. I love the nickname 267 00:14:35,960 --> 00:14:38,720 Speaker 1: Chet here is written in quotes. I'm hoping that is 268 00:14:38,760 --> 00:14:40,680 Speaker 1: actually your nickname. I love that we got to bring 269 00:14:40,720 --> 00:14:41,320 Speaker 1: that name back. 270 00:14:41,400 --> 00:14:41,640 Speaker 2: Chet. 271 00:14:41,640 --> 00:14:44,280 Speaker 1: I love it. But listen, I really appreciate you writing 272 00:14:44,320 --> 00:14:46,320 Speaker 1: in about Delivering Me from Nowhere. I'm really glad you 273 00:14:46,360 --> 00:14:48,760 Speaker 1: dug it. We had some other discos, as I mentioned 274 00:14:48,760 --> 00:14:51,000 Speaker 1: over on Patreon, talking about how they loved it as well, 275 00:14:51,760 --> 00:14:53,400 Speaker 1: and I was going to save this for later in 276 00:14:53,400 --> 00:14:56,160 Speaker 1: the show when talking about what I've watched or listened 277 00:14:56,200 --> 00:14:58,640 Speaker 1: to recently. But since we're talking about it here now, Keith, 278 00:14:58,640 --> 00:15:01,280 Speaker 1: I'm going to do with this now. I also saw 279 00:15:01,320 --> 00:15:05,880 Speaker 1: this movie over the weekend Second Row Dead Center, although 280 00:15:05,880 --> 00:15:07,520 Speaker 1: when I went up to the counter and I asked 281 00:15:07,520 --> 00:15:09,480 Speaker 1: for a ticket, I asked for a ticket to Deliver 282 00:15:09,560 --> 00:15:13,680 Speaker 1: Me from Evil, which I keep calling That's what I 283 00:15:13,720 --> 00:15:15,360 Speaker 1: keep calling this thing, and every time I say it, 284 00:15:15,400 --> 00:15:18,280 Speaker 1: I cannot my brain. This goes there. I revert back 285 00:15:18,320 --> 00:15:22,280 Speaker 1: to when I was a little kid, saying the Lord's 286 00:15:22,280 --> 00:15:24,720 Speaker 1: Prayer at night every night before I went to bed, 287 00:15:24,800 --> 00:15:28,640 Speaker 1: which we had to do anyways, and shout out to 288 00:15:28,640 --> 00:15:30,360 Speaker 1: the kid at the movie theater who was like, I 289 00:15:30,400 --> 00:15:31,680 Speaker 1: got you. Don't worry about it. He knew what I 290 00:15:31,760 --> 00:15:34,120 Speaker 1: was talking about. Obviously, if he didn't, I would have 291 00:15:34,240 --> 00:15:37,080 Speaker 1: worried about him and his job. I saw the movie. 292 00:15:37,160 --> 00:15:40,600 Speaker 1: I think everything you said about this, Keith is absolutely true. 293 00:15:41,040 --> 00:15:44,000 Speaker 1: It's a film about Bruce struggling with depression, struggling with 294 00:15:44,040 --> 00:15:46,720 Speaker 1: the proverbial sins of the father and all that, and 295 00:15:46,760 --> 00:15:48,680 Speaker 1: this is all taking place as he so happens to 296 00:15:48,760 --> 00:15:52,160 Speaker 1: me making the album Nebraska. Now I'm gonna say, I 297 00:15:52,200 --> 00:15:54,400 Speaker 1: think you can compare it to a complete unknown for 298 00:15:54,440 --> 00:15:58,080 Speaker 1: two specific reasons. Obviously they're very different movies. But one, 299 00:15:58,200 --> 00:16:01,000 Speaker 1: both films are not conventional file picks, and that they 300 00:16:01,000 --> 00:16:03,720 Speaker 1: are not cradled a grave. They take place during a 301 00:16:03,800 --> 00:16:07,000 Speaker 1: very specific period of time and short. The period of 302 00:16:07,040 --> 00:16:09,800 Speaker 1: time in question in Delivering Me from Nowhere is tighter, 303 00:16:09,800 --> 00:16:13,400 Speaker 1: but still number two. Both films feature performances at the 304 00:16:13,440 --> 00:16:16,800 Speaker 1: center by young actors who are taking on these larger 305 00:16:16,840 --> 00:16:20,840 Speaker 1: than life cultural icons. Timothy Shallow may disappeared into his role. 306 00:16:21,040 --> 00:16:24,160 Speaker 1: But one of my problems really locking into delivering Me 307 00:16:24,200 --> 00:16:27,320 Speaker 1: from Nowhere is that Jeremy Allen White, for all of 308 00:16:27,320 --> 00:16:30,280 Speaker 1: his strengths, didn't go as far as I wanted him 309 00:16:30,320 --> 00:16:32,720 Speaker 1: to go. I just I kept seeing KRMEI from the 310 00:16:32,720 --> 00:16:35,400 Speaker 1: Bear pop up, and then I got a glimpse of 311 00:16:35,400 --> 00:16:37,680 Speaker 1: this other character he was playing, and it was it 312 00:16:37,760 --> 00:16:39,120 Speaker 1: just was a bit distracting from me. 313 00:16:39,200 --> 00:16:39,360 Speaker 3: You know. 314 00:16:39,720 --> 00:16:42,920 Speaker 1: Early on there was that scene after the concert when 315 00:16:43,120 --> 00:16:49,240 Speaker 1: when he's backstage and he's he's speaking and Jeremy Allen White, 316 00:16:49,480 --> 00:16:52,880 Speaker 1: he's got this Bruce Springsteen manner speaking down like he 317 00:16:53,000 --> 00:16:56,040 Speaker 1: sounds like him, and I was I got pulled in 318 00:16:56,040 --> 00:16:57,640 Speaker 1: a little bit. But then he quickly loses it and 319 00:16:57,680 --> 00:16:58,760 Speaker 1: kind of goes in and out of it. 320 00:16:59,000 --> 00:16:59,280 Speaker 2: I don't know. 321 00:16:59,360 --> 00:17:00,640 Speaker 1: That kind of pulled me in and out of the 322 00:17:00,640 --> 00:17:02,800 Speaker 1: world that the movie was trying to build. I gotta 323 00:17:02,840 --> 00:17:05,040 Speaker 1: say some of the things I loved about this movie. 324 00:17:05,080 --> 00:17:07,840 Speaker 1: I loved the use of music from this time period, 325 00:17:07,880 --> 00:17:11,280 Speaker 1: the early eighties. That isn't Bruce's music that you wouldn't 326 00:17:11,280 --> 00:17:13,520 Speaker 1: really expect to see in this movie at all. They 327 00:17:13,680 --> 00:17:18,240 Speaker 1: use Urgent by Foreigner They use Winning by Santana. Which 328 00:17:18,480 --> 00:17:23,280 Speaker 1: guy's sidebar is winning the most Unsantana Santana song ever? 329 00:17:23,359 --> 00:17:24,280 Speaker 1: Do you guys know this song? 330 00:17:24,760 --> 00:17:27,879 Speaker 2: U'm Winning, Dude, du I'm winning? 331 00:17:28,080 --> 00:17:30,480 Speaker 1: Thank you. The first time I found out that this 332 00:17:30,600 --> 00:17:34,040 Speaker 1: was Santana's song, I think my head exploded. And the video, 333 00:17:34,160 --> 00:17:36,960 Speaker 1: the music video is just priceless if you haven't seen 334 00:17:37,000 --> 00:17:41,719 Speaker 1: it anyways. They also use suicides Frankie teardrop in one 335 00:17:41,760 --> 00:17:44,760 Speaker 1: of my favorite scenes in the movie. This is a 336 00:17:44,760 --> 00:17:47,320 Speaker 1: moment where Bruce is just like losing it, his creativity, 337 00:17:47,400 --> 00:17:50,159 Speaker 1: his relationships. The walls are closing in and he's just 338 00:17:50,240 --> 00:17:53,280 Speaker 1: like hauling ass in his Chevy Camaro late at night 339 00:17:53,800 --> 00:17:57,840 Speaker 1: down this dark road, deserted road. He cranks this tune up. 340 00:17:57,880 --> 00:17:59,639 Speaker 1: I think he's screaming too at some point and he 341 00:17:59,680 --> 00:18:03,959 Speaker 1: almost crashes. Just this visceral moment of filmmaking and just 342 00:18:04,000 --> 00:18:07,280 Speaker 1: really really super exciting. But how I felt about the 343 00:18:07,280 --> 00:18:10,800 Speaker 1: film ultimately is Okay, there's a line in the movie 344 00:18:10,840 --> 00:18:13,479 Speaker 1: at some point, and I'm paraphrasing heavily here, but when 345 00:18:13,560 --> 00:18:16,240 Speaker 1: Jeremy Allen White is telling I think Jeremy Strong, who's 346 00:18:16,280 --> 00:18:20,440 Speaker 1: playing Bruce's manager John Landau, that he doesn't even know 347 00:18:20,520 --> 00:18:22,840 Speaker 1: why he wants Nebraska to sound the way he wants 348 00:18:22,880 --> 00:18:25,840 Speaker 1: it to sound, or that he can't verbalize or communicate 349 00:18:25,880 --> 00:18:27,560 Speaker 1: like what's going on inside him and how that is 350 00:18:27,600 --> 00:18:31,600 Speaker 1: affecting what he's creating anyways, for me, Keith, for me, 351 00:18:32,160 --> 00:18:33,919 Speaker 1: that's kind of how I felt about the film. I 352 00:18:33,960 --> 00:18:36,159 Speaker 1: think what it's trying to get at and expressed is 353 00:18:36,200 --> 00:18:39,800 Speaker 1: something that's really tough to show on film, and maybe 354 00:18:39,800 --> 00:18:42,040 Speaker 1: the way to do it is to be more abstract. 355 00:18:42,119 --> 00:18:45,720 Speaker 1: But this film's idea of abstract is this hopscotching between 356 00:18:45,720 --> 00:18:47,879 Speaker 1: the past and the president, and at some point it 357 00:18:47,960 --> 00:18:50,239 Speaker 1: just got too hopscotchy for me, if you know what 358 00:18:50,280 --> 00:18:53,439 Speaker 1: I mean. See like I can't even articulate it, just 359 00:18:53,520 --> 00:18:56,640 Speaker 1: like Bruce Man. I'm definitely gonna check this out again 360 00:18:56,640 --> 00:18:58,640 Speaker 1: when it's streaming to see if my thoughts change it all. 361 00:18:58,680 --> 00:19:00,560 Speaker 1: But at the end of the day, I wish I 362 00:19:00,560 --> 00:19:02,159 Speaker 1: had enjoyed this as much as you did, and I'm 363 00:19:02,200 --> 00:19:04,399 Speaker 1: really glad you did, and I really appreciate you getting 364 00:19:04,400 --> 00:19:07,560 Speaker 1: in touch to share your thoughts. So that Springstein delivered 365 00:19:07,600 --> 00:19:11,000 Speaker 1: me from nowhere, not deliver me from evil. That's a 366 00:19:11,040 --> 00:19:17,199 Speaker 1: completely different, different trip, all right, over on Patreon our 367 00:19:17,280 --> 00:19:19,840 Speaker 1: Patreon all access for the discos that are over there. 368 00:19:20,440 --> 00:19:26,040 Speaker 1: Remember Crooked Rain and that is spelled r eign as 369 00:19:26,080 --> 00:19:28,480 Speaker 1: in Rain over Me by the Who, not as in 370 00:19:28,560 --> 00:19:31,280 Speaker 1: Crooked Rain, Crooked Rain by Pavement. But I see what 371 00:19:31,359 --> 00:19:34,200 Speaker 1: you did there, Crooked Rain. Nice work. Crooked Rain writes 372 00:19:34,200 --> 00:19:37,680 Speaker 1: in Hey, you guys mentioned some books I've loved, Utopia, 373 00:19:37,720 --> 00:19:40,560 Speaker 1: Avenue and the Brothers Sisters. Just want to mention that 374 00:19:40,600 --> 00:19:43,480 Speaker 1: everything by Patrick DeWitt and David Mitchell is the bomb, 375 00:19:43,760 --> 00:19:48,199 Speaker 1: particularly under Major, Domo Minor and Black Swan Green. The 376 00:19:48,240 --> 00:19:50,080 Speaker 1: best few I've read in recent years that are not 377 00:19:50,200 --> 00:19:52,920 Speaker 1: Mitchell or DeWitt or as follows one the Book Thief, 378 00:19:53,119 --> 00:19:56,359 Speaker 1: two The Poison with Bible, three White Teeth. And if 379 00:19:56,400 --> 00:19:58,840 Speaker 1: you want a book full of hollywood Land levels of 380 00:19:58,920 --> 00:20:03,400 Speaker 1: disgrace and more, you should read klaus Kinski's autobiography All 381 00:20:03,440 --> 00:20:09,520 Speaker 1: I Need is love. It's fucking cut razy. Sorry I 382 00:20:09,520 --> 00:20:11,479 Speaker 1: had to say that word like that because it's written 383 00:20:11,880 --> 00:20:16,520 Speaker 1: k U h r A A z eee ca razy 384 00:20:17,840 --> 00:20:21,879 Speaker 1: Crooked Rain. I cannot wait to read this klaus Kinsky book. 385 00:20:22,119 --> 00:20:24,240 Speaker 1: I didn't know about this at all. I know very 386 00:20:24,280 --> 00:20:26,840 Speaker 1: little about Kinsky besides the fact that he was to 387 00:20:27,040 --> 00:20:31,560 Speaker 1: Werner Herzog what de Niro was to Corsese right. Criterion Channel, 388 00:20:31,600 --> 00:20:34,320 Speaker 1: by the way, has a whole Herzog curation thing going 389 00:20:34,359 --> 00:20:36,800 Speaker 1: on right now with some of those movies they did together, 390 00:20:37,119 --> 00:20:40,160 Speaker 1: a Geire, Wrath of God and Fitzcaraldo, stuff like that. 391 00:20:40,720 --> 00:20:42,320 Speaker 1: Stoke to read that book, thanks so much. And you 392 00:20:42,359 --> 00:20:45,199 Speaker 1: mentioned The Poison with Bible by Barbara King Saliver and 393 00:20:45,240 --> 00:20:48,760 Speaker 1: White Teeth by Zadie Smith, two of my favorites from 394 00:20:48,800 --> 00:20:51,080 Speaker 1: way back. I still need to read Black Swan Green 395 00:20:51,160 --> 00:20:53,840 Speaker 1: and I haven't read any Patrick DeWitt, So yeah, I 396 00:20:53,880 --> 00:20:56,120 Speaker 1: gotta get on that shit man. And for the rest 397 00:20:56,160 --> 00:20:57,359 Speaker 1: of you, if you want to be in the chat 398 00:20:57,480 --> 00:21:00,720 Speaker 1: over in Patreon, like Crooked Rain here talking of things 399 00:21:00,720 --> 00:21:04,120 Speaker 1: of all kinds with fellow discos with me and Jake 400 00:21:04,240 --> 00:21:07,720 Speaker 1: and Matt from Double Elvis, including making up a mixtape 401 00:21:07,760 --> 00:21:10,200 Speaker 1: with me and Jake, which is something we've been working 402 00:21:10,200 --> 00:21:12,240 Speaker 1: on over there. I almost just said, me and me 403 00:21:12,320 --> 00:21:14,080 Speaker 1: and Jack, that's not what me and me and Jack 404 00:21:14,080 --> 00:21:17,760 Speaker 1: are doing. Something completely different. Don't worry about Jake just said. 405 00:21:17,800 --> 00:21:22,040 Speaker 1: Over to Disgrace lampod dot com for more details on 406 00:21:22,080 --> 00:21:24,879 Speaker 1: how to get in on all the all access action. 407 00:21:25,320 --> 00:21:27,280 Speaker 1: All right, And while you're doing that, I'm going to 408 00:21:27,320 --> 00:21:29,760 Speaker 1: take this opportunity to stand up, stretch for a second, 409 00:21:29,760 --> 00:21:32,040 Speaker 1: and when I come back, I've got some recommendations for 410 00:21:32,119 --> 00:21:33,159 Speaker 1: your eyes and your ears. 411 00:21:33,240 --> 00:22:00,080 Speaker 2: Stand by. 412 00:22:00,680 --> 00:22:03,560 Speaker 1: Oh right, everybody, Welcome back to the wrap parties. Zeth 413 00:22:03,640 --> 00:22:06,880 Speaker 1: Lundy here once again talking about what I've been watching, 414 00:22:07,119 --> 00:22:10,760 Speaker 1: listening to maybe what I've been reading. So in addition 415 00:22:10,880 --> 00:22:14,960 Speaker 1: to watching Deliver Me from Nowhere this weekend, which was 416 00:22:15,720 --> 00:22:17,440 Speaker 1: a bit of a disappointment for me, as I said, 417 00:22:17,920 --> 00:22:19,919 Speaker 1: I also happened to watch a movie that elictened the 418 00:22:19,960 --> 00:22:23,159 Speaker 1: exact opposite reaction, And in a weird way, they are 419 00:22:23,240 --> 00:22:26,320 Speaker 1: kind of related, and I'll explain why in a second. Okay, 420 00:22:26,320 --> 00:22:29,560 Speaker 1: this is part of my ongoing effort to rectify many 421 00:22:29,600 --> 00:22:32,520 Speaker 1: of these blind spots in my movie viewing history. Like 422 00:22:32,920 --> 00:22:35,760 Speaker 1: you haven't seen that. You call yourself a film buff 423 00:22:35,800 --> 00:22:39,600 Speaker 1: and you haven't seen that? Are you nuts? In that category? 424 00:22:40,200 --> 00:22:43,600 Speaker 1: For this week? The uh, you haven't seen that yet, 425 00:22:43,680 --> 00:22:47,240 Speaker 1: that's nuts category. I watched the film Days of Heaven, 426 00:22:47,680 --> 00:22:51,920 Speaker 1: directed by Terrence Malick, which came out in nineteen seventy eight. 427 00:22:52,080 --> 00:22:55,800 Speaker 1: First of all, I've often gotten This film confused with Heaven'sgate, 428 00:22:55,960 --> 00:22:59,280 Speaker 1: the Michael Shamino film from nineteen eighty, probably because they 429 00:22:59,280 --> 00:23:00,880 Speaker 1: both came out on this same time, and they both 430 00:23:00,960 --> 00:23:03,040 Speaker 1: have Heaven in the title, and I think that in 431 00:23:03,040 --> 00:23:05,919 Speaker 1: one way or another, they were both part of whatever 432 00:23:05,960 --> 00:23:08,080 Speaker 1: happened at the end of the nineteen seventies when the 433 00:23:08,080 --> 00:23:10,600 Speaker 1: director of the filmmaker, after being given all kinds of 434 00:23:10,640 --> 00:23:13,360 Speaker 1: creative control to make whatever they wanted to make, we're 435 00:23:13,400 --> 00:23:15,600 Speaker 1: suddenly starting to have that taken away from them because 436 00:23:15,760 --> 00:23:19,520 Speaker 1: all these directors were delivering these famous, costly flops. I 437 00:23:19,520 --> 00:23:21,439 Speaker 1: think more so in the case of Heaven's Gate. But 438 00:23:21,520 --> 00:23:24,959 Speaker 1: still therein lies my confusion. So not talking about Heaven's Gate, 439 00:23:25,040 --> 00:23:27,720 Speaker 1: talking about Days of Heaven, which, if you haven't seen, 440 00:23:27,840 --> 00:23:32,520 Speaker 1: takes place in the nineteen tens. It stars Richard Gear, 441 00:23:32,640 --> 00:23:35,879 Speaker 1: a very young Richard Gear, as this steel worker in Chicago. 442 00:23:36,200 --> 00:23:37,960 Speaker 1: And this is not a spoiler. This happens right off 443 00:23:37,960 --> 00:23:39,600 Speaker 1: the bat. He has a fight with his foreman I 444 00:23:39,640 --> 00:23:42,040 Speaker 1: think it is on the job site and he accidentally 445 00:23:42,080 --> 00:23:44,800 Speaker 1: kills him. So he's got a flee Chicago along with 446 00:23:44,800 --> 00:23:48,200 Speaker 1: his girlfriend who's played by Brooke Adams, and his kid's sister, 447 00:23:48,600 --> 00:23:51,280 Speaker 1: who's played by Linda Manz and Linda Mantz. We've talked 448 00:23:51,280 --> 00:23:54,000 Speaker 1: about her before she's in Dennis Hopper's film Out of 449 00:23:54,000 --> 00:23:56,200 Speaker 1: the Blue, but this is her debut. She was fifteen 450 00:23:56,280 --> 00:23:58,520 Speaker 1: years old and she also narrates the film. And this 451 00:23:58,680 --> 00:24:03,000 Speaker 1: really incredible off the cuff street tough, wiser beyond her 452 00:24:03,440 --> 00:24:07,679 Speaker 1: year's style that is so breathlessly in conversation with the 453 00:24:07,720 --> 00:24:11,360 Speaker 1: beautiful images we're seeing, of which there are many. A Famously, 454 00:24:11,400 --> 00:24:13,440 Speaker 1: Malik shot a lot of the scenes of this movie 455 00:24:13,560 --> 00:24:15,560 Speaker 1: during the Golden hour, at the end of the day 456 00:24:15,600 --> 00:24:18,480 Speaker 1: when the sun sets. So anyways, the three of them 457 00:24:18,600 --> 00:24:21,240 Speaker 1: flee Chicago and they go to the Texas Panhandle, where 458 00:24:21,240 --> 00:24:25,119 Speaker 1: they find seasonal work on a farm run by this 459 00:24:25,240 --> 00:24:27,840 Speaker 1: rich guy played by Sam Shepherd. But the thing is, 460 00:24:27,880 --> 00:24:31,520 Speaker 1: they can't say that Brooke Adams is Richard Gear's girlfriend 461 00:24:31,560 --> 00:24:33,600 Speaker 1: because they don't want people knowing exactly who they are, 462 00:24:33,840 --> 00:24:35,280 Speaker 1: and they're finding it out that he killed a guy 463 00:24:35,320 --> 00:24:37,280 Speaker 1: and it's gonna be a whole thing. So they say 464 00:24:37,280 --> 00:24:40,159 Speaker 1: that she's his other sister, and this leads to this 465 00:24:40,240 --> 00:24:43,600 Speaker 1: love triangle when Sam Shepherd starts to fall for her. Okay, 466 00:24:43,960 --> 00:24:46,080 Speaker 1: now this setup doesn't sound like my kind of movie 467 00:24:46,200 --> 00:24:49,639 Speaker 1: at all. But I'm telling you right now, this film 468 00:24:49,840 --> 00:24:53,360 Speaker 1: was like crack for me from the moment the opening 469 00:24:53,400 --> 00:24:58,520 Speaker 1: credits are happening with an incredible theme by Ennio Morricone, 470 00:24:58,640 --> 00:25:02,200 Speaker 1: one of the greatest composers in cinema history, and yet 471 00:25:02,600 --> 00:25:05,200 Speaker 1: this is one of his greatest themes I've ever heard, 472 00:25:05,240 --> 00:25:07,439 Speaker 1: and I've never heard it before. And it's not in 473 00:25:07,480 --> 00:25:11,520 Speaker 1: the conversation, not just best Mark Cooney themes, but best 474 00:25:11,560 --> 00:25:13,840 Speaker 1: themes in general, like what are we doing? What's going on? 475 00:25:14,240 --> 00:25:17,040 Speaker 1: This music has so much mystery in it. It's got 476 00:25:17,520 --> 00:25:20,120 Speaker 1: light in it and dark, just like the movie how 477 00:25:20,119 --> 00:25:22,000 Speaker 1: it's all about good and the good and bad in 478 00:25:22,040 --> 00:25:25,120 Speaker 1: all of us. We're half devil and half angel. It's 479 00:25:25,160 --> 00:25:27,800 Speaker 1: like a John Williams score. It's like a Spielberg movie. 480 00:25:27,880 --> 00:25:31,080 Speaker 1: So the movie opens with this, along with some I 481 00:25:31,119 --> 00:25:34,720 Speaker 1: think some actual photographs of people from this time period, 482 00:25:35,640 --> 00:25:40,159 Speaker 1: and already I'm in. I'm fully in this movie. And 483 00:25:40,200 --> 00:25:43,120 Speaker 1: then from there the story is so simple yet so rich. 484 00:25:43,240 --> 00:25:45,960 Speaker 1: The cinematography is some of the greatest I've ever seen. 485 00:25:46,119 --> 00:25:49,199 Speaker 1: The cinematographer actually won the Oscar that year for this. 486 00:25:49,320 --> 00:25:51,960 Speaker 1: And then you've got the great Jack Fisk, who is 487 00:25:52,000 --> 00:25:56,720 Speaker 1: a legendary production designer. He most recently worked on Scorsese's 488 00:25:56,800 --> 00:25:59,719 Speaker 1: Killers of the Flower Moon. Also, I think he's working 489 00:25:59,760 --> 00:26:03,760 Speaker 1: on Josh Saftie's upcoming Marty Supreme. He's billed as art 490 00:26:03,800 --> 00:26:06,600 Speaker 1: director here, But you know it's Jack Fisk who makes 491 00:26:06,640 --> 00:26:11,040 Speaker 1: this whole thing look and feel so authentic, especially this 492 00:26:11,040 --> 00:26:13,439 Speaker 1: this amazing house that's just on its own in the 493 00:26:13,440 --> 00:26:16,040 Speaker 1: middle of these wheat fields. I'm not kidding when I 494 00:26:16,040 --> 00:26:19,120 Speaker 1: say this is one of those rare movies that hit 495 00:26:19,200 --> 00:26:22,680 Speaker 1: me that as soon as it was over, I said 496 00:26:22,680 --> 00:26:25,119 Speaker 1: to myself, is this Did this just become one of 497 00:26:25,160 --> 00:26:27,840 Speaker 1: my favorite movies of all time? Second Stepbrothers? Do we 498 00:26:27,920 --> 00:26:30,560 Speaker 1: just become best friends like that? I think this might 499 00:26:30,640 --> 00:26:32,040 Speaker 1: be one of my favorite movies of all time. I 500 00:26:32,480 --> 00:26:35,560 Speaker 1: cannot wait to watch it again. It had this that 501 00:26:36,040 --> 00:26:40,480 Speaker 1: music speaks to this. It had this this this transporting 502 00:26:40,480 --> 00:26:43,119 Speaker 1: effect kind of like when I was a kid, but 503 00:26:43,160 --> 00:26:45,560 Speaker 1: it's the adult version of it. So instead of you know, et, 504 00:26:45,760 --> 00:26:48,119 Speaker 1: it's now days of Heaven, which I guess that's what 505 00:26:48,200 --> 00:26:50,680 Speaker 1: happens when you grow up. So how is this related 506 00:26:50,720 --> 00:26:53,840 Speaker 1: to deliver me from nowhere? You ask, because I sort 507 00:26:53,840 --> 00:26:57,159 Speaker 1: of teased out before well. Days of Heaven is the 508 00:26:57,200 --> 00:27:00,800 Speaker 1: second film by director Terrence Malick. His first was bad Lands, 509 00:27:01,320 --> 00:27:05,520 Speaker 1: which was inspired by the spree killer Charles Starkweather, which 510 00:27:05,680 --> 00:27:08,840 Speaker 1: inspired that movie inspired Bruce Springsteen to write the title 511 00:27:08,880 --> 00:27:11,520 Speaker 1: track to his album Nebraska. You know this, along with 512 00:27:11,560 --> 00:27:14,639 Speaker 1: the writing a Flannery O'Connor and the music of Suicide, 513 00:27:15,000 --> 00:27:17,040 Speaker 1: is one of the major pieces of media that Bruce 514 00:27:17,160 --> 00:27:21,520 Speaker 1: was consuming during that period, and in Delivering Me from Nowhere, 515 00:27:21,600 --> 00:27:23,960 Speaker 1: you see you watch Jeremy Allen White He's watching a 516 00:27:24,000 --> 00:27:26,040 Speaker 1: scene from bad Lands and the TV and the way 517 00:27:26,080 --> 00:27:27,639 Speaker 1: he shoots out from the couch or the bed or 518 00:27:27,680 --> 00:27:29,520 Speaker 1: whatever he's sitting on laying on at the time, and 519 00:27:29,560 --> 00:27:31,639 Speaker 1: he's like, holy shit, is what he's seeing on the screen. 520 00:27:32,240 --> 00:27:34,960 Speaker 1: That's exactly what I did. That was like me in 521 00:27:35,040 --> 00:27:37,840 Speaker 1: real time watching Days of Heaven. It was just I 522 00:27:37,880 --> 00:27:40,399 Speaker 1: love the fact that I'm at the age that I'm 523 00:27:40,440 --> 00:27:42,440 Speaker 1: at now and I've seen so much stuff and there's 524 00:27:42,440 --> 00:27:44,879 Speaker 1: still so many things to see that blow me away 525 00:27:44,960 --> 00:27:49,000 Speaker 1: like this, and I hope you have similar experiences as well. Okay, 526 00:27:49,040 --> 00:27:51,280 Speaker 1: so what have I been listening to lately? I've been 527 00:27:51,359 --> 00:27:55,919 Speaker 1: listening to the Beta band on repeat so much Beta 528 00:27:55,960 --> 00:27:59,960 Speaker 1: Band by primarily the Three EPs, which if you've seen 529 00:28:00,080 --> 00:28:03,560 Speaker 1: High Fidelity, you know about the Three EPs. Is that 530 00:28:03,680 --> 00:28:06,000 Speaker 1: where I first heard of that band and that record, 531 00:28:06,040 --> 00:28:08,479 Speaker 1: you know it is. I have no shame in admitting 532 00:28:08,560 --> 00:28:13,320 Speaker 1: that the vibe on this thing is just unmatched. The slacker, 533 00:28:13,880 --> 00:28:17,320 Speaker 1: lo fi stone to the fucking bone vibe is just 534 00:28:17,520 --> 00:28:22,360 Speaker 1: really really enhancing my autumn life right now. These songs 535 00:28:22,400 --> 00:28:25,600 Speaker 1: Man Dry the Rain, inter Meet Me, B plus A. 536 00:28:26,440 --> 00:28:28,520 Speaker 1: It's vibe music, baby. And if you if you don't 537 00:28:28,560 --> 00:28:30,280 Speaker 1: know this record, I don't know why it just became 538 00:28:30,400 --> 00:28:35,800 Speaker 1: some nineteen fifties hipster here. It's vibe music, Baby'd vibe 539 00:28:35,840 --> 00:28:37,760 Speaker 1: into it all night. You gotta check this out. If 540 00:28:37,760 --> 00:28:39,480 Speaker 1: you haven't seen High Fidelity, that's worth a watch too. 541 00:28:39,520 --> 00:28:43,960 Speaker 1: Although I gotta admit I've always had that film elevated 542 00:28:44,000 --> 00:28:46,240 Speaker 1: in my mind as some sort of primal text in 543 00:28:46,280 --> 00:28:50,360 Speaker 1: my life as a self described music obsessive and music 544 00:28:50,400 --> 00:28:53,280 Speaker 1: snob and film geek and all that. But I rewatched 545 00:28:53,280 --> 00:28:56,120 Speaker 1: this like last year for the first time in a while, 546 00:28:56,280 --> 00:28:57,840 Speaker 1: and it was the first time my wife had ever 547 00:28:57,880 --> 00:29:01,000 Speaker 1: seen it, and uh, she was like, ah, he's a 548 00:29:01,040 --> 00:29:04,920 Speaker 1: fucking asshole, and I was like kind of bummed to 549 00:29:05,000 --> 00:29:07,960 Speaker 1: have this most and she wasn't wrong. I think I 550 00:29:08,000 --> 00:29:10,640 Speaker 1: always knew that that Rob was an asshole, but this 551 00:29:10,680 --> 00:29:12,479 Speaker 1: time I didn't want to align myself with him. When 552 00:29:12,480 --> 00:29:14,080 Speaker 1: I watched it, I'm like, I don't know, man, go it. 553 00:29:14,160 --> 00:29:17,280 Speaker 1: Just go be a jerk and go agonize over rearranging 554 00:29:17,360 --> 00:29:20,520 Speaker 1: your vinyl collection, you dick, you know, I don't know, man, 555 00:29:21,080 --> 00:29:23,960 Speaker 1: I'm suddenly reevaluating how I feel about that movie. But anyways, 556 00:29:24,040 --> 00:29:28,280 Speaker 1: I'm also listening right now to well not right now, 557 00:29:28,320 --> 00:29:30,040 Speaker 1: but I literally was just listening to it as I 558 00:29:30,120 --> 00:29:31,680 Speaker 1: was preparing to record this, so I was putting my 559 00:29:31,720 --> 00:29:35,560 Speaker 1: thoughts together. Here is this three disc compilation by Underworlds 560 00:29:35,560 --> 00:29:39,680 Speaker 1: called nineteen ninety two to twenty twelve the Anthology. This, 561 00:29:39,760 --> 00:29:43,160 Speaker 1: of course, is the great Welsh electronic duo underworld This 562 00:29:43,240 --> 00:29:44,680 Speaker 1: is the kind of shit you put on when you're 563 00:29:44,720 --> 00:29:47,800 Speaker 1: driving and suddenly you realize you're going like twenty miles 564 00:29:47,800 --> 00:29:49,840 Speaker 1: over the speed limit, thirty miles over the speed limit. Well, 565 00:29:50,040 --> 00:29:52,600 Speaker 1: don't do that, I guess. More accurately, for me, it's 566 00:29:52,640 --> 00:29:54,680 Speaker 1: when you put it on when you're writing, you're working, 567 00:29:55,040 --> 00:29:58,320 Speaker 1: and it just supercharges your brain cells. Like your synapses 568 00:29:58,360 --> 00:30:01,600 Speaker 1: are like firing, like you just main line some illicit 569 00:30:01,600 --> 00:30:03,960 Speaker 1: substance and everything is on overdrived and pumped up and 570 00:30:04,000 --> 00:30:06,880 Speaker 1: ready to go, like damn, this shit cooks, dude. Of 571 00:30:06,880 --> 00:30:10,080 Speaker 1: course this compilation has borne Slippy on it from the 572 00:30:10,160 --> 00:30:13,400 Speaker 1: Train Spotting soundtrack, but even better in my mind, also 573 00:30:13,400 --> 00:30:17,680 Speaker 1: from Trainspotting is this track called Dark and Lawn Dark Train, 574 00:30:17,840 --> 00:30:21,240 Speaker 1: which is a nearly eleven minute banger that's used in 575 00:30:21,280 --> 00:30:24,000 Speaker 1: the film when you and McGregor's character is going through withdrawal. 576 00:30:24,480 --> 00:30:27,200 Speaker 1: So that's what I got for you this week. Underworld, 577 00:30:27,440 --> 00:30:31,440 Speaker 1: the Beta Band High Fidelity kind of and the ten 578 00:30:31,480 --> 00:30:34,920 Speaker 1: out of ten five star classic number one with a 579 00:30:34,960 --> 00:30:37,640 Speaker 1: bullet Days of Heaven. It's a ninety minute epic, if 580 00:30:37,640 --> 00:30:39,800 Speaker 1: that makes sense. Okay, if an alien came down and 581 00:30:39,880 --> 00:30:42,080 Speaker 1: was like, what's a movie? I would show the alien 582 00:30:42,120 --> 00:30:44,160 Speaker 1: this movie. This is how high I am on this 583 00:30:44,280 --> 00:30:46,840 Speaker 1: right now. Let me know if you agree or disagree, 584 00:30:47,160 --> 00:30:49,600 Speaker 1: or let me know what that movie is for you. 585 00:30:49,880 --> 00:30:53,000 Speaker 1: What's the movie that when you saw it suddenly it 586 00:30:53,000 --> 00:30:54,680 Speaker 1: became one of your favorite movies of all time? I 587 00:30:54,720 --> 00:30:56,840 Speaker 1: don't know, let me know, call me, text me, let 588 00:30:56,880 --> 00:30:59,440 Speaker 1: me know. Six one seven, nine oh six, six six 589 00:30:59,520 --> 00:31:01,480 Speaker 1: three eight. All right, stay right where you are. I'll 590 00:31:01,480 --> 00:31:16,840 Speaker 1: be back in just a moment. What has happened in 591 00:31:16,880 --> 00:31:19,760 Speaker 1: all you beautiful people of Hollywood Land. You are all happening, 592 00:31:19,960 --> 00:31:22,600 Speaker 1: and for that I am super grateful. Thanks again for 593 00:31:22,640 --> 00:31:26,720 Speaker 1: all your messages, your texts, dms, Patreon chats, and keep 594 00:31:26,720 --> 00:31:30,080 Speaker 1: it going. Okay, even remember I want your recommendations for 595 00:31:30,200 --> 00:31:35,360 Speaker 1: most underrated or underseen organized crime movies, mob movies, mafia movies. 596 00:31:35,880 --> 00:31:38,280 Speaker 1: The deeper the pull, the better, or it could be 597 00:31:38,320 --> 00:31:41,120 Speaker 1: one of these blind spot movies that I should have 598 00:31:41,160 --> 00:31:43,320 Speaker 1: seen that I haven't seen yet. So put these in 599 00:31:43,360 --> 00:31:45,600 Speaker 1: the forefront of my mind right now, okay. And I 600 00:31:45,640 --> 00:31:48,000 Speaker 1: also want to know, as I was just saying, what's 601 00:31:48,040 --> 00:31:50,040 Speaker 1: the last movie you saw where you instantly thought this 602 00:31:50,120 --> 00:31:52,760 Speaker 1: is one of my top four top five favorite films 603 00:31:52,800 --> 00:31:55,280 Speaker 1: of all time. You can get at me at six 604 00:31:55,400 --> 00:31:58,000 Speaker 1: one seven nine oh six, six six three eight. You 605 00:31:58,040 --> 00:32:02,320 Speaker 1: can email me at Disgrace Lamb pod at gmail dot com, 606 00:32:02,480 --> 00:32:04,440 Speaker 1: and then maybe I'll play your voicemail or read your 607 00:32:04,440 --> 00:32:07,560 Speaker 1: message here in the future episode of Hollywoodland. All right, 608 00:32:07,960 --> 00:32:11,040 Speaker 1: speaking of Hollywood Land, speaking of the rap Party, let's 609 00:32:11,200 --> 00:32:15,080 Speaker 1: recap number one, available right now in your Hollywood Land Feed. 610 00:32:15,440 --> 00:32:19,000 Speaker 1: Our episode on Lana Turner number two coming next week 611 00:32:19,640 --> 00:32:23,480 Speaker 1: on Monday. Our episode on Humphrey Bogart number three over 612 00:32:23,520 --> 00:32:25,840 Speaker 1: in the Disgrace Land Feed. Our brand new Part two 613 00:32:25,880 --> 00:32:29,720 Speaker 1: episode on ACDC Plus for All Access members, our new 614 00:32:29,880 --> 00:32:33,680 Speaker 1: exclusive mini episode which asked the question who wrote the 615 00:32:33,760 --> 00:32:37,880 Speaker 1: lyrics for acdc's biggest album and number four In honor 616 00:32:37,920 --> 00:32:40,240 Speaker 1: of this week's episode, me reading you the list of 617 00:32:40,280 --> 00:32:43,160 Speaker 1: the top grossing films from June of nineteen ninety five, 618 00:32:43,440 --> 00:32:45,920 Speaker 1: the month that Lana Turner died at the age of 619 00:32:46,000 --> 00:32:52,200 Speaker 1: seventy four. Number one Batman Forever, directed by Joel Schumacher. 620 00:32:53,080 --> 00:32:59,680 Speaker 1: Number two Congo, directed by Frank Marshall. Number three Pocahontas 621 00:33:00,280 --> 00:33:04,320 Speaker 1: directed by Mike Gabriel and Eric Goldbergs directed. Number four 622 00:33:05,000 --> 00:33:08,760 Speaker 1: Casper Time directed directed by Bradney Silber, directed by Milk Gason. 623 00:33:08,840 --> 00:33:08,880 Speaker 3: No. 624 00:33:09,040 --> 00:33:12,480 Speaker 1: Number five, Number three The Bridges Madison Countlected directed by 625 00:33:12,520 --> 00:33:15,280 Speaker 1: Clint Eastwood Scott. Number ten, Number six While You Was 626 00:33:15,400 --> 00:33:19,200 Speaker 1: Die Hard with a Vengeance directed by John mctierney. Number one, 627 00:33:19,320 --> 00:33:25,520 Speaker 1: number seven previous directed Through the Fist, Quit Talking and 628 00:33:25,720 --> 00:33:26,800 Speaker 1: start mixing. 629 00:33:27,080 --> 00:33:27,320 Speaker 2: Could