Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.
Speaker 2: Hey, welcome to Weird House Cinema.
Speaker 3: This is Rob Lamb and this is Joe McCormick. And
Speaker 3: today on Weird House Cinema we're going to be talking
Speaker 3: about the nineteen eighty five Ridley Scott fantasy tale Legend,
Speaker 3: starring Tom Cruise, Miasara, and Tim Curry. I wanted to
Speaker 3: start off just by saying, because I mentioned it so
Speaker 3: many times on the show, that I love a good
Speaker 3: synthetic forest set like a you know, a fairytale woodland
Speaker 3: built inside a sound stage. Legend is a kind of
Speaker 3: heaven for me, because it is there's more of that
Speaker 3: in this movie than any other movie I can think of.
Speaker 2: Yeah, they built an enormous forest for this one, inside
Speaker 2: the Double O seven stage at Pinewood Studios. That was
Speaker 2: the studio that was built for nineteen six seventy seven's
Speaker 2: The Spy Who Loved Me, And interestingly enough, it burned
Speaker 2: down shortly before filming could wrap on Legend, tragically killing
Speaker 2: the last two living unicorns.
Speaker 4: Yeah.
Speaker 2: Yeah, now, no, the unicorns are fine, but some of
Speaker 2: their final scenes had to be filmed in an actual
Speaker 2: outdoor location because of this, So if you're watching closely,
Speaker 2: there may be some unicorn scenes here and there where
Speaker 2: you're like, oh, that looks like maybe that's for real
Speaker 2: outdoors instead of this lush and amazing indoor forest they built.
Speaker 2: But they do a good job of making not necessarily
Speaker 2: focus on the difference.
Speaker 3: I love that it goes back and forth and you
Speaker 3: can't always tell if you're actually outside or if this
Speaker 3: is an indoor forest.
Speaker 2: Yeah, like they just like they are like particles floating
Speaker 2: around in the air. I'm not sure if it's like
Speaker 2: pollen or fairy dust. I mean, it's just there's a
Speaker 2: lot going on. It's a very rich visual texture.
Speaker 3: In my opinion, this is an almost perfect example of
Speaker 3: a movie that has all the things it needs to
Speaker 3: be absolutely wonderful, but it doesn't know exactly how to
Speaker 3: use them to the greatest effect. So this movie has
Speaker 3: unbelievably gorgeous sets, some of the most amazing production design
Speaker 3: of any movie I can think of.
Speaker 5: Ever.
Speaker 3: It has stupendous makeup effects and costumes, has a great cast,
Speaker 3: especially in the sort of the down cheat character roles
Speaker 3: and the villain roles. It has some intriguing ideas and
Speaker 3: moments and some fun and funny dialogue in it. It's
Speaker 3: got unicorns, all the resources and technical skill that is
Speaker 3: needed to make a best of the best fantasy adventure,
Speaker 3: and yet somehow the movie always still feels like it
Speaker 3: kind of doesn't come together right, something kind of falls
Speaker 3: apart at the core of it. It's like it's not
Speaker 3: organized correctly toward a toward its storytelling purpose.
Speaker 2: Yeah, I know what you mean, and this is going
Speaker 2: to be something we're going to discuss back and forth,
Speaker 2: I think the whole episode. But it's also I think
Speaker 2: one of the reasons that I realized that the time
Speaker 2: was right to discuss legend. We've been talking a lot
Speaker 2: about alien and alien related content on the show, and
Speaker 2: I was heavily tempted, and we may still come back
Speaker 2: and do Alien at some point. But Alien is one
Speaker 2: of those films, a Ridley Scott film that I mean,
Speaker 2: it's basically perfect, like it like everything works in that picture,
Speaker 2: and it's I don't know, it's fun to talk about
Speaker 2: films we're passionate about and that are you know, are
Speaker 2: so great that you don't really have anything critical to
Speaker 2: say about them, But I don't know, sometimes it's a
Speaker 2: little more engaging maybe to get into something like this,
Speaker 2: a film that is rougher around some of the edges
Speaker 2: in some aspects of the production.
Speaker 3: I very much agree that Alien is basically perfect, but
Speaker 3: Legend is different. This is not the only Ridley Scott
Speaker 3: movie that could be described in the way as having
Speaker 3: so many technical elements that are just at the peak
Speaker 3: of excellence. You know, maybe has a kind of esthetic perfection,
Speaker 3: but something just doesn't all work as a narrative, It
Speaker 3: doesn't fit together in the right way. And I want
Speaker 3: to be clear that nobody's going to tag me as
Speaker 3: a Ridley hater, you know, as I already said, I
Speaker 3: think Alien is basically perfect. I'm not one of those
Speaker 3: people who thinks Blade Runner is overrated. Some people say
Speaker 3: that now I don't agree. I think it is brilliant,
Speaker 3: and I even personally find delight in some of Ridley
Speaker 3: Scott's more arguably or some would even say objectively bad films,
Speaker 3: like Hannibal or Alien Covenant. I sort of think, well, yeah,
Speaker 3: maybe they are bad, but I kind of like them anyway.
Speaker 3: But apart from that, I think it's interesting that Scott
Speaker 3: has made a number of these films that at least
Speaker 3: as I see it, pull together the best of the
Speaker 3: best in terms of all the technical elements of filmmaking.
Speaker 3: They look amazing, they sound amazing, they have beautiful and
Speaker 3: interesting things to show you. But at the same time
Speaker 3: they can end up feeling kind of disorganized, flabby, and
Speaker 3: sometimes even irritating. Exercises in storytelling.
Speaker 2: Yeah, yeah, I would broadly agree with all that, And
Speaker 2: I think maybe a lot of it comes down to
Speaker 2: the particular way that Ridley Scott seems to command a picture,
Speaker 2: because yeah, I think he's a tremendous visual director. His storyboards,
Speaker 2: which are often called Ridley Grams. I don't know if
Speaker 2: he calls them Ridley Grahams or people who work with
Speaker 2: them call him Ridley Grahams, but I'm not sure in
Speaker 2: the origin of the term. But the Ridley Grams alone
Speaker 2: are always worth a look because on one hand, they're
Speaker 2: just I mean, they look you could say, here's a
Speaker 2: comic book past the Ridley Grahams and you would buy it.
Speaker 2: Like they don't. They don't feel as much like a
Speaker 2: rough sketch of what is to be filmed as as
Speaker 2: some storyboards, do you know what I'm saying? M Yeah,
Speaker 2: And also it's it's provides a lot of insight into
Speaker 2: how it all comes together, even though again they are
Speaker 2: essentially blueprints of everything to come. It's where he takes
Speaker 2: the screenplay written by others and projects them into a
Speaker 2: more solidified visual form. And like you say, you know
Speaker 2: that on top of that, really Scott's going to bring
Speaker 2: in just the absolute best behind the scenes crew and
Speaker 2: generally just great casting choices as well to make it
Speaker 2: all come alive. That being said, yeah, he is often
Speaker 2: criticized for being inconsistent. And I guess one of the
Speaker 2: weird things here is I'm, by by all means not
Speaker 2: a Ridley Scott completists. There are a bunch of Ridley
Speaker 2: Scott films. I haven't seen many of his Yeah, many
Speaker 2: of his historical pieces, for example, many of his dramas,
Speaker 2: even some of the big dramas like Film and Luise,
Speaker 2: I just haven't seen it. And it's it's not on
Speaker 2: my immediate to watch list. It's not something we could
Speaker 2: work into weird house, you know. But that one was
Speaker 2: critically acclaimed and nominated for multiple awards. But yeah, for
Speaker 2: my money, Alien and Blade Runner are all timers. I
Speaker 2: personally loved Prometheus an Alien Covenant and really admired Covenant
Speaker 2: more on a recent rewatch. That one's kind of divisive,
Speaker 2: but it certainly has its fans, and I think it's
Speaker 2: its faults, in my opinion, are trivial in the face
Speaker 2: of everything it does. Right. Hannibals, that's another weird one
Speaker 2: to look at. Hannibal is one I would almost consider
Speaker 2: doing for Weirdhouse as well, because I remember when the
Speaker 2: novel came out and it was I thought it was
Speaker 2: kind of a mess and kind of repellent, And if anything,
Speaker 2: the film improved matters by cutting out some of the
Speaker 2: more lurid elements and finding its own sort of strange,
Speaker 2: grotesque tale to tell again with a stunning cast, great visuals,
Speaker 2: and this kind of like you know, baroque awfulness that
Speaker 2: Scott does so well. But yeah, that's one I probably
Speaker 2: need to rewatch, but it's it's also not one I'm
Speaker 2: in a super hurry to see again.
Speaker 3: I don't know. Ridley has a kind of magic that
Speaker 3: even when he makes a movie that I'm not going
Speaker 3: to go out and defend, I don't think is a
Speaker 3: great movie. I do want to keep looking at it. Usually,
Speaker 3: like I will come back to these movies.
Speaker 2: Yeah, yeah, absolutely. I mean Ridley is going to bring
Speaker 2: you somewhere you haven't been before, and in all likelihood,
Speaker 2: no one else is going to bring you to, you know,
Speaker 2: And I think that's one thing I really love about Covenant.
Speaker 2: That's one thing that I even admire about Hannibal is
Speaker 2: like there have even been other adaptations of the source
Speaker 2: material for Hannibal, and that adaptation as well has its
Speaker 2: own visual flare, but it's not quite the same. You know.
Speaker 2: There's just something about the riddle is really scott approach
Speaker 2: to filmmaking that is just really going to sing.
Speaker 3: Now, Rob, I'm curious about your your own viewing history
Speaker 3: with Legend because mine is a bit confused. I'm going
Speaker 3: to say what I think it was, but I'm not
Speaker 3: positive about this. I think the order for me goes.
Speaker 3: I saw pieces of this movie on TV growing up,
Speaker 3: so you know, running it, I don't know which cut
Speaker 3: they'd be airing on TV. Well, we'll have to talk
Speaker 3: about the multiple cuts of the film. I'd guess probably
Speaker 3: the US theatrical cut, but bits of it on TV
Speaker 3: where I was just seeing like a big devil with
Speaker 3: gigantic horns. That's very striking and hard to forget Mia
Speaker 3: Sara wearing a kind of like triangle shaped black dress
Speaker 3: with goth makeup on, and seeing Tom Cruise's legs and
Speaker 3: thinking I didn't know Tom Cruise was ever in a
Speaker 3: fantasy movie like this. I'm not sure what's going on,
Speaker 3: but it just kind of getting past me, you know.
Speaker 3: I'd see a little bit here and there, and then
Speaker 3: at some point I saw the film in full, and
Speaker 3: I don't know what cut it was, but I remember
Speaker 3: thinking it was beautiful and I was mighty impressed by
Speaker 3: it in some ways. But I do kind of remember
Speaker 3: feeling tempted to fall asleep at certain parts.
Speaker 2: Yeah, I mean there are plenty of stretches of this
Speaker 2: film that are very hypnotic and also in places a
Speaker 2: little slow especially. I mean it depends on the cut
Speaker 2: of the film, which we'll get into there. I think
Speaker 2: two major cuts and probably four step rick cuts you
Speaker 2: could point to. But with me, it's possible I saw
Speaker 2: part of it on TV at some point, or had
Speaker 2: seen a VHS box for it certainly previously. But my
Speaker 2: clear memory was being homesick from school one day and
Speaker 2: I had a couple of movies rented movies to watch.
Speaker 2: One of them was Highlander and the other was this
Speaker 2: And I do remember from the moment the VHS type
Speaker 2: started playing the film proper. I remember, you know, getting
Speaker 2: hit with that Tangerine dream score, and then you know,
Speaker 2: the visuals began to kick in, and I realized right
Speaker 2: away there was something special about this one. You know,
Speaker 2: this was an enthralling dark fantasy world that I just
Speaker 2: hadn't seen anything like this on the screen before. You know,
Speaker 2: like you look back to this time period and like,
Speaker 2: what else, what else did you have in nineteen eighty
Speaker 2: five that really, I mean, that gave you live action
Speaker 2: fantasy at all, but much much more to the point,
Speaker 2: gave you live action fantasy that was this dark in
Speaker 2: its texture, you know. I mean, nowadays you can easily
Speaker 2: point to Peter Jackson Florida, the Rings films, which really
Speaker 2: get in there with all the more door stuff and
Speaker 2: that works in the goblins and deliver it to you know,
Speaker 2: in spades. But at the time, like this was kind
Speaker 2: of this is as deep as dark and dark as
Speaker 2: it got.
Speaker 3: Yeah, I guess you've got the different sort of sub
Speaker 3: genres of fantasy. So like by the mid eighties you
Speaker 3: had you had Conan type stuff, which could be dark,
Speaker 3: but was more I don't know, it was more gritty
Speaker 3: and though it had magic in it was more brutal
Speaker 3: and realistic overall, and was more pitched at a I
Speaker 3: don't know if this is the right word, but a
Speaker 3: mature audience. You know, it was the original Cone and
Speaker 3: rated R. Surely not or was it?
Speaker 2: I believe it was an R.
Speaker 3: Yeah, oh okay, I mean so just like very violent,
Speaker 3: kind of gritty, barbarian fantasy. You had that kind of thing.
Speaker 3: Of course, you had the more animated approach off into
Speaker 3: high fantasy type stuff. But I think it's interesting that
Speaker 3: Legend is is dark fantasy that shows you a lot
Speaker 3: of scary, devilish kind of stuff, but at its core
Speaker 3: it is a fairy tale. It's not a grim, gritty,
Speaker 3: more to kind of muscle and steel fantasy like the
Speaker 3: Conan movies. It's a fairy tale with a broad fairy
Speaker 3: tale kind of brushstroke to it. But it's also very dark.
Speaker 2: Yeah, And I think this is another thing that even
Speaker 2: early on I realized there was kind of a disconnect
Speaker 2: with because the visual style of Legend is insanely epic,
Speaker 2: the actual story that it tells is maybe it. I
Speaker 2: mean it has high stakes, like you know, the the world,
Speaker 2: it's about saving the world, but in many other respects
Speaker 2: it's less epic. The story is a little more simplified
Speaker 2: and more I think just sort of fairy tale in form.
Speaker 2: So it's yeah, it feels it feels like the visuals
Speaker 2: are like far out delivering the actual story.
Speaker 3: Can I suggest I think a reason why it feels
Speaker 3: less epic. I think it's because it's a fairly tight
Speaker 3: character list, Like there are not we never see masses
Speaker 3: of people or armies or anything like that in this movie.
Speaker 3: It's actually quite intimate in terms of the characters. The
Speaker 3: only regular people we ever meet in the movie is like,
Speaker 3: is a single cottage full of peasants in the forest?
Speaker 3: You know that Miasarra's character goes to visit at the
Speaker 3: beginning of the movie. And so there's no sense at
Speaker 3: all of kind of the broader world of peoples and
Speaker 3: armies clashing or anything like that. I mean, we are
Speaker 3: too believe that somewhere out there there is a castle
Speaker 3: where the king Miasara's father lives and all that, but
Speaker 3: we never see them. So the characters almost kind of
Speaker 3: exist in this private, intimate kind of fantasy Forrest dream World.
Speaker 3: And so though we know that the fate of the
Speaker 3: entire world is at stake with what happens to the
Speaker 3: unicorns in the movie, we never see mighty forces coming together.
Speaker 2: Yeah. No, I think that's a solid red.
Speaker 5: Yeah.
Speaker 2: Yeah, because just looking at the picture, they're less than
Speaker 2: less than twenty people in the whole world, but we
Speaker 2: know that they're out there. There's supposed to be a castle,
Speaker 2: there's supposed to be these more expansive civilizations, we assume.
Speaker 3: Now, Rob, maybe this is a good place to address
Speaker 3: the different cuts of the movie. Because when you picked
Speaker 3: Legend for the show and you told me we're going
Speaker 3: to be watching the director's cut, which is not the
Speaker 3: cut that has a Tangerine Dream score, I was quite
Speaker 3: confused how you could make this selection. But this is
Speaker 3: preferred by most fans of the movie. They're going to
Speaker 3: say that the director's cut, which is a good bit
Speaker 3: longer and has a traditional orchestrated Jerry Goldsmith's score instead
Speaker 3: of the Tangerine Dream score. Most people say this is
Speaker 3: massively preferable to the US theatrical version.
Speaker 2: Yeah, that's that's the vibe. I've always gotten, and so
Speaker 2: I felt like, well, if we're going to talk about Legend,
Speaker 2: even though I'm all my nostalgia and my love is
Speaker 2: built up around this theatrical cut, it's going to be
Speaker 2: a little weird if we come in and then we're saying, well,
Speaker 2: this this movie has problems, and then people are going
Speaker 2: to say, well, did you watch the director's cut, and
Speaker 2: we'll say no, no, we just watched the one that
Speaker 2: we're familiar with, so and you know, I want to.
Speaker 2: I thought, well, this is a way to experience a
Speaker 2: film that I do have nostalgia for and then I
Speaker 2: do admire in many ways. It's experiencing it in a
Speaker 2: different light. So yeah, I was like, let's do director's
Speaker 2: cut and then we can compare.
Speaker 3: To be clear, I still think the director's cut has problems.
Speaker 2: But yeah it does.
Speaker 3: I will say, on rewatching it, I was expecting, you know,
Speaker 3: I sort of had this idea in my memory that
Speaker 3: it was a very beautiful looking movie that had massive
Speaker 3: narrative of deficiencies. I don't know which cut it was
Speaker 3: I saw in you know, the intervening years in between
Speaker 3: seeing Bits on TV and this rewatch. It may have
Speaker 3: been theatrical may have been Director's cut. I'm just not sure,
Speaker 3: but I thought the film was not as bad as
Speaker 3: I remembered in terms of putting together a cohesive narrative.
Speaker 3: I still think it's flawed, but it's better than I
Speaker 3: would have said.
Speaker 2: Yeah. Yeah, I'll get into some particular examples of ways
Speaker 2: that I think that the director's cut improves upon the
Speaker 2: theatrical cut, and I do want to also go ahead
Speaker 2: and throw in here that I think there are maybe
Speaker 2: like four different cuts total that have been out there
Speaker 2: and the ecosystem of movie viewing the director's cut, which
Speaker 2: came out years later, decades later. I think there's the
Speaker 2: there's the US theatrical cut, there's the euro theatrical cut
Speaker 2: that I think is in large part, you know, reflected
Speaker 2: in the director's cut. And then there's apparently some sort
Speaker 2: of a TV cut out there that I think was
Speaker 2: US theatrical cut with some extra added stuff added in
Speaker 2: to fill out a certain run time, that sort of thing.
Speaker 3: However, one other thing I want to say about the
Speaker 3: different cuts is that I was not able. I didn't
Speaker 3: have time to watch the US theatrical cut in full,
Speaker 3: but I watched the full director's cut, and then the
Speaker 3: first I don't know ten minutes of the US theatrical cut.
Speaker 3: And the difference is not just that there is more
Speaker 3: stuff in the director's cut that was taken out for
Speaker 3: the theatrical That is not the only difference. There is
Speaker 3: a very different style and approach. For example, in the
Speaker 3: opening scenes, the US theatrical cut just straight up shows
Speaker 3: you the villain's face, which is delayed for a long time.
Speaker 3: In the director's cut, there's a big build up. And
Speaker 3: so I perceived the US theatrical version to be significantly
Speaker 3: more clumsy and awkward in its edit from the very beginning,
Speaker 3: even without talking about major differences in what material is there.
Speaker 2: Yeah, Yeah, Like it feels like the US theatrical cut
Speaker 2: was very much an attempt to make everything tighter and
Speaker 2: more exciting at the beginning, and like, I guess to
Speaker 2: keep people from falling asleep or leaving the theater or something.
Speaker 2: I don't know. But in doing so, yeah, they make
Speaker 2: some choices like this, like let's go ahead and show
Speaker 2: them darkness in full. Let's go ahead and show them
Speaker 2: the tree, Let's go ahead and show them the hell kitchens.
Speaker 2: We're gonna go ahead and roll out all of some
Speaker 2: of our at least a glimpse of some of our
Speaker 2: big set pieces early on, and they have this scrolling
Speaker 2: intro on the screen that really feels like the abstract
Speaker 2: from a peer reviewed science paper, you know, where it
Speaker 2: just lays out all the basics of the hypothesis, tells
Speaker 2: you what the experiments were and the findings right up top,
Speaker 2: whereas the director's cut does not do this. The director's
Speaker 2: cut lets you pick up on this or not pick
Speaker 2: up on it on your own. But the yeah, the
Speaker 2: the US theatrical cut basically force feeds it to you.
Speaker 3: Now, on one hand, you can kind of understand the
Speaker 3: impetus behind the theatrical cut because you were saying they
Speaker 3: were trying to make it tighter and more exciting right
Speaker 3: at the beginning. I don't know if the director's cut
Speaker 3: needed to be more exciting right at the beginning, but
Speaker 3: I will say the first twenty or thirty minutes of
Speaker 3: the director's cut, it happens at a very dreamy, lilting pace,
Speaker 3: and that can feel particularly it can have a kind
Speaker 3: of sedative effect, especially when you know Tom Cruise and
Speaker 3: Mia Sarah are just kind of frolicking around in the
Speaker 3: forest and you know, looking at the flowers and stuff,
Speaker 3: I was feeling the call of sleep at those times.
Speaker 2: Yeah. Again, it's very hypnotic and dream like as well
Speaker 2: in these sequences, and be watching all unicorn run and
Speaker 2: slow motion through an unreal forest. Yeah, I mean, you're
Speaker 2: supposed to feel at peace at that point.
Speaker 3: I'm not knocking it too much. I'm just saying, like
Speaker 3: I can understand somebody watching this and saying the first
Speaker 3: third of it is slow. You've got to have some
Speaker 3: patience to go with it at the beginning there. But
Speaker 3: I agree that that the way they tightened it in
Speaker 3: the US version is not an improvement. Instead, it just
Speaker 3: sort of like it kind of blows the air out
Speaker 3: of the whole thing.
Speaker 2: All right, Well, let's go ahead and hear a little
Speaker 2: little trailer audio, not the full trailer, but just a
Speaker 2: little of it to get a certain taste of it.
Speaker 5: There is a balance to the universe. The struggle to
Speaker 5: maintain that balance is the stuff of religions. For there
Speaker 5: can be no good without evil, no love without hate.
Speaker 5: Life needs death, Innocence creeds last. There can be no
Speaker 5: heaven without hell. No light will out.
Speaker 4: Darkness.
Speaker 2: All right, if you want to go out and watch Legend. Well,
Speaker 2: you can stream, and I'm mostly speaking to the US
Speaker 2: situation here. I'm not sure what availability is like in Europe, where,
Speaker 2: of course there was a different theatrical cut. But at
Speaker 2: least here in the United States you can stream Legend
Speaker 2: in a number of places. You can buy it rent
Speaker 2: it digitally, but at least currently, for the director's cut,
Speaker 2: you'll need to hunt that up on disc. Fortunately, there's
Speaker 2: a great Arrow Blu ray of the film that features
Speaker 2: both the US theatrical cut and the director's cut, plus
Speaker 2: loads of extras. This is the version that I rented
Speaker 2: from Video Drome.
Speaker 3: Yeah, I watched the Arrow Blu ray, and Robert, I
Speaker 3: don't know if you have the same thing to me.
Speaker 3: I was kind of surprised by how much grain it
Speaker 3: still felt like there was in the film, Like it
Speaker 3: seemed like something that would or could have been sharpened
Speaker 3: up a good bit, but it wasn't. And I don't
Speaker 3: know if that's for lack of effort or if that's
Speaker 3: an intentional choice about this release.
Speaker 2: Yeah, I wouldn't sure about that either. I'm not tech
Speaker 2: savvy enough on their whole remastering scenario, but certainly we've
Speaker 2: seen some older films that have been remastered to like
Speaker 2: just a level of perfection that certainly influences your viewing
Speaker 2: of other films. You know, why why aren't other films
Speaker 2: as flawless looking as this one? So I don't know
Speaker 2: what exactly, you know, the choices or hurdles were with
Speaker 2: this one, but there was more grain than I expected.
Speaker 2: But still it did not get in the way of
Speaker 2: appreciating these visuals in the long run.
Speaker 4: No.
Speaker 3: I almost wonder if it's a oh, I don't know,
Speaker 3: kind of a film version of like tea staining a
Speaker 3: docum meant to make it look ancient, you know that
Speaker 3: I may maybe there was a concern that if it
Speaker 3: was sharpened up too much, it wouldn't have the kind
Speaker 3: of the dreamy fairy tale effect that they were going for.
Speaker 2: I wonder if these, you know, I'd have to go
Speaker 2: back and rewatch. But I wonder if these were some
Speaker 2: of the restored segments in the director's cut. I know,
Speaker 2: sometimes there's a sourcing issue there, and you have to
Speaker 2: sort of make do with what you can get when
Speaker 2: you're restoring sequences and scenes that were not used in
Speaker 2: like the main cut of the film. Possibly, all right,
Speaker 2: let's get into the people involved in this one, starting
Speaker 2: at the top, of course, with Sir Ridley Scott born
Speaker 2: nineteen thirty seven, highly successful and influential English filmmaker who,
Speaker 2: at eighty six years old and turns eighty seven in
Speaker 2: just a few months, shows no signs of slowing down,
Speaker 2: is directing and producing. I mean, it's really quite an inspiring.
Speaker 2: He worked on projects as a TV production designer from
Speaker 2: nineteen sixty two through nineteen sixty five, and his first
Speaker 2: directorial credit was a nineteen sixty five episode of a
Speaker 2: police series in the UK called Z Cars.
Speaker 3: Sounds great, yeap.
Speaker 2: His debut film was, of course, nineteen seventy seven's The Duellists,
Speaker 2: starring Keith Carrodine, Harvey Kaiitel and Albert Finney, a serious
Speaker 2: historical drama that is cited as a key inspiration on Highlander.
Speaker 3: I've wanted to see this for years, but I never have.
Speaker 2: Yeah, this one kind of ends up falling through the
Speaker 2: cracks for me because it is it's a Ridley Scott
Speaker 2: period piece. And I mean I have seen some of
Speaker 2: his historical films, of course, I've seen Gladiator, but I
Speaker 2: don't know, they're just not the ones that I'm drawn
Speaker 2: to as much. So he followed this up, of course
Speaker 2: in nineteen seventy nine with Alien and then in eighty
Speaker 2: two with Blade Runner. He tackled some smaller projects during
Speaker 2: that time, including the Apple Mac nineteen eighty fourmmercial and
Speaker 2: so already a really strong genre heavy early career, and
Speaker 2: then comes Legend, a fairy tale, a fantasy, and this
Speaker 2: of course ends up proving a commercial failure upon release,
Speaker 2: and from here we see Ridley Scott veer off into
Speaker 2: historical crime and drama pictures. He doesn't return to science
Speaker 2: fiction or fantasy for twenty seven years, returning to the
Speaker 2: Alien franchise with Prometheus in twenty twelve. Then he did
Speaker 2: twenty fifteen's The Martian, which it is quite good as
Speaker 2: well based on the novel, and then he did twenty
Speaker 2: seventeen's Alien Covenant and two episodes of the super weird,
Speaker 2: very original and criminally canceled Max series Raised by Wolves,
Speaker 2: which he also produced. Now as a producer, he's also
Speaker 2: had a hand in many other great films and series,
Speaker 2: including AMC's The Terror, which I really enjoyed. The recent
Speaker 2: Alien Romulus is of course a Scott free production, and
Speaker 2: Academy Award nominations for Ridley Scott include nineteen ninety two's
Speaker 2: Film and Luise, two thousand and ones, Gladiator, two thousand
Speaker 2: and two's Black Hawk Down, and twenty sixteen's The Martian.
Speaker 2: I should note that Ridley Scott, as far as I
Speaker 2: can tell, has never directed what you'd truly call a
Speaker 2: kids movie or maybe even a family movie. This really
Speaker 2: legend for eighty five is really the best case you
Speaker 2: can make for either category. But at the same time,
Speaker 2: it is just way too dark, both visually and thematically
Speaker 2: for children.
Speaker 3: Yeah, this is who this is one of those who
Speaker 3: is this four movies. I mean, I don't have a
Speaker 3: problem enjoying it, because I'm the kind of adults that
Speaker 3: can enjoy a fairy tale. But it is clearly it's
Speaker 3: a fairy tale which is going to make a lot
Speaker 3: of adults think, oh, this movie is not meant for me.
Speaker 3: And while the movie it doesn't have a lot of
Speaker 3: like explicit like sex or violence in it, it really
Speaker 3: doesn't seem appropriate for kids because of the way that
Speaker 3: it is. I don't know, it has kind of erotic undercurrents,
Speaker 3: and it has a lot of very scary suggestions of violence,
Speaker 3: even if you're not seeing explicit like blood and guts
Speaker 3: on screen.
Speaker 2: Yeah, and also a subtext that I'll get back to
Speaker 2: that seems to deal with with sin and shame. Yeah,
Speaker 2: in ways that I just don't feel as fun for
Speaker 2: you know, ten and twelve.
Speaker 3: Year olds, right, So it's like it's a fairy tale
Speaker 3: but not probably not appropriate for kids. So you're limiting
Speaker 3: your audience here.
Speaker 2: Yeah. Now, the screenwriter on this one was William Hertzberg,
Speaker 2: who lived nineteen forty one through twenty seventeen American writer,
Speaker 2: best known for his work on this film, as well
Speaker 2: as as his nineteen seventy eight horror novel Falling Angel
Speaker 2: that was adapted into the nineteen eighty seven Alan Parker
Speaker 2: movie Angel Heart. I did read this book ages ago,
Speaker 2: and I remember liking it. I remember liking it more
Speaker 2: than I liked the actual film, all right, Now, getting
Speaker 2: into the cast, Yeah, this is a Tom Cruise movie,
Speaker 2: but it's also not a Tom Cruise movie in the
Speaker 2: sense that it from the modern perspective of what you
Speaker 2: expect from a Tom Cruise movie. It's not that it's
Speaker 2: something different, it's something a little it's like proto Tom
Speaker 2: Cruise movie.
Speaker 3: This is from before Tom Cruise was Tom Cruise. I
Speaker 3: mean he was a star at this time, I think
Speaker 3: because he'd already been in risky business, right, that's correct. Yeah, okay,
Speaker 3: so he was like a young actor who'd been in
Speaker 3: at least one or two big movies. So like he
Speaker 3: wasn't a nobody at the time, but he also was
Speaker 3: not the like the Hollywood juggernaut that we know today.
Speaker 3: He was like a young, up and coming, good looking actor.
Speaker 2: Yeah. I mean today Tom Cruise is someone that is
Speaker 2: known around the world. He's like one of, if not
Speaker 2: the most bankable stars in Hollywood. You know, you put
Speaker 2: him in Blockbusters. That's where he lives, that's his ecosystem,
Speaker 2: and he's one of these people too that it's like
Speaker 2: he's more industry than man. You almost don't think of
Speaker 2: Tom Cruise as an individual, but he's like an industry
Speaker 2: built around somebody that that is almost as much myth
Speaker 2: as as human, if not more myth than human, at
Speaker 2: least from our perspective. Outside of that.
Speaker 3: Yeah, speaking of built around, I mean, now I think
Speaker 3: some of his movies they build around some stunts he
Speaker 3: wants to do. He's like, so he'll be a producer
Speaker 3: on the movie. He's like, here, I'm going to cling
Speaker 3: to the side of an airplane or something. Write a
Speaker 3: script around that.
Speaker 5: Yeah.
Speaker 2: So Legend was only his seventh film role. His debut
Speaker 2: part was in nineteen eighty one's Endless Love, and he
Speaker 2: also had a supporting role in Taps the same year.
Speaker 2: But in eighty two he had a starring role in
Speaker 2: the teen comedy Losing It, and nineteen eighty three was
Speaker 2: a real breakout year with parts in Francis Ford Coppola's
Speaker 2: The Outsiders and the starring role in both Risky Business
Speaker 2: and the football movie All the Right Moves. So the
Speaker 2: time was right for Tom Cruise to do a genre film,
Speaker 2: but not a B movie, you know, not a B
Speaker 2: sci fi or horror movie on your way up, but
Speaker 2: I don't know, a lavish twenty five million dollar that,
Speaker 2: of course wouldn't quite break even at the box office.
Speaker 2: So the next year he would go on to star
Speaker 2: in the mega hit Top Gun, and I guess his
Speaker 2: legacy was assured at that point. But then again, it's
Speaker 2: kind of with Tom Cruise. It's easy to say that
Speaker 2: because he has proven to have this real staying power
Speaker 2: in Hollywood and has remained this juggernaut despite you know,
Speaker 2: various things popping up that would you know, you might
Speaker 2: expect to derail some careers or certainly the occasional film
Speaker 2: that doesn't deliver to the degree that producers would like.
Speaker 2: For the most part, he has remained stable up there,
Speaker 2: and it's still big business.
Speaker 3: Yeah. So from what I understand, apart from weird movie connoisseurs,
Speaker 3: if you're just looking at it from the kind of
Speaker 3: Hollywood business point of view, I think Legend would have
Speaker 3: long been mainly regarded as a as an early misstep
Speaker 3: in the career of Tom Cruise. You know, it's just
Speaker 3: like a this was some weird, failed little movie that
Speaker 3: Tom Cruise did early on that critics hated and audiences
Speaker 3: hated too, and just didn't go anywhere. But then he
Speaker 3: corrected course and was in top gun.
Speaker 2: Though it is kind of interesting that I don't think
Speaker 2: he would come back to any genre pictures like this
Speaker 2: for a while, though he would in time come back
Speaker 2: and do you know, at least some weirder and sci
Speaker 2: fi type material, but still very much like blockbuster angled
Speaker 2: material at the same time. But that was the case
Speaker 2: with this film as well. This film was meant to
Speaker 2: be a big success at the box office. That's why
Speaker 2: they spent twenty five million dollars on it.
Speaker 3: Wait, is this the first time we've talked about either
Speaker 3: Tom Cruise or Ridley Scott on Weird House?
Speaker 2: The first time they've come up that we've looked at
Speaker 2: something they were either involved with. Yeah, yeah, yeah, So
Speaker 2: they're both, you know, huge mainstream successes. Though when Ridley
Speaker 2: wants to go weird, he definitely I think goes weirder
Speaker 2: than Tom Cruise goes weird.
Speaker 3: Yeah.
Speaker 2: Well, in terms of movie plots, yes, And part of
Speaker 2: this too is like, what is Tom Cruiser's role in
Speaker 2: a picture? It is the leading man, and it has
Speaker 2: always been the leading man with you know, a few
Speaker 2: small caveats along the way, you know you're only going
Speaker 2: to go so weird in the kind of role that
Speaker 2: Tom Cruise plays. Well, maybe there's an alternate dimension where
Speaker 2: he ends up playing a bunch of villains and it's
Speaker 2: really fascinating as well. I don't know, but anyway, Cruz
Speaker 2: was twenty three at the time, and we should acknowledge
Speaker 2: that he was I think, by many estimates, dangerously hot.
Speaker 2: I was looking around for some like outside the podcast
Speaker 2: commentary on this, and I found some words from the
Speaker 2: blogger Jin at ep bot dot com, who has a
Speaker 2: post titled Legend, the thirty six year old movie that's
Speaker 2: a love letter to Tom Cruise's thighs and other thoughts.
Speaker 3: I could not help but notice that the camera is
Speaker 3: all up in Tom Cruise's upper thighs. Yes, it's yeah,
Speaker 3: so they gave him a costume like once he gets
Speaker 3: his armor on, its basically like a short tunic. He
Speaker 3: wears no pants most of the movie, and just yeah,
Speaker 3: it's it's all up in his haunches.
Speaker 2: Here's a quote from that post by Jen at epbot
Speaker 2: dot com. Tom Cruise was twenty two during filming, and
Speaker 2: fresh off the set of Risky Business, the movie that
Speaker 2: gave us the world famous underwear dance. Not to be outdone,
Speaker 2: the producers of Legend decided Tom would not only be
Speaker 2: pantiless the entire movie, he would also be prohibited from
Speaker 2: walking upright for most of it.
Speaker 3: I noticed the same thing. He is like squatting or
Speaker 3: crawling or on the ground in nearly every shot of
Speaker 3: the movie.
Speaker 2: Yeah, and I guess part of this is that he
Speaker 2: is kind of like a fairal creature. You know, he
Speaker 2: especially early on like he is a he's a boy
Speaker 2: of the woods. He's kind of a Peter Pan. Yeah,
Speaker 2: he's a little loopine, so I guess that's part of
Speaker 2: the whole attraction here. I also want to note that
Speaker 2: this is cruse prebraces, so he doesn't have that perfect
Speaker 2: Holly would smile yet, but he has like he has
Speaker 2: a smile befitting of a fairal young man in a
Speaker 2: fantasy world, which I think is perfect. He also has
Speaker 2: like a bit of a unibrow going on, like not
Speaker 2: a full unibrow, but like his brows are a little
Speaker 2: more connected, you know, which again is also perfect for
Speaker 2: a fairal young man running around the woods falling in
Speaker 2: love with princesses.
Speaker 3: I guess.
Speaker 2: So, speaking of that princess, the princess is, of course
Speaker 2: played by Mia Sara born in nineteen sixty seven. This
Speaker 2: is Lily, and we talked about her previously on Weird
Speaker 2: How Cinema because she was in nineteen ninety four's time
Speaker 2: cop Ah.
Speaker 3: Yes, I was thinking this is not our first Mia
Speaker 3: Sarah film.
Speaker 2: Yeah, this was. This was her first film role, following
Speaker 2: just of one shot I think on TVs. All in
Speaker 2: the Family Legend and Labyrinth were shooting next to each
Speaker 2: other at the same time here, and the casts and
Speaker 2: crew apparently frequently mingled. And this is where she would
Speaker 2: meet her future husband Brian Henson.
Speaker 3: Oh okay, but was she in Time Cop?
Speaker 5: Yes?
Speaker 3: She was, So you can go back and check out
Speaker 3: her episode on Time Cop if you want. Now. Is
Speaker 3: this also our first Tim Curry movie on Weird House?
Speaker 2: This is the first time we have gotten to talk
Speaker 2: about Tim Curry. There was a time when you were
Speaker 2: out in parental leave and Annie Reese came on the
Speaker 2: show and we talked about Congo.
Speaker 3: Oh my Lord, where he plays Herkimer Hamolka, formerly of Romania,
Speaker 3: traveling the world and doing good.
Speaker 2: Yes, another great scene chewing performance, but not as the
Speaker 2: primary antagonist, second or third level antagonist.
Speaker 3: Tim Curry in Congo is one of the most hilarious
Speaker 3: movie acting jobs I can think of ever.
Speaker 5: He is.
Speaker 3: I love Tim Curry. He is just a delight every time.
Speaker 2: Yeah, it plays darkness in this Born nineteen forty six. Yeah,
Speaker 2: just a true legend of stage, screen and TV. He was,
Speaker 2: of course doctor Frankenfurter in The Rocky Horror Picture Show
Speaker 2: back in nineteen seventy five and was in the original
Speaker 2: stage version as well. He was Wadsworth nineteen eighty five's
Speaker 2: Clue Other memorable films and Clue, Let's say There's Annie,
Speaker 2: There's the nineteen ninety adaptation of it, in which he
Speaker 2: played penny Wise, the dancing clown. And he's also done
Speaker 2: a great deal of voice work over the years. I know,
Speaker 2: outside of Weird House cinema, you and I have also
Speaker 2: discussed his triple role in the Tales from the Crypt
Speaker 2: episode Death of Some Salesman.
Speaker 3: Oh, where he terrorizes Ed Begley Junior. Right, Ed Begley
Speaker 3: Junior is like he's like some kind of corrupt salesman
Speaker 3: or something.
Speaker 2: Yeah, but yeah, obviously just a terrific all around performer.
Speaker 2: Been in a share of more than his share of
Speaker 2: bad movies as well, but some of the other like
Speaker 2: credits worth noting. Nineteen ninety is The Hunt for the
Speaker 2: Red October nineteen ninety two's Fern Gully, ninety three's The
Speaker 2: Three Musketeers, ninety four is The Shadow, and nineteen ninety
Speaker 2: six is Muppet Treasure Island. But like, even if it's
Speaker 2: a not a great film, you know that Tim Curry
Speaker 2: is going to be amusing in it no matter what.
Speaker 3: Now, this movie makes an interesting decision, which is legend
Speaker 3: takes a solid gold care actor with charm for Miles
Speaker 3: and hides him behind forty seven pounds of makeup. He
Speaker 3: is under so much makeup in this movie it is
Speaker 3: hard to believe. And the makeup I think looks amazing.
Speaker 3: But yeah, it's an interesting way to like there's a
Speaker 3: trade off here, isn't there. It's it's almost like maybe
Speaker 3: they did have to cast somebody with with Tim Curry's
Speaker 3: you know, kind of not just screen presence, but stage
Speaker 3: presence almost like it's almost like it requires a type
Speaker 3: of stage acting to get through the makeup to the camera.
Speaker 3: Does that make sense?
Speaker 5: Yeah?
Speaker 2: Absolutely. I think it is a huge testament to both
Speaker 2: Curry and the effects crew that this works as tremendously
Speaker 2: well as it does. That it doesn't feel like you've
Speaker 2: buried Tim Curry and a bunch of prosthetics that you know,
Speaker 2: that it doesn't feel like you have something that only
Speaker 2: works in close up shots or something like. They managed
Speaker 2: to make this feel like a cohesive living being as
Speaker 2: opposed to know what it could have been.
Speaker 3: Of course, Tim Curry plays the main villain in the movie.
Speaker 3: I don't know if we already said this, but he
Speaker 3: is like the devil essentially, he's the lord of darkness,
Speaker 3: and he has I don't know how long do you
Speaker 3: think his horns are. I mean, he's got so much
Speaker 3: horn on his head it looks like his neck muscles
Speaker 3: should be sore.
Speaker 2: It is. I mean, if you haven't seen it, do
Speaker 2: look up at least images of this character, because it
Speaker 2: is essentially an outrageous red devil. Men aitar that. It
Speaker 2: feels like it's about eight feet tall, not counting the horns.
Speaker 2: So it is a bold design choice, and they manage
Speaker 2: to make it work.
Speaker 3: You know who else in this movie I feel like
Speaker 3: really acts through heavy makeup and just shines right through
Speaker 3: a character design is Alice Playton as blicks.
Speaker 2: Yes, Oh my god, she's so good in this. She
Speaker 2: lived nineteen forty seven through twenty eleven stage actor with
Speaker 2: a lot of Broadway and off Broadway credits, TV and
Speaker 2: film credits going back to sixty three. But she's often
Speaker 2: best remembered for her voice because she has this this
Speaker 2: kind of childlike voice that she can utilize and she
Speaker 2: can perfectly lean into really haunting an Uncanny Territory with it.
Speaker 2: She voiced a demon in nineteen eighty two's Amityville to
Speaker 2: the Possession. She has also voice credits and things like
Speaker 2: nineteen eighty one's Heavy Metal nineteen eighty six is My
Speaker 2: Little Pony the movie. She was also in twelve episodes
Speaker 2: of The Croft Super Show in seventy six. But yeah,
Speaker 2: in this she plays the scheming goblin blicks like just
Speaker 2: a perfect goblin that also has an outrageous design in play,
Speaker 2: you know, with the long nose and like elongated head,
Speaker 2: just so nasty, so vicious looking, and she just shines here.
Speaker 3: Appears to be made of rot in a way, almost
Speaker 3: kind of an undead looking sort of goblin, and also
Speaker 3: speaks in rhyming couplets, which I love. I would say that,
Speaker 3: you know, it's weird because we were saying the way
Speaker 3: in which this movie falls short, despite all of its
Speaker 3: great elements, is in its cohesiveness as a story. So
Speaker 3: you might think from that the script is weak, but
Speaker 3: actually I think moment to moment, line to line, the
Speaker 3: script is pretty strong. Like the dialogue is good, and
Speaker 3: so this character speaks in rhyming couplets that are mostly
Speaker 3: I think great rhyming couplets. They're very pleasing. So like
Speaker 3: when Blick's is looking down on Princess Lily, he says,
Speaker 3: maybe innocent, maybe sweet, ain't half as nice as rotting meat.
Speaker 3: And Clayton really sells the couplets like I just believe
Speaker 3: that this is how Blicks talks.
Speaker 2: Yes, and indeed like just such a goblin, like just
Speaker 2: delights in grotesqueness and depravity, but not within without any
Speaker 2: underlying argument for why that is the superior choice. It's
Speaker 2: just that is just the texture of Blix's life and
Speaker 2: Blix's values, and Blix is very vocal about his preferences here.
Speaker 5: Yeah.
Speaker 2: Now, interestingly enough, I mentioned that Alice Clayton's voice like
Speaker 2: it has this she can lean into these uncanny aspects,
Speaker 2: but she can also get kind of like a childlike
Speaker 2: voice going on as well. She actually dubs the character
Speaker 2: Honeythorn Gump.
Speaker 3: Oh the picture that makes sense.
Speaker 2: Honey Thorn Gump is our elf, our youthful elf guy
Speaker 2: who's helping out, played physically here by David Bennett born
Speaker 2: nineteen sixty six, a German actor at the time eighteen
Speaker 2: or nineteen years old, but he looks younger and yeah,
Speaker 2: we don't hear his actual voice. I've read that producers
Speaker 2: thought he sounded too German, which I'm kind of like,
Speaker 2: why did you cast a German actor? I didn't want
Speaker 2: him to sound potentially German. But anyway, then it is
Speaker 2: still really good in this It's still a very good
Speaker 2: physical performance even though we don't hear his voice and
Speaker 2: he's been working in German productions. For Age is still
Speaker 2: active now, started out at an early age. His other
Speaker 2: like big international credit is probably nineteen seventy nine's The
Speaker 2: ten Drum.
Speaker 3: I think the job they did dubbing him. I didn't
Speaker 3: realize while I was watching that that was also Alice
Speaker 3: Playton doing his voice. But I think the dubbing is fantastic.
Speaker 3: It totally matches the pace of the character speaking, and
Speaker 3: instead of feeling uncanny and unpleasant, as some post production
Speaker 3: dubbing without live sound can be, instead it fits the
Speaker 3: character the way that his voice doesn't feel like it's
Speaker 3: coming like it's what should be coming out of his
Speaker 3: mouth works and makes him feel more kind of magical.
Speaker 2: Yeah, I would agree, I would agree, So, yeah, it
Speaker 2: didn't throw me off. It's one of those things I
Speaker 2: only picked up on much later reading about the production.
Speaker 2: All Right, now, I want to probably try and speed
Speaker 2: things along here a little bit, so I'm going to
Speaker 2: spend less time than I should, perhaps on some of
Speaker 2: the additional cast members. We have a number of various
Speaker 2: Elvin folk that are involved in the plot. For instance,
Speaker 2: they're Screwball, played by the tremendous Billy Barty, who lived
Speaker 2: nineteen twenty four to through the year two thousand, three
Speaker 2: foot nine character actor who often played wise, cracking, little
Speaker 2: person roles, but he instantly stands out in any ensemble
Speaker 2: cast because he is at the heart just a tremendous
Speaker 2: character actor. His uncredited work goes back to I believe
Speaker 2: nineteen thirty and apparently includes a very small part as
Speaker 2: the baby in nineteen thirty five's Bride of Frankenstein. So
Speaker 2: one of those early scenes with the little miniature people
Speaker 2: in the vials.
Speaker 3: Wow, I didn't realize that so.
Speaker 2: Many credits to Billy Barty, but they include the likes
Speaker 2: of Roger Corman's The Undead in nineteen fifty seven. In
Speaker 2: nineteen eighty seven's Masters of the Universe film, he has
Speaker 2: a memorable role in that He's in eighty eight Willow,
Speaker 2: but He also did some voice acting as well, like
Speaker 2: nineteen nine he's the rescuers down under all right, some
Speaker 2: of the other folks here, we have Brown Tom, who
Speaker 2: I guess is kind of a leprechaun. He's part of
Speaker 2: the good guy Elvin Cork here. He's played by Cork Hubert,
Speaker 2: who lived nineteen fifty two through two thousand and three.
Speaker 2: A four foot eleven actor. His other credits include eighty
Speaker 2: one's cave Man under the Rainbow from eighty one and
Speaker 2: nineteen eighty nine sent Bat of the Seven Seas.
Speaker 3: He has a real dad joke moment in the movie
Speaker 3: that I think works pretty well.
Speaker 4: Yeah.
Speaker 2: There's also there's a scene where he thinks he's been shot.
Speaker 2: What I'm talking about? Yeah, yah, yeah, I love that.
Speaker 2: That's great. Okay, all right, we have Pox. Pox is
Speaker 2: a pig demon and somewhere underneath all of the prosthetics
Speaker 2: for this role, there is a man by the name
Speaker 2: of Peter O'Farrell. I couldn't find any additional information about
Speaker 2: this actor in terms of his you know, when he
Speaker 2: was born and so forth by His other credits include
Speaker 2: nineteen eighty Hawk the Slayer, nineteen eighty five, Santa Claus
Speaker 2: and he has a role in two thousand and two
Speaker 2: Harry Potter and the Chamber of Secrets. All right, we
Speaker 2: also have Blunder. We'll get into Blunder in a bit.
Speaker 2: He's kind of he's one faction then another. But he
Speaker 2: is played by Kira and Shaw born nineteen fifty six,
Speaker 2: a four foot one and a half tall actor who
Speaker 2: is Elijah Woods scale double in all three Lord of
Speaker 2: the Rings films. His other credits include two thousand and
Speaker 2: five's The Chronicles of Narnia, various Star Wars productions, The
Speaker 2: Dark Crystal, and Raiders of the Last Dark. We also
Speaker 2: have a fairy Una, played by Annabelle Lanyon born nineteen
Speaker 2: sixty British actress who has worked a lot in TV.
Speaker 2: She's our temperamental tinker Bell.
Speaker 3: She doesn't want you don't get to know about what
Speaker 3: her powers are. That's that's for her to decide.
Speaker 2: Yes. Oh, and then we've talked about this is a
Speaker 2: character that it comes up every now and then on
Speaker 2: the show pretty much any time we're talking about hags,
Speaker 2: because oh, we have such a hag in legend. The
Speaker 2: character is Meg Mucklebones and the actor underneath there and
Speaker 2: also I think doing a great job shining through and
Speaker 2: making this a living being. Is Robert Picardo really? Yeah? Yeah.
Speaker 2: We talked about him previously in our episode on Joe
Speaker 2: Dante's Grimlins too, because he's like the he's like one
Speaker 2: of the executives there that ends up marrying the lady Grimlin.
Speaker 3: Right, Oh, yes, that's right, Yes, what a beautiful marriage. Yes,
Speaker 3: but he what is he? Is he like a coach
Speaker 3: on The Wonder Years, Jim Teacher or something?
Speaker 2: Yeah, yeah, some sort of role like that. I'm wondering.
Speaker 2: There's been a while since I've seen that he was
Speaker 2: on China Beach, but most I think people would know
Speaker 2: him from like Star Trek Voyager. He's like the hologram
Speaker 2: guy on there. But his other film credits include eighty
Speaker 2: one's The Howling, eighty seven's Inner Space. Oh, he's Johnny
Speaker 2: cab in nineteen ninety's Total Recall, And he also has
Speaker 2: a role in the twenty sixteen Coen Brothers film Hail.
Speaker 3: Season The Door Opened. You got in.
Speaker 2: Richard O'Brien what was apparently considered for this role, and
Speaker 2: that's what led them to realizing that Curry would be
Speaker 2: perfect for darkness. Wow, all right, some behind the scenes
Speaker 2: people worth noting here. Production design Ashton Gordon, who lived
Speaker 2: nineteen thirty through twenty fourteen, worked on such films as
Speaker 2: nineteen sixty six As a Blow Up, nineteen seventy one's
Speaker 2: Get Carter in two thousands Shadow of the Vampire. The
Speaker 2: director of photography was Alex Thompson, who lived nineteen twenty
Speaker 2: nine through two thousand and seven. Regular camera operator for
Speaker 2: Nicholas Rogue in the nineteen sixties before becoming a director
Speaker 2: of photography in nineteen sixty eight. Nominated for an OSCAR
Speaker 2: for his work on the nineteen eighty two John Borman
Speaker 2: epic ex Caliber, which I think that shows there's definitely
Speaker 2: some great scenes in this with the lighting and shiny
Speaker 2: armor that made me think about Excalibur.
Speaker 5: Yeah.
Speaker 3: You've mentioned Excalibur before as a movie that is gleaming.
Speaker 2: Yes, and yeah, we have some gleaming armor in this
Speaker 2: one as well. Thompson's other cinematography credits include Doctor FIBs
Speaker 2: Rises Again, which we've talked about on the show Deathline
Speaker 2: from the same year in nineteen seventy two, Michael Mann's
Speaker 2: The Keep from eighty three Electric Dreams. In eighty four
Speaker 2: Labyrinth in nineteen eighty six, which is like right next door,
Speaker 2: So I guess he's just walking back and forth Leviathan
Speaker 2: in eighty nine, Alien three and ninety two, Demolition Man
Speaker 2: in ninety three, and Hamlet in nineteen ninety six. Who
Speaker 2: you called this one out, Joe? What credit stood.
Speaker 3: Out to you? It's just because I saw it in
Speaker 3: the credits as it was rolling by. So we have
Speaker 3: somebody named Vic Armstrong as he was given two titles.
Speaker 3: I don't remember what the first one was, but the
Speaker 3: second one was Unicorn Master.
Speaker 2: Yes, yeah, it's not often you have a Unicorn Master
Speaker 2: on set, but yeah, that's Vick Armstrong. He was also
Speaker 2: the stunt coordinator born nineteen forty six, very prolific. Guinness
Speaker 2: Book of World Records has Listen listed him as the
Speaker 2: most prolific like stunt coordinator. But his earliest role is
Speaker 2: apparently an uncre credited Ninja extra part in nineteen sixty
Speaker 2: seven's You Only Live Twice.
Speaker 3: Oh recently came up in our Ninja episodes.
Speaker 2: Yep, he's still working well. The costumes in this are
Speaker 2: pretty great costume designer and this was Charles Node. He
Speaker 2: lived nineteen forty two through twenty twenty three English costume
Speaker 2: designer whose work includes nineteen seventy Nine's Life of Brian,
Speaker 2: the MNTY Python film, Blade Runner fourteen ninety two, The
Speaker 2: Conquest of Paradise, another Ridley Scott film, Oh, and then
Speaker 2: Braveheart from ninety five.
Speaker 3: Costumes are great, you could mention a number of them.
Speaker 3: Mia Sarah's goth gown is just like the triangular color
Speaker 3: hood thing. I don't know what that is, but it's great.
Speaker 2: Yes, Yeah, and then everything that Jack is wearing, from
Speaker 2: his the rags that he's wearing initially like the faral rags,
Speaker 2: to the like gleaming elven armor that he dons for
Speaker 2: the main adventure portion of the picture. Yeah, But then
Speaker 2: again we have to come back to the special effects
Speaker 2: makeup and the special effects makeup lead on this was
Speaker 2: Rob Botein, who've talked about on the show before, the
Speaker 2: Rob Botein crew as well various people working with and
Speaker 2: for him on this. He was born nineteen fifty nine,
Speaker 2: special makeup practical effects wizard who worked on such films
Speaker 2: as Squirm in seventy six, Star Wars in seventy seven,
Speaker 2: The Howling The Thing from eighty two, The John Carpenter
Speaker 2: version RoboCop from eighty seven. I think we talked about
Speaker 2: him in that one as well. Total Recall from nineteen
Speaker 2: ninety just capable of such phenomenally nasty, fleshy work. And
Speaker 2: you know, it's hard to imagine this picture with anyone else.
Speaker 2: It would be a different picture if anyone else had
Speaker 2: done the makeup effects.
Speaker 3: Now, wait, so Robert Piccardo played the Johnny Cab. Did
Speaker 3: Rob botteen make the Johnny Cab in Total Recall?
Speaker 2: Oh, that's a good question. I don't know for certain
Speaker 2: on that, because I mean, we know for certain some
Speaker 2: of the things that Rob Botein was doing on Total Recall,
Speaker 2: you know, but I'm not sure about Johnny Cab. But
Speaker 2: I guess it very likely.
Speaker 3: How to split my time between a quatto and a
Speaker 3: Johnny Cab?
Speaker 2: Yeah, yeah, he was definitely on quato duty, all right. Now,
Speaker 2: coming to the music, this film Fade famously features those
Speaker 2: two separate scores. There's the original Jerry Goldsmith's score and
Speaker 2: this is the one that is used in the original
Speaker 2: euro theatrical release of the picture, But then for the
Speaker 2: US theatrical release, they brought in Tangerine Dream to do
Speaker 2: a new score for the film. Now, I, of course
Speaker 2: is what we've been saying. Grew up on the Tangerine
Speaker 2: Dream score, and I think it's absolutely excellent. I listened
Speaker 2: to it a couple of times through while working on
Speaker 2: notes for this episode. It really connected with me when
Speaker 2: I was younger, and there are a few things that
Speaker 2: I love more today as an adult than a really
Speaker 2: good Tangerine Dream motion picture score, so this one, in
Speaker 2: my opinion, They instantly elevate anything they touch, so it
Speaker 2: was hard for me to set that aside and watch
Speaker 2: a full cut of the picture, and even longer cut
Speaker 2: of the picture that has this score by Jerry Goldsmith.
Speaker 2: Jerry Goldsmith lived nineteen twenty nine through two thousand and four.
Speaker 2: Multiple Academy Award winner, responsible for the scores of seventy
Speaker 2: sevens to Omen Alien, nineteen eighties Star Trek, the Motion Picture,
Speaker 2: and many more. Obviously, Jerry Goldsmith is no slouch. This
Speaker 2: is his score for Legend is terrific. There are times
Speaker 2: where it is maybe more is certainly more mainstream, more swashbucklery,
Speaker 2: and its scope maybe by some estimates a little hammy
Speaker 2: in an intentional way, but it's also just really great
Speaker 2: in moments as well, like the whole section we'll get
Speaker 2: into with the Hell Kitchen. Jerry Goldsmith's score here is tremendous.
Speaker 3: Yeah, it's a very traditional score you would expect with
Speaker 3: the fantasy movie and it delivers on that front. But yeah,
Speaker 3: as I said earlier, Rob, I know your love for
Speaker 3: Tangerine Dream, for electronic music generally, but especially Tangerine Dream,
Speaker 3: goes so deep. That is why shocked that you would
Speaker 3: have us watch the director's cut. But what's the main
Speaker 3: difference in the sonic texture here? What does the Tangerine
Speaker 3: Dream score sound like in the US cut?
Speaker 5: Oh?
Speaker 2: I mean the Tangerine Dream cut is of course it's electronic,
Speaker 2: it's very synth heavy, but it also has this kind
Speaker 2: of ethereal, otherworldly vibe to it, you know that I
Speaker 2: think is typified by that opening bit of music that
Speaker 2: plays in the US theatrical cut, where it's like a
Speaker 2: strange elven synth flute playing to you, you know, across
Speaker 2: the dimensional barrier. Tangerine Dream is, of course a German
Speaker 2: electronic act founded by the late Edgar Frosi who lived
Speaker 2: nineteen forty four through twenty fifteen. There have been numerous
Speaker 2: lineups over time, but he was the only consistent member
Speaker 2: of the group at the time of this score. I
Speaker 2: believe Christopher Frank and Johannes Schmoling were also in the group.
Speaker 2: The band Tangerine Dream is still around. They still record
Speaker 2: and tour, but it is a younger lineup, so none
Speaker 2: of the original members. And I could be wrong in this,
Speaker 2: but I don't think any of the current members were
Speaker 2: alive when the band was initially formed. But you know,
Speaker 2: I haven't seen them that. I assume they're still great,
Speaker 2: but it is not the original members, all right. Finally,
Speaker 2: of note, we also have two different vocal tracks on
Speaker 2: the US release, We Have Loved by the Sun, a
Speaker 2: Tangerine Dream track with vocals by John Anderson, former lead
Speaker 2: singer of the band. Yes, this one plays towards the
Speaker 2: end of the very end of the picture. I don't
Speaker 2: hate it, but it's far outclassed. I think by the
Speaker 2: end credit song, which is Brian Ferries, is Your Love
Speaker 2: strong Enough?
Speaker 3: I was trying to describe this one, and it's like,
Speaker 3: it's such a mood. It is soft, smooth, neon waves
Speaker 3: of emotion.
Speaker 2: Yeah, yeah, I think it's a great vibe. You got
Speaker 2: fairy and his vocals. Of course, this was the front
Speaker 2: man of Roxy Music. Ridley Scott co directed one of
Speaker 2: their music videos in eighty two and then on guitars.
Speaker 2: For this track we have David Gilmour of Pink Floyd.
Speaker 2: So great track, I think, A great way to end
Speaker 2: the picture. I think is one that I overlooked this
Speaker 2: when I was a kid. I was like, I had
Speaker 2: some sort of cheesy pop song. But now now I'm like,
Speaker 2: this song is amazing and it should be it should
Speaker 2: be heard.
Speaker 3: You ready to go to the plot, Let's do it.
Speaker 3: So note as we get into the plot that I'm
Speaker 3: going to be talking about this from the point of
Speaker 3: view of having watched the director's cut most recently. So
Speaker 3: in this version, the plot begins with a character we
Speaker 3: do not see or only see from behind, in a
Speaker 3: high backed chair like doctor Claw. This is the Lord
Speaker 3: of Darkness, and he is in a shadowy hall within
Speaker 3: a stonework palace, illuminated by fire, with fog flowing across
Speaker 3: the floor, and we hear his voice. It's deep and complex.
Speaker 3: It's almost like it was kind of made of multiple voices,
Speaker 3: or maybe it contains its own echo. And Darkness says,
Speaker 3: I am the Lord of Darkness, I require the solace
Speaker 3: of the shadows and the dark of the night. Sunshine
Speaker 3: is my destroyer. All this shall change tonight, the sun
Speaker 3: sets forever, there shall never be another dawn. So we
Speaker 3: learn that the Lord of Darkness has a plan. He
Speaker 3: wants to forever destroy the sunshine and rule over a
Speaker 3: frozen kingdom of eternal midnight. And he calls forth his
Speaker 3: most loyal, infernal servant, a foul, fetid goblin named Blicks,
Speaker 3: and Darkness says that he senses the presence of an
Speaker 3: enemy in the forest outside, an enemy that, mercifully he
Speaker 3: had almost forgotten the existence of. But now it's sort
Speaker 3: of resurging in his mind. Out it's a power that
Speaker 3: threatens him. What power could that be, well, Darkness says,
Speaker 3: looking upon these frail creatures, one would not think they
Speaker 3: could contain such power. One could rule the universe with it.
Speaker 3: And then he tells Blicks, you must find them for
Speaker 3: me and destroy them. Blicks asks what these creatures look like,
Speaker 3: and Darkness gets very angry, says, you fool, and he
Speaker 3: stabs a piece of silverware into Blix's head. Or it
Speaker 3: might be a dagger or something. So the answer is
Speaker 3: they look like this. They've got a single spike growing
Speaker 3: out of their heads, like an antenna reaching up to heaven. Now,
Speaker 3: Blix is like, okay, single horn on the head, intenna
Speaker 3: reaching to heaven. Got it. I will destroy them. And
Speaker 3: but wait a minute, how am I going to find
Speaker 3: these creatures? And here, Darkness says, you know, there's only
Speaker 3: one lure for such disgusting goodness, one bait that never fails.
Speaker 3: Blick says, what's the bait? And Darkness says, in no sense,
Speaker 3: in no sense. I can't quite capture Tim Curry's delivery there,
Speaker 3: but it is the best.
Speaker 2: This, this is this is a great scene. Pretty much
Speaker 2: any interaction between Blicks and Darkness is golden, and I
Speaker 2: wish we had more of it, because yeah, Darkness is
Speaker 2: of course just absolute, over the top dramatic evil, and
Speaker 2: Blicks is of course also extremely evil, but in a
Speaker 2: more sniveling way. But also you know, like he like
Speaker 2: clearly Blicks canon will betray Darkness at any moment, but
Speaker 2: he also knows he could be destroyed at any moment
Speaker 2: by Darkness, so he's yeah, I love this line where
Speaker 2: he's like, what be the baby?
Speaker 5: Please?
Speaker 2: You teach you teach me, you know, and oh it's
Speaker 2: so good.
Speaker 3: Yeah, Blix is your classic subordinate villain, who is who
Speaker 3: is haughty and abusive when he is out on his
Speaker 3: own with his own subordinates, but then very survive when
Speaker 3: in the presence of his of his infernal lord.
Speaker 2: Yeah, it's it's tremendous. Great vocal performance, great physical performance,
Speaker 2: shining through the makeup.
Speaker 3: It's a bummer that Blicks and the other goblins just
Speaker 3: disappear at some point in the movie, like somewhere in
Speaker 3: the second act. They never show up again.
Speaker 2: Yeah, I think I read that at some point it
Speaker 2: was they'd written it so that they would come back
Speaker 2: in for the final showdown, you know, which would make sense, right,
Speaker 2: because there's especially Blick's is such a great character. This
Speaker 2: is such a great secondary villain. It's weird that he
Speaker 2: just like retires or something.
Speaker 3: Yeah. So Blicks goes out hunting the in no sense
Speaker 3: with a couple of other goblins. One of them is
Speaker 3: a bipedal hog named Pox, and the other is a
Speaker 3: goblin whose face we do not see. This goblin is
Speaker 3: named Blunder, and he wears a cage visored bucket helmet
Speaker 3: with horns.
Speaker 2: Yeah, he kind of looks like he could have wandered
Speaker 2: out a labyrinth down down the studio road there.
Speaker 3: Yeah, So next we're going to meet our main characters,
Speaker 3: Lily and Jack. Lily is a princess, but we learned
Speaker 3: that she does not want to be cooped up in
Speaker 3: the stuffy castle with her servants and her glittering treasures.
Speaker 3: She wants to wander free in the countryside and roam
Speaker 3: through the forest. She hangs out with peasants in their cottages,
Speaker 3: and especially she wants to meet up with Jack, and
Speaker 3: she I think she's talking to well, I don't remember
Speaker 3: if she's talking to one of her peasant friends or
Speaker 3: to Jack when she says this, but she says, this
Speaker 3: place holds more magic for me than any palace in
Speaker 3: the world.
Speaker 2: So Lily is, of course the embodiment of purity and
Speaker 2: innocence here, but there is something more, and it's kind
Speaker 2: of underscored at this point in the picture, especially I imagine
Speaker 2: more so in the US theatrical cut. But I think
Speaker 2: her privilege is also really key to her character, because
Speaker 2: you know, who would deny you anything princess? You know,
Speaker 2: you know, she's really sweet and she's innocent, but she
Speaker 2: does feel like she has the right to everything in
Speaker 2: the world, be it walking into a peasant's house and
Speaker 2: observing their life and feeling to some level like she
Speaker 2: gets to be a part of it, or, as we'll
Speaker 2: see in a bit, that she should be able to
Speaker 2: walk right up to a unicorn and touch it.
Speaker 3: Yeah. The other side of innocence is naivety, and so
Speaker 3: she does not realize the consequences of her actions and
Speaker 3: maybe doesn't even consider them.
Speaker 2: Yeah, she doesn't understand that there are things in the
Speaker 2: world that are not meant for her.
Speaker 5: Yeah.
Speaker 3: Now, the other character is Jack, played by Tom Cruise,
Speaker 3: and Jack, I'm not sure exactly what he is in
Speaker 3: the movie. I see if you agree with this, Rob,
Speaker 3: I think the layout is that he is biologically a
Speaker 3: regular human, so he's not a fairy or an elf
Speaker 3: or any of the other types of hidden folk that
Speaker 3: we meet in the story. But he does not seem
Speaker 3: to be a part of human society and seems to
Speaker 3: live alone in in a kind of ageless and carefree
Speaker 3: communion with the forest. He's almost a hot raticas.
Speaker 2: Yeah, I think. I think hot ratagas is a good
Speaker 2: way of putting it. I also was thinking of him
Speaker 2: as sort of a fairal Peter Pan, you know, so
Speaker 2: he also has more than his share of innocence. He's
Speaker 2: very connected with with nature, very connected to the forces
Speaker 2: of light in the fairy folk, but this is underscored
Speaker 2: a bit as well. But he's also lusty, granted in
Speaker 2: a way that I think we're to understand is a
Speaker 2: largely in a largely innocent way, you know, part of
Speaker 2: his youthfulness. And it's not like he's manipulating Lily or
Speaker 2: anything like that. But his desire is obvious as well,
Speaker 2: so you know, it's like that's kind of that's we're
Speaker 2: setting that up to be his sin here. And I
Speaker 2: mentioned this because the plot, especially in the in the
Speaker 2: director's cut, is very concerned with the interconnectedness of light
Speaker 2: and darkness, as well as feelings of shame and our
Speaker 2: two protagonists, though it feels rather lily heavy in that regard,
Speaker 2: which I guess, you know, kind of matches up the
Speaker 2: basic story of Adam and Eden, where it's you know,
Speaker 2: far more shame is placed on the female in the
Speaker 2: scenario when really it takes two people to touch sacred fruit.
Speaker 3: Yeah, so Jack and Lily they meet together in the
Speaker 3: forest to frolic about, and eventually Jack takes Lily to
Speaker 3: show her something very special. He sort of blindfolds her
Speaker 3: while he's leading her to a secret place, and he
Speaker 3: takes her blindfold off when they arrive. They're at this
Speaker 3: kind of hidden brook somewhere in the forest glen, and
Speaker 3: what they see there is a pair of unicorns that
Speaker 3: emerge from the trees, and then they kind of gallop
Speaker 3: about together like they're playing. And these unicorns, we understand,
Speaker 3: are sacred creatures, almost primordial, and their fates are linked
Speaker 3: to the fate of the world itself. So Jack communicates somehow,
Speaker 3: we've got to treat these creatures with reverence. You know,
Speaker 3: remember she had to be like blindfolded to go to
Speaker 3: their secret ground.
Speaker 2: Yeah, yeah, these This matches up with some of the
Speaker 2: ideas swirling around the concept of the unicorn. We talked
Speaker 2: about unicorns in an older episode of Stuff to Blow
Speaker 2: Your Mind, where at times like the unicorn is presented
Speaker 2: as Christ as Jesus Christ himself in the form of
Speaker 2: a single horned horse.
Speaker 3: Now we watch the unicorns play together and Lily becomes enraptured,
Speaker 3: I guess because of her In no sense, she does
Speaker 3: not take the proper precautions in their presence. She doesn't
Speaker 3: want to hold back and just observe them from a
Speaker 3: distant a distance like Jack recommends. She sort of runs
Speaker 3: out of hiding and touches one of them.
Speaker 2: I think the stallion, right, And it's not so much
Speaker 2: the touch that is going to be disastrous, but it
Speaker 2: does impact other elements in play.
Speaker 3: Right, because all along Lily has been tracked by the
Speaker 3: goblin trio. They've been they've been following the in no sense,
Speaker 3: and sure enough, the inno since led them straight to
Speaker 3: the unicorns. And I think this is around the scene
Speaker 3: where Blick says that line may be innocent, may be sweet,
Speaker 3: ain't half as nice as rotting meat. So we see
Speaker 3: where Blick's preferences lie, and they are with death and attack.
Speaker 3: So they when the goblins see the unicorns, I think
Speaker 3: Blunder yells out look ugly, one horned mule, and they
Speaker 3: take the opportunity to strike. They shoot one of the
Speaker 3: two unicorns with a poisoned dart, and the unicorns gallop away,
Speaker 3: and I think at first Jack and Lily don't realize
Speaker 3: what has happened. Like Jack is disturbed that Lily was
Speaker 3: so brazen with these holy creatures, but he is quickly
Speaker 3: distracted by love because Lily takes off a piece of jewelry,
Speaker 3: a golden ring inlaid with gems, and she throws it
Speaker 3: into the pool at the base of a waterfall where
Speaker 3: they're hanging out, and she says, I'm gonna marry whoever
Speaker 3: finds this ring, and Jack is just hot diggity he
Speaker 3: dives right in after it. Now a lot happens while
Speaker 3: Jack is diving under the water looking for the ring.
Speaker 3: The goblins catch up to the unicorn, which is faltering
Speaker 3: under the influence of the poison, and blicks his dart
Speaker 3: and they go up to it and they chop off
Speaker 3: its horn, and this instantly causes a worldwide calamity. A
Speaker 3: supernatural winter descends. The peasants are frozen solid in their cottages.
Speaker 3: Ice forms over over the pool where Jack is diving
Speaker 3: for the ring, so like when he comes up for air,
Speaker 3: he has to break through the ice. Lily is caught
Speaker 3: out in the blizzard and she runs in terror as
Speaker 3: the goblins come tramping through the new world of frosty
Speaker 3: horror that they've created. It's a scary time.
Speaker 2: And it must have been scary to read this script
Speaker 2: and think about producing this. You know, this is it's like,
Speaker 2: we're gonna build a forest, then it's gonna be winter
Speaker 2: in the forest. We're gonna have a frozen over pond.
Speaker 2: We're gonna have somebody swimming in that and breaking up
Speaker 2: through the ice later, Like I don't know. This is
Speaker 2: one of the many places in the film where you
Speaker 2: really have to admire the what they really set out
Speaker 2: to do here, Like this is a lot.
Speaker 3: Blick says, mortal world turned ice. Here be Goblin paradise.
Speaker 3: So the goblins are having a ball. They run around
Speaker 3: using the unicorn horn as a magic wand they're just
Speaker 3: doing all kinds of mischief and Lily eventually tracks them
Speaker 3: back to their Goblin camp, which I think his position's
Speaker 3: sort of down in a kind of ravine or a
Speaker 3: pit in the earth, and they've got a fire going
Speaker 3: and they're playing around with the horn, and this is
Speaker 3: all good stuff. I love this scene. I think this
Speaker 3: is where Blick says, higher burning fire making music like
Speaker 3: a choir, and they're all sort of talking about what
Speaker 3: they could do with their newfound of power. I think
Speaker 3: the pig goblin. I love this suggests turning everything into garbage.
Speaker 3: That's a quote. He says, why not turn everything into garbage,
Speaker 3: A big, towering mountain of slot. Wouldn't that be magic.
Speaker 2: He's a simple guy. He knows what he wants.
Speaker 3: Love, numb, numb, garbage.
Speaker 2: Now, my one of my recurring questions on this rewatch
Speaker 2: of Legend, given recent changes and slaying, is this goblin mode?
Speaker 2: Does this constitute goblin mode if you're not familiar. Goblin mode,
Speaker 2: as defined by the Oxford Dictionary in twenty twenty two,
Speaker 2: is a type of behavior which is unapologetically self indulgent, lazy, slovenly,
Speaker 2: or greedy, typically in a way that rejects social norms
Speaker 2: or expectations.
Speaker 3: You know, I would say that the goblins in this
Speaker 3: movie are not in goblin mode by default, but in
Speaker 3: this particular scene, they are going goblin mode. Okay, like
Speaker 3: Pox's desire to quote, turn everything into garbage, that's goblin mode.
Speaker 2: That's different, right, yeah.
Speaker 5: Yeah.
Speaker 2: Now, at the same time, Blick's he seems he's having
Speaker 2: a big time here waving this unicorn horn wand around,
Speaker 2: and it seems like he has he has greater designs.
Speaker 2: He's thinking about the power of the wand here and
Speaker 2: what he could do.
Speaker 3: With it I don't know, So we'll see what happens
Speaker 3: and when Darkness shows up. So Darkness arrives at the
Speaker 3: goblin camp. He's covered in a cloak, so we still
Speaker 3: don't see his face or his true form. And this
Speaker 3: is where one of the three goblins I know it's Blunder,
Speaker 3: the one with the helmet on, tries to take the
Speaker 3: horn and use it to usurp the power of the
Speaker 3: Lord of Darkness, but he's he's not strong enough. Tim
Speaker 3: Curry just like sucks it out of Blunder's hand magically
Speaker 3: and then reanimates a nearby mummy to grab up Blunder
Speaker 3: and cast him into a crevice in the earth, though
Speaker 3: we'll meet him again later.
Speaker 2: Yeah, this is a great thing because basically, yeah, Blicks
Speaker 2: has been playing around with the wand there's really getting
Speaker 2: into it and has all these flourishes to his movements.
Speaker 2: You know clearly he's really digging this power trip. And
Speaker 2: you get the impression that Darkness has shown up really
Speaker 2: to be like, Okay, enough of this before it gets
Speaker 2: out of hand. I'm here for what's mine. So but
Speaker 2: Blix is smart enough to just drop it to the
Speaker 2: ground immediately.
Speaker 3: Yeah.
Speaker 2: Yeah, but Blunder is stupid, and Blunder is like, oh,
Speaker 2: there's the wand it's mine now, this is my time
Speaker 2: to shine, and as sind at the top, and he's
Speaker 2: just instantly destroyed. Yeah, or seemingly at the time.
Speaker 3: Blunder has some good lines though, before he gets cast
Speaker 3: into the ravine when they're like they're talking about uh
Speaker 3: Lily and they're like, oh, she's so beautiful, and then
Speaker 3: Blunder's like, I know, I could eat her brains, Like jam, they.
Speaker 2: Just don't have the same values as mortals.
Speaker 5: Though.
Speaker 3: Unfortunately, the mission is not fully accomplished because Darkness is like,
Speaker 3: you fools, look, Dawn is about to break. That means
Speaker 3: one of the unicorns still lives. You have to get
Speaker 3: both of them, So go find the other unicorn and
Speaker 3: bring it to me.
Speaker 2: Yeah. Yeah, because the remaining unicorn is the Mayor And
Speaker 2: they're like what, it's just the female and Darkness is like, yeah,
Speaker 2: that one has the power of creation, you dummies, Like
Speaker 2: that's the most important unicorn.
Speaker 3: Yeah, so you got to bring me unicorn too. Meanwhile,
Speaker 3: Jack wakes up being frozen in the Blizzard of wickedness,
Speaker 3: and when he does, when he wakes up, he is
Speaker 3: surrounded by a coterie of hidden folk. So there is
Speaker 3: a sort of panlike magical boy called Honeythorn Gump. I
Speaker 3: think he's supposed to be an elf, do they say?
Speaker 2: Yeah? I believe so.
Speaker 3: I don't know technically what all of the fantasy classes
Speaker 3: of these creatures of the forest are. They're all various
Speaker 3: hidden folk of different kinds. A couple of them are
Speaker 3: Brown Tom and Screwball. They will be companions along the
Speaker 3: rest of the journey. In the movie, there is a
Speaker 3: fairy creature named Una, who I think is like a
Speaker 3: will of the Wisp. Honey Thorn Gump is sort of
Speaker 3: the leader of them. He's got the most lore information
Speaker 3: in his head and seems to like kind of know
Speaker 3: what's going on. And Gump is interesting. He has these
Speaker 3: great fantasy time units that he always talks in. All
Speaker 3: the expressions of time are things like three flicks of
Speaker 3: a badger's or two hundred beats of a sparrow's heart.
Speaker 2: Yeah, it's like you get the impression where if you
Speaker 2: were in tune with nature as much as an elf
Speaker 2: is or any of these magical fairy folk here you
Speaker 2: would know exactly what that means. You would innately know
Speaker 2: what that means. But to us mortals, we're a little
Speaker 2: lost on the particulars.
Speaker 3: Yeah, there are some initial negotiations. When they first meet
Speaker 3: Tom Cruise, he has to answer a riddle or die.
Speaker 3: I think, is that right?
Speaker 2: I'm always this scene kind of lost me a little bit.
Speaker 2: I'm not sure exactly what is happening in the scene.
Speaker 2: But then it's kind of like, Okay, I guess he
Speaker 2: passed the test, whatever it was.
Speaker 3: Also, I don't understand the logic of the riddle. The
Speaker 3: answer is flowers, bluebell flowers, but I don't understand how
Speaker 3: it corresponds to the riddle itself. Anyway, they eventually decide
Speaker 3: that Tom Cruise is the Champion foretold who must defend
Speaker 3: the world from the Lord of Darkness, and so there's
Speaker 3: a scene of him being sent to raid a treasure
Speaker 3: trove and a hit barrow to get magical armor and weapons.
Speaker 3: Around here is where I first started to notice that
Speaker 3: Tom Cruise is not getting to stand up in this movie.
Speaker 3: He's always squatting or creeping on the ground.
Speaker 2: Yeah, and now he has like a golden chain mail
Speaker 2: skirt to wear the whole time. Yeah, and a really
Speaker 2: cool shield and sword too, So he's decked out. He's
Speaker 2: gotten his plus one plus two gear from the Dungeon
Speaker 2: Master and is ready to hop into the main adventure. Yeah.
Speaker 3: Meanwhile, there's a scene where Lily makes her way to
Speaker 3: sort of the camp where Jack originally was, but they
Speaker 3: don't meet up. Lily is there with the Unicorn Mayor
Speaker 3: and they get captured by the goblins and taken back
Speaker 3: to Tim Curry. And there's a funny moment here where
Speaker 3: Brown Tom, who was with one of the good guys,
Speaker 3: he gets shot in the head with an arrow and
Speaker 3: you think he's dead, and he thinks he's dead. When
Speaker 3: his companions show back up, he says, I was shot
Speaker 3: through the brain pan. But then he takes his hat
Speaker 3: off and he literally had a pan in his hat
Speaker 3: and it was the air went through it.
Speaker 2: It's a great moment. When this movie wants to be
Speaker 2: silly and funny, it succeeds.
Speaker 3: So now that Tim Curry has Lily and the last
Speaker 3: living Unicorn, that they got to turn this into a
Speaker 3: rescue operation, right, So Jack and his magical friends make
Speaker 3: the journey to the Layer of Darkness to confront Darkness
Speaker 3: and his minions, which and I thought this was interesting.
Speaker 3: It's shown from the outside and it is not your
Speaker 3: typical stone castle, but seems to be built inside a giant,
Speaker 3: ancient tree. The Honeythorn Gump describes it by saying, the
Speaker 3: Great Tree. When evil anarchy ruled the land, the wicked
Speaker 3: came here to sacrifice. That's an interesting, almost kind of
Speaker 3: biblical foundation story that, like the Cursed Play, is a
Speaker 3: place that you associate with the sacrifices made by an
Speaker 3: ancient enemy.
Speaker 2: It's interesting too in that like what we have here
Speaker 2: in form and it looks amazing in the picture we
Speaker 2: see like the spots of carry and birds circling around it.
Speaker 2: But in many respects you could compare this to like
Speaker 2: a world tree from various mythologies, you know, connecting the
Speaker 2: realm of Earth to the realm of the cosmos. But
Speaker 2: it's corrupted and it's dark. But on the other level,
Speaker 2: numerous times we have, especially our evil characters, speak to
Speaker 2: a universe here in which darkness was the purity of
Speaker 2: existence that was then invaded by light. And therefore it
Speaker 2: maybe feels kind of fitting that the world tree here
Speaker 2: is something of the darkness because the darkness is the
Speaker 2: original structure of the universe.
Speaker 3: Yeah, it is an interesting mythology. And again we get
Speaker 3: these statements about the necessary interconnectedness of the elements that
Speaker 3: come back in the very end as well. On the
Speaker 3: way to the castle, they've got to do battle with
Speaker 3: a swamp hag.
Speaker 2: Right.
Speaker 3: We brought a meg Mucklebones early on, played by Robert
Speaker 3: Piccardo in some amazing makeup and prosthetics or I don't
Speaker 3: know if there's puppetry involved in as well.
Speaker 2: It feels like it. There's feels like there's some sort
Speaker 2: of like a device that's moving him around at the base.
Speaker 3: Yeah. So it's like a big old Jenny Green teeth
Speaker 3: pops up out of the water and is going to
Speaker 3: eat Tom Cruise because she's like, you look delicious, and
Speaker 3: he starts trying to get out of it by flattering
Speaker 3: her beauty and she ends up saying, ooh, what a
Speaker 3: fine meal you'll make be the rest of you as
Speaker 3: sweet as your tongue.
Speaker 2: Oh and this scene, this scene is just so perfect,
Speaker 2: but just and I'm just to touch on like some
Speaker 2: of the little things that make it great. The scene
Speaker 2: where he has the resplendent golden shield up and Meg
Speaker 2: is like close to it, half seeing a reflection in it,
Speaker 2: and her nails are tapping against it, and there's all
Speaker 2: so there's the gleam of the shield and then also
Speaker 2: there's a little bit of her sliminess on it. So
Speaker 2: it's just like visually and just sonically too, that tapping.
Speaker 2: It's just got complete overload. It's just a tremendous scene,
Speaker 2: even in this small detail.
Speaker 5: Yeah.
Speaker 3: Yeah, So eventually Meg is decapitated and our heroes, you know,
Speaker 3: they go on their way into the Great Tree of Wickedness,
Speaker 3: where they quickly fall into a pit and end up
Speaker 3: trapped inside prison cells. Now they will get out of
Speaker 3: these eventually released by the Fairy Una after she reveals
Speaker 3: that she had abilities that even Gump did not know
Speaker 3: of before. She's interesting because she's one of the heroes,
Speaker 3: but she's capricious, you know, she doesn't want to be
Speaker 3: pinned down. She's like, I'll do what I want, and
Speaker 3: you know, just so happens that that turns out to
Speaker 3: be helping them sometimes. But she also wants Tom Cruise.
Speaker 3: By the way, yes, but while in this prison they
Speaker 3: meet the goblin Blunder who reveals he is not actually
Speaker 3: a goblin. He takes his helmet off and learned that
Speaker 3: he is one of the hidden folk of the forest
Speaker 3: and known to Screwball and Brown Tom. But I guess
Speaker 3: he sort of went astray and now he's back on
Speaker 3: the team. But unfortunately, right after they meet him and
Speaker 3: realize who he is, he gets snatched up by their
Speaker 3: jailers and the dungeon and taken away to be baked
Speaker 3: into a pie. Because this dungeon is right next to
Speaker 3: the kitchens of Hell. This set we need to talk
Speaker 3: about the hell kitchens. Here, there's this doctor Salvador prep
Speaker 3: table in this blood Bucket kitchen, where like right in
Speaker 3: the middle of the floor there are random fires burning,
Speaker 3: so it's like a barbecue preparation area attended by like
Speaker 3: bondage axe murderers.
Speaker 2: Yeah, they're like big ogres and execution hoods, just very
Speaker 2: physically intimidating. The fires are just raging, like just out
Speaker 2: of control levels of flame. It's like a delirious vision
Speaker 2: of hell, like a baroque mashup of Texas chainsaw massacre
Speaker 2: and a medieval wood cut. And they're also throughout like
Speaker 2: the last half or third of the picture. There are
Speaker 2: also just lots of creepy statues, Like there's a pazuzu
Speaker 2: statue from that pops up twice, I think, once in
Speaker 2: the swamp and then once in the depths of the
Speaker 2: underworld here. Sometimes those statues are actually alive and they move.
Speaker 2: So there's just a very rich, disturbing visual world down
Speaker 2: here in the hell. Kitchens are just yeah, absolutely terrifying.
Speaker 3: Now, there's also an extended series of scenes, a kind
Speaker 3: of drama here where after Lily is brought to the
Speaker 3: palace as a captive, Darkness decides that he wants to
Speaker 3: seduce her, and he's sort of instructed by this other voice,
Speaker 3: this kind of statue or other god speaking to him.
Speaker 3: I think it says, make her one of us, and
Speaker 3: so that's his goal. He wants to take the innocence
Speaker 3: of the princess and to make her evil as well,
Speaker 3: to bring her into the darkness and make her a creature.
Speaker 5: Of the night.
Speaker 2: You know, it's interesting that you look at this in Labyrinth,
Speaker 2: two films being made at the same time, next door
Speaker 2: to each other. They both have very similar elements in
Speaker 2: that you have a dark lord who is pleading with
Speaker 2: like trying to seduce and ultimately just offering to be
Speaker 2: subservient to a woman. He is in love with a
Speaker 2: mortal woman. And they I'm to understand that with Labyrinth too,
Speaker 2: they were they were aware of what was going on
Speaker 2: in Legend and made deliberate choices with Jareth the Goblin
Speaker 2: Goblin King to portray him in a less like overtly
Speaker 2: satanic manner and like finding a different sort of form
Speaker 2: for him. But it is interesting that, yeah, out of
Speaker 2: the same production timeline, you're getting like these two different
Speaker 2: I guess kind of like equally iconic versions of somebody's
Speaker 2: potential supernatural boyfriend, you know, from beyond the realm of mortals,
Speaker 2: you know. So it's like, ultimately, like who do you
Speaker 2: see yourself with on the dating show? Is it Darkness
Speaker 2: the Prince of Evil, or is it Jarret the Goblin King.
Speaker 2: I don't know, your preference may vary.
Speaker 3: But now Lily here goes through a transformation. At some
Speaker 3: point she gets a kind of spell cast on her
Speaker 3: while in the banquet hall of Darkness here, and she
Speaker 3: becomes Goth Lily. She like transforms to have this bizarre
Speaker 3: gown with like there's sort of this this we were
Speaker 3: talking about this big extending triangular hood or collar thing,
Speaker 3: and then like a big V cut in the middle
Speaker 3: of it, and her hair gets very stringy and dark,
Speaker 3: and she's got this, I don't know what you call it,
Speaker 3: the kind of a twiggy, twiggy black crown on her head.
Speaker 3: It's a it's a very strange and interesting look and
Speaker 3: props again to the costume designers there. But so there's
Speaker 3: like it's it's to symbolize that she has in a
Speaker 3: way had a spell cast over her, but she that
Speaker 3: doesn't mean she's been like hypnotized fully by the Lord
Speaker 3: of Darkness, because she's still not into him at this point.
Speaker 3: He's he's trying to make all these you know, seducing
Speaker 3: her to evil kind of moves, and she she's still
Speaker 3: screaming like no, I will do nothing for your pleasure.
Speaker 3: But in the end she does appear to make a turn.
Speaker 3: She says, Okay, I will stay with you here if
Speaker 3: you will grant me one thing. Let me be the
Speaker 3: one who cuts the throat of the last unicorn instead
Speaker 3: of you and Tim Curry. You could just see him.
Speaker 3: He's like, yes, yes.
Speaker 2: He's like this is exactly the sort of thing I'm
Speaker 2: into and I'm so glad you are into it as well.
Speaker 5: Yeah.
Speaker 2: But oh but before we get to that point, I
Speaker 2: have to talk about her brow though. Oh because yeah, yeah,
Speaker 2: because yeah, the costume of Goth Lily is amazing, you know,
Speaker 2: the makeup is amazing. But they make a seemingly very
Speaker 2: deliberate choice to narrow and nearly unify her brow. So
Speaker 2: she has this very sweek monobrow unibrow going on here
Speaker 2: in a way that is of course also very like
Speaker 2: beautiful and hot. Don't get me wrong, it is enough.
Speaker 2: It is like the kind of like stylized younibrow that
Speaker 2: can make you realize, you know, it is like maybe
Speaker 2: a silly cultural thing that some of us don't think
Speaker 2: brows should grow together, because here's proof that it can
Speaker 2: look really cool. But like, first they made this decision,
Speaker 2: and I wonder like how they talked about it behind
Speaker 2: the scenes, where they're like, I really think we need
Speaker 2: to give her a unibrow here, and like maybe people
Speaker 2: were doubtful and then they saw the results and they're like, no,
Speaker 2: you got it. This is exactly what God Lily needs.
Speaker 3: So the audience at this point may be left to
Speaker 3: wonder like, okay, has she fully been captured by the darkness?
Speaker 3: Does she want to kill the unicorn for real? But no, No,
Speaker 3: Lily has a plan, and Jack's about to get a
Speaker 3: plan too. Like the Jack and his friends. They've snuck
Speaker 3: into the palace and they're like peeking through a through
Speaker 3: a window and watching what's going on. And so Jack
Speaker 3: comes up with an idea that involves bringing light into
Speaker 3: the darkness. So they need to go gather a bunch
Speaker 3: of big shiny plates from the hell Kitchens, which have
Speaker 3: shiny plates for some reason, that they're going to use
Speaker 3: to create a series of reflector beams to bring sunlight
Speaker 3: from up above down into the darkness where it will
Speaker 3: destroy Tim Curry.
Speaker 2: Now on the way.
Speaker 3: At one point they get drawn into a fight with
Speaker 3: the Ogres and the hell Kitchen. I think they they
Speaker 3: beat them by like dumping out a big pot of broth.
Speaker 3: Unclear exactly how this fight is resolved.
Speaker 2: Here now, Yeah, I'm not sure either. But while it's happening,
Speaker 2: the fight is very cool. There's a lot of running
Speaker 2: around and jumping and dodging, and of course the set
Speaker 2: is amazing.
Speaker 3: And skipping over a few more things that go on
Speaker 3: in the Palace. Here it all leads up to this
Speaker 3: final confrontation where Lily and Darkness are down there with
Speaker 3: the last unicorn, and Lily is about to exercise her
Speaker 3: privilege to be the one to put an end to
Speaker 3: all goodness and bring on the forever night, and Jack
Speaker 3: and Honeythorn Gump are They've got the plans set up
Speaker 3: to bring the light in, and they're watching from above
Speaker 3: with bows drawn as this is about to happen, and
Speaker 3: Gump is saying, oh, no, she's going to kill the unicorn.
Speaker 3: You've got a stopper, Jack, But Jack says, no, I
Speaker 3: trust you, Lily, And so this is a sort of
Speaker 3: repeated idea that he puts his trust in her, and
Speaker 3: it was well placed because she in fact does not
Speaker 3: go through with hurting the unicorn. She instead cuts it
Speaker 3: free of its bindings, and then it kicks off a
Speaker 3: final action scene where Jack rushes in to fight the
Speaker 3: Lord of Darkness and put an end to this once
Speaker 3: and for all. The fight scene here, I'm of mixed
Speaker 3: opinions about it. It has some cool elements, something about
Speaker 3: it feels kind of thrown together in a way, but
Speaker 3: individual moments of it I like.
Speaker 2: Yeah, I think the thing I was most impressed by
Speaker 2: is that Darkness still feels like a cohesive entity here,
Speaker 2: despite the fact that we're suddenly seeing him move around
Speaker 2: a lot more like he's swinging a giant sword. He's
Speaker 2: like shooting fire from his fingertips and in one sequence
Speaker 2: like runs like charges like a bull at jack and
Speaker 2: sort of like pins into the wall and snarls at him.
Speaker 2: And I feel like like, if the effects were not
Speaker 2: just so on point here, either this wouldn't feel believable
Speaker 2: or we wouldn't see an attempt like this at all.
Speaker 3: Yeah, yeah, I agree. And he has some great dialogue
Speaker 3: in the scene too, like while they're fighting at one point,
Speaker 3: Darkness as every wolf suffers fleas 'tis easy enough to scratch.
Speaker 3: Oh and then at the final defeat, okay, so you know,
Speaker 3: they blow the doors open with the sunlight brought in
Speaker 3: through the maze of mirrors, and it shines a big
Speaker 3: ray of sunlight onto Darkness, which is a destructive It
Speaker 3: like unleashes this destructive gale upon him that blows him
Speaker 3: out through this big sort of aperture we've seen in
Speaker 3: the wall. There's like this gap in the wall that
Speaker 3: seems to lead out into space and the night we
Speaker 3: just see black and stars beyond it. And as he's
Speaker 3: being blown out, Darkness says, you think you have won?
Speaker 3: What is light without dark? What are you without me?
Speaker 3: I am a part of you all. You can never
Speaker 3: defeat me. We are brothers eternal. But he is seemingly defeated.
Speaker 3: He's blown out into space. And I just want to
Speaker 3: point out for comparison, So the villain of this movie
Speaker 3: is destroyed by being sucked out into space? How is
Speaker 3: the Starbeast defeated at the end of Alien, also by
Speaker 3: Ridley Scott from several years earlier, blown out the airlock.
Speaker 3: Both of these movies end with the villain being the
Speaker 3: villain nor the monster being blown out into space.
Speaker 2: That's also how Gladiator defeated Emperor Commitists in that movie,
Speaker 2: right just out through the airlock. You know.
Speaker 3: Strangely, I would say, Thelma and Louise does have an
Speaker 3: almost kind of out into space ending.
Speaker 2: That's true, Yeah, like into the void. I guess you
Speaker 2: could say. Yeah.
Speaker 3: Now, after the evil is defeated, the unicorn is all right.
Speaker 3: Somehow we see the other unicorn revived, so now they're
Speaker 3: both okay. The Supernatural Winter ends, Lily is freed and
Speaker 3: everything can go back to normal. I think depending on
Speaker 3: which cut of the film you are seeing, there'll be
Speaker 3: a slightly different ending. There might be one where it
Speaker 3: seems like they're going to get married or something. I
Speaker 3: think there is one ending where we hear Darkness laughing
Speaker 3: after the happy ending, suggesting, oh, he's actually coming back.
Speaker 3: The ending of the director's cuts has them coming to
Speaker 3: a kind of bittersweet agreement where Jack and Lily conclude
Speaker 3: that Jack can't really be part of Lily's world, that
Speaker 3: he is going to have to stay in the forest.
Speaker 3: But she says, can I come visit you every day?
Speaker 3: And he says yes, all right.
Speaker 2: I guess this getting into the the basic thesis statement
Speaker 2: that our heroes are going to have to embrace darkness
Speaker 2: and light, that they're going to have to find some
Speaker 2: balance of things, and that maybe, like the ideal happy
Speaker 2: ending isn't really in the cards. But I don't know.
Speaker 2: But then I don't know. Especially in the US theatrical cut,
Speaker 2: it does feel a lot more good conquers everything, you know,
Speaker 2: good over evil, And then we can't argue with those songs.
Speaker 2: We're hit first with that tangerine dream vocal track, and
Speaker 2: then we get your love? Is your love strong enough?
Speaker 2: And the answer is yes, clearly, the answer is yes
Speaker 2: a million times. Yes, love is absolutely strong enough?
Speaker 3: Is your love strong enough to turn the world into garbage?
Speaker 3: One great big mountain of slop?
Speaker 2: All right, Well there you have it legend from Ridley Scott.
Speaker 2: I'd be very interested to hear what everyone out there
Speaker 2: has to say about this film, like it, did you
Speaker 2: see it? What version did you initially see? And what
Speaker 2: were your impressions? And has it grown on you over
Speaker 2: the years, like again, like it's a film that had
Speaker 2: such an impact on me, like visually that it's always
Speaker 2: stuck with me. But it's also a film that I
Speaker 2: always come back to and realize that Hell, you know,
Speaker 2: it's a little rough around the edges in the in
Speaker 2: the end, but you know it's it's definitely developed its
Speaker 2: own cult following and has become iconic in its own right.
Speaker 3: I can't deny there's something about it that just doesn't
Speaker 3: quite come together. And yet I'm not going to get
Speaker 3: rid of my copy. I know I'm gonna be watching
Speaker 3: it again.
Speaker 2: Yeah, this is a great one to put on. I've
Speaker 2: played this one before, just in the background with other
Speaker 2: music on top of it, and it's always a delight.
Speaker 5: Yeah.
Speaker 2: All right, Well, we're going to go and close out
Speaker 2: this episode of Weird House Cinema, but we'll be back
Speaker 2: with the future installments, which air on Fridays in the
Speaker 2: Stuff to Blow Your Mind podcast feed. If you want
Speaker 2: to see a full list of the movies we've covered
Speaker 2: over the years for Weird House Cinema, go to letterbox
Speaker 2: dot com. It's l E T T E R B
Speaker 2: O x D dot com. You'll find us on there.
Speaker 2: Our user name is weird House and there's a list
Speaker 2: of all the films we've covered and sometimes a peek
Speaker 2: ahead at what's coming up next. Also, if you're on Instagram,
Speaker 2: go to st b ym podcast. That's the Stuff to
Speaker 2: Blow Your Mind podcast channel handle and you'll get updates
Speaker 2: as well.
Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway.
Speaker 3: If you would like to get in touch with us
Speaker 3: with feedback on this episode or any other, to suggest
Speaker 3: a topic for the future, or just to say hello,
Speaker 3: you can email us at contact at stuffed blow your
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