WEBVTT - Weirdhouse Cinema: Legend 0:00:03.080 --> 0:00:08.440 Welcome to Stuff to Blow Your Mind, a production of iHeartRadio. 0:00:13.080 --> 0:00:14.760 Hey, welcome to Weird House Cinema. 0:00:14.920 --> 0:00:17.840 This is Rob Lamb and this is Joe McCormick. And 0:00:17.880 --> 0:00:20.360 today on Weird House Cinema we're going to be talking 0:00:20.400 --> 0:00:26.080 about the nineteen eighty five Ridley Scott fantasy tale Legend, 0:00:26.280 --> 0:00:31.080 starring Tom Cruise, Miasara, and Tim Curry. I wanted to 0:00:31.120 --> 0:00:33.559 start off just by saying, because I mentioned it so 0:00:33.600 --> 0:00:36.520 many times on the show, that I love a good 0:00:36.640 --> 0:00:40.920 synthetic forest set like a you know, a fairytale woodland 0:00:41.000 --> 0:00:44.760 built inside a sound stage. Legend is a kind of 0:00:44.800 --> 0:00:48.159 heaven for me, because it is there's more of that 0:00:48.320 --> 0:00:51.080 in this movie than any other movie I can think of. 0:00:51.640 --> 0:00:55.240 Yeah, they built an enormous forest for this one, inside 0:00:55.320 --> 0:00:58.000 the Double O seven stage at Pinewood Studios. That was 0:00:58.040 --> 0:01:00.640 the studio that was built for nineteen six seventy seven's 0:01:00.640 --> 0:01:04.600 The Spy Who Loved Me, And interestingly enough, it burned 0:01:04.640 --> 0:01:09.440 down shortly before filming could wrap on Legend, tragically killing 0:01:09.440 --> 0:01:10.840 the last two living unicorns. 0:01:11.640 --> 0:01:11.880 Yeah. 0:01:11.959 --> 0:01:15.000 Yeah, now, no, the unicorns are fine, but some of 0:01:15.040 --> 0:01:17.800 their final scenes had to be filmed in an actual 0:01:17.880 --> 0:01:21.320 outdoor location because of this, So if you're watching closely, 0:01:21.360 --> 0:01:23.600 there may be some unicorn scenes here and there where 0:01:23.600 --> 0:01:25.640 you're like, oh, that looks like maybe that's for real 0:01:25.680 --> 0:01:30.600 outdoors instead of this lush and amazing indoor forest they built. 0:01:32.560 --> 0:01:36.040 But they do a good job of making not necessarily 0:01:36.080 --> 0:01:37.120 focus on the difference. 0:01:37.319 --> 0:01:39.560 I love that it goes back and forth and you 0:01:39.600 --> 0:01:42.560 can't always tell if you're actually outside or if this 0:01:42.720 --> 0:01:44.080 is an indoor forest. 0:01:44.480 --> 0:01:48.120 Yeah, like they just like they are like particles floating 0:01:48.160 --> 0:01:50.120 around in the air. I'm not sure if it's like 0:01:50.200 --> 0:01:54.520 pollen or fairy dust. I mean, it's just there's a 0:01:54.560 --> 0:01:57.640 lot going on. It's a very rich visual texture. 0:01:58.080 --> 0:02:02.840 In my opinion, this is an almost perfect example of 0:02:02.880 --> 0:02:05.960 a movie that has all the things it needs to 0:02:06.000 --> 0:02:10.440 be absolutely wonderful, but it doesn't know exactly how to 0:02:10.600 --> 0:02:14.760 use them to the greatest effect. So this movie has 0:02:15.080 --> 0:02:20.280 unbelievably gorgeous sets, some of the most amazing production design 0:02:20.840 --> 0:02:22.240 of any movie I can think of. 0:02:22.360 --> 0:02:22.640 Ever. 0:02:23.880 --> 0:02:28.880 It has stupendous makeup effects and costumes, has a great cast, 0:02:29.440 --> 0:02:32.280 especially in the sort of the down cheat character roles 0:02:32.280 --> 0:02:36.520 and the villain roles. It has some intriguing ideas and 0:02:36.560 --> 0:02:39.840 moments and some fun and funny dialogue in it. It's 0:02:39.840 --> 0:02:44.000 got unicorns, all the resources and technical skill that is 0:02:44.080 --> 0:02:47.640 needed to make a best of the best fantasy adventure, 0:02:48.480 --> 0:02:51.120 and yet somehow the movie always still feels like it 0:02:51.560 --> 0:02:55.160 kind of doesn't come together right, something kind of falls 0:02:55.200 --> 0:02:57.160 apart at the core of it. It's like it's not 0:02:57.560 --> 0:03:01.960 organized correctly toward a toward its storytelling purpose. 0:03:02.840 --> 0:03:04.400 Yeah, I know what you mean, and this is going 0:03:04.480 --> 0:03:06.799 to be something we're going to discuss back and forth, 0:03:06.840 --> 0:03:09.240 I think the whole episode. But it's also I think 0:03:09.280 --> 0:03:12.119 one of the reasons that I realized that the time 0:03:12.200 --> 0:03:15.240 was right to discuss legend. We've been talking a lot 0:03:15.280 --> 0:03:18.440 about alien and alien related content on the show, and 0:03:18.480 --> 0:03:21.320 I was heavily tempted, and we may still come back 0:03:21.360 --> 0:03:23.200 and do Alien at some point. But Alien is one 0:03:23.240 --> 0:03:26.640 of those films, a Ridley Scott film that I mean, 0:03:26.680 --> 0:03:30.800 it's basically perfect, like it like everything works in that picture, 0:03:31.080 --> 0:03:33.200 and it's I don't know, it's fun to talk about 0:03:33.240 --> 0:03:36.240 films we're passionate about and that are you know, are 0:03:36.640 --> 0:03:38.760 so great that you don't really have anything critical to 0:03:38.760 --> 0:03:41.880 say about them, But I don't know, sometimes it's a 0:03:41.880 --> 0:03:44.040 little more engaging maybe to get into something like this, 0:03:44.160 --> 0:03:47.120 a film that is rougher around some of the edges 0:03:48.000 --> 0:03:49.720 in some aspects of the production. 0:03:50.200 --> 0:03:53.040 I very much agree that Alien is basically perfect, but 0:03:53.680 --> 0:03:57.920 Legend is different. This is not the only Ridley Scott 0:03:58.000 --> 0:04:01.680 movie that could be described in the way as having 0:04:02.120 --> 0:04:05.680 so many technical elements that are just at the peak 0:04:05.760 --> 0:04:09.760 of excellence. You know, maybe has a kind of esthetic perfection, 0:04:10.680 --> 0:04:14.760 but something just doesn't all work as a narrative, It 0:04:14.760 --> 0:04:17.880 doesn't fit together in the right way. And I want 0:04:17.880 --> 0:04:20.120 to be clear that nobody's going to tag me as 0:04:20.120 --> 0:04:22.680 a Ridley hater, you know, as I already said, I 0:04:22.680 --> 0:04:25.719 think Alien is basically perfect. I'm not one of those 0:04:25.720 --> 0:04:28.479 people who thinks Blade Runner is overrated. Some people say 0:04:28.480 --> 0:04:30.720 that now I don't agree. I think it is brilliant, 0:04:31.520 --> 0:04:35.120 and I even personally find delight in some of Ridley 0:04:35.120 --> 0:04:40.280 Scott's more arguably or some would even say objectively bad films, 0:04:40.320 --> 0:04:43.960 like Hannibal or Alien Covenant. I sort of think, well, yeah, 0:04:43.960 --> 0:04:46.480 maybe they are bad, but I kind of like them anyway. 0:04:46.760 --> 0:04:49.480 But apart from that, I think it's interesting that Scott 0:04:49.520 --> 0:04:52.120 has made a number of these films that at least 0:04:52.160 --> 0:04:55.240 as I see it, pull together the best of the 0:04:55.279 --> 0:04:58.280 best in terms of all the technical elements of filmmaking. 0:04:58.320 --> 0:05:01.760 They look amazing, they sound amazing, they have beautiful and 0:05:01.839 --> 0:05:04.599 interesting things to show you. But at the same time 0:05:04.720 --> 0:05:08.400 they can end up feeling kind of disorganized, flabby, and 0:05:08.440 --> 0:05:11.760 sometimes even irritating. Exercises in storytelling. 0:05:12.279 --> 0:05:14.960 Yeah, yeah, I would broadly agree with all that, And 0:05:15.200 --> 0:05:17.159 I think maybe a lot of it comes down to 0:05:17.279 --> 0:05:21.320 the particular way that Ridley Scott seems to command a picture, 0:05:21.920 --> 0:05:25.960 because yeah, I think he's a tremendous visual director. His storyboards, 0:05:26.240 --> 0:05:28.359 which are often called Ridley Grams. I don't know if 0:05:28.400 --> 0:05:30.360 he calls them Ridley Grahams or people who work with 0:05:30.400 --> 0:05:32.000 them call him Ridley Grahams, but I'm not sure in 0:05:32.040 --> 0:05:34.640 the origin of the term. But the Ridley Grams alone 0:05:34.680 --> 0:05:37.920 are always worth a look because on one hand, they're 0:05:37.920 --> 0:05:39.840 just I mean, they look you could say, here's a 0:05:39.880 --> 0:05:42.640 comic book past the Ridley Grahams and you would buy it. 0:05:42.680 --> 0:05:45.400 Like they don't. They don't feel as much like a 0:05:45.520 --> 0:05:49.640 rough sketch of what is to be filmed as as 0:05:49.640 --> 0:05:52.520 some storyboards, do you know what I'm saying? M Yeah, 0:05:52.760 --> 0:05:55.560 And also it's it's provides a lot of insight into 0:05:55.560 --> 0:05:58.680 how it all comes together, even though again they are 0:05:58.760 --> 0:06:01.760 essentially blueprints of everything to come. It's where he takes 0:06:01.800 --> 0:06:04.880 the screenplay written by others and projects them into a 0:06:04.960 --> 0:06:08.560 more solidified visual form. And like you say, you know 0:06:08.640 --> 0:06:10.880 that on top of that, really Scott's going to bring 0:06:10.920 --> 0:06:13.760 in just the absolute best behind the scenes crew and 0:06:13.960 --> 0:06:16.520 generally just great casting choices as well to make it 0:06:16.560 --> 0:06:19.360 all come alive. That being said, yeah, he is often 0:06:19.400 --> 0:06:22.960 criticized for being inconsistent. And I guess one of the 0:06:23.040 --> 0:06:26.080 weird things here is I'm, by by all means not 0:06:26.200 --> 0:06:28.839 a Ridley Scott completists. There are a bunch of Ridley 0:06:28.839 --> 0:06:32.120 Scott films. I haven't seen many of his Yeah, many 0:06:32.120 --> 0:06:35.560 of his historical pieces, for example, many of his dramas, 0:06:35.600 --> 0:06:37.600 even some of the big dramas like Film and Luise, 0:06:37.760 --> 0:06:40.520 I just haven't seen it. And it's it's not on 0:06:40.560 --> 0:06:43.440 my immediate to watch list. It's not something we could 0:06:43.480 --> 0:06:45.880 work into weird house, you know. But that one was 0:06:46.200 --> 0:06:50.479 critically acclaimed and nominated for multiple awards. But yeah, for 0:06:50.560 --> 0:06:53.919 my money, Alien and Blade Runner are all timers. I 0:06:54.000 --> 0:06:57.799 personally loved Prometheus an Alien Covenant and really admired Covenant 0:06:57.839 --> 0:07:01.400 more on a recent rewatch. That one's kind of divisive, 0:07:01.480 --> 0:07:04.520 but it certainly has its fans, and I think it's 0:07:04.680 --> 0:07:06.760 its faults, in my opinion, are trivial in the face 0:07:06.800 --> 0:07:11.640 of everything it does. Right. Hannibals, that's another weird one 0:07:11.640 --> 0:07:14.160 to look at. Hannibal is one I would almost consider 0:07:14.240 --> 0:07:18.320 doing for Weirdhouse as well, because I remember when the 0:07:18.360 --> 0:07:21.480 novel came out and it was I thought it was 0:07:21.560 --> 0:07:24.440 kind of a mess and kind of repellent, And if anything, 0:07:24.920 --> 0:07:27.720 the film improved matters by cutting out some of the 0:07:27.720 --> 0:07:31.080 more lurid elements and finding its own sort of strange, 0:07:31.120 --> 0:07:35.720 grotesque tale to tell again with a stunning cast, great visuals, 0:07:35.760 --> 0:07:39.640 and this kind of like you know, baroque awfulness that 0:07:40.000 --> 0:07:43.280 Scott does so well. But yeah, that's one I probably 0:07:43.280 --> 0:07:46.520 need to rewatch, but it's it's also not one I'm 0:07:46.560 --> 0:07:47.960 in a super hurry to see again. 0:07:48.440 --> 0:07:50.680 I don't know. Ridley has a kind of magic that 0:07:50.800 --> 0:07:52.760 even when he makes a movie that I'm not going 0:07:52.800 --> 0:07:54.640 to go out and defend, I don't think is a 0:07:54.680 --> 0:07:57.840 great movie. I do want to keep looking at it. Usually, 0:07:58.000 --> 0:08:00.160 like I will come back to these movies. 0:08:00.920 --> 0:08:03.640 Yeah, yeah, absolutely. I mean Ridley is going to bring 0:08:03.680 --> 0:08:08.160 you somewhere you haven't been before, and in all likelihood, 0:08:08.160 --> 0:08:09.720 no one else is going to bring you to, you know, 0:08:10.920 --> 0:08:14.440 And I think that's one thing I really love about Covenant. 0:08:14.480 --> 0:08:16.760 That's one thing that I even admire about Hannibal is 0:08:16.800 --> 0:08:19.720 like there have even been other adaptations of the source 0:08:19.760 --> 0:08:22.800 material for Hannibal, and that adaptation as well has its 0:08:22.840 --> 0:08:25.760 own visual flare, but it's not quite the same. You know. 0:08:25.840 --> 0:08:28.640 There's just something about the riddle is really scott approach 0:08:28.680 --> 0:08:31.560 to filmmaking that is just really going to sing. 0:08:31.960 --> 0:08:36.120 Now, Rob, I'm curious about your your own viewing history 0:08:36.160 --> 0:08:39.360 with Legend because mine is a bit confused. I'm going 0:08:39.440 --> 0:08:41.760 to say what I think it was, but I'm not 0:08:41.920 --> 0:08:45.199 positive about this. I think the order for me goes. 0:08:45.800 --> 0:08:49.719 I saw pieces of this movie on TV growing up, 0:08:49.920 --> 0:08:52.240 so you know, running it, I don't know which cut 0:08:52.280 --> 0:08:54.240 they'd be airing on TV. Well, we'll have to talk 0:08:54.240 --> 0:08:56.600 about the multiple cuts of the film. I'd guess probably 0:08:56.640 --> 0:08:59.520 the US theatrical cut, but bits of it on TV 0:09:00.040 --> 0:09:02.640 where I was just seeing like a big devil with 0:09:02.720 --> 0:09:07.480 gigantic horns. That's very striking and hard to forget Mia 0:09:07.600 --> 0:09:11.120 Sara wearing a kind of like triangle shaped black dress 0:09:11.200 --> 0:09:16.240 with goth makeup on, and seeing Tom Cruise's legs and 0:09:17.440 --> 0:09:19.880 thinking I didn't know Tom Cruise was ever in a 0:09:19.880 --> 0:09:22.319 fantasy movie like this. I'm not sure what's going on, 0:09:22.480 --> 0:09:24.199 but it just kind of getting past me, you know. 0:09:24.240 --> 0:09:26.640 I'd see a little bit here and there, and then 0:09:26.760 --> 0:09:30.680 at some point I saw the film in full, and 0:09:30.800 --> 0:09:34.120 I don't know what cut it was, but I remember 0:09:34.200 --> 0:09:40.280 thinking it was beautiful and I was mighty impressed by 0:09:40.320 --> 0:09:42.320 it in some ways. But I do kind of remember 0:09:42.920 --> 0:09:45.360 feeling tempted to fall asleep at certain parts. 0:09:46.520 --> 0:09:48.520 Yeah, I mean there are plenty of stretches of this 0:09:48.559 --> 0:09:52.319 film that are very hypnotic and also in places a 0:09:52.360 --> 0:09:55.160 little slow especially. I mean it depends on the cut 0:09:55.160 --> 0:09:56.760 of the film, which we'll get into there. I think 0:09:57.000 --> 0:10:00.640 two major cuts and probably four step rick cuts you 0:10:00.679 --> 0:10:04.760 could point to. But with me, it's possible I saw 0:10:04.880 --> 0:10:07.080 part of it on TV at some point, or had 0:10:07.080 --> 0:10:12.000 seen a VHS box for it certainly previously. But my 0:10:12.200 --> 0:10:15.680 clear memory was being homesick from school one day and 0:10:15.760 --> 0:10:18.080 I had a couple of movies rented movies to watch. 0:10:18.760 --> 0:10:21.520 One of them was Highlander and the other was this 0:10:22.200 --> 0:10:25.960 And I do remember from the moment the VHS type 0:10:25.960 --> 0:10:28.760 started playing the film proper. I remember, you know, getting 0:10:28.800 --> 0:10:33.160 hit with that Tangerine dream score, and then you know, 0:10:33.200 --> 0:10:36.720 the visuals began to kick in, and I realized right 0:10:36.760 --> 0:10:38.640 away there was something special about this one. You know, 0:10:38.720 --> 0:10:43.640 this was an enthralling dark fantasy world that I just 0:10:43.640 --> 0:10:47.800 hadn't seen anything like this on the screen before. You know, 0:10:48.440 --> 0:10:50.480 like you look back to this time period and like, 0:10:50.520 --> 0:10:53.079 what else, what else did you have in nineteen eighty 0:10:53.120 --> 0:10:56.560 five that really, I mean, that gave you live action 0:10:56.720 --> 0:10:59.800 fantasy at all, but much much more to the point, 0:10:59.800 --> 0:11:03.440 gave you live action fantasy that was this dark in 0:11:03.480 --> 0:11:07.000 its texture, you know. I mean, nowadays you can easily 0:11:07.040 --> 0:11:09.880 point to Peter Jackson Florida, the Rings films, which really 0:11:09.880 --> 0:11:11.800 get in there with all the more door stuff and 0:11:11.800 --> 0:11:14.440 that works in the goblins and deliver it to you know, 0:11:14.480 --> 0:11:17.480 in spades. But at the time, like this was kind 0:11:17.480 --> 0:11:19.480 of this is as deep as dark and dark as 0:11:19.480 --> 0:11:19.840 it got. 0:11:20.360 --> 0:11:22.680 Yeah, I guess you've got the different sort of sub 0:11:22.800 --> 0:11:25.480 genres of fantasy. So like by the mid eighties you 0:11:25.600 --> 0:11:29.880 had you had Conan type stuff, which could be dark, 0:11:30.000 --> 0:11:33.960 but was more I don't know, it was more gritty 0:11:34.280 --> 0:11:37.160 and though it had magic in it was more brutal 0:11:37.200 --> 0:11:41.480 and realistic overall, and was more pitched at a I 0:11:41.520 --> 0:11:42.880 don't know if this is the right word, but a 0:11:42.920 --> 0:11:46.559 mature audience. You know, it was the original Cone and 0:11:46.640 --> 0:11:48.720 rated R. Surely not or was it? 0:11:48.840 --> 0:11:49.840 I believe it was an R. 0:11:49.960 --> 0:11:53.160 Yeah, oh okay, I mean so just like very violent, 0:11:53.800 --> 0:11:57.080 kind of gritty, barbarian fantasy. You had that kind of thing. 0:11:57.520 --> 0:12:00.360 Of course, you had the more animated approach off into 0:12:00.520 --> 0:12:03.720 high fantasy type stuff. But I think it's interesting that 0:12:04.000 --> 0:12:08.640 Legend is is dark fantasy that shows you a lot 0:12:08.640 --> 0:12:12.880 of scary, devilish kind of stuff, but at its core 0:12:13.040 --> 0:12:17.240 it is a fairy tale. It's not a grim, gritty, 0:12:17.480 --> 0:12:20.440 more to kind of muscle and steel fantasy like the 0:12:20.520 --> 0:12:24.400 Conan movies. It's a fairy tale with a broad fairy 0:12:24.400 --> 0:12:27.319 tale kind of brushstroke to it. But it's also very dark. 0:12:27.840 --> 0:12:29.680 Yeah, And I think this is another thing that even 0:12:29.679 --> 0:12:31.559 early on I realized there was kind of a disconnect 0:12:31.559 --> 0:12:37.000 with because the visual style of Legend is insanely epic, 0:12:37.960 --> 0:12:42.040 the actual story that it tells is maybe it. I 0:12:42.040 --> 0:12:45.480 mean it has high stakes, like you know, the the world, 0:12:45.520 --> 0:12:48.319 it's about saving the world, but in many other respects 0:12:48.320 --> 0:12:51.839 it's less epic. The story is a little more simplified 0:12:51.880 --> 0:12:55.160 and more I think just sort of fairy tale in form. 0:12:55.720 --> 0:13:00.880 So it's yeah, it feels it feels like the visuals 0:13:00.920 --> 0:13:04.480 are like far out delivering the actual story. 0:13:05.679 --> 0:13:08.400 Can I suggest I think a reason why it feels 0:13:08.480 --> 0:13:11.920 less epic. I think it's because it's a fairly tight 0:13:12.120 --> 0:13:16.120 character list, Like there are not we never see masses 0:13:16.200 --> 0:13:19.840 of people or armies or anything like that in this movie. 0:13:19.840 --> 0:13:23.320 It's actually quite intimate in terms of the characters. The 0:13:23.320 --> 0:13:27.080 only regular people we ever meet in the movie is like, 0:13:27.240 --> 0:13:29.760 is a single cottage full of peasants in the forest? 0:13:30.120 --> 0:13:33.440 You know that Miasarra's character goes to visit at the 0:13:33.440 --> 0:13:37.280 beginning of the movie. And so there's no sense at 0:13:37.280 --> 0:13:40.839 all of kind of the broader world of peoples and 0:13:41.840 --> 0:13:44.880 armies clashing or anything like that. I mean, we are 0:13:44.920 --> 0:13:47.720 too believe that somewhere out there there is a castle 0:13:47.800 --> 0:13:50.439 where the king Miasara's father lives and all that, but 0:13:50.480 --> 0:13:55.440 we never see them. So the characters almost kind of 0:13:55.480 --> 0:14:01.480 exist in this private, intimate kind of fantasy Forrest dream World. 0:14:01.559 --> 0:14:04.320 And so though we know that the fate of the 0:14:04.520 --> 0:14:07.280 entire world is at stake with what happens to the 0:14:07.360 --> 0:14:12.640 unicorns in the movie, we never see mighty forces coming together. 0:14:13.559 --> 0:14:15.120 Yeah. No, I think that's a solid red. 0:14:15.200 --> 0:14:15.440 Yeah. 0:14:15.520 --> 0:14:18.280 Yeah, because just looking at the picture, they're less than 0:14:18.520 --> 0:14:20.880 less than twenty people in the whole world, but we 0:14:21.000 --> 0:14:23.040 know that they're out there. There's supposed to be a castle, 0:14:23.080 --> 0:14:26.320 there's supposed to be these more expansive civilizations, we assume. 0:14:27.040 --> 0:14:29.160 Now, Rob, maybe this is a good place to address 0:14:29.200 --> 0:14:31.760 the different cuts of the movie. Because when you picked 0:14:31.840 --> 0:14:35.040 Legend for the show and you told me we're going 0:14:35.080 --> 0:14:38.600 to be watching the director's cut, which is not the 0:14:38.680 --> 0:14:42.320 cut that has a Tangerine Dream score, I was quite 0:14:42.320 --> 0:14:46.400 confused how you could make this selection. But this is 0:14:46.800 --> 0:14:49.720 preferred by most fans of the movie. They're going to 0:14:49.760 --> 0:14:51.920 say that the director's cut, which is a good bit 0:14:52.000 --> 0:14:56.680 longer and has a traditional orchestrated Jerry Goldsmith's score instead 0:14:56.680 --> 0:14:59.840 of the Tangerine Dream score. Most people say this is 0:15:00.160 --> 0:15:03.160 massively preferable to the US theatrical version. 0:15:03.960 --> 0:15:07.120 Yeah, that's that's the vibe. I've always gotten, and so 0:15:07.200 --> 0:15:09.200 I felt like, well, if we're going to talk about Legend, 0:15:09.680 --> 0:15:13.440 even though I'm all my nostalgia and my love is 0:15:13.480 --> 0:15:16.400 built up around this theatrical cut, it's going to be 0:15:16.400 --> 0:15:18.760 a little weird if we come in and then we're saying, well, 0:15:18.800 --> 0:15:21.320 this this movie has problems, and then people are going 0:15:21.400 --> 0:15:22.960 to say, well, did you watch the director's cut, and 0:15:23.000 --> 0:15:24.400 we'll say no, no, we just watched the one that 0:15:24.400 --> 0:15:28.600 we're familiar with, so and you know, I want to. 0:15:28.800 --> 0:15:31.360 I thought, well, this is a way to experience a 0:15:31.400 --> 0:15:34.000 film that I do have nostalgia for and then I 0:15:34.040 --> 0:15:37.920 do admire in many ways. It's experiencing it in a 0:15:37.920 --> 0:15:41.160 different light. So yeah, I was like, let's do director's 0:15:41.160 --> 0:15:42.880 cut and then we can compare. 0:15:43.400 --> 0:15:47.080 To be clear, I still think the director's cut has problems. 0:15:46.600 --> 0:15:47.800 But yeah it does. 0:15:48.000 --> 0:15:53.720 I will say, on rewatching it, I was expecting, you know, 0:15:53.800 --> 0:15:56.320 I sort of had this idea in my memory that 0:15:56.360 --> 0:15:59.400 it was a very beautiful looking movie that had massive 0:15:59.640 --> 0:16:03.560 narrative of deficiencies. I don't know which cut it was 0:16:03.720 --> 0:16:06.440 I saw in you know, the intervening years in between 0:16:06.480 --> 0:16:09.080 seeing Bits on TV and this rewatch. It may have 0:16:09.120 --> 0:16:11.800 been theatrical may have been Director's cut. I'm just not sure, 0:16:13.080 --> 0:16:16.120 but I thought the film was not as bad as 0:16:16.160 --> 0:16:19.200 I remembered in terms of putting together a cohesive narrative. 0:16:19.360 --> 0:16:22.560 I still think it's flawed, but it's better than I 0:16:22.600 --> 0:16:23.360 would have said. 0:16:24.200 --> 0:16:27.560 Yeah. Yeah, I'll get into some particular examples of ways 0:16:27.600 --> 0:16:30.640 that I think that the director's cut improves upon the 0:16:30.640 --> 0:16:33.560 theatrical cut, and I do want to also go ahead 0:16:33.560 --> 0:16:35.400 and throw in here that I think there are maybe 0:16:35.440 --> 0:16:37.760 like four different cuts total that have been out there 0:16:37.760 --> 0:16:42.360 and the ecosystem of movie viewing the director's cut, which 0:16:42.520 --> 0:16:46.560 came out years later, decades later. I think there's the 0:16:46.560 --> 0:16:50.080 there's the US theatrical cut, there's the euro theatrical cut 0:16:50.160 --> 0:16:53.960 that I think is in large part, you know, reflected 0:16:54.040 --> 0:16:56.880 in the director's cut. And then there's apparently some sort 0:16:56.880 --> 0:16:58.960 of a TV cut out there that I think was 0:16:59.080 --> 0:17:01.760 US theatrical cut with some extra added stuff added in 0:17:02.640 --> 0:17:04.640 to fill out a certain run time, that sort of thing. 0:17:05.320 --> 0:17:07.240 However, one other thing I want to say about the 0:17:07.280 --> 0:17:09.960 different cuts is that I was not able. I didn't 0:17:10.000 --> 0:17:13.399 have time to watch the US theatrical cut in full, 0:17:13.880 --> 0:17:16.080 but I watched the full director's cut, and then the 0:17:16.119 --> 0:17:19.159 first I don't know ten minutes of the US theatrical cut. 0:17:19.480 --> 0:17:22.760 And the difference is not just that there is more 0:17:22.840 --> 0:17:25.159 stuff in the director's cut that was taken out for 0:17:25.280 --> 0:17:28.199 the theatrical That is not the only difference. There is 0:17:28.240 --> 0:17:32.199 a very different style and approach. For example, in the 0:17:32.200 --> 0:17:36.840 opening scenes, the US theatrical cut just straight up shows 0:17:36.880 --> 0:17:40.720 you the villain's face, which is delayed for a long time. 0:17:40.760 --> 0:17:43.159 In the director's cut, there's a big build up. And 0:17:43.200 --> 0:17:48.240 so I perceived the US theatrical version to be significantly 0:17:48.440 --> 0:17:53.280 more clumsy and awkward in its edit from the very beginning, 0:17:53.440 --> 0:17:58.320 even without talking about major differences in what material is there. 0:17:59.680 --> 0:18:03.280 Yeah, Yeah, Like it feels like the US theatrical cut 0:18:03.440 --> 0:18:07.040 was very much an attempt to make everything tighter and 0:18:07.119 --> 0:18:10.600 more exciting at the beginning, and like, I guess to 0:18:10.680 --> 0:18:13.480 keep people from falling asleep or leaving the theater or something. 0:18:13.520 --> 0:18:16.239 I don't know. But in doing so, yeah, they make 0:18:16.320 --> 0:18:18.120 some choices like this, like let's go ahead and show 0:18:18.119 --> 0:18:20.439 them darkness in full. Let's go ahead and show them 0:18:20.480 --> 0:18:22.880 the tree, Let's go ahead and show them the hell kitchens. 0:18:23.080 --> 0:18:25.240 We're gonna go ahead and roll out all of some 0:18:25.320 --> 0:18:27.080 of our at least a glimpse of some of our 0:18:27.119 --> 0:18:31.800 big set pieces early on, and they have this scrolling 0:18:31.960 --> 0:18:36.400 intro on the screen that really feels like the abstract 0:18:36.560 --> 0:18:38.840 from a peer reviewed science paper, you know, where it 0:18:38.920 --> 0:18:41.960 just lays out all the basics of the hypothesis, tells 0:18:41.960 --> 0:18:45.440 you what the experiments were and the findings right up top, 0:18:46.800 --> 0:18:49.400 whereas the director's cut does not do this. The director's 0:18:49.440 --> 0:18:52.000 cut lets you pick up on this or not pick 0:18:52.119 --> 0:18:55.080 up on it on your own. But the yeah, the 0:18:55.240 --> 0:18:57.960 the US theatrical cut basically force feeds it to you. 0:18:58.680 --> 0:19:01.399 Now, on one hand, you can kind of understand the 0:19:01.400 --> 0:19:05.959 impetus behind the theatrical cut because you were saying they 0:19:05.960 --> 0:19:08.520 were trying to make it tighter and more exciting right 0:19:08.560 --> 0:19:11.920 at the beginning. I don't know if the director's cut 0:19:12.000 --> 0:19:14.280 needed to be more exciting right at the beginning, but 0:19:14.359 --> 0:19:17.679 I will say the first twenty or thirty minutes of 0:19:17.760 --> 0:19:23.399 the director's cut, it happens at a very dreamy, lilting pace, 0:19:23.640 --> 0:19:27.000 and that can feel particularly it can have a kind 0:19:27.000 --> 0:19:31.000 of sedative effect, especially when you know Tom Cruise and 0:19:31.040 --> 0:19:33.280 Mia Sarah are just kind of frolicking around in the 0:19:33.320 --> 0:19:36.720 forest and you know, looking at the flowers and stuff, 0:19:37.000 --> 0:19:40.439 I was feeling the call of sleep at those times. 0:19:41.400 --> 0:19:44.160 Yeah. Again, it's very hypnotic and dream like as well 0:19:44.200 --> 0:19:48.119 in these sequences, and be watching all unicorn run and 0:19:48.200 --> 0:19:51.280 slow motion through an unreal forest. Yeah, I mean, you're 0:19:51.280 --> 0:19:52.960 supposed to feel at peace at that point. 0:19:53.359 --> 0:19:55.240 I'm not knocking it too much. I'm just saying, like 0:19:55.280 --> 0:19:58.159 I can understand somebody watching this and saying the first 0:19:58.200 --> 0:20:01.040 third of it is slow. You've got to have some 0:20:01.160 --> 0:20:05.000 patience to go with it at the beginning there. But 0:20:05.040 --> 0:20:07.919 I agree that that the way they tightened it in 0:20:07.960 --> 0:20:11.320 the US version is not an improvement. Instead, it just 0:20:11.359 --> 0:20:13.880 sort of like it kind of blows the air out 0:20:13.920 --> 0:20:14.480 of the whole thing. 0:20:15.080 --> 0:20:16.680 All right, Well, let's go ahead and hear a little 0:20:16.680 --> 0:20:18.879 little trailer audio, not the full trailer, but just a 0:20:18.880 --> 0:20:22.400 little of it to get a certain taste of it. 0:20:25.760 --> 0:20:31.320 There is a balance to the universe. The struggle to 0:20:31.520 --> 0:20:38.760 maintain that balance is the stuff of religions. For there 0:20:38.800 --> 0:20:44.439 can be no good without evil, no love without hate. 0:20:46.119 --> 0:20:54.520 Life needs death, Innocence creeds last. There can be no 0:20:54.760 --> 0:20:59.720 heaven without hell. No light will out. 0:21:04.440 --> 0:21:14.600 Darkness. 0:21:11.320 --> 0:21:24.119 All right, if you want to go out and watch Legend. Well, 0:21:24.280 --> 0:21:27.200 you can stream, and I'm mostly speaking to the US 0:21:27.560 --> 0:21:31.240 situation here. I'm not sure what availability is like in Europe, where, 0:21:31.400 --> 0:21:34.080 of course there was a different theatrical cut. But at 0:21:34.160 --> 0:21:36.679 least here in the United States you can stream Legend 0:21:36.680 --> 0:21:40.200 in a number of places. You can buy it rent 0:21:40.240 --> 0:21:43.840 it digitally, but at least currently, for the director's cut, 0:21:44.040 --> 0:21:46.240 you'll need to hunt that up on disc. Fortunately, there's 0:21:46.240 --> 0:21:48.760 a great Arrow Blu ray of the film that features 0:21:48.760 --> 0:21:51.520 both the US theatrical cut and the director's cut, plus 0:21:51.560 --> 0:21:54.080 loads of extras. This is the version that I rented 0:21:54.080 --> 0:21:54.800 from Video Drome. 0:21:55.320 --> 0:21:58.760 Yeah, I watched the Arrow Blu ray, and Robert, I 0:21:58.760 --> 0:22:00.439 don't know if you have the same thing to me. 0:22:00.520 --> 0:22:04.359 I was kind of surprised by how much grain it 0:22:04.480 --> 0:22:07.440 still felt like there was in the film, Like it 0:22:08.480 --> 0:22:12.160 seemed like something that would or could have been sharpened 0:22:12.240 --> 0:22:14.200 up a good bit, but it wasn't. And I don't 0:22:14.200 --> 0:22:17.040 know if that's for lack of effort or if that's 0:22:17.280 --> 0:22:19.280 an intentional choice about this release. 0:22:19.800 --> 0:22:22.440 Yeah, I wouldn't sure about that either. I'm not tech 0:22:22.520 --> 0:22:26.600 savvy enough on their whole remastering scenario, but certainly we've 0:22:26.640 --> 0:22:29.760 seen some older films that have been remastered to like 0:22:29.920 --> 0:22:36.480 just a level of perfection that certainly influences your viewing 0:22:36.520 --> 0:22:39.240 of other films. You know, why why aren't other films 0:22:39.080 --> 0:22:41.560 as flawless looking as this one? So I don't know 0:22:41.600 --> 0:22:45.600 what exactly, you know, the choices or hurdles were with 0:22:45.640 --> 0:22:48.240 this one, but there was more grain than I expected. 0:22:48.280 --> 0:22:50.600 But still it did not get in the way of 0:22:50.840 --> 0:22:53.520 appreciating these visuals in the long run. 0:22:53.800 --> 0:22:53.840 No. 0:22:54.000 --> 0:22:57.199 I almost wonder if it's a oh, I don't know, 0:22:57.400 --> 0:22:59.639 kind of a film version of like tea staining a 0:22:59.680 --> 0:23:02.280 docum meant to make it look ancient, you know that 0:23:02.440 --> 0:23:05.359 I may maybe there was a concern that if it 0:23:05.440 --> 0:23:07.880 was sharpened up too much, it wouldn't have the kind 0:23:07.880 --> 0:23:11.600 of the dreamy fairy tale effect that they were going for. 0:23:12.040 --> 0:23:14.119 I wonder if these, you know, I'd have to go 0:23:14.160 --> 0:23:16.760 back and rewatch. But I wonder if these were some 0:23:16.840 --> 0:23:19.959 of the restored segments in the director's cut. I know, 0:23:20.040 --> 0:23:24.159 sometimes there's a sourcing issue there, and you have to 0:23:24.200 --> 0:23:27.360 sort of make do with what you can get when 0:23:27.359 --> 0:23:30.760 you're restoring sequences and scenes that were not used in 0:23:30.880 --> 0:23:43.720 like the main cut of the film. Possibly, all right, 0:23:43.760 --> 0:23:46.639 let's get into the people involved in this one, starting 0:23:46.640 --> 0:23:49.080 at the top, of course, with Sir Ridley Scott born 0:23:49.160 --> 0:23:52.760 nineteen thirty seven, highly successful and influential English filmmaker who, 0:23:52.920 --> 0:23:56.120 at eighty six years old and turns eighty seven in 0:23:56.240 --> 0:23:59.440 just a few months, shows no signs of slowing down, 0:24:00.160 --> 0:24:03.200 is directing and producing. I mean, it's really quite an inspiring. 0:24:04.119 --> 0:24:07.160 He worked on projects as a TV production designer from 0:24:07.359 --> 0:24:10.400 nineteen sixty two through nineteen sixty five, and his first 0:24:10.440 --> 0:24:13.399 directorial credit was a nineteen sixty five episode of a 0:24:13.440 --> 0:24:16.040 police series in the UK called Z Cars. 0:24:17.920 --> 0:24:19.000 Sounds great, yeap. 0:24:20.080 --> 0:24:23.240 His debut film was, of course, nineteen seventy seven's The Duellists, 0:24:23.600 --> 0:24:28.000 starring Keith Carrodine, Harvey Kaiitel and Albert Finney, a serious 0:24:28.119 --> 0:24:31.840 historical drama that is cited as a key inspiration on Highlander. 0:24:32.040 --> 0:24:34.080 I've wanted to see this for years, but I never have. 0:24:34.640 --> 0:24:36.560 Yeah, this one kind of ends up falling through the 0:24:36.600 --> 0:24:39.560 cracks for me because it is it's a Ridley Scott 0:24:40.040 --> 0:24:42.520 period piece. And I mean I have seen some of 0:24:42.520 --> 0:24:46.280 his historical films, of course, I've seen Gladiator, but I 0:24:46.280 --> 0:24:47.920 don't know, they're just not the ones that I'm drawn 0:24:47.960 --> 0:24:50.320 to as much. So he followed this up, of course 0:24:50.359 --> 0:24:53.280 in nineteen seventy nine with Alien and then in eighty 0:24:53.280 --> 0:24:56.800 two with Blade Runner. He tackled some smaller projects during 0:24:57.080 --> 0:25:02.040 that time, including the Apple Mac nineteen eighty fourmmercial and 0:25:02.280 --> 0:25:06.679 so already a really strong genre heavy early career, and 0:25:06.720 --> 0:25:09.960 then comes Legend, a fairy tale, a fantasy, and this 0:25:10.080 --> 0:25:12.800 of course ends up proving a commercial failure upon release, 0:25:13.119 --> 0:25:16.080 and from here we see Ridley Scott veer off into 0:25:16.600 --> 0:25:20.359 historical crime and drama pictures. He doesn't return to science 0:25:20.400 --> 0:25:23.720 fiction or fantasy for twenty seven years, returning to the 0:25:23.800 --> 0:25:27.320 Alien franchise with Prometheus in twenty twelve. Then he did 0:25:27.359 --> 0:25:30.919 twenty fifteen's The Martian, which it is quite good as 0:25:30.920 --> 0:25:34.920 well based on the novel, and then he did twenty 0:25:34.920 --> 0:25:38.840 seventeen's Alien Covenant and two episodes of the super weird, 0:25:39.440 --> 0:25:44.080 very original and criminally canceled Max series Raised by Wolves, 0:25:44.359 --> 0:25:47.720 which he also produced. Now as a producer, he's also 0:25:47.880 --> 0:25:51.199 had a hand in many other great films and series, 0:25:51.240 --> 0:25:56.520 including AMC's The Terror, which I really enjoyed. The recent 0:25:56.560 --> 0:26:00.480 Alien Romulus is of course a Scott free production, and 0:26:00.600 --> 0:26:03.680 Academy Award nominations for Ridley Scott include nineteen ninety two's 0:26:03.680 --> 0:26:06.639 Film and Luise, two thousand and ones, Gladiator, two thousand 0:26:06.640 --> 0:26:09.760 and two's Black Hawk Down, and twenty sixteen's The Martian. 0:26:10.560 --> 0:26:12.639 I should note that Ridley Scott, as far as I 0:26:12.680 --> 0:26:15.240 can tell, has never directed what you'd truly call a 0:26:15.320 --> 0:26:20.439 kids movie or maybe even a family movie. This really 0:26:20.560 --> 0:26:23.040 legend for eighty five is really the best case you 0:26:23.040 --> 0:26:26.440 can make for either category. But at the same time, 0:26:26.760 --> 0:26:30.000 it is just way too dark, both visually and thematically 0:26:30.040 --> 0:26:30.640 for children. 0:26:31.359 --> 0:26:33.840 Yeah, this is who this is one of those who 0:26:33.880 --> 0:26:36.119 is this four movies. I mean, I don't have a 0:26:36.160 --> 0:26:39.159 problem enjoying it, because I'm the kind of adults that 0:26:39.280 --> 0:26:42.120 can enjoy a fairy tale. But it is clearly it's 0:26:42.160 --> 0:26:44.840 a fairy tale which is going to make a lot 0:26:44.880 --> 0:26:47.639 of adults think, oh, this movie is not meant for me. 0:26:48.280 --> 0:26:51.000 And while the movie it doesn't have a lot of 0:26:51.040 --> 0:26:56.160 like explicit like sex or violence in it, it really 0:26:56.200 --> 0:26:59.879 doesn't seem appropriate for kids because of the way that 0:27:00.160 --> 0:27:03.840 it is. I don't know, it has kind of erotic undercurrents, 0:27:03.920 --> 0:27:09.280 and it has a lot of very scary suggestions of violence, 0:27:09.280 --> 0:27:12.119 even if you're not seeing explicit like blood and guts 0:27:12.160 --> 0:27:12.680 on screen. 0:27:13.280 --> 0:27:15.639 Yeah, and also a subtext that I'll get back to 0:27:15.840 --> 0:27:20.000 that seems to deal with with sin and shame. Yeah, 0:27:20.280 --> 0:27:23.480 in ways that I just don't feel as fun for 0:27:24.040 --> 0:27:25.240 you know, ten and twelve. 0:27:25.119 --> 0:27:28.119 Year olds, right, So it's like it's a fairy tale 0:27:28.359 --> 0:27:33.399 but not probably not appropriate for kids. So you're limiting 0:27:33.440 --> 0:27:34.240 your audience here. 0:27:34.560 --> 0:27:38.240 Yeah. Now, the screenwriter on this one was William Hertzberg, 0:27:38.320 --> 0:27:40.920 who lived nineteen forty one through twenty seventeen American writer, 0:27:41.080 --> 0:27:43.280 best known for his work on this film, as well 0:27:43.320 --> 0:27:46.880 as as his nineteen seventy eight horror novel Falling Angel 0:27:47.160 --> 0:27:49.679 that was adapted into the nineteen eighty seven Alan Parker 0:27:49.760 --> 0:27:52.960 movie Angel Heart. I did read this book ages ago, 0:27:53.320 --> 0:27:55.360 and I remember liking it. I remember liking it more 0:27:55.359 --> 0:27:58.560 than I liked the actual film, all right, Now, getting 0:27:58.600 --> 0:28:01.680 into the cast, Yeah, this is a Tom Cruise movie, 0:28:01.720 --> 0:28:04.399 but it's also not a Tom Cruise movie in the 0:28:04.440 --> 0:28:07.600 sense that it from the modern perspective of what you 0:28:07.640 --> 0:28:09.640 expect from a Tom Cruise movie. It's not that it's 0:28:09.640 --> 0:28:12.400 something different, it's something a little it's like proto Tom 0:28:12.440 --> 0:28:13.000 Cruise movie. 0:28:13.359 --> 0:28:15.879 This is from before Tom Cruise was Tom Cruise. I 0:28:15.880 --> 0:28:18.000 mean he was a star at this time, I think 0:28:18.000 --> 0:28:21.919 because he'd already been in risky business, right, that's correct. Yeah, okay, 0:28:21.960 --> 0:28:24.399 so he was like a young actor who'd been in 0:28:24.600 --> 0:28:27.199 at least one or two big movies. So like he 0:28:27.359 --> 0:28:29.480 wasn't a nobody at the time, but he also was 0:28:29.560 --> 0:28:32.800 not the like the Hollywood juggernaut that we know today. 0:28:32.920 --> 0:28:36.560 He was like a young, up and coming, good looking actor. 0:28:37.160 --> 0:28:40.040 Yeah. I mean today Tom Cruise is someone that is 0:28:40.360 --> 0:28:43.280 known around the world. He's like one of, if not 0:28:43.320 --> 0:28:46.960 the most bankable stars in Hollywood. You know, you put 0:28:47.040 --> 0:28:50.000 him in Blockbusters. That's where he lives, that's his ecosystem, 0:28:50.320 --> 0:28:51.959 and he's one of these people too that it's like 0:28:52.040 --> 0:28:54.520 he's more industry than man. You almost don't think of 0:28:54.600 --> 0:28:58.480 Tom Cruise as an individual, but he's like an industry 0:28:58.560 --> 0:29:03.400 built around somebody that that is almost as much myth 0:29:03.480 --> 0:29:05.600 as as human, if not more myth than human, at 0:29:05.680 --> 0:29:07.720 least from our perspective. Outside of that. 0:29:08.080 --> 0:29:10.200 Yeah, speaking of built around, I mean, now I think 0:29:10.320 --> 0:29:13.320 some of his movies they build around some stunts he 0:29:13.360 --> 0:29:15.560 wants to do. He's like, so he'll be a producer 0:29:15.600 --> 0:29:17.600 on the movie. He's like, here, I'm going to cling 0:29:17.640 --> 0:29:19.600 to the side of an airplane or something. Write a 0:29:19.640 --> 0:29:20.440 script around that. 0:29:21.000 --> 0:29:21.520 Yeah. 0:29:21.840 --> 0:29:26.160 So Legend was only his seventh film role. His debut 0:29:26.160 --> 0:29:29.000 part was in nineteen eighty one's Endless Love, and he 0:29:29.000 --> 0:29:31.400 also had a supporting role in Taps the same year. 0:29:31.840 --> 0:29:33.960 But in eighty two he had a starring role in 0:29:34.000 --> 0:29:37.480 the teen comedy Losing It, and nineteen eighty three was 0:29:37.520 --> 0:29:40.680 a real breakout year with parts in Francis Ford Coppola's 0:29:40.840 --> 0:29:44.640 The Outsiders and the starring role in both Risky Business 0:29:44.840 --> 0:29:47.680 and the football movie All the Right Moves. So the 0:29:47.720 --> 0:29:52.200 time was right for Tom Cruise to do a genre film, 0:29:52.200 --> 0:29:55.640 but not a B movie, you know, not a B 0:29:55.760 --> 0:29:57.600 sci fi or horror movie on your way up, but 0:29:57.600 --> 0:30:00.680 I don't know, a lavish twenty five million dollar that, 0:30:00.760 --> 0:30:03.080 of course wouldn't quite break even at the box office. 0:30:03.800 --> 0:30:06.320 So the next year he would go on to star 0:30:06.480 --> 0:30:08.600 in the mega hit Top Gun, and I guess his 0:30:08.720 --> 0:30:11.719 legacy was assured at that point. But then again, it's 0:30:11.800 --> 0:30:13.960 kind of with Tom Cruise. It's easy to say that 0:30:14.640 --> 0:30:17.120 because he has proven to have this real staying power 0:30:17.160 --> 0:30:20.640 in Hollywood and has remained this juggernaut despite you know, 0:30:20.760 --> 0:30:24.920 various things popping up that would you know, you might 0:30:24.960 --> 0:30:29.040 expect to derail some careers or certainly the occasional film 0:30:29.080 --> 0:30:33.120 that doesn't deliver to the degree that producers would like. 0:30:33.400 --> 0:30:35.800 For the most part, he has remained stable up there, 0:30:35.840 --> 0:30:37.480 and it's still big business. 0:30:38.000 --> 0:30:41.680 Yeah. So from what I understand, apart from weird movie connoisseurs, 0:30:41.680 --> 0:30:43.160 if you're just looking at it from the kind of 0:30:43.440 --> 0:30:47.520 Hollywood business point of view, I think Legend would have 0:30:47.640 --> 0:30:53.160 long been mainly regarded as a as an early misstep 0:30:53.320 --> 0:30:56.200 in the career of Tom Cruise. You know, it's just 0:30:56.240 --> 0:30:59.560 like a this was some weird, failed little movie that 0:30:59.600 --> 0:31:03.560 Tom Cruise did early on that critics hated and audiences 0:31:03.600 --> 0:31:06.760 hated too, and just didn't go anywhere. But then he 0:31:06.800 --> 0:31:08.600 corrected course and was in top gun. 0:31:09.240 --> 0:31:10.800 Though it is kind of interesting that I don't think 0:31:10.840 --> 0:31:13.560 he would come back to any genre pictures like this 0:31:13.600 --> 0:31:15.400 for a while, though he would in time come back 0:31:15.440 --> 0:31:18.200 and do you know, at least some weirder and sci 0:31:18.240 --> 0:31:22.680 fi type material, but still very much like blockbuster angled 0:31:22.720 --> 0:31:26.400 material at the same time. But that was the case 0:31:26.440 --> 0:31:28.880 with this film as well. This film was meant to 0:31:28.920 --> 0:31:31.360 be a big success at the box office. That's why 0:31:31.440 --> 0:31:33.959 they spent twenty five million dollars on it. 0:31:34.240 --> 0:31:36.480 Wait, is this the first time we've talked about either 0:31:36.800 --> 0:31:39.200 Tom Cruise or Ridley Scott on Weird House? 0:31:40.520 --> 0:31:42.520 The first time they've come up that we've looked at 0:31:42.520 --> 0:31:45.440 something they were either involved with. Yeah, yeah, yeah, So 0:31:45.480 --> 0:31:49.520 they're both, you know, huge mainstream successes. Though when Ridley 0:31:49.520 --> 0:31:52.080 wants to go weird, he definitely I think goes weirder 0:31:52.120 --> 0:31:53.400 than Tom Cruise goes weird. 0:31:53.920 --> 0:31:54.600 Yeah. 0:31:54.680 --> 0:31:58.400 Well, in terms of movie plots, yes, And part of 0:31:58.400 --> 0:32:00.920 this too is like, what is Tom Cruiser's role in 0:32:00.960 --> 0:32:03.280 a picture? It is the leading man, and it has 0:32:03.360 --> 0:32:06.800 always been the leading man with you know, a few 0:32:06.800 --> 0:32:09.240 small caveats along the way, you know you're only going 0:32:09.320 --> 0:32:11.800 to go so weird in the kind of role that 0:32:11.840 --> 0:32:15.120 Tom Cruise plays. Well, maybe there's an alternate dimension where 0:32:15.120 --> 0:32:16.680 he ends up playing a bunch of villains and it's 0:32:16.720 --> 0:32:20.440 really fascinating as well. I don't know, but anyway, Cruz 0:32:20.520 --> 0:32:23.360 was twenty three at the time, and we should acknowledge 0:32:23.360 --> 0:32:26.640 that he was I think, by many estimates, dangerously hot. 0:32:27.680 --> 0:32:31.320 I was looking around for some like outside the podcast 0:32:31.680 --> 0:32:35.480 commentary on this, and I found some words from the 0:32:35.520 --> 0:32:38.800 blogger Jin at ep bot dot com, who has a 0:32:38.800 --> 0:32:41.480 post titled Legend, the thirty six year old movie that's 0:32:41.520 --> 0:32:45.120 a love letter to Tom Cruise's thighs and other thoughts. 0:32:46.640 --> 0:32:49.479 I could not help but notice that the camera is 0:32:49.640 --> 0:32:55.920 all up in Tom Cruise's upper thighs. Yes, it's yeah, 0:32:56.240 --> 0:32:58.440 so they gave him a costume like once he gets 0:32:58.480 --> 0:33:03.120 his armor on, its basically like a short tunic. He 0:33:03.160 --> 0:33:06.240 wears no pants most of the movie, and just yeah, 0:33:06.280 --> 0:33:07.840 it's it's all up in his haunches. 0:33:09.280 --> 0:33:12.440 Here's a quote from that post by Jen at epbot 0:33:12.480 --> 0:33:15.480 dot com. Tom Cruise was twenty two during filming, and 0:33:15.560 --> 0:33:17.760 fresh off the set of Risky Business, the movie that 0:33:17.800 --> 0:33:20.960 gave us the world famous underwear dance. Not to be outdone, 0:33:20.960 --> 0:33:23.480 the producers of Legend decided Tom would not only be 0:33:23.520 --> 0:33:26.840 pantiless the entire movie, he would also be prohibited from 0:33:26.880 --> 0:33:28.600 walking upright for most of it. 0:33:28.760 --> 0:33:32.080 I noticed the same thing. He is like squatting or 0:33:32.160 --> 0:33:35.840 crawling or on the ground in nearly every shot of 0:33:35.880 --> 0:33:36.360 the movie. 0:33:36.960 --> 0:33:39.160 Yeah, and I guess part of this is that he 0:33:39.280 --> 0:33:42.480 is kind of like a fairal creature. You know, he 0:33:42.640 --> 0:33:45.320 especially early on like he is a he's a boy 0:33:45.320 --> 0:33:48.800 of the woods. He's kind of a Peter Pan. Yeah, 0:33:48.840 --> 0:33:53.120 he's a little loopine, so I guess that's part of 0:33:52.960 --> 0:33:56.440 the whole attraction here. I also want to note that 0:33:56.520 --> 0:33:59.800 this is cruse prebraces, so he doesn't have that perfect 0:33:59.840 --> 0:34:02.920 Holly would smile yet, but he has like he has 0:34:02.960 --> 0:34:05.440 a smile befitting of a fairal young man in a 0:34:05.480 --> 0:34:08.759 fantasy world, which I think is perfect. He also has 0:34:08.800 --> 0:34:11.000 like a bit of a unibrow going on, like not 0:34:11.040 --> 0:34:13.120 a full unibrow, but like his brows are a little 0:34:13.560 --> 0:34:19.040 more connected, you know, which again is also perfect for 0:34:19.480 --> 0:34:21.680 a fairal young man running around the woods falling in 0:34:21.719 --> 0:34:22.520 love with princesses. 0:34:22.880 --> 0:34:23.200 I guess. 0:34:23.280 --> 0:34:26.200 So, speaking of that princess, the princess is, of course 0:34:26.200 --> 0:34:29.680 played by Mia Sara born in nineteen sixty seven. This 0:34:29.840 --> 0:34:32.560 is Lily, and we talked about her previously on Weird 0:34:32.560 --> 0:34:34.839 How Cinema because she was in nineteen ninety four's time 0:34:34.880 --> 0:34:35.640 cop Ah. 0:34:35.719 --> 0:34:37.759 Yes, I was thinking this is not our first Mia 0:34:37.840 --> 0:34:38.399 Sarah film. 0:34:38.719 --> 0:34:41.840 Yeah, this was. This was her first film role, following 0:34:42.200 --> 0:34:44.279 just of one shot I think on TVs. All in 0:34:44.320 --> 0:34:47.719 the Family Legend and Labyrinth were shooting next to each 0:34:47.719 --> 0:34:50.319 other at the same time here, and the casts and 0:34:50.360 --> 0:34:53.120 crew apparently frequently mingled. And this is where she would 0:34:53.120 --> 0:34:55.160 meet her future husband Brian Henson. 0:34:55.400 --> 0:34:57.879 Oh okay, but was she in Time Cop? 0:34:58.000 --> 0:34:58.200 Yes? 0:34:58.280 --> 0:34:59.879 She was, So you can go back and check out 0:34:59.880 --> 0:35:02.719 her episode on Time Cop if you want. Now. Is 0:35:02.800 --> 0:35:05.880 this also our first Tim Curry movie on Weird House? 0:35:06.440 --> 0:35:08.759 This is the first time we have gotten to talk 0:35:08.760 --> 0:35:12.080 about Tim Curry. There was a time when you were 0:35:12.080 --> 0:35:14.759 out in parental leave and Annie Reese came on the 0:35:14.760 --> 0:35:16.480 show and we talked about Congo. 0:35:16.400 --> 0:35:21.719 Oh my Lord, where he plays Herkimer Hamolka, formerly of Romania, 0:35:21.920 --> 0:35:23.520 traveling the world and doing good. 0:35:24.080 --> 0:35:28.600 Yes, another great scene chewing performance, but not as the 0:35:28.600 --> 0:35:32.320 primary antagonist, second or third level antagonist. 0:35:32.440 --> 0:35:35.359 Tim Curry in Congo is one of the most hilarious 0:35:35.440 --> 0:35:38.640 movie acting jobs I can think of ever. 0:35:38.760 --> 0:35:39.239 He is. 0:35:40.160 --> 0:35:43.600 I love Tim Curry. He is just a delight every time. 0:35:44.080 --> 0:35:48.239 Yeah, it plays darkness in this Born nineteen forty six. Yeah, 0:35:48.280 --> 0:35:51.960 just a true legend of stage, screen and TV. He was, 0:35:52.000 --> 0:35:54.719 of course doctor Frankenfurter in The Rocky Horror Picture Show 0:35:54.760 --> 0:35:57.160 back in nineteen seventy five and was in the original 0:35:57.440 --> 0:36:00.879 stage version as well. He was Wadsworth nineteen eighty five's 0:36:00.920 --> 0:36:04.680 Clue Other memorable films and Clue, Let's say There's Annie, 0:36:04.760 --> 0:36:07.520 There's the nineteen ninety adaptation of it, in which he 0:36:07.560 --> 0:36:10.319 played penny Wise, the dancing clown. And he's also done 0:36:10.320 --> 0:36:12.759 a great deal of voice work over the years. I know, 0:36:12.800 --> 0:36:14.920 outside of Weird House cinema, you and I have also 0:36:15.080 --> 0:36:18.080 discussed his triple role in the Tales from the Crypt 0:36:18.120 --> 0:36:20.279 episode Death of Some Salesman. 0:36:20.320 --> 0:36:24.000 Oh, where he terrorizes Ed Begley Junior. Right, Ed Begley 0:36:24.080 --> 0:36:26.480 Junior is like he's like some kind of corrupt salesman 0:36:26.600 --> 0:36:27.120 or something. 0:36:27.560 --> 0:36:31.680 Yeah, but yeah, obviously just a terrific all around performer. 0:36:32.440 --> 0:36:34.480 Been in a share of more than his share of 0:36:34.520 --> 0:36:36.520 bad movies as well, but some of the other like 0:36:36.680 --> 0:36:39.239 credits worth noting. Nineteen ninety is The Hunt for the 0:36:39.280 --> 0:36:42.400 Red October nineteen ninety two's Fern Gully, ninety three's The 0:36:42.440 --> 0:36:45.439 Three Musketeers, ninety four is The Shadow, and nineteen ninety 0:36:45.480 --> 0:36:48.440 six is Muppet Treasure Island. But like, even if it's 0:36:48.480 --> 0:36:52.040 a not a great film, you know that Tim Curry 0:36:52.080 --> 0:36:54.040 is going to be amusing in it no matter what. 0:36:54.560 --> 0:36:58.160 Now, this movie makes an interesting decision, which is legend 0:36:58.360 --> 0:37:02.680 takes a solid gold care actor with charm for Miles 0:37:03.320 --> 0:37:08.040 and hides him behind forty seven pounds of makeup. He 0:37:08.480 --> 0:37:11.360 is under so much makeup in this movie it is 0:37:11.440 --> 0:37:15.000 hard to believe. And the makeup I think looks amazing. 0:37:16.000 --> 0:37:18.200 But yeah, it's an interesting way to like there's a 0:37:18.200 --> 0:37:20.680 trade off here, isn't there. It's it's almost like maybe 0:37:20.719 --> 0:37:25.640 they did have to cast somebody with with Tim Curry's 0:37:25.719 --> 0:37:28.800 you know, kind of not just screen presence, but stage 0:37:28.880 --> 0:37:31.359 presence almost like it's almost like it requires a type 0:37:31.360 --> 0:37:35.040 of stage acting to get through the makeup to the camera. 0:37:35.120 --> 0:37:35.879 Does that make sense? 0:37:36.080 --> 0:37:36.279 Yeah? 0:37:36.320 --> 0:37:39.479 Absolutely. I think it is a huge testament to both 0:37:39.560 --> 0:37:44.160 Curry and the effects crew that this works as tremendously 0:37:44.200 --> 0:37:47.640 well as it does. That it doesn't feel like you've 0:37:47.680 --> 0:37:51.200 buried Tim Curry and a bunch of prosthetics that you know, 0:37:51.239 --> 0:37:54.640 that it doesn't feel like you have something that only 0:37:54.680 --> 0:37:58.320 works in close up shots or something like. They managed 0:37:58.360 --> 0:38:02.600 to make this feel like a cohesive living being as 0:38:02.600 --> 0:38:04.839 opposed to know what it could have been. 0:38:05.440 --> 0:38:07.799 Of course, Tim Curry plays the main villain in the movie. 0:38:07.960 --> 0:38:09.360 I don't know if we already said this, but he 0:38:09.880 --> 0:38:12.600 is like the devil essentially, he's the lord of darkness, 0:38:12.680 --> 0:38:14.680 and he has I don't know how long do you 0:38:14.680 --> 0:38:17.239 think his horns are. I mean, he's got so much 0:38:17.400 --> 0:38:20.240 horn on his head it looks like his neck muscles 0:38:20.239 --> 0:38:20.919 should be sore. 0:38:21.480 --> 0:38:23.759 It is. I mean, if you haven't seen it, do 0:38:23.920 --> 0:38:27.440 look up at least images of this character, because it 0:38:27.560 --> 0:38:31.400 is essentially an outrageous red devil. Men aitar that. It 0:38:31.520 --> 0:38:34.560 feels like it's about eight feet tall, not counting the horns. 0:38:34.960 --> 0:38:39.320 So it is a bold design choice, and they manage 0:38:39.360 --> 0:38:40.040 to make it work. 0:38:48.320 --> 0:38:49.880 You know who else in this movie I feel like 0:38:50.000 --> 0:38:54.280 really acts through heavy makeup and just shines right through 0:38:54.840 --> 0:38:58.320 a character design is Alice Playton as blicks. 0:38:58.680 --> 0:39:01.799 Yes, Oh my god, she's so good in this. She 0:39:02.280 --> 0:39:05.319 lived nineteen forty seven through twenty eleven stage actor with 0:39:05.320 --> 0:39:07.640 a lot of Broadway and off Broadway credits, TV and 0:39:07.680 --> 0:39:11.240 film credits going back to sixty three. But she's often 0:39:11.280 --> 0:39:14.920 best remembered for her voice because she has this this 0:39:15.040 --> 0:39:18.200 kind of childlike voice that she can utilize and she 0:39:18.280 --> 0:39:22.400 can perfectly lean into really haunting an Uncanny Territory with it. 0:39:23.040 --> 0:39:26.239 She voiced a demon in nineteen eighty two's Amityville to 0:39:26.440 --> 0:39:29.440 the Possession. She has also voice credits and things like 0:39:29.520 --> 0:39:31.840 nineteen eighty one's Heavy Metal nineteen eighty six is My 0:39:31.920 --> 0:39:35.920 Little Pony the movie. She was also in twelve episodes 0:39:35.960 --> 0:39:38.239 of The Croft Super Show in seventy six. But yeah, 0:39:38.280 --> 0:39:42.880 in this she plays the scheming goblin blicks like just 0:39:42.960 --> 0:39:48.800 a perfect goblin that also has an outrageous design in play, 0:39:48.880 --> 0:39:52.840 you know, with the long nose and like elongated head, 0:39:53.320 --> 0:39:57.560 just so nasty, so vicious looking, and she just shines here. 0:39:57.920 --> 0:40:01.200 Appears to be made of rot in a way, almost 0:40:01.239 --> 0:40:05.880 kind of an undead looking sort of goblin, and also 0:40:06.400 --> 0:40:09.640 speaks in rhyming couplets, which I love. I would say that, 0:40:10.840 --> 0:40:13.880 you know, it's weird because we were saying the way 0:40:14.000 --> 0:40:16.879 in which this movie falls short, despite all of its 0:40:17.640 --> 0:40:22.239 great elements, is in its cohesiveness as a story. So 0:40:22.320 --> 0:40:26.200 you might think from that the script is weak, but 0:40:26.320 --> 0:40:29.200 actually I think moment to moment, line to line, the 0:40:29.239 --> 0:40:32.640 script is pretty strong. Like the dialogue is good, and 0:40:32.960 --> 0:40:35.560 so this character speaks in rhyming couplets that are mostly 0:40:35.600 --> 0:40:40.120 I think great rhyming couplets. They're very pleasing. So like 0:40:40.200 --> 0:40:43.480 when Blick's is looking down on Princess Lily, he says, 0:40:44.000 --> 0:40:48.160 maybe innocent, maybe sweet, ain't half as nice as rotting meat. 0:40:48.600 --> 0:40:51.800 And Clayton really sells the couplets like I just believe 0:40:51.880 --> 0:40:53.280 that this is how Blicks talks. 0:40:53.719 --> 0:40:58.520 Yes, and indeed like just such a goblin, like just 0:40:58.640 --> 0:41:04.960 delights in grotesqueness and depravity, but not within without any 0:41:05.040 --> 0:41:07.879 underlying argument for why that is the superior choice. It's 0:41:07.920 --> 0:41:11.920 just that is just the texture of Blix's life and 0:41:11.960 --> 0:41:18.520 Blix's values, and Blix is very vocal about his preferences here. 0:41:18.680 --> 0:41:19.440 Yeah. 0:41:19.520 --> 0:41:23.600 Now, interestingly enough, I mentioned that Alice Clayton's voice like 0:41:23.719 --> 0:41:27.440 it has this she can lean into these uncanny aspects, 0:41:27.800 --> 0:41:29.719 but she can also get kind of like a childlike 0:41:29.880 --> 0:41:34.000 voice going on as well. She actually dubs the character 0:41:34.120 --> 0:41:35.120 Honeythorn Gump. 0:41:35.520 --> 0:41:37.840 Oh the picture that makes sense. 0:41:38.360 --> 0:41:43.080 Honey Thorn Gump is our elf, our youthful elf guy 0:41:43.120 --> 0:41:47.640 who's helping out, played physically here by David Bennett born 0:41:47.719 --> 0:41:50.360 nineteen sixty six, a German actor at the time eighteen 0:41:50.440 --> 0:41:54.000 or nineteen years old, but he looks younger and yeah, 0:41:54.080 --> 0:41:56.920 we don't hear his actual voice. I've read that producers 0:41:56.920 --> 0:41:59.840 thought he sounded too German, which I'm kind of like, 0:42:00.000 --> 0:42:02.400 why did you cast a German actor? I didn't want 0:42:02.480 --> 0:42:07.440 him to sound potentially German. But anyway, then it is 0:42:07.480 --> 0:42:09.200 still really good in this It's still a very good 0:42:09.200 --> 0:42:12.919 physical performance even though we don't hear his voice and 0:42:13.040 --> 0:42:15.719 he's been working in German productions. For Age is still 0:42:15.760 --> 0:42:19.040 active now, started out at an early age. His other 0:42:19.239 --> 0:42:23.759 like big international credit is probably nineteen seventy nine's The 0:42:23.840 --> 0:42:24.480 ten Drum. 0:42:24.960 --> 0:42:27.600 I think the job they did dubbing him. I didn't 0:42:27.600 --> 0:42:29.840 realize while I was watching that that was also Alice 0:42:29.840 --> 0:42:33.239 Playton doing his voice. But I think the dubbing is fantastic. 0:42:33.320 --> 0:42:38.879 It totally matches the pace of the character speaking, and 0:42:39.320 --> 0:42:45.080 instead of feeling uncanny and unpleasant, as some post production 0:42:45.200 --> 0:42:50.120 dubbing without live sound can be, instead it fits the 0:42:50.200 --> 0:42:53.440 character the way that his voice doesn't feel like it's 0:42:53.480 --> 0:42:55.480 coming like it's what should be coming out of his 0:42:55.560 --> 0:42:59.040 mouth works and makes him feel more kind of magical. 0:42:59.560 --> 0:43:02.320 Yeah, I would agree, I would agree, So, yeah, it 0:43:02.719 --> 0:43:04.040 didn't throw me off. It's one of those things I 0:43:04.080 --> 0:43:06.680 only picked up on much later reading about the production. 0:43:07.880 --> 0:43:11.080 All Right, now, I want to probably try and speed 0:43:11.080 --> 0:43:12.520 things along here a little bit, so I'm going to 0:43:12.640 --> 0:43:14.920 spend less time than I should, perhaps on some of 0:43:15.000 --> 0:43:18.240 the additional cast members. We have a number of various 0:43:18.320 --> 0:43:21.399 Elvin folk that are involved in the plot. For instance, 0:43:21.440 --> 0:43:25.520 they're Screwball, played by the tremendous Billy Barty, who lived 0:43:25.560 --> 0:43:28.600 nineteen twenty four to through the year two thousand, three 0:43:28.600 --> 0:43:32.439 foot nine character actor who often played wise, cracking, little 0:43:32.480 --> 0:43:36.240 person roles, but he instantly stands out in any ensemble 0:43:36.280 --> 0:43:38.440 cast because he is at the heart just a tremendous 0:43:38.520 --> 0:43:42.440 character actor. His uncredited work goes back to I believe 0:43:42.520 --> 0:43:45.839 nineteen thirty and apparently includes a very small part as 0:43:45.920 --> 0:43:49.000 the baby in nineteen thirty five's Bride of Frankenstein. So 0:43:49.000 --> 0:43:51.520 one of those early scenes with the little miniature people 0:43:51.600 --> 0:43:52.480 in the vials. 0:43:53.040 --> 0:43:54.719 Wow, I didn't realize that so. 0:43:54.800 --> 0:43:57.799 Many credits to Billy Barty, but they include the likes 0:43:57.800 --> 0:44:00.319 of Roger Corman's The Undead in nineteen fifty seven. In 0:44:00.840 --> 0:44:03.960 nineteen eighty seven's Masters of the Universe film, he has 0:44:04.000 --> 0:44:06.480 a memorable role in that He's in eighty eight Willow, 0:44:06.760 --> 0:44:08.440 but He also did some voice acting as well, like 0:44:08.520 --> 0:44:12.279 nineteen nine he's the rescuers down under all right, some 0:44:12.320 --> 0:44:14.359 of the other folks here, we have Brown Tom, who 0:44:14.440 --> 0:44:16.600 I guess is kind of a leprechaun. He's part of 0:44:16.600 --> 0:44:20.920 the good guy Elvin Cork here. He's played by Cork Hubert, 0:44:20.960 --> 0:44:23.279 who lived nineteen fifty two through two thousand and three. 0:44:23.440 --> 0:44:26.839 A four foot eleven actor. His other credits include eighty 0:44:26.840 --> 0:44:30.080 one's cave Man under the Rainbow from eighty one and 0:44:30.160 --> 0:44:32.240 nineteen eighty nine sent Bat of the Seven Seas. 0:44:32.920 --> 0:44:35.800 He has a real dad joke moment in the movie 0:44:35.800 --> 0:44:37.040 that I think works pretty well. 0:44:37.560 --> 0:44:37.840 Yeah. 0:44:37.920 --> 0:44:41.280 There's also there's a scene where he thinks he's been shot. 0:44:42.239 --> 0:44:44.120 What I'm talking about? Yeah, yah, yeah, I love that. 0:44:44.120 --> 0:44:48.520 That's great. Okay, all right, we have Pox. Pox is 0:44:48.560 --> 0:44:51.960 a pig demon and somewhere underneath all of the prosthetics 0:44:51.960 --> 0:44:54.640 for this role, there is a man by the name 0:44:54.680 --> 0:44:58.080 of Peter O'Farrell. I couldn't find any additional information about 0:44:58.080 --> 0:45:00.880 this actor in terms of his you know, when he 0:45:01.000 --> 0:45:03.400 was born and so forth by His other credits include 0:45:03.440 --> 0:45:06.360 nineteen eighty Hawk the Slayer, nineteen eighty five, Santa Claus 0:45:06.600 --> 0:45:08.960 and he has a role in two thousand and two 0:45:08.960 --> 0:45:11.719 Harry Potter and the Chamber of Secrets. All right, we 0:45:11.719 --> 0:45:14.279 also have Blunder. We'll get into Blunder in a bit. 0:45:14.360 --> 0:45:18.239 He's kind of he's one faction then another. But he 0:45:18.320 --> 0:45:21.600 is played by Kira and Shaw born nineteen fifty six, 0:45:21.760 --> 0:45:25.480 a four foot one and a half tall actor who 0:45:25.560 --> 0:45:27.960 is Elijah Woods scale double in all three Lord of 0:45:28.000 --> 0:45:30.520 the Rings films. His other credits include two thousand and 0:45:30.560 --> 0:45:33.640 five's The Chronicles of Narnia, various Star Wars productions, The 0:45:33.719 --> 0:45:36.640 Dark Crystal, and Raiders of the Last Dark. We also 0:45:36.680 --> 0:45:40.720 have a fairy Una, played by Annabelle Lanyon born nineteen 0:45:40.800 --> 0:45:43.320 sixty British actress who has worked a lot in TV. 0:45:44.000 --> 0:45:45.839 She's our temperamental tinker Bell. 0:45:46.560 --> 0:45:48.680 She doesn't want you don't get to know about what 0:45:48.760 --> 0:45:51.000 her powers are. That's that's for her to decide. 0:45:51.200 --> 0:45:55.279 Yes. Oh, and then we've talked about this is a 0:45:55.840 --> 0:45:58.600 character that it comes up every now and then on 0:45:58.680 --> 0:46:01.320 the show pretty much any time we're talking about hags, 0:46:01.360 --> 0:46:04.560 because oh, we have such a hag in legend. The 0:46:04.640 --> 0:46:08.680 character is Meg Mucklebones and the actor underneath there and 0:46:08.719 --> 0:46:11.279 also I think doing a great job shining through and 0:46:11.320 --> 0:46:17.640 making this a living being. Is Robert Picardo really? Yeah? Yeah. 0:46:17.680 --> 0:46:19.600 We talked about him previously in our episode on Joe 0:46:19.680 --> 0:46:24.080 Dante's Grimlins too, because he's like the he's like one 0:46:24.120 --> 0:46:29.320 of the executives there that ends up marrying the lady Grimlin. 0:46:29.400 --> 0:46:33.520 Right, Oh, yes, that's right, Yes, what a beautiful marriage. Yes, 0:46:34.480 --> 0:46:37.320 but he what is he? Is he like a coach 0:46:37.400 --> 0:46:39.239 on The Wonder Years, Jim Teacher or something? 0:46:39.360 --> 0:46:41.080 Yeah, yeah, some sort of role like that. I'm wondering. 0:46:41.080 --> 0:46:42.640 There's been a while since I've seen that he was 0:46:42.680 --> 0:46:44.920 on China Beach, but most I think people would know 0:46:45.000 --> 0:46:47.920 him from like Star Trek Voyager. He's like the hologram 0:46:47.920 --> 0:46:50.560 guy on there. But his other film credits include eighty 0:46:50.600 --> 0:46:54.160 one's The Howling, eighty seven's Inner Space. Oh, he's Johnny 0:46:54.200 --> 0:46:57.160 cab in nineteen ninety's Total Recall, And he also has 0:46:57.200 --> 0:46:59.800 a role in the twenty sixteen Coen Brothers film Hail. 0:46:59.640 --> 0:47:02.160 Season The Door Opened. You got in. 0:47:03.719 --> 0:47:07.080 Richard O'Brien what was apparently considered for this role, and 0:47:07.120 --> 0:47:10.040 that's what led them to realizing that Curry would be 0:47:10.040 --> 0:47:13.400 perfect for darkness. Wow, all right, some behind the scenes 0:47:13.400 --> 0:47:16.960 people worth noting here. Production design Ashton Gordon, who lived 0:47:17.000 --> 0:47:19.319 nineteen thirty through twenty fourteen, worked on such films as 0:47:19.360 --> 0:47:22.319 nineteen sixty six As a Blow Up, nineteen seventy one's 0:47:22.320 --> 0:47:24.840 Get Carter in two thousands Shadow of the Vampire. The 0:47:24.880 --> 0:47:27.560 director of photography was Alex Thompson, who lived nineteen twenty 0:47:27.640 --> 0:47:30.400 nine through two thousand and seven. Regular camera operator for 0:47:30.480 --> 0:47:34.280 Nicholas Rogue in the nineteen sixties before becoming a director 0:47:34.280 --> 0:47:37.600 of photography in nineteen sixty eight. Nominated for an OSCAR 0:47:37.640 --> 0:47:40.080 for his work on the nineteen eighty two John Borman 0:47:40.160 --> 0:47:44.600 epic ex Caliber, which I think that shows there's definitely 0:47:44.640 --> 0:47:47.400 some great scenes in this with the lighting and shiny 0:47:47.520 --> 0:47:49.360 armor that made me think about Excalibur. 0:47:49.719 --> 0:47:49.959 Yeah. 0:47:50.160 --> 0:47:53.839 You've mentioned Excalibur before as a movie that is gleaming. 0:47:53.880 --> 0:47:57.160 Yes, and yeah, we have some gleaming armor in this 0:47:57.200 --> 0:48:00.840 one as well. Thompson's other cinematography credits include Doctor FIBs 0:48:00.920 --> 0:48:04.120 Rises Again, which we've talked about on the show Deathline 0:48:04.200 --> 0:48:06.800 from the same year in nineteen seventy two, Michael Mann's 0:48:06.840 --> 0:48:09.399 The Keep from eighty three Electric Dreams. In eighty four 0:48:09.480 --> 0:48:12.319 Labyrinth in nineteen eighty six, which is like right next door, 0:48:12.360 --> 0:48:15.359 So I guess he's just walking back and forth Leviathan 0:48:15.400 --> 0:48:18.640 in eighty nine, Alien three and ninety two, Demolition Man 0:48:18.680 --> 0:48:21.399 in ninety three, and Hamlet in nineteen ninety six. Who 0:48:22.200 --> 0:48:28.440 you called this one out, Joe? What credit stood. 0:48:28.120 --> 0:48:29.880 Out to you? It's just because I saw it in 0:48:29.960 --> 0:48:32.759 the credits as it was rolling by. So we have 0:48:32.960 --> 0:48:37.360 somebody named Vic Armstrong as he was given two titles. 0:48:37.400 --> 0:48:39.120 I don't remember what the first one was, but the 0:48:39.160 --> 0:48:41.480 second one was Unicorn Master. 0:48:42.080 --> 0:48:45.000 Yes, yeah, it's not often you have a Unicorn Master 0:48:45.480 --> 0:48:47.959 on set, but yeah, that's Vick Armstrong. He was also 0:48:47.960 --> 0:48:52.560 the stunt coordinator born nineteen forty six, very prolific. Guinness 0:48:52.560 --> 0:48:55.000 Book of World Records has Listen listed him as the 0:48:55.040 --> 0:48:59.120 most prolific like stunt coordinator. But his earliest role is 0:48:59.160 --> 0:49:02.480 apparently an uncre credited Ninja extra part in nineteen sixty 0:49:02.520 --> 0:49:03.880 seven's You Only Live Twice. 0:49:04.200 --> 0:49:06.880 Oh recently came up in our Ninja episodes. 0:49:07.000 --> 0:49:10.319 Yep, he's still working well. The costumes in this are 0:49:10.320 --> 0:49:14.239 pretty great costume designer and this was Charles Node. He 0:49:14.320 --> 0:49:17.320 lived nineteen forty two through twenty twenty three English costume 0:49:17.360 --> 0:49:20.360 designer whose work includes nineteen seventy Nine's Life of Brian, 0:49:20.400 --> 0:49:23.680 the MNTY Python film, Blade Runner fourteen ninety two, The 0:49:23.680 --> 0:49:27.480 Conquest of Paradise, another Ridley Scott film, Oh, and then 0:49:27.560 --> 0:49:28.719 Braveheart from ninety five. 0:49:29.200 --> 0:49:31.839 Costumes are great, you could mention a number of them. 0:49:33.120 --> 0:49:38.600 Mia Sarah's goth gown is just like the triangular color 0:49:38.760 --> 0:49:41.760 hood thing. I don't know what that is, but it's great. 0:49:42.160 --> 0:49:45.399 Yes, Yeah, and then everything that Jack is wearing, from 0:49:45.440 --> 0:49:48.800 his the rags that he's wearing initially like the faral rags, 0:49:49.040 --> 0:49:53.120 to the like gleaming elven armor that he dons for 0:49:53.520 --> 0:49:56.880 the main adventure portion of the picture. Yeah, But then 0:49:56.920 --> 0:49:59.360 again we have to come back to the special effects 0:49:59.360 --> 0:50:02.080 makeup and the special effects makeup lead on this was 0:50:02.160 --> 0:50:06.000 Rob Botein, who've talked about on the show before, the 0:50:06.120 --> 0:50:09.480 Rob Botein crew as well various people working with and 0:50:09.600 --> 0:50:12.560 for him on this. He was born nineteen fifty nine, 0:50:13.760 --> 0:50:17.480 special makeup practical effects wizard who worked on such films 0:50:17.520 --> 0:50:20.640 as Squirm in seventy six, Star Wars in seventy seven, 0:50:20.719 --> 0:50:23.760 The Howling The Thing from eighty two, The John Carpenter 0:50:23.840 --> 0:50:26.640 version RoboCop from eighty seven. I think we talked about 0:50:26.680 --> 0:50:30.440 him in that one as well. Total Recall from nineteen 0:50:30.560 --> 0:50:37.440 ninety just capable of such phenomenally nasty, fleshy work. And 0:50:37.640 --> 0:50:40.160 you know, it's hard to imagine this picture with anyone else. 0:50:40.600 --> 0:50:43.120 It would be a different picture if anyone else had 0:50:43.160 --> 0:50:44.760 done the makeup effects. 0:50:45.040 --> 0:50:48.880 Now, wait, so Robert Piccardo played the Johnny Cab. Did 0:50:48.960 --> 0:50:51.560 Rob botteen make the Johnny Cab in Total Recall? 0:50:52.000 --> 0:50:53.800 Oh, that's a good question. I don't know for certain 0:50:53.840 --> 0:50:57.080 on that, because I mean, we know for certain some 0:50:57.160 --> 0:51:00.480 of the things that Rob Botein was doing on Total Recall, 0:51:00.600 --> 0:51:03.600 you know, but I'm not sure about Johnny Cab. But 0:51:04.120 --> 0:51:05.640 I guess it very likely. 0:51:06.160 --> 0:51:08.320 How to split my time between a quatto and a 0:51:08.400 --> 0:51:09.080 Johnny Cab? 0:51:09.320 --> 0:51:12.719 Yeah, yeah, he was definitely on quato duty, all right. Now, 0:51:12.719 --> 0:51:16.000 coming to the music, this film Fade famously features those 0:51:16.040 --> 0:51:21.160 two separate scores. There's the original Jerry Goldsmith's score and 0:51:21.400 --> 0:51:23.240 this is the one that is used in the original 0:51:23.320 --> 0:51:27.080 euro theatrical release of the picture, But then for the 0:51:27.280 --> 0:51:31.680 US theatrical release, they brought in Tangerine Dream to do 0:51:31.880 --> 0:51:35.880 a new score for the film. Now, I, of course 0:51:35.960 --> 0:51:37.760 is what we've been saying. Grew up on the Tangerine 0:51:37.800 --> 0:51:40.760 Dream score, and I think it's absolutely excellent. I listened 0:51:40.760 --> 0:51:42.680 to it a couple of times through while working on 0:51:42.760 --> 0:51:45.920 notes for this episode. It really connected with me when 0:51:45.920 --> 0:51:47.400 I was younger, and there are a few things that 0:51:47.440 --> 0:51:50.640 I love more today as an adult than a really 0:51:50.640 --> 0:51:55.200 good Tangerine Dream motion picture score, so this one, in 0:51:55.239 --> 0:51:58.399 my opinion, They instantly elevate anything they touch, so it 0:51:58.440 --> 0:52:00.920 was hard for me to set that aside and watch 0:52:00.920 --> 0:52:03.359 a full cut of the picture, and even longer cut 0:52:03.400 --> 0:52:05.600 of the picture that has this score by Jerry Goldsmith. 0:52:06.400 --> 0:52:09.120 Jerry Goldsmith lived nineteen twenty nine through two thousand and four. 0:52:09.560 --> 0:52:13.160 Multiple Academy Award winner, responsible for the scores of seventy 0:52:13.200 --> 0:52:16.840 sevens to Omen Alien, nineteen eighties Star Trek, the Motion Picture, 0:52:16.880 --> 0:52:21.279 and many more. Obviously, Jerry Goldsmith is no slouch. This 0:52:21.400 --> 0:52:24.800 is his score for Legend is terrific. There are times 0:52:25.320 --> 0:52:29.680 where it is maybe more is certainly more mainstream, more swashbucklery, 0:52:30.200 --> 0:52:33.960 and its scope maybe by some estimates a little hammy 0:52:34.080 --> 0:52:38.280 in an intentional way, but it's also just really great 0:52:38.320 --> 0:52:40.640 in moments as well, like the whole section we'll get 0:52:40.640 --> 0:52:44.320 into with the Hell Kitchen. Jerry Goldsmith's score here is tremendous. 0:52:44.719 --> 0:52:47.719 Yeah, it's a very traditional score you would expect with 0:52:47.760 --> 0:52:51.919 the fantasy movie and it delivers on that front. But yeah, 0:52:51.960 --> 0:52:54.480 as I said earlier, Rob, I know your love for 0:52:54.560 --> 0:52:58.520 Tangerine Dream, for electronic music generally, but especially Tangerine Dream, 0:52:58.600 --> 0:53:01.680 goes so deep. That is why shocked that you would 0:53:01.680 --> 0:53:04.520 have us watch the director's cut. But what's the main 0:53:04.560 --> 0:53:07.840 difference in the sonic texture here? What does the Tangerine 0:53:07.880 --> 0:53:09.839 Dream score sound like in the US cut? 0:53:10.160 --> 0:53:10.319 Oh? 0:53:10.400 --> 0:53:13.520 I mean the Tangerine Dream cut is of course it's electronic, 0:53:13.760 --> 0:53:17.520 it's very synth heavy, but it also has this kind 0:53:17.560 --> 0:53:21.880 of ethereal, otherworldly vibe to it, you know that I 0:53:21.880 --> 0:53:26.360 think is typified by that opening bit of music that 0:53:26.480 --> 0:53:28.920 plays in the US theatrical cut, where it's like a 0:53:29.280 --> 0:53:33.280 strange elven synth flute playing to you, you know, across 0:53:33.280 --> 0:53:38.240 the dimensional barrier. Tangerine Dream is, of course a German 0:53:38.280 --> 0:53:41.919 electronic act founded by the late Edgar Frosi who lived 0:53:41.960 --> 0:53:45.200 nineteen forty four through twenty fifteen. There have been numerous 0:53:45.239 --> 0:53:49.240 lineups over time, but he was the only consistent member 0:53:49.280 --> 0:53:53.480 of the group at the time of this score. I 0:53:53.480 --> 0:53:58.400 believe Christopher Frank and Johannes Schmoling were also in the group. 0:53:59.640 --> 0:54:03.360 The band Tangerine Dream is still around. They still record 0:54:03.440 --> 0:54:06.680 and tour, but it is a younger lineup, so none 0:54:06.719 --> 0:54:09.120 of the original members. And I could be wrong in this, 0:54:09.200 --> 0:54:11.520 but I don't think any of the current members were 0:54:11.560 --> 0:54:15.480 alive when the band was initially formed. But you know, 0:54:15.880 --> 0:54:19.080 I haven't seen them that. I assume they're still great, 0:54:19.600 --> 0:54:22.320 but it is not the original members, all right. Finally, 0:54:23.440 --> 0:54:26.840 of note, we also have two different vocal tracks on 0:54:26.920 --> 0:54:30.000 the US release, We Have Loved by the Sun, a 0:54:30.080 --> 0:54:33.160 Tangerine Dream track with vocals by John Anderson, former lead 0:54:33.200 --> 0:54:36.160 singer of the band. Yes, this one plays towards the 0:54:36.200 --> 0:54:38.359 end of the very end of the picture. I don't 0:54:38.400 --> 0:54:42.320 hate it, but it's far outclassed. I think by the 0:54:42.440 --> 0:54:45.600 end credit song, which is Brian Ferries, is Your Love 0:54:45.640 --> 0:54:46.360 strong Enough? 0:54:46.719 --> 0:54:48.799 I was trying to describe this one, and it's like, 0:54:49.560 --> 0:54:53.480 it's such a mood. It is soft, smooth, neon waves 0:54:53.520 --> 0:54:54.000 of emotion. 0:54:54.760 --> 0:54:57.239 Yeah, yeah, I think it's a great vibe. You got 0:54:57.280 --> 0:55:01.200 fairy and his vocals. Of course, this was the front 0:55:01.200 --> 0:55:04.360 man of Roxy Music. Ridley Scott co directed one of 0:55:04.360 --> 0:55:06.840 their music videos in eighty two and then on guitars. 0:55:06.840 --> 0:55:09.160 For this track we have David Gilmour of Pink Floyd. 0:55:10.360 --> 0:55:12.839 So great track, I think, A great way to end 0:55:12.840 --> 0:55:15.920 the picture. I think is one that I overlooked this 0:55:16.080 --> 0:55:17.359 when I was a kid. I was like, I had 0:55:17.360 --> 0:55:19.120 some sort of cheesy pop song. But now now I'm like, 0:55:19.160 --> 0:55:21.600 this song is amazing and it should be it should 0:55:21.600 --> 0:55:26.480 be heard. 0:55:30.840 --> 0:55:32.759 You ready to go to the plot, Let's do it. 0:55:33.360 --> 0:55:35.120 So note as we get into the plot that I'm 0:55:35.120 --> 0:55:37.320 going to be talking about this from the point of 0:55:37.400 --> 0:55:41.239 view of having watched the director's cut most recently. So 0:55:41.880 --> 0:55:44.440 in this version, the plot begins with a character we 0:55:44.520 --> 0:55:47.239 do not see or only see from behind, in a 0:55:47.360 --> 0:55:51.560 high backed chair like doctor Claw. This is the Lord 0:55:51.640 --> 0:55:55.160 of Darkness, and he is in a shadowy hall within 0:55:55.200 --> 0:55:59.920 a stonework palace, illuminated by fire, with fog flowing across 0:56:00.160 --> 0:56:04.160 the floor, and we hear his voice. It's deep and complex. 0:56:04.560 --> 0:56:07.080 It's almost like it was kind of made of multiple voices, 0:56:07.160 --> 0:56:11.600 or maybe it contains its own echo. And Darkness says, 0:56:11.840 --> 0:56:15.719 I am the Lord of Darkness, I require the solace 0:56:15.760 --> 0:56:19.440 of the shadows and the dark of the night. Sunshine 0:56:19.560 --> 0:56:25.080 is my destroyer. All this shall change tonight, the sun 0:56:25.239 --> 0:56:29.840 sets forever, there shall never be another dawn. So we 0:56:30.040 --> 0:56:32.920 learn that the Lord of Darkness has a plan. He 0:56:33.239 --> 0:56:37.120 wants to forever destroy the sunshine and rule over a 0:56:37.200 --> 0:56:41.000 frozen kingdom of eternal midnight. And he calls forth his 0:56:41.080 --> 0:56:46.040 most loyal, infernal servant, a foul, fetid goblin named Blicks, 0:56:46.840 --> 0:56:50.160 and Darkness says that he senses the presence of an 0:56:50.280 --> 0:56:54.120 enemy in the forest outside, an enemy that, mercifully he 0:56:54.200 --> 0:56:57.799 had almost forgotten the existence of. But now it's sort 0:56:57.840 --> 0:57:01.640 of resurging in his mind. Out it's a power that 0:57:01.840 --> 0:57:05.520 threatens him. What power could that be, well, Darkness says, 0:57:06.120 --> 0:57:09.239 looking upon these frail creatures, one would not think they 0:57:09.280 --> 0:57:13.600 could contain such power. One could rule the universe with it. 0:57:13.920 --> 0:57:16.560 And then he tells Blicks, you must find them for 0:57:16.680 --> 0:57:21.040 me and destroy them. Blicks asks what these creatures look like, 0:57:21.400 --> 0:57:23.960 and Darkness gets very angry, says, you fool, and he 0:57:24.120 --> 0:57:27.000 stabs a piece of silverware into Blix's head. Or it 0:57:27.080 --> 0:57:29.960 might be a dagger or something. So the answer is 0:57:30.040 --> 0:57:33.680 they look like this. They've got a single spike growing 0:57:33.720 --> 0:57:38.960 out of their heads, like an antenna reaching up to heaven. Now, 0:57:39.000 --> 0:57:42.440 Blix is like, okay, single horn on the head, intenna 0:57:42.480 --> 0:57:45.280 reaching to heaven. Got it. I will destroy them. And 0:57:45.800 --> 0:57:48.040 but wait a minute, how am I going to find 0:57:48.120 --> 0:57:51.360 these creatures? And here, Darkness says, you know, there's only 0:57:51.400 --> 0:57:55.840 one lure for such disgusting goodness, one bait that never fails. 0:57:56.400 --> 0:58:00.600 Blick says, what's the bait? And Darkness says, in no sense, 0:58:01.080 --> 0:58:07.080 in no sense. I can't quite capture Tim Curry's delivery there, 0:58:07.080 --> 0:58:08.080 but it is the best. 0:58:09.040 --> 0:58:12.000 This, this is this is a great scene. Pretty much 0:58:12.000 --> 0:58:16.360 any interaction between Blicks and Darkness is golden, and I 0:58:16.400 --> 0:58:19.400 wish we had more of it, because yeah, Darkness is 0:58:19.440 --> 0:58:24.520 of course just absolute, over the top dramatic evil, and 0:58:24.640 --> 0:58:28.440 Blicks is of course also extremely evil, but in a 0:58:28.480 --> 0:58:33.640 more sniveling way. But also you know, like he like 0:58:33.720 --> 0:58:39.240 clearly Blicks canon will betray Darkness at any moment, but 0:58:39.360 --> 0:58:41.280 he also knows he could be destroyed at any moment 0:58:41.320 --> 0:58:43.400 by Darkness, so he's yeah, I love this line where 0:58:43.440 --> 0:58:44.760 he's like, what be the baby? 0:58:44.880 --> 0:58:45.240 Please? 0:58:45.320 --> 0:58:48.280 You teach you teach me, you know, and oh it's 0:58:48.280 --> 0:58:48.680 so good. 0:58:49.120 --> 0:58:54.000 Yeah, Blix is your classic subordinate villain, who is who 0:58:54.040 --> 0:58:56.960 is haughty and abusive when he is out on his 0:58:57.000 --> 0:59:00.280 own with his own subordinates, but then very survive when 0:59:00.320 --> 0:59:02.560 in the presence of his of his infernal lord. 0:59:02.920 --> 0:59:07.200 Yeah, it's it's tremendous. Great vocal performance, great physical performance, 0:59:07.240 --> 0:59:08.440 shining through the makeup. 0:59:09.000 --> 0:59:11.960 It's a bummer that Blicks and the other goblins just 0:59:12.080 --> 0:59:14.760 disappear at some point in the movie, like somewhere in 0:59:14.800 --> 0:59:16.479 the second act. They never show up again. 0:59:16.800 --> 0:59:18.880 Yeah, I think I read that at some point it 0:59:19.000 --> 0:59:21.080 was they'd written it so that they would come back 0:59:21.120 --> 0:59:23.760 in for the final showdown, you know, which would make sense, right, 0:59:23.960 --> 0:59:27.400 because there's especially Blick's is such a great character. This 0:59:27.520 --> 0:59:31.720 is such a great secondary villain. It's weird that he 0:59:31.880 --> 0:59:33.720 just like retires or something. 0:59:34.120 --> 0:59:39.480 Yeah. So Blicks goes out hunting the in no sense 0:59:39.680 --> 0:59:41.960 with a couple of other goblins. One of them is 0:59:42.000 --> 0:59:45.280 a bipedal hog named Pox, and the other is a 0:59:45.480 --> 0:59:48.440 goblin whose face we do not see. This goblin is 0:59:48.520 --> 0:59:52.080 named Blunder, and he wears a cage visored bucket helmet 0:59:52.080 --> 0:59:52.720 with horns. 0:59:54.280 --> 0:59:55.800 Yeah, he kind of looks like he could have wandered 0:59:55.840 --> 0:59:59.439 out a labyrinth down down the studio road there. 0:59:59.720 --> 1:00:02.560 Yeah, So next we're going to meet our main characters, 1:00:02.760 --> 1:00:07.000 Lily and Jack. Lily is a princess, but we learned 1:00:07.040 --> 1:00:09.280 that she does not want to be cooped up in 1:00:09.320 --> 1:00:12.480 the stuffy castle with her servants and her glittering treasures. 1:00:13.040 --> 1:00:16.520 She wants to wander free in the countryside and roam 1:00:16.560 --> 1:00:19.960 through the forest. She hangs out with peasants in their cottages, 1:00:20.440 --> 1:00:24.400 and especially she wants to meet up with Jack, and 1:00:24.440 --> 1:00:27.040 she I think she's talking to well, I don't remember 1:00:27.040 --> 1:00:29.600 if she's talking to one of her peasant friends or 1:00:29.640 --> 1:00:32.320 to Jack when she says this, but she says, this 1:00:32.360 --> 1:00:35.000 place holds more magic for me than any palace in 1:00:35.040 --> 1:00:35.520 the world. 1:00:35.880 --> 1:00:38.480 So Lily is, of course the embodiment of purity and 1:00:38.520 --> 1:00:41.480 innocence here, but there is something more, and it's kind 1:00:41.520 --> 1:00:45.640 of underscored at this point in the picture, especially I imagine 1:00:45.720 --> 1:00:49.200 more so in the US theatrical cut. But I think 1:00:49.320 --> 1:00:53.240 her privilege is also really key to her character, because 1:00:53.400 --> 1:00:56.480 you know, who would deny you anything princess? You know, 1:00:56.800 --> 1:00:59.080 you know, she's really sweet and she's innocent, but she 1:00:59.280 --> 1:01:02.200 does feel like she has the right to everything in 1:01:02.240 --> 1:01:04.960 the world, be it walking into a peasant's house and 1:01:05.280 --> 1:01:08.400 observing their life and feeling to some level like she 1:01:08.440 --> 1:01:11.240 gets to be a part of it, or, as we'll 1:01:11.280 --> 1:01:13.640 see in a bit, that she should be able to 1:01:13.680 --> 1:01:15.640 walk right up to a unicorn and touch it. 1:01:16.040 --> 1:01:20.280 Yeah. The other side of innocence is naivety, and so 1:01:20.360 --> 1:01:24.640 she does not realize the consequences of her actions and 1:01:24.680 --> 1:01:26.080 maybe doesn't even consider them. 1:01:26.360 --> 1:01:28.640 Yeah, she doesn't understand that there are things in the 1:01:28.640 --> 1:01:30.160 world that are not meant for her. 1:01:30.640 --> 1:01:31.000 Yeah. 1:01:31.320 --> 1:01:34.960 Now, the other character is Jack, played by Tom Cruise, 1:01:35.080 --> 1:01:39.440 and Jack, I'm not sure exactly what he is in 1:01:39.480 --> 1:01:41.600 the movie. I see if you agree with this, Rob, 1:01:41.720 --> 1:01:46.200 I think the layout is that he is biologically a 1:01:46.280 --> 1:01:49.560 regular human, so he's not a fairy or an elf 1:01:49.680 --> 1:01:51.520 or any of the other types of hidden folk that 1:01:51.560 --> 1:01:54.720 we meet in the story. But he does not seem 1:01:54.760 --> 1:01:58.760 to be a part of human society and seems to 1:01:59.000 --> 1:02:02.800 live alone in in a kind of ageless and carefree 1:02:02.920 --> 1:02:07.160 communion with the forest. He's almost a hot raticas. 1:02:08.400 --> 1:02:10.480 Yeah, I think. I think hot ratagas is a good 1:02:10.480 --> 1:02:12.160 way of putting it. I also was thinking of him 1:02:12.160 --> 1:02:15.360 as sort of a fairal Peter Pan, you know, so 1:02:15.560 --> 1:02:17.880 he also has more than his share of innocence. He's 1:02:17.960 --> 1:02:21.120 very connected with with nature, very connected to the forces 1:02:21.120 --> 1:02:25.440 of light in the fairy folk, but this is underscored 1:02:25.480 --> 1:02:29.160 a bit as well. But he's also lusty, granted in 1:02:29.160 --> 1:02:30.600 a way that I think we're to understand is a 1:02:30.680 --> 1:02:32.560 largely in a largely innocent way, you know, part of 1:02:32.600 --> 1:02:35.960 his youthfulness. And it's not like he's manipulating Lily or 1:02:36.400 --> 1:02:39.520 anything like that. But his desire is obvious as well, 1:02:39.600 --> 1:02:43.280 so you know, it's like that's kind of that's we're 1:02:43.320 --> 1:02:45.800 setting that up to be his sin here. And I 1:02:45.880 --> 1:02:49.400 mentioned this because the plot, especially in the in the 1:02:49.440 --> 1:02:52.800 director's cut, is very concerned with the interconnectedness of light 1:02:52.840 --> 1:02:55.640 and darkness, as well as feelings of shame and our 1:02:55.680 --> 1:02:59.520 two protagonists, though it feels rather lily heavy in that regard, 1:02:59.520 --> 1:03:01.400 which I guess, you know, kind of matches up the 1:03:01.440 --> 1:03:04.120 basic story of Adam and Eden, where it's you know, 1:03:04.560 --> 1:03:06.760 far more shame is placed on the female in the 1:03:06.840 --> 1:03:10.840 scenario when really it takes two people to touch sacred fruit. 1:03:11.280 --> 1:03:14.400 Yeah, so Jack and Lily they meet together in the 1:03:14.440 --> 1:03:19.760 forest to frolic about, and eventually Jack takes Lily to 1:03:19.880 --> 1:03:23.640 show her something very special. He sort of blindfolds her 1:03:23.680 --> 1:03:26.880 while he's leading her to a secret place, and he 1:03:26.920 --> 1:03:29.680 takes her blindfold off when they arrive. They're at this 1:03:29.760 --> 1:03:33.840 kind of hidden brook somewhere in the forest glen, and 1:03:33.960 --> 1:03:37.280 what they see there is a pair of unicorns that 1:03:37.360 --> 1:03:39.800 emerge from the trees, and then they kind of gallop 1:03:39.840 --> 1:03:44.120 about together like they're playing. And these unicorns, we understand, 1:03:44.280 --> 1:03:50.000 are sacred creatures, almost primordial, and their fates are linked 1:03:50.080 --> 1:03:53.920 to the fate of the world itself. So Jack communicates somehow, 1:03:54.000 --> 1:03:56.480 we've got to treat these creatures with reverence. You know, 1:03:56.560 --> 1:03:59.160 remember she had to be like blindfolded to go to 1:03:59.200 --> 1:04:00.280 their secret ground. 1:04:01.040 --> 1:04:04.120 Yeah, yeah, these This matches up with some of the 1:04:04.160 --> 1:04:06.880 ideas swirling around the concept of the unicorn. We talked 1:04:06.880 --> 1:04:10.520 about unicorns in an older episode of Stuff to Blow 1:04:10.560 --> 1:04:13.520 Your Mind, where at times like the unicorn is presented 1:04:13.560 --> 1:04:17.920 as Christ as Jesus Christ himself in the form of 1:04:17.960 --> 1:04:19.920 a single horned horse. 1:04:20.480 --> 1:04:24.760 Now we watch the unicorns play together and Lily becomes enraptured, 1:04:24.840 --> 1:04:28.200 I guess because of her In no sense, she does 1:04:28.600 --> 1:04:31.880 not take the proper precautions in their presence. She doesn't 1:04:31.880 --> 1:04:34.480 want to hold back and just observe them from a 1:04:34.520 --> 1:04:37.800 distant a distance like Jack recommends. She sort of runs 1:04:37.800 --> 1:04:39.560 out of hiding and touches one of them. 1:04:39.600 --> 1:04:42.400 I think the stallion, right, And it's not so much 1:04:42.560 --> 1:04:45.960 the touch that is going to be disastrous, but it 1:04:46.120 --> 1:04:50.240 does impact other elements in play. 1:04:49.720 --> 1:04:53.840 Right, because all along Lily has been tracked by the 1:04:53.880 --> 1:04:58.000 goblin trio. They've been they've been following the in no sense, 1:04:58.600 --> 1:05:01.320 and sure enough, the inno since led them straight to 1:05:01.440 --> 1:05:05.560 the unicorns. And I think this is around the scene 1:05:05.560 --> 1:05:08.480 where Blick says that line may be innocent, may be sweet, 1:05:08.560 --> 1:05:11.560 ain't half as nice as rotting meat. So we see 1:05:11.720 --> 1:05:15.560 where Blick's preferences lie, and they are with death and attack. 1:05:16.160 --> 1:05:19.439 So they when the goblins see the unicorns, I think 1:05:19.480 --> 1:05:24.120 Blunder yells out look ugly, one horned mule, and they 1:05:24.160 --> 1:05:26.800 take the opportunity to strike. They shoot one of the 1:05:26.840 --> 1:05:31.240 two unicorns with a poisoned dart, and the unicorns gallop away, 1:05:31.640 --> 1:05:34.840 and I think at first Jack and Lily don't realize 1:05:34.840 --> 1:05:37.800 what has happened. Like Jack is disturbed that Lily was 1:05:37.840 --> 1:05:41.160 so brazen with these holy creatures, but he is quickly 1:05:41.200 --> 1:05:45.360 distracted by love because Lily takes off a piece of jewelry, 1:05:45.400 --> 1:05:48.880 a golden ring inlaid with gems, and she throws it 1:05:48.920 --> 1:05:51.480 into the pool at the base of a waterfall where 1:05:51.480 --> 1:05:54.560 they're hanging out, and she says, I'm gonna marry whoever 1:05:54.600 --> 1:05:57.920 finds this ring, and Jack is just hot diggity he 1:05:58.000 --> 1:06:03.320 dives right in after it. Now a lot happens while 1:06:03.400 --> 1:06:05.720 Jack is diving under the water looking for the ring. 1:06:06.240 --> 1:06:09.320 The goblins catch up to the unicorn, which is faltering 1:06:09.400 --> 1:06:11.880 under the influence of the poison, and blicks his dart 1:06:12.320 --> 1:06:15.000 and they go up to it and they chop off 1:06:15.040 --> 1:06:20.240 its horn, and this instantly causes a worldwide calamity. A 1:06:20.400 --> 1:06:25.560 supernatural winter descends. The peasants are frozen solid in their cottages. 1:06:26.080 --> 1:06:29.640 Ice forms over over the pool where Jack is diving 1:06:29.640 --> 1:06:31.520 for the ring, so like when he comes up for air, 1:06:31.560 --> 1:06:34.800 he has to break through the ice. Lily is caught 1:06:34.840 --> 1:06:37.480 out in the blizzard and she runs in terror as 1:06:37.520 --> 1:06:40.400 the goblins come tramping through the new world of frosty 1:06:40.440 --> 1:06:43.280 horror that they've created. It's a scary time. 1:06:43.560 --> 1:06:45.760 And it must have been scary to read this script 1:06:45.840 --> 1:06:48.600 and think about producing this. You know, this is it's like, 1:06:48.640 --> 1:06:50.720 we're gonna build a forest, then it's gonna be winter 1:06:50.840 --> 1:06:53.520 in the forest. We're gonna have a frozen over pond. 1:06:53.560 --> 1:06:56.200 We're gonna have somebody swimming in that and breaking up 1:06:56.240 --> 1:06:58.160 through the ice later, Like I don't know. This is 1:06:58.200 --> 1:07:00.080 one of the many places in the film where you 1:07:00.120 --> 1:07:04.080 really have to admire the what they really set out 1:07:04.120 --> 1:07:06.120 to do here, Like this is a lot. 1:07:06.640 --> 1:07:10.840 Blick says, mortal world turned ice. Here be Goblin paradise. 1:07:11.240 --> 1:07:13.680 So the goblins are having a ball. They run around 1:07:13.800 --> 1:07:16.960 using the unicorn horn as a magic wand they're just 1:07:17.840 --> 1:07:21.360 doing all kinds of mischief and Lily eventually tracks them 1:07:21.440 --> 1:07:25.000 back to their Goblin camp, which I think his position's 1:07:25.040 --> 1:07:27.040 sort of down in a kind of ravine or a 1:07:27.080 --> 1:07:29.920 pit in the earth, and they've got a fire going 1:07:30.000 --> 1:07:33.840 and they're playing around with the horn, and this is 1:07:33.880 --> 1:07:36.760 all good stuff. I love this scene. I think this 1:07:36.800 --> 1:07:40.960 is where Blick says, higher burning fire making music like 1:07:41.000 --> 1:07:45.440 a choir, and they're all sort of talking about what 1:07:45.480 --> 1:07:47.520 they could do with their newfound of power. I think 1:07:47.560 --> 1:07:52.400 the pig goblin. I love this suggests turning everything into garbage. 1:07:52.440 --> 1:07:56.280 That's a quote. He says, why not turn everything into garbage, 1:07:56.360 --> 1:07:59.920 A big, towering mountain of slot. Wouldn't that be magic. 1:08:01.040 --> 1:08:03.320 He's a simple guy. He knows what he wants. 1:08:03.840 --> 1:08:05.480 Love, numb, numb, garbage. 1:08:05.760 --> 1:08:09.040 Now, my one of my recurring questions on this rewatch 1:08:09.040 --> 1:08:14.520 of Legend, given recent changes and slaying, is this goblin mode? 1:08:14.600 --> 1:08:18.479 Does this constitute goblin mode if you're not familiar. Goblin mode, 1:08:18.600 --> 1:08:21.439 as defined by the Oxford Dictionary in twenty twenty two, 1:08:21.600 --> 1:08:26.080 is a type of behavior which is unapologetically self indulgent, lazy, slovenly, 1:08:26.160 --> 1:08:29.200 or greedy, typically in a way that rejects social norms 1:08:29.280 --> 1:08:30.240 or expectations. 1:08:30.800 --> 1:08:33.160 You know, I would say that the goblins in this 1:08:33.320 --> 1:08:36.680 movie are not in goblin mode by default, but in 1:08:36.720 --> 1:08:41.519 this particular scene, they are going goblin mode. Okay, like 1:08:41.560 --> 1:08:46.639 Pox's desire to quote, turn everything into garbage, that's goblin mode. 1:08:46.680 --> 1:08:48.719 That's different, right, yeah. 1:08:48.840 --> 1:08:49.120 Yeah. 1:08:49.200 --> 1:08:52.000 Now, at the same time, Blick's he seems he's having 1:08:52.360 --> 1:08:56.160 a big time here waving this unicorn horn wand around, 1:08:56.800 --> 1:08:59.280 and it seems like he has he has greater designs. 1:08:59.600 --> 1:09:02.120 He's thinking about the power of the wand here and 1:09:02.160 --> 1:09:02.840 what he could do. 1:09:02.800 --> 1:09:05.360 With it I don't know, So we'll see what happens 1:09:05.360 --> 1:09:08.600 and when Darkness shows up. So Darkness arrives at the 1:09:08.600 --> 1:09:10.679 goblin camp. He's covered in a cloak, so we still 1:09:10.720 --> 1:09:13.479 don't see his face or his true form. And this 1:09:13.560 --> 1:09:16.760 is where one of the three goblins I know it's Blunder, 1:09:16.800 --> 1:09:19.559 the one with the helmet on, tries to take the 1:09:19.640 --> 1:09:22.519 horn and use it to usurp the power of the 1:09:22.560 --> 1:09:25.679 Lord of Darkness, but he's he's not strong enough. Tim 1:09:25.720 --> 1:09:28.639 Curry just like sucks it out of Blunder's hand magically 1:09:29.040 --> 1:09:33.360 and then reanimates a nearby mummy to grab up Blunder 1:09:33.439 --> 1:09:35.760 and cast him into a crevice in the earth, though 1:09:35.800 --> 1:09:36.920 we'll meet him again later. 1:09:37.280 --> 1:09:40.080 Yeah, this is a great thing because basically, yeah, Blicks 1:09:40.080 --> 1:09:42.759 has been playing around with the wand there's really getting 1:09:42.760 --> 1:09:45.360 into it and has all these flourishes to his movements. 1:09:46.240 --> 1:09:49.360 You know clearly he's really digging this power trip. And 1:09:49.400 --> 1:09:51.920 you get the impression that Darkness has shown up really 1:09:51.960 --> 1:09:53.840 to be like, Okay, enough of this before it gets 1:09:53.840 --> 1:09:56.760 out of hand. I'm here for what's mine. So but 1:09:56.840 --> 1:09:58.960 Blix is smart enough to just drop it to the 1:09:58.960 --> 1:09:59.920 ground immediately. 1:10:00.560 --> 1:10:00.760 Yeah. 1:10:00.880 --> 1:10:04.680 Yeah, but Blunder is stupid, and Blunder is like, oh, 1:10:04.720 --> 1:10:07.679 there's the wand it's mine now, this is my time 1:10:07.720 --> 1:10:09.760 to shine, and as sind at the top, and he's 1:10:09.800 --> 1:10:13.439 just instantly destroyed. Yeah, or seemingly at the time. 1:10:14.280 --> 1:10:17.320 Blunder has some good lines though, before he gets cast 1:10:17.160 --> 1:10:20.200 into the ravine when they're like they're talking about uh 1:10:20.600 --> 1:10:22.920 Lily and they're like, oh, she's so beautiful, and then 1:10:23.000 --> 1:10:27.799 Blunder's like, I know, I could eat her brains, Like jam, they. 1:10:27.800 --> 1:10:30.400 Just don't have the same values as mortals. 1:10:31.040 --> 1:10:31.280 Though. 1:10:31.439 --> 1:10:35.519 Unfortunately, the mission is not fully accomplished because Darkness is like, 1:10:35.680 --> 1:10:38.800 you fools, look, Dawn is about to break. That means 1:10:38.800 --> 1:10:41.000 one of the unicorns still lives. You have to get 1:10:41.080 --> 1:10:43.800 both of them, So go find the other unicorn and 1:10:43.840 --> 1:10:44.400 bring it to me. 1:10:45.280 --> 1:10:48.400 Yeah. Yeah, because the remaining unicorn is the Mayor And 1:10:48.400 --> 1:10:51.200 they're like what, it's just the female and Darkness is like, yeah, 1:10:51.240 --> 1:10:53.600 that one has the power of creation, you dummies, Like 1:10:53.640 --> 1:10:55.200 that's the most important unicorn. 1:10:55.400 --> 1:10:58.640 Yeah, so you got to bring me unicorn too. Meanwhile, 1:10:58.960 --> 1:11:02.360 Jack wakes up being frozen in the Blizzard of wickedness, 1:11:02.800 --> 1:11:05.160 and when he does, when he wakes up, he is 1:11:05.240 --> 1:11:09.320 surrounded by a coterie of hidden folk. So there is 1:11:09.360 --> 1:11:13.800 a sort of panlike magical boy called Honeythorn Gump. I 1:11:13.800 --> 1:11:16.040 think he's supposed to be an elf, do they say? 1:11:16.520 --> 1:11:17.360 Yeah? I believe so. 1:11:17.840 --> 1:11:20.799 I don't know technically what all of the fantasy classes 1:11:20.840 --> 1:11:23.759 of these creatures of the forest are. They're all various 1:11:23.840 --> 1:11:27.400 hidden folk of different kinds. A couple of them are 1:11:28.000 --> 1:11:32.160 Brown Tom and Screwball. They will be companions along the 1:11:32.200 --> 1:11:34.439 rest of the journey. In the movie, there is a 1:11:34.479 --> 1:11:37.040 fairy creature named Una, who I think is like a 1:11:37.080 --> 1:11:40.880 will of the Wisp. Honey Thorn Gump is sort of 1:11:40.920 --> 1:11:44.960 the leader of them. He's got the most lore information 1:11:45.120 --> 1:11:47.000 in his head and seems to like kind of know 1:11:47.080 --> 1:11:51.920 what's going on. And Gump is interesting. He has these 1:11:51.960 --> 1:11:56.320 great fantasy time units that he always talks in. All 1:11:56.320 --> 1:11:59.200 the expressions of time are things like three flicks of 1:11:59.240 --> 1:12:02.719 a badger's or two hundred beats of a sparrow's heart. 1:12:03.200 --> 1:12:05.360 Yeah, it's like you get the impression where if you 1:12:05.439 --> 1:12:08.559 were in tune with nature as much as an elf 1:12:08.720 --> 1:12:12.120 is or any of these magical fairy folk here you 1:12:12.160 --> 1:12:14.599 would know exactly what that means. You would innately know 1:12:14.920 --> 1:12:18.040 what that means. But to us mortals, we're a little 1:12:18.120 --> 1:12:19.560 lost on the particulars. 1:12:19.880 --> 1:12:23.679 Yeah, there are some initial negotiations. When they first meet 1:12:23.720 --> 1:12:27.040 Tom Cruise, he has to answer a riddle or die. 1:12:27.200 --> 1:12:28.320 I think, is that right? 1:12:28.840 --> 1:12:31.960 I'm always this scene kind of lost me a little bit. 1:12:32.000 --> 1:12:35.280 I'm not sure exactly what is happening in the scene. 1:12:35.320 --> 1:12:36.960 But then it's kind of like, Okay, I guess he 1:12:37.080 --> 1:12:38.720 passed the test, whatever it was. 1:12:39.320 --> 1:12:41.760 Also, I don't understand the logic of the riddle. The 1:12:41.840 --> 1:12:46.080 answer is flowers, bluebell flowers, but I don't understand how 1:12:46.080 --> 1:12:50.880 it corresponds to the riddle itself. Anyway, they eventually decide 1:12:50.880 --> 1:12:54.479 that Tom Cruise is the Champion foretold who must defend 1:12:54.479 --> 1:12:56.960 the world from the Lord of Darkness, and so there's 1:12:56.960 --> 1:12:59.320 a scene of him being sent to raid a treasure 1:12:59.360 --> 1:13:02.600 trove and a hit barrow to get magical armor and weapons. 1:13:03.479 --> 1:13:05.920 Around here is where I first started to notice that 1:13:05.960 --> 1:13:08.840 Tom Cruise is not getting to stand up in this movie. 1:13:08.840 --> 1:13:11.240 He's always squatting or creeping on the ground. 1:13:11.560 --> 1:13:14.439 Yeah, and now he has like a golden chain mail 1:13:14.479 --> 1:13:17.439 skirt to wear the whole time. Yeah, and a really 1:13:17.439 --> 1:13:20.880 cool shield and sword too, So he's decked out. He's 1:13:20.880 --> 1:13:24.080 gotten his plus one plus two gear from the Dungeon 1:13:24.160 --> 1:13:27.320 Master and is ready to hop into the main adventure. Yeah. 1:13:27.360 --> 1:13:30.200 Meanwhile, there's a scene where Lily makes her way to 1:13:30.479 --> 1:13:33.760 sort of the camp where Jack originally was, but they 1:13:33.760 --> 1:13:37.639 don't meet up. Lily is there with the Unicorn Mayor 1:13:38.200 --> 1:13:40.920 and they get captured by the goblins and taken back 1:13:40.920 --> 1:13:43.200 to Tim Curry. And there's a funny moment here where 1:13:44.360 --> 1:13:47.920 Brown Tom, who was with one of the good guys, 1:13:48.520 --> 1:13:51.280 he gets shot in the head with an arrow and 1:13:51.320 --> 1:13:54.080 you think he's dead, and he thinks he's dead. When 1:13:54.120 --> 1:13:57.160 his companions show back up, he says, I was shot 1:13:57.200 --> 1:13:59.639 through the brain pan. But then he takes his hat 1:13:59.680 --> 1:14:02.559 off and he literally had a pan in his hat 1:14:02.960 --> 1:14:04.479 and it was the air went through it. 1:14:04.680 --> 1:14:06.439 It's a great moment. When this movie wants to be 1:14:06.479 --> 1:14:14.800 silly and funny, it succeeds. 1:14:16.760 --> 1:14:20.160 So now that Tim Curry has Lily and the last 1:14:20.200 --> 1:14:22.439 living Unicorn, that they got to turn this into a 1:14:22.479 --> 1:14:25.840 rescue operation, right, So Jack and his magical friends make 1:14:25.880 --> 1:14:29.679 the journey to the Layer of Darkness to confront Darkness 1:14:29.760 --> 1:14:33.760 and his minions, which and I thought this was interesting. 1:14:34.080 --> 1:14:36.599 It's shown from the outside and it is not your 1:14:36.680 --> 1:14:41.679 typical stone castle, but seems to be built inside a giant, 1:14:41.840 --> 1:14:47.160 ancient tree. The Honeythorn Gump describes it by saying, the 1:14:47.240 --> 1:14:51.200 Great Tree. When evil anarchy ruled the land, the wicked 1:14:51.320 --> 1:14:55.559 came here to sacrifice. That's an interesting, almost kind of 1:14:55.600 --> 1:15:00.320 biblical foundation story that, like the Cursed Play, is a 1:15:00.320 --> 1:15:04.439 place that you associate with the sacrifices made by an 1:15:04.439 --> 1:15:05.679 ancient enemy. 1:15:06.240 --> 1:15:08.760 It's interesting too in that like what we have here 1:15:08.800 --> 1:15:11.120 in form and it looks amazing in the picture we 1:15:11.160 --> 1:15:14.360 see like the spots of carry and birds circling around it. 1:15:15.160 --> 1:15:17.439 But in many respects you could compare this to like 1:15:17.439 --> 1:15:21.840 a world tree from various mythologies, you know, connecting the 1:15:21.840 --> 1:15:24.760 realm of Earth to the realm of the cosmos. But 1:15:24.880 --> 1:15:28.559 it's corrupted and it's dark. But on the other level, 1:15:29.320 --> 1:15:32.200 numerous times we have, especially our evil characters, speak to 1:15:32.280 --> 1:15:36.120 a universe here in which darkness was the purity of 1:15:36.240 --> 1:15:39.760 existence that was then invaded by light. And therefore it 1:15:39.800 --> 1:15:42.759 maybe feels kind of fitting that the world tree here 1:15:43.479 --> 1:15:47.120 is something of the darkness because the darkness is the 1:15:47.160 --> 1:15:48.759 original structure of the universe. 1:15:49.240 --> 1:15:51.599 Yeah, it is an interesting mythology. And again we get 1:15:51.600 --> 1:15:56.439 these statements about the necessary interconnectedness of the elements that 1:15:57.000 --> 1:16:00.280 come back in the very end as well. On the 1:16:00.320 --> 1:16:02.640 way to the castle, they've got to do battle with 1:16:02.640 --> 1:16:03.280 a swamp hag. 1:16:03.360 --> 1:16:03.479 Right. 1:16:03.520 --> 1:16:06.200 We brought a meg Mucklebones early on, played by Robert 1:16:06.240 --> 1:16:10.720 Piccardo in some amazing makeup and prosthetics or I don't 1:16:10.720 --> 1:16:12.840 know if there's puppetry involved in as well. 1:16:13.000 --> 1:16:15.000 It feels like it. There's feels like there's some sort 1:16:15.040 --> 1:16:19.400 of like a device that's moving him around at the base. 1:16:19.840 --> 1:16:22.880 Yeah. So it's like a big old Jenny Green teeth 1:16:22.880 --> 1:16:24.600 pops up out of the water and is going to 1:16:24.680 --> 1:16:28.679 eat Tom Cruise because she's like, you look delicious, and 1:16:28.800 --> 1:16:31.400 he starts trying to get out of it by flattering 1:16:31.439 --> 1:16:35.519 her beauty and she ends up saying, ooh, what a 1:16:35.560 --> 1:16:37.640 fine meal you'll make be the rest of you as 1:16:37.680 --> 1:16:38.839 sweet as your tongue. 1:16:39.439 --> 1:16:42.040 Oh and this scene, this scene is just so perfect, 1:16:42.080 --> 1:16:44.599 but just and I'm just to touch on like some 1:16:44.640 --> 1:16:47.160 of the little things that make it great. The scene 1:16:47.240 --> 1:16:52.439 where he has the resplendent golden shield up and Meg 1:16:52.720 --> 1:16:55.960 is like close to it, half seeing a reflection in it, 1:16:56.280 --> 1:16:59.760 and her nails are tapping against it, and there's all 1:17:00.040 --> 1:17:02.639 so there's the gleam of the shield and then also 1:17:02.680 --> 1:17:05.040 there's a little bit of her sliminess on it. So 1:17:05.080 --> 1:17:08.559 it's just like visually and just sonically too, that tapping. 1:17:08.840 --> 1:17:11.679 It's just got complete overload. It's just a tremendous scene, 1:17:11.760 --> 1:17:13.000 even in this small detail. 1:17:13.280 --> 1:17:13.519 Yeah. 1:17:13.640 --> 1:17:18.240 Yeah, So eventually Meg is decapitated and our heroes, you know, 1:17:18.479 --> 1:17:21.040 they go on their way into the Great Tree of Wickedness, 1:17:21.400 --> 1:17:24.120 where they quickly fall into a pit and end up 1:17:24.120 --> 1:17:28.320 trapped inside prison cells. Now they will get out of 1:17:28.360 --> 1:17:31.640 these eventually released by the Fairy Una after she reveals 1:17:31.680 --> 1:17:34.320 that she had abilities that even Gump did not know 1:17:34.400 --> 1:17:38.959 of before. She's interesting because she's one of the heroes, 1:17:39.000 --> 1:17:42.360 but she's capricious, you know, she doesn't want to be 1:17:42.400 --> 1:17:45.200 pinned down. She's like, I'll do what I want, and 1:17:45.640 --> 1:17:48.000 you know, just so happens that that turns out to 1:17:48.040 --> 1:17:51.200 be helping them sometimes. But she also wants Tom Cruise. 1:17:51.200 --> 1:17:54.280 By the way, yes, but while in this prison they 1:17:54.360 --> 1:17:57.919 meet the goblin Blunder who reveals he is not actually 1:17:57.960 --> 1:18:00.679 a goblin. He takes his helmet off and learned that 1:18:00.760 --> 1:18:03.160 he is one of the hidden folk of the forest 1:18:03.200 --> 1:18:06.200 and known to Screwball and Brown Tom. But I guess 1:18:06.240 --> 1:18:08.600 he sort of went astray and now he's back on 1:18:08.640 --> 1:18:11.760 the team. But unfortunately, right after they meet him and 1:18:12.720 --> 1:18:15.720 realize who he is, he gets snatched up by their 1:18:15.800 --> 1:18:19.360 jailers and the dungeon and taken away to be baked 1:18:19.479 --> 1:18:23.200 into a pie. Because this dungeon is right next to 1:18:23.880 --> 1:18:26.960 the kitchens of Hell. This set we need to talk 1:18:27.000 --> 1:18:31.000 about the hell kitchens. Here, there's this doctor Salvador prep 1:18:31.080 --> 1:18:34.240 table in this blood Bucket kitchen, where like right in 1:18:34.280 --> 1:18:39.080 the middle of the floor there are random fires burning, 1:18:39.760 --> 1:18:43.479 so it's like a barbecue preparation area attended by like 1:18:43.600 --> 1:18:45.200 bondage axe murderers. 1:18:46.040 --> 1:18:51.280 Yeah, they're like big ogres and execution hoods, just very 1:18:51.320 --> 1:18:55.439 physically intimidating. The fires are just raging, like just out 1:18:55.439 --> 1:18:59.920 of control levels of flame. It's like a delirious vision 1:18:59.920 --> 1:19:03.200 of hell, like a baroque mashup of Texas chainsaw massacre 1:19:03.560 --> 1:19:07.840 and a medieval wood cut. And they're also throughout like 1:19:07.880 --> 1:19:10.920 the last half or third of the picture. There are 1:19:10.920 --> 1:19:14.440 also just lots of creepy statues, Like there's a pazuzu 1:19:14.520 --> 1:19:17.960 statue from that pops up twice, I think, once in 1:19:18.000 --> 1:19:20.600 the swamp and then once in the depths of the 1:19:20.680 --> 1:19:25.000 underworld here. Sometimes those statues are actually alive and they move. 1:19:25.600 --> 1:19:29.920 So there's just a very rich, disturbing visual world down 1:19:29.960 --> 1:19:32.639 here in the hell. Kitchens are just yeah, absolutely terrifying. 1:19:33.040 --> 1:19:35.640 Now, there's also an extended series of scenes, a kind 1:19:35.680 --> 1:19:38.040 of drama here where after Lily is brought to the 1:19:38.080 --> 1:19:42.479 palace as a captive, Darkness decides that he wants to 1:19:42.560 --> 1:19:46.920 seduce her, and he's sort of instructed by this other voice, 1:19:47.040 --> 1:19:50.240 this kind of statue or other god speaking to him. 1:19:50.280 --> 1:19:53.720 I think it says, make her one of us, and 1:19:53.800 --> 1:19:57.680 so that's his goal. He wants to take the innocence 1:19:57.760 --> 1:20:01.200 of the princess and to make her evil as well, 1:20:01.240 --> 1:20:04.720 to bring her into the darkness and make her a creature. 1:20:04.360 --> 1:20:04.840 Of the night. 1:20:05.840 --> 1:20:08.479 You know, it's interesting that you look at this in Labyrinth, 1:20:08.520 --> 1:20:10.880 two films being made at the same time, next door 1:20:10.920 --> 1:20:14.040 to each other. They both have very similar elements in 1:20:14.080 --> 1:20:17.519 that you have a dark lord who is pleading with 1:20:17.840 --> 1:20:21.479 like trying to seduce and ultimately just offering to be 1:20:21.520 --> 1:20:24.680 subservient to a woman. He is in love with a 1:20:24.680 --> 1:20:30.040 mortal woman. And they I'm to understand that with Labyrinth too, 1:20:30.360 --> 1:20:32.360 they were they were aware of what was going on 1:20:32.400 --> 1:20:35.719 in Legend and made deliberate choices with Jareth the Goblin 1:20:35.920 --> 1:20:39.960 Goblin King to portray him in a less like overtly 1:20:39.960 --> 1:20:43.120 satanic manner and like finding a different sort of form 1:20:43.200 --> 1:20:45.640 for him. But it is interesting that, yeah, out of 1:20:45.680 --> 1:20:49.799 the same production timeline, you're getting like these two different 1:20:50.720 --> 1:20:55.040 I guess kind of like equally iconic versions of somebody's 1:20:55.200 --> 1:21:00.679 potential supernatural boyfriend, you know, from beyond the realm of mortals, 1:21:01.120 --> 1:21:02.960 you know. So it's like, ultimately, like who do you 1:21:03.000 --> 1:21:07.240 see yourself with on the dating show? Is it Darkness 1:21:06.920 --> 1:21:10.960 the Prince of Evil, or is it Jarret the Goblin King. 1:21:11.000 --> 1:21:13.479 I don't know, your preference may vary. 1:21:13.840 --> 1:21:17.040 But now Lily here goes through a transformation. At some 1:21:17.080 --> 1:21:19.599 point she gets a kind of spell cast on her 1:21:20.280 --> 1:21:24.120 while in the banquet hall of Darkness here, and she 1:21:24.280 --> 1:21:30.160 becomes Goth Lily. She like transforms to have this bizarre 1:21:30.479 --> 1:21:33.760 gown with like there's sort of this this we were 1:21:33.800 --> 1:21:39.320 talking about this big extending triangular hood or collar thing, 1:21:39.479 --> 1:21:41.559 and then like a big V cut in the middle 1:21:41.600 --> 1:21:44.719 of it, and her hair gets very stringy and dark, 1:21:44.760 --> 1:21:47.120 and she's got this, I don't know what you call it, 1:21:47.240 --> 1:21:52.240 the kind of a twiggy, twiggy black crown on her head. 1:21:52.640 --> 1:21:55.840 It's a it's a very strange and interesting look and 1:21:56.000 --> 1:21:59.719 props again to the costume designers there. But so there's 1:21:59.760 --> 1:22:02.800 like it's it's to symbolize that she has in a 1:22:03.000 --> 1:22:05.920 way had a spell cast over her, but she that 1:22:06.040 --> 1:22:09.000 doesn't mean she's been like hypnotized fully by the Lord 1:22:09.000 --> 1:22:11.240 of Darkness, because she's still not into him at this point. 1:22:11.280 --> 1:22:14.879 He's he's trying to make all these you know, seducing 1:22:14.960 --> 1:22:18.240 her to evil kind of moves, and she she's still 1:22:18.280 --> 1:22:21.000 screaming like no, I will do nothing for your pleasure. 1:22:22.040 --> 1:22:26.080 But in the end she does appear to make a turn. 1:22:26.520 --> 1:22:29.200 She says, Okay, I will stay with you here if 1:22:29.400 --> 1:22:33.559 you will grant me one thing. Let me be the 1:22:33.600 --> 1:22:36.559 one who cuts the throat of the last unicorn instead 1:22:36.560 --> 1:22:39.120 of you and Tim Curry. You could just see him. 1:22:39.120 --> 1:22:41.160 He's like, yes, yes. 1:22:41.040 --> 1:22:43.320 He's like this is exactly the sort of thing I'm 1:22:43.320 --> 1:22:45.439 into and I'm so glad you are into it as well. 1:22:45.920 --> 1:22:46.200 Yeah. 1:22:46.280 --> 1:22:49.040 But oh but before we get to that point, I 1:22:49.080 --> 1:22:52.080 have to talk about her brow though. Oh because yeah, yeah, 1:22:52.160 --> 1:22:56.240 because yeah, the costume of Goth Lily is amazing, you know, 1:22:56.400 --> 1:22:59.200 the makeup is amazing. But they make a seemingly very 1:22:59.240 --> 1:23:04.439 deliberate choice to narrow and nearly unify her brow. So 1:23:04.479 --> 1:23:09.120 she has this very sweek monobrow unibrow going on here 1:23:09.680 --> 1:23:12.439 in a way that is of course also very like 1:23:12.520 --> 1:23:15.320 beautiful and hot. Don't get me wrong, it is enough. 1:23:15.360 --> 1:23:18.280 It is like the kind of like stylized younibrow that 1:23:18.280 --> 1:23:20.920 can make you realize, you know, it is like maybe 1:23:20.920 --> 1:23:24.080 a silly cultural thing that some of us don't think 1:23:24.120 --> 1:23:26.559 brows should grow together, because here's proof that it can 1:23:26.600 --> 1:23:30.799 look really cool. But like, first they made this decision, 1:23:30.960 --> 1:23:33.960 and I wonder like how they talked about it behind 1:23:33.960 --> 1:23:36.200 the scenes, where they're like, I really think we need 1:23:36.240 --> 1:23:39.160 to give her a unibrow here, and like maybe people 1:23:39.200 --> 1:23:41.360 were doubtful and then they saw the results and they're like, no, 1:23:41.560 --> 1:23:44.479 you got it. This is exactly what God Lily needs. 1:23:44.720 --> 1:23:46.600 So the audience at this point may be left to 1:23:46.680 --> 1:23:51.080 wonder like, okay, has she fully been captured by the darkness? 1:23:51.560 --> 1:23:54.000 Does she want to kill the unicorn for real? But no, No, 1:23:54.080 --> 1:23:57.000 Lily has a plan, and Jack's about to get a 1:23:57.040 --> 1:24:00.320 plan too. Like the Jack and his friends. They've snuck 1:24:00.360 --> 1:24:03.120 into the palace and they're like peeking through a through 1:24:03.120 --> 1:24:06.240 a window and watching what's going on. And so Jack 1:24:06.280 --> 1:24:09.920 comes up with an idea that involves bringing light into 1:24:09.960 --> 1:24:11.920 the darkness. So they need to go gather a bunch 1:24:12.000 --> 1:24:14.760 of big shiny plates from the hell Kitchens, which have 1:24:14.840 --> 1:24:17.599 shiny plates for some reason, that they're going to use 1:24:17.680 --> 1:24:21.879 to create a series of reflector beams to bring sunlight 1:24:21.960 --> 1:24:24.719 from up above down into the darkness where it will 1:24:24.760 --> 1:24:27.080 destroy Tim Curry. 1:24:26.920 --> 1:24:27.639 Now on the way. 1:24:28.120 --> 1:24:30.599 At one point they get drawn into a fight with 1:24:30.720 --> 1:24:35.439 the Ogres and the hell Kitchen. I think they they 1:24:35.479 --> 1:24:38.559 beat them by like dumping out a big pot of broth. 1:24:39.439 --> 1:24:42.240 Unclear exactly how this fight is resolved. 1:24:41.760 --> 1:24:44.879 Here now, Yeah, I'm not sure either. But while it's happening, 1:24:44.880 --> 1:24:46.599 the fight is very cool. There's a lot of running 1:24:46.600 --> 1:24:49.439 around and jumping and dodging, and of course the set 1:24:49.520 --> 1:24:50.600 is amazing. 1:24:50.600 --> 1:24:52.720 And skipping over a few more things that go on 1:24:52.800 --> 1:24:54.360 in the Palace. Here it all leads up to this 1:24:54.439 --> 1:24:58.599 final confrontation where Lily and Darkness are down there with 1:24:58.640 --> 1:25:02.160 the last unicorn, and Lily is about to exercise her 1:25:02.200 --> 1:25:05.200 privilege to be the one to put an end to 1:25:05.320 --> 1:25:09.280 all goodness and bring on the forever night, and Jack 1:25:09.400 --> 1:25:12.400 and Honeythorn Gump are They've got the plans set up 1:25:12.439 --> 1:25:14.799 to bring the light in, and they're watching from above 1:25:14.920 --> 1:25:17.720 with bows drawn as this is about to happen, and 1:25:17.760 --> 1:25:20.080 Gump is saying, oh, no, she's going to kill the unicorn. 1:25:20.120 --> 1:25:23.240 You've got a stopper, Jack, But Jack says, no, I 1:25:23.320 --> 1:25:25.400 trust you, Lily, And so this is a sort of 1:25:25.439 --> 1:25:28.559 repeated idea that he puts his trust in her, and 1:25:28.640 --> 1:25:31.240 it was well placed because she in fact does not 1:25:31.479 --> 1:25:34.200 go through with hurting the unicorn. She instead cuts it 1:25:34.240 --> 1:25:37.800 free of its bindings, and then it kicks off a 1:25:37.840 --> 1:25:41.360 final action scene where Jack rushes in to fight the 1:25:41.400 --> 1:25:44.639 Lord of Darkness and put an end to this once 1:25:44.720 --> 1:25:49.519 and for all. The fight scene here, I'm of mixed 1:25:49.520 --> 1:25:53.360 opinions about it. It has some cool elements, something about 1:25:53.400 --> 1:25:56.280 it feels kind of thrown together in a way, but 1:25:56.479 --> 1:25:58.240 individual moments of it I like. 1:25:58.880 --> 1:26:01.559 Yeah, I think the thing I was most impressed by 1:26:01.840 --> 1:26:05.559 is that Darkness still feels like a cohesive entity here, 1:26:05.960 --> 1:26:08.519 despite the fact that we're suddenly seeing him move around 1:26:08.560 --> 1:26:11.320 a lot more like he's swinging a giant sword. He's 1:26:11.360 --> 1:26:14.479 like shooting fire from his fingertips and in one sequence 1:26:14.560 --> 1:26:18.120 like runs like charges like a bull at jack and 1:26:18.520 --> 1:26:21.439 sort of like pins into the wall and snarls at him. 1:26:22.680 --> 1:26:25.040 And I feel like like, if the effects were not 1:26:25.200 --> 1:26:29.520 just so on point here, either this wouldn't feel believable 1:26:29.680 --> 1:26:32.040 or we wouldn't see an attempt like this at all. 1:26:32.560 --> 1:26:35.559 Yeah, yeah, I agree. And he has some great dialogue 1:26:35.560 --> 1:26:37.720 in the scene too, like while they're fighting at one point, 1:26:37.840 --> 1:26:41.919 Darkness as every wolf suffers fleas 'tis easy enough to scratch. 1:26:43.240 --> 1:26:45.720 Oh and then at the final defeat, okay, so you know, 1:26:45.760 --> 1:26:48.840 they blow the doors open with the sunlight brought in 1:26:48.920 --> 1:26:51.800 through the maze of mirrors, and it shines a big 1:26:51.920 --> 1:26:55.080 ray of sunlight onto Darkness, which is a destructive It 1:26:55.200 --> 1:26:59.240 like unleashes this destructive gale upon him that blows him 1:26:59.240 --> 1:27:02.559 out through this big sort of aperture we've seen in 1:27:02.600 --> 1:27:04.400 the wall. There's like this gap in the wall that 1:27:04.479 --> 1:27:07.880 seems to lead out into space and the night we 1:27:08.000 --> 1:27:11.840 just see black and stars beyond it. And as he's 1:27:11.880 --> 1:27:14.320 being blown out, Darkness says, you think you have won? 1:27:14.479 --> 1:27:17.040 What is light without dark? What are you without me? 1:27:17.280 --> 1:27:19.200 I am a part of you all. You can never 1:27:19.240 --> 1:27:23.679 defeat me. We are brothers eternal. But he is seemingly defeated. 1:27:23.720 --> 1:27:27.519 He's blown out into space. And I just want to 1:27:27.520 --> 1:27:31.160 point out for comparison, So the villain of this movie 1:27:31.640 --> 1:27:34.280 is destroyed by being sucked out into space? How is 1:27:34.320 --> 1:27:37.000 the Starbeast defeated at the end of Alien, also by 1:27:37.080 --> 1:27:40.960 Ridley Scott from several years earlier, blown out the airlock. 1:27:41.120 --> 1:27:43.880 Both of these movies end with the villain being the 1:27:43.920 --> 1:27:46.679 villain nor the monster being blown out into space. 1:27:47.000 --> 1:27:51.840 That's also how Gladiator defeated Emperor Commitists in that movie, 1:27:51.920 --> 1:27:53.960 right just out through the airlock. You know. 1:27:54.040 --> 1:27:57.000 Strangely, I would say, Thelma and Louise does have an 1:27:57.080 --> 1:27:59.080 almost kind of out into space ending. 1:27:59.560 --> 1:28:02.680 That's true, Yeah, like into the void. I guess you 1:28:02.720 --> 1:28:03.679 could say. Yeah. 1:28:03.800 --> 1:28:06.720 Now, after the evil is defeated, the unicorn is all right. 1:28:07.080 --> 1:28:10.120 Somehow we see the other unicorn revived, so now they're 1:28:10.120 --> 1:28:14.040 both okay. The Supernatural Winter ends, Lily is freed and 1:28:14.360 --> 1:28:17.320 everything can go back to normal. I think depending on 1:28:17.400 --> 1:28:20.280 which cut of the film you are seeing, there'll be 1:28:20.320 --> 1:28:22.360 a slightly different ending. There might be one where it 1:28:22.400 --> 1:28:24.960 seems like they're going to get married or something. I 1:28:25.000 --> 1:28:28.759 think there is one ending where we hear Darkness laughing 1:28:28.960 --> 1:28:32.920 after the happy ending, suggesting, oh, he's actually coming back. 1:28:33.479 --> 1:28:38.439 The ending of the director's cuts has them coming to 1:28:38.520 --> 1:28:43.919 a kind of bittersweet agreement where Jack and Lily conclude 1:28:43.920 --> 1:28:47.320 that Jack can't really be part of Lily's world, that 1:28:47.439 --> 1:28:50.120 he is going to have to stay in the forest. 1:28:50.520 --> 1:28:52.639 But she says, can I come visit you every day? 1:28:52.680 --> 1:28:54.479 And he says yes, all right. 1:28:54.520 --> 1:28:57.320 I guess this getting into the the basic thesis statement 1:28:57.439 --> 1:29:00.679 that our heroes are going to have to embrace darkness 1:29:00.800 --> 1:29:02.240 and light, that they're going to have to find some 1:29:02.400 --> 1:29:05.719 balance of things, and that maybe, like the ideal happy 1:29:05.800 --> 1:29:09.400 ending isn't really in the cards. But I don't know. 1:29:09.479 --> 1:29:12.000 But then I don't know. Especially in the US theatrical cut, 1:29:12.040 --> 1:29:15.280 it does feel a lot more good conquers everything, you know, 1:29:15.360 --> 1:29:18.639 good over evil, And then we can't argue with those songs. 1:29:18.640 --> 1:29:22.040 We're hit first with that tangerine dream vocal track, and 1:29:22.080 --> 1:29:24.880 then we get your love? Is your love strong enough? 1:29:25.120 --> 1:29:27.800 And the answer is yes, clearly, the answer is yes 1:29:27.880 --> 1:29:32.200 a million times. Yes, love is absolutely strong enough? 1:29:32.680 --> 1:29:35.720 Is your love strong enough to turn the world into garbage? 1:29:35.880 --> 1:29:37.759 One great big mountain of slop? 1:29:39.880 --> 1:29:43.759 All right, Well there you have it legend from Ridley Scott. 1:29:44.400 --> 1:29:46.320 I'd be very interested to hear what everyone out there 1:29:46.320 --> 1:29:48.040 has to say about this film, like it, did you 1:29:48.080 --> 1:29:51.040 see it? What version did you initially see? And what 1:29:51.080 --> 1:29:54.080 were your impressions? And has it grown on you over 1:29:54.080 --> 1:29:56.800 the years, like again, like it's a film that had 1:29:57.000 --> 1:30:00.000 such an impact on me, like visually that it's always 1:30:00.160 --> 1:30:02.439 stuck with me. But it's also a film that I 1:30:02.479 --> 1:30:04.560 always come back to and realize that Hell, you know, 1:30:04.600 --> 1:30:06.600 it's a little rough around the edges in the in 1:30:06.640 --> 1:30:10.080 the end, but you know it's it's definitely developed its 1:30:10.080 --> 1:30:12.800 own cult following and has become iconic in its own right. 1:30:13.240 --> 1:30:16.360 I can't deny there's something about it that just doesn't 1:30:16.439 --> 1:30:18.559 quite come together. And yet I'm not going to get 1:30:18.600 --> 1:30:20.759 rid of my copy. I know I'm gonna be watching 1:30:20.800 --> 1:30:21.200 it again. 1:30:22.040 --> 1:30:23.679 Yeah, this is a great one to put on. I've 1:30:23.720 --> 1:30:25.720 played this one before, just in the background with other 1:30:25.840 --> 1:30:27.920 music on top of it, and it's always a delight. 1:30:28.280 --> 1:30:29.000 Yeah. 1:30:29.080 --> 1:30:30.559 All right, Well, we're going to go and close out 1:30:30.560 --> 1:30:33.320 this episode of Weird House Cinema, but we'll be back 1:30:33.479 --> 1:30:36.400 with the future installments, which air on Fridays in the 1:30:36.439 --> 1:30:38.360 Stuff to Blow Your Mind podcast feed. If you want 1:30:38.400 --> 1:30:39.920 to see a full list of the movies we've covered 1:30:39.920 --> 1:30:42.280 over the years for Weird House Cinema, go to letterbox 1:30:42.320 --> 1:30:43.840 dot com. It's l E T T E R B 1:30:43.920 --> 1:30:46.160 O x D dot com. You'll find us on there. 1:30:46.200 --> 1:30:48.479 Our user name is weird House and there's a list 1:30:48.520 --> 1:30:50.479 of all the films we've covered and sometimes a peek 1:30:50.520 --> 1:30:53.479 ahead at what's coming up next. Also, if you're on Instagram, 1:30:53.520 --> 1:30:56.320 go to st b ym podcast. That's the Stuff to 1:30:56.320 --> 1:30:59.920 Blow Your Mind podcast channel handle and you'll get updates 1:31:00.160 --> 1:31:00.519 as well. 1:31:01.040 --> 1:31:04.759 Huge thanks as always to our excellent audio producer JJ Posway. 1:31:05.200 --> 1:31:06.720 If you would like to get in touch with us 1:31:06.720 --> 1:31:09.200 with feedback on this episode or any other, to suggest 1:31:09.240 --> 1:31:11.160 a topic for the future, or just to say hello, 1:31:11.320 --> 1:31:13.920 you can email us at contact at stuffed blow your 1:31:13.960 --> 1:31:21.360 Mind dot com. 1:31:21.479 --> 1:31:24.439 Stuff to Blow Your Mind is production of iHeartRadio. For 1:31:24.520 --> 1:31:27.320 more podcasts from my heart Radio, visit the iHeartRadio app, 1:31:27.479 --> 1:31:30.240 Apple podcasts, or wherever you listen to your favorite shows.