1 00:00:01,000 --> 00:00:03,880 Speaker 1: Dear listeners of Hollywood Land, does it feel like you're 2 00:00:03,880 --> 00:00:07,120 Speaker 1: stuck in limbo standing under a flickering street light at 3 00:00:07,160 --> 00:00:09,880 Speaker 1: the corner of Hollywood and True Crime, waiting for the 4 00:00:09,920 --> 00:00:13,159 Speaker 1: next episode of hollywood Land to drop. I got you. 5 00:00:13,960 --> 00:00:29,120 Speaker 1: Welcome to hollywood Land, the Rap Party. Welcome everybody to 6 00:00:29,160 --> 00:00:31,920 Speaker 1: another bonus episode of hollywood Land. You know what time 7 00:00:31,960 --> 00:00:34,320 Speaker 1: it is, It's time for the rap Party. This is 8 00:00:34,360 --> 00:00:36,320 Speaker 1: the show that gets you from one full episode of 9 00:00:36,320 --> 00:00:39,040 Speaker 1: hollywood Land to the next, the place where we don't 10 00:00:39,040 --> 00:00:41,520 Speaker 1: believe that history has to be boring, not one bit man, 11 00:00:41,760 --> 00:00:44,440 Speaker 1: especially when the stories were interested in. The stories from 12 00:00:44,440 --> 00:00:48,080 Speaker 1: movie history intersect so dramatically and so shockingly with the 13 00:00:48,080 --> 00:00:50,600 Speaker 1: world true crime. So get in here with me as 14 00:00:50,600 --> 00:00:53,040 Speaker 1: we sift through all these spliced up pieces of truth 15 00:00:53,240 --> 00:00:56,200 Speaker 1: and myth left on the cunning room floor. My name 16 00:00:56,240 --> 00:00:59,600 Speaker 1: is Zeth Lundy, writer at Double Elvis, showrunner for hollywood Land, 17 00:00:59,680 --> 00:01:02,160 Speaker 1: and on bonus episode, we are talking about this week's 18 00:01:02,200 --> 00:01:06,240 Speaker 1: full episode subject Carrie Fisher. We are previewing next week's 19 00:01:06,240 --> 00:01:09,760 Speaker 1: episode on Johnny Depp. We're talking movie and music recommendations, 20 00:01:09,760 --> 00:01:12,360 Speaker 1: and of course we're gonna check out your voicemails your text, 21 00:01:12,480 --> 00:01:29,120 Speaker 1: DMS and emails. So come on, everybody, let's party. Okay. 22 00:01:29,120 --> 00:01:32,600 Speaker 1: This week we are celebrating the badass Carrie Fisher. That's 23 00:01:32,600 --> 00:01:36,680 Speaker 1: what our full episode is about. Truly one of cinema's 24 00:01:36,760 --> 00:01:41,840 Speaker 1: pre eminent badasses. She is not only badass, she is iconic. 25 00:01:42,520 --> 00:01:45,080 Speaker 1: She's Princess Leah for crying out loud, all right. I 26 00:01:45,160 --> 00:01:48,320 Speaker 1: had the action figure. I was there. I've got the receipts. 27 00:01:48,360 --> 00:01:51,080 Speaker 1: I no longer have the action figure, but I did 28 00:01:51,120 --> 00:01:53,400 Speaker 1: have the action figure at one point, along with Luke 29 00:01:53,920 --> 00:01:57,040 Speaker 1: and Hahn and all those other minor characters that I 30 00:01:57,160 --> 00:02:01,200 Speaker 1: forgot all the names. At this point, Matt would know 31 00:02:01,240 --> 00:02:04,559 Speaker 1: their names. Matt Bowden here at Double Elvis, I believe 32 00:02:04,560 --> 00:02:06,320 Speaker 1: he would know some of these, some of these names. 33 00:02:06,320 --> 00:02:08,240 Speaker 1: But I'd still have one of these guys. I used 34 00:02:08,240 --> 00:02:09,880 Speaker 1: to have them all. By the way, they were in 35 00:02:09,880 --> 00:02:13,320 Speaker 1: this carrying case. It was shaped like Darth Vader's helmet. 36 00:02:13,600 --> 00:02:17,280 Speaker 1: It's pretty. It was peak toy collecting, you know, cirk 37 00:02:17,360 --> 00:02:21,640 Speaker 1: On nineteen eighty three, nineteen eighty four, whenever this was 38 00:02:21,800 --> 00:02:24,320 Speaker 1: no it had to be earlier than that, early eighties. 39 00:02:24,880 --> 00:02:27,680 Speaker 1: So they were all in this carrying case that was 40 00:02:27,680 --> 00:02:30,520 Speaker 1: shaped like Vader's helmet, and my mom I think eventually 41 00:02:30,600 --> 00:02:32,639 Speaker 1: gave them away to other kids when I outgrew them. 42 00:02:33,160 --> 00:02:37,040 Speaker 1: But I still have one of these characters that I 43 00:02:37,080 --> 00:02:39,480 Speaker 1: don't know their name is. It might be some dude 44 00:02:39,480 --> 00:02:43,240 Speaker 1: from job As Barge or maybe it's from the Joba's Palace, 45 00:02:43,440 --> 00:02:46,840 Speaker 1: could even be Cloud City, I forget. But he's randomly 46 00:02:46,919 --> 00:02:48,840 Speaker 1: like standing on one of the mantles in my house 47 00:02:48,880 --> 00:02:52,120 Speaker 1: here along with like next to other random stuff, which 48 00:02:52,200 --> 00:02:54,320 Speaker 1: is kind of funny, but it's literally like one of 49 00:02:54,400 --> 00:02:57,079 Speaker 1: the only things from my childhood that I have somehow 50 00:02:57,160 --> 00:02:59,119 Speaker 1: is survived this whole time, and I'm not sure why, 51 00:02:59,160 --> 00:03:01,600 Speaker 1: and I'm not sure why him. There must be a 52 00:03:01,639 --> 00:03:07,680 Speaker 1: reason why the universe must want this strange, random character 53 00:03:07,720 --> 00:03:10,920 Speaker 1: whose name I escapes me at all times. The universe 54 00:03:10,960 --> 00:03:13,000 Speaker 1: must want this in my life for some reason. So 55 00:03:13,040 --> 00:03:16,320 Speaker 1: there it is. My point is, when I think about 56 00:03:16,360 --> 00:03:21,000 Speaker 1: Carrie Fisher, my mind immediately not only goes to Star Wars, 57 00:03:21,080 --> 00:03:23,400 Speaker 1: but it just goes to my childhood. She was such 58 00:03:23,440 --> 00:03:28,600 Speaker 1: an iconic force unintended in my life at the time, 59 00:03:29,280 --> 00:03:31,679 Speaker 1: and you know, for gen X kids like me of 60 00:03:31,720 --> 00:03:35,960 Speaker 1: a certain age growing up late seventies, early eighties. You know, 61 00:03:37,000 --> 00:03:39,280 Speaker 1: it goes without saying that the outfit she wore throughout 62 00:03:39,280 --> 00:03:41,880 Speaker 1: the Star Wars films are imprinted on our psyches as well. 63 00:03:41,880 --> 00:03:43,840 Speaker 1: And look, I just had to mention it and get 64 00:03:43,840 --> 00:03:45,920 Speaker 1: it out of the way, if you know, you know, Okay, 65 00:03:46,280 --> 00:03:50,080 Speaker 1: what many did not know about Carrie Fisher something I 66 00:03:50,120 --> 00:03:52,520 Speaker 1: did not know about Carry Fisher for a very long time. 67 00:03:52,840 --> 00:03:54,680 Speaker 1: And this is something we didn't even cover in our 68 00:03:54,720 --> 00:03:56,880 Speaker 1: full episode. There was so much other stuff to talk about. 69 00:03:57,400 --> 00:04:01,000 Speaker 1: But beyond being a badass screen presence, she was a 70 00:04:01,240 --> 00:04:05,880 Speaker 1: She was like this clandestine script doctor working behind the scenes, 71 00:04:06,600 --> 00:04:11,320 Speaker 1: and she helped up the scripts for a number of really, 72 00:04:11,360 --> 00:04:15,760 Speaker 1: really popular movies, starting with Star Wars. The first Star 73 00:04:15,760 --> 00:04:18,960 Speaker 1: Wars A New Hope back in nineteen seventy seven, which 74 00:04:19,120 --> 00:04:21,200 Speaker 1: was I think only her second film at the time. 75 00:04:21,880 --> 00:04:25,360 Speaker 1: But she's working with George Lucas, and George Lucas, you know, 76 00:04:25,480 --> 00:04:29,279 Speaker 1: obviously at the time a visionary of someone who was 77 00:04:29,279 --> 00:04:32,000 Speaker 1: doing something that hadn't been done before, doing a lot 78 00:04:32,040 --> 00:04:33,920 Speaker 1: of things right, but apparently one of the things he 79 00:04:33,960 --> 00:04:37,400 Speaker 1: could not do very well was write dialogue. And Carrie Fisher, 80 00:04:37,920 --> 00:04:41,800 Speaker 1: the preeminent badass that she was, even then called him 81 00:04:41,800 --> 00:04:45,800 Speaker 1: out for his shitty dialogue and said, give me the 82 00:04:45,800 --> 00:04:48,920 Speaker 1: script and I'm going to rewrite it. So she rewrote 83 00:04:49,040 --> 00:04:51,560 Speaker 1: a lot of the dialogue that Princess Leiah says, and 84 00:04:52,160 --> 00:04:54,760 Speaker 1: possibly some other characters as well. And knowing this now 85 00:04:54,839 --> 00:04:58,600 Speaker 1: and thinking back on it, and just knowing Carrie Fisher's 86 00:04:58,640 --> 00:05:03,760 Speaker 1: sense of humor and her style, I wonder if you 87 00:05:03,760 --> 00:05:06,440 Speaker 1: know Empire and the Empire Strikes Back has that classic 88 00:05:06,960 --> 00:05:10,600 Speaker 1: back and forth between Leia and Han where Leah says 89 00:05:10,600 --> 00:05:12,760 Speaker 1: I love you and then Han's response is I know. 90 00:05:13,640 --> 00:05:16,360 Speaker 1: I wonder if she wrote that line, because it strikes 91 00:05:16,360 --> 00:05:20,479 Speaker 1: me as a very very very much up Carrie Fisher's 92 00:05:20,520 --> 00:05:23,120 Speaker 1: alley as far as humor is concerned. Anyway. So the 93 00:05:23,120 --> 00:05:25,640 Speaker 1: Star Wars movies happened, and then she published her memoir 94 00:05:26,320 --> 00:05:30,000 Speaker 1: Postcards from the Edge in nineteen eighty seven, which was 95 00:05:30,279 --> 00:05:32,640 Speaker 1: sort of ahead of its time in a way. I 96 00:05:32,640 --> 00:05:35,480 Speaker 1: think probably a lot some actors have published memoirs by them, 97 00:05:35,520 --> 00:05:38,920 Speaker 1: but it wasn't really you know, nowadays, it seems like 98 00:05:38,960 --> 00:05:42,160 Speaker 1: everyone eventually publishes their memoirs, and maybe just a lot 99 00:05:42,200 --> 00:05:44,320 Speaker 1: of these actors who were interested in doing this sort 100 00:05:44,320 --> 00:05:46,400 Speaker 1: of thing of this generation just weren't old enough yet 101 00:05:46,440 --> 00:05:48,599 Speaker 1: to do it, but she was sort of ahead of 102 00:05:48,640 --> 00:05:50,160 Speaker 1: the curve on that. And I remember when that came 103 00:05:50,200 --> 00:05:53,040 Speaker 1: out and what a big deal it was that Carrie Fisher, 104 00:05:53,120 --> 00:05:56,799 Speaker 1: Princess Leah in nineteen eighty seven, wrote this book about 105 00:05:56,800 --> 00:05:59,440 Speaker 1: how fucked up and crazy her life had been. But 106 00:05:59,480 --> 00:06:02,599 Speaker 1: people in Hollywood read it, they really reacted to it. Wow, 107 00:06:02,680 --> 00:06:04,479 Speaker 1: she really can write, you know. And then this led 108 00:06:04,480 --> 00:06:08,160 Speaker 1: to her doing all these uncredited rewrites on scripts for 109 00:06:08,360 --> 00:06:12,240 Speaker 1: movies like Hook, Steven Spielberg's Peter Pan movie. She rewrote 110 00:06:12,600 --> 00:06:16,120 Speaker 1: stuff for Sister Act for Last Action Hero for The 111 00:06:16,120 --> 00:06:19,760 Speaker 1: Wedding Singer. She apparently helped flesh out Drew Barrymore's character 112 00:06:19,800 --> 00:06:23,800 Speaker 1: for that script. She worked on once again, Star Wars 113 00:06:23,839 --> 00:06:26,240 Speaker 1: the Prequels episodes one and two, Phantom Menace An Attack 114 00:06:26,279 --> 00:06:30,120 Speaker 1: of the Clones, which listen, Carrie, I feel you. I 115 00:06:30,160 --> 00:06:32,880 Speaker 1: would not want my name on those movies as well. 116 00:06:33,120 --> 00:06:37,080 Speaker 1: I would just take the money and run right. She 117 00:06:37,200 --> 00:06:40,560 Speaker 1: also worked on Intolerable Cruelty, the script for that before 118 00:06:40,680 --> 00:06:43,039 Speaker 1: it landed in the lapse of the Coen Brothers, who 119 00:06:43,120 --> 00:06:45,800 Speaker 1: of course worked on it some more. And then her 120 00:06:45,800 --> 00:06:49,279 Speaker 1: final movie that she made before she died was Star 121 00:06:49,320 --> 00:06:52,520 Speaker 1: Wars The Last Jedi, and she worked on that script 122 00:06:52,560 --> 00:06:56,000 Speaker 1: as well. And actually, the director Ryan Johnson later said, quote, 123 00:06:56,000 --> 00:06:58,359 Speaker 1: I would sit down with her and after an hour, 124 00:06:58,440 --> 00:07:01,320 Speaker 1: I would have filled up pages and is writing down 125 00:07:01,360 --> 00:07:04,200 Speaker 1: the notes in one liners that she would pitch unquote. 126 00:07:04,320 --> 00:07:08,520 Speaker 1: It's fascinating, this fascinating side career that I really didn't 127 00:07:08,560 --> 00:07:11,760 Speaker 1: know existed until recently. And it made me think about 128 00:07:11,960 --> 00:07:16,360 Speaker 1: some of these other you know, directors, writers, actors, people 129 00:07:16,400 --> 00:07:21,239 Speaker 1: who have helped doctors scripts behind the scenes. The first 130 00:07:21,240 --> 00:07:25,520 Speaker 1: one that came to my mind was Quentin Tarantino, who 131 00:07:25,560 --> 00:07:30,960 Speaker 1: famously rewrote dialogue for Crimson Tide. But as I did 132 00:07:31,000 --> 00:07:33,320 Speaker 1: a little bit of research for this episode, I found 133 00:07:33,360 --> 00:07:36,960 Speaker 1: out that he allegedly also rewrote the script for It's 134 00:07:37,040 --> 00:07:41,680 Speaker 1: Pat the movie. It's Pat the Movie, the Saturday Night 135 00:07:41,720 --> 00:07:45,840 Speaker 1: Live spin off movie, which was a flop. Apparently Quentin 136 00:07:45,920 --> 00:07:50,640 Speaker 1: Tarantino helped rewrite that script. Now I gotta go track 137 00:07:50,680 --> 00:07:52,400 Speaker 1: this thing down and watch it and see if I 138 00:07:52,480 --> 00:07:56,240 Speaker 1: get sense his style in there anywhere. But some other 139 00:07:56,640 --> 00:07:59,720 Speaker 1: directors and writers and actors I learned in this research 140 00:07:59,760 --> 00:08:03,560 Speaker 1: who had done this sort of secret script doctor include 141 00:08:04,040 --> 00:08:07,680 Speaker 1: Charlie Kaufman, the brilliant writer behind movies like Being John 142 00:08:07,680 --> 00:08:12,040 Speaker 1: Malkovich adaptation Eternal Sunshine of the Spotless Mind. Apparently he 143 00:08:12,080 --> 00:08:15,840 Speaker 1: did a rewrite for Kung Fu Panda two, and then 144 00:08:16,240 --> 00:08:21,520 Speaker 1: n Night Shyamalan allegedly rewrote She's All That, the nineties 145 00:08:21,560 --> 00:08:26,840 Speaker 1: era teen comedy. Kevin Smith rewrote dialogue for Coyote Ugly. Okay, 146 00:08:26,840 --> 00:08:28,960 Speaker 1: I can see that that would make sense that they 147 00:08:28,960 --> 00:08:31,720 Speaker 1: bring in someone like Kevin Smith to rewrite dialogue. But 148 00:08:32,160 --> 00:08:34,480 Speaker 1: but n Night Shamalan on She's All That, and Charlie 149 00:08:34,520 --> 00:08:38,000 Speaker 1: kaff Kung Fu Bandit too, or just like blowing my 150 00:08:38,080 --> 00:08:41,640 Speaker 1: mind here, Let me know if you know of any 151 00:08:41,720 --> 00:08:47,199 Speaker 1: other directors, actors, writers who have secretly written or rewritten 152 00:08:47,200 --> 00:08:49,360 Speaker 1: scripts behind the scenes. Give me a call or send 153 00:08:49,400 --> 00:08:51,800 Speaker 1: me a text at six one seven nine oh six 154 00:08:52,000 --> 00:08:55,760 Speaker 1: six six three eight and let me know. Now, I'm 155 00:08:55,760 --> 00:08:58,120 Speaker 1: gonna jump ahead here on engagement for a second. Typically 156 00:08:58,120 --> 00:09:01,200 Speaker 1: I wait until the next block to to engage with 157 00:09:01,240 --> 00:09:05,079 Speaker 1: all y'all. But it just so happens that where I've 158 00:09:05,080 --> 00:09:07,480 Speaker 1: had Carrie Fisher on the brain here this week, it 159 00:09:07,480 --> 00:09:10,280 Speaker 1: also means that naturally I have the Blues Brothers on 160 00:09:10,320 --> 00:09:14,559 Speaker 1: the brain because she, of course has a tremendous small 161 00:09:14,800 --> 00:09:17,440 Speaker 1: role in the Blues Brothers as one of the many 162 00:09:17,480 --> 00:09:22,199 Speaker 1: people who are chasing Jake and Elwood Blues throughout the movie. 163 00:09:22,280 --> 00:09:27,200 Speaker 1: She of course is Juliet, Jake's jilted ex girlfriend who 164 00:09:27,400 --> 00:09:30,160 Speaker 1: tries to blow him up with a rocket launcher Bazooka. 165 00:09:31,320 --> 00:09:35,199 Speaker 1: Just incredible stuff. Incredible stuff. So anyways, so when I 166 00:09:35,200 --> 00:09:37,079 Speaker 1: think about Carry Fisher, I think about Star Wars, yes, 167 00:09:37,080 --> 00:09:38,920 Speaker 1: but I also think about The Blues Brothers because I 168 00:09:38,960 --> 00:09:41,080 Speaker 1: just love that role and I love that movie. And 169 00:09:41,120 --> 00:09:44,480 Speaker 1: then I think about car Chases, and simultaneously, here our 170 00:09:44,480 --> 00:09:47,800 Speaker 1: guy Justin out there. Shout out to Justin, he just 171 00:09:47,840 --> 00:09:50,600 Speaker 1: happened to send me his list of his top ten 172 00:09:50,760 --> 00:09:54,240 Speaker 1: car chase movies. I forget what prompted this, but listen 173 00:09:55,160 --> 00:09:57,760 Speaker 1: the fact that the universe align these things. That I'm 174 00:09:57,760 --> 00:10:00,040 Speaker 1: thinking about Carrie Fisher, and then I'm thinking about he 175 00:10:00,120 --> 00:10:01,840 Speaker 1: was Brothers in Car Chases, and then Justin senting me 176 00:10:01,880 --> 00:10:04,480 Speaker 1: this car chase stuff. It's like it all seemed like 177 00:10:04,520 --> 00:10:07,400 Speaker 1: it was meant to be. So I wanted to sort 178 00:10:07,400 --> 00:10:10,920 Speaker 1: of do a quick little diversion here into Justin's list 179 00:10:11,000 --> 00:10:13,120 Speaker 1: of top ten car Chase movies, and I'm going to 180 00:10:13,160 --> 00:10:16,320 Speaker 1: read them now in reverse order that he sent them. Okay, 181 00:10:17,280 --> 00:10:19,400 Speaker 1: So here we go, Real Quick, Number ten, Eat My 182 00:10:19,600 --> 00:10:23,200 Speaker 1: Dust from nineteen seventy six starring Ron Howard, number nine, 183 00:10:23,440 --> 00:10:27,480 Speaker 1: Dirty Mary, Crazy Larry from seventy four starring Peter Fonda. 184 00:10:27,800 --> 00:10:31,280 Speaker 1: Number eight, The Seven Ups from nineteen seventy three, number seven, 185 00:10:31,400 --> 00:10:34,880 Speaker 1: The Driver from nineteen seventy eight with Ryan O'Neill, Number six, 186 00:10:35,000 --> 00:10:38,480 Speaker 1: The French Connection from nineteen seventy one starring Gene Hackman, 187 00:10:39,600 --> 00:10:42,960 Speaker 1: Number five, Vanishing Point nineteen seventy one with Barry Newman. 188 00:10:43,400 --> 00:10:46,360 Speaker 1: Number four, Mad Max from seventy nine with Mel Gibson. 189 00:10:46,960 --> 00:10:49,920 Speaker 1: Numbers three Gone in sixty Seconds, not the remake, but 190 00:10:49,920 --> 00:10:53,080 Speaker 1: the original from nineteen seventy four, Number two, Smoky in 191 00:10:53,160 --> 00:10:56,720 Speaker 1: the Bandit nineteen seventy seven, the Year Punk Broke, and 192 00:10:57,200 --> 00:11:01,079 Speaker 1: number one Bullet from nineteen sixty eight, of course, starring 193 00:11:01,120 --> 00:11:04,840 Speaker 1: Steve McQueen. Now justin included a little PostScript here at 194 00:11:04,880 --> 00:11:08,160 Speaker 1: the end, saying, also, huge brain fart, I forgot the 195 00:11:08,160 --> 00:11:11,760 Speaker 1: godfather of Car Chase movies, The Blues Brothers. Yeah you did, 196 00:11:11,800 --> 00:11:13,480 Speaker 1: my man, but it's okay because you made up for it. 197 00:11:13,520 --> 00:11:15,160 Speaker 1: At the end there you give it the honorable mention 198 00:11:16,120 --> 00:11:20,080 Speaker 1: that it deserves. Yeah. Look, it's my opinion here. You've 199 00:11:20,080 --> 00:11:22,240 Speaker 1: got Bullet here at number one, and that's fair because 200 00:11:22,640 --> 00:11:25,240 Speaker 1: Bullet's known for the car chase. But in my humble opinion, 201 00:11:25,880 --> 00:11:31,040 Speaker 1: the French Connection has the better car chase. That's the iconic, 202 00:11:31,160 --> 00:11:34,520 Speaker 1: the platonic ideal for car chase or whatever. It doesn't 203 00:11:34,520 --> 00:11:37,079 Speaker 1: have the better car, and I think that helps Bullet's case. 204 00:11:37,640 --> 00:11:40,480 Speaker 1: But the chase itself is just I think is just 205 00:11:40,520 --> 00:11:42,679 Speaker 1: shot better in the French Connection. It is far more 206 00:11:42,679 --> 00:11:46,000 Speaker 1: white knuckled for my taste. And then I love the 207 00:11:46,040 --> 00:11:49,000 Speaker 1: Mad Max pick here though, if we can broadly consider 208 00:11:49,200 --> 00:11:52,320 Speaker 1: all of those movies car chase movies, I would probably 209 00:11:52,360 --> 00:11:56,800 Speaker 1: pick Mad Max Fury Road as my favorite. Smokey famously 210 00:11:57,400 --> 00:12:00,319 Speaker 1: no plot I'll Chase the Driver that I spend on 211 00:12:00,360 --> 00:12:01,839 Speaker 1: my list for a long time to see. I got 212 00:12:01,840 --> 00:12:04,319 Speaker 1: to see this in a lot of these movies. Justin again, 213 00:12:05,000 --> 00:12:06,600 Speaker 1: I thank you. I've not seen these and so I 214 00:12:06,640 --> 00:12:09,760 Speaker 1: need to still dig into some of these. Adjacent to 215 00:12:09,760 --> 00:12:12,160 Speaker 1: all this too, there's this movie out there called two 216 00:12:12,240 --> 00:12:17,280 Speaker 1: Lane Blacktop from nineteen seventy one. I believe that I've 217 00:12:17,320 --> 00:12:19,360 Speaker 1: wanted to see for a very long time, but it's 218 00:12:19,400 --> 00:12:22,240 Speaker 1: not streaming anywhere. I don't know what the deal is. 219 00:12:22,240 --> 00:12:24,800 Speaker 1: I don't even know if it's available on Blu Ray 220 00:12:24,880 --> 00:12:27,120 Speaker 1: or DVD or whatever. I don't think it's a car 221 00:12:27,240 --> 00:12:29,160 Speaker 1: Chase movie per se, but it's a car movie, it's 222 00:12:29,200 --> 00:12:31,520 Speaker 1: a road movie, and it stars. This is why I 223 00:12:31,559 --> 00:12:33,560 Speaker 1: want to see it stars. It's from nineteen seventy one. 224 00:12:33,600 --> 00:12:37,840 Speaker 1: It stars James Taylor and Dennis Wilson along with Warren Oates. 225 00:12:38,160 --> 00:12:42,040 Speaker 1: JT is just his characters, the driver and Dennis Wilson 226 00:12:42,120 --> 00:12:46,280 Speaker 1: is the mechanic. And in April nineteen seventy one cover 227 00:12:46,360 --> 00:12:49,720 Speaker 1: story in Esquire magazine, they called it the movie of 228 00:12:49,720 --> 00:12:52,959 Speaker 1: the year. Roger Ebert gave it three out of four stars. 229 00:12:53,640 --> 00:12:56,160 Speaker 1: So why can I not see this movie? Who has 230 00:12:56,200 --> 00:12:59,840 Speaker 1: seen it? Any of you? Have you seen two Lame Black? 231 00:13:00,280 --> 00:13:02,559 Speaker 1: Is it worth hunting down? Am I just gonna be disappointed? 232 00:13:02,760 --> 00:13:04,760 Speaker 1: After building this all up? I want to see JT 233 00:13:05,520 --> 00:13:08,680 Speaker 1: screaming down the road in some hot rod. Let me 234 00:13:08,760 --> 00:13:12,000 Speaker 1: know six one seven nine oh six six six three eight. 235 00:13:13,040 --> 00:13:17,160 Speaker 1: You can also hit me up at disgracelampod at gmail 236 00:13:17,280 --> 00:13:21,080 Speaker 1: dot com. You can go to Instagram, to Facebook, send 237 00:13:21,120 --> 00:13:24,840 Speaker 1: a message there at disgracelam pod. Let me know about 238 00:13:24,840 --> 00:13:27,280 Speaker 1: two Lane Blacktop. Let me know about car Chase movies. 239 00:13:27,440 --> 00:13:29,640 Speaker 1: Are there Car Chase movies that were not on Justin's 240 00:13:29,640 --> 00:13:32,080 Speaker 1: list that deserve to be in the top five of 241 00:13:32,080 --> 00:13:35,000 Speaker 1: the top ten? Let us know. Hey, tight, I'm gonna 242 00:13:35,000 --> 00:13:36,560 Speaker 1: take a quick break and I'm gonna be right back. 243 00:13:51,160 --> 00:13:54,520 Speaker 1: Oh right, Welcome back to the Wrap Party, your weekly 244 00:13:54,559 --> 00:13:58,079 Speaker 1: bonus episode of the Hollywood Lamb Podcast. And I want 245 00:13:58,120 --> 00:14:01,240 Speaker 1: to get into messages and email and all that stuff 246 00:14:01,280 --> 00:14:03,959 Speaker 1: from all of you. But first I just want to 247 00:14:04,000 --> 00:14:06,480 Speaker 1: remind you something I mentioned last week. This is typically 248 00:14:06,559 --> 00:14:08,800 Speaker 1: the time in the episode that I would bring in 249 00:14:08,880 --> 00:14:12,320 Speaker 1: Jake Brennan and we would sort of chop it up 250 00:14:12,320 --> 00:14:17,880 Speaker 1: here and go through your messages, give you some recommendations 251 00:14:17,920 --> 00:14:23,160 Speaker 1: based on that week's subject full episode subject, but we 252 00:14:23,240 --> 00:14:27,280 Speaker 1: decided to move that over to the After Party, which 253 00:14:27,320 --> 00:14:31,200 Speaker 1: is the bonus episode of Disgraceland. So make sure that 254 00:14:31,320 --> 00:14:35,520 Speaker 1: you are listening and following listening to and following Disgraceland 255 00:14:35,520 --> 00:14:37,440 Speaker 1: if you're not already, so you don't miss that. Now 256 00:14:37,480 --> 00:14:40,000 Speaker 1: why do we do that? Well, we've got this bonus 257 00:14:40,040 --> 00:14:43,840 Speaker 1: portion of the after Party that is for all Access 258 00:14:43,840 --> 00:14:46,880 Speaker 1: members only, and that's where we're going to be placing 259 00:14:47,520 --> 00:14:53,440 Speaker 1: this weekly conversation between me and Jake. Now what is this, 260 00:14:53,520 --> 00:14:56,280 Speaker 1: you asked, what is this all access portion of the 261 00:14:56,320 --> 00:14:58,960 Speaker 1: after party? Well, if you become a member of Disgraceland, 262 00:14:59,000 --> 00:15:01,920 Speaker 1: all Access, which we'll get you ad free listening for 263 00:15:02,000 --> 00:15:06,640 Speaker 1: both hollywood Land and Disgraceland, gets you bonus Disraceland episodes. 264 00:15:07,240 --> 00:15:10,800 Speaker 1: If you join via Patreon, you get access to and 265 00:15:10,960 --> 00:15:14,360 Speaker 1: always on chat with all kinds of other discos in 266 00:15:14,360 --> 00:15:18,840 Speaker 1: this community. But you will also get an additional all 267 00:15:18,840 --> 00:15:21,640 Speaker 1: access members only portion of the after party every week 268 00:15:21,680 --> 00:15:25,680 Speaker 1: as well. So, for instance, in tomorrow's after Party episode 269 00:15:25,720 --> 00:15:28,560 Speaker 1: which will drop tomorrow and the Disgraceland feed, Jake and 270 00:15:28,600 --> 00:15:33,080 Speaker 1: I will be talking about Carrie Fisher related music recommendations 271 00:15:33,200 --> 00:15:36,720 Speaker 1: and much more. So. Just go to disgracelamdpod dot com 272 00:15:36,720 --> 00:15:39,600 Speaker 1: slash membership if you're not already signed up, and do 273 00:15:39,720 --> 00:15:43,120 Speaker 1: that today. All right, So, last week I gave you 274 00:15:43,200 --> 00:15:47,920 Speaker 1: guys my list of my top five Martin Scorsese movies. 275 00:15:48,600 --> 00:15:50,960 Speaker 1: I asked for your takes. I was a little disappointed. 276 00:15:50,960 --> 00:15:52,280 Speaker 1: I thought I was gonna get a bunch of hate 277 00:15:52,400 --> 00:15:56,040 Speaker 1: for the departed chit and stuff, and I didn't, So 278 00:15:56,200 --> 00:15:59,040 Speaker 1: that's okay. I'm fine with not getting hate. Thank you 279 00:15:59,040 --> 00:16:01,720 Speaker 1: for not hating on me. But I did get a 280 00:16:01,720 --> 00:16:05,040 Speaker 1: response from our guy Michael in the five oh eight, 281 00:16:05,120 --> 00:16:09,040 Speaker 1: and he did not disappoint him. Met play play Michael's voicemail. 282 00:16:09,440 --> 00:16:14,520 Speaker 2: This is the fibaway. I just wanted the question for 283 00:16:14,600 --> 00:16:21,000 Speaker 2: the Scorsese films. It's very simple. Once through five Michael 284 00:16:21,040 --> 00:16:25,640 Speaker 2: Jackson's Bad. You don't even need anything else, That's all. 285 00:16:27,160 --> 00:16:31,280 Speaker 2: I Also see above for the answer to the torture 286 00:16:31,280 --> 00:16:37,160 Speaker 2: genius question in Disgrace Lands after Pray Okay, thanks. 287 00:16:37,160 --> 00:16:44,640 Speaker 1: Michael, Michael, Michael, that's me banging on the shower wall 288 00:16:45,200 --> 00:16:49,720 Speaker 1: and Good Fellows after the Lufton's Eyes Michael, Dude, amazing voicemail. 289 00:16:49,840 --> 00:16:54,280 Speaker 1: Seriously well played, sir, And uh, you know, I always 290 00:16:54,360 --> 00:16:58,240 Speaker 1: kind of forget that Scorsese directed the music video for 291 00:16:58,360 --> 00:17:01,720 Speaker 1: Michael Jackson's Bad. He absolutely, one hundred percent did. But 292 00:17:02,200 --> 00:17:05,320 Speaker 1: it's even wilder than that, though it wasn't just Scorsese 293 00:17:05,400 --> 00:17:08,640 Speaker 1: who was involved. The original video was super long, as 294 00:17:08,760 --> 00:17:12,800 Speaker 1: pretty much most of Michael Jackson's videos were at the time. 295 00:17:12,840 --> 00:17:14,840 Speaker 1: It was I think it was almost twenty minutes long. 296 00:17:15,520 --> 00:17:19,399 Speaker 1: It was directed by Scorsese. It was written by Richard Price, 297 00:17:19,520 --> 00:17:25,000 Speaker 1: the great novelist, screenwriter, television writer Richard Price. It was 298 00:17:25,040 --> 00:17:28,800 Speaker 1: shot by one of Marty's great collaborators, the cinematographer Michael Chapman, 299 00:17:29,080 --> 00:17:32,399 Speaker 1: who did Taxi Driver and Raging Bull and man, this 300 00:17:32,520 --> 00:17:34,439 Speaker 1: was serious shit. They shot it over the course of 301 00:17:34,520 --> 00:17:39,600 Speaker 1: six weeks. They shot a twenty minute music video. Nearly 302 00:17:39,640 --> 00:17:42,159 Speaker 1: twenty minute music video over the course of six weeks. 303 00:17:42,160 --> 00:17:44,119 Speaker 1: This is back when you could spend that kind of 304 00:17:44,119 --> 00:17:46,199 Speaker 1: time and money on a music video. You can't do 305 00:17:46,240 --> 00:17:48,919 Speaker 1: that anymore. And then it premiered not only on MTV, 306 00:17:49,160 --> 00:17:51,479 Speaker 1: I mean not just on MTV, but it premiered on 307 00:17:51,800 --> 00:17:56,199 Speaker 1: CBS during a primetime special to promote the release of 308 00:17:56,240 --> 00:17:59,520 Speaker 1: the album Bad Wild Wild Times. Man, it was great 309 00:17:59,560 --> 00:18:02,480 Speaker 1: time to be a live. Another weird connection if you 310 00:18:02,600 --> 00:18:06,720 Speaker 1: if all you don't know between Martin Scorsese and Michael Jackson, 311 00:18:07,600 --> 00:18:11,280 Speaker 1: Frank DeLeo, the guy who plays Toody and Goodfellas, you know, 312 00:18:11,320 --> 00:18:14,760 Speaker 1: the guy who's like you wasted eight fucking aprons on 313 00:18:14,800 --> 00:18:20,040 Speaker 1: this guy when they shot Goodfellas. Frank de Leo was 314 00:18:20,160 --> 00:18:23,280 Speaker 1: just ending a five year run as Michael Jackson's manager. 315 00:18:23,560 --> 00:18:26,160 Speaker 1: Swear to God, a little trivia there for you. Okay, Michael, 316 00:18:26,200 --> 00:18:29,360 Speaker 1: thanks again for the voicemail. Totally appreciate it. Okay, I'm 317 00:18:29,359 --> 00:18:34,160 Speaker 1: gonna switch gears. Here to an email from Jason. Jason 318 00:18:34,359 --> 00:18:36,880 Speaker 1: emailed about the Devo. I was talking about the Devo 319 00:18:36,960 --> 00:18:40,119 Speaker 1: documentary the other week and he wrote in, and I 320 00:18:40,200 --> 00:18:43,159 Speaker 1: asked him to write in some more if he had 321 00:18:43,160 --> 00:18:46,439 Speaker 1: some more thoughts, and he did about music documentaries, so 322 00:18:46,520 --> 00:18:48,880 Speaker 1: I wanted to read this real quick, Jason writes, thanks 323 00:18:48,880 --> 00:18:52,119 Speaker 1: for reading my letter about Divo. Yes, you're right. The 324 00:18:52,160 --> 00:18:54,840 Speaker 1: doc did talk a lot about politics, but not enough 325 00:18:54,840 --> 00:18:57,440 Speaker 1: about the art, and the filmmaking was drab. You're so right. 326 00:18:57,520 --> 00:19:00,280 Speaker 1: So many docs about musical acts are boring. The Ze 327 00:19:00,280 --> 00:19:03,200 Speaker 1: one certainly was. I really love the Emo one from 328 00:19:03,280 --> 00:19:06,320 Speaker 1: last year that changes every time, and the Velvet Underground 329 00:19:06,359 --> 00:19:08,960 Speaker 1: one as well as Lambert and Stamp, or how about 330 00:19:09,000 --> 00:19:12,400 Speaker 1: the one about the Brian Jonestown Masker versus the Danny Warhols, 331 00:19:12,920 --> 00:19:16,800 Speaker 1: or especially Beware of mister Baker about Ginger Baker all 332 00:19:16,840 --> 00:19:19,720 Speaker 1: take a different, more edgy approach that engage with the 333 00:19:19,720 --> 00:19:23,040 Speaker 1: subject on artistic terms. Not just a biopic approach. Tell 334 00:19:23,080 --> 00:19:26,199 Speaker 1: me what you think, Jason, thanks again for checking in 335 00:19:26,240 --> 00:19:28,000 Speaker 1: on this. Dig is the movie you're talking about, The 336 00:19:28,000 --> 00:19:32,600 Speaker 1: Brian Jonestown Masker and Daniel Warhol's documentary, Dig is Incredible. 337 00:19:32,600 --> 00:19:35,840 Speaker 1: Dig is awesome. Dig is one of my favorite music 338 00:19:35,840 --> 00:19:39,240 Speaker 1: documentaries of all time. When I saw it, I did 339 00:19:39,280 --> 00:19:42,480 Speaker 1: not know who the Brian Jonestown Mascer were. I did 340 00:19:42,560 --> 00:19:45,320 Speaker 1: know about Danny Warhol's. If you guys haven't seen it, 341 00:19:45,320 --> 00:19:49,400 Speaker 1: it's a really cool pairing of watching these two bands 342 00:19:49,440 --> 00:19:52,439 Speaker 1: and how they start at one place and then their trajectories 343 00:19:52,480 --> 00:19:54,960 Speaker 1: go two separate places. I think I made this comment 344 00:19:55,000 --> 00:19:58,040 Speaker 1: before with Jake somewhere, but it's like the Hoop Dreams 345 00:19:58,040 --> 00:20:00,879 Speaker 1: of music documentaries. It really is great. Call there. The 346 00:20:00,960 --> 00:20:03,719 Speaker 1: velot under around Dock is awesome. That's directed by Todd Haynes, 347 00:20:03,760 --> 00:20:06,840 Speaker 1: who is a feature filmmaker, which I think is always 348 00:20:06,840 --> 00:20:09,000 Speaker 1: cool when a feature filmmaker does a music doc because 349 00:20:09,000 --> 00:20:12,280 Speaker 1: they bring some of that creative energy that you know, 350 00:20:12,400 --> 00:20:15,360 Speaker 1: documentary filmmakers just operate a little bit differently, So when 351 00:20:15,359 --> 00:20:18,320 Speaker 1: you get someone who works in a feature kind of language, 352 00:20:18,920 --> 00:20:21,359 Speaker 1: you know, and I mean like a fictional kind of language, 353 00:20:21,359 --> 00:20:23,120 Speaker 1: you kind of get some of that. So I think 354 00:20:23,160 --> 00:20:26,280 Speaker 1: there's a lot of that is infused into that unaround documentary. 355 00:20:26,440 --> 00:20:30,120 Speaker 1: There's also Jim Jarmish's Give Me Danger about the Stooges, 356 00:20:30,160 --> 00:20:33,560 Speaker 1: which has a similar thing, and then one I really 357 00:20:33,640 --> 00:20:37,679 Speaker 1: loved too Jason is a moon Age Daydream. The recent 358 00:20:38,240 --> 00:20:42,399 Speaker 1: Bowie doc that again with the creative energy. It's not 359 00:20:42,520 --> 00:20:44,560 Speaker 1: a paint by numbers doc. And if you're looking for 360 00:20:45,320 --> 00:20:49,600 Speaker 1: something that's going to get into sort of the chronological 361 00:20:50,520 --> 00:20:53,000 Speaker 1: account of David Bowie's life and career, you're going to 362 00:20:53,040 --> 00:20:56,399 Speaker 1: be disappointed because it's not that it does what it 363 00:20:56,440 --> 00:20:58,119 Speaker 1: wants to do. It shows you what it wants to 364 00:20:58,160 --> 00:21:02,919 Speaker 1: show you. It's a sensory experience. But ultimately all of 365 00:21:02,920 --> 00:21:04,760 Speaker 1: this is what Jake talks about this a lot over 366 00:21:04,800 --> 00:21:08,159 Speaker 1: in the after Party in the Disgraceland feed. These are 367 00:21:08,160 --> 00:21:12,520 Speaker 1: the sorts of, you know, the stories that we're looking 368 00:21:12,560 --> 00:21:15,600 Speaker 1: for here in Hollywood Land, and the stories you're looking 369 00:21:15,600 --> 00:21:18,520 Speaker 1: for in you know, say, the led Zeppelin documentary. A 370 00:21:18,560 --> 00:21:20,600 Speaker 1: lot of times you don't find it in Led Zepplin documentary. 371 00:21:20,840 --> 00:21:23,239 Speaker 1: But that's what we're interested in finding, and that's and 372 00:21:23,240 --> 00:21:26,199 Speaker 1: that's what we're digging for here to bring out and 373 00:21:26,240 --> 00:21:29,800 Speaker 1: to put into the full episodes that we release here 374 00:21:29,840 --> 00:21:33,160 Speaker 1: in the feed. You know, just recently the Beatles, who 375 00:21:33,200 --> 00:21:35,880 Speaker 1: seem to announce their state, seems to announce something new 376 00:21:36,160 --> 00:21:38,639 Speaker 1: for every holiday season, have announced that they're going to 377 00:21:38,680 --> 00:21:43,080 Speaker 1: remaster and re release the original anthology on Disney Plus, 378 00:21:43,119 --> 00:21:46,679 Speaker 1: which is great because I believe Peter Jackson's team is 379 00:21:46,720 --> 00:21:51,080 Speaker 1: doing that, and they did the recent Get Back documentary 380 00:21:52,119 --> 00:21:54,960 Speaker 1: that was incredible, and they're going to use all their 381 00:21:55,000 --> 00:21:56,879 Speaker 1: tools that they use to clean up the picture and 382 00:21:56,920 --> 00:21:59,200 Speaker 1: the audio and all that stuff. So of course I'm 383 00:21:59,240 --> 00:22:01,600 Speaker 1: going to watch that, But at the same time, I 384 00:22:01,600 --> 00:22:05,560 Speaker 1: would really rather have something that digs in deeper and 385 00:22:05,600 --> 00:22:08,959 Speaker 1: gets to some of these stories that you have been 386 00:22:09,040 --> 00:22:12,000 Speaker 1: left on the cutting room floor that have been sort 387 00:22:12,000 --> 00:22:17,400 Speaker 1: of squashed and silenced by the party line. Right. Anyways, 388 00:22:17,840 --> 00:22:20,800 Speaker 1: I'm getting off track here now, but Jason appreciate the 389 00:22:20,840 --> 00:22:23,520 Speaker 1: email and keep him coming. Oh yeah, we got a 390 00:22:23,520 --> 00:22:28,080 Speaker 1: message here from Colonel shit Goose a guy Levi and 391 00:22:28,119 --> 00:22:31,240 Speaker 1: the five O three. He wrote in about music docks 392 00:22:31,280 --> 00:22:34,560 Speaker 1: as well, and Levi writes this, speaking of great music 393 00:22:34,600 --> 00:22:37,600 Speaker 1: docs in this week's Hollywood Land After Party, I got 394 00:22:37,640 --> 00:22:40,640 Speaker 1: to throw in Amy and Let's Get Lost. Both were 395 00:22:40,680 --> 00:22:43,960 Speaker 1: masterfully done and showed the true effects of addiction. I 396 00:22:44,000 --> 00:22:47,000 Speaker 1: remember prior to when Amy Winehouse died, she was constant 397 00:22:47,000 --> 00:22:50,280 Speaker 1: tabloid ridicule and everyone mocked her, but the documentary showed 398 00:22:50,280 --> 00:22:53,640 Speaker 1: her turmoil and harrowing light. Well, Let's Get Lost showed 399 00:22:53,640 --> 00:22:56,200 Speaker 1: the long term struggle of a ravaged Chet Baker in 400 00:22:56,240 --> 00:22:58,560 Speaker 1: the last year of his life. On my last trip 401 00:22:58,560 --> 00:23:00,520 Speaker 1: to Amsterdam, I stayed in the hotel room that he 402 00:23:00,600 --> 00:23:02,920 Speaker 1: died in or technically fell out of, and it was 403 00:23:02,960 --> 00:23:06,399 Speaker 1: the coolest musical experience I've ever had. The room is 404 00:23:06,400 --> 00:23:08,320 Speaker 1: made up as an homage to Baker, and when I 405 00:23:08,359 --> 00:23:11,080 Speaker 1: posted photos on social media in my stay, I kept 406 00:23:11,160 --> 00:23:13,760 Speaker 1: all pictures from inside the room for only me and 407 00:23:13,800 --> 00:23:16,840 Speaker 1: didn't post, only to have my then two year old 408 00:23:16,880 --> 00:23:19,520 Speaker 1: son put my phone in the washer a week later 409 00:23:19,760 --> 00:23:22,760 Speaker 1: before I could save them. Also great to hear of 410 00:23:22,880 --> 00:23:25,479 Speaker 1: Zeth's love for rattle and hum. They get a lot 411 00:23:25,480 --> 00:23:27,800 Speaker 1: of necessary shit these days, but people should be reminded 412 00:23:28,119 --> 00:23:30,440 Speaker 1: just how cool you two were in the Joshua Tree 413 00:23:30,440 --> 00:23:33,399 Speaker 1: and Zoo TV eras. My only music tattoo is of 414 00:23:33,440 --> 00:23:35,840 Speaker 1: you two's Joshua Tree and My wife and I found 415 00:23:35,840 --> 00:23:38,359 Speaker 1: the actual tree on our drive to Vegas when we 416 00:23:38,400 --> 00:23:41,600 Speaker 1: got married by Elvis. Keep up the great work, LEVI 417 00:23:42,320 --> 00:23:44,480 Speaker 1: thank you lots to unpack here. Sorry about the phone 418 00:23:44,480 --> 00:23:48,680 Speaker 1: and the pictures. Been there, done that. I remember when 419 00:23:48,720 --> 00:23:51,800 Speaker 1: my two year old at the time stuck a quarter 420 00:23:51,960 --> 00:23:54,480 Speaker 1: into the DVD player in our van, our minivan, and 421 00:23:54,520 --> 00:23:57,560 Speaker 1: that thing never worked again. These these are great Amy 422 00:23:57,680 --> 00:24:02,040 Speaker 1: Let's Get Lost, absolutely agree, great documentaries, and I appreciate 423 00:24:02,080 --> 00:24:05,080 Speaker 1: you having my back on the U two thing. They 424 00:24:05,119 --> 00:24:07,320 Speaker 1: make it really easy to hate on them these days. 425 00:24:07,480 --> 00:24:10,600 Speaker 1: I think what happened. I think something happened when they 426 00:24:10,720 --> 00:24:12,600 Speaker 1: zoomed in on the whole pose of it, all, the 427 00:24:12,640 --> 00:24:16,120 Speaker 1: whole rockstar pose when they were poking fun of everything 428 00:24:16,280 --> 00:24:18,360 Speaker 1: with the Zoo TV tour and pop and all that. 429 00:24:18,800 --> 00:24:21,280 Speaker 1: But it's like they went through this door and then 430 00:24:21,320 --> 00:24:23,040 Speaker 1: when they came out on the other side, the pose 431 00:24:23,160 --> 00:24:26,080 Speaker 1: kind of stayed with them, even though they had allegedly 432 00:24:26,119 --> 00:24:28,560 Speaker 1: shaken it off. I think it was still there. And 433 00:24:28,680 --> 00:24:30,760 Speaker 1: I also think it's just it's so easy to see 434 00:24:31,320 --> 00:24:34,280 Speaker 1: photos and videos of your favorite artists these days on 435 00:24:34,320 --> 00:24:38,560 Speaker 1: social media that you just can't overstate how impactful it 436 00:24:38,720 --> 00:24:41,600 Speaker 1: was to have a movie like Rattle and Hum exist 437 00:24:41,680 --> 00:24:45,360 Speaker 1: back in the day, it was so important. Anyways, thanks again, Leeve, 438 00:24:45,400 --> 00:24:48,240 Speaker 1: I appreciate the message. Okay, I want to get into 439 00:24:48,560 --> 00:24:51,240 Speaker 1: telling you guys about everything I've been watching, reading and 440 00:24:51,320 --> 00:24:54,000 Speaker 1: listening to. But I got to take a quick break, 441 00:24:54,080 --> 00:24:56,520 Speaker 1: have a little bit of watter, and I will be 442 00:24:57,240 --> 00:25:13,680 Speaker 1: right back. Oh right, everybody, Welcome back to the rap party. 443 00:25:13,720 --> 00:25:16,320 Speaker 1: Is Zeth Lundy here once again talking with you about 444 00:25:16,400 --> 00:25:19,320 Speaker 1: what I've been watching, what I've been listening to, what 445 00:25:19,359 --> 00:25:22,680 Speaker 1: I've been reading, all that jazz. I'm going to start 446 00:25:22,680 --> 00:25:25,480 Speaker 1: with the most recent memory, which last was last night. 447 00:25:26,240 --> 00:25:29,240 Speaker 1: Last night, I watched the first episode of Task, which 448 00:25:29,280 --> 00:25:32,520 Speaker 1: is this new HBO show by the people that made 449 00:25:32,960 --> 00:25:36,240 Speaker 1: Mayor of Eastown. Once again set in Pennsylvania, so once 450 00:25:36,280 --> 00:25:39,440 Speaker 1: again we got some great accent work from these actors. 451 00:25:39,920 --> 00:25:44,680 Speaker 1: Mark Ruffalo stars as an FBI agent and Tom Pelfrey 452 00:25:44,800 --> 00:25:47,960 Speaker 1: is this guy who's a sanitation worker but he moonlights 453 00:25:48,080 --> 00:25:52,199 Speaker 1: leading the small crew who rob drug houses for money. 454 00:25:53,280 --> 00:25:58,040 Speaker 1: Super compelling mix of character study and propulsive thriller. There's 455 00:25:58,080 --> 00:26:00,399 Speaker 1: so many layers in here building up the care aracters, 456 00:26:00,440 --> 00:26:02,840 Speaker 1: and be honest, I was going into this for the 457 00:26:02,920 --> 00:26:07,640 Speaker 1: Ruffalo side, but Tom Palfrey's character is arguably even more 458 00:26:07,680 --> 00:26:11,520 Speaker 1: fascinating so far. He's a family man who lives at 459 00:26:11,560 --> 00:26:13,760 Speaker 1: his dead brother's house and takes care of his kids, 460 00:26:14,600 --> 00:26:17,280 Speaker 1: and there's a lot of sympathy and goodwill built up 461 00:26:17,280 --> 00:26:19,640 Speaker 1: here for this guy who is ultimately doing bad shit. 462 00:26:20,240 --> 00:26:24,560 Speaker 1: It's really compelling. It's really layered, nuanced, and if you're 463 00:26:24,560 --> 00:26:26,240 Speaker 1: into this kind of stuff, if you're in a character 464 00:26:26,280 --> 00:26:31,240 Speaker 1: studies that are wrapped in a true crime drama thriller, 465 00:26:31,520 --> 00:26:33,360 Speaker 1: you got to check it out. I'm I'm only only 466 00:26:33,400 --> 00:26:35,960 Speaker 1: one episode in and I'm super psyched to watch more. 467 00:26:36,600 --> 00:26:40,400 Speaker 1: Also this weekend, I watched Highest to Lowest, which is 468 00:26:40,480 --> 00:26:45,920 Speaker 1: Spike Lee's latest movie, Spike Lee's first collaboration with Denzel 469 00:26:46,040 --> 00:26:49,639 Speaker 1: Washington since Inside Men, which was two thousand and six, 470 00:26:50,119 --> 00:26:54,439 Speaker 1: which is crazy. This is, of course, Spike Lee's reinterpretation 471 00:26:55,080 --> 00:26:59,240 Speaker 1: of a character of SAWA's masterpiece High and Low, which 472 00:26:59,320 --> 00:27:01,439 Speaker 1: is from the sixth If you have not seen that, 473 00:27:01,640 --> 00:27:04,640 Speaker 1: it's one of his greatest It's Curis Hour in full 474 00:27:04,720 --> 00:27:08,680 Speaker 1: Hitchcock mode, which is awesome. It's really the only time 475 00:27:08,720 --> 00:27:11,320 Speaker 1: the Curis Hour ever made a movie like this and 476 00:27:11,720 --> 00:27:13,919 Speaker 1: totally worth your time. If you've not seen that, and 477 00:27:13,960 --> 00:27:15,680 Speaker 1: if you've not seen a lot of Cursawa movies' a 478 00:27:15,680 --> 00:27:18,359 Speaker 1: great place to start. But here's the thing with the 479 00:27:18,680 --> 00:27:22,040 Speaker 1: Spike movie. This happens about forty five minutes into the thing. 480 00:27:22,920 --> 00:27:25,760 Speaker 1: There's a stretch for about an hour or so, maybe 481 00:27:25,760 --> 00:27:28,000 Speaker 1: a little bit less than an hour, where this movie 482 00:27:28,040 --> 00:27:32,080 Speaker 1: is fucking great. It's just humming on all cylinders. It's 483 00:27:32,119 --> 00:27:35,920 Speaker 1: got touches at the French connection with this long trip 484 00:27:35,960 --> 00:27:38,760 Speaker 1: to the New York City subway. There's a breath taking 485 00:27:38,840 --> 00:27:43,359 Speaker 1: chase with motorcycles and cop cars. There's some incredible James 486 00:27:43,359 --> 00:27:47,879 Speaker 1: Brown needle drops. There's a showdown between Denzel and Asap Rocky, 487 00:27:48,000 --> 00:27:51,720 Speaker 1: who is excellent as well. There's just really great energy. 488 00:27:52,440 --> 00:27:57,680 Speaker 1: The film looks incredible. Denzel is incredible. Jeffrey Wright is great. 489 00:27:58,160 --> 00:28:00,720 Speaker 1: The first half of the movie, the first half, the 490 00:28:00,760 --> 00:28:02,800 Speaker 1: first forty five minutes or whatever it is that that 491 00:28:03,160 --> 00:28:05,879 Speaker 1: is building the movie, it's building it up. It's just 492 00:28:06,080 --> 00:28:08,840 Speaker 1: it's so flat. It's and I and I'm and it 493 00:28:08,880 --> 00:28:11,600 Speaker 1: pains me to say, but it's just it's so limp, 494 00:28:11,640 --> 00:28:14,280 Speaker 1: and it just it feels like a like a bad 495 00:28:14,359 --> 00:28:16,959 Speaker 1: TV drama. For the first forty five minutes or so. 496 00:28:17,000 --> 00:28:20,320 Speaker 1: There's some good stuff in there, but it's just it ultimately, 497 00:28:20,760 --> 00:28:23,480 Speaker 1: some of the supporting performances just can't keep up with 498 00:28:23,520 --> 00:28:28,080 Speaker 1: Denzel and Jeffrey Wright and asab Rocky and and then 499 00:28:28,160 --> 00:28:31,639 Speaker 1: there's this score as well, which I thought was completely 500 00:28:31,640 --> 00:28:34,320 Speaker 1: out of step with the movie and sort of amplified 501 00:28:35,440 --> 00:28:38,240 Speaker 1: how how off the first forty five minutes or so 502 00:28:38,400 --> 00:28:41,440 Speaker 1: felt to me, which is strange to say, because you know, 503 00:28:41,520 --> 00:28:47,120 Speaker 1: Spike Lee famously, with first his father, the great jazz 504 00:28:47,120 --> 00:28:50,920 Speaker 1: Bassis Bill Lee, and then later with Terrence Blanchard, has 505 00:28:51,120 --> 00:28:55,800 Speaker 1: really dialed in these incredible musical scores that accompany his movie. 506 00:28:55,800 --> 00:28:57,720 Speaker 1: And I'm not just talking about needle drops like fight 507 00:28:57,760 --> 00:28:59,959 Speaker 1: the Power and Do the Right Thing. He's great at 508 00:29:00,040 --> 00:29:03,480 Speaker 1: that as well, but he's got a great ear for music, 509 00:29:03,640 --> 00:29:06,440 Speaker 1: and there's a lot of great music in this movie. 510 00:29:06,880 --> 00:29:10,040 Speaker 1: But it was just it was just seemed tonally wrong 511 00:29:10,120 --> 00:29:12,920 Speaker 1: to me, the music that he had going for the 512 00:29:12,960 --> 00:29:15,720 Speaker 1: first half of the movie that sets up the whole thing. 513 00:29:15,760 --> 00:29:18,479 Speaker 1: So anyways, that's a long winded way of saying that 514 00:29:18,720 --> 00:29:21,320 Speaker 1: I really wanted to like this movie. I ultimately did 515 00:29:21,400 --> 00:29:24,040 Speaker 1: not like it as much as I wanted to, and 516 00:29:24,120 --> 00:29:26,880 Speaker 1: it's got some good stuff in it, but ultimately, I 517 00:29:26,920 --> 00:29:29,760 Speaker 1: think your time is better spent watching the original High 518 00:29:29,760 --> 00:29:33,280 Speaker 1: and Low or watching one of Spike's many other incredible 519 00:29:33,400 --> 00:29:36,960 Speaker 1: masterpieces that are out there. What am I listening to 520 00:29:37,240 --> 00:29:39,800 Speaker 1: right now? A couple of things come to mind. First 521 00:29:39,840 --> 00:29:43,280 Speaker 1: of all, I recently bought an original British edition of 522 00:29:43,360 --> 00:29:47,040 Speaker 1: Elvis Costello's Armed Forces album, which was his third album 523 00:29:47,040 --> 00:29:50,480 Speaker 1: from nineteen seventy nine, one of my favorite Costello records 524 00:29:50,640 --> 00:29:53,880 Speaker 1: top three for sure. I bought the original British pressing 525 00:29:53,960 --> 00:29:57,040 Speaker 1: because the Radar Records pressing, because it's got this wicked, 526 00:29:57,080 --> 00:30:02,240 Speaker 1: funky Barney Bubbles, who is the a graphic designer back 527 00:30:02,240 --> 00:30:04,280 Speaker 1: in the day who did a lot of covers for 528 00:30:05,080 --> 00:30:09,120 Speaker 1: punk and rock and pop records, did this really elaborate 529 00:30:09,160 --> 00:30:11,400 Speaker 1: cover design the back cover. So the front cover has 530 00:30:11,440 --> 00:30:13,960 Speaker 1: the elephants that are stampeding, and then the back cover 531 00:30:14,600 --> 00:30:17,360 Speaker 1: folds out and it's got all this like really cool 532 00:30:17,720 --> 00:30:20,640 Speaker 1: imagery on there that Barney Bubbles created, so it folds 533 00:30:20,640 --> 00:30:23,520 Speaker 1: out in this convoluted manner, and then it also includes 534 00:30:23,600 --> 00:30:27,320 Speaker 1: a bonus seven inch which has live songs that Elvis 535 00:30:27,400 --> 00:30:30,440 Speaker 1: and the Attractions played at Hollywood High. Well, I don't 536 00:30:30,440 --> 00:30:32,680 Speaker 1: know if it's actually at I don't think they actually 537 00:30:32,720 --> 00:30:35,720 Speaker 1: played at Hollywood High. But it's called Live at Hollywood High. 538 00:30:35,720 --> 00:30:37,960 Speaker 1: Now I've got to look that up. I can't remember. 539 00:30:38,000 --> 00:30:40,520 Speaker 1: But anyways, it comes to the seven inch, and inside 540 00:30:40,520 --> 00:30:46,320 Speaker 1: the seven inch are four seven inch sized postcards, one 541 00:30:46,440 --> 00:30:49,600 Speaker 1: with each member of the attraction photographed on it. So 542 00:30:49,680 --> 00:30:51,520 Speaker 1: it was this thing I wanted to I wanted like 543 00:30:51,560 --> 00:30:54,640 Speaker 1: this really cool edition of the record, and so I 544 00:30:54,680 --> 00:30:57,400 Speaker 1: got it and been listening to it a bunch, and 545 00:30:57,440 --> 00:31:01,240 Speaker 1: I gave my American copy I'd had forever, which does 546 00:31:01,280 --> 00:31:02,959 Speaker 1: not have the elephants on the front. It has more 547 00:31:02,960 --> 00:31:05,959 Speaker 1: of this like splatter, this like Jackson Pollock style thing 548 00:31:06,000 --> 00:31:07,680 Speaker 1: on the front, and the elephants are in the back. 549 00:31:08,120 --> 00:31:10,560 Speaker 1: I gave that to my son as a record player. 550 00:31:10,840 --> 00:31:12,760 Speaker 1: And then I realized was as I was listening to 551 00:31:12,760 --> 00:31:16,160 Speaker 1: the British pressing that it doesn't have what's so funny 552 00:31:16,160 --> 00:31:18,880 Speaker 1: about peace, Love and Understanding because that was tacked on 553 00:31:18,920 --> 00:31:21,280 Speaker 1: the end of the B side for the American release. 554 00:31:21,320 --> 00:31:23,000 Speaker 1: And now I'm like, gosh, shit, now I got to 555 00:31:23,040 --> 00:31:26,360 Speaker 1: buy another American copy, so I have that on buy 556 00:31:26,440 --> 00:31:28,960 Speaker 1: thelow as well. So I'm listening to Armed Forces. I'm 557 00:31:28,960 --> 00:31:32,840 Speaker 1: also listening a ton to this album called Mike City 558 00:31:32,960 --> 00:31:36,360 Speaker 1: Suns by the band heat Miser. This was heat Miser 559 00:31:36,560 --> 00:31:42,000 Speaker 1: was Elliott Smith's band in Portland, Oregon before he went solo, 560 00:31:42,640 --> 00:31:47,479 Speaker 1: and Jack White's great record label, Third Man Records just 561 00:31:47,640 --> 00:31:54,040 Speaker 1: repressed Mike City Sons, along with a second disc of extras, outtakes, 562 00:31:54,680 --> 00:31:57,040 Speaker 1: songs that didn't make the record, different versions of songs 563 00:31:57,080 --> 00:31:58,520 Speaker 1: that are on the record. I'll get to that in 564 00:31:58,520 --> 00:32:00,560 Speaker 1: a second. Mike City Sons. If you don't know, this 565 00:32:00,640 --> 00:32:03,640 Speaker 1: record came out in nineteen ninety six, it actually came 566 00:32:03,640 --> 00:32:06,960 Speaker 1: out as Elliott was transitioning into a solo career, and 567 00:32:07,000 --> 00:32:09,040 Speaker 1: his solo career got bigger than the band, and so 568 00:32:09,320 --> 00:32:11,920 Speaker 1: he left the band and for good and the rest 569 00:32:12,000 --> 00:32:15,120 Speaker 1: is history. But what makes Mike City Sounds so great? 570 00:32:15,160 --> 00:32:17,680 Speaker 1: First of all, it's a more rockin' record than your 571 00:32:17,760 --> 00:32:19,800 Speaker 1: typical Elliott Smith. I mean, he kind of got there 572 00:32:19,800 --> 00:32:22,240 Speaker 1: a little bit later on. But even so, Heat Miser 573 00:32:22,320 --> 00:32:25,160 Speaker 1: started out as a very very like Punky loud Fast, 574 00:32:25,920 --> 00:32:30,200 Speaker 1: and they sort of graduated. It's almost like going from 575 00:32:30,240 --> 00:32:33,240 Speaker 1: the Clash from the Clash's debut to London Calling. So 576 00:32:33,800 --> 00:32:36,640 Speaker 1: from Heat Miser's original, their first EP or single or 577 00:32:36,640 --> 00:32:38,880 Speaker 1: whatever it was, up to their last album, Mike City 578 00:32:38,960 --> 00:32:42,640 Speaker 1: Suns has the same transition, the same like maturing. And 579 00:32:42,960 --> 00:32:45,800 Speaker 1: the great thing about this record is that both Elliott 580 00:32:45,800 --> 00:32:48,720 Speaker 1: Smith and the other singer songwriter the band, Neil Gus, 581 00:32:48,840 --> 00:32:51,720 Speaker 1: they're just both operating at the highest level and you 582 00:32:51,760 --> 00:32:55,200 Speaker 1: can you can you can hear how each song the 583 00:32:55,200 --> 00:32:58,280 Speaker 1: record basically alternates between songs that they wrote and that 584 00:32:58,320 --> 00:33:01,120 Speaker 1: they sing. It's like they're having this like one for 585 00:33:01,240 --> 00:33:03,280 Speaker 1: one battle, like trying to one up each other. The 586 00:33:03,280 --> 00:33:05,680 Speaker 1: songwriting is so good, the performances are great. This was 587 00:33:06,720 --> 00:33:10,040 Speaker 1: Sam Coombs joined the band around this time on bass 588 00:33:10,080 --> 00:33:13,040 Speaker 1: and he's famously also known as one half of the 589 00:33:13,080 --> 00:33:16,880 Speaker 1: band Quasi with his ex wife Janet Weiss, who used 590 00:33:16,920 --> 00:33:19,360 Speaker 1: to be in Slater Kenny as well. But Heat Miser 591 00:33:19,480 --> 00:33:21,280 Speaker 1: is just it's great. It's like one of these like 592 00:33:21,480 --> 00:33:26,040 Speaker 1: unsung or not sung enough gems from that era. It's 593 00:33:26,240 --> 00:33:29,520 Speaker 1: you know, they were a band from Portland, Oregon, Pacific Northwest, 594 00:33:29,960 --> 00:33:33,920 Speaker 1: and I suppose well they never really fit into that 595 00:33:33,960 --> 00:33:37,200 Speaker 1: whole like grunge thing anyways, which that was happening in Seattle. 596 00:33:37,920 --> 00:33:41,080 Speaker 1: It's an incredible rock record, indie rock record from that 597 00:33:41,200 --> 00:33:43,520 Speaker 1: era that you've got to check out if you if 598 00:33:43,560 --> 00:33:46,720 Speaker 1: you haven't already. And the cool thing about this reissue 599 00:33:46,760 --> 00:33:49,520 Speaker 1: is that it's got this bonus disc and man, some 600 00:33:49,560 --> 00:33:52,200 Speaker 1: of these unreleased songs, it's great. It's almost like finding 601 00:33:52,280 --> 00:33:54,960 Speaker 1: a whole new Heat Miser album that you didn't know existed, 602 00:33:55,320 --> 00:33:59,400 Speaker 1: because there's some incredible unreleased songs. There's some incredible early 603 00:33:59,480 --> 00:34:03,479 Speaker 1: versions of stuff, so Heat Miser, Mike City Suns. If 604 00:34:03,520 --> 00:34:07,840 Speaker 1: you don't know that, check that out. As far as reading, listen, 605 00:34:08,360 --> 00:34:09,919 Speaker 1: this has been one of those weeks where I've done 606 00:34:09,960 --> 00:34:13,360 Speaker 1: so much research for stuff I'm working on writing that 607 00:34:13,440 --> 00:34:15,640 Speaker 1: I just have not had time. I haven't had brain 608 00:34:15,760 --> 00:34:19,480 Speaker 1: space to read anything else. I will tell you I've 609 00:34:19,480 --> 00:34:22,920 Speaker 1: been reading a shit ton of articles about what is 610 00:34:22,960 --> 00:34:26,799 Speaker 1: known as the nitrous Mafia, which is this highly organized 611 00:34:27,040 --> 00:34:33,920 Speaker 1: ring of nitrous oxide balloon dealers who go to I 612 00:34:33,920 --> 00:34:37,360 Speaker 1: don't know shows by Fish or Dead and Cow or 613 00:34:38,040 --> 00:34:42,239 Speaker 1: you know, other jam bands and sell nitrous balloons with 614 00:34:42,800 --> 00:34:49,600 Speaker 1: allegedly very you know, threatening, intimidating, violent tactics and so 615 00:34:51,120 --> 00:34:53,640 Speaker 1: more about the nitrous Mafia will be coming very soon 616 00:34:53,840 --> 00:34:57,239 Speaker 1: to a Disgracelane episode near you, So hang around. Let 617 00:34:57,280 --> 00:34:59,920 Speaker 1: me know what you've been reading, or what you've been 618 00:35:00,080 --> 00:35:02,360 Speaker 1: listening to, or what you've been watching. I want to 619 00:35:02,360 --> 00:35:04,759 Speaker 1: hear what you're into and what I should be checking out. 620 00:35:05,440 --> 00:35:07,440 Speaker 1: You can text me or call me at six one 621 00:35:07,600 --> 00:35:11,879 Speaker 1: seven nine oh six six six three eight and give 622 00:35:11,920 --> 00:35:15,880 Speaker 1: me your great recommendations. Okay, we are almost at the 623 00:35:15,960 --> 00:35:18,399 Speaker 1: end of the line, but don't nobody go nowhere, because 624 00:35:18,440 --> 00:35:20,359 Speaker 1: I'm going to be right back after this with some 625 00:35:20,400 --> 00:35:35,440 Speaker 1: final thoughts. Hey, Yo, what's up? 626 00:35:35,520 --> 00:35:35,759 Speaker 2: Y'all? 627 00:35:35,800 --> 00:35:38,160 Speaker 1: Getting ready to apply the brakes here and put it 628 00:35:38,200 --> 00:35:41,040 Speaker 1: in park. But before I do, I just want to say, 629 00:35:41,120 --> 00:35:43,560 Speaker 1: once again, thank you all so much for the messages, 630 00:35:43,719 --> 00:35:47,759 Speaker 1: Thanks for calling, thanks for texting, thanks for dming. If 631 00:35:47,760 --> 00:35:50,279 Speaker 1: you're sending stuff somewhere and I'm not getting back to you, 632 00:35:50,440 --> 00:35:52,640 Speaker 1: bear with me. There's a lot of places to check, 633 00:35:52,760 --> 00:35:56,040 Speaker 1: lots of places to talk. Sometimes when you're preparing for 634 00:35:56,080 --> 00:35:59,120 Speaker 1: these episodes and you get a certain amount of stuff together, 635 00:35:59,239 --> 00:36:02,799 Speaker 1: it's uh, you've kind of filled up the what I 636 00:36:02,840 --> 00:36:05,480 Speaker 1: need or else this would be like a five hour episode. 637 00:36:05,480 --> 00:36:07,640 Speaker 1: So I will get to you and just keep on 638 00:36:07,680 --> 00:36:11,640 Speaker 1: reaching out and keep on communicating and we'll keep this 639 00:36:11,680 --> 00:36:15,000 Speaker 1: thing churning, all right. Speaking of which, got some really 640 00:36:15,000 --> 00:36:19,279 Speaker 1: great episodes coming up soon. Look for some episodes on 641 00:36:19,440 --> 00:36:23,759 Speaker 1: Paul Newman on Robert Mitcham. In October, look for some 642 00:36:23,840 --> 00:36:28,160 Speaker 1: spooky Halloween themed episodes on stuff like the Poultrygeist movie 643 00:36:28,200 --> 00:36:32,160 Speaker 1: and the Exorcist movie. And then, right now, before I 644 00:36:32,280 --> 00:36:34,600 Speaker 1: let you go, I want to make sure you are 645 00:36:34,640 --> 00:36:39,160 Speaker 1: aware of four important things. Number one available right now 646 00:36:39,200 --> 00:36:42,320 Speaker 1: in your Hollywood land feed our episode on Carrie Fisher. 647 00:36:42,719 --> 00:36:45,880 Speaker 1: Number two coming next week on Monday, Our episode on 648 00:36:46,120 --> 00:36:50,080 Speaker 1: Johnny Depp. Number three. Do you listen to Disgraceland, Jake's 649 00:36:50,080 --> 00:36:52,640 Speaker 1: other award winning show made four and about rock and 650 00:36:52,719 --> 00:36:55,719 Speaker 1: roll animals, The og Music and True Crime pod with 651 00:36:55,840 --> 00:36:59,799 Speaker 1: episodes on Madonna, the Cramps, the Sex Pistols, Amy Winehouse, 652 00:37:00,080 --> 00:37:03,359 Speaker 1: a brand new part two on fifty cent, and hundreds more. 653 00:37:03,600 --> 00:37:05,880 Speaker 1: If you're not, you're missing out, Just go search up 654 00:37:05,880 --> 00:37:10,440 Speaker 1: Disgraceland wherever you get podcasts. Number four in honor of 655 00:37:10,480 --> 00:37:13,480 Speaker 1: this week's episode, me reading you the list of the 656 00:37:13,520 --> 00:37:17,520 Speaker 1: top grossing films from December twenty sixteen, the month that 657 00:37:17,600 --> 00:37:22,360 Speaker 1: Carrie Fisher died at the age of sixty Number one 658 00:37:22,960 --> 00:37:27,400 Speaker 1: Rogue one, a Star Wars Story, directed by Gareth Edwards. 659 00:37:28,239 --> 00:37:33,759 Speaker 1: Number two Sing directed by Garth Jennings, directed by Number 660 00:37:33,760 --> 00:37:39,600 Speaker 1: three Malwanas directed by John Musker and Ron Teas. Number 661 00:37:39,600 --> 00:37:43,360 Speaker 1: four David Fantastic Beasts and number four directed by David 662 00:37:43,440 --> 00:37:50,040 Speaker 1: Yates sing direct Number five Morton Passengers directed by Morton Pildenmark. 663 00:37:50,800 --> 00:37:58,480 Speaker 1: Number six Office Christmas Party directed by Josh Quit talking 664 00:37:58,719 --> 00:38:00,799 Speaker 1: and start, mix and cut it