1 00:00:19,000 --> 00:00:21,639 Speaker 1: What's happening all you good people of Hollywood Land. My 2 00:00:21,720 --> 00:00:25,120 Speaker 1: name is Zeth Lundy, writer, showrunner, and good doctor here 3 00:00:25,160 --> 00:00:27,840 Speaker 1: at Double Elvis, and welcome to another installment of a 4 00:00:27,840 --> 00:00:30,880 Speaker 1: little thing we like to call the Screening Room. This 5 00:00:30,920 --> 00:00:33,519 Speaker 1: is the weekly episode of the pod in which I 6 00:00:33,600 --> 00:00:36,239 Speaker 1: take you on a deep dive into one movie from 7 00:00:36,280 --> 00:00:39,839 Speaker 1: the history of all cinema. Hollywood Land, of course, you know, 8 00:00:40,280 --> 00:00:42,800 Speaker 1: is the podcast that explores the lives of our most 9 00:00:42,840 --> 00:00:46,880 Speaker 1: celebrated actors and actresses and directors through the true crimes 10 00:00:46,880 --> 00:00:50,400 Speaker 1: that have impacted them. This week we featured the insane 11 00:00:50,400 --> 00:00:54,360 Speaker 1: story of one of the most improbable or accidental actresses 12 00:00:54,400 --> 00:00:57,800 Speaker 1: of recent years, Patty Hurst, who, long before she was 13 00:00:57,800 --> 00:01:00,520 Speaker 1: being cast in the films of John Waters, was best 14 00:01:00,560 --> 00:01:03,280 Speaker 1: known as a young member of a media mogul family 15 00:01:03,560 --> 00:01:07,360 Speaker 1: who was kidnapped by a far left militant organization called 16 00:01:07,360 --> 00:01:11,680 Speaker 1: the Symbionese Liberation Army back in nineteen seventy four. Naturally, 17 00:01:11,880 --> 00:01:14,680 Speaker 1: we've got kidnapping on the brain, and with that in mind, 18 00:01:14,720 --> 00:01:17,240 Speaker 1: I wanted to dig into a film about kidnapping, a 19 00:01:17,280 --> 00:01:20,080 Speaker 1: film that involves the kidnapping of two young girls and 20 00:01:20,120 --> 00:01:24,279 Speaker 1: the subsequent frantic search to find them. I'm talking, of course, 21 00:01:24,720 --> 00:01:29,160 Speaker 1: about the twenty thirteen film Prisoners, directed by Denis Villeneuve, 22 00:01:29,480 --> 00:01:34,720 Speaker 1: written by Aaron Guzakowski, and starring Hugh Jackman, Jake Jillen Hall, 23 00:01:35,040 --> 00:01:41,400 Speaker 1: Paul Dano, Viola Davis, Maria Bellow, Terrence Howard and Melissa Leo. Personally, 24 00:01:41,480 --> 00:01:44,520 Speaker 1: I've always been drawn to dark material, whether it's a 25 00:01:44,560 --> 00:01:48,000 Speaker 1: movie or a book, and the kidnapping subgenre is a 26 00:01:48,040 --> 00:01:52,840 Speaker 1: particularly alluring one. The stakes are just so high. Someone 27 00:01:52,880 --> 00:01:56,720 Speaker 1: disappears a loved one, a mother or a father, or 28 00:01:56,720 --> 00:02:00,840 Speaker 1: a child. They are clues, there are suspects, There are many, 29 00:02:00,880 --> 00:02:05,640 Speaker 1: many questions, and at first almost no answers. The mystery 30 00:02:06,200 --> 00:02:09,320 Speaker 1: at the center of a kidnapping movie is an engine 31 00:02:09,919 --> 00:02:13,480 Speaker 1: for incredible drama, and in the right hand, is incredible filmmaking. 32 00:02:13,720 --> 00:02:15,920 Speaker 1: And the hardest part for a movie like this is 33 00:02:15,960 --> 00:02:19,919 Speaker 1: to land the plane, so to speak, to lead us 34 00:02:20,320 --> 00:02:23,480 Speaker 1: to a place which is as satisfying and as compelling 35 00:02:24,200 --> 00:02:26,560 Speaker 1: as the premise was to begin with. It doesn't always happen, 36 00:02:26,600 --> 00:02:29,600 Speaker 1: it's not always possible. It's arguably much easier to set 37 00:02:29,639 --> 00:02:32,080 Speaker 1: up a film with all this mystery and with all 38 00:02:32,120 --> 00:02:35,560 Speaker 1: these questions that it is to give us satisfying answers 39 00:02:35,600 --> 00:02:39,360 Speaker 1: to those questions or satisfying closure to that mystery. Prisoners 40 00:02:40,000 --> 00:02:42,440 Speaker 1: is the rare film that not only gets it right 41 00:02:42,480 --> 00:02:44,240 Speaker 1: in the end, but in some ways we find that 42 00:02:44,280 --> 00:02:47,200 Speaker 1: it's even more compelling by its final frame than in 43 00:02:47,240 --> 00:02:51,760 Speaker 1: the outset. I think this whole kidnapping subgenre, for lack 44 00:02:51,800 --> 00:02:54,840 Speaker 1: of a better term, is far more prevalent than it 45 00:02:54,840 --> 00:02:58,079 Speaker 1: would seem to be at first blush. Right now as 46 00:02:58,080 --> 00:03:01,320 Speaker 1: I'm recording this, the most popular film on HBO Max 47 00:03:01,480 --> 00:03:03,960 Speaker 1: is this movie called Dead of Winter. It's a new 48 00:03:04,000 --> 00:03:07,960 Speaker 1: thriller starring Emma Thompson that involves a kidnapped girl. Gus 49 00:03:08,040 --> 00:03:10,240 Speaker 1: van Zandt has a new movie out called dead Man's 50 00:03:10,280 --> 00:03:14,200 Speaker 1: Wire that is a true crime inspired hostage standoff kidnapping 51 00:03:14,240 --> 00:03:18,560 Speaker 1: situation thing okay, And just last year, Spike Lee's latest 52 00:03:18,760 --> 00:03:22,400 Speaker 1: Highest to Lowest was a remake of a seminal kidnapping film. 53 00:03:22,680 --> 00:03:25,720 Speaker 1: Akira Kurosawa is High and Low, one of the greatest 54 00:03:25,760 --> 00:03:28,400 Speaker 1: of all time, which came out way back in nineteen 55 00:03:28,480 --> 00:03:32,360 Speaker 1: sixty three. But whether it's High and Low or Silence 56 00:03:32,360 --> 00:03:36,280 Speaker 1: of the Lambs, or Taken or Frantic or the Vanishing 57 00:03:36,400 --> 00:03:39,200 Speaker 1: or even Gone Girl, which is kind of a subversion 58 00:03:39,360 --> 00:03:42,560 Speaker 1: of the kidnapping film. From high brow to lowbrow. These 59 00:03:42,600 --> 00:03:45,000 Speaker 1: stories of people who have been taking, who are missing, 60 00:03:45,280 --> 00:03:48,480 Speaker 1: who have disappeared, and the lengths that other people go 61 00:03:48,560 --> 00:03:50,440 Speaker 1: to in order to find them are, in my mind, 62 00:03:50,520 --> 00:03:53,040 Speaker 1: just some of the best kinds of thrillers out there. 63 00:03:53,520 --> 00:03:56,200 Speaker 1: But I do believe that Prisoners is the krem de 64 00:03:56,280 --> 00:03:58,720 Speaker 1: la creme, so to speak, when it comes to this subgenre, 65 00:03:58,800 --> 00:04:01,720 Speaker 1: and I think it's, without a doubt, the best film 66 00:04:01,760 --> 00:04:04,480 Speaker 1: that Denis Villaneuve has made in my opinion. But I'm 67 00:04:04,480 --> 00:04:08,200 Speaker 1: getting ahead of myself. This was Villinove's first American film 68 00:04:08,280 --> 00:04:12,120 Speaker 1: after making four movies in Canada. Villaneuve is from Quebec 69 00:04:12,520 --> 00:04:16,120 Speaker 1: and from nineteen ninety eight to twenty ten he made 70 00:04:16,160 --> 00:04:21,200 Speaker 1: four movies there, August thirty, Second on Earth, Maelstrom, Polytechnique 71 00:04:21,240 --> 00:04:24,760 Speaker 1: and Incendi's. So when he steps into the Hollywood system 72 00:04:24,800 --> 00:04:28,359 Speaker 1: in twenty thirteen with Prisoners, he does it with such confidence. 73 00:04:28,400 --> 00:04:30,839 Speaker 1: That's one of the words I think of when I 74 00:04:30,880 --> 00:04:33,400 Speaker 1: think of Villaineuv making this film. It is a film 75 00:04:33,520 --> 00:04:37,360 Speaker 1: of confidence. Confidence in the characters, confidence in how they 76 00:04:37,400 --> 00:04:41,400 Speaker 1: react or overreact, confidence and how information is revealed to 77 00:04:41,480 --> 00:04:45,159 Speaker 1: us how the film's shot, and mostly confidence in how 78 00:04:45,680 --> 00:04:48,680 Speaker 1: the narrative wraps us tighter and tighter and tighter around 79 00:04:48,720 --> 00:04:51,200 Speaker 1: its finger until the very end, when it feels like 80 00:04:51,240 --> 00:04:53,240 Speaker 1: the circulation has been cut off and you just don't 81 00:04:53,240 --> 00:04:57,719 Speaker 1: know where to go from there. This is also the beginning, importantly, 82 00:04:57,800 --> 00:05:01,679 Speaker 1: of Villinove's short run in Hollywood, before he gets swept 83 00:05:01,760 --> 00:05:05,119 Speaker 1: up into working in these larger, pre existing worlds of IP. 84 00:05:06,240 --> 00:05:09,520 Speaker 1: Right now as we speak, he's in post production, I assume, 85 00:05:09,600 --> 00:05:12,280 Speaker 1: for his third Dune film, which is going to come 86 00:05:12,279 --> 00:05:15,040 Speaker 1: out in December. These are his adaptations of the Frank 87 00:05:15,040 --> 00:05:18,680 Speaker 1: Herbert novels starring Timothy Shallome, the same novels that David 88 00:05:18,760 --> 00:05:22,159 Speaker 1: Lynch notoriously took a crack app back in the nineteen eighties. 89 00:05:22,520 --> 00:05:24,440 Speaker 1: And then after that. It looks like Villanouve is gonna 90 00:05:24,440 --> 00:05:27,640 Speaker 1: be jumping on board to direct the new James Bond film. 91 00:05:27,839 --> 00:05:31,520 Speaker 1: This will be the first Bond film following Daniel Craig's run. 92 00:05:32,320 --> 00:05:34,800 Speaker 1: The jury is still out I believe on which actor 93 00:05:34,880 --> 00:05:38,479 Speaker 1: will be portraying Double seven next, and listen, I am 94 00:05:38,640 --> 00:05:43,039 Speaker 1: super stoked for this concept. I'm super excited to see 95 00:05:43,080 --> 00:05:47,400 Speaker 1: a Bond movie directed by Denis Villaneuve, because I'm a huge, 96 00:05:47,600 --> 00:05:51,880 Speaker 1: huge Bond fan, especially the Daniel Craig saga there. It 97 00:05:51,960 --> 00:05:55,040 Speaker 1: was just excellent. So I'm psyched to see what someone 98 00:05:55,080 --> 00:05:58,760 Speaker 1: of Villanov's caliber will do for the franchise. That said, 99 00:05:58,920 --> 00:06:01,799 Speaker 1: in some ways, it's a because for the last decade 100 00:06:01,839 --> 00:06:04,120 Speaker 1: now and now for who knows how much longer than that, 101 00:06:04,720 --> 00:06:07,240 Speaker 1: one of our greatest living filmmakers has been tied up 102 00:06:07,360 --> 00:06:10,680 Speaker 1: in ip There was Blade Runner, there was Doune, Now 103 00:06:10,680 --> 00:06:14,279 Speaker 1: there's Bond. It makes this initial run of Villainovs in 104 00:06:14,320 --> 00:06:17,240 Speaker 1: America that much more consequential, I think, because this run 105 00:06:17,320 --> 00:06:21,160 Speaker 1: is bonkers. Okay, Prisoners comes out in twenty thirteen, and 106 00:06:21,160 --> 00:06:26,000 Speaker 1: then Enemy also starring Jake Jillen Hall in twenty fourteen. Sacario, 107 00:06:26,400 --> 00:06:30,039 Speaker 1: which is about the drug cartels and the border with 108 00:06:30,600 --> 00:06:37,000 Speaker 1: Emily Blunt and Benicio del Toro and Josh Brolin, comes 109 00:06:37,000 --> 00:06:40,400 Speaker 1: out in twenty fifteen, and then Arrival, the sci fi 110 00:06:40,800 --> 00:06:44,240 Speaker 1: movie with Amy Adams and Jeremy Renner, comes out in 111 00:06:44,279 --> 00:06:49,120 Speaker 1: twenty sixteen. Okay, that's four movies Prisoners, Enemy, Circario, Arrival, 112 00:06:49,160 --> 00:06:52,240 Speaker 1: all with one word, by the way, four incredible films. 113 00:06:52,279 --> 00:06:58,719 Speaker 1: In four years. In each one is a different genre exercise. Essentially, 114 00:06:59,360 --> 00:07:02,360 Speaker 1: it's just nuts. The one thing these films all share, however, 115 00:07:02,640 --> 00:07:05,800 Speaker 1: is that they are all thrillers at heart. They are 116 00:07:05,839 --> 00:07:09,880 Speaker 1: all super super tense, They're stuffed with ideas, and they 117 00:07:09,920 --> 00:07:12,440 Speaker 1: deliver this kind of tension and release that I really 118 00:07:12,440 --> 00:07:14,040 Speaker 1: look for in a movie, that just like I look 119 00:07:14,080 --> 00:07:17,440 Speaker 1: for in a great song. This has got to be 120 00:07:17,600 --> 00:07:20,800 Speaker 1: one of, if not the greatest four movie run in 121 00:07:20,200 --> 00:07:24,679 Speaker 1: the century today, especially considering the compressed amount of time. 122 00:07:25,120 --> 00:07:27,400 Speaker 1: But Prisoners remains my favorite of the pack because it 123 00:07:27,480 --> 00:07:30,600 Speaker 1: nails the genre like few films really able to do. 124 00:07:31,120 --> 00:07:34,080 Speaker 1: I mean, you can make the argument that Denivilleneuve was 125 00:07:34,120 --> 00:07:36,400 Speaker 1: best when he redefined what it meant to pick up 126 00:07:36,440 --> 00:07:39,160 Speaker 1: the mantle of long dormant ip as he did when 127 00:07:39,160 --> 00:07:42,120 Speaker 1: he made Blade Runner twenty forty nine. You could point 128 00:07:42,160 --> 00:07:44,440 Speaker 1: to the technical marvels of the two Dune films he 129 00:07:44,480 --> 00:07:47,160 Speaker 1: has made thus far as either the pinnacle of his 130 00:07:47,200 --> 00:07:49,840 Speaker 1: career or of a promise of what's he had to come. 131 00:07:50,200 --> 00:07:52,640 Speaker 1: But if making a film is telling a story, I 132 00:07:52,680 --> 00:07:55,080 Speaker 1: will argue that Prisoners is the work of a master 133 00:07:55,360 --> 00:07:58,480 Speaker 1: storyteller without the shackles of ip or the burden of 134 00:07:58,480 --> 00:08:02,600 Speaker 1: a blockbuster scale to hold him. It's small, it's economic, 135 00:08:02,680 --> 00:08:07,080 Speaker 1: it's driven by raw human emotions of loss, fear, and anger. 136 00:08:07,280 --> 00:08:10,280 Speaker 1: But above all, it's a movie about faith and doubt, 137 00:08:10,440 --> 00:08:12,360 Speaker 1: and I'm going to get into it right after this. 138 00:08:35,840 --> 00:08:39,040 Speaker 1: On the surface, Prisoners is about two young girls in 139 00:08:39,080 --> 00:08:42,840 Speaker 1: a fictional city in Pennsylvania who were abducted on Thanksgiving Day. 140 00:08:43,320 --> 00:08:46,320 Speaker 1: They're taken or they disappear, right after Thanksgiving dinner, which 141 00:08:46,360 --> 00:08:48,640 Speaker 1: they've just had with their families. The girls are named 142 00:08:48,640 --> 00:08:51,560 Speaker 1: Anna and Joy. They each have an older sibling, and 143 00:08:51,640 --> 00:08:55,280 Speaker 1: their parents are played by Hugh Jackman and Maria Bellow. 144 00:08:55,320 --> 00:08:57,360 Speaker 1: Those are one set of parents, and then the others 145 00:08:57,640 --> 00:09:01,040 Speaker 1: are Terrence Howard and Viola Davis. The girls go outside 146 00:09:01,040 --> 00:09:03,160 Speaker 1: to play after dinner, just as many kids do and 147 00:09:03,200 --> 00:09:07,560 Speaker 1: have done on many Thanksgiving days before and since, but 148 00:09:07,640 --> 00:09:13,000 Speaker 1: Anna Enjoy they disappear. They're last scene by their siblings 149 00:09:13,040 --> 00:09:17,840 Speaker 1: playing on this rundown RV that was just randomly and 150 00:09:17,920 --> 00:09:20,199 Speaker 1: kind of ominously honestly parked on the side of the 151 00:09:20,280 --> 00:09:23,439 Speaker 1: road in their neighborhood. So the panic sets in as 152 00:09:23,480 --> 00:09:26,480 Speaker 1: the parents try to try to find the girls. The 153 00:09:26,520 --> 00:09:30,080 Speaker 1: cops get involved, they put out start looking for a 154 00:09:30,080 --> 00:09:32,800 Speaker 1: similar RV to one that was parked, and they find one, 155 00:09:33,200 --> 00:09:35,400 Speaker 1: a rundown RV that looks very much like the one 156 00:09:35,400 --> 00:09:39,080 Speaker 1: that was in that neighborhood, occupied by this very strange looking, 157 00:09:39,720 --> 00:09:44,600 Speaker 1: very meek, looking, very guilty looking young man named Alex Jones. 158 00:09:44,600 --> 00:09:48,120 Speaker 1: He's played with this like greasy mousey quality by Paul Dano. 159 00:09:48,640 --> 00:09:51,079 Speaker 1: He's got these thick glasses and stringy hair, and he's 160 00:09:51,120 --> 00:09:54,240 Speaker 1: wearing multiple layers. He has this like bloody injury on 161 00:09:54,240 --> 00:09:57,600 Speaker 1: the top of his head. He just looks rumpled, disturbed, 162 00:09:57,640 --> 00:10:01,000 Speaker 1: and just guilty as sin. Right. Jake Jillenhall is the 163 00:10:01,040 --> 00:10:05,240 Speaker 1: local detective, Detective Loki, who's in charge of this case. 164 00:10:05,559 --> 00:10:09,600 Speaker 1: He's the one who interrogates Alex Jones, and Detective Loki's 165 00:10:09,600 --> 00:10:14,240 Speaker 1: own appearance throws you off right away, because Loki's got 166 00:10:14,240 --> 00:10:16,880 Speaker 1: this big tattoo on his neck, huge tattoo in his neck, 167 00:10:16,920 --> 00:10:19,679 Speaker 1: He's got other tattoos on his fingers, his hair slipped 168 00:10:19,679 --> 00:10:23,440 Speaker 1: back with product, and he buttons his dress shirts all 169 00:10:23,480 --> 00:10:25,240 Speaker 1: the way up to the top button, though he wears 170 00:10:25,320 --> 00:10:29,120 Speaker 1: no tie. It's this very it's a look that sends 171 00:10:29,120 --> 00:10:32,520 Speaker 1: certain signals that are quite different than what you expect, 172 00:10:32,600 --> 00:10:36,360 Speaker 1: I guess from a detective, from a police officer, from 173 00:10:36,360 --> 00:10:39,559 Speaker 1: someone who's out to looking to solve a problem, to 174 00:10:40,400 --> 00:10:43,840 Speaker 1: help a family. Right. So at the jump here, it's 175 00:10:43,880 --> 00:10:46,160 Speaker 1: looking really bad for this Alex Jones character, you know, 176 00:10:46,200 --> 00:10:48,480 Speaker 1: and I think you watch this film and you're like, 177 00:10:48,520 --> 00:10:50,440 Speaker 1: oh my god, Like this guy, he's such a creep. 178 00:10:50,520 --> 00:10:54,360 Speaker 1: He's like this, this is it. It's him, right, But 179 00:10:54,400 --> 00:10:56,240 Speaker 1: there's not enough evidence to hold him in custody, so 180 00:10:56,240 --> 00:10:57,959 Speaker 1: they have to let him go. And as they do, 181 00:10:58,679 --> 00:11:03,400 Speaker 1: Detective Loki's watching Alex Jones get his things at the 182 00:11:03,400 --> 00:11:07,040 Speaker 1: police station to leave, and the way that the look 183 00:11:07,040 --> 00:11:10,760 Speaker 1: in Jill Andhall's face, it's like he's he's like beating 184 00:11:10,840 --> 00:11:13,240 Speaker 1: himself up because he's like letting this guy that he 185 00:11:13,320 --> 00:11:15,480 Speaker 1: knows as a killer like walk free, and he just 186 00:11:15,520 --> 00:11:18,199 Speaker 1: can't handle it. But he remains as buttoned up as 187 00:11:18,240 --> 00:11:21,000 Speaker 1: that dress shirt of his, and he keeps his mouth shut. However, 188 00:11:21,400 --> 00:11:24,760 Speaker 1: Hugh Jackman's character, the Father, he cannot keep his mouth shut. 189 00:11:25,080 --> 00:11:29,640 Speaker 1: Hugh Jackman is Keller Dover, he's a contractor, and he 190 00:11:29,679 --> 00:11:32,679 Speaker 1: goes full Wolverine on this kid as he's being released 191 00:11:32,720 --> 00:11:35,560 Speaker 1: from the police station, he as as Alex Jones is 192 00:11:35,600 --> 00:11:40,520 Speaker 1: walking up, Keller Dover just screams in in his work truck, parks, 193 00:11:40,679 --> 00:11:42,840 Speaker 1: gets out, makes a bee line through the parking lot, 194 00:11:43,000 --> 00:11:47,600 Speaker 1: pushes a cop aside, even and he grabs Alex Jones 195 00:11:48,120 --> 00:11:51,600 Speaker 1: and starts like basically just like shaking him. He drops 196 00:11:51,640 --> 00:11:53,480 Speaker 1: him almost all the way to the ground. He's holding 197 00:11:53,559 --> 00:11:55,360 Speaker 1: him up and he's like, tell me what you did 198 00:11:55,400 --> 00:11:58,440 Speaker 1: with them, to which Paul Daniels says, very quietly under 199 00:11:58,480 --> 00:12:02,199 Speaker 1: his breath, they didn't cry until I left them, which 200 00:12:02,280 --> 00:12:04,440 Speaker 1: like when you hear it and like you're like, you 201 00:12:04,480 --> 00:12:06,720 Speaker 1: almost don't hear it because he says it. It's so 202 00:12:07,120 --> 00:12:09,680 Speaker 1: low the way he says it, and it's like did 203 00:12:09,720 --> 00:12:12,280 Speaker 1: I hear what I think I just heard? And at 204 00:12:12,320 --> 00:12:16,280 Speaker 1: this point, you know, Keller Dover, the Hugh Jackman character, 205 00:12:16,320 --> 00:12:19,040 Speaker 1: is ready to tear this guy limb from limb. It's like, 206 00:12:19,080 --> 00:12:21,520 Speaker 1: holy shit, this kid is confessing to me, but he 207 00:12:21,559 --> 00:12:23,720 Speaker 1: can't because the cops pull him away. They gotta let 208 00:12:23,720 --> 00:12:27,199 Speaker 1: the guy go. That's that, okay, But what happens next 209 00:12:27,360 --> 00:12:30,000 Speaker 1: is the last thing I'm gonna say plot wise for 210 00:12:30,120 --> 00:12:33,480 Speaker 1: this film. What happens next is that Hugh Jackman's character 211 00:12:34,320 --> 00:12:36,600 Speaker 1: decides to take the law into his own hand. He 212 00:12:36,760 --> 00:12:40,840 Speaker 1: kidnaps Paul Daniel's character, brings him to an empty building 213 00:12:40,920 --> 00:12:44,440 Speaker 1: that he owns, chains him to a radiator in a bathroom, 214 00:12:44,920 --> 00:12:48,200 Speaker 1: and begins to torture him to get the truth. There's 215 00:12:48,240 --> 00:12:52,480 Speaker 1: one scene in particular that is so intense. I guess 216 00:12:53,360 --> 00:12:55,840 Speaker 1: they had done take after take of this for hours, 217 00:12:55,880 --> 00:12:57,800 Speaker 1: and I guess Hugh Jackman. I saw a clip of 218 00:12:57,840 --> 00:13:00,199 Speaker 1: him talking about this, and he he thought he had it. 219 00:13:00,280 --> 00:13:01,920 Speaker 1: He was like, this is great, We're doing great work. 220 00:13:01,920 --> 00:13:04,520 Speaker 1: We've got it. But at some point dni Villan pulled 221 00:13:04,600 --> 00:13:07,080 Speaker 1: him aside and said, listen, Hugh, I need you to 222 00:13:07,120 --> 00:13:09,679 Speaker 1: go there. And that's all he said. I need you 223 00:13:09,760 --> 00:13:13,440 Speaker 1: to go there, And by there, he meant I need 224 00:13:13,440 --> 00:13:17,160 Speaker 1: you to go to the most dark, disturbed recess of 225 00:13:17,200 --> 00:13:21,720 Speaker 1: this upset father's mind. I need to see it. And 226 00:13:21,800 --> 00:13:25,320 Speaker 1: so what happens next is something that Paul Dana wasn't 227 00:13:25,320 --> 00:13:28,200 Speaker 1: expecting because he wasn't really in on this conversation. And 228 00:13:28,240 --> 00:13:30,360 Speaker 1: so like Paul Dana's reaction in this moment, and I'm 229 00:13:30,360 --> 00:13:34,000 Speaker 1: not gonna watch it and you'll see his react. I 230 00:13:34,040 --> 00:13:36,400 Speaker 1: think he actually like fainted or something during the shoot 231 00:13:36,400 --> 00:13:39,559 Speaker 1: because he was so taken back by it. This movie 232 00:13:39,600 --> 00:13:42,520 Speaker 1: is just operates at that level of intensity. And I 233 00:13:42,559 --> 00:13:45,000 Speaker 1: know what I've said so far sounds like a lot 234 00:13:45,160 --> 00:13:47,839 Speaker 1: plot wise spoileralized, but trust me, it's not. This is 235 00:13:47,880 --> 00:13:49,720 Speaker 1: a two and a half hour film and that really 236 00:13:49,800 --> 00:13:53,679 Speaker 1: is the setup. So the darkness here that I'm speaking of, 237 00:13:54,280 --> 00:13:57,040 Speaker 1: as you can tell, refers not only to the abduction 238 00:13:57,280 --> 00:14:00,160 Speaker 1: of children, but also to the brutal torture of a 239 00:14:00,200 --> 00:14:03,600 Speaker 1: man by this overwhelmed, out of control parent who thinks 240 00:14:03,600 --> 00:14:05,240 Speaker 1: that the guy he has chained up in his empty 241 00:14:05,240 --> 00:14:08,520 Speaker 1: building is responsible for his daughter's disappearance. And there's more 242 00:14:08,600 --> 00:14:11,040 Speaker 1: darkness as this plot continues to unfold, and as we 243 00:14:11,080 --> 00:14:14,719 Speaker 1: continue the audience to both have faith and doubt and 244 00:14:14,840 --> 00:14:18,400 Speaker 1: whether or not these various characters are a actually going 245 00:14:18,440 --> 00:14:21,320 Speaker 1: to take these next steps once they've already passed the 246 00:14:21,360 --> 00:14:24,640 Speaker 1: point of no return, and b if these characters are 247 00:14:25,000 --> 00:14:28,560 Speaker 1: who we think they are, and even if the characters 248 00:14:28,640 --> 00:14:32,120 Speaker 1: are who the other characters think they are. Now I've 249 00:14:32,200 --> 00:14:34,800 Speaker 1: chosen my words very carefully here. I mentioned faith and 250 00:14:34,960 --> 00:14:38,400 Speaker 1: doubt again twice now, and for me, that's what this 251 00:14:38,480 --> 00:14:41,440 Speaker 1: movie is all about it's about having faith in the 252 00:14:41,480 --> 00:14:43,960 Speaker 1: face of great doubt, about the forces of evil that 253 00:14:44,000 --> 00:14:46,280 Speaker 1: try to plant these seeds of doubt in your mind 254 00:14:46,320 --> 00:14:49,000 Speaker 1: at every turn, and how you find the strength to 255 00:14:49,040 --> 00:14:52,040 Speaker 1: push it all aside and look for the light. But 256 00:14:52,120 --> 00:14:55,520 Speaker 1: I don't want that to sound cheesy, because there's a catch. Okay, 257 00:14:55,600 --> 00:14:59,200 Speaker 1: there's a problem here. The catch. The problem is that 258 00:15:00,080 --> 00:15:02,320 Speaker 1: just because you have faith does not mean that you 259 00:15:02,360 --> 00:15:05,920 Speaker 1: will get a clean getaway. You're not gonna hold onto 260 00:15:05,960 --> 00:15:08,560 Speaker 1: your faith through it all, claw your way to the light. 261 00:15:09,440 --> 00:15:11,720 Speaker 1: You're not gonna do that without something really bad happening 262 00:15:11,760 --> 00:15:14,000 Speaker 1: along the way. That's sort of what seems to be 263 00:15:14,040 --> 00:15:17,239 Speaker 1: at play here in this movie. Now, I cannot imagine 264 00:15:17,920 --> 00:15:22,080 Speaker 1: being in the position of the Keller Dover character, Hugh 265 00:15:22,160 --> 00:15:25,120 Speaker 1: Jackman's character for real. You know, as a dad, you 266 00:15:25,160 --> 00:15:27,680 Speaker 1: ask yourself, well, shit, how far would I go? Because 267 00:15:27,760 --> 00:15:30,680 Speaker 1: nothing seems too far when it involves your kids, right, 268 00:15:31,400 --> 00:15:35,480 Speaker 1: And Hugh Jackman really gives this raw, crazy performance here 269 00:15:35,520 --> 00:15:38,080 Speaker 1: as this guy who's at the end of his rope. 270 00:15:38,240 --> 00:15:41,000 Speaker 1: Really from the jump, you know, he's probably already like 271 00:15:41,040 --> 00:15:43,720 Speaker 1: working like eighty hours a week as it is, and 272 00:15:44,360 --> 00:15:47,040 Speaker 1: his rope is just it's frayed. You know, he's not sleeping, 273 00:15:47,480 --> 00:15:51,360 Speaker 1: he's drinking too much. He's just ready to explode. Jake Jillenhall, 274 00:15:51,360 --> 00:15:55,760 Speaker 1: on the other hand, delivers such a rained in performance. 275 00:15:55,800 --> 00:16:00,360 Speaker 1: He's like a matchhead just seconds before it's struck, doing 276 00:16:00,360 --> 00:16:02,640 Speaker 1: this thing with his eyes where they they're blinking like 277 00:16:02,680 --> 00:16:05,880 Speaker 1: a tick. When he has conversations with people, and where 278 00:16:05,880 --> 00:16:10,600 Speaker 1: he's investigating things, And between the facial ticks and the 279 00:16:10,640 --> 00:16:15,760 Speaker 1: way he's dressed, his hair, the shirt, the tattoos, and 280 00:16:15,800 --> 00:16:19,000 Speaker 1: then the way in which Jillen Hall carries himself, it's 281 00:16:19,040 --> 00:16:21,800 Speaker 1: almost like he's been to the place where this dad 282 00:16:21,840 --> 00:16:24,360 Speaker 1: has been. He's been in the place where his dad 283 00:16:24,680 --> 00:16:27,360 Speaker 1: is currently at and he never ever wants to go 284 00:16:27,360 --> 00:16:30,120 Speaker 1: there again, so he's trying his hardest to keep his 285 00:16:30,200 --> 00:16:34,000 Speaker 1: shit together. It's probably my favorite. It's not probably, it's 286 00:16:34,040 --> 00:16:36,840 Speaker 1: definitely my favorite Jake jollen Hall performance. I mean, this 287 00:16:36,880 --> 00:16:40,120 Speaker 1: whole film is really carried by these two actors. Although 288 00:16:40,160 --> 00:16:42,840 Speaker 1: everyone's great in it, Paul Dana is incredible. I mean, 289 00:16:42,880 --> 00:16:44,960 Speaker 1: this is the kind of role that Paul Dana was 290 00:16:45,000 --> 00:16:50,360 Speaker 1: born to play. Quentin Tarantino will be damned. His character 291 00:16:50,400 --> 00:16:52,560 Speaker 1: is stuck in limbo here between someone you pity and 292 00:16:52,600 --> 00:16:55,720 Speaker 1: someone you abhor, but Jillen Hall in particular, it gets 293 00:16:55,720 --> 00:16:58,680 Speaker 1: to be at the center of this heart pounding, absolutely 294 00:16:58,720 --> 00:17:02,320 Speaker 1: exhilarating scene near the end of the film. It's one 295 00:17:02,320 --> 00:17:05,880 Speaker 1: of the greatest Villainov scenes. He's really really great at this. 296 00:17:06,359 --> 00:17:10,200 Speaker 1: There's the border crossing scene in Sacario, which is incredible. 297 00:17:10,440 --> 00:17:13,920 Speaker 1: There's the scene in Arrival when Amy Adams is making 298 00:17:13,920 --> 00:17:17,160 Speaker 1: contact with those aliens, and then there's this scene in 299 00:17:17,960 --> 00:17:21,439 Speaker 1: Prisoners and involves a car speeding through multiple lanes of 300 00:17:21,440 --> 00:17:25,520 Speaker 1: traffic late at night. It's raining, it's snowing. If you 301 00:17:25,560 --> 00:17:28,080 Speaker 1: know you know seeing I'm talking about, if you've seen 302 00:17:28,119 --> 00:17:31,480 Speaker 1: this movie and it looks so incredible because this film 303 00:17:31,520 --> 00:17:34,760 Speaker 1: was shot by Roger Deakins, one of the greatest cinematographers 304 00:17:34,760 --> 00:17:37,840 Speaker 1: of all time. He's worked with the Coen Brothers a lot. 305 00:17:38,160 --> 00:17:41,159 Speaker 1: He's worked with Sam Mendes and Night Shamalan, Ron Howard, 306 00:17:41,200 --> 00:17:44,520 Speaker 1: Martin Scorsese. The list goes on and on. This was 307 00:17:44,560 --> 00:17:48,199 Speaker 1: his first collaboration with Villaneuve, and I think some of 308 00:17:48,240 --> 00:17:50,720 Speaker 1: his best shit is with Villanove. He would go on 309 00:17:50,800 --> 00:17:54,480 Speaker 1: to shoot both Sacario and also Blade Runner twenty forty 310 00:17:54,560 --> 00:17:59,000 Speaker 1: nine four. Blade Runner twenty forty nine, Deacons finally won 311 00:17:59,040 --> 00:18:02,040 Speaker 1: an Academy Award for something like fourteen nominations, and he's 312 00:18:02,119 --> 00:18:04,159 Speaker 1: kind of been ever since then. He's I think he's 313 00:18:04,200 --> 00:18:06,760 Speaker 1: done another movie or two, but he's sort of been. 314 00:18:07,200 --> 00:18:09,560 Speaker 1: I don't know if he's retired or semi retired now, 315 00:18:09,880 --> 00:18:11,600 Speaker 1: but man, what a way to go to go out 316 00:18:11,800 --> 00:18:14,119 Speaker 1: near the end of your career. There. There's just something 317 00:18:14,160 --> 00:18:17,359 Speaker 1: so special about Villainouv's films with Deacons. I mean, there's 318 00:18:17,720 --> 00:18:20,480 Speaker 1: something special about any director's films with Roger Deakins. But 319 00:18:20,760 --> 00:18:23,000 Speaker 1: I go back to that word I use before confidence. 320 00:18:23,040 --> 00:18:26,040 Speaker 1: There's such confidence to what you're being shown. How much 321 00:18:26,119 --> 00:18:28,560 Speaker 1: light is let in, where the shadows fall, how the 322 00:18:28,600 --> 00:18:31,920 Speaker 1: outdoor fluorescent lights cut through the rain. This is also 323 00:18:31,960 --> 00:18:34,879 Speaker 1: a film with it'scott one of the greatest shots, one 324 00:18:34,880 --> 00:18:37,560 Speaker 1: of my favorite shots of all time. There's this ominous 325 00:18:37,920 --> 00:18:40,720 Speaker 1: slow dolly in on this one tree in front of 326 00:18:40,760 --> 00:18:43,600 Speaker 1: the house where the families are having Thanksgiving. This happens 327 00:18:43,680 --> 00:18:45,879 Speaker 1: very early in the film and the shot kind of 328 00:18:45,880 --> 00:18:48,199 Speaker 1: comes out of nowhere right. What happens is, you know, 329 00:18:48,240 --> 00:18:51,679 Speaker 1: the adults are inside joking around, like having some drinks. 330 00:18:51,720 --> 00:18:54,240 Speaker 1: You know, the Terrence Howard's character is trying to impress 331 00:18:54,280 --> 00:18:56,240 Speaker 1: people by playing the trumpet, but he's really bad at it, 332 00:18:56,240 --> 00:18:58,560 Speaker 1: and they're laughing and whatever. And we cut to this 333 00:18:58,600 --> 00:19:01,560 Speaker 1: exterior shot of the house and there's this tree in 334 00:19:01,600 --> 00:19:04,639 Speaker 1: between the camera where we are and then the house, 335 00:19:05,080 --> 00:19:08,359 Speaker 1: and the camera just slowly pushes in on this tree. 336 00:19:08,600 --> 00:19:11,960 Speaker 1: And at first you're like, oh, man, something's about to happen. 337 00:19:12,000 --> 00:19:14,080 Speaker 1: Like the camera's pushing it on this tree because there's 338 00:19:14,119 --> 00:19:16,359 Speaker 1: like something behind the tree, or something's going to come 339 00:19:16,359 --> 00:19:19,119 Speaker 1: out from behind the tree. Something's going to happen. But 340 00:19:19,200 --> 00:19:21,840 Speaker 1: nothing happens. The camera just pushes in and then just 341 00:19:21,880 --> 00:19:24,440 Speaker 1: holds on this close up of this tree in front 342 00:19:24,480 --> 00:19:27,399 Speaker 1: of the house, And I think what happens is you 343 00:19:27,880 --> 00:19:31,440 Speaker 1: suddenly go from thinking something's about to happen to realizing 344 00:19:31,480 --> 00:19:34,520 Speaker 1: nothing's going to happen on screen and sort of realizing 345 00:19:34,520 --> 00:19:37,920 Speaker 1: that something is very amiss, something very bad is going 346 00:19:38,000 --> 00:19:42,160 Speaker 1: to happen. It is the syntax of the visual filmmaking 347 00:19:42,200 --> 00:19:45,280 Speaker 1: here is just like next level. What I didn't know 348 00:19:45,359 --> 00:19:49,040 Speaker 1: much about going into this movie. Even for this whatever 349 00:19:49,119 --> 00:19:51,320 Speaker 1: this rewatch was the third or fourth time I've seen 350 00:19:51,320 --> 00:19:54,840 Speaker 1: this is I don't know much about the screenwriter Aaron Guzikowski. 351 00:19:55,440 --> 00:19:58,119 Speaker 1: He wrote this script a few years before the film 352 00:19:58,160 --> 00:19:59,840 Speaker 1: was produced. I think he finished it in two thousand 353 00:19:59,840 --> 00:20:02,720 Speaker 1: and and it actually found its way onto There's this 354 00:20:02,760 --> 00:20:05,920 Speaker 1: thing called the Blacklist, which is this like annual list 355 00:20:06,119 --> 00:20:09,440 Speaker 1: of the most liked screenplays that are floating around Hollywood 356 00:20:09,480 --> 00:20:11,320 Speaker 1: that have not been picked up and produced yet. I 357 00:20:11,359 --> 00:20:13,840 Speaker 1: don't really know who runs this thing or who votes 358 00:20:13,880 --> 00:20:17,080 Speaker 1: in it, but it's sort of like I've heard about 359 00:20:17,119 --> 00:20:19,439 Speaker 1: this a lot in the past. You hear about all 360 00:20:19,480 --> 00:20:22,840 Speaker 1: this is one of those Blacklist screenplays that has been 361 00:20:22,840 --> 00:20:24,720 Speaker 1: out there for years, but it's, for whatever reason, it's 362 00:20:24,760 --> 00:20:26,840 Speaker 1: never gotten made. But I guess this is in like 363 00:20:26,880 --> 00:20:29,840 Speaker 1: development hell for a long time. Christian Bale was attached 364 00:20:29,840 --> 00:20:32,560 Speaker 1: to it at one point. Leonardo DiCaprio was attached to 365 00:20:32,640 --> 00:20:35,760 Speaker 1: it at one point. The writer based this screenplay on 366 00:20:35,800 --> 00:20:38,480 Speaker 1: a short story he had written about a father whose 367 00:20:38,600 --> 00:20:41,439 Speaker 1: child is hit by a car in a hit and 368 00:20:41,520 --> 00:20:44,159 Speaker 1: run accident, and the father tracks down the driver of 369 00:20:44,160 --> 00:20:47,040 Speaker 1: that car and sticks him down a well in his backyard. 370 00:20:47,520 --> 00:20:50,719 Speaker 1: The inspiration for that story was Edgar Allen Poe's story 371 00:20:50,800 --> 00:20:54,480 Speaker 1: The Telltale Heart. Kuzakowski also wrote a movie from Mark 372 00:20:54,520 --> 00:20:57,879 Speaker 1: Wahlberg called Contraband, and he also wrote the reboot of 373 00:20:57,920 --> 00:21:02,639 Speaker 1: the Steve McQueen film Papillon starring Charlie Hohonem. I have 374 00:21:02,720 --> 00:21:05,000 Speaker 1: not seen either of those. I did see some of 375 00:21:05,040 --> 00:21:09,480 Speaker 1: the show he created for HBO with Ridley Scott was 376 00:21:09,520 --> 00:21:12,320 Speaker 1: involved in that called Raised by Wolves, which I didn't 377 00:21:12,320 --> 00:21:14,600 Speaker 1: get through the whole thing. I say all these things 378 00:21:14,600 --> 00:21:18,520 Speaker 1: to say that this script seems like lightning, like real 379 00:21:18,600 --> 00:21:21,000 Speaker 1: lightning in a bottle. You know, it seems like the 380 00:21:21,040 --> 00:21:24,080 Speaker 1: script is incredible, and I'm just I would love for 381 00:21:24,119 --> 00:21:27,760 Speaker 1: this guy to write more incredible scripts. I'm sure he has, 382 00:21:28,200 --> 00:21:31,240 Speaker 1: and you know, it doesn't hurt that it fell into 383 00:21:31,280 --> 00:21:33,760 Speaker 1: the hands of the right director, you know, I speaking 384 00:21:33,800 --> 00:21:37,560 Speaker 1: of the right director here, deny Villelleneuve. I wonder if, 385 00:21:37,960 --> 00:21:40,040 Speaker 1: as I said earlier, I wonder if he'll ever return 386 00:21:40,160 --> 00:21:41,840 Speaker 1: to making a film like this. You know, well he 387 00:21:42,240 --> 00:21:45,119 Speaker 1: once again make a film from an original script. You 388 00:21:45,119 --> 00:21:47,560 Speaker 1: know that is an original idea, not some piece of 389 00:21:47,600 --> 00:21:51,000 Speaker 1: corporate IP. Can he go back again? I talked last 390 00:21:51,000 --> 00:21:54,080 Speaker 1: week about Sam Raimi, a director who did go back 391 00:21:54,119 --> 00:21:56,880 Speaker 1: again after being involved in all kinds of corporate IP. 392 00:21:57,119 --> 00:22:00,760 Speaker 1: So I suppose that is possible. Again, I'm not saying 393 00:22:00,800 --> 00:22:03,720 Speaker 1: I don't enjoy the big budget movies that Villaneuve is 394 00:22:03,720 --> 00:22:06,320 Speaker 1: currently making, because I do. And I also get that 395 00:22:06,400 --> 00:22:10,400 Speaker 1: things are changing rapidly in Hollywood and the current landscape. 396 00:22:10,400 --> 00:22:14,040 Speaker 1: There all these buyouts and mergers and this studio buying 397 00:22:14,080 --> 00:22:17,679 Speaker 1: that studio and studio is consolidating. You know, there are 398 00:22:17,680 --> 00:22:21,080 Speaker 1: shrinking options of where and how you get your movie made. 399 00:22:21,080 --> 00:22:23,920 Speaker 1: And so I get that. You know, our guy here 400 00:22:23,960 --> 00:22:25,600 Speaker 1: is not going to be cranking out four movies in 401 00:22:25,640 --> 00:22:29,520 Speaker 1: four years that are small and original. I get that. 402 00:22:29,840 --> 00:22:31,960 Speaker 1: But you know, hey, as Jake Jillen Hall says in 403 00:22:32,080 --> 00:22:35,919 Speaker 1: this movie in Prisoners, pray for the best, Prepare for 404 00:22:35,960 --> 00:22:39,440 Speaker 1: the worst. Listen, guys, don't go anywhere, because right after 405 00:22:39,480 --> 00:22:43,680 Speaker 1: this break, I'm going to start making a mixtape based 406 00:22:43,960 --> 00:23:15,320 Speaker 1: on this movie Prisoners. You're gonna okay, everybody back here 407 00:23:15,359 --> 00:23:18,240 Speaker 1: in the screening room in Hollywood Land, Zeth LUNDI here 408 00:23:18,280 --> 00:23:21,800 Speaker 1: with you. Thanks, thanks for joining me here Prisoners, this 409 00:23:21,880 --> 00:23:24,840 Speaker 1: movie I want to start thinking about a mixtape based 410 00:23:25,040 --> 00:23:28,120 Speaker 1: on this film. If you guys have heard this show 411 00:23:28,160 --> 00:23:29,720 Speaker 1: in the past, you know that I've been doing this 412 00:23:30,119 --> 00:23:32,760 Speaker 1: in this part of the show ever since I was little, 413 00:23:32,840 --> 00:23:36,800 Speaker 1: I've been making mixtapes. I actually recently bought a after 414 00:23:36,840 --> 00:23:39,280 Speaker 1: a long period of not having one. I bought a 415 00:23:39,480 --> 00:23:43,600 Speaker 1: dual deck cassette player and old Yamaha from the eighties. 416 00:23:43,640 --> 00:23:47,000 Speaker 1: I believe it's quite nice. It's got like a digital display, 417 00:23:47,520 --> 00:23:51,280 Speaker 1: and I've started making mixtapes again and it's been really fun. 418 00:23:51,480 --> 00:23:55,439 Speaker 1: It's such a different experience than making a playlist, because 419 00:23:55,880 --> 00:23:57,520 Speaker 1: you know, you got to sit there and you got 420 00:23:57,520 --> 00:23:59,439 Speaker 1: to play the song, and you got to listen to 421 00:23:59,480 --> 00:24:02,600 Speaker 1: the song, Whereas in a playlist on your phone or 422 00:24:02,640 --> 00:24:05,520 Speaker 1: whatever your laptop, you're doing it on Spotify or Apple Music, 423 00:24:05,560 --> 00:24:08,160 Speaker 1: you're just sort of like throwing a bunch of shit 424 00:24:08,240 --> 00:24:10,359 Speaker 1: at the screen and not really like getting to experience 425 00:24:10,400 --> 00:24:12,400 Speaker 1: it as you're doing it. But with a with an 426 00:24:12,440 --> 00:24:15,680 Speaker 1: actual tactile cassette mixtape that if you're you know, you're 427 00:24:15,800 --> 00:24:18,720 Speaker 1: taking songs from records or CDs or whatever, you know, 428 00:24:18,760 --> 00:24:20,439 Speaker 1: you got to listen through the song. And as you 429 00:24:20,480 --> 00:24:23,000 Speaker 1: listen through the song, it really gets you thinking about 430 00:24:23,119 --> 00:24:25,600 Speaker 1: what's the next song that comes in this mix, what 431 00:24:25,760 --> 00:24:29,160 Speaker 1: feels right? You know? Man, There's just there's something about 432 00:24:29,160 --> 00:24:32,120 Speaker 1: the process, and then there's something about listening back to it, 433 00:24:32,119 --> 00:24:36,160 Speaker 1: it's just it feeds my I'm gonna sound so cheesy, 434 00:24:36,520 --> 00:24:39,280 Speaker 1: it just feeds my soul in some way that I 435 00:24:39,359 --> 00:24:42,120 Speaker 1: just I can't explain. And it's just this primal thing 436 00:24:42,240 --> 00:24:45,920 Speaker 1: with music and creativity and I don't know, man, I'm 437 00:24:45,960 --> 00:24:49,040 Speaker 1: just I'm super into it. So let's make a mixtape here, 438 00:24:49,320 --> 00:24:52,880 Speaker 1: inspired by the movie Prisoners. The first song I thought 439 00:24:52,920 --> 00:24:55,359 Speaker 1: about when I thought about doing this is a Candy 440 00:24:55,480 --> 00:24:59,080 Speaker 1: state And song from nineteen seventy from her debut album. 441 00:24:59,320 --> 00:25:02,080 Speaker 1: It's called I'm Just a Prisoner of Your Good Loving 442 00:25:02,840 --> 00:25:06,399 Speaker 1: Now Candy Stayton. She's from Alabama. She is not a 443 00:25:06,440 --> 00:25:09,879 Speaker 1: household name like reuthur Franklin or Otis Redding. When it 444 00:25:09,920 --> 00:25:12,800 Speaker 1: comes to soul in R and B. She did like 445 00:25:12,840 --> 00:25:15,200 Speaker 1: a lot of these people, like Wilson Pickett and Ruth Franklin. 446 00:25:15,440 --> 00:25:19,760 Speaker 1: She did record this record at Fame Studios in Muscle Shoals, 447 00:25:20,080 --> 00:25:24,000 Speaker 1: the legendary Muscle Shoals studio. So I'm assuming it's got 448 00:25:24,080 --> 00:25:27,320 Speaker 1: David Hood on bass, Roger Hawkins on drums, Jimmy Johnson 449 00:25:27,320 --> 00:25:31,399 Speaker 1: on guitar, maybe Spooner Oldham, all those guys. But like 450 00:25:31,440 --> 00:25:34,040 Speaker 1: I said, she's not very well known, and I had 451 00:25:34,119 --> 00:25:38,040 Speaker 1: never heard of her until the early two thousands. Back 452 00:25:38,040 --> 00:25:42,040 Speaker 1: in the early two thousands, the label Astral Works put 453 00:25:42,080 --> 00:25:45,400 Speaker 1: out these three compilations of for lack of a better term, 454 00:25:45,440 --> 00:25:49,720 Speaker 1: like deep cut artists, like artists that they're just again 455 00:25:49,800 --> 00:25:53,440 Speaker 1: not household names, deep cut soul artists, I should say, 456 00:25:53,560 --> 00:25:56,800 Speaker 1: soul from the sixties and the seventies. These three compilations 457 00:25:56,840 --> 00:26:00,640 Speaker 1: were Candy Staton, Betty Swan, and Willie Hide. There were 458 00:26:00,640 --> 00:26:03,800 Speaker 1: three separate discs. The covers look very similar. They're up 459 00:26:03,840 --> 00:26:07,000 Speaker 1: close photos of the artist's face with a bathe and 460 00:26:07,080 --> 00:26:09,720 Speaker 1: a different color. And it was at this time that 461 00:26:09,760 --> 00:26:12,159 Speaker 1: I was really getting into soul an R and B 462 00:26:12,280 --> 00:26:15,480 Speaker 1: from the sixties and seventies. So this compilation was really 463 00:26:15,720 --> 00:26:18,399 Speaker 1: right up my alley. Came the right time, right place. 464 00:26:18,880 --> 00:26:22,240 Speaker 1: And you know, like the staples of soul, I mean, 465 00:26:22,359 --> 00:26:25,560 Speaker 1: like the Staple singers, but not the Staples singers exactly, 466 00:26:25,840 --> 00:26:28,399 Speaker 1: although they rule, but like the staples of soul music, 467 00:26:28,440 --> 00:26:32,280 Speaker 1: you know, like yeah, like them, like Wilson Pickett, Sam 468 00:26:32,320 --> 00:26:35,359 Speaker 1: and Dave, Eddie Floyd, like whatever. All that stuff rules. 469 00:26:35,800 --> 00:26:38,399 Speaker 1: But there's nothing like discovering an artist you've never heard of, 470 00:26:38,520 --> 00:26:41,480 Speaker 1: one that perhaps has been forgotten to history, because when 471 00:26:41,520 --> 00:26:43,920 Speaker 1: you discover these things, it feels like you're discovering something 472 00:26:43,960 --> 00:26:47,080 Speaker 1: really special. It feels new, but at the same time 473 00:26:47,240 --> 00:26:50,119 Speaker 1: it sends you back in time to that end. This 474 00:26:50,200 --> 00:26:52,560 Speaker 1: Candy State and stuff just sounds incredible. It's like you're 475 00:26:52,600 --> 00:26:55,440 Speaker 1: right there in the room. And I honestly can say 476 00:26:56,040 --> 00:26:58,119 Speaker 1: when it comes to like throwing on some music, guys, 477 00:26:58,160 --> 00:27:01,000 Speaker 1: like it really doesn't get much better in this stuff. 478 00:27:01,280 --> 00:27:03,720 Speaker 1: Check this out. Candy State and I'm mister prisoner of 479 00:27:03,800 --> 00:27:06,080 Speaker 1: your Good Love. And the next song here on the 480 00:27:06,119 --> 00:27:08,520 Speaker 1: mixtape We're Gonna put on is the song by Herbie 481 00:27:08,520 --> 00:27:12,480 Speaker 1: Hancock called The Prisoner. It's the title track to his 482 00:27:12,640 --> 00:27:16,120 Speaker 1: nineteen seventy Blue Note album of the same name. This 483 00:27:16,160 --> 00:27:18,720 Speaker 1: record was dedicated to the memory of Martin Luther King 484 00:27:18,760 --> 00:27:22,399 Speaker 1: because when Herbie recorded this in nineteen sixty nine, doctor 485 00:27:22,480 --> 00:27:25,760 Speaker 1: King had just been assassinated the year before. This song 486 00:27:25,920 --> 00:27:28,879 Speaker 1: sounds like jazz music for someone in witness protection, and 487 00:27:28,960 --> 00:27:32,000 Speaker 1: I mean that in the best possible way. It's very cinematic, 488 00:27:32,520 --> 00:27:35,159 Speaker 1: very tense. It's a little paranoid. It kind of sounds 489 00:27:35,160 --> 00:27:37,359 Speaker 1: like what the seventies are about to become. At least 490 00:27:37,359 --> 00:27:40,440 Speaker 1: at the cinema, So in that way, it's super forward looking, 491 00:27:40,800 --> 00:27:44,040 Speaker 1: much like the music that Herbie's pal Miles Davis was 492 00:27:44,040 --> 00:27:46,840 Speaker 1: making of the time. But unlike Miles' work circa on 493 00:27:46,920 --> 00:27:50,680 Speaker 1: nineteen seventy, Herbie's stuff feels like it's still rooted somewhat 494 00:27:50,720 --> 00:27:54,440 Speaker 1: in this lingering haze of post bop jazz. You can't 495 00:27:54,440 --> 00:27:57,440 Speaker 1: go wrong, guys with Herbie, especially from this period. This 496 00:27:57,560 --> 00:28:01,040 Speaker 1: record speak like a child fat Albert Retz. These are 497 00:28:01,080 --> 00:28:05,240 Speaker 1: all totally killer. The prisoner this is a must, okay. 498 00:28:05,280 --> 00:28:08,320 Speaker 1: The next song here on our mixtape inspired by Prisoners 499 00:28:08,440 --> 00:28:11,800 Speaker 1: is a song called take Me I'm Yours by Squeeze. 500 00:28:11,800 --> 00:28:15,040 Speaker 1: This is the debut single by the UK band Squeeze, 501 00:28:15,080 --> 00:28:18,439 Speaker 1: released in nineteen seventy eight. It's also on their debut album, 502 00:28:18,520 --> 00:28:20,600 Speaker 1: That's the self titled album with the pink cover with 503 00:28:20,680 --> 00:28:23,919 Speaker 1: a big beefcake muscle guy on the front. This is 504 00:28:24,000 --> 00:28:25,680 Speaker 1: not one of their best records by a long shot, 505 00:28:25,680 --> 00:28:29,360 Speaker 1: by the way, but this single does set up sort 506 00:28:29,359 --> 00:28:32,280 Speaker 1: of the template, the Squeeze template going forward, which is 507 00:28:32,320 --> 00:28:36,040 Speaker 1: that the two songwriters, Chris Difford and Glenn Tilbrook. Chris 508 00:28:36,080 --> 00:28:39,840 Speaker 1: Difford sings an octave below Glenn Tilbrook. They both sing 509 00:28:39,880 --> 00:28:41,680 Speaker 1: a lot of the lines together, and that sort of 510 00:28:41,680 --> 00:28:44,200 Speaker 1: became the template for their style is right there in 511 00:28:44,240 --> 00:28:47,000 Speaker 1: this debut single. By the time these guys hit their 512 00:28:47,040 --> 00:28:51,160 Speaker 1: stride a couple years later with albums like East Side 513 00:28:51,160 --> 00:28:55,560 Speaker 1: Story and Argi Bargie or Rgi Bargie, But the time 514 00:28:55,960 --> 00:28:58,480 Speaker 1: they hit their stride with these songs, they're writing songs 515 00:28:58,480 --> 00:29:01,480 Speaker 1: as good as anybody the time here in the early eighties. 516 00:29:02,280 --> 00:29:05,000 Speaker 1: But there's something so raw and simple about take Me 517 00:29:05,160 --> 00:29:09,560 Speaker 1: I'm Yours. It's kind of goofy and playful. The backing 518 00:29:09,640 --> 00:29:12,880 Speaker 1: track just sounds like a bunch of synthesizers chugging along 519 00:29:12,920 --> 00:29:15,160 Speaker 1: like a locomotive, and these two guys kind of sound 520 00:29:15,200 --> 00:29:18,120 Speaker 1: like robotic and their delivery. And then oddly enough, the 521 00:29:18,200 --> 00:29:21,280 Speaker 1: guitar melody almost has this James Bond quality to it, 522 00:29:21,320 --> 00:29:24,920 Speaker 1: which kind of ties it back nicely to the espionage 523 00:29:24,960 --> 00:29:27,000 Speaker 1: thing going on with the Herbie Hancocks on there too. 524 00:29:27,440 --> 00:29:30,280 Speaker 1: You know. Funny thing about Squeeze, I think that their 525 00:29:30,440 --> 00:29:34,760 Speaker 1: biggest hit was tempted off of the East Side Story album, 526 00:29:34,800 --> 00:29:37,720 Speaker 1: which was sung by not by Glenn Tilberg or Chris Difford, 527 00:29:38,080 --> 00:29:41,080 Speaker 1: but some by Paul Carrick, who came in with the 528 00:29:41,120 --> 00:29:44,240 Speaker 1: band around this time. I think for just one record, 529 00:29:44,280 --> 00:29:47,000 Speaker 1: this is after he was an Ace. Ace had the 530 00:29:47,440 --> 00:29:51,160 Speaker 1: Hello is This Being Going in Home song, and then 531 00:29:51,320 --> 00:29:54,600 Speaker 1: he joined Mike and the Mechanics after this. But it's 532 00:29:54,600 --> 00:29:56,760 Speaker 1: this kind of ironic that I think if people think 533 00:29:56,800 --> 00:29:59,800 Speaker 1: of Squeeze, they think of Tempted, but yet Tempted is 534 00:29:59,840 --> 00:30:03,280 Speaker 1: not really vocally representative of the band, which is kind 535 00:30:03,320 --> 00:30:05,960 Speaker 1: of funny. Also worth it out there if you hunt 536 00:30:05,960 --> 00:30:09,680 Speaker 1: for this Squeeze show it was broadcast live on MTV 537 00:30:09,840 --> 00:30:13,200 Speaker 1: in the early eighties. Forget exactly where or what or 538 00:30:13,240 --> 00:30:15,200 Speaker 1: how to the terms to search for it, but if 539 00:30:15,200 --> 00:30:17,240 Speaker 1: you search for it on YouTube and find it, it 540 00:30:17,320 --> 00:30:22,080 Speaker 1: is like lights out so good. It's like Squeeze on speed. 541 00:30:22,120 --> 00:30:24,000 Speaker 1: Perhaps they were on speed when they played it, but 542 00:30:24,040 --> 00:30:27,440 Speaker 1: it's so fast, and the songs are complicated, and Glenn 543 00:30:27,480 --> 00:30:30,640 Speaker 1: Tilbork's guitar lines are so complicated. It's great, great shit 544 00:30:30,720 --> 00:30:33,600 Speaker 1: Squeeze all right, Moving on here to the next track. 545 00:30:33,840 --> 00:30:36,720 Speaker 1: The next track is a song called Chained to Love 546 00:30:37,320 --> 00:30:41,320 Speaker 1: by Divine Fits. Divine Fits is a side project that 547 00:30:41,360 --> 00:30:45,320 Speaker 1: came out in the early twenty tens featuring Britt Daniel 548 00:30:45,400 --> 00:30:49,200 Speaker 1: and Alex Fischel from Spoon, Dan from Wolf Parade, and 549 00:30:49,520 --> 00:30:53,480 Speaker 1: Sam from New Bomb Turks. They released one Killer album 550 00:30:53,600 --> 00:30:57,400 Speaker 1: on Matador self titled album, and then they also released 551 00:30:57,680 --> 00:31:00,959 Speaker 1: a single which this comes from Chained Love backed with 552 00:31:01,080 --> 00:31:03,960 Speaker 1: Ink at the Way. Chain to Love is dan song. 553 00:31:04,080 --> 00:31:06,960 Speaker 1: He and Britt split the vocal duties and the songwriting duties, 554 00:31:07,000 --> 00:31:09,240 Speaker 1: I guess, and it has this really strong four to 555 00:31:09,280 --> 00:31:12,280 Speaker 1: four back beat and these guitars man sound like they 556 00:31:12,400 --> 00:31:15,600 Speaker 1: ate their whedies that morning. These guitars are not fucking around. 557 00:31:15,640 --> 00:31:17,760 Speaker 1: They're here to stay. I was so pumped for this 558 00:31:17,840 --> 00:31:20,680 Speaker 1: record in this single when these things came out at 559 00:31:20,680 --> 00:31:23,440 Speaker 1: the time, because I'm a long time Spoon fans. Spoon's 560 00:31:23,440 --> 00:31:25,240 Speaker 1: one of my favorite bands. I think they're one of 561 00:31:25,280 --> 00:31:27,720 Speaker 1: the best live rock bands out there. I think Britt 562 00:31:27,760 --> 00:31:30,600 Speaker 1: Daniel was one of the best front men out there 563 00:31:30,720 --> 00:31:33,480 Speaker 1: working right now. At the time, I was not really 564 00:31:33,520 --> 00:31:37,160 Speaker 1: into their latest record, which was Transference. That's a way 565 00:31:37,200 --> 00:31:40,160 Speaker 1: homer of a record, as Glenn would say in Raising Arizona, 566 00:31:40,200 --> 00:31:42,440 Speaker 1: because you only get it on the way home. So 567 00:31:42,560 --> 00:31:45,000 Speaker 1: it took a little while for me to come around 568 00:31:45,000 --> 00:31:46,600 Speaker 1: and for that record to grow on me. So at 569 00:31:46,600 --> 00:31:49,440 Speaker 1: the time. This Divine Fits album was really what I 570 00:31:49,480 --> 00:31:50,800 Speaker 1: was looking for. It seemed to have a lot of 571 00:31:50,840 --> 00:31:52,960 Speaker 1: the action and the drama and the excitement that I 572 00:31:53,000 --> 00:31:56,360 Speaker 1: found kind of lacking in Transference. Again, Transference fans do 573 00:31:56,480 --> 00:31:59,160 Speaker 1: not come at me, Okay, because I came around. It's cool. 574 00:31:59,200 --> 00:32:01,320 Speaker 1: I like it. We're all good and as we wait 575 00:32:01,400 --> 00:32:03,680 Speaker 1: now for this new Spoon album to come out that 576 00:32:03,760 --> 00:32:07,400 Speaker 1: seems imminent any day. Now, check out this Divine Fits stuff. 577 00:32:07,400 --> 00:32:09,600 Speaker 1: You won't regret it. Songs called Chain to Love. Okay. 578 00:32:09,680 --> 00:32:11,360 Speaker 1: The next song here on our mix is gonna be 579 00:32:11,520 --> 00:32:14,680 Speaker 1: missing from everything but the Girl. This is the duo 580 00:32:14,840 --> 00:32:18,280 Speaker 1: of Ben Watt and Tracy Thorn. This comes from their 581 00:32:18,600 --> 00:32:21,640 Speaker 1: nineteen ninety four album Amplified Heart. You know the one 582 00:32:22,160 --> 00:32:25,840 Speaker 1: I miss You like the Desert's miss the Rain. You 583 00:32:25,840 --> 00:32:30,400 Speaker 1: guys are getting a lot of my singing the beautiful 584 00:32:30,760 --> 00:32:34,200 Speaker 1: vocal stylings of doctor Zathlony today, So I just want 585 00:32:34,200 --> 00:32:38,040 Speaker 1: to say, special special episode. You're welcome now. The original 586 00:32:38,160 --> 00:32:41,080 Speaker 1: version of the song on this record has acoustic guitar, 587 00:32:41,640 --> 00:32:43,640 Speaker 1: like I think a lot of this record is acoustic guitar, 588 00:32:43,680 --> 00:32:45,480 Speaker 1: and it's kind of chill. So the song was not 589 00:32:45,520 --> 00:32:47,640 Speaker 1: a hit. It wasn't a hit until a year later 590 00:32:47,720 --> 00:32:50,920 Speaker 1: when it was remixed. So in ninety five, the remix 591 00:32:51,040 --> 00:32:52,840 Speaker 1: version of the song went all the way to number 592 00:32:52,840 --> 00:32:55,240 Speaker 1: two on the Billboard Hot one hundred and this is 593 00:32:55,280 --> 00:33:00,280 Speaker 1: the song that you know, the remix version, the club version, right, 594 00:33:01,440 --> 00:33:04,040 Speaker 1: this stuff, everything but the girl, you know, massive attack 595 00:33:04,120 --> 00:33:06,440 Speaker 1: pored his head. This was like the soundtrack to my 596 00:33:06,440 --> 00:33:08,520 Speaker 1: college years, all those great years in the back half 597 00:33:08,520 --> 00:33:12,000 Speaker 1: of the nineties when trip hop and electro whatever you know, 598 00:33:12,120 --> 00:33:16,480 Speaker 1: infiltrated everything, Everything but the girl missing great tune. I 599 00:33:16,480 --> 00:33:19,400 Speaker 1: think I might kind of like the chill acoustic version 600 00:33:19,400 --> 00:33:21,840 Speaker 1: a little bit better than the club thumping version, but 601 00:33:21,920 --> 00:33:23,880 Speaker 1: that's just me. The next song I want to throw 602 00:33:23,880 --> 00:33:26,440 Speaker 1: on here. This song's called let Me Go. This is 603 00:33:26,440 --> 00:33:31,440 Speaker 1: by Salt spelled Sault. This comes from their twenty nineteen 604 00:33:31,520 --> 00:33:35,480 Speaker 1: debut album V or five. Sorry. This is a super 605 00:33:35,480 --> 00:33:38,680 Speaker 1: funky jam. This is like the Supremes kicking it in space, 606 00:33:38,760 --> 00:33:41,479 Speaker 1: you know what I mean. It's like illegal level funky. 607 00:33:42,040 --> 00:33:44,840 Speaker 1: Do you guys know about this band? About Salt? They 608 00:33:44,840 --> 00:33:48,680 Speaker 1: have put out something like thirteen albums since twenty nineteen, 609 00:33:49,040 --> 00:33:52,959 Speaker 1: thirteen albums in seven years, and five of those I 610 00:33:52,960 --> 00:33:55,880 Speaker 1: think they dropped at the same time. These guys are 611 00:33:55,880 --> 00:33:58,840 Speaker 1: like this funky stew of soul, gospel, R and B, 612 00:33:59,440 --> 00:34:03,040 Speaker 1: but it's also orchestral at times and ethereal. Every record 613 00:34:03,120 --> 00:34:05,520 Speaker 1: is a different vibe and it's all done in a 614 00:34:05,520 --> 00:34:08,640 Speaker 1: way that it doesn't feel like sixty soul cosplay, but 615 00:34:08,680 --> 00:34:12,040 Speaker 1: it feels brand new and like a throwback at the 616 00:34:12,080 --> 00:34:14,080 Speaker 1: same time, if you know what I mean. They're a 617 00:34:14,080 --> 00:34:17,120 Speaker 1: British group. They're led by a vocalist called Cleo Soul, 618 00:34:17,600 --> 00:34:19,840 Speaker 1: and for the longest time they were actually like this 619 00:34:19,920 --> 00:34:22,359 Speaker 1: anonymous collective and I think some of the members might 620 00:34:22,400 --> 00:34:25,080 Speaker 1: still remain anonymous. Which is just a really fun way 621 00:34:25,080 --> 00:34:27,879 Speaker 1: to release and experience music in our time right now, 622 00:34:27,920 --> 00:34:31,560 Speaker 1: because you know, it feels like all the mystery out 623 00:34:31,560 --> 00:34:34,680 Speaker 1: of making music and releasing music and listening to music, 624 00:34:34,719 --> 00:34:37,440 Speaker 1: the mystery is gone, and it's hard to explain when 625 00:34:37,480 --> 00:34:40,080 Speaker 1: you haven't experienced that. But we live in a time 626 00:34:40,120 --> 00:34:43,239 Speaker 1: now when artists are expected and pressure to sort of 627 00:34:43,320 --> 00:34:47,600 Speaker 1: overshare everything online and no one can really retain this 628 00:34:47,760 --> 00:34:50,719 Speaker 1: air of the unknown anymore. So Salt is out here 629 00:34:50,719 --> 00:34:55,359 Speaker 1: giving us some old school unknown, mysterious vibes and I'm 630 00:34:55,400 --> 00:34:58,080 Speaker 1: here for it. I heard Questlov actually tell a funny 631 00:34:58,120 --> 00:35:00,200 Speaker 1: story about I think it was on his podcast. Yes, 632 00:35:00,960 --> 00:35:02,640 Speaker 1: he asked one of his friends, and it may have 633 00:35:02,760 --> 00:35:04,800 Speaker 1: even been Cleo Soul herself. I can't remember, but I 634 00:35:04,840 --> 00:35:07,120 Speaker 1: think maybe it was. He asked one of his friends, Hey, 635 00:35:07,120 --> 00:35:09,080 Speaker 1: have you heard this band Salt? They're amazing and the 636 00:35:09,160 --> 00:35:13,240 Speaker 1: friend was like, Quest, dude, I'm in that band, which 637 00:35:13,320 --> 00:35:16,040 Speaker 1: just goes to show you how secret of this this 638 00:35:16,120 --> 00:35:18,200 Speaker 1: has been since it came out of great stuff. This 639 00:35:18,280 --> 00:35:22,240 Speaker 1: song again is called let Me Go by Salt. Now 640 00:35:22,440 --> 00:35:24,440 Speaker 1: it is your turn. Let's keep this role And what 641 00:35:24,440 --> 00:35:26,319 Speaker 1: do you think what songs sho we put on our 642 00:35:26,600 --> 00:35:30,360 Speaker 1: mixtape inspired by the movie Prisoners. Give me some songs 643 00:35:30,400 --> 00:35:33,320 Speaker 1: about being held prisoner, about being taken, about being chained, 644 00:35:33,360 --> 00:35:36,279 Speaker 1: set free, all that jazz. Call or text me at 645 00:35:36,280 --> 00:35:40,000 Speaker 1: six one seven nine oh six six six three eight. 646 00:35:40,480 --> 00:35:44,480 Speaker 1: You can email me at disgrace lampod at gmail dot com, 647 00:35:44,760 --> 00:35:47,160 Speaker 1: hit me up on the socials at Disgrace lamppod, or 648 00:35:47,560 --> 00:35:51,320 Speaker 1: if you're a member of Disgraceland all access over in Patreon, 649 00:35:51,840 --> 00:35:54,200 Speaker 1: jump in the chat and send me a message. Okay, 650 00:35:54,520 --> 00:36:05,759 Speaker 1: let me know and I'll be back here in a flash, 651 00:36:06,040 --> 00:36:09,000 Speaker 1: all right, everybody. I mentioned Patreon there at the end 652 00:36:09,080 --> 00:36:11,680 Speaker 1: of that last block before the break, and just as 653 00:36:11,719 --> 00:36:14,080 Speaker 1: a reminder and reminder of some and also maybe for 654 00:36:14,080 --> 00:36:16,880 Speaker 1: those of you who do not know, because I know 655 00:36:16,960 --> 00:36:20,440 Speaker 1: sometimes it takes a minute for information to get to everybody. 656 00:36:20,800 --> 00:36:25,200 Speaker 1: But Patreon is where Jake Brennan of Disgraceland and I 657 00:36:25,360 --> 00:36:30,480 Speaker 1: are producing this video podcast. It's I think it's still new. 658 00:36:30,560 --> 00:36:32,400 Speaker 1: I can so call it new. It's been around since 659 00:36:32,640 --> 00:36:34,879 Speaker 1: December of last year. We have three episodes so far, 660 00:36:34,960 --> 00:36:37,560 Speaker 1: with a fourth episode coming in a couple of weeks. 661 00:36:37,920 --> 00:36:40,879 Speaker 1: It's called this Film Should be Played Loud. It's all 662 00:36:40,920 --> 00:36:46,480 Speaker 1: about the great music from great movies. You know, Neil 663 00:36:46,560 --> 00:36:50,120 Speaker 1: drops soundtracks, scores, you know. We're talking about songs that 664 00:36:50,160 --> 00:36:53,120 Speaker 1: we hated until we saw them in a particular movie. 665 00:36:53,200 --> 00:36:55,759 Speaker 1: We're talking about songs that sent us right out of 666 00:36:55,760 --> 00:36:57,759 Speaker 1: the movie theater and rate down the rabbit hole at 667 00:36:57,800 --> 00:37:01,440 Speaker 1: the local record store. We've done episodes on Goodfellas, on 668 00:37:01,560 --> 00:37:04,440 Speaker 1: Train Spawning, on Boogie Nights. We're going to do more. 669 00:37:04,920 --> 00:37:07,600 Speaker 1: I just actually just put together a doc for Jake 670 00:37:07,920 --> 00:37:10,760 Speaker 1: to check out. That's a proposal of all the films 671 00:37:10,760 --> 00:37:12,120 Speaker 1: we're going to cover for the rest of the year, 672 00:37:12,120 --> 00:37:14,440 Speaker 1: and I'm really excited. We've got a lot of different 673 00:37:14,480 --> 00:37:18,720 Speaker 1: different genres from different eras, but I think the common 674 00:37:18,800 --> 00:37:21,120 Speaker 1: thread here is that these are just movies that like 675 00:37:21,280 --> 00:37:23,400 Speaker 1: we know like the back of our hand, that we've 676 00:37:23,840 --> 00:37:26,480 Speaker 1: lived in for so long and just love to talk about, 677 00:37:26,719 --> 00:37:29,000 Speaker 1: and they're just sort of part of our DNA here 678 00:37:29,120 --> 00:37:31,759 Speaker 1: at the shows. So again, if you guys want to 679 00:37:31,840 --> 00:37:34,320 Speaker 1: check that out, if you just go to Disgrace lampod 680 00:37:34,480 --> 00:37:37,440 Speaker 1: dot com, there's a link right on the homepage to 681 00:37:37,680 --> 00:37:40,920 Speaker 1: sign up for this all access thing on Patreon, And again, 682 00:37:40,960 --> 00:37:43,759 Speaker 1: Patreon's the only place that you can get this new 683 00:37:43,840 --> 00:37:47,360 Speaker 1: video podcast. This film should be played loud. Come on 684 00:37:47,480 --> 00:37:49,520 Speaker 1: over there, check it out. I think you're going to 685 00:37:49,560 --> 00:37:52,480 Speaker 1: dig it. Next week, coming to you in this feed 686 00:37:52,600 --> 00:37:55,760 Speaker 1: on Monday, we're going to continue our month of Mavericks 687 00:37:55,800 --> 00:37:59,520 Speaker 1: and Outliers with an episode on the director John Houston. 688 00:38:00,160 --> 00:38:03,600 Speaker 1: You know John Houston. He did The Maltese Falcon, he 689 00:38:03,680 --> 00:38:08,160 Speaker 1: did The Treasure of the Sierra Madre. He's done a 690 00:38:08,200 --> 00:38:09,800 Speaker 1: lot of movies. He's worked with a lot of people. 691 00:38:09,840 --> 00:38:14,080 Speaker 1: He's kind of a big deal, he might say. This episode, though, 692 00:38:14,280 --> 00:38:17,120 Speaker 1: is all about these the wild stakes that John Houston 693 00:38:17,160 --> 00:38:19,839 Speaker 1: found himself facing as a young man trying to make 694 00:38:19,880 --> 00:38:22,880 Speaker 1: it in Hollywood, and what exactly made him have to 695 00:38:22,880 --> 00:38:25,680 Speaker 1: flee the country and live on the streets, no money, 696 00:38:25,760 --> 00:38:29,120 Speaker 1: no prospects, as good as dead. It's a wild one, okay. 697 00:38:29,239 --> 00:38:31,960 Speaker 1: And then next Friday here in the screening room, I'm 698 00:38:31,960 --> 00:38:34,440 Speaker 1: gonna be talking about one of my favorite John Houston movies, 699 00:38:34,440 --> 00:38:37,080 Speaker 1: but not a movie he directed, instead a movie that 700 00:38:37,120 --> 00:38:39,799 Speaker 1: he plays a supporting role in. He basically plays the 701 00:38:39,840 --> 00:38:42,520 Speaker 1: devil in this movie. I gotta say that film, of course, 702 00:38:42,640 --> 00:38:46,400 Speaker 1: is Chinatown, directed by Roman Polanski and starring Jack Nicholson 703 00:38:46,680 --> 00:38:51,200 Speaker 1: and Faye Dunaway. Do not miss that. Until then, I'm 704 00:38:51,200 --> 00:38:53,560 Speaker 1: going to leave you guys with this. Here's what America 705 00:38:53,600 --> 00:38:57,400 Speaker 1: was watching at the movies in September twenty thirteen, the 706 00:38:57,480 --> 00:39:04,160 Speaker 1: month that Prisoners was released. Number one Insidious Chapter two, 707 00:39:04,360 --> 00:39:08,839 Speaker 1: directed by James Wong. Number two The Butler directed by 708 00:39:08,920 --> 00:39:15,640 Speaker 1: Lee Daniels. Number three Riddicks directed by David Tody Caron 709 00:39:15,719 --> 00:39:18,880 Speaker 1: and Chris Number four, Number four Prisoners Steers directed by 710 00:39:18,880 --> 00:39:23,080 Speaker 1: Din of Enough direct Number five where the Millers The 711 00:39:23,120 --> 00:39:27,960 Speaker 1: Millers directed by Rowson Marshall Thurber directed Number six, Cloudy 712 00:39:27,960 --> 00:39:31,080 Speaker 1: with a Chance of Meatballs Too, directed by Cody Cameron 713 00:39:31,200 --> 00:39:37,520 Speaker 1: and Chris Baron. It's number seven. Constructions quit talking and 714 00:39:37,760 --> 00:39:38,840 Speaker 1: start mixing.