WEBVTT - Some Movies That Changed Filmmaking 0:00:01.320 --> 0:00:04.720 Welcome to you Stuff you should know from how Stuffworks 0:00:04.720 --> 0:00:11.080 dot com. 0:00:11.240 --> 0:00:13.960 Hey, and welcome to the podcast. I'm Josh Clark. There's 0:00:14.080 --> 0:00:18.720 Charles W. Chuck Bryant aka Ciskel. 0:00:18.360 --> 0:00:20.239 And Ebert save it's the I'll see. 0:00:20.520 --> 0:00:26.840 And Jerry's over there. I guess she's Gene Shallett. That's 0:00:26.880 --> 0:00:29.080 the stuff you should know, triumph for. 0:00:30.920 --> 0:00:32.400 I don't know why that took on me so much 0:00:32.440 --> 0:00:35.760 because Jeane Salat's a funny looking I guess, yeah, Jerry's not. 0:00:36.640 --> 0:00:38.440 I'm just picturing her with a big afro and a 0:00:38.520 --> 0:00:42.519 mustache and like a tweet jacket and bad opinions about movies. 0:00:42.600 --> 0:00:44.240 Geene Shllett had a look for sure. 0:00:44.840 --> 0:00:49.560 Still thought he's around right, Oh yeah, I think so. Yeah, 0:00:49.720 --> 0:00:53.600 Rip both Ciskel and Ebert, so sad. I know, have 0:00:53.680 --> 0:00:55.600 you seen the Roger Ebert documentary? 0:00:55.760 --> 0:00:57.960 No, I've heard nothing but good things. 0:00:57.560 --> 0:00:59.200 Really really good, very touching. 0:00:59.400 --> 0:01:03.240 Yeah. Is it a something life? 0:01:03.520 --> 0:01:07.240 Life? Uh like mine, Life with Me, Life on top, 0:01:07.600 --> 0:01:11.560 Life itself, Life with thumbs, Life itself, Life itself, Life 0:01:11.560 --> 0:01:12.440 with thumbs. 0:01:13.040 --> 0:01:15.080 It was really great and I watched it on made 0:01:15.120 --> 0:01:16.800 the mistake of watching on a plane, and I was 0:01:16.880 --> 0:01:17.360 just like. 0:01:17.480 --> 0:01:20.440 My allergies were acting up. Oh yeah, oh yeah I was. 0:01:20.480 --> 0:01:23.840 I was watering because of your allergies. No, because it 0:01:23.880 --> 0:01:26.320 was sad. I was crying. Do you want me to 0:01:26.360 --> 0:01:26.640 say it? 0:01:26.720 --> 0:01:29.440 Oh? Yeah, crying on a plane. I was confused there 0:01:29.520 --> 0:01:30.120 for a second. 0:01:30.840 --> 0:01:32.880 That's better than when I watch other movies that are 0:01:32.920 --> 0:01:36.920 on my laptop that are like like bad violence or 0:01:37.040 --> 0:01:39.240 nudity or something. I'm always just like oh, and I 0:01:39.360 --> 0:01:42.039 kind of lower the laptop and it's like I. 0:01:41.959 --> 0:01:43.800 Didn't realize this was in here, and the lady next 0:01:43.800 --> 0:01:44.319 to me is just. 0:01:44.280 --> 0:01:46.800 Like, ugh, you disgust me? 0:01:47.160 --> 0:01:50.120 Yeah, because I don't. I want to be sensitive people 0:01:50.160 --> 0:01:51.520 around me. You know, I'm not one of those jerks. 0:01:51.520 --> 0:01:52.960 It's like just lives in my own bubble. 0:01:53.000 --> 0:01:55.400 It's like watching some sex scene on a plane, You're 0:01:55.440 --> 0:01:56.520 like elbowing the lady. 0:01:56.760 --> 0:02:00.000 So yeah, no, I hate it. It was so embarras 0:02:00.200 --> 0:02:01.600 happened to me a couple of times. I'm like I 0:02:01.600 --> 0:02:05.320 needed to start going PG on movies airplanes. 0:02:05.440 --> 0:02:08.840 Judd Apatow huh am, I right, he's unpredictable. 0:02:08.960 --> 0:02:13.080 Yeah all right, So Chuck, this is your episode to 0:02:13.160 --> 0:02:16.760 shine man, is it? Yes, you're a movie guy too, though, 0:02:16.840 --> 0:02:17.680 I like movies. 0:02:17.720 --> 0:02:22.800 But I've I almost consciously don't let myself watch movies 0:02:22.840 --> 0:02:25.960 on a like a film aficionado. 0:02:25.360 --> 0:02:27.200 Level, your pure enjoyment. 0:02:27.320 --> 0:02:30.880 Yeah, I don't ever want to see the individual shots 0:02:31.440 --> 0:02:34.000 and just be like, oh, well that could have been 0:02:34.040 --> 0:02:38.200 better whatever. Yeah, and just missed the movie as a whole. 0:02:38.600 --> 0:02:40.440 Yeah. I fall somewhere in the middle of that. I 0:02:40.520 --> 0:02:41.400 try to let go. 0:02:41.560 --> 0:02:46.000 But like our our video producer director Casey is is 0:02:46.000 --> 0:02:48.360 pretty bad about that. And our buddy Scotty who shot 0:02:48.360 --> 0:02:51.400 our TV show, Oh he's the worst. Yeah, he's just 0:02:51.480 --> 0:02:54.160 the camera working that lighting in that scene. 0:02:54.600 --> 0:02:57.239 Scott's awesome. Hey Scott, Hey Casey. 0:02:58.160 --> 0:02:59.799 They're all in here with this in spirit. And hey, 0:02:59.800 --> 0:03:02.480 this is the last show in the studio. Yeah, last 0:03:02.520 --> 0:03:04.280 episode in the old office. 0:03:04.400 --> 0:03:05.600 Yep, Murder Room. 0:03:05.720 --> 0:03:07.720 Couldn't feel more neutral about it. 0:03:08.400 --> 0:03:12.079 I actually feel less than neutral, less than zero. It's 0:03:12.200 --> 0:03:15.240 it's weird. That was a good movie. Thank you, great shots. 0:03:15.880 --> 0:03:17.240 I say thank you as if I directed it. 0:03:18.880 --> 0:03:24.520 I not only directed it, I also played Andrew McCarthy. Uh. 0:03:24.600 --> 0:03:26.280 Yeah, I'm ready to get the heck out of here. Man. 0:03:26.680 --> 0:03:28.720 I can't wait to get in that new office and 0:03:28.760 --> 0:03:31.560 that Yeah, it's gonna be good, tiny little dedicated studio. 0:03:31.280 --> 0:03:34.560 Whole new world. All right, let's do this. 0:03:35.000 --> 0:03:37.480 Okay, So, Chuck films, you've seen one or two of 0:03:37.480 --> 0:03:39.360 them in your time? Sure, have you seen any of 0:03:39.400 --> 0:03:41.200 the ones in this list? I know you've seen a 0:03:41.240 --> 0:03:42.600 few of them, but have you seen like some of 0:03:42.640 --> 0:03:44.040 the early ones I've seen. 0:03:44.560 --> 0:03:46.680 Well, we'll just go piece by piece because I have 0:03:46.800 --> 0:03:48.400 not seen Battleship Patankn. 0:03:49.080 --> 0:03:52.000 Okay, but I do love Mandy Patankin. 0:03:52.800 --> 0:03:56.880 It's a little different, yes, in spelling pronunciation meaning the 0:03:56.880 --> 0:03:57.320 whole thing. 0:03:57.400 --> 0:03:58.440 Uh huh. 0:03:58.520 --> 0:03:59.680 But it's close, I guess. 0:04:00.480 --> 0:04:04.520 But we're talking, of course, about films that change filmmaking 0:04:05.880 --> 0:04:08.120 somewhere or another. And the first one on the list 0:04:08.320 --> 0:04:10.440 is from nineteen twenty five, Battleship Patinkin. 0:04:10.960 --> 0:04:12.480 That's hard for me to say, which is. 0:04:12.400 --> 0:04:14.520 Not the first movie, by the way. The first screen 0:04:14.560 --> 0:04:17.640 movie was Workers Leaving the Lumieer Factory, which is forty 0:04:17.680 --> 0:04:20.400 seven seconds long and the most boring piece of celluloid 0:04:20.400 --> 0:04:23.360 anyone's ever picked together. But it was the first, that's right. 0:04:23.920 --> 0:04:26.240 This was many years. That was a full thirty years 0:04:26.240 --> 0:04:29.480 before Battleship Potempkin. By the time thirty years had passed, 0:04:29.760 --> 0:04:33.159 like we were doing like narratives, and there was banning 0:04:33.279 --> 0:04:36.080 and all sorts of great stuff. Yeah, and Battleship Patinkin 0:04:36.400 --> 0:04:40.400 fell under both of those umbrellas. It was a narrative story. 0:04:40.480 --> 0:04:42.640 It was a silent movie, that's right, But it told 0:04:42.640 --> 0:04:44.520 a pretty clear story. And it was a bit of 0:04:44.600 --> 0:04:46.040 Russian propaganda as well. 0:04:46.440 --> 0:04:49.040 Yeah, it tells a story of a nineteen oh five 0:04:49.200 --> 0:04:53.840 uprising in where there were Russian sailors. Basically, there was 0:04:53.880 --> 0:04:56.719 a mutiny aboard a ship and then the bad guys, 0:04:56.720 --> 0:04:58.560 the Cossacks, came in looking for. 0:05:00.720 --> 0:05:03.440 Yeah, nineteen oh five, that would have been rising up 0:05:03.480 --> 0:05:08.520 against tyranny, would have been rising up against the Romanov monarchy. 0:05:08.600 --> 0:05:11.960 I guess nice. But it was made in nineteen twenty five, 0:05:12.000 --> 0:05:15.600 so this is a time when you know, Lenin and 0:05:15.680 --> 0:05:18.600 Trotsky and all those dudes were running around trying to 0:05:18.839 --> 0:05:22.919 do the great experiment. Yeah, and it ends up it 0:05:22.960 --> 0:05:27.080 turns out that the Battleship Petempkin was banned in some countries. 0:05:27.200 --> 0:05:30.480 Some countries are like, we don't want this Rusky propaganda, right, 0:05:30.800 --> 0:05:34.040 But Russia itself later on banned it when Stalin came 0:05:34.080 --> 0:05:36.480 to power because he was a self aware dictator. 0:05:36.920 --> 0:05:39.440 Was that the deal? Yeah, okay, he knew. 0:05:39.640 --> 0:05:44.600 This could be a metaphor for rising up against my dictatorship. 0:05:45.000 --> 0:05:47.120 So I'm going to just ban the uh yeah, even 0:05:47.120 --> 0:05:48.440 though it's Russian propaganda. 0:05:49.600 --> 0:05:52.479 Well, filmatically, I need to bring the history, by the way. 0:05:53.240 --> 0:05:57.599 Filmatically speaking, it was a landmark film because of the 0:05:57.720 --> 0:06:01.920 montage and most notably the Russi or Soviet theory of montage, 0:06:02.440 --> 0:06:06.240 which is basically that your impact is going to come 0:06:06.279 --> 0:06:10.240 from juxtaposition of shots and not necessarily a smooth sequence 0:06:10.279 --> 0:06:14.440 of shots, right, and it should be rhythmic instead of 0:06:14.760 --> 0:06:16.800 necessarily being tied to the story. It was like a 0:06:18.120 --> 0:06:22.600 rhythmic series of shots. And this one is popular. It 0:06:22.640 --> 0:06:25.960 was the Odessa Steps sequence as one of the five acts, 0:06:26.640 --> 0:06:31.039 and it is huge because it has been aped and 0:06:32.720 --> 0:06:37.760 mimicked and mocked and homaged probably more than about more 0:06:37.839 --> 0:06:39.960 but a lot of times in film history. 0:06:40.000 --> 0:06:45.080 Well, yeah, the montage it's like a go to editing technique, right. 0:06:45.120 --> 0:06:47.479 Oh yeah, well the montage in general, but specifically the 0:06:47.480 --> 0:06:48.279 Odessa Steps. 0:06:48.360 --> 0:06:51.080 Oh, there are two notable parts in that sequence. 0:06:51.320 --> 0:06:54.360 One is the you know, it's basically a big charge 0:06:54.400 --> 0:06:56.480 on these these grand steps leading up to a building 0:06:56.480 --> 0:06:57.560 in a big battle. 0:06:58.880 --> 0:06:59.880 Odessa, Texas. 0:07:00.360 --> 0:07:02.840 And there's a part of it where there's the old 0:07:02.920 --> 0:07:05.960 the old baby carriage going down the steps. You know 0:07:06.000 --> 0:07:08.800 what's gonna happen to the baby? And it sounds tired 0:07:08.800 --> 0:07:13.120 because we've seen that in uh, you know, The Untouchables. 0:07:13.200 --> 0:07:15.720 Yeah, notably, I did not find it tiresome. 0:07:16.560 --> 0:07:20.760 Naked Gun thirty three and the third Yeah, everything is illuminated, 0:07:20.880 --> 0:07:26.560 the great movie by Leeb Schreiber. That was from directly 0:07:26.640 --> 0:07:31.480 from the Odessa step sequence in Battleship Patinkin the baby carriage. Yeah, 0:07:31.520 --> 0:07:34.720 and the old shot through the shot in the eye 0:07:34.760 --> 0:07:37.760 through the glasses, Oh cool, that comes from this movie too. 0:07:37.800 --> 0:07:38.960 They were the first ones to do it. 0:07:39.120 --> 0:07:42.000 Yeah, and you've seen that in Woody Allen's Love and 0:07:42.040 --> 0:07:43.520 Death and Bananas and. 0:07:43.480 --> 0:07:44.600 Of course The Godfather. 0:07:45.280 --> 0:07:47.720 The great sequence where Moe Green's getting the massage and 0:07:47.760 --> 0:07:49.000 he looks up and puts on. 0:07:48.960 --> 0:07:52.320 His glasses during a montage. Yeah, that's exactly the whole 0:07:52.360 --> 0:07:53.760 sequence montage. 0:07:53.840 --> 0:07:56.760 Yeah, because there was an assassination on the steps as well. 0:07:57.160 --> 0:07:59.400 Oh yes, that was definitely was a double. 0:07:59.600 --> 0:08:01.600 Who was that? That was Francis Ford Coppola. 0:08:01.640 --> 0:08:05.400 Oh yeah, he was clearly aware of Battleship Pat Tempkin, clearly. 0:08:05.560 --> 0:08:07.720 I was trying to think of other examples of montages 0:08:07.760 --> 0:08:09.320 and the only thing I could come up with was 0:08:09.360 --> 0:08:14.600 the eighteen building something. But that counts as a montage, right, Yeah. 0:08:14.680 --> 0:08:14.920 Yeah. 0:08:14.920 --> 0:08:19.120 It's like some related in some way related shots that 0:08:19.160 --> 0:08:22.880 are kind of put together that a little bit transcend like. 0:08:23.960 --> 0:08:26.680 Story in itself. Yeah, like Rocky training for a fight. 0:08:26.920 --> 0:08:28.840 Yeah, that's another good A lot of times just. 0:08:28.800 --> 0:08:31.200 Set to music. Yeah, I love it. That's the only 0:08:31.200 --> 0:08:31.840 one you can think of. 0:08:31.960 --> 0:08:34.560 Yeah, and the great movie Brazil too has the shot 0:08:34.559 --> 0:08:36.920 through the glasses bit, as I like to call it. 0:08:38.200 --> 0:08:40.000 So that's Battleship of Dinkin, doesn't it. One of the 0:08:40.120 --> 0:08:42.520 Nazis and Raiders of the Lost Dark gets shot through 0:08:42.520 --> 0:08:43.199 the glasses. 0:08:44.040 --> 0:08:48.479 Maybe that wouldn't surprise me. It's been it's been off homaged, 0:08:49.200 --> 0:08:49.400 you know. 0:08:49.600 --> 0:08:52.680 Yeah, So Battleship Pat Tempkin was a It made a 0:08:52.679 --> 0:08:55.520 pretty big splash in nineteen twenty five. In nineteen twenty six, 0:08:55.600 --> 0:09:01.360 the following year, the next movie on the list. It 0:09:01.440 --> 0:09:03.679 wasn't his first, but it really solidified I think his 0:09:03.800 --> 0:09:05.680 stardom Buster Keaton stardom. 0:09:06.080 --> 0:09:09.640 Yeah, the general rightfully so too. Yeah, he was one 0:09:09.640 --> 0:09:09.880 of the. 0:09:09.800 --> 0:09:13.520 Great Well, some people call him the greatest stuntman to 0:09:13.559 --> 0:09:13.960 ever live. 0:09:15.120 --> 0:09:17.800 He's done some stuff that I think earns him that, Yeah, 0:09:18.240 --> 0:09:19.080 because I mean this is. 0:09:19.080 --> 0:09:21.560 Back in the day too, where he was legitimately risking 0:09:21.559 --> 0:09:23.439 his life, right, you know, like. 0:09:23.440 --> 0:09:27.160 That the very famously where he's standing on the street 0:09:27.320 --> 0:09:29.000 in front of a house and then the whole front 0:09:29.040 --> 0:09:31.720 of the house falls over him and the window just 0:09:31.760 --> 0:09:32.800 goes right around him. 0:09:32.880 --> 0:09:33.320 Yeah. 0:09:33.400 --> 0:09:34.640 I watch that again today. 0:09:34.720 --> 0:09:35.959 Yeah, it is. 0:09:37.480 --> 0:09:40.200 I can't believe he did that. And there's actually a 0:09:40.240 --> 0:09:42.880 half of a second where his arm jerks up because 0:09:42.880 --> 0:09:45.880 he's startled as the house finally makes its way like 0:09:45.920 --> 0:09:49.760 into his peripheral vision. Yeah, and it has to be 0:09:49.840 --> 0:09:52.080 one of the most dangerous things that human beings ever 0:09:52.080 --> 0:09:52.800 done on film. 0:09:52.920 --> 0:09:56.000 Yeah, I'm sure the whole time before that was like 0:09:56.640 --> 0:09:58.360 we did the math, right, he did the math. 0:09:58.440 --> 0:09:59.360 Do the math again, Do. 0:09:59.320 --> 0:10:01.839 The math again, Show me the math, Show me the math, 0:10:02.440 --> 0:10:04.679 because that's all it was. It was math in measurements, right. 0:10:05.000 --> 0:10:07.679 But yeah, he could have been squashed and killed very easily, and. 0:10:07.640 --> 0:10:10.040 He had a lot of faith in everybody who was 0:10:10.080 --> 0:10:12.199 pulling off this stunt with him. You know, he had 0:10:12.200 --> 0:10:13.920 to just stand there. That was his whole thing is 0:10:14.559 --> 0:10:16.880 he had to just stand there, and his bit was 0:10:16.920 --> 0:10:20.360 that he was he played it straight constantly. He was 0:10:20.360 --> 0:10:21.439 a stonefaced actor. 0:10:21.559 --> 0:10:22.240 Yeah, deadpan. 0:10:22.440 --> 0:10:24.360 Yeah, he kind of started that whole thing because his 0:10:24.559 --> 0:10:27.120 big I was about to say rival, but I guess 0:10:28.400 --> 0:10:32.520 just contemporary Charlie Chaplin, while similar in some ways, was 0:10:32.679 --> 0:10:36.400 completely different because Chaplin was constantly mugging for the camera 0:10:36.480 --> 0:10:39.640 and like asking for the audience sympathy. 0:10:39.280 --> 0:10:41.400 Right, raising his eyebrows or yeah. 0:10:41.200 --> 0:10:42.760 Like look, what's happening to me? Come on, come on? 0:10:42.800 --> 0:10:44.840 Where his Buster Keaton would just he had that dead 0:10:44.840 --> 0:10:45.880 pan look the whole time. 0:10:45.960 --> 0:10:49.160 Yeah, he would go from like a house falling around 0:10:49.240 --> 0:10:52.320 him to jumping on a train or something like that 0:10:52.600 --> 0:10:55.079 with just the same blank facial expression. 0:10:55.480 --> 0:10:55.680 Yeah. 0:10:55.720 --> 0:10:58.120 And the reason this is a highly influential film the 0:10:58.160 --> 0:11:00.480 generals because it kind of showcases the best of both 0:11:01.480 --> 0:11:05.120 the amazing stunts that would be mimicked and throughout the 0:11:05.200 --> 0:11:09.760 years and built upon, and then the deadpan style that 0:11:09.920 --> 0:11:14.120 influenced everyone from obviously Bill Murray is one of the great. 0:11:13.920 --> 0:11:15.200 Deadpan actors of all time. 0:11:15.440 --> 0:11:18.120 Yeah, Like you can count the number of times Bill 0:11:18.200 --> 0:11:21.120 Murray even smiles in a movie on like two hands, 0:11:21.400 --> 0:11:23.679 sure much less like apes or laughs or anything. 0:11:23.920 --> 0:11:26.960 Michael Sarah's mentioned in here, and I'm like, he, I 0:11:26.960 --> 0:11:29.320 think he might have Bill Murray beat as far as 0:11:29.320 --> 0:11:30.560 the dead pan pan actor goes. 0:11:30.640 --> 0:11:32.880 Yeah, well, Zach galafan Actus is on the list, he's 0:11:32.920 --> 0:11:34.160 super deadpan. 0:11:35.400 --> 0:11:38.079 Leslie Nielsen, of course. Amy Poehler, I think is a 0:11:39.440 --> 0:11:42.480 woman that's a very dead pan has a deadpan style. 0:11:42.720 --> 0:11:43.520 Jason Schwartzman. 0:11:43.960 --> 0:11:46.640 Yes, but people say, is this all is a direct 0:11:46.640 --> 0:11:48.680 descendant of Buster Keaton's work. 0:11:48.840 --> 0:11:52.160 Yeah, And if you think we're overstating this, go watch 0:11:52.320 --> 0:11:55.480 any Buster Keaton movie. Yeah, you will be thrilled and delighted. 0:11:55.760 --> 0:11:58.720 And if your attention span has been shredded to ribbons 0:11:58.720 --> 0:12:01.160 by the Internet, just go on onto YouTube and type 0:12:01.160 --> 0:12:03.640 in Buster Keaton and it'll bring up all sorts of 0:12:04.559 --> 0:12:06.360 clips of his awesome stunts. 0:12:06.360 --> 0:12:06.840 Pretty great. 0:12:06.840 --> 0:12:08.400 He will be thrilled in as I promise. 0:12:08.480 --> 0:12:09.920 Yeah, and I think I made a note here, by 0:12:09.960 --> 0:12:12.520 the way, that we have a fatty arbuckle retraction to 0:12:12.600 --> 0:12:17.280 make Remember when we called him out as the rapist. 0:12:17.160 --> 0:12:21.520 Murderer, I didn't say murderer. Well we said rapist at least, right, 0:12:21.720 --> 0:12:24.120 but we were taking the task by fan he was, 0:12:24.160 --> 0:12:26.319 he had, he was acquitted of all that stuff, and 0:12:26.400 --> 0:12:31.800 apparently he didn't do either act and his career in 0:12:31.840 --> 0:12:34.920 life and family name were ruined forever. So he was 0:12:35.280 --> 0:12:38.400 evidently done a grave miss justice, and we sort of 0:12:38.440 --> 0:12:41.719 cavalierly just still called him that today. Yeah, I need 0:12:41.720 --> 0:12:44.240 to look into it more, all right. So next up 0:12:44.280 --> 0:12:47.840 we have the Jazz Singer, the nineteen twenty seven edition. 0:12:47.760 --> 0:12:49.000 Not the Neil diamond one. 0:12:49.240 --> 0:12:51.920 No, and there was one in between two with Danny Thomas. 0:12:52.000 --> 0:12:57.600 I believe I like Neil Diamonds. It's good. I never 0:12:57.640 --> 0:12:59.320 saw you ever see it? No, No, it's not bad. 0:13:00.160 --> 0:13:03.760 But this is the original from Alan Crossland, and it 0:13:03.960 --> 0:13:05.720 is notable because it was. 0:13:07.240 --> 0:13:09.160 The first feature length. 0:13:10.720 --> 0:13:16.000 Movie that was at least twenty five spoken dialogue. 0:13:16.120 --> 0:13:19.120 Right, does that make sense? Yeah, it's totally new. 0:13:19.320 --> 0:13:21.600 Yeah, it wasn't the first talkie because they had short 0:13:21.600 --> 0:13:24.120 films that were talkies, and there was a movie the 0:13:24.200 --> 0:13:26.640 next year I'm sorry, yeah, in nineteen twenty eight called 0:13:26.720 --> 0:13:29.440 Lights of New York that had one hundred percent full 0:13:29.559 --> 0:13:33.000 spoken dialogue. But the Jazz singer had a mix of 0:13:33.559 --> 0:13:37.680 music and spoken dialogue. Right, the first big, big daddy 0:13:37.760 --> 0:13:38.640 feature length film to. 0:13:38.600 --> 0:13:41.720 Do so right with substantial dialogue, right. Yeah. And they. 0:13:43.559 --> 0:13:46.960 Did it in the most roundabout difficult way that you 0:13:47.000 --> 0:13:51.160 could possibly do it, which is to record the audio 0:13:51.200 --> 0:13:55.320 and the soundtrack, both the dialogue and the music, onto 0:13:55.559 --> 0:13:56.440 vinyl records. 0:13:56.520 --> 0:13:58.640 Yeah, probably wax records. 0:13:58.240 --> 0:14:01.640 Really, and then the projectionists had to sync the record 0:14:01.720 --> 0:14:05.040 up with the film strip so everything was in sync. 0:14:05.520 --> 0:14:05.720 Yeah. 0:14:05.760 --> 0:14:08.440 It was a device called a vitaphone that Warner Brothers 0:14:08.800 --> 0:14:12.240 sunk about half a million into this company called Western 0:14:12.280 --> 0:14:16.119 Electric who invented it, and it was actually physically connected 0:14:16.920 --> 0:14:21.520 to the projector's motor, so they did while they did 0:14:21.520 --> 0:14:23.840 have to sink it was it was a physical connection 0:14:24.320 --> 0:14:26.800 between the phonograph player and the projection. 0:14:28.080 --> 0:14:29.160 Real, I guess, yeah. 0:14:29.600 --> 0:14:31.480 And it went on to gross three and a half 0:14:31.520 --> 0:14:33.120 million bucks for nineteen twenty seven. 0:14:33.200 --> 0:14:35.800 That's man, a lot of dough. That's a ton of dough. 0:14:35.840 --> 0:14:39.960 That's like five six million dollars today, at least, yeah, 0:14:40.400 --> 0:14:45.000 at least, but was ineligible for the Best Picture because 0:14:45.000 --> 0:14:47.400 they were just like, you can't compete with the rest, 0:14:47.440 --> 0:14:50.080 it's not fair. Oh wow, because everything else is silent 0:14:50.240 --> 0:14:53.160 and everyone's going to vote for you. Yeah, so that 0:14:53.280 --> 0:14:54.680 changed the whole game for sure. 0:14:55.920 --> 0:14:59.800 We will continue on with our awesome and engrossing list 0:15:00.240 --> 0:15:23.120 right after this. So, Chuck, if you'll notice, the first 0:15:23.200 --> 0:15:26.760 three movies in our list, the first three films that 0:15:26.880 --> 0:15:29.920 changed everything happened in nineteen twenty five, twenty six, and 0:15:29.920 --> 0:15:30.440 twenty seven. 0:15:30.480 --> 0:15:31.680 Things were changing fast. 0:15:31.640 --> 0:15:34.840 They really were. I mean, like we by leaps and bounds. Sure, 0:15:35.080 --> 0:15:37.040 but you can also make the case that there was 0:15:37.080 --> 0:15:40.760 a lot of new ground to cover. So just about 0:15:40.800 --> 0:15:44.520 anybody who did anything new that was noteworthy of the innovation. Yeah, 0:15:44.560 --> 0:15:46.440 it was a big innovation. Yeah. 0:15:46.720 --> 0:15:48.560 Harder to innovate these days, it is. 0:15:49.120 --> 0:15:52.640 And if you'll notice on the list, so the earliest 0:15:52.680 --> 0:15:57.520 ones were like technical editing innovations. Now, starting with Citizen 0:15:57.600 --> 0:16:00.440 Kane from nineteen forty one, we started to get into 0:16:00.440 --> 0:16:05.160 innovations in storytelling, which is a lot more nuanced than 0:16:05.640 --> 0:16:09.680 you know, doing your own stunts or using a montage 0:16:09.760 --> 0:16:13.600 or something. It's figuring out how to tell a story 0:16:13.920 --> 0:16:18.960 in a much less linear narrative fashion. And Citizen Kme 0:16:19.040 --> 0:16:21.240 was one of the early ones to pioneer a non 0:16:21.400 --> 0:16:22.280 linear narrative. 0:16:22.520 --> 0:16:24.400 Yeah, did you you saw this? Yeah? 0:16:24.480 --> 0:16:27.960 Yeah, I didn't see it untill I mean it was 0:16:28.000 --> 0:16:32.800 probably like probably about fifteen years ago, but like way 0:16:32.880 --> 0:16:34.280 later than you would think I would have seen. 0:16:34.320 --> 0:16:35.640 This is a big film, buff. 0:16:35.760 --> 0:16:40.000 I saw it in college at a in a film class. 0:16:40.080 --> 0:16:44.240 Yeah. Sure. Often. Yeah, if you sign up for a 0:16:44.240 --> 0:16:47.040 film class, you're going to study Citizen exactly pretty much. 0:16:47.280 --> 0:16:50.840 And I finally found out what Rosebud was. Don't ruin it. 0:16:51.120 --> 0:16:51.680 I won't. 0:16:52.920 --> 0:16:55.080 But it is a landmark film in every way, and 0:16:55.120 --> 0:16:58.440 it has often been top of best Films of All 0:16:58.480 --> 0:17:02.600 Time lists for great reasons, one of which, like you said, 0:17:02.600 --> 0:17:05.439 the non linear narrative was a really unique thing at 0:17:05.440 --> 0:17:10.439 the time. Although flashback wasn't brand new, it was the 0:17:10.440 --> 0:17:13.320 first time it had been this extensive and effective in 0:17:13.400 --> 0:17:13.919 the story. 0:17:14.080 --> 0:17:16.720 Yeah, because, I mean it's substantial enough that it really 0:17:17.040 --> 0:17:19.320 cuts up the flow. Oh yeah, you know, it's not 0:17:19.440 --> 0:17:21.719 like a quick flashback and then come back and the 0:17:21.760 --> 0:17:25.440 actors like staring off into space to transition back into 0:17:25.480 --> 0:17:27.960 the present again. I mean like it was all over 0:17:28.000 --> 0:17:28.399 the place. 0:17:28.560 --> 0:17:29.120 Yeah. Yeah. 0:17:30.560 --> 0:17:36.440 Some of the more concrete cinematic landmarks, one was using 0:17:36.480 --> 0:17:37.240 deep focus. 0:17:38.359 --> 0:17:39.240 Director of photography. 0:17:39.280 --> 0:17:43.560 Greg Toland legend used he had used deep focus before 0:17:44.240 --> 0:17:47.479 on a movie called Long Voyage Home, but it's all 0:17:47.520 --> 0:17:49.960 over the place in Citizen Kane. And that basically means 0:17:50.000 --> 0:17:54.359 if you see a shot where something very far away 0:17:54.720 --> 0:17:57.679 is in focus in the shot, basically where everything's in 0:17:57.720 --> 0:17:58.280 focus with. 0:17:58.400 --> 0:18:00.720 The background in the foreground or yeah, and focus so 0:18:00.760 --> 0:18:03.840 you can press pause and look around like you're sticking 0:18:03.840 --> 0:18:04.879 your head into a box. 0:18:05.080 --> 0:18:06.440 Yeah, that's called deep focus. 0:18:06.800 --> 0:18:10.439 And it was brand new as far as Citizen Gain goes, 0:18:10.880 --> 0:18:12.119 is how extensive it used it. 0:18:13.040 --> 0:18:15.400 One of the other things was off center framing. 0:18:16.520 --> 0:18:18.800 It was a big, you know, pretty common thing to 0:18:19.440 --> 0:18:23.439 just center whatever the main action was, either the character 0:18:23.680 --> 0:18:26.520 or the object, And Citizen Kaine had a lot of 0:18:26.560 --> 0:18:29.480 things where the main focus of the scene the character, 0:18:29.520 --> 0:18:33.400 maybe even off screen, which was really weird at the time. 0:18:33.400 --> 0:18:37.200 People didn't know what to think of it. Expressionistic lighting 0:18:39.400 --> 0:18:41.640 back then, everything they just lit it. They're like, make 0:18:41.640 --> 0:18:42.680 sure everything's well lit. 0:18:43.680 --> 0:18:46.240 But it was an autopremeter. Also like a big pioneer 0:18:46.280 --> 0:18:46.560 with that. 0:18:46.840 --> 0:18:47.399 Yeah, I think so. 0:18:47.600 --> 0:18:51.200 With Dalm for Murder, I think he. 0:18:51.200 --> 0:18:52.840 Directed that was it Hitchcock. 0:18:52.920 --> 0:18:55.840 I think that was Hitchcock was it okay, Well, autopremmeter 0:18:56.119 --> 0:18:58.560 directed stuff like that, though, right he was. He used 0:18:58.560 --> 0:19:00.720 moody lighting and shot yeah and stuff a lot. 0:19:00.760 --> 0:19:03.560 I probably messed that up. People are gonna be for murder. 0:19:03.560 --> 0:19:05.720 I think it was preventy okay. 0:19:07.400 --> 0:19:10.760 But orson Welles, of course, I don't think we even mentioned. 0:19:10.800 --> 0:19:14.480 That's who wrote, directed, and starred and produced. And I 0:19:14.520 --> 0:19:16.280 think he even edited a Citizen Kane. 0:19:16.359 --> 0:19:18.280 Yeah, I just assumed everybody knew that, you know. 0:19:18.440 --> 0:19:22.680 Yeah, he came from the theater where you create mood 0:19:22.800 --> 0:19:24.440 with lighting only. 0:19:24.280 --> 0:19:25.360 Certain parts of the stage. 0:19:25.720 --> 0:19:28.800 So he brought that into the movies and it was 0:19:28.920 --> 0:19:33.359 very evocative and set the mood well, and people are like, man, 0:19:33.760 --> 0:19:36.200