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Speaker 1: Hey, welcome to Weird House Cinema. Rewind. This is Rob Lamb,

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Speaker 1: and we have an episode for you here today that

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Speaker 1: originally published six twenty four, twenty twenty two, so relatively

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Speaker 1: early in the weird House cinema cycle. This is Battle

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Speaker 1: Beyond the Stars, a wonky space opera kind of Star

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Speaker 1: Wars knockoff. It features a number of B movie mainstays

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Speaker 1: and future stars. Let's sail right into it.

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Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 3: Hey, welcome to Weird House Cinema.

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Speaker 4: This is Rob Lamb and this is Joe McCormick.

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Speaker 3: It's time once more to venture into the realm of

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Speaker 3: Star Wars knockoffs, films that, regardless of their creative integrity,

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Speaker 3: were clearly getting funded, made, and or released in an

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Speaker 3: attempt to cash in on the juggernaut that was nineteen

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Speaker 3: seventy seven Star Wars.

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Speaker 4: I think this will be our third blatant Star Wars

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Speaker 4: reboff movie.

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Speaker 1: Yeah.

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Speaker 3: Yeah, last year we watched nineteen seventy nine's The Humanoid

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Speaker 3: and you also brought up that, Yeah, that Message from

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Speaker 3: Space was also technically in this wheelhouse as well.

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Speaker 4: I would say that I'm going to rank today's film

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Speaker 4: second among our Star Wars knockoffs, I think Message from

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Speaker 4: Space is probably my favorite. I'd go with Battle Beyond

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Speaker 4: the Stars and then the Humanoid, though I enjoyed all three.

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Speaker 3: Yeah, yeah, I don't know. I might have to give

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Speaker 3: Battle Beyond the Stars the top honors of these three.

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Speaker 3: But but all three, all three of them, I would say,

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Speaker 3: had things going for them that, like I say, stand

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Speaker 3: apart from the whole Star Wars craze. So it's not

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Speaker 3: like they were just entirely you know, Star Wars ripoffs.

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Speaker 3: There were creative folks involved, But when you start looking

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Speaker 3: at like the funding and the production, like these things

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Speaker 3: came to these films came to the surface because somebody

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Speaker 3: was chasing that Star Wars money.

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Speaker 4: Oh and in this case, you don't even have to

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Speaker 4: wonder because this movie was produced by Roger Corman. And

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Speaker 4: you can watch interviews with the people who worked on

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Speaker 4: the special effects and other behind the scenes jobs on

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Speaker 4: this movie who said, yeah, Corman went to us and

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Speaker 4: said I want to make a Star Wars movie.

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Speaker 1: So yeah.

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Speaker 3: But one other big difference I would say is that

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Speaker 3: while the Humanoids certainly had definitely had its Vader knockoff

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Speaker 3: definitely had its. You know, we have Darth Vader at

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Speaker 3: home moment. This film does not, and I think that

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Speaker 3: alone makes it feel a little more authentic.

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Speaker 1: But we'll get into all that.

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Speaker 4: That's actually a major distinction of this as a Star

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Speaker 4: Wars among Star Wars knockoffs. And yeah, we'll have to

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Speaker 4: get into more detail on that later.

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Speaker 3: But the movie today is nineteen eighties Battle Beyond the Stars.

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Speaker 3: And you know, we had a listener right in and said, hey,

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Speaker 3: you guys should tell us where to get the movie

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Speaker 3: early in the episode in case we want to watch

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Speaker 3: it before you get into all the details. So I

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Speaker 3: don't know, I guess we can try that. So, hey,

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Speaker 3: we watched this movie on an excellent Shout Factory Blu

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Speaker 3: ray that came out. This is one that comes in

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Speaker 3: a limited edition steel book. For some reason, we rented

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Speaker 3: it from Videodrome here in Atlanta for protection protection. He

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Speaker 3: has to protect it from the elements or from bandits

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Speaker 3: and spacefaring warlords. But anyway, beautiful picture quality, some fun extras.

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Speaker 3: You can also rent or buy this movie from most

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Speaker 3: of your digital sources.

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Speaker 4: Yes, and that'll be on the stars. Is a good

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Speaker 4: one to watch in high definition, even if not every

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Speaker 4: frame of the movie is necessarily worth it. The movie

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Speaker 4: as a whole is because it's really a mixed bag

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Speaker 4: on art design, on art design, costumes and sets. Some

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Speaker 4: stuff in this movie is kind of phoned in, kind

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Speaker 4: of z grade cheese. I would single out maybe some

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Speaker 4: of the spaceship interiors but not others and so. And

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Speaker 4: then on the other hand, there are some sets and

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Speaker 4: costumes and things that are eye poppingly weird or just

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Speaker 4: absolutely gorgeous. It varies wildly from scene to scene.

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Speaker 3: Yeah, and I think that has I've seen people comment

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Speaker 3: on the film where they're like, yeah, each ship has it.

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Speaker 3: It feels like it's truly from another planet, from another

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Speaker 3: culture entirely. But yes, sometimes it feels like maybe the

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Speaker 3: people who designed the ship interiors were also from other planets,

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Speaker 3: from different effects studios and other planets.

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Speaker 4: Yeah.

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Speaker 3: Now we mentioned that the Star Wars connect I also

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Speaker 3: should point out that I think there are some of

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Speaker 3: those ship interiors that also draw some inspiration from nineteen

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Speaker 3: seventy nine's Alien as well. You know, certainly not from

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Speaker 3: the film doesn't have much to do with Aliens from

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Speaker 3: ap plotting or character point of view, but as far

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Speaker 3: as some like lived in space environments go, and maybe

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Speaker 3: one of the planetary surfaces that we see it made

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Speaker 3: me think of Alien. And it's kind of noteworthy, right

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Speaker 3: because this film involved the talents of a particular Alien

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Speaker 3: fan and future Alien franchise director James Cameron.

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Speaker 4: Yes, and I think you can really see the James

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Speaker 4: Cameron influence in things like the beautiful set of the

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Speaker 4: planet where Shad finds Robert Vaughan. We'll get into the

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Speaker 4: plot details about that later, but also the design of

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Speaker 4: the main character's ship, Nell, which looks very weird on

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Speaker 4: the outside and very alien esque on the inside, despite

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Speaker 4: the fact that this is a back talking, two D

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Speaker 4: grandma kind of ship.

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Speaker 1: Yeah.

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Speaker 3: We have a character in this film called Cowboy. He is, yes,

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Speaker 3: a space cowboy. He's the only character from Earth and

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Speaker 3: as goofy as his character is, and we'll get into him.

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Speaker 3: The interior of his spaceship I thought felt very alien esque.

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Speaker 3: It felt lived in in a way that reminded me

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Speaker 3: of the Nostromo.

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Speaker 4: Yeah, it's got crushed beer cans and magazine cutouts on

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Speaker 4: the walls and stuff like that, and it's dirty.

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Speaker 3: Yeah, now I have to share just a little bit

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Speaker 3: from Michael Weldon's ride up on this film, from the

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Speaker 3: nineteen eighty three book The Psychotronic Encyclopedia Film. I just

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Speaker 3: found this amusing, So if you've listened to Weird Out Cinema,

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Speaker 3: you know I love Weldon. I'm always interested in his

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Speaker 3: take on movies, exploring and finding new movies through his writings.

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Speaker 3: But I think I'm gonna have to agree to disagree

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Speaker 3: with him on this one because in his review of

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Speaker 3: Battle Beyond the Stars, he writes, some of the gags

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Speaker 3: were cut out and the editing could have been better,

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Speaker 3: but it's a lot more memorable and more fun than

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Speaker 3: the Empire strikes Back.

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Speaker 4: And the thing I don't know about that.

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Speaker 3: The funny thing is, at least in the reviews in

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Speaker 3: this book and the follow up book. It's not like

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Speaker 3: he says anything bad about Star Wars or Empire or

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Speaker 3: even Return of the Jedi ultimately, but yeah, he was

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Speaker 3: just like, well, Battle Beyond the Stars is just more fun.

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Speaker 3: So I guess fair enough.

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Speaker 4: I can't tell you what to have fun with, but

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Speaker 4: I don't think I would agree there. I'm sorry, but

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Speaker 4: Battle Beyond the Stars is great. Fun.

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Speaker 1: It is.

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Speaker 3: It is absolutely so let's get into the elevator pitch here.

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Speaker 3: It's The Seven Samurai as a space opera, Yeah, which

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Speaker 3: is a pretty smart move. It's a great structure to

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Speaker 3: thrust into a different setting or genre. The locals are

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Speaker 3: facing a bandit threat, so what do they do? They

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Speaker 3: hire up some lawyers to defend them.

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Speaker 4: Yes, And I just want to note an interesting double

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Speaker 4: input of Kurusawa on this movie. So Battle be on

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Speaker 4: the Stars was clearly and if you listen to the

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Speaker 4: interviews with the filmmakers from Corman's perspective, it was explicitly

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Speaker 4: supposed to be a combination of two influences, the Magnificent

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Speaker 4: Seven from nineteen sixty and Star Wars. Both of these

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Speaker 4: movies could be considered Western adaptations of different movies by

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Speaker 4: Akira Kourasawa. So the connection with The Magnificent Seven is overt.

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Speaker 4: It's just a remake of Seven sam with cowboy gun

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Speaker 4: slingers instead of mercenary swordsman. And I haven't seen Magnificent

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Speaker 4: Seven in probably ten years or so, I recall it

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Speaker 4: being pretty fun. Of course, it's hard to compete with

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Speaker 4: the source material, right. This is a case of an okay,

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Speaker 4: remake of an original masterpiece.

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Speaker 3: It's certainly a famous film, but I've actually never seen

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Speaker 3: The Magnificent Seven. I've seen The Seven Samurai, but not

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Speaker 3: Magnificent Seven.

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Speaker 4: Great cast though, oh yeah, including Robert Vaughan who's in

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Speaker 4: this movie. So he was in Battle Beyond the Stars

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Speaker 4: and the movie that it's based on. So yeah, So

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Speaker 4: that's a two step there, Seven Samurai adapted into a

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Speaker 4: Western as Magnificent Seven, and then adapted into a space

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Speaker 4: opera by Battle Beyond the Stars. Now, the other half

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Speaker 4: of this, of course, is Star Wars, and Star Wars

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Speaker 4: itself has elements that are loosely based on a nineteen

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Speaker 4: fifty eight Corrosolwa film called The Hidden Fortress. Rob Have

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Speaker 4: you seen this one?

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Speaker 3: I never have, but I've often been tempted to check

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Speaker 3: it out because of this connection.

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Speaker 4: I think it's fantastic. It's about two peasants and a

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Speaker 4: princess and a general played by Toshiro Mufune, who are

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Speaker 4: trying to survive in the middle of a war between

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Speaker 4: two provinces. And if you watch Star Wars and Hidden

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Speaker 4: Fortress together, a lot of similarities really pop out, and

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Speaker 4: the most obvious I think are the parallels between the

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Speaker 4: two peasants in the Hidden Fortress, who are sort of

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Speaker 4: traditional rustic clowns, like the gaggle that runs along with

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Speaker 4: Bottom in Midsummer Night's Dream. They're rustic, comedic relief, and

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Speaker 4: that's in The Hidden Fortress. And then you've got the

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Speaker 4: droids R two, D two and C three po in

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Speaker 4: Star Wars. They're a very similar duo. In both movies,

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Speaker 4: the action begins with the sort of lowly bumbling, down

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Speaker 4: on their luck characters who are mostly there for comic relief,

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Speaker 4: trying to escape the crossfire of two armies, and then

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Speaker 4: they become wrapped up in a lofty plot involving an

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Speaker 4: older general trying to save a princess.

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Speaker 1: In both cases interesting.

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Speaker 4: So I thought it was notable that Battle Beyond the

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Speaker 4: Stars is not just a Star Wars ripoff. It is

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Speaker 4: a mashup of two popular Western movies that are both

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Speaker 4: downstream from Kurosawa. So exactly how does the mashup come together? Well,

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Speaker 4: I would phrase it like this. I would say the

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Speaker 4: plot broadly is Magnificent seven slash seven Samurai, and the

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Speaker 4: details and the texture are from Star Wars. That sounds fair,

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Speaker 4: so I think you could, in a way look at

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Speaker 4: this movie as like the original Magnificent Seven, which was

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Speaker 4: seven Samurai but as a Western, and Battle Beyond the

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Speaker 4: Stars is seven Samurai but as a Star Wars knockoff.

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Speaker 4: Now there's another thing I'm always on the lookout for

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Speaker 4: when I watch Star Wars knockoffs. I think we may

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Speaker 4: have talked about this in our episode on the Humanoid,

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Speaker 4: but I'm always curious which elements from Star Wars get

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Speaker 4: lifted and which do not, Right, because you know, you're

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Speaker 4: not just making an exact copy of the movie. You

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Speaker 4: pick some things about it to copy and you leave

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Speaker 4: you leave out others. And for some reason it's interesting

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Speaker 4: to me, like, what are the features that people find

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Speaker 4: salient or worth copying about Star Wars?

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Speaker 1: Yeah?

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Speaker 3: And also what what line designates going too far? Like

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Speaker 3: it seems it seems as if most filmmakers would agree

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Speaker 3: that you cannot have a lightsaber in your film if

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Speaker 3: you're not a Star Wars property. There are some glaring exceptions.

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Speaker 4: Star Crash does.

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Speaker 1: Yeah, And when you when.

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Speaker 3: You break that rule, when you cross that line, I

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Speaker 3: think everybody kind of you know, has to sort of

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Speaker 3: look away. There's a there's a deep shame falls apt.

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Speaker 3: Everyone viewing and participating in the film totally agree.

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Speaker 4: So a couple of things along these lines. I wanted

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Speaker 4: to mention right at the top, but maybe we can

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Speaker 4: mention some more details that were copied or not as

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Speaker 4: we go along. But first thing I wanted to draw

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Speaker 4: attention to is Darth Vader design. I believe one of

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Speaker 4: the most universal features to be carried over into a

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Speaker 4: Star Wars copycat is the Darth Vader design. Almost all

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Speaker 4: of these movies have a menacing space lord villain who

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Speaker 4: wears a shiny black suit with some kind of robotic

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Speaker 4: entanglements and a Samurai inspired helmet, and this movie is

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Speaker 4: an exception. It clearly has a Darth Vader inspired character

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Speaker 4: whose name even rhymes with Vader, but this character does

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Speaker 4: not wear a Darth Vader type suit. And I think

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Speaker 4: there's a reason for this. Rob We can get to

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Speaker 4: it when we talk about the actor, but I wonder

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Speaker 4: if you'll agree with me about the reasoning.

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Speaker 1: Okay, all right.

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Speaker 4: Second thing that is very often copied from a Star

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Speaker 4: Wars movie and is clearly and is present in this

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Speaker 4: one a planet killer weapon. This movie does not have

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Speaker 4: a death star, but it does have a space ship

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Speaker 4: that can shoot a beam that can destroy an entire planet.

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Speaker 3: All right, well, let's go ahead and listen to the trailer.

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Speaker 5: Ruthless Invaders a defenseless planet. Battle Beyond the Stars. A

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Speaker 5: bone youth escapes on a last ditch mission that begins.

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Speaker 4: At the edge of the universe.

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Speaker 5: The story of a boy who finds more than he

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Speaker 5: expected the herd and all he can handle. Does your

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Speaker 5: species have kissing? Oh?

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Speaker 1: Yes, we have that.

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Speaker 5: What that's a hot dog that comes a merit?

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Speaker 1: Do you like it?

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Speaker 5: There's no dog in this mm M soybean meal, Niason

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Speaker 5: diextus and sodium nitrate flavoring.

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Speaker 4: That's we call meat.

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Speaker 5: Back home. Battle Beyond the Stars.

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Speaker 3: All right, sounds like a lot of fun, right sure,

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Speaker 3: All right, let's talk about the people who brought this together.

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Speaker 3: First of all, the director Jimmy T. Murakami, who lived

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Speaker 3: nineteen thirty three through twenty fourteen, American Irish animator of

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Speaker 3: Japanese American heritage. He was also a director on nineteen

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Speaker 3: eighty one's Heavy Metal, filming the soft Landing sequence alongside

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Speaker 3: John Bruno, and this segment was based on a comic

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Speaker 3: pinned by Dan O'Bannon of Alien Fame, and was adapted

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Speaker 3: for the film by Dan O'Bannon. Murakami's other directorial credits

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Speaker 3: include uncredited directorial work on nineteen eighties Humanoids from the Deep,

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Speaker 3: another Corman production, and very animated credits, including directing the

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Speaker 3: Tutsi Pop How Many Licks short commercial from nineteen sixty nine.

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Speaker 4: Oh, is this the one with the owl?

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Speaker 3: Yep, this is the one of the owl.

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Speaker 4: Wow.

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Speaker 3: Our producer Seth will also he probably already knows this,

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Speaker 3: but Murakami also produced six episodes of the original Teenage

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Speaker 3: Mutant Ninja Turtle's cartoon. He also directed Win the Wind

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Speaker 3: Blows from nineteen eighty six, about an elderly British couple

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Speaker 3: who survived a nuclear war, and he was the co

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Speaker 3: founder of Murakami Wolf Productions later known as just fred

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Speaker 3: Wolf Films. Who did that original Teenage Mutant Ninja Turtles show?

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Speaker 4: Well, folks, Seth just filled us in with all kinds

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Speaker 4: of animation connections. I don't think he was recording what

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Speaker 4: he said so unfortunately, but suffice to say, apparently Fred

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Speaker 4: Wolf is important in a whole seventies animation scene.

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Speaker 3: Now, Joe, you dived into the making of stuff on

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Speaker 3: this one a little more than I did. I noticed

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Speaker 3: that on Internet movie database Roger Corman is listed as

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Speaker 3: not only a producer, but an uncredited He has an

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Speaker 3: uncredited director's credit. I am to believe he would he

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Speaker 3: would at least show up and fire people and so forth.

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Speaker 4: I think that's a common dynamic with Corman, that he

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Speaker 4: is he directing this movie, not really but sort of.

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Speaker 4: I think this wouldn't even be the first Corman produced

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Speaker 4: movie that was like this.

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Speaker 3: Oh.

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Speaker 4: I think it was the case with what was it,

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Speaker 4: The Brain Eaters. It was sort of half directed by

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Speaker 4: Corman or at least produced by Corman without a credit.

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Speaker 4: So yeah, I think that kind of thing happened a lot.

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Speaker 4: There are a lot of great stories about Corman. So

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Speaker 4: I watched part of a making of documentary that comes

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Speaker 4: on the Blu ray if you pick this, pick up

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Speaker 4: the New Blue Array of this one, which mostly featured

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Speaker 4: interviews with the visual effects crew, and so they had

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Speaker 4: a lot of great stories about working with James Cameron

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Speaker 4: and what that was like on But one of the

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Speaker 4: things that stuck out to me was, well, first of all,

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Speaker 4: a lot of talk about Corman ended up having to

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Speaker 4: do with the budget, of course, like how can we

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Speaker 4: get costs down? Because they pitched this as you know,

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Speaker 4: this was going to be like the biggest budget Corman

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Speaker 4: movie of all time. It was going to be a

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Speaker 4: Corman's finally making a movie with like a mainstream level budget.

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Speaker 4: But I think in actual fact, the budget just kept

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Speaker 4: shrinking during production until this really was kind of done

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Speaker 4: on a shoe string compared to how it looks in

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Speaker 4: the end. But one of the stories, for example, is

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Speaker 4: that I think major parts of this were shot on

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Speaker 4: a studio that Corman had purchased that was formerly a lumberyard,

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Speaker 4: and they said that Corman didn't change the signs on

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Speaker 4: the studio lot it still said lumberyard because he reasoned

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Speaker 4: that the sets were less likely to get burglarized if

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Speaker 4: it was labeled the lumberyard instead of a movie studio.

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Speaker 4: And then they ended up hiring people for the production

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Speaker 4: because carpenters would show up looking by lumber not realizing

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Speaker 4: it wasn't a lumberyard anymore, and they'd be like, hey,

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Speaker 4: you want to work on a movie.

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Speaker 3: Oh that's good. Yeah, all right, Well let's get into

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Speaker 3: the writing credits on this. So there is there's a

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Speaker 3: writer by the name of Ann Dyer who has a

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Speaker 3: story credit, one of only two writing credits alongside nineteen

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Speaker 3: seventy nine's Up from the Depths that Say Charles B.

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Speaker 3: Griffith Jaws knockoff starring Sam Bottoms, and also one of R.

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Speaker 3: Lee Ermey's first screen roles. It's supposedly about a giant

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Speaker 3: sturgeon looking fish attacking what's supposed to be Hawaii, but

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Speaker 3: it is a Roger Corman production filmed in the Philippines.

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Speaker 4: How have I never seen this one? I thought I'd

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Speaker 4: seen every Jaws knockoff one.

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Speaker 3: Cannot I don't think there's enough time in a life,

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Speaker 3: in a single lifetime to do that, not yet, not

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Speaker 3: until science catches up with us. But the main screen

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Speaker 3: writing credit on this one is pretty noteworthy because it

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Speaker 3: is John Sayless born nineteen fifty. This was only the

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Speaker 3: fourth screen credit for Seylas, who would go on to

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Speaker 3: be an award winning screenwriter and director, noted for such

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Speaker 3: films as nineteen ninety six's Lone Star, which earned him

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Speaker 3: an Academy Award nomination, nineteen ninety two's Passion Fish, which

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Speaker 3: also earned him in a nomination, nineteen eighty eights eight

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Speaker 3: Men Out, nineteen eighty four's The Brother from Another Planet,

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Speaker 3: ninety seven's Men with Guns, and eighty seven's May Twan,

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Speaker 3: which I remember watching in film class. That's a solid

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Speaker 3: and serious film about union efforts in nineteen twenties West Virginia,

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Speaker 3: starring Chris Cooper, James Earl Jones, and David Straithan.

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Speaker 4: Oh, that's interesting because I know Chris Cooper was also

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Speaker 4: in Lone Star, which I haven't seen, but I was

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Speaker 4: looking at.

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Speaker 3: Yeah, yeah, yeah, that's a good one. Very serious. These

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Speaker 3: are you serious and prestigious films. But before he did

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Speaker 3: any of that, he also wrote the screenplays for nineteen

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Speaker 3: seventy eight's Piranha, directed by Joe Dante, nineteen eighties Alligator

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Speaker 3: that starred Robert Forrester, and nineteen eighty one's The Howling,

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Speaker 3: which was also directed by Joe Dante. So he definitely

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Speaker 3: has horror roots. He also wrote the screenplay for nineteen

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Speaker 3: eighty six as The Klan of the Cave Bear, and

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Speaker 3: he directed not one, not two, but three Bruce Springsteen

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Speaker 3: videos Born in the USA, I'm on Fire and Glory Days.

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Speaker 1: Wow.

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Speaker 4: I don't think I knew there were music videos for

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Speaker 4: any of those three songs.

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Speaker 3: Yeah, well, in some form or another he directed at

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Speaker 3: least something like a music video for them.

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Speaker 4: Uh huh, I got to look that up. I haven't

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Speaker 4: seen Alligator in many years, but if I'm remembering the

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Speaker 4: right movie, I think that's the one where they cast

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Speaker 4: Richard Lynch in the quint role.

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Speaker 3: Ooh, I don't remember. I think I saw Alligator when

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Speaker 3: I was a kid. I think this is a sewer

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Speaker 3: Gator movie.

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Speaker 4: I could wait, I may be thinking of Alligator to

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Speaker 4: the Mutation. Yeah, but yes, yes, yes, it is a

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Speaker 4: sewer Gator movie.

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Speaker 1: Ah.

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Speaker 3: No, all right, let's get into the cast on this one,

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Speaker 3: and we're gonna take the cast in the order that

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Speaker 3: they're build, which is I think. I think is quite

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Speaker 3: telling because the top two names also apparently absorbed a

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Speaker 3: great deal of the budget for the movie.

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Speaker 4: Oh really, this next guy did? I feel like he

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Speaker 4: kind of phoned it in if you took that much money.

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Speaker 3: Oh, it's George Papard, who plays our space Cowboy, the

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Speaker 3: only character from Earth who goes by the name Cowboy.

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Speaker 4: He is called Cowboy, and he is a cowboy or

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Speaker 4: actually I think he sort of LARPs as a cowboy

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Speaker 4: because he talks about how he spends all of his

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Speaker 4: time watching old Western movies, and so I think he

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Speaker 4: may maybe he is actually just a space trucker who

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Speaker 4: puts on the persona of a cowboy.

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Speaker 3: He's a space trucker who's gone insane in deep space,

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Speaker 3: all by himself, with only West TV Westerns to keep

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Speaker 3: him company, and has thus taken on this this insane persona.

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Speaker 3: He basically dresses like a late seventies texts and trucker,

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Speaker 3: and he just drinks and smokes constantly and frankly does

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Speaker 3: little else in the film.

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Speaker 1: Yeah now.

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Speaker 3: Georgia papard Here was born in nineteen twenty eight died

403
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Speaker 3: in nineteen ninety four, probably best remembered for playing the

404
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Speaker 3: struggling writer Paul Varjak in the nineteen sixty one film

405
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Speaker 3: Breakfast at Tiffany's, and also for playing Hannibal on TV's

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Speaker 3: The A Team. They made a movie out of it,

407
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Speaker 3: a remake, But I don't recall who was in.

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Speaker 1: The Hannibal role.

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Speaker 3: Oh now I'm reminded, it's Nissan's. It's Liams and is

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Speaker 3: Liam okay?

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Speaker 1: Yeah?

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Speaker 4: Oh, this guy is the I love it when a

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Speaker 4: plan comes together guy.

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Speaker 3: Yes, so yeah, our he's our space cowboy and he

415
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Speaker 3: has he has top billings, so he's kind of it's

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Speaker 3: it's kind of one of the many Han Solo esque

417
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Speaker 3: characters in this without being quite as cool as Han Solo.

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Speaker 4: Not even close. This movie has several Han Solos. This

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Speaker 4: guy is I think they think that he works as

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Speaker 4: Han Solo because he's a scoundrel. But just scoundrelness does

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Speaker 4: does not a Han Solo make. You got to have

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Speaker 4: that charm as well.

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Speaker 3: Well, we have another shot at pulling off that charm

424
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Speaker 3: because the next actor of note here, who also I

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Speaker 3: think was paid pretty heavily compared to the rest of

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Speaker 3: the cast, is Robert Vaughn playing Gelt. Everyone I think

427
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Speaker 3: has seen Robert Vaughan in something Oh yeah, he lived

428
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Speaker 3: nineteen thirty two through twenty sixteen, and in this he

429
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Speaker 3: plays an emotionless assassin with a thousand enemies, which is

430
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Speaker 3: essentially this is basically the same role he played in

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Speaker 3: The Magnificent Seven.

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Speaker 4: Right, Yes, so he's in the Magnificent Seven. Is one

433
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Speaker 4: of the mercenaries, and I would say that he even

434
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Speaker 4: kind of dresses in this movie like his character in

435
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Speaker 4: Magnificent seven.

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Speaker 3: Yeah, Yeah, he's a fun character in this film. Unlike Cowboy,

437
00:23:56,080 --> 00:23:59,200
Speaker 3: who's just kind of a one note gag that hangs

438
00:23:59,240 --> 00:24:03,080
Speaker 3: out a little bit too long. Gelt feels, you know, authentic.

439
00:24:03,119 --> 00:24:05,399
Speaker 3: I buy into the idea that here's this guy that

440
00:24:05,480 --> 00:24:08,359
Speaker 3: has that is totally emotionless, but also he has this

441
00:24:08,440 --> 00:24:11,320
Speaker 3: loneliness to him, like he's all he's done is earned

442
00:24:11,400 --> 00:24:15,840
Speaker 3: himself riches and enemies, and now he has like maybe

443
00:24:15,920 --> 00:24:18,639
Speaker 3: one shot at doing something good with his life. I

444
00:24:18,680 --> 00:24:19,520
Speaker 3: can buy into all this.

445
00:24:19,920 --> 00:24:23,000
Speaker 4: I will say Vaughan actually makes a couple of interesting

446
00:24:23,200 --> 00:24:26,120
Speaker 4: acting choices, if you can believe me saying that about

447
00:24:26,160 --> 00:24:29,560
Speaker 4: this movie. Maybe maybe we'll get to those during the

448
00:24:29,560 --> 00:24:32,639
Speaker 4: plot section, but yeah, he's doing something with it.

449
00:24:33,000 --> 00:24:36,240
Speaker 3: So, like I say, if you watched films or TV,

450
00:24:36,359 --> 00:24:39,440
Speaker 3: you've seen Robert Vaughan in something. He's probably most notable

451
00:24:40,040 --> 00:24:43,440
Speaker 3: for his roles in nineteen sixties The Magnificent Seven, of course,

452
00:24:43,520 --> 00:24:47,080
Speaker 3: nineteen sixty eight's Bullet starring Steve McQueen, who was also

453
00:24:47,119 --> 00:24:51,439
Speaker 3: in the Magnificent Seven, seventy fours, The Towering Inferno, and

454
00:24:51,560 --> 00:24:55,119
Speaker 3: nineteen eighty three Superman three. So he always had a

455
00:24:55,119 --> 00:24:57,800
Speaker 3: great screen presence, you know, he was, you know, a

456
00:24:57,800 --> 00:25:00,480
Speaker 3: bit smooth, a bit menacing, and this I think allowed

457
00:25:00,560 --> 00:25:05,560
Speaker 3: him to play a wide variety of villains and authority figures. So,

458
00:25:05,680 --> 00:25:08,440
Speaker 3: for instance, you'll find him as the voice of the

459
00:25:08,760 --> 00:25:12,960
Speaker 3: Proteus four in nineteen seventy seven's Demon Seed, but you'll

460
00:25:12,960 --> 00:25:16,359
Speaker 3: also find him in the nineteen seventy Chuck Heston Julius

461
00:25:16,359 --> 00:25:19,560
Speaker 3: Caesar film. You'll also see him pop up in things

462
00:25:19,560 --> 00:25:23,920
Speaker 3: like Joe Diamato's Zombie five or the movie Pootie Tang.

463
00:25:25,080 --> 00:25:27,879
Speaker 3: On TV, He's done everything from Coronation Street to The

464
00:25:27,920 --> 00:25:31,679
Speaker 3: A Team. He played a vampire in Jim Warnarski's nineteen

465
00:25:31,680 --> 00:25:35,920
Speaker 3: eighty nine film Transylvania Twist. And of course he's also

466
00:25:36,240 --> 00:25:37,879
Speaker 3: America's favorite lawyer.

467
00:25:38,240 --> 00:25:40,639
Speaker 4: Oh man, this is what I've been waiting to get to,

468
00:25:40,800 --> 00:25:44,119
Speaker 4: So if you're not familiar. Later in his career, Robert

469
00:25:44,240 --> 00:25:48,080
Speaker 4: Vaughan the actor had an extensive run as a quote

470
00:25:48,119 --> 00:25:52,520
Speaker 4: spokesman in personal injury lawyer commercials. I think, with the

471
00:25:52,600 --> 00:25:56,760
Speaker 4: implicit intention of tricking people into thinking that this classy

472
00:25:56,840 --> 00:26:00,600
Speaker 4: yet tough looking attack dog was one of the lawyers

473
00:26:00,600 --> 00:26:03,600
Speaker 4: who worked at the firm being advertised. I remember years

474
00:26:03,600 --> 00:26:06,320
Speaker 4: ago we had some kind of had something on our fridge.

475
00:26:06,359 --> 00:26:08,399
Speaker 4: It was either a magnet or a cutout of a

476
00:26:08,400 --> 00:26:11,639
Speaker 4: magazine ad or something, but it was for a local

477
00:26:11,720 --> 00:26:14,200
Speaker 4: law firm and it had a picture of this guy

478
00:26:14,359 --> 00:26:16,800
Speaker 4: of Robert Vaughan, and then down at the bottom and

479
00:26:16,840 --> 00:26:20,920
Speaker 4: find print it said Robert Vaughan spokesman. And you know,

480
00:26:21,280 --> 00:26:23,800
Speaker 4: I think in this picture he was jacket off, wearing

481
00:26:23,880 --> 00:26:27,240
Speaker 4: suspenders and to tie, so a real ready to tussle. Look,

482
00:26:27,280 --> 00:26:30,280
Speaker 4: I think they're going for a feeling of that. This

483
00:26:30,320 --> 00:26:33,760
Speaker 4: guy makes claims. Adjusters just wet their pants like they

484
00:26:33,760 --> 00:26:36,439
Speaker 4: are terrified of him. And if you look it up

485
00:26:36,440 --> 00:26:41,560
Speaker 4: on YouTube, you can find tons of Robert Vaughan lawyer commercials.

486
00:26:41,520 --> 00:26:47,880
Speaker 6: Millions of dollars. That's knowledge, that's experience, that's success. You've

487
00:26:47,920 --> 00:26:53,280
Speaker 6: got one opportunity for justice. Why except less put the

488
00:26:53,359 --> 00:26:57,280
Speaker 6: law firm with a proven track record to work for you.

489
00:26:58,359 --> 00:27:00,000
Speaker 4: And I would say, I want, I want to pause

490
00:27:00,240 --> 00:27:04,440
Speaker 4: that Robert Vaughan's success as a spokesman in lawyer commercials

491
00:27:04,880 --> 00:27:08,520
Speaker 4: is almost perfectly aligned with the quality that got him

492
00:27:08,600 --> 00:27:12,240
Speaker 4: cast at least two times as a mercenary who is

493
00:27:12,320 --> 00:27:14,960
Speaker 4: hired to defend a bunch of farmers. From an evil

494
00:27:15,040 --> 00:27:18,479
Speaker 4: bandit king in the Western End in the Space Opera,

495
00:27:18,880 --> 00:27:23,480
Speaker 4: because he just seems like the tough, cutthroat sob that

496
00:27:23,520 --> 00:27:26,719
Speaker 4: in an alternate timeline might be working for the bandit

497
00:27:26,840 --> 00:27:30,520
Speaker 4: king or for the insurance company. But you just happen

498
00:27:30,560 --> 00:27:33,080
Speaker 4: to have been lucky enough to get him on your side,

499
00:27:33,520 --> 00:27:34,960
Speaker 4: and now he fights for you.

500
00:27:37,480 --> 00:27:40,119
Speaker 3: Yeah. I memory serves they used to show one of

501
00:27:40,160 --> 00:27:43,479
Speaker 3: these in the Atlanta area, some firm or another, and

502
00:27:43,520 --> 00:27:46,359
Speaker 3: maybe they still do. I don't know, it's possible that

503
00:27:47,000 --> 00:27:49,080
Speaker 3: these I mean, just because he's dead doesn't mean he

504
00:27:49,119 --> 00:27:51,320
Speaker 3: can't be the spokesman for a.

505
00:27:51,320 --> 00:27:53,600
Speaker 4: Law firm, right, right, Sure, I.

506
00:27:53,520 --> 00:27:54,440
Speaker 1: Mean I'm assuming.

507
00:27:54,480 --> 00:27:59,439
Speaker 4: I'm assuming Robert Vaughan had all these interesting characteristics that

508
00:27:59,480 --> 00:28:01,800
Speaker 4: I didn't even know about until I started reading up

509
00:28:01,840 --> 00:28:04,560
Speaker 4: on him for this episode. Like, at some point he

510
00:28:04,640 --> 00:28:08,280
Speaker 4: was interested in politics, and I imagine probably the same

511
00:28:08,359 --> 00:28:11,480
Speaker 4: quality that makes him appealing as a lawyer commercial spokesman

512
00:28:11,520 --> 00:28:15,879
Speaker 4: probably would have made him a successful political candidate. I

513
00:28:15,960 --> 00:28:19,840
Speaker 4: found even an old episode of firing Line where he's

514
00:28:19,880 --> 00:28:23,080
Speaker 4: like arguing with William F. Buckley, He's arguing against the

515
00:28:23,160 --> 00:28:28,200
Speaker 4: Vietnam War. So he's a strange and complex figure.

516
00:28:29,119 --> 00:28:31,919
Speaker 3: Yeah, and I mean I mentioned Coronation Street earlier, that,

517
00:28:31,960 --> 00:28:34,360
Speaker 3: of course, is a long running British TV series. It's

518
00:28:34,359 --> 00:28:36,600
Speaker 3: interesting to see that he's a guy that I guess

519
00:28:36,680 --> 00:28:39,280
Speaker 3: worked predominantly in the United States, but then you'll see

520
00:28:39,320 --> 00:28:42,520
Speaker 3: him pop up in not just European or British films,

521
00:28:42,520 --> 00:28:45,560
Speaker 3: but like British TV series for periods of time, so

522
00:28:46,200 --> 00:28:47,360
Speaker 3: he certainly worked a lot.

523
00:28:47,800 --> 00:28:50,000
Speaker 4: Another thing I want to point out about his lawyer

524
00:28:50,080 --> 00:28:53,120
Speaker 4: spokesman persona. So I said the image. I remember he's

525
00:28:53,160 --> 00:28:55,920
Speaker 4: wearing suspenders, and I think I'm right about that. But

526
00:28:56,000 --> 00:28:58,480
Speaker 4: if you look up these commercials today, in almost all

527
00:28:58,520 --> 00:29:02,120
Speaker 4: of them, he's wearing a vest. And I think his

528
00:29:02,240 --> 00:29:05,760
Speaker 4: character wears a vest in The Magnificent Seven, just like

529
00:29:05,960 --> 00:29:10,040
Speaker 4: Han Solo wears a vest. So I don't know there's

530
00:29:10,040 --> 00:29:12,320
Speaker 4: something going on here. There's a through line from Han

531
00:29:12,440 --> 00:29:15,360
Speaker 4: Solo to this guy who's gonna fight for you and

532
00:29:15,400 --> 00:29:17,920
Speaker 4: against the against the greedy insurance companies.

533
00:29:20,080 --> 00:29:24,120
Speaker 3: All right, well, let's get to our actual central character here,

534
00:29:24,560 --> 00:29:28,160
Speaker 3: our Luke Skywalker, if you will. It's a character named Shad,

535
00:29:28,800 --> 00:29:32,760
Speaker 3: and Shad is played by Richard Thomas born nineteen fifty one. YEP,

536
00:29:32,840 --> 00:29:35,800
Speaker 3: this is this is John Boy from The Waltins. This

537
00:29:35,920 --> 00:29:39,080
Speaker 3: is the grown up Bill Denbro from the nineteen ninety

538
00:29:39,080 --> 00:29:40,360
Speaker 3: TV adaptation of the It.

539
00:29:40,920 --> 00:29:44,200
Speaker 4: This is good casting because young Richard Thomas does kind

540
00:29:44,200 --> 00:29:50,200
Speaker 4: of have that naive, likable farm boy charm like Mark Hamill.

541
00:29:51,040 --> 00:29:54,400
Speaker 3: Yeah, there's there's also in general, there's often a sweaty

542
00:29:54,440 --> 00:29:57,080
Speaker 3: intensity to Richard Thomas that I tend to like in

543
00:29:57,120 --> 00:30:00,680
Speaker 3: a performance. Yeah, and you see it in this film too.

544
00:30:00,760 --> 00:30:03,640
Speaker 3: He's good at that, uh, that sort of you can

545
00:30:03,680 --> 00:30:06,080
Speaker 3: see the gears moving in a performance. And I feel

546
00:30:06,120 --> 00:30:08,040
Speaker 3: like even in this film, a film that does not

547
00:30:08,200 --> 00:30:12,000
Speaker 3: demand any kind of, uh, you know, an earnest performance

548
00:30:12,040 --> 00:30:15,200
Speaker 3: from its various players, I felt felt like Richard.

549
00:30:14,960 --> 00:30:16,560
Speaker 1: Thomas was able to bring it. Yeah.

550
00:30:16,640 --> 00:30:19,479
Speaker 3: Yeah, Now more I guess a lot of viewers out

551
00:30:19,480 --> 00:30:22,320
Speaker 3: there might know him better from some recent television series

552
00:30:22,480 --> 00:30:24,240
Speaker 3: is that he was a series that he was a

553
00:30:24,240 --> 00:30:26,880
Speaker 3: part of. He was was on Ozark, he was on

554
00:30:27,320 --> 00:30:31,600
Speaker 3: The Americans, and uh. The anthology round up for Thomas

555
00:30:31,720 --> 00:30:34,040
Speaker 3: is actually kind of fun for me because he was

556
00:30:34,040 --> 00:30:36,479
Speaker 3: in a Tales from the Crypt episode, a pretty good one,

557
00:30:36,480 --> 00:30:39,320
Speaker 3: as I recall, titled Mute Witness to Murder, in which

558
00:30:39,320 --> 00:30:42,280
Speaker 3: he plays a demented psychologist with slick back hair.

559
00:30:43,080 --> 00:30:44,840
Speaker 4: Yeah, the type.

560
00:30:45,120 --> 00:30:47,719
Speaker 3: Yeah, oh he was. He was a fun villain in that,

561
00:30:47,840 --> 00:30:52,800
Speaker 3: Like memory serves, he's killing somebody in in his own

562
00:30:52,840 --> 00:30:58,360
Speaker 3: apartment and somebody across the street in another apartment building,

563
00:30:58,640 --> 00:31:01,800
Speaker 3: rear windows, the whole situation. But then she's show so

564
00:31:01,920 --> 00:31:04,680
Speaker 3: shocked by the murder that she goes mute, and then

565
00:31:04,800 --> 00:31:08,520
Speaker 3: she winds up in an asylum situation. Who is her doctor,

566
00:31:08,880 --> 00:31:12,520
Speaker 3: But it's the murderer. It's it's uh, it's Richard Thomas.

567
00:31:13,080 --> 00:31:17,720
Speaker 3: And so anyway, typical tales from the cryptionnanigans ensue. But

568
00:31:17,960 --> 00:31:20,160
Speaker 3: he was also in an episode of the nineties Outer

569
00:31:20,240 --> 00:31:24,880
Speaker 3: Limits titled The New Breed. This was about mutation inducing

570
00:31:24,960 --> 00:31:28,000
Speaker 3: nanobots and it had some some pretty nasty horror elements

571
00:31:28,040 --> 00:31:30,880
Speaker 3: in it. And in that Richard Thomas plays a mad scientist.

572
00:31:31,240 --> 00:31:34,080
Speaker 4: Oh wow, against type again. So I kind of like

573
00:31:34,160 --> 00:31:38,080
Speaker 4: that move though, of taking somebody who seems very good

574
00:31:38,160 --> 00:31:40,800
Speaker 4: hearted and innocent in casting them as a villain, Like

575
00:31:40,840 --> 00:31:43,800
Speaker 4: I think Ron Howard should have played villains more when

576
00:31:43,840 --> 00:31:45,720
Speaker 4: he was, you know, in his forties fifties.

577
00:31:46,200 --> 00:31:50,960
Speaker 3: Yeah, yeah, all right, speaking of villains, though, our main

578
00:31:51,080 --> 00:31:55,720
Speaker 3: villain in this is is this this Sador Sador? Yeah?

579
00:31:55,840 --> 00:31:57,800
Speaker 4: Sador Sador? What does that rhyme with?

580
00:31:58,240 --> 00:32:04,400
Speaker 3: They's like Vador but with something sadistic added to it.

581
00:32:04,400 --> 00:32:06,120
Speaker 3: A sadistic Vader is a Sador.

582
00:32:06,600 --> 00:32:09,200
Speaker 4: What if Darth Vader was sadistic or.

583
00:32:09,120 --> 00:32:12,600
Speaker 3: If Vader was with saidor I don't know, but anyway,

584
00:32:12,720 --> 00:32:15,560
Speaker 3: played by John Saxon, the Great John Saxon, who lived

585
00:32:15,640 --> 00:32:18,440
Speaker 3: nineteen thirty six through twenty twenty. So bust out your

586
00:32:18,520 --> 00:32:22,120
Speaker 3: John Saxon punch card, because we've got more Saxon action

587
00:32:22,360 --> 00:32:25,240
Speaker 3: for you in this film. I'll refer you back to

588
00:32:25,320 --> 00:32:28,080
Speaker 3: our episode on Cannibal Apocalypse from more of a breakdown

589
00:32:28,520 --> 00:32:31,640
Speaker 3: on Saxon himself and his work, but suffice to say

590
00:32:31,640 --> 00:32:34,440
Speaker 3: he plays an evil warlord and master of mutants in

591
00:32:34,480 --> 00:32:37,960
Speaker 3: this film. And oh, he's got some wonderful lines, lines

592
00:32:38,000 --> 00:32:41,760
Speaker 3: that I'd heard in a mix before actually off the

593
00:32:41,800 --> 00:32:44,800
Speaker 3: album Si Fu by wax Factor, But like there's one

594
00:32:44,800 --> 00:32:47,840
Speaker 3: where he's saying, I possess a stellar converter, the most

595
00:32:47,840 --> 00:32:51,640
Speaker 3: powerful weapon in the universe. And then another great line

596
00:32:51,680 --> 00:32:54,080
Speaker 3: is Daco is expert at inflicting pain.

597
00:32:54,600 --> 00:32:57,880
Speaker 4: Now, what do you make of John Saxon's accent? In

598
00:32:57,920 --> 00:33:01,160
Speaker 4: this movie. He's not speaking with his natural voice, but

599
00:33:01,240 --> 00:33:04,320
Speaker 4: he's also not really affecting the accent of like any

600
00:33:04,320 --> 00:33:09,240
Speaker 4: other region or country. I would. It's not a British accent,

601
00:33:09,320 --> 00:33:12,880
Speaker 4: but it's like he adopts a formal accent. Do you

602
00:33:12,920 --> 00:33:13,440
Speaker 4: know what I mean?

603
00:33:13,720 --> 00:33:17,400
Speaker 3: Yeah, yeah, yeah, he's it's it's like a formal American villain.

604
00:33:17,480 --> 00:33:18,240
Speaker 1: I guess. I don't know.

605
00:33:19,520 --> 00:33:22,760
Speaker 4: Another thing, Saxon clearly was not able to convince them

606
00:33:22,880 --> 00:33:25,040
Speaker 4: to give him a shirtless scene in this movie. I

607
00:33:25,040 --> 00:33:25,960
Speaker 4: don't think he had one.

608
00:33:26,400 --> 00:33:28,920
Speaker 3: No, no, he didn't, which which is is kind of

609
00:33:28,960 --> 00:33:32,440
Speaker 3: a rarity for for the Saxon films we've been watching anyway,

610
00:33:34,000 --> 00:33:36,160
Speaker 3: And it is interesting that, yeah, he doesn't have a

611
00:33:36,240 --> 00:33:38,959
Speaker 3: Darth Vader heilmet he Also, he has a little bit

612
00:33:39,000 --> 00:33:41,360
Speaker 3: of makeup on his face, like some sort of a

613
00:33:41,360 --> 00:33:44,600
Speaker 3: scar effect that's been added to over one of his eyes,

614
00:33:45,200 --> 00:33:48,160
Speaker 3: but he's not nearly as made up as his legion

615
00:33:48,280 --> 00:33:52,600
Speaker 3: of mutant underlings, who all have very pronounced disfigurements and

616
00:33:52,680 --> 00:33:54,040
Speaker 3: like a cleft in their face.

617
00:33:54,920 --> 00:33:55,200
Speaker 1: Yeah.

618
00:33:55,240 --> 00:33:58,280
Speaker 4: So I was wondering, why does this movie not do

619
00:33:58,360 --> 00:34:01,600
Speaker 4: the thing that every other Star Wars knockoff does and

620
00:34:01,640 --> 00:34:05,080
Speaker 4: have a Darth Vader suit. And I don't know, but

621
00:34:05,120 --> 00:34:07,760
Speaker 4: if I had to guess, I would guess it's because

622
00:34:07,880 --> 00:34:10,480
Speaker 4: they had John Saxon in this role and they wanted

623
00:34:10,480 --> 00:34:12,839
Speaker 4: to show his face on screen, or because Saxon wanted

624
00:34:12,840 --> 00:34:14,960
Speaker 4: to show his face on screen. You just you don't

625
00:34:15,040 --> 00:34:17,360
Speaker 4: hide your Saxon under a helmet. That's ludicrous.

626
00:34:17,840 --> 00:34:18,080
Speaker 1: Yeah.

627
00:34:18,200 --> 00:34:21,200
Speaker 3: Plus, you know, thinking back to Cannibal Apocalypse, there are

628
00:34:21,239 --> 00:34:24,200
Speaker 3: some details about that movie where Saxon did put his

629
00:34:24,200 --> 00:34:25,839
Speaker 3: foot down about certain things that.

630
00:34:25,880 --> 00:34:28,040
Speaker 1: You know, he didn't want to do. He didn't think

631
00:34:28,040 --> 00:34:29,200
Speaker 1: we're the right choice for him.

632
00:34:29,239 --> 00:34:30,960
Speaker 3: So I don't know, I don't know the story, but

633
00:34:31,000 --> 00:34:34,279
Speaker 3: I can imagine a scenario in which Saxon's like, I

634
00:34:34,320 --> 00:34:36,200
Speaker 3: just I don't want to wear that much makeup or

635
00:34:36,200 --> 00:34:37,759
Speaker 3: I don't want to wear that helmet. Can you do

636
00:34:37,800 --> 00:34:40,960
Speaker 3: something else that works? And maybe they found that middle ground.

637
00:34:41,080 --> 00:34:43,319
Speaker 3: And ultimately, yeah, if you're paying for John Saxon, put

638
00:34:43,360 --> 00:34:44,000
Speaker 3: him on the screen.

639
00:34:44,440 --> 00:34:47,160
Speaker 4: I know how Corman budgets work. You wouldn't put you

640
00:34:47,160 --> 00:34:49,439
Speaker 4: wouldn't have John Saxon in a role where you gotta

641
00:34:49,440 --> 00:34:51,759
Speaker 4: have a helmet on him. You just get you know,

642
00:34:51,840 --> 00:34:54,440
Speaker 4: some pa to do that. Then maybe you'd cast a

643
00:34:54,520 --> 00:34:55,160
Speaker 4: voice actor.

644
00:34:55,480 --> 00:34:58,520
Speaker 3: All right, Well, more on Saxon's performance here in a bit.

645
00:34:58,600 --> 00:35:03,040
Speaker 3: But moving on to other characters, we have Darlene Flugel

646
00:35:03,160 --> 00:35:07,760
Speaker 3: playing Nanelia. This is the central love interest for Shad.

647
00:35:08,960 --> 00:35:12,160
Speaker 3: Flugel lived nineteen fifty three through twenty seventeen, and she

648
00:35:12,239 --> 00:35:14,640
Speaker 3: was in some major films of the nineteen eighties, including

649
00:35:14,719 --> 00:35:17,399
Speaker 3: To Live and Die in La, Once Upon a Time

650
00:35:17,440 --> 00:35:20,920
Speaker 3: in America, Running Scared. Later in her career, she also

651
00:35:21,000 --> 00:35:25,320
Speaker 3: appeared in pet Cemetery two, Scanner Cop, and Dark Man three.

652
00:35:25,760 --> 00:35:27,439
Speaker 4: Wow we got a scanner cop in here.

653
00:35:27,840 --> 00:35:31,520
Speaker 3: Yeah. Her first film was nineteen seventy eight's Eyes of

654
00:35:31,640 --> 00:35:35,000
Speaker 3: Laura Mars, which I've been tempted to check out. I've

655
00:35:35,040 --> 00:35:37,080
Speaker 3: not seen it, but it has a number of wonderful

656
00:35:37,080 --> 00:35:40,520
Speaker 3: connections in it, and John Carpenter has a screenplay.

657
00:35:40,040 --> 00:35:40,640
Speaker 1: Credit on it.

658
00:35:41,000 --> 00:35:41,960
Speaker 4: Oh I didn't know that.

659
00:35:42,360 --> 00:35:46,680
Speaker 3: Yeah, Okay, move over because the next character is what

660
00:35:46,800 --> 00:35:48,359
Speaker 3: is a Saint Saint X mean?

661
00:35:48,840 --> 00:35:55,239
Speaker 4: Saint x Mean played by Sybil Danning? Wow Wow wow?

662
00:35:55,719 --> 00:35:55,959
Speaker 1: Yeah.

663
00:35:56,200 --> 00:35:58,600
Speaker 3: This born nineteen fifty two. This, of course is the

664
00:35:58,640 --> 00:36:02,800
Speaker 3: Austrian born b Move Queen Civil Danning who we previously

665
00:36:02,800 --> 00:36:08,800
Speaker 3: talked about in Hercules she played Audrianna in that and boy,

666
00:36:08,400 --> 00:36:14,120
Speaker 3: this is just an absolutely ridiculous performance and costume and character.

667
00:36:14,880 --> 00:36:17,080
Speaker 4: This is one of the most ludicrous roles I have

668
00:36:17,200 --> 00:36:18,920
Speaker 4: ever seen in any movie.

669
00:36:19,680 --> 00:36:23,040
Speaker 3: It is. It's just completely outrageous. Saturn Award winning, by

670
00:36:23,040 --> 00:36:25,400
Speaker 3: the way, a Saturn Award winning performance.

671
00:36:25,840 --> 00:36:28,440
Speaker 4: I didn't even know where to begin talking about this character.

672
00:36:29,000 --> 00:36:31,680
Speaker 3: Yeah, because even for a civil Danning role, this character

673
00:36:32,200 --> 00:36:36,040
Speaker 3: is a lot and she you know, I'll credit discibil

674
00:36:36,120 --> 00:36:39,520
Speaker 3: to Sibil Danning for committing to the character because oh yeah,

675
00:36:39,560 --> 00:36:42,360
Speaker 3: they managed to squeeze her into some of the silliest

676
00:36:42,360 --> 00:36:47,000
Speaker 3: costumes in the whole film. And then she's so her

677
00:36:47,080 --> 00:36:49,200
Speaker 3: character is to back up a little bit, her her

678
00:36:49,280 --> 00:36:56,560
Speaker 3: character is basically an amorous space Amazonian warrior valkyrie type character.

679
00:36:56,680 --> 00:37:01,160
Speaker 3: You know, like all those tropes just mashed together. She's

680
00:37:01,360 --> 00:37:05,160
Speaker 3: often dressed in this kind of space valkyrie costume that

681
00:37:05,200 --> 00:37:07,440
Speaker 3: looks like it's made out of dried silly string.

682
00:37:07,760 --> 00:37:11,320
Speaker 4: Yeah, it's kind of a like it's a skeletal bone

683
00:37:11,800 --> 00:37:18,520
Speaker 4: corset with like with like grimlin ear headwear. It is

684
00:37:18,640 --> 00:37:19,240
Speaker 4: so weird.

685
00:37:19,680 --> 00:37:24,319
Speaker 3: Yeah, it's it's completely ridiculous. And then she's a she's

686
00:37:24,400 --> 00:37:27,600
Speaker 3: a hot shot space pilot, and so you have all

687
00:37:27,600 --> 00:37:30,600
Speaker 3: these scenes where she's piloting the cockpit, but they have

688
00:37:30,719 --> 00:37:33,560
Speaker 3: her in this cockpit environment that makes it look like

689
00:37:33,600 --> 00:37:36,640
Speaker 3: she's getting a dental exam, like shooting there from this

690
00:37:36,960 --> 00:37:40,880
Speaker 3: really unflattering angle, and an unflattering angle for just any

691
00:37:41,120 --> 00:37:42,560
Speaker 3: member of the human species.

692
00:37:42,600 --> 00:37:45,000
Speaker 4: So it's nothing the up the nose angle.

693
00:37:45,239 --> 00:37:47,680
Speaker 3: Yeah, so this like this does not I can't I

694
00:37:47,719 --> 00:37:50,280
Speaker 3: can't imagine how anyone thought this was a great shot

695
00:37:50,400 --> 00:37:54,239
Speaker 3: and needed to be used in the film. But here

696
00:37:54,280 --> 00:37:57,040
Speaker 3: she is, and when she's not piloting that spaceship, she's

697
00:37:57,080 --> 00:37:59,960
Speaker 3: coming on to shad in some of the cringiest moments.

698
00:38:00,040 --> 00:38:01,120
Speaker 3: It's in the entire film.

699
00:38:01,320 --> 00:38:04,320
Speaker 4: Oh yeah, nothing like a like a double entendrous sex

700
00:38:04,440 --> 00:38:07,799
Speaker 4: joke that's based on machinery metaphor that goes on for

701
00:38:07,840 --> 00:38:11,240
Speaker 4: like seventy seconds. It's unbearable.

702
00:38:11,680 --> 00:38:15,839
Speaker 3: Yeah, all right. The next human of note in this

703
00:38:16,400 --> 00:38:19,399
Speaker 3: is a Sam Joffey playing doctor Hephestus.

704
00:38:20,600 --> 00:38:24,640
Speaker 4: Wow. I mean we're going from weirdest to almost on

705
00:38:24,760 --> 00:38:25,680
Speaker 4: par weirdness.

706
00:38:25,960 --> 00:38:28,200
Speaker 3: Yeah. Yeah, this one I think is a close second

707
00:38:28,280 --> 00:38:32,200
Speaker 3: to Saint x Men in terms of just ludicrous screen presence.

708
00:38:32,520 --> 00:38:33,960
Speaker 3: I don't even know how much we want to get

709
00:38:33,960 --> 00:38:37,520
Speaker 3: into this. But basically, he's an android scientist who has

710
00:38:37,880 --> 00:38:41,040
Speaker 3: done some silly things to his own body. And oh,

711
00:38:41,160 --> 00:38:45,040
Speaker 3: it's just so I don't want to say it's embarrassing,

712
00:38:46,040 --> 00:38:49,960
Speaker 3: but it's just so silly. It's just laughing Ucy.

713
00:38:50,280 --> 00:38:51,960
Speaker 4: Well, I want to be clear. You said he's an

714
00:38:52,000 --> 00:38:56,040
Speaker 4: android scientist, so he makes androids, but he is originally human.

715
00:38:56,640 --> 00:39:02,040
Speaker 4: He has become essentially when we eat him, he is

716
00:39:02,080 --> 00:39:05,040
Speaker 4: a head, a human head on top of a cabinet

717
00:39:05,120 --> 00:39:07,160
Speaker 4: full of synthetic organs.

718
00:39:07,280 --> 00:39:10,960
Speaker 3: Right, and the cabinet opens in a way that feels

719
00:39:11,040 --> 00:39:14,120
Speaker 3: kind of dirty, like he's a flasher and a trench coat.

720
00:39:16,440 --> 00:39:18,520
Speaker 3: But I want to stress too, the cabinet is really

721
00:39:18,560 --> 00:39:21,400
Speaker 3: well designed as well. So it's one of these moments

722
00:39:21,400 --> 00:39:24,560
Speaker 3: where on one level, yes, this looks really good, this

723
00:39:24,640 --> 00:39:26,320
Speaker 3: is a great shot, and this is a great prop

724
00:39:26,360 --> 00:39:29,720
Speaker 3: you created for Sam jaffe here, but on the other hand,

725
00:39:30,000 --> 00:39:34,879
Speaker 3: just looks completely ridiculous, and he's just giving this kind

726
00:39:34,880 --> 00:39:39,120
Speaker 3: of like smiling, super happy Grandma Grandpa performance as well.

727
00:39:40,120 --> 00:39:42,239
Speaker 3: It's a weird one to process.

728
00:39:42,600 --> 00:39:45,319
Speaker 4: Yeah, but I would say, exactly like Sybil Danning, I

729
00:39:45,360 --> 00:39:48,359
Speaker 4: give Sam Jaffee credit here for committing. Both of these

730
00:39:48,400 --> 00:39:53,120
Speaker 4: people were given absolutely unbelievably weird stuff to do and

731
00:39:53,160 --> 00:39:54,160
Speaker 4: they just go all in.

732
00:39:54,760 --> 00:39:55,800
Speaker 1: Yeah.

733
00:39:55,800 --> 00:39:58,799
Speaker 3: Sam Jeffey lived eighteen ninety one through nineteen eighty four,

734
00:39:59,239 --> 00:40:02,320
Speaker 3: actor of state and screen, best known for The Asphalt Jungle,

735
00:40:02,640 --> 00:40:05,759
Speaker 3: The Day the Earth Stood Still, bed Knobs and broomsticks

736
00:40:05,960 --> 00:40:07,120
Speaker 3: and Ben her.

737
00:40:07,440 --> 00:40:10,040
Speaker 4: I want to highlight what you just said, which is

738
00:40:10,040 --> 00:40:12,479
Speaker 4: that this is an actor born in eighteen ninety one,

739
00:40:12,960 --> 00:40:16,680
Speaker 4: a product of the nineteenth century, who, in this Star

740
00:40:16,719 --> 00:40:20,360
Speaker 4: Wars ripoff, plays ahead on a cabinet full of organs yep,

741
00:40:20,960 --> 00:40:25,239
Speaker 4: who wants to imprison a young Luke Skywalker clone in

742
00:40:25,360 --> 00:40:27,480
Speaker 4: order to produce grandchildren for him.

743
00:40:27,880 --> 00:40:33,279
Speaker 3: Yes, all right, the next actor of note this. This

744
00:40:33,360 --> 00:40:36,279
Speaker 3: is a more of a I guess a small role,

745
00:40:36,320 --> 00:40:39,640
Speaker 3: but it's worth noting because so you have these nesters

746
00:40:40,640 --> 00:40:42,560
Speaker 3: Nest Tour. It's kind of like it sounds like it

747
00:40:42,560 --> 00:40:44,440
Speaker 3: should be a brand of like cheap coffee that you

748
00:40:44,560 --> 00:40:48,120
Speaker 3: encounter in a hotel, but no, these are like four

749
00:40:48,440 --> 00:40:53,000
Speaker 3: pale white aliens that all like, think and speak and

750
00:40:53,080 --> 00:40:56,359
Speaker 3: taste in unison. And so it's yeah, yeah, so it's

751
00:40:56,360 --> 00:40:59,120
Speaker 3: four different actors, you know, dawled up the same way.

752
00:40:59,440 --> 00:41:02,719
Speaker 3: One of them is played by Earl Bowen, who was

753
00:41:02,760 --> 00:41:06,640
Speaker 3: born in nineteen forty five and is probably best known

754
00:41:06,640 --> 00:41:09,880
Speaker 3: to everyone out there as a Silberman Doctor Silberman. In

755
00:41:09,920 --> 00:41:11,360
Speaker 3: the Terminator films.

756
00:41:11,200 --> 00:41:15,360
Speaker 4: He's the crooked psychiatrist who keeps Sarah Connor in the institution.

757
00:41:15,920 --> 00:41:16,840
Speaker 1: Yeah.

758
00:41:16,840 --> 00:41:19,160
Speaker 3: He was also in The Man with Two Brains, and

759
00:41:19,400 --> 00:41:21,480
Speaker 3: he's done a lot of voice work. He also appears

760
00:41:21,520 --> 00:41:23,880
Speaker 3: in the Dead Right episode of Tales from the Crypt,

761
00:41:24,120 --> 00:41:26,320
Speaker 3: which starred Demi Moore and Jeffrey Tamber.

762
00:41:26,760 --> 00:41:29,280
Speaker 4: I wonder if this is where he met James Cameron

763
00:41:29,440 --> 00:41:31,360
Speaker 4: and how he ended up in the Terminator movies.

764
00:41:31,520 --> 00:41:34,520
Speaker 3: Yeah, yeah, it seems I would bet that is the

765
00:41:34,560 --> 00:41:40,680
Speaker 3: case because so speaking of the James Cameron acting ensemble,

766
00:41:40,719 --> 00:41:44,920
Speaker 3: Bill Paxton allegedly did carpentry work on this film. Oh okay,

767
00:41:44,960 --> 00:41:46,960
Speaker 3: so I guess you know. He's like, hey, you you're

768
00:41:47,000 --> 00:41:47,799
Speaker 3: in how about you?

769
00:41:47,800 --> 00:41:48,160
Speaker 1: All right?

770
00:41:48,360 --> 00:41:50,800
Speaker 3: Put down that put down that hammer. You're going to

771
00:41:50,880 --> 00:41:53,920
Speaker 3: be in a film of mine. Can you grow a mohawk?

772
00:41:54,400 --> 00:41:56,280
Speaker 3: He did have a mohawk and Terminator right.

773
00:41:56,200 --> 00:41:59,279
Speaker 4: Oh yeah he did, Yeah, but didn't he wasn't. There

774
00:41:59,280 --> 00:42:04,200
Speaker 4: also a story about how Harrison Ford was originally working

775
00:42:04,239 --> 00:42:07,200
Speaker 4: as a carpenter on set for Star Wars before he

776
00:42:07,280 --> 00:42:08,480
Speaker 4: was cast. Am I wrong about that?

777
00:42:09,360 --> 00:42:09,400
Speaker 6: No?

778
00:42:09,600 --> 00:42:12,520
Speaker 4: No, oh, Seth just set us straight. I think he

779
00:42:12,560 --> 00:42:15,959
Speaker 4: was in American Graffiti with Lucas before Star Wars, which,

780
00:42:16,239 --> 00:42:18,759
Speaker 4: but being a carpenter had something to do I think

781
00:42:18,760 --> 00:42:19,959
Speaker 4: with getting him in there.

782
00:42:20,360 --> 00:42:20,759
Speaker 1: All right.

783
00:42:21,040 --> 00:42:25,120
Speaker 3: Another credit of note here, Kathy Griffin plays an uncredited

784
00:42:25,160 --> 00:42:28,000
Speaker 3: alien extra in this So yeah, this is the first

785
00:42:28,040 --> 00:42:31,200
Speaker 3: screen appearance of actor and comedian Kathy Griffin. Blink and

786
00:42:31,280 --> 00:42:34,040
Speaker 3: you'll miss it, and you'll miss it unless you're actively

787
00:42:34,080 --> 00:42:36,439
Speaker 3: looking for it. But yes, she is in there. Born

788
00:42:36,520 --> 00:42:39,240
Speaker 3: nineteen sixty. She's an uncredited alien.

789
00:42:39,600 --> 00:42:40,600
Speaker 4: I did not catch her.

790
00:42:40,960 --> 00:42:43,840
Speaker 3: Yeah, she's part of She's on Shad's home planet. So

791
00:42:43,880 --> 00:42:46,280
Speaker 3: she's multively early in the film, and I don't think

792
00:42:46,520 --> 00:42:48,759
Speaker 3: you see her in the background anymore after that.

793
00:42:49,160 --> 00:42:51,640
Speaker 4: Okay, So she's walking around, she's hanging out with the

794
00:42:51,680 --> 00:42:55,600
Speaker 4: guys who look like they're in Leonard skinnerd Yeah. Yeah, okay.

795
00:42:56,000 --> 00:42:57,880
Speaker 3: Oh, now it's time to talk about the music on

796
00:42:57,920 --> 00:43:01,120
Speaker 3: this one, because the score for this film by James Horner.

797
00:43:01,520 --> 00:43:05,480
Speaker 4: Oh wow, Okay, I believe this would be yet another

798
00:43:05,600 --> 00:43:07,160
Speaker 4: James Cameron connection, right.

799
00:43:07,360 --> 00:43:11,280
Speaker 3: Yeah, Yeah. James Horner lived nineteen fifty three through twenty fifteen.

800
00:43:11,920 --> 00:43:15,120
Speaker 3: This was one of the first scores that he composed.

801
00:43:15,600 --> 00:43:18,040
Speaker 3: He would go on to score a number I mean

802
00:43:18,320 --> 00:43:23,080
Speaker 3: so many classic scores films such as James Cameron's Aliens,

803
00:43:23,760 --> 00:43:27,200
Speaker 3: Star Trek, to the Wrath of Kahn, Willow, Field of Dreams,

804
00:43:27,719 --> 00:43:32,799
Speaker 3: Apollo thirteen, Titanic, A Beautiful Mind, and Avatar. And when

805
00:43:32,800 --> 00:43:34,760
Speaker 3: I think of Horner, I have to say I often

806
00:43:34,760 --> 00:43:38,920
Speaker 3: think of that great tension building bit from the Aliens score.

807
00:43:39,160 --> 00:43:41,239
Speaker 3: I think of various blockbusters like some of the ones

808
00:43:41,280 --> 00:43:44,120
Speaker 3: I mentioned. But you know, I have to say the

809
00:43:44,160 --> 00:43:46,680
Speaker 3: score that he did for the nineteen eighty six adaptation

810
00:43:46,760 --> 00:43:48,600
Speaker 3: of the Name of the Rose, I think is really

811
00:43:48,680 --> 00:43:53,400
Speaker 3: quite excellent. It's a superb mix of choral, electronic and

812
00:43:54,200 --> 00:43:59,440
Speaker 3: orchestral themes that kind of come together in a perfect

813
00:43:59,440 --> 00:44:01,759
Speaker 3: way for a film like this that is supposed to

814
00:44:01,840 --> 00:44:04,359
Speaker 3: be about, you know, monastery on sort of the edge

815
00:44:04,360 --> 00:44:09,479
Speaker 3: of the world. Now this is kind of interesting as well.

816
00:44:09,680 --> 00:44:13,719
Speaker 3: Horner's last film score was a twenty sixteen remake of

817
00:44:13,760 --> 00:44:14,880
Speaker 3: The Magnificent Seven.

818
00:44:15,120 --> 00:44:15,600
Speaker 1: How about that?

819
00:44:16,280 --> 00:44:17,840
Speaker 4: Yeah, I never saw that.

820
00:44:18,360 --> 00:44:19,120
Speaker 1: Yeah. Oh.

821
00:44:19,200 --> 00:44:21,759
Speaker 3: And prior to Battley On the Stars. He also worked

822
00:44:21,800 --> 00:44:25,000
Speaker 3: on the scores for Humanoids from the Deep and Up

823
00:44:25,000 --> 00:44:28,200
Speaker 3: from the Depths, the Killer Sturgeon movie.

824
00:44:27,920 --> 00:44:28,600
Speaker 1: In the Philippines.

825
00:44:28,640 --> 00:44:32,359
Speaker 3: But I referenced earlier, and finally, like we've been pointing out, yes,

826
00:44:32,480 --> 00:44:36,160
Speaker 3: James Cameron has art, direction, and visual effects credits on

827
00:44:36,239 --> 00:44:40,000
Speaker 3: this film. Now, obviously he would go on to be

828
00:44:40,200 --> 00:44:45,440
Speaker 3: quite a big deal. But Cameron's big directorial writing break

829
00:44:45,560 --> 00:44:48,920
Speaker 3: wouldn't come till the following year after this film with

830
00:44:49,000 --> 00:44:52,280
Speaker 3: Piranha two The Spawning and that was followed by nineteen

831
00:44:52,280 --> 00:44:54,040
Speaker 3: eighty four as the Terminator, And of course at that

832
00:44:54,040 --> 00:44:56,400
Speaker 3: point you're just off to the races. But at this

833
00:44:56,640 --> 00:45:00,920
Speaker 3: point he'd done a short film titled Ze Genesis, and

834
00:45:01,080 --> 00:45:04,480
Speaker 3: seventy eight he'd been a production designer on Galaxy of Terror,

835
00:45:04,800 --> 00:45:08,279
Speaker 3: which he also did second unit director duties on, and

836
00:45:08,360 --> 00:45:11,680
Speaker 3: the following year in eighty one, would see him serve

837
00:45:12,360 --> 00:45:17,520
Speaker 3: in a capacity for special visual effects and matt artwork

838
00:45:17,560 --> 00:45:19,600
Speaker 3: on John Carpenter's Escape from New York.

839
00:45:19,960 --> 00:45:22,080
Speaker 4: Hmm. Well, yeah, so there are a lot of stories

840
00:45:22,080 --> 00:45:25,360
Speaker 4: in the making of documentary about James Cameron's work behind

841
00:45:25,360 --> 00:45:29,279
Speaker 4: the scenes on this movie. He like, there are a

842
00:45:29,320 --> 00:45:31,480
Speaker 4: lot of just little details about him wanting to do

843
00:45:31,600 --> 00:45:35,000
Speaker 4: really ambitious things that some of which did end up

844
00:45:35,000 --> 00:45:37,279
Speaker 4: in the movie ended up looking amazing. But I think

845
00:45:37,320 --> 00:45:40,640
Speaker 4: we're sort of pressing up against the budget constraints that

846
00:45:40,719 --> 00:45:44,120
Speaker 4: this movie was operating on, and so like some of

847
00:45:44,160 --> 00:45:47,319
Speaker 4: the other production designers and visual effects people who worked

848
00:45:47,320 --> 00:45:49,279
Speaker 4: on the movie said, you know, we'd be working on

849
00:45:49,320 --> 00:45:51,479
Speaker 4: this and then somebody would come to us and say, hey,

850
00:45:52,200 --> 00:45:55,520
Speaker 4: you know, jim Is, he's got this idea and it's

851
00:45:55,520 --> 00:45:57,440
Speaker 4: going to cost a lot more than we expected, So

852
00:45:57,520 --> 00:46:00,319
Speaker 4: can you do what you're doing now much cheaper? And

853
00:46:00,360 --> 00:46:03,520
Speaker 4: so forth. But there was also a story one person

854
00:46:03,560 --> 00:46:07,600
Speaker 4: on there told about an argument that James Cameron got

855
00:46:07,640 --> 00:46:10,320
Speaker 4: into with the director. I think it was the director

856
00:46:10,360 --> 00:46:12,640
Speaker 4: of photography on Battle Beyond the Stars, who was a

857
00:46:13,160 --> 00:46:15,640
Speaker 4: unfortunately I forget his name at the moment, but he

858
00:46:15,680 --> 00:46:18,560
Speaker 4: was a French guy, and they were arguing about the

859
00:46:18,640 --> 00:46:23,120
Speaker 4: science of twinkling stars, because the DP was saying, okay,

860
00:46:23,480 --> 00:46:26,880
Speaker 4: from the spaceship's cockpit, we should have the stars twinkling,

861
00:46:27,200 --> 00:46:31,200
Speaker 4: and Cameron was like, no, because stars only twinkle because

862
00:46:31,239 --> 00:46:33,760
Speaker 4: of the atmosphere of a planet, and that is true,

863
00:46:33,920 --> 00:46:36,799
Speaker 4: like the reason of star twinkles has to do with

864
00:46:36,880 --> 00:46:41,120
Speaker 4: how the light from a point like source is affected

865
00:46:41,200 --> 00:46:44,279
Speaker 4: by you know, drafts and the gases of the atmosphere.

866
00:46:44,280 --> 00:46:45,880
Speaker 4: Before it reaches your eyes, it takes a kind of

867
00:46:46,000 --> 00:46:50,200
Speaker 4: wiggly zigzag pattern and that causes the twinkling. And according

868
00:46:50,239 --> 00:46:53,840
Speaker 4: to this interview, this ended with the the DP getting

869
00:46:53,880 --> 00:46:57,319
Speaker 4: up in Cameron's face and pulling his beard and saying like,

870
00:46:57,960 --> 00:47:00,319
Speaker 4: Monsieur Cameron, you are a brat.

871
00:47:02,760 --> 00:47:05,279
Speaker 3: So James Cameron easy to work with right from the

872
00:47:05,640 --> 00:47:06,280
Speaker 3: get gap.

873
00:47:06,200 --> 00:47:11,200
Speaker 4: Basically, but he was right, he was right about the story. Yeah,

874
00:47:11,320 --> 00:47:12,520
Speaker 4: each one is the setting sun.

875
00:47:21,600 --> 00:47:24,200
Speaker 3: All right, well, let's get into the Let's get properly

876
00:47:24,239 --> 00:47:26,160
Speaker 3: into the plot of this film and flesh out some

877
00:47:26,239 --> 00:47:30,120
Speaker 3: of these just weird choices and weird moments, then make

878
00:47:30,200 --> 00:47:30,879
Speaker 3: up the run time.

879
00:47:31,239 --> 00:47:33,120
Speaker 4: Okay, well, this is one of those where we're not

880
00:47:33,160 --> 00:47:34,759
Speaker 4: going to do every scene in the movie, but I

881
00:47:34,960 --> 00:47:38,239
Speaker 4: want to focus on some highlights and some themes. But

882
00:47:38,320 --> 00:47:41,200
Speaker 4: we will start with the beginning, because in a Star

883
00:47:41,200 --> 00:47:43,440
Speaker 4: Wars knockoff movie, what's your opening going to be? You

884
00:47:43,480 --> 00:47:45,239
Speaker 4: know exactly what it's gonna be. In fact, I think

885
00:47:45,320 --> 00:47:49,919
Speaker 4: almost all of these begin with a shot of a starfield,

886
00:47:50,160 --> 00:47:52,200
Speaker 4: and then what's it going to be?

887
00:47:52,400 --> 00:47:55,080
Speaker 1: What's it gonna be? Spaceship moving in.

888
00:47:55,280 --> 00:47:59,239
Speaker 4: Spaceship pans comes over the top of the camera, and

889
00:47:59,360 --> 00:48:01,800
Speaker 4: in this case, the first space ship we see, I

890
00:48:01,840 --> 00:48:05,879
Speaker 4: would say, is shaped pretty much like the Blockade Runner

891
00:48:05,960 --> 00:48:08,000
Speaker 4: we see at the beginning of Star Wars. You know,

892
00:48:08,040 --> 00:48:11,200
Speaker 4: it's the horizontal cylinder at the bow and then an

893
00:48:11,280 --> 00:48:13,560
Speaker 4: array of parallel rocket engines in the stern.

894
00:48:14,160 --> 00:48:16,919
Speaker 3: Right off the bat though, this ship looks really good,

895
00:48:17,000 --> 00:48:17,480
Speaker 3: I have to.

896
00:48:17,440 --> 00:48:21,720
Speaker 4: Say, yeah, yeah, I agree. And here though, the interesting

897
00:48:21,760 --> 00:48:24,240
Speaker 4: thing is that the allegiance of this ship is flipped

898
00:48:24,560 --> 00:48:27,680
Speaker 4: because in Star Wars that ship is the ship with

899
00:48:27,800 --> 00:48:30,719
Speaker 4: this shape is Princess Leah's corvette. It's being chased by

900
00:48:30,719 --> 00:48:34,480
Speaker 4: the Imperial Star Destroyer, and in this movie there's no

901
00:48:34,640 --> 00:48:37,320
Speaker 4: chase going on. The ship just is the Star Destroyer,

902
00:48:37,400 --> 00:48:39,480
Speaker 4: and it's also sort of the Death Star. It is

903
00:48:39,520 --> 00:48:43,600
Speaker 4: the flagship of the wicked and treacherous Melmory, who have

904
00:48:43,760 --> 00:48:45,960
Speaker 4: arrived in your star system to do evil.

905
00:48:46,480 --> 00:48:46,680
Speaker 1: Yeah.

906
00:48:47,160 --> 00:48:52,240
Speaker 3: Essentially, Space Warlords an army of of what failed mutants

907
00:48:52,320 --> 00:48:55,399
Speaker 3: kind of like messed up clones or something, and they

908
00:48:55,400 --> 00:48:57,240
Speaker 3: are led by John Saxon.

909
00:48:57,280 --> 00:49:00,640
Speaker 4: Right, and so they approach, They approach a plan and

910
00:49:00,680 --> 00:49:03,799
Speaker 4: we hear technicians on this evil capital ship discussing what

911
00:49:03,840 --> 00:49:06,680
Speaker 4: they see on the viewscreen. They say, this is a kir,

912
00:49:07,200 --> 00:49:10,720
Speaker 4: a planet of stone with a single green spot, life

913
00:49:10,719 --> 00:49:14,560
Speaker 4: forms compatible with ours, oxygen forms with radial symmetry. I

914
00:49:14,600 --> 00:49:18,279
Speaker 4: think they say radial symmetry. They have a solar technology,

915
00:49:18,400 --> 00:49:22,840
Speaker 4: no known defense capacity, and then I think somebody, John Saxon,

916
00:49:22,880 --> 00:49:26,799
Speaker 4: I think, says interesting, let's check that. And so oh no,

917
00:49:26,960 --> 00:49:29,560
Speaker 4: first thing, the star Destroyer just rolls up on this

918
00:49:29,680 --> 00:49:33,600
Speaker 4: kind of twittering weather satellite. It is crewed by a

919
00:49:33,600 --> 00:49:37,000
Speaker 4: couple of extremely polite boys from a gir and they're

920
00:49:37,080 --> 00:49:40,319
Speaker 4: staring down this doom ship and the minor chords are

921
00:49:40,360 --> 00:49:43,520
Speaker 4: swelling and they're like, hello there, welcome to our atmosphere.

922
00:49:44,560 --> 00:49:47,080
Speaker 4: This is the planet of here. Could you identify yourself please?

923
00:49:47,160 --> 00:49:51,759
Speaker 4: And then the ship just vaporizes. But I like how

924
00:49:52,719 --> 00:49:56,000
Speaker 4: the sort of sweet Midwestern corniness of the guys from

925
00:49:56,040 --> 00:50:00,520
Speaker 4: a GIR in this satellite is immediately contrasted by weird

926
00:50:00,680 --> 00:50:03,200
Speaker 4: imagery when we see what the planet surface looks like.

927
00:50:03,880 --> 00:50:08,440
Speaker 4: So we only get these brief glimpses, but what we

928
00:50:08,480 --> 00:50:13,440
Speaker 4: see is like that the infrastructure of the civilization on

929
00:50:13,480 --> 00:50:17,360
Speaker 4: this planet surface seems to be built out of flesh

930
00:50:17,400 --> 00:50:21,640
Speaker 4: trees that are also giant screaming skulls. So it's like

931
00:50:21,719 --> 00:50:25,800
Speaker 4: the Ewok village, but imagine the forest instead of wood,

932
00:50:26,200 --> 00:50:29,759
Speaker 4: is warped flesh and the bones of whatever species pac

933
00:50:29,880 --> 00:50:30,360
Speaker 4: Man is.

934
00:50:31,239 --> 00:50:34,600
Speaker 3: Yeah, it's really quite cool looking. It reminds me a

935
00:50:34,600 --> 00:50:37,960
Speaker 3: little bit of Salvador Dali. It reminds me a bit

936
00:50:38,040 --> 00:50:43,200
Speaker 3: of Fantastic Planet. Overall, it has a wonderful, like weird

937
00:50:43,239 --> 00:50:44,920
Speaker 3: seventies sci fi vibe to it.

938
00:50:45,400 --> 00:50:47,400
Speaker 4: Yeah, and I already mentioned this, but a lot of

939
00:50:47,440 --> 00:50:50,960
Speaker 4: the locals have a distinct classic rock vibe that the

940
00:50:51,080 --> 00:50:53,080
Speaker 4: dudes look like the Almond Brothers.

941
00:50:54,800 --> 00:50:56,839
Speaker 3: This is a film, you know, you look back at

942
00:50:56,840 --> 00:50:59,960
Speaker 3: Star Wars. Star Wars is a product of the nineteen seventies,

943
00:51:00,480 --> 00:51:02,800
Speaker 3: and yeah, if you look hard enough, you can see

944
00:51:02,800 --> 00:51:06,520
Speaker 3: the seventies in it, but not nearly as strongly as

945
00:51:06,560 --> 00:51:09,360
Speaker 3: the seventies often bleeds through into a picture like this.

946
00:51:09,520 --> 00:51:13,719
Speaker 3: And yeah, the seventies is strongly manifested even though this

947
00:51:13,800 --> 00:51:15,359
Speaker 3: is the early eighties, of course, but you know, we're

948
00:51:15,360 --> 00:51:17,960
Speaker 3: still very much a product in the late nineteen seventies.

949
00:51:18,880 --> 00:51:20,960
Speaker 3: The decade is strongly present in this film.

950
00:51:21,080 --> 00:51:25,160
Speaker 4: Oh it was the seventies until nineteen eighty four, that

951
00:51:25,280 --> 00:51:28,680
Speaker 4: is canon anyway. So the evil capital ship it slides

952
00:51:28,719 --> 00:51:31,000
Speaker 4: over the city, blots out the sun and they are

953
00:51:31,040 --> 00:51:34,840
Speaker 4: treated to a message. You see John Saxon's face projected

954
00:51:34,880 --> 00:51:38,319
Speaker 4: in the sky and he says, I am Sador of

955
00:51:38,360 --> 00:51:41,680
Speaker 4: the Malmory. I've come here with my forces to conquer you.

956
00:51:41,760 --> 00:51:44,840
Speaker 4: If you resist, I will crush you. I possess a

957
00:51:44,880 --> 00:51:48,640
Speaker 4: stellar converter, the most powerful weapon in the universe. In

958
00:51:48,719 --> 00:51:52,920
Speaker 4: the universe, how would he know that? Anyway? You cannot

959
00:51:53,040 --> 00:51:55,840
Speaker 4: resist me. I want your planet to be my colony.

960
00:51:56,000 --> 00:51:59,240
Speaker 4: Your harvest comes in seven risings of your red giant.

961
00:51:59,440 --> 00:52:01,879
Speaker 4: I will reach turn, then you will accept me as

962
00:52:01,920 --> 00:52:04,799
Speaker 4: your master. If you do not submit, your planet and

963
00:52:04,960 --> 00:52:09,480
Speaker 4: all life on it will be burned to ash. And

964
00:52:09,520 --> 00:52:12,160
Speaker 4: I think this kind of opening would probably work better

965
00:52:12,320 --> 00:52:15,759
Speaker 4: if you were to see the least bit of the

966
00:52:15,800 --> 00:52:19,600
Speaker 4: flavor of everyday life before the evil space lord shows up.

967
00:52:19,680 --> 00:52:22,319
Speaker 4: Like this seems kind of clumsy plodding to me, because

968
00:52:22,360 --> 00:52:25,520
Speaker 4: here we get absolutely nothing. We meet the good guys

969
00:52:26,080 --> 00:52:29,280
Speaker 4: at the exact moment that they're being threatened with death.

970
00:52:29,320 --> 00:52:30,200
Speaker 4: By the Big Bad.

971
00:52:30,640 --> 00:52:30,879
Speaker 1: Yeah.

972
00:52:31,040 --> 00:52:33,440
Speaker 3: The other interesting thing is that you watching this film,

973
00:52:33,480 --> 00:52:35,920
Speaker 3: you would think okay, and then they surrender, right, I

974
00:52:35,920 --> 00:52:40,040
Speaker 3: mean they have no defense capabilities. The overlord just showed

975
00:52:40,120 --> 00:52:43,800
Speaker 3: up full force in their orbit. He has orbital superiority

976
00:52:43,880 --> 00:52:46,839
Speaker 3: over the planet. Like, that's it, the game's over. There's

977
00:52:46,960 --> 00:52:48,640
Speaker 3: there's what are you? What are you going to even

978
00:52:48,680 --> 00:52:49,160
Speaker 3: try to do?

979
00:52:49,520 --> 00:52:51,880
Speaker 4: Yeah? And then like just to be mean, he starts

980
00:52:51,880 --> 00:52:54,920
Speaker 4: like blasting them with lasers. Also, yeah, that are that

981
00:52:54,960 --> 00:52:57,279
Speaker 4: are manned by what he calls snipers. Who are these

982
00:52:57,400 --> 00:52:59,880
Speaker 4: the zombies that work for him? I guess they're they're mutants.

983
00:53:00,719 --> 00:53:02,839
Speaker 3: Yeah, They're a little vague on it, but I kind

984
00:53:02,840 --> 00:53:06,160
Speaker 3: of got the the sense that theyah the failed mutants.

985
00:53:06,200 --> 00:53:09,040
Speaker 3: But they're also kind of clones. I don't know if

986
00:53:09,040 --> 00:53:12,040
Speaker 3: they're supposed to be clones of John Saxon's character or not.

987
00:53:12,440 --> 00:53:15,319
Speaker 3: There is that similarity between like the red scar on

988
00:53:15,400 --> 00:53:15,920
Speaker 3: the face.

989
00:53:16,360 --> 00:53:17,840
Speaker 1: Yeah.

990
00:53:17,840 --> 00:53:23,120
Speaker 3: Overall, yeah, I would say that that Sador's character is

991
00:53:23,120 --> 00:53:26,080
Speaker 3: is weird and keeps you questioning what exactly his whole

992
00:53:26,080 --> 00:53:27,759
Speaker 3: deal is, which which I kind of liked.

993
00:53:27,800 --> 00:53:28,440
Speaker 1: I kind of like that.

994
00:53:28,719 --> 00:53:32,399
Speaker 4: Yeah, Yeah, I was kind of wondering if all of

995
00:53:32,440 --> 00:53:36,839
Speaker 4: the mutants on the ship are like clones of himself

996
00:53:36,960 --> 00:53:40,040
Speaker 4: that he created so he could harvest their organs, because

997
00:53:40,040 --> 00:53:42,760
Speaker 4: we see about him later that he's constantly getting parts

998
00:53:42,760 --> 00:53:44,000
Speaker 4: of his body replaced.

999
00:53:44,520 --> 00:53:48,640
Speaker 3: Yeah, yeah, I think that's that's a very strong, strong theory.

1000
00:53:48,760 --> 00:53:48,960
Speaker 1: Yeah.

1001
00:53:49,080 --> 00:53:51,240
Speaker 3: It Ultimately he doesn't care where he gets those parts.

1002
00:53:51,280 --> 00:53:54,440
Speaker 3: He's like, that's a nice arm you got there, doctor,

1003
00:53:54,640 --> 00:53:55,200
Speaker 3: Strap it on.

1004
00:53:55,680 --> 00:53:55,919
Speaker 1: Right.

1005
00:53:57,080 --> 00:53:59,920
Speaker 4: So down on a kere, we're about to actually hear

1006
00:54:00,040 --> 00:54:01,680
Speaker 4: the locals talk to each other. Oh and just I

1007
00:54:01,719 --> 00:54:04,799
Speaker 4: wanted to flag one thing quickly. I suspect that this

1008
00:54:04,840 --> 00:54:07,319
Speaker 4: planet is called a kir and the people on it

1009
00:54:07,360 --> 00:54:11,600
Speaker 4: are called Akira because Vie is an adaptation of Seven

1010
00:54:11,640 --> 00:54:17,040
Speaker 4: Samurai via Magnificent Seven. Nice anyway, So we hear the

1011
00:54:17,200 --> 00:54:20,360
Speaker 4: Akira discussing their situation, and the very first thing we

1012
00:54:20,400 --> 00:54:23,960
Speaker 4: get is this whiny sounding guy making a passionate case

1013
00:54:24,000 --> 00:54:27,520
Speaker 4: that they should not defend themselves in any way. He says,

1014
00:54:27,560 --> 00:54:30,080
Speaker 4: so we live by the Varda. The varda is not

1015
00:54:30,280 --> 00:54:33,600
Speaker 4: to fight. And this is the first reference in the

1016
00:54:33,600 --> 00:54:36,720
Speaker 4: movie to the Varda, which will be brought up many,

1017
00:54:36,760 --> 00:54:39,319
Speaker 4: many more times. I think it's supposed to be the

1018
00:54:39,360 --> 00:54:42,600
Speaker 4: stand in for the force but I don't know if

1019
00:54:42,600 --> 00:54:45,799
Speaker 4: it quite works. It works differently than the Force. So

1020
00:54:46,600 --> 00:54:49,960
Speaker 4: the Varda seems to be some kind of formalized creed

1021
00:54:50,160 --> 00:54:52,839
Speaker 4: like it. You can quote the Varda. It is a

1022
00:54:52,880 --> 00:54:56,600
Speaker 4: set of dogmas, rules and proverbs, and our young hero

1023
00:54:56,719 --> 00:54:59,719
Speaker 4: frequently does quote from the Varda as if it were

1024
00:55:00,080 --> 00:55:02,480
Speaker 4: were like a book that is supposed to guide your life,

1025
00:55:02,920 --> 00:55:05,239
Speaker 4: whereas the Force is not like that, Like you can't

1026
00:55:05,280 --> 00:55:07,400
Speaker 4: quote the Force. So I would say the Force is

1027
00:55:07,440 --> 00:55:10,239
Speaker 4: more like the Tao or like the Holy Ghost. It

1028
00:55:10,360 --> 00:55:14,160
Speaker 4: is a substance and a being, a type of divine

1029
00:55:14,280 --> 00:55:16,880
Speaker 4: power or will permeating all things.

1030
00:55:17,440 --> 00:55:21,520
Speaker 3: Yeah, Varda. I guess they're kind of alluding to Veda here, so.

1031
00:55:22,000 --> 00:55:25,400
Speaker 4: Yeah, yeah, So I'm not sure if this incongruity between

1032
00:55:25,440 --> 00:55:27,600
Speaker 4: the Force and the Varda is like a deliberately a

1033
00:55:27,640 --> 00:55:32,080
Speaker 4: deliberate choice to do something different or if I don't know,

1034
00:55:32,320 --> 00:55:34,200
Speaker 4: but I don't know if it was a deliberate choice.

1035
00:55:34,239 --> 00:55:36,080
Speaker 4: I guess that's kind of interesting, But I'm not sure

1036
00:55:36,120 --> 00:55:37,840
Speaker 4: exactly what that cash is out to.

1037
00:55:38,280 --> 00:55:41,680
Speaker 3: But in any rate, a strong theological slash legal argument

1038
00:55:41,880 --> 00:55:45,280
Speaker 3: for simply surrendering to the Malmoury Empire.

1039
00:55:45,080 --> 00:55:47,040
Speaker 4: Right, He says the Varda is not to fight, and

1040
00:55:47,040 --> 00:55:50,200
Speaker 4: he says the Akira haven't fought for centuries. And then

1041
00:55:50,320 --> 00:55:55,600
Speaker 4: immediately we hear somebody offscreen bellowing, I have fought, and

1042
00:55:55,960 --> 00:55:59,360
Speaker 4: this bearded guy wanders and this is Z the Corsair

1043
00:55:59,480 --> 00:56:02,600
Speaker 4: and old man who is nearly blind, who used to

1044
00:56:02,640 --> 00:56:06,560
Speaker 4: fly a spaceship and has experience with war, and he

1045
00:56:06,719 --> 00:56:12,279
Speaker 4: cantankerously explains that the way to defeat violence is with violence.

1046
00:56:13,600 --> 00:56:15,799
Speaker 3: He's like, I fought once, it worked, Let's do that.

1047
00:56:16,440 --> 00:56:19,720
Speaker 4: Yes, he says that in order to fight creatures of violence,

1048
00:56:19,760 --> 00:56:24,160
Speaker 4: you must use creatures of violence, and everybody's just kind

1049
00:56:24,160 --> 00:56:27,080
Speaker 4: of like, oh, okay. So it's immediately decided that they

1050
00:56:27,120 --> 00:56:31,360
Speaker 4: need to hire mercenaries. And here's our seven samurai recruitment situation.

1051
00:56:32,160 --> 00:56:34,919
Speaker 4: So somebody's got to go recruit them, but who can

1052
00:56:34,960 --> 00:56:38,680
Speaker 4: do it well. Immediately, a young character played by Richard

1053
00:56:38,719 --> 00:56:43,400
Speaker 4: Thomas volunteers, and emotional music plays as if we know

1054
00:56:43,520 --> 00:56:47,080
Speaker 4: something about this character, but we don't, because this is

1055
00:56:47,120 --> 00:56:50,719
Speaker 4: the first time he's talked. And I think this is

1056
00:56:50,760 --> 00:56:52,879
Speaker 4: a good place to point out it probably hasn't been

1057
00:56:52,880 --> 00:56:55,680
Speaker 4: clear in our explanation so far, but to point out

1058
00:56:55,680 --> 00:56:59,400
Speaker 4: how fast everything is happening in this sequence, Like, you

1059
00:56:59,520 --> 00:57:02,839
Speaker 4: do not really have time for any of these developments

1060
00:57:02,880 --> 00:57:06,280
Speaker 4: to cause emotions or mean anything. It's just I'm sad

1061
00:57:06,400 --> 00:57:09,040
Speaker 4: or I will kill you. We cannot fight, We must

1062
00:57:09,120 --> 00:57:13,400
Speaker 4: hire mercenaries who can do it this guy and it's

1063
00:57:13,440 --> 00:57:15,799
Speaker 4: you know. Of course, I enjoyed this movie very much

1064
00:57:16,320 --> 00:57:18,439
Speaker 4: despite all this, But I think it's also a good

1065
00:57:18,440 --> 00:57:23,040
Speaker 4: opportunity to point out things that make good storytelling really work,

1066
00:57:23,160 --> 00:57:26,960
Speaker 4: like one thing Star Wars actually does quite well. By contrast,

1067
00:57:27,160 --> 00:57:30,840
Speaker 4: before Luke Skywalker is called to adventure, you get to

1068
00:57:30,880 --> 00:57:34,040
Speaker 4: see like the dreariness and the boredom of his life

1069
00:57:34,040 --> 00:57:36,320
Speaker 4: on the farm, and you see him staring at the suns.

1070
00:57:36,680 --> 00:57:41,520
Speaker 4: He's yearning for more. He's feeling that ineffable, almost irrational

1071
00:57:41,640 --> 00:57:45,720
Speaker 4: angst of frustrated youth, which makes it emotional and meaningful

1072
00:57:45,840 --> 00:57:49,480
Speaker 4: when his life is actually up ended and he has

1073
00:57:49,560 --> 00:57:51,720
Speaker 4: to go out and answer the pleas of the princess

1074
00:57:51,800 --> 00:57:55,160
Speaker 4: and you know, respond to the death of his guardians. Here,

1075
00:57:55,280 --> 00:57:58,040
Speaker 4: I think the first time the young hero speaks is

1076
00:57:58,080 --> 00:58:00,400
Speaker 4: when he's volunteering to go on a mission. You don't

1077
00:58:00,400 --> 00:58:01,240
Speaker 4: really get any of.

1078
00:58:01,120 --> 00:58:04,680
Speaker 3: That in this movie. The call to adventure is answered

1079
00:58:04,720 --> 00:58:07,800
Speaker 3: immediately yeah, which is kind of an interesting sharp contrast

1080
00:58:07,840 --> 00:58:10,840
Speaker 3: to Message from Space, in which the call to adventure

1081
00:58:11,040 --> 00:58:13,200
Speaker 3: seemed to take most of the film to roll out

1082
00:58:13,240 --> 00:58:16,160
Speaker 3: and then yeah was mulled over and finally accepted with

1083
00:58:16,280 --> 00:58:18,240
Speaker 3: like in the last ten minutes of the film.

1084
00:58:18,520 --> 00:58:21,480
Speaker 4: Yeah, it's sending out those magic nuts that fly over

1085
00:58:21,520 --> 00:58:22,480
Speaker 4: the galaxy.

1086
00:58:22,800 --> 00:58:23,040
Speaker 1: Yep.

1087
00:58:24,000 --> 00:58:27,400
Speaker 4: But when Richard Thomas volunteers, the whiny guy from the beginning,

1088
00:58:27,440 --> 00:58:31,640
Speaker 4: he says, you you're a boy, and he says, and

1089
00:58:31,760 --> 00:58:34,320
Speaker 4: Richard Thomas says, but the Varda teaches us that each

1090
00:58:34,440 --> 00:58:36,880
Speaker 4: form has its function. So I guess the point is,

1091
00:58:37,200 --> 00:58:39,120
Speaker 4: even when you're a boy, you can still go on

1092
00:58:39,200 --> 00:58:42,800
Speaker 4: an adventure. And so it basically has to be Shad

1093
00:58:42,800 --> 00:58:45,440
Speaker 4: who does this. That's the character's name because he's the

1094
00:58:45,480 --> 00:58:49,360
Speaker 4: only one who can fly Z's ship. Nell. Now Nell

1095
00:58:49,560 --> 00:58:52,040
Speaker 4: will be I would say, one of the other main

1096
00:58:52,240 --> 00:58:55,800
Speaker 4: characters of the movie. Nell is a talking spaceship that

1097
00:58:55,840 --> 00:58:58,160
Speaker 4: I would say looks like a cross between a flayed

1098
00:58:58,240 --> 00:59:00,560
Speaker 4: horse and a bosomy hammer shark.

1099
00:59:02,600 --> 00:59:06,600
Speaker 3: Yeah, yeah, it it's It's an impressive ship design reminds

1100
00:59:06,640 --> 00:59:10,360
Speaker 3: me of of a particular World War two like Super

1101
00:59:10,400 --> 00:59:13,919
Speaker 3: glider that the Germans used. I wouldn't be surprised if

1102
00:59:14,320 --> 00:59:15,680
Speaker 3: I don't know if there was a model kit of

1103
00:59:15,720 --> 00:59:17,160
Speaker 3: that at the time, but I wonder if that was

1104
00:59:17,200 --> 00:59:21,160
Speaker 3: potential but possibly adapted into this model for this spaceship.

1105
00:59:21,240 --> 00:59:25,760
Speaker 3: But yeah, the ship has character. It's uh, it's pretty

1106
00:59:25,760 --> 00:59:28,160
Speaker 3: cool looking. I like the coloration of it. It has

1107
00:59:28,200 --> 00:59:30,520
Speaker 3: this kind of a what is like a deep rusty

1108
00:59:30,960 --> 00:59:34,160
Speaker 3: kind of brown slash crimsony color.

1109
00:59:34,440 --> 00:59:36,400
Speaker 4: Yeah, yeah, I'd say that's right, and it clearly has

1110
00:59:36,520 --> 00:59:40,040
Speaker 4: it has biomechanical design, like it doesn't look like sharp

1111
00:59:40,120 --> 00:59:43,000
Speaker 4: angles and metal like a lot of the other spaceships do.

1112
00:59:43,040 --> 00:59:46,640
Speaker 4: This looks like a like a naked body with a

1113
00:59:46,640 --> 00:59:47,840
Speaker 4: hammerhead shark head.

1114
00:59:48,240 --> 00:59:48,760
Speaker 1: Yeah.

1115
00:59:48,840 --> 00:59:51,360
Speaker 4: Oh but then also, so you say the ship, the

1116
00:59:51,360 --> 00:59:54,600
Speaker 4: ship has character, and it has character quite literally because

1117
00:59:54,640 --> 00:59:57,400
Speaker 4: it's not just design. It talks and it's not just

1118
00:59:57,440 --> 01:00:00,400
Speaker 4: saying like you know, engage thrusters. It has a two dude,

1119
01:00:00,440 --> 01:00:03,720
Speaker 4: it's like a root and tutin back talking robot grandma.

1120
01:00:04,080 --> 01:00:06,120
Speaker 1: Yeah. Yeah, it's a little bit sassy and.

1121
01:00:06,120 --> 01:00:09,680
Speaker 4: It encourages young Shad to kill. This was a strange

1122
01:00:09,720 --> 01:00:13,880
Speaker 4: theme that's repeated throughout the movie. But you know, Shad like.

1123
01:00:13,960 --> 01:00:16,320
Speaker 4: He first leaves the planet on his mission, which is

1124
01:00:16,520 --> 01:00:18,720
Speaker 4: at first he's going to get weapons from a guy

1125
01:00:18,800 --> 01:00:23,280
Speaker 4: named doctor Hephaestus, and he is attacked by some guards

1126
01:00:23,360 --> 01:00:26,760
Speaker 4: left behind. There's a big space battle. He's trying to

1127
01:00:26,840 --> 01:00:29,480
Speaker 4: escape and he refuses to shoot back at the guards,

1128
01:00:29,480 --> 01:00:32,080
Speaker 4: and Nell is urging him. She's like, do it, shoot them,

1129
01:00:32,800 --> 01:00:37,440
Speaker 4: And later Nell will blast spaceships without Shad's consent. But

1130
01:00:37,480 --> 01:00:40,000
Speaker 4: then after that, Shad gets a real like taste for

1131
01:00:40,160 --> 01:00:44,440
Speaker 4: war and starts to love blasting. That's kind of strange.

1132
01:00:44,200 --> 01:00:47,280
Speaker 3: Yeah, especially since again the Varda is not to violence,

1133
01:00:47,800 --> 01:00:50,120
Speaker 3: and yet here they are violencing all over the place.

1134
01:00:50,440 --> 01:00:52,760
Speaker 4: All right, So I'm not going to do super detail

1135
01:00:52,800 --> 01:00:55,840
Speaker 4: on this, but the sequence with doctor he Fastus is

1136
01:00:56,000 --> 01:00:59,360
Speaker 4: so weird. So Shad goes to a space station seems

1137
01:00:59,360 --> 01:01:02,520
Speaker 4: to be popular entirely by androids. But then he meets

1138
01:01:02,560 --> 01:01:06,640
Speaker 4: one human Naneilia, the daughter of doctor Hephaestus, and she's

1139
01:01:06,760 --> 01:01:10,760
Speaker 4: like a brilliant scientist who repairs androids and she can

1140
01:01:10,760 --> 01:01:13,880
Speaker 4: do all the technical wizardry, but she's also very naive

1141
01:01:13,920 --> 01:01:17,080
Speaker 4: about the world because she has never left this space station.

1142
01:01:17,840 --> 01:01:21,440
Speaker 4: And so they meet and then he is taken to

1143
01:01:21,560 --> 01:01:25,000
Speaker 4: doctor Hephaestus himself, who was supposed to supply them with

1144
01:01:25,440 --> 01:01:28,840
Speaker 4: arms to defend their planet. But oops, doctor Hephastus is

1145
01:01:28,880 --> 01:01:31,160
Speaker 4: no longer a human body. He's now just a head

1146
01:01:31,240 --> 01:01:35,480
Speaker 4: on this cabinet full of organs, and his plan is like, well,

1147
01:01:35,720 --> 01:01:39,080
Speaker 4: I'm not interested in defending your planet. Instead, Chad, I'm

1148
01:01:39,080 --> 01:01:41,600
Speaker 4: going to imprison you on this space station and make

1149
01:01:41,640 --> 01:01:46,480
Speaker 4: you father children with Nanelia. Chad is reasonably creeped out

1150
01:01:46,520 --> 01:01:50,480
Speaker 4: by this, but then together he and Annelia they decide

1151
01:01:50,480 --> 01:01:53,360
Speaker 4: to flee the station, so they break out together and

1152
01:01:53,680 --> 01:01:57,080
Speaker 4: in this scene they seem to bond by sharing scientific

1153
01:01:57,120 --> 01:02:00,640
Speaker 4: and anthropological facts about other planets in the gap. They

1154
01:02:00,720 --> 01:02:02,440
Speaker 4: like bond over learning.

1155
01:02:03,000 --> 01:02:05,640
Speaker 3: I have to say, this whole sequence to reminded me

1156
01:02:05,720 --> 01:02:07,840
Speaker 3: a lot of Logans Run. It had a real Logan's

1157
01:02:07,920 --> 01:02:09,080
Speaker 3: Run kind of feel to it.

1158
01:02:09,400 --> 01:02:11,960
Speaker 4: Yeah, But now, of course this is sort of our

1159
01:02:12,000 --> 01:02:14,919
Speaker 4: first recruit. Nenelia is now on board for the cause

1160
01:02:14,960 --> 01:02:17,520
Speaker 4: of protecting a Keir, and they're going to split up

1161
01:02:17,560 --> 01:02:20,480
Speaker 4: and both go try to recruit mercenaries.

1162
01:02:20,240 --> 01:02:23,200
Speaker 3: Right right, So, on the quest to recruit mercenaries, he

1163
01:02:23,240 --> 01:02:27,280
Speaker 3: has so far recruited this this one woman who has

1164
01:02:27,360 --> 01:02:28,920
Speaker 3: no combat experience that we know of.

1165
01:02:29,400 --> 01:02:32,320
Speaker 4: Oh, but she has like that's true, but she has

1166
01:02:32,360 --> 01:02:36,400
Speaker 4: like scientific testical e. She can like do stuff with androids,

1167
01:02:36,400 --> 01:02:38,600
Speaker 4: though I don't recall if she ever does anymore in

1168
01:02:38,640 --> 01:02:39,040
Speaker 4: the movie.

1169
01:02:39,560 --> 01:02:41,560
Speaker 3: But they're prepared just in case that comes up.

1170
01:02:41,800 --> 01:02:44,080
Speaker 4: Yeah, of course they are going to fall in love

1171
01:02:44,200 --> 01:02:47,360
Speaker 4: because of course. And in the sequence there are also

1172
01:02:47,720 --> 01:02:50,480
Speaker 4: there are several really funny moments. One of them that

1173
01:02:50,600 --> 01:02:52,880
Speaker 4: made me laugh out loud was the scenes of them

1174
01:02:53,000 --> 01:02:56,840
Speaker 4: riding around on these carts in the space station, because

1175
01:02:56,920 --> 01:03:00,040
Speaker 4: like the cart will seat too. It's like Shad and

1176
01:03:00,040 --> 01:03:02,400
Speaker 4: Neelia sitting next to each other on a love seat

1177
01:03:02,440 --> 01:03:05,600
Speaker 4: on a cart, and the carts are extremely slow and

1178
01:03:05,640 --> 01:03:18,040
Speaker 4: they're almost as wide as the hallway they're in. Now,

1179
01:03:18,040 --> 01:03:20,080
Speaker 4: I think a lot of the fun in seven Samurai

1180
01:03:20,120 --> 01:03:22,919
Speaker 4: type movies is the rounding up of the gang. Right,

1181
01:03:23,040 --> 01:03:24,960
Speaker 4: you know, you got to pick all the mercenaries who

1182
01:03:24,960 --> 01:03:26,720
Speaker 4: are going to come back and help protect the village.

1183
01:03:27,320 --> 01:03:29,760
Speaker 4: So I guess we should talk a bit about each

1184
01:03:29,800 --> 01:03:33,480
Speaker 4: of the recruits. Now, we've already mentioned a cowboy played

1185
01:03:33,480 --> 01:03:37,920
Speaker 4: by George Peppard. How exactly is he recruited? Well, Shad

1186
01:03:38,000 --> 01:03:41,200
Speaker 4: like runs up on his spaceship as he's being attacked

1187
01:03:41,240 --> 01:03:44,800
Speaker 4: by pirates and the question is should Shad intervene and

1188
01:03:44,840 --> 01:03:48,560
Speaker 4: blast the pirates. He again says the Varda prohibits taking life,

1189
01:03:48,960 --> 01:03:51,280
Speaker 4: and then Nell says ah, but the Varda says, we

1190
01:03:51,320 --> 01:03:55,400
Speaker 4: can take life to save life, and then he hesitates,

1191
01:03:55,440 --> 01:03:58,000
Speaker 4: but Nell blasts on his behalf. So they blow up

1192
01:03:58,040 --> 01:04:01,800
Speaker 4: the pirates and it turns out they've saved this guy

1193
01:04:01,880 --> 01:04:05,280
Speaker 4: named Cowboy. So, as we said earlier, this is a

1194
01:04:05,320 --> 01:04:09,240
Speaker 4: space trucker who loves watching old Western movies. He has

1195
01:04:09,360 --> 01:04:12,480
Speaker 4: much experience fighting, and then Shad asks him, hey, well

1196
01:04:12,560 --> 01:04:15,440
Speaker 4: then will you fight for us? Well, Cowboy says there's

1197
01:04:15,440 --> 01:04:17,760
Speaker 4: a problem with that. He says, you're fighting Sator, and

1198
01:04:17,800 --> 01:04:20,920
Speaker 4: Sador never loses and never quits, so fighting on your

1199
01:04:21,000 --> 01:04:23,440
Speaker 4: side that's a losing game. I'm not going to do it.

1200
01:04:23,800 --> 01:04:27,760
Speaker 4: But then suddenly Nell shares a video feed of a

1201
01:04:27,800 --> 01:04:31,400
Speaker 4: totally different planet somewhere else where. I guess they have

1202
01:04:31,680 --> 01:04:37,280
Speaker 4: refused Sador's ultimatum, and then Sador just blows up the planet.

1203
01:04:37,320 --> 01:04:40,640
Speaker 4: He vaporizes it with his stellar converter, and as luck

1204
01:04:40,680 --> 01:04:43,640
Speaker 4: would have it, that planet that just got blowed up,

1205
01:04:43,960 --> 01:04:48,000
Speaker 4: that was where Cowboys buyer was stationed, so he can't

1206
01:04:48,000 --> 01:04:51,640
Speaker 4: take his cargo anymore, and what he was transporting just

1207
01:04:51,720 --> 01:04:54,920
Speaker 4: happens to be blasters. So Shad is like, yes, we

1208
01:04:55,000 --> 01:04:58,080
Speaker 4: need those, take them to my planet, and so Cowboy agrees.

1209
01:04:58,520 --> 01:05:02,360
Speaker 3: So he wasn't interested and doing good until it messed

1210
01:05:02,400 --> 01:05:05,560
Speaker 3: up with his arms deal. Yes, garns deal. So he's like,

1211
01:05:05,600 --> 01:05:06,360
Speaker 3: now it's personal.

1212
01:05:07,320 --> 01:05:11,960
Speaker 4: Can't stand no, he's taken it too personal. And Cowboy

1213
01:05:12,000 --> 01:05:14,840
Speaker 4: there's so much weirdness about Cowboy one thing that I

1214
01:05:14,880 --> 01:05:18,480
Speaker 4: was like, what, I guess it? I don't know. So

1215
01:05:19,040 --> 01:05:21,760
Speaker 4: there's one part where I think he has a Confederate

1216
01:05:21,840 --> 01:05:23,720
Speaker 4: flag on the side of his spaceship.

1217
01:05:23,840 --> 01:05:26,880
Speaker 3: There is definitely a Confederate flag blastered to the side

1218
01:05:26,880 --> 01:05:27,680
Speaker 3: of his spaceship.

1219
01:05:28,040 --> 01:05:31,360
Speaker 4: I'm not sure what the significance of that, thousands of

1220
01:05:31,440 --> 01:05:34,320
Speaker 4: years into the future is supposed to be, but a

1221
01:05:34,560 --> 01:05:39,560
Speaker 4: weird choice, to say the least. Cowboys belt buckle, though

1222
01:05:39,680 --> 01:05:43,920
Speaker 4: in a more charming touch, includes a Scotch and soda dispenser.

1223
01:05:44,040 --> 01:05:47,160
Speaker 4: So he literally like puts a glass under his belt

1224
01:05:47,200 --> 01:05:51,320
Speaker 4: buckle and you hear like a water sound, and it's

1225
01:05:51,400 --> 01:05:53,320
Speaker 4: like whiskey or soda coming out of it, and I

1226
01:05:53,320 --> 01:05:55,640
Speaker 4: think he can also plink down cubes of ice from

1227
01:05:55,680 --> 01:05:56,320
Speaker 4: his buckle.

1228
01:05:56,440 --> 01:05:57,000
Speaker 1: Yeah, he can do.

1229
01:05:57,120 --> 01:05:59,720
Speaker 3: Yeah, the ice, the soda, and the whiskey, all three

1230
01:05:59,800 --> 01:06:02,960
Speaker 3: come out of the belt buckle. And so I guess

1231
01:06:03,040 --> 01:06:05,440
Speaker 3: we're to lee. We're led to believe this is just

1232
01:06:05,480 --> 01:06:09,080
Speaker 3: a fancy bit of technology that allows him to drink constantly.

1233
01:06:09,320 --> 01:06:12,320
Speaker 3: But I also wonder what if what if Cowboy is

1234
01:06:12,360 --> 01:06:16,800
Speaker 3: no longer human and this is him just simply recycling

1235
01:06:17,120 --> 01:06:22,040
Speaker 3: the ice cubes, soda and whiskey that he actually can't

1236
01:06:22,200 --> 01:06:24,600
Speaker 3: can't really process. It just comes back out again into

1237
01:06:24,640 --> 01:06:24,959
Speaker 3: the cup.

1238
01:06:25,240 --> 01:06:27,320
Speaker 4: Oh, he's like a fountain, you know, it goes down

1239
01:06:27,360 --> 01:06:28,800
Speaker 4: and then it like shoots back out.

1240
01:06:29,440 --> 01:06:29,680
Speaker 1: Yeah.

1241
01:06:29,800 --> 01:06:32,200
Speaker 3: No, no, but no, he's just supposed to be an

1242
01:06:32,200 --> 01:06:35,040
Speaker 3: earth dude, an earth dude who drinks and smokes and

1243
01:06:35,080 --> 01:06:38,320
Speaker 3: again little else. Thinking back on it, it's hard for

1244
01:06:38,320 --> 01:06:41,960
Speaker 3: me to remember what he truly contributed to the film,

1245
01:06:41,960 --> 01:06:46,120
Speaker 3: except for the occasional bursts of comic relief and hooking

1246
01:06:46,160 --> 01:06:47,280
Speaker 3: everyone up with blasters.

1247
01:06:47,560 --> 01:06:50,680
Speaker 4: Well, in the final battle, he shows the he he

1248
01:06:50,840 --> 01:06:55,320
Speaker 4: plans the ground defense, so he helps them like defend

1249
01:06:55,360 --> 01:06:57,760
Speaker 4: the trenches they dig on the planet's surface. So there's

1250
01:06:57,760 --> 01:07:00,680
Speaker 4: like spaceship battles and battles on the ground with Sador's

1251
01:07:00,760 --> 01:07:04,320
Speaker 4: troops and he helps them defend on the ground. Oh

1252
01:07:04,320 --> 01:07:07,200
Speaker 4: and then there's one part where Shad is talking to

1253
01:07:07,280 --> 01:07:10,360
Speaker 4: Cowboy and Cowboy is smoking a cigarette and Shad says,

1254
01:07:10,480 --> 01:07:13,000
Speaker 4: is that real smoke you're putting in your lungs? And

1255
01:07:13,080 --> 01:07:17,240
Speaker 4: cowboys like yep, and it's not good for you. And

1256
01:07:17,280 --> 01:07:19,520
Speaker 4: then Shad says, I don't think you should do it.

1257
01:07:20,320 --> 01:07:22,080
Speaker 4: A little anti smoking message.

1258
01:07:22,640 --> 01:07:23,040
Speaker 1: Nice.

1259
01:07:23,640 --> 01:07:26,400
Speaker 4: Okay, next recruit, how about how about a lizard guy?

1260
01:07:26,640 --> 01:07:30,640
Speaker 4: Do we want to boss skin this movie? This is

1261
01:07:30,760 --> 01:07:34,280
Speaker 4: Cayman of the Lamb Deazone, as well as a few

1262
01:07:34,280 --> 01:07:38,560
Speaker 4: other allies portrayed by Morgan Woodward. So this is a

1263
01:07:38,600 --> 01:07:42,920
Speaker 4: fighter recruited by Nanelia. This again, this recruitment happens sort

1264
01:07:42,960 --> 01:07:47,080
Speaker 4: of by accident. So Nanilia is captured by this bosslike

1265
01:07:47,200 --> 01:07:50,280
Speaker 4: lizard man named Cayman, who seems to be planning to

1266
01:07:50,800 --> 01:07:55,160
Speaker 4: sell her like as meat to an alien butcher shop,

1267
01:07:55,200 --> 01:08:00,120
Speaker 4: I think. But then she's like, you're heartless, just like Sador.

1268
01:08:00,160 --> 01:08:03,600
Speaker 4: And then this was a laugh out loud moment, immediate

1269
01:08:03,680 --> 01:08:07,960
Speaker 4: music sting. He goes Sator of the Melmory and when

1270
01:08:08,000 --> 01:08:11,440
Speaker 4: he finds out they're fighting Sador, his tune changes immediately

1271
01:08:11,560 --> 01:08:13,840
Speaker 4: and he's like, I will fight with you because I

1272
01:08:13,920 --> 01:08:14,640
Speaker 4: hate Sador.

1273
01:08:15,000 --> 01:08:15,200
Speaker 1: Now.

1274
01:08:15,360 --> 01:08:18,360
Speaker 3: Fun fact about Morgan Woodward though I didn't include him

1275
01:08:18,360 --> 01:08:20,920
Speaker 3: in the original line up here, but he lived nineteen

1276
01:08:20,960 --> 01:08:24,360
Speaker 3: twenty five through twenty nineteen. He was on Dallas. But

1277
01:08:24,439 --> 01:08:26,960
Speaker 3: the most notable thing is he's the man with no

1278
01:08:27,120 --> 01:08:31,599
Speaker 3: eyes from nineteen sixty seven's Cool Hand Luke that oh,

1279
01:08:31,200 --> 01:08:34,240
Speaker 3: the guard with the silver shades that you know, for

1280
01:08:34,320 --> 01:08:36,960
Speaker 3: most of the film you can't see his eyes because

1281
01:08:36,960 --> 01:08:39,360
Speaker 3: of those, and he's kind of this, you know, this

1282
01:08:40,240 --> 01:08:43,840
Speaker 3: very threatening presence in the film that it's rather iconic.

1283
01:08:43,880 --> 01:08:46,839
Speaker 3: You see this reference till later on in the Coen Brothers,

1284
01:08:46,840 --> 01:08:49,800
Speaker 3: Oh Brother where Art thou it has a similar character whose.

1285
01:08:49,560 --> 01:08:51,080
Speaker 1: Eyes you never seem.

1286
01:08:51,680 --> 01:08:55,479
Speaker 4: Yeah, but yes in this lizard Man, well, but the

1287
01:08:55,520 --> 01:08:58,919
Speaker 4: lizard Man also comes with buddies. He has a blonde

1288
01:08:59,000 --> 01:09:02,400
Speaker 4: muscleman who like a lot of times his butt's hanging out.

1289
01:09:02,439 --> 01:09:05,880
Speaker 4: He's wearing like like sort of chaps and leather suspenders,

1290
01:09:05,920 --> 01:09:08,639
Speaker 4: and he has a face tattoo. And then there are

1291
01:09:08,680 --> 01:09:12,320
Speaker 4: two creatures with giant bald heads wearing silver suits. They

1292
01:09:12,320 --> 01:09:15,040
Speaker 4: have no ears, and they speak by emitting heat rays

1293
01:09:15,080 --> 01:09:15,960
Speaker 4: that burn people.

1294
01:09:16,520 --> 01:09:19,200
Speaker 3: Yes, those are his public relations guys.

1295
01:09:19,600 --> 01:09:26,759
Speaker 4: Yeah, exactly. Okay, So next recruit the nest is nestor

1296
01:09:26,840 --> 01:09:29,759
Speaker 4: one through Nest five. I think this is Earl Bowen

1297
01:09:29,840 --> 01:09:33,599
Speaker 4: and others. This is once again just like the last one.

1298
01:09:33,680 --> 01:09:38,880
Speaker 4: It's recruitment via capture. So Shad is captured in space

1299
01:09:38,960 --> 01:09:41,960
Speaker 4: by a gang of five psychic clones who are dressed

1300
01:09:42,000 --> 01:09:44,600
Speaker 4: in white robes and look like a cross between the

1301
01:09:44,640 --> 01:09:48,160
Speaker 4: brain guy and Old Mangary Oldman Dracula.

1302
01:09:47,760 --> 01:09:49,920
Speaker 1: With their it's true.

1303
01:09:50,000 --> 01:09:53,599
Speaker 4: Yeah, so Shad, when they capture him, they bring him

1304
01:09:53,600 --> 01:09:56,320
Speaker 4: onto their ship. Shad points a blaster at them, but

1305
01:09:56,360 --> 01:09:58,919
Speaker 4: then they psychically force him to point it at himself,

1306
01:09:58,960 --> 01:10:02,519
Speaker 4: and he's like, my mistake. And then they say, oh,

1307
01:10:02,560 --> 01:10:04,840
Speaker 4: it's okay. We know you're not of a violent form.

1308
01:10:04,920 --> 01:10:07,880
Speaker 4: We've scanned everything you're doing. We scan everything, we scan

1309
01:10:08,000 --> 01:10:11,839
Speaker 4: all and we've been brain scanning you from the astral

1310
01:10:11,840 --> 01:10:14,120
Speaker 4: plane and know all about your quest for mercenaries, and

1311
01:10:14,160 --> 01:10:17,840
Speaker 4: well we want to join, and of course shats like, well,

1312
01:10:17,880 --> 01:10:19,720
Speaker 4: we don't have any money, we can't pay you, and

1313
01:10:19,760 --> 01:10:22,639
Speaker 4: they say, no need, we're self sufficient. We are nestor.

1314
01:10:23,160 --> 01:10:26,200
Speaker 4: So they explain that they are a group of clones

1315
01:10:26,280 --> 01:10:30,120
Speaker 4: of a species that are all that all have one

1316
01:10:30,280 --> 01:10:34,360
Speaker 4: unitary shared consciousness. But there's a problem with having a

1317
01:10:34,479 --> 01:10:37,840
Speaker 4: unitary shared consciousness, which is that life can become very dull.

1318
01:10:38,400 --> 01:10:40,840
Speaker 4: And it turns out they have to seek adventure in

1319
01:10:40,960 --> 01:10:43,639
Speaker 4: order to avoid being literally bored to death.

1320
01:10:44,120 --> 01:10:46,920
Speaker 3: We also find out that they have no tolerance for pain,

1321
01:10:47,280 --> 01:10:50,360
Speaker 3: Like basically you said the word pain, they've already had

1322
01:10:50,360 --> 01:10:50,760
Speaker 3: too much.

1323
01:10:51,160 --> 01:10:53,639
Speaker 4: Oh and you know what, I thought this was actually

1324
01:10:54,120 --> 01:10:56,639
Speaker 4: so this movie is fun, not much about it as

1325
01:10:56,720 --> 01:11:00,719
Speaker 4: thought provoking, but weirdly after these characters kind of were Okay.

1326
01:11:00,760 --> 01:11:04,160
Speaker 4: So the idea of sort of individual drones of a

1327
01:11:04,200 --> 01:11:09,040
Speaker 4: species that have a synchronous shared consciousness throughout the galaxy.

1328
01:11:09,800 --> 01:11:13,520
Speaker 4: They cannot become bored. They have to be constantly stimulated

1329
01:11:13,840 --> 01:11:17,880
Speaker 4: and they cannot bear pain, I guess because that would

1330
01:11:17,920 --> 01:11:21,040
Speaker 4: like share both of those states with all of them

1331
01:11:21,120 --> 01:11:24,880
Speaker 4: throughout the galaxy. So they have to be constantly like

1332
01:11:25,000 --> 01:11:29,640
Speaker 4: stimulated with interesting stuff and never in pain. And I

1333
01:11:29,720 --> 01:11:31,840
Speaker 4: was like, wow, that okay, you could like write a

1334
01:11:31,840 --> 01:11:33,200
Speaker 4: really interesting story about that.

1335
01:11:33,800 --> 01:11:37,439
Speaker 3: I felt like they were the most interesting characters that

1336
01:11:37,479 --> 01:11:40,160
Speaker 3: we encounter in the film, and they get two things

1337
01:11:40,160 --> 01:11:42,000
Speaker 3: that are great. They get I think one of the

1338
01:11:42,000 --> 01:11:44,880
Speaker 3: best comedic scenes in the film when they try to

1339
01:11:44,880 --> 01:11:46,840
Speaker 3: eat a hot dog. I mean, well, they don't just try,

1340
01:11:46,920 --> 01:11:49,680
Speaker 3: they succeed, and they have feedback on hot dogs. And

1341
01:11:49,720 --> 01:11:52,040
Speaker 3: then they also have a really fun and I thought

1342
01:11:52,080 --> 01:11:55,640
Speaker 3: creative assassination attempt on Sador.

1343
01:11:55,520 --> 01:11:58,240
Speaker 4: Tell the hot dog scene story cowboys eating a hot dog.

1344
01:11:58,320 --> 01:12:01,240
Speaker 3: Cowboys eating a hot dog, and I can't remember if

1345
01:12:01,240 --> 01:12:03,080
Speaker 3: he offers the hot dog or they're like, what's that?

1346
01:12:03,240 --> 01:12:03,960
Speaker 1: Can we try that?

1347
01:12:04,240 --> 01:12:06,280
Speaker 3: At any rate, hot dog gets handed off to the

1348
01:12:06,320 --> 01:12:08,960
Speaker 3: nest doores and we get a fun, just visual gag

1349
01:12:09,240 --> 01:12:11,920
Speaker 3: where one of them is of course holding up the

1350
01:12:11,960 --> 01:12:13,720
Speaker 3: hot dog and taking a bite out of it, but

1351
01:12:13,920 --> 01:12:17,800
Speaker 3: all four of the heads are chewing and experiencing the

1352
01:12:17,800 --> 01:12:20,479
Speaker 3: hot dog. They then give a readout on all the

1353
01:12:20,640 --> 01:12:24,080
Speaker 3: ingredients and if I remember correctly, none of the ingredients

1354
01:12:24,080 --> 01:12:24,920
Speaker 3: are meat, right.

1355
01:12:24,840 --> 01:12:27,759
Speaker 4: No, it's all just like soy proteins, and then names

1356
01:12:27,760 --> 01:12:31,120
Speaker 4: of chemicals, and then cowboys like on Earth, that's what

1357
01:12:31,160 --> 01:12:31,920
Speaker 4: we call meat.

1358
01:12:33,760 --> 01:12:36,280
Speaker 3: So I enjoyed that, Like, Okay, I think this scene

1359
01:12:36,400 --> 01:12:40,640
Speaker 3: landed like it was supposed to. But yeah, then They

1360
01:12:40,640 --> 01:12:46,840
Speaker 3: also have this wonderful kind of complicated and surprising assassination

1361
01:12:46,880 --> 01:12:50,320
Speaker 3: attempt on Sador where one of them is captured. They

1362
01:12:50,360 --> 01:12:53,559
Speaker 3: allow one of them, their clones, to be captured by Sador.

1363
01:12:53,920 --> 01:12:55,639
Speaker 3: What Sator are going to do, Well, he's of course

1364
01:12:55,640 --> 01:12:58,800
Speaker 3: going to torture said clone. This is where we get

1365
01:12:58,800 --> 01:13:03,960
Speaker 3: that line about about the his his doctor is expert

1366
01:13:03,960 --> 01:13:09,000
Speaker 3: at inflicting pain, and so they torture him to death

1367
01:13:09,120 --> 01:13:11,920
Speaker 3: rather quickly. But then Sator is like, that's a pretty

1368
01:13:11,920 --> 01:13:14,479
Speaker 3: good arm. Let's go ahead and put that on my body.

1369
01:13:14,760 --> 01:13:17,160
Speaker 3: They do. His doctor does that, and he's like trying

1370
01:13:17,200 --> 01:13:19,000
Speaker 3: it out. You know, it's like it's got good reach,

1371
01:13:19,160 --> 01:13:21,960
Speaker 3: good muscle, only got these He's got a weird number

1372
01:13:22,000 --> 01:13:23,840
Speaker 3: of fingers. We'll have to fix that later. But you know,

1373
01:13:24,040 --> 01:13:26,040
Speaker 3: they're not the two concern But then what did the

1374
01:13:26,040 --> 01:13:29,839
Speaker 3: nesters start doing? They start controlling the arm and trying

1375
01:13:29,880 --> 01:13:33,799
Speaker 3: to like like cut Sador's throat with his own hand.

1376
01:13:35,080 --> 01:13:37,800
Speaker 3: They're narrowly able to stop them and cut the arm

1377
01:13:37,840 --> 01:13:40,960
Speaker 3: off with a crystal chainsaw. It was a great sequence.

1378
01:13:41,000 --> 01:13:41,479
Speaker 1: I loved it.

1379
01:13:41,600 --> 01:13:44,760
Speaker 4: Yeah, really good. Okay, I gotta mention a couple more

1380
01:13:44,840 --> 01:13:47,800
Speaker 4: recruitments before we wrap up. So one is Gelt. Robert Vaughan.

1381
01:13:47,880 --> 01:13:50,320
Speaker 4: We're back to Robert Vaughan, and I gotta say the

1382
01:13:50,360 --> 01:13:54,680
Speaker 4: planet where they pick up Gelt looks awesome. Mountain spires

1383
01:13:54,720 --> 01:13:56,919
Speaker 4: made out of rocks that look kind of like veins,

1384
01:13:57,160 --> 01:14:00,439
Speaker 4: dark skies and lightning. This is like LV four twenty

1385
01:14:00,479 --> 01:14:04,680
Speaker 4: six from Alien. It's beautiful. It's I feel like I

1386
01:14:05,080 --> 01:14:09,040
Speaker 4: detect some camera and influence here, though I can't be sure,

1387
01:14:10,000 --> 01:14:13,040
Speaker 4: but to describe the setup to this scene, we're being

1388
01:14:13,120 --> 01:14:15,720
Speaker 4: set up as if the next stop for Shad is

1389
01:14:15,720 --> 01:14:19,719
Speaker 4: going to contain the most slicely Cantena scene because he's

1390
01:14:19,760 --> 01:14:22,960
Speaker 4: headed to a wretched hive of scum and villainy full

1391
01:14:22,960 --> 01:14:26,160
Speaker 4: of the best mercenaries in the galaxy. So you think

1392
01:14:26,200 --> 01:14:27,880
Speaker 4: that's what you're getting, you know, a bar full of

1393
01:14:27,920 --> 01:14:30,080
Speaker 4: criminals and he's gonna have to you know, recruit one

1394
01:14:30,120 --> 01:14:33,320
Speaker 4: of them. But in a twist, when he gets there,

1395
01:14:33,600 --> 01:14:37,479
Speaker 4: there's nobody there. It's like this abandoned underground bunker that

1396
01:14:37,520 --> 01:14:40,200
Speaker 4: looks like it used to be kind of a pleasure palace.

1397
01:14:40,640 --> 01:14:43,000
Speaker 3: Yeah, that's right, and there's there's no one else here.

1398
01:14:43,040 --> 01:14:46,639
Speaker 3: We encounter Gelt, and Gelt is just he's the only

1399
01:14:46,680 --> 01:14:50,320
Speaker 3: living human, only living being left. He's there with all

1400
01:14:50,320 --> 01:14:54,760
Speaker 3: his treasures, all his ill gotten gains. But he's like,

1401
01:14:54,840 --> 01:14:57,360
Speaker 3: clearly he has nothing to do. He's just he's like

1402
01:14:57,400 --> 01:15:01,080
Speaker 3: a prisoner in his own golden cell here, right.

1403
01:15:01,120 --> 01:15:03,680
Speaker 4: He explains in a twist that all the planets the

1404
01:15:03,720 --> 01:15:07,880
Speaker 4: galaxy bound together and created a defense alliance which they

1405
01:15:08,000 --> 01:15:10,880
Speaker 4: use to wipe out all of the mercenaries and criminals

1406
01:15:10,880 --> 01:15:13,720
Speaker 4: on this planet, and only Gelt is left. He says,

1407
01:15:13,720 --> 01:15:17,680
Speaker 4: there's nothing left but me in the lower forms, and

1408
01:15:17,720 --> 01:15:19,800
Speaker 4: then he says there's a bounty on his head on

1409
01:15:19,880 --> 01:15:23,400
Speaker 4: every planet in the galaxy. So he's in this Catch

1410
01:15:23,479 --> 01:15:27,320
Speaker 4: twenty two. He has wealth and he has like he's

1411
01:15:27,360 --> 01:15:29,840
Speaker 4: got all this treasure for himself, but nowhere he can

1412
01:15:29,880 --> 01:15:31,920
Speaker 4: spend it and know where he can go, no where

1413
01:15:31,960 --> 01:15:32,639
Speaker 4: he can rest.

1414
01:15:33,120 --> 01:15:35,080
Speaker 3: Yeah, and there's this wonderful shot. There are a lot of

1415
01:15:35,080 --> 01:15:38,000
Speaker 3: screenshots of this on the internet. But he's seated at

1416
01:15:38,000 --> 01:15:41,000
Speaker 3: this throne and yeah, you see all his treasure chests

1417
01:15:41,040 --> 01:15:43,800
Speaker 3: around him and it's gloriously lit. He's got this kind

1418
01:15:43,800 --> 01:15:47,040
Speaker 3: of stylish outfit on, he's got his laser blaster out

1419
01:15:48,120 --> 01:15:50,600
Speaker 3: and oh and the throne that he's seated upon. It

1420
01:15:50,640 --> 01:15:54,599
Speaker 3: has these two cherubs built into it, and they're holding

1421
01:15:54,600 --> 01:15:57,280
Speaker 3: a crown and it's as if they are holding the

1422
01:15:57,280 --> 01:15:59,920
Speaker 3: crown over his head or lowering it onto his head.

1423
01:16:00,000 --> 01:16:01,160
Speaker 1: It's wonderful shot.

1424
01:16:01,520 --> 01:16:03,960
Speaker 4: It's great. And so of course he ends up getting

1425
01:16:03,960 --> 01:16:07,639
Speaker 4: recruited because mainly because on a keyar he can rest.

1426
01:16:07,760 --> 01:16:09,920
Speaker 4: It's a place where there's not a bounty on his head,

1427
01:16:09,960 --> 01:16:13,080
Speaker 4: so he can go there. So that's what he does.

1428
01:16:13,120 --> 01:16:16,080
Speaker 4: But I wanted to say about Robert Vaughan's performance in

1429
01:16:16,120 --> 01:16:19,400
Speaker 4: this movie. It's actually kind of interesting the way he

1430
01:16:19,439 --> 01:16:21,599
Speaker 4: plays the character and what he does with his body.

1431
01:16:21,640 --> 01:16:27,000
Speaker 4: For example, Gelt never moves his head really, he only

1432
01:16:27,040 --> 01:16:30,200
Speaker 4: moves his eyes. There are scenes of him talking and

1433
01:16:30,320 --> 01:16:34,000
Speaker 4: scenes of him like in battle, piloting his spaceship, and

1434
01:16:34,360 --> 01:16:37,880
Speaker 4: he almost never moves his head at all. Is completely still.

1435
01:16:37,960 --> 01:16:40,479
Speaker 4: He just you see his eyes going back and forth,

1436
01:16:40,800 --> 01:16:46,080
Speaker 4: and that creates a kind of reptilian quality that really works.

1437
01:16:46,560 --> 01:16:49,719
Speaker 3: Yeah, even though he is he's not the reptile man. Yeah,

1438
01:16:49,800 --> 01:16:53,639
Speaker 3: and the mercenary gang here. But yeah, that's a good

1439
01:16:53,640 --> 01:16:56,760
Speaker 3: point about the particulars of his performance. One wonders was

1440
01:16:56,800 --> 01:16:59,200
Speaker 3: that like a choice that he made or did he

1441
01:16:59,280 --> 01:17:02,040
Speaker 3: have just did he have Frankenstein neck during the pain?

1442
01:17:02,240 --> 01:17:02,400
Speaker 5: Yeah?

1443
01:17:02,439 --> 01:17:05,880
Speaker 3: Yeah, and just you know, ended up using it at

1444
01:17:05,920 --> 01:17:08,240
Speaker 3: any rate. Yeah, I really I really like his performance,

1445
01:17:08,280 --> 01:17:10,000
Speaker 3: and I have to say I was not expecting to

1446
01:17:10,080 --> 01:17:12,559
Speaker 3: like his performance. I was expecting it to be a

1447
01:17:12,600 --> 01:17:14,439
Speaker 3: lot more phoned in than this, but it was.

1448
01:17:14,520 --> 01:17:15,040
Speaker 1: It was fun.

1449
01:17:15,320 --> 01:17:18,920
Speaker 4: Okay, one last mercenary. It is Saint x Men played

1450
01:17:18,920 --> 01:17:22,519
Speaker 4: by Sybil Danning. Oh, so we meet her because she

1451
01:17:22,680 --> 01:17:26,640
Speaker 4: starts basically she's harassing Shad's ship in space. She's like

1452
01:17:26,720 --> 01:17:31,160
Speaker 4: zipping around, taunting him, shooting blanks at him, and he

1453
01:17:31,240 --> 01:17:34,720
Speaker 4: can't hit her because she's moving too fast. And then

1454
01:17:34,800 --> 01:17:37,280
Speaker 4: she finally explains, like, it has been great fun jousting

1455
01:17:37,320 --> 01:17:40,240
Speaker 4: with you. I want to join your mission. I'm part

1456
01:17:40,240 --> 01:17:43,960
Speaker 4: of a warrior culture. We must fight. And Shad is

1457
01:17:44,040 --> 01:17:47,200
Speaker 4: just infinitely annoyed with her at all times.

1458
01:17:47,640 --> 01:17:51,599
Speaker 3: Yeah, She's just constantly coming on to him and he's

1459
01:17:51,680 --> 01:17:54,479
Speaker 3: He's basically like, this is inappropriate. You should not be

1460
01:17:54,560 --> 01:17:57,240
Speaker 3: doing this. I am not interested.

1461
01:17:57,360 --> 01:18:00,680
Speaker 4: I already have a space girlfriend, and I find you

1462
01:18:00,760 --> 01:18:04,599
Speaker 4: incredibly irritating. But she's just like, but I want to fight.

1463
01:18:06,920 --> 01:18:09,520
Speaker 4: And of course, the rest of the structure is somewhat predictable.

1464
01:18:09,560 --> 01:18:12,839
Speaker 4: You know, the mercenaries gather together, they gather for battle

1465
01:18:12,880 --> 01:18:15,760
Speaker 4: against Sador, and they all contribute in various ways to

1466
01:18:15,800 --> 01:18:20,080
Speaker 4: the effort. But all of the I think, do all

1467
01:18:20,160 --> 01:18:23,280
Speaker 4: of the mercenaries get slain in battle except maybe Cowboy?

1468
01:18:23,360 --> 01:18:24,400
Speaker 4: Does Cowboys survive?

1469
01:18:25,240 --> 01:18:28,280
Speaker 3: I thought he bought it too. But this is kind

1470
01:18:28,320 --> 01:18:30,120
Speaker 3: of this is the model, right, Like they all have

1471
01:18:30,240 --> 01:18:32,200
Speaker 3: to perish.

1472
01:18:31,800 --> 01:18:35,479
Speaker 4: Well, not all of the most of them, but eventually

1473
01:18:35,520 --> 01:18:38,240
Speaker 4: the young heroes Shad and Aelia they have to save

1474
01:18:38,240 --> 01:18:40,960
Speaker 4: the day. They're flying around in Knell the spaceship, and

1475
01:18:41,320 --> 01:18:43,479
Speaker 4: they got to save the day in the end, and

1476
01:18:43,520 --> 01:18:45,200
Speaker 4: it's kind of like, you know, you get some kind

1477
01:18:45,200 --> 01:18:47,400
Speaker 4: of similar to the trench run scene in Star Wars.

1478
01:18:47,680 --> 01:18:52,880
Speaker 3: The Stellar Converter is destroyed, the ship is destroyed. We

1479
01:18:52,920 --> 01:18:56,559
Speaker 3: don't have to endure some sort of a lightsaber knockoff battle,

1480
01:18:56,600 --> 01:18:57,320
Speaker 3: which was nice.

1481
01:18:57,600 --> 01:19:00,760
Speaker 4: Yeah, does anybody fight hand to hand with Sor I

1482
01:19:00,800 --> 01:19:02,880
Speaker 4: don't recall that. I don't think it happens now.

1483
01:19:02,920 --> 01:19:04,640
Speaker 3: He's just like a straight I guess he's more in

1484
01:19:04,680 --> 01:19:06,559
Speaker 3: the mold of Peter Cushing in that regard.

1485
01:19:06,800 --> 01:19:08,880
Speaker 4: Yeah, they just blow up the ship and he's there.

1486
01:19:09,400 --> 01:19:11,360
Speaker 1: Yeah, it's more and more like the mof.

1487
01:19:11,400 --> 01:19:13,160
Speaker 4: Well, there's a ton more that happens in the movie

1488
01:19:13,200 --> 01:19:15,360
Speaker 4: that we did not have time to get into. But Rob,

1489
01:19:15,400 --> 01:19:17,679
Speaker 4: I have greatly enjoyed talking about Battle Beyond the Stars

1490
01:19:17,720 --> 01:19:17,960
Speaker 4: with you.

1491
01:19:18,400 --> 01:19:21,320
Speaker 3: Yeah, this this is a fun one, just just a

1492
01:19:21,360 --> 01:19:21,880
Speaker 3: fun flick.

1493
01:19:22,640 --> 01:19:22,880
Speaker 1: Again.

1494
01:19:22,920 --> 01:19:24,920
Speaker 3: I don't know if it's more fun than an Empire

1495
01:19:24,920 --> 01:19:29,080
Speaker 3: strikes Back, but fair enough, it's a really fun film,

1496
01:19:29,080 --> 01:19:31,479
Speaker 3: and I can I if someone likes this more thann Empire,

1497
01:19:31,560 --> 01:19:33,040
Speaker 3: then more power to them.

1498
01:19:34,040 --> 01:19:37,640
Speaker 1: We need films in our lives there that are this enjoyable.

1499
01:19:37,479 --> 01:19:41,000
Speaker 4: Better, more fun, more fun than Seven Samurai.

1500
01:19:42,439 --> 01:19:43,479
Speaker 3: Yeah, yeah, I would say that.

1501
01:19:43,680 --> 01:19:46,080
Speaker 4: I would say that, of course, not.

1502
01:19:46,760 --> 01:19:50,840
Speaker 3: I would I think since seven Samurai better film, Battle

1503
01:19:50,920 --> 01:19:52,719
Speaker 3: Beyond the Stars more fun?

1504
01:19:53,160 --> 01:19:58,120
Speaker 4: Okay for me certainly? Yeah, lower investment, it's not as

1505
01:19:58,160 --> 01:19:59,799
Speaker 4: long and it's not as serious.

1506
01:20:00,600 --> 01:20:02,160
Speaker 3: I've I've reached the point in my life where I

1507
01:20:02,160 --> 01:20:05,360
Speaker 3: have to realize, am I going to watch Seven Samurai again? Probably?

1508
01:20:05,360 --> 01:20:05,479
Speaker 6: Not?

1509
01:20:05,840 --> 01:20:08,320
Speaker 3: Am I gonna watch Battle Beyond the Stars again? Yeah,

1510
01:20:08,360 --> 01:20:13,320
Speaker 3: it's probably gonna happen. Sorry, Chris, I don't know.

1511
01:20:13,360 --> 01:20:15,680
Speaker 4: If you make time for seven Samurai. It's a very

1512
01:20:15,720 --> 01:20:16,559
Speaker 4: rewarding experience.

1513
01:20:16,560 --> 01:20:18,240
Speaker 3: It's a great film. I mean, I love a care

1514
01:20:18,200 --> 01:20:21,520
Speaker 3: at Krosawa's. I can envision myself going through a Krosawa

1515
01:20:22,240 --> 01:20:24,519
Speaker 3: phase where I like suddenly have to get back into

1516
01:20:24,560 --> 01:20:28,080
Speaker 3: all these films. But yeah, there's some great stuff. Thrown

1517
01:20:28,160 --> 01:20:31,120
Speaker 3: of Blood? Who Thrown of Blood is good? All right, Well,

1518
01:20:31,120 --> 01:20:33,320
Speaker 3: we're gonna go ahead and close it out here, but

1519
01:20:33,880 --> 01:20:36,640
Speaker 3: as always, right into us, let us know what you

1520
01:20:36,760 --> 01:20:41,240
Speaker 3: think about Battle Beyond the Stars, various other Star Wars

1521
01:20:41,360 --> 01:20:44,200
Speaker 3: knockoffs as well. We would love to hear from everyone

1522
01:20:44,280 --> 01:20:47,240
Speaker 3: out there. In the meantime, will remind you that, yes,

1523
01:20:47,280 --> 01:20:49,479
Speaker 3: Weird House Cinema publishes every Friday and the Stuff to

1524
01:20:49,479 --> 01:20:52,640
Speaker 3: Blow your Mind podcast feed. We're primarily a science podcast,

1525
01:20:52,800 --> 01:20:55,120
Speaker 3: but on Fridays we put most of that aside and

1526
01:20:55,160 --> 01:20:58,519
Speaker 3: we just talk about a weird film. I blog about

1527
01:20:58,520 --> 01:21:02,920
Speaker 3: these episodes that Simmuta music dot com. You can go

1528
01:21:02,960 --> 01:21:05,519
Speaker 3: there for a blog post about this movie. I also

1529
01:21:05,520 --> 01:21:08,120
Speaker 3: did a blog post about that name of the Rose

1530
01:21:08,200 --> 01:21:09,759
Speaker 3: score from Horner.

1531
01:21:10,400 --> 01:21:11,840
Speaker 1: Check that out if you would like.

1532
01:21:11,920 --> 01:21:14,840
Speaker 3: Also, we have a letterboxed account. I think that's that's

1533
01:21:14,840 --> 01:21:17,400
Speaker 3: pretty much our only active social media account these days,

1534
01:21:17,640 --> 01:21:19,799
Speaker 3: where once a week I go in there and add

1535
01:21:20,320 --> 01:21:22,360
Speaker 3: the film that we've covered to Weird House Cinema or

1536
01:21:22,400 --> 01:21:25,880
Speaker 3: the film we're about to cover onto our list there.

1537
01:21:25,920 --> 01:21:29,719
Speaker 3: So if you want just an easy, one glimpse look

1538
01:21:29,760 --> 01:21:32,559
Speaker 3: at what we've covered and are covering, that's a good

1539
01:21:32,560 --> 01:21:33,040
Speaker 3: place to go.

1540
01:21:33,439 --> 01:21:36,120
Speaker 4: Hus Thanks as always to our excellent audio producer Seth

1541
01:21:36,200 --> 01:21:38,639
Speaker 4: Nicholas Johnson. If you would like to get in touch

1542
01:21:38,680 --> 01:21:40,840
Speaker 4: with us with feedback on this episode or any other,

1543
01:21:40,880 --> 01:21:43,240
Speaker 4: to suggest topic for the future, or just to say hello,

1544
01:21:43,400 --> 01:21:45,760
Speaker 4: you can email us at contact at stuff to Blow

1545
01:21:45,800 --> 01:21:53,920
Speaker 4: your Mind dot com.

1546
01:21:54,080 --> 01:21:57,040
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1547
01:21:57,120 --> 01:21:59,920
Speaker 2: more podcasts from my Heart Radio, visit the iHeartRadio app.

1548
01:22:00,080 --> 01:22:03,320
Speaker 2: Apple podcasts are wherever you listen to your favorite shows.