1 00:00:01,000 --> 00:00:03,880 Speaker 1: Dear listeners of Hollywood Land, does it feel like you're 2 00:00:03,880 --> 00:00:07,120 Speaker 1: stuck in limbo? Standing under a flickering street light at 3 00:00:07,160 --> 00:00:09,880 Speaker 1: the corner of Hollywood and True Crime, waiting for the 4 00:00:09,920 --> 00:00:11,640 Speaker 1: next episode of hollywood Land to drop. 5 00:00:12,680 --> 00:00:16,080 Speaker 2: I got you. Welcome to Hollywood Land, the Rap Party. 6 00:00:28,520 --> 00:00:30,800 Speaker 1: What has happened in all you movie geeks, your true 7 00:00:30,800 --> 00:00:33,400 Speaker 1: crime freaks just like me? You guys like your movie 8 00:00:33,440 --> 00:00:37,159 Speaker 1: history served up with a side of grit and grime. This, 9 00:00:37,240 --> 00:00:39,040 Speaker 1: of course, is the place where we dig up the 10 00:00:39,080 --> 00:00:41,880 Speaker 1: stories often lost to history, buried in the corner of 11 00:00:41,920 --> 00:00:44,760 Speaker 1: the cutting room floor, the stories they didn't want told, 12 00:00:45,080 --> 00:00:47,479 Speaker 1: the very same ones that have now made you the 13 00:00:47,520 --> 00:00:50,800 Speaker 1: most dangerous person at the party. I'm your host, Zeth Lundi, 14 00:00:50,880 --> 00:00:53,840 Speaker 1: writer and showrunner here at Double Elvis, and today in 15 00:00:53,840 --> 00:00:57,000 Speaker 1: the Hollywood Land Rap Party, we were talking about paranoia, 16 00:00:57,280 --> 00:01:00,000 Speaker 1: how it strikes deep in the heartland, to quote Paul Simon, 17 00:01:00,400 --> 00:01:03,280 Speaker 1: about everything from Jimmy Savile to train Dreams to the 18 00:01:03,280 --> 00:01:08,040 Speaker 1: writer Richard Price. We're talking this week's episode subject, Jane Fonda, 19 00:01:08,120 --> 00:01:11,720 Speaker 1: as well as next week's subject Sean Penn, and we 20 00:01:11,720 --> 00:01:14,040 Speaker 1: are talking about some of the most paranoid movies ever. 21 00:01:14,280 --> 00:01:17,080 Speaker 1: I've got your voicemails, texts, emails and more on that 22 00:01:17,280 --> 00:01:33,360 Speaker 1: very subject. So come on, everybody, let's party over the weekend. 23 00:01:33,360 --> 00:01:35,679 Speaker 1: If you were one of the approximately one hundred and 24 00:01:35,720 --> 00:01:39,559 Speaker 1: twenty five million people who watch the Super Bowl every year, 25 00:01:40,120 --> 00:01:43,039 Speaker 1: you saw one of the worst championship matches of all time. 26 00:01:43,680 --> 00:01:46,760 Speaker 1: You also saw a batch of arguably some of the 27 00:01:46,800 --> 00:01:50,640 Speaker 1: worst commercials of all time for a Super Bowl. But 28 00:01:50,680 --> 00:01:52,720 Speaker 1: there were a few commercials in particular that I'm sure 29 00:01:52,800 --> 00:01:55,880 Speaker 1: made you guys sit up straight and stop crunching on 30 00:01:55,920 --> 00:01:57,880 Speaker 1: your chips for a second. Tell everybody in the room 31 00:01:57,920 --> 00:02:00,560 Speaker 1: just a shush. I'm talking about a couple of movie 32 00:02:00,560 --> 00:02:03,800 Speaker 1: trailers that are a couple of big fastballs right down 33 00:02:03,840 --> 00:02:07,520 Speaker 1: the middle for us here in Hollywood Land. First of all, 34 00:02:07,600 --> 00:02:11,320 Speaker 1: did you catch that incredible teaser for the Adventures of 35 00:02:11,400 --> 00:02:15,440 Speaker 1: Cliff Booth, the upcoming sequel of sorts to Quentin Tarantino's 36 00:02:15,440 --> 00:02:19,480 Speaker 1: Once Upon a Time in Hollywood Directed by David Fincher 37 00:02:19,919 --> 00:02:25,160 Speaker 1: with a script by qt himself. It looked exactly like 38 00:02:25,240 --> 00:02:29,160 Speaker 1: what I want a Fincher adaptation of a Tarantino script. 39 00:02:28,880 --> 00:02:29,440 Speaker 2: To look like. 40 00:02:29,919 --> 00:02:34,200 Speaker 1: And the irreverence of the teaser, the style those pencil 41 00:02:34,240 --> 00:02:38,000 Speaker 1: marks that were covering up the obscenities like a kid 42 00:02:38,120 --> 00:02:42,080 Speaker 1: drawing a mustache on a portrait that nineteen seventies drive 43 00:02:42,160 --> 00:02:45,360 Speaker 1: in vibe with the cheesy animated coming Soon graphic at 44 00:02:45,360 --> 00:02:48,480 Speaker 1: the end. Guys, I am like so stoked. This is 45 00:02:48,520 --> 00:02:53,400 Speaker 1: definitely Fincher operating in fight club mode or the Killer mode. 46 00:02:53,480 --> 00:02:56,320 Speaker 1: The Killer, of course, being his most recent, most egregiously 47 00:02:56,360 --> 00:03:00,000 Speaker 1: overlooked film. This one feels loose and devilish and playful. 48 00:03:00,080 --> 00:03:04,120 Speaker 1: An I, for one, cannot wait. This is a Netflix film, 49 00:03:04,800 --> 00:03:07,480 Speaker 1: like all of David Fincher's recent films, so I'm not 50 00:03:07,520 --> 00:03:10,320 Speaker 1: sure yet if it'll hit theaters first before streaming I 51 00:03:10,320 --> 00:03:12,560 Speaker 1: imagine it will, or when that will happen, but I'm 52 00:03:12,600 --> 00:03:15,080 Speaker 1: pretty sure it's going to be this year. And I 53 00:03:15,080 --> 00:03:18,120 Speaker 1: should also note that the trailer didn't give a title 54 00:03:18,160 --> 00:03:20,000 Speaker 1: to the film at all. It kind of with some real, 55 00:03:20,400 --> 00:03:23,919 Speaker 1: if you know, you know energy there, so it may 56 00:03:23,919 --> 00:03:26,200 Speaker 1: not even be called The Adventures of Cliff Booth. It's 57 00:03:26,240 --> 00:03:28,080 Speaker 1: had other working titles. I think one of the working 58 00:03:28,120 --> 00:03:31,359 Speaker 1: titles was Disco Kingpin. It's also rumored to be a 59 00:03:31,480 --> 00:03:34,560 Speaker 1: version of a script called The Movie Critic that Tarantino 60 00:03:34,639 --> 00:03:39,160 Speaker 1: had abandoned. But whatever it's called, I'm there. I'm there 61 00:03:39,240 --> 00:03:41,360 Speaker 1: Day one. I'm kind of in shock that this thing 62 00:03:41,440 --> 00:03:44,320 Speaker 1: actually exists. To be honest, you know, when's the last 63 00:03:44,320 --> 00:03:47,480 Speaker 1: time a Maverick writer, director who only directs his own 64 00:03:47,520 --> 00:03:50,560 Speaker 1: stuff and has publicly bitched about the ways in which 65 00:03:50,600 --> 00:03:55,320 Speaker 1: other directors butchered his early scripts. When's the last time 66 00:03:55,360 --> 00:03:57,960 Speaker 1: someone like that just turns over a brand new script 67 00:03:57,960 --> 00:04:02,000 Speaker 1: featuring one of his most beloved characters to another Maverick director. 68 00:04:02,040 --> 00:04:04,800 Speaker 1: It's gonna be great. I can feel it. The other 69 00:04:04,880 --> 00:04:07,000 Speaker 1: trailer I was totally into is the one I want 70 00:04:07,040 --> 00:04:09,400 Speaker 1: to talk a little bit more about today, and that 71 00:04:09,440 --> 00:04:13,480 Speaker 1: one is, of course, the upcoming Steven Spielberg film, Disclosure 72 00:04:13,560 --> 00:04:18,040 Speaker 1: Day His I don't know what thirty somethingth feature, maybe 73 00:04:18,040 --> 00:04:21,480 Speaker 1: close to forty features at this point. This movie stars 74 00:04:21,480 --> 00:04:26,520 Speaker 1: Emily Blunt, Josh O'Connor, Coleman, Domingo Wyatt Russell, Colin Firth, 75 00:04:26,640 --> 00:04:30,880 Speaker 1: and Eve Houston aka Bono's Daughter, with a script written 76 00:04:30,880 --> 00:04:33,360 Speaker 1: by one of my favorites, David David Kepp has written 77 00:04:33,360 --> 00:04:35,719 Speaker 1: not only a bunch of Spielberg scripts, but also he 78 00:04:35,839 --> 00:04:39,080 Speaker 1: wrote both scripts for two of my favorite movies from 79 00:04:39,160 --> 00:04:41,960 Speaker 1: last Year, Presence and Black Bag, both of which were 80 00:04:42,000 --> 00:04:46,160 Speaker 1: directed by another Steven, Steven Soderberg. The tagline for this movie, 81 00:04:46,160 --> 00:04:49,520 Speaker 1: Disclosure Day, is as follows, if you found out we 82 00:04:49,520 --> 00:04:52,760 Speaker 1: weren't alone, if someone showed you, proved it to you, 83 00:04:53,279 --> 00:04:58,279 Speaker 1: would that frighten you? This is a valid question. We 84 00:04:58,320 --> 00:05:01,359 Speaker 1: live in a world where nothing is shocking anymore, just 85 00:05:01,400 --> 00:05:04,000 Speaker 1: to ask Jane's addiction, which if you listen to those 86 00:05:04,000 --> 00:05:07,640 Speaker 1: episodes of Disgraceland last week, you know what I'm talking about. 87 00:05:07,760 --> 00:05:11,120 Speaker 1: We live in a world where our own government disclosed 88 00:05:11,160 --> 00:05:14,680 Speaker 1: evidence of UAPs UFOs a few years back, and the 89 00:05:14,720 --> 00:05:21,200 Speaker 1: whole world went yeah, okay, yeah, okay, cool next, right, 90 00:05:22,000 --> 00:05:24,440 Speaker 1: But this new Spielberg film looks to inject a huge 91 00:05:24,480 --> 00:05:29,600 Speaker 1: amount of heart pounding paranoia back into this whole scenario, paranoia, 92 00:05:29,680 --> 00:05:32,359 Speaker 1: of course, being at the heart of not just movies 93 00:05:32,400 --> 00:05:35,400 Speaker 1: about aliens, but to be honest, at the heart of 94 00:05:35,560 --> 00:05:41,960 Speaker 1: movies period. There's this notion, right, this perpetuated notion that 95 00:05:42,080 --> 00:05:46,400 Speaker 1: paranoid cinema belongs to the nineteen seventies, That in the 96 00:05:46,480 --> 00:05:50,120 Speaker 1: nineteen seventies, after the rise and fall of the hippie movement, 97 00:05:50,360 --> 00:05:53,400 Speaker 1: after Peace and Love was steamrolled by power and greed. 98 00:05:54,120 --> 00:05:57,160 Speaker 1: As proof emerged that Americans were being spied on by 99 00:05:57,160 --> 00:06:00,680 Speaker 1: their own government, lied to by their own government. That 100 00:06:00,880 --> 00:06:04,880 Speaker 1: American cinema processed the nation's sudden awakening in a rash 101 00:06:04,880 --> 00:06:09,479 Speaker 1: of films that were marked by shell shocked paranoia. Films 102 00:06:09,560 --> 00:06:14,000 Speaker 1: like The Conversation, Three Days of the Condor Network, Black Sunday, 103 00:06:14,040 --> 00:06:17,839 Speaker 1: The Parallax View, The Day of the Jackal Marathon Man, 104 00:06:17,960 --> 00:06:21,680 Speaker 1: All the President's Men, and of course Clute, which I'll 105 00:06:21,680 --> 00:06:24,440 Speaker 1: talk about on Friday here in the screening room. But 106 00:06:24,600 --> 00:06:28,760 Speaker 1: I digress. These films came to define the decade, perhaps 107 00:06:28,839 --> 00:06:32,720 Speaker 1: second only to the rise of so called New Hollywood, 108 00:06:32,800 --> 00:06:36,800 Speaker 1: the Spielbergs, the Scorsees, the Coppola's, the Lucases coming in 109 00:06:36,800 --> 00:06:40,400 Speaker 1: and taking over. But paranoid cinema did not die when 110 00:06:40,400 --> 00:06:43,520 Speaker 1: the seventies came to an end. Paranoid cinema is not 111 00:06:43,680 --> 00:06:46,839 Speaker 1: stuck in the past. The seventies may have been where 112 00:06:46,880 --> 00:06:50,039 Speaker 1: the country's eyes really opened for the first time, but 113 00:06:50,120 --> 00:06:55,520 Speaker 1: they've remained open since. This paranoia has merely metastasized over time. 114 00:06:55,560 --> 00:06:59,600 Speaker 1: In the eighties, paranoia was lurking and Brian the Palm's blowout, 115 00:07:00,080 --> 00:07:03,839 Speaker 1: it was there and John Carpenter's The Thing, Terry Gilliams Brazil, 116 00:07:04,680 --> 00:07:07,359 Speaker 1: and then in the nineties we get our Guy Fincher 117 00:07:07,440 --> 00:07:11,200 Speaker 1: on the scene with highly paranoid films like Seven and 118 00:07:11,280 --> 00:07:13,720 Speaker 1: The Game, and then later on in the aughts with 119 00:07:13,800 --> 00:07:16,280 Speaker 1: a Panic Rim as well. Also in the nineties we 120 00:07:16,320 --> 00:07:18,720 Speaker 1: got the Truman Show, The Matrix, Enemy of the State, 121 00:07:18,760 --> 00:07:21,600 Speaker 1: and then you go to the two thousands, Alfonso Qoran's 122 00:07:21,680 --> 00:07:25,880 Speaker 1: Children of Men, and then Steven Spielberg again with Minority Report, 123 00:07:25,920 --> 00:07:28,960 Speaker 1: which is a film from two thousand and two, but 124 00:07:29,160 --> 00:07:32,160 Speaker 1: in its heart it's really from nineteen seventy five. The 125 00:07:32,200 --> 00:07:35,840 Speaker 1: paranoid doesn't end there. We are still in the paranoid age. 126 00:07:35,840 --> 00:07:38,840 Speaker 1: One of my favorite filmmakers at the moment, ari Astor, 127 00:07:39,480 --> 00:07:43,080 Speaker 1: has built his entire filmography around paranoia in some way 128 00:07:43,200 --> 00:07:48,080 Speaker 1: or another, Hereditary Midsomar, and most notably Boa Is Afraid 129 00:07:48,160 --> 00:07:51,120 Speaker 1: and then Eddington from just last year, and Inton being 130 00:07:51,160 --> 00:07:54,680 Speaker 1: this uncomfortable but in many ways truthful reflection of our 131 00:07:55,000 --> 00:07:59,000 Speaker 1: society at the moment, and that society is now built, 132 00:07:59,120 --> 00:08:03,120 Speaker 1: you know, layer upon layer of paranoia. Who is watching us, 133 00:08:03,400 --> 00:08:06,720 Speaker 1: who's listening to us, listening to us on our phones, 134 00:08:06,800 --> 00:08:09,800 Speaker 1: on our TVs, our smart devices. What's their agenda? And 135 00:08:09,840 --> 00:08:12,200 Speaker 1: am I being used as part of that agenda? Is 136 00:08:12,240 --> 00:08:14,520 Speaker 1: my own neighbor out to get me? And what do 137 00:08:14,600 --> 00:08:17,520 Speaker 1: I do to ensure that I am not in some 138 00:08:17,560 --> 00:08:20,360 Speaker 1: way compromised, that my values are not compromised? 139 00:08:20,440 --> 00:08:20,640 Speaker 2: Right? 140 00:08:21,320 --> 00:08:26,880 Speaker 1: Also from last year, Yugoslanthemos's most recent film, Googonia, is 141 00:08:27,000 --> 00:08:31,000 Speaker 1: hyper paranoid. It's about a guy who believes in his 142 00:08:31,080 --> 00:08:35,200 Speaker 1: own conspiracy, and that conspiracy is that aliens known as Andromedons, 143 00:08:35,240 --> 00:08:38,400 Speaker 1: they're living among us and they're enslaving us. And he 144 00:08:38,559 --> 00:08:41,719 Speaker 1: so believes this to his core that he kidnaps one 145 00:08:41,720 --> 00:08:43,800 Speaker 1: of those people he believes to be an alien, the 146 00:08:43,840 --> 00:08:46,960 Speaker 1: head of a pharmaceutical company. He tortures her in order 147 00:08:47,000 --> 00:08:50,480 Speaker 1: to get her to capitulate and summon her alien spaceship 148 00:08:50,720 --> 00:08:54,199 Speaker 1: so that he can negotiate some terms to free him 149 00:08:54,200 --> 00:08:57,040 Speaker 1: and the rest of the world from alien control. The 150 00:08:57,120 --> 00:09:00,680 Speaker 1: screenwriter of that film, Will Tracy, he quote the script 151 00:09:00,760 --> 00:09:04,320 Speaker 1: during COVID during lockdown in April twenty twenty. He was 152 00:09:04,360 --> 00:09:08,000 Speaker 1: inside this tiny apartment in Brooklyn with a newborn and 153 00:09:08,040 --> 00:09:11,360 Speaker 1: he said that the whole thing was driven by quote, 154 00:09:11,600 --> 00:09:14,240 Speaker 1: what was happening in the world, and also what was 155 00:09:14,280 --> 00:09:18,240 Speaker 1: happening in my own head, which was confusion, fear, and 156 00:09:18,320 --> 00:09:25,040 Speaker 1: paranoia unquote. Paranoia perhaps because it was a new and alien, 157 00:09:25,240 --> 00:09:27,920 Speaker 1: no pun intended factor in our lives back in the 158 00:09:28,000 --> 00:09:31,520 Speaker 1: nineteen seventies, makes that decade stand out so much in 159 00:09:31,640 --> 00:09:34,520 Speaker 1: terms of how cinema reflected back at the real world. 160 00:09:35,080 --> 00:09:38,240 Speaker 1: Because now we've lived with paranoia for so long and 161 00:09:38,280 --> 00:09:40,800 Speaker 1: we continue to live with it that it almost doesn't 162 00:09:40,880 --> 00:09:43,760 Speaker 1: register in the same way that it did before. But 163 00:09:43,840 --> 00:09:46,720 Speaker 1: it is here. It didn't come and go in the seventies. 164 00:09:46,720 --> 00:09:49,000 Speaker 1: It arrived in the seventies. It made itself at home, 165 00:09:49,520 --> 00:09:52,920 Speaker 1: and it's here to stay. But now this new Spielberg film, 166 00:09:52,960 --> 00:09:57,319 Speaker 1: Disclosure Day, the trailer for this plays like the sounding 167 00:09:57,360 --> 00:09:59,920 Speaker 1: of a very loud alarm, like it wants to make 168 00:10:00,080 --> 00:10:04,520 Speaker 1: paranoia shocking again. If anyone can do it, it's Steven Spielberg, 169 00:10:04,600 --> 00:10:07,560 Speaker 1: and I, for one, am excited about this after some 170 00:10:07,600 --> 00:10:11,040 Speaker 1: of his recent more personal films, The Fableman's His West 171 00:10:11,040 --> 00:10:14,200 Speaker 1: Side Story remake. You know, we're back in We're back 172 00:10:14,240 --> 00:10:16,000 Speaker 1: in the Master's zone here. You know, this is a 173 00:10:16,000 --> 00:10:19,040 Speaker 1: director who made his first indie feature at the age 174 00:10:19,080 --> 00:10:22,040 Speaker 1: of seventeen, a movie about alien invasion, which he then 175 00:10:22,200 --> 00:10:26,720 Speaker 1: used as an inspiration for Close Encounters of the Third Kind. 176 00:10:27,360 --> 00:10:29,120 Speaker 1: And then whether it's one of the greatest films ever 177 00:10:29,160 --> 00:10:32,560 Speaker 1: made et or you know, a pretty solid reimagination of 178 00:10:32,600 --> 00:10:35,199 Speaker 1: a well told tale like War of the World's You 179 00:10:35,280 --> 00:10:39,040 Speaker 1: gotta love when Spielberg goes full alien? What do you 180 00:10:39,040 --> 00:10:41,960 Speaker 1: guys think? Are you psyched for Disclosure Day and for 181 00:10:42,040 --> 00:10:46,000 Speaker 1: the Adventures of Cliff Booth? How about our episode on 182 00:10:46,080 --> 00:10:49,120 Speaker 1: Monday from the archive all about Jane Fonda. Do you 183 00:10:49,160 --> 00:10:53,080 Speaker 1: listen to that? Jane Fonda, No Stranger to Paranoid Cinema. 184 00:10:53,120 --> 00:10:56,200 Speaker 1: I mentioned Clute earlier, the nineteen seventy one film that 185 00:10:56,240 --> 00:10:59,000 Speaker 1: she started in won an Academy Award for as well. 186 00:10:59,200 --> 00:11:01,440 Speaker 1: I'm going to talk about that on Friday in the 187 00:11:01,559 --> 00:11:04,400 Speaker 1: screening room, and the next week a Monday, we're back 188 00:11:04,440 --> 00:11:07,360 Speaker 1: with another fully scripted and sound design episode from our 189 00:11:07,559 --> 00:11:11,920 Speaker 1: archive on Sean Penn, who was just nominated himself for 190 00:11:12,000 --> 00:11:14,680 Speaker 1: the sixth time for an Academy Award, this time for 191 00:11:14,720 --> 00:11:18,360 Speaker 1: his role as Colonel Stephen J. Lockshaw in One Battle 192 00:11:18,400 --> 00:11:21,319 Speaker 1: after Another. Sean Penn has gotten a little more chill 193 00:11:21,400 --> 00:11:23,840 Speaker 1: as of late, but back in the day, back in 194 00:11:23,880 --> 00:11:29,439 Speaker 1: the nineteen eighties, when he was mister Madonna. Well, I'm 195 00:11:29,440 --> 00:11:30,960 Speaker 1: sure he wouldn't want to be known as that. That 196 00:11:31,040 --> 00:11:34,040 Speaker 1: are now he was known on screen and off screen 197 00:11:34,120 --> 00:11:35,640 Speaker 1: as a quote unquote bad boy. 198 00:11:35,760 --> 00:11:35,920 Speaker 3: Right. 199 00:11:35,960 --> 00:11:38,480 Speaker 1: He was the actor who was unafraid to throw a 200 00:11:38,480 --> 00:11:41,840 Speaker 1: haymaker at a photographer or go frantically looking for a 201 00:11:41,840 --> 00:11:44,440 Speaker 1: shotgun to shoot down the helicopters that were circling like 202 00:11:44,559 --> 00:11:48,440 Speaker 1: vultures over his picture book Hollywood Wedding to Madonna on 203 00:11:48,480 --> 00:11:50,240 Speaker 1: the wind swept cliffs of Malibu. 204 00:11:51,120 --> 00:11:52,920 Speaker 2: And that got me thinking, who. 205 00:11:52,840 --> 00:11:57,280 Speaker 1: Are your favorite bad boy characters from the history of film? 206 00:11:57,440 --> 00:12:01,640 Speaker 1: What characters do you love to hate? Or who plays 207 00:12:01,720 --> 00:12:05,040 Speaker 1: bad boys or bad girls better than anyone else. Holler 208 00:12:05,080 --> 00:12:07,440 Speaker 1: at me and let me know you know how to 209 00:12:07,440 --> 00:12:11,160 Speaker 1: do that. Six one seven nine oh six six six 210 00:12:11,360 --> 00:12:14,240 Speaker 1: three eight. You can leave me a voicemail, send me 211 00:12:14,280 --> 00:12:16,960 Speaker 1: a text, and maybe I will play or read your 212 00:12:17,040 --> 00:12:20,200 Speaker 1: answer on next week's wrap party. Now, this week's question 213 00:12:20,240 --> 00:12:24,280 Speaker 1: of the week was all about movies that made you paranoid. 214 00:12:24,320 --> 00:12:25,679 Speaker 2: I want to get into your answers. 215 00:12:25,960 --> 00:12:50,720 Speaker 1: I'm going to do that right after this quick break. 216 00:12:52,080 --> 00:12:53,800 Speaker 1: All right, guys, we're back here in the rap party, 217 00:12:53,960 --> 00:12:55,880 Speaker 1: Zeth Lundy with you, and I'm going to get into 218 00:12:56,040 --> 00:12:57,840 Speaker 1: now some of the messages here that you guys have 219 00:12:58,440 --> 00:13:01,599 Speaker 1: left and sent in to start with this question of 220 00:13:01,640 --> 00:13:04,800 Speaker 1: the week about paranoid cinema, and I wanted to hear 221 00:13:04,960 --> 00:13:07,840 Speaker 1: from all y'all. First of all, we got a message here, 222 00:13:07,880 --> 00:13:10,600 Speaker 1: a voicemail from Chris and the two to one to oh, Matt, 223 00:13:10,640 --> 00:13:11,680 Speaker 1: can you play that voicemail? 224 00:13:11,840 --> 00:13:13,760 Speaker 3: Hey, guys, Chris here from the two one O san 225 00:13:13,800 --> 00:13:16,960 Speaker 3: Antonio in the house. Keep it simply. Hollywood Land is 226 00:13:16,960 --> 00:13:20,160 Speaker 3: the reason I listened to podcasts period. But when we 227 00:13:20,200 --> 00:13:23,079 Speaker 3: talk about the peak of cinematic paranoia, it's got to 228 00:13:23,080 --> 00:13:25,839 Speaker 3: be a John conpractor is the thing from nineteen eighty two. 229 00:13:26,040 --> 00:13:27,920 Speaker 3: As a kid, I was just there for the gore 230 00:13:28,040 --> 00:13:31,480 Speaker 3: and the practical effects, But as an adult it hits 231 00:13:31,520 --> 00:13:35,760 Speaker 3: completely different. The isolation is just suffocating. Just imagine being 232 00:13:35,800 --> 00:13:38,280 Speaker 3: trapped in an office free of coworkers doing one of 233 00:13:38,280 --> 00:13:40,560 Speaker 3: them is human, not having no way to prove it. 234 00:13:40,559 --> 00:13:44,480 Speaker 3: It's crazy. That Curte Russell line, nobody trusts anybody now 235 00:13:44,720 --> 00:13:48,040 Speaker 3: and we're all very tired, just perfectly captures the despair. 236 00:13:48,720 --> 00:13:51,000 Speaker 3: In the end, It's not just a monster movie, it's 237 00:13:51,040 --> 00:13:55,360 Speaker 3: a psychological breakdown on film. It's just incredible. Also another note, 238 00:13:55,640 --> 00:13:58,760 Speaker 3: hearing Jake mentioned Sterning Hayden in the Beatino episode got 239 00:13:58,760 --> 00:14:02,000 Speaker 3: me super hyped. Episode on Hayden is a must. The 240 00:14:02,040 --> 00:14:05,240 Speaker 3: man's life was literally insane. To quote you guys, guy 241 00:14:05,320 --> 00:14:08,520 Speaker 3: was training militia and Yugoslavia to fight Nazis just an 242 00:14:08,559 --> 00:14:11,800 Speaker 3: amazing story there. But anyway, keep up the legendary work. 243 00:14:11,880 --> 00:14:12,920 Speaker 3: This is the best show in the. 244 00:14:12,880 --> 00:14:17,000 Speaker 1: Game base Chris san Antone, thanks brother for the kind words, 245 00:14:17,040 --> 00:14:20,280 Speaker 1: great message. So much to unpack here. I'm going to 246 00:14:20,320 --> 00:14:23,840 Speaker 1: start with the thing which I briefly briefly mentioned earlier, 247 00:14:23,840 --> 00:14:26,840 Speaker 1: but you are totally right. It's a monster movie to 248 00:14:26,880 --> 00:14:30,800 Speaker 1: a certain extent. It's an alien movie to a certain extent. 249 00:14:30,880 --> 00:14:34,560 Speaker 1: It's an Agatha Christy who'd done it to a certain extent. 250 00:14:35,320 --> 00:14:37,640 Speaker 1: But you're right, Chris, over all these things, it is 251 00:14:37,800 --> 00:14:41,560 Speaker 1: paranoid as hell. It's one of the greatest manifestations of 252 00:14:41,640 --> 00:14:45,720 Speaker 1: paranoia on screen. And sidebar, Kurt Russell does not get 253 00:14:45,840 --> 00:14:48,640 Speaker 1: enough love. I just got to say that. The great 254 00:14:48,640 --> 00:14:51,400 Speaker 1: thing about this movie too, and I'm sure you know this, Chris, 255 00:14:51,480 --> 00:14:54,200 Speaker 1: is that it holds up even now in twenty twenty six. 256 00:14:54,240 --> 00:14:56,840 Speaker 1: I took my son to see this a little over 257 00:14:56,880 --> 00:15:00,240 Speaker 1: a year ago, think around Halloween. There's this great movie 258 00:15:00,240 --> 00:15:02,040 Speaker 1: theater about an hour away from where we live. Shout 259 00:15:02,040 --> 00:15:05,640 Speaker 1: out to Main Film Center in Waterville. They were playing it, 260 00:15:05,720 --> 00:15:09,520 Speaker 1: I think for Halloween. And horror is my son's comfort food. 261 00:15:09,560 --> 00:15:12,520 Speaker 1: He's always been into movies that scare him and I don't, 262 00:15:13,240 --> 00:15:15,840 Speaker 1: but he likes, he enjoys it. It's like again, it's 263 00:15:15,840 --> 00:15:17,520 Speaker 1: like his comfort food. It's very strange. It's kind of 264 00:15:17,520 --> 00:15:19,360 Speaker 1: foreign to me because he's into the kind of stuff 265 00:15:19,400 --> 00:15:22,520 Speaker 1: that I won't even watch. Right, So I took him. 266 00:15:22,600 --> 00:15:23,960 Speaker 1: I was like, I got to see the thing, man. 267 00:15:24,000 --> 00:15:26,160 Speaker 1: So we went on a road. TIP wanted you to go 268 00:15:26,200 --> 00:15:28,800 Speaker 1: see this movie. And I was worried that he would 269 00:15:28,840 --> 00:15:32,440 Speaker 1: find it, you know, dated and cheesy and would be like, 270 00:15:32,520 --> 00:15:35,600 Speaker 1: oh Dad, this just just sucks, like it's not my 271 00:15:36,280 --> 00:15:39,080 Speaker 1: cup of tea when it comes to horror. However, he 272 00:15:39,200 --> 00:15:43,400 Speaker 1: loved the practical effects. He was enthralled the entire time, 273 00:15:43,480 --> 00:15:46,200 Speaker 1: and actually when we left he said that it was 274 00:15:46,240 --> 00:15:49,800 Speaker 1: one of the scariest movie watching experiences he'd ever had. 275 00:15:49,880 --> 00:15:52,040 Speaker 1: So that was a high compliment, and he still to 276 00:15:52,120 --> 00:15:56,000 Speaker 1: this day rates it very high. So the thing, incredible movie, 277 00:15:56,040 --> 00:16:00,760 Speaker 1: incredible piece of paranoia out there in the Arctic. And then, Chris, 278 00:16:00,800 --> 00:16:03,000 Speaker 1: you also mentioned Sterling Hayden, one of my favorites, from 279 00:16:03,160 --> 00:16:07,200 Speaker 1: Doctor Strangelove to The Killing to Johnny Guitar, The Longabye 280 00:16:07,240 --> 00:16:09,520 Speaker 1: of course The Godfather, and you blow my mind here 281 00:16:09,560 --> 00:16:11,560 Speaker 1: a little bit with his backstory. I did not know 282 00:16:11,720 --> 00:16:13,840 Speaker 1: anything about that, so I'm definitely going to look into 283 00:16:13,840 --> 00:16:16,680 Speaker 1: that and get into some Sterling Hayden stories here at 284 00:16:16,680 --> 00:16:20,720 Speaker 1: some point. So thank you again, Chris. Over on on 285 00:16:20,800 --> 00:16:24,520 Speaker 1: Patreon in our all access there Disgraceland All Access, that's 286 00:16:24,520 --> 00:16:26,920 Speaker 1: where you can cop a ton of bonus audio and 287 00:16:27,000 --> 00:16:33,720 Speaker 1: video content from Hollywood Land and Disgraceland, including our super 288 00:16:33,840 --> 00:16:38,960 Speaker 1: Coup video podcast. This film should be played loud, which 289 00:16:39,000 --> 00:16:42,000 Speaker 1: you can see only there on Patreon. Just go to 290 00:16:42,040 --> 00:16:45,960 Speaker 1: disgracelandpod dot com for more info and to sign up. 291 00:16:46,320 --> 00:16:49,200 Speaker 1: But over there all Access on Patreon. Lots of action 292 00:16:49,400 --> 00:16:54,040 Speaker 1: on this question. In the all access chat, Kimberly chimed in. 293 00:16:54,160 --> 00:16:58,400 Speaker 1: She said, Psycho, it's why I won't stay in cottage 294 00:16:58,400 --> 00:17:02,960 Speaker 1: hotels or air B and b's. I don't blame you. 295 00:17:03,000 --> 00:17:05,639 Speaker 1: I had an experience once where I went into a 296 00:17:05,720 --> 00:17:09,800 Speaker 1: hotel in It wasn't it wasn't a psycho thing. No, 297 00:17:09,880 --> 00:17:12,040 Speaker 1: it was a It was a B and B in Memphis, 298 00:17:12,440 --> 00:17:14,359 Speaker 1: when I was driving cross country and I stopped at 299 00:17:14,359 --> 00:17:17,080 Speaker 1: a B and B in Memphis, and we were going 300 00:17:17,119 --> 00:17:19,080 Speaker 1: to stand the night there, and they led us into 301 00:17:19,960 --> 00:17:26,720 Speaker 1: the bedroom. And in the bedroom were these two old 302 00:17:26,840 --> 00:17:29,920 Speaker 1: portraits of a boy and a girl, these two separate portraits. 303 00:17:30,480 --> 00:17:33,879 Speaker 1: They are the exact same paintings that my grandparents had 304 00:17:33,960 --> 00:17:37,199 Speaker 1: in the den of their house, and their paintings that 305 00:17:37,280 --> 00:17:39,960 Speaker 1: I now I inherited, I now have and they hang 306 00:17:40,040 --> 00:17:43,520 Speaker 1: in my house. And when I went into this bedroom 307 00:17:43,560 --> 00:17:45,520 Speaker 1: at this at this B and B in Memphis and 308 00:17:45,720 --> 00:17:48,359 Speaker 1: nineteen ninety nine it was, and I saw those there, 309 00:17:49,440 --> 00:17:53,199 Speaker 1: it had the opposite effect of comfort for me. For 310 00:17:53,240 --> 00:17:56,800 Speaker 1: some reason, I freaked the fuck out, and I actually 311 00:17:56,840 --> 00:17:59,120 Speaker 1: went downstairs and told them that I could not stay 312 00:17:59,160 --> 00:18:02,840 Speaker 1: there that night, and we went somewhere else. So I 313 00:18:03,160 --> 00:18:05,840 Speaker 1: hear you, Kimberly, sometimes there's just something about a place 314 00:18:05,920 --> 00:18:09,159 Speaker 1: like that that doesn't sit right with you. Also in 315 00:18:09,200 --> 00:18:16,000 Speaker 1: our Patreon, Divina said, contagion strange, how COVID happened years later. No, Yeah, 316 00:18:16,000 --> 00:18:19,879 Speaker 1: those kinds of movies that scenarios that could happen, and 317 00:18:19,880 --> 00:18:22,399 Speaker 1: then they do happen. I'm with you, that's pretty freaky. 318 00:18:22,720 --> 00:18:26,560 Speaker 1: Becky calls out I Robot and the Terminator lately because 319 00:18:26,600 --> 00:18:30,520 Speaker 1: sky Net doesn't seem so far fetched at this point. Yep, 320 00:18:30,560 --> 00:18:34,080 Speaker 1: good point, Becky, And I mentioned this on Patreon in 321 00:18:34,119 --> 00:18:36,240 Speaker 1: the chat. But you know, this reminds me of those 322 00:18:36,280 --> 00:18:40,720 Speaker 1: great memes of Sarah Connor looking not very impressed as 323 00:18:40,760 --> 00:18:42,359 Speaker 1: you hang out and interact with AI. 324 00:18:44,960 --> 00:18:45,320 Speaker 2: Okay. 325 00:18:45,359 --> 00:18:48,840 Speaker 1: Also on Patreon, Stephen said Knock Knock with Keanu Reeves 326 00:18:49,080 --> 00:18:52,520 Speaker 1: on a to Armus and Lorenzo Izzo, that movie, legit 327 00:18:52,680 --> 00:18:55,439 Speaker 1: gave me nightmares. Yes, Steven, I think the moral of 328 00:18:55,440 --> 00:18:58,600 Speaker 1: that story is if someone's knocking on your door late 329 00:18:58,640 --> 00:19:01,639 Speaker 1: at night, especially if it's dark and rainy outside, just 330 00:19:01,680 --> 00:19:03,960 Speaker 1: you know, just don't answer the door. Okay, don't answer 331 00:19:03,960 --> 00:19:06,880 Speaker 1: the door, just stay inside and everything will be cool. 332 00:19:07,400 --> 00:19:11,399 Speaker 1: Chris s chimed in his answer is the ring We 333 00:19:11,480 --> 00:19:13,640 Speaker 1: had a backyard that was so similar, and I grew 334 00:19:13,720 --> 00:19:16,640 Speaker 1: up with that station sign off noise and static and well, 335 00:19:17,119 --> 00:19:19,480 Speaker 1: the VCR tape still makes me shiver. 336 00:19:20,760 --> 00:19:21,040 Speaker 2: Yeah. 337 00:19:21,040 --> 00:19:26,080 Speaker 1: Man, when truth is running that close to fiction, it's 338 00:19:26,119 --> 00:19:26,679 Speaker 1: it's freaky. 339 00:19:26,720 --> 00:19:29,160 Speaker 2: It's freaky deeky. So I don't blame you there. 340 00:19:29,200 --> 00:19:34,000 Speaker 1: In the least, Tim Archer chimed in Titanic, I was 341 00:19:34,119 --> 00:19:37,679 Speaker 1: paranoid that I would fall in love so madly that 342 00:19:37,680 --> 00:19:40,360 Speaker 1: I would allow myself to freeze in water rather than 343 00:19:40,359 --> 00:19:44,240 Speaker 1: climb on a door that clearly had enough room for 344 00:19:44,359 --> 00:19:51,480 Speaker 1: two people. Tim, that's like top tier response. The next 345 00:19:51,520 --> 00:19:53,960 Speaker 1: time you want to fall in love, just think about 346 00:19:53,960 --> 00:19:56,520 Speaker 1: the Titanic and maybe take pause in that. I guess 347 00:19:56,920 --> 00:20:01,879 Speaker 1: it's the lesson there, all right. I really appreciate everybody. 348 00:20:01,920 --> 00:20:05,439 Speaker 1: There are more responses there on Patreon. Sorry I couldn't 349 00:20:05,480 --> 00:20:07,880 Speaker 1: get to all of them here. More responses out there 350 00:20:07,920 --> 00:20:10,320 Speaker 1: in email and text as well. Thanks everybody for chiming 351 00:20:10,359 --> 00:20:13,520 Speaker 1: in on your thoughts on paranoid cinema. I want to 352 00:20:13,560 --> 00:20:16,640 Speaker 1: switch gears a little bit here and share some interactions 353 00:20:16,640 --> 00:20:18,680 Speaker 1: from some people about some other stuff we've been talking 354 00:20:18,720 --> 00:20:21,800 Speaker 1: about recently. So I've been doing this screening room episodes 355 00:20:21,840 --> 00:20:25,040 Speaker 1: on Fridays, which you guys know if you've been listening, 356 00:20:25,440 --> 00:20:28,359 Speaker 1: is where I do a deep dive into one film 357 00:20:28,440 --> 00:20:32,239 Speaker 1: in particular that relates to this week's subject matter or 358 00:20:32,680 --> 00:20:35,160 Speaker 1: sort of the themes we're talking about. And the other 359 00:20:35,160 --> 00:20:39,040 Speaker 1: week I started doing these let's make a mixtape inspired 360 00:20:39,119 --> 00:20:41,760 Speaker 1: by the movie thing, and I'm enjoying it, and I've 361 00:20:41,760 --> 00:20:43,760 Speaker 1: been continuing to do it. I did it for Dog 362 00:20:43,840 --> 00:20:47,639 Speaker 1: Day Afternoon. I just recorded the episode for Clute, and 363 00:20:47,720 --> 00:20:50,000 Speaker 1: I did it in there as well. And so we 364 00:20:50,080 --> 00:20:53,439 Speaker 1: got an email from Duck Soup to Douglas and the 365 00:20:53,480 --> 00:20:56,240 Speaker 1: title of the email is DDA Soundtrack, and this is 366 00:20:56,240 --> 00:20:58,840 Speaker 1: about the Dog Day Afternoon soundtrack. The email says I 367 00:20:58,840 --> 00:21:02,800 Speaker 1: would have limited the choices to songs that pre date 368 00:21:02,880 --> 00:21:05,640 Speaker 1: the film, but since you're not doing that, I suggest, 369 00:21:05,880 --> 00:21:09,080 Speaker 1: Jason call its. I want to rub a bank two 370 00:21:09,280 --> 00:21:12,560 Speaker 1: on the nose now not on the nose at all. 371 00:21:12,640 --> 00:21:15,919 Speaker 1: Great call, Jason Collett. Am I saying this right? Collette Colle, 372 00:21:15,960 --> 00:21:18,080 Speaker 1: I'm sorry if I'm mispronouncing this. He was a member 373 00:21:18,720 --> 00:21:20,560 Speaker 1: he is a member of Broken Social Scene or is 374 00:21:20,560 --> 00:21:22,520 Speaker 1: he a former member of Broken Social Scene? I don't 375 00:21:22,560 --> 00:21:26,960 Speaker 1: know anyway, cool song, great idea which somehow Douglas here 376 00:21:26,960 --> 00:21:30,720 Speaker 1: you mentioning this song shook loose. Another song that could 377 00:21:30,760 --> 00:21:32,480 Speaker 1: go back to back with this one in the mixtape, 378 00:21:32,480 --> 00:21:35,840 Speaker 1: which is Lily, Rosemary and the Jack of Hearts by 379 00:21:36,080 --> 00:21:39,160 Speaker 1: Bob Dylan from Blood on the Tracks. There's some bank 380 00:21:39,240 --> 00:21:41,640 Speaker 1: robbery happening in that one too, And yeah, I did 381 00:21:41,680 --> 00:21:44,359 Speaker 1: think about limiting myself to songs that were out by 382 00:21:44,400 --> 00:21:46,879 Speaker 1: the time the film came out, but I don't know. 383 00:21:46,920 --> 00:21:49,800 Speaker 1: It just it seemed like too much work to go 384 00:21:49,840 --> 00:21:51,880 Speaker 1: back and be like, wait, was this nineteen seventy five 385 00:21:51,960 --> 00:21:54,280 Speaker 1: or so. I've just allowed myself just to go with 386 00:21:54,720 --> 00:21:57,000 Speaker 1: the entire history of recording sound. Maybe I'll change my 387 00:21:57,040 --> 00:21:58,800 Speaker 1: mind about that at some point down the line, but 388 00:21:58,840 --> 00:22:01,560 Speaker 1: for now, that's what I'm doing. Thanks for the email, 389 00:22:01,640 --> 00:22:04,400 Speaker 1: Thanks for shouting out I want to rob a bank 390 00:22:04,800 --> 00:22:08,639 Speaker 1: over on Spotify, which, guys, you can leave comments on 391 00:22:09,160 --> 00:22:12,560 Speaker 1: episodes on Spotify if you use Spotify. I'm sure you 392 00:22:12,640 --> 00:22:15,400 Speaker 1: know this. I'm not a regular Spotify user, so when 393 00:22:15,400 --> 00:22:17,320 Speaker 1: I found this out a while back, I was kind 394 00:22:17,320 --> 00:22:19,280 Speaker 1: of like, it's pretty cool. So anyways, we've got a 395 00:22:19,320 --> 00:22:23,119 Speaker 1: comment from Dava over on Spotify. Here, Dava Dava this. 396 00:22:23,119 --> 00:22:25,800 Speaker 1: This comment was left on the episode in which I 397 00:22:25,840 --> 00:22:28,840 Speaker 1: talked about twenty eight years later the Bone Temple, and 398 00:22:28,880 --> 00:22:33,520 Speaker 1: specifically about the villain of that movie, Sir Lord Jimmy 399 00:22:33,560 --> 00:22:38,520 Speaker 1: Crystal okay, played by Jack O'Connell, and Dava writes in 400 00:22:38,760 --> 00:22:41,399 Speaker 1: I'm sure Jimmy in the twenty eight years later film 401 00:22:41,520 --> 00:22:44,879 Speaker 1: is based on Jimmy Savile. His story is horrific. If 402 00:22:44,920 --> 00:22:48,439 Speaker 1: you hadn't heard of him, look him up. Thank you, 403 00:22:48,640 --> 00:22:52,680 Speaker 1: Dava for this comment. I meant to mention this when 404 00:22:52,720 --> 00:22:55,520 Speaker 1: I talked about The Bone Temple and I totally spased 405 00:22:55,560 --> 00:22:58,199 Speaker 1: on it. So I really appreciate you bringing this up. 406 00:22:58,240 --> 00:22:59,879 Speaker 1: And I just wanted to tell everybody here about this 407 00:23:00,000 --> 00:23:03,440 Speaker 1: if you don't know. So this character, Sir Lord Jimmy 408 00:23:03,440 --> 00:23:06,200 Speaker 1: Cristal in twenty eight years later At the Bone Temple 409 00:23:07,359 --> 00:23:12,280 Speaker 1: reportedly modeled upon a real person, Jimmy Savill, who is 410 00:23:12,320 --> 00:23:15,320 Speaker 1: a media personality in the UK. He was a radio 411 00:23:15,400 --> 00:23:18,000 Speaker 1: DJ and then he became a TV host. He hosted 412 00:23:18,040 --> 00:23:20,760 Speaker 1: Top of the Pops. He hosted this show called Jim'll 413 00:23:20,800 --> 00:23:24,200 Speaker 1: Fix It from like seventy five into the nineties. It's 414 00:23:24,240 --> 00:23:26,760 Speaker 1: kind of like a make a Wish TV show, like 415 00:23:26,840 --> 00:23:28,320 Speaker 1: kids would write in with a wish and the show 416 00:23:28,320 --> 00:23:30,680 Speaker 1: would make it come true. And I've never seen the show, 417 00:23:30,680 --> 00:23:32,359 Speaker 1: but that's how I understand the concept. 418 00:23:32,359 --> 00:23:32,560 Speaker 2: Here. 419 00:23:33,119 --> 00:23:36,159 Speaker 1: But just like Sir Jimmy Crystal in the Bone Temple 420 00:23:36,240 --> 00:23:39,600 Speaker 1: and his Crew of Jimmy's, Jimmy Savill this real person. 421 00:23:39,760 --> 00:23:42,919 Speaker 1: He also wore track suits, he wore gaudy jewelry, and 422 00:23:42,960 --> 00:23:46,119 Speaker 1: he had long blonde hair. He was knighted for his 423 00:23:46,320 --> 00:23:49,720 Speaker 1: charitable work. All the while, there were these rumors about 424 00:23:49,720 --> 00:23:53,879 Speaker 1: what was really going on with Jimmy Savill behind closed doors, 425 00:23:54,560 --> 00:23:58,160 Speaker 1: rumors that weren't confirmed until his death in twenty eleven 426 00:23:58,600 --> 00:24:02,000 Speaker 1: that he had sexually abused victims for over half a century, 427 00:24:02,359 --> 00:24:05,320 Speaker 1: many of them children, as well as elderly and disabled 428 00:24:05,320 --> 00:24:08,159 Speaker 1: patients at hospitals. And then when these revelations came, the 429 00:24:08,240 --> 00:24:10,360 Speaker 1: revelations that a lot of what was going on behind 430 00:24:10,520 --> 00:24:13,520 Speaker 1: the scenes was being hidden and protected by the very 431 00:24:13,520 --> 00:24:15,320 Speaker 1: institutions that he was making a lot of money for. 432 00:24:15,920 --> 00:24:19,119 Speaker 1: So anyways, if you seen The Bone Temple, there's totally 433 00:24:19,200 --> 00:24:23,600 Speaker 1: tracks to be this play on Jimmy Savile. And you know, 434 00:24:23,640 --> 00:24:29,080 Speaker 1: there's also shades of the Teletubbies here in these horrific, 435 00:24:29,560 --> 00:24:32,520 Speaker 1: horrific Gang of Jimmy's, which kind of ties back to 436 00:24:33,240 --> 00:24:37,679 Speaker 1: when the infection, the zombie infection took over and like 437 00:24:38,000 --> 00:24:39,639 Speaker 1: some of the last things that these kids would have 438 00:24:39,720 --> 00:24:44,000 Speaker 1: seen on TV. I mean, they're watching Teletubbies in the 439 00:24:44,400 --> 00:24:47,439 Speaker 1: first twenty eight years later scene when the zombie outbreak happens, 440 00:24:47,440 --> 00:24:51,040 Speaker 1: they're watching Teletubbies and so you know, Teletubbies, Jimmy Savill. 441 00:24:51,080 --> 00:24:52,880 Speaker 1: These things would have been some of the last things 442 00:24:52,880 --> 00:24:56,280 Speaker 1: on their mind, I guess as they were suddenly ushered 443 00:24:56,320 --> 00:25:01,000 Speaker 1: into this horrific new era of life. So anyways, once again, Dava, 444 00:25:01,160 --> 00:25:03,760 Speaker 1: if you're listening, I appreciate you shouting that out and 445 00:25:03,920 --> 00:25:05,520 Speaker 1: let me know if I got those details right, let 446 00:25:05,520 --> 00:25:06,399 Speaker 1: me know if I got your. 447 00:25:06,440 --> 00:25:08,040 Speaker 2: Pronunci nation, I'm your name right too. 448 00:25:08,760 --> 00:25:11,560 Speaker 1: I want to take a moment here to quickly shout 449 00:25:11,600 --> 00:25:14,600 Speaker 1: out a couple of discos. If you're new here in 450 00:25:14,680 --> 00:25:19,040 Speaker 1: hollywood Land, our sister show Disgrace Land, the og Show here, 451 00:25:19,359 --> 00:25:21,800 Speaker 1: the first ever and still only I believe music and 452 00:25:21,840 --> 00:25:25,280 Speaker 1: true crime show. We call our community members discos over there, 453 00:25:25,359 --> 00:25:27,200 Speaker 1: So that's what I'm gonna call all of you over 454 00:25:27,240 --> 00:25:29,720 Speaker 1: here too, unless someone's got a better idea for a 455 00:25:29,760 --> 00:25:33,560 Speaker 1: more Hollywood Land centric name. If you do, let me know. Okay, 456 00:25:33,760 --> 00:25:36,000 Speaker 1: so let me shout out a couple of discos here 457 00:25:36,160 --> 00:25:38,280 Speaker 1: real quick. First up, I want to shout out Disco 458 00:25:38,359 --> 00:25:41,119 Speaker 1: Matt from the three one seven. He's always chiming in 459 00:25:41,160 --> 00:25:44,600 Speaker 1: with something. Matt has a radio show, a blues show 460 00:25:45,000 --> 00:25:48,320 Speaker 1: called The Blues House Party. It's on Saturday nights at 461 00:25:48,359 --> 00:25:51,960 Speaker 1: seven pm Indianapolis time. Is that eastern or Central? I 462 00:25:52,080 --> 00:25:55,560 Speaker 1: don't know. To quote Ozzy Osbourne, don't ask me, I 463 00:25:55,560 --> 00:26:00,159 Speaker 1: don't know. It's on WFYI, Indy's MPR station, and you 464 00:26:00,160 --> 00:26:02,920 Speaker 1: can go to WFYI dot org to listen. Matt had 465 00:26:02,960 --> 00:26:05,600 Speaker 1: recently written in to say he had played some Little 466 00:26:05,600 --> 00:26:08,000 Speaker 1: Walter on his show after hearing us talk about Little 467 00:26:08,040 --> 00:26:09,760 Speaker 1: Walter here in the Rap Party. 468 00:26:10,000 --> 00:26:11,240 Speaker 2: So check that out. 469 00:26:11,520 --> 00:26:13,879 Speaker 1: Also, I wanted to give a shout out to Disco 470 00:26:14,040 --> 00:26:17,600 Speaker 1: Kimberly on Patreon. I mentioned her earlier. She was the 471 00:26:17,600 --> 00:26:20,240 Speaker 1: one who chimed in about Psycho, but in the chat 472 00:26:20,280 --> 00:26:23,440 Speaker 1: this week, she asked the gang about the best movie 473 00:26:23,520 --> 00:26:27,679 Speaker 1: lines that you quote in your real life. Kimberly, for me, 474 00:26:28,240 --> 00:26:31,760 Speaker 1: that's got to get organizized. From taxi driver and also, 475 00:26:31,840 --> 00:26:34,639 Speaker 1: anytime I'm faced with doing some sort of handiwork around 476 00:26:34,680 --> 00:26:38,879 Speaker 1: the house, I am reminded of Michael Keaton in Mister 477 00:26:38,960 --> 00:26:43,639 Speaker 1: Mom two twenty two, twenty one, whatever it takes. What 478 00:26:43,720 --> 00:26:46,600 Speaker 1: about you, guys, what movie lines do you quote in 479 00:26:46,640 --> 00:26:49,159 Speaker 1: real life? Day to day inquiring minds want to know? 480 00:26:49,359 --> 00:26:52,480 Speaker 1: All right, get at me, let me know. In the meantime, 481 00:26:52,560 --> 00:26:54,520 Speaker 1: don't touch that dial. I'm going to be right back 482 00:26:54,600 --> 00:27:19,560 Speaker 1: in a flash. 483 00:27:20,880 --> 00:27:21,320 Speaker 2: Alrighty. 484 00:27:21,359 --> 00:27:23,600 Speaker 1: I got a little off track last week and I 485 00:27:23,640 --> 00:27:27,119 Speaker 1: went on this rant about movies and theaters, movies at home. 486 00:27:27,840 --> 00:27:30,480 Speaker 1: I'm going to get myself back to the script here 487 00:27:30,640 --> 00:27:34,320 Speaker 1: this week and talk about some stuff I've been watching, reading, 488 00:27:34,640 --> 00:27:37,960 Speaker 1: listening to. This is the recommendations portion of the show, 489 00:27:38,000 --> 00:27:40,040 Speaker 1: because there's a lot that I've been getting into recently 490 00:27:40,080 --> 00:27:42,320 Speaker 1: that I want to talk to you guys about. First off, 491 00:27:42,680 --> 00:27:46,320 Speaker 1: I have been binging industry big time, like harder than 492 00:27:46,359 --> 00:27:48,840 Speaker 1: I binged a show in a long time. I mentioned 493 00:27:48,880 --> 00:27:51,119 Speaker 1: this a little while back, but my wife and I 494 00:27:51,160 --> 00:27:53,160 Speaker 1: are like all in on the show right now, where 495 00:27:53,200 --> 00:27:56,000 Speaker 1: we both love it. This is an HBO show that 496 00:27:56,040 --> 00:27:59,760 Speaker 1: takes place in the world of investment banking in London's world. 497 00:27:59,800 --> 00:28:02,520 Speaker 1: I really not all that interested in, but this show 498 00:28:02,520 --> 00:28:06,280 Speaker 1: doesn't really care about that. You know, the show that 499 00:28:06,320 --> 00:28:09,040 Speaker 1: just tosses around all these terms and jargon like you're 500 00:28:09,040 --> 00:28:11,719 Speaker 1: supposed to know what they mean. You're just dumped right 501 00:28:11,760 --> 00:28:13,560 Speaker 1: into this universe and you just got to follow on 502 00:28:14,000 --> 00:28:16,560 Speaker 1: the best that you can. But the show is so addictive, 503 00:28:16,640 --> 00:28:20,760 Speaker 1: largely because, especially after the first season, it really evolves 504 00:28:20,800 --> 00:28:23,199 Speaker 1: beyond the investment banking of it all. I mean, it 505 00:28:23,240 --> 00:28:26,520 Speaker 1: takes place there, but it's not about that anymore the 506 00:28:26,560 --> 00:28:28,399 Speaker 1: way that it is in the first like half of 507 00:28:28,400 --> 00:28:30,840 Speaker 1: the first season. And to illustrate how it does this, 508 00:28:31,160 --> 00:28:33,720 Speaker 1: I would like to use the discography of a British 509 00:28:33,760 --> 00:28:37,320 Speaker 1: band to show you. Okay, so I'm nearly at the 510 00:28:37,440 --> 00:28:39,880 Speaker 1: end of season three. I'm hoping I can get caught 511 00:28:39,960 --> 00:28:42,520 Speaker 1: up to season four, which is airing right now, before 512 00:28:42,560 --> 00:28:45,240 Speaker 1: it's all said and done. But in the meantime, let's 513 00:28:45,280 --> 00:28:49,760 Speaker 1: look at industry as Radiohead albums. Okay, the first season 514 00:28:50,240 --> 00:28:53,560 Speaker 1: starts off a little like Pablo Honey, which is Radiohead's debut. 515 00:28:53,600 --> 00:28:56,120 Speaker 1: You know, it's got some solid enough jams to keep 516 00:28:56,160 --> 00:28:57,880 Speaker 1: me interested. You know, there's a little bit of creep 517 00:28:57,920 --> 00:29:00,440 Speaker 1: over here and a little you know, anyone can play 518 00:29:00,480 --> 00:29:03,800 Speaker 1: guitar over there. But then in the middle of the season, 519 00:29:03,960 --> 00:29:07,600 Speaker 1: towards the end of the season, we're in the Ben's territory, right. 520 00:29:07,640 --> 00:29:11,120 Speaker 1: The songs are getting stronger, the arrangements are more compelling, 521 00:29:11,640 --> 00:29:14,240 Speaker 1: the music is a little bit different than the rest 522 00:29:14,240 --> 00:29:16,880 Speaker 1: of the music. It's out there, right. And then in 523 00:29:16,920 --> 00:29:21,160 Speaker 1: season two we're fully in Okay computer territory, where it's like, okay, 524 00:29:21,400 --> 00:29:24,440 Speaker 1: this show has found its groove, it's found its vibe, 525 00:29:24,760 --> 00:29:26,920 Speaker 1: it's got a bigger budget now. So the needle drops 526 00:29:26,920 --> 00:29:30,040 Speaker 1: are not these cheap o indie songs no offense, but 527 00:29:30,160 --> 00:29:32,960 Speaker 1: some more resonant tunes with some real heft to them. 528 00:29:33,160 --> 00:29:35,840 Speaker 1: And at this point I'm all in right, the backstabbing, 529 00:29:35,880 --> 00:29:39,360 Speaker 1: the ladder climbing, the burnout, the obstacles that the writers 530 00:29:39,440 --> 00:29:41,680 Speaker 1: keep tossing at all these people. And then we get 531 00:29:41,720 --> 00:29:45,120 Speaker 1: to season three, which introduces Kit Harrington into the mix 532 00:29:45,200 --> 00:29:48,360 Speaker 1: John Snow you know, you know nothing John Snow as 533 00:29:48,400 --> 00:29:51,360 Speaker 1: the CEO of a green energy startup, and we are 534 00:29:51,520 --> 00:29:55,800 Speaker 1: in kid a Amnesiak territory now right. The dramatic turns 535 00:29:55,800 --> 00:29:59,240 Speaker 1: are sharper, the motives are deeper and darker, and the 536 00:29:59,280 --> 00:30:02,480 Speaker 1: show is starting to really take chances. With each episode, 537 00:30:02,520 --> 00:30:05,160 Speaker 1: we get one episode that plays like a mini movie. 538 00:30:05,160 --> 00:30:08,320 Speaker 1: It follows one character, Rishi, on this roller coaster ride 539 00:30:08,360 --> 00:30:11,880 Speaker 1: through casinos in late night clubs. He's up, he's down, 540 00:30:12,040 --> 00:30:14,240 Speaker 1: he's a loser, he's a winner, he's getting his face 541 00:30:14,320 --> 00:30:17,440 Speaker 1: kicked in by a jealous boyfriend. That episode was called 542 00:30:17,560 --> 00:30:21,400 Speaker 1: White Mischief. It's incredible. And then the very next episode, 543 00:30:21,400 --> 00:30:25,160 Speaker 1: Company Man follows another employee of this investment for Robert 544 00:30:25,240 --> 00:30:28,960 Speaker 1: Spearing as he takes this ayahuasca trip, which plays out 545 00:30:29,000 --> 00:30:32,600 Speaker 1: like the food poisoning episode of The Sopranos when when 546 00:30:32,640 --> 00:30:35,800 Speaker 1: Big Pussy's whacked, or the mad Men episode where the 547 00:30:35,840 --> 00:30:39,560 Speaker 1: team all takes speed and Don has those flashbacks. The 548 00:30:39,640 --> 00:30:43,840 Speaker 1: evolution of the show is incredible, and so is just 549 00:30:43,920 --> 00:30:48,080 Speaker 1: the watchability is so real. And now I'm wondering what 550 00:30:48,080 --> 00:30:51,200 Speaker 1: will season four feel like? Will it feel like in rainbows? 551 00:30:51,280 --> 00:30:53,680 Speaker 1: Will it be the King of Limbs? Perhaps a moon 552 00:30:53,720 --> 00:30:58,680 Speaker 1: shaped pool? Stay tuned and I will report back. Also 553 00:30:58,840 --> 00:31:02,880 Speaker 1: recently I watched Train Dreams. Finally, this is director Clinton 554 00:31:02,920 --> 00:31:07,040 Speaker 1: Bentley's adaptation of a Dennis Johnson novella. Came out last year. 555 00:31:07,160 --> 00:31:10,120 Speaker 1: Netflix picked it up. You can stream it there. Stars 556 00:31:10,200 --> 00:31:13,960 Speaker 1: Joel Edgerton and Felicity Jones. William H. Macy has a 557 00:31:14,000 --> 00:31:18,160 Speaker 1: small part in it as well. It's it's pretty simple. 558 00:31:18,240 --> 00:31:18,400 Speaker 2: You know. 559 00:31:18,480 --> 00:31:22,040 Speaker 1: It's about this guy. He's a logger, he's a railroad worker. 560 00:31:22,520 --> 00:31:25,520 Speaker 1: This is in the early twentieth century in Idaho. I 561 00:31:25,600 --> 00:31:28,920 Speaker 1: believe he goes out on jobs for weeks, months at 562 00:31:28,920 --> 00:31:31,560 Speaker 1: a time. You know, it's seasonal work where he's away 563 00:31:31,560 --> 00:31:34,080 Speaker 1: from his wife and his child, and all he wants 564 00:31:34,120 --> 00:31:35,840 Speaker 1: to do is be back at home with them. But 565 00:31:35,960 --> 00:31:38,160 Speaker 1: he's out here doing this hard work. He's witnessing some 566 00:31:38,200 --> 00:31:41,360 Speaker 1: pretty gnarly stuff, these tragedies that befall some of his 567 00:31:41,440 --> 00:31:44,600 Speaker 1: fellow workers. And it's kind of tough to describe this 568 00:31:44,680 --> 00:31:48,280 Speaker 1: because on the one hand, it is so simple. It's 569 00:31:48,320 --> 00:31:50,520 Speaker 1: like a slice of life, a slice of life from 570 00:31:51,320 --> 00:31:53,200 Speaker 1: the kind of life and the kind of time that 571 00:31:53,240 --> 00:31:56,040 Speaker 1: has long been left in the past. But that's the 572 00:31:56,120 --> 00:31:58,920 Speaker 1: thing about this movie. It feels like time is not 573 00:31:59,000 --> 00:32:02,080 Speaker 1: about the past or the present or the future. The 574 00:32:02,120 --> 00:32:05,080 Speaker 1: time is both more simple and more complicated than that. 575 00:32:05,160 --> 00:32:06,760 Speaker 1: And I don't want to say anything more about this 576 00:32:06,880 --> 00:32:09,600 Speaker 1: movie because I went into it blind. I knew basically 577 00:32:09,680 --> 00:32:13,480 Speaker 1: what I've told you. I knew that it was supposed 578 00:32:13,480 --> 00:32:16,080 Speaker 1: to be like this poetic piece of filmmaking. But it 579 00:32:16,120 --> 00:32:18,600 Speaker 1: strikes me a lot like Days of Heaven in a way, 580 00:32:18,640 --> 00:32:22,479 Speaker 1: the great Terrence Malick film. It's contemplative but it's not slow. 581 00:32:22,920 --> 00:32:25,800 Speaker 1: It's poetic but it's not overwrought. It's emotional but it's 582 00:32:25,840 --> 00:32:30,600 Speaker 1: not sentimental. It's really beautiful and it's very heartbreaking and 583 00:32:30,200 --> 00:32:32,800 Speaker 1: I was deeply, deeply moved by it. I need to 584 00:32:32,840 --> 00:32:34,760 Speaker 1: watch it again. But if you're looking for something that 585 00:32:34,800 --> 00:32:38,120 Speaker 1: feels very lived in and feels in some ways about 586 00:32:38,160 --> 00:32:39,800 Speaker 1: how it feels to be a human, I don't know, 587 00:32:40,520 --> 00:32:42,840 Speaker 1: Just you know, check this out. It's Train Dreams on 588 00:32:42,880 --> 00:32:47,720 Speaker 1: Netflix in the polar opposite department. I just devoured Richard 589 00:32:47,720 --> 00:32:51,440 Speaker 1: Price's novel Lush Life over the last week. Richard Price. 590 00:32:51,520 --> 00:32:54,720 Speaker 1: Many have called him the best dialogue writer that we have, 591 00:32:54,960 --> 00:32:57,840 Speaker 1: and after reading this, I have no doubt he's the 592 00:32:57,840 --> 00:33:00,840 Speaker 1: goat of dialogue. But you know, you know this, I 593 00:33:00,920 --> 00:33:03,800 Speaker 1: know this. He Richard Price is perhaps better known for 594 00:33:03,840 --> 00:33:06,480 Speaker 1: all the TV and film scripts he's written. He was 595 00:33:06,480 --> 00:33:09,520 Speaker 1: heavily involved in The Wire, The Deuce, and The Outsider 596 00:33:09,600 --> 00:33:12,560 Speaker 1: for HBO. He also wrote the Color of Money for Scorsese. 597 00:33:12,920 --> 00:33:15,640 Speaker 1: He wrote Clockers for Spike Lee based on his own novel. 598 00:33:16,120 --> 00:33:18,920 Speaker 1: This book, Lush Life, is about this kid, well, he's 599 00:33:18,960 --> 00:33:21,320 Speaker 1: a young adult who's shot dead on the street in 600 00:33:21,320 --> 00:33:23,440 Speaker 1: New York City, and his coworker who was with him 601 00:33:23,440 --> 00:33:25,560 Speaker 1: at the time, is picked up by the cops as 602 00:33:25,600 --> 00:33:29,680 Speaker 1: a prime suspect. There's an incredible, like thirty page interrogation 603 00:33:29,760 --> 00:33:32,760 Speaker 1: scene in this book that just reads like the greatest 604 00:33:32,800 --> 00:33:33,480 Speaker 1: scene from a. 605 00:33:33,440 --> 00:33:34,680 Speaker 2: Movie that he had to be made. 606 00:33:34,960 --> 00:33:38,120 Speaker 1: And it's not just Price's dialogue, it's his prose, his description. 607 00:33:38,280 --> 00:33:41,280 Speaker 1: He writes like a filmmaker, like a visual thinker. You know, 608 00:33:41,320 --> 00:33:44,240 Speaker 1: he can be blunt and direct, like he's giving stage 609 00:33:44,240 --> 00:33:47,360 Speaker 1: directions like James Elroy, and he can also be beautifully 610 00:33:47,360 --> 00:33:50,680 Speaker 1: descriptive and really take his time, putting you on a street, 611 00:33:50,680 --> 00:33:53,200 Speaker 1: in a bar, in a bedroom. At the core of 612 00:33:53,240 --> 00:33:56,120 Speaker 1: this story is a cop, a detective who has this 613 00:33:56,160 --> 00:34:00,400 Speaker 1: strain relationship with his two adult sons. He's divorced. He's 614 00:34:00,440 --> 00:34:03,920 Speaker 1: working through his own shit while trying to steer the 615 00:34:03,920 --> 00:34:06,760 Speaker 1: grieving father of this guy who's been killed through his 616 00:34:06,800 --> 00:34:09,480 Speaker 1: own raw emotions. And it's not clean, it's not tidy. 617 00:34:09,680 --> 00:34:12,239 Speaker 1: There's no morals or lessons here. But if you want 618 00:34:12,239 --> 00:34:15,040 Speaker 1: a really great read, a great crime read that feels 619 00:34:15,080 --> 00:34:17,600 Speaker 1: alive and just jumps off the page. Check this out, 620 00:34:17,719 --> 00:34:21,000 Speaker 1: Lush Life. I'm gonna read Clockers next. I think I 621 00:34:21,080 --> 00:34:23,560 Speaker 1: do this thing. I don't know about you guys, but 622 00:34:23,760 --> 00:34:26,440 Speaker 1: a lot of times I'll buy books on site when 623 00:34:26,440 --> 00:34:28,279 Speaker 1: I'm least expecting them, and then they just sit on 624 00:34:28,320 --> 00:34:30,560 Speaker 1: my shelf until I'm ready to read them, right, Like, 625 00:34:30,600 --> 00:34:34,719 Speaker 1: they don't go immediately into into circulation. Like I've found 626 00:34:34,719 --> 00:34:37,399 Speaker 1: a handful of Richard Price novels in the dollar bin 627 00:34:37,520 --> 00:34:39,879 Speaker 1: of a local bookstore of all places, a few years ago, 628 00:34:40,239 --> 00:34:42,800 Speaker 1: and I bought them, and they've just been sitting here 629 00:34:42,960 --> 00:34:44,440 Speaker 1: and only now am I getting around to them. 630 00:34:44,440 --> 00:34:45,200 Speaker 2: So but I am. 631 00:34:45,560 --> 00:34:48,840 Speaker 1: I also inspired me to check out this. An episode 632 00:34:48,840 --> 00:34:51,480 Speaker 1: of this podcast called In the Heat of the Nighttime. 633 00:34:51,520 --> 00:34:53,480 Speaker 1: It's part of the Nighttime Network. I'd never heard of 634 00:34:53,520 --> 00:34:56,640 Speaker 1: this before, but they have an episode with Richard Price 635 00:34:56,800 --> 00:35:00,160 Speaker 1: called the episodes called King of New York Stories. And 636 00:35:00,320 --> 00:35:02,920 Speaker 1: it really is just Richard Price like holding court for 637 00:35:02,960 --> 00:35:06,600 Speaker 1: like ninety minutes or so, telling these stories, incredible stories 638 00:35:06,640 --> 00:35:10,960 Speaker 1: about Scorsese, about Paul Newman, about Nick Nolty. Price wrote 639 00:35:11,000 --> 00:35:15,360 Speaker 1: the script for Life Lessons, which was Scorsese's short film 640 00:35:15,480 --> 00:35:18,480 Speaker 1: in that New York Stories collection. Of short films. It 641 00:35:18,520 --> 00:35:22,440 Speaker 1: was Scorsese, Woody, Allen, and Coppola. The stories are incredible. 642 00:35:22,480 --> 00:35:25,240 Speaker 1: The stories are and just the insight into the process 643 00:35:25,320 --> 00:35:28,040 Speaker 1: is incredible as well. He has this great term for 644 00:35:28,080 --> 00:35:30,160 Speaker 1: the kind of research he does to write what he writes, 645 00:35:30,160 --> 00:35:33,399 Speaker 1: and it reminded me so much of our process here. 646 00:35:33,960 --> 00:35:35,960 Speaker 1: He said, he does what he has to do in 647 00:35:36,040 --> 00:35:38,720 Speaker 1: order to write quote unquote responsible bullshit. 648 00:35:39,080 --> 00:35:39,920 Speaker 2: And I love that. 649 00:35:41,239 --> 00:35:43,839 Speaker 1: I've been thinking about that ever since, and it's something 650 00:35:43,840 --> 00:35:45,560 Speaker 1: I'm gonna carry on with me for a long time. 651 00:35:45,640 --> 00:35:47,959 Speaker 2: Responsible bullshit. It's great. 652 00:35:48,400 --> 00:35:51,520 Speaker 1: Curious have you guys read Lush Life for Clockers or 653 00:35:51,560 --> 00:35:52,960 Speaker 1: any Richard Price ladies? 654 00:35:53,000 --> 00:35:53,239 Speaker 3: Man? 655 00:35:53,280 --> 00:35:56,160 Speaker 1: Maybe have you guys seen train Dreams? Get at me 656 00:35:56,239 --> 00:35:58,640 Speaker 1: and let me know or give me some recommendations of 657 00:35:58,680 --> 00:36:02,000 Speaker 1: your own, you know the six one seven nine oh 658 00:36:02,040 --> 00:36:06,279 Speaker 1: six six six three eight, Hang tight, be right back 659 00:36:06,480 --> 00:36:15,440 Speaker 1: after this, All right, gang, let's circle back to the top, 660 00:36:15,680 --> 00:36:20,200 Speaker 1: back to all that paranoia talk, but more specifically about 661 00:36:20,480 --> 00:36:23,879 Speaker 1: next week's question of the week here in Hollywood Land, 662 00:36:24,280 --> 00:36:27,880 Speaker 1: which is not paranoia. We're gonna talk about bad boys, 663 00:36:28,040 --> 00:36:30,840 Speaker 1: bad boys, what you're gonna do? And I want to 664 00:36:30,920 --> 00:36:33,000 Speaker 1: know who is your favorite bad boy? 665 00:36:33,080 --> 00:36:33,640 Speaker 2: On film? 666 00:36:33,680 --> 00:36:36,160 Speaker 1: What character do you love to hate? Who is the 667 00:36:36,160 --> 00:36:38,480 Speaker 1: best at playing the bad boy or the bad girl? 668 00:36:39,160 --> 00:36:39,319 Speaker 2: One? 669 00:36:39,440 --> 00:36:41,960 Speaker 1: Two? You know what to do? Call or text me 670 00:36:42,080 --> 00:36:46,399 Speaker 1: at six one seven nine oh six six six three eight. 671 00:36:46,920 --> 00:36:52,080 Speaker 1: You can also email Disgrace lampod at gmail dot com. 672 00:36:52,360 --> 00:36:56,320 Speaker 1: You can holler at me on the socials at Disgraceland pod, 673 00:36:56,840 --> 00:37:00,480 Speaker 1: or if you're a member of All Access over on Ptreon, 674 00:37:00,680 --> 00:37:04,359 Speaker 1: just jump in the chat and perhaps, perhaps perhaps your 675 00:37:04,400 --> 00:37:06,960 Speaker 1: response will make it into next week's edition of the 676 00:37:07,040 --> 00:37:10,799 Speaker 1: Rap Party. Until then, let's recap all right number one. 677 00:37:10,960 --> 00:37:13,359 Speaker 1: First of all, right, now in your Hollywood Land feed 678 00:37:13,680 --> 00:37:17,160 Speaker 1: our episode on Jane Fonda Number two coming at you 679 00:37:17,200 --> 00:37:19,720 Speaker 1: on Friday. We've got a new episode of the Screening 680 00:37:19,800 --> 00:37:22,680 Speaker 1: Room here in Hollywood Land, and this week I'm talking 681 00:37:22,719 --> 00:37:25,839 Speaker 1: all about the nineteen seventy one film Clute, directed by 682 00:37:25,880 --> 00:37:29,600 Speaker 1: Alan J. Pacola, starring Donald Sutherland, Roy Scheider, and of 683 00:37:29,640 --> 00:37:34,440 Speaker 1: course our gal Jane Fonda. Number three. Next week on Monday, 684 00:37:34,640 --> 00:37:38,040 Speaker 1: we continue Award Season month with our fully scripted sound 685 00:37:38,080 --> 00:37:43,160 Speaker 1: design episode on Sean Penn Number four. Over in our 686 00:37:43,239 --> 00:37:46,640 Speaker 1: sister show, Disgraceland, we just dropped a brand new episode 687 00:37:46,680 --> 00:37:49,600 Speaker 1: on mia Zappada of the Gets, one of the most 688 00:37:49,760 --> 00:37:52,480 Speaker 1: underrated bands of the so called grunge scene of the 689 00:37:52,560 --> 00:37:55,120 Speaker 1: nineteen nineties, one of the most tragic and for a 690 00:37:55,200 --> 00:37:58,200 Speaker 1: very long time unsolved murders in that scene, and also 691 00:37:58,520 --> 00:38:02,120 Speaker 1: one of the most requested episode since Disgraceland first launched 692 00:38:02,320 --> 00:38:04,959 Speaker 1: nearly eight years ago. You can listen to that over 693 00:38:05,360 --> 00:38:09,600 Speaker 1: in the Disgraceland Feed number five unlock ad free listening 694 00:38:09,680 --> 00:38:13,600 Speaker 1: and exclusive audio and video for Hollywood Land and Disgraceland 695 00:38:13,840 --> 00:38:16,680 Speaker 1: over in Patreon All Access, as well as our Patreon 696 00:38:16,760 --> 00:38:21,200 Speaker 1: exclusive video podcast. This film should be played loud once again. 697 00:38:21,320 --> 00:38:25,560 Speaker 1: Find out more at disgracelandpod dot com, and now, in 698 00:38:25,680 --> 00:38:28,960 Speaker 1: honor of this week's episode, Here's what America was watching 699 00:38:28,960 --> 00:38:32,799 Speaker 1: at the movies in nineteen seventy two, the year that 700 00:38:32,920 --> 00:38:36,320 Speaker 1: Jane Fonda won an Oscar for her performance in Clute. 701 00:38:39,600 --> 00:38:45,439 Speaker 1: Number one, The Godfather, directed by Francis Ford Coppola. Number two, 702 00:38:46,200 --> 00:38:51,640 Speaker 1: The Poseidon Adventure directed by Ronald Neiman Johnson, Number three, 703 00:38:51,640 --> 00:38:52,040 Speaker 1: What's Up? 704 00:38:52,080 --> 00:38:52,239 Speaker 3: Doc? 705 00:38:52,400 --> 00:38:57,719 Speaker 1: Deep Threat directed by Peter Dogdonegard Demiano. Number four, Deliverance 706 00:38:57,840 --> 00:39:01,000 Speaker 1: Number directed by John Bourney direct did by direct Number 707 00:39:01,040 --> 00:39:05,680 Speaker 1: five Heckbob Deep Throat Number nine, directed by Gerard director Demianos. 708 00:39:06,280 --> 00:39:12,080 Speaker 1: Number six Jeremiah Johnson, directed by Sydney Polk. Number seven 709 00:39:12,800 --> 00:39:16,880 Speaker 1: Cabaret quit talking and start mixing. 710 00:39:17,120 --> 00:39:17,359 Speaker 3: Could