1 00:00:18,480 --> 00:00:21,360 Speaker 1: What's happened to my people, My good people of Hollywood Land. 2 00:00:21,440 --> 00:00:24,840 Speaker 1: Welcome to another installment of the Screening Room, our weekly 3 00:00:24,880 --> 00:00:27,560 Speaker 1: deep dive here at the Pod, a deep dive into 4 00:00:27,640 --> 00:00:30,760 Speaker 1: one specific film, a film that is resonant with this 5 00:00:30,800 --> 00:00:34,240 Speaker 1: week's full episode subject and the themes and our conversation 6 00:00:34,440 --> 00:00:36,600 Speaker 1: in the Rap Party as well more and all that 7 00:00:36,640 --> 00:00:38,760 Speaker 1: in a second. But first, my name is Zeth Lundy. 8 00:00:38,760 --> 00:00:41,159 Speaker 1: I'm your host here. I'm a writer and showrunner at 9 00:00:41,159 --> 00:00:43,920 Speaker 1: Double Elvis. And this week here in the Screening Room, 10 00:00:44,040 --> 00:00:46,160 Speaker 1: we're going to talk about the nineteen seventy one film 11 00:00:46,159 --> 00:00:50,080 Speaker 1: A Clute directed by Alan J. Pacula, written by Andy 12 00:00:50,080 --> 00:00:53,920 Speaker 1: and Dave Lewis, starring Donald Sutherland as Detective John Clute, 13 00:00:54,000 --> 00:00:56,680 Speaker 1: Roy Scheider as a pimp named Frank, and of course, 14 00:00:57,000 --> 00:00:59,720 Speaker 1: this week's subject of Hollywood Land, Jane Fonda as a 15 00:00:59,760 --> 00:01:02,920 Speaker 1: second in New York City high end call girl, as 16 00:01:03,040 --> 00:01:06,520 Speaker 1: was the parlance of the time, a woman named Brie Daniels. 17 00:01:07,120 --> 00:01:09,800 Speaker 1: Brie Daniels may be the target of a killer who 18 00:01:09,880 --> 00:01:12,840 Speaker 1: was a thing for murdering sex workers. And that killer 19 00:01:12,880 --> 00:01:15,200 Speaker 1: may or may not be a well respected man, a 20 00:01:15,319 --> 00:01:18,920 Speaker 1: corporate executive who has disappeared and who the detective John 21 00:01:19,000 --> 00:01:22,080 Speaker 1: Clute is attempting to track down. Let me set this 22 00:01:22,120 --> 00:01:24,440 Speaker 1: movie up for you if you haven't seen it. This 23 00:01:24,600 --> 00:01:29,560 Speaker 1: executive from Pennsylvania, real family man type, Tom Greenman goes 24 00:01:29,640 --> 00:01:32,040 Speaker 1: missing at the top of the film. How we learn 25 00:01:32,120 --> 00:01:35,080 Speaker 1: this is actually shot in this very smart way where 26 00:01:35,080 --> 00:01:37,800 Speaker 1: you see this guy and his family having this big 27 00:01:37,840 --> 00:01:40,080 Speaker 1: family and friends dinner and he's making eyes at his 28 00:01:40,120 --> 00:01:42,440 Speaker 1: wife from the opposite end of the table, the good 29 00:01:42,440 --> 00:01:44,440 Speaker 1: life as it were, And then before we know it, 30 00:01:44,480 --> 00:01:46,600 Speaker 1: we cut and we're still in the same table, only 31 00:01:46,680 --> 00:01:49,520 Speaker 1: now there's no party. It's gloomy. It's just the guy's 32 00:01:49,560 --> 00:01:54,080 Speaker 1: wife who's being questioned by the cops about her husband's disappearance, 33 00:01:54,600 --> 00:01:57,279 Speaker 1: including their family friend, a detective there on the forest 34 00:01:57,280 --> 00:02:01,360 Speaker 1: in the small Pennsylvania town John Clute, play by Donald Sutherland, 35 00:02:01,760 --> 00:02:03,960 Speaker 1: and very quickly Tom's wife is being presigned with this 36 00:02:04,080 --> 00:02:07,360 Speaker 1: insane idea that her husband has been leading this double 37 00:02:07,440 --> 00:02:10,840 Speaker 1: life and that he has written these very provocative X rated, 38 00:02:10,880 --> 00:02:14,959 Speaker 1: disturbing even letters to a sex worker in New York City. 39 00:02:15,480 --> 00:02:18,320 Speaker 1: That sex worker is Bree Daniels played by Jane Fonda, 40 00:02:18,440 --> 00:02:23,040 Speaker 1: who got to say, had this body of work already established. 41 00:02:23,120 --> 00:02:25,560 Speaker 1: At this point, she had just a few years before 42 00:02:26,160 --> 00:02:28,800 Speaker 1: starred in Barefoot in the Park with Robert Redford. She 43 00:02:28,880 --> 00:02:31,720 Speaker 1: was in the sci fi romp Barbarella. She was also 44 00:02:31,760 --> 00:02:34,440 Speaker 1: in the Sydney Pollock drama They Shoot Horses, Don't They? 45 00:02:34,880 --> 00:02:37,160 Speaker 1: But at this point in nineteen seventy one, she was 46 00:02:37,400 --> 00:02:40,040 Speaker 1: just as well known, if perhaps not better known, more 47 00:02:40,080 --> 00:02:43,600 Speaker 1: notoriously known, I should say, for being one of the loudest, 48 00:02:44,040 --> 00:02:47,520 Speaker 1: outspoken celebrity critics of the Vietnam War. And you know 49 00:02:47,600 --> 00:02:51,520 Speaker 1: this from Monday's episode all about Jane Fonda. In fact, 50 00:02:51,560 --> 00:02:54,560 Speaker 1: she and her co star of Clute, Donald Sutherland, who 51 00:02:54,639 --> 00:02:58,080 Speaker 1: himself had just starred in the black comedy war film 52 00:02:58,240 --> 00:03:01,840 Speaker 1: Mash a few years prior. When this film Clute was released, 53 00:03:01,880 --> 00:03:04,000 Speaker 1: Fonda and Sutherland were actually in the middle of an 54 00:03:04,040 --> 00:03:08,040 Speaker 1: anti Vietnam road show tour that they had co created 55 00:03:08,360 --> 00:03:11,839 Speaker 1: called FTA, which stood for free the Army or fuck 56 00:03:11,919 --> 00:03:14,920 Speaker 1: the Army, depending on who you asked. Perhaps descended from 57 00:03:15,000 --> 00:03:18,280 Speaker 1: biker slang FTW as in fuck the world, and also 58 00:03:18,280 --> 00:03:22,000 Speaker 1: perhaps a predecessor of twenty first century slang like FML 59 00:03:22,200 --> 00:03:26,800 Speaker 1: fuck my life. But I digress. This tour was intended 60 00:03:26,840 --> 00:03:30,960 Speaker 1: to be like a response to Bob Hope's legendary patriotic 61 00:03:31,160 --> 00:03:34,920 Speaker 1: USO tours, and they use their platform to encourage enlisted 62 00:03:34,920 --> 00:03:37,000 Speaker 1: men and women to speak out against the war and 63 00:03:37,040 --> 00:03:40,360 Speaker 1: things like this. So Jane Fonda is knowingly bringing all 64 00:03:40,400 --> 00:03:43,920 Speaker 1: that baggage to the table here with this performance. But 65 00:03:44,040 --> 00:03:47,080 Speaker 1: the interiority of the performance got as much notice as 66 00:03:47,160 --> 00:03:51,840 Speaker 1: Fonda's off screen politicking. The late great film critic Pauline Kale, 67 00:03:51,920 --> 00:03:55,080 Speaker 1: for one, called Breed Daniels quote one of the strongest 68 00:03:55,080 --> 00:03:59,040 Speaker 1: feminine characters to ever reach the screen unquote, and then 69 00:03:59,120 --> 00:04:02,680 Speaker 1: also said, though there have been countless movie prostitutes, this 70 00:04:02,760 --> 00:04:06,200 Speaker 1: is perhaps the first major attempt to transform modern clinical 71 00:04:06,280 --> 00:04:11,560 Speaker 1: understanding into human understanding and dramatic meaning. What Pauline Cale 72 00:04:11,760 --> 00:04:14,720 Speaker 1: is referring to here is not just Breed Daniel's ambitions, 73 00:04:14,720 --> 00:04:18,000 Speaker 1: which transcends sex work. There are multiple scenes in the 74 00:04:18,000 --> 00:04:21,479 Speaker 1: film where she goes to auditions or calls to be 75 00:04:21,560 --> 00:04:24,760 Speaker 1: a fashion model and also an actress, only to be 76 00:04:24,880 --> 00:04:28,440 Speaker 1: essentially dismissed outright in both. But we also get a 77 00:04:28,440 --> 00:04:31,240 Speaker 1: glimpse through interactions with her therapists that she views what 78 00:04:31,279 --> 00:04:33,320 Speaker 1: she does for work to be something that puts her 79 00:04:33,560 --> 00:04:36,640 Speaker 1: in control that she, not the men who hire her, 80 00:04:37,120 --> 00:04:39,720 Speaker 1: is the one calling the shots. She actually says to 81 00:04:39,720 --> 00:04:42,279 Speaker 1: were a therapist for an hour. I'm the best actress 82 00:04:42,560 --> 00:04:45,720 Speaker 1: in the world. But these feelings of control in her 83 00:04:45,720 --> 00:04:50,479 Speaker 1: professional life began to become compromised because she's starting to 84 00:04:50,480 --> 00:04:53,200 Speaker 1: have these overwhelming feelings that she's being followed and that 85 00:04:53,240 --> 00:04:56,440 Speaker 1: she's being watched, and that someone has taken to calling 86 00:04:56,480 --> 00:04:59,200 Speaker 1: her phone in her apartment and then not saying anything 87 00:04:59,240 --> 00:05:01,120 Speaker 1: on the other line when she picks up. This is 88 00:05:01,120 --> 00:05:03,200 Speaker 1: when John Clute, the detective, shows up all the way 89 00:05:03,200 --> 00:05:07,560 Speaker 1: from Pennsylvania about six months after his friend has gone missing, 90 00:05:07,560 --> 00:05:09,720 Speaker 1: to see if Brie can help him get to the 91 00:05:09,760 --> 00:05:14,320 Speaker 1: bottom of this missing person who you know. Clute believes 92 00:05:14,320 --> 00:05:16,760 Speaker 1: that she knows through this contact that he's had with her, 93 00:05:17,680 --> 00:05:19,680 Speaker 1: but it also becomes obvious as it goes on that 94 00:05:19,760 --> 00:05:22,360 Speaker 1: Clute is now there to help protect Brie as her 95 00:05:22,400 --> 00:05:25,840 Speaker 1: life is increasingly put in peril by whoever it is 96 00:05:25,920 --> 00:05:29,680 Speaker 1: that is watching her. Right there's a lot of Hitchcock 97 00:05:29,720 --> 00:05:32,520 Speaker 1: voyeurism in this film. I think Alan J. Pacola, the director, 98 00:05:32,600 --> 00:05:35,880 Speaker 1: talked about he watched a lot of Hitchcock before he 99 00:05:35,920 --> 00:05:38,479 Speaker 1: made this movie and it's it's evidence. You know, the 100 00:05:38,560 --> 00:05:42,159 Speaker 1: Johns are watching Fonda, and Sutherlin's watching Fonda, and Fonda 101 00:05:42,800 --> 00:05:45,240 Speaker 1: and Suthern are both being watched by someone else. Then 102 00:05:45,240 --> 00:05:49,040 Speaker 1: we the audience, we're watching it all as well. There's also, 103 00:05:49,080 --> 00:05:52,160 Speaker 1: though a lot of Hitchcock mystery. But it's a mystery 104 00:05:52,480 --> 00:05:55,599 Speaker 1: that is so well timed in the course of American history, 105 00:05:55,760 --> 00:05:59,159 Speaker 1: because in nineteen seventy one, after years and years of 106 00:05:59,160 --> 00:06:02,080 Speaker 1: that old it can't happened here mentality, that belief that 107 00:06:02,520 --> 00:06:05,120 Speaker 1: you know, of course, the American federal government isn't like 108 00:06:05,200 --> 00:06:08,440 Speaker 1: other governments. They're not spying on their own. You know, 109 00:06:08,839 --> 00:06:12,440 Speaker 1: in the wake of this general sense of oh okay, well, 110 00:06:12,640 --> 00:06:16,200 Speaker 1: countercultural protesters and activists and even some musicians and actors, 111 00:06:16,360 --> 00:06:19,039 Speaker 1: actors like Jane Fonda, they are being watched by the 112 00:06:19,080 --> 00:06:22,520 Speaker 1: powers that be. We think, right, this is happening. In 113 00:06:22,600 --> 00:06:25,360 Speaker 1: nineteen seventy one, the year of Clute, when eight people 114 00:06:26,000 --> 00:06:29,279 Speaker 1: broke into a small FBI office in the suburb of 115 00:06:29,320 --> 00:06:33,719 Speaker 1: a town called Media, Pennsylvania and stole all the files inside. 116 00:06:34,520 --> 00:06:38,280 Speaker 1: Some of these files contained proof that the government had 117 00:06:38,320 --> 00:06:41,920 Speaker 1: indeed been spying on activist students and professors at college campuses, 118 00:06:42,440 --> 00:06:45,520 Speaker 1: as well as some references to Cointeil pro, which of 119 00:06:45,520 --> 00:06:50,800 Speaker 1: course was the FBI's covert surveillance of political subversives. The 120 00:06:50,839 --> 00:06:55,520 Speaker 1: anonymous burglars called themselves the Citizens Commission to investigate the FBI. 121 00:06:56,160 --> 00:06:58,760 Speaker 1: They sent copies of the documents they uncovered to members 122 00:06:58,760 --> 00:07:01,640 Speaker 1: of Congress, to the Ushington Post, the New York Times, 123 00:07:01,640 --> 00:07:05,560 Speaker 1: and the LA Times. Now only the Post actually ran 124 00:07:06,000 --> 00:07:10,440 Speaker 1: some stuff from what the Citizens Commission had uncovered. But 125 00:07:10,600 --> 00:07:12,760 Speaker 1: this is an important moment because it's the start of 126 00:07:12,800 --> 00:07:17,480 Speaker 1: this watershed of surveillance revelations which continues shortly after this 127 00:07:17,560 --> 00:07:20,160 Speaker 1: break in with the Pentagon Papers just three months later, 128 00:07:20,200 --> 00:07:22,560 Speaker 1: and then of course after that Watergate, and by the 129 00:07:22,640 --> 00:07:25,520 Speaker 1: time the Pentagon Papers and Watergate has happened, you know, 130 00:07:25,640 --> 00:07:28,120 Speaker 1: this little break in in media Pennsylvania has kind of 131 00:07:28,160 --> 00:07:34,080 Speaker 1: been buried and lost to history. Looking back now in hindsight, 132 00:07:34,600 --> 00:07:37,320 Speaker 1: when you watch the opening credits of Clute with all 133 00:07:37,320 --> 00:07:40,320 Speaker 1: these shots of the small real to reel tape recorder, 134 00:07:40,720 --> 00:07:42,480 Speaker 1: and if you know anything about this film and it's 135 00:07:42,520 --> 00:07:45,600 Speaker 1: placed in seventies era cinema, much like another film with 136 00:07:45,760 --> 00:07:48,520 Speaker 1: surveillance and reel to reels at its core, Francis Poor 137 00:07:48,560 --> 00:07:51,720 Speaker 1: Koppel is the conversation. You watch these credits and you 138 00:07:51,800 --> 00:07:55,240 Speaker 1: immediately clocked this movie as a temple of nineteen seventies 139 00:07:55,320 --> 00:07:59,280 Speaker 1: paranoid cinema. This movie would eventually go down as the 140 00:07:59,320 --> 00:08:03,200 Speaker 1: first film and Alan J. Packles so called Paranoia trilogy, 141 00:08:03,520 --> 00:08:07,160 Speaker 1: which continued with The Parallax View in nineteen seventy four 142 00:08:07,280 --> 00:08:11,120 Speaker 1: that starred Warren Batty. It's about investigations into the secret 143 00:08:11,160 --> 00:08:14,280 Speaker 1: organization that is involved in political assassinations. And then a 144 00:08:14,320 --> 00:08:17,680 Speaker 1: few years later in nineteen seventy six, All the President's Men, which, 145 00:08:17,760 --> 00:08:21,880 Speaker 1: of course Stone cold classic about Woodward and Bernstein breaking 146 00:08:21,960 --> 00:08:24,840 Speaker 1: the Watergate scandal. But I think what makes Clute so 147 00:08:24,920 --> 00:08:29,520 Speaker 1: important at this moment in history is its presentation of paranoia. 148 00:08:30,240 --> 00:08:33,319 Speaker 1: There was plenty of paranoid cinema before Clute came along. 149 00:08:33,720 --> 00:08:36,880 Speaker 1: There was Cold War paranoia, you know, Invasion of the 150 00:08:36,880 --> 00:08:41,040 Speaker 1: Body Snatchers nineteen fifty six, Don Siegel, the paranoia of 151 00:08:41,400 --> 00:08:45,960 Speaker 1: communists among us, of conformists, of your neighbors being the 152 00:08:46,000 --> 00:08:49,880 Speaker 1: sleeping enemy. There was the Manchurian Candidate nineteen sixty two, 153 00:08:50,160 --> 00:08:57,160 Speaker 1: John Frankenheimer, brainwashing, manipulation, corruption, anxiety, and ultimately assassination. Even 154 00:08:57,200 --> 00:09:01,920 Speaker 1: Easy Writer nineteen sixty nine Dennis Hopper was loaded with paranoia, 155 00:09:02,000 --> 00:09:05,680 Speaker 1: the fear that freedom itself could get you killed. But 156 00:09:05,720 --> 00:09:09,480 Speaker 1: if those films are all about discovering the conspiracy, then 157 00:09:09,559 --> 00:09:14,600 Speaker 1: Clute is about living inside the conspiracy. Inclute, surveillance is 158 00:09:14,640 --> 00:09:18,320 Speaker 1: this ambient thing. Danger is intimate. It's not some huge 159 00:09:18,320 --> 00:09:23,120 Speaker 1: conglomerate or corporation or even institutional thing. It's intimate, and 160 00:09:23,200 --> 00:09:26,240 Speaker 1: paranoia is simply felt. It's on your skins, in your ears, 161 00:09:26,320 --> 00:09:29,160 Speaker 1: it's behind you, below you, above you, it's calling you 162 00:09:29,240 --> 00:09:32,480 Speaker 1: day and night. Later nineteen seventies, paranoid films like The 163 00:09:32,480 --> 00:09:35,679 Speaker 1: Conversation in Three Days of the Condor have got technology 164 00:09:35,760 --> 00:09:38,760 Speaker 1: at their core. They've got big picture, capital b capital 165 00:09:38,840 --> 00:09:43,000 Speaker 1: p ideas about the machinations of paranoia. But in Clute, 166 00:09:43,360 --> 00:09:47,480 Speaker 1: it's personal. This is a film about double lives, about 167 00:09:47,559 --> 00:09:51,080 Speaker 1: secrets and lies, about bugs in your phone, snuff tapes 168 00:09:51,400 --> 00:09:54,840 Speaker 1: and sexual kinks, about how you don't need a conspiracy 169 00:09:55,080 --> 00:09:57,560 Speaker 1: in order to feel trapped. And I'm going to get 170 00:09:57,600 --> 00:10:23,120 Speaker 1: into it right after this. Back in the nineteen nineties, 171 00:10:23,120 --> 00:10:25,680 Speaker 1: one of my favorite TV shows, probably my favorite TV 172 00:10:25,720 --> 00:10:29,240 Speaker 1: show period, especially in high school. Was The X Files 173 00:10:29,840 --> 00:10:33,680 Speaker 1: talk about paranoia. This show was loaded with government conspiracies, 174 00:10:33,720 --> 00:10:37,319 Speaker 1: government cover ups, the truth gagged and blindfolded in the 175 00:10:37,360 --> 00:10:39,960 Speaker 1: trunk while the lie was at the wheel to be 176 00:10:40,040 --> 00:10:43,160 Speaker 1: a teenager. Back then, when these episodes were first coming out, 177 00:10:43,200 --> 00:10:45,560 Speaker 1: it really felt like you were being let in on 178 00:10:45,600 --> 00:10:48,560 Speaker 1: this whole secret world, a world that a movie like 179 00:10:48,640 --> 00:10:51,760 Speaker 1: Oliver Stone's JFK had just started to illuminate a few 180 00:10:51,840 --> 00:10:57,520 Speaker 1: years earlier. And that's just the ongoing narrative portion of 181 00:10:57,600 --> 00:11:00,760 Speaker 1: The X Files, the narrative that threaded through the entire 182 00:11:00,840 --> 00:11:03,960 Speaker 1: series about the United States government hiding the fact that the 183 00:11:04,000 --> 00:11:06,960 Speaker 1: aliens do in fact walk among us. But some of 184 00:11:06,960 --> 00:11:09,160 Speaker 1: my favorite episodes of the show were the so called 185 00:11:09,280 --> 00:11:13,040 Speaker 1: Monster of the Week episodes, the standalone installments that were 186 00:11:13,080 --> 00:11:15,840 Speaker 1: all wrapped up by the by the end of the hour, right, 187 00:11:16,120 --> 00:11:18,120 Speaker 1: And they had nothing to do with Fox Moulder trying 188 00:11:18,120 --> 00:11:20,360 Speaker 1: to find out what happened to his sister or what 189 00:11:20,480 --> 00:11:23,959 Speaker 1: exactly his nemesis, the Smoking Man, was hiding. But these 190 00:11:24,000 --> 00:11:27,600 Speaker 1: standalone installments were infused with their own sense of paranoia 191 00:11:27,640 --> 00:11:30,440 Speaker 1: as well, like what's hiding under the bed, what's behind 192 00:11:30,480 --> 00:11:32,720 Speaker 1: that door, what's in that closet, Who's watching me, who's 193 00:11:32,760 --> 00:11:35,560 Speaker 1: following me? Right? But what I think I really liked 194 00:11:35,559 --> 00:11:38,720 Speaker 1: about The X Files was beyond all that was how 195 00:11:38,760 --> 00:11:42,079 Speaker 1: it looked. It was shot in this noir style, shadows, 196 00:11:42,160 --> 00:11:45,319 Speaker 1: low light. Molder and Scully both always had the guns 197 00:11:45,320 --> 00:11:47,960 Speaker 1: and the flashlights out, the flashlight cutting through like the 198 00:11:48,000 --> 00:11:51,480 Speaker 1: fog and the haze and the darkness, navigating their way 199 00:11:51,480 --> 00:11:54,199 Speaker 1: through another mystery, and it just didn't look like anything 200 00:11:54,240 --> 00:11:58,080 Speaker 1: else on TV. At that time. I was thinking about this, 201 00:11:58,800 --> 00:12:02,760 Speaker 1: was thinking about The X File as I was watching Clute, 202 00:12:02,840 --> 00:12:06,440 Speaker 1: and in particular, as I was watching this one standout scene, 203 00:12:06,520 --> 00:12:09,080 Speaker 1: one of my favorite scenes in the film, where Donald 204 00:12:09,080 --> 00:12:12,360 Speaker 1: Sutherland is at Jane Fonda's apartment and he suddenly realizes 205 00:12:12,400 --> 00:12:16,040 Speaker 1: that someone is on the roof of her place spying 206 00:12:16,080 --> 00:12:19,720 Speaker 1: on them. She's got this skylight on the ceiling in 207 00:12:19,720 --> 00:12:22,600 Speaker 1: her apartment that goes up to the roof. So Sutherland 208 00:12:22,679 --> 00:12:24,920 Speaker 1: runs up there and for a few minutes he's in 209 00:12:25,000 --> 00:12:27,880 Speaker 1: hot pursuit of someone. We never see someone who's an 210 00:12:27,920 --> 00:12:30,840 Speaker 1: evading capture, you know, someone who may or may not 211 00:12:30,880 --> 00:12:33,800 Speaker 1: even be real. And this takes Donald Sutherland up and 212 00:12:33,880 --> 00:12:36,160 Speaker 1: down throughout the building. He's got his flashlight out and 213 00:12:36,160 --> 00:12:40,000 Speaker 1: his gun and the way it shot. Very seventies paranoid 214 00:12:40,040 --> 00:12:44,040 Speaker 1: noir is so effective and so evocative, and it's all 215 00:12:44,080 --> 00:12:48,400 Speaker 1: because of one guy, Gordon Willis. Now Gordon Willis, aka 216 00:12:48,440 --> 00:12:51,560 Speaker 1: the Prince of Darkness, as he was called by his friend, 217 00:12:52,200 --> 00:12:58,280 Speaker 1: another cinematographer, Conrad Hall. Gordon Willis was a legendary cinematographer. 218 00:12:58,360 --> 00:13:01,680 Speaker 1: Right the year after this, he shot The Godfather and 219 00:13:01,720 --> 00:13:03,800 Speaker 1: then like forget about it, right from there he does 220 00:13:04,080 --> 00:13:06,480 Speaker 1: the Parallax View, which I already talked about, does The 221 00:13:06,480 --> 00:13:09,480 Speaker 1: Godfather Part two, the Drowning Pool with Paul Newman, and 222 00:13:09,520 --> 00:13:12,000 Speaker 1: he does All the President's Men, and then he starts 223 00:13:12,000 --> 00:13:16,240 Speaker 1: this long term collaboration with Woody Allen. So Gordon Willis 224 00:13:16,240 --> 00:13:21,720 Speaker 1: shoots for Woody Allen, Annie Hall, Interiors, Manhattan, Start Us, Memories, 225 00:13:21,880 --> 00:13:25,480 Speaker 1: Zelig Broadway, Danny Rose, and The Purple Rose of Cairo. 226 00:13:26,360 --> 00:13:32,200 Speaker 1: Essentially any of Woody Allen's best movies objectively was shot 227 00:13:32,240 --> 00:13:36,040 Speaker 1: by Gordon Willis. Okay, and there's reason why Woody Allen's 228 00:13:36,080 --> 00:13:38,720 Speaker 1: movies from seventy seven to eighty five or so look 229 00:13:38,760 --> 00:13:40,800 Speaker 1: the way they look, And it's because of Willis. You know, 230 00:13:40,880 --> 00:13:44,080 Speaker 1: that's not Woody Allen's bailiwick is not getting a shot 231 00:13:44,200 --> 00:13:46,680 Speaker 1: to look like that, right, We've got Gordon Willis to 232 00:13:46,679 --> 00:13:48,840 Speaker 1: thank for that, and I'd argue we also have him 233 00:13:48,880 --> 00:13:51,320 Speaker 1: to thank for how The X Files looked down the road, 234 00:13:51,320 --> 00:13:53,440 Speaker 1: even though he didn't shoot The X Files, because a 235 00:13:53,480 --> 00:13:55,720 Speaker 1: show like that was so obviously in debt to the 236 00:13:55,760 --> 00:13:58,680 Speaker 1: work that Gordon Willis did. And this is one of 237 00:13:58,720 --> 00:14:01,480 Speaker 1: my absolute favorite things about Clute is the way it 238 00:14:01,520 --> 00:14:06,319 Speaker 1: looks the interiors. That the interior spaces, they're so claustrophobic 239 00:14:06,760 --> 00:14:10,360 Speaker 1: breeze apartment is so cluttered, but there's also lots of 240 00:14:10,400 --> 00:14:13,520 Speaker 1: spaces where there's places that you just can't see and 241 00:14:13,559 --> 00:14:16,800 Speaker 1: you don't know what's there. But it's also warm, like 242 00:14:16,840 --> 00:14:18,880 Speaker 1: The Godfather is warm. It's got that, for lack of 243 00:14:18,880 --> 00:14:21,760 Speaker 1: a better term, like that leather and Mahogany's seventies vibe 244 00:14:22,120 --> 00:14:25,240 Speaker 1: that's just so welcoming and I think kind of luws 245 00:14:25,280 --> 00:14:28,160 Speaker 1: you into this false sense of being safe and secure. 246 00:14:28,560 --> 00:14:30,560 Speaker 1: But these are my favorite moments in this film. Like 247 00:14:30,600 --> 00:14:34,000 Speaker 1: I talked about this Donald's Sutherland scene, every time clicks 248 00:14:34,040 --> 00:14:37,160 Speaker 1: into thriller mode, I am totally in. And while I 249 00:14:37,200 --> 00:14:41,080 Speaker 1: appreciate the deep psychological portrait of its main character and 250 00:14:41,240 --> 00:14:44,800 Speaker 1: some of the walls that broke down, you know, along 251 00:14:44,800 --> 00:14:47,280 Speaker 1: the lines of what Pauline Kle was talking about. And 252 00:14:47,320 --> 00:14:49,360 Speaker 1: the main character, by the way, is not John Clute, 253 00:14:49,400 --> 00:14:51,800 Speaker 1: who's the title character here, but it's Bree Daniels and 254 00:14:52,240 --> 00:14:54,520 Speaker 1: has me wondering why this movie was called Clute in 255 00:14:54,560 --> 00:14:57,560 Speaker 1: the first place. But I digress. Well, I do appreciate 256 00:14:57,600 --> 00:15:00,200 Speaker 1: the three dimensional character, all that stuff about, you know, 257 00:15:00,280 --> 00:15:04,680 Speaker 1: human understanding and dramatic meaning via Kale there. And you know, yes, 258 00:15:05,400 --> 00:15:08,480 Speaker 1: Jane Fonda won the Academy Award for her role, but honestly, 259 00:15:09,560 --> 00:15:12,800 Speaker 1: Fonda was up against Julie Christie for McCabe and Missus 260 00:15:12,840 --> 00:15:14,520 Speaker 1: Miller that year. And if I were a vony member 261 00:15:14,520 --> 00:15:16,480 Speaker 1: of the Academy back in seventy one, I would have 262 00:15:16,520 --> 00:15:19,720 Speaker 1: cast my ballot for Christy. And I just need to 263 00:15:19,760 --> 00:15:23,160 Speaker 1: note this. This is pretty fascinating. Again, this sort of 264 00:15:23,240 --> 00:15:26,000 Speaker 1: multi dimensional portrait of a sex worker was revolutionary at 265 00:15:26,040 --> 00:15:28,040 Speaker 1: the time. You know, in many ways it still is 266 00:15:28,040 --> 00:15:30,640 Speaker 1: because it's not like juicy roles for women suddenly improved 267 00:15:30,640 --> 00:15:33,680 Speaker 1: overnight in nineteen seventy one or even years after that. 268 00:15:33,760 --> 00:15:38,080 Speaker 1: But what's fascinating here is that Julie Christie also plays 269 00:15:38,600 --> 00:15:42,440 Speaker 1: a sex worker in a film that takes a completely 270 00:15:42,480 --> 00:15:47,440 Speaker 1: revolutionary look at that sort of role. Right. She plays 271 00:15:47,440 --> 00:15:50,480 Speaker 1: the madam in Robert Altman's classic anti western mccab and 272 00:15:50,480 --> 00:15:53,200 Speaker 1: Missus Miller, which I already mentioned. But this comes out 273 00:15:53,240 --> 00:15:55,000 Speaker 1: not only the same year as Clute, but it was 274 00:15:55,040 --> 00:15:58,200 Speaker 1: released in theaters the very same week. What are the odds, right? 275 00:15:59,000 --> 00:16:01,080 Speaker 1: But anyways, back to the Jane fond of it all, 276 00:16:01,280 --> 00:16:03,080 Speaker 1: I think it's probably some Jane fond of bias on 277 00:16:03,120 --> 00:16:04,800 Speaker 1: my part. I don't know that I've ever been bowled 278 00:16:04,840 --> 00:16:08,440 Speaker 1: over by one of her performances. She famously tried to 279 00:16:08,480 --> 00:16:10,320 Speaker 1: back out of this film at the last minute. She 280 00:16:10,320 --> 00:16:13,160 Speaker 1: didn't think she could hack it. She actually told Pacola 281 00:16:13,200 --> 00:16:15,680 Speaker 1: to go and hire Fade Dunaway instead, which I'm glad 282 00:16:15,680 --> 00:16:17,440 Speaker 1: he didn't because I don't think that would have worked. 283 00:16:17,440 --> 00:16:19,840 Speaker 1: I think this character has to open up in the 284 00:16:19,880 --> 00:16:22,000 Speaker 1: way she does with her therapist and with Clute, and 285 00:16:22,480 --> 00:16:25,320 Speaker 1: Dunaway had this more like closed off kind of vibe 286 00:16:25,600 --> 00:16:28,440 Speaker 1: than that, right, And I will admit Jane Fonda brings 287 00:16:28,560 --> 00:16:31,200 Speaker 1: a realness to her character in some of these quiet 288 00:16:31,200 --> 00:16:34,920 Speaker 1: moments when she's alone, she's like decompressing, smoking a joint, 289 00:16:34,960 --> 00:16:37,760 Speaker 1: drinking a glass of wine, settling in to read this 290 00:16:38,200 --> 00:16:41,520 Speaker 1: Sun Signs book by Linda Goodman, an astrology book which 291 00:16:41,520 --> 00:16:43,680 Speaker 1: I assume was either wildly popular at the time or 292 00:16:44,000 --> 00:16:46,640 Speaker 1: became popular because of this film. But I guess what 293 00:16:46,720 --> 00:16:48,680 Speaker 1: I felt watching this from time to time was that 294 00:16:49,200 --> 00:16:51,480 Speaker 1: I wanted more of that paranoid thriller stuff, more of 295 00:16:51,520 --> 00:16:54,320 Speaker 1: the kind of on edge scenes that Pacola and Gordon 296 00:16:54,360 --> 00:16:58,560 Speaker 1: Willis capture so brilliantly, and less of these quieter character 297 00:16:58,600 --> 00:17:03,040 Speaker 1: study moments. All that said, the paranoia in this film 298 00:17:03,200 --> 00:17:07,400 Speaker 1: is entirely justified. This movie isn't meant to allay your fears. Right, 299 00:17:07,480 --> 00:17:10,520 Speaker 1: there is a killer on the loose. There is somebody 300 00:17:10,680 --> 00:17:13,600 Speaker 1: who is following you, who is watching you. There are 301 00:17:13,640 --> 00:17:16,840 Speaker 1: things that you think you know that you don't really know. Right. 302 00:17:16,880 --> 00:17:18,840 Speaker 1: The truth is stranger than fiction. The truth is out 303 00:17:18,880 --> 00:17:21,480 Speaker 1: there and all that because this isn't nineteen fifty one. 304 00:17:21,560 --> 00:17:24,080 Speaker 1: This is nineteen seventy one, and we are now in 305 00:17:24,119 --> 00:17:27,720 Speaker 1: a world of surveillance, even though it's long before every 306 00:17:27,720 --> 00:17:30,480 Speaker 1: front door of every home and every self checkout station 307 00:17:30,560 --> 00:17:33,040 Speaker 1: at the grocery store had its own camera. But in 308 00:17:33,080 --> 00:17:35,680 Speaker 1: a way that's even scarier because you can't even confirm 309 00:17:36,040 --> 00:17:38,560 Speaker 1: your own paranoia. You just think you're going crazy. You 310 00:17:38,600 --> 00:17:41,560 Speaker 1: think that others think you're going crazy. So you smoke 311 00:17:41,600 --> 00:17:43,520 Speaker 1: a joint, you have a glass of wine, You read 312 00:17:43,560 --> 00:17:46,800 Speaker 1: another chapter of Sun Signs, and then the phone rings. 313 00:17:47,480 --> 00:17:49,280 Speaker 1: You know who's going to be on the other line, 314 00:17:49,359 --> 00:17:53,840 Speaker 1: that wordless presence again, heavy breathing. Someone you don't know, 315 00:17:53,920 --> 00:17:56,840 Speaker 1: but they know you, and that terrifies you. So you 316 00:17:56,920 --> 00:17:59,960 Speaker 1: let the phone ring. It's allowed, it's late, so it's 317 00:18:00,000 --> 00:18:02,240 Speaker 1: probably gonna wake up the neighbors, but you don't care. 318 00:18:02,680 --> 00:18:05,120 Speaker 1: You can't bring yourself to answer. So it wrings some more, 319 00:18:05,840 --> 00:18:09,800 Speaker 1: and so finally it cuts out. You needs something to 320 00:18:09,840 --> 00:18:11,320 Speaker 1: take your mind off it, so you reach for a 321 00:18:11,359 --> 00:18:13,919 Speaker 1: cassette tape to pop in the player you keep by 322 00:18:13,920 --> 00:18:16,760 Speaker 1: the side of your bed, and what is on that tape. 323 00:18:17,320 --> 00:18:19,320 Speaker 1: Hang in there with me, because when we come back 324 00:18:19,320 --> 00:18:22,119 Speaker 1: from this quick break, I'm gonna make a mixtape inspired 325 00:18:22,440 --> 00:18:37,160 Speaker 1: by Clute. Okay, this is the portion of the show 326 00:18:37,160 --> 00:18:38,800 Speaker 1: here the screening room where I'm going to make a 327 00:18:38,840 --> 00:18:43,119 Speaker 1: mixtape inspired by the film. We're talking about a mixtape 328 00:18:43,119 --> 00:18:47,800 Speaker 1: inspired by clute. So many songs popped into my head 329 00:18:47,920 --> 00:18:49,840 Speaker 1: right off the bat, and of course the one that 330 00:18:49,960 --> 00:18:56,280 Speaker 1: jockeyed for for primary side A song one position was 331 00:18:56,320 --> 00:19:00,560 Speaker 1: of course Paranoid by Black Sabbath. To get this out 332 00:19:00,600 --> 00:19:04,280 Speaker 1: of the way nineteen seventy. This was Sabbath's first ever single, 333 00:19:04,400 --> 00:19:08,560 Speaker 1: released about six months after their self titled full length LP. 334 00:19:09,440 --> 00:19:13,919 Speaker 1: You know, like many mega mega calling card hits for bands, 335 00:19:13,920 --> 00:19:16,399 Speaker 1: I'm thinking of songs like def Leppard's Pour Some Sugar 336 00:19:16,440 --> 00:19:20,760 Speaker 1: on Me or and Excesses Need You Tonight, Paranoid was 337 00:19:20,760 --> 00:19:23,760 Speaker 1: an afterthought, just like all those other songs were afterthoughts, right. 338 00:19:24,119 --> 00:19:27,719 Speaker 1: Geezer Butler, the band's bass player, recalled that when they 339 00:19:27,720 --> 00:19:30,439 Speaker 1: were recording the record, they needed some more filler for 340 00:19:30,480 --> 00:19:32,520 Speaker 1: the album. They need like three more minutes of something 341 00:19:33,080 --> 00:19:36,359 Speaker 1: so tony. Iomi just cranks out this riff. Gezer writes 342 00:19:36,400 --> 00:19:39,879 Speaker 1: down some lyrics, and according to Geezer, Ozzie is standing 343 00:19:39,920 --> 00:19:42,240 Speaker 1: in the studio with a piece of paper in his 344 00:19:42,320 --> 00:19:45,439 Speaker 1: hand with lyrics that Geezer's just written, and that's the 345 00:19:45,440 --> 00:19:48,919 Speaker 1: take he's recording these vocals. It's incredible. It's incredible that 346 00:19:48,960 --> 00:19:52,560 Speaker 1: this happens time and time again, where a band lays 347 00:19:52,600 --> 00:19:54,720 Speaker 1: down all the tracks for a record and they think 348 00:19:54,720 --> 00:19:58,560 Speaker 1: they're done, and then the producer or the label or 349 00:19:58,600 --> 00:20:01,080 Speaker 1: someone says, you know, I don't hear a single, I 350 00:20:01,080 --> 00:20:03,760 Speaker 1: don't hear a hit. We need something, and uh, sort 351 00:20:03,760 --> 00:20:05,639 Speaker 1: of they're they're forced to come up with it on 352 00:20:05,680 --> 00:20:09,680 Speaker 1: the spot in a very very short time. And why 353 00:20:10,200 --> 00:20:13,240 Speaker 1: when faced with that challenge, more times than not bands 354 00:20:13,320 --> 00:20:15,639 Speaker 1: come up with a hit. I think it's just you know, 355 00:20:15,920 --> 00:20:17,440 Speaker 1: I don't know about you guys, but I worked better 356 00:20:17,560 --> 00:20:20,480 Speaker 1: under pressure, and maybe that's the same for for Ozzy 357 00:20:20,560 --> 00:20:23,600 Speaker 1: and the boys here. You know. I remember finding the 358 00:20:23,640 --> 00:20:25,959 Speaker 1: CD or someone sharing the CD with me when I 359 00:20:26,000 --> 00:20:28,400 Speaker 1: was back in high school and it was on some 360 00:20:28,600 --> 00:20:32,240 Speaker 1: shitty label, which is strange because I think this wasn't 361 00:20:32,280 --> 00:20:34,919 Speaker 1: this originally released by Warner Brothers. But I don't know 362 00:20:34,960 --> 00:20:38,080 Speaker 1: the artwork on the CD. It looks like it almost 363 00:20:38,080 --> 00:20:40,200 Speaker 1: looked like it was photocopied, and it was like one 364 00:20:40,280 --> 00:20:42,359 Speaker 1: panel in the in the jewel case. There was no 365 00:20:42,720 --> 00:20:44,960 Speaker 1: there were no liner notes at all, there was nothing 366 00:20:45,000 --> 00:20:47,000 Speaker 1: about There was like a track listing on the back, 367 00:20:47,359 --> 00:20:49,639 Speaker 1: but it just looked like I just remember thinking, like, 368 00:20:50,080 --> 00:20:52,919 Speaker 1: is this band legit? This looks so not legit to me. 369 00:20:53,200 --> 00:20:55,800 Speaker 1: And also, you know, in the nineties, Ozzy was all 370 00:20:55,800 --> 00:20:57,439 Speaker 1: the rage again, but he was all the rage with 371 00:20:57,480 --> 00:21:00,480 Speaker 1: these big comeback hits like No More Tears and Mama 372 00:21:00,480 --> 00:21:04,960 Speaker 1: I'm Coming Home, which were totally ubiquitous. But honestly, I'm 373 00:21:05,000 --> 00:21:07,160 Speaker 1: not alone in thinking that those songs sounded cheesy as 374 00:21:07,160 --> 00:21:09,320 Speaker 1: fuck back in the day. I love them now, but 375 00:21:09,840 --> 00:21:12,760 Speaker 1: back then I was just I was not down with Ozzy. 376 00:21:12,800 --> 00:21:15,679 Speaker 1: Ozzie was a cheeseball, okay, and he had that reputation, 377 00:21:15,920 --> 00:21:19,080 Speaker 1: he had the like snorting ants and biting heads off 378 00:21:19,119 --> 00:21:24,399 Speaker 1: Bat's reputation. But when I saw this shitty CD version 379 00:21:24,520 --> 00:21:27,199 Speaker 1: of Paranoid, I was just like, I don't understand what 380 00:21:27,240 --> 00:21:29,160 Speaker 1: this is, and I really didn't give it a fair shake. 381 00:21:29,520 --> 00:21:32,800 Speaker 1: Obviously I should have, because the record rules, the song rules, 382 00:21:32,840 --> 00:21:36,640 Speaker 1: and it is song number one in our clute mixtape. Okay, now, 383 00:21:36,680 --> 00:21:39,680 Speaker 1: what's going to song number two? Track two. The other 384 00:21:39,720 --> 00:21:42,159 Speaker 1: obvious song here to include, which I thought of right 385 00:21:42,200 --> 00:21:45,480 Speaker 1: off the bat is Paranoid Android by Radiohead. But you 386 00:21:45,520 --> 00:21:47,960 Speaker 1: know what, that's two obvious choices in a row. So 387 00:21:48,000 --> 00:21:51,080 Speaker 1: I'm gonna go with something that's truly Paranoid, Paranoid and 388 00:21:51,200 --> 00:21:54,719 Speaker 1: vibe but doesn't have paranoid in title from Radiohead, and 389 00:21:54,720 --> 00:21:58,119 Speaker 1: that's their song They're There, the first single from their 390 00:21:58,119 --> 00:22:01,399 Speaker 1: two thousand and three album, Hail to the Thief. This 391 00:22:01,560 --> 00:22:05,040 Speaker 1: is a live favorite for Radiohead because the group's guitar players, 392 00:22:05,119 --> 00:22:08,520 Speaker 1: Johnny Greenwood and Ed O'Brien, they throw their guitars on 393 00:22:08,560 --> 00:22:10,119 Speaker 1: their They sling them on their backs like there are 394 00:22:10,119 --> 00:22:12,920 Speaker 1: a couple of outlaws in a Sergio Leone movie, and 395 00:22:12,960 --> 00:22:15,280 Speaker 1: they just like bang on some drums and percussion for 396 00:22:15,320 --> 00:22:17,760 Speaker 1: like half the song. And while this song doesn't have 397 00:22:17,840 --> 00:22:20,680 Speaker 1: the size of a riff like the Black Sabbath song, 398 00:22:21,000 --> 00:22:23,200 Speaker 1: it's one of my favorite Radiohead riffs all the same. 399 00:22:23,280 --> 00:22:26,400 Speaker 1: The song is just groovy to boot. I actually saw 400 00:22:26,520 --> 00:22:29,480 Speaker 1: Radiohead on this tour, the Hail of the Thief tour. 401 00:22:29,800 --> 00:22:33,000 Speaker 1: I saw them in la at the Hollywood Bowl with 402 00:22:33,160 --> 00:22:36,359 Speaker 1: Supergrass opening. It was pretty magical, although I got to 403 00:22:36,400 --> 00:22:40,040 Speaker 1: say I had seen Supergrass about a year earlier at 404 00:22:40,200 --> 00:22:43,000 Speaker 1: the l Ray in LA's, which is a much small, 405 00:22:43,320 --> 00:22:48,160 Speaker 1: very small space, small club inside, and Supergrass just completely 406 00:22:48,240 --> 00:22:50,480 Speaker 1: owned that night. I remember walking away thinking it was 407 00:22:50,520 --> 00:22:52,800 Speaker 1: one of the greatest things I've ever seen, And it 408 00:22:52,880 --> 00:22:55,560 Speaker 1: just goes to show that there are spaces in which 409 00:22:55,960 --> 00:22:59,040 Speaker 1: bands really thrive. Right. Supergrass for me thrived in that 410 00:22:59,080 --> 00:23:02,440 Speaker 1: small club environment. But Radiohead when they came out and 411 00:23:02,480 --> 00:23:04,800 Speaker 1: they headlined the Hollywood Bowl, I mean, it was just 412 00:23:04,960 --> 00:23:08,440 Speaker 1: it was a transformative experience for me. It was amazing. 413 00:23:08,680 --> 00:23:11,320 Speaker 1: But getting back to the song, the paranoid aspect of 414 00:23:11,320 --> 00:23:13,520 Speaker 1: the song, the claustrophobic feel that it's got that lyric 415 00:23:13,880 --> 00:23:16,760 Speaker 1: just because you feel it doesn't mean it's there, which 416 00:23:16,800 --> 00:23:19,880 Speaker 1: of course echoes that Joseph Heller line from Catch twenty two, 417 00:23:20,280 --> 00:23:24,359 Speaker 1: which Nirvana cribbed for their song Territorial Pissings. Just because 418 00:23:24,359 --> 00:23:27,720 Speaker 1: you're paranoid doesn't mean they're not after you, all right. 419 00:23:27,920 --> 00:23:30,280 Speaker 1: Next up, we got a dealer's choice for track number three. 420 00:23:30,640 --> 00:23:34,000 Speaker 1: Stevie Wonder in his classic run in the nineteen seventies 421 00:23:34,200 --> 00:23:37,240 Speaker 1: five albums in four years or six albums in five 422 00:23:37,320 --> 00:23:39,960 Speaker 1: years if you count where I'm coming from. The sense 423 00:23:39,960 --> 00:23:43,240 Speaker 1: of paranoia in Stevie's songwriting at this time I think 424 00:23:43,280 --> 00:23:47,679 Speaker 1: has been woefully underlooked. Perhaps no other songwriter was tapping 425 00:23:47,680 --> 00:23:50,920 Speaker 1: into the paranoia of the nineteen seventies better than Stevie Wonder. Okay, 426 00:23:51,200 --> 00:23:53,680 Speaker 1: and I say this is a dealer's choice here because 427 00:23:53,720 --> 00:23:56,800 Speaker 1: you know, paranoia runs deep. As our guy Stephen Stills 428 00:23:56,840 --> 00:24:00,600 Speaker 1: once sang, I think all these Stevie songs are contenders 429 00:24:00,600 --> 00:24:01,760 Speaker 1: that I'm going to list out here, and a lot 430 00:24:01,800 --> 00:24:03,679 Speaker 1: of them, by the way, we're written with this like 431 00:24:03,680 --> 00:24:06,360 Speaker 1: big shadow of Nixon hanging over them. Right. So you've 432 00:24:06,359 --> 00:24:10,160 Speaker 1: got Superstition and Big Brother both from Talking Book. You've got, 433 00:24:10,240 --> 00:24:13,560 Speaker 1: He's Mistra No, it all from Innervisions. You've also got 434 00:24:13,600 --> 00:24:16,080 Speaker 1: They won't go when I go from fulfilling. This is 435 00:24:16,240 --> 00:24:19,240 Speaker 1: first finale. Take your pick. They run the gamut from 436 00:24:19,240 --> 00:24:24,040 Speaker 1: wicked funky to more classically aligned melodrama and sidebar. Here, guys, 437 00:24:24,119 --> 00:24:28,560 Speaker 1: shameless plug incoming and three two one. I did write 438 00:24:28,560 --> 00:24:31,160 Speaker 1: a book about Stevie Wonder, about his double album Songs 439 00:24:31,160 --> 00:24:33,400 Speaker 1: and the Key of Life, which is available as part 440 00:24:33,440 --> 00:24:36,400 Speaker 1: of the thirty three and a third book series from Bloomsbury. 441 00:24:36,760 --> 00:24:39,240 Speaker 1: You can get that from your local bookstore or Barnes 442 00:24:39,240 --> 00:24:42,280 Speaker 1: and Noble or Amazon or wherever you get good books. Okay, 443 00:24:42,640 --> 00:24:46,480 Speaker 1: all right, shameless plug over, Let's go to our next 444 00:24:46,520 --> 00:24:49,560 Speaker 1: track on this mixtape, which is going to be I'm 445 00:24:49,600 --> 00:24:53,480 Speaker 1: Afraid of Americans by David Bowie from nineteen seventy seven 446 00:24:53,760 --> 00:24:56,800 Speaker 1: his album Earthling, co written by Bowie and the great 447 00:24:56,840 --> 00:24:59,320 Speaker 1: Brian Eno. You know, this came out when I was 448 00:24:59,320 --> 00:25:01,400 Speaker 1: in college. I I thought this sounded kind of plastic 449 00:25:01,400 --> 00:25:03,520 Speaker 1: and thin, and it was a little too groveling to 450 00:25:03,640 --> 00:25:06,840 Speaker 1: the whole electronica drum and bassed trends at the time. 451 00:25:06,960 --> 00:25:09,359 Speaker 1: You know, like usually Bowie was the one to set 452 00:25:09,359 --> 00:25:12,160 Speaker 1: the trend, and this felt like him sort of inserting 453 00:25:12,240 --> 00:25:15,480 Speaker 1: himself into something that already existed. But now that I'm 454 00:25:15,480 --> 00:25:17,880 Speaker 1: older in hindsight, I look at this differently. I think 455 00:25:17,920 --> 00:25:20,399 Speaker 1: it rules. I love how it sounds like this riot 456 00:25:20,440 --> 00:25:23,800 Speaker 1: happening inside an AM radio when the chorus explodes. And 457 00:25:23,840 --> 00:25:25,840 Speaker 1: the cool thing at the time back in the nineties 458 00:25:25,960 --> 00:25:29,040 Speaker 1: was Bowie's embrace of Trent Resnor in nine Inch Nails 459 00:25:29,160 --> 00:25:31,119 Speaker 1: was one of those moments when the old guard is 460 00:25:31,160 --> 00:25:34,439 Speaker 1: accepting the new breed of artists. Famously, Trent is in 461 00:25:34,520 --> 00:25:36,600 Speaker 1: the music video for this song, one of the most 462 00:25:36,600 --> 00:25:39,440 Speaker 1: paranoid music videos of all time. You know, David Bowie's 463 00:25:39,600 --> 00:25:41,920 Speaker 1: walking around the streets of New York City being stalked 464 00:25:41,920 --> 00:25:45,160 Speaker 1: by Trent Reznor who's got shades of Travis Bickle from 465 00:25:45,240 --> 00:25:49,800 Speaker 1: Taxi Driver going on? And then Trent slashed nine Inch 466 00:25:49,880 --> 00:25:52,920 Speaker 1: Nails made a bunch of remixes of this song. That's 467 00:25:52,960 --> 00:25:55,840 Speaker 1: like an EP. It's all of Trent's remixes, which are awesome. 468 00:25:55,920 --> 00:25:58,520 Speaker 1: I think I prefer some of these remixes to the 469 00:25:58,520 --> 00:26:01,600 Speaker 1: OG mix on the album or what it's worth. Okay, 470 00:26:01,640 --> 00:26:05,560 Speaker 1: so that's I'm Afraid of Americans. Next, let's seriously switch 471 00:26:05,600 --> 00:26:08,960 Speaker 1: gears here for the next track on our clute inspired mixtape, 472 00:26:08,960 --> 00:26:11,040 Speaker 1: and we're gonna put on here Every Breath You Take 473 00:26:11,520 --> 00:26:14,879 Speaker 1: by the Police nineteen eighty three, the biggest song in 474 00:26:14,920 --> 00:26:18,960 Speaker 1: both America and Canada that year, the fifth biggest selling 475 00:26:19,000 --> 00:26:23,000 Speaker 1: single of that decade. The album It came from Synchronicity, 476 00:26:23,080 --> 00:26:25,399 Speaker 1: one of the biggest records of eighty three as well. 477 00:26:25,840 --> 00:26:28,400 Speaker 1: A few years back, in twenty nineteen, it was awarded 478 00:26:28,440 --> 00:26:32,320 Speaker 1: the most played song in radio history. Chi Ching Baby 479 00:26:32,840 --> 00:26:35,280 Speaker 1: Sting is the sole songwriter credited for that one. You 480 00:26:35,359 --> 00:26:37,800 Speaker 1: know that Stuart Copelan and Andy Sumners are like kicking 481 00:26:37,800 --> 00:26:40,840 Speaker 1: themselves for not getting a co writing credit. Actually, I 482 00:26:40,880 --> 00:26:43,320 Speaker 1: do know they are, because just a few months ago 483 00:26:43,880 --> 00:26:47,719 Speaker 1: those dudes sued Staying for writing credits and lost royalties. 484 00:26:47,800 --> 00:26:50,960 Speaker 1: So look out, Staying. Now you might be asking yourself, really, 485 00:26:51,119 --> 00:26:53,760 Speaker 1: really Zeth. Every breath you take? Well, yes, dear listener, 486 00:26:54,359 --> 00:26:56,919 Speaker 1: you know this. You guys know this. Every Breath You 487 00:26:56,960 --> 00:26:59,760 Speaker 1: Take is one of the most misinterpreted songs of all time. 488 00:27:00,000 --> 00:27:02,800 Speaker 1: This thing himself said it. He said, quote it sounds 489 00:27:02,800 --> 00:27:05,040 Speaker 1: like a comforting love song. I didn't realize at the 490 00:27:05,080 --> 00:27:07,800 Speaker 1: time how sinister it is. I was thinking of big brother, 491 00:27:08,119 --> 00:27:12,840 Speaker 1: surveillance and control. Unquote. Every breath you take, every movie 492 00:27:12,840 --> 00:27:16,760 Speaker 1: you make, I'll be watching you something sinister masked as 493 00:27:16,800 --> 00:27:19,440 Speaker 1: something sweet. But when you really look at it, when 494 00:27:19,480 --> 00:27:21,840 Speaker 1: you really listen to it, you get it right. Honestly, 495 00:27:21,960 --> 00:27:24,160 Speaker 1: one of the most frightening number one songs of all 496 00:27:24,240 --> 00:27:27,639 Speaker 1: time and perfect for our mixtape. All right, Next up, 497 00:27:27,680 --> 00:27:30,360 Speaker 1: we gotta change the tempo and the vibe. We got 498 00:27:30,359 --> 00:27:33,679 Speaker 1: to launch off from the Police's soft rock jam to 499 00:27:33,760 --> 00:27:36,560 Speaker 1: something really intense and transgressive. So let's go with Out 500 00:27:36,600 --> 00:27:39,560 Speaker 1: to Get Me from Guns N' Roses from their debut 501 00:27:39,560 --> 00:27:43,399 Speaker 1: full length album Appetite for Destruction nineteen eighty seven, the 502 00:27:43,480 --> 00:27:47,240 Speaker 1: year the Beastie Boys licensed to Ill You two's Joshua Tree, Whitney, 503 00:27:47,240 --> 00:27:52,360 Speaker 1: Houston's Whitney, Michael Jackson's Bad in Excesses, Kick def Leppards, Hysteria, 504 00:27:52,480 --> 00:27:55,600 Speaker 1: an Appetite for Destruction, damn on a record. I could 505 00:27:55,640 --> 00:27:57,600 Speaker 1: not buy this in nineteen eighty seven when I was 506 00:27:57,640 --> 00:28:00,639 Speaker 1: ten years old because it had a parental advice sticker 507 00:28:00,720 --> 00:28:02,320 Speaker 1: on it. So I had to go to my friend 508 00:28:02,400 --> 00:28:06,359 Speaker 1: Jeff's house because he had this. He had NWA's debut 509 00:28:06,359 --> 00:28:09,000 Speaker 1: as well, both on cassette. Of course, Jeff had all 510 00:28:09,000 --> 00:28:10,800 Speaker 1: the good shit. His parents let him get all the 511 00:28:10,800 --> 00:28:12,320 Speaker 1: good shit. So you had to go to Jeff's house 512 00:28:12,520 --> 00:28:16,400 Speaker 1: to listen to Appetite and to look at the artwork 513 00:28:16,520 --> 00:28:20,400 Speaker 1: for Appetite, which shocked me at the time. Now out 514 00:28:20,400 --> 00:28:22,600 Speaker 1: to get me right what you got to remember, it's 515 00:28:22,680 --> 00:28:24,840 Speaker 1: out to get me as in ta not t o 516 00:28:25,080 --> 00:28:28,600 Speaker 1: right out tug get me. I believe it's about Axel 517 00:28:28,680 --> 00:28:31,080 Speaker 1: Roses run ins with Johnny Law back when he was 518 00:28:31,119 --> 00:28:32,719 Speaker 1: a kid and all that. It's like a modern day 519 00:28:32,840 --> 00:28:36,480 Speaker 1: version of Keith Richards's immortal anthem before They Make Me Run. 520 00:28:37,080 --> 00:28:39,600 Speaker 1: But I think the state of mind that that narrator 521 00:28:39,640 --> 00:28:42,360 Speaker 1: of the song is in is arguably paranoid. He's like, 522 00:28:42,400 --> 00:28:45,160 Speaker 1: I'm fucking innocent, right, and he's running and he's gunning, 523 00:28:45,360 --> 00:28:47,320 Speaker 1: and he's looking for his way out. And whether or 524 00:28:47,320 --> 00:28:50,200 Speaker 1: not the dude is guilty, man, he's paranoid, right. They 525 00:28:50,240 --> 00:28:54,240 Speaker 1: won't touch me. Man, I'm already gone, man, all right, 526 00:28:54,320 --> 00:28:57,360 Speaker 1: out to get me? Is gonna make this mixtape. I'm 527 00:28:57,400 --> 00:28:59,320 Speaker 1: running out of time here, so I'm gonna do one 528 00:28:59,400 --> 00:29:03,760 Speaker 1: more track for this cassette mixtape here, and this is 529 00:29:03,840 --> 00:29:07,040 Speaker 1: gonna be let's see, all right, let's do Life during 530 00:29:07,080 --> 00:29:11,400 Speaker 1: Wartime by Talking Heads nineteen seventy nine, the first single 531 00:29:11,520 --> 00:29:14,680 Speaker 1: from their third studio album, Fear of Music, I mean 532 00:29:14,880 --> 00:29:18,920 Speaker 1: red Flag guys, Fear of Music. That's some paranoid trip 533 00:29:19,040 --> 00:29:21,840 Speaker 1: right there. Look, first of all, the music of Talking 534 00:29:21,880 --> 00:29:24,400 Speaker 1: has just sounds paranoid, right, Everything they do it's like 535 00:29:24,480 --> 00:29:28,440 Speaker 1: wiry and shaky and loopy, and there's some true dystopian 536 00:29:28,480 --> 00:29:31,000 Speaker 1: shit going on in this song. It opens with that 537 00:29:31,080 --> 00:29:34,160 Speaker 1: line heard of a van that's loaded with weapons, packed 538 00:29:34,200 --> 00:29:36,320 Speaker 1: up and ready to go, you know. And then later 539 00:29:36,960 --> 00:29:39,880 Speaker 1: David Byurns sings, I got three passports, a couple of visas. 540 00:29:39,920 --> 00:29:41,920 Speaker 1: You don't even know my real name, you know. And 541 00:29:42,000 --> 00:29:44,160 Speaker 1: of course the whole. This ain't no party, this ain't 542 00:29:44,160 --> 00:29:46,520 Speaker 1: no disco, this ain't no fooling around, which is what 543 00:29:46,520 --> 00:29:48,840 Speaker 1: a paranoid person would say. But this is the best 544 00:29:48,920 --> 00:29:51,960 Speaker 1: kind of paranoia. This is funky paranoida. This is paranoia 545 00:29:52,280 --> 00:29:54,760 Speaker 1: you can dance to. Have you seen Stop Making Sense, 546 00:29:54,800 --> 00:29:57,320 Speaker 1: by the way, one of, if not the greatest concert 547 00:29:57,400 --> 00:29:59,920 Speaker 1: films of all time. The funkiness of this track is 548 00:30:00,080 --> 00:30:04,080 Speaker 1: multiplied by one hundred with the inclusion of FUNKADELICX keyboardist 549 00:30:04,120 --> 00:30:07,360 Speaker 1: Bernie Wurrel on that as well as the guitarist Alex Weir, 550 00:30:07,480 --> 00:30:10,960 Speaker 1: among others. Guys, Stop Making Sense. I know you've seen it, 551 00:30:10,960 --> 00:30:13,200 Speaker 1: but if you haven't, it's a must, right do it tonight? 552 00:30:13,600 --> 00:30:15,960 Speaker 1: Now it's your turn. What do you think? What songs 553 00:30:16,000 --> 00:30:18,400 Speaker 1: am I missing? Mind? Playing Tricks on Me by the 554 00:30:18,440 --> 00:30:22,960 Speaker 1: Ghetto Boys, Somebody's Watching Me by Rockwell something else? Help 555 00:30:23,040 --> 00:30:25,960 Speaker 1: me round out this clute inspired mixtape. Call or text 556 00:30:26,000 --> 00:30:28,840 Speaker 1: me at six one seven nine oh six six six 557 00:30:28,960 --> 00:30:32,560 Speaker 1: three eight. You can email Disgrace lamppod at gmail dot com, 558 00:30:32,680 --> 00:30:35,600 Speaker 1: get at me at the socials at Disgrace Lampod, or 559 00:30:35,920 --> 00:30:38,800 Speaker 1: if you're a member of All Access over on Patreon. 560 00:30:39,280 --> 00:30:41,840 Speaker 1: Jump in the chat let me know and I will 561 00:30:41,840 --> 00:30:56,080 Speaker 1: be back in a flash. All right, guys, I'm back. 562 00:30:56,520 --> 00:30:59,360 Speaker 1: Something I wanted to tell you about here as we 563 00:30:59,400 --> 00:31:03,920 Speaker 1: wrap up this screening room episode on Clute is Andy Lewis, 564 00:31:04,240 --> 00:31:07,320 Speaker 1: one of Klute's screenwriters. He got the idea for the 565 00:31:07,320 --> 00:31:10,040 Speaker 1: script when he read some older piece and an edition 566 00:31:10,120 --> 00:31:13,280 Speaker 1: of The Saturday Evening Post, which was this. You know, 567 00:31:13,440 --> 00:31:17,560 Speaker 1: that's that old magazine that a lot of Norman Rockwell's 568 00:31:17,760 --> 00:31:21,719 Speaker 1: famous paintings ran in. Anyways, there was this older article 569 00:31:21,840 --> 00:31:24,280 Speaker 1: in the Saturday Evening Post, a true story about a 570 00:31:24,320 --> 00:31:27,600 Speaker 1: farmer who left the small rural town to go to 571 00:31:27,600 --> 00:31:29,720 Speaker 1: the big city where his brother had been murdered. I 572 00:31:29,760 --> 00:31:31,360 Speaker 1: guess in order to see if he could figure out 573 00:31:31,400 --> 00:31:33,520 Speaker 1: what happened. I dug around to see if I could 574 00:31:33,560 --> 00:31:36,040 Speaker 1: find this exact article, but I didn't have any luck. 575 00:31:36,280 --> 00:31:38,720 Speaker 1: This little tidbit seems to have been mentioned in passing 576 00:31:39,240 --> 00:31:42,080 Speaker 1: by Andy Lewis during an interview. And it's not like 577 00:31:42,120 --> 00:31:44,040 Speaker 1: the script here is a beat for beat remake of 578 00:31:44,040 --> 00:31:46,640 Speaker 1: the story anyways, but it does get at the heart 579 00:31:47,120 --> 00:31:49,720 Speaker 1: of one of the film's themes, which is the so 580 00:31:49,800 --> 00:31:52,240 Speaker 1: called Rube. You know, Donald Sutherland, who comes to the 581 00:31:52,280 --> 00:31:55,920 Speaker 1: city and outsmarts the urban folk. And that's fine because 582 00:31:55,920 --> 00:31:58,240 Speaker 1: the story that the film is based on really doesn't 583 00:31:58,240 --> 00:31:59,840 Speaker 1: matter in the long run and doesn't have anything to 584 00:31:59,840 --> 00:32:02,280 Speaker 1: do with why this movie is so important in the 585 00:32:02,280 --> 00:32:05,040 Speaker 1: grand scheme of things. I think what is really forward 586 00:32:05,040 --> 00:32:08,240 Speaker 1: thinking and forward looking about this film is not how 587 00:32:08,240 --> 00:32:11,040 Speaker 1: it asks, you know, who's watching me? Because here we 588 00:32:11,120 --> 00:32:16,720 Speaker 1: are in twenty twenty six, and guess what, everybody's watching you. Instead, 589 00:32:16,920 --> 00:32:20,080 Speaker 1: the film asks who am I allowed to be when 590 00:32:20,120 --> 00:32:22,280 Speaker 1: I'm being watched? You know, we have all of our 591 00:32:22,320 --> 00:32:26,880 Speaker 1: social media personas we brand ourselves in the workplace. The 592 00:32:26,920 --> 00:32:29,880 Speaker 1: modern version of the kind of anxiety at the heart 593 00:32:29,920 --> 00:32:33,280 Speaker 1: of Clute isn't someone is listening, but instead it's this 594 00:32:33,400 --> 00:32:35,600 Speaker 1: version of me might never go away, you know, this 595 00:32:35,760 --> 00:32:38,520 Speaker 1: the version that's captured in a screenshot or an old 596 00:32:38,520 --> 00:32:41,640 Speaker 1: Facebook post or some out of context clip. And I'm 597 00:32:41,640 --> 00:32:44,479 Speaker 1: not talking about like the canceling of people things of 598 00:32:44,520 --> 00:32:46,280 Speaker 1: what they posted in the past. It's not what I mean. 599 00:32:46,840 --> 00:32:49,520 Speaker 1: What I mean is that we as people are always evolving. 600 00:32:50,240 --> 00:32:52,280 Speaker 1: You know, we're challenged every day, challenge on what we 601 00:32:52,320 --> 00:32:56,280 Speaker 1: thought we knew or didn't know, and the shadow of surveillance, 602 00:32:56,440 --> 00:32:58,600 Speaker 1: you know, threatens to keep these old versions of ourselves 603 00:32:58,640 --> 00:33:01,440 Speaker 1: in rotation for eternity, which I think brit Daniels would 604 00:33:01,440 --> 00:33:03,840 Speaker 1: have freaked the fuck out over Instagram, or I don't know, 605 00:33:03,840 --> 00:33:05,480 Speaker 1: maybe she would have found a way to make it 606 00:33:05,480 --> 00:33:09,960 Speaker 1: work to her advantage. Okay, listen. Next week on Monday, 607 00:33:10,000 --> 00:33:13,160 Speaker 1: we are continuing our Awards season month here in Hollywoodland 608 00:33:13,160 --> 00:33:16,280 Speaker 1: with our fully scripted sound design episode from the Archive 609 00:33:16,720 --> 00:33:20,000 Speaker 1: on another two time Oscar winner Sean Penn. And then 610 00:33:20,040 --> 00:33:21,880 Speaker 1: on Friday next week, I'm going to get into the 611 00:33:21,920 --> 00:33:26,200 Speaker 1: nineteen eighty six crime drama At Close Range starring Seanpenn 612 00:33:26,280 --> 00:33:30,200 Speaker 1: and Christopher Walkin, directed by James Foley, based on a 613 00:33:30,200 --> 00:33:33,760 Speaker 1: true crime story about a real life family in Pennsylvania. 614 00:33:34,320 --> 00:33:36,640 Speaker 1: So this has got me thinking, bad boys, bad boys, 615 00:33:36,640 --> 00:33:40,160 Speaker 1: What you gonna do? Shampenn and Christopher Walkin play some 616 00:33:40,280 --> 00:33:43,560 Speaker 1: father son bad boys in this movie, and Shampenn, especially 617 00:33:43,600 --> 00:33:46,440 Speaker 1: back in the eighties, he rocked that bad boy persona 618 00:33:46,560 --> 00:33:49,320 Speaker 1: off screen. So I want to know question of the 619 00:33:49,360 --> 00:33:52,440 Speaker 1: week next week, who are your favorite bad boy characters 620 00:33:52,760 --> 00:33:55,360 Speaker 1: from the history of film? Maybe a character you'll love 621 00:33:55,760 --> 00:33:58,440 Speaker 1: to hate or a character you get to live vicariously through, 622 00:33:58,760 --> 00:34:01,640 Speaker 1: or maybe it's just someone who really plays a bad 623 00:34:01,680 --> 00:34:03,760 Speaker 1: boy or a bad girl. Really well, give me a 624 00:34:03,800 --> 00:34:06,360 Speaker 1: holler and let me know six one seven nine oh 625 00:34:06,480 --> 00:34:09,640 Speaker 1: six six six three eight. Perhaps I will play your 626 00:34:09,719 --> 00:34:12,680 Speaker 1: voicemail or read your text next week in the rap party. 627 00:34:13,160 --> 00:34:16,160 Speaker 1: Until then, I'm gonna leave you with this. This is 628 00:34:16,200 --> 00:34:19,120 Speaker 1: what America was watching at the movies in the year 629 00:34:19,280 --> 00:34:25,319 Speaker 1: nineteen seventy one, the year that the movie Clute hit theaters. 630 00:34:26,400 --> 00:34:31,440 Speaker 1: Number one Billy Jack, directed by T. C. Frank, Number 631 00:34:31,440 --> 00:34:37,640 Speaker 1: two Fiddler on the Roof directed by Norman Jewison. Number three, 632 00:34:37,760 --> 00:34:41,640 Speaker 1: Diamonds Are Forever directed by Guy Hamilton o'clock ver U five, 633 00:34:41,760 --> 00:34:45,720 Speaker 1: number four directed The French Connection direct directed by William Freakin. 634 00:34:45,880 --> 00:34:48,840 Speaker 1: The Last Picture Show number se number five during summer 635 00:34:48,880 --> 00:34:51,680 Speaker 1: of forty two, directed by directed by Robert Mulligan. Now 636 00:34:51,840 --> 00:34:56,400 Speaker 1: Zuber Sex Number six, Dirty Hair Gas directed by Don c. 637 00:34:57,880 --> 00:35:04,440 Speaker 1: Number seven times call, quit talking and start mixing.