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 --> 00:00:07,160 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 --> 00:00:13,159 Speaker 1: next episode of hollywood Land to drop. I got you. 5 00:00:13,960 --> 00:00:29,400 Speaker 1: Welcome to Hollywood Land, the Rap Party. What has happened 6 00:00:29,440 --> 00:00:31,960 Speaker 1: in all you movie geeks, you true crime freaks just 7 00:00:32,120 --> 00:00:35,280 Speaker 1: like me, You guys who like your movie history served 8 00:00:35,320 --> 00:00:38,080 Speaker 1: up with a side of grit and grime. This, of course, 9 00:00:38,200 --> 00:00:40,760 Speaker 1: is the place where we dig up the stories often 10 00:00:40,800 --> 00:00:43,479 Speaker 1: lost to history. They're buried over there in the corner 11 00:00:43,560 --> 00:00:46,360 Speaker 1: of the cutting room floor, these stories they didn't want told, 12 00:00:46,560 --> 00:00:48,640 Speaker 1: the very same ones that have now made you the 13 00:00:48,720 --> 00:00:52,080 Speaker 1: most dangerous person at the party. I am your host, 14 00:00:52,200 --> 00:00:55,360 Speaker 1: Zeth Lundy, lead writer and showrunner here at Double Elvis, 15 00:00:55,360 --> 00:00:57,720 Speaker 1: and today in the hollywood Land Rap Party, we are 16 00:00:57,760 --> 00:01:02,000 Speaker 1: talking about Catherine O'Hara. We're talking about the ongoing fight 17 00:01:02,080 --> 00:01:04,280 Speaker 1: for the heart and soul of cinema, and we were 18 00:01:04,319 --> 00:01:07,600 Speaker 1: talking about robberies, as in who got robbed at the 19 00:01:07,640 --> 00:01:11,200 Speaker 1: Academy Awards. Over the years, I've got your voicemails, texts, 20 00:01:11,240 --> 00:01:14,840 Speaker 1: emails and more on this very subject. So come on everybody, 21 00:01:14,920 --> 00:01:32,000 Speaker 1: let's party. Some sad news came over the wire last week. 22 00:01:32,080 --> 00:01:35,800 Speaker 1: Last Friday, January thirtieth, we got word that the great 23 00:01:35,959 --> 00:01:40,200 Speaker 1: Catherine O'Hara had passed away at the age of seventy one. 24 00:01:41,080 --> 00:01:44,520 Speaker 1: Catherine O'Hara one of the greatest comedians and actresses, certainly 25 00:01:44,600 --> 00:01:48,800 Speaker 1: of my lifetime. I honestly don't remember life without Catherine 26 00:01:48,800 --> 00:01:52,560 Speaker 1: O'Hara in my movies and TV shows. I grew up 27 00:01:52,640 --> 00:01:56,120 Speaker 1: in a family that put a premium on comedy. Comedy. 28 00:01:56,520 --> 00:01:59,000 Speaker 1: It was air, it was water, it was life. It 29 00:01:59,040 --> 00:02:02,880 Speaker 1: was as important natural resource in my house as music was. 30 00:02:03,440 --> 00:02:06,560 Speaker 1: Music was always on My folks were always playing a 31 00:02:06,600 --> 00:02:09,080 Speaker 1: record or a CD. And it wasn't just the music 32 00:02:09,120 --> 00:02:12,320 Speaker 1: that they grew up with. Honestly, it was mostly contemporary 33 00:02:12,720 --> 00:02:16,320 Speaker 1: modern stuff because my parents were always curious and open 34 00:02:16,400 --> 00:02:21,200 Speaker 1: and constantly searching for another new sound. My dad in particular, 35 00:02:21,560 --> 00:02:24,320 Speaker 1: used to avoid the music he came up with, just 36 00:02:24,360 --> 00:02:26,280 Speaker 1: because it felt so old to him. I think, you know, 37 00:02:26,320 --> 00:02:29,080 Speaker 1: he would complain about how something like The Lawn and 38 00:02:29,120 --> 00:02:32,079 Speaker 1: Winding Road was on the radio all the time when 39 00:02:32,080 --> 00:02:34,040 Speaker 1: he was sixteen years old, and he was all good 40 00:02:34,040 --> 00:02:35,720 Speaker 1: with that and didn't never have to hear it again. 41 00:02:36,200 --> 00:02:38,280 Speaker 1: Of course, you know he'd come back around to that later, 42 00:02:38,360 --> 00:02:41,120 Speaker 1: and I know now he appreciates revisiting a lot of 43 00:02:41,120 --> 00:02:43,320 Speaker 1: that stuff from when he was coming up. But back 44 00:02:43,320 --> 00:02:44,800 Speaker 1: in the day, back in my day, when I was 45 00:02:44,800 --> 00:02:46,880 Speaker 1: a kid, it was all about what was new, what 46 00:02:47,040 --> 00:02:49,760 Speaker 1: was now, And if you were to visit my house 47 00:02:49,840 --> 00:02:52,880 Speaker 1: now with my kids, you would find a very similar place. 48 00:02:53,000 --> 00:02:55,799 Speaker 1: Music is always on. If we're cooking, or we're eating, 49 00:02:55,880 --> 00:02:58,239 Speaker 1: or playing a board game, or cleaning or reading, whatever 50 00:02:58,240 --> 00:03:03,480 Speaker 1: we're doing, music is a con unless, naturally we're watching something. Okay, 51 00:03:03,520 --> 00:03:06,040 Speaker 1: so watching stuff growing up, I said, my parents put 52 00:03:06,040 --> 00:03:09,320 Speaker 1: a premium on comedy, and so long before I saw 53 00:03:09,440 --> 00:03:13,640 Speaker 1: Catherine O'Hara in any movies, the first thing I saw 54 00:03:13,680 --> 00:03:17,320 Speaker 1: her in. One of the first non adolescent examples of 55 00:03:17,360 --> 00:03:19,360 Speaker 1: a movie or a TV show that I ever saw 56 00:03:20,120 --> 00:03:23,920 Speaker 1: was SCTV. I am sure most of you out there 57 00:03:23,960 --> 00:03:28,000 Speaker 1: are familiar with SETV, but for those who aren't, SETV 58 00:03:28,200 --> 00:03:31,840 Speaker 1: was a Canadian sketch comedy show that began in nineteen 59 00:03:31,919 --> 00:03:35,160 Speaker 1: seventy six, which is the year after Saturday Night Live started, 60 00:03:35,200 --> 00:03:37,920 Speaker 1: and which is probably why I've always referred to it 61 00:03:37,960 --> 00:03:40,640 Speaker 1: in a shorthand way as the Canadian Saturday night life. 62 00:03:41,200 --> 00:03:44,360 Speaker 1: This is where Martin Short started, as well as Eugene Levy, 63 00:03:44,520 --> 00:03:50,080 Speaker 1: John Candy, Andrew Martin, Dave Thomas, Rick Moranis, Joe Flaherty, 64 00:03:50,160 --> 00:03:54,480 Speaker 1: Harold Ramus, and of course Catherine O'Hara. What a cast. 65 00:03:55,400 --> 00:03:57,520 Speaker 1: By the time the show was picked up by NBC 66 00:03:57,640 --> 00:04:00,720 Speaker 1: in America and put into a late night from slot 67 00:04:01,000 --> 00:04:04,600 Speaker 1: in nineteen eighty one, it was called SCTV Network ninety 68 00:04:05,120 --> 00:04:07,440 Speaker 1: and its fourth season, which I believe was the first 69 00:04:07,440 --> 00:04:10,960 Speaker 1: one in the US, is just incredible stuff, incredible comedy. 70 00:04:11,440 --> 00:04:13,800 Speaker 1: I did a quick search and it's a bummer, guys. 71 00:04:13,880 --> 00:04:17,200 Speaker 1: I don't know that you can stream entire episodes of 72 00:04:17,279 --> 00:04:23,640 Speaker 1: SCTV anywhere. I have a couple of box sets on DVD. 73 00:04:24,040 --> 00:04:27,520 Speaker 1: I think of the fourth season that my dad actually 74 00:04:27,880 --> 00:04:29,839 Speaker 1: handed down to me and when he was getting rid 75 00:04:29,880 --> 00:04:32,680 Speaker 1: of a bunch of stuff and living light, so I 76 00:04:32,760 --> 00:04:36,320 Speaker 1: was the benefactor of those. But there's enough official YouTube 77 00:04:36,360 --> 00:04:38,719 Speaker 1: channel out there that has like skits and clips. But 78 00:04:39,640 --> 00:04:42,400 Speaker 1: this is the thing. The brilliance of SCTV, A brilliance 79 00:04:42,400 --> 00:04:45,240 Speaker 1: that's shared by some other sketch comedy shows like Monty 80 00:04:45,279 --> 00:04:48,760 Speaker 1: Python's Flying Circus and Mister Show is that each episode 81 00:04:48,800 --> 00:04:51,640 Speaker 1: had this narrative thread running through it. The whole conceit 82 00:04:51,680 --> 00:04:54,559 Speaker 1: of SCTV was that it was a fictional TV station, 83 00:04:54,960 --> 00:04:58,560 Speaker 1: you know, with advertisements made for TV movies, music videos, 84 00:04:58,600 --> 00:05:01,440 Speaker 1: game shows. For instance, there's a great episode from that 85 00:05:01,480 --> 00:05:04,120 Speaker 1: fourth season I was talking about where a Russian station 86 00:05:04,600 --> 00:05:08,520 Speaker 1: keeps interfering with SCTV's signal and taking over the broadcast. 87 00:05:08,560 --> 00:05:11,720 Speaker 1: And so in that way, entire episodes of the show 88 00:05:11,800 --> 00:05:14,360 Speaker 1: really pay off in a way that entire episodes have 89 00:05:14,440 --> 00:05:18,599 Speaker 1: signed it Live don't. But SCTV was not well known 90 00:05:18,720 --> 00:05:20,680 Speaker 1: or popular back when it was around, even when the 91 00:05:20,680 --> 00:05:23,680 Speaker 1: big networks were still airing like best of specials as 92 00:05:23,760 --> 00:05:26,640 Speaker 1: late as the late eighties. But I remember it as 93 00:05:26,680 --> 00:05:29,280 Speaker 1: being this secret code kind of thing among your friends. 94 00:05:29,320 --> 00:05:32,440 Speaker 1: Like if you heard some kids talking about last weekend's 95 00:05:32,560 --> 00:05:35,280 Speaker 1: SNL episode with Dana Carvey and Phil Hartman and all 96 00:05:35,320 --> 00:05:37,200 Speaker 1: those players, you'd be like, yeah, but do you know 97 00:05:37,240 --> 00:05:42,960 Speaker 1: about SCTV. And what SCTV had that SNL and all 98 00:05:42,960 --> 00:05:46,320 Speaker 1: the others didn't have was Katherine O'Hara. Now, actually sidebar, 99 00:05:46,680 --> 00:05:49,960 Speaker 1: Katherine O'Hara was hired as a cast member on SNL 100 00:05:50,080 --> 00:05:53,320 Speaker 1: in I Believe nineteen eighty, but she only lasted for 101 00:05:53,360 --> 00:05:56,520 Speaker 1: a week. She quit before the first episode ever aired 102 00:05:57,080 --> 00:05:59,120 Speaker 1: because right after she was hired, she got word that 103 00:05:59,279 --> 00:06:02,480 Speaker 1: SETV was picked up for another season, and she chose 104 00:06:02,560 --> 00:06:06,400 Speaker 1: to go back there, back to what she called her family. Now, 105 00:06:06,440 --> 00:06:09,280 Speaker 1: that decision certainly did not hurt her career. Just a 106 00:06:09,320 --> 00:06:12,080 Speaker 1: few years later, in nineteen eighty five, she was cast 107 00:06:12,160 --> 00:06:15,600 Speaker 1: in Martin Scorsese's After Hours, which many of you know 108 00:06:15,800 --> 00:06:19,839 Speaker 1: is not only one of my favorite Scorsese movies, but 109 00:06:19,880 --> 00:06:22,160 Speaker 1: also one of my favorite movies of all time period. 110 00:06:22,920 --> 00:06:25,000 Speaker 1: She plays one of the many night people that Griffin 111 00:06:25,120 --> 00:06:27,599 Speaker 1: Dunn runs into in New York over the period of 112 00:06:27,640 --> 00:06:30,800 Speaker 1: this one long, strange trip of an evening. Katherine O'Hara 113 00:06:30,920 --> 00:06:34,000 Speaker 1: plays Gail, who drives a Mister Softy ice cream truck. 114 00:06:34,160 --> 00:06:36,800 Speaker 1: She's the one who blows the whistle on Gryffin Dunn's 115 00:06:36,839 --> 00:06:38,640 Speaker 1: character Paul in the middle of the street when this 116 00:06:38,720 --> 00:06:40,880 Speaker 1: mob is out to get him, thinking that he's this 117 00:06:40,960 --> 00:06:45,200 Speaker 1: serial burglar in the neighborhood. Catherine O'Hara has this incredible 118 00:06:45,200 --> 00:06:48,839 Speaker 1: look in the film, shoulder length blonde hair, yellow shirt, 119 00:06:48,960 --> 00:06:51,839 Speaker 1: black jeans, black jacket, a bunch of like punk accessories 120 00:06:51,880 --> 00:06:55,120 Speaker 1: around her waist. She looks like she's Debbie Harry's competition 121 00:06:55,440 --> 00:06:57,960 Speaker 1: in this thing, and all of which is deliberate because 122 00:06:57,960 --> 00:07:00,800 Speaker 1: the production team said about this film that yellow and 123 00:07:00,839 --> 00:07:03,560 Speaker 1: black is like the color motif of the movie, which 124 00:07:03,600 --> 00:07:05,920 Speaker 1: is also the color of a taxi cab. And speaking 125 00:07:05,920 --> 00:07:08,040 Speaker 1: of taxi cabs, next time you watch this movie, look 126 00:07:08,080 --> 00:07:11,360 Speaker 1: closely at the patch that Catherine O'Hara is wearing on 127 00:07:11,400 --> 00:07:14,240 Speaker 1: her sleeve. It's a patch for the King Kong Company, 128 00:07:14,480 --> 00:07:18,360 Speaker 1: which is the exact same patch that Travis Bickle wears 129 00:07:18,480 --> 00:07:23,360 Speaker 1: in Scorsese's Taxi Driver. Okay, but after after hours, Catherine 130 00:07:23,360 --> 00:07:27,680 Speaker 1: O'Hara continued with these iconic comedic roles, first as Deliadiets, 131 00:07:28,080 --> 00:07:30,520 Speaker 1: the matriarch of the family that the ghosts want out 132 00:07:30,520 --> 00:07:34,040 Speaker 1: of their house in Beetlejuice, and then as Kevin McAllister's 133 00:07:34,040 --> 00:07:36,640 Speaker 1: mom in Home Alone, which is probably the first time 134 00:07:36,760 --> 00:07:39,440 Speaker 1: my kids ever saw her in something, and then later 135 00:07:39,480 --> 00:07:42,239 Speaker 1: in all of Christopher Guests incredible mockumentaries, you know best 136 00:07:42,280 --> 00:07:45,120 Speaker 1: in show Waiting for Guffman A Mighty Wind, and then 137 00:07:45,240 --> 00:07:49,600 Speaker 1: later she played Moira Rose of formerly wealthy and currently 138 00:07:49,640 --> 00:07:51,880 Speaker 1: self centered woman who is forced to live in a 139 00:07:51,920 --> 00:07:54,720 Speaker 1: shitty motel with her husband and her adult children after 140 00:07:54,720 --> 00:07:57,640 Speaker 1: they find out they're broke, and even as recently as 141 00:07:58,120 --> 00:08:00,840 Speaker 1: just this past year, in the Studio, a great, great 142 00:08:00,880 --> 00:08:05,400 Speaker 1: TV show that once again, just like SCTV, lovingly mocked 143 00:08:05,480 --> 00:08:09,040 Speaker 1: the industry that gave Katherine O'Hara her career. My son 144 00:08:09,080 --> 00:08:11,360 Speaker 1: says something just off the cuff, but it was very 145 00:08:11,360 --> 00:08:13,800 Speaker 1: interesting to me. On the day she died. He's fourteen, 146 00:08:14,160 --> 00:08:16,080 Speaker 1: and he heard about her death that day and he 147 00:08:16,520 --> 00:08:18,320 Speaker 1: mentioned it to me, and he said, Wow, I didn't 148 00:08:18,320 --> 00:08:20,560 Speaker 1: realize how old she was because she'd been in so 149 00:08:20,640 --> 00:08:23,840 Speaker 1: much stuff recently. Now he was talking about the studio 150 00:08:23,880 --> 00:08:26,800 Speaker 1: and also about Beetlejuice, Beetlejuice, the Beetlejuice sequel that just 151 00:08:26,840 --> 00:08:29,480 Speaker 1: came out, And I get, you know, seventy one is 152 00:08:29,520 --> 00:08:31,440 Speaker 1: not old, but he's fourteen years old, so I get 153 00:08:31,440 --> 00:08:34,120 Speaker 1: it from his point of view. But his comment made 154 00:08:34,120 --> 00:08:38,119 Speaker 1: me realize, right that there were three, maybe four stages 155 00:08:38,280 --> 00:08:40,560 Speaker 1: of who Catherine O'Hara was to people. 156 00:08:40,679 --> 00:08:40,839 Speaker 2: Right. 157 00:08:41,280 --> 00:08:45,120 Speaker 1: There was the SCTV Catherine O'Hara, there was the Beetlejuice 158 00:08:45,240 --> 00:08:49,920 Speaker 1: Home Alone, Catherine O'Hara. There was the Christopher guest team 159 00:08:50,000 --> 00:08:52,280 Speaker 1: player Catherine O'Hara, and then there was the Shit's Creek 160 00:08:52,360 --> 00:08:56,480 Speaker 1: Catherine O'Hara. She was creatively reborn every ten years or so. 161 00:08:56,720 --> 00:08:59,199 Speaker 1: What great providence for her, and what a privilege for 162 00:08:59,320 --> 00:09:01,640 Speaker 1: us that we got to have her in our lives 163 00:09:01,679 --> 00:09:03,800 Speaker 1: and not in a oh, do you remember her kind 164 00:09:03,800 --> 00:09:05,320 Speaker 1: of way or in a oh, she used to be 165 00:09:05,360 --> 00:09:07,560 Speaker 1: funny kind of way. She was always funny, She was 166 00:09:07,679 --> 00:09:10,760 Speaker 1: always relevant. She didn't just play the hits. She was 167 00:09:10,840 --> 00:09:12,920 Speaker 1: always in the lookout for the next thing that could 168 00:09:13,000 --> 00:09:15,880 Speaker 1: use her talents and her strengths in not only the 169 00:09:15,920 --> 00:09:19,040 Speaker 1: best way, but a new way. And this also reminds me. 170 00:09:19,600 --> 00:09:23,280 Speaker 1: There's this great interview with Dean Ween of the band 171 00:09:23,320 --> 00:09:26,319 Speaker 1: Wien in which he sings the praises of Jimmy Page. 172 00:09:26,360 --> 00:09:28,880 Speaker 1: He calls him the king of the way. Too far 173 00:09:29,000 --> 00:09:31,600 Speaker 1: bend is how he puts it, and he's talking about 174 00:09:31,640 --> 00:09:34,360 Speaker 1: his playing not on record but in live performances, when 175 00:09:34,640 --> 00:09:38,440 Speaker 1: Jimmy Page had this iconic habit of taking his playing 176 00:09:38,480 --> 00:09:40,959 Speaker 1: too far in a sense, like going over the line. 177 00:09:41,080 --> 00:09:44,960 Speaker 1: It's this belligerent style of playing where if you're bending 178 00:09:45,000 --> 00:09:47,160 Speaker 1: your string dramatically and you want to hit an A 179 00:09:47,320 --> 00:09:50,080 Speaker 1: note for instance, Jimmy would go beyond the A to 180 00:09:50,200 --> 00:09:52,520 Speaker 1: like an A sharp or whatever B flat. I don't 181 00:09:52,559 --> 00:09:56,000 Speaker 1: read music. This is what I loved about Catherine O'Hara 182 00:09:56,000 --> 00:09:58,280 Speaker 1: as an actress is that she would do the way 183 00:09:58,320 --> 00:10:01,840 Speaker 1: too far Bend thing with her performances. She was the 184 00:10:01,880 --> 00:10:05,439 Speaker 1: greatest absurdist. She played these characters who with the epitome 185 00:10:05,480 --> 00:10:09,800 Speaker 1: of narcissism or vanity, you know, like Deliadiet's or Moira Rose, 186 00:10:10,480 --> 00:10:12,600 Speaker 1: and she would do this by going over the line 187 00:10:12,679 --> 00:10:16,120 Speaker 1: with her performance. She somehow went beyond parody and into 188 00:10:16,160 --> 00:10:18,400 Speaker 1: this flow state on the other side where the character 189 00:10:18,520 --> 00:10:21,200 Speaker 1: was so real, the character just you know, believes her 190 00:10:21,240 --> 00:10:25,160 Speaker 1: own bullshit and literally was incapable of parting these absurdist 191 00:10:25,160 --> 00:10:28,040 Speaker 1: clouds to see things for what they really were. And 192 00:10:28,080 --> 00:10:30,880 Speaker 1: with that, the queen of the way Too Far Bend, 193 00:10:32,320 --> 00:10:37,720 Speaker 1: Catherine O'Hara set herself apart from everybody else, Speaking of 194 00:10:37,760 --> 00:10:40,960 Speaker 1: actors who set themselves apart from everyone else. This week, 195 00:10:41,080 --> 00:10:43,240 Speaker 1: just a few days back on Monday, we dropped our 196 00:10:43,280 --> 00:10:47,360 Speaker 1: fully scripted sound design episode on Al Pacino. You know 197 00:10:47,440 --> 00:10:49,559 Speaker 1: the story if you've heard the episode, But if you haven't, 198 00:10:49,600 --> 00:10:51,839 Speaker 1: this is one of those stories in which two clear 199 00:10:51,880 --> 00:10:54,240 Speaker 1: paths emerge in front of you, one leading you to 200 00:10:54,280 --> 00:10:57,439 Speaker 1: the light and one leading you to the darkness. What 201 00:10:57,440 --> 00:11:00,280 Speaker 1: do you choose? Why do you choose? Go give that 202 00:11:00,280 --> 00:11:03,240 Speaker 1: Paccino episode a listen if you haven't, And then this Friday, 203 00:11:03,760 --> 00:11:05,440 Speaker 1: come back and join me as I do a deep 204 00:11:05,559 --> 00:11:08,840 Speaker 1: dive into the nineteen seventy five film Dog Day Afternoon, 205 00:11:09,320 --> 00:11:11,640 Speaker 1: starring The Man of the Hour. This has got to 206 00:11:11,679 --> 00:11:14,320 Speaker 1: be the best bank robbery film of all time, definitely 207 00:11:14,360 --> 00:11:16,880 Speaker 1: one of the greatest films of all time period. I 208 00:11:16,920 --> 00:11:19,520 Speaker 1: had a really fun time getting into this one, and 209 00:11:20,720 --> 00:11:22,040 Speaker 1: I think you guys are going to dig it, so 210 00:11:22,120 --> 00:11:24,800 Speaker 1: please check it out. And then next week, next Monday, 211 00:11:25,160 --> 00:11:28,000 Speaker 1: continuing our Awards season month, here we're bringing you an 212 00:11:28,040 --> 00:11:31,240 Speaker 1: episode from the archive on two time Best Actress winner 213 00:11:31,320 --> 00:11:34,480 Speaker 1: at the Academy Awards, Jane Fonda, and I'm going to 214 00:11:34,520 --> 00:11:37,720 Speaker 1: be getting into the paranoia of nineteen seventies cinema, which 215 00:11:37,760 --> 00:11:40,320 Speaker 1: got me thinking for next week's question of the Week, 216 00:11:40,400 --> 00:11:44,199 Speaker 1: I want to know what movie made you paranoid? What 217 00:11:44,240 --> 00:11:46,400 Speaker 1: movie had you check in for bugs under the seat 218 00:11:46,400 --> 00:11:48,360 Speaker 1: of your car when you came out of the theater 219 00:11:48,840 --> 00:11:51,000 Speaker 1: or just had you questioning everything you thought you knew. 220 00:11:51,120 --> 00:11:53,360 Speaker 1: Hit me up and let me know you know the drill. 221 00:11:53,640 --> 00:11:56,640 Speaker 1: You can call or text me six one seven nine 222 00:11:56,640 --> 00:11:59,959 Speaker 1: oh six six six three eight. You can email me 223 00:12:00,200 --> 00:12:03,839 Speaker 1: at disgracelampod at gmail dot com, hit me up on 224 00:12:03,880 --> 00:12:07,280 Speaker 1: the socials at Disgrace lampod, or if you're a member 225 00:12:07,320 --> 00:12:10,199 Speaker 1: of Disgrace land all access over on Patreon, get at 226 00:12:10,200 --> 00:12:12,719 Speaker 1: me in the chat now. This week's question of the 227 00:12:12,720 --> 00:12:15,240 Speaker 1: Week was all about the actors and directors that you 228 00:12:15,320 --> 00:12:18,240 Speaker 1: thought got robbed at the Academy Awards over the years, 229 00:12:18,240 --> 00:12:20,200 Speaker 1: and I want to get into that with all of you. 230 00:12:20,640 --> 00:12:48,080 Speaker 1: We're going to do that right after this quick break. Okay, everybody, 231 00:12:48,080 --> 00:12:50,840 Speaker 1: we are back here in the rap party talking about 232 00:12:51,000 --> 00:12:55,959 Speaker 1: the actors, actresses, directors, writers, whoever who you think got 233 00:12:56,000 --> 00:12:59,240 Speaker 1: looked over at the Academy Awards. And we're going to 234 00:12:59,280 --> 00:13:01,000 Speaker 1: get right into this. We got a lot of feedback 235 00:13:01,000 --> 00:13:02,320 Speaker 1: from you guys out there. We're going to get right 236 00:13:02,320 --> 00:13:05,079 Speaker 1: into this. With a voicemail here from the nine to 237 00:13:05,120 --> 00:13:05,560 Speaker 1: oh one. 238 00:13:07,360 --> 00:13:10,959 Speaker 3: Hey, it's Elizabeth in the seven three one calling from 239 00:13:11,040 --> 00:13:15,280 Speaker 3: the nine oh one. I was calling for the Hollywoodland 240 00:13:15,840 --> 00:13:19,800 Speaker 3: about twho is an Oscar snub that really bothered us 241 00:13:20,080 --> 00:13:23,960 Speaker 3: picture at nineteen ninety four Angela Bassett losing to Holly Hunter. 242 00:13:24,320 --> 00:13:27,040 Speaker 3: I was devastated. As a seventh creator, I was obviously 243 00:13:27,080 --> 00:13:30,679 Speaker 3: already deep into the movies and very upset about that. 244 00:13:30,960 --> 00:13:33,360 Speaker 3: So every time this comes up, I usually go on 245 00:13:33,360 --> 00:13:36,240 Speaker 3: my sea box and ran about it. But nowadays everyone 246 00:13:36,240 --> 00:13:38,920 Speaker 3: who plays you know, in a biopic seems like win 247 00:13:39,040 --> 00:13:41,760 Speaker 3: to the Oscar. But she was the OG and in 248 00:13:41,800 --> 00:13:45,040 Speaker 3: my opinion, the best should have won the Oscar hands down, 249 00:13:45,760 --> 00:13:49,160 Speaker 3: and that's my call in Also with the question about 250 00:13:49,200 --> 00:13:52,079 Speaker 3: the new mixtape he's doing on the streaming room, definitely love. 251 00:13:52,160 --> 00:13:55,520 Speaker 3: That would be great if those were something we could say, 252 00:13:55,679 --> 00:13:59,080 Speaker 3: like in Spotify or Apple to have those are super cool, 253 00:13:59,120 --> 00:14:00,480 Speaker 3: but that might be a lot of T. I'm not 254 00:14:00,480 --> 00:14:03,360 Speaker 3: sure how that works. So great episodes, Love in the 255 00:14:03,360 --> 00:14:07,280 Speaker 3: Screening Room Hollywood Lands is like becoming my favorite. No 256 00:14:07,440 --> 00:14:11,160 Speaker 3: fans shake, but it's great. This is awesome. Have a 257 00:14:11,200 --> 00:14:14,439 Speaker 3: good weekend. We're still covered in US here in Tennessee, 258 00:14:15,120 --> 00:14:17,400 Speaker 3: so this has been really good to have these podcasts 259 00:14:17,440 --> 00:14:21,480 Speaker 3: to listen to while we're shutting and having to do homeworkouts. Haha, 260 00:14:22,200 --> 00:14:22,840 Speaker 3: have a gooe. 261 00:14:22,880 --> 00:14:26,280 Speaker 1: Thanks Elizabeth, thank you so much for the kind words, 262 00:14:26,320 --> 00:14:28,440 Speaker 1: and thank you for calling in. Sorry, y'all are dealing 263 00:14:28,480 --> 00:14:31,920 Speaker 1: with ice down in Tennessee. It's been a rough winter everywhere, 264 00:14:32,000 --> 00:14:34,440 Speaker 1: you know, and now that damn groundhog is seeing the 265 00:14:34,480 --> 00:14:36,760 Speaker 1: shadow and giving us six more weeks to this shit 266 00:14:37,720 --> 00:14:38,520 Speaker 1: come out of here. 267 00:14:39,360 --> 00:14:39,720 Speaker 2: Anyway. 268 00:14:39,720 --> 00:14:41,920 Speaker 1: I'm glad we're keeping you company, keeping you saying, and 269 00:14:42,320 --> 00:14:44,520 Speaker 1: I'm glad you like the mixtape idea in the screening room. 270 00:14:44,560 --> 00:14:47,320 Speaker 1: I actually did that again this week for the episode 271 00:14:47,360 --> 00:14:50,680 Speaker 1: on dog Day Afternoon that's coming up. I happen to 272 00:14:50,720 --> 00:14:52,840 Speaker 1: record that before I heard feedback from people, But people 273 00:14:52,840 --> 00:14:55,640 Speaker 1: seem to like the idea, so definitely check that out. 274 00:14:55,680 --> 00:14:57,960 Speaker 1: And I do. I love the idea of making these 275 00:14:58,000 --> 00:15:01,640 Speaker 1: available on Spotify and Apple you suggested, And if you 276 00:15:01,680 --> 00:15:03,640 Speaker 1: know me, you know I'm the first one to jump 277 00:15:03,680 --> 00:15:07,360 Speaker 1: at the chance to make more work for myself, especially 278 00:15:07,400 --> 00:15:10,480 Speaker 1: when a mixtapes involved. But I don't know, that might 279 00:15:10,480 --> 00:15:12,400 Speaker 1: be just a little too much for me to handle 280 00:15:12,440 --> 00:15:13,960 Speaker 1: at the moment. I don't know. I'll see if I 281 00:15:14,000 --> 00:15:16,280 Speaker 1: can rustle up some time to get into that at 282 00:15:16,280 --> 00:15:18,080 Speaker 1: some point, because I do like that idea a lot. 283 00:15:18,280 --> 00:15:21,480 Speaker 1: You called about Holly Hunter winning the Oscar for the 284 00:15:21,520 --> 00:15:25,720 Speaker 1: Piano over Angela Bassett for her performance as Tina Turner 285 00:15:25,760 --> 00:15:27,960 Speaker 1: and What's Love Got to Do With It? And you're 286 00:15:28,000 --> 00:15:30,280 Speaker 1: totally right, you know, the biopic thing has become this 287 00:15:30,440 --> 00:15:32,560 Speaker 1: rite of passage almost as much as being cast in 288 00:15:32,600 --> 00:15:36,280 Speaker 1: the Marvel universe these days. But Angela Bassett was the 289 00:15:36,320 --> 00:15:39,040 Speaker 1: og and she was totally great in that film, a 290 00:15:39,080 --> 00:15:41,080 Speaker 1: film which I think was a big part in bringing 291 00:15:41,120 --> 00:15:43,480 Speaker 1: the reality of what was going on with Ike and 292 00:15:43,600 --> 00:15:46,960 Speaker 1: Tina behind doors, behind closed doors, you know, to the surface. 293 00:15:47,400 --> 00:15:47,560 Speaker 4: You know. 294 00:15:47,600 --> 00:15:49,480 Speaker 1: I think a good way to measure these things is 295 00:15:49,520 --> 00:15:51,840 Speaker 1: to say, do I want to watch that movie again? 296 00:15:51,880 --> 00:15:53,600 Speaker 1: And I don't feel like I need to watch The 297 00:15:53,640 --> 00:15:56,320 Speaker 1: Piano ever again, but I would watch What's Love Got 298 00:15:56,320 --> 00:15:58,240 Speaker 1: to Do With It? For sure. So I'm going to 299 00:15:58,280 --> 00:16:00,880 Speaker 1: side with you here, Elizabeth. I thank you for your call. 300 00:16:01,000 --> 00:16:04,440 Speaker 1: Appreciate you. Hey, Matt, will you play this boyemail from Matt? 301 00:16:04,600 --> 00:16:07,520 Speaker 1: Not you, Matt. It's a different Matt, at least I 302 00:16:07,520 --> 00:16:11,560 Speaker 1: think so. Matt in the eight one. 303 00:16:11,120 --> 00:16:14,200 Speaker 4: Hey, this is Matt Collin from Mount Vernon, Ohio the 304 00:16:14,280 --> 00:16:18,280 Speaker 4: eight one to five, just responding to your bonus episode 305 00:16:18,320 --> 00:16:24,040 Speaker 4: Hollywood Land about who got robbed at the Oscars? For sure. 306 00:16:24,080 --> 00:16:28,000 Speaker 2: I think Sylvester Stallone got robbed in twenty sixteen when 307 00:16:28,040 --> 00:16:31,200 Speaker 2: he lost to Mark Ryland's Bridge of Spies. 308 00:16:32,000 --> 00:16:35,760 Speaker 4: I think going into that night, Fly had the momentum 309 00:16:35,840 --> 00:16:37,800 Speaker 4: he should have won. For Creed. 310 00:16:39,320 --> 00:16:42,960 Speaker 2: Rocky Belbo is just that whole character is just amazing. 311 00:16:42,960 --> 00:16:45,040 Speaker 2: It would have been nice to see him when. As 312 00:16:45,080 --> 00:16:48,720 Speaker 2: far as actors who have never been nominated or who 313 00:16:48,720 --> 00:16:52,479 Speaker 2: should have been nominated, Ryan Gosling for Drive didn't get nominated, 314 00:16:52,520 --> 00:16:55,280 Speaker 2: and I thought he should because he was amazing in 315 00:16:55,320 --> 00:16:56,080 Speaker 2: that performance. 316 00:16:56,720 --> 00:16:59,520 Speaker 4: Anyways, thanks for I'll let you guys do talk to you, Matt. 317 00:16:59,680 --> 00:17:02,640 Speaker 1: Yeah, Mark Rylance winning for Bridge of Spies. That was 318 00:17:02,680 --> 00:17:05,119 Speaker 1: one of a few Spielberg films he was in around 319 00:17:05,160 --> 00:17:10,760 Speaker 1: that time. I believe the BFG and Shoot I forget 320 00:17:10,800 --> 00:17:13,440 Speaker 1: the other one. Rylence is not a household name actor, 321 00:17:13,920 --> 00:17:16,720 Speaker 1: but a great actor. But that said, is this an 322 00:17:16,720 --> 00:17:20,240 Speaker 1: Oscar worthy performance, I'm not sure. I mean, let's see 323 00:17:20,359 --> 00:17:23,359 Speaker 1: that year he was up against Christian Bale in The 324 00:17:23,400 --> 00:17:27,679 Speaker 1: Big Short, Tom Hardy in the Revenant, Mark Ruffalo and Spotlight, 325 00:17:27,840 --> 00:17:32,360 Speaker 1: and Sly in Creed. Now, Matt I got to confess here, 326 00:17:33,960 --> 00:17:36,199 Speaker 1: I have not seen Creed, but I have to see it. 327 00:17:36,600 --> 00:17:38,560 Speaker 1: I love Ryan Coogler, I love Michael B. 328 00:17:38,680 --> 00:17:38,960 Speaker 2: Jordan. 329 00:17:39,280 --> 00:17:41,880 Speaker 1: It's on my list. I gotta check it out on 330 00:17:41,880 --> 00:17:44,000 Speaker 1: one of those blind spots. But I'm gonna take your 331 00:17:44,000 --> 00:17:46,720 Speaker 1: word for it. You know, Sylvester Stallone has this really 332 00:17:46,720 --> 00:17:49,840 Speaker 1: interesting trajectory, you know he's got He has this early 333 00:17:49,880 --> 00:17:54,399 Speaker 1: critical acclaim followed by this incredible commercial success that squashed 334 00:17:54,400 --> 00:17:57,359 Speaker 1: the critical claim, and then this third phase where the 335 00:17:57,400 --> 00:18:00,560 Speaker 1: pendulum swum back to you know, acclaim again, stuff like 336 00:18:00,600 --> 00:18:03,880 Speaker 1: cop Land, and then with this film. So I gotta 337 00:18:03,960 --> 00:18:05,399 Speaker 1: I gotta check this out at some point, Matt. I 338 00:18:05,400 --> 00:18:08,159 Speaker 1: appreciate you calling in and giving the shout out on 339 00:18:08,240 --> 00:18:11,280 Speaker 1: that one. All right over on the text machine here, 340 00:18:11,840 --> 00:18:15,160 Speaker 1: Casey and the five oh six wrote, who was absolutely 341 00:18:15,240 --> 00:18:18,760 Speaker 1: robbed at the Oscars Judy Garland and a Cookar's version 342 00:18:18,920 --> 00:18:22,040 Speaker 1: of A Star is Born? She lost to Grace Kelly 343 00:18:22,480 --> 00:18:25,119 Speaker 1: in the Country Girl. Groucho Marx said it was the 344 00:18:25,119 --> 00:18:29,320 Speaker 1: biggest robbery since Brinkx. That's why I wanted to read 345 00:18:29,359 --> 00:18:31,920 Speaker 1: that text, especially for that Groucho Marx joke. That's an 346 00:18:32,400 --> 00:18:36,320 Speaker 1: my incredible joke. I have not seen this Grace Kelly performance. 347 00:18:36,600 --> 00:18:38,760 Speaker 1: I'm not sure that any Grace Kelly performance that I've 348 00:18:38,760 --> 00:18:43,399 Speaker 1: seen I would notice oscar worthy iconic, absolutely absolutely iconic. 349 00:18:43,840 --> 00:18:47,040 Speaker 1: Thinking about her in rear window and the parade of 350 00:18:47,520 --> 00:18:50,400 Speaker 1: dresses and outfits she's in, and that just like incredible, 351 00:18:50,720 --> 00:18:52,919 Speaker 1: but oscar worthy app casey, I think I gotta go 352 00:18:52,960 --> 00:18:54,879 Speaker 1: with you on that one. Another text here from the 353 00:18:54,880 --> 00:18:59,040 Speaker 1: three o two which says Mickey Rourke absolutely got robbed 354 00:18:59,119 --> 00:19:02,800 Speaker 1: for the wrestler if I remember correctly, Champenne won for Milk. 355 00:19:03,160 --> 00:19:06,160 Speaker 1: So kind of a Pacino Nicholson thing, only this time 356 00:19:06,520 --> 00:19:10,480 Speaker 1: they got it wrong. Yeah, three oh two. Definitely a 357 00:19:10,520 --> 00:19:14,080 Speaker 1: Paccino Nicholson thing going on here, which, just to clarify 358 00:19:14,160 --> 00:19:16,000 Speaker 1: for those that didn't hear last week, I was talking 359 00:19:16,000 --> 00:19:21,160 Speaker 1: about how both Pacchino and Nicholson were nominated the same year, 360 00:19:21,240 --> 00:19:23,760 Speaker 1: Pacino for Dog Day Afternoon Jack and Nicholson for One 361 00:19:23,760 --> 00:19:26,040 Speaker 1: Flew Over the Cucka's Nest kind of a like what 362 00:19:26,080 --> 00:19:28,960 Speaker 1: do you choose there? You know, when Nicholson won and 363 00:19:29,040 --> 00:19:31,840 Speaker 1: we can debate whether or not that was the right winner. 364 00:19:32,080 --> 00:19:32,600 Speaker 2: Three o two. 365 00:19:32,600 --> 00:19:34,760 Speaker 1: This is what I'm going to say about this. Should 366 00:19:34,800 --> 00:19:38,080 Speaker 1: there be a cap on how many Oscar Awards you 367 00:19:38,119 --> 00:19:41,480 Speaker 1: can win in the same category, Because when Champenn won 368 00:19:41,960 --> 00:19:44,040 Speaker 1: the award for his performance in Milk it was two 369 00:19:44,040 --> 00:19:46,400 Speaker 1: thousand and nine, and when he won for Mystic River 370 00:19:46,840 --> 00:19:49,560 Speaker 1: it was two thousand and four. That's two wins in 371 00:19:49,640 --> 00:19:53,879 Speaker 1: five years. Now. I love Champagne. I don't think his 372 00:19:53,920 --> 00:19:56,199 Speaker 1: Mystic River performance is Oscar worthy by the way. I 373 00:19:56,240 --> 00:19:59,800 Speaker 1: think that's him overacting to the point of unintentional comedy. 374 00:19:59,840 --> 00:20:03,240 Speaker 1: But I digress. I love Seanpenn. But you're telling me 375 00:20:03,520 --> 00:20:06,719 Speaker 1: in the not you three oh two. I'm just saying 376 00:20:07,440 --> 00:20:11,000 Speaker 1: the Oscar the committee there at the at the Academy Awards. 377 00:20:11,000 --> 00:20:13,360 Speaker 1: You're telling me that in the span of five years, 378 00:20:13,400 --> 00:20:15,840 Speaker 1: there isn't a better performance to give that a Ward 379 00:20:15,840 --> 00:20:19,600 Speaker 1: two than someone else other than Shampenn. Why not Mickey Rourke. 380 00:20:19,720 --> 00:20:22,280 Speaker 1: Hollywood loves to comeback story and that was a hell 381 00:20:22,320 --> 00:20:24,360 Speaker 1: of one. Plus it was a hell of a performance. 382 00:20:24,400 --> 00:20:25,960 Speaker 1: So I'm with you, three oh two. I think Mickey 383 00:20:26,040 --> 00:20:29,080 Speaker 1: got robbed over on Patreon. We got some people chiming 384 00:20:29,119 --> 00:20:32,679 Speaker 1: in on this. Sean Hill says, his answer here is 385 00:20:32,760 --> 00:20:36,720 Speaker 1: Chaviick Bozeman in mader Rainey's Black Bottom losing to Anthony 386 00:20:36,760 --> 00:20:40,800 Speaker 1: Hopkins in The Father Shawn. See my comment above about 387 00:20:40,800 --> 00:20:44,600 Speaker 1: Sean Penn and winning multiple times. Michael Murphy said pulp 388 00:20:44,680 --> 00:20:49,040 Speaker 1: Fiction losing Best Picture to Forrest Gump and Morgan Freeman 389 00:20:49,480 --> 00:20:53,240 Speaker 1: in The Shawshank Redemption losing to Tom Hanks, also ET 390 00:20:53,640 --> 00:20:56,880 Speaker 1: losing to Gandhi. Yeah, Michael, in the cases of both 391 00:20:56,920 --> 00:21:00,000 Speaker 1: pulp Fiction and ET, I think in hindsight, it's totally done. 392 00:21:00,240 --> 00:21:03,240 Speaker 1: You know, Hollywood was going to Hollywood, and Hollywood definitely 393 00:21:03,240 --> 00:21:06,160 Speaker 1: went full Hollywood in both of those decisions. And don't 394 00:21:06,160 --> 00:21:08,159 Speaker 1: even get me started on ET and how you know 395 00:21:08,160 --> 00:21:11,360 Speaker 1: a popcorn movie, a crowd favorite, a blockbuster, about how 396 00:21:11,400 --> 00:21:13,399 Speaker 1: that could be art too, and how it can be 397 00:21:13,440 --> 00:21:15,480 Speaker 1: worthy of one of the highest awards. But I'm going 398 00:21:15,560 --> 00:21:17,760 Speaker 1: to cut myself off before I go too far our own. 399 00:21:17,880 --> 00:21:21,720 Speaker 1: Matt Boden from Double Elvis commented on Spotlight taking Best 400 00:21:21,720 --> 00:21:26,040 Speaker 1: Picture over Mad Max's Fury Road Again see my comment 401 00:21:26,119 --> 00:21:29,440 Speaker 1: above about how Hollywood is going to Hollywood, but Hollywood 402 00:21:29,480 --> 00:21:31,840 Speaker 1: going for what it thinks is the important film quote 403 00:21:31,920 --> 00:21:34,720 Speaker 1: unquote important. Guess what's the actual important film here? Matt 404 00:21:34,760 --> 00:21:37,199 Speaker 1: knows one other message here. I wanted to get to 405 00:21:37,359 --> 00:21:40,240 Speaker 1: real quick. This is not about the subject we're talking about, 406 00:21:40,280 --> 00:21:44,000 Speaker 1: but it is about this week's episode subject, al Pacino. 407 00:21:44,280 --> 00:21:46,520 Speaker 1: This is a message we got through through the website, 408 00:21:47,080 --> 00:21:50,960 Speaker 1: which is a disgracelambpod dot com from Crystal, who writes 409 00:21:51,000 --> 00:21:54,080 Speaker 1: in love your podcast. I listened to the al Pacino 410 00:21:54,160 --> 00:21:57,080 Speaker 1: podcast this morning. If you haven't seen it, watch The 411 00:21:57,160 --> 00:22:00,359 Speaker 1: Dog documentary about the real John as he walks you 412 00:22:00,400 --> 00:22:05,160 Speaker 1: through the actual robbery with photos and video riveting. By 413 00:22:05,160 --> 00:22:08,040 Speaker 1: the way, your two part NWA podcast were excellent. I 414 00:22:08,040 --> 00:22:11,280 Speaker 1: felt as if I was there, Crystal. Thank you very 415 00:22:11,359 --> 00:22:13,760 Speaker 1: much for the message. Crystal was referring to our two 416 00:22:13,800 --> 00:22:18,560 Speaker 1: part NWA episodes over in the Disgraceland feed, which I 417 00:22:18,600 --> 00:22:21,919 Speaker 1: agree with you, Crystal. I love how those came out. 418 00:22:22,080 --> 00:22:24,800 Speaker 1: The audio and those is incredible, especially that scene. I 419 00:22:24,800 --> 00:22:29,000 Speaker 1: think it's Tupac, a young Tupac driving through a neighborhood somewhere, 420 00:22:29,440 --> 00:22:32,640 Speaker 1: and it's just the sound team here. The sound design 421 00:22:32,720 --> 00:22:35,359 Speaker 1: production team did a killer job on that. Jake wrote 422 00:22:35,400 --> 00:22:37,439 Speaker 1: that one. It's one of my favorite Jake scripts. So 423 00:22:37,560 --> 00:22:40,080 Speaker 1: glad you dug that. As far as the Alpacino thing goes, 424 00:22:40,160 --> 00:22:42,679 Speaker 1: I have not seen this documentary The Dog, although I 425 00:22:42,720 --> 00:22:45,800 Speaker 1: do have Dog Day Afternoon on DVD and it has 426 00:22:45,840 --> 00:22:48,200 Speaker 1: a bunch of extras on it, some like making of stuff, 427 00:22:48,240 --> 00:22:50,919 Speaker 1: So I got a lot of the info. A lot 428 00:22:50,960 --> 00:22:53,479 Speaker 1: of the stuff I get into in this Friday's episode 429 00:22:53,480 --> 00:22:56,359 Speaker 1: of The Screening Room comes from these behind the scenes things. 430 00:22:56,640 --> 00:22:58,800 Speaker 1: But I'm I'm going to look up this one you're 431 00:22:58,800 --> 00:23:00,560 Speaker 1: talking about and get into that too, So thank you 432 00:23:00,680 --> 00:23:03,520 Speaker 1: for that, and thanks to everyone for reaching it out 433 00:23:03,520 --> 00:23:06,520 Speaker 1: this week. Keep those messages coming. I'm going to switch 434 00:23:06,560 --> 00:23:09,680 Speaker 1: gears here momentarily and talk about something actually instead of 435 00:23:09,720 --> 00:23:12,239 Speaker 1: recommendations this week, I want to talk about something I've 436 00:23:12,240 --> 00:23:14,560 Speaker 1: been doing a lot of thinking on recently, which is 437 00:23:14,560 --> 00:23:17,000 Speaker 1: the state of movies, the state of the industry, the 438 00:23:17,040 --> 00:23:19,760 Speaker 1: state of the theater versus staying at home and all that. 439 00:23:20,240 --> 00:23:22,120 Speaker 1: And I'm going to get into all this right after 440 00:23:22,160 --> 00:23:33,360 Speaker 1: this quick break, so hang tight. 441 00:23:35,800 --> 00:23:36,119 Speaker 4: Okay. 442 00:23:36,200 --> 00:23:39,000 Speaker 1: There is this quote unquote news item floating around on 443 00:23:39,040 --> 00:23:42,280 Speaker 1: the Internet right now that Disney Plus is planning to 444 00:23:42,400 --> 00:23:47,399 Speaker 1: remaster Citizen Kane, making it more palatable for modern audiences. 445 00:23:47,960 --> 00:23:51,280 Speaker 1: And along with this quote unquote news are two side 446 00:23:51,280 --> 00:23:54,640 Speaker 1: by side images of Everett Sloan from the film He's 447 00:23:54,720 --> 00:23:56,720 Speaker 1: on the phone in the shot, and in the first 448 00:23:56,760 --> 00:24:00,359 Speaker 1: image he's wearing the glasses that he's wearing from Orson 449 00:24:00,359 --> 00:24:03,720 Speaker 1: Wells nineteen forty one Masterpiece. In the second image, the 450 00:24:03,760 --> 00:24:06,040 Speaker 1: image is the same, but now the glasses are they 451 00:24:06,080 --> 00:24:09,000 Speaker 1: have darker frames and the lenses are tinted, and the 452 00:24:09,040 --> 00:24:13,800 Speaker 1: caption says Disney Plus twenty twenty seven version. Now naturally, 453 00:24:13,840 --> 00:24:18,040 Speaker 1: this quote unquote news item sent true cinophiles into hysteria, 454 00:24:18,520 --> 00:24:21,320 Speaker 1: with comment after comment along the likes of I'm so 455 00:24:21,400 --> 00:24:23,800 Speaker 1: glad I bought this on four K, or I better 456 00:24:23,840 --> 00:24:25,840 Speaker 1: buy a physical copy of this movie before the original 457 00:24:25,920 --> 00:24:28,800 Speaker 1: has gone forever, so on and so forth. Now I'm 458 00:24:28,800 --> 00:24:31,159 Speaker 1: all about Blu rays four k's physical copies of my 459 00:24:31,200 --> 00:24:34,040 Speaker 1: favorite movies. You know, because the whole nature of streaming 460 00:24:34,520 --> 00:24:36,879 Speaker 1: and of digital media is that movie rights are often 461 00:24:36,920 --> 00:24:39,280 Speaker 1: fleeting when it comes to who has access to what, 462 00:24:39,440 --> 00:24:42,119 Speaker 1: and so a film that's available on Netflix or HBO 463 00:24:42,200 --> 00:24:45,000 Speaker 1: today may or may not be available on anything next 464 00:24:45,080 --> 00:24:48,640 Speaker 1: year or even next month. But first off, it's quite 465 00:24:48,720 --> 00:24:52,920 Speaker 1: obvious that this quote unquote news about Disney Plus's Citizen 466 00:24:53,000 --> 00:24:56,159 Speaker 1: Kane update is totally bogus. If you search for this 467 00:24:56,200 --> 00:24:59,479 Speaker 1: news item for real, you only find it coming up 468 00:24:59,520 --> 00:25:03,560 Speaker 1: in post on x and Instagram, not in actual news 469 00:25:03,680 --> 00:25:06,640 Speaker 1: articles from reputable sources. So it's a joke, and it's 470 00:25:06,640 --> 00:25:09,880 Speaker 1: a joke that is easily believed given the current climate 471 00:25:09,920 --> 00:25:13,679 Speaker 1: of the movie industry, because it's a joke that I 472 00:25:13,680 --> 00:25:15,680 Speaker 1: wouldn't even be surprised if it became real in the 473 00:25:15,720 --> 00:25:17,760 Speaker 1: next couple of years. Now, this is not a new 474 00:25:17,800 --> 00:25:20,440 Speaker 1: sense of panic here. You know, years back, when George 475 00:25:20,480 --> 00:25:23,360 Speaker 1: Lucas decided to add new special effects to the original 476 00:25:23,600 --> 00:25:27,080 Speaker 1: Star Wars trilogy, people understandably went nuts because if you 477 00:25:27,119 --> 00:25:30,199 Speaker 1: wanted to watch these films in their original state, in 478 00:25:30,240 --> 00:25:32,280 Speaker 1: the state that made them the classics that they are, 479 00:25:32,680 --> 00:25:35,240 Speaker 1: that meant you had to own the original VHS copies 480 00:25:35,320 --> 00:25:37,159 Speaker 1: or whatever, because if you didn't, you were going to 481 00:25:37,200 --> 00:25:40,119 Speaker 1: be sol This all gets to the heart of this 482 00:25:40,280 --> 00:25:43,840 Speaker 1: divide in cinema right now between the so called movie 483 00:25:43,840 --> 00:25:48,120 Speaker 1: going experience, which is how people have experienced movies for decades. 484 00:25:49,720 --> 00:25:51,879 Speaker 1: You know, that is going to a movie theater, sitting 485 00:25:51,920 --> 00:25:53,920 Speaker 1: in a dark room with a bunch of strangers watching 486 00:25:53,960 --> 00:25:56,560 Speaker 1: a film play on a giant screen with a booming 487 00:25:56,600 --> 00:25:59,960 Speaker 1: sound system. This is an experience that filmmakers like Christopher 488 00:26:00,080 --> 00:26:04,360 Speaker 1: Nolan and Paul Thomas Anderson are scrambling to preserve pta 489 00:26:04,520 --> 00:26:07,480 Speaker 1: for one shot his latest film, One Battle after Another, 490 00:26:07,520 --> 00:26:10,359 Speaker 1: on VistaVision, which is a format that has been largely 491 00:26:10,400 --> 00:26:13,880 Speaker 1: obsolete for years, but now many other filmmakers are reportedly 492 00:26:13,960 --> 00:26:17,720 Speaker 1: using it for their own upcoming films, including m Night, Shyamalan, 493 00:26:18,119 --> 00:26:22,119 Speaker 1: Greta Gerwig, Alexandro in Aritu and in the case of 494 00:26:22,119 --> 00:26:24,600 Speaker 1: One Battle after Another, at some theaters, you could actually 495 00:26:24,600 --> 00:26:28,159 Speaker 1: see the film projected on VistaVision. And then to go 496 00:26:28,160 --> 00:26:30,600 Speaker 1: back to Christopher Nolan, he just shot his upcoming film 497 00:26:30,640 --> 00:26:33,760 Speaker 1: The Odyssey on Imax cameras. So the push there is 498 00:26:33,760 --> 00:26:36,000 Speaker 1: to go see this on the biggest screen possible, with 499 00:26:36,080 --> 00:26:39,199 Speaker 1: the biggest sound system possible, to have this experience that 500 00:26:39,240 --> 00:26:41,679 Speaker 1: you simply cannot replicate at home, or that most of 501 00:26:41,760 --> 00:26:44,920 Speaker 1: us do not have the means with which to replicate 502 00:26:44,960 --> 00:26:48,080 Speaker 1: this experience at home. Now, the actions and choices of 503 00:26:48,200 --> 00:26:51,840 Speaker 1: directors like Christopher Nolan and Paul Thomas Anderson are intended 504 00:26:51,880 --> 00:26:56,520 Speaker 1: to push back against Hollywood's continued momentum away from theaters 505 00:26:56,560 --> 00:27:00,480 Speaker 1: and towards your home, the netflixization of the movie industry. 506 00:27:00,520 --> 00:27:02,879 Speaker 1: If you will, and This is all wrapped up in 507 00:27:02,960 --> 00:27:05,600 Speaker 1: the biggest Hollywood story of the moment, which is Netflix's 508 00:27:05,600 --> 00:27:09,080 Speaker 1: attempts to buy Warner Brothers Discovery, which if that sale 509 00:27:09,119 --> 00:27:12,480 Speaker 1: does go through, it'll have both immediate and rippling effects 510 00:27:12,520 --> 00:27:15,399 Speaker 1: for movies, which I believe will give guys like Nolan 511 00:27:15,480 --> 00:27:19,439 Speaker 1: and Pta some serious waves to navigate. Now, on the 512 00:27:19,480 --> 00:27:22,560 Speaker 1: other end of this, you've got equally lauded and powerful 513 00:27:22,600 --> 00:27:26,200 Speaker 1: directors like David Fincher and Guillermo del Toro who are 514 00:27:26,200 --> 00:27:29,280 Speaker 1: defending Netflix as well as the shift away from the 515 00:27:29,280 --> 00:27:32,840 Speaker 1: way things used to be and into the now. Fincher 516 00:27:32,880 --> 00:27:35,760 Speaker 1: has this whole slate with Netflix. He did the show's 517 00:27:35,760 --> 00:27:38,400 Speaker 1: House of Cards and mind Hunter there, as well as 518 00:27:38,400 --> 00:27:41,320 Speaker 1: his last two films, Mank and the Killer and his 519 00:27:41,440 --> 00:27:45,720 Speaker 1: upcoming film, The Adventures of Cliff Booth. And del Toro's 520 00:27:45,760 --> 00:27:49,520 Speaker 1: last two films, Pinocchio and Frankenstein, have both been Netflix 521 00:27:49,560 --> 00:27:53,280 Speaker 1: properties as well. These guys have been very vocal about 522 00:27:53,280 --> 00:27:56,520 Speaker 1: the opportunities that Netflix has afforded them and other filmmakers, 523 00:27:56,760 --> 00:28:00,000 Speaker 1: and also about the reality of making and watching films. 524 00:28:00,080 --> 00:28:03,280 Speaker 1: In twenty twenty six, going to the movies is expensive 525 00:28:03,920 --> 00:28:08,080 Speaker 1: unless you live in a major metropolitan area with access 526 00:28:08,160 --> 00:28:10,919 Speaker 1: to cutting edge screens and rooms, which, to be honest, 527 00:28:11,280 --> 00:28:14,360 Speaker 1: is not most of us. Going to the movies can 528 00:28:14,400 --> 00:28:17,520 Speaker 1: be a fraction of the magical experience that it used 529 00:28:17,520 --> 00:28:20,680 Speaker 1: to be. There's a rip in the screen, your chair 530 00:28:20,760 --> 00:28:23,320 Speaker 1: is broken, the floor is sticky. The people behind you 531 00:28:23,720 --> 00:28:26,119 Speaker 1: won't shut up. I don't mean to come off like 532 00:28:26,160 --> 00:28:30,200 Speaker 1: some old curmudgeon, but I wonder are we all old 533 00:28:30,240 --> 00:28:33,760 Speaker 1: curmudgeons when we shake our fists at streamers and demand 534 00:28:33,800 --> 00:28:35,840 Speaker 1: that things be like the way they used to be 535 00:28:36,240 --> 00:28:38,960 Speaker 1: back in nineteen eighty five. What else in your life 536 00:28:39,040 --> 00:28:42,160 Speaker 1: is exactly the same as it was thirty forty years ago. 537 00:28:43,000 --> 00:28:45,560 Speaker 1: I think what guys like Fincher and del Toro are 538 00:28:45,600 --> 00:28:50,120 Speaker 1: asking us is why are we letting nostalgia dictate how 539 00:28:50,160 --> 00:28:53,040 Speaker 1: to make and how to see a great film? I, 540 00:28:53,200 --> 00:28:56,080 Speaker 1: for one, love going to the theater, despite some of 541 00:28:56,080 --> 00:28:59,320 Speaker 1: those diminishing returns I mentioned earlier. I miss the kind 542 00:28:59,360 --> 00:29:02,320 Speaker 1: of cutting edge rooms and screens I referred to when 543 00:29:02,360 --> 00:29:05,200 Speaker 1: I live somewhere that afforded me those opportunities. But that's 544 00:29:05,200 --> 00:29:07,600 Speaker 1: not reality, And back to the price thing. The average 545 00:29:07,600 --> 00:29:10,600 Speaker 1: person living in America cannot afford to go to the movies. 546 00:29:10,680 --> 00:29:13,400 Speaker 1: Every single week like we used to. It's just not sustainable. 547 00:29:14,080 --> 00:29:15,760 Speaker 1: But I think Fincher has gotten a little beat up 548 00:29:15,800 --> 00:29:17,920 Speaker 1: on this. There are many who see his signing with 549 00:29:18,000 --> 00:29:21,480 Speaker 1: Netflix and the so called small screen movement as being 550 00:29:21,800 --> 00:29:25,600 Speaker 1: the opposite of what a true filmmaker is, including the 551 00:29:25,640 --> 00:29:29,000 Speaker 1: director of the Canned Film Festival, who had this to 552 00:29:29,040 --> 00:29:31,560 Speaker 1: say about Fincher a few years back, and I quote, 553 00:29:32,000 --> 00:29:36,360 Speaker 1: Fincher has left cinema. Fincher now works for streamers, where 554 00:29:36,360 --> 00:29:39,520 Speaker 1: he's directing incredible stuff. I tried to explain this to 555 00:29:39,600 --> 00:29:43,600 Speaker 1: him modestly, obviously, that he doesn't exist anymore, at least 556 00:29:43,600 --> 00:29:46,480 Speaker 1: for us, for reasons left up to his own liking. 557 00:29:46,800 --> 00:29:49,240 Speaker 1: He wants his creative freedom, he doesn't want to fight 558 00:29:49,280 --> 00:29:52,080 Speaker 1: with studio heads. His films tend to be very expensive. 559 00:29:52,400 --> 00:29:54,480 Speaker 1: But I'd love for him to come back to cinema. 560 00:29:54,720 --> 00:29:57,520 Speaker 1: He's one of the greats. Unquote, did you hear that 561 00:29:57,960 --> 00:30:04,200 Speaker 1: he's left cinema. He doesn't exist anymore. I think this 562 00:30:04,360 --> 00:30:09,360 Speaker 1: kind of us versus them bullshit is going to fracture cinema. 563 00:30:09,400 --> 00:30:12,320 Speaker 1: It's not going to bring people on opposing sides together, 564 00:30:12,800 --> 00:30:15,600 Speaker 1: like the director of the can Film Festival is not 565 00:30:15,640 --> 00:30:18,480 Speaker 1: going to change David Fincher's mind about how he makes 566 00:30:18,560 --> 00:30:21,040 Speaker 1: movies and who he makes them with. I mean, look, 567 00:30:21,400 --> 00:30:24,000 Speaker 1: even Martin SCORSESEI who has been one of these staunchest 568 00:30:24,000 --> 00:30:27,720 Speaker 1: defenders of cinema for decades, Even Marty is making movies 569 00:30:27,720 --> 00:30:31,280 Speaker 1: for Netflix and Apple now. And while I applaud Nolan 570 00:30:31,560 --> 00:30:35,560 Speaker 1: in PTA's continued efforts to preserve the film going experience 571 00:30:35,600 --> 00:30:38,280 Speaker 1: of old I think that the idea of quote unquote 572 00:30:38,480 --> 00:30:41,320 Speaker 1: preservation feels a little stuffy. It's kind of lumped in 573 00:30:41,360 --> 00:30:44,080 Speaker 1: with this pomp and circumstance that's always been part and 574 00:30:44,080 --> 00:30:46,880 Speaker 1: parcel with the industry as well. You know, the film festivals. 575 00:30:47,040 --> 00:30:50,520 Speaker 1: The award shows the backslapping, congratulatory part of it all. 576 00:30:51,080 --> 00:30:53,000 Speaker 1: But meanwhile, Fincher over here just wants to make a 577 00:30:53,040 --> 00:30:54,880 Speaker 1: great fucking movie, make it his way, make it with 578 00:30:54,920 --> 00:30:57,160 Speaker 1: the budget he needs, and none of the bullshit that 579 00:30:57,240 --> 00:31:00,640 Speaker 1: typically comes with that process. And in return, you and 580 00:31:00,720 --> 00:31:02,760 Speaker 1: I can sit down in the comfort of our own 581 00:31:02,800 --> 00:31:05,760 Speaker 1: homes and fire that movie up right now anytime. And 582 00:31:05,800 --> 00:31:08,400 Speaker 1: you know what, I watched one Battle after another at 583 00:31:08,400 --> 00:31:10,240 Speaker 1: the theater, and then I watched it again a home, 584 00:31:10,520 --> 00:31:15,160 Speaker 1: and both times it ruled. If movie theaters disappear tomorrow. 585 00:31:15,360 --> 00:31:19,200 Speaker 1: Would you miss them? I would, even if that experience 586 00:31:19,280 --> 00:31:21,240 Speaker 1: is a shadow of what it used to be. Do 587 00:31:21,280 --> 00:31:24,680 Speaker 1: we still need them? I think so, But it also 588 00:31:24,800 --> 00:31:27,680 Speaker 1: can't be one or the other. We need the theaters 589 00:31:27,760 --> 00:31:29,760 Speaker 1: and we need the living rooms. And just like I 590 00:31:29,800 --> 00:31:33,080 Speaker 1: said earlier about how a blockbuster movie, a popcorn movie 591 00:31:33,080 --> 00:31:36,239 Speaker 1: can be art, a movie made for a streamer, a 592 00:31:36,320 --> 00:31:40,000 Speaker 1: movie that debuts on your TV screen can be art too. 593 00:31:40,400 --> 00:31:44,280 Speaker 1: Cinema isn't cinema only when it's shown in an actual cinema. 594 00:31:44,320 --> 00:31:47,800 Speaker 1: Our entire worlds are cinema. Now I'm gonna be right 595 00:31:47,880 --> 00:32:16,040 Speaker 1: back after this with some final thoughts. Hey, gang, listen, 596 00:32:16,120 --> 00:32:18,920 Speaker 1: I've just got to say I love movies, as you know. 597 00:32:20,040 --> 00:32:22,680 Speaker 1: I mean, obviously it would be kind of wild if 598 00:32:22,720 --> 00:32:24,600 Speaker 1: I did not like movies and I was hosting this show. 599 00:32:26,400 --> 00:32:28,040 Speaker 1: But you know this, and you could tell this. I 600 00:32:28,080 --> 00:32:31,880 Speaker 1: love talking about movies, which means I really love this 601 00:32:32,000 --> 00:32:35,240 Speaker 1: video podcast that Jake Brennan and I are doing over 602 00:32:35,440 --> 00:32:39,640 Speaker 1: in Disgraceland All Access on Patreon. It's called this Film 603 00:32:39,720 --> 00:32:42,400 Speaker 1: Should be Played Loud. We just released a new episode 604 00:32:42,480 --> 00:32:45,320 Speaker 1: all about Trainspotting, but we talk about all kinds of 605 00:32:45,320 --> 00:32:47,040 Speaker 1: stuff in this one, not just the movie trains Sponding. 606 00:32:47,080 --> 00:32:49,280 Speaker 1: We talk about pulp fiction, Raiders of the Lost of 607 00:32:49,360 --> 00:32:53,600 Speaker 1: Arc Bowie, Iggy, Lou, Reed, Blur, Underworld, Elastica. It's a 608 00:32:53,680 --> 00:32:56,200 Speaker 1: music show as much as it is a movie show. 609 00:32:56,440 --> 00:32:58,920 Speaker 1: It's basically the one place in the double Elvis universe 610 00:32:58,920 --> 00:33:01,720 Speaker 1: where we take Disgraceland and we take hollywood Land and 611 00:33:01,760 --> 00:33:04,200 Speaker 1: we mash them up into a sandwich that is as 612 00:33:04,240 --> 00:33:07,040 Speaker 1: delightful as one as Elvis is fried peanut, butter and 613 00:33:07,040 --> 00:33:09,920 Speaker 1: banana sandwiches. If you aren't hanging with us there, you 614 00:33:10,000 --> 00:33:12,320 Speaker 1: got to come check it out. Come watch this film, 615 00:33:12,520 --> 00:33:15,160 Speaker 1: this new train spotting episode, as well as the one 616 00:33:15,160 --> 00:33:16,840 Speaker 1: we're going to release at the end of the month 617 00:33:16,880 --> 00:33:19,640 Speaker 1: on Marty Supreme. You just need to join at the 618 00:33:19,680 --> 00:33:22,280 Speaker 1: Sound and Fury Tear, which is ten bucks a month, 619 00:33:22,440 --> 00:33:24,840 Speaker 1: or you can get a discount on an annual membership. 620 00:33:24,840 --> 00:33:26,880 Speaker 1: When you sign up, you basically get like two months 621 00:33:26,880 --> 00:33:29,600 Speaker 1: free when you do that. Just go to Disgraced lampod 622 00:33:29,920 --> 00:33:33,880 Speaker 1: dot com for more. And now let's start getting in 623 00:33:33,920 --> 00:33:35,880 Speaker 1: a paranoid state of mind. You know what I mean 624 00:33:35,920 --> 00:33:38,160 Speaker 1: by that? What I mean is think back in your 625 00:33:38,240 --> 00:33:40,640 Speaker 1: mind to when you watched a movie and it freaked 626 00:33:40,640 --> 00:33:43,440 Speaker 1: you out, not like Blair Witch dude standing in a 627 00:33:43,480 --> 00:33:46,720 Speaker 1: corner freaked you out, but got you all like paranoid 628 00:33:46,760 --> 00:33:49,560 Speaker 1: and stuff. What's the most paranoid movie you've ever seen? 629 00:33:49,560 --> 00:33:50,880 Speaker 1: What movie did you walk away from? 630 00:33:50,880 --> 00:33:51,640 Speaker 2: And go? Dude? 631 00:33:51,840 --> 00:33:54,719 Speaker 1: Someone following us hit me up and let me know 632 00:33:55,120 --> 00:33:58,360 Speaker 1: six one seven nine oh six six six three eight. 633 00:33:58,680 --> 00:34:00,920 Speaker 1: Maybe I will play your voice man or read your 634 00:34:00,960 --> 00:34:05,160 Speaker 1: text in next week's rap party. Until then, let's do 635 00:34:05,560 --> 00:34:09,320 Speaker 1: the whole recap than, shall we? Okay? Number one? First 636 00:34:09,320 --> 00:34:11,919 Speaker 1: of all, right, now in your Hollywood Land feed, our 637 00:34:12,000 --> 00:34:16,280 Speaker 1: episode on al Pacino number two coming at you this Friday. 638 00:34:16,440 --> 00:34:18,719 Speaker 1: We've got a new episode of the Screening Room here 639 00:34:18,800 --> 00:34:21,120 Speaker 1: in the Hollywood Land Feed. And this week I'm talking 640 00:34:21,160 --> 00:34:24,360 Speaker 1: all about the nineteen seventy five film Dog Day Afternoon, 641 00:34:24,680 --> 00:34:29,440 Speaker 1: directed by Sidney Lumet, starring John Cazzali, Charles Derning, Chris Sarandon, 642 00:34:29,640 --> 00:34:33,919 Speaker 1: Carol Caine, and of course our guy al Pacino number three. 643 00:34:34,000 --> 00:34:36,759 Speaker 1: Next week on Monday, we continue Award season month with 644 00:34:36,960 --> 00:34:41,520 Speaker 1: our fully scripted sound design episode on Jane Fonda number four. 645 00:34:41,880 --> 00:34:44,960 Speaker 1: Over in our sister show Disgraceland. We just dropped a 646 00:34:44,960 --> 00:34:47,480 Speaker 1: brand new episode on Jane's Addiction. This is our Part 647 00:34:47,520 --> 00:34:50,800 Speaker 1: two episode. It's all about the illicit origins of the band, 648 00:34:51,080 --> 00:34:53,440 Speaker 1: as well as the violent moment on stage in Boston 649 00:34:53,680 --> 00:34:56,040 Speaker 1: which seemed to signal the end of the band. You 650 00:34:56,080 --> 00:34:59,520 Speaker 1: can hear all about that over in the Disgraceland Feed 651 00:35:00,120 --> 00:35:04,080 Speaker 1: number five unlock ad free listening and exclusive audio and 652 00:35:04,200 --> 00:35:08,759 Speaker 1: video for Hollywood Land and Disgraceland over in Patreon All Access, 653 00:35:09,080 --> 00:35:12,399 Speaker 1: as well as our Patreon exclusive video podcast. This film 654 00:35:12,440 --> 00:35:15,320 Speaker 1: should be played loud once again. Just go to disgracelandpod 655 00:35:15,600 --> 00:35:18,440 Speaker 1: dot com for more and now, in honor of this 656 00:35:18,480 --> 00:35:21,480 Speaker 1: week's episode, Here's what America was watching at the movies 657 00:35:21,719 --> 00:35:25,000 Speaker 1: in nineteen forty, the year that al Pacino was born. 658 00:35:28,640 --> 00:35:35,040 Speaker 1: Number one Boomtown, directed by Jack Conway. Number two The 659 00:35:35,040 --> 00:35:40,560 Speaker 1: Great Dictator directed by Charles Chocolate, Novels Passage, Number three, 660 00:35:40,600 --> 00:35:45,080 Speaker 1: Rebecca Santa Fete directed by Alfred Hitchcock, meets Number four, 661 00:35:45,320 --> 00:35:50,040 Speaker 1: Number ten Northwest one Police directed directed by Cecial, The 662 00:35:50,080 --> 00:35:53,279 Speaker 1: Fighting sixty nine, Number five direct Strike Up the Band 663 00:35:53,960 --> 00:35:59,600 Speaker 1: directed by Busby Berkeley. The nineteen number six Northwest Passage 664 00:35:59,640 --> 00:36:04,560 Speaker 1: direct by King Baker. I never saw quit talking and 665 00:36:04,800 --> 00:36:05,880 Speaker 1: started mixing. 666 00:36:06,160 --> 00:36:06,440 Speaker 4: Could