1
00:00:01,000 --> 00:00:03,880
Speaker 1: Dear listeners of Hollywood Land, does it feel like you're

2
00:00:03,880 --> 00:00:07,120
Speaker 1: stuck in limbo? Standing under a flickering street light at

3
00:00:07,160 --> 00:00:09,880
Speaker 1: the corner of Hollywood and True Crime, waiting for the

4
00:00:09,920 --> 00:00:13,159
Speaker 1: next episode of hollywood Land to drop. I got you.

5
00:00:13,960 --> 00:00:29,200
Speaker 1: Welcome to hollywood Land, the Rap Party. Welcome to the

6
00:00:29,240 --> 00:00:32,479
Speaker 1: hollywood Land bonus episode. That's right, it's the Rap Party.

7
00:00:32,840 --> 00:00:34,640
Speaker 1: This is the show that gets you from one full

8
00:00:34,680 --> 00:00:37,240
Speaker 1: episode of hollywood Land to the next. The place where

9
00:00:37,240 --> 00:00:40,040
Speaker 1: we dig deeper into the stories that we tell, Stories

10
00:00:40,040 --> 00:00:43,040
Speaker 1: where our history finds itself in the shadow of true crime,

11
00:00:43,320 --> 00:00:46,600
Speaker 1: Stories that go deeper into the truth, hiding behind the myth,

12
00:00:46,840 --> 00:00:49,960
Speaker 1: the kinds of stories hiding in plain sight. Right there

13
00:00:50,000 --> 00:00:53,080
Speaker 1: on the cutting room floor, my name is Zeth Lundy,

14
00:00:53,240 --> 00:00:56,640
Speaker 1: writer and editor at Double Elvis, And on this bonus episode,

15
00:00:56,720 --> 00:00:59,440
Speaker 1: we are talking about this week's full episode subject of

16
00:00:59,440 --> 00:01:03,680
Speaker 1: Hollywoodland and Marlon Brando. We are previewing next week's episode

17
00:01:03,880 --> 00:01:07,880
Speaker 1: on Jane Mansfield. We're talking movie and music recommendations, and

18
00:01:08,160 --> 00:01:12,280
Speaker 1: we're going to check out your voicemails, texts, dms and emails.

19
00:01:12,560 --> 00:01:29,000
Speaker 1: So come on, everybody, let's party. We didn't plan for

20
00:01:29,120 --> 00:01:32,560
Speaker 1: this week's episode on Marlon Brando to drop in the

21
00:01:32,640 --> 00:01:35,360
Speaker 1: wake of the release of the new Superman movie that's

22
00:01:35,360 --> 00:01:38,560
Speaker 1: out in theaters right now, the new James Gunner reboot

23
00:01:38,720 --> 00:01:41,720
Speaker 1: of the franchise, which pulled in something like two hundred

24
00:01:41,760 --> 00:01:45,560
Speaker 1: and twenty million dollars globally this past weekend. But this

25
00:01:45,720 --> 00:01:49,240
Speaker 1: is coincidentally good timing for our Brando episode because famously,

26
00:01:50,040 --> 00:01:53,680
Speaker 1: Brando appeared in the nineteen seventy eight Richard Donner directed

27
00:01:53,720 --> 00:01:57,440
Speaker 1: Superman movie, the one that starred Christopher Reeve, with Brando

28
00:01:57,480 --> 00:02:02,520
Speaker 1: famously appearing as Superman's crypto on Daddy Jeore Elle. I

29
00:02:02,600 --> 00:02:05,400
Speaker 1: mentioned this also because I think the very first time

30
00:02:05,440 --> 00:02:09,040
Speaker 1: I saw Brando in a movie was in Superman. I

31
00:02:09,080 --> 00:02:11,280
Speaker 1: didn't know who he was at the time. I was

32
00:02:11,320 --> 00:02:13,080
Speaker 1: just a little kid when I first saw that. But

33
00:02:14,000 --> 00:02:16,639
Speaker 1: I guess my point is from an early age, Brando's

34
00:02:17,000 --> 00:02:19,919
Speaker 1: face and voice were a known quantity for me, as

35
00:02:19,919 --> 00:02:22,440
Speaker 1: I'm sure he was for all of you as well.

36
00:02:23,040 --> 00:02:25,760
Speaker 1: Probably the first time I was aware of who Brando

37
00:02:25,840 --> 00:02:29,440
Speaker 1: actually was was when I saw the Godfather films with

38
00:02:29,520 --> 00:02:33,280
Speaker 1: my grandmother. I had this vivid memory of her sitting

39
00:02:33,280 --> 00:02:35,680
Speaker 1: me down to show those movies to me. We were

40
00:02:35,680 --> 00:02:39,560
Speaker 1: in the den of my grandparents' house, and at the time,

41
00:02:39,600 --> 00:02:41,280
Speaker 1: it seems so out of character for her to be

42
00:02:41,480 --> 00:02:44,400
Speaker 1: to be into these movies, which to my young eyes

43
00:02:44,440 --> 00:02:48,200
Speaker 1: at the time were very violent and am amral immoral

44
00:02:48,240 --> 00:02:51,640
Speaker 1: maybe a little bit of both violent movies, and my

45
00:02:51,680 --> 00:02:55,000
Speaker 1: grandmother was the picture of prim and proper, you know,

46
00:02:55,360 --> 00:02:58,440
Speaker 1: so it was very strange that she would be so

47
00:02:58,520 --> 00:03:01,200
Speaker 1: into these movies. But as I as I got older

48
00:03:01,200 --> 00:03:02,839
Speaker 1: and I thought back on it, you know, she grew

49
00:03:02,919 --> 00:03:06,600
Speaker 1: up in New York City in Queens back during the depression,

50
00:03:06,680 --> 00:03:11,600
Speaker 1: so I think watching these movies for her was perhaps

51
00:03:11,600 --> 00:03:14,480
Speaker 1: even more so than the story was just this time

52
00:03:14,520 --> 00:03:16,960
Speaker 1: capsule back to a life that she had left behind

53
00:03:17,000 --> 00:03:20,160
Speaker 1: and had a lot of fondness for. And then, of

54
00:03:20,240 --> 00:03:23,240
Speaker 1: course I remember seeing Brando in Apocalypse Now, which I

55
00:03:23,240 --> 00:03:27,160
Speaker 1: saw a little bit later, and Apocalypse Now a sidebar.

56
00:03:27,320 --> 00:03:29,920
Speaker 1: It always struck me by its reputation as like a

57
00:03:29,960 --> 00:03:32,240
Speaker 1: horror movie. I just that's what I That's how I

58
00:03:32,280 --> 00:03:34,639
Speaker 1: had it in my head. I remember staring at the

59
00:03:34,720 --> 00:03:38,280
Speaker 1: VHS box on the wall at our local video rental store,

60
00:03:38,880 --> 00:03:41,960
Speaker 1: looking at movies to rent that weekend, and looking at

61
00:03:42,040 --> 00:03:44,000
Speaker 1: movies that, you know, we weren't allowed to rent because

62
00:03:44,000 --> 00:03:46,360
Speaker 1: they were rated R movies like Apocalypse Now. There was

63
00:03:46,360 --> 00:03:48,480
Speaker 1: this place we'd go to as a family way back

64
00:03:48,520 --> 00:03:51,720
Speaker 1: in the day every Friday after school to rent movies

65
00:03:51,720 --> 00:03:54,160
Speaker 1: for the weekend. Not only movies for the weekend, but

66
00:03:54,240 --> 00:03:56,920
Speaker 1: we'd rent a VCR. Because this was the mid eighties

67
00:03:57,440 --> 00:04:00,760
Speaker 1: and you know, we were poor to do. We couldn't

68
00:04:00,760 --> 00:04:04,520
Speaker 1: afford to buy an actual VCR. These things were behemoths

69
00:04:04,520 --> 00:04:06,000
Speaker 1: back then, and they cost a lot of money, you

70
00:04:06,040 --> 00:04:08,320
Speaker 1: know what I mean. So anyways, we just we'd rent

71
00:04:08,320 --> 00:04:10,000
Speaker 1: a VCR from this joint, my brother and I would

72
00:04:10,000 --> 00:04:12,600
Speaker 1: pick out some movies to watch that weekend. But long

73
00:04:12,640 --> 00:04:15,520
Speaker 1: before I ever saw Apocalypse Now, I just remember looking

74
00:04:15,600 --> 00:04:18,599
Speaker 1: at the box on the wall and the font on

75
00:04:18,680 --> 00:04:20,960
Speaker 1: the title of the video box look like a fucking

76
00:04:21,040 --> 00:04:23,720
Speaker 1: slasher movie. To me, it just invoked this feeling of

77
00:04:23,760 --> 00:04:26,960
Speaker 1: blood and dread. So I had so much anxiety around

78
00:04:27,040 --> 00:04:29,040
Speaker 1: this movie for the longest time, And of course, when

79
00:04:29,040 --> 00:04:31,479
Speaker 1: I finally did see it, it was not what I expected

80
00:04:31,520 --> 00:04:34,600
Speaker 1: at all, And and Marlon Brando's part at the end

81
00:04:34,720 --> 00:04:36,760
Speaker 1: during my first watch when I was younger, that was

82
00:04:36,800 --> 00:04:38,240
Speaker 1: the hardest part for me to get through it was

83
00:04:38,279 --> 00:04:40,880
Speaker 1: so dark, and the way it was shot you could

84
00:04:40,920 --> 00:04:43,839
Speaker 1: barely see him and he it was so brooding and belabored,

85
00:04:43,880 --> 00:04:46,280
Speaker 1: and I don't know, it was weird. It was something

86
00:04:46,320 --> 00:04:49,279
Speaker 1: that I came to appreciate, I guess more after multiple

87
00:04:49,320 --> 00:04:51,800
Speaker 1: rewatches of that film, which is not one of my

88
00:04:51,800 --> 00:04:55,240
Speaker 1: favorites of all time. But the Marlon Brando that you know,

89
00:04:55,279 --> 00:04:57,400
Speaker 1: I saw as a kid and as a teenager was

90
00:04:57,440 --> 00:05:00,000
Speaker 1: a far cry from the Brando that changed movies forever,

91
00:05:00,080 --> 00:05:03,800
Speaker 1: or the one who literally rewrote movie history as it

92
00:05:03,880 --> 00:05:06,240
Speaker 1: was happening as an actor. And I really had no

93
00:05:06,279 --> 00:05:09,000
Speaker 1: idea that this was even a thing until probably late

94
00:05:09,000 --> 00:05:11,160
Speaker 1: in high school and there was this mini series that

95
00:05:11,240 --> 00:05:13,640
Speaker 1: was on the history of Hollywood or just the history

96
00:05:13,640 --> 00:05:16,600
Speaker 1: of movies that was on PBS that I was really into.

97
00:05:16,640 --> 00:05:18,880
Speaker 1: I taped and I watched a lot. This was sort

98
00:05:18,880 --> 00:05:20,520
Speaker 1: of part of the thing that got me inspired to

99
00:05:20,520 --> 00:05:22,720
Speaker 1: be a film student and all that. But anyways, it

100
00:05:22,720 --> 00:05:25,839
Speaker 1: also inspired me to go track down early Brando films

101
00:05:25,880 --> 00:05:28,320
Speaker 1: like a Street Car, Name, Desire and on the Waterfront.

102
00:05:28,520 --> 00:05:31,760
Speaker 1: Now this Brando, the Brando of the nineteen fifties, the

103
00:05:31,839 --> 00:05:36,920
Speaker 1: breakthrough Brando, if you will, This guy is the Beatles. Okay,

104
00:05:37,160 --> 00:05:41,040
Speaker 1: let me repeat that. Marlon Brando in the nineteen fifties,

105
00:05:41,080 --> 00:05:44,640
Speaker 1: he is what the Beatles were in the nineteen sixties. Okay.

106
00:05:45,600 --> 00:05:47,840
Speaker 1: Just like in music, where there was a before the

107
00:05:47,880 --> 00:05:50,599
Speaker 1: Beatles and after the Beatles, the same goes for Brando

108
00:05:50,680 --> 00:05:54,040
Speaker 1: and movies. There's acting before Brando and there's acting after Brando.

109
00:05:54,320 --> 00:05:56,040
Speaker 1: And a lot of this shift can be attributed to

110
00:05:56,080 --> 00:05:59,839
Speaker 1: the method, to the Stanislavsky technique, Stella Adler, all those cats.

111
00:05:59,839 --> 00:06:02,880
Speaker 1: But there were a ton of actors learning the method

112
00:06:02,960 --> 00:06:05,440
Speaker 1: at the time, doing the same sort of acting style,

113
00:06:05,920 --> 00:06:08,400
Speaker 1: you know, a style that was much more real and raw,

114
00:06:08,440 --> 00:06:11,320
Speaker 1: you know, whether it's Montgomery Cliff or James Dean or

115
00:06:11,360 --> 00:06:15,479
Speaker 1: even Marilyn Monroe. But none of them did what Brando did,

116
00:06:15,520 --> 00:06:17,560
Speaker 1: you know, none of them, none of them had that

117
00:06:18,120 --> 00:06:21,560
Speaker 1: higher Brando gear, right, And just like imagine that you've

118
00:06:21,600 --> 00:06:24,440
Speaker 1: been listening to like classical music your whole life, that's

119
00:06:24,480 --> 00:06:26,320
Speaker 1: all you know, and then all of a sudden, someone

120
00:06:26,400 --> 00:06:29,800
Speaker 1: drops a punk record on the turntable. I think that's

121
00:06:29,839 --> 00:06:33,120
Speaker 1: what it was like to experience Brando's performances for the

122
00:06:33,160 --> 00:06:36,640
Speaker 1: first time, which were super raw and authentic and not

123
00:06:36,720 --> 00:06:40,080
Speaker 1: at all performative in the way that popular actors like

124
00:06:40,160 --> 00:06:43,200
Speaker 1: someone like Laurence Olivier was at the time. And you know,

125
00:06:43,400 --> 00:06:45,799
Speaker 1: just like hearing punk for the first time, I think

126
00:06:46,279 --> 00:06:49,520
Speaker 1: it was very divisive. There were people that latched onto

127
00:06:49,560 --> 00:06:51,960
Speaker 1: it and loved it, and there were people that hated it,

128
00:06:52,000 --> 00:06:55,719
Speaker 1: which I'm sure that's the mark of greatness to have

129
00:06:55,760 --> 00:07:00,159
Speaker 1: that divide, also the mark of something that's going to

130
00:07:00,200 --> 00:07:04,039
Speaker 1: resonate over time down the line. Now, to continue with

131
00:07:04,080 --> 00:07:06,479
Speaker 1: this metaphor here, Brando was not only the Beatles, he

132
00:07:06,600 --> 00:07:10,680
Speaker 1: was also Bob Dylan. Because ever since Bob Dylan became huge,

133
00:07:11,960 --> 00:07:14,880
Speaker 1: there's this label that's been tossed around, the next Dylan

134
00:07:14,960 --> 00:07:17,960
Speaker 1: or the new Dylan, that's been attributed to all kinds

135
00:07:17,960 --> 00:07:21,240
Speaker 1: of singer songwriters over the decades. And I'm looking at you, Bruce,

136
00:07:21,680 --> 00:07:24,640
Speaker 1: just like the new Brando or the next Brando label

137
00:07:24,640 --> 00:07:27,360
Speaker 1: has been bandinged around to describe new and exciting actors

138
00:07:27,400 --> 00:07:31,080
Speaker 1: everybody from Leonardo DiCaprio to Daniel de Lewis to Tom Hardy.

139
00:07:31,600 --> 00:07:35,200
Speaker 1: For me, though, the best New Brando quote unquote performance

140
00:07:35,280 --> 00:07:40,160
Speaker 1: in the decades after Brando's impact initially hit was Mark

141
00:07:40,240 --> 00:07:43,520
Speaker 1: Ruffalo and you can count on me, which is on

142
00:07:43,720 --> 00:07:47,280
Speaker 1: most days in my top ten favorite movies of all time.

143
00:07:47,920 --> 00:07:50,360
Speaker 1: If you've never seen this, I mv you check it

144
00:07:50,400 --> 00:07:53,080
Speaker 1: out and see if you can see what I mean

145
00:07:53,160 --> 00:07:56,840
Speaker 1: when I say that Ruffalo, in one of his earliest

146
00:07:56,920 --> 00:08:01,080
Speaker 1: lead performances, is channeling this very distinct to Brando energy

147
00:08:01,600 --> 00:08:05,280
Speaker 1: while also doing his own thing. It's an absolutely riveting performance,

148
00:08:05,280 --> 00:08:10,680
Speaker 1: by the way. But Ruffalo, Hardy ddl Leo, none of

149
00:08:10,720 --> 00:08:12,560
Speaker 1: these guys are the next Brando, just like there was

150
00:08:12,640 --> 00:08:15,720
Speaker 1: no real next Dylan. I'm not sure that any of

151
00:08:15,720 --> 00:08:19,600
Speaker 1: these dudes could represent the same seismic shift that Brando

152
00:08:19,760 --> 00:08:23,920
Speaker 1: brought to the table, this complete reinvention of a worldview.

153
00:08:24,000 --> 00:08:27,160
Speaker 1: I mean, he quite literally changed how actors acted and

154
00:08:27,200 --> 00:08:30,720
Speaker 1: how audiences came to expect actors to act. Not that

155
00:08:30,800 --> 00:08:33,280
Speaker 1: it changed overnight. And again there was, like I said before,

156
00:08:33,320 --> 00:08:36,760
Speaker 1: there was pushback. There was backlash or people don't like change,

157
00:08:36,920 --> 00:08:39,839
Speaker 1: people don't like some upstart punk working there side of

158
00:08:39,880 --> 00:08:42,199
Speaker 1: the street and saying, hey, old man, the way you're

159
00:08:42,240 --> 00:08:45,040
Speaker 1: doing things ain't the way we do things anymore. But

160
00:08:45,600 --> 00:08:48,120
Speaker 1: Brando hit in the fifties and there was no turning back.

161
00:08:48,160 --> 00:08:51,080
Speaker 1: And I really, you know, you look at music history,

162
00:08:51,120 --> 00:08:54,199
Speaker 1: and there's so many moments in music history where things changed.

163
00:08:54,320 --> 00:08:57,040
Speaker 1: You know. I mentioned the Beatles before and after, but

164
00:08:57,520 --> 00:08:59,880
Speaker 1: you know, there was the punk movement, there was hip hop.

165
00:09:00,520 --> 00:09:03,480
Speaker 1: And when it comes to acting, I don't really know.

166
00:09:03,600 --> 00:09:06,360
Speaker 1: I mean, let me know if you disagree. But who

167
00:09:06,480 --> 00:09:09,920
Speaker 1: has made the same sort of major seismic shift that

168
00:09:10,000 --> 00:09:13,840
Speaker 1: Brando made in the fifties? Like who who has has

169
00:09:13,880 --> 00:09:18,200
Speaker 1: made a new shift that all actors have followed since

170
00:09:18,240 --> 00:09:21,480
Speaker 1: and all audiences have come to expect since I'm curious.

171
00:09:22,360 --> 00:09:24,840
Speaker 1: Fast forward a few decades later, and Brando's out in

172
00:09:24,840 --> 00:09:27,720
Speaker 1: the jungle making Apocalypse Now with Francis port Coppola. Right

173
00:09:27,760 --> 00:09:29,400
Speaker 1: around the same time that a guy who may have

174
00:09:29,440 --> 00:09:32,800
Speaker 1: seen himself as one of Coppola's rivals, William Freakin, was

175
00:09:32,840 --> 00:09:35,720
Speaker 1: in the Latin American jungle shooting his new movie Sorcerer,

176
00:09:36,160 --> 00:09:38,640
Speaker 1: which was the follow up to his mega hit The Exorcist.

177
00:09:39,120 --> 00:09:41,720
Speaker 1: I mentioned Sorcerer because I watched a lot of movies

178
00:09:41,760 --> 00:09:44,120
Speaker 1: this past weekend, including by the way, as I mentioned

179
00:09:44,200 --> 00:09:46,240
Speaker 1: last week, I went and saw F One and My Daughter,

180
00:09:46,280 --> 00:09:48,719
Speaker 1: which I really liked. By the way, but I want

181
00:09:48,760 --> 00:09:50,880
Speaker 1: to talk real quick about Sorcerer because it's the first

182
00:09:50,920 --> 00:09:53,439
Speaker 1: time I've ever seen this, and it's one of those

183
00:09:53,480 --> 00:09:55,520
Speaker 1: movies that's been on my list, high up on my

184
00:09:55,559 --> 00:09:58,480
Speaker 1: list for a long time. I feel like it's kept

185
00:09:58,480 --> 00:10:02,120
Speaker 1: coming up in this large cultural conversation over the last

186
00:10:02,120 --> 00:10:05,679
Speaker 1: few years as this forgotten masterpiece that was overshadowed by

187
00:10:05,840 --> 00:10:08,120
Speaker 1: Star Wars when it was released in nineteen seventy seven.

188
00:10:08,160 --> 00:10:11,640
Speaker 1: And well, I can report that it's pretty incredible, and

189
00:10:11,720 --> 00:10:14,360
Speaker 1: for a number of reasons. First of all, the narrative

190
00:10:14,360 --> 00:10:16,920
Speaker 1: structure of this thing is really something. Begins as this

191
00:10:17,240 --> 00:10:21,640
Speaker 1: sprawling thing that bounces between the backstories of four separate characters,

192
00:10:21,679 --> 00:10:23,480
Speaker 1: and then all these characters are brought to the same

193
00:10:23,480 --> 00:10:26,880
Speaker 1: town in Central America where they're working on drilling oil

194
00:10:26,920 --> 00:10:29,800
Speaker 1: for this American oil company, and then the narrative is

195
00:10:29,960 --> 00:10:34,160
Speaker 1: drilled down. Sorry, I had to do that, drilled down

196
00:10:34,200 --> 00:10:38,199
Speaker 1: and do a very simple, concise, goal oriented story where

197
00:10:38,200 --> 00:10:40,320
Speaker 1: these guys have to drive these trucks into the jungle,

198
00:10:40,720 --> 00:10:44,240
Speaker 1: retrieve this old dynamite that's like literally sweating nitroglycerine, and

199
00:10:44,320 --> 00:10:46,360
Speaker 1: drive it back to the oil well so they can

200
00:10:46,440 --> 00:10:48,320
Speaker 1: use it to put out the fire. The way this

201
00:10:48,400 --> 00:10:50,880
Speaker 1: movie is structured is like a funnel and I can't

202
00:10:50,880 --> 00:10:53,440
Speaker 1: think of another movie that does what this movie does.

203
00:10:54,360 --> 00:10:56,680
Speaker 1: The first half of the movie is the top part

204
00:10:56,679 --> 00:10:58,199
Speaker 1: of the funnel, and that the second half of the

205
00:10:58,200 --> 00:11:00,760
Speaker 1: movie is the bottom part of the funnel. Right, And

206
00:11:00,760 --> 00:11:03,520
Speaker 1: and as we get through it, the tension just gets

207
00:11:03,640 --> 00:11:06,000
Speaker 1: ratcheted up more and more as this movie goes on

208
00:11:06,720 --> 00:11:09,800
Speaker 1: and including most famously, and this is not a spoiler,

209
00:11:09,840 --> 00:11:11,480
Speaker 1: this is on like the poster or the cover of

210
00:11:11,480 --> 00:11:14,840
Speaker 1: the film. Uh, you know, the the transportation of this

211
00:11:14,960 --> 00:11:17,120
Speaker 1: dynamite in these trucks through the jungle. And there's one

212
00:11:17,160 --> 00:11:19,080
Speaker 1: scene in particular where they have to go over this

213
00:11:19,080 --> 00:11:22,400
Speaker 1: this like rickety old rope bridge, just like the bridge

214
00:11:22,400 --> 00:11:26,120
Speaker 1: that that Indiana Jones walks across in Temple of Doom.

215
00:11:26,200 --> 00:11:26,360
Speaker 2: Right.

216
00:11:26,679 --> 00:11:29,679
Speaker 1: But this whole, this whole sequence, this incredible sequence. I mean,

217
00:11:29,679 --> 00:11:31,800
Speaker 1: the whole movie is incredible, but this, this sequence is

218
00:11:32,440 --> 00:11:34,240
Speaker 1: probably one of my favorite sequences I've ever seen in

219
00:11:34,240 --> 00:11:36,800
Speaker 1: the movie. I'm transporting this this stuff back. It's really

220
00:11:37,480 --> 00:11:40,040
Speaker 1: just incredible and so incredible that, you know, I was

221
00:11:40,080 --> 00:11:43,480
Speaker 1: watching this on my own super early on Sunday morning,

222
00:11:44,080 --> 00:11:48,520
Speaker 1: and I was actually yelling at the screen occasionally. I

223
00:11:48,559 --> 00:11:51,360
Speaker 1: was like it was so anxiety producing I was like,

224
00:11:51,400 --> 00:11:53,880
Speaker 1: what like covering my eyes with my hands, and just

225
00:11:53,920 --> 00:11:56,920
Speaker 1: like it was very it was. It was great. Isn't

226
00:11:56,920 --> 00:11:59,720
Speaker 1: a masterpiece? I think so? It might be my favorite

227
00:11:59,720 --> 00:12:02,319
Speaker 1: freak and has always been the French connection. But I'm

228
00:12:02,320 --> 00:12:05,240
Speaker 1: psyched to watch Sorcerers some more and dig into the complexities.

229
00:12:05,280 --> 00:12:09,360
Speaker 1: So much going on, great Roy Scheider performance, incredible photography,

230
00:12:09,440 --> 00:12:14,040
Speaker 1: genius editing. The editing, I mean, it feels, it feels

231
00:12:14,200 --> 00:12:16,200
Speaker 1: very far ahead of its time for nineteen seventy seven,

232
00:12:16,600 --> 00:12:19,760
Speaker 1: speaking a freaking For those of you who are looking

233
00:12:19,800 --> 00:12:21,880
Speaker 1: for this sort of thing, we do have an episode

234
00:12:21,960 --> 00:12:24,280
Speaker 1: from the archive on the Exorcist that's coming at you

235
00:12:24,360 --> 00:12:28,200
Speaker 1: later this year in October around Halloween, which reminds me.

236
00:12:28,320 --> 00:12:31,160
Speaker 1: I've got a document with all my ideas for new

237
00:12:31,320 --> 00:12:34,720
Speaker 1: new episodes of Hollywood Land, and it's getting me fired

238
00:12:34,800 --> 00:12:36,520
Speaker 1: up to tell some of these stories just looking at it.

239
00:12:36,800 --> 00:12:39,079
Speaker 1: A lot of the subjects on this list have been

240
00:12:39,080 --> 00:12:42,559
Speaker 1: recommended by people just like you. Subjects like let's see

241
00:12:42,840 --> 00:12:47,760
Speaker 1: who's on here, Rob Low, Edie Sedgwick, James Kahn, Sidney Portier.

242
00:12:47,880 --> 00:12:51,400
Speaker 1: There's a crazy story about Sidney Poitier and Harry Belafonte

243
00:12:51,400 --> 00:12:55,240
Speaker 1: out running the KKK, Kirk, Douglass, Phillip Seymour Hoffman, Robert Redford,

244
00:12:55,320 --> 00:12:59,160
Speaker 1: Robert Redford. Yeah, man, there's some nuts of stuff about

245
00:13:00,000 --> 00:13:01,880
Speaker 1: I'll be Redford here hanging out with some murderer who

246
00:13:01,960 --> 00:13:04,560
Speaker 1: done time at Alcatraz. Anyway, that's just a smidge of

247
00:13:04,600 --> 00:13:06,680
Speaker 1: what's on this list. But I want to know tell

248
00:13:06,720 --> 00:13:10,000
Speaker 1: me who else should be on the list of subjects

249
00:13:10,040 --> 00:13:12,920
Speaker 1: we're going to cover in future hollywood Land episodes. Call

250
00:13:13,000 --> 00:13:15,480
Speaker 1: me and Jake, Text me and Jake at six one

251
00:13:15,640 --> 00:13:20,040
Speaker 1: seven nine zero six, six six three eight, and let

252
00:13:20,120 --> 00:13:23,319
Speaker 1: us know what kinds of stories you want to hear about.

253
00:13:24,120 --> 00:13:29,040
Speaker 1: Stories like the one about Jane Mansfield, actress, sex symbol

254
00:13:29,559 --> 00:13:34,960
Speaker 1: and very close confidant to Anton Levy, founder of the

255
00:13:35,040 --> 00:13:39,400
Speaker 1: Church of Satan. That's right, holy shit, seriously, yes, seriously,

256
00:13:39,520 --> 00:13:43,400
Speaker 1: Jane Mansfield close and cozy with the founder of the

257
00:13:43,520 --> 00:13:46,880
Speaker 1: Church of Satan. That is coming up next in your

258
00:13:46,880 --> 00:13:51,840
Speaker 1: Hollywood Land feed. And again, if your hip to some

259
00:13:51,880 --> 00:13:55,520
Speaker 1: of these stories, these hidden stories, these cutting room floor stories,

260
00:13:56,280 --> 00:13:59,400
Speaker 1: to these unexpected intersections of Hollywood and true crime, hit

261
00:13:59,440 --> 00:14:01,480
Speaker 1: me up in a life let me know again. You

262
00:14:01,559 --> 00:14:04,320
Speaker 1: know the number six one seven nine oh six six

263
00:14:04,440 --> 00:14:07,200
Speaker 1: six three eight, or you can email me and Jake

264
00:14:07,280 --> 00:14:11,000
Speaker 1: at Disgrace lampod at gmail dot com or hit us

265
00:14:11,080 --> 00:14:16,520
Speaker 1: up on social media Facebook, Instagram, X at Disgrace Lamb Pod.

266
00:14:16,840 --> 00:14:18,439
Speaker 1: One of these days we're gonna get around to getting

267
00:14:18,440 --> 00:14:20,680
Speaker 1: our own socials and emails and numbers and all that

268
00:14:20,680 --> 00:14:23,240
Speaker 1: stuff for Hollywood Lamb. But you know, one step at

269
00:14:23,240 --> 00:14:25,280
Speaker 1: a time and all that. All right, Okay, speaking of time,

270
00:14:25,440 --> 00:14:27,240
Speaker 1: it is time to get my man Jake Brennan in

271
00:14:27,240 --> 00:14:30,680
Speaker 1: here to respond to your messages, text, dms and calls,

272
00:14:30,920 --> 00:14:33,400
Speaker 1: which we're going to do together right after this break,

273
00:14:33,720 --> 00:14:50,640
Speaker 1: be right back. Welcome back to the rap party where

274
00:14:50,720 --> 00:14:52,480
Speaker 1: some of you may have just heard an ad. Am,

275
00:14:52,520 --> 00:14:55,200
Speaker 1: I right, how many ads? Were there? Too many? You

276
00:14:55,240 --> 00:14:58,160
Speaker 1: want zero ads? I know a guy and I swear

277
00:14:58,200 --> 00:15:01,840
Speaker 1: it's not sketchy either. Okay. Just go to disgracelandpod dot

278
00:15:01,880 --> 00:15:04,960
Speaker 1: com slash Membership and sign up to become a member

279
00:15:05,400 --> 00:15:08,760
Speaker 1: of Disgraceland All Access For just five dollars a month.

280
00:15:08,880 --> 00:15:11,560
Speaker 1: You'll get ad free listening to every episode of Disgraceland

281
00:15:11,560 --> 00:15:15,400
Speaker 1: and Hollywood Land, as well as a bonus fully scripted

282
00:15:15,440 --> 00:15:19,400
Speaker 1: episode of Disgraceland every month. You can sign up through Patreon,

283
00:15:19,480 --> 00:15:21,960
Speaker 1: which allows you to connect the feed to wherever you

284
00:15:22,000 --> 00:15:24,160
Speaker 1: get your podcasts usually, or you can do it through

285
00:15:24,200 --> 00:15:27,440
Speaker 1: Apple Podcasts. And if you are doing your potting over

286
00:15:27,480 --> 00:15:30,240
Speaker 1: at Apple, whether or not you're an All Access member,

287
00:15:30,320 --> 00:15:32,760
Speaker 1: make sure you've got auto downloads turned on so that

288
00:15:32,800 --> 00:15:36,120
Speaker 1: you never miss an episode of this here show. Okay,

289
00:15:36,200 --> 00:15:38,720
Speaker 1: I am now joined as I am every week by

290
00:15:38,720 --> 00:15:42,800
Speaker 1: the host of hollywood Land and Disgraceland, Jake Brennan's app.

291
00:15:43,000 --> 00:15:44,800
Speaker 2: Well Shaken, Zeth Lundy, how are you, buddy.

292
00:15:44,920 --> 00:15:47,560
Speaker 1: I'm doing great. I'm doing great. It's gonna hit ninety

293
00:15:47,600 --> 00:15:50,160
Speaker 1: degrees here today, so I feel like I'm in Florida

294
00:15:50,280 --> 00:15:52,720
Speaker 1: in mind and spirit and embody. I guess.

295
00:15:52,960 --> 00:15:55,240
Speaker 2: Yeah, it's actually probably a little bit more mild here

296
00:15:55,280 --> 00:15:56,520
Speaker 2: today than it is up in Maine.

297
00:15:56,800 --> 00:15:58,840
Speaker 1: Wow. Yeah, figure that one out.

298
00:15:59,080 --> 00:16:01,160
Speaker 2: Just had a nice swim in the pool, feel good,

299
00:16:01,240 --> 00:16:02,440
Speaker 2: feel nice and energized.

300
00:16:03,240 --> 00:16:03,520
Speaker 1: Great.

301
00:16:03,880 --> 00:16:06,920
Speaker 2: I'm not wearing a robe though, so you know there's that.

302
00:16:07,200 --> 00:16:09,720
Speaker 1: Okay, you tricked me. I was fully expecting that today.

303
00:16:09,760 --> 00:16:12,200
Speaker 2: And then yeah, I had enough time to put sweats

304
00:16:12,200 --> 00:16:14,600
Speaker 2: on and my Jaws T shirt, so I'm ready to rock.

305
00:16:14,760 --> 00:16:17,560
Speaker 1: Oh yeah, have you rewatched Jaws for its fiftieth anniversary

306
00:16:17,600 --> 00:16:18,720
Speaker 1: this year yet I haven't.

307
00:16:18,720 --> 00:16:21,080
Speaker 2: But I'm really pissed off at my in laws for

308
00:16:21,600 --> 00:16:27,560
Speaker 2: showing my kid's Jaws without me knowing for numerous for

309
00:16:27,640 --> 00:16:31,760
Speaker 2: numerous reasons. Pissed because they broke their jaws cherry and

310
00:16:31,800 --> 00:16:34,560
Speaker 2: I wanted to do that, oh you know, top top

311
00:16:34,600 --> 00:16:36,640
Speaker 2: five movie for me. But also, you know, my kids

312
00:16:36,640 --> 00:16:38,800
Speaker 2: are eleven and seven years old, and I want them

313
00:16:38,800 --> 00:16:41,280
Speaker 2: to enjoy going in the ocean for as long as possible.

314
00:16:41,400 --> 00:16:44,360
Speaker 3: So thankfully they didn't show. They showed them like the.

315
00:16:44,280 --> 00:16:46,800
Speaker 2: First I don't know, twenty minutes or so, so it

316
00:16:46,880 --> 00:16:48,720
Speaker 2: wasn't a full full showing.

317
00:16:48,880 --> 00:16:50,600
Speaker 1: Yeah, they's got to see one person killed by the

318
00:16:50,640 --> 00:16:51,600
Speaker 1: shock because nobody.

319
00:16:52,480 --> 00:16:54,040
Speaker 2: Yeah, yeah, exactly.

320
00:16:55,240 --> 00:16:55,360
Speaker 4: Uh.

321
00:16:55,640 --> 00:16:58,760
Speaker 1: Well, out here in the wild and wily plains of

322
00:16:58,960 --> 00:17:01,160
Speaker 1: Hollywood Land, we've being getting a lot of feedback from

323
00:17:01,200 --> 00:17:04,000
Speaker 1: a lot of you, not about Jaws, but about some

324
00:17:04,040 --> 00:17:06,320
Speaker 1: of the things we were talking about last week about

325
00:17:06,560 --> 00:17:11,119
Speaker 1: Michael Madsen as the ultimate almost famous famous actor and

326
00:17:11,200 --> 00:17:12,760
Speaker 1: real quick go I seed to address this. I think

327
00:17:12,800 --> 00:17:15,560
Speaker 1: some people misinterpreted what I was saying. Of course, Michael

328
00:17:15,560 --> 00:17:19,280
Speaker 1: Madison was famous, Okay, he was in Quentin Tarantino movies like,

329
00:17:19,320 --> 00:17:22,360
Speaker 1: I get that he was famous. My point was, there's

330
00:17:22,359 --> 00:17:25,120
Speaker 1: an almost famous thing, right, It's like the movie It's

331
00:17:25,119 --> 00:17:27,679
Speaker 1: like you open for Black Sabbath, but you're not Black Sabbath, right.

332
00:17:28,000 --> 00:17:30,679
Speaker 1: And that's not discounting how good you are. I'm just

333
00:17:30,720 --> 00:17:34,439
Speaker 1: saying Michael Madsen was not John Travolta or Samuel L. Jackson,

334
00:17:34,680 --> 00:17:36,320
Speaker 1: and that you could say to a random person on

335
00:17:36,320 --> 00:17:38,800
Speaker 1: the street, Hey, you see that new Michael Madson movie.

336
00:17:38,800 --> 00:17:41,240
Speaker 2: You know what I'm saying, right right, right, yeah, I

337
00:17:41,280 --> 00:17:43,160
Speaker 2: totally know what you're saying. I get you, zeth.

338
00:17:43,160 --> 00:17:46,120
Speaker 1: Okay, And some people got me, like this caller from

339
00:17:46,119 --> 00:17:48,720
Speaker 1: the two one six who talked about the Michael Madson

340
00:17:48,760 --> 00:17:51,840
Speaker 1: almost famous thing and also touched on our subject of

341
00:17:51,840 --> 00:17:54,760
Speaker 1: the greatest movie soundtracks. Let's Matt play that for us.

342
00:17:55,000 --> 00:17:58,520
Speaker 4: Hello, you're talking about Michael Madsen as a character actor.

343
00:17:59,400 --> 00:18:03,800
Speaker 4: I got one better. It's in grittier movies, as gritty movies. JT.

344
00:18:04,000 --> 00:18:06,480
Speaker 4: Walsh sadly he passed away, but he was in so

345
00:18:06,600 --> 00:18:09,879
Speaker 4: many good movies, a few good men. He just so

346
00:18:09,960 --> 00:18:14,680
Speaker 4: many good roles. A living character actor is phenomenal, phenomenal.

347
00:18:14,720 --> 00:18:19,280
Speaker 4: Eighty five years old, Scott Glenn. I remember Urban Cowboy.

348
00:18:19,560 --> 00:18:23,120
Speaker 4: He was in the right stuff, so many, so many

349
00:18:23,119 --> 00:18:26,199
Speaker 4: good movies of the Running Man. He was terrifying, a

350
00:18:26,320 --> 00:18:30,240
Speaker 4: very low campy movie. He was a he was a killer.

351
00:18:30,600 --> 00:18:33,400
Speaker 4: It was awesome scene with the way trits, Oh my God,

352
00:18:34,160 --> 00:18:41,000
Speaker 4: and a soundtrack phenomenal is vision quest Red Rider's lunatic

353
00:18:41,119 --> 00:18:46,119
Speaker 4: fringe just was unbelievable. So that that stole it for me.

354
00:18:46,680 --> 00:18:48,960
Speaker 2: Two on six. There's a lot there to unpacked. I'm

355
00:18:48,960 --> 00:18:50,840
Speaker 2: going to take the J. T. Walsh piece of it.

356
00:18:50,920 --> 00:18:54,000
Speaker 2: I didn't know who you mentioned you when you said J. T.

357
00:18:54,080 --> 00:18:54,320
Speaker 1: Walsh.

358
00:18:54,359 --> 00:18:56,440
Speaker 2: I looked him up real quick, and you're absolutely right.

359
00:18:56,840 --> 00:18:59,879
Speaker 2: Fantastic and sling blade fantastic, like you said in a

360
00:19:00,240 --> 00:19:02,760
Speaker 2: Good Men. Guy's been in so many great movies.

361
00:19:02,840 --> 00:19:03,760
Speaker 3: He reminded me.

362
00:19:04,000 --> 00:19:06,760
Speaker 2: And to bring it back to Michael Madson of an

363
00:19:06,840 --> 00:19:11,160
Speaker 2: actor that Michael Madson reminds me of as well, Timothy Carey, Zeth.

364
00:19:11,240 --> 00:19:12,359
Speaker 2: You know who Timothy Krey is.

365
00:19:13,160 --> 00:19:16,360
Speaker 3: Yeah, yeah, Get from the Killing like just.

366
00:19:16,440 --> 00:19:19,240
Speaker 2: Great, kind of looks like Michael Madison kind of looked

367
00:19:19,280 --> 00:19:21,800
Speaker 2: like him a little. Michael Madson's more handsome than Timothy Carey,

368
00:19:22,040 --> 00:19:26,919
Speaker 2: but Timothy Krey kind of a big, brooding, dark and

369
00:19:27,000 --> 00:19:29,480
Speaker 2: almost handsome bad guy that was in a ton of

370
00:19:29,520 --> 00:19:32,800
Speaker 2: movies in the fifties and sixties. And if you haven't

371
00:19:33,800 --> 00:19:36,760
Speaker 2: Caller or z that, if you guys haven't seen The

372
00:19:36,800 --> 00:19:40,639
Speaker 2: World's Greatest Ciner, which is the movie Timothy Krey pretty

373
00:19:40,680 --> 00:19:42,399
Speaker 2: much made. I don't know if he directed it, but

374
00:19:42,440 --> 00:19:44,960
Speaker 2: it was kind of his project. He might have directed it.

375
00:19:44,960 --> 00:19:46,920
Speaker 2: It's I think you can get it on Criterion seth.

376
00:19:47,040 --> 00:19:49,840
Speaker 2: It is phenomenal and it is like the It is

377
00:19:49,880 --> 00:19:53,720
Speaker 2: the perfect mix of just kind of of over the top,

378
00:19:55,160 --> 00:19:58,479
Speaker 2: sort of like cultish behavior in rock and roll, and

379
00:19:58,520 --> 00:20:01,280
Speaker 2: he's it's his it's his step out of the character

380
00:20:01,320 --> 00:20:04,080
Speaker 2: actor piece and into being a leading man. It doesn't

381
00:20:04,080 --> 00:20:06,159
Speaker 2: really work for him career wise, but it works as

382
00:20:06,160 --> 00:20:08,320
Speaker 2: a blast of a movie that we should all check

383
00:20:08,359 --> 00:20:11,520
Speaker 2: out anyways. Two one six J T. Walsh got me

384
00:20:11,560 --> 00:20:13,240
Speaker 2: to Timothy Carey, So I thank you for that.

385
00:20:14,000 --> 00:20:16,840
Speaker 1: The score composed by a young pre mothers of invention

386
00:20:16,920 --> 00:20:17,520
Speaker 1: Frank Zappa.

387
00:20:17,720 --> 00:20:21,160
Speaker 2: Yeah, yeah, exactly exactly. It's wild. It sounds like it too,

388
00:20:21,200 --> 00:20:24,400
Speaker 2: and it looks like it's incredible. It's so diy. It's

389
00:20:24,440 --> 00:20:31,240
Speaker 2: like pre cassavettis diy. Yeah, filmmaking where it's it's very rough,

390
00:20:31,720 --> 00:20:36,160
Speaker 2: but it's it's super compelling and you can easily hang

391
00:20:36,160 --> 00:20:36,840
Speaker 2: with the roughness.

392
00:20:37,119 --> 00:20:39,119
Speaker 1: Sweet, I'm gonna I don't know that movie at all.

393
00:20:39,119 --> 00:20:40,160
Speaker 1: I'm gonna put that on my list.

394
00:20:40,359 --> 00:20:41,080
Speaker 2: You're gonna love it.

395
00:20:41,520 --> 00:20:45,240
Speaker 1: Awesome. Thanks two on six for that. Yeah, vision Quest,

396
00:20:45,320 --> 00:20:48,720
Speaker 1: it's a great slice of eighties. Eighties shit right there, Journey,

397
00:20:49,200 --> 00:20:53,600
Speaker 1: John Waite style, Counsol Madonna, Don Kenley, She's on the zoom?

398
00:20:53,680 --> 00:20:57,000
Speaker 1: Was that like a did he like Fortell? The age

399
00:20:57,000 --> 00:21:01,640
Speaker 1: of COVID and talking over the internet? Don Henley? Most

400
00:21:01,760 --> 00:21:02,640
Speaker 1: damas over there?

401
00:21:03,720 --> 00:21:06,399
Speaker 2: It was, uh, yeah, it was a noster dramas warning

402
00:21:06,480 --> 00:21:09,520
Speaker 2: warning to to uh, what's that guy's name? Jeffrey Tubin,

403
00:21:09,640 --> 00:21:11,399
Speaker 2: she's on the zoom, Dude, she's on the zone.

404
00:21:11,560 --> 00:21:12,960
Speaker 1: The zoom stop.

405
00:21:13,640 --> 00:21:15,080
Speaker 3: No, you're gonna ruin your career.

406
00:21:15,160 --> 00:21:15,760
Speaker 2: No, actually you're not.

407
00:21:15,800 --> 00:21:16,160
Speaker 3: It's fine.

408
00:21:16,200 --> 00:21:21,000
Speaker 2: I forget uh. I read the novelist. I think it

409
00:21:21,040 --> 00:21:24,000
Speaker 2: was a novelization of Vision Quest. I don't think Vision

410
00:21:24,040 --> 00:21:26,560
Speaker 2: Quest was based on a book, but there was, Like

411
00:21:26,600 --> 00:21:28,399
Speaker 2: the movie came out and there was a book.

412
00:21:28,440 --> 00:21:30,040
Speaker 1: I think that was a big deal. But there was

413
00:21:30,080 --> 00:21:31,760
Speaker 1: novelizations of movies all the time. Yeah.

414
00:21:31,840 --> 00:21:35,040
Speaker 2: Yeah, so it was uh, I think fifth grade or

415
00:21:35,160 --> 00:21:38,200
Speaker 2: sixth grade, okay, and I had it was one of

416
00:21:38,200 --> 00:21:40,080
Speaker 2: those deals where like you had to you had to

417
00:21:40,240 --> 00:21:42,000
Speaker 2: justify the book you were going to read to do

418
00:21:42,040 --> 00:21:47,680
Speaker 2: the report on. And mine was like I leaned into

419
00:21:47,680 --> 00:21:50,480
Speaker 2: the romance aspect of it a little too heavily for

420
00:21:50,520 --> 00:21:52,960
Speaker 2: a fifth grader, and my teacher was like, there's no

421
00:21:53,080 --> 00:21:56,640
Speaker 2: freaking way I'm letting you write this. It was very embarrassing.

422
00:21:56,720 --> 00:22:00,240
Speaker 2: I'm still embarrassed thinking about. Wow, yeah that was vision qui.

423
00:22:00,280 --> 00:22:00,399
Speaker 1: I was.

424
00:22:00,520 --> 00:22:03,200
Speaker 2: I was really touched by Crazy for You by Madonna.

425
00:22:03,200 --> 00:22:06,399
Speaker 2: I guess wow, right, that's a song, right, Crazy for You.

426
00:22:06,720 --> 00:22:09,200
Speaker 1: I don't think it's Crazy for You. I think it's

427
00:22:09,359 --> 00:22:14,480
Speaker 1: it's a song called Gambler. No, I'm looking at it

428
00:22:14,560 --> 00:22:18,040
Speaker 1: right now. Oh sorry, that's the last song. Yeah, sorry,

429
00:22:18,080 --> 00:22:21,240
Speaker 1: my bad. Yeah, there's two Madonna songs on the soundtrack. Okay, sorry,

430
00:22:21,280 --> 00:22:23,120
Speaker 1: there's also Gambler though I don't know Gambler.

431
00:22:23,359 --> 00:22:24,919
Speaker 3: Yeah, no one, no one does. How do you not

432
00:22:25,000 --> 00:22:25,679
Speaker 3: know Crazy for You?

433
00:22:26,080 --> 00:22:26,879
Speaker 1: I know Crazy for You?

434
00:22:27,359 --> 00:22:27,520
Speaker 3: Oh?

435
00:22:27,560 --> 00:22:30,959
Speaker 2: Okay, touch me once and you know it's true of course.

436
00:22:31,160 --> 00:22:33,720
Speaker 1: Yeah, it's incredible.

437
00:22:33,280 --> 00:22:36,720
Speaker 2: Dude, Madonna is just imprinted on I was about saying

438
00:22:36,720 --> 00:22:39,040
Speaker 2: my brain, but it's really my entire body but whole

439
00:22:39,040 --> 00:22:41,800
Speaker 2: being like, it's if you were growing up as a

440
00:22:42,240 --> 00:22:45,080
Speaker 2: kid in puberty, during puberty when Madonna was happening back then,

441
00:22:45,160 --> 00:22:47,520
Speaker 2: you're fucked. You're just like, it doesn't matter what she

442
00:22:47,560 --> 00:22:49,800
Speaker 2: does to her face now, doesn't matter what kind of

443
00:22:49,800 --> 00:22:53,400
Speaker 2: stupid video she makes on TikTok or Instagram, She's still Madonna,

444
00:22:53,600 --> 00:22:54,240
Speaker 2: you know what I'm saying.

445
00:22:54,960 --> 00:22:57,320
Speaker 1: It was a it was like an astral plane level

446
00:22:57,440 --> 00:23:02,640
Speaker 1: sexual awakening, like with like every time she came on TV,

447
00:23:02,760 --> 00:23:04,919
Speaker 1: it was like the world literally stopped, like you.

448
00:23:04,920 --> 00:23:05,320
Speaker 4: Know what I mean.

449
00:23:05,359 --> 00:23:06,040
Speaker 3: It really was.

450
00:23:06,280 --> 00:23:08,480
Speaker 2: It really was, And it was different too than anything

451
00:23:08,520 --> 00:23:11,600
Speaker 2: that I think happened. So maybe maybe something in the

452
00:23:11,680 --> 00:23:13,560
Speaker 2: nineties happened that was similar. I can't think of the

453
00:23:13,600 --> 00:23:16,399
Speaker 2: comp but in the eighties it was kind of like

454
00:23:16,520 --> 00:23:19,800
Speaker 2: Madonna owned that lane. There was no competition. No.

455
00:23:20,000 --> 00:23:21,600
Speaker 3: I mean, I'm sure people are going to say, oh.

456
00:23:21,640 --> 00:23:23,359
Speaker 2: Jane Jackson with the people are going to be like

457
00:23:23,400 --> 00:23:26,959
Speaker 2: their own face, but nobody was as big or in

458
00:23:27,000 --> 00:23:29,800
Speaker 2: your face. If you were in the sixth grade and

459
00:23:30,320 --> 00:23:33,439
Speaker 2: a male or you know, into chicks, then Madonna was

460
00:23:33,920 --> 00:23:34,879
Speaker 2: at that time.

461
00:23:35,160 --> 00:23:37,960
Speaker 1: No one, Yeah, no competition. We were there. We have

462
00:23:38,040 --> 00:23:41,440
Speaker 1: the receipts. We know that it's true. On the subject

463
00:23:41,480 --> 00:23:46,480
Speaker 1: of soundtracks vision quests, notwithstanding Nicole from the seven to

464
00:23:46,480 --> 00:23:50,760
Speaker 1: one to six texted into us, Natural Born Killers has

465
00:23:50,760 --> 00:23:52,919
Speaker 1: got to be one of the best out there. I

466
00:23:53,000 --> 00:23:56,280
Speaker 1: literally fell in love with the Cowboy Junkies after hearing

467
00:23:56,280 --> 00:23:58,520
Speaker 1: their version of Sweet Jane on that soundtrack. They've been

468
00:23:58,520 --> 00:24:01,440
Speaker 1: one of my favorite bands ever since. I was refreshing

469
00:24:01,440 --> 00:24:04,200
Speaker 1: my memory on this. Trent Reznor produced the soundtrack.

470
00:24:04,440 --> 00:24:04,879
Speaker 3: I believe.

471
00:24:04,920 --> 00:24:07,399
Speaker 2: So I don't know this soundtrack like some because I

472
00:24:07,400 --> 00:24:09,720
Speaker 2: don't love this movie. I didn't love the movie when

473
00:24:09,720 --> 00:24:13,760
Speaker 2: it came out. Not to dump on the caller's choice, I.

474
00:24:13,720 --> 00:24:15,040
Speaker 1: Think that when it came out, I don't love it

475
00:24:15,040 --> 00:24:17,280
Speaker 1: as much now, but go ahead. I'm looking at the

476
00:24:17,480 --> 00:24:21,359
Speaker 1: It's kind like Leonard Kuhn L seven Doctor Dre Patsy Klein.

477
00:24:21,440 --> 00:24:23,280
Speaker 1: It's very eclectic.

478
00:24:23,200 --> 00:24:24,919
Speaker 3: A nineties Dwayne Eddie.

479
00:24:24,960 --> 00:24:29,520
Speaker 2: It looks like Robert Downey Junior doing Root six six

480
00:24:29,680 --> 00:24:34,680
Speaker 2: six h Dylan. It does look like to the caller's point,

481
00:24:34,720 --> 00:24:36,679
Speaker 2: it looks like Sweet Jane by Cowboy Junkies. Is the

482
00:24:36,680 --> 00:24:39,080
Speaker 2: most memorable song from this But I'm going to listen

483
00:24:39,160 --> 00:24:40,720
Speaker 2: to the Caller and I'm gonna go check. I'm gonna

484
00:24:40,720 --> 00:24:43,120
Speaker 2: put this on today and I'm going to just kind

485
00:24:43,119 --> 00:24:44,800
Speaker 2: of give it a listen as an album.

486
00:24:44,960 --> 00:24:47,200
Speaker 1: Yeah, I'll don't do the same, because I'm intrigued. I

487
00:24:47,240 --> 00:24:49,040
Speaker 1: feel like the way it looks at I wonder if

488
00:24:49,080 --> 00:24:52,000
Speaker 1: it's sequenced like you know those like pulp fiction and stuff,

489
00:24:52,000 --> 00:24:54,080
Speaker 1: the soundtracks from the nineties that would include simpets of

490
00:24:54,119 --> 00:24:56,520
Speaker 1: dialogue and whatever from the movie. I wonder if it's

491
00:24:56,520 --> 00:24:58,320
Speaker 1: if it's one of those experiences.

492
00:24:58,359 --> 00:24:59,600
Speaker 2: So yeah, that'd be great.

493
00:24:59,640 --> 00:25:00,560
Speaker 3: Little Harrelson.

494
00:25:00,920 --> 00:25:04,800
Speaker 1: Yeah, also on soundtracks here someone else from the eight

495
00:25:04,800 --> 00:25:09,399
Speaker 1: to five Oh texted in Grease, Saturday Night Fever, Pretty

496
00:25:09,400 --> 00:25:11,560
Speaker 1: in Pink, the Boomer triple play.

497
00:25:12,640 --> 00:25:15,040
Speaker 3: That's that's the Boomer. How's that Boomer?

498
00:25:15,600 --> 00:25:17,639
Speaker 2: I mean, I guess if you were like, yeah, I

499
00:25:17,680 --> 00:25:19,680
Speaker 2: guess if you were an if you had really good

500
00:25:19,680 --> 00:25:21,960
Speaker 2: taste as a boomer. But Boomer, I don't. I don't

501
00:25:21,960 --> 00:25:24,159
Speaker 2: put with like seventies and eighties music. I put it

502
00:25:24,200 --> 00:25:28,360
Speaker 2: with like something that happened in here, you know that bullshit? Yeah, yeah,

503
00:25:28,720 --> 00:25:31,040
Speaker 2: sixties stuff that I love I say bullshit, but you

504
00:25:31,080 --> 00:25:33,480
Speaker 2: know what I mean, Saturday Night Fever does not get

505
00:25:33,560 --> 00:25:36,520
Speaker 2: enough credit. Okay, Like this is the beauty of having kids.

506
00:25:36,840 --> 00:25:40,600
Speaker 2: You can really really gauge the power of music with

507
00:25:40,720 --> 00:25:44,840
Speaker 2: a child with fresh ears. And I the first time

508
00:25:45,680 --> 00:25:49,879
Speaker 2: my son Willem, who's the youngest, which is recently heard

509
00:25:50,920 --> 00:25:54,520
Speaker 2: stay Alive. It was a cover. It was that Bean Geese.

510
00:25:54,560 --> 00:25:58,000
Speaker 2: It was their version, which is like, is like a

511
00:25:58,119 --> 00:25:59,680
Speaker 2: methamphetamine version of the song.

512
00:26:01,800 --> 00:26:02,320
Speaker 3: I'm not kidding.

513
00:26:02,320 --> 00:26:05,760
Speaker 2: It's like that fast and it's incredible. And he was

514
00:26:05,960 --> 00:26:08,920
Speaker 2: just taken by it, like he couldn't look away.

515
00:26:08,960 --> 00:26:09,960
Speaker 3: And I didn't show it to him.

516
00:26:09,960 --> 00:26:13,359
Speaker 2: I just had it on and I put on the

517
00:26:13,440 --> 00:26:18,480
Speaker 2: opening credits for Saturday Fever. Yeah, and him just walking

518
00:26:18,480 --> 00:26:21,840
Speaker 2: down the street with the original track and oh my god.

519
00:26:22,400 --> 00:26:25,280
Speaker 2: It owned him for the next week straight. It was

520
00:26:25,320 --> 00:26:27,600
Speaker 2: all he wanted to listen to. He wanted to dance

521
00:26:27,680 --> 00:26:30,440
Speaker 2: like that. My wife came home from she had a

522
00:26:30,520 --> 00:26:32,359
Speaker 2: night out, and me and William were like trying to do.

523
00:26:32,440 --> 00:26:34,359
Speaker 3: The Saturday Fever dance.

524
00:26:35,040 --> 00:26:39,600
Speaker 2: It was just like, so, I mean, now, however, I

525
00:26:39,600 --> 00:26:42,360
Speaker 2: mean that thing has been so mass produced and played

526
00:26:42,440 --> 00:26:45,440
Speaker 2: out it's hard for adults. I think are people coming

527
00:26:45,480 --> 00:26:48,080
Speaker 2: into it as an adult to really understand how powerful

528
00:26:48,119 --> 00:26:49,800
Speaker 2: that that soundtrack was.

529
00:26:49,840 --> 00:26:50,240
Speaker 3: What was the.

530
00:26:50,880 --> 00:26:56,000
Speaker 2: Recent HBO documentary about the producer who made that movie.

531
00:26:56,600 --> 00:26:59,000
Speaker 2: It's really fantastic and he had a lot to do

532
00:26:59,080 --> 00:27:01,800
Speaker 2: with the making of that soundtrack and the Beg's and

533
00:27:02,200 --> 00:27:04,879
Speaker 2: he managed the beg's. I think I'm blanking on the

534
00:27:04,880 --> 00:27:06,520
Speaker 2: guy's name. Hold on, I got to get it now,

535
00:27:06,560 --> 00:27:08,119
Speaker 2: I guess stop bringing up shit. I don't know the

536
00:27:08,200 --> 00:27:12,240
Speaker 2: name of mister Saturday Night Robert Stigwood. Yeah, yeah, exactly,

537
00:27:12,320 --> 00:27:15,080
Speaker 2: mister Saturday Night Robert Stigwood. Yeah, it's fantastic. I think

538
00:27:15,119 --> 00:27:16,840
Speaker 2: Bill Simmons made it. It's really good.

539
00:27:17,200 --> 00:27:20,960
Speaker 1: Have have you seen that thing on Instagram? TikTok whatever

540
00:27:21,040 --> 00:27:24,719
Speaker 1: that this drummer maybe I sent this to you. He

541
00:27:24,720 --> 00:27:28,480
Speaker 1: he like slows down, staying alive to like half speed,

542
00:27:28,520 --> 00:27:30,439
Speaker 1: and he played he's playing drums all onto it in

543
00:27:30,440 --> 00:27:33,400
Speaker 1: like a John Bonham way and it's fucking incredible. It's

544
00:27:33,440 --> 00:27:35,960
Speaker 1: like hearing a song for the completely differently for the

545
00:27:35,960 --> 00:27:38,560
Speaker 1: first time, and the groove is so it's awesome.

546
00:27:38,680 --> 00:27:40,439
Speaker 2: Anyways, I get I want to hear that. Send that

547
00:27:40,480 --> 00:27:41,359
Speaker 2: to me. That sounds great.

548
00:27:41,920 --> 00:27:47,320
Speaker 1: Another text from the nine to h favorite soundtracks, tomb Raider,

549
00:27:47,680 --> 00:27:49,800
Speaker 1: The Crow, Lost Highway.

550
00:27:50,119 --> 00:27:55,920
Speaker 2: Mmm, God, Lost Highways, Great Lost Highways, Fantastic Lost Highways

551
00:27:55,920 --> 00:27:57,320
Speaker 2: become one of those movies that I just put on

552
00:27:57,400 --> 00:28:01,720
Speaker 2: in the background because it looks and sound so incredible

553
00:28:01,760 --> 00:28:04,960
Speaker 2: you don't even really need to follow follow along. I'm

554
00:28:04,960 --> 00:28:08,720
Speaker 2: looking at the track listing now more Nine in Nails,

555
00:28:08,760 --> 00:28:14,119
Speaker 2: the Bowie song I'm Deranged, Angela, Buttle of Mud. I

556
00:28:14,160 --> 00:28:15,800
Speaker 2: can never say the guy's name right, the guy who

557
00:28:15,800 --> 00:28:18,480
Speaker 2: did Between Battle Buttle of enty Battle.

558
00:28:18,480 --> 00:28:21,520
Speaker 1: The Robert Blake shouldn't that movie Like it still freaks

559
00:28:21,560 --> 00:28:24,240
Speaker 1: me out, Like I feel like I walked around with

560
00:28:24,240 --> 00:28:25,760
Speaker 1: all the lights out of my house after I watched

561
00:28:25,760 --> 00:28:27,720
Speaker 1: that movie, just because it's so creepy.

562
00:28:28,320 --> 00:28:33,680
Speaker 2: Yeah, and Patricia Arquette man given Given Eighties, Madonna run

563
00:28:33,680 --> 00:28:35,480
Speaker 2: for money in this one for sure.

564
00:28:35,960 --> 00:28:39,840
Speaker 1: And then let's see we've got over here. Oh yeah,

565
00:28:39,840 --> 00:28:42,320
Speaker 1: we've got some A couple of texts from Keith in

566
00:28:42,400 --> 00:28:46,840
Speaker 1: South Africa, who was weighing in on I solicited last

567
00:28:46,840 --> 00:28:50,600
Speaker 1: week recommendations for sweaty summer movies. This is the you

568
00:28:50,640 --> 00:28:53,280
Speaker 1: know I mentioned, Do the Right Thing and Dog Day Afternoon.

569
00:28:53,400 --> 00:28:57,520
Speaker 1: I like, I love sweaty movies in the summer great category.

570
00:28:57,800 --> 00:28:59,560
Speaker 2: Great great, great category.

571
00:28:59,840 --> 00:29:03,440
Speaker 1: So anyways, Keith texted in for summer movie Body Heat

572
00:29:03,640 --> 00:29:06,760
Speaker 1: with William Hurt nineteen eighty one, which is great, and

573
00:29:06,800 --> 00:29:09,680
Speaker 1: then you said this super sweaty summer movie has got

574
00:29:09,720 --> 00:29:11,800
Speaker 1: to be number one or number two midnight in the

575
00:29:11,800 --> 00:29:12,800
Speaker 1: Garden of Good and Evil.

576
00:29:13,440 --> 00:29:16,080
Speaker 2: M hmm, another great one. I would also add to

577
00:29:16,080 --> 00:29:18,720
Speaker 2: the list Out of Sight by your man Steven Soderberg.

578
00:29:18,800 --> 00:29:21,280
Speaker 1: Yeah, yeah, yeah, I love that movie.

579
00:29:21,520 --> 00:29:22,880
Speaker 2: Yeah, sweaty summer movies.

580
00:29:22,920 --> 00:29:23,440
Speaker 3: I love this.

581
00:29:23,920 --> 00:29:27,480
Speaker 1: Over on email, we've got an email from Eric here,

582
00:29:27,520 --> 00:29:30,480
Speaker 1: who chimed in on We were asking about that movie

583
00:29:30,560 --> 00:29:34,600
Speaker 1: Runaway Train last week with Eric Roberts. He Eric wrote in, Hi,

584
00:29:34,920 --> 00:29:36,959
Speaker 1: listen to the Michael Madison tribute, and you guys mentioned

585
00:29:37,240 --> 00:29:39,959
Speaker 1: if nineteen eighty five is Runaway Train with Eric Roberts

586
00:29:40,000 --> 00:29:44,080
Speaker 1: and John Voight was worth seeing. It absolutely is fantastic movie.

587
00:29:44,200 --> 00:29:46,720
Speaker 1: High recommendation. Keep up the good work. So I guess

588
00:29:46,720 --> 00:29:48,760
Speaker 1: we got to add that to our list, and everyone

589
00:29:48,800 --> 00:29:52,440
Speaker 1: else be like Eric, be like Keith, Give us a call,

590
00:29:52,640 --> 00:29:55,600
Speaker 1: send us a text six one seven nine six six

591
00:29:55,760 --> 00:29:59,520
Speaker 1: six three eight, email us at disgrace slampod at gmail

592
00:29:59,560 --> 00:30:03,840
Speaker 1: dot com, hit us up on Instagram, Facebook, x at, Disgrace,

593
00:30:03,880 --> 00:30:08,959
Speaker 1: slam Pod. Send us your recommendations, your questions, your suggestions,

594
00:30:09,360 --> 00:30:13,560
Speaker 1: your recipes, your sweaty summer movies. We want them all.

595
00:30:14,200 --> 00:30:16,080
Speaker 1: Jake and I have some recommendations for you. What we're

596
00:30:16,080 --> 00:30:27,880
Speaker 1: going to get into right after these ads hain tight.

597
00:30:36,640 --> 00:30:39,400
Speaker 1: All right, everybody, welcome back to the rap party. Zeth

598
00:30:39,480 --> 00:30:42,160
Speaker 1: Lundy here with Jake Brennan coming at you with the

599
00:30:42,200 --> 00:30:45,479
Speaker 1: part of the show we call for your consideration. This

600
00:30:45,520 --> 00:30:48,040
Speaker 1: is where Jake and I give you music and movie recommendations.

601
00:30:48,320 --> 00:30:51,920
Speaker 1: But the twist is that they are recommendations inspired by

602
00:30:51,960 --> 00:30:55,000
Speaker 1: this subject from this week's full episode of Hollywood Land.

603
00:30:55,200 --> 00:30:57,880
Speaker 1: This week, of course, we've got Marlon Brando. So Jake,

604
00:30:58,280 --> 00:30:59,880
Speaker 1: what music are we listening to this week?

605
00:31:00,320 --> 00:31:01,840
Speaker 3: This was hard? This was hard.

606
00:31:01,880 --> 00:31:04,080
Speaker 2: I missed the days of Bruce Lee when there you

607
00:31:04,120 --> 00:31:06,920
Speaker 2: could just like go on Spotify and type in Bruce

608
00:31:07,000 --> 00:31:12,080
Speaker 2: Lee and seven gazillion songs would come up, albums, playlists, etc.

609
00:31:12,440 --> 00:31:15,880
Speaker 2: That have to do with karate, kung fu, Bruce Lee, whatever,

610
00:31:15,920 --> 00:31:18,840
Speaker 2: Marlon Brando, this was this was difficult. I can't wait

611
00:31:18,880 --> 00:31:20,240
Speaker 2: to see what you came up with. Oh, you're doing

612
00:31:20,280 --> 00:31:22,520
Speaker 2: movies though, right, No, wait, what are you doing movies

613
00:31:22,560 --> 00:31:24,880
Speaker 2: or music? I do music, you do new movies, You

614
00:31:24,920 --> 00:31:25,320
Speaker 2: do movies.

615
00:31:25,400 --> 00:31:26,120
Speaker 3: Yeah, you guy.

616
00:31:26,160 --> 00:31:28,440
Speaker 1: It's so easy here, I know, but I challenged myself

617
00:31:28,440 --> 00:31:29,920
Speaker 1: and I didn't do what you're expecting me to do.

618
00:31:30,040 --> 00:31:31,520
Speaker 2: So good, good, good good.

619
00:31:31,560 --> 00:31:31,920
Speaker 3: Okay.

620
00:31:32,080 --> 00:31:39,600
Speaker 2: Marlon Brando made me think of Marlon Jackson, brother of Tito, Jackie, Jermaine,

621
00:31:39,600 --> 00:31:42,200
Speaker 2: and Michael the five in the Jackson Five.

622
00:31:42,480 --> 00:31:45,600
Speaker 3: Now, Marlon Jackson has a long.

623
00:31:45,800 --> 00:31:47,880
Speaker 2: I don't want to say illustrious, but he does have

624
00:31:47,960 --> 00:31:52,120
Speaker 2: a career in music, and I am recommending none of that. However,

625
00:31:52,280 --> 00:31:57,840
Speaker 2: at one point, at one point, I believe in nineteen

626
00:31:57,880 --> 00:32:03,160
Speaker 2: eighty three, Marlon Jackson produce album by soul singer Betty Right.

627
00:32:03,360 --> 00:32:07,720
Speaker 2: Betty Right is incredible, the album that Marlon Jackson produced.

628
00:32:08,160 --> 00:32:10,200
Speaker 2: I don't know if it's incredible. I've never heard it,

629
00:32:10,280 --> 00:32:12,600
Speaker 2: but I have heard I Love the Way You Love

630
00:32:12,960 --> 00:32:17,360
Speaker 2: from nineteen seventy two by Betty Right, and it features

631
00:32:17,480 --> 00:32:23,960
Speaker 2: the excellent song Cleanup Woman. Okay, So Marlon Brando got me,

632
00:32:24,040 --> 00:32:28,280
Speaker 2: Marlon Jackson got me. Betty Right gets the listener's clean

633
00:32:28,400 --> 00:32:33,200
Speaker 2: Up Woman as the song for my recommendation this week. Okay,

634
00:32:33,320 --> 00:32:35,280
Speaker 2: let's keep going here. Have you heard Cleanup Woman? By

635
00:32:35,280 --> 00:32:37,400
Speaker 2: the way, Yes, I've heard Cleanup Woman.

636
00:32:37,840 --> 00:32:40,400
Speaker 1: And there was a great compilation I think Rhino put

637
00:32:40,400 --> 00:32:43,320
Speaker 1: out Rhino or somebody back on like the early two thousands,

638
00:32:43,320 --> 00:32:47,440
Speaker 1: there were like three lesser known soul R and B

639
00:32:47,680 --> 00:32:51,360
Speaker 1: female singers, Kenny Satan, Betty Wright, and there was a

640
00:32:51,400 --> 00:32:54,280
Speaker 1: third and they put out these incredible compilation albums. And

641
00:32:54,280 --> 00:32:55,560
Speaker 1: that's where I first heard about Betty Right.

642
00:32:55,600 --> 00:32:58,800
Speaker 2: Anyways, now, believe it or not, Marlon Brando has recorded

643
00:32:59,000 --> 00:33:02,640
Speaker 2: some music in his lifetime, including Luck Be a Lady,

644
00:33:03,080 --> 00:33:08,120
Speaker 2: the song made most famous by Frank Sinatra. I believe

645
00:33:08,640 --> 00:33:10,760
Speaker 2: he recorded Luck be a Lady. I don't know for sure,

646
00:33:10,800 --> 00:33:13,160
Speaker 2: but I believe. I just kind of just kind of

647
00:33:13,200 --> 00:33:15,040
Speaker 2: assumed it was for guys and dolls.

648
00:33:15,080 --> 00:33:16,880
Speaker 3: But I don't know for sure. Whatever doesn't matter.

649
00:33:17,400 --> 00:33:19,640
Speaker 2: Luck be a Lady by Marlon Brando is not the

650
00:33:19,640 --> 00:33:22,840
Speaker 2: best version of Luck Be a Lady. Neither is Frank

651
00:33:22,880 --> 00:33:25,960
Speaker 2: Sinatra's version. The best version of Luck be a Lady

652
00:33:26,280 --> 00:33:30,400
Speaker 2: is by the actor David Crumholtz in the film Slums

653
00:33:30,600 --> 00:33:33,920
Speaker 2: of Beverly Hills. The performance is incredible. He's in tidy

654
00:33:33,920 --> 00:33:37,680
Speaker 2: whities and he's just fucking rocking Luck Be a Lady

655
00:33:39,600 --> 00:33:41,840
Speaker 2: and he's actually singing it.

656
00:33:41,840 --> 00:33:42,680
Speaker 3: It's so good.

657
00:33:42,840 --> 00:33:44,520
Speaker 2: It's one of those things where when I saw it

658
00:33:44,520 --> 00:33:47,560
Speaker 2: the first time, which was like whenever that film came

659
00:33:47,600 --> 00:33:49,760
Speaker 2: out on video, like I saw it pretty early. I

660
00:33:49,760 --> 00:33:51,240
Speaker 2: saw it like right away. I didn't see it in

661
00:33:51,240 --> 00:33:52,800
Speaker 2: the theaters. I didn't see it that early, but I

662
00:33:52,840 --> 00:33:57,200
Speaker 2: saw it pretty much right away. And when I saw

663
00:33:57,240 --> 00:33:59,800
Speaker 2: that guy, I had seen that guy before. I don't

664
00:34:00,000 --> 00:34:04,600
Speaker 2: exactly nowhere, but I remember seeing that performance of that

665
00:34:04,720 --> 00:34:07,720
Speaker 2: song and being like, I'm gonna be watching movies with

666
00:34:07,800 --> 00:34:09,600
Speaker 2: this guy in it for the rest of my life,

667
00:34:09,600 --> 00:34:11,680
Speaker 2: and I'm gonna be stoked to be doing So you

668
00:34:11,719 --> 00:34:13,600
Speaker 2: know what I'm talking about? You who David Crumholts is, Yeah?

669
00:34:13,600 --> 00:34:15,600
Speaker 2: I do, Yeah, I do talk about great character actor,

670
00:34:15,719 --> 00:34:20,360
Speaker 2: just fantastic. Marlon Brando gets you, Lucky a Lady gets you,

671
00:34:21,280 --> 00:34:25,120
Speaker 2: David Crumbholts, Slums of Beverly Hills. It's a music recommendation,

672
00:34:25,280 --> 00:34:28,120
Speaker 2: but it comes with a film recommendation baked in, so

673
00:34:28,160 --> 00:34:29,000
Speaker 2: you get a two for there.

674
00:34:29,239 --> 00:34:31,040
Speaker 1: You get two points, so you get a gold star

675
00:34:31,120 --> 00:34:31,319
Speaker 1: for that.

676
00:34:31,600 --> 00:34:34,600
Speaker 2: Okay, the third one was really difficult. I was really

677
00:34:34,760 --> 00:34:36,160
Speaker 2: you think I've been reaching so far?

678
00:34:36,560 --> 00:34:37,719
Speaker 3: I ran out of reach.

679
00:34:38,360 --> 00:34:43,240
Speaker 2: Leonard Burnstein, it's incredible. I'm not recommending Leonard Burnstein's Waterfront score,

680
00:34:43,320 --> 00:34:48,040
Speaker 2: but it's fucking fantastic and it's worth listening to. Streetcar

681
00:34:48,719 --> 00:34:52,319
Speaker 2: Named Desire the song the theme for the film by

682
00:34:52,360 --> 00:34:55,000
Speaker 2: Alex North. There is a version now that Alex North

683
00:34:55,080 --> 00:34:57,440
Speaker 2: version is incredible, but there is a version by jazz

684
00:34:57,480 --> 00:35:01,680
Speaker 2: guitarist Kenny Burrow that is also incredible. And I don't

685
00:35:01,719 --> 00:35:03,680
Speaker 2: know if you geek out on jazz guitar, it's jazz

686
00:35:03,680 --> 00:35:06,759
Speaker 2: guitar is one of those I know it's jazz, it's

687
00:35:06,800 --> 00:35:08,799
Speaker 2: a subgenre, but I consider it its own kind of

688
00:35:08,840 --> 00:35:11,640
Speaker 2: genre because for some reason I'm attracted to it, yet

689
00:35:11,680 --> 00:35:14,080
Speaker 2: I am never compelled to actually listen to it, and

690
00:35:14,120 --> 00:35:15,839
Speaker 2: whenever I hear any of those guys, I'm like, why

691
00:35:15,880 --> 00:35:17,799
Speaker 2: don't I listen to more of this shit? This song

692
00:35:17,880 --> 00:35:20,600
Speaker 2: is one of those songs again, street Card Name Desire

693
00:35:20,640 --> 00:35:23,680
Speaker 2: by jazz guitarist Kenny Burrell. Of course, the Merlin Brando

694
00:35:23,680 --> 00:35:26,799
Speaker 2: connection is very clear. The film A Street Card Name

695
00:35:26,880 --> 00:35:29,840
Speaker 2: Desire is where this song comes from originally.

696
00:35:29,320 --> 00:35:30,040
Speaker 3: So there you go.

697
00:35:30,239 --> 00:35:31,400
Speaker 2: There's my Marlin Rex.

698
00:35:31,800 --> 00:35:34,840
Speaker 1: That's great. I love those man as always unexpected, but

699
00:35:35,239 --> 00:35:38,520
Speaker 1: I've loved the direction you went in me. I tried

700
00:35:38,520 --> 00:35:40,560
Speaker 1: to once again, I wanted to see it clear of

701
00:35:40,600 --> 00:35:42,799
Speaker 1: just recommending three Marlin Brando movies. And so what I

702
00:35:42,840 --> 00:35:45,279
Speaker 1: was thinking of was I talked earlier in the show

703
00:35:45,320 --> 00:35:47,920
Speaker 1: about the phenomenon of like the next Brando or the

704
00:35:47,960 --> 00:35:50,680
Speaker 1: new Brando, right, like the next Dylan, like people that

705
00:35:50,719 --> 00:35:52,600
Speaker 1: were supposed to take up the mantle of Marlon Brando.

706
00:35:53,000 --> 00:35:56,360
Speaker 1: So I did some Google searching and I found articles

707
00:35:56,440 --> 00:36:00,720
Speaker 1: or interviews in which actors were compared to Marlon Brando.

708
00:36:01,239 --> 00:36:03,239
Speaker 1: And I'm going to talk about maybe my favorite movie

709
00:36:03,320 --> 00:36:05,960
Speaker 1: from that actor, or a movie to recommend from that actor. Okay,

710
00:36:06,160 --> 00:36:08,120
Speaker 1: first of all, In two thousand and three, The Cape

711
00:36:08,120 --> 00:36:12,560
Speaker 1: Cod Times, The illustrious Cape Cod Times wrote that scham

712
00:36:12,719 --> 00:36:16,240
Speaker 1: Penn's quote volcanic turn as a Boston tough guy mourning

713
00:36:16,280 --> 00:36:19,680
Speaker 1: his slain daughter in Mistic River has left critics scrambling

714
00:36:19,719 --> 00:36:23,000
Speaker 1: for Brando comparisons. Unquote. I don't know, I don't I

715
00:36:23,000 --> 00:36:25,719
Speaker 1: don't really think of Brando when I see this Shampenn performance.

716
00:36:25,760 --> 00:36:27,880
Speaker 1: That's you know that scene where the cops have to

717
00:36:27,880 --> 00:36:31,279
Speaker 1: hold him back? Is that that scene I think that

718
00:36:31,560 --> 00:36:34,880
Speaker 1: Champen is going is over that he's not Brando in

719
00:36:34,920 --> 00:36:37,000
Speaker 1: this in this performance, he's too over the top, is

720
00:36:37,040 --> 00:36:37,359
Speaker 1: my point.

721
00:36:37,480 --> 00:36:38,759
Speaker 2: Yeah, okay, gotcha, gotcha?

722
00:36:38,840 --> 00:36:39,080
Speaker 1: Gotcha?

723
00:36:39,160 --> 00:36:39,719
Speaker 3: Yeah, I see that.

724
00:36:39,760 --> 00:36:42,960
Speaker 2: I wouldn't compare that scene or that any of that

725
00:36:43,040 --> 00:36:44,440
Speaker 2: performance to Marlon Brando.

726
00:36:44,600 --> 00:36:46,920
Speaker 1: No, I wouldn't either. So I'm I'm curious as to

727
00:36:47,520 --> 00:36:52,160
Speaker 1: who the the critics plural who have been scrambling for

728
00:36:52,200 --> 00:36:54,560
Speaker 1: Brando comparisons are when they saw this movie.

729
00:36:54,680 --> 00:36:57,440
Speaker 2: You know what, what Shampenn performance I would compare to

730
00:36:57,440 --> 00:37:01,400
Speaker 2: Marlon Brando is the Christopher walk in at Close Range.

731
00:37:01,600 --> 00:37:03,960
Speaker 1: No, so you're stepping on my teak here, dude again,

732
00:37:04,360 --> 00:37:06,480
Speaker 1: incredible Madonna soundtrack.

733
00:37:06,680 --> 00:37:07,399
Speaker 3: All right, keep going.

734
00:37:07,440 --> 00:37:10,160
Speaker 1: Sorry, No, it's fine, No, it's fine. You keep reading me.

735
00:37:10,200 --> 00:37:13,640
Speaker 1: It's okay. Yes, I was gonna say. A recommendation that

736
00:37:13,719 --> 00:37:18,960
Speaker 1: I have I'm sorry for is a movie called at

737
00:37:19,000 --> 00:37:21,480
Speaker 1: Close Range. It's all good, it's all good. We're on

738
00:37:21,480 --> 00:37:21,960
Speaker 1: the same way.

739
00:37:22,239 --> 00:37:25,640
Speaker 5: I love this fucking movie so good. Oh it's dark,

740
00:37:26,000 --> 00:37:30,440
Speaker 5: it's super dark, super dark. It's so so so dark.

741
00:37:30,760 --> 00:37:34,200
Speaker 5: The soundtrack you can't you can't fuck with the soundtrack.

742
00:37:34,400 --> 00:37:38,239
Speaker 5: It's perfect for this movie. It's beautiful. It's who made

743
00:37:38,280 --> 00:37:39,560
Speaker 5: this movie? Who made that movie?

744
00:37:39,680 --> 00:37:40,040
Speaker 3: Do we do?

745
00:37:40,800 --> 00:37:44,480
Speaker 1: James Foley directed that that was my first recommendation, assisted

746
00:37:44,520 --> 00:37:48,160
Speaker 1: by Jake Thank you number two. Uh and then ask

747
00:37:48,280 --> 00:37:51,440
Speaker 1: me anything session on Reddit, Like twelve years ago, Ethan

748
00:37:51,440 --> 00:37:54,719
Speaker 1: Hawke said about Nicholas Cage, He's the only actors since

749
00:37:54,719 --> 00:37:57,279
Speaker 1: Marlon Brando that's actually done anything new with the art

750
00:37:57,320 --> 00:38:00,920
Speaker 1: of acting. Bold statement, he goes on ASA He's successfully

751
00:38:00,920 --> 00:38:04,360
Speaker 1: taken us away from an obsession with naturalism into a

752
00:38:04,480 --> 00:38:07,400
Speaker 1: kind of presentation style of acting that I imagine was popular

753
00:38:07,480 --> 00:38:08,560
Speaker 1: with the old troubadours.

754
00:38:09,120 --> 00:38:09,880
Speaker 3: Wow.

755
00:38:10,239 --> 00:38:12,560
Speaker 2: I love that because at first I'm like, what the

756
00:38:12,719 --> 00:38:15,359
Speaker 2: fuck is my man Ethan Hawk talking about? I love

757
00:38:15,760 --> 00:38:19,200
Speaker 2: Hawk another way, Ethan Hawk is deep recent, Ethan Hawk

758
00:38:19,440 --> 00:38:21,920
Speaker 2: so good. The guy is just he's been on a heater,

759
00:38:22,040 --> 00:38:24,400
Speaker 2: he's never been off a heater. He's killing it. So

760
00:38:24,719 --> 00:38:26,200
Speaker 2: but when you said that, I was like, what what

761
00:38:26,239 --> 00:38:29,239
Speaker 2: does that mean? But then of course I get it.

762
00:38:29,560 --> 00:38:33,959
Speaker 2: The presentation style of acting natural What I read it again?

763
00:38:34,200 --> 00:38:34,640
Speaker 3: Natural?

764
00:38:34,800 --> 00:38:38,040
Speaker 1: He said. He's successfully taken us away from an obsession

765
00:38:38,080 --> 00:38:41,680
Speaker 1: with naturalism into a kind of presentation style of acting

766
00:38:41,719 --> 00:38:44,440
Speaker 1: that I imagine was popular with the old troubadours.

767
00:38:44,680 --> 00:38:47,200
Speaker 2: Okay, so if I am to understand what that means,

768
00:38:47,239 --> 00:38:50,600
Speaker 2: it's this Marlon Brando comes on the scene and he

769
00:38:50,719 --> 00:38:55,080
Speaker 2: changes acting right with this sort of contrived is the

770
00:38:55,120 --> 00:38:58,000
Speaker 2: wrong word, but I guess like presented naturalism.

771
00:38:58,200 --> 00:38:58,359
Speaker 4: Right.

772
00:38:58,680 --> 00:39:00,880
Speaker 3: So then the next generation.

773
00:39:00,680 --> 00:39:05,239
Speaker 2: De Niro Paccino, they do their version of it, which

774
00:39:05,280 --> 00:39:10,680
Speaker 2: is decidedly more natural Dustin Hoffman, right, right, It's more

775
00:39:10,800 --> 00:39:15,000
Speaker 2: like I'm not doing a performance. I just am the performance.

776
00:39:15,120 --> 00:39:17,880
Speaker 2: That's kind of the thing. And then Nick Cage comes

777
00:39:17,880 --> 00:39:22,000
Speaker 2: along and he takes it back and he's like, I'm

778
00:39:22,000 --> 00:39:24,040
Speaker 2: gonna do the Brando thing where I'm going to present

779
00:39:24,120 --> 00:39:26,560
Speaker 2: this naturalism, but now I'm doing it in a new package,

780
00:39:26,560 --> 00:39:27,320
Speaker 2: a new version.

781
00:39:27,840 --> 00:39:28,320
Speaker 3: Wow.

782
00:39:28,560 --> 00:39:31,120
Speaker 1: That's I love how you've unpacked this, because earlier in

783
00:39:31,160 --> 00:39:33,160
Speaker 1: the show I was talking about this very thing, about

784
00:39:33,840 --> 00:39:36,040
Speaker 1: any actors who had the same impact that Brando did

785
00:39:36,120 --> 00:39:39,400
Speaker 1: and change things. The way that he changed things and

786
00:39:39,640 --> 00:39:41,359
Speaker 1: the way that you just let laid it all out

787
00:39:41,480 --> 00:39:43,200
Speaker 1: sort of put a new perspective on it for me.

788
00:39:43,280 --> 00:39:44,680
Speaker 1: So think, well, I could be.

789
00:39:44,920 --> 00:39:46,560
Speaker 2: Of course, I could be totally wrong. That's how I

790
00:39:46,560 --> 00:39:47,799
Speaker 2: interpare it doesn't matter if you're wrong.

791
00:39:47,840 --> 00:39:49,719
Speaker 1: As far as what Ethan Hawk saying, I just whatever

792
00:39:49,760 --> 00:39:52,680
Speaker 1: you're saying, whatever you just said, I I am. I'm

793
00:39:52,760 --> 00:39:54,080
Speaker 1: getting down with is what I'm saying.

794
00:39:54,120 --> 00:39:56,600
Speaker 2: So I would love to talk to Ethan Hawk. I

795
00:39:56,640 --> 00:40:00,960
Speaker 2: would love it. The guy is still making credible films.

796
00:40:01,280 --> 00:40:03,319
Speaker 2: He's writing book. I have a great book that he wrote,

797
00:40:03,320 --> 00:40:05,480
Speaker 2: a kid's book. It's called I think it's called like

798
00:40:05,520 --> 00:40:07,279
Speaker 2: a Guide to Being a Knight or something like that.

799
00:40:07,280 --> 00:40:08,920
Speaker 2: I actually bought two copies of it, bought one for

800
00:40:08,960 --> 00:40:13,279
Speaker 2: each of myself. It's fantastic. The Blaze Foldy film he

801
00:40:13,320 --> 00:40:15,640
Speaker 2: made recently, just incredible. A couple of years a couple

802
00:40:15,680 --> 00:40:16,120
Speaker 2: of years.

803
00:40:16,000 --> 00:40:18,120
Speaker 1: Ago, Blaze, Yeah, I saw this.

804
00:40:18,080 --> 00:40:20,759
Speaker 2: Great Paul Schrader movie. I was just going to mention

805
00:40:20,840 --> 00:40:24,400
Speaker 2: that to change my fucking life, Like it literally changed

806
00:40:24,480 --> 00:40:27,400
Speaker 2: the way I see the world on a spiritual level.

807
00:40:28,160 --> 00:40:32,920
Speaker 2: And just like that First Reform, by the way, first Reform,

808
00:40:33,239 --> 00:40:34,840
Speaker 2: so good, so good.

809
00:40:34,920 --> 00:40:35,440
Speaker 1: I agree.

810
00:40:35,600 --> 00:40:37,759
Speaker 2: There's a quote I carry from that film and I

811
00:40:37,760 --> 00:40:41,000
Speaker 2: think about it at least at least once a month,

812
00:40:41,080 --> 00:40:43,040
Speaker 2: probably more. So. I'd love to talk to that guy.

813
00:40:43,080 --> 00:40:45,120
Speaker 2: Maybe we can find a reason to, And when we do,

814
00:40:45,320 --> 00:40:47,640
Speaker 2: let's let's get into this Nick Cage thing because it's.

815
00:40:47,560 --> 00:40:51,040
Speaker 1: Yeah, well that's fascinating. So, speaking of Nick Cage, I

816
00:40:51,080 --> 00:40:53,520
Speaker 1: just wanted to recommend a recent movie of his called

817
00:40:53,560 --> 00:40:55,880
Speaker 1: Pig from twenty twenty one. I don't know if you've

818
00:40:55,880 --> 00:40:56,360
Speaker 1: seen this or.

819
00:40:56,360 --> 00:40:58,280
Speaker 2: Not, but no, you told me to what I forgot

820
00:40:58,280 --> 00:40:59,960
Speaker 2: about it, and it's just to be incredible.

821
00:41:00,120 --> 00:41:01,960
Speaker 1: He plays this truffle hunter who lives alone in the

822
00:41:02,000 --> 00:41:03,879
Speaker 1: woods and he's forced to go to the big city

823
00:41:03,920 --> 00:41:06,320
Speaker 1: and kind of reckon with his past when his beloved

824
00:41:06,360 --> 00:41:09,840
Speaker 1: truffle pig is stolen. It sounds like a bonkers set up,

825
00:41:09,880 --> 00:41:11,960
Speaker 1: but it's a pretty awesome movie.

826
00:41:12,040 --> 00:41:16,000
Speaker 2: I once stated a truffle Hunter, I'm not kidding.

827
00:41:16,840 --> 00:41:19,920
Speaker 1: Keep going. It's a great song. That's like a Smith

828
00:41:20,000 --> 00:41:24,040
Speaker 1: song title. All right. Finally, there's Paul Newman, who once

829
00:41:24,080 --> 00:41:27,000
Speaker 1: said that quote nothing is more stupid unquote than being

830
00:41:27,040 --> 00:41:30,239
Speaker 1: compared to Brando, which is the most Paul Newman quote ever.

831
00:41:31,280 --> 00:41:35,120
Speaker 1: A my favorite, my favorite personal Newman even more than

832
00:41:35,120 --> 00:41:37,960
Speaker 1: the Verdict is The Color of Money, five star masterpiece,

833
00:41:38,239 --> 00:41:42,080
Speaker 1: five star script by Richard Price, totally overlooked in Scorsese's catalog.

834
00:41:42,200 --> 00:41:45,160
Speaker 1: The Field, the Bars, the Pool Halls, the fancy restaurants.

835
00:41:45,440 --> 00:41:47,960
Speaker 1: Tom Cruise doing the showy thing, but Newman has the tougher,

836
00:41:48,400 --> 00:41:52,279
Speaker 1: the tougher part to handle. He's so dynamic in it.

837
00:41:52,640 --> 00:41:54,759
Speaker 1: And I love that it's a sequel. But you don't

838
00:41:54,800 --> 00:41:57,000
Speaker 1: have to know anything about the original movie to get

839
00:41:57,120 --> 00:41:58,319
Speaker 1: completely lost in this movie.

840
00:41:58,360 --> 00:41:59,320
Speaker 3: It's the same movie.

841
00:41:59,400 --> 00:42:03,000
Speaker 2: It's Tom Cruise is blueprint for Top Gun, the second

842
00:42:03,000 --> 00:42:08,120
Speaker 2: Top Gun. It's the same movie as The Hustler pretty much, right.

843
00:42:08,239 --> 00:42:10,120
Speaker 2: I mean, there's the guide with Paul Knutzel.

844
00:42:10,160 --> 00:42:12,759
Speaker 1: It's you know it all fine, be that as it may,

845
00:42:12,800 --> 00:42:16,000
Speaker 1: but arguably it's got a far superior script than The Hustler.

846
00:42:16,360 --> 00:42:18,400
Speaker 3: I'm not saying like that's a bad thing. I'm just

847
00:42:18,400 --> 00:42:20,680
Speaker 3: saying like that's that's it was.

848
00:42:21,680 --> 00:42:24,759
Speaker 2: Tom Cruise basically just completely remade the same fucking movie,

849
00:42:24,800 --> 00:42:28,200
Speaker 2: just made it better and and it saved Hollywood. And

850
00:42:28,239 --> 00:42:31,239
Speaker 2: what my point is is is he learned that when

851
00:42:31,239 --> 00:42:34,520
Speaker 2: he made the Color of Money with Paul Niman. Sure,

852
00:42:34,880 --> 00:42:38,080
Speaker 2: you know, what is it? What is it about that movie?

853
00:42:39,040 --> 00:42:42,880
Speaker 2: We're the exact demo, We're the exact audience for that movie,

854
00:42:43,040 --> 00:42:46,560
Speaker 2: The Color of Money. I've read the screenplay, I've watched

855
00:42:46,600 --> 00:42:50,600
Speaker 2: the movie, numerous times. I've listened to podcasts about that movie.

856
00:42:51,200 --> 00:42:53,960
Speaker 2: I've I've just researched it on my own because I

857
00:42:54,000 --> 00:42:56,759
Speaker 2: find it interesting. Yeah, for some reason, I don't. It's

858
00:42:56,760 --> 00:42:58,839
Speaker 2: not one of those movies I'm compelled to go back

859
00:42:58,880 --> 00:43:01,799
Speaker 2: to and just keep watching. I think, really change it

860
00:43:01,880 --> 00:43:04,680
Speaker 2: is for me, not like Casino or I'm thinking of

861
00:43:04,719 --> 00:43:05,719
Speaker 2: other Scorsese movies.

862
00:43:05,719 --> 00:43:08,280
Speaker 3: It just fucking have owned me for periods of time.

863
00:43:08,719 --> 00:43:09,080
Speaker 1: Yeah.

864
00:43:09,200 --> 00:43:11,440
Speaker 2: Maybe it's just I don't know, lost in the shuffle

865
00:43:11,560 --> 00:43:14,200
Speaker 2: for some that sort of like when did that come out?

866
00:43:14,360 --> 00:43:15,719
Speaker 2: Was that pre or post Goodfellas?

867
00:43:16,480 --> 00:43:19,000
Speaker 1: Oh? Pre Goodfellows? That was that was during his eighties run.

868
00:43:19,080 --> 00:43:21,240
Speaker 1: That was like eighty five or eighty six, okay.

869
00:43:21,040 --> 00:43:23,239
Speaker 2: Yeah, Goodfellas is what eighty nine something like that.

870
00:43:23,320 --> 00:43:25,399
Speaker 1: Yeah, so it was right after after hours.

871
00:43:25,360 --> 00:43:27,799
Speaker 2: Okay, yeah, yeah, so he was still working for a living.

872
00:43:27,840 --> 00:43:30,040
Speaker 2: He was working for the studios at that point.

873
00:43:29,840 --> 00:43:31,839
Speaker 1: And he was working to like to save his own

874
00:43:31,880 --> 00:43:32,520
Speaker 1: career basically.

875
00:43:32,600 --> 00:43:35,600
Speaker 2: Yeah, yeah, yeah, yeah, so's it's probably not as much

876
00:43:35,680 --> 00:43:38,040
Speaker 2: of a Scorsese movie, I think. I just I think

877
00:43:38,040 --> 00:43:40,480
Speaker 2: I just answered my question. As much as good as

878
00:43:40,520 --> 00:43:42,960
Speaker 2: it is, it's probably not as much of a Scorsese

879
00:43:43,120 --> 00:43:46,399
Speaker 2: movie as the Scorsese movies that we love, our Scorsese movies,

880
00:43:46,440 --> 00:43:47,440
Speaker 2: If that makes sense.

881
00:43:47,480 --> 00:43:50,360
Speaker 1: Maybe in terms of of how you identify the Scorsese

882
00:43:50,480 --> 00:43:52,480
Speaker 1: movies you love. Yeah, I understand what you're saying.

883
00:43:52,480 --> 00:43:55,799
Speaker 2: Or or how he would make them and thus how

884
00:43:55,800 --> 00:43:57,520
Speaker 2: we would identify them, you know what I mean. I

885
00:43:57,520 --> 00:43:59,680
Speaker 2: don't think he had as much control as what I'm saying.

886
00:43:59,719 --> 00:44:00,560
Speaker 2: Over No, over there.

887
00:44:00,600 --> 00:44:02,920
Speaker 1: I think you see like in that and after hours

888
00:44:02,960 --> 00:44:05,600
Speaker 1: you see him beginning to sort of develop the cinematic

889
00:44:05,680 --> 00:44:09,200
Speaker 1: language that he then went on to your point, he

890
00:44:09,239 --> 00:44:11,560
Speaker 1: then went on to really like solidify later and with

891
00:44:11,640 --> 00:44:13,680
Speaker 1: Good Fellows and Casino and.

892
00:44:14,600 --> 00:44:16,800
Speaker 2: Yeah, you know what I'm saying exactly, Yeah, after hours,

893
00:44:16,840 --> 00:44:19,160
Speaker 2: I feel like he had too much maybe too much

894
00:44:19,200 --> 00:44:22,120
Speaker 2: freedom because it was an indie and I'm just guessing here,

895
00:44:22,160 --> 00:44:24,719
Speaker 2: because it's all over the fucking place. It's really it's

896
00:44:24,719 --> 00:44:26,840
Speaker 2: not a tight move. It's a great a good movie,

897
00:44:26,920 --> 00:44:30,080
Speaker 2: it's not, but it's not very tight. And I think

898
00:44:30,160 --> 00:44:33,080
Speaker 2: Color of Money is a great movie, but it's not

899
00:44:33,120 --> 00:44:36,319
Speaker 2: one of Scorsese's greatest movies. If that makes sense. Maybe

900
00:44:36,360 --> 00:44:38,040
Speaker 2: he was rained in a little by the studio and

901
00:44:38,080 --> 00:44:40,880
Speaker 2: then by the time he does Goodfellas. However, he found

902
00:44:40,880 --> 00:44:42,759
Speaker 2: a way in Goodfellows to make the exact movie he

903
00:44:42,800 --> 00:44:45,800
Speaker 2: wanted to make. He's kind of off to the races

904
00:44:45,840 --> 00:44:48,560
Speaker 2: after that pretty much, and he can kind of do

905
00:44:48,680 --> 00:44:49,280
Speaker 2: what he wants.

906
00:44:49,640 --> 00:44:51,840
Speaker 1: Yeah, I think so. I think there's I also just

907
00:44:51,840 --> 00:44:54,960
Speaker 1: think fundamentally there's different movies, different stories, and you know

908
00:44:55,000 --> 00:44:56,560
Speaker 1: what I mean. I don't think he could have shot

909
00:44:57,320 --> 00:44:59,080
Speaker 1: Color of Money the way that he shot Casino. I

910
00:44:59,080 --> 00:45:00,880
Speaker 1: don't think it would have worked the same way. It

911
00:45:01,000 --> 00:45:02,400
Speaker 1: was a much smaller story, you know.

912
00:45:02,800 --> 00:45:06,239
Speaker 2: Yeah, You're absolutely right. Plus, working with Paul Newman pre

913
00:45:06,440 --> 00:45:09,400
Speaker 2: Goodfellas is much different than working with an actor like

914
00:45:09,440 --> 00:45:11,799
Speaker 2: Paul Newman post Goodfellas like he did with like Jack

915
00:45:11,880 --> 00:45:14,080
Speaker 2: Nicholson or whatever, you know what I mean. Like, I'm

916
00:45:14,080 --> 00:45:16,760
Speaker 2: sure it was a different dynamic, you know, because Corsese

917
00:45:16,800 --> 00:45:19,000
Speaker 2: he hadn't really made his bones as like the fucking

918
00:45:19,040 --> 00:45:22,520
Speaker 2: guy yet, you know what I mean. Yep, totally Paul

919
00:45:22,560 --> 00:45:24,080
Speaker 2: Newman ornery motherfucker.

920
00:45:24,880 --> 00:45:26,480
Speaker 1: Yeah, but in the best way though.

921
00:45:26,440 --> 00:45:29,560
Speaker 2: Yeah, exactly, exactly. Again, not a criticism. I love that

922
00:45:29,680 --> 00:45:30,120
Speaker 2: about him.

923
00:45:32,200 --> 00:45:32,359
Speaker 4: Man.

924
00:45:32,400 --> 00:45:35,080
Speaker 1: I'd love to keep talking about Paul Newman and Brandow

925
00:45:35,120 --> 00:45:37,560
Speaker 1: and everything, but I know you got some Jimmy Buffett

926
00:45:37,560 --> 00:45:38,479
Speaker 1: to go listen to or whatever.

927
00:45:38,600 --> 00:45:40,640
Speaker 2: So I do I do? Where are you on the

928
00:45:40,960 --> 00:45:44,200
Speaker 2: early seventies buffet train? Where have you come on? Zero?

929
00:45:44,480 --> 00:45:49,080
Speaker 1: About that? I have never been inspired or inclined to

930
00:45:49,360 --> 00:45:52,400
Speaker 1: investigate that at all, but hearing you talk about it

931
00:45:52,440 --> 00:45:54,840
Speaker 1: over the last few weeks, now I might change my

932
00:45:54,880 --> 00:45:57,080
Speaker 1: tune on that. I feel like he's much more of

933
00:45:57,120 --> 00:46:02,799
Speaker 1: like a Warren Zevon kind of who else am I

934
00:46:02,800 --> 00:46:05,799
Speaker 1: thinking of? Not James Taylor, but like a little bit

935
00:46:05,800 --> 00:46:09,040
Speaker 1: more than I realized. Is that Is that fair? Yeah?

936
00:46:09,160 --> 00:46:09,520
Speaker 3: Yeah?

937
00:46:09,560 --> 00:46:14,480
Speaker 2: More and way more country early on? Interesting those first

938
00:46:14,800 --> 00:46:18,239
Speaker 2: four records five records were made in Nashville until he

939
00:46:18,320 --> 00:46:21,000
Speaker 2: finally makes one in Miami. That's someone with Marguerite Deville

940
00:46:21,000 --> 00:46:26,400
Speaker 2: that really really launches him. But just fascinating backstory and

941
00:46:26,440 --> 00:46:28,640
Speaker 2: the music is actually great, and some of it is

942
00:46:28,680 --> 00:46:30,600
Speaker 2: really great in the beginning, not all of it, of course,

943
00:46:31,160 --> 00:46:34,759
Speaker 2: but not not the dude I thought he was at all.

944
00:46:34,920 --> 00:46:37,560
Speaker 2: Just fascinating story. Yeah, yeah, fantastic.

945
00:46:38,080 --> 00:46:39,480
Speaker 1: Well I look forward to that episode.

946
00:46:39,760 --> 00:46:41,480
Speaker 2: Yeah, you're gonna have a buffet summer after this?

947
00:46:44,880 --> 00:46:47,040
Speaker 1: It sounds good? All right, man, I will I'll talk

948
00:46:47,040 --> 00:46:47,760
Speaker 1: to you next week.

949
00:46:48,040 --> 00:46:49,520
Speaker 2: All right, homie, this is fun.

950
00:46:49,560 --> 00:46:53,720
Speaker 1: Thank you later on and everybody else, don't touch that dial.

951
00:46:53,840 --> 00:46:56,680
Speaker 1: I'll be right back with some final thoughts right after this.

952
00:47:17,560 --> 00:47:20,399
Speaker 1: What's up? Everybody? We are back, and before I sign

953
00:47:20,480 --> 00:47:22,160
Speaker 1: off for the week, just remember that I want to

954
00:47:22,200 --> 00:47:27,040
Speaker 1: know what are you watching? What are you recommending? I

955
00:47:27,160 --> 00:47:32,880
Speaker 1: mentioned Sorcerer earlier. I also recently watched Night Moves for

956
00:47:32,960 --> 00:47:36,719
Speaker 1: the first time nineteen seventy five. Gene Hackman as a

957
00:47:36,760 --> 00:47:40,680
Speaker 1: private investigator searching for a missing girl. Really great Gene

958
00:47:40,680 --> 00:47:43,080
Speaker 1: Hackman performance. I don't know that I've ever seen Gene

959
00:47:43,120 --> 00:47:45,239
Speaker 1: Hackman as a PI before. We've seen him as a

960
00:47:45,440 --> 00:47:49,960
Speaker 1: as a cop, a crooked cop, seen him as a

961
00:47:50,200 --> 00:47:52,920
Speaker 1: royal Tenebaum, but I don't think I've ever seen him

962
00:47:52,920 --> 00:47:57,080
Speaker 1: as a private investigator. And it was great. A great

963
00:47:57,160 --> 00:48:01,200
Speaker 1: Arthur Penn movie made me really how many Gene Hagman

964
00:48:01,280 --> 00:48:04,239
Speaker 1: movies are out there that I haven't seen. Scarecrow with

965
00:48:04,440 --> 00:48:06,400
Speaker 1: him and Albacino is another one off the top of

966
00:48:06,440 --> 00:48:08,319
Speaker 1: my head that I need to watch. I don't know

967
00:48:08,360 --> 00:48:10,960
Speaker 1: if you've got any hidden gems to recommend like these,

968
00:48:11,080 --> 00:48:13,279
Speaker 1: Let me know again, call or text me at six

969
00:48:13,360 --> 00:48:15,680
Speaker 1: one seven nine oh six six six three eight, and

970
00:48:15,719 --> 00:48:17,960
Speaker 1: maybe your voicemail will get played or your text will

971
00:48:18,000 --> 00:48:21,719
Speaker 1: get read on next week's Rap Party. Okay, until then,

972
00:48:21,880 --> 00:48:25,800
Speaker 1: I have four important things for you to know. Number one,

973
00:48:26,000 --> 00:48:29,400
Speaker 1: available right now in your Hollywood land feed Our episode

974
00:48:29,400 --> 00:48:33,920
Speaker 1: on Marlon Brando coming next week on Monday. Our episode

975
00:48:34,000 --> 00:48:38,879
Speaker 1: on Jane Mansfield. Number three. Do you listen to Disgraceland,

976
00:48:38,960 --> 00:48:41,719
Speaker 1: Jake's other award winning show made for and about rock

977
00:48:41,760 --> 00:48:45,000
Speaker 1: and roll animals, The og Music and True Crime pod

978
00:48:45,239 --> 00:48:49,960
Speaker 1: with upcoming stories about Mark Lanagan, Kendrick Lamar, Brian Wilson,

979
00:48:50,160 --> 00:48:55,000
Speaker 1: Jimmy Buffett, Fish, Judas Priest, and hundreds more in the archive.

980
00:48:55,120 --> 00:48:58,080
Speaker 1: If you're not, you're missing out. Go search up Disgraceland

981
00:48:58,120 --> 00:49:02,080
Speaker 1: wherever you get podcasts. Number four now, in honor of

982
00:49:02,120 --> 00:49:04,880
Speaker 1: this week's episode, me reading you the list of the

983
00:49:04,920 --> 00:49:08,279
Speaker 1: top movies from July of two thousand and four, the

984
00:49:08,320 --> 00:49:12,279
Speaker 1: month that Marlon Brando passed away at the age of eighty.

985
00:49:12,800 --> 00:49:19,040
Speaker 1: Number one Spider Man two, directed by Sam Raimi. Number

986
00:49:19,040 --> 00:49:24,919
Speaker 1: two I A Robot directed by Alex Proyus. Number three

987
00:49:25,640 --> 00:49:29,480
Speaker 1: The Born Supremacy directed by Paul green Rass The Legend.

988
00:49:30,200 --> 00:49:34,760
Speaker 1: Number four director Anchorman, The Legend of ron Bergen directed

989
00:49:34,800 --> 00:49:39,839
Speaker 1: by Adam McKay, Number five, Michael Fahrenheits nine eleft six

990
00:49:40,200 --> 00:49:44,680
Speaker 1: directed by Michael Moore directed Number six, and King Arthur

991
00:49:45,200 --> 00:49:45,760
Speaker 1: Just directed

992
00:49:45,760 --> 00:49:52,560
Speaker 5: By Quit talking and start mixing it