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Speaker 1: Hello, and welcome to Weird House Cinema. Rewind. My name

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Speaker 1: is Joe McCormick. Today we are bringing you an older

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Speaker 1: episode of Weird House Cinema. This one originally published on

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Speaker 1: August eighteenth, twenty twenty three, and it was Oh it

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Speaker 1: was on The Green Slime. Oh boy, what a fun

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Speaker 1: theme song. This one had a film from nineteen sixty eight,

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Speaker 1: a Japanese American co production science fiction. Rubber Monster is

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Speaker 1: a tentacle, arms waving. It's going to be a blast.

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Speaker 2: Welcome to Stuff to blow your mind. A production of iHeartRadio.

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Speaker 3: Hey you, welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 1: And this is Joe McCormick. And today we're going to

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Speaker 1: be talking about the nineteen sixty eight Would people call

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Speaker 1: this a Tokusatsu.

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Speaker 3: Movie, Yes, but with some caveats that we'll get into.

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Speaker 1: Okay, Well, whatever it is, it's a sci fi monster

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Speaker 1: adventure of the Tokusatsu flavor or not, whether depending on

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Speaker 1: your taste, it is the nineteen sixty eight film The

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Speaker 1: Green Slime. This is one of those movies that I

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Speaker 1: had seen before, but not really I'd like. I used

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Speaker 1: to put this on sometimes with no sound on, so

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Speaker 1: I be hanging out with people and just look up

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Speaker 1: and see the monsters of this film wiggling their wonderful

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Speaker 1: arms in space, with sparks shooting out in darkened hallways,

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Speaker 1: and see kind of you know, square jawed spacemen running

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Speaker 1: around looking grim at each other while the the monsters

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Speaker 1: close in. And it was a great vibe. But I'd

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Speaker 1: never actually heard anything heard any of the dialogue before,

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Speaker 1: so I didn't really know what the story was. And

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Speaker 1: now here we are, I'm coming home to the green slime.

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Speaker 3: Yeah, the viewing experience that we put ourselves through for

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Speaker 3: weird how cinema is often rather different from what we've

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Speaker 3: gone through in the past. And I've there have been

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Speaker 3: times where we've covered a film that I've seen before

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Speaker 3: and my wife will ask me, do you really need

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Speaker 3: to watch it again because you've seen it multiple times,

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Speaker 3: and I'm like, yes, I have to. For this to

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Speaker 3: be academically pure and nay, spiritually pure, I need to

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Speaker 3: approach it with, you know, a fresh mindset and give

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Speaker 3: everything the benefit of a doubt and you know, have

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Speaker 3: my complete attention on it.

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Speaker 1: Well, I never knew before how much of this movie

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Speaker 1: was a space marine Love Triangle.

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Speaker 3: Yes, it is. This is a It is a space

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Speaker 3: marine love Triangle. If you like love triangles and you

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Speaker 3: like lots of like militaristic running around, well then this

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Speaker 3: is the movie for you. It's also kind of fitting

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Speaker 3: that this week is green slime when last week was

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Speaker 3: an orange slime movie. So we've gone from orange to green.

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Speaker 3: We're probably not going to keep up the chromatic responsibility here, though.

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Speaker 1: That's right. I would say the slime has a different consistency.

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Speaker 1: You know, the slime that you're referring to from last week,

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Speaker 1: I assume you mean what was inside the black obelisk

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Speaker 1: from the viewing, that was a very waxy slime. The

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Speaker 1: green slime, I would say, is a much more gelatinous

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Speaker 1: type of substance.

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Speaker 3: Yeah, now you may if you've seen the trailer for

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Speaker 3: this before, certainly have you've seen it before, you know

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Speaker 3: that it has a very groovy theme song. It's prominently

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Speaker 3: featured in the trailer that we're going to listen to

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Speaker 3: in just a little bit. But don't let that groovy

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Speaker 3: theme song fool you, because they're parts of this movie

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Speaker 3: that I think hit pretty hard. And it's also you know,

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Speaker 3: really it's a really fun film, but it's more procedural

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Speaker 3: and significantly less groovy, at least compared to that just

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Speaker 3: awesome US poster art and that US theme song.

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Speaker 1: I can't believe you're talking trash on the theme song.

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Speaker 1: The theme song is great. It's like a late sixties

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Speaker 1: garage jam. We were trying to think what to compare

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Speaker 1: it to before we started.

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Speaker 3: It's a little bit.

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Speaker 1: Kind of vanilla fudgie almost.

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Speaker 3: I think the thing about the theme song is that,

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Speaker 3: for the longest and I'd never seen this movie until

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Speaker 3: I watched it for today's episode, it always gave me

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Speaker 3: the vibe that this was a bikini movie, you know

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Speaker 3: what I'm saying, Even though I'd never seen any stills

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Speaker 3: of bikinis. It made me think that it was going

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Speaker 3: to be kind of like that silly, groovy movie for

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Speaker 3: the kids, Daddy O, kind of a flavor that you

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Speaker 3: see in various films from this time period. But it's

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Speaker 3: actually not the case. As we'll discuss, the grooviness was

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Speaker 3: kind of added in post for the American audience.

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Speaker 1: Yes, that's exactly right. Well, the theme song suggests that

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Speaker 1: this is a switched on, far out ride the human

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Speaker 1: element is surprisingly square like it's about these people who

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Speaker 1: are part of Space Command, and the human themes are

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Speaker 1: apart from a love triangle. It's very much about like

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Speaker 1: what it means to follow orders and do your duty exactly.

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Speaker 3: Yeah, now, real quick. If you have seen that movie poster,

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Speaker 3: you know what I'm talking about it. If not, go

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Speaker 3: look it up. It's beautiful to behold. I believe this

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Speaker 3: was a painting done by vic Avadi, who did a

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Speaker 3: lot of great paper back novels. I found a blog

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Speaker 3: post featuring some of his work from back in the day,

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Speaker 3: and there's some very stunning stuff. I'm not one hundred

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Speaker 3: percent certain, but I think he also did the classic

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Speaker 3: poster art for nineteen sixty nine's The Italian Job. This

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Speaker 3: is the one where the poster art shows Michael Kane's

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Speaker 3: character and then there's a woman with like a map

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Speaker 3: drawn on her back.

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Speaker 4: Mm.

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Speaker 1: Yeah, okay, And we can say I think that this

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Speaker 1: poster continues the fifties and sixties sci fi horror trend

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Speaker 1: of I don't know, there's a motif of questionable sexual politics,

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Speaker 1: where there's almost always a woman shown either unconscious or

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Speaker 1: horizontal in some way, usually being carried by a monster,

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Speaker 1: or sort of horizontal and screaming while the monster looms

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Speaker 1: over her. This is a variation on that where she's

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Speaker 1: not exactly horizontal, she's diagonal and the green Slime monster

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Speaker 1: is appearing from behind her with one of its tentacles

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Speaker 1: wrapped suggestively around her thigh.

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Speaker 3: Yes, and the green Slime Monster looks great tentacle swhirling.

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Speaker 3: It's like stone dope eyeball, like burning bloodshot against the

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Speaker 3: against deep space, great poster.

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Speaker 1: You know, it's hard to read emotions onto the faces

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Speaker 1: of the green Slime monsters because they are each a cyclops.

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Speaker 1: They only have one eye. But if you were to

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Speaker 1: try to imagine two eyes like this next to each

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Speaker 1: other and say what facial expression of emotion it would indicate,

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Speaker 1: I would say, actually, this eye is almost kind of

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Speaker 1: a weary eye. It's kind of like, oh.

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Speaker 3: This world. That's a good point. Good point, you see

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Speaker 3: what I'm saying. Yeah, yeah, it looks.

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Speaker 1: Like you've seen it all. He's tired of it. It's

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Speaker 1: like another space station to conquer.

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Speaker 3: And the way that it says that out loud is

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Speaker 3: by going like that, you'll hear the sound effect in

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Speaker 3: the trailer. But they have this very distinct really I

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Speaker 3: think fitting sound that they make. It's just completely alien.

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Speaker 1: It's somewhere between quacking and squealing.

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Speaker 3: Yeah, maybe a little bit of dolphin thrown in there.

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Speaker 1: Yeah.

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Speaker 3: So this, like I said, this is a fun movie.

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Speaker 3: I enjoyed it. I think one of the problems though,

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Speaker 3: that it encountered is that it had the misfortune to

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Speaker 3: come out late in nineteen sixty eight, several months after

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Speaker 3: Stanley Kubrick's two thousand and one A Space Odyssey, a

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Speaker 3: film that is ultimately setting out to achieve drastically different things,

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Speaker 3: but a film that still involves shots of space stations

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Speaker 3: and rockets, shots of people in spacesuits, visiting planets, and

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Speaker 3: ultimately some sort of encounter with an alien intelligence of

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Speaker 3: one sort or another.

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Speaker 1: I feel like this is an almost perfect example of

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Speaker 1: something that sometimes happens in film criticism and you know,

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Speaker 1: I guess in broader audience appreciation, which has really forced

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Speaker 1: comparisons between films that there's no reason to compare them

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Speaker 1: except maybe that one is on your mind when you

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Speaker 1: happened to see the other.

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Speaker 3: So like.

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Speaker 1: Calling this movie, you know, like not as good as

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Speaker 1: two thousand and one A Space Odyssey, or like, I

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Speaker 1: think you're about to read a quote that makes a

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Speaker 1: comparison saying it's like a poor Man's two thousand and one.

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Speaker 1: That is such a forced and absurd comparison to make.

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Speaker 1: It's like saying that this beagle is not as good

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Speaker 1: as this alligator. It's just like, I don't even understand

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Speaker 1: what kind of scale you're using to compare these completely

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Speaker 1: different objects.

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Speaker 3: Yeah, yeah, exactly, because at the time there were a

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Speaker 3: lot of comparisons made to a Space Odyssey, a two

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Speaker 3: thousand and one of Space Odyssey, and the reviewers were

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Speaker 3: rough on it. I'm gonna read, Yeah, this part of

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Speaker 3: this review from Variety magazine. This one is attributed to

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Speaker 3: brad Oh.

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Speaker 1: They just had first names back.

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Speaker 3: Then, apparently, And I'm not super well versed with Variety,

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Speaker 3: but I was looking. I looked at a few different

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Speaker 3: reviews from back in the day, and yeah, they're attributed

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Speaker 3: to a first name. I don't know. The last name

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Speaker 3: is given elsewhere publication. And also this is very much

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Speaker 3: like an industry or certainly at the time, was an

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Speaker 3: industry focused publication. So you'll hear some some little tidbits

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Speaker 3: and some lingo here and there, that's clearly you know

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Speaker 3: ultimately about the bottom line in Hollywood.

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Speaker 1: Okay, but what does Brad say about the green slime?

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Speaker 3: Quote? Science fiction devotees who can take the subject tongue

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Speaker 3: in cheek may find a few humorous moments in this pick,

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Speaker 3: which at times resembles a poor man's version of two

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Speaker 3: thousand and one. The special effects are amateurish, the story

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Speaker 3: and script in the same category. Box office potential is limited,

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Speaker 3: with exploitation possibilities focusing on what title refers to as

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Speaker 3: quote unquote the green slime, a substance which adheres to

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Speaker 3: uniforms of men back from space exploration. The cells of

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Speaker 3: the slime multiply at an incomprehensible rate, allowing the development

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Speaker 3: of a serpent like monster.

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Speaker 1: Did Brad watch the movie? Is this a serpent like monster?

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Speaker 3: Brad might have been working on the copy a little

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Speaker 3: bit during some of the action sequences, it is my bet.

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Speaker 3: Now Brad goes on to outline the plot further and

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Speaker 3: describe the performances as routine. So but this again, I'm

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Speaker 3: not super famiar with Variety magazine, especially of that day.

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Speaker 3: So this led me down a brief rabbit hole. I

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Speaker 3: was like, okay, well, what did they say about two

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Speaker 3: thousand and one? And what did they say about another movie?

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Speaker 3: I can help but compare it to Planet of the Vampires,

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Speaker 3: which came out earlier, which is another space film with

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Speaker 3: space ships encountering strange life forms, but one that's very stylish.

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Speaker 3: We of course, talked about Mario Baba's Planet of the

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Speaker 3: Vampires on Weird House Cinema previously.

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Speaker 1: What The Green Slime and the Planet of the Vampires

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Speaker 1: have in common is they are both movies that I

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Speaker 1: used to always put on without sound when I was

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Speaker 1: hanging out with people.

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Speaker 3: Yeah, okay, well this is what variety said. I look

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Speaker 3: back and one Dual dool praise Planet of the Vampire

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Speaker 3: for its quote, color, camera work, and production value, said

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Speaker 3: that they are first class and mentions nice suspense but

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Speaker 3: nots its ending as being not to be believed. And

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Speaker 3: there are also some expected criticisms of plot and pacing,

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Speaker 3: but Dual interestingly says that it all should quote keep

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Speaker 3: the young on the edge of their seats and the

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Speaker 3: older set from falling asleep. Okay, now I have fallen

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Speaker 3: asleep in Planet of the Vampires, so I don't think

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Speaker 3: that's a knock. It's a very hypnotic movie.

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Speaker 1: I recommend falling asleep during Planet of the Vampires.

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Speaker 3: Yeah, yeah, all right, and as far as two thousand

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Speaker 3: and one goes Rogue robe is the accredited reviewer. Rogue

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Speaker 3: spends about a half a page talking about two thousand

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Speaker 3: and one. It describes it as a quote big, beautiful,

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Speaker 3: but plotting sci fi epic superb photography is a major

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Speaker 3: asset to confusing long unfolding plot. But should but should

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Speaker 3: do biz an initial release and it older. It also

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Speaker 3: contains plenty of comments like quote, the plot so called,

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Speaker 3: and then there's this chunk here. Quote. But two thousand

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Speaker 3: and one is not a cinematic landmark. It compares with,

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Speaker 3: but does not best previous efforts at film science fiction,

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Speaker 3: lacking the humanity of Forbidden Planet, the imagination of things

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Speaker 3: to come, and the simplicity of stars and men. It

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Speaker 3: actually belongs to the technically slit group previously dominated by

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Speaker 3: George Powell and the Japanese.

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Speaker 1: What a weird series of comments.

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Speaker 3: Yeah, George Powell are the way. This was the producer

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Speaker 3: of nineteen fifty three's The War of the Worlds, and

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Speaker 3: he directed nineteen sixties The Time Machine so, you know,

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Speaker 3: I mean I'm being a little unfair here because reviews

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Speaker 3: always are a little different at the time when groundbreaking

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Speaker 3: films come out. So you know, I don't mean too

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Speaker 3: belittle Variety Magazine or the people writing for it back

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Speaker 3: in the day, but it is interesting how decades later

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Speaker 3: the way we think about these films and what would

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Speaker 3: happen if we then compared two thousand and one to

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Speaker 3: War the Worlds of the Time Machine. These are all

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Speaker 3: great films, these are all classic sci fi pictures, but

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Speaker 3: you know, they're all setting out to achieve different things,

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Speaker 3: like we've been saying.

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Speaker 1: Yeah, I mean it's not that I would suggest one

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Speaker 1: never compare one film to another. I mean we do

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Speaker 1: that all the time, but there is something that seems

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Speaker 1: a little confused when you just, like take two films

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Speaker 1: that are very different in tone and type of story

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Speaker 1: and all those things, and then just rank them in

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Speaker 1: terms of quality, like one is better than the other. Yeah.

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Speaker 3: So, looking back at this film, I'm not sure that

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Speaker 3: I don't think critics liked it. I'm not sure that

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Speaker 3: audiences really loved it. However, did it possibly inspire Dan

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Speaker 3: O'Bannon to write Alien? Sure?

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Speaker 1: Why not This is the fourteenth movie we've covered that

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Speaker 1: has been alleged to inspire the Alien Script.

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Speaker 3: In this case alleged by us, though I don't actually

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Speaker 3: didn't see it mentioned anywhere, but it's exactly the sort

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Speaker 3: of film I would believe that that comment regarding, because yeah,

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Speaker 3: a lot of it does match up with stuff that

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Speaker 3: would come in Alien.

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Speaker 1: I think we should start a rumor right here and

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Speaker 1: right now, and hopefully listeners will just go and spread

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Speaker 1: this without attribution that Dan O'Bannon's Alien Script was inspired

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Speaker 1: by Track of the Moonbeast.

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Speaker 3: Oh, welcome back to the Track of the Moonbeast in

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Speaker 3: a minute. So my elevator pitch for this movie is

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Speaker 3: from the creator of Batman. To save the Earth, they

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Speaker 3: must risk exposure to the green slime.

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Speaker 1: I think that's right on the money. So I think

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Speaker 1: we need to hear some trailer audio and folks at home,

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Speaker 1: prepare yourselves to be groovified.

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Speaker 5: The distant stars, the lonely, helpless Earth, the twenty first

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Speaker 5: century world of the future.

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Speaker 4: And lurking beyond the cold, strange immensity of conquered space,

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Speaker 4: growing and spreading beyond the warped imagination of the greatest

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Speaker 4: human intellect exploding in unspeakable horror, The Green.

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Speaker 5: Slime, the civilized world at war with alien form who

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Speaker 5: slimy touch means instant horrible death. Invaders from beyond the stars.

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Speaker 3: What breeds slide?

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Speaker 5: Robert Horton, Luciana Paluzzi, Richard Jacob.

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Speaker 4: You make too many mistakes. You're not right for command.

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Speaker 5: This is my command, and I'll manage it.

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Speaker 4: Two men struggle for.

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Speaker 5: Survival in the infected remains of a diseased universe. One

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Speaker 5: of them searches for the last chance to save the

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Speaker 5: human race from the desperate hundred of the Green Slides.

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Speaker 5: A battle in space against faceless speeds, A cosmic nightmare

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Speaker 5: that sends you into the incredible the shirt world of.

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Speaker 3: Bruzeze Breees. All right, that's a full body trailer right there.

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Speaker 3: We got lots of action, we got those weird alien

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Speaker 3: noises I was talking about, and we got a taste

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Speaker 3: of that groovy theme song.

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Speaker 1: I don't know how much of the song plays in

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Speaker 1: the trailer, if you get like both verses or just

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Speaker 1: one of them. But I actually transcribe to the lyrics

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Speaker 1: because I was trying to understand what hidden messages are

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Speaker 1: in the songs. So here's what I came up with.

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Speaker 1: The lyrics are open the door, You'll find the secret

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Speaker 1: to find, the answer is to keep it. You'll believe

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Speaker 1: it when you find something screaming across your mind Green Slime.

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Speaker 1: And then the second verse is the one where it

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Speaker 1: gets kind of strange. It says, what can it be?

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Speaker 1: What is the reason? Is this the end?

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Speaker 3: And then I think.

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Speaker 1: It either says to all that breathes in or maybe

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Speaker 1: to all the seasons, is it something in your head?

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Speaker 1: Will you believe it when you're dead? Green Slime? This

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Speaker 1: has nothing to do with the movie. There is no

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Speaker 1: suggestion anywhere in the film that the Green Slime is

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Speaker 1: a figment of anyone's imagination or a hallucination. So what's

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Speaker 1: the stuff about it being in your head?

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Speaker 3: I think it's just groovy. Man. We were talking off

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Speaker 3: Mike beforehanders like, well, what does this song remind us of?

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Speaker 3: And it just dawned on me that what the song

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Speaker 3: reminds me of is the work of Kenny Rogers in

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Speaker 3: the first edition.

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Speaker 1: Oh my god, yes, yes, yes, it sounds like I

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Speaker 1: just dropped in to see what condition my condition is in?

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Speaker 1: Was in okay? Well, now woe to you who have

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Speaker 1: slandered this song. It's it's right up there with Kenny Rogers.

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Speaker 3: Well, since we're talking about the music, I'm gonna break

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Speaker 3: the tradition and we're gonna skip right to the people

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Speaker 3: involved in the music for this film, and then we'll

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Speaker 3: come back to the director and talk about some members

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Speaker 3: of the cast. So we've talked about this being a

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Speaker 3: Japanese US CO production. It was filmed in Japan, Japanese director,

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Speaker 3: Western writers, Western cast, but then the Japanese crew the music,

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Speaker 3: the original musical score, and this is what you will

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Speaker 3: find as the complete score for the Japanese release is

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Speaker 3: by Toshiaki Tushima who lived nineteen thirty six through twenty thirteen.

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Speaker 3: So I'm to understand most of his original score, which

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Speaker 3: is more of a traditional tokusatsu score, is missing from

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Speaker 3: the version we watched. I watched a few scenes from

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Speaker 3: the Japanese version of it just to compare, and yeah,

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Speaker 3: it does feel like much more traditional the kind of

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Speaker 3: thing you'd expect to find in some of these sci

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Speaker 3: fi action films of the day. But Tshima scored a

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Speaker 3: lot of Japanese action in crime films, including nineteen seventy

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Speaker 3: three's Battle Without Honor and Humanity, but he also scored

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Speaker 3: nineteen seventy seven's The War in Space and a nineteen

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Speaker 3: seventy four TV series titled Saararu no Gundan, which MST

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Speaker 3: three k fans know as the Sandy Frank movie length

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Speaker 3: cut of the TV series retitled Time of the Apes.

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Speaker 3: I don't think Time of the Apes has ever had

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Speaker 3: a proper Western release, you know, on disc or as digital.

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Speaker 1: Don't know if I've ever actually seen that MST, though

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Speaker 1: I've seen the I've seen the title many times and

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Speaker 1: it always makes me picture like a sort of a

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Speaker 1: Chimpanzee themed wall clock, like the chimpanzee arms pointing at

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Speaker 1: the numbers.

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Speaker 3: Yeah, I would actually love to see it, especially I'd

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Speaker 3: love to either see the Sandy Frank cut in better

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Speaker 3: quality or just the full series. But like I said,

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Speaker 3: it hasn't been released over here for some reason anyway.

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Speaker 3: So that's the original Japanese score. But then a different

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Speaker 3: musician is brought in to contribute to and build up

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Speaker 3: the American release score and to provide that groovy theme song.

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Speaker 3: This is Charles Fox born nineteen forty so, and I

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Speaker 3: want to say that it's not just a groovy theme song. Also,

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Speaker 3: some of the eerier sci fi sounds that we hear

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Speaker 3: in the movie are also the work of Charles Fox.

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Speaker 3: Fox is a TV and film composer whose most famous composition,

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Speaker 3: I think without a Doubt, is the nineteen seventy nineteen

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Speaker 3: seventy two single Killing Me Softly with his song with

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Speaker 3: lyrics by Norman Gimble in original performance by Lorie Lieberman.

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Speaker 3: Everybody knows that one, yeah, I mean if you don't

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Speaker 3: know the original, you know, like the the Fuji's did

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Speaker 3: version of it, right, So any great song, classic song.

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Speaker 3: The duo also wrote I've Got a Name or I

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Speaker 3: Got a Name, sung by Jim Crochy. I was familiar

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Speaker 3: with this song, but I wasn't familiar with the fact

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Speaker 3: that it was originally the theme song for The Last

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Speaker 3: American Hero.

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Speaker 1: I don't know if I know this one.

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Speaker 3: Yeah, it's one that they put on all the Croachy

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Speaker 3: Greatest Hits albums. I remember it from back in the day.

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Speaker 3: But they also did the Wonder Woman theme song like

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Speaker 3: the old like seventies Wonder Woman theme song. His scores

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Speaker 3: include nineteen sixty eight's Barbarella, seventy five's Bug eighty three

383
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Speaker 3: Strange Brew and nineteen eighty five's National Lampoon's European Vacation.

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Speaker 3: He also did the theme for ABC's Wild World of Sports,

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Speaker 3: Love American Style and the Love Boat that was a

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Speaker 3: collaboration with Paul Williams.

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Speaker 1: Oh say Hello to Beef Love American Style? Was that

388
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Speaker 1: the name of the precursor to Happy Days that was

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Speaker 1: like the early version of Happy Days.

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Speaker 3: I think you're right on that. I'm not familiar with

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Speaker 3: this TV show other than the title and yeah, so

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Speaker 3: I take your word from that on that matter.

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Speaker 1: I just looked it up and whatever I just said

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Speaker 1: does not seem correct. It says this is an anthology

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Speaker 1: comedy TV series from on ABC.

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Speaker 3: All right, Well, I'm still going to go with what

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Speaker 3: you said, just because it's easier to remember.

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Speaker 1: Okay, Wow, So, I mean I feel like I've seen

399
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Speaker 1: a Love American Style that was basically Happy Days before

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Speaker 1: Happy Days. Maybe that was one of the anthology segment.

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Speaker 3: There you go. Maybe that was the spinoff that it

402
00:22:38,200 --> 00:22:40,600
Speaker 3: was like one of the anthology episodes was Happy Days

403
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Speaker 3: and then they're like, let's do a whole series of this.

404
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Speaker 3: All right, Well, back to Green Slime coming back to

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Speaker 3: the top. The director is a director we've covered before.

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Speaker 3: This is Kinji Fukusaku, who lived nineteen thirty through two

407
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Speaker 3: thousand and three. The director of nineteen seventy eight's Message

408
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Speaker 3: from Space, which we covered in the fourth episode of

409
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Speaker 3: Weird House Cinema.

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Speaker 1: That was ten years after The Green Slime and Message

411
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Speaker 1: from Space. That must be his masterpiece. What a beautiful film.

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Speaker 3: Well. He has sixty eight directorial credits on IMDb, and

413
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Speaker 3: probably the big one, probably the career defining one for

414
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Speaker 3: a lot of listeners, occurred very late in his career,

415
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Speaker 3: two thousand's Battle Royale, which was a huge hit for him.

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Speaker 3: This is like a darker, kind of surreal kind of

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Speaker 3: a murder.

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Speaker 1: Movie, right, Yeah, I saw this in high school. I

419
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Speaker 1: did we talk in the Message from Space episode about

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Speaker 1: how he did this. I did not remember that connection

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Speaker 1: at all.

422
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Speaker 3: I think it came up. Yeah, I think it was

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Speaker 3: in the original notes.

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Speaker 1: Yeah, okay, well I guess it just left my mind.

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Speaker 3: Yeah.

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Speaker 1: Battle Royal's the movie about like it's a dystopian future

427
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Speaker 1: movie where like a middle school class of juvenile delinquents

428
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Speaker 1: are sent to an eye and told that they must

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Speaker 1: all kill each other. And only one can survive.

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Speaker 3: Yeah, So it's like a little bit of Lord of

431
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Speaker 3: the Flies, a little bit like I don't know, high

432
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Speaker 3: school drama.

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Speaker 1: It's like the Lord of the Flies meets The Running Man.

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Speaker 3: Yeah. But these are just two films that he did

435
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Speaker 3: a lot of other stuff. He did nineteen seventies Tora

436
00:24:21,400 --> 00:24:24,879
Speaker 3: Tora Torah, nineteen seventy three's Battle Without Honor and Humanity.

437
00:24:25,280 --> 00:24:28,680
Speaker 3: He also did I always love looking at back at

438
00:24:28,680 --> 00:24:31,080
Speaker 3: some of these robust filmographies because there's always something I

439
00:24:31,080 --> 00:24:34,439
Speaker 3: hadn't really noticed before. He did a film in sixty

440
00:24:34,480 --> 00:24:39,080
Speaker 3: eight titled Black Lizard, and it looks like something I

441
00:24:39,160 --> 00:24:40,680
Speaker 3: might want to check out at some point. It looks

442
00:24:40,720 --> 00:24:43,240
Speaker 3: like a fun, weird movie. Potentially, I don't know. It

443
00:24:43,240 --> 00:24:45,560
Speaker 3: looks very interesting. But he also he directed a number

444
00:24:45,560 --> 00:24:50,200
Speaker 3: of action, crime and samurai movies. All right now getting

445
00:24:50,240 --> 00:24:54,040
Speaker 3: into the story in the screenplay story credit and one

446
00:24:54,040 --> 00:24:57,520
Speaker 3: of the producers. This is Ivan Reiner, who lived nineteen

447
00:24:57,560 --> 00:25:01,080
Speaker 3: eleven through nineteen ninety seven, America writer and producer of

448
00:25:01,119 --> 00:25:04,440
Speaker 3: a handful of sci fi films, beginning with nineteen sixty

449
00:25:04,480 --> 00:25:08,879
Speaker 3: six's Terror Beneath the Sea starring Sony Chiba, and ending

450
00:25:09,000 --> 00:25:13,040
Speaker 3: with this film. Sandwiched in between these two films are

451
00:25:13,160 --> 00:25:18,640
Speaker 3: the Italian Antonio Margaretti sci fi space Station Gamma one series,

452
00:25:18,680 --> 00:25:22,400
Speaker 3: consisting of Wild Wild Planet, War of the Planets, War

453
00:25:22,480 --> 00:25:25,160
Speaker 3: Between the Planets, all three of those in nineteen sixty six,

454
00:25:25,440 --> 00:25:28,320
Speaker 3: and Snow Devils from sixty seven, which is also a

455
00:25:28,320 --> 00:25:29,359
Speaker 3: space station movie.

456
00:25:29,520 --> 00:25:33,399
Speaker 1: Wait, space Station Gamma one isn't the space station in

457
00:25:33,440 --> 00:25:36,240
Speaker 1: this movie space Station Gamma three? Am I wrong?

458
00:25:36,320 --> 00:25:36,560
Speaker 5: Yes?

459
00:25:36,800 --> 00:25:43,159
Speaker 3: Yeah. This film was originally conceived as being a continuation

460
00:25:43,320 --> 00:25:45,120
Speaker 3: of this series, and then it kind of became its

461
00:25:45,119 --> 00:25:47,280
Speaker 3: own thing, so they just slightly changed the name of

462
00:25:47,280 --> 00:25:47,880
Speaker 3: the space station.

463
00:25:48,400 --> 00:25:49,520
Speaker 1: What happened to Gamma two?

464
00:25:50,920 --> 00:25:55,040
Speaker 3: We don't talk about that. I haven't seen the Margaretti movies,

465
00:25:55,080 --> 00:25:57,720
Speaker 3: but they look interesting. I would check one out at

466
00:25:57,760 --> 00:26:01,120
Speaker 3: some point, all right. The screenplay. One of the screenplay

467
00:26:01,160 --> 00:26:03,720
Speaker 3: credits goes to Charles Sinclair, who lived nineteen twenty four

468
00:26:03,760 --> 00:26:07,840
Speaker 3: through twenty seventeen, American screenwriter an occasional actor who wrote

469
00:26:07,840 --> 00:26:10,639
Speaker 3: two episodes of the nineteen sixties Batman series and also

470
00:26:10,720 --> 00:26:14,760
Speaker 3: co wrote nineteen seventy six's Track of the Moonbeast with

471
00:26:14,840 --> 00:26:15,479
Speaker 3: Bill Finger.

472
00:26:15,680 --> 00:26:19,480
Speaker 1: This is the New Mexico episode of Mystery Science Theater

473
00:26:19,560 --> 00:26:22,919
Speaker 1: three thousand, and I wonder if Charles Sinclair wrote the

474
00:26:22,960 --> 00:26:29,199
Speaker 1: line about chicken corn onnons. This is a famous episode

475
00:26:29,200 --> 00:26:32,480
Speaker 1: of Mystery Science Theater three thousand. One of my favorite

476
00:26:32,880 --> 00:26:35,840
Speaker 1: elements is they go to a concert in the movie

477
00:26:36,280 --> 00:26:39,439
Speaker 1: and there's a band playing a song called California Lady,

478
00:26:39,520 --> 00:26:44,000
Speaker 1: which the bots transform into California Gravy adds flavor.

479
00:26:43,680 --> 00:26:46,840
Speaker 3: To my meat. Oh yeah, yeah, we may have to

480
00:26:46,840 --> 00:26:49,280
Speaker 3: come back to the Moonbeast at some point. Rick Baker

481
00:26:49,359 --> 00:26:52,840
Speaker 3: did the monster effects on that one. All right, now,

482
00:26:52,840 --> 00:26:55,879
Speaker 3: I mentioned Bill Finger. Bill Finger also has screenplay credit.

483
00:26:56,160 --> 00:26:59,879
Speaker 3: Lived nineteen fourteen through nineteen seventy four, American comic strip,

484
00:27:00,000 --> 00:27:03,280
Speaker 3: comic book, film, and television writer who co created Batman

485
00:27:03,600 --> 00:27:07,080
Speaker 3: with Bob Kine in the late nineteen thirties. As such,

486
00:27:07,320 --> 00:27:10,199
Speaker 3: you'll find him credited on all the Batman movies if

487
00:27:10,200 --> 00:27:12,879
Speaker 3: it has Batman in it, Bill Finger's name is going

488
00:27:12,960 --> 00:27:15,359
Speaker 3: to be in the credit somewhere. I think this and

489
00:27:15,480 --> 00:27:19,160
Speaker 3: Moonbeast are his only screenplay credits that don't involve Batman,

490
00:27:19,400 --> 00:27:21,960
Speaker 3: and the vast majority of those her character creation credits.

491
00:27:22,200 --> 00:27:24,560
Speaker 1: That is interesting. I did not know about that connection

492
00:27:24,680 --> 00:27:26,359
Speaker 1: when I picked this film.

493
00:27:26,560 --> 00:27:29,800
Speaker 3: Yeah, and then another screenplay credit goes to Tom Rowe,

494
00:27:29,800 --> 00:27:31,760
Speaker 3: who lived nineteen twenty one through two thousand and four.

495
00:27:31,840 --> 00:27:34,919
Speaker 3: This was only a second screenplay credit, following nineteen sixty

496
00:27:34,920 --> 00:27:37,000
Speaker 3: five's Paris Secret. He went on to work on the

497
00:27:37,000 --> 00:27:39,400
Speaker 3: screenplays for nineteen seventy ones The Light at the Edge

498
00:27:39,400 --> 00:27:43,000
Speaker 3: of the World, nineteen eighty one's Tarzan the ape Man.

499
00:27:43,080 --> 00:27:45,639
Speaker 3: This is the one with Bo Derek Richard Harris, Miles

500
00:27:45,680 --> 00:27:48,000
Speaker 3: O'Keefe and John Philip Law in it. And he also

501
00:27:48,040 --> 00:27:49,880
Speaker 3: did three episodes of Fantasy Island.

502
00:27:50,119 --> 00:27:53,480
Speaker 1: Okay, well, we've got at least three to four writing credits.

503
00:27:53,480 --> 00:27:56,359
Speaker 1: Here's that's letting you know you're definitely in good territory.

504
00:27:57,680 --> 00:28:00,960
Speaker 3: Yes. Now, the flip side is, there are a lot

505
00:28:01,000 --> 00:28:03,760
Speaker 3: of bodies on the screen in this movie, but there

506
00:28:03,760 --> 00:28:08,399
Speaker 3: are really only three characters that matter. Maybe a fourth,

507
00:28:08,720 --> 00:28:11,639
Speaker 3: but basically three characters that matter, So we're going to

508
00:28:11,680 --> 00:28:16,120
Speaker 3: discuss them real quick. We have leading the whole enterprise,

509
00:28:16,440 --> 00:28:20,639
Speaker 3: Commander Jack Rankin, played by Robert Horton who lived nineteen

510
00:28:20,720 --> 00:28:26,040
Speaker 3: twenty four through twenty sixteen. He's our rugged, humorless space commander.

511
00:28:26,480 --> 00:28:30,560
Speaker 3: Very much seems like a tobacco scented cowboy who's been

512
00:28:30,600 --> 00:28:34,320
Speaker 3: transplanted out of westerns into a sci fi movie, because

513
00:28:34,320 --> 00:28:37,160
Speaker 3: that's pretty much exactly what is happening with Robert Horton here.

514
00:28:37,480 --> 00:28:40,440
Speaker 1: That makes a lot of sense. He has cured, rugged

515
00:28:40,520 --> 00:28:41,800
Speaker 1: and all business.

516
00:28:43,200 --> 00:28:47,280
Speaker 3: Horton was a stage actor turned MGM contracted talent who

517
00:28:47,320 --> 00:28:50,920
Speaker 3: worked a good six decades, mostly on television, appearing on

518
00:28:50,920 --> 00:28:53,440
Speaker 3: one hundred and eighty nine episodes of the late nineteen

519
00:28:53,480 --> 00:28:57,560
Speaker 3: fifties and early sixties western Wagon Train, twenty eight episodes

520
00:28:57,840 --> 00:29:00,560
Speaker 3: of the mid sixties western series of Man called I

521
00:29:00,600 --> 00:29:03,040
Speaker 3: Think he was the lead on that, and seven episodes

522
00:29:03,080 --> 00:29:05,880
Speaker 3: of As the World Turns. In the early nineteen eighties,

523
00:29:06,200 --> 00:29:09,720
Speaker 3: mostly known for westerns, this was his only sci fi

524
00:29:09,920 --> 00:29:10,800
Speaker 3: or horror credit.

525
00:29:10,960 --> 00:29:12,720
Speaker 1: I don't know if I've seen him in anything else.

526
00:29:13,080 --> 00:29:14,960
Speaker 3: I don't think i'd seen him in anything before either.

527
00:29:15,040 --> 00:29:16,480
Speaker 3: And when I first saw him, I was a little

528
00:29:16,520 --> 00:29:19,680
Speaker 3: bit hesitant. I was like, who is this? Who's this guy?

529
00:29:19,760 --> 00:29:19,960
Speaker 3: You know?

530
00:29:21,200 --> 00:29:23,240
Speaker 1: Is he about to sell me a life insurance policy?

531
00:29:23,680 --> 00:29:25,960
Speaker 3: Yeah? I was kind of expecting him to like kind

532
00:29:26,000 --> 00:29:28,760
Speaker 3: of phone it in, but I don't know. He has

533
00:29:28,800 --> 00:29:31,680
Speaker 3: a real sternness and it plays well into the performance

534
00:29:32,040 --> 00:29:36,360
Speaker 3: in a way. That makes the character personally unlikable in

535
00:29:36,440 --> 00:29:39,000
Speaker 3: a way, but in a different way, like lawful good

536
00:29:39,040 --> 00:29:42,000
Speaker 3: to a fault, but also somehow very believable, and you're

537
00:29:42,040 --> 00:29:44,960
Speaker 3: still pulling for him against the slimes. But he doesn't

538
00:29:45,000 --> 00:29:47,520
Speaker 3: seem like someone you would want to be around in

539
00:29:47,520 --> 00:29:48,080
Speaker 3: real life.

540
00:29:48,440 --> 00:29:51,520
Speaker 1: Well, yeah, he's kind of interesting. So we've watched a

541
00:29:51,520 --> 00:29:54,840
Speaker 1: lot of fifties and sixties sci fi movies that have

542
00:29:54,960 --> 00:29:59,920
Speaker 1: these kind of military squares as the leading man. He is,

543
00:30:00,440 --> 00:30:02,960
Speaker 1: but in a kind of interesting way in that it

544
00:30:03,040 --> 00:30:07,480
Speaker 1: is recognized and portrayed somewhat as a character fault. So

545
00:30:07,920 --> 00:30:11,080
Speaker 1: I think the movie is a little bit more complex

546
00:30:11,160 --> 00:30:13,800
Speaker 1: in terms of character than most of the movies with

547
00:30:14,000 --> 00:30:16,880
Speaker 1: this type of leading character are. That's my take, at

548
00:30:16,960 --> 00:30:19,640
Speaker 1: least as far as the actors vibe. He's sort of

549
00:30:20,560 --> 00:30:23,160
Speaker 1: he's a little bit Peter Graves, he's a little bit

550
00:30:23,280 --> 00:30:26,920
Speaker 1: Roger Moore, and he's a little bit Phil Hartman. There

551
00:30:27,200 --> 00:30:30,560
Speaker 1: there's a slickness to him that could quite easily slip

552
00:30:30,560 --> 00:30:34,760
Speaker 1: over the edge into smarty. But he's also the party's paladin,

553
00:30:34,880 --> 00:30:38,479
Speaker 1: and paladin in the sense of like often doing quote

554
00:30:38,600 --> 00:30:41,920
Speaker 1: the right thing, even if it is not very nice.

555
00:30:42,760 --> 00:30:45,400
Speaker 3: Yeah, Yeah, paladin for sure ready to fight and obey

556
00:30:45,520 --> 00:30:48,360
Speaker 3: orders for the greater good, but could also potentially carry

557
00:30:48,360 --> 00:30:51,720
Speaker 3: out a massacre as well in pursuit of that greater good.

558
00:30:52,520 --> 00:30:54,920
Speaker 3: I also think it's notable that he's always ready to

559
00:30:55,040 --> 00:30:57,520
Speaker 3: respond to a punch up like is if he goes

560
00:30:57,560 --> 00:31:00,400
Speaker 3: through life and it's like sometimes I'm just telling it

561
00:31:00,480 --> 00:31:01,960
Speaker 3: like it is, and some people try and punch me

562
00:31:02,040 --> 00:31:04,480
Speaker 3: because of it, So I'm all always ready to duck

563
00:31:04,560 --> 00:31:06,960
Speaker 3: that first punch and come in with the second one.

564
00:31:07,080 --> 00:31:09,640
Speaker 1: Yes, this is a guy who everywhere he goes people

565
00:31:09,680 --> 00:31:12,719
Speaker 1: are starting fights with him, and it's definitely not his fault,

566
00:31:13,400 --> 00:31:13,719
Speaker 1: all right.

567
00:31:13,760 --> 00:31:17,160
Speaker 3: So that's our That's one of our two main male characters.

568
00:31:17,200 --> 00:31:21,120
Speaker 3: The other is Commander Vince Elliott. Commander Elliott played by

569
00:31:21,520 --> 00:31:25,720
Speaker 3: Richard Jacob who lived nineteen twenty six through nineteen ninety seven.

570
00:31:26,120 --> 00:31:30,280
Speaker 3: This is our steely eyed Academy Award nominated character actor.

571
00:31:31,280 --> 00:31:34,000
Speaker 3: He did a lot of action westerns and war movies,

572
00:31:34,040 --> 00:31:37,240
Speaker 3: including nineteen fifty seven's three Ten to Yuma, sixty seven

573
00:31:37,280 --> 00:31:40,320
Speaker 3: is The Dirty Dozen, sixty Let's See what Else, seventy

574
00:31:40,360 --> 00:31:45,720
Speaker 3: one's The Deadly Dream, seventy four's Chosen Survivors, seventy six

575
00:31:45,840 --> 00:31:49,560
Speaker 3: is Grizzly and also The Jaws of Death as well

576
00:31:49,560 --> 00:31:53,280
Speaker 3: that year nineteen seventy seven's Day of the Animals. That's

577
00:31:53,280 --> 00:31:56,080
Speaker 3: an all animals attack movie. I think, seventy nine is

578
00:31:56,120 --> 00:31:59,600
Speaker 3: the Dark and eighty two's Blood Song. Other credits of

579
00:31:59,640 --> 00:32:02,680
Speaker 3: note least to us include eighty four Starman from John

580
00:32:02,720 --> 00:32:06,720
Speaker 3: Carpenter in nineteen eighty six is Black Moon Rising. He

581
00:32:06,840 --> 00:32:10,800
Speaker 3: was also in nineteen eighties Herbie Goes Bananas. Oh. He

582
00:32:10,880 --> 00:32:13,560
Speaker 3: was nominated for an oscar for his supporting role in

583
00:32:13,640 --> 00:32:16,560
Speaker 3: nineteen seventy twos Sometimes a Great Notion. This was an

584
00:32:16,600 --> 00:32:21,040
Speaker 3: adaptation of Ken Cassi's novel, starring and directed by Paul Newman.

585
00:32:21,440 --> 00:32:24,200
Speaker 1: Now, the presence of Richard Jacob in this movie and

586
00:32:24,240 --> 00:32:27,200
Speaker 1: his character is I think one of the other things

587
00:32:27,280 --> 00:32:33,320
Speaker 1: that makes Robert Horton's character more interesting than he might

588
00:32:33,360 --> 00:32:37,719
Speaker 1: be otherwise, because again he sort of forces us to

589
00:32:37,760 --> 00:32:42,760
Speaker 1: process Horton's character as possibly an order obsessed to a fault.

590
00:32:43,640 --> 00:32:47,160
Speaker 3: Yeah, Yeah, because Jacob's character here is I mean, he's

591
00:32:47,200 --> 00:32:51,400
Speaker 3: ready to initiate punch ups, he's ready to break rules

592
00:32:51,400 --> 00:32:55,320
Speaker 3: in the name of basic human decency, and he's got

593
00:32:55,320 --> 00:32:57,160
Speaker 3: that katch good character vibe.

594
00:32:57,400 --> 00:32:59,920
Speaker 1: Yeah, that's right, and well, I don't think many Peo

595
00:33:00,000 --> 00:33:03,480
Speaker 1: people would pick The Green Slime as a real acting showcase.

596
00:33:03,560 --> 00:33:07,680
Speaker 1: I think Jacob is probably the most interesting actor in this,

597
00:33:07,760 --> 00:33:10,800
Speaker 1: and he has some moments where I was pretty impressed.

598
00:33:10,880 --> 00:33:13,360
Speaker 1: Like this might be a weird comparison, but there were

599
00:33:13,400 --> 00:33:15,959
Speaker 1: parts of the movie where he really reminded me of

600
00:33:16,000 --> 00:33:19,520
Speaker 1: Tom Behringer, Like certain shots where he says nothing and

601
00:33:19,600 --> 00:33:22,560
Speaker 1: just kind of gazes intensely over the barrel of the camera.

602
00:33:22,960 --> 00:33:25,320
Speaker 1: There is a fire burning inside, but he's not going

603
00:33:25,400 --> 00:33:26,320
Speaker 1: to say a thing, you know.

604
00:33:27,040 --> 00:33:30,400
Speaker 3: Yeah, no, absolutely, I think it's a strong comparison. And yeah,

605
00:33:30,400 --> 00:33:33,920
Speaker 3: this is something I always enjoy about. I enjoy looking

606
00:33:33,920 --> 00:33:38,560
Speaker 3: for and I appreciate finding in films like this performances

607
00:33:38,640 --> 00:33:43,080
Speaker 3: that bring so much energy and talent in places where

608
00:33:43,560 --> 00:33:46,520
Speaker 3: you don't necessarily expect to find it, where something lesser

609
00:33:46,640 --> 00:33:50,640
Speaker 3: could you know, certainly have been tolerated, especially looking back

610
00:33:50,680 --> 00:33:53,280
Speaker 3: on it, but yeah, you find these little diamonds in

611
00:33:53,320 --> 00:33:54,920
Speaker 3: the rough and think, I think he's great in this.

612
00:33:55,040 --> 00:33:59,440
Speaker 3: I think his energy elevates a film that otherwise could

613
00:33:59,480 --> 00:34:03,120
Speaker 3: maybe be more dismissed. Is just pure, pure, slimy nonsense.

614
00:34:03,320 --> 00:34:06,080
Speaker 1: However, let us not deny that there is lots of

615
00:34:06,120 --> 00:34:07,040
Speaker 1: slimy nonsense.

616
00:34:07,080 --> 00:34:11,799
Speaker 3: To go around, yes, and helping to clean up some

617
00:34:11,880 --> 00:34:15,600
Speaker 3: of that that slimy nonsense, or certainly to deal with

618
00:34:15,719 --> 00:34:19,000
Speaker 3: the the causalities caused by it, and to treat wounds

619
00:34:19,080 --> 00:34:22,200
Speaker 3: caused by it, is doctor Lisa Benson. This is our

620
00:34:22,680 --> 00:34:25,799
Speaker 3: third character of note. Really well, this is the third

621
00:34:25,800 --> 00:34:27,760
Speaker 3: of only three characters that really matter in the film,

622
00:34:28,040 --> 00:34:30,440
Speaker 3: and she is played by Luciana Paloozi.

623
00:34:31,000 --> 00:34:33,200
Speaker 1: I'd say maybe four characters we got. We got a

624
00:34:33,400 --> 00:34:35,880
Speaker 1: kind of a sniveling scientist.

625
00:34:35,360 --> 00:34:38,040
Speaker 3: As well, Yeah, we do. We'll get to him in

626
00:34:38,040 --> 00:34:38,799
Speaker 3: a second.

627
00:34:38,680 --> 00:34:43,319
Speaker 1: We will. Doctor Benson is I'm not gonna say there

628
00:34:43,360 --> 00:34:46,160
Speaker 1: isn't something kind of funny about a lot of her,

629
00:34:46,360 --> 00:34:50,359
Speaker 1: like romantic dialogue scenes, but I was happy every time

630
00:34:50,360 --> 00:34:52,160
Speaker 1: we got a scene with her. She's great.

631
00:34:52,800 --> 00:34:56,000
Speaker 3: Oh yeah, yeah. So she's her character is Elliott's current

632
00:34:56,080 --> 00:35:00,200
Speaker 3: flame and Rankin's former flame. So she's the center of

633
00:35:00,239 --> 00:35:03,279
Speaker 3: the personal drama and while at the same time being

634
00:35:03,280 --> 00:35:06,400
Speaker 3: front and center to deal with green slime related injuries

635
00:35:06,400 --> 00:35:07,040
Speaker 3: and so forth.

636
00:35:07,400 --> 00:35:10,000
Speaker 1: Right, So she's sort of the bones, you know, the

637
00:35:10,120 --> 00:35:13,120
Speaker 1: McCoy of the ship she is the chief medical officer,

638
00:35:13,440 --> 00:35:15,600
Speaker 1: and she's like treating all of these people who have

639
00:35:15,680 --> 00:35:19,680
Speaker 1: been burned and electrocuted by green slime monsters. And meanwhile

640
00:35:19,719 --> 00:35:22,960
Speaker 1: these two different like space marine squares are like do

641
00:35:23,000 --> 00:35:24,319
Speaker 1: you love him or do you love me?

642
00:35:25,120 --> 00:35:26,960
Speaker 3: Yeah, and you know she's got to be tired of this.

643
00:35:27,040 --> 00:35:31,680
Speaker 3: It's like, come on, guys, we got multiple injuries on Dexy. So.

644
00:35:32,360 --> 00:35:36,440
Speaker 3: Peloozy is probably best known for her role as Fiona,

645
00:35:36,560 --> 00:35:40,440
Speaker 3: a Specter assassin in nineteen sixty five's Thunderball.

646
00:35:41,160 --> 00:35:45,040
Speaker 1: Thunderball the James Bond movie that I think actually is

647
00:35:45,440 --> 00:35:47,000
Speaker 1: one of the better ones. It has a lot of

648
00:35:47,080 --> 00:35:49,880
Speaker 1: classic Bond stuff in it is very fun. But also

649
00:35:51,239 --> 00:35:54,680
Speaker 1: when you say that, one has one major drawback, which

650
00:35:54,719 --> 00:35:57,520
Speaker 1: is okay, yes, I think we have gotten enough underwater

651
00:35:57,640 --> 00:36:00,279
Speaker 1: scenes now. That has been enough scuba for now, thank

652
00:36:00,320 --> 00:36:03,319
Speaker 1: you very much. By the third act, there is a

653
00:36:03,440 --> 00:36:06,440
Speaker 1: lot of underwater footage in the movie and it gets

654
00:36:06,480 --> 00:36:07,719
Speaker 1: incredibly tiresome.

655
00:36:08,080 --> 00:36:09,600
Speaker 3: I haven't seen it since I was a kid, but

656
00:36:09,760 --> 00:36:11,440
Speaker 3: I loved it as a kid, and I loved the

657
00:36:11,440 --> 00:36:14,640
Speaker 3: theme song. As a kid, I had a cassette tape

658
00:36:14,800 --> 00:36:19,120
Speaker 3: featuring all the James Bond theme songs up to that point.

659
00:36:19,440 --> 00:36:23,560
Speaker 3: They were all covers. What kind of production this was?

660
00:36:23,600 --> 00:36:26,600
Speaker 3: But but yeah, I was a Thunderball fan at the time.

661
00:36:27,320 --> 00:36:29,680
Speaker 1: The bad guy in that one fills his swimming pool

662
00:36:29,719 --> 00:36:30,800
Speaker 1: with sharks.

663
00:36:31,239 --> 00:36:37,000
Speaker 3: Oh that's a goodness. Yes, So Pelusi was an Italian actor.

664
00:36:37,800 --> 00:36:41,400
Speaker 3: Her other big films include nineteen fifty fours Three Coins

665
00:36:41,400 --> 00:36:45,120
Speaker 3: in a Fountain, also a couple of Fritz Lang films,

666
00:36:45,800 --> 00:36:50,080
Speaker 3: nineteen fifty nine's The Tiger of Eshkapur and fifty nine's

667
00:36:50,120 --> 00:36:53,080
Speaker 3: The Indian Tomb. She was also in seventy two's The

668
00:36:53,120 --> 00:36:57,200
Speaker 3: Italian Connection, seventy four's The Klansman, and some of her

669
00:36:57,239 --> 00:37:01,400
Speaker 3: more b movie terrific credits include a fifty eight Hercules

670
00:37:01,440 --> 00:37:05,000
Speaker 3: movie starring Steve Reeves and Jess Franco's ninety nine Women,

671
00:37:05,080 --> 00:37:08,480
Speaker 3: a women in prison movie in which Herbert Lohm played

672
00:37:08,480 --> 00:37:13,840
Speaker 3: the evil Warden character. Oh. Also of note that usually

673
00:37:13,880 --> 00:37:15,600
Speaker 3: don't include you know much in the way of like,

674
00:37:15,600 --> 00:37:18,960
Speaker 3: like you know, personal trivia, but she was Tony Anthony's

675
00:37:18,960 --> 00:37:20,080
Speaker 3: partner for many years.

676
00:37:20,360 --> 00:37:23,600
Speaker 1: Wait Tony Tony from Treasurer of the Four Crowns.

677
00:37:23,920 --> 00:37:24,880
Speaker 3: Yep, the very one.

678
00:37:24,960 --> 00:37:26,960
Speaker 1: Well, I would have been very upset if I found

679
00:37:26,960 --> 00:37:30,279
Speaker 1: out you didn't mention a connection to Tony Tony, can

680
00:37:30,320 --> 00:37:32,280
Speaker 1: you imagine if he had been in this movie?

681
00:37:32,800 --> 00:37:38,160
Speaker 3: Well, I'm so glad he was not. All Right, Okay,

682
00:37:38,200 --> 00:37:42,239
Speaker 3: we mentioned our sniveling scientist. This is doctor Hans Halverson

683
00:37:42,480 --> 00:37:45,880
Speaker 3: played by Ted Gunther. So much of the cast in

684
00:37:45,920 --> 00:37:49,160
Speaker 3: this movie consisted of American actors and non actors that

685
00:37:49,320 --> 00:37:53,279
Speaker 3: were working in Japan at the time, Like just a

686
00:37:53,320 --> 00:37:55,840
Speaker 3: full call was apparently thrown out, like if you were

687
00:37:55,880 --> 00:37:59,719
Speaker 3: an American in Japan, report to the set, or we're

688
00:37:59,719 --> 00:38:01,040
Speaker 3: gonna evoke your visa.

689
00:38:01,239 --> 00:38:04,359
Speaker 1: This makes so much sense that, apart from like the

690
00:38:04,360 --> 00:38:07,640
Speaker 1: main few actors, one gets the sense of a lot

691
00:38:07,640 --> 00:38:11,120
Speaker 1: of non actors saying little incidental lines in this film.

692
00:38:11,760 --> 00:38:14,759
Speaker 3: Yeah, and so Gunther seems to be more or less

693
00:38:14,960 --> 00:38:20,600
Speaker 3: of this in this categorization, but he probably has the

694
00:38:20,640 --> 00:38:25,520
Speaker 3: best lines. He has the biggest role of the three

695
00:38:25,560 --> 00:38:28,600
Speaker 3: main cast members. We'll get into. It's a pretty fun

696
00:38:28,640 --> 00:38:31,360
Speaker 3: little role, the stimbling scientist who thinks we should not

697
00:38:31,560 --> 00:38:33,759
Speaker 3: kill all the aliens, we should collect some samples, we

698
00:38:33,760 --> 00:38:38,800
Speaker 3: should bring something back to Earth. And yeah, this is

699
00:38:38,840 --> 00:38:41,800
Speaker 3: probably his best known role. His other credits include nineteen

700
00:38:41,840 --> 00:38:46,560
Speaker 3: fifty eight's Cop Hater, a police procedural starring Robert Loggia

701
00:38:46,840 --> 00:38:49,080
Speaker 3: and Jerry Orbach in a small role. I think he

702
00:38:49,080 --> 00:38:53,000
Speaker 3: plays like a gang member or something. But Gunther was

703
00:38:53,000 --> 00:38:56,920
Speaker 3: also in various Japanese productions of this time period. He's

704
00:38:56,960 --> 00:38:58,200
Speaker 3: a real Burk in this one.

705
00:38:58,320 --> 00:39:00,279
Speaker 1: Well, I see what you're saying about him being a Burke,

706
00:39:00,320 --> 00:39:02,879
Speaker 1: because he's the one who puts people in danger by

707
00:39:02,920 --> 00:39:05,920
Speaker 1: collecting the samples. But on the other hand, I don't

708
00:39:05,920 --> 00:39:07,680
Speaker 1: know if he's quite a Burke. He might be more

709
00:39:07,719 --> 00:39:11,400
Speaker 1: in the Ash category, because Burke's just like a company

710
00:39:11,440 --> 00:39:13,719
Speaker 1: man who's trying to get He's trying to get a commission.

711
00:39:13,760 --> 00:39:16,719
Speaker 1: He's trying to get, you know, a percentage. Well, I

712
00:39:16,760 --> 00:39:18,880
Speaker 1: don't know if it's Ash actually either, because Ash is

713
00:39:18,920 --> 00:39:23,480
Speaker 1: also following company orders. Doctor Halverson here seems to be

714
00:39:23,560 --> 00:39:27,440
Speaker 1: more genuinely interested in the science of understanding this creature,

715
00:39:27,760 --> 00:39:31,200
Speaker 1: again in a villainous way, like to the to the

716
00:39:31,239 --> 00:39:34,880
Speaker 1: extent of endangering other people's lives. But he doesn't seem

717
00:39:34,880 --> 00:39:36,799
Speaker 1: to me to be in it for like money or

718
00:39:36,880 --> 00:39:38,920
Speaker 1: personal interest rights.

719
00:39:39,080 --> 00:39:41,520
Speaker 3: He is in no way. His scientific curiosity is pure, but

720
00:39:41,560 --> 00:39:45,080
Speaker 3: it's too pure. Science is not in charge here military

721
00:39:45,160 --> 00:39:46,320
Speaker 3: is in charge.

722
00:39:46,200 --> 00:39:50,120
Speaker 1: Right, He seeks dangerous slime knowledge that could put lives

723
00:39:50,160 --> 00:39:52,040
Speaker 1: at risk and does yes.

724
00:39:52,600 --> 00:39:54,640
Speaker 3: So there again. There are about one hundred other humans

725
00:39:54,800 --> 00:39:58,080
Speaker 3: on the screen during some of these scenes, and then

726
00:39:58,120 --> 00:40:00,400
Speaker 3: there are the people in the Green Slime costume. But

727
00:40:00,480 --> 00:40:03,359
Speaker 3: that's it for the cast. It's time to get into

728
00:40:03,400 --> 00:40:04,600
Speaker 3: the plot of the Green Slime.

729
00:40:05,320 --> 00:40:09,400
Speaker 1: Well, we begin in space, as we must, but not

730
00:40:09,520 --> 00:40:12,399
Speaker 1: with the starfield this time with a Actually I think

731
00:40:12,440 --> 00:40:15,479
Speaker 1: maybe there are a little few faint suggestions of stars around,

732
00:40:15,560 --> 00:40:18,080
Speaker 1: but mainly what we can see at the beginning is

733
00:40:18,120 --> 00:40:21,200
Speaker 1: a frosty white image of a planet in the distance,

734
00:40:21,280 --> 00:40:25,520
Speaker 1: surrounded by a hazy disk like Saturn's rings. And that

735
00:40:25,640 --> 00:40:28,600
Speaker 1: got me wondering, is this supposed to be our own

736
00:40:28,680 --> 00:40:31,200
Speaker 1: solar system? I think it is, because I think the

737
00:40:31,239 --> 00:40:34,600
Speaker 1: home planet is Earth and there's an asteroid belt like

738
00:40:34,640 --> 00:40:37,880
Speaker 1: our solar system, So I guess maybe that's supposed to

739
00:40:37,880 --> 00:40:39,920
Speaker 1: be Saturn. But I don't know why it's this big,

740
00:40:40,000 --> 00:40:42,560
Speaker 1: hazy white mass like that with the rings.

741
00:40:43,000 --> 00:40:45,640
Speaker 3: Yeah, I guess. I like that They weren't too clear

742
00:40:45,680 --> 00:40:48,799
Speaker 3: on it, so you can sort of suspend disbelief. Maybe

743
00:40:48,800 --> 00:40:50,960
Speaker 3: they're in another solar system. And we just assume that

744
00:40:51,320 --> 00:40:53,160
Speaker 3: propulsion works. Well En, Well, I don't know. I mean,

745
00:40:53,600 --> 00:40:56,120
Speaker 3: the plot concerned something coming at the Earth, So yeah,

746
00:40:56,360 --> 00:40:58,359
Speaker 3: would kind of have to be our solar system.

747
00:40:58,160 --> 00:40:59,520
Speaker 1: I think. So, I think it's got to be Earth,

748
00:40:59,600 --> 00:41:03,200
Speaker 1: unless they like moved Earth to another solar system or

749
00:41:03,239 --> 00:41:05,280
Speaker 1: we just got some new planets in the meantime.

750
00:41:05,840 --> 00:41:08,879
Speaker 3: Yeah. I will say that in these early segments, it's

751
00:41:09,120 --> 00:41:11,720
Speaker 3: it's hard to suspend disbelief with some of the models.

752
00:41:12,200 --> 00:41:14,160
Speaker 3: And maybe that's why I hadn't really put these thoughts

753
00:41:14,200 --> 00:41:14,839
Speaker 3: together yet.

754
00:41:15,160 --> 00:41:17,160
Speaker 1: You know, I want to talk about the effects. I'll

755
00:41:17,160 --> 00:41:21,640
Speaker 1: save that for a minute later. Yes, the models, they

756
00:41:21,719 --> 00:41:25,640
Speaker 1: don't suggest realism, and they're also it's not some of

757
00:41:25,680 --> 00:41:28,440
Speaker 1: the most beautiful miniature model work I've ever seen, but

758
00:41:28,480 --> 00:41:30,000
Speaker 1: I really enjoyed it, so I'm gonna comback.

759
00:41:30,000 --> 00:41:32,719
Speaker 3: They're nice. It's nice model work. Yeah.

760
00:41:32,800 --> 00:41:34,839
Speaker 1: So we see the Earth. We see Earth, it's kind

761
00:41:34,840 --> 00:41:38,279
Speaker 1: of a blue ball that comes into the frame. And

762
00:41:38,320 --> 00:41:41,160
Speaker 1: then around the Earth we see orbiting a space station

763
00:41:41,239 --> 00:41:44,160
Speaker 1: which is wheel shaped with a central spike at the hub,

764
00:41:44,200 --> 00:41:48,759
Speaker 1: and this is labeled UNSC Gamma three. And then we

765
00:41:48,800 --> 00:41:51,239
Speaker 1: see a command center with a bunch of technicians all

766
00:41:51,400 --> 00:41:55,279
Speaker 1: hustling around manning stations with screens and radar displays, and

767
00:41:55,320 --> 00:41:58,400
Speaker 1: then one of the technicians starts getting a weird signal,

768
00:41:58,480 --> 00:42:01,359
Speaker 1: some kind of unusual innerance. What could it be?

769
00:42:01,920 --> 00:42:02,120
Speaker 3: Done?

770
00:42:02,200 --> 00:42:02,480
Speaker 1: Done?

771
00:42:02,520 --> 00:42:02,759
Speaker 5: Done?

772
00:42:03,000 --> 00:42:06,080
Speaker 1: It is an asteroid. They pull it up on the viewscreen,

773
00:42:06,560 --> 00:42:10,680
Speaker 1: and the interesting thing is that this asteroid is not jagged,

774
00:42:10,760 --> 00:42:14,120
Speaker 1: but pretty much perfectly spherical, but with kind of rough

775
00:42:14,160 --> 00:42:17,319
Speaker 1: surface like a carpet, mostly red in color, with a

776
00:42:17,320 --> 00:42:20,600
Speaker 1: few little black continents in that ocean of red. It

777
00:42:20,640 --> 00:42:23,400
Speaker 1: looks kind of like a char grilled red meatball.

778
00:42:24,239 --> 00:42:27,080
Speaker 3: It does. It does look like a meatball. Speaking of

779
00:42:27,640 --> 00:42:29,840
Speaker 3: this planet looking like a meatball, I do want to

780
00:42:29,880 --> 00:42:33,799
Speaker 3: throw out here that this movie was riffed, and I

781
00:42:33,880 --> 00:42:36,520
Speaker 3: believe the one of the very, if not the very

782
00:42:36,520 --> 00:42:39,960
Speaker 3: first KTMA episodes of Mystery Side Theater three thousand, Off

783
00:42:39,960 --> 00:42:41,719
Speaker 3: the top of my head, I can't remember if this

784
00:42:41,760 --> 00:42:44,360
Speaker 3: is one where the footage survives or not, but a

785
00:42:44,360 --> 00:42:47,480
Speaker 3: lot of those KTMA episodes are are that they're kind

786
00:42:47,520 --> 00:42:49,840
Speaker 3: of rough to watch, you know. MST three K was

787
00:42:49,880 --> 00:42:52,200
Speaker 3: just getting started, was the prototype.

788
00:42:52,480 --> 00:42:55,719
Speaker 1: They hadn't figured out the formula yet. Yeah, well, if

789
00:42:55,760 --> 00:42:57,400
Speaker 1: this one is available, I've never seen.

790
00:42:57,239 --> 00:43:00,239
Speaker 3: It same, but they had to have said that looks

791
00:43:00,239 --> 00:43:02,000
Speaker 3: like a meatball, yeah, because it does.

792
00:43:02,120 --> 00:43:05,680
Speaker 1: It looks like a meatball with grill marks. But then

793
00:43:06,000 --> 00:43:08,080
Speaker 1: the boss at this command center gets some kind of

794
00:43:08,080 --> 00:43:10,279
Speaker 1: print out and looks at it and says, oh, it's

795
00:43:10,280 --> 00:43:12,600
Speaker 1: on a collision course with Earth. And then we cut

796
00:43:12,640 --> 00:43:14,719
Speaker 1: straight to the theme song Kenny Rogers in the new

797
00:43:14,840 --> 00:43:18,880
Speaker 1: edition and yeah, so it's a is it just something

798
00:43:18,920 --> 00:43:21,200
Speaker 1: in your head? Will you believe it when you're dead?

799
00:43:21,480 --> 00:43:26,319
Speaker 1: Green slime? And oh and there's there's a really good

800
00:43:26,360 --> 00:43:30,239
Speaker 1: title title lettering, which you know, I love it, but

801
00:43:30,400 --> 00:43:33,640
Speaker 1: it has the classic English lettering problem of the l

802
00:43:33,800 --> 00:43:38,680
Speaker 1: I sequence, so it quite clearly reads the green soom.

803
00:43:39,080 --> 00:43:41,920
Speaker 3: Oh it does, yeah, the green soom. Yeah, if you

804
00:43:41,960 --> 00:43:43,800
Speaker 3: don't know the if you're not aware of the title already,

805
00:43:43,800 --> 00:43:45,720
Speaker 3: it could throw you off. But it is very bright.

806
00:43:45,760 --> 00:43:46,640
Speaker 3: It is very green.

807
00:43:55,520 --> 00:43:58,839
Speaker 1: So the action resumes at Space Command headquarters and oh

808
00:43:58,880 --> 00:44:01,919
Speaker 1: my god, this is just two who many dudes in uniforms?

809
00:44:02,200 --> 00:44:06,520
Speaker 3: Yeah again, this is like I think every Western dude

810
00:44:06,520 --> 00:44:10,720
Speaker 3: they could they could lure into the studio for this film.

811
00:44:10,800 --> 00:44:13,000
Speaker 1: At first, I was deeply afraid that it was going

812
00:44:13,080 --> 00:44:16,680
Speaker 1: to be like these eight similar looking, similarly dressed military

813
00:44:16,719 --> 00:44:19,520
Speaker 1: white guys would be our main ensemble for the film,

814
00:44:19,640 --> 00:44:21,600
Speaker 1: and it would be one of those one of those

815
00:44:22,400 --> 00:44:25,239
Speaker 1: mid century movies where you are just constantly asking weight

816
00:44:25,360 --> 00:44:28,720
Speaker 1: which character is this? But fortunately that was not the case.

817
00:44:28,719 --> 00:44:30,960
Speaker 1: As we've said that the main cast for the movie

818
00:44:31,440 --> 00:44:34,560
Speaker 1: is a smaller number of actors that look more distinctive

819
00:44:34,560 --> 00:44:35,120
Speaker 1: from each other.

820
00:44:35,840 --> 00:44:38,239
Speaker 3: Yes, absolutely so that that was a relief for me

821
00:44:38,280 --> 00:44:38,760
Speaker 3: as well.

822
00:44:39,200 --> 00:44:42,000
Speaker 1: But this is basically due set up what must be

823
00:44:42,040 --> 00:44:44,440
Speaker 1: done about the asteroid. The only way to save Earth

824
00:44:44,600 --> 00:44:47,240
Speaker 1: got to blow it up. So the General of Space

825
00:44:47,280 --> 00:44:51,160
Speaker 1: Command has summoned a man named Commander Jack Ranken to

826
00:44:51,280 --> 00:44:54,480
Speaker 1: his office, and then the general's aides all start to protest.

827
00:44:54,640 --> 00:44:58,040
Speaker 1: They say, sir, you can't bring him on to this mission.

828
00:44:58,080 --> 00:45:01,640
Speaker 1: He's tendered his resignation, he's off the Also, you can't

829
00:45:01,680 --> 00:45:03,800
Speaker 1: send him on a mission like this where the chances

830
00:45:03,840 --> 00:45:07,200
Speaker 1: of survival are next to zero. And then I double

831
00:45:07,280 --> 00:45:09,000
Speaker 1: checked this next line to make sure I was hearing

832
00:45:09,040 --> 00:45:11,920
Speaker 1: it right. The general says, he's still the top officer

833
00:45:11,960 --> 00:45:14,840
Speaker 1: of my command. I'd have absolute confidence in him no

834
00:45:14,880 --> 00:45:18,040
Speaker 1: matter what we're faced with, and I'll be go to

835
00:45:18,160 --> 00:45:21,759
Speaker 1: hell if I know what we're faced with. I don't

836
00:45:21,760 --> 00:45:23,399
Speaker 1: know if I've ever heard that before, but I looked

837
00:45:23,400 --> 00:45:26,759
Speaker 1: it up this I found documentation that this is an

838
00:45:26,760 --> 00:45:29,279
Speaker 1: expression some people say, I'll be go to hell.

839
00:45:29,960 --> 00:45:32,560
Speaker 3: Really because that sounds like a flug to me.

840
00:45:33,239 --> 00:45:36,040
Speaker 1: It sounds like a yeah, like a typo in the

841
00:45:36,040 --> 00:45:39,040
Speaker 1: script that he just read verbatim. But it's a real expression,

842
00:45:39,120 --> 00:45:40,600
Speaker 1: according to the Internet at least.

843
00:45:41,600 --> 00:45:44,360
Speaker 3: Well that's it's kind of like that whole saying, like

844
00:45:44,560 --> 00:45:46,160
Speaker 3: if one were to say, like go to hell, you

845
00:45:46,160 --> 00:45:48,960
Speaker 3: don't know from go to hell. Like, I've never heard

846
00:45:49,040 --> 00:45:50,960
Speaker 3: someone say that out loud. I've only ever read it,

847
00:45:51,320 --> 00:45:54,440
Speaker 3: and it always feels unreal to me. But I trust

848
00:45:54,440 --> 00:45:56,319
Speaker 3: that it is something people actually say.

849
00:45:56,880 --> 00:45:59,600
Speaker 1: I guess so. So the general he'll be go to

850
00:45:59,640 --> 00:46:03,560
Speaker 1: hell and next we go to his office. First he'll

851
00:46:03,600 --> 00:46:05,040
Speaker 1: be go to Hell, and then he'll be go to

852
00:46:05,040 --> 00:46:09,160
Speaker 1: his office. And here's where we meet Commander Jack and man.

853
00:46:09,760 --> 00:46:14,160
Speaker 1: Commander Jack is a smooth space commander if I ever

854
00:46:14,239 --> 00:46:19,280
Speaker 1: saw one. His hair is like one perfect solid mass.

855
00:46:19,320 --> 00:46:22,360
Speaker 1: I don't think you ever see any of his hairs

856
00:46:22,480 --> 00:46:23,720
Speaker 1: move individually.

857
00:46:24,320 --> 00:46:26,480
Speaker 3: Yeah, it's quite ahead of hair. There's some scenes where

858
00:46:26,480 --> 00:46:29,160
Speaker 3: he's wearing a helmet and it throws you off because

859
00:46:29,160 --> 00:46:32,239
Speaker 3: you don't recognize in it first. Oh yeah, yeah.

860
00:46:32,360 --> 00:46:35,279
Speaker 1: So they start off by reminiscing. They're looking at a

861
00:46:35,280 --> 00:46:39,320
Speaker 1: picture on the wall, and the General says, Rankin and

862
00:46:39,440 --> 00:46:44,080
Speaker 1: Elliott best space team we ever had, and Jack says, yeah,

863
00:46:44,239 --> 00:46:46,239
Speaker 1: Vince and I were a pretty good team till I

864
00:46:46,400 --> 00:46:50,439
Speaker 1: ruined it. Anyway, they get down to business. General says, Jack,

865
00:46:50,520 --> 00:46:52,719
Speaker 1: you're the only man who can save planet Earth. I

866
00:46:52,920 --> 00:46:55,560
Speaker 1: need you to do an armageddon. I need you to

867
00:46:55,600 --> 00:46:58,640
Speaker 1: plant explosives on the surface of this killer asteroid and

868
00:46:58,680 --> 00:47:01,719
Speaker 1: blow it up as well. In that case, all right,

869
00:47:01,800 --> 00:47:04,719
Speaker 1: I'm on board, And the General says, oh, also, the

870
00:47:04,800 --> 00:47:07,400
Speaker 1: current commander of the space station you're going to go

871
00:47:07,440 --> 00:47:10,400
Speaker 1: to to do this mission. The man you're gonna have

872
00:47:10,440 --> 00:47:13,480
Speaker 1: to work with to save the planet is your old partner,

873
00:47:13,640 --> 00:47:16,719
Speaker 1: Vince Elliott, who we just referred to like two sentences ago.

874
00:47:17,600 --> 00:47:19,880
Speaker 1: And this is such a cop show set up, you know,

875
00:47:19,920 --> 00:47:22,239
Speaker 1: it's like that was a long time ago. General, Meet

876
00:47:22,280 --> 00:47:24,520
Speaker 1: your new partner. It's your old partner.

877
00:47:25,120 --> 00:47:27,480
Speaker 3: Yeah yeah, but you know it's an oldie, but it's

878
00:47:27,480 --> 00:47:29,520
Speaker 3: a goodie. You know, you're gonna get some fireworks out of.

879
00:47:29,440 --> 00:47:33,160
Speaker 1: That, Oh yeah, And then so the commander Jack is

880
00:47:33,200 --> 00:47:34,960
Speaker 1: going to travel to the space station, and we see

881
00:47:35,000 --> 00:47:36,919
Speaker 1: a lot of model effects along the way. We see

882
00:47:36,920 --> 00:47:40,520
Speaker 1: like model effects on Earth of buildings and cars moving around,

883
00:47:40,560 --> 00:47:43,200
Speaker 1: and then model effects of a rocket traveling to the

884
00:47:43,239 --> 00:47:46,440
Speaker 1: space station. And you know, there's a mix of quality

885
00:47:46,640 --> 00:47:49,640
Speaker 1: in some shots in this movie, the miniature models are

886
00:47:50,000 --> 00:47:54,280
Speaker 1: surprisingly good. Other times they are pretty flimsy, most often

887
00:47:54,320 --> 00:47:57,080
Speaker 1: somewhere in between. In terms of the flimsy ones, some

888
00:47:57,360 --> 00:48:00,800
Speaker 1: are quite funny, like there's one where there's an airlock

889
00:48:00,880 --> 00:48:02,880
Speaker 1: to space where a shuttle's going out to go to

890
00:48:02,920 --> 00:48:06,040
Speaker 1: the asteroid, and the airlock doors are basically like the

891
00:48:06,080 --> 00:48:10,560
Speaker 1: swinging doors on a saloon in a Western Yeah. But

892
00:48:10,840 --> 00:48:14,440
Speaker 1: even though this is not the most gorgeous mini model

893
00:48:14,440 --> 00:48:17,040
Speaker 1: work I've ever seen in a sci fi movie, and

894
00:48:17,280 --> 00:48:20,440
Speaker 1: neither is it usually bad enough to be funny. I

895
00:48:20,600 --> 00:48:23,600
Speaker 1: just found it such a cozy place to hang out,

896
00:48:23,920 --> 00:48:27,759
Speaker 1: very pleasing to the eye. I just love this stuff, Like,

897
00:48:27,800 --> 00:48:30,480
Speaker 1: model based effects like this are so nice, and they

898
00:48:30,480 --> 00:48:33,200
Speaker 1: make me want to change the culture of Hollywood that

899
00:48:33,320 --> 00:48:37,319
Speaker 1: feels like to be irrespectable, a movie's effects need to

900
00:48:37,360 --> 00:48:42,440
Speaker 1: look quote realistic, mid tier CGI effects of today probably

901
00:48:42,520 --> 00:48:46,560
Speaker 1: are more passibly realistic. I'd agree, like they look probably

902
00:48:46,680 --> 00:48:50,759
Speaker 1: more convincingly like the thing you're trying to depict, but

903
00:48:50,840 --> 00:48:54,839
Speaker 1: they're so often just boring and kind of inherently unpleasant

904
00:48:54,880 --> 00:48:58,360
Speaker 1: in a way that's hard to explain. Miniature model based effects,

905
00:48:58,440 --> 00:49:01,200
Speaker 1: even when they are not an outie standing example of

906
00:49:01,239 --> 00:49:04,600
Speaker 1: their kind, just feel so so nice. And I was

907
00:49:04,640 --> 00:49:08,160
Speaker 1: trying to think of what to compare this difference to,

908
00:49:08,400 --> 00:49:11,600
Speaker 1: and here's what I came up with. The difference between

909
00:49:11,719 --> 00:49:16,480
Speaker 1: passable mid tier CGI and passable mid tier model effects

910
00:49:17,120 --> 00:49:20,080
Speaker 1: is the difference between looking at a freeway overpass and

911
00:49:20,120 --> 00:49:22,600
Speaker 1: looking at a lake. Even if it's not the most

912
00:49:22,640 --> 00:49:24,879
Speaker 1: beautiful lake in the world, even if it's a kind

913
00:49:24,880 --> 00:49:27,480
Speaker 1: of crummy lake, the lake is just always going to

914
00:49:27,520 --> 00:49:28,600
Speaker 1: feel a lot nicer.

915
00:49:29,360 --> 00:49:32,759
Speaker 3: Yeah. Yeah, I think that's a fair comparison. You know,

916
00:49:32,760 --> 00:49:35,400
Speaker 3: I don't want to dismiss the work that goes into CGI,

917
00:49:36,040 --> 00:49:40,560
Speaker 3: but when you're looking at a physical scale model, I mean,

918
00:49:40,600 --> 00:49:43,440
Speaker 3: you are looking at something that someone physically built with

919
00:49:43,480 --> 00:49:47,040
Speaker 3: their hands, and there's something about that that's undeniable.

920
00:49:47,360 --> 00:49:49,000
Speaker 1: Well, you raise a good point. I want to be clear,

921
00:49:49,080 --> 00:49:52,319
Speaker 1: I'm not like slamming the work of digital animators. You know,

922
00:49:52,840 --> 00:49:56,000
Speaker 1: their work should also be appreciated. I'm just saying, man,

923
00:49:56,040 --> 00:49:59,480
Speaker 1: I love I love the models. The models are so nice,

924
00:49:59,520 --> 00:50:01,600
Speaker 1: they feel so good. I just wish there were more

925
00:50:01,640 --> 00:50:02,520
Speaker 1: of them these days.

926
00:50:02,920 --> 00:50:04,520
Speaker 3: No, no, I'm still with you on this. And yeah,

927
00:50:04,560 --> 00:50:08,000
Speaker 3: there's just something about like the physical model, you know,

928
00:50:08,239 --> 00:50:11,720
Speaker 3: it just feels more real, even if at the same times,

929
00:50:12,160 --> 00:50:13,680
Speaker 3: even at this if at the same time it looks

930
00:50:13,719 --> 00:50:16,040
Speaker 3: kind of flimsy in the film, it's like you could

931
00:50:16,040 --> 00:50:16,960
Speaker 3: still touch it.

932
00:50:16,960 --> 00:50:20,120
Speaker 1: It just feels nice. It's like walking barefoot on a

933
00:50:20,200 --> 00:50:23,319
Speaker 1: nice fluffy carpet, you know. But anyway, So up on

934
00:50:23,360 --> 00:50:27,200
Speaker 1: the space station, oh boy, it's Commander Love Triangle reporting

935
00:50:27,239 --> 00:50:31,320
Speaker 1: for duty. This This is Vince Elliott. He is preparing

936
00:50:31,360 --> 00:50:33,920
Speaker 1: for the arrival of his old partner who's about to

937
00:50:33,960 --> 00:50:37,040
Speaker 1: become his new partner again, and he has a conversation

938
00:50:37,200 --> 00:50:41,680
Speaker 1: with doctor Lisa Benson. Further complicating their personal history is

939
00:50:41,719 --> 00:50:45,320
Speaker 1: that doctor Benson used to be in love with Commander Jack.

940
00:50:45,640 --> 00:50:48,360
Speaker 1: Now she is in love with Commander Vince, and she

941
00:50:48,520 --> 00:50:50,960
Speaker 1: knows Jack is coming to the space station and this

942
00:50:51,040 --> 00:50:55,680
Speaker 1: has the potential to inflame old tensions. And it's funny

943
00:50:56,000 --> 00:50:59,120
Speaker 1: given the similarities of the first third of this movie

944
00:50:59,160 --> 00:51:03,080
Speaker 1: to the Michael Bay film Armageddon, because I also recall

945
00:51:03,200 --> 00:51:07,239
Speaker 1: critics making fun of those nineties asteroid thrillers like Armageddon,

946
00:51:07,280 --> 00:51:10,560
Speaker 1: and I think it was Deep Impact was the other one.

947
00:51:10,640 --> 00:51:13,160
Speaker 3: Yeah, yeah, that was another related film.

948
00:51:12,880 --> 00:51:14,680
Speaker 1: And there might have been some other ones too, But

949
00:51:14,719 --> 00:51:16,920
Speaker 1: these asteroid movies where the earth is in danger. I

950
00:51:17,000 --> 00:51:19,920
Speaker 1: recall a line of the day being like, it's funny

951
00:51:19,960 --> 00:51:22,759
Speaker 1: that these movies have a love triangle in them, and

952
00:51:22,760 --> 00:51:25,600
Speaker 1: we're supposed to be concerned about the love triangle when

953
00:51:25,600 --> 00:51:28,279
Speaker 1: the main plot is whether or not life on the

954
00:51:28,360 --> 00:51:29,600
Speaker 1: Earth will be destroyed.

955
00:51:30,480 --> 00:51:32,359
Speaker 3: You know, you got to you gotta keep it relatable, right,

956
00:51:32,600 --> 00:51:35,759
Speaker 3: I guess then, now, this is a fun fact about

957
00:51:35,800 --> 00:51:39,480
Speaker 3: this film. The US release is what ninety minutes long.

958
00:51:39,920 --> 00:51:43,960
Speaker 3: The Japanese cut was seventy seven minutes long, and amidst

959
00:51:43,960 --> 00:51:48,800
Speaker 3: the love triangle angle in favor of tighter procedural militaristic action.

960
00:51:49,520 --> 00:51:52,879
Speaker 3: So normally I'd say I'd be kind of on board

961
00:51:52,880 --> 00:51:56,279
Speaker 3: with that sort of thing. I don't think love triangles

962
00:51:56,320 --> 00:52:00,759
Speaker 3: and films are just intrinsically interesting. I think sometimes that,

963
00:52:00,800 --> 00:52:02,799
Speaker 3: you know, they can be, but oftentimes, like you're saying

964
00:52:02,800 --> 00:52:04,640
Speaker 3: they're just kind of thrown in there because like, hey,

965
00:52:04,680 --> 00:52:08,120
Speaker 3: people like this, right, this will get the fireworks going.

966
00:52:09,000 --> 00:52:12,040
Speaker 3: But in this case, again, I haven't seen the Japanese

967
00:52:12,080 --> 00:52:15,200
Speaker 3: cut in its entirety, but the US cut is already

968
00:52:15,200 --> 00:52:18,560
Speaker 3: a pretty lean movie as far as intercharacter relationships go.

969
00:52:18,960 --> 00:52:21,400
Speaker 3: So it feels like you'd be really cutting close to

970
00:52:21,440 --> 00:52:24,600
Speaker 3: the bone if you took out all of the love

971
00:52:24,640 --> 00:52:25,560
Speaker 3: triangle stuff here.

972
00:52:25,600 --> 00:52:28,280
Speaker 1: You know, you know, I ended up liking the love triangle.

973
00:52:28,320 --> 00:52:29,359
Speaker 1: I think it's part I it too.

974
00:52:29,440 --> 00:52:32,280
Speaker 3: Yeah, I thought it was, you know, it's ultimately doesn't

975
00:52:32,320 --> 00:52:35,839
Speaker 3: it feels it doesn't feel like this extra thing that

976
00:52:36,000 --> 00:52:38,840
Speaker 3: was put on for one audience and taken out for another.

977
00:52:38,880 --> 00:52:42,560
Speaker 3: It feels like intrinsically part of the plot and works.

978
00:52:43,080 --> 00:52:45,799
Speaker 3: So yeah, it's hard for being to imagine this film

979
00:52:45,840 --> 00:52:47,440
Speaker 3: without it, because I feel like you'd take a little

980
00:52:47,440 --> 00:52:48,640
Speaker 3: bit of it's heart out.

981
00:52:48,840 --> 00:52:51,239
Speaker 1: I agree. And speaking of heart, this scene gives some

982
00:52:51,280 --> 00:52:54,279
Speaker 1: more character background about the difference of the soul in

983
00:52:55,080 --> 00:52:58,439
Speaker 1: Vince's soul versus Jack soul. Vince says, you know, he's

984
00:52:58,520 --> 00:53:00,720
Speaker 1: sure that Jack will get the job done in spite

985
00:53:00,760 --> 00:53:05,280
Speaker 1: of anything, and doctor Benson says or any body. So okay,

986
00:53:05,320 --> 00:53:08,000
Speaker 1: we're starting to get the picture. They think of Commander

987
00:53:08,120 --> 00:53:13,000
Speaker 1: Jack as competent, dependable, but heartless, and I like how

988
00:53:13,040 --> 00:53:15,799
Speaker 1: at the end of this conversation, doctor Benson is like,

989
00:53:15,920 --> 00:53:18,840
Speaker 1: by the way, Vince Darling, you don't have the slightest

990
00:53:18,880 --> 00:53:21,240
Speaker 1: reason to be jealous of him. He doesn't mean anything

991
00:53:21,280 --> 00:53:24,239
Speaker 1: to me anymore, which is one of those reassuring statements

992
00:53:24,280 --> 00:53:28,120
Speaker 1: that achieves the opposite of its effect. But all right,

993
00:53:28,120 --> 00:53:30,759
Speaker 1: I guess we need to get into the asteroid sequence.

994
00:53:30,800 --> 00:53:35,120
Speaker 1: So Commander Jack arrives on the ship, he assembles the team.

995
00:53:35,200 --> 00:53:38,719
Speaker 1: Space Command has at the last minute added doctor Halverson

996
00:53:38,800 --> 00:53:42,279
Speaker 1: to the team. Who is doctor Halverson? I think he's

997
00:53:42,320 --> 00:53:44,279
Speaker 1: the Do they even say what his job is? He's

998
00:53:44,320 --> 00:53:45,280
Speaker 1: there to do science.

999
00:53:46,000 --> 00:53:49,120
Speaker 3: Yeah, he's just the He represents science on this mission.

1000
00:53:49,120 --> 00:53:50,680
Speaker 3: It's his job to be like, hey, can I get

1001
00:53:50,719 --> 00:53:53,080
Speaker 3: a sample of that? Oh wait, hold on one second,

1002
00:53:53,080 --> 00:53:55,640
Speaker 3: we'll get a sample of that as well. Hold up,

1003
00:53:55,680 --> 00:53:56,920
Speaker 3: I'm coming through with my samples.

1004
00:53:57,320 --> 00:54:00,120
Speaker 1: That's right. So they fly to the asteroid and the

1005
00:54:00,520 --> 00:54:04,880
Speaker 1: Space Marines start planting bombs. They're like driving around looking

1006
00:54:04,880 --> 00:54:08,840
Speaker 1: for places to plant the bombs, and they're driving dune

1007
00:54:08,880 --> 00:54:13,040
Speaker 1: buggies through like red puddles of mud around all these rocks.

1008
00:54:13,040 --> 00:54:15,680
Speaker 1: And again, speaking of great models and sets, I just

1009
00:54:15,800 --> 00:54:17,200
Speaker 1: love this whole sequence.

1010
00:54:17,480 --> 00:54:21,080
Speaker 3: It's great. This is one of those. There are several sequences,

1011
00:54:21,200 --> 00:54:23,799
Speaker 3: especially the ones with various carts in them, which I

1012
00:54:23,880 --> 00:54:27,759
Speaker 3: feel like lesser films would might have felt very meandering,

1013
00:54:27,880 --> 00:54:31,920
Speaker 3: but this film feels very intentional. Like you get the

1014
00:54:32,040 --> 00:54:35,360
Speaker 3: I said procedural earlier, because you do get the feeling

1015
00:54:35,520 --> 00:54:38,160
Speaker 3: in any given sequence where bunches of people were doing

1016
00:54:38,200 --> 00:54:40,920
Speaker 3: stuff that there's a plan, there is a protocol, and

1017
00:54:40,960 --> 00:54:42,960
Speaker 3: that plan and protocol are being followed.

1018
00:54:43,280 --> 00:54:46,919
Speaker 1: That's right, except there are little moments that I see

1019
00:54:46,920 --> 00:54:48,640
Speaker 1: exactly what you're saying, and I agree with it, But

1020
00:54:48,680 --> 00:54:51,480
Speaker 1: there are moments that kind of undercut that, like when

1021
00:54:51,520 --> 00:54:53,359
Speaker 1: they get to the place where they're gonna put one

1022
00:54:53,360 --> 00:54:55,319
Speaker 1: of the bombs down, and I think Commander Jack is

1023
00:54:55,320 --> 00:54:57,280
Speaker 1: the one who says this place looks good as any

1024
00:54:58,160 --> 00:55:00,320
Speaker 1: Like why'd you drive all the way over here?

1025
00:55:02,239 --> 00:55:03,319
Speaker 3: Yeah?

1026
00:55:03,360 --> 00:55:06,840
Speaker 1: But okay, so doctor Halverson's team has just taking samples

1027
00:55:06,880 --> 00:55:09,280
Speaker 1: that they are like doing readings and samples and stuff

1028
00:55:09,280 --> 00:55:11,120
Speaker 1: while the other guys are trying to save the world,

1029
00:55:11,200 --> 00:55:15,080
Speaker 1: and while they're doing that, they start noticing that, oh,

1030
00:55:15,120 --> 00:55:18,040
Speaker 1: the surface of this asteroid is not only rocks and

1031
00:55:18,160 --> 00:55:22,400
Speaker 1: red dust and big puddles of mud, you know, pink ponds,

1032
00:55:22,440 --> 00:55:28,880
Speaker 1: there are also pulsating piles of green jello. And the

1033
00:55:28,920 --> 00:55:32,960
Speaker 1: green jello actually starts creating problems, like it forms a

1034
00:55:33,040 --> 00:55:36,200
Speaker 1: crust over their buggy tires and ends up disabling some

1035
00:55:36,320 --> 00:55:39,880
Speaker 1: equipment while they're trying to place the bombs. And meanwhile,

1036
00:55:39,920 --> 00:55:42,840
Speaker 1: the time to detonation keeps getting moved up, like the

1037
00:55:43,120 --> 00:55:45,480
Speaker 1: Space Command is calling in and saying, actually, you've got

1038
00:55:45,520 --> 00:55:48,120
Speaker 1: to detonate sooner, and Commander Jack's like, we won't be

1039
00:55:48,160 --> 00:55:50,359
Speaker 1: able to get out in time, and they're like, well,

1040
00:55:50,400 --> 00:55:53,239
Speaker 1: you got to do it. But they still make time

1041
00:55:53,280 --> 00:55:57,120
Speaker 1: for an argument about whether doctor Halverson can bring samples

1042
00:55:57,160 --> 00:55:59,719
Speaker 1: of the green slime he has collected along with them

1043
00:55:59,760 --> 00:56:01,919
Speaker 1: when they go back to the ship, and this leads

1044
00:56:01,920 --> 00:56:05,160
Speaker 1: to conflict. It's Commander Jack versus Halverson. And I think

1045
00:56:05,200 --> 00:56:08,319
Speaker 1: he just like grabs his glass vial and smashes it

1046
00:56:08,360 --> 00:56:09,279
Speaker 1: on the ground, didn't he.

1047
00:56:09,880 --> 00:56:13,720
Speaker 3: Yeah, inn't this when some get splattered onto somebody's pants as.

1048
00:56:13,560 --> 00:56:16,560
Speaker 1: Well, that's right, And that's how we get a little rider,

1049
00:56:16,600 --> 00:56:21,520
Speaker 1: we get a little stowaway biocontamination. There is another conflict

1050
00:56:21,640 --> 00:56:25,240
Speaker 1: that derises here, which is Commander Jack versus Commander Vince.

1051
00:56:25,719 --> 00:56:28,719
Speaker 1: The conflict is about whether they should leave people behind

1052
00:56:28,880 --> 00:56:31,600
Speaker 1: in order to take off in time. Jack says, we

1053
00:56:31,680 --> 00:56:34,040
Speaker 1: gotta go to you know, they're not back here in time.

1054
00:56:34,080 --> 00:56:36,120
Speaker 1: We got to leave them, and Vince says, no, we

1055
00:56:36,160 --> 00:56:38,960
Speaker 1: got to wait for them. This will become a recurring theme.

1056
00:56:39,800 --> 00:56:41,839
Speaker 1: And so anyway, they get back on the ship and

1057
00:56:41,880 --> 00:56:44,160
Speaker 1: then they're gonna the bombs are going to detonate soon,

1058
00:56:44,200 --> 00:56:46,600
Speaker 1: and they're trying to fly away at top speed so

1059
00:56:46,680 --> 00:56:49,719
Speaker 1: that they can escape the blast radius. And there's a

1060
00:56:49,760 --> 00:56:52,080
Speaker 1: part where Commander Jack has to like he orders the

1061
00:56:52,080 --> 00:56:54,600
Speaker 1: pilot to go faster, and the pilot's like, she won't

1062
00:56:54,600 --> 00:56:57,680
Speaker 1: take it. She's gonna break apart, and Commander Jack just

1063
00:56:57,760 --> 00:57:00,080
Speaker 1: sort of like steps past him and you know, push

1064
00:57:00,120 --> 00:57:03,719
Speaker 1: is the lever into the top position, and it does work.

1065
00:57:03,760 --> 00:57:06,759
Speaker 1: They managed to escape the blast, but they are they're

1066
00:57:06,800 --> 00:57:08,920
Speaker 1: like they're kind of melting in the process.

1067
00:57:09,480 --> 00:57:11,719
Speaker 3: Yeah. Yeah, they're like thrown back in their seats and

1068
00:57:11,760 --> 00:57:15,080
Speaker 3: against the wall, just going like oh yeah, but they

1069
00:57:15,080 --> 00:57:17,760
Speaker 3: make they make it out. They may save the world.

1070
00:57:18,080 --> 00:57:20,520
Speaker 1: That's right, they blew up the asteroid, saved the world.

1071
00:57:20,520 --> 00:57:22,120
Speaker 1: They make it back to the space station where they

1072
00:57:22,160 --> 00:57:26,240
Speaker 1: get a hero's welcome. There is applause, there is cheering. Uh,

1073
00:57:26,280 --> 00:57:29,200
Speaker 1: And then they have to go through decontamination. So Commander

1074
00:57:29,280 --> 00:57:32,840
Speaker 1: Jack is like, we must go through decontamination three times.

1075
00:57:32,880 --> 00:57:36,360
Speaker 1: And now, surely if you go through decontamination three times,

1076
00:57:36,400 --> 00:57:39,360
Speaker 1: you could not miss anything. But wait, what is that

1077
00:57:39,400 --> 00:57:41,400
Speaker 1: we see on that one astronaut's leg?

1078
00:57:41,520 --> 00:57:41,880
Speaker 3: Uh? Oh?

1079
00:57:42,000 --> 00:57:45,439
Speaker 1: Is that a little green bit of jelly there? Also,

1080
00:57:45,560 --> 00:57:47,960
Speaker 1: after they do this, Commander Jack's just standing around with

1081
00:57:48,040 --> 00:57:50,600
Speaker 1: blood all over his arm. So they're like, a time

1082
00:57:50,600 --> 00:57:53,120
Speaker 1: to go see a doctor. And then he visits the

1083
00:57:53,120 --> 00:57:57,440
Speaker 1: medical clinic, which is the groovous looking medical clinic I've

1084
00:57:57,480 --> 00:58:00,440
Speaker 1: ever seen. There's one place in it with it's got

1085
00:58:00,440 --> 00:58:04,080
Speaker 1: designs on the walls, and there's a glass partition where

1086
00:58:04,280 --> 00:58:07,040
Speaker 1: doctor Benson comes in to treat his bloody arm, and

1087
00:58:07,040 --> 00:58:09,880
Speaker 1: I guess also give him a vaccine against love triangles.

1088
00:58:10,200 --> 00:58:14,400
Speaker 1: But the glass partition depicts I think talismans to repel

1089
00:58:14,480 --> 00:58:15,480
Speaker 1: the evil eye.

1090
00:58:16,200 --> 00:58:19,760
Speaker 3: Oh wow, I don't remember this particular detail, but in

1091
00:58:19,800 --> 00:58:23,320
Speaker 3: general I love the sets, the space station sets all

1092
00:58:23,320 --> 00:58:27,120
Speaker 3: look really good. I mean again, it would be unfair

1093
00:58:27,800 --> 00:58:29,760
Speaker 3: to compare them to the sets in two thousand and

1094
00:58:29,800 --> 00:58:33,880
Speaker 3: one A Space Odyssey, which are phenomenal, which that's a

1095
00:58:33,960 --> 00:58:38,000
Speaker 3: high standard that it's unfair to compare movies today to

1096
00:58:38,080 --> 00:58:41,160
Speaker 3: that standard. But I still think the space station sets

1097
00:58:41,160 --> 00:58:47,280
Speaker 3: look pretty darn good.

1098
00:58:51,320 --> 00:58:54,720
Speaker 1: And then there's a party. This actually was one of

1099
00:58:54,760 --> 00:58:57,080
Speaker 1: my favorite scenes. I'm not quite sure why we don't

1100
00:58:57,080 --> 00:58:59,800
Speaker 1: even have monsters yet, but I just enjoyed this party.

1101
00:58:59,840 --> 00:59:03,720
Speaker 1: So they break out the champagne, and I'm quite impressed.

1102
00:59:03,920 --> 00:59:09,880
Speaker 1: This space station has champagne glass, champagne coops, all tons

1103
00:59:09,880 --> 00:59:12,800
Speaker 1: of booze in stock, and ice buckets for the bottles.

1104
00:59:12,920 --> 00:59:13,360
Speaker 3: Wow.

1105
00:59:14,200 --> 00:59:17,240
Speaker 1: And so everybody's dancing. It's a swinging, far out dance

1106
00:59:17,280 --> 00:59:21,160
Speaker 1: party set to some kind of nothing as heavy as

1107
00:59:21,320 --> 00:59:25,040
Speaker 1: the groove of the main theme. It's more of a

1108
00:59:25,120 --> 00:59:30,520
Speaker 1: kind of Herb Alpert style horn music, and everybody's getting down.

1109
00:59:30,720 --> 00:59:34,280
Speaker 1: The men are all in space command uniforms and the

1110
00:59:34,320 --> 00:59:37,439
Speaker 1: women are all in hip sixties mini dresses. So that's

1111
00:59:37,480 --> 00:59:40,160
Speaker 1: an odd mix. And honestly, I was thinking it looks

1112
00:59:40,160 --> 00:59:42,840
Speaker 1: like one of the dance party scenes in Austin Powers,

1113
00:59:43,040 --> 00:59:45,520
Speaker 1: except all of the dudes at the pad work for

1114
00:59:45,600 --> 00:59:52,760
Speaker 1: Hugo Drax, the villain from Moonraker, Yeah, who has all

1115
00:59:52,760 --> 00:59:57,200
Speaker 1: the space uniforms. But also there's a lot of awkward dancing.

1116
00:59:57,240 --> 00:59:59,000
Speaker 1: Did you notice the same thing, Like some of these

1117
00:59:59,040 --> 01:00:02,480
Speaker 1: astronaut party go do not seem to have danced before.

1118
01:00:02,520 --> 01:00:05,200
Speaker 1: They dance like I did in middle school. Just never

1119
01:00:05,280 --> 01:00:06,840
Speaker 1: tried this before, gonna wing it?

1120
01:00:07,520 --> 01:00:10,520
Speaker 3: Well, you know that that reminds us of where most

1121
01:00:10,520 --> 01:00:14,240
Speaker 3: of these extras are coming from. They're just who was available. Yeah,

1122
01:00:14,240 --> 01:00:16,160
Speaker 3: and I guess it makes sense. Maybe they're not all

1123
01:00:16,200 --> 01:00:17,320
Speaker 3: of them were dancers.

1124
01:00:17,600 --> 01:00:21,480
Speaker 1: But one of the tables at this party, it is

1125
01:00:21,600 --> 01:00:24,680
Speaker 1: doctor Vince or not doctor Vince, sorry, doctor Benson, Commander

1126
01:00:24,720 --> 01:00:27,640
Speaker 1: Vince and Commander Jack. And they're all sitting around and

1127
01:00:27,960 --> 01:00:31,000
Speaker 1: Vince says to Jack, hey, Lisa and I were getting

1128
01:00:31,040 --> 01:00:34,760
Speaker 1: married next week. And Jack looks, you know, he kind

1129
01:00:34,760 --> 01:00:37,480
Speaker 1: of he works over this in his brain, and then

1130
01:00:37,480 --> 01:00:40,240
Speaker 1: he says, Lisa, I wish you every happiness, and then

1131
01:00:40,360 --> 01:00:43,200
Speaker 1: Lisa just looks at the floor and says nothing. So

1132
01:00:43,280 --> 01:00:46,120
Speaker 1: that's a good sign for Vince there, he's getting all

1133
01:00:46,160 --> 01:00:48,480
Speaker 1: of the signals are positive.

1134
01:00:50,240 --> 01:00:51,800
Speaker 3: Why are these three still hanging out?

1135
01:00:52,480 --> 01:00:56,000
Speaker 1: I don't know, but I also I've noticing in this

1136
01:00:56,080 --> 01:01:00,520
Speaker 1: scene the extremely shiny, brightly colored food that's sitting uneaten

1137
01:01:00,560 --> 01:01:02,640
Speaker 1: on the table in front of them. I always love

1138
01:01:02,720 --> 01:01:05,520
Speaker 1: to examine a spread of food in a movie set.

1139
01:01:05,840 --> 01:01:08,080
Speaker 1: So this looks like we've got an oiled up raw

1140
01:01:08,120 --> 01:01:11,680
Speaker 1: tomato unsliced something that looks like a piece of toast

1141
01:01:11,760 --> 01:01:14,040
Speaker 1: with like a cold pad of butter and a dollup

1142
01:01:14,040 --> 01:01:18,480
Speaker 1: of ketchup on it, and then everybody's favorite jumbo medallions

1143
01:01:18,520 --> 01:01:20,400
Speaker 1: of iceberg lettuce with brown sauce.

1144
01:01:20,720 --> 01:01:23,560
Speaker 3: Yeah, well, this is all grown on the station, one assumes,

1145
01:01:24,200 --> 01:01:28,000
Speaker 3: and it looks suitably kind of fake, like, you know,

1146
01:01:28,040 --> 01:01:31,600
Speaker 3: it was grown in like a dirt free environment, some

1147
01:01:31,640 --> 01:01:34,880
Speaker 3: sort of like zero G hydroponic situation going on. I guess.

1148
01:01:34,920 --> 01:01:37,800
Speaker 1: So, so Commander Jack, he wants one last dance with

1149
01:01:37,840 --> 01:01:42,800
Speaker 1: doctor Benson before she marries Vince, And meanwhile we see, well,

1150
01:01:42,840 --> 01:01:45,320
Speaker 1: so they go get up to dance. But meanwhile in

1151
01:01:45,360 --> 01:01:50,120
Speaker 1: the decontamination room, I guess the biosecurity officer is not

1152
01:01:50,680 --> 01:01:53,960
Speaker 1: getting to attend the celebration of a far outness because

1153
01:01:54,000 --> 01:01:57,000
Speaker 1: he is busy processing the EVA suits from the surface

1154
01:01:57,040 --> 01:02:00,480
Speaker 1: of the asteroid and the machine is whirring, and we

1155
01:02:00,520 --> 01:02:04,120
Speaker 1: see something beginning to happen. From underneath the folds of

1156
01:02:04,120 --> 01:02:07,840
Speaker 1: one of the spacesuits. There is a substance beginning to expand.

1157
01:02:08,160 --> 01:02:12,360
Speaker 1: It is a yellow green foam like detergent overflowing from

1158
01:02:12,400 --> 01:02:16,400
Speaker 1: a washing machine. And then it transforms from a foam

1159
01:02:16,880 --> 01:02:20,120
Speaker 1: into a sticky, solid mass that's kind of brown on

1160
01:02:20,200 --> 01:02:24,400
Speaker 1: the outside but throbbing green from within. And this might

1161
01:02:24,440 --> 01:02:25,880
Speaker 1: be gross, but I was trying to think of the

1162
01:02:25,880 --> 01:02:27,880
Speaker 1: best way to describe it, and here's what I came

1163
01:02:27,960 --> 01:02:30,960
Speaker 1: up with. It looks like if you got a chunk

1164
01:02:31,040 --> 01:02:34,960
Speaker 1: of really gelatinous homemade beef stock, like maybe a beef

1165
01:02:35,000 --> 01:02:37,960
Speaker 1: fu broth, and you chilled that to fridge temperature so

1166
01:02:38,000 --> 01:02:40,600
Speaker 1: it's a solid jelly instead of a liquid, and then

1167
01:02:40,640 --> 01:02:43,680
Speaker 1: you put a green light bulb inside it and set

1168
01:02:43,720 --> 01:02:46,120
Speaker 1: it a pulsing. That's what it looked like. And I

1169
01:02:46,160 --> 01:02:46,880
Speaker 1: love the effect.

1170
01:02:47,720 --> 01:02:49,560
Speaker 3: Well, you know, if that's exactly how they did it,

1171
01:02:49,560 --> 01:02:53,640
Speaker 3: it wouldn't be the grossest effect that filmmakers have made

1172
01:02:53,760 --> 01:02:56,560
Speaker 3: using like actual meat products and so forth.

1173
01:02:56,800 --> 01:02:58,720
Speaker 1: Oh yeah, where the face hugger guts like a bunch

1174
01:02:58,760 --> 01:02:59,840
Speaker 1: of raw oysters, And.

1175
01:03:00,600 --> 01:03:02,480
Speaker 3: I think so, I think that's a story, yeah, and

1176
01:03:02,760 --> 01:03:06,080
Speaker 3: there are various other productions where they've done something like that.

1177
01:03:06,400 --> 01:03:08,880
Speaker 1: Well, back at the dance party, Commander Jack and doctor

1178
01:03:08,880 --> 01:03:12,280
Speaker 1: Benson are dancing, and then we get more backstory about

1179
01:03:12,280 --> 01:03:15,840
Speaker 1: how drama emerged between all of them. Jack says that

1180
01:03:16,000 --> 01:03:19,920
Speaker 1: Vince is too nice to be a commanding officer, and

1181
01:03:20,040 --> 01:03:22,800
Speaker 1: we learned that a while back, Vince had to face

1182
01:03:22,840 --> 01:03:26,880
Speaker 1: a board of inquiry because Jack reported something he did wrong.

1183
01:03:27,000 --> 01:03:31,160
Speaker 1: Jack told on him when Vince violated regulations in order

1184
01:03:31,200 --> 01:03:34,600
Speaker 1: to save someone's life, and doctor Benson says, you would

1185
01:03:34,600 --> 01:03:37,400
Speaker 1: have done the same in his position, and Jack says, no,

1186
01:03:37,520 --> 01:03:41,600
Speaker 1: he would not have. Vince's supposedly compassionate act breaking the

1187
01:03:41,680 --> 01:03:44,479
Speaker 1: rules to save one life ended up getting ten other

1188
01:03:44,640 --> 01:03:48,400
Speaker 1: men killed. So it was a stupid, impulsive decision and

1189
01:03:48,440 --> 01:03:51,280
Speaker 1: it cost me in their lives. And then doctor Benson says,

1190
01:03:51,280 --> 01:03:53,800
Speaker 1: do you think that doesn't tear him up inside? He's

1191
01:03:53,880 --> 01:03:58,160
Speaker 1: distraught about it. But then Commander Jack, he gets kind

1192
01:03:58,160 --> 01:04:00,840
Speaker 1: of cold. He thinks doctor Benson is making a mistake.

1193
01:04:01,120 --> 01:04:03,960
Speaker 1: He says to her, you don't love Vince, you pity him,

1194
01:04:04,240 --> 01:04:08,160
Speaker 1: You love me, and whoa, that is a bold move,

1195
01:04:08,320 --> 01:04:09,480
Speaker 1: and Lisa gets very.

1196
01:04:09,360 --> 01:04:14,120
Speaker 3: Mad and leaves Commander Jack is just wired differently. Yeah,

1197
01:04:14,240 --> 01:04:17,000
Speaker 3: like I said, not not a I don't find it,

1198
01:04:17,120 --> 01:04:19,400
Speaker 3: never found him to be a very likable character, though

1199
01:04:19,400 --> 01:04:22,439
Speaker 3: at the same time a capable character that you're still

1200
01:04:22,480 --> 01:04:27,040
Speaker 3: absolutely rooting for against the well, the brewing alien menace.

1201
01:04:27,800 --> 01:04:29,640
Speaker 1: That's what I was saying earlier. He's kind of he's

1202
01:04:29,720 --> 01:04:31,880
Speaker 1: kind of complex in a in a way that is

1203
01:04:32,080 --> 01:04:36,520
Speaker 1: different for this sort of lawful good square military square.

1204
01:04:37,040 --> 01:04:39,280
Speaker 1: Absolutely or I don't know, should we say we've been

1205
01:04:39,280 --> 01:04:42,360
Speaker 1: saying lawful good. I guess he's lawful good, but maybe

1206
01:04:42,400 --> 01:04:46,800
Speaker 1: somewhere between lawful good and lawful neutral. He's definitely lawful,

1207
01:04:47,520 --> 01:04:51,240
Speaker 1: he's mostly good, though he I means, he's not nice

1208
01:04:51,320 --> 01:04:54,479
Speaker 1: at all, but he I don't know, it's it's he's

1209
01:04:54,680 --> 01:04:56,000
Speaker 1: kind of difficult to pin down.

1210
01:04:56,440 --> 01:04:57,760
Speaker 3: Yeah, I mean, he's a complex guy.

1211
01:05:00,080 --> 01:05:03,360
Speaker 1: Meanwhile, back at the decontamination chamber, we got a lab

1212
01:05:03,400 --> 01:05:06,200
Speaker 1: technician who sees something is going wrong in the room

1213
01:05:06,200 --> 01:05:09,160
Speaker 1: where the EVA suits are stored. He opens the door,

1214
01:05:09,400 --> 01:05:13,040
Speaker 1: there's a bright shock of light. He screams, and then

1215
01:05:13,280 --> 01:05:15,600
Speaker 1: Jack and Vince are called to the lab to find

1216
01:05:15,640 --> 01:05:19,120
Speaker 1: the technician's body still smoking on the floor. And the

1217
01:05:19,160 --> 01:05:23,200
Speaker 1: scientists say he was electrocuted, so this starts a frantic

1218
01:05:23,280 --> 01:05:26,520
Speaker 1: investigation sequence. Everybody starts running around trying to figure out

1219
01:05:26,560 --> 01:05:31,320
Speaker 1: what happened. And I think we've already alluded to the

1220
01:05:31,360 --> 01:05:35,640
Speaker 1: fact that this movie hits on some very different levels

1221
01:05:35,680 --> 01:05:38,560
Speaker 1: in terms of style and tone as far as monster

1222
01:05:38,640 --> 01:05:42,560
Speaker 1: movies go, because it has a reputation for having goofy,

1223
01:05:42,840 --> 01:05:48,120
Speaker 1: fun funny, campy monsters, which in some shots they absolutely are,

1224
01:05:48,200 --> 01:05:52,560
Speaker 1: and if you see still screenshots from the movie, yes

1225
01:05:52,720 --> 01:05:56,000
Speaker 1: they often do look rather funny, but there are also

1226
01:05:56,200 --> 01:06:01,320
Speaker 1: parts where they're pretty scary, especially for the time. And

1227
01:06:01,400 --> 01:06:03,800
Speaker 1: I think the sequence where an astronaut here goes like

1228
01:06:03,960 --> 01:06:08,160
Speaker 1: searching in a darkened utility shaft for the for whatever

1229
01:06:08,360 --> 01:06:10,720
Speaker 1: it is that did this to the guy in the lab,

1230
01:06:11,720 --> 01:06:14,360
Speaker 1: this is one that's actually a little bit scary. I

1231
01:06:14,360 --> 01:06:18,120
Speaker 1: think this scene's potential to be scary is somewhat undercut

1232
01:06:18,200 --> 01:06:21,760
Speaker 1: by whimsical sounding music. I think the score does not

1233
01:06:21,960 --> 01:06:25,440
Speaker 1: serve this sequence well, but I don't know what. I

1234
01:06:25,520 --> 01:06:28,040
Speaker 1: almost think it could have inspired Dallas in the Air Shaft.

1235
01:06:28,080 --> 01:06:30,720
Speaker 1: I'm not saying it did, but there are some similarities.

1236
01:06:31,880 --> 01:06:33,480
Speaker 3: Yeah, yeah, I mean it's a it's a it's a

1237
01:06:33,840 --> 01:06:36,880
Speaker 3: tight scene. There are some scenes where the rubber monsters

1238
01:06:36,880 --> 01:06:39,120
Speaker 3: are just kind of rampaging and you know it can

1239
01:06:39,160 --> 01:06:41,520
Speaker 3: look a little goof here, But other scenes the lighting

1240
01:06:41,640 --> 01:06:45,240
Speaker 3: is just right, the situation is just right where they

1241
01:06:45,520 --> 01:06:48,160
Speaker 3: do feel like a significant threat. I'll also say that

1242
01:06:48,280 --> 01:06:52,800
Speaker 3: in general, the monster design hides the human actor pretty well,

1243
01:06:52,960 --> 01:06:55,360
Speaker 3: you know inside, like it doesn't able to sort of

1244
01:06:55,360 --> 01:06:57,160
Speaker 3: cover up the fact that it's human shaped at the

1245
01:06:57,200 --> 01:07:02,880
Speaker 3: heart of the scenario. Also, they're weird sound effect and

1246
01:07:03,000 --> 01:07:07,480
Speaker 3: the way they're sort of rampaging around. They add to

1247
01:07:07,520 --> 01:07:09,640
Speaker 3: this feeling that, yeah, you're not dealing with something that

1248
01:07:09,760 --> 01:07:13,440
Speaker 3: is like we must destroy all humans. It's just life

1249
01:07:13,760 --> 01:07:16,640
Speaker 3: doing its thing. But it is a life form from

1250
01:07:16,800 --> 01:07:20,040
Speaker 3: a different environment that we were never meant to be

1251
01:07:20,120 --> 01:07:22,880
Speaker 3: exposed to. And that's where the threat comes in.

1252
01:07:23,240 --> 01:07:26,280
Speaker 1: Quote the seventy eight invasion of the Body Snatchers. We

1253
01:07:26,360 --> 01:07:29,200
Speaker 1: don't hate you, they don't hate us, they don't hate

1254
01:07:29,200 --> 01:07:32,240
Speaker 1: the astronauts in the space station. They're just going about

1255
01:07:32,240 --> 01:07:33,080
Speaker 1: their life cycle.

1256
01:07:33,880 --> 01:07:36,520
Speaker 3: Yeah, they have certain wants and needs and those are

1257
01:07:36,720 --> 01:07:39,880
Speaker 3: will learn our energy related and if anything gets in

1258
01:07:39,880 --> 01:07:42,400
Speaker 3: the way, well they're going to get the power tentacle.

1259
01:07:42,600 --> 01:07:45,120
Speaker 3: It's not personal, it's just business, that's right.

1260
01:07:47,000 --> 01:07:49,760
Speaker 1: But then there are more investigations and eventually they find

1261
01:07:49,840 --> 01:07:53,960
Speaker 1: some kind of writhing, screeching organism in the power plant.

1262
01:07:54,120 --> 01:07:57,360
Speaker 1: It's on like a catwalk around one of the power

1263
01:07:57,400 --> 01:07:59,880
Speaker 1: generation I don't know exactly what. It's supposed to be,

1264
01:08:00,040 --> 01:08:04,680
Speaker 1: reactor or something, and it's this creature lying there. It

1265
01:08:04,720 --> 01:08:08,080
Speaker 1: has these electric tentacles and they're all gathering around it

1266
01:08:08,120 --> 01:08:10,600
Speaker 1: trying to figure out what to do about it. And

1267
01:08:10,680 --> 01:08:13,640
Speaker 1: this is when doctor Halverson shows up again to say,

1268
01:08:13,680 --> 01:08:17,160
Speaker 1: don't kill it, capture it. It's a priceless discovery. And

1269
01:08:17,240 --> 01:08:21,080
Speaker 1: Commander Jack disagrees. He's like, we must kill and Vince

1270
01:08:21,200 --> 01:08:24,000
Speaker 1: sides with Halverson, and of course he's still the commander

1271
01:08:24,040 --> 01:08:26,360
Speaker 1: of the space station. If he was, he wasn't of

1272
01:08:26,400 --> 01:08:29,080
Speaker 1: the asteroid mission. But he's still the boss of this facility.

1273
01:08:29,400 --> 01:08:32,680
Speaker 1: So they go with his plan, the capture plan, and

1274
01:08:32,760 --> 01:08:35,120
Speaker 1: they try to paralyze it with gas and shoot it

1275
01:08:35,160 --> 01:08:38,200
Speaker 1: with net guns, but this does not work. It starts

1276
01:08:39,160 --> 01:08:44,160
Speaker 1: unleashing its writhing, wiggling power cable arms that electrocute whatever

1277
01:08:44,200 --> 01:08:49,519
Speaker 1: it touches. It's all going wrong, yeah, and it becomes

1278
01:08:49,560 --> 01:08:50,000
Speaker 1: a mess.

1279
01:08:50,640 --> 01:08:53,240
Speaker 3: Oh, and there are some moments of like shocking violence.

1280
01:08:53,280 --> 01:08:55,040
Speaker 3: I think this is one where one of the tentacles

1281
01:08:55,240 --> 01:08:58,840
Speaker 3: hit somebody shocks him. They fall off off of one

1282
01:08:58,880 --> 01:09:01,240
Speaker 3: of the catwalks and you see like their face splat

1283
01:09:01,320 --> 01:09:04,560
Speaker 3: red blood when they hit the bottom. So, like, this

1284
01:09:04,880 --> 01:09:07,719
Speaker 3: film hits a lot harder than you might expect, especially

1285
01:09:07,720 --> 01:09:09,000
Speaker 3: given it as like a g rating.

1286
01:09:09,280 --> 01:09:09,880
Speaker 1: Oh does it.

1287
01:09:10,160 --> 01:09:12,720
Speaker 3: Let's think it technically is g rated. Yeah. I could

1288
01:09:12,720 --> 01:09:15,400
Speaker 3: be wrong in that though, but yeah, it's not one

1289
01:09:15,439 --> 01:09:17,080
Speaker 3: that has a reputation for its violence.

1290
01:09:17,720 --> 01:09:21,120
Speaker 1: Maybe we should stop and describe what the monsters look

1291
01:09:21,320 --> 01:09:22,040
Speaker 1: like exactly.

1292
01:09:22,640 --> 01:09:27,160
Speaker 3: Yeah, so they're obviously very situated in the tokusatsu and

1293
01:09:27,240 --> 01:09:30,439
Speaker 3: kaiju tradition. You know, these are big rubber suits and

1294
01:09:31,280 --> 01:09:33,320
Speaker 3: or foam. I'm not sure exactly what the material is,

1295
01:09:33,360 --> 01:09:34,719
Speaker 3: but you know, we think of them as the rubber

1296
01:09:34,760 --> 01:09:38,759
Speaker 3: monster suit. And while they sometimes benefit from low creepy lighting,

1297
01:09:38,760 --> 01:09:42,439
Speaker 3: they also get to rampage down well that hallways the

1298
01:09:42,520 --> 01:09:45,200
Speaker 3: basic form of the monster costume. Again, there's a human

1299
01:09:45,240 --> 01:09:47,360
Speaker 3: at the center, but it ends up taking on You

1300
01:09:47,400 --> 01:09:49,080
Speaker 3: don't really get a sense of the legs so much.

1301
01:09:49,080 --> 01:09:51,760
Speaker 3: You get the waving tentacles. It's kind of got a

1302
01:09:51,800 --> 01:09:54,840
Speaker 3: big central head with that big eyeball that kind of

1303
01:09:54,880 --> 01:09:58,360
Speaker 3: like red glowy eyeball, and I feel like it is

1304
01:09:58,400 --> 01:10:01,559
Speaker 3: ultimately a monster design. It's easy to lampoon it in

1305
01:10:01,840 --> 01:10:05,439
Speaker 3: stills and out of context does shots. But yeah, they

1306
01:10:05,520 --> 01:10:10,120
Speaker 3: often oftentimes they do feel significantly lethal. And then also

1307
01:10:10,280 --> 01:10:13,200
Speaker 3: they tend to look good as a in mass, you know,

1308
01:10:13,200 --> 01:10:15,360
Speaker 3: they look good as a pod. You often see like

1309
01:10:15,520 --> 01:10:17,600
Speaker 3: I don't know how many we see at once in

1310
01:10:17,640 --> 01:10:20,800
Speaker 3: a single shot, but I know we'll frequently see like

1311
01:10:20,840 --> 01:10:22,840
Speaker 3: at least five of them at once, and I feel

1312
01:10:22,840 --> 01:10:25,000
Speaker 3: like some of the sequences have even more running around.

1313
01:10:25,600 --> 01:10:29,559
Speaker 1: But the essential form is sort of like a human

1314
01:10:29,800 --> 01:10:34,240
Speaker 1: sized maybe sort of a mushroom shape but green and

1315
01:10:34,280 --> 01:10:37,960
Speaker 1: more like a plant, with some bulbs all over the top,

1316
01:10:38,040 --> 01:10:43,160
Speaker 1: and then one big central eye that's horizontally elongated, and

1317
01:10:43,200 --> 01:10:47,639
Speaker 1: then wiggling tentacles for arms, basically where a human's arms

1318
01:10:47,640 --> 01:10:49,800
Speaker 1: would be sort of at the top and on the

1319
01:10:49,800 --> 01:10:53,439
Speaker 1: two sides. Those arms have little shock tips at the

1320
01:10:53,600 --> 01:10:56,519
Speaker 1: end that are kind of red and can emit sparks

1321
01:10:56,520 --> 01:11:01,120
Speaker 1: and electricity, and then they've got like leaves. Plant is

1322
01:11:01,280 --> 01:11:03,960
Speaker 1: essentially plant branches hanging out of their armpits.

1323
01:11:04,960 --> 01:11:08,760
Speaker 3: Yes, yeah, so. I guess one of the obvious things

1324
01:11:08,760 --> 01:11:11,599
Speaker 3: that stayed here though, is they do not look slimy

1325
01:11:11,920 --> 01:11:14,400
Speaker 3: per se. They do not look like slime monsters. So

1326
01:11:14,400 --> 01:11:17,719
Speaker 3: if you come into the Green Slime expecting a green blob,

1327
01:11:18,760 --> 01:11:22,000
Speaker 3: you're going to be disappointed. And I wonder if that

1328
01:11:22,080 --> 01:11:23,680
Speaker 3: might have had an impact as well. I don't think

1329
01:11:23,680 --> 01:11:26,040
Speaker 3: the film is called Green Slime, and the Japanese release

1330
01:11:26,080 --> 01:11:26,920
Speaker 3: it as another title.

1331
01:11:28,000 --> 01:11:31,360
Speaker 1: The green Slime creates these monsters, it is not.

1332
01:11:31,560 --> 01:11:34,479
Speaker 3: Them born of the green slime. Yeah.

1333
01:11:34,680 --> 01:11:36,479
Speaker 1: So again, in this scene of the power plant, the

1334
01:11:36,520 --> 01:11:39,880
Speaker 1: green Slime monster, it resists capture. It starts going nuts,

1335
01:11:40,400 --> 01:11:44,240
Speaker 1: whipping its arms everywhere. It kills some people, It injures

1336
01:11:44,240 --> 01:11:46,559
Speaker 1: some others. It injures Vince, who gets like wounded in

1337
01:11:46,600 --> 01:11:49,840
Speaker 1: the shoulder. Jack ends up shooting it with a laser gun,

1338
01:11:49,960 --> 01:11:52,679
Speaker 1: which doesn't kill it but drives it off I think,

1339
01:11:52,760 --> 01:11:56,120
Speaker 1: down some kind of pit, and then Jack says, Okay, Vince,

1340
01:11:56,160 --> 01:12:00,679
Speaker 1: you've made too many mistakes. I'm in charge now, power

1341
01:12:00,720 --> 01:12:05,599
Speaker 1: Struggle and let's see. Oh there's a part later where

1342
01:12:05,720 --> 01:12:08,320
Speaker 1: doctor Benson is like, this is the first time anything

1343
01:12:08,360 --> 01:12:10,720
Speaker 1: living has been found in space. Do you understand how

1344
01:12:10,760 --> 01:12:13,439
Speaker 1: important that is. And Jack says, tell that to the

1345
01:12:13,479 --> 01:12:16,000
Speaker 1: wives of the men in the morgue. So Jack is

1346
01:12:16,040 --> 01:12:19,120
Speaker 1: not very interested in scientific discovery. He's just like, you know,

1347
01:12:19,160 --> 01:12:20,760
Speaker 1: how we're gonna how am how am I going to

1348
01:12:21,040 --> 01:12:25,360
Speaker 1: keep my team alive? But when Jack shot it earlier

1349
01:12:25,400 --> 01:12:28,479
Speaker 1: with the laser weapon, it drops some green blood on

1350
01:12:28,560 --> 01:12:32,040
Speaker 1: the ground, some goo, and doctor Halverson collected a sample

1351
01:12:32,080 --> 01:12:34,680
Speaker 1: of that goo, and he has been doing some analysis,

1352
01:12:34,680 --> 01:12:37,519
Speaker 1: so he calls them to his lab to report. He says,

1353
01:12:37,560 --> 01:12:40,720
Speaker 1: the cells of this creature duplicate faster than anything known

1354
01:12:40,760 --> 01:12:43,920
Speaker 1: to man. He says, in fact, their growth rate is incredible.

1355
01:12:44,000 --> 01:12:47,280
Speaker 1: It's frightening. And he demonstrates by like running some current

1356
01:12:47,400 --> 01:12:49,479
Speaker 1: through the blood, I think, and that makes it just

1357
01:12:49,520 --> 01:12:53,200
Speaker 1: sort of like bubble and foam and overflow and duplicate.

1358
01:12:53,720 --> 01:12:57,360
Speaker 1: M So, he says, the animal feeds on energy and

1359
01:12:57,479 --> 01:13:00,680
Speaker 1: discharges energy, and as they try to destroy it in

1360
01:13:00,720 --> 01:13:03,280
Speaker 1: the and apparently what happened is as they tried to

1361
01:13:03,360 --> 01:13:06,840
Speaker 1: destroy it in the decontamination chamber, the energy they used

1362
01:13:06,840 --> 01:13:09,679
Speaker 1: to cook it actually fed it and made it larger,

1363
01:13:10,080 --> 01:13:13,080
Speaker 1: and then it could discharge that energy as electricity with

1364
01:13:13,120 --> 01:13:16,599
Speaker 1: its tentacle. Arms, so it grew larger by feeding off

1365
01:13:16,640 --> 01:13:18,640
Speaker 1: of energy and then eventually by feeding off of the

1366
01:13:18,680 --> 01:13:22,599
Speaker 1: power plant. So you shouldn't use energy weapons to attack

1367
01:13:22,680 --> 01:13:26,080
Speaker 1: it because you can wound it with them, but ultimately

1368
01:13:26,479 --> 01:13:29,320
Speaker 1: those will just make it grow larger and more powerful.

1369
01:13:31,120 --> 01:13:34,559
Speaker 1: Here begins several attacks. There is an attack on doctor

1370
01:13:34,600 --> 01:13:37,599
Speaker 1: Benson's med bay. She's treating patients there from the first

1371
01:13:37,640 --> 01:13:40,680
Speaker 1: big scuffle with the monster, and then one of the

1372
01:13:40,680 --> 01:13:43,800
Speaker 1: monsters runs into the clinic and starts freaking out, and

1373
01:13:43,840 --> 01:13:46,920
Speaker 1: so the doctors are wheeling bandage patients out while the

1374
01:13:46,960 --> 01:13:50,320
Speaker 1: alien attacks. I did notice in the scene there were

1375
01:13:50,320 --> 01:13:52,479
Speaker 1: some more funny doors on the set, like you can

1376
01:13:52,520 --> 01:13:55,439
Speaker 1: see the two planks kind of wobbling as they slam shut.

1377
01:13:57,320 --> 01:13:59,960
Speaker 1: And they can't kill the monster, but they do manage

1378
01:14:00,160 --> 01:14:02,920
Speaker 1: to seal it inside the clinic for the moment, and

1379
01:14:02,960 --> 01:14:05,040
Speaker 1: then they discover something else about it, which is that

1380
01:14:05,160 --> 01:14:08,799
Speaker 1: when it bleeds, its blood becomes a seed that spawns

1381
01:14:08,920 --> 01:14:12,120
Speaker 1: whole new monsters. So it's blood doesn't just like grow more,

1382
01:14:12,800 --> 01:14:15,760
Speaker 1: its blood actually becomes one of the new creatures.

1383
01:14:16,960 --> 01:14:19,320
Speaker 3: So it has this kind of hydra like quality to it.

1384
01:14:19,920 --> 01:14:22,600
Speaker 1: That's right, And when you shoot it, it so you

1385
01:14:22,640 --> 01:14:25,200
Speaker 1: can shoot it. The blood comes out, that becomes new monsters.

1386
01:14:25,280 --> 01:14:27,400
Speaker 1: That does wound it, but then it can heal itself,

1387
01:14:27,479 --> 01:14:31,880
Speaker 1: essentially by using its tentacle arms to weld its wounds shut.

1388
01:14:33,080 --> 01:14:36,920
Speaker 1: So then Space Command imposes a quarantine. They're like, nothing

1389
01:14:37,000 --> 01:14:39,360
Speaker 1: is leaving this station. If one drop of that blood

1390
01:14:39,400 --> 01:14:42,160
Speaker 1: reaches Earth, it could spell disasters. So y'all are stuck

1391
01:14:42,160 --> 01:14:45,080
Speaker 1: there for now. So Vince and Jack form a plan.

1392
01:14:45,160 --> 01:14:46,960
Speaker 1: And this is one of those I think things you

1393
01:14:46,960 --> 01:14:49,280
Speaker 1: were referring to when you say the movie is very procedural.

1394
01:14:49,320 --> 01:14:51,479
Speaker 1: It's like they form a plan and they enact that

1395
01:14:51,560 --> 01:14:54,479
Speaker 1: plan to try to trap the monsters.

1396
01:14:54,479 --> 01:14:55,680
Speaker 3: They want to use a.

1397
01:14:55,760 --> 01:14:58,960
Speaker 1: Generator in a storage room as bait energy bait, and

1398
01:14:59,000 --> 01:15:01,000
Speaker 1: they're going to turn off all the lights and power

1399
01:15:01,040 --> 01:15:03,160
Speaker 1: and the rest of the station and then use like

1400
01:15:03,240 --> 01:15:06,519
Speaker 1: big flashlights and spotlights to attract the monster to the

1401
01:15:06,560 --> 01:15:08,040
Speaker 1: storage room and trap it there.

1402
01:15:08,640 --> 01:15:10,320
Speaker 3: It's a pretty good plan. I know, you love a

1403
01:15:10,320 --> 01:15:12,840
Speaker 3: good monster plan, especially a good monster trap plan.

1404
01:15:13,240 --> 01:15:15,599
Speaker 1: I do love that. And I liked this sequence. Yeah,

1405
01:15:15,880 --> 01:15:21,360
Speaker 1: this is fun. And again it you know, it's it's

1406
01:15:21,360 --> 01:15:24,280
Speaker 1: sort of balanced on the edge. It waffles between campy

1407
01:15:24,400 --> 01:15:28,120
Speaker 1: and funny and then surprisingly hard edged sometimes from moment

1408
01:15:28,160 --> 01:15:31,000
Speaker 1: to moment, but a lot of the sequence does kind

1409
01:15:31,040 --> 01:15:35,639
Speaker 1: of work. It's not just silly fun like, it works

1410
01:15:35,680 --> 01:15:39,080
Speaker 1: pretty good as a creature thriller, agreed, So they set

1411
01:15:39,120 --> 01:15:41,320
Speaker 1: this up. The lead up to the sequence is kind

1412
01:15:41,320 --> 01:15:43,880
Speaker 1: of tense, and then the monster has come creeping down

1413
01:15:43,920 --> 01:15:47,960
Speaker 1: the hall. They're quacking out their weird screeches, and the

1414
01:15:48,000 --> 01:15:50,760
Speaker 1: plan is working at first, but then oh, they sort

1415
01:15:50,800 --> 01:15:52,400
Speaker 1: of go the wrong way, I think, and end up

1416
01:15:52,439 --> 01:15:54,800
Speaker 1: creeping into the room with all the hospital patients who

1417
01:15:54,800 --> 01:15:57,320
Speaker 1: have been driven out of the clinic, and so they

1418
01:15:57,320 --> 01:15:59,479
Speaker 1: have to lure them back out of there, which Jack

1419
01:15:59,560 --> 01:16:03,960
Speaker 1: does very heroically, self sacrificially with a flashlight, and then

1420
01:16:04,000 --> 01:16:06,320
Speaker 1: they get the monsters back on track with this array

1421
01:16:06,360 --> 01:16:08,760
Speaker 1: of spotlights that are mounted on a cart and they're

1422
01:16:08,840 --> 01:16:11,559
Speaker 1: like moving it down the hallways to attract them to

1423
01:16:11,640 --> 01:16:15,280
Speaker 1: the trap. There's a bunch of monster chase action here,

1424
01:16:15,320 --> 01:16:19,519
Speaker 1: but eventually they managed to isolate the monsters behind one

1425
01:16:19,520 --> 01:16:23,720
Speaker 1: of the airlocked doors. But there's a problem. Doctor Halverson

1426
01:16:23,800 --> 01:16:27,320
Speaker 1: has become trapped with the monsters in there, and are

1427
01:16:27,320 --> 01:16:29,759
Speaker 1: they going to open the doors to rescue him. Jack

1428
01:16:29,880 --> 01:16:33,200
Speaker 1: says no, going back for him would put everyone at risk.

1429
01:16:33,600 --> 01:16:36,559
Speaker 1: Vince says yes, and they have a standoff where Jack

1430
01:16:36,640 --> 01:16:39,320
Speaker 1: aims a gun at Vince. He's like, better not do it.

1431
01:16:39,680 --> 01:16:43,040
Speaker 1: Vince says, your move, and he opens the door, only

1432
01:16:43,120 --> 01:16:46,120
Speaker 1: to find Halverson already burned to a crisp. And then

1433
01:16:46,160 --> 01:16:47,960
Speaker 1: the monsters do get back through.

1434
01:16:48,640 --> 01:16:50,840
Speaker 3: This is a pretty scary scene too, by the way,

1435
01:16:50,920 --> 01:16:52,599
Speaker 3: like it's a nice sort of jump scare.

1436
01:16:52,880 --> 01:16:56,320
Speaker 1: So here's one where Vince was just wrong. He should

1437
01:16:56,320 --> 01:16:58,360
Speaker 1: have listened to Jack. Jack might not have a heart,

1438
01:16:58,400 --> 01:17:01,240
Speaker 1: but he was right, and now the the threat is revived.

1439
01:17:01,760 --> 01:17:04,000
Speaker 1: Now they end up, I think, trying to close another

1440
01:17:04,120 --> 01:17:06,880
Speaker 1: door to lock them behind, but the monsters are freaking

1441
01:17:06,880 --> 01:17:09,719
Speaker 1: out and wiggling their arms all over the mounted lights

1442
01:17:09,720 --> 01:17:13,240
Speaker 1: on a cart, and they end up wiggling their electric

1443
01:17:13,360 --> 01:17:16,559
Speaker 1: arms over some explosives, and then that's not good at all.

1444
01:17:16,680 --> 01:17:19,280
Speaker 1: There's a big explosion. Part of the space station is

1445
01:17:19,320 --> 01:17:23,200
Speaker 1: destroyed and monsters get vented out into space. I think

1446
01:17:23,240 --> 01:17:27,080
Speaker 1: some are burned and killed in this explosion. Others end

1447
01:17:27,160 --> 01:17:29,519
Speaker 1: up on the outside of the ship, and then the

1448
01:17:29,640 --> 01:17:32,599
Speaker 1: light from the sun is healing them and making them grow.

1449
01:17:32,760 --> 01:17:35,240
Speaker 3: I have to admit when The explosion happened with the

1450
01:17:35,640 --> 01:17:37,759
Speaker 3: end of the model. The exterior shot of the model

1451
01:17:38,040 --> 01:17:43,240
Speaker 3: partially exploding. The explosion was so big. For like a long,

1452
01:17:43,360 --> 01:17:46,479
Speaker 3: pregnant second there, I thought the whole station had blown up,

1453
01:17:46,520 --> 01:17:50,080
Speaker 3: and I was like, whoa, this is an abrupt ending

1454
01:17:50,320 --> 01:17:51,400
Speaker 3: to that is a movie.

1455
01:17:51,520 --> 01:17:52,600
Speaker 1: That is what it looks like.

1456
01:17:52,720 --> 01:17:54,800
Speaker 3: Yeah, but it is just part of it, or most,

1457
01:17:54,920 --> 01:17:57,280
Speaker 3: just most of the ship blew out. The rest is fine.

1458
01:17:57,600 --> 01:17:59,840
Speaker 1: That would be a great ending. Actually, if the end

1459
01:18:00,280 --> 01:18:02,320
Speaker 1: just the general and all those people. We couldn't tell

1460
01:18:02,360 --> 01:18:05,280
Speaker 1: a part earlier talking about how Vince should have listened

1461
01:18:05,320 --> 01:18:08,080
Speaker 1: to Jack and he went back to save the scientists.

1462
01:18:08,080 --> 01:18:10,679
Speaker 1: That just got them all killed. All our characters are dead.

1463
01:18:11,160 --> 01:18:13,960
Speaker 3: Turns out it was just a workplace safety video for

1464
01:18:14,200 --> 01:18:14,920
Speaker 3: space marines.

1465
01:18:15,400 --> 01:18:15,639
Speaker 4: Right.

1466
01:18:16,240 --> 01:18:20,400
Speaker 1: So there's another conflict. Jack wants to evacuate the survivors

1467
01:18:20,400 --> 01:18:23,280
Speaker 1: and then have the station completely destroyed so that the

1468
01:18:23,320 --> 01:18:26,960
Speaker 1: monsters will be eliminated. Vince disagrees, he does not want

1469
01:18:26,960 --> 01:18:30,920
Speaker 1: the station destroyed. There's another struggle for power. They start

1470
01:18:30,960 --> 01:18:34,559
Speaker 1: punching each other. I don't even remember how this moment ends.

1471
01:18:34,600 --> 01:18:36,960
Speaker 1: I think Jack sort of gets the upper hand in

1472
01:18:37,000 --> 01:18:37,360
Speaker 1: the end.

1473
01:18:37,600 --> 01:18:40,360
Speaker 3: I think so yeah, yeah, because again Jack is always

1474
01:18:40,360 --> 01:18:42,519
Speaker 3: ready for people to try and punch him for all

1475
01:18:42,560 --> 01:18:44,120
Speaker 3: of his truth talking.

1476
01:18:44,439 --> 01:18:48,000
Speaker 1: Then, as they are preparing for evacuation, Vince gets really

1477
01:18:48,040 --> 01:18:50,760
Speaker 1: bitter like doctor Benson comes to talk to him. She's

1478
01:18:50,800 --> 01:18:52,960
Speaker 1: getting her patients ready to get out of there. She

1479
01:18:53,000 --> 01:18:56,759
Speaker 1: tells him to evacuate as well, and he tells doctor Benson,

1480
01:18:56,800 --> 01:18:58,960
Speaker 1: I'm tired of people telling me what to do. Go

1481
01:18:59,080 --> 01:19:01,720
Speaker 1: back to your voice. I know it's never been over

1482
01:19:01,800 --> 01:19:06,719
Speaker 1: between you two hikes. Yeah, that's rough. And then Vince

1483
01:19:06,800 --> 01:19:09,720
Speaker 1: leads a team of Spacewalker commandos to go out of

1484
01:19:09,760 --> 01:19:13,040
Speaker 1: the airlock in suits and blast the slime creatures on

1485
01:19:13,120 --> 01:19:16,599
Speaker 1: the outside of the station's hull. And there's one scene

1486
01:19:16,600 --> 01:19:19,280
Speaker 1: where we get a classic movie moment where he's like

1487
01:19:19,320 --> 01:19:21,400
Speaker 1: shooting his laser gun and I guess he runs out

1488
01:19:21,400 --> 01:19:25,439
Speaker 1: of laser rounds. I don't know, his battery dies or something,

1489
01:19:25,640 --> 01:19:29,160
Speaker 1: and he throws the ray gun at the aliens through space.

1490
01:19:30,800 --> 01:19:33,600
Speaker 3: There's some good gun throwing in this movie. There is

1491
01:19:33,720 --> 01:19:36,640
Speaker 3: I think another sequence where someone throws a gun this

1492
01:19:36,800 --> 01:19:39,360
Speaker 3: or is this scene where the gun doesn't just bounce

1493
01:19:39,360 --> 01:19:41,800
Speaker 3: off the monster's head but in beds in the monster's chest.

1494
01:19:42,160 --> 01:19:42,360
Speaker 4: Yeah.

1495
01:19:42,400 --> 01:19:44,599
Speaker 3: I'm like, yeah, they get it. They're doing that, they're

1496
01:19:44,600 --> 01:19:46,519
Speaker 3: trained to do that, because it works.

1497
01:19:47,360 --> 01:19:48,280
Speaker 1: It's like a spear.

1498
01:19:48,600 --> 01:19:50,080
Speaker 3: Yeah. Yeah.

1499
01:19:50,200 --> 01:19:53,000
Speaker 1: But here another problem arises. The station needs to be

1500
01:19:53,040 --> 01:19:55,920
Speaker 1: destroyed by being set to burn up in Earth's atmosphere,

1501
01:19:55,960 --> 01:19:58,760
Speaker 1: but autopilot has failed, so they can't just set it

1502
01:19:58,800 --> 01:20:02,960
Speaker 1: and forget it. Jack volunteers to stay behind and sacrifice

1503
01:20:03,040 --> 01:20:07,280
Speaker 1: himself to pilot the station to destruction while everybody else evacuates.

1504
01:20:08,200 --> 01:20:12,240
Speaker 1: And so Vince finds out about this plan, and you know,

1505
01:20:12,520 --> 01:20:15,880
Speaker 1: Lisa tells him, she's like, Jack went back inside alone,

1506
01:20:16,200 --> 01:20:18,400
Speaker 1: and you know what, Vince isn't going to stand for

1507
01:20:18,479 --> 01:20:21,439
Speaker 1: that one last time. He goes back to save the

1508
01:20:21,479 --> 01:20:23,760
Speaker 1: one man. So it's kind of a yeah, it's kind

1509
01:20:23,760 --> 01:20:27,960
Speaker 1: of a tight theme. It completes the arc. He even

1510
01:20:28,000 --> 01:20:30,719
Speaker 1: this guy he's been having the conflict with the whole time.

1511
01:20:31,400 --> 01:20:34,400
Speaker 1: So he leaves the evacuation shuttle, goes back to fight

1512
01:20:34,479 --> 01:20:39,040
Speaker 1: alongside Jack, but oh no. In doing so, Vince is killed.

1513
01:20:39,080 --> 01:20:42,280
Speaker 1: He gets fatally bear hugged by one of the green

1514
01:20:42,360 --> 01:20:44,360
Speaker 1: slime monsters. By the tentacle arms.

1515
01:20:45,320 --> 01:20:48,360
Speaker 3: Yeah, which again are not just grotesque arms that crunch,

1516
01:20:48,439 --> 01:20:49,479
Speaker 3: they also shock.

1517
01:20:49,520 --> 01:20:52,160
Speaker 1: And As the space station is set to burn up

1518
01:20:52,160 --> 01:20:57,080
Speaker 1: on re entry, Jack decides no. To quote robot jocks,

1519
01:20:57,120 --> 01:21:00,400
Speaker 1: he says, we can live. He jumps out of the

1520
01:21:00,439 --> 01:21:05,080
Speaker 1: space station that is going into the atmosphere with Vince's

1521
01:21:05,080 --> 01:21:08,080
Speaker 1: body in tow, and he space walks back to the

1522
01:21:08,120 --> 01:21:11,760
Speaker 1: evacuation ship. Man, he must be a fast moving spacewalker.

1523
01:21:12,280 --> 01:21:15,160
Speaker 1: We get a dramatic final shot of the monsters squealing

1524
01:21:15,240 --> 01:21:17,800
Speaker 1: and throwing their arms all over the place inside the

1525
01:21:17,840 --> 01:21:21,560
Speaker 1: burning space station as it goes down. The model explodes

1526
01:21:21,600 --> 01:21:24,639
Speaker 1: as it re enters the atmosphere. Jack back on the ship.

1527
01:21:24,680 --> 01:21:27,960
Speaker 1: He's talking to mission control. He says, I recommend the

1528
01:21:28,040 --> 01:21:33,240
Speaker 1: highest citations for Commander Elliott posthumously. So he's recommending decorations

1529
01:21:33,240 --> 01:21:36,720
Speaker 1: for Vince who died coming back to save him. And

1530
01:21:36,760 --> 01:21:40,160
Speaker 1: then says, all right, lieutenant, take her down. And then

1531
01:21:40,439 --> 01:21:44,519
Speaker 1: I'm hilarious mood transition. The Green Slime song comes right

1532
01:21:44,560 --> 01:21:48,000
Speaker 1: back in. Ell Vince is dead. We're gonna have decorations

1533
01:21:48,040 --> 01:21:52,400
Speaker 1: for this heroic warrior Green Slime. Oh man.

1534
01:21:54,000 --> 01:21:54,280
Speaker 4: Yeah.

1535
01:21:54,360 --> 01:21:56,519
Speaker 3: I had to check out the ending in the Japanese

1536
01:21:56,600 --> 01:21:59,680
Speaker 3: version to see how it differed. And while there's no

1537
01:21:59,720 --> 01:22:03,200
Speaker 3: group music because again the Japanese cut doesn't have the

1538
01:22:03,200 --> 01:22:06,360
Speaker 3: theme song. The music is still upbeat, and so the

1539
01:22:06,520 --> 01:22:10,040
Speaker 3: energy is not drastically different, I would say, but I

1540
01:22:10,640 --> 01:22:13,839
Speaker 3: agree in either case, it seems like a strange mood transition,

1541
01:22:13,960 --> 01:22:15,599
Speaker 3: like we got to send him home happy, we got

1542
01:22:15,640 --> 01:22:17,800
Speaker 3: to send him home up beat, even if the ending

1543
01:22:17,880 --> 01:22:21,599
Speaker 3: is really kind of downbeat. I mean, we lost one

1544
01:22:21,640 --> 01:22:24,799
Speaker 3: of our three main characters, and you know, the resolution

1545
01:22:24,880 --> 01:22:29,920
Speaker 3: for the other two characters is not guaranteed. It's still

1546
01:22:29,920 --> 01:22:32,479
Speaker 3: a complex, dramatic situation that they're having to deal with.

1547
01:22:32,800 --> 01:22:35,719
Speaker 1: But I tripped on a cloud and fell eight miles high,

1548
01:22:36,040 --> 01:22:37,719
Speaker 1: tore my mind. I'm the jagget Skuy.

1549
01:22:38,520 --> 01:22:40,840
Speaker 3: The lyrics to that song could be about this movie.

1550
01:22:41,120 --> 01:22:44,120
Speaker 3: Those lyrics make just as much sense in context with

1551
01:22:44,160 --> 01:22:47,040
Speaker 3: the Green Slime as anything.

1552
01:22:47,240 --> 01:22:49,080
Speaker 1: Okay, that's all I got on the Green Slime.

1553
01:22:49,400 --> 01:22:51,280
Speaker 3: All right, Well, this was a fun one. I enjoyed

1554
01:22:51,760 --> 01:22:55,920
Speaker 3: watching and discussing. The Green Slime. Just reminded everyone out

1555
01:22:55,960 --> 01:22:58,280
Speaker 3: there that Stuff to Blow Your Mind is primarily a

1556
01:22:58,320 --> 01:23:00,599
Speaker 3: science podcast with core episodes and the Stuff to Blow

1557
01:23:00,640 --> 01:23:04,000
Speaker 3: Your Mind podcast feed on Tuesdays and Thursdays. Listener Mail

1558
01:23:04,040 --> 01:23:08,400
Speaker 3: on Mondays, a short form Monster Factor artifact on Wednesdays,

1559
01:23:08,640 --> 01:23:10,920
Speaker 3: and then on Fridays, we set aside most serious concerns

1560
01:23:10,920 --> 01:23:13,440
Speaker 3: to just talk about a weird film on Weird House Cinema.

1561
01:23:13,600 --> 01:23:15,360
Speaker 3: If you want to keep up with the movies that

1562
01:23:15,439 --> 01:23:17,919
Speaker 3: we have covered over the years here for Weird House Cinema,

1563
01:23:17,960 --> 01:23:19,719
Speaker 3: you can go to a couple of places. I blog

1564
01:23:19,720 --> 01:23:22,400
Speaker 3: about them at simmutomusic dot com, and also you can

1565
01:23:22,439 --> 01:23:24,920
Speaker 3: go to letterbox dot com. That's L E T E

1566
01:23:25,040 --> 01:23:27,120
Speaker 3: R B O x D dot com. Our username is

1567
01:23:27,160 --> 01:23:30,200
Speaker 3: weird House and you can pull up a nice visual

1568
01:23:30,280 --> 01:23:32,599
Speaker 3: listing of all the movies we've covered over the years.

1569
01:23:32,800 --> 01:23:36,519
Speaker 1: Huge thanks to our excellent audio producer Jjposway. If you

1570
01:23:36,520 --> 01:23:38,559
Speaker 1: would like to get in touch with us with feedback

1571
01:23:38,560 --> 01:23:40,960
Speaker 1: on this episode or any other, to suggest a topic

1572
01:23:41,000 --> 01:23:43,280
Speaker 1: for the future, or just to say hello, you can

1573
01:23:43,360 --> 01:23:46,160
Speaker 1: email us at contact. That's Stuff to Blow your Mind

1574
01:23:46,280 --> 01:23:53,360
Speaker 1: dot com.

1575
01:23:53,479 --> 01:23:56,439
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1576
01:23:56,520 --> 01:23:59,280
Speaker 2: more podcasts from My Heart Radio, visit the iHeartRadio app,

1577
01:23:59,439 --> 01:24:02,720
Speaker 2: Apple podcas Tests, or wherever you listen to your favorite shows.