1 00:00:18,239 --> 00:00:20,919 Speaker 1: What's going on? Everybody. We made it to another Friday, 2 00:00:21,040 --> 00:00:23,599 Speaker 1: which means we've made it to another installment of the 3 00:00:23,680 --> 00:00:27,240 Speaker 1: Screening Room, our weekly deep dive here at the Pod, 4 00:00:27,760 --> 00:00:30,680 Speaker 1: A deep dive into one film, you know, the drill. 5 00:00:30,880 --> 00:00:33,479 Speaker 1: I'm talking about a movie that is in conversation with 6 00:00:33,600 --> 00:00:36,000 Speaker 1: what we've been talking about this week. And this week 7 00:00:36,000 --> 00:00:39,279 Speaker 1: we featured our episode on Sean Penn as well as 8 00:00:39,280 --> 00:00:42,800 Speaker 1: a rap party episode about bad boys, Bad Boys, what 9 00:00:42,880 --> 00:00:46,200 Speaker 1: You're gonna do? So let's dive into a movie called 10 00:00:46,240 --> 00:00:51,559 Speaker 1: At Close Range, somewhat forgotten about crime drama starring our 11 00:00:51,560 --> 00:00:55,280 Speaker 1: guy Sean Penn along with Christopher Walkin. But first, allow 12 00:00:55,360 --> 00:00:57,920 Speaker 1: me to introduce myself. My name is Zeth Lundy. I 13 00:00:57,920 --> 00:01:00,319 Speaker 1: am your host here as i am every week. I'm 14 00:01:00,360 --> 00:01:03,440 Speaker 1: a writer and showrunner at Double Elvis, and I want 15 00:01:03,480 --> 00:01:07,080 Speaker 1: to take you today back to the year nineteen eighty six. 16 00:01:07,920 --> 00:01:11,880 Speaker 1: In nineteen eighty six, Hollywood was firmly entrenched in the 17 00:01:11,959 --> 00:01:16,400 Speaker 1: lucrative art of escapism, while outside the darken movie theaters, 18 00:01:16,760 --> 00:01:20,280 Speaker 1: the real world was on edge. Eighty six was the 19 00:01:20,360 --> 00:01:23,679 Speaker 1: year of Chernobyl. It was the year of the Challenger 20 00:01:23,800 --> 00:01:26,840 Speaker 1: space shuttle explosion. It was also the year when the 21 00:01:26,880 --> 00:01:30,120 Speaker 1: so called Iran contra affair was brought to light and 22 00:01:30,200 --> 00:01:34,080 Speaker 1: Oliver North was suddenly finding his physical features exaggerated in 23 00:01:34,200 --> 00:01:39,000 Speaker 1: Mad magazine caricatures. But America got a reprieve from all 24 00:01:39,120 --> 00:01:42,000 Speaker 1: that every week at the movies, and for the most part, 25 00:01:42,280 --> 00:01:45,080 Speaker 1: ninety percent at least of what Americans were watching of 26 00:01:45,160 --> 00:01:49,080 Speaker 1: the movies was as I said before, escapism. For an example, 27 00:01:49,520 --> 00:01:53,360 Speaker 1: here are the top ten grossing highest grossing movies of 28 00:01:53,440 --> 00:01:56,920 Speaker 1: nineteen eighty six, okay, from number one to number ten here, 29 00:01:57,200 --> 00:02:01,960 Speaker 1: starting with number one, Top Gun, then Krock a Dundee, Platoon, 30 00:02:02,720 --> 00:02:07,080 Speaker 1: The Karate Kid Part two, Star Trek four, The Voyage Home, 31 00:02:07,760 --> 00:02:13,600 Speaker 1: Back to School, Aliens, The Golden Child, Ruthless People, and 32 00:02:13,720 --> 00:02:17,440 Speaker 1: Ferris Bueller's Day Off. Now, not that nineteen eighty six 33 00:02:17,520 --> 00:02:19,839 Speaker 1: was all that different from eighty five or eighty four. 34 00:02:19,919 --> 00:02:22,480 Speaker 1: The top movies of those years were Back to the 35 00:02:22,480 --> 00:02:27,080 Speaker 1: Future in Beverly Hills, cop masterpieces of escapism, masterpieces of 36 00:02:27,120 --> 00:02:30,600 Speaker 1: the blockbuster, a true American art form if there ever 37 00:02:30,840 --> 00:02:34,639 Speaker 1: was one. But what was happening beneath all this box 38 00:02:34,680 --> 00:02:37,760 Speaker 1: office bursting at the seams was where it gets really interesting. 39 00:02:37,760 --> 00:02:41,280 Speaker 1: Because nineteen eighty six was also the year that we 40 00:02:41,320 --> 00:02:44,359 Speaker 1: got Blue Velvet by David Lynch. It was the year 41 00:02:44,360 --> 00:02:48,800 Speaker 1: we got Down by Law by Jim Jarmish. It's the 42 00:02:48,880 --> 00:02:53,000 Speaker 1: year of Jonathan Demi's Something Wild, we got River's Edge, 43 00:02:53,280 --> 00:02:56,920 Speaker 1: that year True Stories with David Byrne, stand By Me, 44 00:02:57,280 --> 00:03:01,320 Speaker 1: the incredible adaptation of the Stephen King novella by Rob Reiner, 45 00:03:01,840 --> 00:03:05,239 Speaker 1: Spike Lee's debut She's Got to Have It, also Gus 46 00:03:05,360 --> 00:03:10,520 Speaker 1: van Zandt's debut Malanache. Was also a year where blockbuster 47 00:03:10,639 --> 00:03:14,320 Speaker 1: and art could coexist, like in the case of Martin 48 00:03:14,360 --> 00:03:18,240 Speaker 1: Scorsese's The Color of Money, which bubbled just below the 49 00:03:18,280 --> 00:03:21,440 Speaker 1: top ten grossing films of that year. It was also 50 00:03:21,480 --> 00:03:24,079 Speaker 1: the year of two Sham Penn films, At Close Range, 51 00:03:24,160 --> 00:03:27,679 Speaker 1: released that spring, and then Shanghai Surprise, which was a 52 00:03:27,760 --> 00:03:30,960 Speaker 1: vehicle with his new wife at the time, Madonna, released 53 00:03:31,040 --> 00:03:35,480 Speaker 1: later that summer. Both films were bombs at the box office, 54 00:03:35,800 --> 00:03:39,320 Speaker 1: huge bombs. Nothing neither film came close to breaking even 55 00:03:39,920 --> 00:03:43,120 Speaker 1: in the case of Shanghai Surprise. That was actually kind 56 00:03:43,160 --> 00:03:46,280 Speaker 1: of shocking because you have Madonna who had just released 57 00:03:46,320 --> 00:03:49,200 Speaker 1: her third studio album, True Blue, an album which went 58 00:03:49,240 --> 00:03:51,640 Speaker 1: to number one, Like all over the world. You know, 59 00:03:51,720 --> 00:03:55,120 Speaker 1: she was one of the biggest pop stars on the planet. 60 00:03:55,720 --> 00:03:58,200 Speaker 1: She was also a new movie star in her own right. 61 00:03:58,280 --> 00:04:01,280 Speaker 1: She had just starred in the successful Desperately Seeking Susan 62 00:04:01,360 --> 00:04:05,480 Speaker 1: the year before, the same year when she married Shampenn 63 00:04:05,560 --> 00:04:08,280 Speaker 1: and what was really the celebrity wedding of the decade. 64 00:04:08,720 --> 00:04:11,600 Speaker 1: These two were the biggest story in Hollywood at that moment, 65 00:04:11,920 --> 00:04:15,400 Speaker 1: and that movie still tanked. It featured five brand new 66 00:04:15,480 --> 00:04:19,400 Speaker 1: songs by a beatle George Harrison, and it's still tanked. 67 00:04:19,960 --> 00:04:22,360 Speaker 1: In fact, the movie tanked so hard in its first 68 00:04:22,360 --> 00:04:25,760 Speaker 1: week in America that the studio essentially gutted its marketing 69 00:04:25,800 --> 00:04:28,720 Speaker 1: budget so that they wouldn't lose any more money than 70 00:04:28,760 --> 00:04:32,440 Speaker 1: they already were. They had to stop the bleeding financially. Now, this, 71 00:04:32,560 --> 00:04:34,960 Speaker 1: like I said, was Champenn's second bomb of the year, 72 00:04:35,160 --> 00:04:39,240 Speaker 1: right following at Close Range. But At Close Range didn't 73 00:04:39,240 --> 00:04:43,200 Speaker 1: have the problem that Shanghai Surprise had, which was this 74 00:04:43,320 --> 00:04:46,280 Speaker 1: celebrity couple hubbub you know that didn't live up to 75 00:04:46,320 --> 00:04:50,600 Speaker 1: its reputation. At Close Range was a small, intimate film. 76 00:04:50,960 --> 00:04:53,640 Speaker 1: It had less than half the budget of Shanghai Surprise, 77 00:04:54,480 --> 00:04:56,840 Speaker 1: and it was the kind of movie that Hollywood churned 78 00:04:56,880 --> 00:04:59,160 Speaker 1: out on the regular back then. You know, this small 79 00:04:59,200 --> 00:05:03,200 Speaker 1: but volatile drama about people about family that had no 80 00:05:03,360 --> 00:05:07,000 Speaker 1: chance competing with noisy cinema like Top Gun and Aliens 81 00:05:07,000 --> 00:05:09,240 Speaker 1: in the Rest. You know, it didn't move fast like 82 00:05:09,320 --> 00:05:11,880 Speaker 1: Ferris Bueller. It didn't give you someone to root for 83 00:05:12,400 --> 00:05:14,599 Speaker 1: like The Karate Kid. It didn't take you to far 84 00:05:14,640 --> 00:05:18,719 Speaker 1: away lands like outer space or Australia. It was directed 85 00:05:18,720 --> 00:05:21,839 Speaker 1: by James Foley, who had only made one film before this, 86 00:05:21,960 --> 00:05:25,679 Speaker 1: a film called Reckless from nineteen eighty four starring Aiden 87 00:05:25,760 --> 00:05:29,760 Speaker 1: Quinn and Daryl Hannah, featuring the first script written by 88 00:05:29,839 --> 00:05:33,360 Speaker 1: Chris Columbus. At Close Range was one of the first 89 00:05:33,360 --> 00:05:37,120 Speaker 1: scripts written by Nicholas Kazan, the son of the legendary 90 00:05:37,160 --> 00:05:41,200 Speaker 1: and controversial director Elia Kazon, and it starred Seam Penn, 91 00:05:41,360 --> 00:05:45,159 Speaker 1: his little brother Chris Penn, their mother Eileen Ryan, along 92 00:05:45,160 --> 00:05:49,080 Speaker 1: with Mary Stuart Masterson. Small supporting roles by Crispin Glover, 93 00:05:49,279 --> 00:05:53,799 Speaker 1: Keifer Sutherland, David Strahan and the great character actor Tracy Walter, 94 00:05:53,920 --> 00:05:56,719 Speaker 1: and of course the big bad here, the villain, the corruptor, 95 00:05:57,240 --> 00:06:01,599 Speaker 1: Christopher Walkin. Roger Ebert, in his review at the time, 96 00:06:01,760 --> 00:06:04,320 Speaker 1: noted that Christopher Walkin is perhaps better than anyone at 97 00:06:04,320 --> 00:06:08,080 Speaker 1: moving between easy charm and pure evil, as he put it. 98 00:06:08,560 --> 00:06:11,359 Speaker 1: And though this is a pivotal and consequential role for 99 00:06:11,560 --> 00:06:14,040 Speaker 1: Seam Penn, one of the many roles in the eighties 100 00:06:14,279 --> 00:06:17,320 Speaker 1: which cemented his status not only as a Hollywood bad 101 00:06:17,320 --> 00:06:19,240 Speaker 1: boy for the ages, but as one of the great 102 00:06:19,279 --> 00:06:23,440 Speaker 1: American actors. This is really Christopher Walkins film. He dominates 103 00:06:23,520 --> 00:06:26,000 Speaker 1: every scene he's in. He just has to walk into 104 00:06:26,040 --> 00:06:28,320 Speaker 1: the room. He doesn't even have to say anything. You know. 105 00:06:28,440 --> 00:06:33,080 Speaker 1: His charm is undeniable. His wickedness has no equal. It's 106 00:06:33,120 --> 00:06:36,320 Speaker 1: one of nineteen eighty six's greatest performances in my opinion, 107 00:06:36,600 --> 00:06:39,039 Speaker 1: and at the Academy Awards for that year it wasn't 108 00:06:39,040 --> 00:06:44,080 Speaker 1: even recognized, right, So let's just look at these just 109 00:06:44,880 --> 00:06:48,479 Speaker 1: for posterity's sake. Here. Best Actor Paul Newman wins that 110 00:06:48,560 --> 00:06:51,720 Speaker 1: year for the Color of Money, but nominated The Great 111 00:06:51,800 --> 00:06:54,720 Speaker 1: Jazz saxophone player Dexter Gordon was nominated for his role 112 00:06:54,760 --> 00:06:58,440 Speaker 1: in Round Midnight, Bob Hoskins for Mona, Lisa william Hurt 113 00:06:58,520 --> 00:07:01,680 Speaker 1: for Children of a Lesser God, James Woods for Salvador. 114 00:07:02,279 --> 00:07:07,080 Speaker 1: In the Supporting Actor category, Michael Kaine wins for Hannah 115 00:07:07,160 --> 00:07:09,960 Speaker 1: and Her Sisters the Woody Allen film. Tom Barringer and 116 00:07:10,000 --> 00:07:13,240 Speaker 1: Wilhem Dafoe were both nominated for Platoon. Denham Elliott was 117 00:07:13,280 --> 00:07:15,640 Speaker 1: nominated for Room with a View, and Dennis Hopper for 118 00:07:15,840 --> 00:07:20,200 Speaker 1: his role in Hoosiers. In either category, however you want 119 00:07:20,200 --> 00:07:22,440 Speaker 1: to look at this role lead or supporting, you can 120 00:07:22,480 --> 00:07:25,520 Speaker 1: make an argument either way. Christopher Walkins should have been there, 121 00:07:25,880 --> 00:07:27,840 Speaker 1: and perhaps this is one of the reasons why this 122 00:07:27,880 --> 00:07:32,960 Speaker 1: film is so underseen and underappreciated, undervalued, because it didn't 123 00:07:33,000 --> 00:07:37,600 Speaker 1: get the kinds of accolades that movies like this sometimes 124 00:07:37,600 --> 00:07:42,200 Speaker 1: will get based on the nominations that they secure throughout 125 00:07:42,200 --> 00:07:45,000 Speaker 1: the year. Instead, it just gets lost in the shuffle, 126 00:07:45,000 --> 00:07:47,000 Speaker 1: which is a shame because I think it's one of 127 00:07:47,040 --> 00:07:50,400 Speaker 1: Christopher Walkin's best performances. It's not as over the top 128 00:07:50,480 --> 00:07:53,440 Speaker 1: satisfying of a performance as another favorite of mine, Kingdo 129 00:07:53,440 --> 00:07:56,000 Speaker 1: of New York. It's actually a little more understated for 130 00:07:56,080 --> 00:07:58,600 Speaker 1: Christopher Walkome. And when he flashes crazy, which he does, 131 00:07:59,200 --> 00:08:01,200 Speaker 1: he does it in a way it's totally believable and 132 00:08:01,280 --> 00:08:03,760 Speaker 1: not cartoonish, like we all know this guy. This is 133 00:08:03,800 --> 00:08:07,559 Speaker 1: a guy who was respected and feared in his little town. 134 00:08:08,040 --> 00:08:10,040 Speaker 1: He's a guy who can be triggered by one word 135 00:08:10,160 --> 00:08:14,160 Speaker 1: or one glance. I remember, back before the internet, back 136 00:08:14,200 --> 00:08:18,080 Speaker 1: before you could fact check anything at any time, there 137 00:08:18,120 --> 00:08:20,400 Speaker 1: was this rumor that Christopher Walkin would remove all the 138 00:08:20,400 --> 00:08:23,840 Speaker 1: punctuation from his scripts when he got them, and that's 139 00:08:23,880 --> 00:08:26,160 Speaker 1: how he developed this very unique way in which he 140 00:08:26,200 --> 00:08:29,160 Speaker 1: delivers his lines. And oddly enough, there's some truth to that. 141 00:08:29,280 --> 00:08:32,080 Speaker 1: A few years ago, in a conversation with David Marchesy 142 00:08:32,160 --> 00:08:35,240 Speaker 1: of The New York Times, Walkins said that often when 143 00:08:35,240 --> 00:08:38,479 Speaker 1: he sees a question mark in a script, he'll deliberately 144 00:08:38,800 --> 00:08:41,439 Speaker 1: make it a statement rather than a question, or if 145 00:08:41,480 --> 00:08:43,920 Speaker 1: a line ends with an exclamation point, he'll make it 146 00:08:43,960 --> 00:08:46,040 Speaker 1: a question mark just to see what happens. He says, 147 00:08:46,400 --> 00:08:50,240 Speaker 1: punctuation can be a stumbling block, so I take it out. 148 00:08:50,440 --> 00:08:53,480 Speaker 1: And this is one of the many things which makes 149 00:08:53,520 --> 00:08:57,959 Speaker 1: Christopher Walkin suey generous. Right. So is his mustache in 150 00:08:58,000 --> 00:09:01,240 Speaker 1: this movie. His mustag's just one of one and it's 151 00:09:01,240 --> 00:09:04,679 Speaker 1: doing like fifteen percent on the lifting here, and it's brilliant. 152 00:09:04,760 --> 00:09:09,079 Speaker 1: Brilliant mustache work by Christopher Walkin. At Close Range is 153 00:09:09,120 --> 00:09:13,800 Speaker 1: a film about fathers and sons, about betrayal, about driving 154 00:09:13,800 --> 00:09:18,400 Speaker 1: in cars at night, stealing tractors, betting on cockfights, getting 155 00:09:18,480 --> 00:09:22,720 Speaker 1: chased off and shot up, about bodies buried in shallow graves, 156 00:09:23,200 --> 00:09:25,800 Speaker 1: and about what happens when the person who is supposed 157 00:09:25,800 --> 00:09:28,240 Speaker 1: to protect you becomes the person who is trying to 158 00:09:28,280 --> 00:09:30,400 Speaker 1: have you killed. And I'm going to get into it 159 00:09:30,720 --> 00:09:55,480 Speaker 1: right after this. That close range opens with then twenty 160 00:09:55,559 --> 00:09:58,600 Speaker 1: six year old Champenn in his car. It's late and 161 00:09:58,720 --> 00:10:01,640 Speaker 1: he's driving somewhere in in rural Pennsylvania. Even if the 162 00:10:01,640 --> 00:10:04,960 Speaker 1: film was shot elsewhere, it doesn't matter. And before there's 163 00:10:05,000 --> 00:10:07,440 Speaker 1: even any dialogue, we are told by some words on 164 00:10:07,480 --> 00:10:09,960 Speaker 1: the screen that it's nineteen seventy eight and that this 165 00:10:10,160 --> 00:10:14,120 Speaker 1: is based on a true story. The true story goes 166 00:10:14,160 --> 00:10:18,920 Speaker 1: as follows. Back in the nineteen seventies in Chester County, Pennsylvania, 167 00:10:19,559 --> 00:10:22,560 Speaker 1: a man named Bruce Johnston led a gang of small 168 00:10:22,600 --> 00:10:27,200 Speaker 1: time thieves who were involved in hundreds of robberies. They 169 00:10:27,240 --> 00:10:32,000 Speaker 1: stole tractors, cars, antiques, jewelry, cash, whatever they could get 170 00:10:32,000 --> 00:10:35,000 Speaker 1: their hands on. It's alleged that they stole at least 171 00:10:35,559 --> 00:10:39,400 Speaker 1: one million dollars total, which in today's money would be 172 00:10:39,440 --> 00:10:43,360 Speaker 1: closer to five million. Bruce Johnston's crew included two of 173 00:10:43,360 --> 00:10:45,840 Speaker 1: his brothers, David and Norman, as well as his own 174 00:10:45,920 --> 00:10:49,120 Speaker 1: sons for a little bit, eighteen year old James and 175 00:10:49,200 --> 00:10:53,640 Speaker 1: twenty year old Bruce Junior aka Little Bruce. Now James 176 00:10:53,679 --> 00:10:56,319 Speaker 1: and Little Bruce had actually been raised by a grandmother 177 00:10:56,400 --> 00:10:59,040 Speaker 1: and a great aunt, and they didn't actually begin to 178 00:10:59,080 --> 00:11:03,040 Speaker 1: associate with their until they were teenagers. Little Bruce in 179 00:11:03,080 --> 00:11:06,840 Speaker 1: particular didn't seem to be cut out for this life 180 00:11:06,840 --> 00:11:10,319 Speaker 1: of crime, and his father realized this at some point 181 00:11:10,480 --> 00:11:12,800 Speaker 1: shortly when they started hanging out, and he told him so, 182 00:11:13,240 --> 00:11:17,800 Speaker 1: which is I think only strengthened Little Bruce's desire to 183 00:11:17,880 --> 00:11:20,320 Speaker 1: be a part of his father's quote unquote business. Right, 184 00:11:20,400 --> 00:11:24,000 Speaker 1: So he went and stole a pickup truck. He was caught, 185 00:11:24,160 --> 00:11:27,400 Speaker 1: and soon he found himself at the Chester County Prison Farm. 186 00:11:27,679 --> 00:11:30,120 Speaker 1: While he was locked up, his father paid him a visit, 187 00:11:30,240 --> 00:11:33,760 Speaker 1: along with his girlfriend, Robin Miller, who he was planning 188 00:11:33,960 --> 00:11:37,880 Speaker 1: to marry. Little Bruce was planning to marry. After their visit, 189 00:11:38,160 --> 00:11:41,200 Speaker 1: Bruce Senior and another member of his crew took Robin 190 00:11:41,240 --> 00:11:44,520 Speaker 1: to a motel where they all drank a bottle of whiskey. 191 00:11:45,200 --> 00:11:47,920 Speaker 1: Robin passed out and woke up to find that she 192 00:11:48,080 --> 00:11:50,800 Speaker 1: was not wearing any clothes, and while she couldn't remember 193 00:11:50,800 --> 00:11:54,600 Speaker 1: what had happened, it looked bad. So when she told 194 00:11:54,920 --> 00:11:58,560 Speaker 1: Bruce Junior Little Bruce, Little Bruce flipped out. He wanted 195 00:11:58,559 --> 00:12:01,520 Speaker 1: revenge on the father who had not only steered him 196 00:12:01,520 --> 00:12:03,960 Speaker 1: to this life of crime, but who now had seemingly 197 00:12:04,000 --> 00:12:07,320 Speaker 1: assaulted his teenage girlfriend. So Little Bruce told a grand 198 00:12:07,400 --> 00:12:11,040 Speaker 1: jury all about his father's criminal ring, and he was 199 00:12:11,120 --> 00:12:14,560 Speaker 1: soon released from prison when he threatened to stop talking 200 00:12:15,080 --> 00:12:17,760 Speaker 1: because the cops needed him on their side to bring 201 00:12:17,840 --> 00:12:22,480 Speaker 1: Bruce Senior down. But Bruce Senior was now getting winned 202 00:12:22,520 --> 00:12:26,120 Speaker 1: that Little Bruce was squealing, and he also got winned 203 00:12:26,200 --> 00:12:29,760 Speaker 1: that his other son, James, might be doing the same thing. 204 00:12:30,320 --> 00:12:33,040 Speaker 1: So he did to James what he had done to 205 00:12:33,080 --> 00:12:35,480 Speaker 1: a number of other informers who had turned on him. 206 00:12:35,880 --> 00:12:39,240 Speaker 1: He shot his eighteen year old son, James Johnston and 207 00:12:39,400 --> 00:12:42,520 Speaker 1: dumped his body in a shallow grave. And then, just 208 00:12:42,600 --> 00:12:45,480 Speaker 1: days earlier, as they were sitting in a VW rabbit 209 00:12:45,559 --> 00:12:49,600 Speaker 1: outside of her mother's farmhouse, Robin and Little Bruce were 210 00:12:49,679 --> 00:12:52,720 Speaker 1: jumped by gunmen who fired multiple rounds at the couple, 211 00:12:53,280 --> 00:12:57,320 Speaker 1: killing Robin instantly. Little Bruce took eight bullets in the 212 00:12:57,400 --> 00:13:00,680 Speaker 1: head and body, but miraculously he did not die. He 213 00:13:00,840 --> 00:13:05,040 Speaker 1: survived to testify against his father in a preliminary trial. 214 00:13:05,040 --> 00:13:08,640 Speaker 1: A few months later. Bruce Johnston Senior was arrested in 215 00:13:08,720 --> 00:13:12,160 Speaker 1: December of nineteen seventy eight for stealing an eight dollars 216 00:13:12,200 --> 00:13:14,520 Speaker 1: tape cartridge from a store. That's how they got him. 217 00:13:14,800 --> 00:13:17,880 Speaker 1: He was charged with federal and state counts of obstruction 218 00:13:17,960 --> 00:13:21,400 Speaker 1: of justice, conspiracy, and theft, and at trial, he was 219 00:13:21,480 --> 00:13:25,200 Speaker 1: later convicted of six murders, including the murder of his 220 00:13:25,240 --> 00:13:28,320 Speaker 1: son James, along with the attempted murder of his other son, 221 00:13:28,520 --> 00:13:33,080 Speaker 1: Little Bruce, and was given a mandatory life sentence. Now, 222 00:13:33,120 --> 00:13:36,880 Speaker 1: this tragic true story is the basis for Nicholas Kazan's 223 00:13:36,880 --> 00:13:40,319 Speaker 1: script for At Close Range, and it follows this story 224 00:13:40,679 --> 00:13:45,760 Speaker 1: very closely. Christopher Walkin is Brad Whitewood Senior, Big Brad, 225 00:13:45,880 --> 00:13:49,560 Speaker 1: a stand in for Bruce Johnston. Sean Penn is his son, 226 00:13:49,920 --> 00:13:53,200 Speaker 1: Brad Whitewood Junior, Little Brad a stand in for Little Bruce. 227 00:13:53,800 --> 00:13:57,559 Speaker 1: Chris Penn is the brother Tommy Whitewood, Mary Stuart Masterson 228 00:13:57,679 --> 00:14:01,480 Speaker 1: is Terry, the stand in girlfriend for Robin and so on. Right, 229 00:14:02,280 --> 00:14:06,200 Speaker 1: Champinn in this film still has that Fast Time Spiccoli 230 00:14:06,320 --> 00:14:09,000 Speaker 1: stoner thing going on. The hair is not as long. 231 00:14:09,080 --> 00:14:12,079 Speaker 1: It's more like a haircut that was previously a pompadour 232 00:14:12,400 --> 00:14:15,280 Speaker 1: the night before. But this is the hangover next day 233 00:14:15,400 --> 00:14:18,400 Speaker 1: version of that. It's on kempt. He's rocking a T shirt, 234 00:14:18,440 --> 00:14:21,160 Speaker 1: he's looking stand offish. He drinks beers and gets high 235 00:14:21,200 --> 00:14:23,080 Speaker 1: with his brother. They're both kind of like a ship 236 00:14:23,120 --> 00:14:26,280 Speaker 1: without a rudder. But this film is way darker than 237 00:14:26,360 --> 00:14:28,480 Speaker 1: Fast Times. It's got to be one of the darkest 238 00:14:28,640 --> 00:14:31,640 Speaker 1: of nineteen eighty six. This is about the corruption of 239 00:14:31,680 --> 00:14:34,400 Speaker 1: this kid who just wants to be seen by his father, 240 00:14:34,520 --> 00:14:37,120 Speaker 1: loved by his father, and what he gets isn't love. First, 241 00:14:37,120 --> 00:14:39,720 Speaker 1: he gets abused by his mom's boyfriend. The guy literally 242 00:14:40,160 --> 00:14:42,880 Speaker 1: tosses Champenn out of the house while he's high and 243 00:14:42,920 --> 00:14:45,440 Speaker 1: giggling and won't turn the TV off. And then when 244 00:14:45,480 --> 00:14:47,680 Speaker 1: Christopher walk In Big Brad comes around kind of out 245 00:14:47,680 --> 00:14:49,680 Speaker 1: of the blue. You can see the hope in Champinn's 246 00:14:49,720 --> 00:14:53,320 Speaker 1: eyes that he has this opportunity to refocus his rudderless 247 00:14:53,360 --> 00:14:55,800 Speaker 1: life and get the kinds of nice cars that his 248 00:14:55,880 --> 00:14:57,840 Speaker 1: dad drives and all that. But of course it's all 249 00:14:57,840 --> 00:14:59,920 Speaker 1: a lie. The life is a lie. They're a li 250 00:15:00,000 --> 00:15:03,640 Speaker 1: relationship is a lie. Big Brad in particular, is ruthless. 251 00:15:03,680 --> 00:15:06,480 Speaker 1: He makes no distinction between friends and enemies. Anyone is fair. 252 00:15:06,560 --> 00:15:08,360 Speaker 1: Gain that gets in the way that is going to 253 00:15:08,400 --> 00:15:11,360 Speaker 1: prevent Big Brad from continuing to take what he wants 254 00:15:11,640 --> 00:15:14,520 Speaker 1: to get his money. Little Brad has shown the ropes. 255 00:15:14,600 --> 00:15:17,600 Speaker 1: He's shown how his dad will take some stolen money 256 00:15:17,640 --> 00:15:20,560 Speaker 1: and launder it by buying a used car off a 257 00:15:20,600 --> 00:15:22,680 Speaker 1: lot for cash and then selling it right away to 258 00:15:22,720 --> 00:15:24,880 Speaker 1: another dealership. You know, you lose a little bit of 259 00:15:24,920 --> 00:15:28,400 Speaker 1: money off the top, but it's all clean now. Little 260 00:15:28,440 --> 00:15:30,920 Speaker 1: Brad takes risks for his dad. He winds up getting 261 00:15:30,960 --> 00:15:33,800 Speaker 1: shot at. His cheek is shot up with bird shot, 262 00:15:34,040 --> 00:15:35,760 Speaker 1: you know, and he feels the wrath of his dad 263 00:15:35,800 --> 00:15:38,320 Speaker 1: when his girlfriend Terry tries to speak up for him. 264 00:15:39,160 --> 00:15:41,120 Speaker 1: And then later this kind of all comes to a 265 00:15:41,160 --> 00:15:43,920 Speaker 1: head when Little Brad, I think, realizes exactly what's going 266 00:15:43,960 --> 00:15:46,720 Speaker 1: on here. You know, when he watches his father, Big 267 00:15:46,760 --> 00:15:50,320 Speaker 1: Brad has one of his guys kill a snitch by 268 00:15:50,440 --> 00:15:53,720 Speaker 1: drowning him in a river, and as it's happening, Walker 269 00:15:53,800 --> 00:15:56,880 Speaker 1: turns to Sean Penn puts a finger up to his lips, 270 00:15:56,880 --> 00:16:00,080 Speaker 1: you know, sh And again it's that easy charm and 271 00:16:00,160 --> 00:16:03,800 Speaker 1: pure evil that Roger Ebert wrote about when this originally 272 00:16:03,800 --> 00:16:06,240 Speaker 1: came out. But the big show down here, the Western 273 00:16:06,280 --> 00:16:09,120 Speaker 1: standoff of it all, if you will, is a scene 274 00:16:09,240 --> 00:16:11,720 Speaker 1: late in the movie when Seampenn and Christopher Walker really 275 00:16:11,760 --> 00:16:14,760 Speaker 1: get to go toe to toe take off the kid gloves. 276 00:16:14,840 --> 00:16:17,720 Speaker 1: This scene that's based on this true story in which 277 00:16:17,720 --> 00:16:22,360 Speaker 1: Seampann and Mary Stuart Masterson's characters are shot in their car, which, 278 00:16:22,400 --> 00:16:25,600 Speaker 1: by the way, is this incredible flash of filmmaking because 279 00:16:25,640 --> 00:16:27,760 Speaker 1: as that's happening, you don't really see the faces of 280 00:16:27,760 --> 00:16:31,080 Speaker 1: it who's shooting them. Christopher Walkin is like whopping it 281 00:16:31,120 --> 00:16:33,600 Speaker 1: up at a strip club, and here are his guys 282 00:16:33,640 --> 00:16:36,600 Speaker 1: carrying out his orders. And there's this great cross cutting 283 00:16:36,640 --> 00:16:39,120 Speaker 1: that takes place as it's happening. It's kind of reminiscent 284 00:16:39,120 --> 00:16:42,359 Speaker 1: of The Godfather almost, when you know, when Michael Corleone 285 00:16:42,400 --> 00:16:45,280 Speaker 1: is that his son's baptism and meanwhile all these mob 286 00:16:45,280 --> 00:16:48,760 Speaker 1: bosses are being killed. But Schampann. In this scene, he 287 00:16:48,800 --> 00:16:51,280 Speaker 1: wraps up his bleeding bullet wounds and he stumbles over 288 00:16:51,360 --> 00:16:53,800 Speaker 1: to Christopher Walkin's place, where he goes in the bathroom, 289 00:16:53,920 --> 00:16:56,800 Speaker 1: finds this gun that's hidden in the cupboard, goes up 290 00:16:56,800 --> 00:17:01,280 Speaker 1: to the kitchen and he has this intense father's son confrontation. 291 00:17:02,080 --> 00:17:04,880 Speaker 1: And this is where the Champenn that we know comes out, 292 00:17:04,920 --> 00:17:09,000 Speaker 1: the volatile, explosive, wounded Champenn. It's one of the best 293 00:17:09,000 --> 00:17:11,040 Speaker 1: scenes in this film, one of the best scenes of 294 00:17:11,080 --> 00:17:13,480 Speaker 1: any film from nineteen eighty six in my estimation. And 295 00:17:13,520 --> 00:17:16,320 Speaker 1: it's really a showcase for this up and coming young 296 00:17:16,359 --> 00:17:19,000 Speaker 1: actor who's holding his own with a more seasoned actor, 297 00:17:19,000 --> 00:17:23,600 Speaker 1: an Oscar winning actor. It's really quite incredible. Now that said, 298 00:17:23,720 --> 00:17:27,639 Speaker 1: is this movie perfect. No, there's a solid amount of 299 00:17:27,720 --> 00:17:31,679 Speaker 1: cheese in here. First off, the score, which was composed 300 00:17:31,680 --> 00:17:34,240 Speaker 1: by Patrick Leonard, a musician who had been working with 301 00:17:34,320 --> 00:17:38,600 Speaker 1: Madonna around this time. There's a slow instrumental version of 302 00:17:38,640 --> 00:17:41,960 Speaker 1: her song Live to Tell. That's a recurring motif here, 303 00:17:42,000 --> 00:17:43,760 Speaker 1: and I don't know if it's because that song is 304 00:17:43,800 --> 00:17:47,320 Speaker 1: a known quantity on its own now with hindsight, or 305 00:17:47,400 --> 00:17:49,320 Speaker 1: that it's one of my least favorite Madonna songs, but 306 00:17:50,080 --> 00:17:52,040 Speaker 1: it just doesn't feel right to me for the tone 307 00:17:52,160 --> 00:17:54,640 Speaker 1: of the film. And you know, lots of the other 308 00:17:54,760 --> 00:17:58,920 Speaker 1: musical cues here involve like a clean stratocaster guitar tone 309 00:17:59,320 --> 00:18:04,320 Speaker 1: that's like eighties cheese. Kind of a little hard to 310 00:18:04,400 --> 00:18:07,280 Speaker 1: take seriously. Now, then there's the end of the film 311 00:18:07,359 --> 00:18:10,000 Speaker 1: where Sham Penn's testifying in court and he's rotting out 312 00:18:10,080 --> 00:18:13,040 Speaker 1: Christopher Walkin. It's a very movie of the weak energy. 313 00:18:13,080 --> 00:18:15,320 Speaker 1: It veers a little too close to a TV movie 314 00:18:15,359 --> 00:18:18,600 Speaker 1: again with the cheese. So while there are elements here 315 00:18:18,640 --> 00:18:21,720 Speaker 1: that prevent this film from being like a masterpiece, it 316 00:18:21,800 --> 00:18:24,480 Speaker 1: still has so many great qualities to recommend. You know, 317 00:18:24,480 --> 00:18:27,680 Speaker 1: if you're into performances by these guys Seanpenn, Christopher Walkin, 318 00:18:27,880 --> 00:18:30,400 Speaker 1: Do you want to see early work by Keefer Sutherland, 319 00:18:30,440 --> 00:18:32,720 Speaker 1: If you want to see Crispin Glover in something that's 320 00:18:32,760 --> 00:18:35,239 Speaker 1: not Back to the Future or River's Edge, you know, 321 00:18:35,680 --> 00:18:37,480 Speaker 1: Or if you like crime films, you like films about 322 00:18:37,480 --> 00:18:40,240 Speaker 1: the sins of the father and all that, check this out. 323 00:18:40,320 --> 00:18:42,159 Speaker 1: You can stream it. It's on I think it's on 324 00:18:42,200 --> 00:18:45,440 Speaker 1: the MGM Plus subscription service. I did like a free 325 00:18:45,480 --> 00:18:48,600 Speaker 1: trial through Amazon Prime and watched it that way. But 326 00:18:48,800 --> 00:18:50,639 Speaker 1: let me know. I want to know, if you've seen 327 00:18:50,840 --> 00:18:53,240 Speaker 1: At Close Range, how do you rank it? How do 328 00:18:53,240 --> 00:18:56,760 Speaker 1: you rank it in the performances of Christopher Walkin and 329 00:18:57,040 --> 00:18:59,359 Speaker 1: Sean Penn. You know how you can get at me. 330 00:18:59,400 --> 00:19:01,800 Speaker 1: You can text or call me at six one seven 331 00:19:02,240 --> 00:19:06,000 Speaker 1: nine oh six six six three eight and let me know. 332 00:19:06,600 --> 00:19:09,119 Speaker 1: Something else I've been doing in these episodes is taking 333 00:19:09,280 --> 00:19:12,240 Speaker 1: these movies I've been talking about, and I've been using 334 00:19:12,280 --> 00:19:15,480 Speaker 1: them as a jumping off point to make an old 335 00:19:15,600 --> 00:19:19,760 Speaker 1: school mixtape. I've been digging this segment and I know 336 00:19:19,800 --> 00:19:21,720 Speaker 1: you guys have been as well, and I want to 337 00:19:21,760 --> 00:19:23,960 Speaker 1: do that for this movie. Hang tight. Got to take 338 00:19:23,960 --> 00:19:26,040 Speaker 1: a quick break, and when we come back, we will 339 00:19:26,080 --> 00:19:53,040 Speaker 1: get into it. Okay, guys, I'm back. Let's make a 340 00:19:53,119 --> 00:19:58,200 Speaker 1: mixtape inspired by the nineteen eighty six movie At Close Range. Okay, 341 00:19:58,320 --> 00:20:01,359 Speaker 1: Fathers and Sons. I'm not gonna talk about Cats in 342 00:20:01,400 --> 00:20:04,280 Speaker 1: the Cradle or whatever that Harry Chapin song is. I'm 343 00:20:04,280 --> 00:20:06,639 Speaker 1: also not going to talk about Father and Mine by Everclear, 344 00:20:06,720 --> 00:20:10,439 Speaker 1: because I'm just the opposite of a fan of that band. Sorry, 345 00:20:11,200 --> 00:20:13,879 Speaker 1: sorry to all the Everclear lovers out there. I just 346 00:20:13,920 --> 00:20:17,040 Speaker 1: can't do it. So I'm going to start here the 347 00:20:17,119 --> 00:20:19,760 Speaker 1: opening song on side A here of this mixtape. I'm 348 00:20:19,800 --> 00:20:22,960 Speaker 1: going to start with a song called nineteen forty one 349 00:20:23,240 --> 00:20:26,840 Speaker 1: by Harry Nilson. This is from his nineteen sixty seven 350 00:20:26,920 --> 00:20:31,720 Speaker 1: album Pandemonium Shadow Show. It's actually his second studio album. 351 00:20:31,960 --> 00:20:34,520 Speaker 1: These first couple of albums that Harry Nilsson made, these 352 00:20:34,520 --> 00:20:37,840 Speaker 1: are the ones that made the Beatles claim that when 353 00:20:37,880 --> 00:20:41,480 Speaker 1: they were asked by reporters who their favorite band was 354 00:20:41,560 --> 00:20:44,639 Speaker 1: their favorite singer, they always would say Nielsen. These records 355 00:20:44,680 --> 00:20:47,520 Speaker 1: are why. This song is just a horn section, an 356 00:20:47,680 --> 00:20:52,120 Speaker 1: organ and Nilsen singing about this guy who has his father, 357 00:20:52,160 --> 00:20:53,880 Speaker 1: who has a son, and then he walks right out 358 00:20:53,880 --> 00:20:55,960 Speaker 1: the door. The song grows up and he has his 359 00:20:56,000 --> 00:20:57,640 Speaker 1: own son, and then he does what his father did 360 00:20:57,640 --> 00:21:00,880 Speaker 1: and walks right out the door. It's this repeating right, 361 00:21:00,960 --> 00:21:05,040 Speaker 1: the circle unbroken, but the circle is dysfunction. I suppose 362 00:21:06,200 --> 00:21:09,560 Speaker 1: if you don't know this album, Pandemonium Shadow Show or 363 00:21:09,720 --> 00:21:13,359 Speaker 1: its follow up, Aerial Ballet, they are incredible. Aerial Ballet 364 00:21:13,480 --> 00:21:17,840 Speaker 1: features the classic song One, not the Three Dog Night version, 365 00:21:17,880 --> 00:21:22,159 Speaker 1: but the original haunting Harry Nielsen version also has his 366 00:21:23,000 --> 00:21:26,119 Speaker 1: incredible cover of Fred Neil's Everybody's talking on here. You 367 00:21:26,200 --> 00:21:28,040 Speaker 1: listen to these records, and you know why the Beatles 368 00:21:28,040 --> 00:21:30,159 Speaker 1: were so enamored with him. The guy could do anything, 369 00:21:30,200 --> 00:21:33,240 Speaker 1: His voice could sound like anything, so much creative freedom 370 00:21:33,560 --> 00:21:36,480 Speaker 1: and total lack of fear. Here all right, Saw number two. 371 00:21:36,480 --> 00:21:39,080 Speaker 1: Now that we kind of started a little light there, 372 00:21:39,119 --> 00:21:41,359 Speaker 1: we're gonna come raring out of the gate here. Saw 373 00:21:41,440 --> 00:21:46,479 Speaker 1: Number two is Serve the Servants by Nirvana. This, of course, 374 00:21:46,680 --> 00:21:50,360 Speaker 1: is from their third studio album, in Utero, which came 375 00:21:50,359 --> 00:21:52,439 Speaker 1: out in nineteen ninety three. Back when I was in 376 00:21:52,520 --> 00:21:55,040 Speaker 1: high school, I loved this when it came out. I 377 00:21:55,119 --> 00:21:58,160 Speaker 1: actually did not love Nevermind. When it first came out. 378 00:21:58,200 --> 00:22:02,280 Speaker 1: I was so anti We've all been there. I was 379 00:22:02,320 --> 00:22:05,000 Speaker 1: anti what was popular, right, and so it was so 380 00:22:05,119 --> 00:22:09,919 Speaker 1: popular that I just sort of deliberately ignored it and 381 00:22:09,960 --> 00:22:11,960 Speaker 1: did not pay attention to it. I love it now. 382 00:22:12,080 --> 00:22:15,240 Speaker 1: I think it's my favorite Nirvana thing now is never Mind. 383 00:22:15,359 --> 00:22:16,960 Speaker 1: I know that a lot of people say, oh, it's 384 00:22:16,960 --> 00:22:19,280 Speaker 1: too slick and it's too commercial and whatever. I think 385 00:22:19,280 --> 00:22:22,600 Speaker 1: it's a fucking brilliant record. But back in ninety three, 386 00:22:23,200 --> 00:22:26,720 Speaker 1: I was in Utero because it was so different from 387 00:22:26,720 --> 00:22:30,920 Speaker 1: never Mind. It was challenging. It basically took the sound 388 00:22:31,000 --> 00:22:34,159 Speaker 1: of that album of Nevermind and their fame and everything 389 00:22:34,200 --> 00:22:36,760 Speaker 1: and twisted it all up and threw it on its head. 390 00:22:37,280 --> 00:22:39,119 Speaker 1: And I was always taken by the lyric, and this 391 00:22:39,200 --> 00:22:42,920 Speaker 1: opening song served the servants the lyric. I tried hard 392 00:22:43,040 --> 00:22:45,840 Speaker 1: to have a father, but instead I had a dad. 393 00:22:46,520 --> 00:22:49,320 Speaker 1: Over the years, it's been said, including by Charles Cross, 394 00:22:49,359 --> 00:22:52,560 Speaker 1: who wrote the great book Heavier than Heaven about Kurt Cobain, 395 00:22:52,840 --> 00:22:55,080 Speaker 1: that that line and the follow up line, I just 396 00:22:55,119 --> 00:22:57,320 Speaker 1: want you to know that I don't hate you anymore 397 00:22:57,800 --> 00:23:01,160 Speaker 1: were aimed at Kurt's father. Kurt and his typically playful way, 398 00:23:01,280 --> 00:23:03,359 Speaker 1: once said that they were just words that fit well there. 399 00:23:03,400 --> 00:23:07,359 Speaker 1: But that line always struck me. You know, I wanted 400 00:23:07,359 --> 00:23:10,080 Speaker 1: to have a father, but instead I had a dad, which, honestly, 401 00:23:10,119 --> 00:23:12,400 Speaker 1: it seems like a dad is more of what you want, right, 402 00:23:12,480 --> 00:23:14,679 Speaker 1: Like a dad's more of like a person, and a 403 00:23:14,720 --> 00:23:17,320 Speaker 1: father is more of a figure. I don't know, I 404 00:23:17,359 --> 00:23:20,240 Speaker 1: guess it always struck me because it kind of confused 405 00:23:20,280 --> 00:23:22,639 Speaker 1: me a little bit, like like, I don't want my 406 00:23:22,680 --> 00:23:26,480 Speaker 1: kids calling me father so antiquated and formal, and it 407 00:23:26,520 --> 00:23:29,000 Speaker 1: reeks of discipline, so then why would it be having 408 00:23:29,080 --> 00:23:31,879 Speaker 1: a dad be a bad thing? Anyways, so much to 409 00:23:31,880 --> 00:23:34,080 Speaker 1: think about with this song. Serve the servants, You guys 410 00:23:34,160 --> 00:23:36,960 Speaker 1: know this one of the greatest opening chords of all time, 411 00:23:37,040 --> 00:23:40,400 Speaker 1: probably second to A Hard Day's Night track number three 412 00:23:40,440 --> 00:23:42,960 Speaker 1: here on our mixtape I'm Gonna go with this song 413 00:23:43,040 --> 00:23:47,120 Speaker 1: called Sins of the Father by the great, great great 414 00:23:47,320 --> 00:23:50,120 Speaker 1: Tom Waits. This is from his two thousand and four 415 00:23:50,200 --> 00:23:54,280 Speaker 1: album Real Gone. Playing on this track You've Got Percussion 416 00:23:54,320 --> 00:23:57,560 Speaker 1: by Brain. Brain was in this band Practice with Bill 417 00:23:57,640 --> 00:24:01,360 Speaker 1: aswell Bootsy Collins, Bucket Heead, and Bernie Worel. He's also 418 00:24:01,440 --> 00:24:04,800 Speaker 1: played with Primus and Guns N' Roses. The bass here 419 00:24:04,920 --> 00:24:08,199 Speaker 1: is by Larry Taylor, formerly of cant Heat, been a 420 00:24:08,240 --> 00:24:11,560 Speaker 1: longtime sideman for Tom Waits and also speaking of longtime 421 00:24:11,640 --> 00:24:17,560 Speaker 1: simon for Tom Waits, the inimitable in am I saying 422 00:24:17,600 --> 00:24:20,720 Speaker 1: that right, the inimitable. Yeah, you cannot imitate this guy. 423 00:24:20,920 --> 00:24:25,919 Speaker 1: No imitation, often imitated, never duplicated. There, that's this cheesy 424 00:24:25,960 --> 00:24:28,199 Speaker 1: fucking cliche I'm going for. Are you happy? Okay? I 425 00:24:28,200 --> 00:24:31,760 Speaker 1: got it? Mark Rebo the guitar player. This is a 426 00:24:31,840 --> 00:24:35,280 Speaker 1: ten minute plus epic song with the refrain I'm gonna 427 00:24:35,280 --> 00:24:37,280 Speaker 1: take the sins of my father. I'm gonna take the 428 00:24:37,320 --> 00:24:39,240 Speaker 1: sins of my mother. I'm gonna take the sins of 429 00:24:39,280 --> 00:24:42,400 Speaker 1: my brother down to the pond. And by the end 430 00:24:43,000 --> 00:24:46,560 Speaker 1: it's I'm gonna wash the sins of my father till 431 00:24:46,600 --> 00:24:50,439 Speaker 1: the water runs clear. So good. This has got a 432 00:24:50,480 --> 00:24:54,600 Speaker 1: trademark Cubis Blues guitar solo by Mark Rebo Cubist Blues. 433 00:24:54,640 --> 00:24:56,920 Speaker 1: Where did I get that from? Didn't Tom Waits say 434 00:24:56,960 --> 00:25:00,480 Speaker 1: that about Mark Reebo's playing? I cannot remember, But apologies 435 00:25:00,480 --> 00:25:03,240 Speaker 1: to whoever I stole that from, but it applies here. Okay, 436 00:25:03,280 --> 00:25:05,280 Speaker 1: this is a cubist blues song. If I've ever heard 437 00:25:05,320 --> 00:25:08,280 Speaker 1: one Tom Waits, I mean, what are you gonna say? 438 00:25:08,320 --> 00:25:10,600 Speaker 1: One of my all time favorites. I love all eras 439 00:25:10,640 --> 00:25:14,400 Speaker 1: of Tom. But that stretch in the eighties, you know, Swordfish, Trombones, 440 00:25:14,560 --> 00:25:18,000 Speaker 1: Rain Dogs, Frank's Wild Years, and then peaking in the 441 00:25:18,040 --> 00:25:21,560 Speaker 1: early nineties with bow Machine, My God, and then after 442 00:25:21,600 --> 00:25:24,760 Speaker 1: that brilliant run, he had this third period of reinvention. 443 00:25:25,200 --> 00:25:28,200 Speaker 1: He comes back in nineteen ninety nine with Mule variations. 444 00:25:28,600 --> 00:25:31,320 Speaker 1: Then he's got the Double Shot of Alice and Blood Money. 445 00:25:31,920 --> 00:25:34,080 Speaker 1: Two more records that are in that Frank's Wild Years 446 00:25:34,160 --> 00:25:37,400 Speaker 1: kind of like theatrical kind of mode and then Real Gone. 447 00:25:37,520 --> 00:25:41,359 Speaker 1: This dirty blues record, oddly enough inspired by hip hop, 448 00:25:41,400 --> 00:25:44,359 Speaker 1: which Tom was kind of getting into around this point, allegedly, 449 00:25:44,880 --> 00:25:48,200 Speaker 1: I'm guessing via his son Casey Waits, who makes music 450 00:25:48,240 --> 00:25:51,800 Speaker 1: as well and as an artist, and this song sends 451 00:25:51,800 --> 00:25:54,720 Speaker 1: in my Father. It's unlike any other Tom Waits song 452 00:25:54,760 --> 00:25:57,040 Speaker 1: because it's so long, and it reminds me of like 453 00:25:57,040 --> 00:25:59,920 Speaker 1: it's like a Bob Dylan Blonde on Blonde Epic or 454 00:26:00,280 --> 00:26:03,000 Speaker 1: you know, Blood on the Tracks Epic or Desire Epic. 455 00:26:03,240 --> 00:26:05,520 Speaker 1: Will take your pick from those records, but one of these, 456 00:26:05,600 --> 00:26:08,720 Speaker 1: one of those long Dylan songs, sins the Father, Tom 457 00:26:08,720 --> 00:26:11,760 Speaker 1: Waits great Ship. Next here on the mixtape, I'm going 458 00:26:11,800 --> 00:26:15,440 Speaker 1: to throw in this song Adam Raised a Cane by 459 00:26:15,640 --> 00:26:19,280 Speaker 1: Bruce Springsteen from nineteen seventy eighth album Darkness on the 460 00:26:19,359 --> 00:26:22,200 Speaker 1: Edge of Town. Now, you true Bruce heads out there 461 00:26:22,440 --> 00:26:25,600 Speaker 1: know that this one, Darkness on the Edge of Town, 462 00:26:25,680 --> 00:26:27,719 Speaker 1: this is the flip side of Born to Run. This 463 00:26:27,760 --> 00:26:31,520 Speaker 1: is the pessimistic answer to Born or Runs, rampant optimism. 464 00:26:31,880 --> 00:26:34,439 Speaker 1: This is well for me, at least, This is the 465 00:26:34,480 --> 00:26:37,120 Speaker 1: moment when I was like, oh, I get I get 466 00:26:37,160 --> 00:26:40,400 Speaker 1: Bruce now, and I was all in once I heard 467 00:26:40,400 --> 00:26:43,880 Speaker 1: this record bad Lands Racing in the Street, the Promised Land, 468 00:26:43,960 --> 00:26:47,119 Speaker 1: prove it all night, got the title track Darkness on 469 00:26:47,160 --> 00:26:51,399 Speaker 1: the Edge of Town for My Money, the most thrilling, loud, 470 00:26:51,480 --> 00:26:54,200 Speaker 1: quiet loud rock song. The dynamic shift when the band 471 00:26:54,240 --> 00:26:56,520 Speaker 1: comes in, you know, Max Weinberg is that huge snare 472 00:26:56,640 --> 00:26:59,560 Speaker 1: hit and Bruce is like, well, if she wants to 473 00:26:59,560 --> 00:27:02,080 Speaker 1: see me, teller that I'm easily found and all that 474 00:27:02,240 --> 00:27:05,919 Speaker 1: damn so good. But Adam raised a Cane is some 475 00:27:06,000 --> 00:27:08,400 Speaker 1: of the snarliest Bruce you're gonna get. It's a true 476 00:27:08,480 --> 00:27:12,000 Speaker 1: razor blade of a rock song and also another cool 477 00:27:12,000 --> 00:27:14,440 Speaker 1: moment for me, the moment I learned that Bruce Springsteen 478 00:27:14,480 --> 00:27:18,000 Speaker 1: can shred because that's the Boss tearing up his telecaster 479 00:27:18,160 --> 00:27:22,560 Speaker 1: on that lead guitar part. Who Baby play it for me? Boss? 480 00:27:22,560 --> 00:27:25,919 Speaker 1: All right? Next song gonna be on this mixtape is 481 00:27:26,280 --> 00:27:30,199 Speaker 1: The Temptations nineteen seventy two. Papa was a rolling Stone 482 00:27:30,600 --> 00:27:33,120 Speaker 1: with Dennis Edwards there in the mix, and I've got 483 00:27:33,160 --> 00:27:35,560 Speaker 1: to give it up again. I've talked about this before, 484 00:27:35,680 --> 00:27:37,520 Speaker 1: but again in case for the people in the back. 485 00:27:38,119 --> 00:27:42,440 Speaker 1: The long unedited version, the psychedelic soul version of this song. 486 00:27:42,520 --> 00:27:45,639 Speaker 1: It's a twelve minute version which just starts with a 487 00:27:45,680 --> 00:27:49,680 Speaker 1: little bit of high hacked in the bassline. Boom boom 488 00:27:49,760 --> 00:27:52,240 Speaker 1: boom boom boom boom boom, right, and you get the 489 00:27:52,280 --> 00:27:56,000 Speaker 1: wikiwa wah guitar and the strings and the handclaps. I 490 00:27:56,040 --> 00:27:58,600 Speaker 1: don't think it's a voice on this thing until like 491 00:27:58,680 --> 00:28:03,600 Speaker 1: minute four. It is glorious, okay, and then the commanding 492 00:28:03,680 --> 00:28:06,119 Speaker 1: voices of the Temptations come in. I got to give 493 00:28:06,160 --> 00:28:08,600 Speaker 1: a shout out real quick to George Michael's live version 494 00:28:08,640 --> 00:28:11,400 Speaker 1: of the song, which is smashed together with another song 495 00:28:11,440 --> 00:28:13,880 Speaker 1: called Killer. If you're gonna have someone cover your song 496 00:28:13,960 --> 00:28:16,679 Speaker 1: and do it justice, George Michael was the guy. And 497 00:28:16,720 --> 00:28:19,439 Speaker 1: for proof of that, just go to YouTube search George 498 00:28:19,480 --> 00:28:23,399 Speaker 1: Michael Somebody to Love. The rehearsal version, not the version 499 00:28:23,480 --> 00:28:26,639 Speaker 1: he performed at the Freddie Mercury Tribute, which is great, 500 00:28:27,119 --> 00:28:30,000 Speaker 1: but the rehearsal is a masterclass and the mastery of 501 00:28:30,080 --> 00:28:33,400 Speaker 1: the cover song. Okay, next song here on the mixtape. 502 00:28:33,480 --> 00:28:36,399 Speaker 1: Let's settle down here a little bit, go a little chill. 503 00:28:36,680 --> 00:28:40,280 Speaker 1: We're gonna go with old Man by Neil Young from 504 00:28:40,280 --> 00:28:43,840 Speaker 1: his classic nineteen seventy two album Harvest, recorded with the 505 00:28:43,840 --> 00:28:46,800 Speaker 1: guys that he called the Stray Gators. That's Ben Keith, 506 00:28:46,920 --> 00:28:51,440 Speaker 1: Jack Nietzschee, Tim Drummond and Kenny Butchery. This to me 507 00:28:51,480 --> 00:28:54,600 Speaker 1: has always been the song about inevitability, about how time 508 00:28:54,720 --> 00:28:58,000 Speaker 1: is not linear, that everything goes around and everything comes around. 509 00:28:58,160 --> 00:28:59,760 Speaker 1: You know, old man, take a look at my life 510 00:29:00,080 --> 00:29:03,680 Speaker 1: a lot like you. It's about what we see of 511 00:29:03,720 --> 00:29:06,400 Speaker 1: ourselves reflected in our own fathers. You know, the good, 512 00:29:06,440 --> 00:29:10,120 Speaker 1: the bad, And I'm not sure that there's another artist 513 00:29:10,160 --> 00:29:13,520 Speaker 1: out there like Neil who can do the acoustic things 514 00:29:13,600 --> 00:29:16,360 Speaker 1: so damn well and then turn around and crank up 515 00:29:16,360 --> 00:29:18,680 Speaker 1: his Marshall stack and play the loudest rock and roll 516 00:29:18,680 --> 00:29:22,000 Speaker 1: with Crazy Horse. You're usually a master of one or 517 00:29:22,040 --> 00:29:24,400 Speaker 1: the other, but Neil must be a wizard because he's 518 00:29:24,440 --> 00:29:28,520 Speaker 1: a master of both. Now it's your turn. What do 519 00:29:28,560 --> 00:29:31,200 Speaker 1: you think? What songs am I missing? Give me some 520 00:29:31,280 --> 00:29:34,880 Speaker 1: good father son songs, some bad dad songs, some bad 521 00:29:34,960 --> 00:29:38,560 Speaker 1: boys songs that we can get on this mixtape. Call 522 00:29:38,720 --> 00:29:40,760 Speaker 1: or text me at six one seven nine oh six 523 00:29:40,800 --> 00:29:44,480 Speaker 1: sixty six three eight. You can email me at disgracelampod 524 00:29:44,600 --> 00:29:47,440 Speaker 1: at gmail dot com, get at me on the socials 525 00:29:47,520 --> 00:29:50,720 Speaker 1: at disgrace lambpod, or if you're a member of All 526 00:29:50,760 --> 00:29:54,000 Speaker 1: Access over in Patreon, jump in that chat and let 527 00:29:54,040 --> 00:29:56,960 Speaker 1: me know. While you're doing that, I'm gonna take one 528 00:29:56,960 --> 00:29:59,320 Speaker 1: more break, but hang tight because I will be back 529 00:29:59,400 --> 00:30:13,680 Speaker 1: in a fla. All right, everybody, we are back here 530 00:30:13,840 --> 00:30:18,240 Speaker 1: in the screening room our weekly episode of the Hollywood 531 00:30:18,280 --> 00:30:20,400 Speaker 1: Land podcast where we talk about one movie we talked 532 00:30:20,400 --> 00:30:23,560 Speaker 1: about at close range today. Good stuff. Check it out. 533 00:30:23,640 --> 00:30:24,880 Speaker 1: Let me know if you've seen that and if you 534 00:30:24,920 --> 00:30:27,240 Speaker 1: dig it. If you don't dig it, something I want 535 00:30:27,280 --> 00:30:30,000 Speaker 1: to remind you guys about, or maybe let you know 536 00:30:30,080 --> 00:30:33,240 Speaker 1: for the first time if you haven't heard, is I'm 537 00:30:33,400 --> 00:30:38,520 Speaker 1: wicked stoked about this video podcast that Jake Brennan and I. Jake, 538 00:30:38,560 --> 00:30:41,600 Speaker 1: of course the host of the scripted episodes of Hollywood 539 00:30:41,640 --> 00:30:44,280 Speaker 1: Land that you hear here and also the host of 540 00:30:44,440 --> 00:30:47,480 Speaker 1: the music and true crime podcast Disgrace Land. But Jake 541 00:30:47,520 --> 00:30:50,720 Speaker 1: and I have this new video podcast called this Film 542 00:30:50,880 --> 00:30:53,720 Speaker 1: Should be Played Loud and yes, we got that title 543 00:30:53,760 --> 00:30:56,120 Speaker 1: from the title card that you see at the beginning 544 00:30:56,160 --> 00:30:59,680 Speaker 1: of the Last Waltz movie. This film should be Play 545 00:30:59,760 --> 00:31:05,120 Speaker 1: Loud is me and Jake having a conversation about the 546 00:31:05,160 --> 00:31:08,320 Speaker 1: greatest music of the greatest movies of all times. So 547 00:31:09,480 --> 00:31:12,400 Speaker 1: we look at a different movie every episode. Episodes come 548 00:31:12,400 --> 00:31:15,760 Speaker 1: out monthly. We look at the movies through the music, 549 00:31:16,200 --> 00:31:19,480 Speaker 1: whether it's you know, needle drops or you know soundtracks, 550 00:31:19,520 --> 00:31:23,040 Speaker 1: whether it's scores. We just love it all the ways 551 00:31:23,040 --> 00:31:26,520 Speaker 1: in which you never really heard a song for the 552 00:31:26,560 --> 00:31:28,800 Speaker 1: first time until you heard it and saw it in 553 00:31:28,840 --> 00:31:31,760 Speaker 1: the scene in a movie. Right, Maybe maybe a needle 554 00:31:31,800 --> 00:31:34,440 Speaker 1: drop in a movie that made you completely change your 555 00:31:34,480 --> 00:31:36,600 Speaker 1: mind about how you how you looked at a certain song, 556 00:31:37,080 --> 00:31:39,680 Speaker 1: or maybe it's a score that sent chills up your 557 00:31:39,720 --> 00:31:43,200 Speaker 1: spine and just really magnified what you were seeing on 558 00:31:43,240 --> 00:31:45,680 Speaker 1: the screen. We've all had these moments, I mean for 559 00:31:45,760 --> 00:31:47,440 Speaker 1: me and for Jake I can speak for him. I 560 00:31:47,720 --> 00:31:51,800 Speaker 1: believe some of my favorite moments in movies involve music, 561 00:31:52,440 --> 00:31:55,320 Speaker 1: and the music has a way of heightening that experience. 562 00:31:55,360 --> 00:31:57,920 Speaker 1: And that's what this this video podcast is all about. 563 00:31:58,440 --> 00:32:00,840 Speaker 1: The thing is, you can only get it on on Patreon. 564 00:32:00,880 --> 00:32:04,040 Speaker 1: It's in our all access over on Patreon and to 565 00:32:04,280 --> 00:32:08,320 Speaker 1: join if you just go to disgracelandpod dot com. Our 566 00:32:08,360 --> 00:32:11,880 Speaker 1: website there, there's more information, there's links to join there. 567 00:32:12,560 --> 00:32:16,120 Speaker 1: Right now, we are running a special. So here's the deal. 568 00:32:16,560 --> 00:32:18,560 Speaker 1: Over in Patreon there there are a couple of tiers, 569 00:32:18,840 --> 00:32:21,440 Speaker 1: and there's basically like an audio tier and a video tier. 570 00:32:21,680 --> 00:32:24,560 Speaker 1: There's a tier five dollars a month that gets you 571 00:32:24,600 --> 00:32:27,840 Speaker 1: like ad free listening of all Disgraceland episodes, all hollywood 572 00:32:27,880 --> 00:32:30,440 Speaker 1: Land episodes, gets you some bonus content as well, and 573 00:32:30,480 --> 00:32:33,440 Speaker 1: then there's a ten dollars a month video tier. Basically 574 00:32:33,480 --> 00:32:35,520 Speaker 1: it gets you all that audio stuff, but then you 575 00:32:35,600 --> 00:32:39,480 Speaker 1: also get lots of video content, including this monthly this 576 00:32:39,600 --> 00:32:42,080 Speaker 1: film should be played loud podcast, which, by the way, 577 00:32:43,120 --> 00:32:45,640 Speaker 1: it ain't shabby. Okay. These have been running about an 578 00:32:45,640 --> 00:32:48,240 Speaker 1: hour each. Jake and I go deep on these, and 579 00:32:48,280 --> 00:32:50,120 Speaker 1: there are lots of fun. We're doing lots of stuff 580 00:32:50,160 --> 00:32:53,080 Speaker 1: here in Patreon that we're not doing anywhere else involving 581 00:32:53,280 --> 00:32:56,240 Speaker 1: video and audio, and I just know you guys are 582 00:32:56,240 --> 00:32:58,720 Speaker 1: gonna love it. So listen. Maybe you're a free member 583 00:32:59,040 --> 00:33:01,240 Speaker 1: over in All Acts and you're just kind of hanging 584 00:33:01,280 --> 00:33:04,080 Speaker 1: on the sidelines. Maybe you're a one dollar member. That's 585 00:33:04,120 --> 00:33:07,040 Speaker 1: the Talking Heads tier that gets you into the always 586 00:33:07,080 --> 00:33:09,960 Speaker 1: on chat over there. Maybe you're a five dollar rock 587 00:33:09,960 --> 00:33:12,440 Speaker 1: a rolla monthly member. But to watch this film should 588 00:33:12,440 --> 00:33:14,680 Speaker 1: be played loud, you've got to be a member of 589 00:33:14,720 --> 00:33:17,720 Speaker 1: the Sound and Fury tier, which is ten bucks a month, 590 00:33:17,840 --> 00:33:21,520 Speaker 1: or if you subscribe now in the next I think 591 00:33:21,600 --> 00:33:24,560 Speaker 1: the next month. We just started this promotion. It's going 592 00:33:24,600 --> 00:33:27,400 Speaker 1: to go on for a month. If you subscribe now 593 00:33:27,440 --> 00:33:29,280 Speaker 1: and you're not currently a member of Sound and Fury 594 00:33:29,320 --> 00:33:31,680 Speaker 1: and you become one. If you're signing up for a 595 00:33:31,720 --> 00:33:34,080 Speaker 1: monthly membership, you can save twenty percent off your first month, 596 00:33:34,240 --> 00:33:36,240 Speaker 1: or if you sign up for an annual membership, you 597 00:33:36,280 --> 00:33:39,640 Speaker 1: can save twenty percent off that annual membership. And listen. 598 00:33:40,240 --> 00:33:43,000 Speaker 1: Next week. A week from today, we're releasing a new 599 00:33:43,040 --> 00:33:46,240 Speaker 1: episode of this film Should be Played Loud, and it's 600 00:33:46,280 --> 00:33:49,640 Speaker 1: about the film Boogie Nights, the nineteen ninety seven Paul 601 00:33:49,680 --> 00:33:52,400 Speaker 1: Thomas Anderson film. I know at some point here in 602 00:33:52,480 --> 00:33:54,560 Speaker 1: the pod I mentioned that we were going to do 603 00:33:54,600 --> 00:33:57,480 Speaker 1: Marty Supreme, and that was our intention, and then the 604 00:33:57,720 --> 00:34:00,000 Speaker 1: universe conspired against that happening. I'm not going to go 605 00:34:00,080 --> 00:34:02,959 Speaker 1: the details here because it's boring. Suffice to say we 606 00:34:03,000 --> 00:34:04,479 Speaker 1: will get to that at some point, but we were 607 00:34:04,480 --> 00:34:07,040 Speaker 1: thinking all right, well, it's you know, Oscars are coming up. 608 00:34:07,240 --> 00:34:08,640 Speaker 1: What else can we get into? And you know, it 609 00:34:08,640 --> 00:34:10,960 Speaker 1: looks like Paul Thomas Anderson is a favorite for winning 610 00:34:11,040 --> 00:34:13,880 Speaker 1: Best Director of this Year at the Oscars. He's definitely 611 00:34:13,920 --> 00:34:16,759 Speaker 1: in the running. Obviously he's nominated, and many think that 612 00:34:16,840 --> 00:34:19,160 Speaker 1: this is finally his time he is due. What's kind 613 00:34:19,160 --> 00:34:23,080 Speaker 1: of like Scarsesey and The Departed, Right, we thought, oh, 614 00:34:23,160 --> 00:34:26,239 Speaker 1: let's do a pta movie. And you know, Boogie Knights 615 00:34:26,239 --> 00:34:29,240 Speaker 1: has got It's got like forty songs in the movie Crazy, 616 00:34:29,440 --> 00:34:33,040 Speaker 1: there's always music happening. It's basically as we talk about 617 00:34:33,080 --> 00:34:35,759 Speaker 1: in the episode, it's basically the the helicopter scene of 618 00:34:35,800 --> 00:34:39,239 Speaker 1: Goodfellas stretched out over two and a half hours. So 619 00:34:39,800 --> 00:34:42,719 Speaker 1: all that said, disgrace lampod dot com to sign up 620 00:34:42,760 --> 00:34:46,040 Speaker 1: for Patreon All Access and watch this film should be 621 00:34:46,080 --> 00:34:49,640 Speaker 1: played loud okay now. Next week on Monday, we're wrapping 622 00:34:49,719 --> 00:34:53,400 Speaker 1: up Awards Season month here in Hollywoodland with our fully 623 00:34:53,440 --> 00:34:56,960 Speaker 1: scripted sound design episode from the archive on the Misfits. 624 00:34:57,360 --> 00:35:00,520 Speaker 1: This is the movie from nineteen sixty one, the band 625 00:35:00,560 --> 00:35:03,040 Speaker 1: fronted by Glenn Danzig. Although they did take their name 626 00:35:03,080 --> 00:35:06,160 Speaker 1: from this movie, this was the last film that Marilyn 627 00:35:06,280 --> 00:35:09,680 Speaker 1: Monroe and Clark Gable completed before they both died. Co 628 00:35:09,800 --> 00:35:13,800 Speaker 1: starred Montgomery Clift, directed by John Houston. Clark Gable and 629 00:35:13,880 --> 00:35:18,399 Speaker 1: John Houston both Academy Award winners. Montgomery Clift was nominated. Now, 630 00:35:18,400 --> 00:35:21,080 Speaker 1: as we get into this episode, as you'll hear, there's 631 00:35:21,120 --> 00:35:23,600 Speaker 1: a lot of talk around how The Misfits the movie 632 00:35:23,680 --> 00:35:27,439 Speaker 1: was a cursed movie. Some alleged that Marilyn Monroe drove 633 00:35:27,480 --> 00:35:30,400 Speaker 1: Clark Gable to an early grave, The film's budget was 634 00:35:30,440 --> 00:35:33,719 Speaker 1: gambled away. At one point, the director infamously had his 635 00:35:33,800 --> 00:35:36,759 Speaker 1: lead actress committed during production. I could go on and on, 636 00:35:37,280 --> 00:35:39,520 Speaker 1: but it got me thinking about next week's question of 637 00:35:39,560 --> 00:35:41,960 Speaker 1: the week when we do this Misfits episode, What is 638 00:35:42,000 --> 00:35:44,680 Speaker 1: the most cursed film of all time? Or what's the 639 00:35:44,680 --> 00:35:48,120 Speaker 1: greatest story you've heard about a cursed film set? What 640 00:35:48,200 --> 00:35:50,319 Speaker 1: have you heard? What have you got? Gimme a holler, 641 00:35:50,480 --> 00:35:53,040 Speaker 1: let me know six one seven nine oh six six 642 00:35:53,200 --> 00:35:56,240 Speaker 1: six three eight. Maybe I'll play your voicemail or read 643 00:35:56,280 --> 00:36:00,560 Speaker 1: your text next week in the Rap Party. Okay, until then, 644 00:36:00,640 --> 00:36:03,960 Speaker 1: I'm going to leave you with this. Here's what America 645 00:36:04,000 --> 00:36:07,160 Speaker 1: was watching at the movies in April nineteen eighty six, 646 00:36:07,600 --> 00:36:13,360 Speaker 1: the month The At Close Range was released. Number one 647 00:36:13,400 --> 00:36:19,360 Speaker 1: Critters directed by Stephen Herrick. Number two Wise Guys directed 648 00:36:19,400 --> 00:36:24,760 Speaker 1: by Brian de Palma. Number three Pow The Escape directed 649 00:36:24,760 --> 00:36:29,640 Speaker 1: by Gideon's Emir. Number four At Close Range Number directed 650 00:36:29,640 --> 00:36:33,120 Speaker 1: by James Bowles. Range number five, three Men and a 651 00:36:33,160 --> 00:36:38,520 Speaker 1: Creative directed by Colin Sero. Number six, eight Million Ways 652 00:36:38,520 --> 00:36:43,080 Speaker 1: to Die directed by hal Ash direct Number seven Water 653 00:36:43,600 --> 00:36:48,680 Speaker 1: directed by Clemmer, Quit Talking and