1 00:00:01,000 --> 00:00:03,880 Speaker 1: Dear listeners of hollywood Land, does it feel like you're 2 00:00:03,880 --> 00:00:07,120 Speaker 1: stuck in limbo? Standing under a flickering street light at 3 00:00:07,160 --> 00:00:09,880 Speaker 1: the corner of Hollywood and True Crime, waiting for the 4 00:00:09,920 --> 00:00:11,639 Speaker 1: next episode of hollywood Land to drop. 5 00:00:12,680 --> 00:00:16,080 Speaker 2: I got you. Welcome to hollywood Land, the Rap Party. 6 00:00:29,320 --> 00:00:31,880 Speaker 1: What is going on? My good people of Hollywood Land. 7 00:00:31,880 --> 00:00:34,519 Speaker 1: We are back at it once again, back in the saddle, 8 00:00:34,720 --> 00:00:37,280 Speaker 1: back in this thing we call the Rap Party. This 9 00:00:37,360 --> 00:00:39,199 Speaker 1: is the show that gets you from one full episode 10 00:00:39,280 --> 00:00:42,200 Speaker 1: of hollywood Land to the next. The place for obsessives 11 00:00:42,280 --> 00:00:45,040 Speaker 1: just like you, the movie geeks, the true crime freaks, 12 00:00:45,159 --> 00:00:47,360 Speaker 1: the ones who liked our movie history with a side 13 00:00:47,400 --> 00:00:49,960 Speaker 1: of grit and rock. My name is Zeth Lundy, writer, 14 00:00:50,040 --> 00:00:53,160 Speaker 1: a double Elvis showrunner for hollywood Land, the sister show 15 00:00:53,200 --> 00:00:56,600 Speaker 1: to Disgrace Land, the og Music and True Crime Pod. 16 00:00:57,120 --> 00:00:59,560 Speaker 1: And on this bonus episode of hollywood Land, we are 17 00:00:59,640 --> 00:01:03,560 Speaker 1: talking about Thanksgiving. We are talking about this week's full 18 00:01:03,640 --> 00:01:07,480 Speaker 1: episode subject Hugh Grant. We're previewing next week's episode on 19 00:01:07,520 --> 00:01:11,720 Speaker 1: Benedict Cumberbatch. We're talking movie music recommendations, and of course 20 00:01:11,959 --> 00:01:14,240 Speaker 1: we're going to check out your voicemails, your text dms, 21 00:01:14,280 --> 00:01:28,240 Speaker 1: and more so come on, everybody, let's party. 22 00:01:30,200 --> 00:01:31,800 Speaker 2: Happy Thanksgiving Eve. 23 00:01:31,959 --> 00:01:34,240 Speaker 1: To all of you out there in Hollywood Land, whether 24 00:01:34,400 --> 00:01:39,480 Speaker 1: you are actually literally in Hollywood, California, or maybe Hollywood, Florida, 25 00:01:39,840 --> 00:01:43,800 Speaker 1: perhaps you're in Hollywood, Alabama, Hollywood, Maryland, one of the 26 00:01:43,880 --> 00:01:47,920 Speaker 1: Hollywood parks in Texas, or Illinois, or you're just maybe 27 00:01:47,960 --> 00:01:50,720 Speaker 1: in that Hollywood Land state of mind as most of 28 00:01:50,800 --> 00:01:53,520 Speaker 1: us here are. I hope you have some plans to 29 00:01:53,600 --> 00:01:56,280 Speaker 1: kick back this week, eat a little too much. If 30 00:01:56,280 --> 00:01:59,240 Speaker 1: you're traveling, I hope it's not too far or too arduous, 31 00:01:59,360 --> 00:02:01,920 Speaker 1: And if you're connecting with family, I hope the drama 32 00:02:02,000 --> 00:02:05,280 Speaker 1: is largely absent or at least very subdued. And then 33 00:02:05,320 --> 00:02:07,240 Speaker 1: to all of you listening and parts of the world 34 00:02:07,280 --> 00:02:09,760 Speaker 1: that are not America, perhaps you aren't doing the whole 35 00:02:09,919 --> 00:02:12,880 Speaker 1: Thanksgiving thing. I'm still thinking of you. Still hope you're 36 00:02:12,880 --> 00:02:16,360 Speaker 1: week involves more food and less drama. And as always, 37 00:02:16,480 --> 00:02:20,320 Speaker 1: I'm thankful You've got us in your ears again today. 38 00:02:21,080 --> 00:02:23,919 Speaker 1: Speaking of being thankful, I want to get into something 39 00:02:23,919 --> 00:02:26,560 Speaker 1: today that I feel is a perennial movie question that 40 00:02:26,600 --> 00:02:30,040 Speaker 1: I find myself asking every year around this time, and 41 00:02:30,080 --> 00:02:33,840 Speaker 1: that is, why do we not have more Thanksgiving movies, 42 00:02:34,280 --> 00:02:37,400 Speaker 1: and what I mean by that are movies set at 43 00:02:37,440 --> 00:02:42,640 Speaker 1: Thanksgiving that are Capital C classics. Sure, we've got The 44 00:02:42,680 --> 00:02:45,560 Speaker 1: Big Chill, the Lawrence Casin film from nineteen eighty three 45 00:02:45,880 --> 00:02:48,760 Speaker 1: with Glenn Close and Kevin Klein and William Hurt, and 46 00:02:48,800 --> 00:02:52,040 Speaker 1: that iconic soundtrack of Boomer, Soul and Rock, which takes 47 00:02:52,040 --> 00:02:56,000 Speaker 1: place over the Thanksgiving weekend. There's also Nobody's Fool from 48 00:02:56,080 --> 00:02:59,720 Speaker 1: nineteen ninety four, the Robert Benton directed adaptation of the 49 00:02:59,800 --> 00:03:03,239 Speaker 1: Rich Russo novel starring Paul Newman, which takes place partly 50 00:03:03,280 --> 00:03:07,000 Speaker 1: at Thanksgiving. There's Woody Allen's nineteen eighty six classic Hannah 51 00:03:07,080 --> 00:03:10,519 Speaker 1: and her Sisters with Mia Farrow, Barbara Hersy, Michael Kaine 52 00:03:10,800 --> 00:03:14,720 Speaker 1: in which features Thanksgiving in that one. There's also Anne 53 00:03:14,800 --> 00:03:18,440 Speaker 1: Lee's nineteen ninety seven low key masterpiece The Ice Storm, 54 00:03:18,680 --> 00:03:21,360 Speaker 1: another one with Kevin Klein but also with Joan Allen, 55 00:03:21,639 --> 00:03:24,320 Speaker 1: based on the novel by Rick Moody, and incidentally, I 56 00:03:24,320 --> 00:03:26,320 Speaker 1: think was the first time I became aware of the 57 00:03:26,400 --> 00:03:29,919 Speaker 1: so called key party phenomenon of the seventies. And there 58 00:03:29,919 --> 00:03:33,119 Speaker 1: are so many other examples, everything from Eli Roth's twenty 59 00:03:33,200 --> 00:03:36,640 Speaker 1: twenty three slasher Thanksgiving all the way down to Charlie 60 00:03:36,680 --> 00:03:39,320 Speaker 1: Brown Thanksgiving, which is not a movie. So I'm not 61 00:03:39,320 --> 00:03:40,680 Speaker 1: sure why I'm even mentioning it. 62 00:03:40,720 --> 00:03:41,960 Speaker 2: Well, no, actually I do. 63 00:03:42,160 --> 00:03:44,640 Speaker 1: I do know why I'm mentioning it, and it's because, 64 00:03:44,840 --> 00:03:47,200 Speaker 1: to go back to my original question here, there is 65 00:03:47,240 --> 00:03:50,760 Speaker 1: such an absence of classic Thanksgiving movies that when we 66 00:03:50,840 --> 00:03:54,720 Speaker 1: talk about these things, naturally we start grasping for thirty 67 00:03:54,760 --> 00:03:58,560 Speaker 1: minute animated TV specials as well in order to round 68 00:03:58,560 --> 00:04:02,680 Speaker 1: out and otherwise unsatisfying list. Now, I'm not saying that 69 00:04:02,840 --> 00:04:05,840 Speaker 1: any of those movies I mentioned are not great, because 70 00:04:05,840 --> 00:04:08,440 Speaker 1: some of them are. But none of these movies are 71 00:04:08,480 --> 00:04:12,320 Speaker 1: defined by Thanksgiving. They just so happen to have Thanksgiving 72 00:04:12,400 --> 00:04:15,480 Speaker 1: in the background, like Christmas is in the background during 73 00:04:15,480 --> 00:04:19,520 Speaker 1: that one scene in Goodfellas. Sidebar, all apologies to my 74 00:04:19,600 --> 00:04:22,800 Speaker 1: creative co pilot here, Jake Brennan, who insists that Goodfellas 75 00:04:22,920 --> 00:04:26,240 Speaker 1: is a Christmas movie. But sorry, brother, not buying that one. 76 00:04:27,360 --> 00:04:30,960 Speaker 1: On the other hand, Halloween gets an entire month devoted 77 00:04:31,000 --> 00:04:34,000 Speaker 1: to films that aren't even about Halloween the day, the 78 00:04:34,080 --> 00:04:37,159 Speaker 1: quote unquote holiday, but are just about the vibe, you know, 79 00:04:37,320 --> 00:04:40,359 Speaker 1: spooky season and all that. Most movies we associate with 80 00:04:40,400 --> 00:04:44,200 Speaker 1: Halloween technically have nothing to do with Halloween. They're just scary. 81 00:04:44,440 --> 00:04:46,720 Speaker 1: If your film's got jump scares in it, boom, it's 82 00:04:46,720 --> 00:04:49,839 Speaker 1: a Halloween movie. And then, of course Christmas has got 83 00:04:49,839 --> 00:04:53,360 Speaker 1: the stone cold classics on lock, Christmas has got It's 84 00:04:53,360 --> 00:04:58,479 Speaker 1: a Wonderful Life, Elf, a Christmas Story, Christmas Vacation, Home Alone, 85 00:04:58,560 --> 00:05:02,239 Speaker 1: Home Alone too, go on thirty fourth Street, the original one, guys, 86 00:05:02,279 --> 00:05:05,320 Speaker 1: not the cheesy remake a Christmas Carol, and shit, man, 87 00:05:05,360 --> 00:05:08,880 Speaker 1: there's even die Hard. But what do we have for Thanksgiving? 88 00:05:09,000 --> 00:05:12,000 Speaker 1: What do we have for perennial viewings that gets us 89 00:05:12,120 --> 00:05:15,720 Speaker 1: in the holiday mood? Well, I would argue we have 90 00:05:16,000 --> 00:05:19,360 Speaker 1: three entries in the Thanksgiving Hall of Fame. Let's call 91 00:05:19,440 --> 00:05:23,400 Speaker 1: it the Holy Trinity of Thanksgiving Cinema. All right, three 92 00:05:23,480 --> 00:05:26,000 Speaker 1: films that represent the thing that I'm saying we are 93 00:05:26,080 --> 00:05:28,920 Speaker 1: lacking out there for options this time of year, and 94 00:05:28,960 --> 00:05:30,919 Speaker 1: that scratch that Thanksgiving itch. 95 00:05:31,400 --> 00:05:32,560 Speaker 2: And if these are. 96 00:05:32,520 --> 00:05:34,640 Speaker 1: Obvious choices, if you're about to roll your eyes and 97 00:05:34,680 --> 00:05:37,320 Speaker 1: be all like dough Lundie league, we know it just 98 00:05:37,360 --> 00:05:40,040 Speaker 1: goes to prove my point here that we have a 99 00:05:40,080 --> 00:05:43,600 Speaker 1: shortage of such options. Okay, here we go. The Holy 100 00:05:43,680 --> 00:05:46,359 Speaker 1: Trinity Number one for the music heads, and I know 101 00:05:46,440 --> 00:05:49,479 Speaker 1: many of you are. The Last Waltz, the nineteen seventy 102 00:05:49,520 --> 00:05:52,840 Speaker 1: eight film by Martin Scorsese, which documents the final performance 103 00:05:52,880 --> 00:05:56,200 Speaker 1: of the band from two years prior on Thanksgiving Day, 104 00:05:56,320 --> 00:06:00,640 Speaker 1: nineteen seventy six. Now I enjoy a solid movie tradition. 105 00:06:00,760 --> 00:06:03,200 Speaker 1: We have a number of these at my house, including 106 00:06:03,880 --> 00:06:07,159 Speaker 1: but not limited to Richard Linklater's Dazed and Confused, which 107 00:06:07,160 --> 00:06:09,320 Speaker 1: we always watched in the last day of school. And 108 00:06:09,520 --> 00:06:11,919 Speaker 1: this is no exception. But there's a caveat here. Okay, 109 00:06:12,480 --> 00:06:14,680 Speaker 1: The Last Waltz. You can't watch this during the day 110 00:06:14,720 --> 00:06:17,840 Speaker 1: on Thanksgiving. You can't watch this on Thanksgiving Eve. I 111 00:06:17,880 --> 00:06:20,360 Speaker 1: guess you could, but it's cheating a little bit. This 112 00:06:20,440 --> 00:06:23,520 Speaker 1: is the film you watch after the festivities have ended, 113 00:06:23,600 --> 00:06:27,640 Speaker 1: after the big meal, after dessert, after whatever heated discussions 114 00:06:27,640 --> 00:06:30,400 Speaker 1: you had with family members earlier that day, or maybe 115 00:06:30,440 --> 00:06:32,880 Speaker 1: you had company and they just left, or maybe you 116 00:06:32,920 --> 00:06:35,119 Speaker 1: were a visitor somewhere else and you just got home. 117 00:06:35,880 --> 00:06:38,520 Speaker 1: It's getting late, it's getting dark. You've got a glass 118 00:06:38,520 --> 00:06:40,720 Speaker 1: of something warm in your hands, and you just gonna 119 00:06:40,800 --> 00:06:43,200 Speaker 1: let lev On and the Boys remind you that you 120 00:06:43,240 --> 00:06:46,000 Speaker 1: are thankful for the gift of music. You're thankful for 121 00:06:46,040 --> 00:06:47,640 Speaker 1: the sound their voices make. 122 00:06:47,680 --> 00:06:49,960 Speaker 2: Together. They're like a pack of stray. 123 00:06:49,680 --> 00:06:53,760 Speaker 1: Dogs, all hallowing at the moon and their beautifully ragged cadence, 124 00:06:54,320 --> 00:06:57,000 Speaker 1: and the string of supporting players just runs the gamut 125 00:06:57,040 --> 00:07:00,200 Speaker 1: of emotions that you've probably experienced earlier in that day. 126 00:07:00,400 --> 00:07:04,000 Speaker 1: You've got Ronnie Hawkins as the totally unhinged drunk uncle. 127 00:07:04,600 --> 00:07:07,560 Speaker 1: You've got Van Morrison as the cousin who thinks he 128 00:07:07,600 --> 00:07:10,800 Speaker 1: can dance. You've got Neil Young as your brother's friend 129 00:07:10,800 --> 00:07:13,200 Speaker 1: from college who snuck off into the bathroom to you know, 130 00:07:13,320 --> 00:07:16,520 Speaker 1: powder is nose. It's all here, all shades of the 131 00:07:16,600 --> 00:07:22,000 Speaker 1: human experience, love, hate, triumph, defeat, and ultimately thanks. Also, 132 00:07:22,040 --> 00:07:24,360 Speaker 1: it kind of goes without saying. But if you want 133 00:07:24,400 --> 00:07:27,120 Speaker 1: to hear more about this film, more about the band, 134 00:07:27,200 --> 00:07:30,120 Speaker 1: more about Scorsese, the making of this movie, how it 135 00:07:30,160 --> 00:07:34,800 Speaker 1: nearly killed its director, and I mean that, make sure 136 00:07:34,840 --> 00:07:37,680 Speaker 1: you check out this week's Disgraceland episode over in the 137 00:07:37,720 --> 00:07:40,520 Speaker 1: Disgraceland feed, And if you're a member of All Access, 138 00:07:40,600 --> 00:07:43,120 Speaker 1: you also get a brand new mini episode that delves 139 00:07:43,160 --> 00:07:46,280 Speaker 1: into the making of the band and Bob Dylan's basement 140 00:07:46,320 --> 00:07:49,560 Speaker 1: tapes and how those actually inspired the first true rock 141 00:07:49,600 --> 00:07:53,640 Speaker 1: and roll bootleg and then tomorrow again for all Access members. 142 00:07:53,680 --> 00:07:57,320 Speaker 1: In the exclusive portion of the Disgraceland after party, Jake 143 00:07:57,360 --> 00:07:59,480 Speaker 1: and I are talking about not just the Last Walls, 144 00:07:59,520 --> 00:08:01,920 Speaker 1: but about the greatest concert films of all time. 145 00:08:02,040 --> 00:08:03,520 Speaker 2: So check that out. 146 00:08:03,560 --> 00:08:06,800 Speaker 1: Okay, back to our regular scheduled pro raming over here. 147 00:08:07,120 --> 00:08:11,000 Speaker 1: Last Waltz was number one, Number two. Home for the Holidays. 148 00:08:11,080 --> 00:08:13,760 Speaker 1: This is a nineteen ninety five film directed by Jodi Foster. 149 00:08:14,240 --> 00:08:16,920 Speaker 1: This was the second film she directed after Little Man. 150 00:08:16,960 --> 00:08:20,000 Speaker 1: Tate stars the Great Holly Hunter as a single mom 151 00:08:20,240 --> 00:08:22,480 Speaker 1: who's just been fired from her job and she goes 152 00:08:22,520 --> 00:08:26,760 Speaker 1: home for a dysfunctional family Thanksgiving with her parents played 153 00:08:26,760 --> 00:08:30,920 Speaker 1: by Anne Bancroft and Charles Derning. What a great this film. 154 00:08:30,960 --> 00:08:32,920 Speaker 1: The cast in this film is just out of this world. 155 00:08:33,559 --> 00:08:36,760 Speaker 1: Her brother shows up, played by Robert Downey Junior in 156 00:08:36,760 --> 00:08:40,120 Speaker 1: one of his most underrated performances. This is made during 157 00:08:40,160 --> 00:08:42,120 Speaker 1: the peak, or I guess one of the peaks of 158 00:08:42,160 --> 00:08:44,319 Speaker 1: his drug addiction. I think it was the last movie 159 00:08:44,400 --> 00:08:46,800 Speaker 1: or just one of the last movies that came out 160 00:08:46,840 --> 00:08:48,880 Speaker 1: before he went into rehab and then had a string 161 00:08:48,920 --> 00:08:51,200 Speaker 1: of arrests, including that one where he wound up in 162 00:08:51,200 --> 00:08:54,280 Speaker 1: a bed inside a neighbors home. I say this because 163 00:08:54,520 --> 00:08:57,960 Speaker 1: there's this wild card unpredictability to his performance in this 164 00:08:58,000 --> 00:08:59,960 Speaker 1: film that was kind of part of his whole persona 165 00:09:00,080 --> 00:09:01,960 Speaker 1: at the time. He's still the same guy now, he 166 00:09:02,000 --> 00:09:05,319 Speaker 1: still has that same trademark gen x affect and humor. 167 00:09:05,360 --> 00:09:09,320 Speaker 1: But there's something untamed about this role here in Home 168 00:09:09,360 --> 00:09:11,800 Speaker 1: for the Holidays that really helps sell the dysfunction at 169 00:09:11,800 --> 00:09:13,679 Speaker 1: the core of this film. And to be honest, it's 170 00:09:13,720 --> 00:09:15,040 Speaker 1: a dysfunction that I think we can. 171 00:09:15,000 --> 00:09:15,680 Speaker 2: All relate to. 172 00:09:15,920 --> 00:09:18,160 Speaker 1: Okay, I've tried to get in the car driven by 173 00:09:18,160 --> 00:09:20,960 Speaker 1: this guy before when he's all apologetic and trying to 174 00:09:21,000 --> 00:09:23,520 Speaker 1: mind fences, only for him to peel off when I 175 00:09:23,559 --> 00:09:25,760 Speaker 1: try to open the door handle. You know that guy. 176 00:09:26,559 --> 00:09:29,520 Speaker 1: But this is the kind of movie they don't make 177 00:09:29,559 --> 00:09:31,400 Speaker 1: it anymore. And I don't want to sound like an 178 00:09:31,400 --> 00:09:35,160 Speaker 1: old person saying that, but you know, it's small, it's tight, 179 00:09:35,280 --> 00:09:38,000 Speaker 1: it's slice of life. It doesn't come locked and loaded 180 00:09:38,240 --> 00:09:42,160 Speaker 1: with morals or lessons or schmaltz. It just is and 181 00:09:42,360 --> 00:09:44,360 Speaker 1: as crazy as it can get, it's kind of my 182 00:09:44,400 --> 00:09:47,160 Speaker 1: comfort food for this time of year. Okay, and then 183 00:09:47,280 --> 00:09:50,640 Speaker 1: number three here in this holy trinity. Earlier I was 184 00:09:50,679 --> 00:09:54,680 Speaker 1: complaining that Thanksgiving doesn't have a version of It's a 185 00:09:54,679 --> 00:09:55,319 Speaker 1: Wonderful life. 186 00:09:55,400 --> 00:09:58,319 Speaker 2: But this might be as close as we're going to get. 187 00:09:58,360 --> 00:10:02,079 Speaker 1: Okay, I'm talking about lanes, trains, and automobiles, the nineteen 188 00:10:02,120 --> 00:10:05,800 Speaker 1: eighty seven film directed by John Hughes, starring Steve Martin 189 00:10:05,920 --> 00:10:08,640 Speaker 1: and John Candy, two guys who are trying to get 190 00:10:08,679 --> 00:10:12,000 Speaker 1: home for Thanksgiving. Well, Steve Martin's trying to get home, 191 00:10:12,400 --> 00:10:16,000 Speaker 1: John Candy's trying to do something else and a little 192 00:10:16,000 --> 00:10:19,920 Speaker 1: bit more profound. Steve Martin is this advertising exec and 193 00:10:20,000 --> 00:10:22,760 Speaker 1: John Candy is a shower curtain ring salesman, back when 194 00:10:22,760 --> 00:10:25,160 Speaker 1: that was a thing a person could make a living from, 195 00:10:25,200 --> 00:10:28,360 Speaker 1: I presume. And he's so good at his job that 196 00:10:28,400 --> 00:10:32,760 Speaker 1: he actually sells shower curtain rings as earrings to some 197 00:10:32,880 --> 00:10:37,280 Speaker 1: teenage girls, I think for his entire career. John Hughes, 198 00:10:37,320 --> 00:10:40,240 Speaker 1: the director, writer, director, he was aiming for this sweet 199 00:10:40,280 --> 00:10:44,120 Speaker 1: spot of comedy and sentimentality, like hard on your Sleep style, 200 00:10:44,840 --> 00:10:48,600 Speaker 1: you know, a sentimentality that has kept squashed down by 201 00:10:48,640 --> 00:10:54,520 Speaker 1: this facade of coolness of detachment, largely personified by teenagers 202 00:10:54,600 --> 00:10:57,880 Speaker 1: in movies like The Breakfast Club or Ferris Pewer's Day Off. 203 00:10:58,000 --> 00:11:02,000 Speaker 1: But that sentimentality, you can't, you can't hold it down forever. 204 00:11:02,080 --> 00:11:05,640 Speaker 1: It always comes out. It emerges at the end. That said, 205 00:11:05,720 --> 00:11:08,320 Speaker 1: you know, you could argue that this film Planes, Trains 206 00:11:08,360 --> 00:11:11,400 Speaker 1: and Autobiles is where John Hughes got closest to that target. 207 00:11:11,440 --> 00:11:15,400 Speaker 1: It is, by turns so funny and also so emotionally affecting, 208 00:11:15,720 --> 00:11:19,920 Speaker 1: which again I think Thanksgiving has the greatest capacity for 209 00:11:19,960 --> 00:11:22,800 Speaker 1: both dysfunction and joy when it comes to holidays, which 210 00:11:22,840 --> 00:11:25,640 Speaker 1: my two previous picks illustrated as well. 211 00:11:25,440 --> 00:11:26,600 Speaker 2: And it's just so well done. 212 00:11:26,600 --> 00:11:31,520 Speaker 1: Here special shout out to Eadie McClure, a John Hughes regular, 213 00:11:31,640 --> 00:11:34,280 Speaker 1: and her scene stealing cameo as the employee at the 214 00:11:34,280 --> 00:11:37,560 Speaker 1: rental car agency speaking in which the reason this film 215 00:11:37,640 --> 00:11:41,720 Speaker 1: got an R rating, the only R rating of John Hughes' career, 216 00:11:41,840 --> 00:11:45,360 Speaker 1: is because of that scene. Because Steve Martin drops the 217 00:11:45,440 --> 00:11:50,400 Speaker 1: F bomb eighteen fucking times. All right, So, now that 218 00:11:50,440 --> 00:11:53,839 Speaker 1: I've laid out the holy trinity of Thanksgiving cinema here 219 00:11:53,880 --> 00:11:57,480 Speaker 1: for you, I want to mention this. I was poking 220 00:11:57,480 --> 00:12:01,640 Speaker 1: around online looking for other takes on Thanksgiving cinema, and 221 00:12:01,800 --> 00:12:04,280 Speaker 1: I found that there was a small but growing cohort 222 00:12:04,320 --> 00:12:07,480 Speaker 1: of people who were making the argument that Wes Anderson's 223 00:12:07,480 --> 00:12:11,480 Speaker 1: two thousand and nine animated masterpiece, the Fantastic Mister Fox. 224 00:12:11,520 --> 00:12:14,280 Speaker 1: And I'm serious, it is a masterpiece. And I think 225 00:12:14,280 --> 00:12:15,680 Speaker 1: I've said this before in my show. It might be 226 00:12:15,720 --> 00:12:18,800 Speaker 1: my favorite West movie of all time. Anyways, there are 227 00:12:18,800 --> 00:12:21,120 Speaker 1: people out there who are making the argument that this 228 00:12:21,320 --> 00:12:24,760 Speaker 1: is the greatest Thanksgiving movie out there. It's technically not 229 00:12:24,880 --> 00:12:29,480 Speaker 1: set at Thanksgiving, it's about Thanksgiving, but it's themes it's 230 00:12:29,640 --> 00:12:33,280 Speaker 1: vibes seem to indicate that Thanksgiving is like this trojan 231 00:12:33,320 --> 00:12:36,959 Speaker 1: horse of the movie. So, from what I can gather, 232 00:12:37,480 --> 00:12:39,600 Speaker 1: one of, if not the first person to make this 233 00:12:39,679 --> 00:12:44,160 Speaker 1: claim was Mary Elizabeth Johnson, writing for The Michigan Daily 234 00:12:44,280 --> 00:12:47,959 Speaker 1: in twenty twenty. The title of her article is Fantastic 235 00:12:48,000 --> 00:12:52,160 Speaker 1: Mister Fox is the only valid Thanksgiving movie who bold 236 00:12:52,240 --> 00:12:55,480 Speaker 1: claim right now. She writes at length about the movie's 237 00:12:55,559 --> 00:12:59,520 Speaker 1: autumnal vibe, all those orange hues throughout it. She talks 238 00:12:59,559 --> 00:13:02,960 Speaker 1: about the quote gratitude and gluttony unquote at the core 239 00:13:03,000 --> 00:13:05,200 Speaker 1: of the film. I can dig that, and then she 240 00:13:05,320 --> 00:13:08,280 Speaker 1: writes this This is a quote. Fantastic Mister Fox is 241 00:13:08,320 --> 00:13:11,040 Speaker 1: about the lengths we go to for our family. The 242 00:13:11,120 --> 00:13:13,800 Speaker 1: characters don't really know who they are or if they'll 243 00:13:13,880 --> 00:13:16,840 Speaker 1: like it once they figure it out. They paint thunderstorms 244 00:13:16,880 --> 00:13:19,960 Speaker 1: over and over, curse too much, and spit when they're mad. 245 00:13:20,440 --> 00:13:22,760 Speaker 1: It just makes me feel warm at the time of 246 00:13:22,760 --> 00:13:25,760 Speaker 1: the year when all the leaves are falling down dead. 247 00:13:26,720 --> 00:13:30,120 Speaker 1: Now other publications have followed suit and the ensuing years, 248 00:13:30,160 --> 00:13:33,360 Speaker 1: The av Club, the Hollywood Reporter, and more. They all 249 00:13:33,400 --> 00:13:36,320 Speaker 1: have their own stories on why Fantastic Mister Fox is 250 00:13:36,360 --> 00:13:38,960 Speaker 1: the ultimate Thanksgiving film. And I've got to say, as 251 00:13:39,000 --> 00:13:40,640 Speaker 1: much as I've seen this movie and as much as 252 00:13:40,679 --> 00:13:42,480 Speaker 1: I love it, I've never thought of it this way, 253 00:13:42,760 --> 00:13:45,400 Speaker 1: And so honestly, I'm excited to give this another watch 254 00:13:45,440 --> 00:13:48,240 Speaker 1: the season and see if perhaps my holy Trinity of 255 00:13:48,240 --> 00:13:51,480 Speaker 1: Thanksgiving cinema needs to become a holy quartet. But I 256 00:13:51,480 --> 00:13:54,720 Speaker 1: think this also begins to answer the question I teed 257 00:13:54,840 --> 00:13:57,160 Speaker 1: up at the top of the show here, why are 258 00:13:57,200 --> 00:14:00,800 Speaker 1: there not more Thanksgiving movies? You know, when it comes 259 00:14:00,840 --> 00:14:03,760 Speaker 1: to Christmas movies, you just can't watch those at any 260 00:14:03,760 --> 00:14:05,959 Speaker 1: other time of the year, like you can't watch Elf 261 00:14:06,040 --> 00:14:09,840 Speaker 1: in July. I think it's actually illegal. Okay, it's not illegal, 262 00:14:09,880 --> 00:14:12,199 Speaker 1: but you can't do it. I miss I guess you 263 00:14:12,240 --> 00:14:14,760 Speaker 1: could do it, but that would be psychotic. Whereas a 264 00:14:14,760 --> 00:14:18,120 Speaker 1: Thanksgiving movie, you know, maybe not Last Waltz or Home 265 00:14:18,160 --> 00:14:20,440 Speaker 1: for the Holidays, but definitely The Big Chill, Nobody's Fool, 266 00:14:20,480 --> 00:14:24,120 Speaker 1: Hannah and her Sisters, definitely fantastic, mister Fox. You can 267 00:14:24,160 --> 00:14:27,480 Speaker 1: watch those whenever. So maybe the thing with Thanksgiving movies 268 00:14:27,600 --> 00:14:31,160 Speaker 1: is that they're just a little bit more versatile. They're 269 00:14:31,200 --> 00:14:33,960 Speaker 1: more of a Swiss army knife than the singular blade 270 00:14:34,280 --> 00:14:37,320 Speaker 1: of a turkey carving knife. Think on that as you're 271 00:14:37,320 --> 00:14:40,200 Speaker 1: watching Levonn and the Boys bring down the House in 272 00:14:40,240 --> 00:14:43,080 Speaker 1: the Last Waltz on Thanksgiving evening. And I'll be right 273 00:14:43,120 --> 00:14:46,320 Speaker 1: back after this with your voicemails, text, dms and more. 274 00:14:46,400 --> 00:15:15,840 Speaker 1: Hain tight, what's up, y'all? Is that Flundy here with 275 00:15:15,960 --> 00:15:18,240 Speaker 1: you in Hollywood Land? You can get in touch with 276 00:15:18,280 --> 00:15:21,320 Speaker 1: me as always by calling or texting the number six 277 00:15:21,480 --> 00:15:25,600 Speaker 1: one seven nine zero six six six three eight, leave 278 00:15:25,600 --> 00:15:28,120 Speaker 1: me a voicemail, send me a text. You can also 279 00:15:28,160 --> 00:15:31,680 Speaker 1: catch me at Disgrace Lampod at gmail dot com. Hit 280 00:15:31,720 --> 00:15:34,000 Speaker 1: me up on the socials. I want to know, you know, 281 00:15:34,080 --> 00:15:35,840 Speaker 1: just thinking of the b block that we just finished. 282 00:15:35,880 --> 00:15:38,280 Speaker 1: I know it's some some basic bitch stuff, but what 283 00:15:38,320 --> 00:15:41,360 Speaker 1: are your go to holiday movies? Do you have a 284 00:15:41,400 --> 00:15:44,640 Speaker 1: tradition where you watch the same movies every single holiday season, 285 00:15:45,080 --> 00:15:47,600 Speaker 1: or maybe you've got some underrated recommendations. 286 00:15:47,640 --> 00:15:49,280 Speaker 2: We want to hear. We all want to hear. 287 00:15:49,560 --> 00:15:52,000 Speaker 1: Reach out so we can keep talking about this over 288 00:15:52,040 --> 00:15:54,760 Speaker 1: the next month. As I know, I'll be knee deep 289 00:15:54,840 --> 00:15:58,040 Speaker 1: in some seasonally appropriate fare as well, and I've got 290 00:15:58,080 --> 00:16:00,720 Speaker 1: my own running list going actually of things that I've 291 00:16:00,720 --> 00:16:02,480 Speaker 1: never seen and also stuff that i haven't seen in 292 00:16:02,520 --> 00:16:04,640 Speaker 1: a while, So let me know. Six one seven, nine 293 00:16:04,680 --> 00:16:06,360 Speaker 1: oh six six six three eight. 294 00:16:07,000 --> 00:16:07,360 Speaker 2: Okay. 295 00:16:07,440 --> 00:16:09,640 Speaker 1: A week or so back, I was talking about how 296 00:16:09,720 --> 00:16:13,240 Speaker 1: I was unexpectedly traumatized by a job of the Hut 297 00:16:13,280 --> 00:16:15,600 Speaker 1: who I thought could crawl up walls and come get 298 00:16:15,600 --> 00:16:17,360 Speaker 1: me in my room. So I asked you guys for 299 00:16:17,400 --> 00:16:19,520 Speaker 1: the kinds of things that freaked you out, and I 300 00:16:19,560 --> 00:16:23,000 Speaker 1: got a bunch of answers here, starting with this voicemail 301 00:16:23,040 --> 00:16:25,880 Speaker 1: from Barry in the nine four, Matt, can you queue 302 00:16:25,880 --> 00:16:26,360 Speaker 1: that up for me? 303 00:16:27,320 --> 00:16:31,440 Speaker 3: Hey? This is Vary from the nine four. In response, 304 00:16:31,520 --> 00:16:35,440 Speaker 3: to your like scary things that shouldn't really be scary 305 00:16:35,520 --> 00:16:38,240 Speaker 3: or shift that was scary to me back in the 306 00:16:38,280 --> 00:16:41,720 Speaker 3: early eighties. The gen xers can probably relate. I was 307 00:16:41,760 --> 00:16:45,040 Speaker 3: a ET motherfucker, dude. I went and saw that movie 308 00:16:45,160 --> 00:16:47,360 Speaker 3: four times in the theaters, once in the drive in 309 00:16:47,720 --> 00:16:50,680 Speaker 3: and then three times in the actual theaters. I had 310 00:16:50,680 --> 00:16:53,560 Speaker 3: the ET doll, I had the ET action figures in 311 00:16:53,600 --> 00:16:55,920 Speaker 3: the drinking cup and yeah, it is an ET shit. 312 00:16:56,240 --> 00:16:59,320 Speaker 3: I had it. And one year for Christmas, I remember 313 00:17:00,080 --> 00:17:03,760 Speaker 3: someone bought me an ET poster and I put that 314 00:17:03,880 --> 00:17:07,480 Speaker 3: on my wall and I hated that motherfucker. I felt 315 00:17:07,480 --> 00:17:11,040 Speaker 3: like it followed me in my room, like the eyes 316 00:17:11,080 --> 00:17:13,080 Speaker 3: would follow me from one side to the other. It 317 00:17:13,160 --> 00:17:15,600 Speaker 3: scared the shit out of me. I would sit in 318 00:17:15,600 --> 00:17:18,080 Speaker 3: my bed while I was sleeping and the light just 319 00:17:18,200 --> 00:17:20,920 Speaker 3: kind of glance in and hit it, and it was 320 00:17:20,960 --> 00:17:23,119 Speaker 3: just it was spooky. It was just spooky. I finally 321 00:17:23,440 --> 00:17:25,880 Speaker 3: ended up tearing it off the wall or told my mom. 322 00:17:25,920 --> 00:17:27,800 Speaker 3: I was like, oh, I accidentally rip it or some shit. 323 00:17:27,840 --> 00:17:29,800 Speaker 3: I'll time to be polite. But I hated it. I 324 00:17:29,800 --> 00:17:32,480 Speaker 3: don't know why it spooked me out, but it did. 325 00:17:33,000 --> 00:17:35,439 Speaker 3: Maybe some of you guys can relate to me my 326 00:17:35,800 --> 00:17:38,960 Speaker 3: five six year old self. E t was a spooky motherfucker. 327 00:17:39,680 --> 00:17:45,640 Speaker 1: Later Barry Et could be a spooky motherfucker. I completely agree. 328 00:17:46,160 --> 00:17:48,800 Speaker 1: There was something so terrifying about him as well as 329 00:17:48,800 --> 00:17:51,080 Speaker 1: something so comforting, And I think that's one of the 330 00:17:51,119 --> 00:17:53,439 Speaker 1: miracles of that film is how you are taking on 331 00:17:53,480 --> 00:17:55,600 Speaker 1: the same journey that Elliott and his brother and his 332 00:17:55,680 --> 00:18:00,640 Speaker 1: sister go on, which is this absolutely frightening, disorienting introduction 333 00:18:00,800 --> 00:18:03,280 Speaker 1: to this thing, and then gradually, over time, how you 334 00:18:03,320 --> 00:18:05,920 Speaker 1: come to empathize with him. But yeah, man, to your point, 335 00:18:06,160 --> 00:18:08,160 Speaker 1: the early stuff in the movie out in the shed 336 00:18:08,200 --> 00:18:10,720 Speaker 1: behind the house, the scenes out in the woods, Elliott 337 00:18:10,760 --> 00:18:13,640 Speaker 1: getting sick, the dudes from the government, and the hazmat 338 00:18:13,680 --> 00:18:16,200 Speaker 1: suits that come in the house. If you were of 339 00:18:16,240 --> 00:18:19,080 Speaker 1: a certain age at the time this movie came out, 340 00:18:19,080 --> 00:18:20,719 Speaker 1: and it sounds like we were about the same age, 341 00:18:20,920 --> 00:18:23,480 Speaker 1: I think this was peak movie going peak entertainment, because 342 00:18:23,480 --> 00:18:26,399 Speaker 1: it scared you, it thrilled you, it made you cry 343 00:18:26,440 --> 00:18:29,080 Speaker 1: at the end. But you're totally right, and you know, 344 00:18:29,119 --> 00:18:31,480 Speaker 1: to have a poster of him on your wall, you know, 345 00:18:32,000 --> 00:18:34,800 Speaker 1: weird things happen at night. Barry lights are playing tricks 346 00:18:34,920 --> 00:18:37,960 Speaker 1: or that at the absence of lights, shadows, ET's eyes 347 00:18:38,000 --> 00:18:41,399 Speaker 1: following you around. Great memories there. I appreciate you chiming 348 00:18:41,480 --> 00:18:44,440 Speaker 1: in on this. On the same subject, we got another 349 00:18:44,480 --> 00:18:49,080 Speaker 1: call from Mahley in the three three four, Hey. 350 00:18:48,920 --> 00:18:53,800 Speaker 4: Man, this is Mahley four area code. But I'm actually 351 00:18:54,040 --> 00:18:57,119 Speaker 4: out of the five O five these days. The show 352 00:18:57,320 --> 00:19:02,240 Speaker 4: that really scared living, you know, crap out of me 353 00:19:02,280 --> 00:19:07,280 Speaker 4: as a kid was Unsolved Mysteries. Sometimes it was just intriguing, 354 00:19:07,800 --> 00:19:10,560 Speaker 4: but there were certain things on that show that just 355 00:19:10,800 --> 00:19:15,240 Speaker 4: sent my mind into a spiral that eliminated any chance 356 00:19:15,480 --> 00:19:18,560 Speaker 4: of me and you got in my own bed that 357 00:19:18,720 --> 00:19:21,440 Speaker 4: night and I could go and get mom's company or 358 00:19:21,520 --> 00:19:26,080 Speaker 4: comfort after Unsolved Mysteries a few times. So like many 359 00:19:26,119 --> 00:19:28,560 Speaker 4: of the other things that probably scarred us from a 360 00:19:28,600 --> 00:19:31,000 Speaker 4: young age, that one, that one did it for me 361 00:19:31,160 --> 00:19:34,040 Speaker 4: more than any scary movie. Thanks for your time, man, 362 00:19:34,080 --> 00:19:38,320 Speaker 4: thanks for what you do, and looking forward to each 363 00:19:38,400 --> 00:19:40,560 Speaker 4: next episode. Take it easy, keep it. 364 00:19:40,560 --> 00:19:44,639 Speaker 1: Up, Haley, you are speaking my language here. The theme 365 00:19:45,080 --> 00:19:49,480 Speaker 1: song from Unsolved Mysteries, the theme song alone, That was 366 00:19:49,880 --> 00:19:52,440 Speaker 1: all it took, right, you know what I'm talking about. First, 367 00:19:52,440 --> 00:19:54,600 Speaker 1: it's weird and creepy, you know, it's. 368 00:19:54,440 --> 00:19:56,240 Speaker 2: The dun dun d and dun d and dun dum 369 00:19:56,400 --> 00:19:57,720 Speaker 2: dun dun d and dun dun dun dum. 370 00:19:57,800 --> 00:20:01,359 Speaker 1: Right, and then but then halfway through that orchestral swell 371 00:20:01,440 --> 00:20:06,240 Speaker 1: that goes like, it goes like and it sinks down. 372 00:20:07,200 --> 00:20:09,960 Speaker 1: Every time I would hear that, my stomach would just 373 00:20:10,080 --> 00:20:11,919 Speaker 1: sink like I was on a roller coaster, and that 374 00:20:12,359 --> 00:20:14,120 Speaker 1: hairs would stand up on the back of my neck 375 00:20:14,840 --> 00:20:17,920 Speaker 1: like sheer terror, just from the fucking music. And it's 376 00:20:17,920 --> 00:20:20,159 Speaker 1: still to this day. If I hear that theme, the 377 00:20:20,200 --> 00:20:23,200 Speaker 1: same thing happens. It's like I'm right back there when 378 00:20:23,240 --> 00:20:24,959 Speaker 1: I was a kid. I would have to turn on 379 00:20:25,000 --> 00:20:26,800 Speaker 1: the whole lights in the house and I was watching 380 00:20:26,840 --> 00:20:29,679 Speaker 1: the show, and man, that theme. I don't know of 381 00:20:29,760 --> 00:20:32,119 Speaker 1: any other theme song that did to me what that 382 00:20:32,119 --> 00:20:34,600 Speaker 1: theme song did to me. Have you, Haley, have you 383 00:20:34,680 --> 00:20:36,920 Speaker 1: checked out the reboot of this show? I think it's 384 00:20:36,920 --> 00:20:39,880 Speaker 1: on Netflix. It's okay, I don't know. Obviously, we're living 385 00:20:39,920 --> 00:20:41,960 Speaker 1: in a different time now when all the things they 386 00:20:42,040 --> 00:20:44,320 Speaker 1: covered on that show are no covered on all these 387 00:20:44,359 --> 00:20:47,240 Speaker 1: different shows and different podcasts. You can't really corner the 388 00:20:47,280 --> 00:20:49,000 Speaker 1: market on that stuff like they used to. And I 389 00:20:49,040 --> 00:20:51,760 Speaker 1: found that the episode's subjects of this the new reboot 390 00:20:51,880 --> 00:20:54,360 Speaker 1: just don't compel me as much as the old ones did, 391 00:20:54,840 --> 00:20:58,800 Speaker 1: probably because these new episodes are like one Dateline episode 392 00:20:58,800 --> 00:21:01,600 Speaker 1: about one thing liked about Unsolved Mysteries is you got 393 00:21:01,600 --> 00:21:04,600 Speaker 1: like what four or five different stories in one they 394 00:21:04,680 --> 00:21:06,240 Speaker 1: kind of do the story to death and the new one, 395 00:21:06,440 --> 00:21:10,000 Speaker 1: you know, no pun intended, but just curious you've seen that, 396 00:21:10,040 --> 00:21:11,679 Speaker 1: and feel free to call or text back and let 397 00:21:11,760 --> 00:21:15,600 Speaker 1: us know anyways, appreciate you, thank you for calling in. Okay, 398 00:21:15,680 --> 00:21:18,480 Speaker 1: let's see on the same subject, we got a text 399 00:21:18,520 --> 00:21:21,960 Speaker 1: here from the two to six that says listening to 400 00:21:21,960 --> 00:21:24,200 Speaker 1: the rap party about what scared us as kids in 401 00:21:24,240 --> 00:21:27,320 Speaker 1: a harowy memory For me was the commercial trailer for 402 00:21:27,400 --> 00:21:31,040 Speaker 1: the Anthony Hopkins movie Magic. I was totally into scary 403 00:21:31,080 --> 00:21:33,879 Speaker 1: movies and would watch the four o'clock movie after school 404 00:21:34,200 --> 00:21:36,840 Speaker 1: that had horror movies on Thursdays, stuff like Let's Scare 405 00:21:36,920 --> 00:21:39,960 Speaker 1: Jessica to Death and even the Trilogy of Terror. But 406 00:21:40,080 --> 00:21:42,439 Speaker 1: for some reason, just seeing the trailer from Magic, I 407 00:21:42,520 --> 00:21:46,000 Speaker 1: was absolutely freaked out. Still love horror flex and Magic 408 00:21:46,080 --> 00:21:48,080 Speaker 1: is a great movie. Love the stuff you do with Jake, 409 00:21:48,080 --> 00:21:50,920 Speaker 1: and listening to your recommendations take care. Well, Hey, thanks 410 00:21:50,960 --> 00:21:54,119 Speaker 1: two to six. I appreciate it, and also thank you 411 00:21:54,160 --> 00:21:57,080 Speaker 1: because I have never heard of this film Magic. This 412 00:21:57,119 --> 00:21:59,600 Speaker 1: is okay, it's from nineteen seventy eight. I had to 413 00:21:59,600 --> 00:22:02,920 Speaker 1: watch the trailer, of course, so I did, and hell yeah, 414 00:22:03,000 --> 00:22:07,040 Speaker 1: that is some freaky shit Anthony Hopkins as a ventriloquist. 415 00:22:07,080 --> 00:22:10,720 Speaker 1: This trailer opens with a close up on the ventriloquist 416 00:22:10,760 --> 00:22:15,800 Speaker 1: dummies eyes and some like seriously disturbing orchestral score. So 417 00:22:15,920 --> 00:22:17,560 Speaker 1: like right off the bat, I was like, oh shit, 418 00:22:17,680 --> 00:22:20,680 Speaker 1: this is this does look terrifying, and so looking into 419 00:22:20,680 --> 00:22:23,479 Speaker 1: this briefly, I see now that it was written by 420 00:22:23,480 --> 00:22:27,240 Speaker 1: William Goldman and directed by Richard Attenborough. I wow, two 421 00:22:27,240 --> 00:22:29,480 Speaker 1: o six, thank you. This is going on my list. 422 00:22:29,520 --> 00:22:32,320 Speaker 1: I love when you guys write in or call in 423 00:22:32,560 --> 00:22:35,720 Speaker 1: and tell me about things that I have never heard about, 424 00:22:36,000 --> 00:22:38,800 Speaker 1: or when you remind me about stuff I've forgotten about, 425 00:22:39,320 --> 00:22:42,040 Speaker 1: like this text from the five to three oh that 426 00:22:42,200 --> 00:22:45,240 Speaker 1: says Hi Zeth. Props to you and fellow listener and 427 00:22:45,359 --> 00:22:48,680 Speaker 1: enthusiast Lauren for your Stephen kingtake. I agree with most 428 00:22:48,680 --> 00:22:50,960 Speaker 1: of what you both said. However, it's hard for me 429 00:22:51,040 --> 00:22:53,520 Speaker 1: to not think that the book and film Misery are 430 00:22:53,600 --> 00:22:55,760 Speaker 1: neck and neck. I had the advantage of reading the 431 00:22:55,760 --> 00:22:58,720 Speaker 1: book first and then seeing the film. Both are chilling. 432 00:22:59,119 --> 00:23:01,800 Speaker 1: Surely one of cats he dates most convincing roles as 433 00:23:01,840 --> 00:23:05,119 Speaker 1: psycho Any Wilkes and James conn seemed like a solid 434 00:23:05,119 --> 00:23:08,560 Speaker 1: fit to play novelist Paul Sheldon. I didn't realize this 435 00:23:08,640 --> 00:23:11,240 Speaker 1: is a Rob Reiner directed film. Curious if you have 436 00:23:11,240 --> 00:23:13,920 Speaker 1: any details on what Stephen King thought about the film adaptation. 437 00:23:14,320 --> 00:23:17,760 Speaker 1: Thanks per usual, keep fighting the good fight. Thank you 438 00:23:18,080 --> 00:23:18,480 Speaker 1: so much. 439 00:23:18,560 --> 00:23:19,080 Speaker 2: Five to three. 440 00:23:19,160 --> 00:23:22,359 Speaker 1: Oh, that's a great call on Misery. I completely spaced 441 00:23:22,400 --> 00:23:25,400 Speaker 1: on that when I was talking about my favorite Stephen 442 00:23:25,480 --> 00:23:28,760 Speaker 1: King film adaptations. So I would definitely have to add 443 00:23:28,800 --> 00:23:32,240 Speaker 1: that to my small list. And I know that mister 444 00:23:32,359 --> 00:23:36,480 Speaker 1: King gave that adaptation his blessing. I think he's talked 445 00:23:36,480 --> 00:23:39,359 Speaker 1: about it numerous times throughout the years, and I'm pretty 446 00:23:39,359 --> 00:23:41,919 Speaker 1: sure that he hand picked Rob Reiner to direct that 447 00:23:42,440 --> 00:23:45,400 Speaker 1: because he was so impressed with what Rob Reiner did 448 00:23:45,440 --> 00:23:47,240 Speaker 1: with Stan by Me, which came out just a few 449 00:23:47,320 --> 00:23:50,080 Speaker 1: years earlier. Which that's crazy to me to think that 450 00:23:50,240 --> 00:23:53,080 Speaker 1: Rob Reiner, out of all people, has directed to Stephen 451 00:23:53,119 --> 00:23:57,840 Speaker 1: King adaptations and two of the best wild. Okay, pivoting 452 00:23:57,840 --> 00:24:00,000 Speaker 1: a little bit here. Last week we had our episode 453 00:24:00,240 --> 00:24:03,959 Speaker 1: on Jody Foster. Matt in the three one seven texted 454 00:24:04,040 --> 00:24:07,480 Speaker 1: in with this message. Enjoyed the Jodi Foster episode. Do 455 00:24:07,520 --> 00:24:09,480 Speaker 1: you know her film The Little Girl Who Lives Down 456 00:24:09,560 --> 00:24:12,680 Speaker 1: the Lane, a psychological suspense film with her and a 457 00:24:12,800 --> 00:24:17,240 Speaker 1: skeezy Martin Sheen in nineteen seventy six alone. Foster appeared 458 00:24:17,280 --> 00:24:22,000 Speaker 1: in this film, Taxi Driver, Bugsy Malone, and Freaky Friday. Also, 459 00:24:22,240 --> 00:24:25,040 Speaker 1: do you know Shampenn's directing debut, The Indian Runner. It's 460 00:24:25,040 --> 00:24:28,119 Speaker 1: based off Springsteen's Highway Patrolman and has a loaded cast. 461 00:24:28,480 --> 00:24:30,640 Speaker 1: Take care of Matt from the three one seven, Matt, 462 00:24:30,640 --> 00:24:31,159 Speaker 1: what's happening? 463 00:24:31,200 --> 00:24:31,360 Speaker 3: Man? 464 00:24:31,720 --> 00:24:33,760 Speaker 2: I did? I don't know this The Little Girl who 465 00:24:33,760 --> 00:24:35,680 Speaker 2: Lives Down the Lane? Is that worth checking out? Damn? 466 00:24:35,680 --> 00:24:38,879 Speaker 2: What a year for Jodi Foster. Four movies. That's wild. 467 00:24:39,000 --> 00:24:40,399 Speaker 1: Let me know about this Little Girl who Lives Down 468 00:24:40,400 --> 00:24:42,000 Speaker 1: the Lane movie. I don't know about that at all. 469 00:24:42,480 --> 00:24:45,200 Speaker 1: The Sean Penn film, Yes, I did see that way 470 00:24:45,200 --> 00:24:46,879 Speaker 1: back when when it came out in the nineties, but 471 00:24:46,960 --> 00:24:50,600 Speaker 1: I had zero clue that this was based on Springsteen's 472 00:24:50,640 --> 00:24:53,439 Speaker 1: Highway Patrolman, which of course is a track from his 473 00:24:53,880 --> 00:24:56,920 Speaker 1: excellent album Nebraska, which we've been talking about a little 474 00:24:56,920 --> 00:24:59,760 Speaker 1: bit with that Springsteen movie. Paging Jake Brennan here, I 475 00:24:59,760 --> 00:25:01,399 Speaker 1: don't I gotta find out if he knows about this, 476 00:25:01,560 --> 00:25:03,600 Speaker 1: And I got to watch that again now that I 477 00:25:03,680 --> 00:25:06,119 Speaker 1: have this in mind, So thanks Matt for that. Okay, 478 00:25:06,160 --> 00:25:08,639 Speaker 1: over here, we got a text from Jefferson and the 479 00:25:08,680 --> 00:25:09,120 Speaker 1: four to four. 480 00:25:09,200 --> 00:25:09,560 Speaker 2: Oh. 481 00:25:09,640 --> 00:25:13,359 Speaker 1: We were talking about the Muppets, specifically about if you 482 00:25:13,359 --> 00:25:15,280 Speaker 1: could remake a movie with just the Muppets in it, 483 00:25:15,440 --> 00:25:17,760 Speaker 1: or maybe one human actor in the Muppets, what would 484 00:25:17,760 --> 00:25:21,080 Speaker 1: you do? So, Jefferson says, hey, hello there, following up 485 00:25:21,080 --> 00:25:23,679 Speaker 1: on the Muppet question on Hollywood Land, I would do 486 00:25:23,760 --> 00:25:26,960 Speaker 1: the movie Clue, keeping Tim Curry and recasting the rest. 487 00:25:27,080 --> 00:25:29,919 Speaker 1: Kermit is obviously mister Green, but the rest can easily 488 00:25:29,920 --> 00:25:32,879 Speaker 1: be worked out. Thanks for the fun question, cheers Jefferson. 489 00:25:33,400 --> 00:25:36,679 Speaker 1: Of course, Jefferson, of course Kermit would be mister Green. 490 00:25:37,119 --> 00:25:41,080 Speaker 1: I mean, come on, how could he not? Oh Man, Clue, 491 00:25:41,119 --> 00:25:42,280 Speaker 1: what a great idea. 492 00:25:42,960 --> 00:25:44,480 Speaker 2: Why is it? Why is it? Murder? 493 00:25:44,520 --> 00:25:46,720 Speaker 1: Mysteries always seem to be the best fit for a 494 00:25:46,840 --> 00:25:49,199 Speaker 1: Muppet redo Man, The more I think about this, the 495 00:25:49,240 --> 00:25:51,040 Speaker 1: more I love it. You know, I think Hollywood is 496 00:25:51,080 --> 00:25:52,280 Speaker 1: rebooting Clue at some point. 497 00:25:52,359 --> 00:25:52,439 Speaker 4: Right. 498 00:25:52,480 --> 00:25:54,240 Speaker 1: It's been in the works for years, I believe, just 499 00:25:54,280 --> 00:25:57,720 Speaker 1: bouncing around. But somebody here we got to get on 500 00:25:57,720 --> 00:25:59,960 Speaker 1: the horn to the powers that be at the hall 501 00:26:00,119 --> 00:26:01,879 Speaker 1: with studios and tell them the only way that they 502 00:26:01,880 --> 00:26:07,800 Speaker 1: can successfully make this movie again is with muppets. This 503 00:26:07,880 --> 00:26:11,600 Speaker 1: is an email we got from Mark. Mark was responding 504 00:26:11,640 --> 00:26:14,080 Speaker 1: to my request I think a few weeks back for 505 00:26:15,000 --> 00:26:17,119 Speaker 1: maybe crime movies that are off the beaten path, or 506 00:26:17,119 --> 00:26:19,679 Speaker 1: as he put it in the email, subject line crime 507 00:26:19,720 --> 00:26:23,600 Speaker 1: movies parentheses sort of. The email goes Hi's Eth Mark 508 00:26:23,640 --> 00:26:26,680 Speaker 1: again from the four one five a great bonus episode 509 00:26:26,680 --> 00:26:28,960 Speaker 1: this week, I wanted to call out in Bruges with 510 00:26:29,080 --> 00:26:31,760 Speaker 1: Colin Ferrell as a great criminalist on the run movie 511 00:26:32,040 --> 00:26:34,959 Speaker 1: with amazing cityscapes of Bruges along with a slow burner 512 00:26:35,040 --> 00:26:39,480 Speaker 1: The American starring George Clooney. Also one crime family series 513 00:26:39,520 --> 00:26:41,440 Speaker 1: you may have missed that I highly recommend is called 514 00:26:41,520 --> 00:26:44,760 Speaker 1: mob Land, starring Tom Hardy as the crime family's fixer, 515 00:26:45,040 --> 00:26:47,720 Speaker 1: with Pierce Brosnan and Helen Mirren as the married heads 516 00:26:47,720 --> 00:26:50,199 Speaker 1: of a UK crime family. It is a fast paced 517 00:26:50,200 --> 00:26:53,720 Speaker 1: and twisted series for sure. Keep up the excellent work. 518 00:26:54,440 --> 00:26:54,680 Speaker 2: Mark. 519 00:26:54,760 --> 00:26:57,520 Speaker 1: As always, thank you for the recommendations. In Bruges is 520 00:26:57,560 --> 00:27:00,480 Speaker 1: a great recommendation for an underseen crime film. That's a 521 00:27:00,600 --> 00:27:03,679 Speaker 1: Martin McDonough film, by the way, the guy behind the 522 00:27:03,720 --> 00:27:08,440 Speaker 1: banshees of Inaseran and also three Billboards outside Ebbing, Missouri. 523 00:27:09,080 --> 00:27:12,640 Speaker 1: In addition to Colin Ferrell is the great Brendan Gleeson. 524 00:27:12,760 --> 00:27:15,960 Speaker 1: This is their first team up before they did the Banshees' film. Yeah, 525 00:27:16,000 --> 00:27:17,440 Speaker 1: great recommendation by Mark. 526 00:27:17,480 --> 00:27:17,720 Speaker 2: There. 527 00:27:18,320 --> 00:27:21,919 Speaker 1: I know about the American I can see the poster 528 00:27:22,040 --> 00:27:24,720 Speaker 1: in my mind, but I have not actually seen the movie, 529 00:27:24,760 --> 00:27:26,959 Speaker 1: and by all accounts, that would be right at my alley, 530 00:27:27,760 --> 00:27:29,879 Speaker 1: and you would think that Mob Lamb would be at 531 00:27:29,880 --> 00:27:32,160 Speaker 1: my alley too, Like it's it's a British series, it's 532 00:27:32,200 --> 00:27:34,719 Speaker 1: crime and those things alone usually I'm in. 533 00:27:35,800 --> 00:27:36,760 Speaker 2: I gave this a shot. 534 00:27:36,800 --> 00:27:39,040 Speaker 1: I think I was giving like four shows at a 535 00:27:39,080 --> 00:27:41,639 Speaker 1: shot at the same time, and for whatever reason, this 536 00:27:41,680 --> 00:27:44,520 Speaker 1: one didn't take, which just seems crazy because on paper 537 00:27:44,560 --> 00:27:47,199 Speaker 1: it checks all the boxes. I'm gonna do myself a 538 00:27:47,240 --> 00:27:48,960 Speaker 1: favor and try to give that a shot again at 539 00:27:48,960 --> 00:27:51,200 Speaker 1: some point, So thanks again. For calling that out mark 540 00:27:51,400 --> 00:27:54,720 Speaker 1: All right, everybody, keep those voicemails and text and emails coming. 541 00:27:55,040 --> 00:27:56,920 Speaker 1: You know where to find me. Six one seven nine 542 00:27:56,920 --> 00:27:59,600 Speaker 1: oh six six six three eight. It is time for 543 00:27:59,680 --> 00:28:02,959 Speaker 1: another brief intermission. But don't nobody go nowhere, because I'm 544 00:28:02,960 --> 00:28:21,600 Speaker 1: gonna be right back with some recommendations of my Oh ready, everybody, 545 00:28:21,600 --> 00:28:23,520 Speaker 1: we are back in the wrap party is Zeth Lune 546 00:28:23,520 --> 00:28:25,320 Speaker 1: to hear with you. I want to talk about what 547 00:28:25,359 --> 00:28:28,719 Speaker 1: I've been watching and reading listening to all that jazz. 548 00:28:28,800 --> 00:28:30,840 Speaker 1: First up, though, I got to preface this first thing 549 00:28:30,880 --> 00:28:33,119 Speaker 1: with a text that I got from a listener and 550 00:28:33,200 --> 00:28:37,800 Speaker 1: the four one two about the new adaptation of The 551 00:28:37,880 --> 00:28:40,320 Speaker 1: Running Man. I mentioned last week that I was going 552 00:28:40,360 --> 00:28:42,640 Speaker 1: to go see it, and that beforehand I was doing 553 00:28:42,640 --> 00:28:45,960 Speaker 1: a deep dive rewind on Edgar Wright films in preparation, 554 00:28:46,840 --> 00:28:49,840 Speaker 1: and so the four one two wrote this message, Hey, 555 00:28:49,840 --> 00:28:52,840 Speaker 1: disgraced Land, Hollywood Land, This is Quae from near Pittsburgh. 556 00:28:52,960 --> 00:28:56,880 Speaker 1: The new Running Man is not good. No buzzsaw, no Dynamo, 557 00:28:57,040 --> 00:29:00,280 Speaker 1: no sub zero, just new garbage. See it, but no, 558 00:29:00,400 --> 00:29:03,880 Speaker 1: it's not as good as Arnold's Quay. Thank you so 559 00:29:04,000 --> 00:29:07,440 Speaker 1: much for giving me your two cents and I got 560 00:29:07,480 --> 00:29:09,920 Speaker 1: to disagree with you just a little bit on this 561 00:29:10,040 --> 00:29:13,320 Speaker 1: because I did like the movie very much. I thought 562 00:29:13,360 --> 00:29:15,120 Speaker 1: I had a great cast. I thought I had great 563 00:29:15,160 --> 00:29:19,200 Speaker 1: Eggar Wright energy. Uh it had, it had comedy. Watching 564 00:29:19,240 --> 00:29:22,800 Speaker 1: these great action set pieces, I was thinking to myself, 565 00:29:23,720 --> 00:29:27,200 Speaker 1: is Edgar Wright one of the greatest action filmmakers working 566 00:29:27,320 --> 00:29:30,360 Speaker 1: right now? But he's just not called an action filmmaker. 567 00:29:30,440 --> 00:29:33,120 Speaker 1: I mean, he's he's he's not James Cameron, he's not 568 00:29:33,200 --> 00:29:37,320 Speaker 1: Michael Bay. But in terms of filmmaking syntax of how 569 00:29:37,360 --> 00:29:40,960 Speaker 1: an action scene is shot and cut and how it moves, 570 00:29:41,240 --> 00:29:44,240 Speaker 1: I don't think there's anyone out there right now doing 571 00:29:44,280 --> 00:29:47,040 Speaker 1: these things better than he is. You know, people often 572 00:29:47,160 --> 00:29:51,160 Speaker 1: talk about a movie like Heat, and my biggest problem 573 00:29:51,160 --> 00:29:53,200 Speaker 1: with the movie like Heat, and they talk about, you 574 00:29:53,200 --> 00:29:56,040 Speaker 1: know that iconic shootout scene and down I think it's 575 00:29:56,040 --> 00:29:58,440 Speaker 1: in downtown LA. Like, I don't know what the fuck 576 00:29:58,520 --> 00:30:00,600 Speaker 1: is going on in that scene, the way shot, the 577 00:30:00,600 --> 00:30:02,520 Speaker 1: way it's cut. I don't know if the point is 578 00:30:02,560 --> 00:30:05,720 Speaker 1: to be disoriented, don't. I don't enjoy watching that because 579 00:30:05,720 --> 00:30:08,880 Speaker 1: I just cannot follow the syntax of the filmmaking. But 580 00:30:08,960 --> 00:30:10,760 Speaker 1: yet you give me a movie like The Running Man 581 00:30:11,080 --> 00:30:14,240 Speaker 1: when every every way in which the scene is shot 582 00:30:14,360 --> 00:30:17,800 Speaker 1: and cut, and how it moves, the velocity of it, 583 00:30:17,800 --> 00:30:21,040 Speaker 1: it's just for me. There's no contest. Am I saying 584 00:30:21,080 --> 00:30:23,720 Speaker 1: that egger Wright makes a better action sequence than Michael Mann? 585 00:30:23,840 --> 00:30:26,240 Speaker 2: I think I am. Come at me. I'm That's what 586 00:30:26,280 --> 00:30:27,320 Speaker 2: I'm saying. That's my take. 587 00:30:28,400 --> 00:30:31,840 Speaker 1: There are also some incredible needle drops in this movie, 588 00:30:31,880 --> 00:30:35,080 Speaker 1: including Doo Doo Doo doo do Heartbreaker from the Rolling 589 00:30:35,120 --> 00:30:37,640 Speaker 1: Stones album goats Head Soup, which come on, guys, I 590 00:30:37,760 --> 00:30:40,760 Speaker 1: was just talking about how unfairly maligned that record was 591 00:30:40,800 --> 00:30:43,680 Speaker 1: the other week, and Edgar writes out here validating my thoughts. 592 00:30:43,720 --> 00:30:46,200 Speaker 1: So thank you, mister Wright. Also, this is the second 593 00:30:46,240 --> 00:30:48,480 Speaker 1: film of this year to use Gil Scott Heron's The 594 00:30:48,520 --> 00:30:51,600 Speaker 1: Revolution Will Not Be Televised. Incredible stuff. Did I think 595 00:30:51,600 --> 00:30:52,560 Speaker 1: this movie was perfect? 596 00:30:52,600 --> 00:30:52,640 Speaker 4: No? 597 00:30:53,160 --> 00:30:55,320 Speaker 1: Is it at the top of my egger Wright rankings. No, 598 00:30:55,680 --> 00:30:58,800 Speaker 1: it's definitely somewhere in the middle. But quay, I really 599 00:30:58,840 --> 00:31:01,800 Speaker 1: liked how the world this Running Man was more expansive 600 00:31:02,240 --> 00:31:02,760 Speaker 1: than the first. 601 00:31:02,840 --> 00:31:04,600 Speaker 2: It's more than just a zone. It's you know, we're 602 00:31:04,640 --> 00:31:05,840 Speaker 2: out there in real life. We're out there in the 603 00:31:05,880 --> 00:31:06,400 Speaker 2: real world. 604 00:31:06,640 --> 00:31:08,640 Speaker 1: And of course this is a tough assignment to redo this, 605 00:31:08,760 --> 00:31:10,880 Speaker 1: you know, because whatever whatever your thoughts are on the 606 00:31:10,960 --> 00:31:13,760 Speaker 1: nineteen eighty seven Running Man, it's an iconic piece of 607 00:31:13,760 --> 00:31:17,080 Speaker 1: Hollywood history. Then in some ways is the perfect Arnold vehicle. 608 00:31:17,120 --> 00:31:19,520 Speaker 1: You know that and Terminator, So if you're a big 609 00:31:19,560 --> 00:31:21,720 Speaker 1: fan of that one, your mileage may vary on this one. 610 00:31:21,960 --> 00:31:24,280 Speaker 1: But I had a great time at the theater seeing this, 611 00:31:24,440 --> 00:31:27,160 Speaker 1: and I'm excited to see what Eggar Wright is going to. 612 00:31:27,120 --> 00:31:27,840 Speaker 2: Cook up next. 613 00:31:28,200 --> 00:31:32,400 Speaker 1: Speaking of great filmmakers working right now, I also watched 614 00:31:32,480 --> 00:31:37,760 Speaker 1: on Netflix Gamal del Toro's Frankenstein. You've probably heard about this. 615 00:31:37,800 --> 00:31:42,480 Speaker 1: It stars Oscar Isaac as Victor Frankenstein, not Frankenstein, and 616 00:31:42,720 --> 00:31:45,360 Speaker 1: Jacob Alordi as the monster. Oh man, I'm already getting 617 00:31:45,360 --> 00:31:47,200 Speaker 1: ahead of myself by saying Frankenstein. You know where this 618 00:31:47,240 --> 00:31:52,520 Speaker 1: is going, But hang on. Things I liked about this, okay, 619 00:31:52,640 --> 00:31:55,400 Speaker 1: I thought it looked incredible. I thought it had a 620 00:31:55,520 --> 00:31:58,880 Speaker 1: few incredible set pieces. The opening scene on the ice 621 00:31:58,920 --> 00:32:02,880 Speaker 1: and the Arctic was just really great filmmaking. And also 622 00:32:03,000 --> 00:32:05,160 Speaker 1: these scenes where Victor is assembling the body parts and 623 00:32:05,200 --> 00:32:08,720 Speaker 1: trying to create life are equally stunning. I also really 624 00:32:09,120 --> 00:32:13,840 Speaker 1: thought the structure of the film was very fun. It's 625 00:32:13,880 --> 00:32:16,480 Speaker 1: told in two parts. You get the victor's story and 626 00:32:16,480 --> 00:32:18,760 Speaker 1: then you get the monster story. Though I got to say, 627 00:32:19,480 --> 00:32:22,240 Speaker 1: you know, these both of them are kind of telling 628 00:32:22,280 --> 00:32:24,640 Speaker 1: their stories. Or this captain of the ship that's sort 629 00:32:24,640 --> 00:32:26,400 Speaker 1: of like wrecked on the ice in the Arctic, and 630 00:32:26,440 --> 00:32:30,080 Speaker 1: it's like, at what point is the captain like, I 631 00:32:30,120 --> 00:32:32,320 Speaker 1: don't want to hear your fucking story anymore? And then 632 00:32:32,360 --> 00:32:34,000 Speaker 1: this monster comes in and he's like, wait, let me 633 00:32:34,000 --> 00:32:35,959 Speaker 1: tell my story, and the Captain's like, all right, cool, 634 00:32:36,000 --> 00:32:37,480 Speaker 1: I'm gonna listen to your story now too. I don't 635 00:32:37,480 --> 00:32:41,000 Speaker 1: know that part of it. I wasn't really down with that. 636 00:32:41,720 --> 00:32:44,680 Speaker 1: What else I was not down with is, especially in 637 00:32:44,720 --> 00:32:47,480 Speaker 1: the second half, there's like so much CGI, like bad CGI. 638 00:32:47,760 --> 00:32:49,200 Speaker 1: And I had heard about this when it came out 639 00:32:49,240 --> 00:32:51,040 Speaker 1: from some of the people that didn't like this movie, 640 00:32:51,400 --> 00:32:53,040 Speaker 1: which I think is why I kind of held off 641 00:32:53,040 --> 00:32:55,160 Speaker 1: on watching it for a while. And at first watching 642 00:32:55,160 --> 00:32:57,200 Speaker 1: the movie, I was like, hey, damn, this looks pretty great. 643 00:32:57,200 --> 00:32:59,200 Speaker 1: I don't understand there's a lot of practical stuff going 644 00:32:59,240 --> 00:33:04,240 Speaker 1: on here, tangible tactile visuals. But eventually I got it, 645 00:33:04,480 --> 00:33:05,960 Speaker 1: you know, later on in the movie. They're like the 646 00:33:06,040 --> 00:33:08,760 Speaker 1: c GI wolves. The way that they're running and falling 647 00:33:08,920 --> 00:33:12,120 Speaker 1: just looks it just looks so digitally animated in the 648 00:33:12,120 --> 00:33:14,440 Speaker 1: worst way. And I don't know, like to get back 649 00:33:14,440 --> 00:33:18,040 Speaker 1: to my other comment, my Frankenstein comment, I just think 650 00:33:18,080 --> 00:33:22,280 Speaker 1: in a world where young Frankenstein exists, it's hard for 651 00:33:22,320 --> 00:33:26,080 Speaker 1: me to take a film serious that is itself this 652 00:33:26,240 --> 00:33:29,040 Speaker 1: serious about its subjects. I mean, it's it's so sentimental 653 00:33:29,040 --> 00:33:32,080 Speaker 1: and romantic in it's storytelling. There's the scene in this 654 00:33:32,120 --> 00:33:34,160 Speaker 1: one with the old blind man, and I just couldn't 655 00:33:34,200 --> 00:33:38,000 Speaker 1: help thinking about Gene Hackman pouring scalding hot gruel or 656 00:33:38,000 --> 00:33:40,840 Speaker 1: whatever on Peter Boyle. You know, I want to be 657 00:33:40,880 --> 00:33:43,640 Speaker 1: able to flip the switch and go back between these 658 00:33:43,640 --> 00:33:47,000 Speaker 1: two disciplines. But the way that del Toro makes his 659 00:33:47,120 --> 00:33:54,160 Speaker 1: movies again so romantic and sentimental and and I don't 660 00:33:54,160 --> 00:33:56,200 Speaker 1: even know if I can say borderline therapy, they're they're 661 00:33:56,240 --> 00:33:56,920 Speaker 1: pretty syrapy. 662 00:33:56,960 --> 00:33:57,000 Speaker 4: Like. 663 00:33:57,200 --> 00:34:00,720 Speaker 1: I think what I'm learning here is that Gamon dea 664 00:34:00,800 --> 00:34:04,200 Speaker 1: Toro is just not for me. He's like licorice for me. 665 00:34:04,280 --> 00:34:07,960 Speaker 1: You know. I appreciate his talents, I admire his expertise 666 00:34:08,360 --> 00:34:12,799 Speaker 1: around horror film. I think he's creative as hell. I'm 667 00:34:13,040 --> 00:34:15,200 Speaker 1: not a big fan of most of his movies. I 668 00:34:15,280 --> 00:34:17,920 Speaker 1: like his aesthetic, just not his storytelling style. Maybe I 669 00:34:17,960 --> 00:34:22,479 Speaker 1: don't know. Nightmare ali Is I think is incredible. That's 670 00:34:22,560 --> 00:34:25,759 Speaker 1: probably my favorite of his movies. But I don't know, guys, 671 00:34:25,760 --> 00:34:27,920 Speaker 1: I don't know that we ever need another Frankenstein movie 672 00:34:28,160 --> 00:34:30,160 Speaker 1: ever again. And all this made me want to do 673 00:34:30,680 --> 00:34:33,000 Speaker 1: was's go back and watch you on Frankenstein again, which 674 00:34:33,000 --> 00:34:35,399 Speaker 1: I'm gonna do. And then finally in the movie watching 675 00:34:35,440 --> 00:34:39,640 Speaker 1: department here this weekend was the anniversary of the assassination 676 00:34:39,800 --> 00:34:42,960 Speaker 1: of John F. Kennedy, and a few weeks ago I 677 00:34:42,960 --> 00:34:46,960 Speaker 1: had snagged this used copy cheap of the newly released 678 00:34:46,960 --> 00:34:50,480 Speaker 1: four K blu ray of Oliver Stone's JFK which came 679 00:34:50,480 --> 00:34:52,799 Speaker 1: out back in nineteen eighty one, so I was kind 680 00:34:52,800 --> 00:34:55,360 Speaker 1: of waiting to watch it this weekend to tie it 681 00:34:55,400 --> 00:34:58,560 Speaker 1: up with the tied end with the anniversary of the assassination. 682 00:34:59,080 --> 00:35:02,080 Speaker 2: So I did. This new edition is gorgeous. I mean, 683 00:35:02,080 --> 00:35:03,560 Speaker 2: it's absolutely beautiful to look at. 684 00:35:03,640 --> 00:35:06,400 Speaker 1: Shot by Robert Richardson, who is one of my favorites. 685 00:35:06,440 --> 00:35:09,720 Speaker 1: And even though we are now thirty plus years posted 686 00:35:09,760 --> 00:35:12,320 Speaker 1: this movie coming out and shaking things up and changing 687 00:35:12,320 --> 00:35:14,759 Speaker 1: the conversation. And even though a lot of the things 688 00:35:14,760 --> 00:35:18,239 Speaker 1: that felt disruptive and transgressive about this movie have now 689 00:35:18,280 --> 00:35:20,840 Speaker 1: just been accepted as fact, you know now that we 690 00:35:20,880 --> 00:35:23,920 Speaker 1: are more jaded on everything than ever before, this is 691 00:35:23,960 --> 00:35:26,840 Speaker 1: still an absolute heater of a movie with one of 692 00:35:26,880 --> 00:35:29,719 Speaker 1: the most stacked casts of all time. I know I 693 00:35:29,800 --> 00:35:32,200 Speaker 1: spoke about John Candy earlier, but watching him again in 694 00:35:32,200 --> 00:35:34,480 Speaker 1: this small role he has, you got to wonder if 695 00:35:34,480 --> 00:35:36,959 Speaker 1: he had lived longer and had the opportunity to play 696 00:35:37,000 --> 00:35:39,440 Speaker 1: more serious dramatic roles, like what could he have done? 697 00:35:39,520 --> 00:35:39,719 Speaker 2: You know? 698 00:35:40,160 --> 00:35:41,880 Speaker 1: And I also got me thinking, I don't know what 699 00:35:41,920 --> 00:35:44,720 Speaker 1: Oliver Stone did besides make a couple of bad movies 700 00:35:44,760 --> 00:35:47,160 Speaker 1: to be edged out of the conversation. But he is 701 00:35:47,200 --> 00:35:49,600 Speaker 1: so fully in his element at this moment in time, 702 00:35:50,120 --> 00:35:53,080 Speaker 1: and especially with this film. He's just He's one of 703 00:35:53,080 --> 00:35:55,279 Speaker 1: the greatest filmmakers of that era. And I feel like 704 00:35:55,360 --> 00:35:59,160 Speaker 1: he's slowly been forgotten over time and is not in 705 00:35:59,200 --> 00:36:02,239 Speaker 1: the conversation really much anymore. But the stuff that he's 706 00:36:02,239 --> 00:36:05,279 Speaker 1: doing in this movie, the real historical footage and the 707 00:36:05,360 --> 00:36:09,600 Speaker 1: recreated historical footage that's cut together with the main narratives, footage. 708 00:36:09,680 --> 00:36:11,759 Speaker 1: You know how we literally enter the TV and back 709 00:36:11,800 --> 00:36:14,400 Speaker 1: again the color, the black and white, and back again, 710 00:36:14,680 --> 00:36:18,160 Speaker 1: that whole sequence with Donald Sutherland as mister X, which 711 00:36:18,200 --> 00:36:20,759 Speaker 1: is I mean, inarguably one of the greatest sequences of 712 00:36:20,800 --> 00:36:23,359 Speaker 1: all time in cinema. You know, we talk about how 713 00:36:23,360 --> 00:36:25,800 Speaker 1: great Scort says it was at this time. Good Fellows 714 00:36:25,840 --> 00:36:29,120 Speaker 1: came out the year before this, But Oliver Stones operating 715 00:36:29,200 --> 00:36:32,879 Speaker 1: on an equally high level here. And he's not mimicking Scort, 716 00:36:32,880 --> 00:36:35,360 Speaker 1: says you or anybody else. He has his own visual language. 717 00:36:35,400 --> 00:36:37,960 Speaker 1: I mean, you see a clip from this movie and 718 00:36:38,000 --> 00:36:40,520 Speaker 1: you instantly know this is an Oliver Stone movie. And 719 00:36:40,680 --> 00:36:42,960 Speaker 1: the onslaught of these images that are coming at you 720 00:36:43,080 --> 00:36:46,320 Speaker 1: in all their varying ways, you know, so effectively communicates 721 00:36:46,360 --> 00:36:49,279 Speaker 1: the tangle of information that's coming from all sides, on 722 00:36:49,320 --> 00:36:53,000 Speaker 1: the rabbit holes, the conspiracy theories. It's just killer filmmaking. 723 00:36:53,040 --> 00:36:55,440 Speaker 1: And to think that he was allowed to make this 724 00:36:55,560 --> 00:36:58,239 Speaker 1: film at that time, with all those actors and the 725 00:36:58,520 --> 00:37:01,680 Speaker 1: budget in the studio. This was the idea, the message 726 00:37:01,680 --> 00:37:03,960 Speaker 1: of the movie. It's just it's unbelievable. Check it out 727 00:37:03,960 --> 00:37:05,279 Speaker 1: if you get a chance to check out this new 728 00:37:05,280 --> 00:37:07,879 Speaker 1: four K restoration of it. It is something else, I'll 729 00:37:07,880 --> 00:37:10,000 Speaker 1: tell you all right, listen, I've got so much more 730 00:37:10,040 --> 00:37:12,200 Speaker 1: I want to get into right now, like the five 731 00:37:12,280 --> 00:37:16,160 Speaker 1: hour plus specialty story compilation, this MULTIDSK compilation of old 732 00:37:16,200 --> 00:37:18,759 Speaker 1: specialty record songs that I haven't been able to get 733 00:37:18,840 --> 00:37:21,560 Speaker 1: enough out of. But we're running short on time. I'm 734 00:37:21,560 --> 00:37:23,680 Speaker 1: going over here a little bit. I got Thanksgiving stuff 735 00:37:23,680 --> 00:37:25,919 Speaker 1: to do, Aaron's to run. I know you do too, 736 00:37:26,040 --> 00:37:28,880 Speaker 1: so I'll get back to that stuff later. But before 737 00:37:28,920 --> 00:37:31,719 Speaker 1: we part for the holiday, hang tight, I'm gonna take 738 00:37:31,760 --> 00:37:33,600 Speaker 1: one more quick break and I'll be back with some 739 00:37:33,680 --> 00:38:02,120 Speaker 1: final thoughts. Oh right, Welcome back everybody too. The wrap 740 00:38:02,160 --> 00:38:03,640 Speaker 1: party is so much to talk about this week. I 741 00:38:03,640 --> 00:38:05,960 Speaker 1: didn't even touch on our full episode subject that's in 742 00:38:06,000 --> 00:38:09,759 Speaker 1: your feed right now, our episode on Hugh Grant. But 743 00:38:09,800 --> 00:38:11,839 Speaker 1: I hope you dug it. I hope you learned something new. 744 00:38:12,400 --> 00:38:15,239 Speaker 1: And speaking of these episodes of Hollywood Land, thinking of 745 00:38:15,280 --> 00:38:18,200 Speaker 1: something new. We are rapidly approaching the end of the 746 00:38:18,280 --> 00:38:21,680 Speaker 1: year here, and I am working as fast as I 747 00:38:21,719 --> 00:38:24,839 Speaker 1: can on some exciting new stuff for the Hollywood Land 748 00:38:24,840 --> 00:38:27,080 Speaker 1: feed for the new year, working on bringing you guys 749 00:38:27,160 --> 00:38:31,280 Speaker 1: even more content every week. More stuff we can talk about, 750 00:38:31,520 --> 00:38:33,000 Speaker 1: we can geek out about, we can get in the 751 00:38:33,040 --> 00:38:36,480 Speaker 1: weeds about, more movies, more true crime. So keep all 752 00:38:36,480 --> 00:38:39,239 Speaker 1: of that in mind, okay, and let's see, just now 753 00:38:39,360 --> 00:38:43,600 Speaker 1: here in this very episode I talked about Paul Newman, 754 00:38:43,880 --> 00:38:48,239 Speaker 1: Jody Foster, Robert Downey Junior, Sean Penn. Remember that we 755 00:38:48,320 --> 00:38:51,759 Speaker 1: have fully scripted episodes of Hollywood Land about all of 756 00:38:51,800 --> 00:38:54,600 Speaker 1: these actors. So if you haven't heard those episodes and 757 00:38:54,600 --> 00:38:57,240 Speaker 1: you're interested, just scroll back in your feed or search 758 00:38:57,280 --> 00:39:00,640 Speaker 1: them up to find them. And now, to quote the 759 00:39:00,640 --> 00:39:03,919 Speaker 1: great hair having Richard Mars, I will be right here 760 00:39:03,960 --> 00:39:07,280 Speaker 1: waiting for you next week. But until then, let's recap 761 00:39:07,560 --> 00:39:10,319 Speaker 1: number one, available right now in your Hollywood Land feed. 762 00:39:10,360 --> 00:39:13,719 Speaker 1: Our episode on Hugh Grant, number two coming next week 763 00:39:13,760 --> 00:39:18,319 Speaker 1: on Monday. Our episode on Benedict Cumberbatch, number three, over 764 00:39:18,440 --> 00:39:21,680 Speaker 1: in the feed of our sister show, Disgraceland, our episode 765 00:39:21,680 --> 00:39:24,560 Speaker 1: on the band Martin Scorsese in the Last Waltz. And 766 00:39:24,600 --> 00:39:28,000 Speaker 1: for members of Disgraceland All Access, you get the brand 767 00:39:28,000 --> 00:39:31,799 Speaker 1: new bonus mini episode titled how a Pine Box, Big 768 00:39:31,840 --> 00:39:36,440 Speaker 1: Pink and Leaked Tapes. Rewrote Rock History number four in 769 00:39:36,560 --> 00:39:40,080 Speaker 1: honor of this week's episode me reading You. The list 770 00:39:40,160 --> 00:39:44,120 Speaker 1: of the top grossing films from February twenty eighteen, the 771 00:39:44,160 --> 00:39:46,759 Speaker 1: month that Hugh Grant settled a lawsuit in the phone 772 00:39:46,840 --> 00:39:51,600 Speaker 1: hiking scandal, which involved a major British media company. Number 773 00:39:51,640 --> 00:39:57,920 Speaker 1: one Black Panther, directed by Ryan Coopler. Number two Fifty 774 00:39:57,920 --> 00:40:03,760 Speaker 1: Shades Freed directed by James Foley. Number three Peter Rabbit 775 00:40:03,840 --> 00:40:07,480 Speaker 1: James directed by Will Glove, John Francis Daily, number four 776 00:40:07,640 --> 00:40:11,319 Speaker 1: directors Jumanji, All Welcome to the Jungle, Number directed by 777 00:40:11,360 --> 00:40:15,720 Speaker 1: Jake Castley, Chester By Steve's, Number five's The fifteen seventeen 778 00:40:15,800 --> 00:40:19,800 Speaker 1: to Paris and number nine directed by Clint Eastwood. Direct 779 00:40:19,840 --> 00:40:23,120 Speaker 1: Number six Francais David The Greatest Show Blast was directed 780 00:40:23,120 --> 00:40:25,320 Speaker 1: by James of Graysons 781 00:40:27,760 --> 00:40:30,280 Speaker 2: Quit Talking and Start Mixing,