WEBVTT - Enter the Fun-der Dome!

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<v Speaker 1>Warning, Today's episode contains spoilers for Mad Max Fury Road,

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<v Speaker 1>which is almost a ten year old movie and it's

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<v Speaker 1>prequel Furiosa.

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<v Speaker 2>Hello, my name.

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<v Speaker 1>Is Jason Koncepsion and on Mesday Night and welcome back

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<v Speaker 1>dex Revision, the podcast where we dive deep into your

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<v Speaker 1>favorite shows, movies, comics and pop culture. Coming to you

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<v Speaker 1>from My Heart podcast where we're bringing you two episodes

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<v Speaker 1>a week, every Tuesday and every Thursday.

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<v Speaker 3>In today's episode, in the previously on, We've got so

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<v Speaker 3>much news. There's a new elder ring DLC and I

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<v Speaker 3>know Jason's excited about it. Greg Cappollo, he's been all

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<v Speaker 3>year that he's going to be joining Marvel. Everyone thought

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<v Speaker 3>they got pranked, but no, it's happening. We'll tell you

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<v Speaker 3>on what series. There's an end credible clip from The

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<v Speaker 3>Acolyte which we will touch on Craven the Hunter. It's

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<v Speaker 3>getting moved to December, but don't worry this this news

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<v Speaker 3>bite is actually more hilarious than expected thanks to Sony Execs.

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<v Speaker 3>In the airlock, we will be discussing Furiosa, It's strange

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<v Speaker 3>path to the big screen and what we think about it.

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<v Speaker 3>In the omnibus, Jason will be digging deep into the

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<v Speaker 3>troubled production of Fury Road and Charlie s then's just

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<v Speaker 3>awful time filming it. And in the back matter, we're

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<v Speaker 3>gonna have a quick chat about the evolution of the

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<v Speaker 3>summer blockbuster and how it's changing.

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<v Speaker 2>But first news, first up.

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<v Speaker 1>In the previously on elden Ring, fans, Soulsborn, fans, get ready.

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<v Speaker 1>The Urentree DLC is about a month out. There's a

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<v Speaker 1>trailer out there, folks, and I'm ready to be very

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<v Speaker 1>frustrated again. This is a game that took over my

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<v Speaker 1>life for a large chunk of its release window, and folks,

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<v Speaker 1>I think it might happen again. Story trailer was dropped

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<v Speaker 1>on a couple days ago yesterday. We're filming this on Wednesday,

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<v Speaker 1>May twenty. Second came out yesterday, Rosie. Your thoughts and

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<v Speaker 1>will you be playing The ur Tree DLC?

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<v Speaker 2>I will?

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<v Speaker 3>Finally, this is my reason to play. I'm finally catching

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<v Speaker 3>up on the fantasy games that I have failed. Boulders

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<v Speaker 3>Gate is finally happening, much to the happiness of all

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<v Speaker 3>of my friends, and this will be my reason to

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<v Speaker 3>play elder Ring. Literally, I was so obsessed with Diablo

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<v Speaker 3>for last year that like every other game just went

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<v Speaker 3>out the window. So this will be this will be

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<v Speaker 3>good for me. I'm very excited. It looks very scary

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<v Speaker 3>and fantastical, and I love to have like a giant

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<v Speaker 3>sword and stuff. So I'm sure i'll be I'm sure

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<v Speaker 3>i'll be very frustrated, and I'll probably get through like

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<v Speaker 3>thirteen percent of the game. But I have a lot

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<v Speaker 3>of fun playing it.

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<v Speaker 1>Yeah, lots of Tanta, hints at the expansion of some war,

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<v Speaker 1>new relationships for potentially MICHAELA, seven new characters, what looks

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<v Speaker 1>to be a new portion of the map.

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<v Speaker 2>Very very excited.

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<v Speaker 1>DLC comes out June twenty first, stay tuned because it's

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<v Speaker 1>it's gonna be very very bad for my ability to work.

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<v Speaker 3>You will hear a lot about it on the podcast You.

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<v Speaker 2>Will up next Rosie teas did.

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<v Speaker 1>Greg Boolo returns to Marvel for a new Wolverine series

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<v Speaker 1>with Jonathan Hickman. Woo.

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<v Speaker 3>The crowd goes mad. So all year Greg Coppolo had

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<v Speaker 3>been like teasing a little bit and it kind of

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<v Speaker 3>hinted at Wolverine, and then they announced the new Wolverine

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<v Speaker 3>team and he wasn't on it, and everyone was like, oh,

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<v Speaker 3>we got pranked by our comic book uncle, but no.

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<v Speaker 3>Greg Coppolo has finally revealed, thanks to an exclusive at Polygon,

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<v Speaker 3>that he will be drawing Wolverine in a limited series

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<v Speaker 3>with Jonathan Hickman that promises to pit Wolverine against a

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<v Speaker 3>cardurra of foes who will turn his world upside down.

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<v Speaker 3>He's beaten, he's been bloodied, and Logan only has one

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<v Speaker 3>thought on his mind. Revenge. The cover is extremely nice, easy,

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<v Speaker 3>He's standing in the mouth of like a t Rex.

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<v Speaker 3>The logo is great. Capolo told Polygon. I finally returned

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<v Speaker 3>home to Marvel, and I'm ready to raise some hell.

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<v Speaker 3>And who better to do that with than the hitman Hickman.

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<v Speaker 3>I love that. I don't know if there's ever been

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<v Speaker 3>a name before, but it's the most great Capilo thing

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<v Speaker 3>of all time. I love it to celebrate Marvel has

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<v Speaker 3>removed the fences and let us off our leash so

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<v Speaker 3>that we can bring the most vicious and punishing Wolverine

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<v Speaker 3>story possible to fans this summer. I hope they're prepared. Okay,

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<v Speaker 3>this is also the thing our Discord users were really

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<v Speaker 3>excited about, is this is going to be another one

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<v Speaker 3>of the Red Band comics where that will be poly

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<v Speaker 3>bagged and there'll be a version that will be like

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<v Speaker 3>an R rated like extra Blood, Extra Gore, and that's

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<v Speaker 3>been really popular recently. I think it's during the Blood

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<v Speaker 3>Hunt rain. There's been a lot of Discord users who've

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<v Speaker 3>loved that. So yeah, I think this is great. I

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<v Speaker 3>love Gregor, Greg Copulo and Paul mcfallan. I that like

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<v Speaker 3>my comic book dads. I just love you, So I'm excited.

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<v Speaker 3>I also, I think the Hickman collab is really interesting

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<v Speaker 3>because that means this isn't just gonna be some nineiest throwback.

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<v Speaker 2>I agree.

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<v Speaker 1>It struck me as like not the creative team that

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<v Speaker 1>one would immediately expect, especially if you're thinking Hickman, you're

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<v Speaker 1>certainly not thinking Capulo.

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<v Speaker 2>But I think that's what's so exciting about it, even.

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<v Speaker 1>You know what, I'm not even thinking Hickman for Wolverine,

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<v Speaker 1>Like that's not It seems like such a smaller palette

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<v Speaker 1>than what you expect of Hickman's, certainly Hickman's work recently,

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<v Speaker 1>so that I'm really excited to see where it goes

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<v Speaker 1>with this because Hickman it's just a weirdo.

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<v Speaker 3>Just way, so I like this could be really this

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<v Speaker 3>could be one of those mini series that people are

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<v Speaker 3>reading in trades for like decades, and it's always fun

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<v Speaker 3>when you're around when those are coming out in single issues.

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<v Speaker 1>Up next, a new exclusive clip from The Acolyte has

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<v Speaker 1>been released, showing.

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<v Speaker 2>More of the action style, the very like.

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<v Speaker 1>Hong Kong ish John Wick ish action style that seems

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<v Speaker 1>like it's gonna be a hallmark of this series, which

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<v Speaker 1>we'll release on June fourth on Disney.

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<v Speaker 2>Plus your thoughts about this clip.

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<v Speaker 3>I mean, it looks so good. I'm so happy for

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<v Speaker 3>Amandlas Stemberg because I feel like you must be so

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<v Speaker 3>stoked to take this role because the action choreography is unbelievable.

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<v Speaker 3>And something I think is really interesting here is we

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<v Speaker 3>see Lee Jung Jay his character Master Soul, and he's

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<v Speaker 3>fighting May. But the thing is we're seeing a Jedi

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<v Speaker 3>here who are more composed and powerful than we've ever seen.

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<v Speaker 3>He is not scared at all. He is doing matrix

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<v Speaker 3>level like bullet time avoidance. And I think the casting

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<v Speaker 3>of carrying this movie as Indira is because this is

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<v Speaker 3>going to have a lot of that matrix Hollywood Hong

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<v Speaker 3>Kong combo kind of style because as she fights him,

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<v Speaker 3>you know, and he says, you're fighting me without a weapon,

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<v Speaker 3>like why, And I think that we're really going to

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<v Speaker 3>get to see this kind of force fighting. I'm really excited.

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<v Speaker 2>I think that it's air you're breathing right now.

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<v Speaker 3>I also love, I really love Leslie Hedlund, and I

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<v Speaker 3>think that whatever we think this show is gonna be,

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<v Speaker 3>She's gonna make something completely different because Russian Doll is

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<v Speaker 3>legit like one of the weirdest best shows I've ever

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<v Speaker 3>seen if you haven't watched it on Netflix now. So yeah,

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<v Speaker 3>I just think it looks amazing and I can't wait

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<v Speaker 3>to do it. I'm actually going to be doing the

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<v Speaker 3>junket for the show tomorrow for IGN, so I hopefully

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<v Speaker 3>will be coming back with some insight into the show.

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<v Speaker 3>But yeah, can't wait. Looks great.

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<v Speaker 1>Next up, disappointing frustrating news for fans of a Russian

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<v Speaker 1>dirt bear who kills rare animals, Craven the Hunter has

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<v Speaker 1>been pushed back for a third.

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<v Speaker 3>Time Friday, December.

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<v Speaker 2>That's in good luck fosts this.

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<v Speaker 1>The original release date was January twenty twenty three, and

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<v Speaker 1>then it was pushback, push back to October twenty twenty three,

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<v Speaker 1>then August twenty twenty four, and now December twenty twenty four.

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<v Speaker 1>This is almost two years after the original release date.

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<v Speaker 2>They're spinning it. They're spinning it as positive.

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<v Speaker 1>Yeah, Producertok said, quote Craven moved to Christmas because we're

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<v Speaker 1>excited about it, and Christmas is the best release period

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<v Speaker 1>there is when you get people with time to go

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<v Speaker 1>back to the movies over and over again. That was

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<v Speaker 1>a real reflection of how the studio felt about the movie.

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<v Speaker 1>We're really excited. But that's a great move that reflects

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<v Speaker 1>just the feeling about the movie. We wanted to delay

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<v Speaker 1>it for a third time. It just shows how excited

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<v Speaker 1>we are about it.

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<v Speaker 3>I feel like this is either secretly like a fantastic

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<v Speaker 3>movie unlikely, or this is like a Cats level miss mistake,

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<v Speaker 3>because because if you recall fans of Cats and the

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<v Speaker 3>Star Wars universe, they decided Universal decided to open Cats

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<v Speaker 3>against Star Wars at Christmas because they were like, it's counterprogramming.

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<v Speaker 3>It didn't work. I'm guessing they've moved it to Christmas

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<v Speaker 3>because there's they're probably scared of Deadpool Depool comes out

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<v Speaker 3>in July depul Wolverine, so that will have long legs.

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<v Speaker 3>And they're moving it to Christmas because I don't know

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<v Speaker 3>what the big Christmas releases are this year because that's

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<v Speaker 3>like a different world away. But I think this is

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<v Speaker 3>hilarious and I love the idea that they think people

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<v Speaker 3>are going to go and see it time and time again.

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<v Speaker 3>Was this because once again they were surprised that Madam

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<v Speaker 3>Webb became the number one Netflix movie and they were like, oh,

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<v Speaker 3>maybe we should release it again like morebeus. I don't know,

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<v Speaker 3>but this is hilarious and I love it.

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<v Speaker 1>Uh.

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<v Speaker 2>Finally exciting vague x Men use.

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<v Speaker 1>According to Deadline, the X Men movie is gaining momentum

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<v Speaker 1>over at the studio that houses the MCU quote following

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<v Speaker 1>the success of its animated series x N ninety seven

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<v Speaker 1>Marvel Studios.

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<v Speaker 2>It's now ramping things.

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<v Speaker 1>Up on its live action X Men movie with Hunger Games,

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<v Speaker 1>The Ballad of Songwords at Snakes scribe Michael Leslie in

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<v Speaker 1>negotiations to pen the movie. So this is what I

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<v Speaker 1>love about Listen. I read the entire article because anything

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<v Speaker 1>that says X Men movie, I'm gonna read that. Said,

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<v Speaker 1>the news here is that the project has quote gain

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<v Speaker 1>momentum because a screenwriter has almost agreed to do it,

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<v Speaker 1>literally has not quite yet agreed to do it, but

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<v Speaker 1>may soon.

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<v Speaker 2>Nevertheless, we are excited.

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<v Speaker 3>Yes we want an x Men movie. Will this guy

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<v Speaker 3>be the guy who writes it? Who knows that the

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<v Speaker 3>last of five screenwriters? But you know what, that was

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<v Speaker 3>a time when the MCU couldn't even make it an

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<v Speaker 3>x Men movie, So I'm taking it as a win.

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<v Speaker 1>Up next, we let the winds take us to the

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<v Speaker 1>Wasteland woo as we step out of the airline to

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<v Speaker 1>talk about furios.

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<v Speaker 3>Set in the eighteen years leading up to George Miller's

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<v Speaker 3>groundbreaking Fury Road. Furiosa tells the tale of the titular

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<v Speaker 3>would be Imperator from her days as a kidnapped child

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<v Speaker 3>in the wasteland, living under the wrathful eye of the

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<v Speaker 3>evil Dementus, played with much screen chewing a plum by

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<v Speaker 3>Chris EM's shoeing chew shoeing, chewing chewing all the way

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<v Speaker 3>to the literal events of Fury Road. It's a wild

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<v Speaker 3>wide through the wasteland that showcases the gorilla filmmaking skills

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<v Speaker 3>of Miller and the acting chops of his cast. Furiosa

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<v Speaker 3>had an intriguing path to the screen, originating as a

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<v Speaker 3>screenplay that was actually finished before Fury Road was even made,

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<v Speaker 3>then given to the cast and crew as a way

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<v Speaker 3>to build out the world. At one point the screenplay

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<v Speaker 3>was going to be an anime series. You might have

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<v Speaker 3>seen the leaked images from that. And actually one of

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<v Speaker 3>the things that I learned, I spoke to George Miller

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<v Speaker 3>at screening at the Imax, said cause, and he actually

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<v Speaker 3>said that there was one thing that made it from

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<v Speaker 3>the anime, which is the Teddy Bear that Dementus wears

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<v Speaker 3>on his chest. That was like the one thing that

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<v Speaker 3>had been that had made it through from the anime version.

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<v Speaker 3>And eventually it was made into a big screen movie,

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<v Speaker 3>you know, coming out nine years after Fury Road, and

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<v Speaker 3>that is the form that we will be getting it

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<v Speaker 3>in wide release weekend. Jason, what did you think of

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<v Speaker 3>the movie?

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<v Speaker 1>I thought it was an exciting and very much in

0:12:41.559 --> 0:12:45.200
<v Speaker 1>the world sequel prequel to Mad Max Fury Road. It

0:12:45.200 --> 0:12:50.000
<v Speaker 1>felt almost more akin to the first two Road Warrior

0:12:50.040 --> 0:12:53.720
<v Speaker 1>movies than Furiosa in a lot of ways, in terms

0:12:53.720 --> 0:12:56.200
<v Speaker 1>of the action, in terms of the scope, in terms

0:12:56.240 --> 0:12:58.200
<v Speaker 1>of the way it dealt with its characters. But if

0:12:58.240 --> 0:13:02.120
<v Speaker 1>you love listen, if you love Eroding, all the furios, because.

0:13:03.679 --> 0:13:04.440
<v Speaker 2>It was all there.

0:13:04.679 --> 0:13:11.640
<v Speaker 1>They're incredible action, the weird stakes, the like funny slapstick

0:13:12.280 --> 0:13:16.120
<v Speaker 1>like almost Charlie Chaplin esque moments that happened, and just like.

0:13:16.200 --> 0:13:19.360
<v Speaker 2>Action that you're like, I don't know how he did this.

0:13:20.080 --> 0:13:23.120
<v Speaker 1>Yeah, I can't believe that fifty people didn't die making

0:13:23.160 --> 0:13:23.600
<v Speaker 1>this movie.

0:13:23.679 --> 0:13:25.080
<v Speaker 2>It was just like it blows up.

0:13:25.120 --> 0:13:29.240
<v Speaker 3>I feels like that. Yeah, it's it's completely wild. I

0:13:29.320 --> 0:13:32.480
<v Speaker 3>find it. As soon as it started, I was like, Oh,

0:13:32.520 --> 0:13:34.880
<v Speaker 3>this man does not care if this movie is successful.

0:13:35.040 --> 0:13:37.360
<v Speaker 3>Like it starts with like a chapter break, and then

0:13:37.440 --> 0:13:44.040
<v Speaker 3>like a weird like Jodarowski esque like spinning scene with

0:13:44.280 --> 0:13:49.200
<v Speaker 3>like an old man doing like narration. It's like unbelievably weird,

0:13:49.400 --> 0:13:53.120
<v Speaker 3>and that really won me over, And yeah, I enjoyed

0:13:53.120 --> 0:13:55.120
<v Speaker 3>it thoroughly. I just thought, I think the thing I

0:13:55.160 --> 0:14:00.440
<v Speaker 3>like the most about it was it felt like there

0:14:00.640 --> 0:14:04.640
<v Speaker 3>wasn't any kind of care for the rules of like

0:14:04.679 --> 0:14:08.240
<v Speaker 3>franchise filmmaking. It didn't feel like you'd seen a prequel

0:14:08.240 --> 0:14:10.000
<v Speaker 3>and you had to make it like another prequel. It

0:14:10.040 --> 0:14:13.120
<v Speaker 3>didn't feel like he was particularly worried about making it accessible.

0:14:13.600 --> 0:14:17.600
<v Speaker 3>It didn't feel like he was like, Oh, I wonder

0:14:17.600 --> 0:14:19.400
<v Speaker 3>if people who like Fury Road are gonna like this

0:14:19.480 --> 0:14:21.440
<v Speaker 3>because Fury Road is set over like three days. In

0:14:21.520 --> 0:14:24.240
<v Speaker 3>this movie is set over eighteen years, and it's just

0:14:24.360 --> 0:14:28.520
<v Speaker 3>pacing wise, like completely different kettle offish, Like you have

0:14:29.040 --> 0:14:31.160
<v Speaker 3>an your Taylor Joy is only in the movie for

0:14:31.240 --> 0:14:32.240
<v Speaker 3>like half the movie.

0:14:32.440 --> 0:14:33.520
<v Speaker 2>She is up for an hour.

0:14:33.640 --> 0:14:35.800
<v Speaker 3>She doesn't show up for at least an hour. You

0:14:35.880 --> 0:14:39.400
<v Speaker 3>have a liar Brown who plays young Furiosa, who's so

0:14:39.640 --> 0:14:45.680
<v Speaker 3>fantastic and who gets to really grow and showcase the

0:14:45.840 --> 0:14:50.080
<v Speaker 3>journey Furiosa goes on. It's also incredibly gory. I'm sure

0:14:50.120 --> 0:14:53.120
<v Speaker 3>that Fury Road was. I've seen it so many times,

0:14:53.120 --> 0:14:55.960
<v Speaker 3>but I think that action kind of took focus. But

0:14:56.320 --> 0:14:58.920
<v Speaker 3>people are getting like torn apart in this movie, Like

0:14:58.960 --> 0:15:02.560
<v Speaker 3>it's it's gruesome. I'm I'm wondering if it will be

0:15:02.680 --> 0:15:05.120
<v Speaker 3>the blockbuster hit Warner Brothers wants it to be. I

0:15:05.200 --> 0:15:07.320
<v Speaker 3>want it to be that, but I do think it's

0:15:07.400 --> 0:15:10.320
<v Speaker 3>incredibly weird for like a Hollywood blockbuster.

0:15:11.080 --> 0:15:14.760
<v Speaker 1>I mean, I suspect it will be certainly the at

0:15:14.760 --> 0:15:17.560
<v Speaker 1>the screening, Eye was at the reception and you you know,

0:15:17.560 --> 0:15:18.880
<v Speaker 1>so would be careful with these things.

0:15:19.040 --> 0:15:20.880
<v Speaker 2>Was electric.

0:15:21.000 --> 0:15:26.640
<v Speaker 1>People were cheering film. I do think, you know, summer

0:15:26.880 --> 0:15:30.760
<v Speaker 1>is the time for action, and this is like a

0:15:30.800 --> 0:15:33.120
<v Speaker 1>Walt Wall not quite as walts Wall as Fury Road,

0:15:33.160 --> 0:15:37.200
<v Speaker 1>but a Walt Wall action movie. And I think the

0:15:37.240 --> 0:15:40.960
<v Speaker 1>other interesting thing to me, which will I think be

0:15:41.440 --> 0:15:45.320
<v Speaker 1>really interesting to fans of the series, is this film

0:15:46.240 --> 0:15:53.120
<v Speaker 1>does more to establish the lore and the context for

0:15:53.200 --> 0:15:56.360
<v Speaker 1>the Wasteland then almost I need to go back and

0:15:56.400 --> 0:16:01.479
<v Speaker 1>watch all of the movies in the series, but basically

0:16:01.680 --> 0:16:04.080
<v Speaker 1>more than any other film in this series, you learn

0:16:04.120 --> 0:16:07.640
<v Speaker 1>about the different citadels of the of the Wasteland, the

0:16:07.640 --> 0:16:10.800
<v Speaker 1>different fortresses wait to each other.

0:16:11.440 --> 0:16:15.240
<v Speaker 3>Yeah, how we got to this place? And that was

0:16:15.280 --> 0:16:17.000
<v Speaker 3>another thing that shocked me where I was kind of

0:16:17.000 --> 0:16:19.480
<v Speaker 3>like WHOA, Like you really, I think he sees this

0:16:19.560 --> 0:16:23.440
<v Speaker 3>movie as a chance to build out this world that

0:16:23.440 --> 0:16:26.040
<v Speaker 3>he's been telling stories in for like fifty years, because

0:16:26.040 --> 0:16:28.680
<v Speaker 3>you're right, I feel like tonally this is actually closer

0:16:28.720 --> 0:16:32.240
<v Speaker 3>to the older Mad Max movies, but also it does

0:16:32.320 --> 0:16:34.760
<v Speaker 3>build out the law in a way that we've never

0:16:34.800 --> 0:16:38.040
<v Speaker 3>seen before. Like you learn so much, Joelle, just before

0:16:38.080 --> 0:16:40.880
<v Speaker 3>we were we came on and side recording was saying

0:16:40.920 --> 0:16:44.240
<v Speaker 3>to me her biggest takeaway was like, it adds so

0:16:44.400 --> 0:16:47.920
<v Speaker 3>much context and impact to Fury Road that when you

0:16:48.000 --> 0:16:50.480
<v Speaker 3>watch Fury Road again, you're gonna be like, oh, fuck,

0:16:50.640 --> 0:16:52.800
<v Speaker 3>like now I know these things, which I think is

0:16:52.880 --> 0:16:54.960
<v Speaker 3>huge because a lot of times a sequel can actually

0:16:55.120 --> 0:16:59.440
<v Speaker 3>a prequel can actually weaken the impact of the original movie.

0:16:59.640 --> 0:17:02.320
<v Speaker 3>But I do you feel like here they work equally

0:17:02.360 --> 0:17:05.119
<v Speaker 3>well as separate entities, but when you put them together,

0:17:05.200 --> 0:17:10.400
<v Speaker 3>you are getting an emotional core and a contextual kind

0:17:10.480 --> 0:17:14.600
<v Speaker 3>of landscape that does add to both versions, and it

0:17:14.680 --> 0:17:17.320
<v Speaker 3>was fun. It's I think as well. He's not afraid

0:17:18.000 --> 0:17:21.400
<v Speaker 3>to just introduce a new character or introduce an old

0:17:21.480 --> 0:17:25.200
<v Speaker 3>character and not do the kind of mcuification of like a, oh,

0:17:25.200 --> 0:17:27.800
<v Speaker 3>it's a cameo, or or oh, here's an explanation of

0:17:27.800 --> 0:17:29.760
<v Speaker 3>who this character is. He's like, no, here's just like

0:17:29.800 --> 0:17:32.920
<v Speaker 3>a scary, terrifying character. Do you remember them from Fury Road.

0:17:33.000 --> 0:17:35.480
<v Speaker 3>If not, here's a reason to be terrified, you know.

0:17:35.560 --> 0:17:39.000
<v Speaker 3>And I like the way he doesn't He trusts the audience.

0:17:39.480 --> 0:17:44.960
<v Speaker 1>If you loved Rictus Rectus from Man Max Fury Road,

0:17:45.640 --> 0:17:49.960
<v Speaker 1>guess what you get to meet his brother scabrous scrotus.

0:17:50.200 --> 0:17:53.480
<v Speaker 3>Oh he's the worst. I'm a hate.

0:17:52.680 --> 0:17:59.360
<v Speaker 1>And that overall kind of subtext of like big dumb dudes,

0:18:00.000 --> 0:18:03.640
<v Speaker 1>big dumb dudes and all the dumb shit they do

0:18:04.359 --> 0:18:10.040
<v Speaker 1>that is still here in as trenchet as ever in Furiosa.

0:18:10.720 --> 0:18:11.920
<v Speaker 2>I mean going.

0:18:11.960 --> 0:18:15.320
<v Speaker 1>I was watching The Road Warrior before Furious, and then

0:18:15.320 --> 0:18:20.040
<v Speaker 1>I watched some a Thunderdome and you know, I guess

0:18:20.040 --> 0:18:22.800
<v Speaker 1>when I was younger, it just went over my head,

0:18:22.920 --> 0:18:26.880
<v Speaker 1>like these the commentaries on like the big muscly dumb guy,

0:18:27.040 --> 0:18:33.760
<v Speaker 1>Like that's one of George Miller's absolute favorite, like pincushions

0:18:34.080 --> 0:18:36.520
<v Speaker 1>is the big dumb guy with the microphone.

0:18:36.840 --> 0:18:37.720
<v Speaker 2>He loves.

0:18:38.080 --> 0:18:42.040
<v Speaker 1>He loves to make that guy look scary and ridiculous.

0:18:42.240 --> 0:18:44.000
<v Speaker 2>Yeah, and there's no one better.

0:18:44.560 --> 0:18:48.320
<v Speaker 3>Yeah. I also, really, I just love the fact and

0:18:48.400 --> 0:18:51.159
<v Speaker 3>obviously this is context outside of the movie, but it

0:18:51.280 --> 0:18:53.240
<v Speaker 3>still just blows my mind that the man who made

0:18:53.240 --> 0:18:55.440
<v Speaker 3>this movie is like the man who made Babe or

0:18:55.480 --> 0:18:57.280
<v Speaker 3>the man who made Fury Round is the man who

0:18:57.320 --> 0:19:00.920
<v Speaker 3>made Happy Feet Like that to me is and I

0:19:01.680 --> 0:19:05.320
<v Speaker 3>love the nature of his filmmaking. And I also like

0:19:05.760 --> 0:19:09.760
<v Speaker 3>the fact that his radical kind of filmmaking can have

0:19:09.800 --> 0:19:12.840
<v Speaker 3>an impact on people in real life. Because the guy

0:19:12.880 --> 0:19:17.119
<v Speaker 3>who played the Farma in A Babe, he became a

0:19:17.200 --> 0:19:20.560
<v Speaker 3>vegan after being Babe, after making Babe, and then became

0:19:20.680 --> 0:19:27.840
<v Speaker 3>like a very quite radical direct action environmental activist. And

0:19:27.880 --> 0:19:30.280
<v Speaker 3>I'm like, would that have happened if Babe had been

0:19:30.320 --> 0:19:33.000
<v Speaker 3>directed by anyone else? I don't know. I don't know.

0:19:33.200 --> 0:19:36.879
<v Speaker 3>I feel like that's George Miller's funny impact on that

0:19:37.000 --> 0:19:37.679
<v Speaker 3>kid's movie.

0:19:37.800 --> 0:19:39.639
<v Speaker 1>You know, it's funny speaking of Miller. I mean we

0:19:39.640 --> 0:19:44.280
<v Speaker 1>were talking before we start recording. You were noting the

0:19:44.359 --> 0:19:51.960
<v Speaker 1>kind of gentle, urbane grandpa, like very very intelligent grandpa

0:19:52.080 --> 0:19:55.080
<v Speaker 1>vibe that George Miller puts out. He strikes me as

0:19:55.080 --> 0:19:58.280
<v Speaker 1>someone like like if you didn't know who he was

0:19:58.359 --> 0:20:00.439
<v Speaker 1>and someone said, oh, that used to be be like

0:20:00.480 --> 0:20:04.879
<v Speaker 1>the ambassador to Spain, you'd be like, Okay, that makes sense.

0:20:05.280 --> 0:20:12.920
<v Speaker 1>And the juxtaposition of his very gentle, very keenly intelligent

0:20:13.240 --> 0:20:17.040
<v Speaker 1>persona with this, like with these films that have the

0:20:17.160 --> 0:20:20.879
<v Speaker 1>energy of just like a little kid like crashing toys together, like.

0:20:21.000 --> 0:20:23.640
<v Speaker 3>This is like cramy gorilla filmmaking.

0:20:24.000 --> 0:20:26.600
<v Speaker 1>It's like crazy to me because like that's really the

0:20:26.720 --> 0:20:29.520
<v Speaker 1>energy of these movies Furiosa and Mad Max, fur Your

0:20:29.600 --> 0:20:33.119
<v Speaker 1>Road and to a different extent, the previous Road Warrior

0:20:33.160 --> 0:20:37.040
<v Speaker 1>Mad Max movies is like part of what's great about

0:20:37.080 --> 0:20:41.160
<v Speaker 1>them is it's just that feeling of when you first

0:20:41.160 --> 0:20:43.840
<v Speaker 1>got action figures as a kid. Yeah, and you just

0:20:43.920 --> 0:20:45.520
<v Speaker 1>started throwing them on.

0:20:45.480 --> 0:20:46.800
<v Speaker 2>The ground or throwing.

0:20:46.560 --> 0:20:49.280
<v Speaker 1>Them against the wall and putting them in the microwave

0:20:49.359 --> 0:20:50.159
<v Speaker 1>or whatever it was.

0:20:50.560 --> 0:20:52.639
<v Speaker 3>Yeah, Like you got a Bobby and you're like, you know,

0:20:52.760 --> 0:20:55.080
<v Speaker 3>trying it the Bobby. What if the Bobby took drugs?

0:20:55.119 --> 0:20:56.639
<v Speaker 3>Like you know, You're like, you'll okay, You're like, what

0:20:56.680 --> 0:20:59.040
<v Speaker 3>if I cut all the Bobby's hair off? That's Furiosa,

0:20:59.080 --> 0:20:59.240
<v Speaker 3>you know.

0:20:59.720 --> 0:21:02.600
<v Speaker 1>And it's it's so weird to square that with every

0:21:02.680 --> 0:21:04.919
<v Speaker 1>interview I've ever seen of George Miller, where he's just

0:21:04.960 --> 0:21:11.560
<v Speaker 1>a very very laid back, smart, well dressed normal dude. Yeah, okay,

0:21:11.600 --> 0:21:16.240
<v Speaker 1>do you want to do a box office prediction? Furiosa

0:21:16.359 --> 0:21:17.639
<v Speaker 1>opening weekend will do?

0:21:17.800 --> 0:21:17.879
<v Speaker 3>What?

0:21:18.680 --> 0:21:18.920
<v Speaker 2>Oh?

0:21:19.160 --> 0:21:21.840
<v Speaker 3>Okay? I So I'm going to go on the optimistic

0:21:21.920 --> 0:21:24.920
<v Speaker 3>side because I do feel like in this place where

0:21:24.960 --> 0:21:28.320
<v Speaker 3>we are right now, I think Firosa in the US,

0:21:28.600 --> 0:21:30.680
<v Speaker 3>I think it will open to like forty five mil.

0:21:30.960 --> 0:21:34.280
<v Speaker 1>Okay, that's about on track with I believe that's what

0:21:34.560 --> 0:21:36.040
<v Speaker 1>uh Fury Road did.

0:21:36.480 --> 0:21:37.399
<v Speaker 2>I like that'd be.

0:21:37.600 --> 0:21:40.080
<v Speaker 3>I think it's Look, it's R rated. I know in

0:21:40.119 --> 0:21:42.280
<v Speaker 3>America that's kind of a weird thing because you can

0:21:42.400 --> 0:21:43.520
<v Speaker 3>take kids to go and see an R.

0:21:44.480 --> 0:21:46.120
<v Speaker 2>Here's let me let me just stop there.

0:21:46.200 --> 0:21:49.240
<v Speaker 1>Yeah, kids can get an R movies exactly, but they

0:21:49.280 --> 0:21:53.760
<v Speaker 1>do you know, the people that work at the movie theaters.

0:21:53.880 --> 0:21:55.640
<v Speaker 1>It's not like the TSA, you know what.

0:21:55.560 --> 0:21:57.760
<v Speaker 3>I mean exactly, But you can just get any adults

0:21:57.800 --> 0:21:59.879
<v Speaker 3>to buy a ticket. And I just need to tell you.

0:22:00.240 --> 0:22:03.040
<v Speaker 3>In England you don't understand how much you guys, how

0:22:03.119 --> 0:22:05.200
<v Speaker 3>lucky you are. They will literally like make you take

0:22:05.240 --> 0:22:07.239
<v Speaker 3>your passport to prove that you can go to an

0:22:07.240 --> 0:22:09.760
<v Speaker 3>eighteen movie, which is the equivalent of an rated movie.

0:22:09.800 --> 0:22:11.959
<v Speaker 3>So it is like the TSA. But like so it

0:22:12.000 --> 0:22:14.359
<v Speaker 3>could be there could be that you know, families that

0:22:14.480 --> 0:22:16.199
<v Speaker 3>go into this. I will never forget go to a

0:22:16.200 --> 0:22:19.439
<v Speaker 3>twentieth anniversary screening. I think it was of Scream or

0:22:19.480 --> 0:22:23.439
<v Speaker 3>like some kind of anniversary screening, and the kid the

0:22:23.520 --> 0:22:28.359
<v Speaker 3>whole cinema in Torrance. Here in California, it was just

0:22:28.440 --> 0:22:30.639
<v Speaker 3>like families, and there were like four year olds in

0:22:30.680 --> 0:22:31.280
<v Speaker 3>there who were like.

0:22:31.359 --> 0:22:33.080
<v Speaker 2>Yeay, ghost face, you know.

0:22:33.240 --> 0:22:36.639
<v Speaker 3>So, so I think that there is a generational thing

0:22:36.680 --> 0:22:38.800
<v Speaker 3>where this could And I think if that's the case,

0:22:38.840 --> 0:22:41.080
<v Speaker 3>if people so if Fury Roads kind of become that

0:22:41.160 --> 0:22:43.560
<v Speaker 3>like family action movie, the way that The Walking Dead

0:22:43.600 --> 0:22:45.960
<v Speaker 3>became a family TV show, we could be looking more

0:22:46.000 --> 0:22:48.560
<v Speaker 3>like a sixty mil opening, kind of like blowing up,

0:22:48.640 --> 0:22:50.359
<v Speaker 3>like word of mouth. But I think because it's a

0:22:50.359 --> 0:22:53.159
<v Speaker 3>little bit weird, because it's R rated, because we're in

0:22:53.200 --> 0:22:55.560
<v Speaker 3>this kind of cooler period. I thought the Full I

0:22:55.600 --> 0:22:57.919
<v Speaker 3>thought four Guy was gonna make so much money. I

0:22:57.920 --> 0:23:00.560
<v Speaker 3>thought it was the most accessible, easy to watch, much good,

0:23:00.640 --> 0:23:03.960
<v Speaker 3>easy to sell movie. But you know what, it didn't happen.

0:23:04.080 --> 0:23:05.800
<v Speaker 3>So I'm gonna I'm gonna play it safe. I'm gonna

0:23:05.800 --> 0:23:06.800
<v Speaker 3>say about forty five.

0:23:07.440 --> 0:23:10.560
<v Speaker 1>Okay, I'm gonna go on the slightly lower side. I'm

0:23:10.560 --> 0:23:14.680
<v Speaker 1>gonna say forty mm hm. And I too, I hope

0:23:14.680 --> 0:23:18.440
<v Speaker 1>it's a hit. Up Next, we're gonna talk more about

0:23:18.880 --> 0:23:22.119
<v Speaker 1>the Wasteland and George Miller's vision in the Omnibus.

0:23:23.280 --> 0:23:26.639
<v Speaker 3>Welcome to another edition of the Omnibus, where law, analysis

0:23:26.640 --> 0:23:30.760
<v Speaker 3>and understanding come together. Today, Jason digs into the very

0:23:30.840 --> 0:23:34.640
<v Speaker 3>troubled production of Fury Road and the horrors that Charlie's

0:23:34.680 --> 0:23:37.359
<v Speaker 3>Theron the Star had to put up with to make

0:23:37.440 --> 0:23:38.639
<v Speaker 3>that classic movie.

0:23:39.280 --> 0:23:43.800
<v Speaker 1>In the summer of twenty fifteen, after over twenty years

0:23:43.840 --> 0:23:49.800
<v Speaker 1>of ideation, production and various hurdles, George Miller's Mad Max

0:23:49.840 --> 0:23:53.440
<v Speaker 1>Fury Road debuted in theaters, instantly becoming an action movie classic.

0:23:54.359 --> 0:23:59.680
<v Speaker 1>Among the many, many, many fascinating details of the film's

0:23:59.760 --> 0:24:05.280
<v Speaker 1>tourvirtuous path through production, it's the onset antagonism between its

0:24:05.320 --> 0:24:08.720
<v Speaker 1>stars Tom Hardy and Trumps Theron that has become kind

0:24:08.720 --> 0:24:13.000
<v Speaker 1>of like legendary Hollywood lore. The short version, they really

0:24:13.040 --> 0:24:17.040
<v Speaker 1>didn't get along at all, and tensions escalated to the

0:24:17.080 --> 0:24:21.879
<v Speaker 1>point where Thron has said she felt unsafe on set. Now,

0:24:22.760 --> 0:24:26.960
<v Speaker 1>for those who love Mad Max, love Fury Road, love

0:24:26.960 --> 0:24:30.119
<v Speaker 1>the Mad Max universe, I highly recommend Kyle Buchanan's Blood, Sweat,

0:24:30.119 --> 0:24:32.840
<v Speaker 1>and Chrome book came out in twenty twenty.

0:24:32.840 --> 0:24:34.240
<v Speaker 2>It's an oral history of.

0:24:34.160 --> 0:24:36.879
<v Speaker 1>Mad Max Fury Road, and I use it a lot

0:24:37.119 --> 0:24:41.119
<v Speaker 1>as a resource for this essay. I also use the

0:24:41.119 --> 0:24:43.800
<v Speaker 1>Mad Max Furior behind the Scenes documentary, which you can

0:24:43.840 --> 0:24:48.480
<v Speaker 1>find on Warner Brothers YouTube. But that book is really

0:24:48.520 --> 0:24:53.520
<v Speaker 1>great and gives you a really firm, an engrossing understanding

0:24:53.560 --> 0:24:57.200
<v Speaker 1>of just how difficult it was to make this movie

0:24:57.280 --> 0:25:01.320
<v Speaker 1>and how difficult it was for the act There's specifically,

0:25:01.880 --> 0:25:05.360
<v Speaker 1>we didn't have a script, Thron says in the book.

0:25:05.600 --> 0:25:09.359
<v Speaker 1>We had pictures, and I think that's just part of

0:25:09.400 --> 0:25:10.119
<v Speaker 1>the problem.

0:25:10.600 --> 0:25:12.080
<v Speaker 2>The other part of the problem why.

0:25:11.880 --> 0:25:13.920
<v Speaker 1>It was so difficult for the actors is you know,

0:25:13.960 --> 0:25:17.760
<v Speaker 1>if you've seen Fury Road, you know it's basically all action,

0:25:18.320 --> 0:25:22.280
<v Speaker 1>a continuous chase scene, which is what George Miller first

0:25:22.359 --> 0:25:25.480
<v Speaker 1>envisioned when he first got the idea for the movie

0:25:25.560 --> 0:25:28.320
<v Speaker 1>back in the mid eighties, and it's a movie with

0:25:28.480 --> 0:25:33.800
<v Speaker 1>minimal dialogue. By the time principal photography commenced in Namibia

0:25:33.840 --> 0:25:38.359
<v Speaker 1>in twenty twelve, Miller had by that point spent decades

0:25:38.720 --> 0:25:43.520
<v Speaker 1>visualizing and perfecting each sequence in his mind through the

0:25:43.640 --> 0:25:48.439
<v Speaker 1>use of an over thirty four hundred panel storyboard that

0:25:48.520 --> 0:25:54.440
<v Speaker 1>took up a room. However, understanding the full scope of

0:25:54.800 --> 0:25:58.159
<v Speaker 1>the vision for the crew, for the camera people, for

0:25:58.200 --> 0:26:02.680
<v Speaker 1>the actors was really a challenge, especially in our form

0:26:02.800 --> 0:26:08.520
<v Speaker 1>like move making, which is by necessity very collaborative. Miller's process, however,

0:26:08.600 --> 0:26:13.119
<v Speaker 1>often left actors puzzled about their characters, about their motivations,

0:26:13.160 --> 0:26:16.679
<v Speaker 1>about what they were doing, the relevance to the story. Okay,

0:26:16.680 --> 0:26:19.320
<v Speaker 1>why is that? Here's a quote from camera operator A. J.

0:26:19.480 --> 0:26:21.919
<v Speaker 1>Johnson to kind of give you a window into it.

0:26:22.200 --> 0:26:25.240
<v Speaker 1>He'd call action and then okay, cut and the actor

0:26:25.280 --> 0:26:26.760
<v Speaker 1>would be like, hang on, what can we keep on

0:26:26.800 --> 0:26:28.280
<v Speaker 1>going for a bit and George would say, no, no, I

0:26:28.280 --> 0:26:32.280
<v Speaker 1>don't need that bit. Set dresser Tate van Oodshorn is

0:26:32.359 --> 0:26:35.439
<v Speaker 1>quoted in Blood, Sweat, and Chromis saying that Miller was

0:26:35.480 --> 0:26:39.040
<v Speaker 1>shooting six days a week, twelve to fourteen hour days

0:26:39.280 --> 0:26:43.960
<v Speaker 1>to achieve twenty four to thirty seconds of usable footage

0:26:44.119 --> 0:26:47.080
<v Speaker 1>per day. So usually when you film a scene, let's

0:26:47.119 --> 0:26:49.199
<v Speaker 1>say we were making a movie about Rosie and I

0:26:49.280 --> 0:26:54.640
<v Speaker 1>doing X Ravis right, we'd shoot like a master coverage shot,

0:26:54.720 --> 0:26:58.119
<v Speaker 1>which is, you know, one camera set up so that

0:26:58.200 --> 0:27:00.840
<v Speaker 1>it gets both of us and we'll record the podcast,

0:27:00.920 --> 0:27:03.639
<v Speaker 1>we read our lines, and then there'd be a second

0:27:03.680 --> 0:27:07.600
<v Speaker 1>and third setup for Rosie's close up and my close

0:27:07.680 --> 0:27:13.320
<v Speaker 1>up respectively. Right, And going through the scene three or

0:27:13.400 --> 0:27:15.840
<v Speaker 1>more times would give Rosie an idea of like, okay,

0:27:15.880 --> 0:27:18.320
<v Speaker 1>I know who I'm playing, I know what we're talking about,

0:27:18.359 --> 0:27:22.040
<v Speaker 1>I know how this fits in the overall story. With George,

0:27:22.160 --> 0:27:26.240
<v Speaker 1>because there were so many moving parts and dozens of

0:27:26.840 --> 0:27:31.560
<v Speaker 1>stunt people, cars that have to be rolling, he would

0:27:31.960 --> 0:27:35.159
<v Speaker 1>shoot things that would be like, Okay, an explosion just

0:27:35.240 --> 0:27:36.720
<v Speaker 1>happened to your right, look to your right.

0:27:36.800 --> 0:27:37.119
<v Speaker 2>Cut.

0:27:37.800 --> 0:27:41.399
<v Speaker 1>Okay, now there's a guy that just jumped on the truck.

0:27:41.680 --> 0:27:42.840
<v Speaker 1>You look up and see him.

0:27:42.960 --> 0:27:47.639
<v Speaker 2>Cut. How do you figure out who your character is?

0:27:48.119 --> 0:27:51.439
<v Speaker 1>What is my character feeling? Where does this scene exist

0:27:51.480 --> 0:27:54.320
<v Speaker 1>in the movie? I have no idea, And so that

0:27:54.520 --> 0:27:58.280
<v Speaker 1>was very confusing for the actors and made it very complicated.

0:27:58.320 --> 0:28:01.199
<v Speaker 1>It was also a very conf using and frustrating for

0:28:01.240 --> 0:28:03.520
<v Speaker 1>the camera operators as well, because you could never feel

0:28:03.560 --> 0:28:06.679
<v Speaker 1>like you were getting a rhythm. Another thing about actor

0:28:06.720 --> 0:28:11.200
<v Speaker 1>is before we dive into the specifics, just to kind

0:28:11.200 --> 0:28:14.679
<v Speaker 1>of defend them a little bit, or defend Tom a

0:28:14.720 --> 0:28:18.639
<v Speaker 1>little bit, you know, it's a very naked and vulnerable process.

0:28:19.080 --> 0:28:21.320
<v Speaker 1>You're doing something that if you could step back and

0:28:21.359 --> 0:28:24.560
<v Speaker 1>watch yourself doing, it's fucking ridiculous. Like there's all these

0:28:24.560 --> 0:28:27.960
<v Speaker 1>people around and you're like screaming and crying and doing

0:28:28.000 --> 0:28:30.400
<v Speaker 1>a thing that doesn't exist that. You know, maybe you're

0:28:30.440 --> 0:28:33.400
<v Speaker 1>acting to a tennis ball or whatever, and to do

0:28:33.440 --> 0:28:36.840
<v Speaker 1>that you just have to be like naked to emotion.

0:28:37.040 --> 0:28:39.320
<v Speaker 1>And I think there's no way for it to not

0:28:39.600 --> 0:28:44.920
<v Speaker 1>creep into the rest of your workday, your life, your dreams,

0:28:45.080 --> 0:28:49.760
<v Speaker 1>et cetera. Okay, so Tom Hardy. Tom Hardy was originally

0:28:49.800 --> 0:28:55.400
<v Speaker 1>cast three years before shooting started. That's a pretty long window. Originally,

0:28:55.520 --> 0:29:00.240
<v Speaker 1>Miller envision Mel Gibson reprising his role as Max. Then

0:29:00.640 --> 0:29:03.760
<v Speaker 1>the first kind of furtive attempt at filming the movie

0:29:04.080 --> 0:29:08.280
<v Speaker 1>was halted by nine to eleven and the kind of

0:29:08.280 --> 0:29:12.520
<v Speaker 1>global financial crash that happened after that. Then Mel had

0:29:12.560 --> 0:29:14.520
<v Speaker 1>to exit when it turned out he was a really,

0:29:14.560 --> 0:29:20.240
<v Speaker 1>really terrible human being. Which side note, George puts it

0:29:20.280 --> 0:29:22.720
<v Speaker 1>in very diplomatic terms in the Mad Max behind the

0:29:22.800 --> 0:29:26.000
<v Speaker 1>Scenes documentary on YouTube. I think he says something to

0:29:26.080 --> 0:29:30.320
<v Speaker 1>the effect of, then Mel had his personal problems. He's

0:29:30.360 --> 0:29:34.960
<v Speaker 1>a very interesting way to put it. So when production

0:29:35.280 --> 0:29:39.640
<v Speaker 1>years later eventually started up again, Miller settled on a young,

0:29:39.760 --> 0:29:40.880
<v Speaker 1>not yet well known.

0:29:40.800 --> 0:29:42.000
<v Speaker 2>Actor named Tom Hardy.

0:29:42.960 --> 0:29:46.400
<v Speaker 1>Now fast forward three years, filming has started, and in

0:29:46.440 --> 0:29:49.880
<v Speaker 1>that time Tom Hardy has become a star it was

0:29:49.920 --> 0:29:53.520
<v Speaker 1>an inception and his bane in the Dark Knight. And

0:29:54.360 --> 0:29:56.040
<v Speaker 1>on the one hand, this is great, we have a

0:29:56.080 --> 0:29:59.600
<v Speaker 1>star in our movie. On the other hand, now Hardy's

0:29:59.640 --> 0:30:01.760
<v Speaker 1>reps and the studio are like, hey.

0:30:02.840 --> 0:30:04.680
<v Speaker 2>Why does this guy not speak?

0:30:05.000 --> 0:30:09.240
<v Speaker 1>We've got this guy who's a draw and he doesn't

0:30:09.280 --> 0:30:12.160
<v Speaker 1>say anything. And also Tom is confused about like what

0:30:12.240 --> 0:30:14.640
<v Speaker 1>he's doing in any given moment and doesn't know who

0:30:14.680 --> 0:30:19.120
<v Speaker 1>he is. Tom Hardy notably is a very method type

0:30:19.160 --> 0:30:22.240
<v Speaker 1>actor who wants to live in the role, and he

0:30:22.280 --> 0:30:24.800
<v Speaker 1>didn't feel like there was enough there to dive into

0:30:24.840 --> 0:30:29.080
<v Speaker 1>to live with. So another screenwriter, Kelly Marcel, who had

0:30:29.080 --> 0:30:31.440
<v Speaker 1>previously worked with Hardy on Bronson, was brought into how

0:30:31.440 --> 0:30:34.640
<v Speaker 1>both Hardy and Thorn understand their roles better, and this

0:30:35.160 --> 0:30:38.239
<v Speaker 1>usually took the form in just kind of improvs as

0:30:38.280 --> 0:30:40.160
<v Speaker 1>their character that would never be in the movie, that

0:30:40.200 --> 0:30:42.120
<v Speaker 1>would never happen, but just so they could try and

0:30:42.240 --> 0:30:45.080
<v Speaker 1>inhabit the character more. Next, we come to the clash

0:30:45.120 --> 0:30:48.320
<v Speaker 1>between Hardy and thro On. Maybe there's a world in which,

0:30:49.120 --> 0:30:52.200
<v Speaker 1>no matter the circumstances, they would have clashed anyway. They

0:30:52.200 --> 0:30:57.240
<v Speaker 1>have very very different approaches to acting, and everyone in Blood,

0:30:57.240 --> 0:31:00.640
<v Speaker 1>Sweat and Chrome notes that they are very for people

0:31:00.680 --> 0:31:04.920
<v Speaker 1>with very different takes on their craft. That said, the

0:31:04.960 --> 0:31:09.000
<v Speaker 1>shoot was not ideal. The Namibian desert was very challenging,

0:31:09.080 --> 0:31:11.480
<v Speaker 1>not just that the temperatures, but in the pace. Forty

0:31:11.560 --> 0:31:13.840
<v Speaker 1>days were cut off the shooting schedule from one forty

0:31:13.840 --> 0:31:17.240
<v Speaker 1>to one hundred, so they were under a tremendous amount

0:31:17.240 --> 0:31:19.640
<v Speaker 1>of pressure. Also, security on the set was a problem.

0:31:19.680 --> 0:31:22.520
<v Speaker 1>There was a lot of break ins, burglaries, muggings of

0:31:22.640 --> 0:31:23.680
<v Speaker 1>crew members, etc.

0:31:25.200 --> 0:31:26.880
<v Speaker 2>Charlie's was a new mom there's.

0:31:26.760 --> 0:31:31.480
<v Speaker 1>A lot of stress already built in.

0:31:30.520 --> 0:31:31.560
<v Speaker 2>To the process.

0:31:32.120 --> 0:31:34.840
<v Speaker 1>Now, according to those who were on set in the

0:31:34.840 --> 0:31:39.640
<v Speaker 1>book Tension between Heart and Thron, it was there basically

0:31:39.720 --> 0:31:41.760
<v Speaker 1>from the beginning. Ricky Schomberg, who was a member of

0:31:41.760 --> 0:31:45.600
<v Speaker 1>the camera crew, observed that quote Tom is very provocative,

0:31:45.920 --> 0:31:49.600
<v Speaker 1>Charlie's isn't, and it was a clash. Fight coordinator Richard

0:31:49.600 --> 0:31:53.400
<v Speaker 1>Norton noted Tom would want justification for every bit of choreography,

0:31:53.440 --> 0:31:55.360
<v Speaker 1>not just in the actual action, but in the pre

0:31:55.520 --> 0:31:58.239
<v Speaker 1>setup of the action. Charlie's, on the other hand, had

0:31:58.240 --> 0:32:03.720
<v Speaker 1>a straightforward desire. I want to kill him. Jay Houston Yang,

0:32:03.760 --> 0:32:06.400
<v Speaker 1>who's part of the marketing department and would see. Dailies

0:32:07.800 --> 0:32:10.240
<v Speaker 1>noted that quote. It was clear that those two people

0:32:10.280 --> 0:32:17.640
<v Speaker 1>hated each other. Hardy's frequent tardiness amplified this. He was

0:32:17.680 --> 0:32:21.640
<v Speaker 1>often hours late to set, with people just standing around

0:32:22.320 --> 0:32:25.560
<v Speaker 1>and then na maybe in desert, waiting for him. There

0:32:25.640 --> 0:32:30.520
<v Speaker 1>is one day that is particularly detailed and talked about

0:32:30.640 --> 0:32:33.880
<v Speaker 1>in Blood, Sweat and Chrome, where Charlie's apparently had just

0:32:33.960 --> 0:32:36.560
<v Speaker 1>had enough of waiting for Tom. She's in full hair

0:32:36.600 --> 0:32:39.720
<v Speaker 1>and makeup. Call time eight am. She goes and sits

0:32:39.880 --> 0:32:42.720
<v Speaker 1>in the war rig and is waiting there for hours.

0:32:42.760 --> 0:32:44.120
<v Speaker 2>Crew is coming up to her and saying, do you

0:32:44.120 --> 0:32:45.080
<v Speaker 2>want to take a break, Do you want to go

0:32:45.080 --> 0:32:46.560
<v Speaker 2>to the bathroom? Do you need anything? You you want to

0:32:46.600 --> 0:32:47.040
<v Speaker 2>And she's like.

0:32:47.000 --> 0:32:49.760
<v Speaker 1>No, no, She's making a point of it, like calling out,

0:32:49.760 --> 0:32:53.280
<v Speaker 1>like I'm here, ready to go, where's Tom Hardy?

0:32:53.560 --> 0:32:54.440
<v Speaker 2>Three hours past?

0:32:54.520 --> 0:32:58.680
<v Speaker 1>Tom Hardy kind of just casually saunters across the sands

0:32:58.760 --> 0:33:02.120
<v Speaker 1>up to the war rig, and by all accounts, Charlie's

0:33:02.640 --> 0:33:06.000
<v Speaker 1>blows up on him, calls him to the carpet, saying,

0:33:06.360 --> 0:33:09.240
<v Speaker 1>you know, how could this is so disrespectful? You should

0:33:09.240 --> 0:33:11.680
<v Speaker 1>be fined. You're making all these people stand around and

0:33:11.760 --> 0:33:16.960
<v Speaker 1>wait for you. Tom apparently reacted very aggressively to this,

0:33:17.680 --> 0:33:20.560
<v Speaker 1>and Charlie's quoted as saying it kind of came to

0:33:20.720 --> 0:33:24.480
<v Speaker 1>blows between me and Tom, which I mean, if you

0:33:24.480 --> 0:33:27.760
<v Speaker 1>take that at face value, they essentially physically came together

0:33:27.880 --> 0:33:33.880
<v Speaker 1>and fought, perhaps, and after this, thron apparently felt unsafe.

0:33:33.960 --> 0:33:37.440
<v Speaker 1>She's numerous quotes in Blood Sweating chrumb where she's saying

0:33:37.600 --> 0:33:40.200
<v Speaker 1>she just didn't feel Listen, they have.

0:33:40.240 --> 0:33:41.320
<v Speaker 2>A lot of scenes together.

0:33:41.400 --> 0:33:44.040
<v Speaker 1>A lot of those scenes are antagonistic where they're almost

0:33:44.120 --> 0:33:46.080
<v Speaker 1>fighting in the movie. They have a fight scene in

0:33:46.080 --> 0:33:49.720
<v Speaker 1>the movie they're sitting a foot from each other in

0:33:49.800 --> 0:33:53.680
<v Speaker 1>the cab of a war rig, and Charlie's was saying

0:33:53.680 --> 0:33:56.280
<v Speaker 1>she felt very exposed, very vulnerable. She asked for a

0:33:56.320 --> 0:33:57.680
<v Speaker 1>female producer.

0:33:57.240 --> 0:33:58.080
<v Speaker 2>To come in.

0:33:58.760 --> 0:34:01.320
<v Speaker 1>That was kind of agreed to. But then Miller, who

0:34:01.400 --> 0:34:06.040
<v Speaker 1>has been again shepherding this very very specific vision that

0:34:06.240 --> 0:34:11.360
<v Speaker 1>he understands to the screen over the course of two decades,

0:34:11.520 --> 0:34:13.520
<v Speaker 1>was a little bit like, well, if I led another

0:34:13.560 --> 0:34:15.520
<v Speaker 1>producer on, they're going to try and change my movie.

0:34:15.560 --> 0:34:20.600
<v Speaker 1>He fought it a little bit, and eventually the movie

0:34:20.640 --> 0:34:23.600
<v Speaker 1>got made, of course, and I think everybody came to

0:34:23.640 --> 0:34:29.120
<v Speaker 1>a place where they felt regretful about the ways they.

0:34:28.960 --> 0:34:29.480
<v Speaker 2>Went about it.

0:34:29.520 --> 0:34:31.920
<v Speaker 1>Tom Hardy was a little bit more dismissive, but I said, like,

0:34:31.960 --> 0:34:34.720
<v Speaker 1>I wish I could have handled it better. He notes

0:34:34.760 --> 0:34:38.759
<v Speaker 1>that he was feeling pretty insecure his stepping into the

0:34:38.760 --> 0:34:43.240
<v Speaker 1>shoes of Mel Gibson, an iconic character, and he didn't

0:34:43.280 --> 0:34:46.880
<v Speaker 1>know what he was doing. George Miller is later quoted

0:34:46.880 --> 0:34:50.319
<v Speaker 1>as saying, there are things that I feel disappointment with

0:34:50.640 --> 0:34:53.239
<v Speaker 1>about the process. Looking back, if I had to do

0:34:53.320 --> 0:34:56.520
<v Speaker 1>it again, I would probably have been more mindful.

0:34:57.400 --> 0:34:59.560
<v Speaker 2>Well, it's a learning process.

0:35:00.080 --> 0:35:02.520
<v Speaker 1>And I don't think Charlie Starn will ever work with

0:35:02.560 --> 0:35:04.759
<v Speaker 1>Tom Hardy Agan, and I don't think Georgia.

0:35:04.560 --> 0:35:06.359
<v Speaker 2>Villa will ever worked with Tony again.

0:35:06.600 --> 0:35:07.239
<v Speaker 3>But that was it.

0:35:07.280 --> 0:35:10.080
<v Speaker 1>They hated each other and they actually fought, physically fought,

0:35:11.080 --> 0:35:14.560
<v Speaker 1>crazy crazy movie wild Up.

0:35:14.600 --> 0:35:16.440
<v Speaker 2>Next we talked Blockbusters.

0:35:17.239 --> 0:35:35.080
<v Speaker 3>Yeah, welcome to the back matter section, where, just like

0:35:35.080 --> 0:35:38.719
<v Speaker 3>our favorite comics, we end the show with a little

0:35:38.719 --> 0:35:42.719
<v Speaker 3>bit of insight into something really really cool or important,

0:35:42.920 --> 0:35:44.839
<v Speaker 3>or something that we just feel like you guys would

0:35:44.840 --> 0:35:47.680
<v Speaker 3>probably like to hear us talk about. And today seeing

0:35:47.680 --> 0:35:50.080
<v Speaker 3>as we're talking about Furio, so which is you know,

0:35:50.480 --> 0:35:53.319
<v Speaker 3>really hopefully going to launch the summer blockbuster season. After

0:35:53.360 --> 0:35:55.600
<v Speaker 3>a couple of misfires, we're gonna talk about it. What

0:35:55.719 --> 0:35:58.640
<v Speaker 3>is the summer blockbuster season? How did it start? Well?

0:35:59.040 --> 0:36:01.520
<v Speaker 3>Since the seventies, some has been a really lucrative time

0:36:01.560 --> 0:36:04.600
<v Speaker 3>for studios to release big budget, high concept films with

0:36:04.640 --> 0:36:06.799
<v Speaker 3>a list stars and flashy spectacle.

0:36:07.000 --> 0:36:11.960
<v Speaker 4>Jaws exactly, those are the big Jaws is really seen

0:36:12.000 --> 0:36:16.520
<v Speaker 4>as the beginning of summer blockbuster season, flashy spectacle young

0:36:16.600 --> 0:36:18.920
<v Speaker 4>moviegoers or on break from school, you can make money.

0:36:19.120 --> 0:36:22.320
<v Speaker 3>This season typically runs from March to Labor Day and

0:36:22.400 --> 0:36:25.920
<v Speaker 3>accounts for forty percent of Hollywood's annual box office revenue.

0:36:25.920 --> 0:36:28.120
<v Speaker 3>I would say in the last decade or so, because

0:36:28.120 --> 0:36:30.399
<v Speaker 3>of Marvel, we kind of see it starting in May

0:36:30.480 --> 0:36:33.640
<v Speaker 3>now is usually the first weekend of May what we

0:36:33.719 --> 0:36:35.640
<v Speaker 3>call the free comic book Bay movie. So this year

0:36:35.680 --> 0:36:37.640
<v Speaker 3>it was The Fall Guy, which obviously didn't kind of

0:36:37.680 --> 0:36:42.000
<v Speaker 3>spark off that blockbuster box office that people wanted. But yes,

0:36:42.120 --> 0:36:46.120
<v Speaker 3>like you mentioned stars the Stars, that's the scary Jaws

0:36:46.120 --> 0:36:49.600
<v Speaker 3>in space movie. No Jaws Star Wars. But even like,

0:36:49.719 --> 0:36:52.239
<v Speaker 3>the really interesting thing about some blockbuster season is it

0:36:52.239 --> 0:36:57.640
<v Speaker 3>became so well known and kind of predictable for audiences

0:36:57.840 --> 0:37:00.799
<v Speaker 3>that even smaller films like Clueless and which I love

0:37:00.920 --> 0:37:02.920
<v Speaker 3>like one of my favorite movies, and laya Liar, the

0:37:03.000 --> 0:37:08.160
<v Speaker 3>Jim Carrey movie found like huge audiences and massive paydays. Obviously,

0:37:08.840 --> 0:37:12.560
<v Speaker 3>post you know, two thousand and eight, let's say the

0:37:12.680 --> 0:37:15.799
<v Speaker 3>summer blockbuster has evolved into like a more established IP

0:37:16.040 --> 0:37:20.520
<v Speaker 3>franchise space. Marvel would always release their big movie on

0:37:20.600 --> 0:37:23.520
<v Speaker 3>that first weekend of May to coincide with Free Comic

0:37:23.520 --> 0:37:27.080
<v Speaker 3>Book Day, and since then, you know, with the whole

0:37:27.080 --> 0:37:31.680
<v Speaker 3>conversation of is Hollywood doomed by IP and comic book

0:37:31.719 --> 0:37:35.960
<v Speaker 3>movie fatigue, they've also had the conversation of does summer

0:37:35.960 --> 0:37:39.399
<v Speaker 3>blockbuster season still matter, especially when you know we've had

0:37:39.719 --> 0:37:43.200
<v Speaker 3>releases as February has now become a space where you

0:37:43.200 --> 0:37:45.080
<v Speaker 3>can release a huge blockbuster. That used to be a

0:37:45.120 --> 0:37:47.520
<v Speaker 3>space where they would bury a movie, but after the

0:37:47.520 --> 0:37:50.600
<v Speaker 3>success of Get Out it really opened up the space

0:37:50.640 --> 0:37:53.120
<v Speaker 3>for horror movies. Then obviously we had Black Panther that

0:37:53.160 --> 0:37:57.120
<v Speaker 3>opened then that was just absolutely massive. So I think

0:37:57.160 --> 0:37:59.560
<v Speaker 3>that that the idea of where we can open a

0:37:59.600 --> 0:38:03.799
<v Speaker 3>movie now has broadened distinctly, but still it still has

0:38:03.840 --> 0:38:05.840
<v Speaker 3>a big shadow of a Hollywood the side air of

0:38:05.840 --> 0:38:06.759
<v Speaker 3>the summer blockbuster.

0:38:07.120 --> 0:38:10.000
<v Speaker 2>I think one of the most interesting recent developments which

0:38:10.000 --> 0:38:12.400
<v Speaker 2>you really saw pickup speed over.

0:38:12.280 --> 0:38:18.480
<v Speaker 1>The pandemic was digital releases coming at times right on

0:38:18.520 --> 0:38:22.480
<v Speaker 1>the heels of the theatrical release. Fall Guy, which I

0:38:22.520 --> 0:38:24.960
<v Speaker 1>think we both noted had a little bit of a

0:38:25.000 --> 0:38:29.680
<v Speaker 1>disciplining run in the theaters, is coming to digital two

0:38:29.760 --> 0:38:34.360
<v Speaker 1>weeks after it's run in theaters beginning just two weeks.

0:38:34.760 --> 0:38:36.880
<v Speaker 2>And you know, this has been a thing that.

0:38:38.360 --> 0:38:43.560
<v Speaker 1>Cinema theater chains and companies and owners have complained about

0:38:43.560 --> 0:38:46.480
<v Speaker 1>because obviously that cuts into their bottom line, But I

0:38:46.480 --> 0:38:51.520
<v Speaker 1>think it's it's indicative of how different the business is now.

0:38:51.719 --> 0:38:54.399
<v Speaker 1>Like normally you'd be like, Okay, leave it, leave Fall

0:38:54.440 --> 0:38:57.560
<v Speaker 1>Guy there, and you hope it builds an audience over time.

0:38:57.719 --> 0:38:59.920
<v Speaker 3>Yeah, and it would. With fo Guy, it could have

0:39:00.000 --> 0:39:02.600
<v Speaker 3>happened as well, because in its third week of release,

0:39:02.640 --> 0:39:04.840
<v Speaker 3>which is the same time that they're about to launch

0:39:04.920 --> 0:39:08.600
<v Speaker 3>this vod it would It actually only dropped forty percent

0:39:08.640 --> 0:39:10.839
<v Speaker 3>from its first week, which is actually a really good

0:39:10.840 --> 0:39:13.160
<v Speaker 3>hold for any movie. So it feels like that word

0:39:13.160 --> 0:39:15.160
<v Speaker 3>of mouth could have built up. And we've seen with

0:39:15.280 --> 0:39:19.160
<v Speaker 3>movies like Pixars Elemental, which had you know, a real

0:39:19.280 --> 0:39:22.040
<v Speaker 3>it would think it was Pixar's lowest box office release

0:39:22.080 --> 0:39:25.520
<v Speaker 3>since Toy Story, not even adjusted for inflation. But it

0:39:25.640 --> 0:39:28.239
<v Speaker 3>ended up making almost half a billion dollars because it

0:39:28.360 --> 0:39:31.160
<v Speaker 3>stayed in and families took their time and they heard

0:39:31.160 --> 0:39:33.759
<v Speaker 3>it was good from a different family and they went,

0:39:33.840 --> 0:39:36.760
<v Speaker 3>and the word of mouth meant that it was able

0:39:36.840 --> 0:39:41.320
<v Speaker 3>to make a really great box office kind of qum,

0:39:41.520 --> 0:39:43.080
<v Speaker 3>you know. And I think it's a shame that they're

0:39:43.080 --> 0:39:45.280
<v Speaker 3>doing this with full app with a full guy, because

0:39:45.320 --> 0:39:47.120
<v Speaker 3>I thought it was a really great movie. It deserves

0:39:47.160 --> 0:39:49.319
<v Speaker 3>to be seen in the cinema. But I did read

0:39:49.320 --> 0:39:54.480
<v Speaker 3>something really interesting which is apparently now a new Hollywood

0:39:54.480 --> 0:39:56.560
<v Speaker 3>strategy is and this was not the case with four Guy.

0:39:56.600 --> 0:40:02.080
<v Speaker 3>Thought I had an unbelievable huge marketing spend, like we

0:40:02.120 --> 0:40:03.920
<v Speaker 3>saw it everywhere. This was not the case. But with

0:40:04.040 --> 0:40:08.520
<v Speaker 3>some movies, like horror movies. The first omen Taro was

0:40:08.560 --> 0:40:12.520
<v Speaker 3>a recent one. I was reading an interesting article about

0:40:12.560 --> 0:40:18.200
<v Speaker 3>how apparently studios now will do a lower marketing budget

0:40:18.280 --> 0:40:21.239
<v Speaker 3>with the knowledge that if the movie doesn't do well

0:40:21.239 --> 0:40:23.319
<v Speaker 3>at the cinema, they can just immediately put it on

0:40:23.400 --> 0:40:27.000
<v Speaker 3>VOD and get some of their money back. So it's

0:40:27.040 --> 0:40:30.000
<v Speaker 3>almost it's changing so much that they're prepared for it.

0:40:30.360 --> 0:40:32.839
<v Speaker 3>But it's really interesting because obviously it's not the same

0:40:32.840 --> 0:40:34.839
<v Speaker 3>with every movie, so like doing Part two, which made

0:40:34.840 --> 0:40:37.120
<v Speaker 3>a ton of money, that's been two and a half

0:40:37.200 --> 0:40:39.240
<v Speaker 3>months and it's only just about to go on Max.

0:40:39.880 --> 0:40:42.560
<v Speaker 3>So yeah, I find the whole thing really interesting, and

0:40:42.600 --> 0:40:46.239
<v Speaker 3>I do think it's a shame in this particular situation

0:40:46.360 --> 0:40:49.920
<v Speaker 3>that the fall Guy is kind of falling into this trap,

0:40:50.000 --> 0:40:51.960
<v Speaker 3>because I do believe it could have found it and

0:40:52.000 --> 0:40:53.719
<v Speaker 3>it will find its audience. It will be like so

0:40:53.760 --> 0:40:56.080
<v Speaker 3>many movies before it, Scott Pilgrim, a movie that didn't

0:40:56.120 --> 0:40:58.920
<v Speaker 3>make very money much money at the cinema, you know,

0:40:59.400 --> 0:41:03.560
<v Speaker 3>True Roman, and the Quentin Tarantino written, Tony Scott directed movie,

0:41:03.600 --> 0:41:05.280
<v Speaker 3>which is like one of my all time favorite movies.

0:41:05.320 --> 0:41:07.400
<v Speaker 3>Another movie that didn't really make a lot of money

0:41:07.440 --> 0:41:11.880
<v Speaker 3>at the cinema but found a new home on home video.

0:41:12.200 --> 0:41:13.840
<v Speaker 3>So I guess in a way this could be like

0:41:13.880 --> 0:41:17.359
<v Speaker 3>a modern version of that, where people can find a

0:41:17.440 --> 0:41:21.120
<v Speaker 3>new fandom for these movies when they're on VOD and

0:41:21.160 --> 0:41:23.160
<v Speaker 3>the way they used to find it in the video shop.

0:41:23.840 --> 0:41:27.520
<v Speaker 1>Do you think that the age of the sleeper film

0:41:27.600 --> 0:41:31.319
<v Speaker 1>you know, the film that like opens very quietly and

0:41:31.360 --> 0:41:36.000
<v Speaker 1>then builds through essentially word of mouth in the theater.

0:41:37.200 --> 0:41:39.319
<v Speaker 1>Do you think we're just that just doesn't it just

0:41:39.360 --> 0:41:42.439
<v Speaker 1>doesn't exist anymore. We're never gonna see that like by

0:41:42.480 --> 0:41:47.560
<v Speaker 1>big fat Greek wedding type of movie that just opens

0:41:47.680 --> 0:41:51.120
<v Speaker 1>very soft but then grows and grows and grows because

0:41:51.120 --> 0:41:52.640
<v Speaker 1>people are like, Hey, that's a really fun movie.

0:41:52.680 --> 0:41:54.120
<v Speaker 2>Are we gonna gonna see that again?

0:41:54.520 --> 0:41:57.759
<v Speaker 3>I think we will likely see it again, because this

0:41:57.760 --> 0:42:00.600
<v Speaker 3>stuff is all cyclical, and I'm sure that there will

0:42:00.640 --> 0:42:04.600
<v Speaker 3>be some movie that will come out that was a small,

0:42:04.880 --> 0:42:07.439
<v Speaker 3>low budget movie that they're not even really concerned about

0:42:07.480 --> 0:42:09.399
<v Speaker 3>putting it on VOD and it will end up making

0:42:09.440 --> 0:42:12.560
<v Speaker 3>a ton of money. Kind Of honestly, everything ever where

0:42:12.560 --> 0:42:15.120
<v Speaker 3>at all at once was almost that movie. And yeah,

0:42:15.120 --> 0:42:19.560
<v Speaker 3>because because that had the small, staggered release and it

0:42:19.719 --> 0:42:21.719
<v Speaker 3>ended up making a lot of money and becoming this

0:42:21.800 --> 0:42:24.000
<v Speaker 3>huge hit that nobody saw. But I do think it's

0:42:24.160 --> 0:42:27.040
<v Speaker 3>gonna be a lot less likely now. I also think

0:42:27.080 --> 0:42:31.800
<v Speaker 3>this is another sad kind of trend towards the erasure

0:42:31.840 --> 0:42:34.319
<v Speaker 3>of like the mid budget movie. You know, like we

0:42:34.480 --> 0:42:37.960
<v Speaker 3>like Joel pointed out that, you know, the zach Efron

0:42:38.000 --> 0:42:40.279
<v Speaker 3>movie Iron Claw, which everyone who saw it thought was

0:42:40.280 --> 0:42:42.520
<v Speaker 3>going to be like a huge Oscar movie but didn't

0:42:42.560 --> 0:42:45.160
<v Speaker 3>end up being that way. It's had huge success once

0:42:45.200 --> 0:42:48.120
<v Speaker 3>it hit VOD. So I think that we're in this

0:42:48.200 --> 0:42:52.160
<v Speaker 3>space where we're gonna see more mid budget kind of

0:42:52.239 --> 0:42:58.600
<v Speaker 3>drama movies going to VOD going straight to streaming as well.

0:42:58.719 --> 0:43:02.640
<v Speaker 3>Sadly need to see a change in the way cinema

0:43:02.719 --> 0:43:06.080
<v Speaker 3>go are looking at films to kind of see it change,

0:43:06.120 --> 0:43:07.719
<v Speaker 3>but I hope not, because I do think there's so

0:43:07.719 --> 0:43:10.719
<v Speaker 3>many fantastic movies out there, and I would love to

0:43:10.719 --> 0:43:13.440
<v Speaker 3>see more movies getting cinematic releases rather.

0:43:13.320 --> 0:43:16.960
<v Speaker 2>Than less same. That's it for our show.

0:43:17.200 --> 0:43:20.440
<v Speaker 1>Stay tuned for more extra vision on Thursday when we're

0:43:20.440 --> 0:43:23.759
<v Speaker 1>hopping into the time capsule to talk about the much

0:43:23.880 --> 0:43:28.640
<v Speaker 1>maligned but actually good, fun, solid movie The Marvels, and

0:43:28.719 --> 0:43:32.920
<v Speaker 1>on Friday dropping a mini bonus episode about Echo on

0:43:33.000 --> 0:43:33.640
<v Speaker 1>Disney Plus.

0:43:33.960 --> 0:43:35.920
<v Speaker 3>I want to say that this is actually very relevant

0:43:36.080 --> 0:43:38.319
<v Speaker 3>because guess what The Marvels is, a movie that didn't

0:43:38.320 --> 0:43:40.280
<v Speaker 3>do well in the cinema has now found an audience

0:43:40.360 --> 0:43:43.600
<v Speaker 3>on Disney Plus. Yeah, look at how we tied that together.

0:43:44.920 --> 0:43:46.319
<v Speaker 2>Thanks for listening, See you next time.

0:43:46.560 --> 0:43:55.120
<v Speaker 5>Bite x ray Vision is hosted by Jason Gitsubsion and

0:43:55.280 --> 0:43:59.359
<v Speaker 5>Rosie Knight and is a production of iHeart Podcasts. Our

0:43:59.400 --> 0:44:03.680
<v Speaker 5>executive ducers are Joelle Smith and Aaron Kaufman. Our supervising

0:44:03.680 --> 0:44:08.400
<v Speaker 5>producer is a Boo Zafar. Our producers are Carmen Laurent

0:44:09.200 --> 0:44:12.799
<v Speaker 5>and Mia Taylor. Our theme song is by Brian Basquez.

0:44:13.280 --> 0:44:17.600
<v Speaker 3>Special thanks to Soul Rubin and Chris Laude. Kenny Goodman

0:44:17.960 --> 0:44:20.040
<v Speaker 3>and Heidi our discord moderator.