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Speaker 1: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 2: Hey you welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 3: And this is Joe McCormick, and today we're going to

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Speaker 3: be talking about the nineteen sixty eight Would people call

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Speaker 3: this a Tokusatsu movie.

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Speaker 2: Yes, but with some caveats that we'll get into.

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Speaker 3: Okay, Well, whatever it is, it's a sci fi monster

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Speaker 3: adventure of the Tokusatsu flavor or not, whether depending on

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Speaker 3: your taste, it is the nineteen sixty eight film The

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Speaker 3: Green Slime. This is one of those movies that I

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Speaker 3: had seen before, but not really I'd like. I used

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Speaker 3: to put this on sometimes with no sound on, so

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Speaker 3: I you be hanging out with people and just look

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Speaker 3: up and see the monsters of this film wiggling their

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Speaker 3: wonderful arms in space with sparks shoe out in darkened

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Speaker 3: hallways and see kind of you know, square jawed spacemen

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Speaker 3: running around looking grim at each other while the the

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Speaker 3: the monsters close in. And it was a great vibe.

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Speaker 3: But I'd never actually heard anything heard any of the

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Speaker 3: dialogue before, so I didn't really know what the story was.

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Speaker 3: And now here we are I'm coming home to the

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Speaker 3: Green Slime.

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Speaker 2: Yeah. The viewing experience that we put ourselves through for

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Speaker 2: Weird House Cinema is often rather different from what we've

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Speaker 2: gone through in the past, and I've there have been

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Speaker 2: times where we've covered a film that I've seen before

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Speaker 2: and my wife will ask me, do you really need

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Speaker 2: to watch it again because you've seen it multiple times,

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Speaker 2: and I'm like, yes, I have to. For this to

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Speaker 2: be academically pure and nay, spiritually pure, I need to

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Speaker 2: approach it with, you know, a fresh mindset and give

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Speaker 2: everything the benefit of a doubt and you know, have

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Speaker 2: my complete attention on it.

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Speaker 3: Well, I never knew before how much of this movie

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Speaker 3: was a space marine love triangle.

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Speaker 2: Yes it is. This is a It is a space

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Speaker 2: marine love triangle. If you like love triangles and you

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Speaker 2: like lots of like militaristic running around, well then this

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Speaker 2: is the movie for you. It's also kind of fitting

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Speaker 2: that this week is green Slime when last week was

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Speaker 2: an Orange Slime movie. So we've gone from orange to green.

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Speaker 2: We're probably not going to keep up the chromatic responsibility here, though.

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Speaker 3: That's right. I would say the slime has a different consistency.

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Speaker 3: You know, the slime that you're referring to from last week.

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Speaker 3: I assume you mean what was inside the black obelisk.

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Speaker 3: From the viewing that was a very waxy slime. The

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Speaker 3: green slime, I would say, is a much more gelatinous

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Speaker 3: type of substance.

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Speaker 2: Yeah, now you may if you've seen the trailer for

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Speaker 2: this before, certainly you've seen it before. You know that

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Speaker 2: it has a very groovy theme song. It's prominently featured

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Speaker 2: in the trailer that we're going to listen to in

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Speaker 2: just a little bit. But don't let that groovy theme

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Speaker 2: song fool you, because they are parts of this movie

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Speaker 2: that I think hit pretty hard. And it's also you know,

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Speaker 2: a really it's a really fun film, but it's more

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Speaker 2: procedural and significantly less groovy, at least compared to that

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Speaker 2: just awesome US poster art and that US theme song.

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Speaker 3: I can't believe you're talking trash on the theme song.

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Speaker 3: The theme song is great. It's like Alwood sixties garage jam.

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Speaker 3: We were trying to think what to compare it to

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Speaker 3: before we started. It's a little bit kind of vanilla

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Speaker 3: fudgie almost.

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Speaker 2: I think the thing about the theme song is that

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Speaker 2: for the longest and I'd never seen this movie until

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Speaker 2: I watched it for today's episode. It always gave me

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Speaker 2: the vibe that this was a bikini movie, you know

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Speaker 2: what I'm saying, even though I'd never seen any stills

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Speaker 2: of bikinis. It made me think that it was going

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Speaker 2: to be kind of like that silly groovy movie for

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Speaker 2: the kids, Daddy O, kind of a flavor that you

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Speaker 2: see in various films from this time period. But it's

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Speaker 2: actually not the case. As we'll discuss, the groovness was

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Speaker 2: kind of added in post for the American audience.

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Speaker 3: Yes, that's exactly right. Well, the theme song suggests that

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Speaker 3: this is a switched on, far out ride. The human

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Speaker 3: element is surprisingly square like. It's about these people who

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Speaker 3: are part of Space Command and the human themes they are.

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Speaker 3: Apart from a love triangle, it's very much about like

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Speaker 3: what it means to follow orders and do your duty exactly.

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Speaker 2: Yeah, now, real quick, If you have seen that movie poster,

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Speaker 2: you know what I'm talking about. If not, go look

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Speaker 2: it up. It's beautiful to behold. I believe this was

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Speaker 2: a painting done by Vic Livadi, who did a lot

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Speaker 2: of great paper back novels. I found a blog post

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Speaker 2: featuring some of his work from back in the day,

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Speaker 2: and there's some very stunning stuff. I'm not one hundred

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Speaker 2: percent certain, but I think he also did the classic

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Speaker 2: poster art for nineteen sixty nine's The Italian Job. This

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Speaker 2: is the one where the poster art shows Michael Kine's

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Speaker 2: character and then there's a woman with like a map

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Speaker 2: drawn on her back.

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Speaker 4: Mm.

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Speaker 3: Yeah, okay, And we can say I think that this

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Speaker 3: poster continues the fifties and sixties sci fi horror trend

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Speaker 3: of I don't know. There's a motif of questionable sexual politics,

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Speaker 3: where there's almost always a woman shown either unconscious or

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Speaker 3: horizontal in some way, usually being carried by a monster

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Speaker 3: or sort of horizontal and screaming while the monster looms

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Speaker 3: over her. This is a variation on that, where she's

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Speaker 3: not exactly horizontal, she's diagonal and the green Slime Monster

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Speaker 3: is appearing from behind her with one of its tentacles

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Speaker 3: wrapped suggestively around her thigh.

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Speaker 2: Yes, and the green Slime Monster looks great, tentacle swhirling,

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Speaker 2: It's like stone dope eyeball, like burning bloodshot against the

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Speaker 2: against deep space. Great poster.

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Speaker 3: You know it's hard to read emotions onto the faces

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Speaker 3: of the green slime monsters. Because they are each a cyclops,

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Speaker 3: they only have one eye. But if you were to

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Speaker 3: try to imagine two eyes like this next to each

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Speaker 3: other and say what facial expression of emotion it would indicate,

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Speaker 3: I would say, actually, this eye is almost kind of

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Speaker 3: a weary eye. It's kind of like, oh, this world.

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Speaker 2: That's a good point.

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Speaker 3: Good point, you see what I'm saying.

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Speaker 2: Yeah, yeah, it looks like.

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Speaker 3: He's seeing it all. He's tired of it. It's like

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Speaker 3: another space station to conquer.

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Speaker 2: And the way that it says that out loud is

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Speaker 2: by going like that, you'll hear the sound effect in

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Speaker 2: the trailer. But they have this very distinct, really I

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Speaker 2: think fitting sound that they make. It's just completely alien.

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Speaker 3: It's somewhere between quacking and squealing.

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Speaker 2: Yeah, maybe a little bit of dolphin thrown in there.

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Speaker 3: Yeah.

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Speaker 2: So this, like I said, this is a fun movie.

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Speaker 2: I enjoyed it. I think one of the problems though,

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Speaker 2: that it encountered is that it had the misfortune to

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Speaker 2: come out late in nineteen sixty eight, several months after

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Speaker 2: Stanley Kubrick's two thousand and one A Space Odyssey, A

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Speaker 2: film that is ultimately setting out to achieve drastically different things,

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Speaker 2: but a film that still involves shots of space stations

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Speaker 2: and rockets, shots of people in space suits, visiting planets,

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Speaker 2: and ultimately some sort of encounter with an alien intelligence

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Speaker 2: of one sort or another.

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Speaker 3: I feel like this is an almost perfect example of

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Speaker 3: something that sometimes happens in film criticism, and you know,

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Speaker 3: I guess in broader audience appreciation, which is really forced

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Speaker 3: comparisons between films that there's no reason to compare them

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Speaker 3: except maybe that one is on your mind when you

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Speaker 3: happen to see the other.

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Speaker 2: So like.

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Speaker 3: Calling this movie, you know, like not as good as

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Speaker 3: two thousand and one a Space Odyssey, or like I

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Speaker 3: think you're about to read a quote that makes a

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Speaker 3: comparison saying it's like a poor man's two thousand and one.

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Speaker 3: That is such a forced and absurd comparison to make.

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Speaker 3: It's like saying that this beagle is not as good

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Speaker 3: as this alligator. It's just like, I don't even understand

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Speaker 3: what kind of scale you're using to compare these completely

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Speaker 3: different objects.

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Speaker 2: Yeah, yeah, exactly, Because at the time there were a

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Speaker 2: lot of comparisons made to Space Odyssey two thousand and

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Speaker 2: one of Space Odyssey, and the reviewers were rough on it.

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Speaker 2: I'm going to read this part of this review from

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Speaker 2: Variety magazine. This one is attributed to Brad. Oh.

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Speaker 3: They just had first names back.

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Speaker 2: Then, apparently, And I'm not super well versed with Variety,

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Speaker 2: but I was looking. I looked at a few different

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Speaker 2: reviews from back in the day, and yeah, they're attributed

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Speaker 2: to a first name. I don't know if the last

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Speaker 2: name is given elsewhere in the publication. And also, this

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Speaker 2: is very much like an industry or certainly at the

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Speaker 2: time was an industry focused publication. So you'll hear some

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Speaker 2: little tidbits and some lingo here and there. That's clearly

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Speaker 2: ultimately about the bottom line in Hollywood.

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Speaker 3: Okay, but what does Brad say about the green slime quote?

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Speaker 2: Science fiction devotees who can take the subject tongue in

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Speaker 2: cheek may find a few humorous moments in this pick,

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Speaker 2: which at times resembles a poor man's version of two

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Speaker 2: thousand and one. The special effects are amateurish, the story

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Speaker 2: and script in the same category box. This potential is limited,

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Speaker 2: with exploitation possibilities focusing on what title refers to as

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Speaker 2: quote unquote, the green slime, a substance which adheres to

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Speaker 2: uniforms of men back from space exploration. The cells of

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Speaker 2: the slime multiply at an incomprehensible rate, allowing the development

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Speaker 2: of a serpent like monster.

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Speaker 3: Did Brad watch the movie? Is this a serpent like monster?

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Speaker 2: Brad might have been working on the copy a little

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Speaker 2: bit during some of the action sequences, It's my bet.

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Speaker 2: Now Brad goes on to outline the plot further and

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Speaker 2: describe the performances as routine. So this is again I'm

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Speaker 2: not super familiar with Variety magazine, especially of that day,

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Speaker 2: so this led me down a brief rabbit hole. I

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Speaker 2: was like, okay, well, what did they say about two

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Speaker 2: thousand and one? And what did they say about another movie?

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Speaker 2: I can't help but compare it to Planet of the Vampires,

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Speaker 2: which came out earlier, which is another space film with

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Speaker 2: space ships encountering strange life forms, but one that's this

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Speaker 2: is very stylish show. We of course talked about Mario

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Speaker 2: Baba's Planet of the Vampires on Weird House Cinema previously.

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Speaker 3: What the green slime in the Planet of the Vampires

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Speaker 3: have in common is they are both movies that I

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Speaker 3: used to always put on without sound when I was

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Speaker 3: hanging out with people.

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Speaker 2: Yeah, okay, well this is what variety said. I look

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Speaker 2: back and one Dual dol praise Planet of the Vampires

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Speaker 2: for its quote color, camera work, and production value, said

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Speaker 2: that they are first class and mentions nice suspense, but

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Speaker 2: knocks its ending as being not to be believed. And

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Speaker 2: there are also some expected criticisms of plot and pacing,

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Speaker 2: but Dual interestingly says that it all should quote keep

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Speaker 2: the young on the edge of their seats and the

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Speaker 2: older set from falling asleep. Okay, now I have fallen

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Speaker 2: asleep and Planet of the Vampires, so I don't think

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Speaker 2: that's a knock. It's a very hypnotic movie. I recommend

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Speaker 2: falling asleep during Planet of the Vampires. Yeah, yeah, all right.

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Speaker 2: And as far as two thousand and one goes, Rogue

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Speaker 2: robe is the accredited reviewer. Rogue spends about a half

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Speaker 2: a page talking about two thousand and one. It describes

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Speaker 2: it as a quote big, beautiful, but plotting sci fi

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Speaker 2: epic superb photography is a major asset to confusing long

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Speaker 2: unfolding plot, but should but should do biz an initial release,

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Speaker 2: and it older. It also contains plenty of comments like quote,

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Speaker 2: the plot so called, and then there's this chunk here quote.

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Speaker 2: But two thousand and one is not a cinematic landmark.

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Speaker 2: It compares with, but does not best previous efforts at

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Speaker 2: film science fiction, lacking the humanity of Forbidden Planet, the

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Speaker 2: imagination of things to come, and the simplicity of stars

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Speaker 2: and men. It actually belongs to the technically slit group

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Speaker 2: previously dominated by George Powell and the Japanese.

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Speaker 3: What a weird series of comments.

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Speaker 2: Yeah, George Powell the way, this was the producer of

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Speaker 2: nineteen five threes The War of the Worlds, and he

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Speaker 2: directed nineteen sixties The Time Machine. So you know, I

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Speaker 2: mean I'm being a little unfair here because reviews always

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Speaker 2: are a little different at the time when groundbreaking films

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Speaker 2: come out. So you know, I don't mean too belittle

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Speaker 2: a variety magazine or the people writing for it back

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Speaker 2: in the day. But it is interesting how decades later

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Speaker 2: the way we think about these films, and what would

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Speaker 2: happen if we then compared two thousand and one to

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Speaker 2: War the Worlds of the Time Machine. These are all

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Speaker 2: great films, These are all classic sci fi pictures, but

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Speaker 2: you know, they're all setting out to achieve different things,

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Speaker 2: like we've been saying.

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Speaker 3: Yeah, I mean it's not that I would suggest one

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Speaker 3: never compare one film to another. I mean we do

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Speaker 3: that all the time, but there is something that seems

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Speaker 3: a little confused when you just, like take two films

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Speaker 3: that are very different in tone and type of story

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Speaker 3: and all those things, and then just rank them in

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Speaker 3: terms of quality, like one is better than the other.

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Speaker 2: Yeah. So, looking back at this film, I'm not sure

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Speaker 2: that I don't think critics liked it. I'm not sure

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Speaker 2: that audiences really loved it. However, did it possibly inspire

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Speaker 2: Dan O'Bannon to write Alien? Sure? Why not.

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Speaker 3: This is the fourteenth movie we've covered that has been

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Speaker 3: alleged to inspire the Alien script.

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Speaker 2: This case alleged by us, though I actually didn't see

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Speaker 2: it mentioned anywhere. But it's exactly the sort of film

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Speaker 2: I would believe that that comment regarding, because yeah, a

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Speaker 2: lot of it does match up with stuff that would

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Speaker 2: come in Alien.

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Speaker 3: I think we should start a rumor right here and

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Speaker 3: right now, and hopefully listeners will just go and spread

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Speaker 3: this without attribution that Dan O'Bannon's Alien Script was inspired

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Speaker 3: by Track of the Moonbeast.

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Speaker 2: Oh, welcome back to Track of the Moonbeast in a minute.

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Speaker 2: So my elevator pitch for this movie is from the

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Speaker 2: creator of Batman. To save the Earth, they most risk

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Speaker 2: exposure to the green Slime.

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Speaker 3: I think that's right on the money. So I think

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Speaker 3: we need to hear some trailer audio. Folks at home,

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Speaker 3: prepare yourselves to be grviified.

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

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Speaker 5: century world of the future, and lurking beyond, the cold,

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Speaker 5: strange immensity of conquered space, growing and spreading beyond, the

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Speaker 5: warped imagination of the greatest human intellect, exploding in unspeakable horror.

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Speaker 5: The green Slime, The civilized world at war with alien

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Speaker 5: form whose slimy touch means instant.

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Speaker 4: Horbled death. Invaders from beyond the stars? What green slime?

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Speaker 4: Robert Horton, Luciana Paluci, Richard.

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Speaker 5: Jacob, you make too many mistakes. You're not right for command.

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

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Speaker 5: struggle for survival in the infected remains of a diseased universe.

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Speaker 5: One woman searches for the last chance to save the

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Speaker 5: human race from the desperate hundred of the green Side,

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Speaker 5: a battle.

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Speaker 4: In space against faceless speeds, A cosmic nightmare that sends

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Speaker 4: you into the incredible, a sirt world of.

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Speaker 5: Us.

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Speaker 2: All right, that's a full body trailer right there. We

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Speaker 2: got lots of action, we got those weird alien noises

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Speaker 2: I was talking about, and we got a taste of

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Speaker 2: that groovy theme song.

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Speaker 3: I don't know how much of the song plays in

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Speaker 3: the trailer, if you get like both verses or just

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Speaker 3: one of them. But I actually transcribed to the lyrics

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Speaker 3: because I was trying to understand what hidden messages are

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Speaker 3: in the song. So here's what I came up with.

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Speaker 3: The lyrics are open the door, you'll find the secret

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Speaker 3: to find the answer is to keep it. You'll believe

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Speaker 3: it when you find something screaming across your mind, Green Slime.

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Speaker 3: And then the second verse is the one where it

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Speaker 3: gets kind of strange. It says, what can it be?

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Speaker 3: What is the reason? Is this the end? And then

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Speaker 3: I think it either says to all that breathes in

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Speaker 3: or maybe to all the seasons, is it something in

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Speaker 3: your head? Will you believe it when you're dead? Green Slim?

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Speaker 3: This has nothing to do with the movie. There is

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Speaker 3: no suggestion anywhere in the film that the green Slime

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Speaker 3: is a figment of anyone's imagination or a hallucination. So

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Speaker 3: what's the stuff about it being in your head?

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Speaker 2: I think it's just groovy. Man. We were talking off

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Speaker 2: Mike Beforehandmer's like, well, what does this song remind us of?

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Speaker 2: And it just dawned on me that what the song

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Speaker 2: reminds me of is the work of Kenny Rogers in

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Speaker 2: the first edition.

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Speaker 3: Oh my god, yes, yes, yes, it sounds like I

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Speaker 3: just dropped in to see what condition my condition is in?

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Speaker 2: Was in?

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Speaker 3: Okay, Well, now woe to you who have slandered this song.

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Speaker 3: It's right up there with Kenny Rogers.

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Speaker 2: Well, since we're talking about the music, I'm gonna break

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Speaker 2: the tradition and we're gonna skip right to the people

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Speaker 2: involved in the music for this film, and then we'll

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Speaker 2: come back to the director and talked about some members

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Speaker 2: of the cast. So we've talked about this being a

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Speaker 2: Japanese US co production. It was filmed in Japan, Japanese director,

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Speaker 2: Western writers, Western cast, but then the Japanese crew, the music,

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Speaker 2: the original musical score, and this is what you will

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Speaker 2: find as the complete score for the Japanese release is

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Speaker 2: by Toshiaki Toshima, who lived nineteen thirty six through twenty thirteen,

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Speaker 2: so I'm to understand most of his original score, which

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Speaker 2: is more of a traditional tokusatsu score, is missing from

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Speaker 2: the version we watched. I watched a few scenes from

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Speaker 2: the Japanese version of it just to compare, and ye,

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Speaker 2: it does feel like much more traditional the kind of

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Speaker 2: thing you'd expect to find in some of these sci

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Speaker 2: fi action films of the day. But Toshima scored a

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Speaker 2: lot of Japanese action in crime films, including nineteen seventy

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Speaker 2: three's Battle Without Honor and Humanity. But he also scored

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Speaker 2: nineteen seventy seven The War in Space and a nineteen

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Speaker 2: seventy four TV series titled Saaru no Gundan, which MSG

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Speaker 2: three K fans know as the Sandy Frank movie length

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Speaker 2: cut of the TV series retitled Time of the Apes.

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Speaker 2: I don't think Time of the Apes has ever had

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Speaker 2: a proper Western release, you know, on disc or as digital.

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Speaker 3: Don't know if I've ever actually seen that MST, though

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Speaker 3: I've seen the I've seen the title many times and

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Speaker 3: it always makes me picture, like a sort of a

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Speaker 3: Chimpanzee themed wall clock, like the chimpanzee arms pointing at

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Speaker 3: the numbers.

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Speaker 2: Yeah, I would, I would actually love to see it.

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Speaker 2: Especially I'd love to either see the Sandy Frank cut

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Speaker 2: in better quality or just the full series. But like

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Speaker 2: I said, hasn't been released over here for some reason anyway.

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Speaker 2: So that's the original Japanese score. But then a different

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Speaker 2: musician is brought in to contribute to and build up

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Speaker 2: the American release score and to provide that groovy theme song.

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Speaker 2: This is Charles Fox nineteen forty so, and I want

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Speaker 2: to say that it's not just the groovy theme song

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Speaker 2: also some of the eerier sci fi sounds that we

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Speaker 2: hear in the movie are also the work of Charles Fox.

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Speaker 2: Fox is a TV and film composer whose most famous composition,

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Speaker 2: I think without a doubt is the nineteen seventy nineteen

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Speaker 2: seventy two single Killing Me Softly with his song with

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Speaker 2: lyrics by Norman Gimble in original performance by Lorie Lieberman.

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Speaker 2: Everybody knows that one, yeah, I mean, if you don't

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Speaker 2: know the original, you know, like the the Fuji's Dia

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Speaker 2: version of it, right, So in a great song classic song.

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Speaker 2: The duo also wrote I've Got a Name or I

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Speaker 2: Got a Name, sung by Jim Crochy. I was familiar

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Speaker 2: with this song, but I wasn't familiar with the fact

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Speaker 2: that it was originally the theme song for The Last

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Speaker 2: American Hero.

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Speaker 3: I don't know if I know this one.

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Speaker 2: Yeah, it's one that they put on all the Croachy

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Speaker 2: Greatest Hits albums. I remember it from back in the day.

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Speaker 2: But they also the Wonder Woman theme song, like the

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Speaker 2: old seventies Wonder Woman theme song. His scores include nineteen

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Speaker 2: sixty eight's Barberrella, seventy five's Bug eighty three Strange Brew,

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Speaker 2: and nineteen eighty five's in National Lampoon's European Vacation. He

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Speaker 2: also did the theme for ABC's Wild World of Sports,

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Speaker 2: Love American Style and the Love Boat. That was a

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Speaker 2: collaboration with Paul Williams.

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Speaker 3: Oh Say Hello to Beef, Love American Style. Was that

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Speaker 3: the name of the precursor to Happy Days, that was

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Speaker 3: like the early version of Happy Days.

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Speaker 2: I think you're right on that. I'm not familiar with

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Speaker 2: this TV show other than the title and yeah, so

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Speaker 2: I take your word from that on that matter.

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Speaker 3: I just looked it up and whatever I just said

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Speaker 3: does not seem correct. It says this is an anthology

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Speaker 3: comedy TV series from on ABC.

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Speaker 2: All right, well, I'm still gonna go with what you said,

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Speaker 2: just because it's easier to remember. Okay, Wow.

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Speaker 3: So I mean I feel like I've seen a love

390
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Speaker 3: American style that was basically Happy Days before Happy Days.

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Speaker 3: Maybe that was one of the anthology segment.

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Speaker 2: There you go. Maybe that was the spinoff that it

393
00:22:03,960 --> 00:22:06,360
Speaker 2: was like one of the anthology episodes was Happy Days

394
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Speaker 2: and then they're like, let's do a whole series of this.

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Speaker 2: All right, Well, back to Green Slime, coming back to

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Speaker 2: the top. The director is a director we've covered before.

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Speaker 2: This is Kinji Fukusaku who lived nineteen thirty through two

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Speaker 2: thousand and three. The director of nineteen seventy eight's Message

399
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Speaker 2: from Space, which we covered in the fourth episode of

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Speaker 2: Weird House Cinema.

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Speaker 3: That was ten years after the Green Slime and Message

402
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Speaker 3: from Space. That must be his masterpiece. What a beautiful film.

403
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Speaker 2: Well, he has sixty eight directorial credits on IMDb, and

404
00:22:44,920 --> 00:22:48,840
Speaker 2: probably the big one, probably the career defining one for

405
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Speaker 2: a lot of listeners, occurred very late in his career.

406
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Speaker 2: Two thousand's Battle Royale, which was a huge hit for him.

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Speaker 2: This is like a darker kind of real, kind of

408
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Speaker 2: a murder.

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Speaker 3: Movie, right, Yeah, I saw this in high school. I

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Speaker 3: did we talk in the Message from Space episode about

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Speaker 3: how he did this. I did not remember that connection

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Speaker 3: at all.

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Speaker 2: I think it came up. Yeah, I think it was

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Speaker 2: in the original notes.

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Speaker 3: Yeah, okay, well I guess it just left my mind.

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Speaker 2: Yeah.

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Speaker 3: Battle Royal's the movie about, like it's a dystopian future

418
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Speaker 3: movie where like a middle school class of juvenile delinquents

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Speaker 3: are sent to an island and told that they must

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Speaker 3: all kill each other and only one can survive.

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Speaker 2: Yeah. So it's like a little bit of Lord of

422
00:23:32,520 --> 00:23:36,160
Speaker 2: the Flies, a little bit like I don't know, high

423
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Speaker 2: school drama.

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Speaker 3: It's like the Lord of the Flies meets the Running Man.

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Speaker 2: Yeah. But these are just two films that he did

426
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Speaker 2: a lot of other stuff. He did nineteen seventies Tora

427
00:23:47,160 --> 00:23:50,639
Speaker 2: Tora Torah, nineteen seventy three's Battle Without Honor and Humanity

428
00:23:51,080 --> 00:23:54,439
Speaker 2: he also did. I always love looking at back at

429
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Speaker 2: some of these robust filmographies because there's always something I

430
00:23:56,880 --> 00:24:00,080
Speaker 2: hadn't really noticed before. He did a film in six

431
00:24:00,520 --> 00:24:05,080
Speaker 2: titled Black Lizard, and it looks like something I might

432
00:24:05,119 --> 00:24:06,600
Speaker 2: want to check out at some point. It looks like

433
00:24:06,720 --> 00:24:09,280
Speaker 2: a fun, weird movie. Potentially, I don't know. It looks

434
00:24:09,359 --> 00:24:11,680
Speaker 2: very interesting. But he also he directed a number of action,

435
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Speaker 2: crime and samurai movies. All right now getting into the

436
00:24:16,920 --> 00:24:20,600
Speaker 2: story in the screenplay story credit and one of the producers.

437
00:24:21,000 --> 00:24:24,400
Speaker 2: This is Ivan Reiner, who lived nineteen eleven through nineteen

438
00:24:24,480 --> 00:24:27,560
Speaker 2: ninety seven, American writer and producer of a handful of

439
00:24:27,600 --> 00:24:31,760
Speaker 2: sci fi films, beginning with nineteen sixty six's Terror Beneath

440
00:24:31,760 --> 00:24:35,600
Speaker 2: the Sea starring Sonny Chiba and ending with this film.

441
00:24:35,960 --> 00:24:41,000
Speaker 2: Sandwiched in between these two films are the Italian Antonio

442
00:24:41,040 --> 00:24:45,119
Speaker 2: Margaretti sci fi space Station Gamma one series, consisting of

443
00:24:45,640 --> 00:24:49,240
Speaker 2: Wild Wild Planet, War of the Planets, War Between the Planets,

444
00:24:49,280 --> 00:24:51,800
Speaker 2: all three of those in nineteen sixty six, and Snow

445
00:24:51,800 --> 00:24:55,160
Speaker 2: Devils from sixty seven, which is also a space station movie.

446
00:24:55,320 --> 00:24:59,159
Speaker 3: Wait, space Station Gamma one isn't the space station in

447
00:24:59,200 --> 00:25:02,280
Speaker 3: this movie Space Da Gamma three? Am I wrong? Yes?

448
00:25:02,560 --> 00:25:08,960
Speaker 2: Yeah. This film was originally conceived as being a continuation

449
00:25:09,080 --> 00:25:10,879
Speaker 2: of this series, and then it kind of became its

450
00:25:10,880 --> 00:25:13,040
Speaker 2: own thing, so they just slightly changed the name of

451
00:25:13,080 --> 00:25:13,680
Speaker 2: the space station.

452
00:25:14,200 --> 00:25:15,320
Speaker 3: What happened to Gamma two?

453
00:25:16,720 --> 00:25:20,840
Speaker 2: We don't talk about that. I haven't seen the Margaretti movies,

454
00:25:20,840 --> 00:25:23,520
Speaker 2: but they look interesting. I would check one out at

455
00:25:23,520 --> 00:25:26,920
Speaker 2: some point, all right. The screenplay One of the screenplay

456
00:25:26,960 --> 00:25:29,480
Speaker 2: credits goes to Charles Sinclair, who lived nineteen twenty four

457
00:25:29,520 --> 00:25:33,639
Speaker 2: through twenty seventeen, American screenwriter an occasional actor who wrote

458
00:25:33,640 --> 00:25:36,399
Speaker 2: two episodes of the nineteen sixties Batman series and also

459
00:25:36,480 --> 00:25:40,520
Speaker 2: co wrote nineteen seventy six's Track of the Moonbeast with

460
00:25:40,600 --> 00:25:41,240
Speaker 2: Bill Finger.

461
00:25:41,480 --> 00:25:45,240
Speaker 3: This is the New Mexico episode of Mystery Science Theater

462
00:25:45,359 --> 00:25:48,719
Speaker 3: three thousand, and I wonder if Charles Sinclair wrote the

463
00:25:48,720 --> 00:25:55,040
Speaker 3: line about chicken corn. This is a famous episode of

464
00:25:55,080 --> 00:25:59,200
Speaker 3: Mystery Science Theater three thousand. One of my favorite elements

465
00:25:59,240 --> 00:26:02,199
Speaker 3: is they go to a concert in the movie and

466
00:26:02,240 --> 00:26:05,560
Speaker 3: there's a band playing a song called California Lady, which

467
00:26:05,600 --> 00:26:09,720
Speaker 3: the bots transform into California Gravy adds flavor.

468
00:26:09,440 --> 00:26:12,600
Speaker 2: To my meat. Oh yeah, yeah, we may have to

469
00:26:12,600 --> 00:26:15,040
Speaker 2: come back to the Moonbeast at some point. Rick Baker

470
00:26:15,119 --> 00:26:18,680
Speaker 2: did the monster effects on that one. Right now, I

471
00:26:18,720 --> 00:26:22,120
Speaker 2: mentioned Bill Finger. Bill Finger also has screenplay credit. Lived

472
00:26:22,160 --> 00:26:26,600
Speaker 2: nineteen fourteen through nineteen seventy four American comic strip, comic book, film,

473
00:26:26,600 --> 00:26:30,240
Speaker 2: and television writer who co created Batman with Bob Kine

474
00:26:30,560 --> 00:26:33,720
Speaker 2: in the late nineteen thirties. As such, you'll find him

475
00:26:33,720 --> 00:26:36,760
Speaker 2: credited on all the Batman movies. If it has Batman

476
00:26:36,880 --> 00:26:38,920
Speaker 2: in it, Bill Finger's name is going to be in

477
00:26:38,960 --> 00:26:42,359
Speaker 2: the credit somewhere. I think this and Moonbeast are his

478
00:26:42,440 --> 00:26:45,600
Speaker 2: only screenplay credits that don't involve Batman, and the vast

479
00:26:45,680 --> 00:26:47,720
Speaker 2: majority of those her character creation credits.

480
00:26:47,960 --> 00:26:50,320
Speaker 3: That is interesting. I did not know about that connection

481
00:26:50,440 --> 00:26:52,160
Speaker 3: when I picked this film.

482
00:26:52,359 --> 00:26:55,560
Speaker 2: Yeah. And then another screenplay credit goes to Tom Rowe,

483
00:26:55,560 --> 00:26:57,520
Speaker 2: who lived nineteen twenty one through two thousand and four.

484
00:26:57,600 --> 00:27:00,680
Speaker 2: This was only a second screenplay credit following nineteen sixty

485
00:27:00,720 --> 00:27:03,400
Speaker 2: five's Paris Secret. He went under work on the screenplays

486
00:27:03,400 --> 00:27:05,200
Speaker 2: for nineteen seventy ones The Light at the Edge of

487
00:27:05,240 --> 00:27:08,959
Speaker 2: the World, nineteen eighty one's Tarzan the ape Man. This

488
00:27:09,000 --> 00:27:11,880
Speaker 2: is the one with Bo Derek Richard, Harris, Miles O'Keefe,

489
00:27:11,920 --> 00:27:13,960
Speaker 2: and John Philip Law in it. And he also did

490
00:27:13,960 --> 00:27:15,639
Speaker 2: three episodes of Fantasy Island.

491
00:27:15,880 --> 00:27:18,760
Speaker 3: Okay, well, we've got at least three to four writing

492
00:27:18,840 --> 00:27:22,080
Speaker 3: credits here. That's letting you know you're definitely in good territory.

493
00:27:23,440 --> 00:27:26,760
Speaker 2: Yes. Now the flip side is, there are a lot

494
00:27:26,760 --> 00:27:29,520
Speaker 2: of bodies on the screen in this movie, but there

495
00:27:29,520 --> 00:27:34,199
Speaker 2: are really only three characters that matter. Maybe a fourth,

496
00:27:34,520 --> 00:27:37,800
Speaker 2: but basically three characters that matter, So we're gonna discuss

497
00:27:37,840 --> 00:27:42,720
Speaker 2: them real quick. We have leading the whole enterprise, Commander

498
00:27:42,840 --> 00:27:46,800
Speaker 2: Jack Rankin, played by Robert Horton, who lived nineteen twenty

499
00:27:46,800 --> 00:27:51,840
Speaker 2: four through twenty sixteen. He's our rugged, humorless space commander.

500
00:27:52,240 --> 00:27:56,360
Speaker 2: Very much seems like a tobacco scented cowboy who's been

501
00:27:56,400 --> 00:28:00,320
Speaker 2: transplanted out of westerns into a sci fi movie. That's

502
00:28:00,320 --> 00:28:02,920
Speaker 2: pretty much exactly what is happening with Robert Horton here.

503
00:28:03,280 --> 00:28:06,200
Speaker 3: That makes a lot of sense. He has cured, rugged,

504
00:28:06,280 --> 00:28:07,560
Speaker 3: and all business.

505
00:28:09,000 --> 00:28:13,000
Speaker 2: Horton was a stage actor turned MGM contracted talent who

506
00:28:13,080 --> 00:28:16,680
Speaker 2: worked a good six decades mostly on television, appearing on

507
00:28:16,680 --> 00:28:19,199
Speaker 2: one hundred and eighty nine episodes of the late nineteen

508
00:28:19,280 --> 00:28:23,360
Speaker 2: fifties and early sixties Western Wagon Train, twenty eight episodes

509
00:28:23,640 --> 00:28:26,320
Speaker 2: of the mid sixties Western series of Man called Shenandoah.

510
00:28:26,280 --> 00:28:28,280
Speaker 2: I think he was the lead on that, and seven

511
00:28:28,320 --> 00:28:31,639
Speaker 2: episodes of As the World Turns in the early nineteen eighties,

512
00:28:32,000 --> 00:28:35,480
Speaker 2: mostly known for westerns, this was his only sci fi

513
00:28:35,720 --> 00:28:36,560
Speaker 2: or horror credit.

514
00:28:36,720 --> 00:28:38,520
Speaker 3: I don't know if I've seen him in anything else.

515
00:28:38,840 --> 00:28:40,760
Speaker 2: I don't think i'd seen him in anything before either.

516
00:28:40,800 --> 00:28:42,280
Speaker 2: And when I first saw him, I was a little

517
00:28:42,280 --> 00:28:45,440
Speaker 2: bit hesitant. I was like, who is this? Who's this guy?

518
00:28:45,520 --> 00:28:45,760
Speaker 2: You know?

519
00:28:46,960 --> 00:28:49,000
Speaker 3: Is he about to sell me a life insurance policy?

520
00:28:49,480 --> 00:28:49,720
Speaker 5: Yeah?

521
00:28:49,760 --> 00:28:51,840
Speaker 2: I was kind of expecting him to like kind of

522
00:28:51,840 --> 00:28:54,640
Speaker 2: phone it in, but I don't know. He has a

523
00:28:54,680 --> 00:28:57,920
Speaker 2: real sternness and it plays well into the performance in

524
00:28:57,960 --> 00:29:02,200
Speaker 2: a way that makes the character personally unlikable, but in

525
00:29:02,240 --> 00:29:04,800
Speaker 2: a way but in a different way, like lawful good

526
00:29:04,800 --> 00:29:07,800
Speaker 2: to a fault, but also somehow very believable, and you're

527
00:29:07,840 --> 00:29:10,760
Speaker 2: still pulling for him against the slimes. But he doesn't

528
00:29:10,760 --> 00:29:13,280
Speaker 2: seem like someone you would want to be around in

529
00:29:13,320 --> 00:29:13,840
Speaker 2: real life.

530
00:29:14,200 --> 00:29:17,280
Speaker 3: Well, yeah, he's kind of interesting. So we've watched a

531
00:29:17,320 --> 00:29:20,640
Speaker 3: lot of fifties and sixties sci fi movies that have

532
00:29:20,760 --> 00:29:25,280
Speaker 3: these kind of military squares as the leading man. He

533
00:29:25,720 --> 00:29:28,040
Speaker 3: is that, but in a kind of interesting way in

534
00:29:28,080 --> 00:29:32,800
Speaker 3: that it is recognized and portrayed somewhat as a character fault,

535
00:29:33,160 --> 00:29:35,520
Speaker 3: So I think the movie is a little bit more

536
00:29:36,280 --> 00:29:39,400
Speaker 3: complex in terms of character than most of the movies

537
00:29:39,480 --> 00:29:42,520
Speaker 3: with this type of leading character are. That's my take,

538
00:29:42,560 --> 00:29:45,280
Speaker 3: at least as far as the actors vibe. He's sort

539
00:29:45,280 --> 00:29:48,760
Speaker 3: of he's a little bit Peter Graves, he's a little

540
00:29:48,760 --> 00:29:51,800
Speaker 3: bit Roger Moore, and he's a little bit Phil Hartman.

541
00:29:52,360 --> 00:29:55,960
Speaker 3: There there's a slickness to him that could quite easily

542
00:29:56,000 --> 00:29:59,480
Speaker 3: slip over the edge into smarty. But he's also the

543
00:29:59,520 --> 00:30:02,960
Speaker 3: party's paladin, and paladin in the sense of like often

544
00:30:03,440 --> 00:30:06,760
Speaker 3: doing quote the right thing, even if it is not

545
00:30:07,040 --> 00:30:07,720
Speaker 3: very nice.

546
00:30:08,560 --> 00:30:11,200
Speaker 2: Yeah, yeah, paladin for sure ready to fight and obey

547
00:30:11,280 --> 00:30:14,120
Speaker 2: orders for the greater good, but could also potentially carry

548
00:30:14,160 --> 00:30:17,520
Speaker 2: out a massacre as well in pursuit of that greater good.

549
00:30:18,280 --> 00:30:20,719
Speaker 2: I also think it's notable that he's always ready to

550
00:30:20,840 --> 00:30:23,320
Speaker 2: respond to a punch up, like as if he goes

551
00:30:23,320 --> 00:30:26,200
Speaker 2: through life and it's like sometimes I'm just telling it

552
00:30:26,240 --> 00:30:27,760
Speaker 2: like it is, and some people try and punch me

553
00:30:27,840 --> 00:30:30,440
Speaker 2: because of it, So I'm always ready to duck that

554
00:30:30,480 --> 00:30:32,720
Speaker 2: first punch and come in with the second one.

555
00:30:32,840 --> 00:30:35,400
Speaker 3: Yes, this is a guy who everywhere he goes people

556
00:30:35,440 --> 00:30:38,479
Speaker 3: are starting fights with him. And it's definitely not his fault,

557
00:30:39,160 --> 00:30:39,520
Speaker 3: all right.

558
00:30:39,560 --> 00:30:42,960
Speaker 2: So that's our That's one of our two main male characters.

559
00:30:42,960 --> 00:30:46,880
Speaker 2: The other is Commander Vince Elliott. Commander Elliott played by

560
00:30:47,320 --> 00:30:51,520
Speaker 2: Richard Jacob who lived nineteen twenty six through nineteen ninety seven.

561
00:30:51,920 --> 00:30:56,040
Speaker 2: This is our steely eyed Academy Award nominated Character actor.

562
00:30:57,080 --> 00:30:59,720
Speaker 2: He did a lot of action westerns and war movies,

563
00:30:59,760 --> 00:31:03,000
Speaker 2: including nineteen fifty seven's three Ten to Yuma, sixty seven

564
00:31:03,040 --> 00:31:06,080
Speaker 2: is The Dirty Dozen, sixty Let's See what Else, seventy

565
00:31:06,160 --> 00:31:11,520
Speaker 2: one's The Deadly Dream, seventy four's Chosen Survivors, seventy six

566
00:31:11,600 --> 00:31:15,320
Speaker 2: is Grizzly, and also The Jaws of Death as well

567
00:31:15,360 --> 00:31:19,040
Speaker 2: that year, nineteen seventy seven's Day of the Animals. That's

568
00:31:19,080 --> 00:31:21,880
Speaker 2: an all animals attack movie. I think seventy nine is

569
00:31:21,880 --> 00:31:25,640
Speaker 2: the Dark in eighty two's Blood Song. Other credits of note,

570
00:31:25,640 --> 00:31:28,480
Speaker 2: at least to us include eighty four Starman from John

571
00:31:28,520 --> 00:31:32,520
Speaker 2: Carpenter in nineteen eighty six is Black Moon Rising. He

572
00:31:32,600 --> 00:31:36,600
Speaker 2: was also in nineteen eighties Herbie Goes Bananas. Oh. He

573
00:31:36,640 --> 00:31:39,320
Speaker 2: was nominated for an Oscar for his supporting role in

574
00:31:39,400 --> 00:31:42,320
Speaker 2: nineteen seventy two's Sometimes a great notion. This was an

575
00:31:42,360 --> 00:31:46,800
Speaker 2: adaptation of Ken Cassi's novel, starring and directed by Paul Newman.

576
00:31:47,240 --> 00:31:49,960
Speaker 3: Now, the presence of Richard Jacob in this movie and

577
00:31:50,000 --> 00:31:52,959
Speaker 3: his character is I think one of the other things

578
00:31:53,040 --> 00:31:59,080
Speaker 3: that makes Robert Horton's character more interesting than he might

579
00:31:59,160 --> 00:32:03,480
Speaker 3: be otherwise, because again, he sort of forces us to

580
00:32:03,560 --> 00:32:08,560
Speaker 3: process Horton's character as possibly order obsessed to a fault.

581
00:32:09,440 --> 00:32:12,960
Speaker 2: Yeah, yeah, because Jako's character here is I mean, he's

582
00:32:12,960 --> 00:32:17,160
Speaker 2: ready to initiate punch ups, he's ready to break rules

583
00:32:17,160 --> 00:32:20,920
Speaker 2: in the name of like basic human decency, and he's

584
00:32:20,960 --> 00:32:22,959
Speaker 2: got that catt good character vibe.

585
00:32:23,160 --> 00:32:26,000
Speaker 3: Yeah, that's right, And well, I don't think many people

586
00:32:26,000 --> 00:32:29,240
Speaker 3: would pick The Green Slime as a real acting showcase.

587
00:32:29,320 --> 00:32:33,240
Speaker 3: I think Jacob is probably the most interesting actor in

588
00:32:33,320 --> 00:32:36,560
Speaker 3: this and he has some moments where I was pretty impressed.

589
00:32:36,680 --> 00:32:39,160
Speaker 3: Like this might be a weird comparison, but there were

590
00:32:39,160 --> 00:32:41,719
Speaker 3: parts of the movie where he really reminded me of

591
00:32:41,800 --> 00:32:45,280
Speaker 3: Tom Behringer, Like certain shots where he says nothing and

592
00:32:45,360 --> 00:32:48,320
Speaker 3: just kind of gazes intensely over the barrel of the camera.

593
00:32:48,720 --> 00:32:51,080
Speaker 3: There is a fire burning inside, but he's not going

594
00:32:51,160 --> 00:32:52,080
Speaker 3: to say a thing, you know.

595
00:32:52,840 --> 00:32:56,160
Speaker 2: Yeah, No, absolutely. I think it's a strong comparison. And yeah,

596
00:32:56,160 --> 00:32:59,680
Speaker 2: this is something I always enjoy about. I enjoy looking

597
00:32:59,680 --> 00:33:04,360
Speaker 2: for and I appreciate finding in films like this, performances

598
00:33:04,400 --> 00:33:08,840
Speaker 2: that bring so much energy and talent in places where

599
00:33:09,320 --> 00:33:12,280
Speaker 2: you don't necessarily expect to find it, where something lesser

600
00:33:12,400 --> 00:33:16,400
Speaker 2: could you know, certainly have been tolerated, especially looking back

601
00:33:16,440 --> 00:33:19,080
Speaker 2: on it. But yeah, you find these little diamonds in

602
00:33:19,080 --> 00:33:20,680
Speaker 2: the rough, and I think I think he's great in this.

603
00:33:20,800 --> 00:33:25,240
Speaker 2: I think his energy elevates a film that otherwise could

604
00:33:25,280 --> 00:33:28,880
Speaker 2: maybe be more dismissed as just pure, pure slimy nonsense.

605
00:33:29,080 --> 00:33:31,840
Speaker 3: However, let us not deny that there is lots of

606
00:33:31,880 --> 00:33:33,960
Speaker 3: slimy nonsense to go around.

607
00:33:33,840 --> 00:33:38,680
Speaker 2: Yes, and helping to clean up some of that that

608
00:33:38,760 --> 00:33:43,680
Speaker 2: slimy nonsense, or certainly to deal with the causalities caused

609
00:33:43,680 --> 00:33:45,560
Speaker 2: by it and to treat wounds caused by it, is

610
00:33:45,600 --> 00:33:50,720
Speaker 2: doctor Lisa Benson. This is our third character of note. Really,

611
00:33:51,000 --> 00:33:52,800
Speaker 2: this is the third of only three characters that really

612
00:33:52,840 --> 00:33:56,240
Speaker 2: matter in the film, and she is played by Luciana Palouzi.

613
00:33:56,760 --> 00:33:58,960
Speaker 3: I'd say maybe four characters we got. We got a

614
00:33:59,160 --> 00:34:01,600
Speaker 3: kind of nibbling scientists as well.

615
00:34:02,040 --> 00:34:04,240
Speaker 2: Yeah, we do. We'll get to him in a second.

616
00:34:04,440 --> 00:34:09,120
Speaker 3: We will. Doctor Benson is I'm not gonna say there

617
00:34:09,160 --> 00:34:11,960
Speaker 3: isn't something kind of funny about a lot of her,

618
00:34:12,120 --> 00:34:16,160
Speaker 3: like romantic dialogue scenes, but I was happy every time

619
00:34:16,160 --> 00:34:18,319
Speaker 3: we got a scene with her. She's great.

620
00:34:18,600 --> 00:34:21,800
Speaker 2: Oh yeah, yeah. So she's her character is Elliott's current

621
00:34:21,840 --> 00:34:25,960
Speaker 2: flame and Rankin's former flame. So she's the center of

622
00:34:26,000 --> 00:34:29,040
Speaker 2: the personal drama and while at the same time being

623
00:34:29,080 --> 00:34:32,160
Speaker 2: front and center to deal with green slime related injuries

624
00:34:32,200 --> 00:34:32,800
Speaker 2: and so forth.

625
00:34:33,200 --> 00:34:35,680
Speaker 3: Right, So she's sort of the bones, the you know,

626
00:34:35,719 --> 00:34:38,880
Speaker 3: the McCoy of the ship. She is the chief medical officer,

627
00:34:39,239 --> 00:34:41,400
Speaker 3: and she's like treating all of these people who have

628
00:34:41,440 --> 00:34:45,440
Speaker 3: been burned and electrocuted by green slime monsters. And meanwhile

629
00:34:45,520 --> 00:34:48,719
Speaker 3: these two different like space marine squares are like do

630
00:34:48,760 --> 00:34:50,080
Speaker 3: you love him or do you love me?

631
00:34:50,880 --> 00:34:52,759
Speaker 2: Yeah, and you know she's got to be tired of this.

632
00:34:52,840 --> 00:34:56,160
Speaker 2: It's like, come on, guys, we got multiple injuries on Dexy.

633
00:34:57,320 --> 00:35:02,200
Speaker 2: So Pelousy is probably best known for her role is Fiona,

634
00:35:02,320 --> 00:35:06,200
Speaker 2: a specter assassin in nineteen sixty five's Thunderball.

635
00:35:06,920 --> 00:35:10,800
Speaker 3: Thunderball the James Bond movie that I think actually is

636
00:35:11,239 --> 00:35:12,799
Speaker 3: one of the better ones. It has a lot of

637
00:35:12,840 --> 00:35:15,840
Speaker 3: classic Bond stuff in it is very fun. But also

638
00:35:17,000 --> 00:35:20,440
Speaker 3: when you say that one has one major drawback, which

639
00:35:20,520 --> 00:35:23,320
Speaker 3: is okay, yes, I think we have gotten enough underwater

640
00:35:23,400 --> 00:35:26,040
Speaker 3: scenes now. That has been enough scuba for now, thank

641
00:35:26,080 --> 00:35:28,960
Speaker 3: you very much. But by the third act there is

642
00:35:29,000 --> 00:35:31,920
Speaker 3: a lot of underwater footage in the movie and it

643
00:35:31,960 --> 00:35:33,520
Speaker 3: gets incredibly tiresome.

644
00:35:33,880 --> 00:35:35,360
Speaker 2: I haven't seen it since I was a kid, but

645
00:35:35,520 --> 00:35:37,239
Speaker 2: I loved it as a kid, and I love the

646
00:35:37,239 --> 00:35:40,400
Speaker 2: theme song. As a kid, I had a cassette tape

647
00:35:40,560 --> 00:35:44,920
Speaker 2: featuring all the James Bond theme songs up to that point.

648
00:35:45,239 --> 00:35:48,760
Speaker 2: They were all covers. I know what kind of production

649
00:35:48,880 --> 00:35:51,719
Speaker 2: this was, but but yeah, I was a Thunderball fan

650
00:35:51,880 --> 00:35:52,400
Speaker 2: at the time.

651
00:35:53,120 --> 00:35:55,440
Speaker 3: The bad guy in that one fills his swimming pool

652
00:35:55,520 --> 00:35:58,319
Speaker 3: with sharks. Oh that's a good news.

653
00:35:58,960 --> 00:36:04,560
Speaker 2: Yes. So Pelusi was an Italian actor. Her other big

654
00:36:04,600 --> 00:36:07,720
Speaker 2: films include nineteen fifty four's Three Coins in a Fountain,

655
00:36:08,840 --> 00:36:12,640
Speaker 2: also a couple of Fritz Lang films, nineteen fifty nine's

656
00:36:12,680 --> 00:36:16,880
Speaker 2: The Tiger of Eshkapur and fifty nine's The Indian Tomb.

657
00:36:17,480 --> 00:36:20,600
Speaker 2: She was also in seventy two's The Italian Connection. Seventy

658
00:36:20,600 --> 00:36:24,120
Speaker 2: four's The Clansman, and some of her more b movie

659
00:36:24,239 --> 00:36:28,120
Speaker 2: terrific credits include a fifty eight Hercules movie starring Steve

660
00:36:28,160 --> 00:36:31,400
Speaker 2: Reeves and Jess Franco's ninety nine Women, a women in

661
00:36:31,480 --> 00:36:36,879
Speaker 2: prison movie in which Herbert Lohm played the evil Warden character. Oh.

662
00:36:36,960 --> 00:36:40,680
Speaker 2: Also of note that usually don't include you know much

663
00:36:40,680 --> 00:36:42,720
Speaker 2: in the way of like like you know, personal trivia,

664
00:36:42,800 --> 00:36:45,840
Speaker 2: but she was Tony Anthony's partner for many years.

665
00:36:46,120 --> 00:36:49,360
Speaker 3: Wait Tony Tony from treasurer of the Four Crowns.

666
00:36:49,680 --> 00:36:50,680
Speaker 2: Yep, the very one.

667
00:36:50,760 --> 00:36:52,759
Speaker 3: Well I would have been very upset if I found

668
00:36:52,760 --> 00:36:56,080
Speaker 3: out you didn't mention a connection to Tony Tony. Can

669
00:36:56,120 --> 00:36:58,160
Speaker 3: you imagine if he had been in this movie?

670
00:36:58,600 --> 00:37:04,040
Speaker 2: Well, I'm so glad. Was not all right? Okay, we

671
00:37:04,080 --> 00:37:08,560
Speaker 2: mentioned our sniveling scientist. This is doctor Hans Halverson played

672
00:37:08,560 --> 00:37:11,759
Speaker 2: by Ted Gunther. So much of the cast in this

673
00:37:11,840 --> 00:37:15,319
Speaker 2: movie consisted of American actors and non actors that were

674
00:37:15,520 --> 00:37:19,319
Speaker 2: working in Japan at the time, Like just a full

675
00:37:19,400 --> 00:37:21,759
Speaker 2: call was apparently thrown out, like if you were an

676
00:37:21,760 --> 00:37:25,799
Speaker 2: American in Japan, report to the set, or we're gonna

677
00:37:25,800 --> 00:37:26,600
Speaker 2: revoke your visa.

678
00:37:27,040 --> 00:37:30,080
Speaker 3: This makes so much sense. That apart from like the

679
00:37:30,160 --> 00:37:33,359
Speaker 3: main few actors, one gets the sense of a lot

680
00:37:33,440 --> 00:37:36,920
Speaker 3: of non actors saying little incidental lines in this film.

681
00:37:37,520 --> 00:37:40,560
Speaker 2: Yeah, and so Gunther seems to be more or less

682
00:37:40,719 --> 00:37:46,239
Speaker 2: of this in this this categorization, But he probably has

683
00:37:46,280 --> 00:37:50,560
Speaker 2: the best lines. He has the biggest role of the

684
00:37:50,600 --> 00:37:54,000
Speaker 2: non three main cast members we'll get into. It's a

685
00:37:54,000 --> 00:37:56,279
Speaker 2: pretty fun little role, the sniveling scientists who thinks we

686
00:37:56,320 --> 00:37:59,400
Speaker 2: should not kill all the aliens, we should collect some samples,

687
00:37:59,440 --> 00:38:04,400
Speaker 2: we should bring something back to Earth. And yeah, this

688
00:38:04,520 --> 00:38:07,120
Speaker 2: is probably his best known role. His other credits include

689
00:38:07,200 --> 00:38:11,880
Speaker 2: nineteen fifty eight's Cop Hater, a police procedural starring Robert

690
00:38:11,880 --> 00:38:14,799
Speaker 2: Loggia and Jerry Orbach in a small role. I think

691
00:38:14,800 --> 00:38:18,560
Speaker 2: he plays like a gang member or something. But Gunther

692
00:38:18,719 --> 00:38:22,080
Speaker 2: was also in various Japanese productions of this time period.

693
00:38:22,520 --> 00:38:24,000
Speaker 2: He's a real Burke in this one.

694
00:38:24,080 --> 00:38:26,040
Speaker 3: Well, I see what you're saying about him being a Burke,

695
00:38:26,080 --> 00:38:28,680
Speaker 3: because he's the one who puts people in danger by

696
00:38:28,680 --> 00:38:31,719
Speaker 3: collecting the samples. But on the other hand, I don't

697
00:38:31,719 --> 00:38:33,480
Speaker 3: know if he's quite a Burke. He might be more

698
00:38:33,480 --> 00:38:37,160
Speaker 3: in the ash category because Burke's just like a company

699
00:38:37,200 --> 00:38:39,520
Speaker 3: man who's trying to get he's trying to get a commission.

700
00:38:39,560 --> 00:38:42,719
Speaker 3: He's trying to get you a percentage. Well, I don't

701
00:38:42,719 --> 00:38:44,960
Speaker 3: know if it's Ash actually either, because Ash is also

702
00:38:45,040 --> 00:38:49,560
Speaker 3: following company orders. Doctor Halverson here seems to be more

703
00:38:49,680 --> 00:38:53,840
Speaker 3: genuinely interested in the science of understanding this creature, again

704
00:38:54,280 --> 00:38:58,040
Speaker 3: in a villainous way, like to the extent of endangering

705
00:38:58,040 --> 00:39:00,840
Speaker 3: other people's lives. But he he doesn't seem to me

706
00:39:00,960 --> 00:39:03,879
Speaker 3: to be in it for like money or personal interest.

707
00:39:04,200 --> 00:39:07,160
Speaker 2: Right he in no way. His scientific curiosity is pure,

708
00:39:07,200 --> 00:39:09,839
Speaker 2: but it's too pure. Science is not in charge here.

709
00:39:10,360 --> 00:39:11,680
Speaker 2: Military is in charge.

710
00:39:11,960 --> 00:39:15,920
Speaker 3: Right He seeks dangerous slime knowledge that could put lives

711
00:39:15,960 --> 00:39:17,880
Speaker 3: at risk and does yes.

712
00:39:18,360 --> 00:39:20,400
Speaker 2: So there again, there are about one hundred other humans

713
00:39:20,560 --> 00:39:23,879
Speaker 2: on the screen during some of these scenes, and then

714
00:39:23,880 --> 00:39:26,160
Speaker 2: there are the people in the Green Slime costumes. But

715
00:39:26,239 --> 00:39:29,160
Speaker 2: that's it for the cast. It's time to get into

716
00:39:29,160 --> 00:39:30,440
Speaker 2: the plot of the Green Slime.

717
00:39:31,120 --> 00:39:35,200
Speaker 3: Well, we begin in space, as we must, but not

718
00:39:35,280 --> 00:39:38,160
Speaker 3: with the starfield this time with a Actually I think

719
00:39:38,200 --> 00:39:41,280
Speaker 3: maybe there are a little few faint suggestions of stars around,

720
00:39:41,320 --> 00:39:43,880
Speaker 3: but mainly what we can see at the beginning is

721
00:39:43,920 --> 00:39:46,960
Speaker 3: a frosty white image of a planet in the distance

722
00:39:47,040 --> 00:39:51,319
Speaker 3: surrounded by a hazy disk like Saturn's rings, and that

723
00:39:51,400 --> 00:39:54,319
Speaker 3: got me wondering, is this supposed to be our own

724
00:39:54,440 --> 00:39:57,000
Speaker 3: solar system? I think it is because I think the

725
00:39:57,040 --> 00:40:00,360
Speaker 3: home planet is Earth and there's an asteroid bell like

726
00:40:00,440 --> 00:40:03,600
Speaker 3: our solar system. So I guess maybe that's supposed to

727
00:40:03,640 --> 00:40:05,680
Speaker 3: be Saturn. But I don't know why it's this big,

728
00:40:05,760 --> 00:40:08,320
Speaker 3: hazy white mass like that with the rings.

729
00:40:08,760 --> 00:40:11,359
Speaker 2: Yeah, I guess. I like that they weren't too clear

730
00:40:11,440 --> 00:40:14,560
Speaker 2: on it, so you can sort of suspend disbelief. Maybe

731
00:40:14,560 --> 00:40:16,680
Speaker 2: they're in another solar system and we just assume that

732
00:40:17,080 --> 00:40:19,040
Speaker 2: propulsion works. Well, well, I don't know. I mean that

733
00:40:19,360 --> 00:40:21,879
Speaker 2: the plot concerned something coming at the Earth, so yeah,

734
00:40:22,160 --> 00:40:24,279
Speaker 2: would kind of have to be our solar system, I think.

735
00:40:24,320 --> 00:40:25,799
Speaker 3: So, I think it's got to be Earth, unless they

736
00:40:25,920 --> 00:40:29,279
Speaker 3: like moved Earth to another solar system or we just

737
00:40:29,280 --> 00:40:31,040
Speaker 3: got some new planets in the meantime.

738
00:40:31,600 --> 00:40:34,640
Speaker 2: Yeah. I will say that in these early segments, it's

739
00:40:34,920 --> 00:40:37,480
Speaker 2: it's hard to suspend disbelief with some of the models,

740
00:40:37,960 --> 00:40:39,960
Speaker 2: and maybe that's why I hadn't really put these thoughts

741
00:40:39,960 --> 00:40:40,600
Speaker 2: together yet.

742
00:40:40,920 --> 00:40:42,919
Speaker 3: You know, I want to talk about the effects. I'll

743
00:40:42,960 --> 00:40:47,439
Speaker 3: save that for a minute later. Yes, the models, they

744
00:40:47,480 --> 00:40:51,400
Speaker 3: don't suggest realism, and they're also it's not some of

745
00:40:51,440 --> 00:40:54,200
Speaker 3: the most beautiful miniature model work I've ever seen, but

746
00:40:54,239 --> 00:40:55,759
Speaker 3: I really enjoyed it, so I'm gonna come back.

747
00:40:55,760 --> 00:40:57,640
Speaker 2: They are nice. It's nice model work.

748
00:40:57,880 --> 00:41:00,440
Speaker 3: Yeah, So we see the Earth. We see Earth. It's

749
00:41:00,480 --> 00:41:03,880
Speaker 3: kind of a blue ball that comes into the frame.

750
00:41:03,960 --> 00:41:06,600
Speaker 3: And then around the Earth we see orbiting a space

751
00:41:06,640 --> 00:41:09,600
Speaker 3: station which is wheel shaped with a central spike at

752
00:41:09,600 --> 00:41:14,239
Speaker 3: the hub, and this is labeled unsc Gamma three. And

753
00:41:14,280 --> 00:41:16,160
Speaker 3: then we see a command center with a bunch of

754
00:41:16,200 --> 00:41:20,719
Speaker 3: technicians all hustling around manning stations with screens and radar displays.

755
00:41:20,960 --> 00:41:24,160
Speaker 3: And then one of the technicians starts getting a weird signal,

756
00:41:24,280 --> 00:41:28,280
Speaker 3: some kind of unusual interference. What could it be? Done? Done?

757
00:41:28,280 --> 00:41:28,600
Speaker 5: Done?

758
00:41:28,760 --> 00:41:31,880
Speaker 3: It is an asteroid. They pull it up on the viewscreen.

759
00:41:32,360 --> 00:41:36,480
Speaker 3: And the interesting thing is that this asteroid is not jagged,

760
00:41:36,520 --> 00:41:39,919
Speaker 3: but pretty much perfectly spherical, but with kind of rough

761
00:41:39,960 --> 00:41:43,080
Speaker 3: surface like a carpet, mostly red in color, with a

762
00:41:43,120 --> 00:41:46,400
Speaker 3: few little black continents in that ocean of red. It

763
00:41:46,400 --> 00:41:49,200
Speaker 3: looks kind of like a char grilled red meatball.

764
00:41:50,000 --> 00:41:52,880
Speaker 2: It does. It does look like a meatball. Speaking of

765
00:41:53,400 --> 00:41:55,600
Speaker 2: this planet looking like a meatball, I do want to

766
00:41:55,640 --> 00:41:59,560
Speaker 2: throw out here that this movie was riffed, and I

767
00:41:59,600 --> 00:42:02,319
Speaker 2: believe the one of the very, if not the very

768
00:42:02,320 --> 00:42:05,680
Speaker 2: first KTMA episodes of Mystery Scitce Theater three thousand. Off

769
00:42:05,760 --> 00:42:07,480
Speaker 2: the top of my head, I can't remember if this

770
00:42:07,560 --> 00:42:10,080
Speaker 2: is one where the footage survives or not, but a

771
00:42:10,120 --> 00:42:13,279
Speaker 2: lot of those KTMA episodes are are that they're kind

772
00:42:13,280 --> 00:42:15,600
Speaker 2: of rough to watch. You know, MST three k was

773
00:42:15,680 --> 00:42:17,960
Speaker 2: just getting started of the prototype.

774
00:42:18,280 --> 00:42:21,480
Speaker 3: They hadn't figured out the formula yet. Yeah, well, if

775
00:42:21,520 --> 00:42:23,799
Speaker 3: this one is available, I've never seen it same.

776
00:42:24,280 --> 00:42:26,600
Speaker 2: But they had to have said that looks like a meatball.

777
00:42:26,840 --> 00:42:29,000
Speaker 3: Yeah, because it does. It looks like a meatball with

778
00:42:29,080 --> 00:42:33,239
Speaker 3: grill marks. But then the boss at this command center

779
00:42:33,280 --> 00:42:35,160
Speaker 3: gets some kind of print out and looks at it

780
00:42:35,200 --> 00:42:37,560
Speaker 3: and says, oh, it's on a collision course with Earth,

781
00:42:37,800 --> 00:42:39,719
Speaker 3: And then we cut straight to the theme song Kenny

782
00:42:39,800 --> 00:42:43,279
Speaker 3: Rogers in the new edition, and uh, yeah, so it's

783
00:42:43,320 --> 00:42:45,680
Speaker 3: a is it just something in your head? Will you

784
00:42:45,760 --> 00:42:51,040
Speaker 3: believe it when you're dead? Green slime? And oh and

785
00:42:51,080 --> 00:42:55,200
Speaker 3: there's there's a really good title title lettering, which you know,

786
00:42:55,280 --> 00:42:58,480
Speaker 3: I love it. But it has the classic English lettering

787
00:42:58,520 --> 00:43:01,720
Speaker 3: problem of the L I C. Quins, so it quite

788
00:43:01,760 --> 00:43:05,320
Speaker 3: clearly reads the green soom.

789
00:43:04,840 --> 00:43:07,719
Speaker 2: Oh it does yeah, the green soom. Yeah. If you

790
00:43:07,719 --> 00:43:09,560
Speaker 2: don't know the if you're not aware of the title already,

791
00:43:09,600 --> 00:43:11,480
Speaker 2: it could throw you off. But it is very bright.

792
00:43:11,560 --> 00:43:12,400
Speaker 2: It is very green.

793
00:43:21,280 --> 00:43:24,640
Speaker 3: So the action resumes at Space Command headquarters and oh

794
00:43:24,680 --> 00:43:27,680
Speaker 3: my god, this is just too many dudes in uniforms.

795
00:43:27,960 --> 00:43:32,279
Speaker 2: Yeah again, this is like, I think every Western dude

796
00:43:32,280 --> 00:43:36,080
Speaker 2: they could lure into the studio for this filming.

797
00:43:36,560 --> 00:43:38,759
Speaker 3: At first, I was deeply afraid that it was going

798
00:43:38,840 --> 00:43:42,480
Speaker 3: to be like these eight similar looking, similarly dressed military

799
00:43:42,480 --> 00:43:45,280
Speaker 3: white guys would be our main ensemble for the film,

800
00:43:45,400 --> 00:43:47,359
Speaker 3: and it would be one of those one of those

801
00:43:48,200 --> 00:43:51,040
Speaker 3: mid century movies where you are just constantly asking weight,

802
00:43:51,120 --> 00:43:54,480
Speaker 3: which character is this? But fortunately that was not the case.

803
00:43:54,520 --> 00:43:56,720
Speaker 3: As we've said that, the main cast for the movie

804
00:43:57,200 --> 00:44:00,560
Speaker 3: is a smaller number of actors that look more from

805
00:44:00,560 --> 00:44:00,919
Speaker 3: each other.

806
00:44:01,600 --> 00:44:03,880
Speaker 2: Yes, absolutely so that is That was a relief for

807
00:44:03,920 --> 00:44:04,560
Speaker 2: me as well.

808
00:44:05,000 --> 00:44:07,759
Speaker 3: But this is basically due set up. What must be

809
00:44:07,800 --> 00:44:10,200
Speaker 3: done about the asteroid. The only way to save Earth

810
00:44:10,360 --> 00:44:13,000
Speaker 3: gott to blow it up. So the general of Space

811
00:44:13,040 --> 00:44:16,960
Speaker 3: command has summoned a man named Commander Jack Ranken to

812
00:44:17,040 --> 00:44:20,280
Speaker 3: his office, and then the general's aides all start to protest.

813
00:44:20,440 --> 00:44:23,840
Speaker 3: They say, Sir, you can't bring him on to this mission.

814
00:44:23,840 --> 00:44:27,160
Speaker 3: He's tendered his resignation, he's off the force. Also, you

815
00:44:27,200 --> 00:44:29,080
Speaker 3: can't send him on a mission like this where the

816
00:44:29,200 --> 00:44:32,600
Speaker 3: chances of survival are next to zero. And then I

817
00:44:32,719 --> 00:44:34,520
Speaker 3: double checked this next line to make sure I was

818
00:44:34,560 --> 00:44:37,239
Speaker 3: hearing it right. The general says, he's still the top

819
00:44:37,280 --> 00:44:40,480
Speaker 3: officer of my command. I'd have absolute confidence in him

820
00:44:40,520 --> 00:44:43,560
Speaker 3: no matter what we're faced with, and I'll be go

821
00:44:43,640 --> 00:44:47,320
Speaker 3: to hell if I know what we're faced with. I

822
00:44:47,360 --> 00:44:48,880
Speaker 3: don't know if I've ever heard that before, but I

823
00:44:48,920 --> 00:44:52,320
Speaker 3: looked it up this I found documentation that this is

824
00:44:52,360 --> 00:44:55,320
Speaker 3: an expression some people say, I'll be go to hell.

825
00:44:55,760 --> 00:44:58,319
Speaker 2: Really because that sounds like a flug to me.

826
00:44:59,000 --> 00:45:01,799
Speaker 3: It sounds like a yeah, like a typo in the

827
00:45:01,840 --> 00:45:04,840
Speaker 3: script that he just read verbatim. But it's a real expression,

828
00:45:04,920 --> 00:45:06,719
Speaker 3: according to the Internet at least.

829
00:45:07,360 --> 00:45:10,160
Speaker 2: Well that's it's kind of like that whole saying, like

830
00:45:10,200 --> 00:45:11,920
Speaker 2: if one were to say, like go to hell, you

831
00:45:11,960 --> 00:45:14,719
Speaker 2: don't know from go to hell, Like I've never heard

832
00:45:14,800 --> 00:45:17,040
Speaker 2: someone say that out loud. I've only ever read it,

833
00:45:17,080 --> 00:45:20,200
Speaker 2: and it always feels unreal to me, But I trust

834
00:45:20,200 --> 00:45:22,120
Speaker 2: that it is something people actually say.

835
00:45:22,680 --> 00:45:25,360
Speaker 3: I guess so. So the General he'll be go to

836
00:45:25,400 --> 00:45:29,319
Speaker 3: Hell and next we go to his office. First he'll

837
00:45:29,360 --> 00:45:30,799
Speaker 3: be go to Hell, and then he'll be go to

838
00:45:30,840 --> 00:45:34,960
Speaker 3: his office. And here's where we meet Commander Jack and man.

839
00:45:35,520 --> 00:45:39,959
Speaker 3: Commander Jack is a smooth space commander if I ever

840
00:45:40,000 --> 00:45:45,040
Speaker 3: saw one. His hair is like one perfect solid mass.

841
00:45:45,120 --> 00:45:48,160
Speaker 3: I don't think you ever see any of his hairs

842
00:45:48,280 --> 00:45:49,480
Speaker 3: move individually.

843
00:45:50,080 --> 00:45:52,279
Speaker 2: Yeah, it's quite ahead of hair. There's some scenes where

844
00:45:52,280 --> 00:45:54,239
Speaker 2: he's wearing a helmet and it's a It throws you

845
00:45:54,280 --> 00:45:58,040
Speaker 2: off because you don't recognize in it first. Yeah. Yeah.

846
00:45:58,120 --> 00:46:00,960
Speaker 3: So they start off by reminiscing. They they're looking at

847
00:46:00,960 --> 00:46:04,960
Speaker 3: a picture on the wall, and the General says Rankin

848
00:46:05,040 --> 00:46:09,880
Speaker 3: and Elliott best space team we ever had, and Jack says, yeah,

849
00:46:10,000 --> 00:46:12,000
Speaker 3: Vince and I were a pretty good team till I

850
00:46:12,200 --> 00:46:16,320
Speaker 3: ruined it. Anyway, they get down to business. General says, Jackie,

851
00:46:16,320 --> 00:46:18,520
Speaker 3: you're the only man who can save planet Earth. I

852
00:46:18,680 --> 00:46:21,360
Speaker 3: need you to do an armageddon. I need you to

853
00:46:21,400 --> 00:46:24,400
Speaker 3: plant explosives on the surface of this killer asteroid. And

854
00:46:24,480 --> 00:46:27,080
Speaker 3: blow it up. And Jack says, well, in that case,

855
00:46:27,120 --> 00:46:30,200
Speaker 3: all right, I'm on board, and the General says, oh, also,

856
00:46:30,400 --> 00:46:33,040
Speaker 3: the current commander of the space station you're going to

857
00:46:33,080 --> 00:46:35,920
Speaker 3: go to to do this mission. The man you're going

858
00:46:36,000 --> 00:46:38,120
Speaker 3: to have to work with to save the planet is

859
00:46:38,239 --> 00:46:41,239
Speaker 3: your old partner, Vince Elliott, who we just referred to

860
00:46:41,400 --> 00:46:44,560
Speaker 3: like two sentences ago. And this is such a cop

861
00:46:44,640 --> 00:46:46,360
Speaker 3: show set up, you know, it's like that was a

862
00:46:46,400 --> 00:46:49,359
Speaker 3: long time ago. General, meet your new partner. It's your

863
00:46:49,440 --> 00:46:50,320
Speaker 3: old partner.

864
00:46:50,920 --> 00:46:53,279
Speaker 2: Yeah, yeah, but you know it's an oldie, but it's

865
00:46:53,280 --> 00:46:54,960
Speaker 2: a goodie. You know, you're going to get some fireworks

866
00:46:54,960 --> 00:46:55,279
Speaker 2: out of.

867
00:46:55,200 --> 00:46:58,920
Speaker 3: That, oh yeah. And then so the Commander Jack is

868
00:46:58,960 --> 00:47:00,759
Speaker 3: going to travel to the space station and we see

869
00:47:00,760 --> 00:47:02,680
Speaker 3: a lot of model effects along the way. We see

870
00:47:02,719 --> 00:47:06,280
Speaker 3: like model effects on Earth of buildings and cars moving around,

871
00:47:06,320 --> 00:47:09,000
Speaker 3: and then model effects of a rocket traveling to the

872
00:47:09,000 --> 00:47:12,200
Speaker 3: space station. And you know, there's a mix of quality

873
00:47:12,440 --> 00:47:15,399
Speaker 3: in some shots in this movie. The miniature models are

874
00:47:15,800 --> 00:47:20,080
Speaker 3: surprisingly good. Other times they are pretty flimsy, most often

875
00:47:20,120 --> 00:47:22,880
Speaker 3: somewhere in between. In terms of the flimsy ones, some

876
00:47:23,120 --> 00:47:26,560
Speaker 3: are quite funny, like there's one where there's an airlock

877
00:47:26,640 --> 00:47:28,640
Speaker 3: to space where a shuttle's going out to go to

878
00:47:28,719 --> 00:47:31,799
Speaker 3: the asteroid, and the airlock doors are basically like the

879
00:47:31,880 --> 00:47:36,319
Speaker 3: swinging doors on a saloon in a Western Yeah. But

880
00:47:36,640 --> 00:47:40,200
Speaker 3: even though this is not the most gorgeous mini model

881
00:47:40,239 --> 00:47:42,799
Speaker 3: work I've ever seen in a sci fi movie, and

882
00:47:43,040 --> 00:47:46,200
Speaker 3: neither is it usually bad enough to be funny. I

883
00:47:46,360 --> 00:47:49,400
Speaker 3: just found it such a cozy place to hang out,

884
00:47:49,680 --> 00:47:53,520
Speaker 3: very pleasing to the eye. I just love this stuff, Like,

885
00:47:53,600 --> 00:47:56,239
Speaker 3: model based effects like this are so nice, and they

886
00:47:56,280 --> 00:47:58,960
Speaker 3: make me want to change the culture of Hollywood that

887
00:47:59,080 --> 00:48:03,080
Speaker 3: feels like to be irrespectable, a movie's effects need to

888
00:48:03,120 --> 00:48:08,240
Speaker 3: look quote realistic. Mid tier CGI effects of today probably

889
00:48:08,280 --> 00:48:12,320
Speaker 3: are more passibly realistic. I agree, like they look probably

890
00:48:12,480 --> 00:48:16,560
Speaker 3: more convincingly like the thing you're trying to depict, But

891
00:48:16,640 --> 00:48:20,600
Speaker 3: they're so often just boring and kind of inherently unpleasant

892
00:48:20,640 --> 00:48:24,200
Speaker 3: in a way that's hard to explain. Miniature model based effects,

893
00:48:24,239 --> 00:48:27,600
Speaker 3: even when they are not an outstanding example of their kind,

894
00:48:28,120 --> 00:48:30,759
Speaker 3: just feel so so nice. And I was trying to

895
00:48:30,840 --> 00:48:34,680
Speaker 3: think of what to compare this difference to, and here's

896
00:48:34,719 --> 00:48:38,319
Speaker 3: what I came up with. The difference between passable mid

897
00:48:38,360 --> 00:48:43,080
Speaker 3: tier CGI and passable mid tier model effects is the

898
00:48:43,120 --> 00:48:46,319
Speaker 3: difference between looking at a freeway overpass and looking at

899
00:48:46,320 --> 00:48:49,160
Speaker 3: a lake. Even if it's not the most beautiful lake

900
00:48:49,200 --> 00:48:51,479
Speaker 3: in the world, even if it's a kind of crummy lake,

901
00:48:51,840 --> 00:48:54,360
Speaker 3: the lake is just always going to feel a lot nicer.

902
00:48:55,160 --> 00:48:58,520
Speaker 2: Yeah. Yeah, I think that's a fair comparison. You know,

903
00:48:58,560 --> 00:49:01,160
Speaker 2: I don't want to dismiss the work goes into CGI,

904
00:49:01,800 --> 00:49:05,840
Speaker 2: but when when you're looking at a physical scale model,

905
00:49:06,120 --> 00:49:08,200
Speaker 2: I mean you are looking at something that's that someone

906
00:49:08,320 --> 00:49:12,000
Speaker 2: physically built with their hands, and there's something about that

907
00:49:12,000 --> 00:49:12,759
Speaker 2: it's undeniable.

908
00:49:13,160 --> 00:49:14,839
Speaker 3: Well, you raise a good point. I want to be clear.

909
00:49:14,880 --> 00:49:18,080
Speaker 3: I'm not like slamming the work of digital animators. You know,

910
00:49:18,600 --> 00:49:21,759
Speaker 3: their work should also be appreciated. I'm just saying, man,

911
00:49:21,840 --> 00:49:25,280
Speaker 3: I love I love the models. The models are so nice,

912
00:49:25,320 --> 00:49:27,399
Speaker 3: they feel so good. I just wish there were more

913
00:49:27,440 --> 00:49:28,280
Speaker 3: of them these days.

914
00:49:28,680 --> 00:49:30,319
Speaker 2: No, no, I'm still with you on this. And yeah,

915
00:49:30,320 --> 00:49:33,759
Speaker 2: there's just something about like the physical model. You know,

916
00:49:33,840 --> 00:49:37,600
Speaker 2: it just feels more real, even if at the same times,

917
00:49:37,960 --> 00:49:39,439
Speaker 2: even at this if at the same time it looks

918
00:49:39,480 --> 00:49:41,759
Speaker 2: kind of flimsy in the film, it's like you could

919
00:49:41,800 --> 00:49:42,720
Speaker 2: still touch it.

920
00:49:42,719 --> 00:49:45,880
Speaker 3: It just feels nice. It's like walking barefoot on a

921
00:49:45,960 --> 00:49:49,080
Speaker 3: nice fluffy carpet, you know. But anyway, so up on

922
00:49:49,120 --> 00:49:53,000
Speaker 3: the space station. Oh boy, it's Commander Love Triangle reporting

923
00:49:53,000 --> 00:49:56,520
Speaker 3: for duty. This is this is Vince Elliott. He is

924
00:49:56,640 --> 00:49:59,600
Speaker 3: preparing for the arrival of his old partner who's about

925
00:49:59,600 --> 00:50:02,160
Speaker 3: to become a new partner again, and he has a

926
00:50:02,200 --> 00:50:07,000
Speaker 3: conversation with doctor Lisa Benson. Further complicating their personal history

927
00:50:07,360 --> 00:50:10,160
Speaker 3: is that doctor Benson used to be in love with

928
00:50:10,200 --> 00:50:13,400
Speaker 3: Commander Jack. Now she is in love with Commander Vince,

929
00:50:13,800 --> 00:50:16,000
Speaker 3: and she knows Jack is coming to the space station.

930
00:50:16,200 --> 00:50:20,120
Speaker 3: And this has the potential to inflame old tensions. And

931
00:50:20,320 --> 00:50:24,360
Speaker 3: it's funny given the similarities of the first third of

932
00:50:24,400 --> 00:50:28,040
Speaker 3: this movie to the Michael Bay film Armageddon, because I

933
00:50:28,080 --> 00:50:32,200
Speaker 3: also recall critics making fun of those nineties asteroid thrillers

934
00:50:32,239 --> 00:50:35,920
Speaker 3: like Armageddon, and I think it was deep impact was

935
00:50:35,960 --> 00:50:39,279
Speaker 3: the other one dab Yeah, that related film, and there

936
00:50:39,320 --> 00:50:41,120
Speaker 3: might have been some other ones too, But these asteroid

937
00:50:41,160 --> 00:50:43,319
Speaker 3: movies where the Earth is in danger. I recall a

938
00:50:43,440 --> 00:50:46,160
Speaker 3: line of the day being like, it's funny that these

939
00:50:46,280 --> 00:50:49,080
Speaker 3: movies have a love triangle in them, and we're supposed

940
00:50:49,080 --> 00:50:51,719
Speaker 3: to be concerned about the love triangle when the main

941
00:50:51,800 --> 00:50:55,920
Speaker 3: plot is whether or not life on Earth will be destroyed.

942
00:50:56,040 --> 00:50:58,120
Speaker 2: And you know, you got you gotta keep it relatable, right.

943
00:50:58,360 --> 00:50:59,000
Speaker 3: I guess.

944
00:51:00,480 --> 00:51:02,720
Speaker 2: This is the fun fact about this film. The US

945
00:51:02,840 --> 00:51:06,880
Speaker 2: release is what ninety minutes long. The Japanese cut was

946
00:51:06,920 --> 00:51:11,040
Speaker 2: seventy seven minutes long, and amidst the love triangle angle

947
00:51:11,160 --> 00:51:17,080
Speaker 2: in favor of tighter procedural militaristic action. So normally I'd

948
00:51:17,080 --> 00:51:19,120
Speaker 2: say I'd be kind of on board with that sort

949
00:51:19,160 --> 00:51:22,920
Speaker 2: of thing. I don't think love triangles and films are

950
00:51:22,960 --> 00:51:26,920
Speaker 2: just intrinsically interesting. I think sometimes that, you know, they

951
00:51:26,920 --> 00:51:29,040
Speaker 2: can be, but oftentimes, like you're saying, they're just kind

952
00:51:29,040 --> 00:51:31,319
Speaker 2: of thrown in there because like, hey, people like this, right,

953
00:51:32,600 --> 00:51:36,040
Speaker 2: this will get the fireworks going. But in this case,

954
00:51:36,400 --> 00:51:38,960
Speaker 2: again I haven't seen the Japanese cut in its entirety,

955
00:51:39,239 --> 00:51:42,000
Speaker 2: but the US cut is already a pretty lean movie

956
00:51:42,080 --> 00:51:45,440
Speaker 2: as far as intercharacter relationships go. So it feels like

957
00:51:45,520 --> 00:51:48,360
Speaker 2: you'd be really cutting close to the bone if you

958
00:51:48,440 --> 00:51:51,560
Speaker 2: took out all of the love triangle stuff here. You know,

959
00:51:52,000 --> 00:51:54,120
Speaker 2: you know, I ended up liking the Love Triangle. I

960
00:51:54,120 --> 00:51:55,960
Speaker 2: think it's fine of it too. Yeah, I thought it

961
00:51:56,000 --> 00:51:59,840
Speaker 2: was you know, it's ultimately doesn't it feels it doesn't

962
00:52:00,400 --> 00:52:02,680
Speaker 2: like this extra thing that was put on for one

963
00:52:02,960 --> 00:52:06,160
Speaker 2: audience and taken out for another. It feels like intrinsically

964
00:52:06,200 --> 00:52:09,680
Speaker 2: part of the plot and works. So yeah, it's hard

965
00:52:09,680 --> 00:52:12,160
Speaker 2: for being to imagine this film without it, because I

966
00:52:12,160 --> 00:52:14,439
Speaker 2: feel like you'd take a little bit of it's heart out.

967
00:52:14,640 --> 00:52:17,000
Speaker 3: I agree. And speaking of heart, this scene gives some

968
00:52:17,040 --> 00:52:20,040
Speaker 3: more character background about the difference of the soul in

969
00:52:20,840 --> 00:52:24,239
Speaker 3: Vince's soul versus jack soul. Vince says, you know, he's

970
00:52:24,280 --> 00:52:26,480
Speaker 3: sure that Jack will get the job done in spite

971
00:52:26,520 --> 00:52:31,040
Speaker 3: of anything, and doctor Benson says, or any body. So okay,

972
00:52:31,400 --> 00:52:33,760
Speaker 3: we're starting to get the picture. They think of Commander

973
00:52:33,880 --> 00:52:38,799
Speaker 3: Jack as competent, dependable, but heartless, And I like how

974
00:52:38,800 --> 00:52:41,600
Speaker 3: at the end of this conversation, doctor Benson is like,

975
00:52:41,680 --> 00:52:44,600
Speaker 3: by the way, Vince, Darling, you don't have the slightest

976
00:52:44,640 --> 00:52:47,040
Speaker 3: reason to be jealous of him. He doesn't mean anything

977
00:52:47,080 --> 00:52:50,000
Speaker 3: to me anymore, which is one of those reassuring statements

978
00:52:50,040 --> 00:52:53,880
Speaker 3: that achieves the opposite of its effect. But all right,

979
00:52:53,920 --> 00:52:56,520
Speaker 3: I guess we need to get into the asteroid sequence.

980
00:52:56,600 --> 00:53:00,879
Speaker 3: So Commander Jack arrives on the ship symbols. The team.

981
00:53:01,000 --> 00:53:04,520
Speaker 3: Space Command has at the last minute added doctor Halverson

982
00:53:04,560 --> 00:53:08,040
Speaker 3: to the team. Who is doctor Halverson? I think he's

983
00:53:08,080 --> 00:53:10,040
Speaker 3: the Do they even say what his job is? He's

984
00:53:10,080 --> 00:53:11,040
Speaker 3: there to do science.

985
00:53:11,800 --> 00:53:14,880
Speaker 2: Yeah, he's just the He represents science on this mission.

986
00:53:14,920 --> 00:53:16,480
Speaker 2: It's his job to be like, hey, can I get

987
00:53:16,480 --> 00:53:18,839
Speaker 2: a sample of that? Oh wait, hold on one second,

988
00:53:18,840 --> 00:53:21,400
Speaker 2: and we get a sample of that as well. Hold up,

989
00:53:21,440 --> 00:53:22,719
Speaker 2: I'm coming through with my samples.

990
00:53:23,120 --> 00:53:25,840
Speaker 3: That's right. So they fly to the asteroid and the

991
00:53:26,280 --> 00:53:30,640
Speaker 3: space Marines start planting bombs. They're like driving around looking

992
00:53:30,680 --> 00:53:34,680
Speaker 3: for places to plant the bombs, and they're driving dune

993
00:53:34,680 --> 00:53:38,800
Speaker 3: buggies through like red puddles of mud around all these rocks.

994
00:53:38,840 --> 00:53:41,480
Speaker 3: And again, speaking of great models and sets, I just

995
00:53:41,560 --> 00:53:44,040
Speaker 3: love this whole sequence. It's great.

996
00:53:44,800 --> 00:53:47,320
Speaker 2: This is one of those. There are several sequences, especially

997
00:53:47,320 --> 00:53:49,960
Speaker 2: the ones with various carts in them, which I feel

998
00:53:50,000 --> 00:53:53,719
Speaker 2: like lesser films would might have felt very meandering, but

999
00:53:54,880 --> 00:53:57,880
Speaker 2: this film feels very intentional. Like you get the I

1000
00:53:57,920 --> 00:54:01,400
Speaker 2: said procedural earlier, because you do get the feeling in

1001
00:54:01,520 --> 00:54:04,239
Speaker 2: any given sequence where bunches of people were doing stuff

1002
00:54:04,239 --> 00:54:06,839
Speaker 2: that there's a plan, there is a protocol and that

1003
00:54:06,920 --> 00:54:08,760
Speaker 2: plan and protocol are being followed.

1004
00:54:09,040 --> 00:54:12,680
Speaker 3: That's right, except there are little moments that I see

1005
00:54:12,719 --> 00:54:14,400
Speaker 3: exactly what you're saying, and I agree with it, But

1006
00:54:14,440 --> 00:54:17,200
Speaker 3: there are moments that kind of undercut that, like when

1007
00:54:17,280 --> 00:54:19,120
Speaker 3: they get to the place where they're gonna put one

1008
00:54:19,160 --> 00:54:21,080
Speaker 3: of the bombs down, and I think Commander Jack is

1009
00:54:21,080 --> 00:54:24,040
Speaker 3: the one who says this place looks good as any Like,

1010
00:54:24,200 --> 00:54:25,959
Speaker 3: why'd you drive all the way over here?

1011
00:54:28,040 --> 00:54:29,120
Speaker 2: Yeah?

1012
00:54:29,160 --> 00:54:32,560
Speaker 3: But okay, so doctor Halverson's team has just taking samples

1013
00:54:32,640 --> 00:54:35,040
Speaker 3: that they are like doing readings and samples and stuff

1014
00:54:35,040 --> 00:54:36,880
Speaker 3: while the other guys are trying to save the world.

1015
00:54:36,960 --> 00:54:40,719
Speaker 3: And while they're doing that, they start noticing that, ooh,

1016
00:54:40,920 --> 00:54:43,840
Speaker 3: the surface of this asteroid is not only rocks and

1017
00:54:43,960 --> 00:54:47,360
Speaker 3: red dust and big puddles of mud and you know,

1018
00:54:47,440 --> 00:54:52,440
Speaker 3: pink ponds, there are also pulsating piles of green jello.

1019
00:54:54,239 --> 00:54:58,240
Speaker 3: And the green jello actually starts creating problems, like it

1020
00:54:58,320 --> 00:55:01,239
Speaker 3: forms a crust over their bug tires and ends up

1021
00:55:01,280 --> 00:55:04,160
Speaker 3: disabling some equipment while they're trying to place the bombs.

1022
00:55:04,760 --> 00:55:08,239
Speaker 3: And meanwhile, the time to detonation keeps getting moved up,

1023
00:55:08,400 --> 00:55:10,960
Speaker 3: like the Space Command is calling in and saying, actually,

1024
00:55:11,000 --> 00:55:13,560
Speaker 3: you've got to detonate sooner, and Commander Jack's like, we

1025
00:55:13,600 --> 00:55:16,160
Speaker 3: won't be able to get out in time, and they're like, well,

1026
00:55:16,200 --> 00:55:19,000
Speaker 3: you got to do it. But they still make time

1027
00:55:19,040 --> 00:55:22,920
Speaker 3: for an argument about whether doctor Halverson can bring samples

1028
00:55:22,920 --> 00:55:25,560
Speaker 3: of the green slime he has collected along with them

1029
00:55:25,600 --> 00:55:27,680
Speaker 3: when they go back to the ship. And this leads

1030
00:55:27,719 --> 00:55:30,960
Speaker 3: to conflict. It's Commander Jack versus Halverson. And I think

1031
00:55:30,960 --> 00:55:34,120
Speaker 3: he just like grabs his glass vial and smashes it

1032
00:55:34,160 --> 00:55:35,080
Speaker 3: on the ground, doesn't he.

1033
00:55:35,680 --> 00:55:38,840
Speaker 2: Yeah, indn't this when some get splattered onto somebody's pants

1034
00:55:39,200 --> 00:55:39,520
Speaker 2: as well?

1035
00:55:39,600 --> 00:55:42,320
Speaker 3: That's right, And that's how we get a little rider,

1036
00:55:42,360 --> 00:55:47,360
Speaker 3: we get a little stowaway biocontamination. There is another conflict

1037
00:55:47,440 --> 00:55:51,000
Speaker 3: that arises here, which is Commander Jack versus Commander Vince.

1038
00:55:51,520 --> 00:55:54,520
Speaker 3: The conflict is about whether they should leave people behind

1039
00:55:54,680 --> 00:55:57,360
Speaker 3: in order to take off in time. Jack says, we

1040
00:55:57,440 --> 00:55:59,520
Speaker 3: got to go to you know, they're not back here

1041
00:55:59,520 --> 00:56:01,880
Speaker 3: in time. I'll leave them, and Vince says, no, we

1042
00:56:01,960 --> 00:56:04,720
Speaker 3: got to wait for them. This will become a recurring theme.

1043
00:56:05,239 --> 00:56:05,359
Speaker 2: Uh.

1044
00:56:05,560 --> 00:56:07,600
Speaker 3: And so anyway, they get back on the ship and

1045
00:56:07,640 --> 00:56:10,040
Speaker 3: then they're gonna the bombs are gonna detonate soon and

1046
00:56:10,040 --> 00:56:12,520
Speaker 3: they're trying to fly away at top speed so that

1047
00:56:12,600 --> 00:56:15,640
Speaker 3: they can escape the blast radius. And there's a part

1048
00:56:15,680 --> 00:56:18,280
Speaker 3: where Commander Jack has to like he orders the pilot

1049
00:56:18,320 --> 00:56:20,719
Speaker 3: to go faster, and the pilot's like, she won't take it.

1050
00:56:20,800 --> 00:56:23,840
Speaker 3: She's gonna break apart, and Commander Jack just sort of

1051
00:56:23,840 --> 00:56:26,359
Speaker 3: like steps past him and you know, pushes the lever

1052
00:56:26,480 --> 00:56:30,040
Speaker 3: into the top position, and it does work. They managed

1053
00:56:30,080 --> 00:56:32,960
Speaker 3: to escape the blast. But they are they're like they're

1054
00:56:33,040 --> 00:56:34,719
Speaker 3: kind of melting in the process.

1055
00:56:35,280 --> 00:56:37,520
Speaker 2: Yeah. Yeah, they're like thrown back in their seats and

1056
00:56:37,520 --> 00:56:40,839
Speaker 2: against the wall, just going like, oh yeah, But they

1057
00:56:40,840 --> 00:56:43,640
Speaker 2: make they make it out. They save the world.

1058
00:56:43,840 --> 00:56:46,239
Speaker 3: That's right, They blew up the asteroid, saved the world.

1059
00:56:46,280 --> 00:56:47,920
Speaker 3: They make it back to the space station where they

1060
00:56:47,920 --> 00:56:52,040
Speaker 3: get a hero's welcome. There is applause, there is cheering. Uh,

1061
00:56:52,080 --> 00:56:54,960
Speaker 3: And then they have to go through decontamination. So Commander

1062
00:56:55,040 --> 00:56:58,600
Speaker 3: Jack is like, we must go through decontamination three times.

1063
00:56:58,640 --> 00:57:02,160
Speaker 3: And now, surely if you go through decontamination three times,

1064
00:57:02,200 --> 00:57:05,160
Speaker 3: you could not miss anything. But wait, what is that

1065
00:57:05,200 --> 00:57:07,920
Speaker 3: we see on that one astronaut's leg? Oh is that

1066
00:57:08,000 --> 00:57:11,719
Speaker 3: a little green bit of jelly there? Also, after they

1067
00:57:11,760 --> 00:57:14,279
Speaker 3: do this, Commander Jack's just standing around with blood all

1068
00:57:14,320 --> 00:57:16,560
Speaker 3: over his arm, so they're like a time to go

1069
00:57:16,600 --> 00:57:19,720
Speaker 3: see a doctor. And then he visits the medical clinic,

1070
00:57:19,800 --> 00:57:23,720
Speaker 3: which is the groovous looking medical clinic I've ever seen.

1071
00:57:23,760 --> 00:57:26,680
Speaker 3: There's one place in it with like it's got designs

1072
00:57:26,680 --> 00:57:30,400
Speaker 3: on the walls, and there's a glass partition where doctor

1073
00:57:30,400 --> 00:57:32,880
Speaker 3: Benson comes in to treat his bloody arm, and I

1074
00:57:32,920 --> 00:57:36,120
Speaker 3: guess also give him a vaccine against love triangles. But

1075
00:57:36,240 --> 00:57:40,320
Speaker 3: the glass partition depicts I think talismans to repel the

1076
00:57:40,400 --> 00:57:41,280
Speaker 3: evil eye.

1077
00:57:41,960 --> 00:57:45,920
Speaker 2: Oh wow, I don't remember this particular detail, but in general,

1078
00:57:45,960 --> 00:57:49,280
Speaker 2: I love the sets. The space station sets all look

1079
00:57:49,440 --> 00:57:52,880
Speaker 2: look really good. I mean again, it would be unfair

1080
00:57:53,560 --> 00:57:55,560
Speaker 2: to compare them to the sets in two thousand and

1081
00:57:55,560 --> 00:57:59,600
Speaker 2: one A Space Odyssey, which are phenomenal, which that's a

1082
00:57:59,680 --> 00:58:04,480
Speaker 2: highest that it's unfair to compare movies today to that standard.

1083
00:58:05,040 --> 00:58:07,360
Speaker 2: But I still think the space station sets look pretty

1084
00:58:07,440 --> 00:58:12,960
Speaker 2: darn good.

1085
00:58:17,120 --> 00:58:20,520
Speaker 3: And then there's a party. This actually was one of

1086
00:58:20,520 --> 00:58:22,840
Speaker 3: my favorite scenes. I'm not quite sure why we don't

1087
00:58:22,880 --> 00:58:25,640
Speaker 3: even have monsters yet, but I just enjoyed this party.

1088
00:58:25,720 --> 00:58:29,520
Speaker 3: So they break out the champagne and I'm quite impressed

1089
00:58:29,680 --> 00:58:35,640
Speaker 3: this space station has champagne glass, champagne coops, all tons

1090
00:58:35,640 --> 00:58:39,000
Speaker 3: of booze in stock, and ice buckets for the bottles. Wow,

1091
00:58:40,000 --> 00:58:43,000
Speaker 3: And so everybody's dancing. It's a swinging, far out dance

1092
00:58:43,040 --> 00:58:46,920
Speaker 3: party set to some kind of nothing as heavy as

1093
00:58:47,080 --> 00:58:50,840
Speaker 3: the groove of the main theme. It's more of a

1094
00:58:50,920 --> 00:58:56,320
Speaker 3: kind of Herb Albert style horn music, and everybody's getting down.

1095
00:58:56,480 --> 00:59:00,440
Speaker 3: The men are all in Space command uniforms and women

1096
00:59:00,520 --> 00:59:03,360
Speaker 3: are all in hip sixties mini dresses. So that's an

1097
00:59:03,440 --> 00:59:06,040
Speaker 3: odd mix. And honestly, I was thinking it looks like

1098
00:59:06,040 --> 00:59:09,200
Speaker 3: one of the dance party scenes in Austin Powers, except

1099
00:59:09,240 --> 00:59:12,200
Speaker 3: all of the dudes at the pad work for Hugo Drax,

1100
00:59:15,000 --> 00:59:19,120
Speaker 3: the villain from Moonraker, Yeah, who has all the the

1101
00:59:19,120 --> 00:59:22,960
Speaker 3: space uniforms. But also there's a lot of awkward dancing.

1102
00:59:23,000 --> 00:59:24,800
Speaker 3: Did you notice the same thing? Like some of these

1103
00:59:24,800 --> 00:59:28,440
Speaker 3: astronaut partygoers do not seem to have danced before. They

1104
00:59:28,520 --> 00:59:31,320
Speaker 3: dance like I did in middle school, just never tried

1105
00:59:31,360 --> 00:59:32,640
Speaker 3: this before, gonna wing it?

1106
00:59:33,280 --> 00:59:36,360
Speaker 2: Well, you know, that reminds us of where most of

1107
00:59:36,400 --> 00:59:40,040
Speaker 2: these extras are coming from. They're just who was available, Yeah,

1108
00:59:40,040 --> 00:59:41,960
Speaker 2: And I guess it makes sense. Maybe they're not all

1109
00:59:41,960 --> 00:59:43,120
Speaker 2: of them were dancers.

1110
00:59:43,360 --> 00:59:47,200
Speaker 3: But one of the tables at this party it is

1111
00:59:47,360 --> 00:59:50,760
Speaker 3: doctor Vince or not doctor Vince, sorry, doctor Benson, Commander Vince,

1112
00:59:50,800 --> 00:59:53,959
Speaker 3: and Commander Jack. And they're all sitting around and Vince

1113
00:59:54,000 --> 00:59:57,160
Speaker 3: says to Jack, hey, Lisa and I were getting married

1114
00:59:57,200 --> 01:00:01,439
Speaker 3: next week. And Jack looks, you know, he kind of work,

1115
01:00:01,520 --> 01:00:03,920
Speaker 3: he works over this in his brain. And then he says, Lisa,

1116
01:00:03,960 --> 01:00:07,040
Speaker 3: I wish you every happiness, and then Lisa just looks

1117
01:00:07,080 --> 01:00:09,560
Speaker 3: at the floor and says nothing. So that's a good

1118
01:00:09,600 --> 01:00:13,440
Speaker 3: sign for Vince there, he's getting all of the signals

1119
01:00:13,440 --> 01:00:14,240
Speaker 3: are positive.

1120
01:00:16,000 --> 01:00:17,600
Speaker 2: Why are these three still hanging out?

1121
01:00:18,240 --> 01:00:21,760
Speaker 3: I don't know. But I also I've noticing in this

1122
01:00:21,880 --> 01:00:26,280
Speaker 3: scene the extremely shiny, brightly colored food that's sitting uneaten

1123
01:00:26,320 --> 01:00:28,400
Speaker 3: on the table in front of them. I always love

1124
01:00:28,480 --> 01:00:31,320
Speaker 3: to examine a spread of food in a movie set.

1125
01:00:31,640 --> 01:00:33,840
Speaker 3: So this looks like we've got an oiled up raw

1126
01:00:33,920 --> 01:00:37,480
Speaker 3: tomato unsliced something that looks like a piece of toast

1127
01:00:37,520 --> 01:00:39,800
Speaker 3: with like a cold pad of butter and a dollup

1128
01:00:39,840 --> 01:00:44,240
Speaker 3: of ketchup on it, and then everybody's favorite jumbo medallions

1129
01:00:44,280 --> 01:00:46,160
Speaker 3: of iceberg lettuce with brown sauce.

1130
01:00:46,520 --> 01:00:49,320
Speaker 2: Yeah, this is all grown on the station, one assumes,

1131
01:00:50,000 --> 01:00:53,760
Speaker 2: and it looks suitably kind of fake, like, you know,

1132
01:00:53,840 --> 01:00:57,360
Speaker 2: it was grown in like a dirt free environment, some

1133
01:00:57,400 --> 01:00:59,920
Speaker 2: sort of like zero G hydroponic situation going on.

1134
01:01:00,280 --> 01:01:03,080
Speaker 3: I guess, so, so Commander Jack, he wants one last

1135
01:01:03,160 --> 01:01:07,960
Speaker 3: dance with doctor Benson before she marries Vince. And meanwhile

1136
01:01:08,040 --> 01:01:10,360
Speaker 3: we see well, so they go get up to dance.

1137
01:01:10,400 --> 01:01:14,280
Speaker 3: But meanwhile in the decontamination room, I guess the biosecurity

1138
01:01:14,320 --> 01:01:18,600
Speaker 3: officer is not getting to attend the celebration of a

1139
01:01:18,720 --> 01:01:22,120
Speaker 3: far outness because he is busy processing the EVA suits

1140
01:01:22,120 --> 01:01:25,520
Speaker 3: from the surface of the asteroid, and the machine is worrying.

1141
01:01:25,600 --> 01:01:29,040
Speaker 3: And then we see something beginning to happen. From underneath

1142
01:01:29,080 --> 01:01:31,720
Speaker 3: the folds of one of the spacesuits. There is a

1143
01:01:31,800 --> 01:01:36,080
Speaker 3: substance beginning to expand. It is a yellow green foam

1144
01:01:36,440 --> 01:01:40,560
Speaker 3: like detergent overflowing from a washing machine. And then it

1145
01:01:40,680 --> 01:01:44,840
Speaker 3: transforms from a foam into a sticky, solid mass that's

1146
01:01:44,920 --> 01:01:49,200
Speaker 3: kind of brown on the outside but throbbing green from within.

1147
01:01:49,680 --> 01:01:51,320
Speaker 3: And this might be gross, but I was trying to

1148
01:01:51,360 --> 01:01:53,240
Speaker 3: think of the best way to describe it, and here's

1149
01:01:53,240 --> 01:01:55,080
Speaker 3: what I came up with. It looks like if you

1150
01:01:55,200 --> 01:02:00,280
Speaker 3: got a chunk of really gelatinous homemade beef stock, maybe

1151
01:02:00,280 --> 01:02:03,080
Speaker 3: a beef fu broth, and you chilled that to fridge

1152
01:02:03,080 --> 01:02:05,840
Speaker 3: temperature so it's a solid jelly instead of a liquid,

1153
01:02:06,120 --> 01:02:09,000
Speaker 3: and then you put a green light bulb inside it

1154
01:02:09,080 --> 01:02:11,640
Speaker 3: and set it a pulsing. That's what it looked like,

1155
01:02:11,680 --> 01:02:12,640
Speaker 3: and I love the effect.

1156
01:02:13,480 --> 01:02:15,320
Speaker 2: Well, you know, if that's exactly how they did it,

1157
01:02:15,320 --> 01:02:19,400
Speaker 2: it wouldn't be the grossest effect that filmmakers have made

1158
01:02:19,520 --> 01:02:22,280
Speaker 2: using like actual meat products and so forth.

1159
01:02:22,560 --> 01:02:24,560
Speaker 3: Oh yeah, were the face hugger guts like a bunch

1160
01:02:24,560 --> 01:02:26,120
Speaker 3: of raw oysters and stuff?

1161
01:02:26,400 --> 01:02:28,240
Speaker 2: I think so. I think that's a story. Yeah, and

1162
01:02:28,280 --> 01:02:31,840
Speaker 2: there are various other productions where they've done something like that.

1163
01:02:32,160 --> 01:02:34,640
Speaker 3: Well, back at the dance party, Commander Jack and doctor

1164
01:02:34,640 --> 01:02:38,080
Speaker 3: Benson are dancing, and then we get more backstory about

1165
01:02:38,080 --> 01:02:41,600
Speaker 3: how drama emerged between all of them. Jack says that

1166
01:02:41,800 --> 01:02:45,720
Speaker 3: Vince is too nice to be a commanding officer, and

1167
01:02:45,800 --> 01:02:48,600
Speaker 3: we learned that a while back, Vince had to face

1168
01:02:48,640 --> 01:02:52,680
Speaker 3: a board of inquiry because Jack reported something he did wrong.

1169
01:02:52,800 --> 01:02:56,919
Speaker 3: Jack told on him when Vince violated regulations in order

1170
01:02:56,960 --> 01:03:00,400
Speaker 3: to save someone's life, and doctor Benson says you would

1171
01:03:00,400 --> 01:03:03,200
Speaker 3: have done the same in his position, and Jack says, no,

1172
01:03:03,280 --> 01:03:07,400
Speaker 3: he would not have. Vince's supposedly compassionate act breaking the

1173
01:03:07,480 --> 01:03:10,240
Speaker 3: rules to save one life ended up getting ten other

1174
01:03:10,400 --> 01:03:14,160
Speaker 3: men killed. So it was a stupid, impulsive decision and

1175
01:03:14,200 --> 01:03:17,040
Speaker 3: it cost me in their lives. And then doctor Benson says,

1176
01:03:17,080 --> 01:03:19,520
Speaker 3: do you think that doesn't tear him up inside? He's

1177
01:03:19,640 --> 01:03:23,880
Speaker 3: distraught about it. But then Commander Jack, he gets kind

1178
01:03:23,920 --> 01:03:26,600
Speaker 3: of cold. He thinks doctor Benson is making a mistake.

1179
01:03:26,920 --> 01:03:29,720
Speaker 3: He says to her, you don't love Vince, you pity him,

1180
01:03:30,000 --> 01:03:33,960
Speaker 3: you love me, And whoa, that is a bold move,

1181
01:03:34,120 --> 01:03:35,960
Speaker 3: and Lisa gets very mad and leaves.

1182
01:03:36,880 --> 01:03:40,520
Speaker 2: Commander Jack is just wired differently. Yeah, like I said,

1183
01:03:40,560 --> 01:03:43,360
Speaker 2: not not a I don't find it, never found it

1184
01:03:43,400 --> 01:03:45,640
Speaker 2: to be a very likable character, though at the same

1185
01:03:45,680 --> 01:03:49,400
Speaker 2: time a capable character that you're still absolutely rooting for

1186
01:03:49,800 --> 01:03:52,760
Speaker 2: against the well the brewing alien Venace.

1187
01:03:53,600 --> 01:03:55,400
Speaker 3: That's what I was saying earlier. He's kind of he's

1188
01:03:55,520 --> 01:03:58,520
Speaker 3: kind of complex in a way that is different for

1189
01:03:58,720 --> 01:04:03,400
Speaker 3: this sort of life. Awful good square, military square, absolutely

1190
01:04:03,680 --> 01:04:05,280
Speaker 3: or I don't know, should we say we've been saying

1191
01:04:05,320 --> 01:04:08,520
Speaker 3: lawful good. I guess he's lawful good, but maybe somewhere

1192
01:04:08,560 --> 01:04:13,600
Speaker 3: between lawful good and lawful neutral. He's definitely lawful. He's

1193
01:04:13,760 --> 01:04:17,479
Speaker 3: mostly good though he I means he's not nice at all,

1194
01:04:17,520 --> 01:04:21,240
Speaker 3: but he I don't know's he's kind of difficult to

1195
01:04:21,280 --> 01:04:21,760
Speaker 3: pin down.

1196
01:04:22,200 --> 01:04:23,560
Speaker 2: Yeah, I mean, he's a complex guy.

1197
01:04:25,840 --> 01:04:29,120
Speaker 3: Meanwhile, back at the decontamination chamber, we got a lab

1198
01:04:29,160 --> 01:04:31,960
Speaker 3: technician who sees something is going wrong in the room

1199
01:04:32,000 --> 01:04:34,919
Speaker 3: where the EVA suits are stored. He opens the door,

1200
01:04:35,160 --> 01:04:38,840
Speaker 3: there's a bright shock of light. He screams, and then

1201
01:04:39,040 --> 01:04:41,400
Speaker 3: Jack and Vince are called to the lab to find

1202
01:04:41,440 --> 01:04:44,880
Speaker 3: the technician's body still smoking on the floor, and the

1203
01:04:44,920 --> 01:04:48,960
Speaker 3: scientists say he was electrocuted. So this starts a frantic

1204
01:04:49,080 --> 01:04:52,320
Speaker 3: investigation sequence. Everybody starts running around trying to figure out

1205
01:04:52,320 --> 01:04:57,120
Speaker 3: what happened. And I think we've already alluded to the

1206
01:04:57,120 --> 01:05:01,440
Speaker 3: fact that this movie hits on some very different levels

1207
01:05:01,440 --> 01:05:04,320
Speaker 3: in terms of style and tone as far as monster

1208
01:05:04,440 --> 01:05:08,240
Speaker 3: movies go, because it has a reputation for having goofy,

1209
01:05:08,640 --> 01:05:13,800
Speaker 3: fun funny, campy monsters, which in some shots they absolutely are,

1210
01:05:14,000 --> 01:05:18,320
Speaker 3: and if you see still screenshots from the movie, yes

1211
01:05:18,480 --> 01:05:21,800
Speaker 3: they often do look rather funny, but there are also

1212
01:05:21,960 --> 01:05:27,080
Speaker 3: parts where they're pretty scary, especially for the time. And

1213
01:05:27,160 --> 01:05:29,600
Speaker 3: I think the sequence where an astronaut here goes like

1214
01:05:29,720 --> 01:05:33,960
Speaker 3: searching in a darkened utility shaft for the for whatever

1215
01:05:34,120 --> 01:05:36,520
Speaker 3: it is that did this to the guy in the lab,

1216
01:05:37,480 --> 01:05:40,120
Speaker 3: this is one that's actually a little bit scary. I

1217
01:05:40,160 --> 01:05:43,840
Speaker 3: think this scenms potential to be scary is somewhat undercut

1218
01:05:44,000 --> 01:05:47,520
Speaker 3: by whimsical sounding music. I think the score does not

1219
01:05:47,720 --> 01:05:51,280
Speaker 3: serve this sequence well, but I don't know what. I

1220
01:05:51,280 --> 01:05:53,840
Speaker 3: almost think it could have inspired Dallas in the Air Shaft.

1221
01:05:53,880 --> 01:05:56,480
Speaker 3: I'm not saying it did, but there are some similarities.

1222
01:05:57,680 --> 01:05:59,560
Speaker 2: Yeah, yeah, I mean it's a it's a it's a

1223
01:05:59,600 --> 01:06:02,640
Speaker 2: tight say. There are some scenes where the rubber monsters

1224
01:06:02,680 --> 01:06:04,880
Speaker 2: are just kind of rampaging and you know, it can

1225
01:06:04,920 --> 01:06:07,320
Speaker 2: look a little goof here, But other scenes, the lighting

1226
01:06:07,400 --> 01:06:11,200
Speaker 2: is just right, the situation is just right where they

1227
01:06:11,280 --> 01:06:13,960
Speaker 2: do feel like a significant threat. I'll also say that

1228
01:06:14,080 --> 01:06:18,600
Speaker 2: in general, the monster design hides the human actor pretty well,

1229
01:06:18,760 --> 01:06:21,040
Speaker 2: you know, inside like it doesn't. You're able to sort

1230
01:06:21,040 --> 01:06:22,840
Speaker 2: of cover up the fact that it's human shaped at

1231
01:06:22,880 --> 01:06:27,760
Speaker 2: the heart of the scenario. Also, they're weird sound effect

1232
01:06:28,600 --> 01:06:33,160
Speaker 2: and the way they're sort of rampaging around they add

1233
01:06:33,160 --> 01:06:35,320
Speaker 2: to this feeling that, yeah, you're not dealing with something

1234
01:06:35,360 --> 01:06:38,120
Speaker 2: that is like we must destroy all humans. It's just

1235
01:06:38,840 --> 01:06:41,920
Speaker 2: life doing its thing. But it is a life form

1236
01:06:42,240 --> 01:06:45,720
Speaker 2: from a different environment that we were never meant to

1237
01:06:45,720 --> 01:06:48,760
Speaker 2: be exposed to. And that's where the threat comes in.

1238
01:06:49,040 --> 01:06:52,080
Speaker 3: Quote the seventy eight invasion of the body snatchers. We

1239
01:06:52,160 --> 01:06:54,919
Speaker 3: don't hate you, they don't hate us, they don't hate

1240
01:06:54,960 --> 01:06:58,000
Speaker 3: the astronauts in the space station. They're just going about

1241
01:06:58,040 --> 01:06:58,840
Speaker 3: their life cycle.

1242
01:06:59,600 --> 01:07:02,320
Speaker 2: Yeah, they have certain wants and needs and those are

1243
01:07:02,480 --> 01:07:05,640
Speaker 2: will learn our energy related and if anything gets in

1244
01:07:05,640 --> 01:07:08,200
Speaker 2: the way, well they're going to get the power tentacle.

1245
01:07:08,400 --> 01:07:10,880
Speaker 2: It's not personal, it's just business, that's right.

1246
01:07:12,800 --> 01:07:15,520
Speaker 3: But then there are more investigations and eventually they find

1247
01:07:15,600 --> 01:07:19,520
Speaker 3: some kind of writhing, screeching organism in the power plant.

1248
01:07:19,880 --> 01:07:23,120
Speaker 3: It's on like a catwalk around one of the power

1249
01:07:23,160 --> 01:07:25,680
Speaker 3: generation I don't know exactly what. It's supposed to be,

1250
01:07:25,720 --> 01:07:30,320
Speaker 3: the reactor or something, and it's this creature lying there.

1251
01:07:30,360 --> 01:07:33,760
Speaker 3: It has these electric tentacles and they're all gathering around

1252
01:07:33,760 --> 01:07:35,320
Speaker 3: it trying to figure out what to do about it.

1253
01:07:36,200 --> 01:07:39,400
Speaker 3: And this is when doctor Halverson shows up again to say,

1254
01:07:39,440 --> 01:07:42,920
Speaker 3: don't kill it, capture it. It's a priceless discovery. And

1255
01:07:43,000 --> 01:07:46,880
Speaker 3: Commander Jack disagrees. He's like, we must kill and Vince

1256
01:07:47,000 --> 01:07:49,800
Speaker 3: sides with Halverson. And of course he's still the commander

1257
01:07:49,800 --> 01:07:52,120
Speaker 3: of the space station. If he was, he wasn't of

1258
01:07:52,160 --> 01:07:54,840
Speaker 3: the asteroid mission. But he's still the boss of this facility.

1259
01:07:55,160 --> 01:07:58,480
Speaker 3: So they go with his plan, the capture plan, and

1260
01:07:58,520 --> 01:08:00,880
Speaker 3: they try to paralyze it with gas and shoot it

1261
01:08:00,920 --> 01:08:03,960
Speaker 3: with net guns. But this does not work. It starts

1262
01:08:04,960 --> 01:08:09,920
Speaker 3: unleashing its writhing, wiggling power cable arms that electrocute whatever

1263
01:08:09,960 --> 01:08:14,280
Speaker 3: it touches. It's all going wrong. Yeah, and it it

1264
01:08:15,000 --> 01:08:15,800
Speaker 3: becomes a mess.

1265
01:08:16,400 --> 01:08:19,000
Speaker 2: Oh, and there are some moments of like shocking violence.

1266
01:08:19,040 --> 01:08:20,799
Speaker 2: I think this is one where one of the tentacles

1267
01:08:21,000 --> 01:08:24,280
Speaker 2: hit somebody shocks them, they fall off of off of

1268
01:08:24,479 --> 01:08:26,479
Speaker 2: one of the catwalks and you see like their face

1269
01:08:26,560 --> 01:08:30,080
Speaker 2: splat red blood when they hit the bottom. So like it,

1270
01:08:30,280 --> 01:08:32,559
Speaker 2: this this film hits a lot harder than you might expect,

1271
01:08:33,120 --> 01:08:34,759
Speaker 2: especially given it as like a g rating.

1272
01:08:35,040 --> 01:08:35,640
Speaker 3: Oh does it?

1273
01:08:35,920 --> 01:08:38,479
Speaker 2: Let's think it technically is g rated. Yeah. I could

1274
01:08:38,520 --> 01:08:41,200
Speaker 2: be wrong in that though, but yeah, it's not one

1275
01:08:41,200 --> 01:08:42,879
Speaker 2: that has a reputation for its violence.

1276
01:08:43,520 --> 01:08:46,920
Speaker 3: Maybe we should stop and describe what the monsters look

1277
01:08:47,080 --> 01:08:47,840
Speaker 3: like exactly.

1278
01:08:48,400 --> 01:08:52,920
Speaker 2: Yeah, so they're obviously very situated in the tokusatsu and

1279
01:08:53,040 --> 01:08:56,200
Speaker 2: kaiju tradition. You know, these are big rubber suits and

1280
01:08:56,920 --> 01:08:59,080
Speaker 2: or foam. I'm not sure exactly what the material is,

1281
01:08:59,120 --> 01:09:00,479
Speaker 2: but you know, we think of them as the rubber

1282
01:09:00,520 --> 01:09:04,519
Speaker 2: monster suit. And while they sometimes benefit from low creepy lighting,

1283
01:09:04,560 --> 01:09:08,240
Speaker 2: they also get to rampage down well that hallways the

1284
01:09:08,280 --> 01:09:11,000
Speaker 2: basic form of the monster costume. Again, there's a human

1285
01:09:11,040 --> 01:09:13,160
Speaker 2: at the center, but it ends up taking on You

1286
01:09:13,160 --> 01:09:14,840
Speaker 2: don't really get a sense of the legs so much.

1287
01:09:14,880 --> 01:09:17,559
Speaker 2: You get the waving tentacles. It's kind of got a

1288
01:09:17,560 --> 01:09:20,640
Speaker 2: big central head with that big eyeball, the kind of

1289
01:09:20,680 --> 01:09:24,120
Speaker 2: like red glowy eyeball, and I feel like it is

1290
01:09:24,200 --> 01:09:27,400
Speaker 2: ultimately a monster design. It's easier to lampoon it in

1291
01:09:27,600 --> 01:09:31,599
Speaker 2: stills and out of context shots, but yeah, they often

1292
01:09:31,680 --> 01:09:36,320
Speaker 2: oftentimes they do feel significantly lethal. And then also they

1293
01:09:36,360 --> 01:09:38,960
Speaker 2: tend to look good as a in mass you know,

1294
01:09:38,960 --> 01:09:41,160
Speaker 2: they look good as a pod. You often see like

1295
01:09:41,280 --> 01:09:43,360
Speaker 2: I don't know how many we see at once in

1296
01:09:43,400 --> 01:09:46,559
Speaker 2: a single shot, but I know we'll frequently see like

1297
01:09:46,600 --> 01:09:48,599
Speaker 2: at least five of them at once, and I feel

1298
01:09:48,640 --> 01:09:50,799
Speaker 2: like some of the sequences have even more running around.

1299
01:09:51,360 --> 01:09:55,360
Speaker 3: But the essential form is sort of like a human

1300
01:09:55,560 --> 01:10:00,080
Speaker 3: sized maybe sort of a mushroom shape but green and

1301
01:10:00,120 --> 01:10:03,719
Speaker 3: more like a plant, with some bulbs all over the top,

1302
01:10:03,800 --> 01:10:08,920
Speaker 3: and then one big central eye that's horizontally elongated, and

1303
01:10:08,960 --> 01:10:13,400
Speaker 3: then wiggling tentacles for arms, basically where a human's arms

1304
01:10:13,439 --> 01:10:15,559
Speaker 3: would be, sort of at the top and on the

1305
01:10:15,600 --> 01:10:19,240
Speaker 3: two sides. Those arms have little shock tips at the

1306
01:10:19,400 --> 01:10:22,320
Speaker 3: end that are kind of red and can emit sparks

1307
01:10:22,320 --> 01:10:26,360
Speaker 3: and electricity, and then they've got like leaves and plant

1308
01:10:26,800 --> 01:10:30,040
Speaker 3: is essentially plant branches hanging out of their armpits.

1309
01:10:30,720 --> 01:10:34,479
Speaker 2: Yes, yeah, so, I guess one of the obvious things

1310
01:10:34,520 --> 01:10:37,360
Speaker 2: that state here, though, is they do not look slimy

1311
01:10:37,680 --> 01:10:40,160
Speaker 2: per se. They do not look like slime monsters. So

1312
01:10:40,160 --> 01:10:43,479
Speaker 2: if you come into the Green Slime expecting a green blob,

1313
01:10:44,520 --> 01:10:47,760
Speaker 2: you're going to be disappointed. And I wonder if that

1314
01:10:47,840 --> 01:10:49,439
Speaker 2: might have had an impact as well. I don't think

1315
01:10:49,479 --> 01:10:51,840
Speaker 2: the film is called Green Slime, and the Japanese release

1316
01:10:51,880 --> 01:10:52,719
Speaker 2: it as another title.

1317
01:10:53,760 --> 01:10:57,120
Speaker 3: The green Slime creates these monsters, It is not.

1318
01:10:57,320 --> 01:10:59,960
Speaker 2: Them born of the Green Slime yeah.

1319
01:11:00,439 --> 01:11:02,280
Speaker 3: So again in this scene at the power plant, the

1320
01:11:02,280 --> 01:11:05,679
Speaker 3: green slime monster, it resists capture. It starts going nuts,

1321
01:11:06,160 --> 01:11:10,000
Speaker 3: whipping its arms everywhere. It kills some people, it injures

1322
01:11:10,000 --> 01:11:12,320
Speaker 3: some others. It injures Vince, who gets like wounded in

1323
01:11:12,360 --> 01:11:15,599
Speaker 3: the shoulder. Jack ends up shooting it with a laser gun,

1324
01:11:15,720 --> 01:11:18,479
Speaker 3: which doesn't kill it but drives it off I think

1325
01:11:18,560 --> 01:11:21,880
Speaker 3: down some kind of pit. And then Jack says, Okay, Vince,

1326
01:11:21,920 --> 01:11:26,479
Speaker 3: you've made too many mistakes. I'm in charge now power

1327
01:11:26,479 --> 01:11:31,400
Speaker 3: struggle and let's see. Oh there's a part later where

1328
01:11:31,520 --> 01:11:34,080
Speaker 3: doctor Benson is like, this is the first time anything

1329
01:11:34,160 --> 01:11:36,479
Speaker 3: living has been found in space. Do you understand how

1330
01:11:36,520 --> 01:11:39,200
Speaker 3: important that is? And Jack says tell that to the

1331
01:11:39,240 --> 01:11:41,760
Speaker 3: wives of the men in the morgue. So Jack is

1332
01:11:41,800 --> 01:11:44,880
Speaker 3: not very interested in scientific discovery. He's just like, you know,

1333
01:11:44,920 --> 01:11:46,519
Speaker 3: how we're gonna How am how am I going to

1334
01:11:46,800 --> 01:11:51,120
Speaker 3: keep my team alive? But when Jack shot it earlier

1335
01:11:51,160 --> 01:11:54,280
Speaker 3: with the laser weapon, it drops some green blood on

1336
01:11:54,320 --> 01:11:57,839
Speaker 3: the ground, some goo, and doctor Halverson collected a sample

1337
01:11:57,880 --> 01:12:00,480
Speaker 3: of that gou and he has been doing some analysis,

1338
01:12:00,479 --> 01:12:03,280
Speaker 3: so he calls them to his lab to report. He says,

1339
01:12:03,320 --> 01:12:06,479
Speaker 3: the cells of this creature duplicate faster than anything known

1340
01:12:06,520 --> 01:12:09,720
Speaker 3: to man. He says, in fact, their growth rate is incredible.

1341
01:12:09,760 --> 01:12:13,080
Speaker 3: It's frightening, and he demonstrates by like running some current

1342
01:12:13,160 --> 01:12:15,280
Speaker 3: through the blood, I think, and that makes it just

1343
01:12:15,280 --> 01:12:18,960
Speaker 3: sort of like bubble and foam and overflow and duplicate.

1344
01:12:20,320 --> 01:12:24,479
Speaker 3: So he says, the animal feeds on energy and discharges energy,

1345
01:12:24,800 --> 01:12:27,160
Speaker 3: and as they try to destroy it in the and

1346
01:12:27,200 --> 01:12:29,559
Speaker 3: apparently what happened is as they tried to destroy it

1347
01:12:29,600 --> 01:12:32,960
Speaker 3: in the decontamination chamber, the energy they used to cook

1348
01:12:33,000 --> 01:12:36,240
Speaker 3: it actually fed it and made it larger, and then

1349
01:12:36,280 --> 01:12:39,880
Speaker 3: it could discharge that energy as electricity with its tentacle arms.

1350
01:12:40,160 --> 01:12:42,960
Speaker 3: So it grew larger by feeding off of energy and

1351
01:12:43,000 --> 01:12:45,920
Speaker 3: then eventually by feeding off of the power plant. So

1352
01:12:46,320 --> 01:12:49,320
Speaker 3: you shouldn't use energy weapons to attack it, because you

1353
01:12:49,360 --> 01:12:52,880
Speaker 3: can wound it with them, but ultimately those will just

1354
01:12:52,960 --> 01:12:58,400
Speaker 3: make it grow larger and more powerful. Here begins several attacks.

1355
01:12:58,479 --> 01:13:01,599
Speaker 3: There is an attack on doctor Benson's med bay. She's

1356
01:13:01,640 --> 01:13:05,120
Speaker 3: treating patients there from the first big scuffle with the monster,

1357
01:13:05,640 --> 01:13:08,160
Speaker 3: and then one of the monsters runs into the clinic

1358
01:13:08,240 --> 01:13:11,160
Speaker 3: and starts freaking out, and so the doctors are wheeling

1359
01:13:11,200 --> 01:13:15,320
Speaker 3: bandage patients out while the alien attacks. I did notice

1360
01:13:15,360 --> 01:13:17,439
Speaker 3: in the scene there were some more funny doors on

1361
01:13:17,520 --> 01:13:19,519
Speaker 3: the set, like you can see the two planks kind

1362
01:13:19,520 --> 01:13:24,000
Speaker 3: of wobbling as they slam shut. And they can't kill

1363
01:13:24,040 --> 01:13:27,000
Speaker 3: the monster, but they do manage to seal it inside

1364
01:13:27,000 --> 01:13:29,800
Speaker 3: the clinic for the moment, and then they discover something

1365
01:13:29,800 --> 01:13:32,160
Speaker 3: else about it, which is that when it bleeds, its

1366
01:13:32,240 --> 01:13:35,840
Speaker 3: blood becomes a seed that spawns whole new monsters. So

1367
01:13:35,920 --> 01:13:39,479
Speaker 3: its blood doesn't just like grow more, Its blood actually

1368
01:13:39,479 --> 01:13:41,560
Speaker 3: becomes one of the new creatures.

1369
01:13:42,760 --> 01:13:45,080
Speaker 2: So it has this kind of hydro like quality to it.

1370
01:13:45,720 --> 01:13:48,360
Speaker 3: That's right. And when you shoot it it so you

1371
01:13:48,400 --> 01:13:51,000
Speaker 3: can shoot it, the blood comes out that becomes new monsters.

1372
01:13:51,040 --> 01:13:53,200
Speaker 3: That does wound it, but then it can heal itself,

1373
01:13:53,280 --> 01:13:57,280
Speaker 3: essentially by using its tentacle arms to weld its wounds shut.

1374
01:13:58,840 --> 01:14:02,719
Speaker 3: So then Space Command imposes a quarantine. They're like, nothing

1375
01:14:02,760 --> 01:14:05,160
Speaker 3: is leaving the station. If one drop of that blood

1376
01:14:05,160 --> 01:14:07,920
Speaker 3: reaches Earth, it could spell disasters. So y'all are stuck

1377
01:14:07,960 --> 01:14:10,840
Speaker 3: there for now. So Vince and Jack form a plan.

1378
01:14:10,920 --> 01:14:12,720
Speaker 3: And this is one of those I think things you

1379
01:14:12,760 --> 01:14:15,040
Speaker 3: were referring to when you say the movie is very procedural.

1380
01:14:15,120 --> 01:14:17,240
Speaker 3: It's like they form a plan and they enact that

1381
01:14:17,320 --> 01:14:20,680
Speaker 3: plan to try to trap the monsters. They want to

1382
01:14:20,760 --> 01:14:24,479
Speaker 3: use a generator in a storage room is bait energy bait,

1383
01:14:24,640 --> 01:14:26,360
Speaker 3: and they're going to turn off all the lights and

1384
01:14:26,439 --> 01:14:28,800
Speaker 3: power and the rest of the station and then use

1385
01:14:28,840 --> 01:14:32,160
Speaker 3: like big flashlights and spotlights to attract the monster to

1386
01:14:32,240 --> 01:14:33,840
Speaker 3: the storage room and trap it there.

1387
01:14:34,439 --> 01:14:36,080
Speaker 2: It's a pretty good plan. I know, you love a

1388
01:14:36,120 --> 01:14:38,639
Speaker 2: good monster plan, especially a good monster trap plan.

1389
01:14:39,000 --> 01:14:41,639
Speaker 3: I do love that, And I liked this sequence. Yeah,

1390
01:14:41,680 --> 01:14:46,680
Speaker 3: this is this is fun and again it you know,

1391
01:14:46,760 --> 01:14:49,040
Speaker 3: it's it's sort of balanced on the edge. It waffles

1392
01:14:49,080 --> 01:14:53,280
Speaker 3: between campy and funny and then surprisingly hard edged sometimes

1393
01:14:53,360 --> 01:14:55,920
Speaker 3: from moment to moment. But a lot of this sequence

1394
01:14:56,120 --> 01:14:59,759
Speaker 3: does kind of work. It's it's not just silly fun.

1395
01:15:01,000 --> 01:15:03,000
Speaker 3: It works pretty good as a creature thriller.

1396
01:15:03,680 --> 01:15:04,040
Speaker 2: Agreed.

1397
01:15:04,280 --> 01:15:06,280
Speaker 3: So they set this up. The lead up to the

1398
01:15:06,320 --> 01:15:09,040
Speaker 3: sequence is kind of tense, and then the monsters come

1399
01:15:09,080 --> 01:15:13,040
Speaker 3: creeping down the hall. They're quacking out their weird screeches,

1400
01:15:13,520 --> 01:15:15,680
Speaker 3: and the plan is working at first, but then oh,

1401
01:15:15,760 --> 01:15:17,800
Speaker 3: they sort of go the wrong way, I think, and

1402
01:15:17,880 --> 01:15:20,000
Speaker 3: end up creeping into the room with all the hospital

1403
01:15:20,040 --> 01:15:22,720
Speaker 3: patients who have been driven out of the clinic, and

1404
01:15:22,800 --> 01:15:24,599
Speaker 3: so they have to lure them back out of there,

1405
01:15:24,680 --> 01:15:28,960
Speaker 3: which Jack does very heroically self sacrificially with a flashlight,

1406
01:15:29,479 --> 01:15:31,559
Speaker 3: and then they get the monsters back on track with

1407
01:15:31,640 --> 01:15:34,120
Speaker 3: this array of spotlights that are mounted on a cart

1408
01:15:34,200 --> 01:15:36,519
Speaker 3: and they're like moving it down the hallways to attract

1409
01:15:36,520 --> 01:15:40,400
Speaker 3: them to the trap. There's a bunch of monster chase

1410
01:15:40,479 --> 01:15:44,600
Speaker 3: action here, but eventually they managed to isolate the monsters

1411
01:15:44,640 --> 01:15:47,799
Speaker 3: behind one of the airlock doors. But there's a problem.

1412
01:15:48,520 --> 01:15:52,120
Speaker 3: Doctor Halverson has become trapped with the monsters in there,

1413
01:15:52,680 --> 01:15:55,000
Speaker 3: and are they going to open the doors to rescue him.

1414
01:15:55,240 --> 01:15:58,519
Speaker 3: Jack says no, going back for him would put everyone

1415
01:15:58,520 --> 01:16:01,800
Speaker 3: at risk. Vince said yes, and they have a standoff

1416
01:16:01,840 --> 01:16:04,599
Speaker 3: where Jack aims a gun at Vince. He's like, better

1417
01:16:04,600 --> 01:16:07,519
Speaker 3: not do it. Vince says, your move, and he opens

1418
01:16:07,560 --> 01:16:11,599
Speaker 3: the door, only to find Halverson already burned to a crisp,

1419
01:16:11,640 --> 01:16:13,719
Speaker 3: and then the monsters do get back through.

1420
01:16:14,400 --> 01:16:16,639
Speaker 2: This is a pretty scary scene too, by the way,

1421
01:16:16,720 --> 01:16:18,360
Speaker 2: Like it's a nice sort of jump scare.

1422
01:16:18,680 --> 01:16:21,120
Speaker 3: So here's one where a Vince was just wrong. He

1423
01:16:21,800 --> 01:16:24,120
Speaker 3: should have listened to Jack. Jack might not have a heart,

1424
01:16:24,200 --> 01:16:27,320
Speaker 3: but he was right, and now the threat is revived.

1425
01:16:27,560 --> 01:16:29,759
Speaker 3: Now they end up, I think, trying to close another

1426
01:16:29,920 --> 01:16:32,639
Speaker 3: door to lock them behind. But the monsters are freaking

1427
01:16:32,680 --> 01:16:35,479
Speaker 3: out and wiggling their arms all over the mounted lights

1428
01:16:35,479 --> 01:16:39,040
Speaker 3: on a cart, and they end up wiggling their electric

1429
01:16:39,160 --> 01:16:42,320
Speaker 3: arms over some explosives. And then that's not good at all.

1430
01:16:42,479 --> 01:16:45,680
Speaker 3: There's a big explosion. Part of the space station is destroyed,

1431
01:16:45,960 --> 01:16:49,160
Speaker 3: and monsters get vented out into space. I think some

1432
01:16:49,560 --> 01:16:53,040
Speaker 3: are burned and killed in this explosion. Others end up

1433
01:16:53,080 --> 01:16:55,639
Speaker 3: on the outside of the ship, and then the light

1434
01:16:55,720 --> 01:16:58,360
Speaker 3: from the sun is healing them and making them grow.

1435
01:16:58,560 --> 01:17:01,000
Speaker 2: I have to admit when the explode happened with the

1436
01:17:01,400 --> 01:17:03,519
Speaker 2: end of the model, the exterior shot of the model

1437
01:17:03,800 --> 01:17:09,000
Speaker 2: partially exploding, the explosion was so big. For like a long,

1438
01:17:09,120 --> 01:17:12,280
Speaker 2: pregnant second there, I thought the whole station had blown up,

1439
01:17:12,320 --> 01:17:15,880
Speaker 2: and I was like, whoa, this is an abrupt ending.

1440
01:17:16,280 --> 01:17:19,080
Speaker 2: That is a movie. That is what it looks like. Yeah,

1441
01:17:19,120 --> 01:17:20,800
Speaker 2: but it was just part of it, or most, just

1442
01:17:20,880 --> 01:17:23,080
Speaker 2: most of the ship blew up. The rest is fine.

1443
01:17:23,360 --> 01:17:25,680
Speaker 3: That would be a great ending. Actually, if the end

1444
01:17:25,840 --> 01:17:27,920
Speaker 3: was just the general and all those people, we couldn't

1445
01:17:27,920 --> 01:17:31,080
Speaker 3: tell apart earlier talking about how Vince should have listened

1446
01:17:31,120 --> 01:17:33,840
Speaker 3: to Jack and he went back to save the scientists.

1447
01:17:33,880 --> 01:17:36,439
Speaker 3: That just got them all killed. All our characters are dead.

1448
01:17:36,920 --> 01:17:39,720
Speaker 2: Turns out it was just a workplace safety video for

1449
01:17:40,000 --> 01:17:40,679
Speaker 2: space marines.

1450
01:17:41,200 --> 01:17:41,400
Speaker 5: Right.

1451
01:17:42,000 --> 01:17:46,120
Speaker 3: So there's another conflict. Jack wants to evacuate the survivors

1452
01:17:46,200 --> 01:17:49,040
Speaker 3: and then have the station completely destroyed so that the

1453
01:17:49,080 --> 01:17:52,720
Speaker 3: monsters will be eliminated. Vince disagrees, he does not want

1454
01:17:52,720 --> 01:17:56,719
Speaker 3: the station destroyed. There's another struggle for power. They start

1455
01:17:56,720 --> 01:18:00,360
Speaker 3: punching each other. I don't even remember how this moment ends.

1456
01:18:00,400 --> 01:18:02,720
Speaker 3: I think Jack sort of gets the upper hand in

1457
01:18:02,760 --> 01:18:03,120
Speaker 3: the end.

1458
01:18:03,400 --> 01:18:06,120
Speaker 2: I think so, yeah, yeah, because again Jack is always

1459
01:18:06,160 --> 01:18:08,280
Speaker 2: ready for people to try and punch him for all

1460
01:18:08,320 --> 01:18:09,880
Speaker 2: of his truth talking.

1461
01:18:10,200 --> 01:18:14,120
Speaker 3: Then, as they are preparing for evacuation, Vince gets really bitter,

1462
01:18:14,280 --> 01:18:16,880
Speaker 3: like doctor Benson comes to talk to him. She's getting

1463
01:18:16,880 --> 01:18:19,040
Speaker 3: her patients ready to get out of there. She tells

1464
01:18:19,120 --> 01:18:22,519
Speaker 3: him to evacuate as well, and he tells doctor Benson,

1465
01:18:22,600 --> 01:18:24,720
Speaker 3: I'm tired of people telling me what to do. Go

1466
01:18:24,840 --> 01:18:27,280
Speaker 3: back to your boy, Scout. I know it's never been

1467
01:18:27,320 --> 01:18:32,080
Speaker 3: over between you two hikes. Yeah, that's rough. And then

1468
01:18:32,200 --> 01:18:35,439
Speaker 3: Vince leads a team of Spacewalker commandos to go out

1469
01:18:35,439 --> 01:18:38,680
Speaker 3: of the airlock in suits and blast the slime creatures

1470
01:18:38,720 --> 01:18:42,000
Speaker 3: on the outside of the station's hull. And there's one

1471
01:18:42,120 --> 01:18:44,960
Speaker 3: scene where we get a classic movie moment where he's

1472
01:18:45,000 --> 01:18:46,920
Speaker 3: like shooting his laser gun and I guess he runs

1473
01:18:47,000 --> 01:18:50,720
Speaker 3: out of laser rounds. I don't know, his battery dies

1474
01:18:50,840 --> 01:18:53,559
Speaker 3: or something, and he throws the ray gun at the

1475
01:18:53,600 --> 01:18:54,920
Speaker 3: aliens through space.

1476
01:18:56,600 --> 01:18:59,360
Speaker 2: There's some good gun throwing in this movie. There is

1477
01:18:59,479 --> 01:19:01,800
Speaker 2: I think an there's sequence where someone throws a gun

1478
01:19:02,280 --> 01:19:04,679
Speaker 2: this or is it this scene where the gun doesn't

1479
01:19:04,720 --> 01:19:06,760
Speaker 2: just bounce off the monster's head but embeds in the

1480
01:19:06,800 --> 01:19:10,120
Speaker 2: monster's chest. Yeah, I'm like, yeah, get it. They're doing that.

1481
01:19:10,160 --> 01:19:12,280
Speaker 2: They're trained to do that because it works.

1482
01:19:13,160 --> 01:19:14,080
Speaker 3: It's like a spear.

1483
01:19:14,360 --> 01:19:15,920
Speaker 2: Yeah. Yeah.

1484
01:19:15,960 --> 01:19:18,720
Speaker 3: But here another problem arises. The station needs to be

1485
01:19:18,840 --> 01:19:21,680
Speaker 3: destroyed by being set to burn up in Earth's atmosphere,

1486
01:19:21,720 --> 01:19:24,519
Speaker 3: but autopilot has failed, so they can't just set it

1487
01:19:24,560 --> 01:19:28,760
Speaker 3: and forget it. Jack volunteers to stay behind and sacrifice

1488
01:19:28,800 --> 01:19:33,080
Speaker 3: himself to pilot the station to destruction while everybody else evacuates.

1489
01:19:34,000 --> 01:19:38,000
Speaker 3: And so Vince finds out about this plan, and you know.

1490
01:19:38,280 --> 01:19:41,640
Speaker 3: Lisa tells him, she's like, Jack went back inside alone,

1491
01:19:42,000 --> 01:19:44,200
Speaker 3: and you know what, Vince isn't going to stand for

1492
01:19:44,240 --> 01:19:47,240
Speaker 3: that one last time. He goes back to save the

1493
01:19:47,240 --> 01:19:49,519
Speaker 3: one man. So it's kind of a yeah, it's kind

1494
01:19:49,520 --> 01:19:53,719
Speaker 3: of a tight theme. It completes the arc. He even

1495
01:19:53,760 --> 01:19:56,479
Speaker 3: this guy he's been having the conflict with the whole time.

1496
01:19:57,160 --> 01:20:00,200
Speaker 3: So he leaves the evacuation shuttle, goes back to fight

1497
01:20:00,240 --> 01:20:04,799
Speaker 3: alongside Jack, but oh no. In doing so, Vince is killed.

1498
01:20:04,840 --> 01:20:08,080
Speaker 3: He gets fatally bear hugged by one of the green

1499
01:20:08,160 --> 01:20:10,400
Speaker 3: slime monsters by the tentacle arms.

1500
01:20:11,080 --> 01:20:14,160
Speaker 2: Yeah, which again are not just grotesque arms that crunch,

1501
01:20:14,240 --> 01:20:14,839
Speaker 2: they also.

1502
01:20:14,760 --> 01:20:17,679
Speaker 3: Shock, and as the space station is set to burn

1503
01:20:17,800 --> 01:20:22,839
Speaker 3: up on re entry, Jack decides no. To quote robot jocks,

1504
01:20:22,880 --> 01:20:26,160
Speaker 3: he says, we can live. He jumps out of the

1505
01:20:26,200 --> 01:20:30,839
Speaker 3: space station that is going into the atmosphere with Vince's

1506
01:20:30,880 --> 01:20:33,840
Speaker 3: body in tow, and he space walks back to the

1507
01:20:33,880 --> 01:20:37,600
Speaker 3: evacuation ship. Man. He must be a fast moving spacewalker.

1508
01:20:38,080 --> 01:20:40,920
Speaker 3: We get a dramatic final shot of the monsters squealing

1509
01:20:41,000 --> 01:20:43,600
Speaker 3: and throwing their arms all over the place inside the

1510
01:20:43,600 --> 01:20:47,320
Speaker 3: burning space station as it goes down. The model explodes

1511
01:20:47,360 --> 01:20:50,439
Speaker 3: as it re enters the atmosphere. Jack back on the ship,

1512
01:20:50,479 --> 01:20:53,720
Speaker 3: he's talking to mission control. He says, I recommend the

1513
01:20:53,800 --> 01:20:59,000
Speaker 3: highest citations for Commander Elliott posthumously. So he's recommending decorations

1514
01:20:59,000 --> 01:21:01,760
Speaker 3: for Vince, who who died coming back to save him.

1515
01:21:02,360 --> 01:21:05,559
Speaker 3: And then says, all right, Lieutenant, take her down. And

1516
01:21:05,600 --> 01:21:10,000
Speaker 3: then I'm hilarious mood transition. The Green Slime song comes

1517
01:21:10,080 --> 01:21:12,960
Speaker 3: right back in. Ell Vince is dead, We're gonna have

1518
01:21:13,080 --> 01:21:18,160
Speaker 3: decorations for this heroic warrior Green Slime. Oh man.

1519
01:21:19,760 --> 01:21:20,040
Speaker 5: Yeah.

1520
01:21:20,120 --> 01:21:22,320
Speaker 2: I had to check out the ending in the Japanese

1521
01:21:22,400 --> 01:21:25,479
Speaker 2: version to see how it differed. And while there's no

1522
01:21:25,600 --> 01:21:28,960
Speaker 2: groovy music because again the Japanese cut doesn't have the

1523
01:21:28,960 --> 01:21:32,160
Speaker 2: theme song, the music is still upbeat, and so the

1524
01:21:32,280 --> 01:21:35,800
Speaker 2: energy is not drastically different, I would say, but I

1525
01:21:36,439 --> 01:21:39,599
Speaker 2: agree in either case, it seems like a strange mood transition,

1526
01:21:39,760 --> 01:21:41,320
Speaker 2: like we got to send him home happy, we got

1527
01:21:41,400 --> 01:21:43,599
Speaker 2: to send him home up beat, even if the ending

1528
01:21:43,640 --> 01:21:47,400
Speaker 2: is really kind of downbeat. I mean, we lost one

1529
01:21:47,400 --> 01:21:50,599
Speaker 2: of our three main characters, and you know, the resolution

1530
01:21:50,680 --> 01:21:55,679
Speaker 2: for the other two characters is not guaranteed. It's still

1531
01:21:55,720 --> 01:21:58,240
Speaker 2: a complex, dramatic situation that they're having to deal with.

1532
01:21:58,560 --> 01:22:01,519
Speaker 3: But I tripped on a cloud and fell eight miles high,

1533
01:22:01,800 --> 01:22:03,439
Speaker 3: tore my mind on the jacket sky.

1534
01:22:04,320 --> 01:22:06,639
Speaker 2: The lyrics to that song could be about this movie.

1535
01:22:06,920 --> 01:22:09,880
Speaker 2: Those lyrics make just as much sense in context with

1536
01:22:09,920 --> 01:22:12,800
Speaker 2: the Green Slime as anything.

1537
01:22:13,040 --> 01:22:14,839
Speaker 3: Okay, that's all I got on the Green Slime.

1538
01:22:15,200 --> 01:22:17,080
Speaker 2: All right, Well, this was a fun one. I enjoyed

1539
01:22:17,560 --> 01:22:21,720
Speaker 2: watching and discussing The Green Slime. Just reminded everyone out

1540
01:22:21,720 --> 01:22:24,040
Speaker 2: there that Stuff to Blow Your Mind is primarily a

1541
01:22:24,080 --> 01:22:26,400
Speaker 2: science podcast with core episodes and the Stuff to Blow

1542
01:22:26,400 --> 01:22:29,800
Speaker 2: your Mind podcast feed on Tuesdays and Thursdays, listener mail

1543
01:22:29,800 --> 01:22:34,160
Speaker 2: on Mondays, a short form Monster Factor artifact on Wednesdays,

1544
01:22:34,439 --> 01:22:36,679
Speaker 2: and then on Fridays, we set aside most serious concerns

1545
01:22:36,680 --> 01:22:39,240
Speaker 2: to just talk about a weird film on Weird House Cinema.

1546
01:22:39,400 --> 01:22:41,120
Speaker 2: If you want to keep up with the movies that

1547
01:22:41,200 --> 01:22:43,679
Speaker 2: we have covered over the years here for Weird House Cinema,

1548
01:22:43,720 --> 01:22:45,479
Speaker 2: you can go to a couple of places. I blog

1549
01:22:45,520 --> 01:22:48,160
Speaker 2: about them at simmutemusic dot com, and also you can

1550
01:22:48,200 --> 01:22:50,479
Speaker 2: go to letterbox dot com. That's l E T T

1551
01:22:50,600 --> 01:22:52,759
Speaker 2: E R b O x D dot com. Our username

1552
01:22:52,840 --> 01:22:55,320
Speaker 2: is Weird House, and you can pull up a nice

1553
01:22:55,600 --> 01:22:57,960
Speaker 2: visual listing of all the movies we've covered over.

1554
01:22:57,880 --> 01:23:01,759
Speaker 3: The years, huge thanks to our excellent audio producer, JJ Posway.

1555
01:23:02,080 --> 01:23:03,680
Speaker 3: If you would like to get in touch with us

1556
01:23:03,680 --> 01:23:06,280
Speaker 3: with feedback on this episode or any other, to suggest

1557
01:23:06,320 --> 01:23:08,400
Speaker 3: a topic for the future, or just to say hello,

1558
01:23:08,800 --> 01:23:11,479
Speaker 3: you can email us at contact at stuff to Blow

1559
01:23:11,479 --> 01:23:19,120
Speaker 3: your Mind dot com.

1560
01:23:19,240 --> 01:23:22,200
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1561
01:23:22,280 --> 01:23:25,080
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1562
01:23:25,240 --> 01:23:28,240
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.