1
00:00:03,040 --> 00:00:08,760
Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

2
00:00:12,880 --> 00:00:14,800
Speaker 2: Hey you welcome to Weird House Cinema.

3
00:00:14,840 --> 00:00:17,840
Speaker 3: This is Rob Lamb and this is Joe McCormick, and

4
00:00:17,920 --> 00:00:20,880
Speaker 3: today we are going to be talking about the nineteen

5
00:00:21,040 --> 00:00:27,800
Speaker 3: eighty one science fiction film Visitors from the Arcana Galaxy. Rob.

6
00:00:27,880 --> 00:00:31,120
Speaker 3: I just finished watching this one moments before we sat

7
00:00:31,160 --> 00:00:34,000
Speaker 3: down to record here, and wow, this is in our

8
00:00:34,080 --> 00:00:36,920
Speaker 3: It's got to be on the top ten list of

9
00:00:37,040 --> 00:00:39,400
Speaker 3: weirdest movies we have ever done on the show.

10
00:00:39,880 --> 00:00:42,040
Speaker 2: Yeah, this one was a real pleasure. This one's a

11
00:00:42,040 --> 00:00:45,120
Speaker 2: real treat. This one's worth hunting down. And I have

12
00:00:45,159 --> 00:00:48,239
Speaker 2: to say also thanks to listener Eric for recommending this

13
00:00:48,280 --> 00:00:51,040
Speaker 2: one to us. He pointed out some months ago that

14
00:00:51,120 --> 00:00:55,160
Speaker 2: the excellent restoration label Deaf Crocodile was going to be

15
00:00:55,200 --> 00:00:58,720
Speaker 2: putting this one out, and I looked at the cover art,

16
00:00:58,720 --> 00:01:00,720
Speaker 2: I looked at some of the stills from the film,

17
00:01:00,720 --> 00:01:03,040
Speaker 2: and I was like, Okay, I think I need to

18
00:01:03,040 --> 00:01:05,399
Speaker 2: buy this one. So I put in the pre order,

19
00:01:06,000 --> 00:01:09,240
Speaker 2: set it aside during Halloween with the intention of coming

20
00:01:09,280 --> 00:01:10,880
Speaker 2: back to it in November, and here we are.

21
00:01:11,200 --> 00:01:14,360
Speaker 3: Yes, thank you for the recommendation. So Rob, this was

22
00:01:14,400 --> 00:01:17,119
Speaker 3: your pick. I really didn't know anything at all about

23
00:01:17,160 --> 00:01:19,160
Speaker 3: it going in, except you handed the disc off to

24
00:01:19,200 --> 00:01:21,640
Speaker 3: me said here's what we're watching. I put it in,

25
00:01:21,720 --> 00:01:25,280
Speaker 3: and wow, this is the movie where you really do

26
00:01:25,360 --> 00:01:27,400
Speaker 3: not know where this is going. Some of the weird

27
00:01:27,440 --> 00:01:30,880
Speaker 3: movies we talk about have a weird texture to them,

28
00:01:30,920 --> 00:01:33,280
Speaker 3: but they might be kind of formulaic in terms of

29
00:01:33,319 --> 00:01:36,039
Speaker 3: plot structure. A lot of the you know, horror movies

30
00:01:36,080 --> 00:01:37,560
Speaker 3: we look at or like that you can kind of

31
00:01:37,560 --> 00:01:40,000
Speaker 3: tell where they're going to go. This one, I had

32
00:01:40,080 --> 00:01:43,560
Speaker 3: no idea where it was going, and it felt at

33
00:01:43,640 --> 00:01:46,840
Speaker 3: times like a child, you know, trying to make up

34
00:01:46,840 --> 00:01:49,680
Speaker 3: a story as they go along, adding in just bizarre

35
00:01:49,720 --> 00:01:52,520
Speaker 3: details like I really didn't expect there was going to

36
00:01:52,560 --> 00:01:55,680
Speaker 3: be a major subplot where the main character of this

37
00:01:55,760 --> 00:02:00,520
Speaker 3: movie's girlfriend is turned into a metalic cube. And I

38
00:02:00,600 --> 00:02:05,000
Speaker 3: also did not expect, especially given how some earlier parts

39
00:02:05,040 --> 00:02:11,200
Speaker 3: of the movie feel very broad and whimsical and almost childlikes,

40
00:02:11,240 --> 00:02:14,520
Speaker 3: like they might be intended for like a younger audience.

41
00:02:15,160 --> 00:02:17,400
Speaker 3: I really did not expect that later in this movie

42
00:02:17,440 --> 00:02:22,399
Speaker 3: there would just be a gory monster rampage carried out

43
00:02:22,440 --> 00:02:26,080
Speaker 3: by like the Axis Bold as Love cover version of

44
00:02:26,720 --> 00:02:29,120
Speaker 3: like a cross between Alf and Mickey Mouse.

45
00:02:31,120 --> 00:02:34,400
Speaker 2: Yeah, mumu the monster. It's gonna be fun to talk about. Yeah,

46
00:02:34,440 --> 00:02:36,400
Speaker 2: this is a move. It's like so many films, like

47
00:02:36,760 --> 00:02:40,000
Speaker 2: you're saying, they're on the tracks of genre, they're on

48
00:02:40,040 --> 00:02:44,840
Speaker 2: the tracks of formula, and this one, with this film,

49
00:02:44,880 --> 00:02:46,520
Speaker 2: it may seem at first like it's going to be

50
00:02:46,560 --> 00:02:48,480
Speaker 2: on the tracks, but no, the train lifts off the

51
00:02:48,520 --> 00:02:51,880
Speaker 2: tracks and then you're flying off to who knows where,

52
00:02:52,160 --> 00:02:53,799
Speaker 2: And we'll get into some of the reasons for that,

53
00:02:53,880 --> 00:02:57,799
Speaker 2: like the different elements and inspirations that came together the

54
00:02:58,080 --> 00:03:01,919
Speaker 2: alchemy of this picture. So this movie was a nineteen

55
00:03:01,960 --> 00:03:07,639
Speaker 2: eighty one co production of Yugoslav and Czechoslovakian cinema involving

56
00:03:07,760 --> 00:03:12,359
Speaker 2: four different studios. Zagreb Film which is now in Croatia,

57
00:03:13,080 --> 00:03:19,400
Speaker 2: Jadrun Film also now in Croatia, Kenny Montografi Zagreb which

58
00:03:19,400 --> 00:03:23,480
Speaker 2: is also now in Croatia, and then film Ski Studio Barrandov,

59
00:03:23,680 --> 00:03:24,920
Speaker 2: now in the Czech Republic.

60
00:03:25,320 --> 00:03:27,440
Speaker 3: An international co production.

61
00:03:27,960 --> 00:03:31,639
Speaker 2: An international co production of two countries that no longer

62
00:03:31,960 --> 00:03:34,800
Speaker 2: exist in the form they existed in at the time

63
00:03:34,840 --> 00:03:39,520
Speaker 2: of this film's release. Yugoslavia and Czechoslovakia. In particular.

64
00:03:39,840 --> 00:03:41,600
Speaker 3: I don't know exactly where this was shot, but I

65
00:03:41,640 --> 00:03:45,520
Speaker 3: would guess it was along the Croatian coastline because the

66
00:03:45,560 --> 00:03:48,440
Speaker 3: movie has a much more I don't know, it's just

67
00:03:48,520 --> 00:03:51,960
Speaker 3: kind of scenic Mediterranean feel than I was expecting as well.

68
00:03:52,760 --> 00:03:56,280
Speaker 2: Yeah, it's my understanding that this was filmed in Croatia,

69
00:03:56,920 --> 00:03:59,800
Speaker 2: and yeah, you do have that texture of these like

70
00:04:00,080 --> 00:04:04,160
Speaker 2: Oatian vacation towns, and they touch on that more than once.

71
00:04:04,600 --> 00:04:09,320
Speaker 2: It's an important part of the background setting for the

72
00:04:09,360 --> 00:04:12,600
Speaker 2: whole picture. And I was reading some of the background

73
00:04:12,680 --> 00:04:17,400
Speaker 2: material for this particular film. The Deaf Crocodile release has

74
00:04:17,480 --> 00:04:21,000
Speaker 2: a nice little booklet with information about the picture and

75
00:04:21,040 --> 00:04:25,960
Speaker 2: the filmmakers by film professor Jennifer Lynde Barker, and she

76
00:04:26,040 --> 00:04:27,880
Speaker 2: points out that a lot of the locations used from

77
00:04:27,880 --> 00:04:30,839
Speaker 2: this film might look familiar to people who watch Game

78
00:04:30,839 --> 00:04:32,599
Speaker 2: of Thrones because a lot of scenes from Game of

79
00:04:32,640 --> 00:04:34,800
Speaker 2: Thrones were filmed in the exact same locations.

80
00:04:35,240 --> 00:04:37,000
Speaker 3: Oh yeah, that would make sense.

81
00:04:37,800 --> 00:04:41,280
Speaker 2: I think King's Landing. I'm not sure I'm remembering that correctly,

82
00:04:41,320 --> 00:04:44,159
Speaker 2: but I think the King's Landing scenes were filmed in Croatia.

83
00:04:44,200 --> 00:04:45,840
Speaker 2: But I could have that mixed around in my head,

84
00:04:45,839 --> 00:04:48,520
Speaker 2: and it's another place in the Game of Thrones TV

85
00:04:48,600 --> 00:04:49,880
Speaker 2: show that was filmed in Croatia.

86
00:04:50,320 --> 00:04:52,880
Speaker 3: You absolutely on Game of Thrones. I think we'll see

87
00:04:52,960 --> 00:04:57,040
Speaker 3: multiple locations that are, you know, coastal areas on the Adriatic.

88
00:04:57,520 --> 00:05:00,320
Speaker 2: Yeah, all right, Well, my elevator pitch for this movie is,

89
00:05:00,360 --> 00:05:03,400
Speaker 2: if you gaze long enough into the abyss, the abyss

90
00:05:03,440 --> 00:05:06,720
Speaker 2: will physically manifest, move into your flat and turn your

91
00:05:06,720 --> 00:05:08,240
Speaker 2: girlfriend into a cube.

92
00:05:08,680 --> 00:05:11,240
Speaker 3: I think that's dead on that. Yeah, that's exactly how

93
00:05:11,279 --> 00:05:14,680
Speaker 3: I describe it. You know, I haven't had as much

94
00:05:14,720 --> 00:05:17,120
Speaker 3: time to process this one as I sometimes do when

95
00:05:17,120 --> 00:05:19,440
Speaker 3: we watch these movies, because I just now finished watching it.

96
00:05:19,480 --> 00:05:21,240
Speaker 3: But I was trying to think, so, this is a

97
00:05:21,279 --> 00:05:24,320
Speaker 3: story about a writer and a dreamer, a creative person.

98
00:05:24,640 --> 00:05:27,200
Speaker 3: Of course, a lot of writers end up writing stories

99
00:05:27,200 --> 00:05:29,960
Speaker 3: that are about writing. It's kind of it's a very

100
00:05:30,040 --> 00:05:33,000
Speaker 3: tempting subject if you know, to write about what you

101
00:05:33,040 --> 00:05:35,360
Speaker 3: are doing right now, which is writing, if you're writing.

102
00:05:36,440 --> 00:05:40,120
Speaker 3: But I was wondering to what extent the themes of this

103
00:05:40,279 --> 00:05:45,320
Speaker 3: movie are supposed to be about writing specifically, or if

104
00:05:45,320 --> 00:05:48,960
Speaker 3: it's incidental that the main character is a sort of

105
00:05:49,040 --> 00:05:53,159
Speaker 3: dreamy science fiction storyteller, and really it's supposed to be

106
00:05:53,240 --> 00:05:58,560
Speaker 3: more about relationships or just obsession or whatever. The main

107
00:05:58,640 --> 00:06:02,120
Speaker 3: character often describes his own problem not so much in

108
00:06:02,240 --> 00:06:06,440
Speaker 3: direct terms of like creativity or writing, but as an obsession.

109
00:06:07,680 --> 00:06:10,640
Speaker 2: Yeah, yeah, I mean, I think multiple reads on it

110
00:06:10,680 --> 00:06:15,880
Speaker 2: are of course valid, but yeah, it is fascinating that

111
00:06:15,960 --> 00:06:18,360
Speaker 2: it is. It's not alone in being a picture about

112
00:06:18,440 --> 00:06:21,919
Speaker 2: sort of the conflict between a creative obsession and the

113
00:06:22,000 --> 00:06:25,920
Speaker 2: responsibilities of real life, and just sort of the texture

114
00:06:25,960 --> 00:06:29,679
Speaker 2: and nature of real life versus fantasy and what happens

115
00:06:29,720 --> 00:06:34,120
Speaker 2: when these two worlds come into conflict. But as we'll discuss,

116
00:06:34,200 --> 00:06:36,479
Speaker 2: like one of the interesting things about Robert, the main

117
00:06:36,560 --> 00:06:39,240
Speaker 2: character in this, the writer, is he doesn't seem to

118
00:06:39,240 --> 00:06:42,719
Speaker 2: get a lot of writing accomplished. There's this strong sense

119
00:06:42,760 --> 00:06:46,560
Speaker 2: that the book is nowhere near any state of completion,

120
00:06:46,720 --> 00:06:49,560
Speaker 2: and it, like physically manifests later on, is a blank book.

121
00:06:50,720 --> 00:06:54,640
Speaker 2: So it's almost really more about the conflict between the

122
00:06:54,680 --> 00:06:58,279
Speaker 2: inner world of imagination and the outer world, you know,

123
00:06:58,600 --> 00:07:01,200
Speaker 2: something that's been tackled in some and he works, including

124
00:07:01,200 --> 00:07:03,400
Speaker 2: the never Ending Story. I mean, that's part of the

125
00:07:03,640 --> 00:07:07,080
Speaker 2: whole scenario there, except with this whole childhood versus adult

126
00:07:07,120 --> 00:07:09,080
Speaker 2: sort of scenario cobbled into it as well.

127
00:07:09,440 --> 00:07:12,000
Speaker 3: That's a very good point. I think I was gonna

128
00:07:12,120 --> 00:07:15,560
Speaker 3: say something right along those lines that the writing in

129
00:07:15,600 --> 00:07:19,200
Speaker 3: this movie is there's never any indication that it involves

130
00:07:19,520 --> 00:07:23,680
Speaker 3: language at all. Like you don't see him crafting sentences

131
00:07:23,800 --> 00:07:29,240
Speaker 3: or paragraphs or like working on his his fiction. It's

132
00:07:29,280 --> 00:07:32,680
Speaker 3: purely about coming up with ideas. And you can tell

133
00:07:32,680 --> 00:07:35,480
Speaker 3: it because he likes to talk them into a handheld

134
00:07:35,560 --> 00:07:39,200
Speaker 3: tape recorder. He's got like a cassette based voice memo thing,

135
00:07:39,800 --> 00:07:42,440
Speaker 3: and so it and this is I think we will

136
00:07:42,440 --> 00:07:45,720
Speaker 3: all recognize. In fact, I think most writers will recognize

137
00:07:46,160 --> 00:07:49,560
Speaker 3: some part of themselves that is like this, that likes

138
00:07:49,600 --> 00:07:52,280
Speaker 3: to just come up with ideas for things.

139
00:07:52,920 --> 00:07:55,520
Speaker 2: Yeah, And part of the whole conflict in the story too,

140
00:07:55,640 --> 00:07:58,560
Speaker 2: is that when he dreams up things, when there are

141
00:07:58,560 --> 00:08:03,000
Speaker 2: things that he wants, he has this peculiar paranormal ability

142
00:08:03,080 --> 00:08:07,960
Speaker 2: to manifest them in reality, which that's kind of makes one,

143
00:08:08,240 --> 00:08:09,960
Speaker 2: I guess, a crappy writer in the end, because you

144
00:08:10,000 --> 00:08:12,000
Speaker 2: don't have to write it down right, because it's already

145
00:08:12,040 --> 00:08:16,320
Speaker 2: so you're already making it real through some supernatural ability.

146
00:08:16,680 --> 00:08:18,760
Speaker 2: And I think you could compare that to sort of

147
00:08:18,800 --> 00:08:23,400
Speaker 2: like the pure idea dreamscape of creative endeavor. Like you know,

148
00:08:23,480 --> 00:08:25,920
Speaker 2: you can set around and create whole worlds in your head,

149
00:08:27,080 --> 00:08:28,960
Speaker 2: and you know that can be the end of it,

150
00:08:29,000 --> 00:08:30,680
Speaker 2: and there's nothing wrong with that. You don't have to,

151
00:08:31,080 --> 00:08:34,120
Speaker 2: you know, to bring your rich inner life, you know,

152
00:08:34,520 --> 00:08:37,880
Speaker 2: into a literary creation. You don't have to share it

153
00:08:37,880 --> 00:08:40,160
Speaker 2: with the world. You don't have to market it and

154
00:08:40,559 --> 00:08:43,200
Speaker 2: get a price tag slapped on it and so forth

155
00:08:43,240 --> 00:08:45,200
Speaker 2: and try and fill out some sort of you know,

156
00:08:45,200 --> 00:08:50,400
Speaker 2: a capitalist dream of what you should be. But but,

157
00:08:50,400 --> 00:08:53,120
Speaker 2: but but Robert in the film, like he still wants

158
00:08:53,160 --> 00:08:54,920
Speaker 2: to be a writer, and he still has this this

159
00:08:55,040 --> 00:08:56,880
Speaker 2: aspiration that that is what he's going to be in

160
00:08:56,960 --> 00:08:58,559
Speaker 2: reality as well.

161
00:08:58,920 --> 00:09:02,160
Speaker 3: Yeah, but it's all like to level dreamy, dream based.

162
00:09:02,280 --> 00:09:05,520
Speaker 3: It's all just the pure imagination point. And that is

163
00:09:05,559 --> 00:09:09,280
Speaker 3: an interesting comment on writing, because I think it's very

164
00:09:09,400 --> 00:09:11,679
Speaker 3: much the case, at least in my opinion, that almost

165
00:09:11,679 --> 00:09:15,360
Speaker 3: always part of the magic of good writing arises from

166
00:09:15,440 --> 00:09:19,360
Speaker 3: the conflict between like your initial imagine imagination of a

167
00:09:19,400 --> 00:09:22,760
Speaker 3: story and then the process of putting that into language

168
00:09:22,800 --> 00:09:25,960
Speaker 3: and getting it on the page, which fights back against

169
00:09:26,040 --> 00:09:29,400
Speaker 3: your original imagination and makes you change things, often for

170
00:09:29,480 --> 00:09:29,840
Speaker 3: the better.

171
00:09:30,440 --> 00:09:33,440
Speaker 2: Yeah, all right, well we'll continue this thread as we

172
00:09:33,520 --> 00:09:36,840
Speaker 2: discussed the movie further here, but let's go ahead and

173
00:09:36,880 --> 00:09:39,360
Speaker 2: here a little bit of audio from the film. I

174
00:09:39,360 --> 00:09:43,319
Speaker 2: could not find a video clip of like an original

175
00:09:44,440 --> 00:09:46,680
Speaker 2: trailer for the film, so we're gonna hear just a

176
00:09:46,679 --> 00:09:50,640
Speaker 2: little bit from the Deaf Crocodile Restoration trailer. So just

177
00:09:50,880 --> 00:10:05,880
Speaker 2: a little bit of this JJ if you would planet.

178
00:10:10,960 --> 00:10:12,360
Speaker 3: Erstigli.

179
00:10:28,840 --> 00:10:31,920
Speaker 2: All right, well, if you want to watch Visitors from

180
00:10:31,960 --> 00:10:36,720
Speaker 2: the Arcana Galaxy before continuing on with this episode. Currently,

181
00:10:36,760 --> 00:10:39,280
Speaker 2: the main way to see it is to buy the

182
00:10:39,400 --> 00:10:43,760
Speaker 2: excellent restoration from Deaf Crocodile. You can look them up

183
00:10:43,760 --> 00:10:47,000
Speaker 2: at Deaf Crocodile dot com, but there the disc is

184
00:10:47,040 --> 00:10:51,160
Speaker 2: also sold through various other online retailers like Vinegar Syndrome

185
00:10:51,240 --> 00:10:54,959
Speaker 2: and so forth, wherever you can get it. I recommend

186
00:10:54,960 --> 00:10:56,360
Speaker 2: picking it up if this is the sort of film

187
00:10:56,400 --> 00:10:58,720
Speaker 2: that interests you. As far as I know, it's not

188
00:10:58,800 --> 00:11:02,240
Speaker 2: available like streaming wise anywhere else right now, but a

189
00:11:02,240 --> 00:11:05,079
Speaker 2: lot of these releases often wind up like that later on,

190
00:11:05,240 --> 00:11:08,280
Speaker 2: so I don't keep an eye open for it just

191
00:11:08,360 --> 00:11:11,200
Speaker 2: in case, But def Crocodile's put off the likes of

192
00:11:11,240 --> 00:11:14,040
Speaker 2: films like The Sun of the Stars, Sampo and Delta

193
00:11:14,160 --> 00:11:18,480
Speaker 2: Space Mission. Their Blu ray releases look awesome, and this

194
00:11:18,520 --> 00:11:20,800
Speaker 2: one in particular has a number of cool extras on it,

195
00:11:20,800 --> 00:11:24,440
Speaker 2: which we'll get into. Any Atlanta locals out there, you

196
00:11:24,440 --> 00:11:27,040
Speaker 2: should be advised that Videodrome does have a copy. I

197
00:11:27,120 --> 00:11:28,800
Speaker 2: checked with them, so they do have a copy of

198
00:11:28,840 --> 00:11:29,960
Speaker 2: this movie for rent.

199
00:11:30,160 --> 00:11:32,600
Speaker 3: But the first one to get there gets it, that's right.

200
00:11:32,640 --> 00:11:34,320
Speaker 2: And then you gotta wait. Tell them you know how

201
00:11:34,360 --> 00:11:36,560
Speaker 2: it works. You know a video rent works. If you don't,

202
00:11:37,040 --> 00:11:38,719
Speaker 2: just ask them, go in and ask them how does

203
00:11:38,760 --> 00:11:39,120
Speaker 2: this work?

204
00:11:39,160 --> 00:11:43,480
Speaker 3: They'll tell you. Two film geeks enter, one film geek leaves. Yes.

205
00:11:44,160 --> 00:11:46,920
Speaker 2: All right, let's get into the people behind this film.

206
00:11:47,120 --> 00:11:49,400
Speaker 2: Let's start right at the top with the director and

207
00:11:49,440 --> 00:11:54,240
Speaker 2: one of two writers on this Dusan Vukotic born nineteen

208
00:11:54,240 --> 00:11:56,760
Speaker 2: twenty seven died nineteen ninety eight born in what is

209
00:11:56,800 --> 00:12:01,440
Speaker 2: now Bosnia and Herzegovina. According to Jennifer Lynne Barker in

210
00:12:01,559 --> 00:12:04,800
Speaker 2: the excellent booklet that came with the Deaf Crocodile release,

211
00:12:05,360 --> 00:12:08,559
Speaker 2: he started off as a political and satirical cartoonist in

212
00:12:08,600 --> 00:12:12,000
Speaker 2: the nineteen forties, but then became involved in film during

213
00:12:12,000 --> 00:12:15,600
Speaker 2: the fifties, right as animation was beginning to thrive in

214
00:12:15,679 --> 00:12:18,160
Speaker 2: Croatia for the first time, so he was one of

215
00:12:18,200 --> 00:12:22,400
Speaker 2: the early innovators there. In addition to animated shorts, he

216
00:12:22,440 --> 00:12:27,000
Speaker 2: also did advertisements for Jardin Film before founding Zagreb Film

217
00:12:27,040 --> 00:12:30,760
Speaker 2: Studio his animation where it continued through the nineteen sixties.

218
00:12:31,240 --> 00:12:33,560
Speaker 2: And I have to stress too, this disc is also

219
00:12:33,720 --> 00:12:37,160
Speaker 2: awesome the Deaf Crocodile release in that it has a

220
00:12:37,240 --> 00:12:42,360
Speaker 2: number of his animated shorts included in excellent quality and

221
00:12:42,400 --> 00:12:44,600
Speaker 2: these were really fun to check out as well to see, well,

222
00:12:44,640 --> 00:12:47,360
Speaker 2: what was his animated work like before he turned to

223
00:12:48,040 --> 00:12:48,600
Speaker 2: live action.

224
00:12:49,520 --> 00:12:53,079
Speaker 3: I would say this is a live action film where

225
00:12:53,240 --> 00:12:57,640
Speaker 3: the set pieces in costumes and makeup effects and all

226
00:12:57,640 --> 00:13:02,720
Speaker 3: that are very reminist scent of animation. Somehow, there are

227
00:13:02,760 --> 00:13:04,920
Speaker 3: not really animated elements. I mean, I guess there's sort

228
00:13:04,920 --> 00:13:07,120
Speaker 3: of like some laser effects on the screen, but there's

229
00:13:07,160 --> 00:13:11,000
Speaker 3: not any straight animation. It's all. It's all live to film,

230
00:13:11,320 --> 00:13:13,720
Speaker 3: but it does kind of look like a cartoon similar

231
00:13:13,760 --> 00:13:15,520
Speaker 3: to I'm trying to think of another movie we've done

232
00:13:15,559 --> 00:13:17,839
Speaker 3: that was like, this Return to Oz kind of has

233
00:13:17,880 --> 00:13:19,040
Speaker 3: this quality.

234
00:13:19,440 --> 00:13:23,280
Speaker 2: Yeah, this kind of sense that even though it is

235
00:13:23,360 --> 00:13:28,760
Speaker 2: live action, there is a basic animation absurdity to things.

236
00:13:29,880 --> 00:13:31,800
Speaker 2: And I feel like you also see you see this

237
00:13:32,360 --> 00:13:35,079
Speaker 2: element in other filmmakers as well, like Tim Burton, I

238
00:13:35,120 --> 00:13:37,640
Speaker 2: think is an example of this. Like many of Tim

239
00:13:37,640 --> 00:13:40,560
Speaker 2: Burton's live action films, they still have that kind of

240
00:13:40,679 --> 00:13:42,920
Speaker 2: animated cartoon energy in them.

241
00:13:43,440 --> 00:13:46,800
Speaker 3: There, but it's also just there are certain visual qualities

242
00:13:46,880 --> 00:13:49,839
Speaker 3: that seem similar to animation to me, like a lot

243
00:13:49,880 --> 00:13:55,760
Speaker 3: of bold lines and costume designs that just feel drawn

244
00:13:55,920 --> 00:13:58,440
Speaker 3: as opposed to put together out of cloth, you know.

245
00:13:58,960 --> 00:14:03,280
Speaker 2: Yeah, Well, he started doing live action stuff, I believe

246
00:14:03,360 --> 00:14:05,559
Speaker 2: in the nineteen eighties, and like through the nineteen eighties,

247
00:14:05,600 --> 00:14:08,240
Speaker 2: did a mix of animation and live action. He was

248
00:14:08,280 --> 00:14:11,880
Speaker 2: also a professor and film theorist. According to Barker, he

249
00:14:12,000 --> 00:14:15,000
Speaker 2: also co founded the second oldest animation film festival in

250
00:14:15,040 --> 00:14:21,200
Speaker 2: the world, currently known as anomy Fest Zagreb. His animation

251
00:14:21,320 --> 00:14:24,520
Speaker 2: style on its own in these shorts that are included

252
00:14:24,520 --> 00:14:27,360
Speaker 2: on this disc are wonderful. They're absurd, They're full of

253
00:14:27,400 --> 00:14:31,760
Speaker 2: abstract shapes and possessed of a perky energy. But also

254
00:14:31,920 --> 00:14:35,400
Speaker 2: like a genuine comedy like these are not like crazy

255
00:14:35,520 --> 00:14:39,040
Speaker 2: experimental Film Board of Canada sort of fair where it's

256
00:14:39,800 --> 00:14:41,720
Speaker 2: not to say that you know that all Film Board

257
00:14:41,760 --> 00:14:44,280
Speaker 2: of Canada animation shorts are the same, but you know

258
00:14:44,800 --> 00:14:47,200
Speaker 2: it's not like super serious stuff. It's about, obviously about

259
00:14:47,200 --> 00:14:50,240
Speaker 2: making people laugh. And I feel like you see this

260
00:14:50,800 --> 00:14:53,400
Speaker 2: kind of energy reflected in some of the retro animation

261
00:14:53,600 --> 00:14:59,200
Speaker 2: projects you've seen in recent decades, such as the Pixar

262
00:14:59,320 --> 00:15:02,480
Speaker 2: short Day and Night from twenty ten, the videos from

263
00:15:02,520 --> 00:15:06,640
Speaker 2: the Fallout games. Also the MCU Loki series has a

264
00:15:06,640 --> 00:15:10,920
Speaker 2: little video about the time variance authority that I mean,

265
00:15:10,960 --> 00:15:13,560
Speaker 2: I have no idea if they were inspired by Vukotic,

266
00:15:13,640 --> 00:15:16,080
Speaker 2: but I feel like there's a lot of comparisons to

267
00:15:16,080 --> 00:15:20,480
Speaker 2: be made here between the two works. Barker also describes

268
00:15:20,520 --> 00:15:26,640
Speaker 2: his animation style as being bouncy, and the animation is

269
00:15:26,640 --> 00:15:29,640
Speaker 2: certainly bouncy. But he was a big success with these.

270
00:15:29,680 --> 00:15:33,880
Speaker 2: The nineteen sixty one short Surrogat won the Academy Award

271
00:15:33,960 --> 00:15:37,880
Speaker 2: for Short Subjects Cartoons the following year in nineteen sixty two.

272
00:15:38,280 --> 00:15:40,840
Speaker 2: This is one about a guy who goes to the beach.

273
00:15:40,920 --> 00:15:42,760
Speaker 2: He's kind of like, I guess if you were a

274
00:15:42,800 --> 00:15:45,120
Speaker 2: real person who would be kind of like a rotunda fella.

275
00:15:45,640 --> 00:15:48,680
Speaker 2: But everything's made out of abstract shapes, so he's kind

276
00:15:48,680 --> 00:15:51,760
Speaker 2: of a triangle. And he gets there to the beach

277
00:15:51,880 --> 00:15:54,920
Speaker 2: and he starts blowing up things like he blows up

278
00:15:54,920 --> 00:15:57,000
Speaker 2: a float, but then he's blowing up things like a

279
00:15:57,040 --> 00:16:01,680
Speaker 2: table and food, and then he blows up a female

280
00:16:02,160 --> 00:16:04,000
Speaker 2: to hang out with him, and the first one he

281
00:16:04,040 --> 00:16:06,160
Speaker 2: doesn't like, so he deflates her, and then he blows

282
00:16:06,240 --> 00:16:09,080
Speaker 2: up another one. But then it just escalates from there

283
00:16:09,120 --> 00:16:10,200
Speaker 2: and just gets ridiculous.

284
00:16:10,440 --> 00:16:12,720
Speaker 3: Okay, is she also a triangle?

285
00:16:13,360 --> 00:16:17,800
Speaker 2: She's very Yeah, they're all everybody's very geometric. This one

286
00:16:17,880 --> 00:16:20,480
Speaker 2: is available. You can find it on YouTube. If you

287
00:16:20,560 --> 00:16:22,760
Speaker 2: search for surro got s u r O g At

288
00:16:23,000 --> 00:16:26,480
Speaker 2: you'll find the shorts. It's pretty fun. So Barker points

289
00:16:26,480 --> 00:16:29,600
Speaker 2: out that Vukatak and his colleagues were initially influenced by

290
00:16:29,640 --> 00:16:34,760
Speaker 2: Western animation like Looney Tunes. She mentions this specifically, but

291
00:16:34,920 --> 00:16:38,080
Speaker 2: they were also influenced by Czech animation and they steadily

292
00:16:38,120 --> 00:16:40,960
Speaker 2: developed their own styles and then as far as this

293
00:16:41,080 --> 00:16:46,480
Speaker 2: film goes, Barker cites several key influences. So, first of all,

294
00:16:46,600 --> 00:16:49,600
Speaker 2: international sci fi and horror films of the sixties and seventies,

295
00:16:49,720 --> 00:16:52,640
Speaker 2: which I think we see that here. Like I think

296
00:16:52,680 --> 00:16:56,920
Speaker 2: she mentions Children of the Damned as having an influence.

297
00:16:57,240 --> 00:16:59,960
Speaker 2: Can't help but compare it to other sort of practical

298
00:17:00,000 --> 00:17:04,080
Speaker 2: affects monsters of the nineteen eighties, like the Thing, but

299
00:17:04,200 --> 00:17:07,680
Speaker 2: also he was influenced by nineteen sixties camp by Check,

300
00:17:07,760 --> 00:17:12,560
Speaker 2: new wave absurdity, by magical realism. And then also just

301
00:17:12,600 --> 00:17:15,560
Speaker 2: in sort of the visual texture of the film especially,

302
00:17:15,840 --> 00:17:19,960
Speaker 2: there's this sense of like the banal, everyday world versus

303
00:17:20,320 --> 00:17:24,240
Speaker 2: the colorful, explosive world of fantasy. It's pointed out that

304
00:17:24,840 --> 00:17:28,360
Speaker 2: we see Robert he's almost always wearing like really drab tones.

305
00:17:30,119 --> 00:17:33,679
Speaker 2: Most of the settings have kind of a drab, not

306
00:17:33,720 --> 00:17:36,400
Speaker 2: I wouldn't say cheerless, but a very lived in kind

307
00:17:36,400 --> 00:17:39,920
Speaker 2: of feel like it's comfortable, but it is every day,

308
00:17:40,320 --> 00:17:44,160
Speaker 2: whereas the world of his imagination is like glowing lights

309
00:17:44,200 --> 00:17:46,560
Speaker 2: and strange textures and so forth.

310
00:17:47,359 --> 00:17:50,760
Speaker 3: Yes, a theme obviously that he wanted to hit over

311
00:17:50,800 --> 00:17:53,840
Speaker 3: and over in this movie is just the fantastical versus

312
00:17:53,880 --> 00:17:59,240
Speaker 3: the mundane, sometimes literally like the fantastic fighting the mundane. Yes.

313
00:18:00,600 --> 00:18:03,760
Speaker 2: Now, the other writer on the piece is Milos Maccorik,

314
00:18:03,920 --> 00:18:06,160
Speaker 2: who lived nineteen twenty six through two thousand and two,

315
00:18:06,600 --> 00:18:09,359
Speaker 2: a check writer who wrote, I believe mostly children's books,

316
00:18:09,400 --> 00:18:21,640
Speaker 2: but also screenplays, comics and so forth. Now getting into

317
00:18:21,680 --> 00:18:28,320
Speaker 2: the cast playing Robert, we have Zarko Potoznak who lived

318
00:18:28,359 --> 00:18:31,320
Speaker 2: nineteen forty six through twenty twenty one. As always, my

319
00:18:31,359 --> 00:18:34,040
Speaker 2: apologies if I screw up any of these names here,

320
00:18:34,080 --> 00:18:37,120
Speaker 2: but he was a Croatian actor of stage, screen and TV.

321
00:18:37,640 --> 00:18:40,240
Speaker 2: He has a small part in the nineteen seventy six

322
00:18:40,320 --> 00:18:45,359
Speaker 2: movie The Rat Savior, credited as participant in the Rat Party.

323
00:18:45,720 --> 00:18:48,440
Speaker 2: This is a movie that you and I've been interested

324
00:18:48,480 --> 00:18:51,120
Speaker 2: in for a while, but if memory serves, it's hard

325
00:18:51,119 --> 00:18:52,000
Speaker 2: to find right now.

326
00:18:52,480 --> 00:18:54,480
Speaker 3: Yeah, I haven't seen it, but it's on the list

327
00:18:54,560 --> 00:18:56,560
Speaker 3: due to its premise, which has something to do with

328
00:18:56,640 --> 00:18:59,600
Speaker 3: the man discovering I think he can communicate with like

329
00:18:59,840 --> 00:19:01,720
Speaker 3: a culture of sentient rats.

330
00:19:02,200 --> 00:19:07,000
Speaker 2: Yeah. So the actor here, I think this. I think

331
00:19:07,000 --> 00:19:12,320
Speaker 2: this is his most well known film, both internationally and

332
00:19:12,760 --> 00:19:16,000
Speaker 2: in Croatian sentiment and so forth. But I have to

333
00:19:16,040 --> 00:19:19,280
Speaker 2: say he's very enjoyable as this kind of bumbling head

334
00:19:19,280 --> 00:19:22,760
Speaker 2: in the clouds. Would be sci fi writer with this

335
00:19:22,960 --> 00:19:27,280
Speaker 2: amazing supernatural gift. It's quite a fun and funny performance,

336
00:19:27,280 --> 00:19:29,159
Speaker 2: but you also you also feel for him, you know,

337
00:19:29,440 --> 00:19:32,639
Speaker 2: like you can't help it but sympathize with this character.

338
00:19:33,200 --> 00:19:36,280
Speaker 3: I have no idea why I think this, truly, I

339
00:19:36,280 --> 00:19:38,840
Speaker 3: don't know what was bringing this to mind, but I

340
00:19:39,000 --> 00:19:42,479
Speaker 3: kept seeing him in scenes in the movie as a

341
00:19:43,440 --> 00:19:47,560
Speaker 3: lost extra member of the crew of the Nostromo from Alien.

342
00:19:47,720 --> 00:19:51,159
Speaker 3: He just looked like a hapless mechanic who would be

343
00:19:51,200 --> 00:19:55,240
Speaker 3: working alongside you know, Harry Dean Stanton in Alien and

344
00:19:55,520 --> 00:19:58,600
Speaker 3: like wander off and get cocooned. And I don't know

345
00:19:58,640 --> 00:20:00,720
Speaker 3: why it brought to and maybe it's like his clothes

346
00:20:00,840 --> 00:20:04,040
Speaker 3: kind of seemed sort of like a sci fi jumpsuit

347
00:20:04,119 --> 00:20:06,199
Speaker 3: from the Nostromo. I really don't know what it was,

348
00:20:06,280 --> 00:20:07,919
Speaker 3: but that just kept coming to mind.

349
00:20:08,600 --> 00:20:11,840
Speaker 2: He's very mild mannered, and there's a sense that he's

350
00:20:12,400 --> 00:20:15,000
Speaker 2: just doing his job. He's doing the bare minimum. He

351
00:20:15,040 --> 00:20:16,960
Speaker 2: would rather not be here. He's not going to put

352
00:20:16,960 --> 00:20:18,800
Speaker 2: a lot of effort into things that have to do

353
00:20:18,920 --> 00:20:22,000
Speaker 2: with this world, because there is another world inside his

354
00:20:22,080 --> 00:20:24,199
Speaker 2: head and that's where most of his focus is.

355
00:20:25,119 --> 00:20:29,320
Speaker 3: Yeah, I do think there's an interesting tension in his performance,

356
00:20:29,359 --> 00:20:32,760
Speaker 3: which is the fact that the whole movie is about

357
00:20:32,800 --> 00:20:36,560
Speaker 3: his creativity. Like he the whole premise is that he

358
00:20:36,800 --> 00:20:41,879
Speaker 3: is willing troublesome circumstances into reality with his imagination, and

359
00:20:41,960 --> 00:20:44,920
Speaker 3: yet he seems almost completely hapless. You know, he has

360
00:20:45,680 --> 00:20:50,320
Speaker 3: extremely little will or volition, Yeah.

361
00:20:50,560 --> 00:20:52,960
Speaker 2: Over things in this world or the imagined world as

362
00:20:52,960 --> 00:20:53,400
Speaker 2: we'll see.

363
00:20:53,680 --> 00:20:54,440
Speaker 3: Yeah.

364
00:20:54,640 --> 00:20:58,199
Speaker 2: Now, Robert has a girlfriend, and this is Beebe, played

365
00:20:58,200 --> 00:21:03,200
Speaker 2: by Lucy Zolova born nineteen fifty two, checkborn actress whose

366
00:21:03,200 --> 00:21:06,560
Speaker 2: credits include nineteen seventy five's Darling, Are We a Good Match?

367
00:21:07,560 --> 00:21:11,840
Speaker 2: And How To Drown Mister Marassek The Lawyer. These are

368
00:21:11,880 --> 00:21:14,520
Speaker 2: not films I'm familiar with that I don't, but but

369
00:21:14,600 --> 00:21:15,919
Speaker 2: she's very good in this so I think it's a

370
00:21:15,920 --> 00:21:21,320
Speaker 2: solid performance as his loving but almost done with it girlfriend.

371
00:21:21,680 --> 00:21:25,200
Speaker 3: Yes, she has very little patience for his initial even

372
00:21:25,240 --> 00:21:29,240
Speaker 3: for his writing career, when he's just like talking into

373
00:21:29,240 --> 00:21:31,960
Speaker 3: a tape recorder about his ideas for novels. Much less

374
00:21:32,000 --> 00:21:34,680
Speaker 3: so when Aliens starts showing up and turning her into

375
00:21:34,720 --> 00:21:40,280
Speaker 3: a cube and she's an interesting foil to his Like

376
00:21:40,320 --> 00:21:45,120
Speaker 3: I was just saying, very a drift and non agentic personality.

377
00:21:45,200 --> 00:21:47,879
Speaker 3: She is very like forceful and willful and has a

378
00:21:47,920 --> 00:21:51,680
Speaker 3: strong personality and is the one who's like pushing back

379
00:21:51,840 --> 00:21:55,560
Speaker 3: against all of this like fantastical stuff from the Arcanic

380
00:21:55,640 --> 00:21:57,399
Speaker 3: Galaxy invading their world.

381
00:21:58,840 --> 00:22:03,160
Speaker 2: So these are like our two main human real world characters.

382
00:22:03,720 --> 00:22:07,560
Speaker 2: But we also have one of Robert's friends who has

383
00:22:08,480 --> 00:22:12,280
Speaker 2: a minor but fun role. This is photo Tony Photo Tony.

384
00:22:12,960 --> 00:22:16,560
Speaker 3: Yeah, so I think, wait, his name's just Tony, right,

385
00:22:16,640 --> 00:22:19,240
Speaker 3: but he's a photographer, so his door is a partner.

386
00:22:19,200 --> 00:22:21,560
Speaker 3: The door says photo Tony. Yeah.

387
00:22:21,640 --> 00:22:24,960
Speaker 2: Yeah. So my wife watched part of the film with me,

388
00:22:25,200 --> 00:22:28,520
Speaker 2: and she got to see she's a photographer. So I

389
00:22:28,560 --> 00:22:30,040
Speaker 2: was like, you got to come see there's a photographer

390
00:22:30,040 --> 00:22:30,280
Speaker 2: in this.

391
00:22:30,240 --> 00:22:32,879
Speaker 3: Movie, and oh yeah, what was her rating?

392
00:22:34,200 --> 00:22:36,480
Speaker 2: She had some thoughts about it. Well, she was like,

393
00:22:36,680 --> 00:22:38,760
Speaker 2: he's not gonna get a good shot trying to shoot

394
00:22:38,760 --> 00:22:41,040
Speaker 2: through a window at night and so forth. But I

395
00:22:41,080 --> 00:22:43,159
Speaker 2: was like, you know, I don't think photo Tony is

396
00:22:43,240 --> 00:22:46,640
Speaker 2: necessarily at the top of his game here either. He's

397
00:22:46,680 --> 00:22:48,040
Speaker 2: just more ambitious than Robert.

398
00:22:49,000 --> 00:22:53,439
Speaker 3: Yeah. Yeah, Well, photo Tony seems strange in that his

399
00:22:53,680 --> 00:22:57,200
Speaker 3: ambition seems to be to break through from like tourism

400
00:22:57,240 --> 00:23:00,879
Speaker 3: photography into journalism. Is that how you understood it?

401
00:23:01,359 --> 00:23:03,639
Speaker 2: Yes, but he wants to take that shortcut to the

402
00:23:03,680 --> 00:23:06,639
Speaker 2: top of journalism by getting that one picture that's going

403
00:23:06,680 --> 00:23:10,240
Speaker 2: to change the world, namely of aliens visiting the Earth.

404
00:23:10,680 --> 00:23:13,320
Speaker 3: Exactly. Yes, so I think he hangs out around this

405
00:23:13,840 --> 00:23:16,919
Speaker 3: beach resort taking photos of people for money, but he

406
00:23:17,040 --> 00:23:19,640
Speaker 3: thinks if he can just snap a picture of an alien,

407
00:23:19,720 --> 00:23:23,200
Speaker 3: then he'll be the most famous photo journalist in the world. Yes.

408
00:23:24,480 --> 00:23:28,720
Speaker 2: So, Photo Tony is played by Lubashaw Samardzik who lived

409
00:23:28,760 --> 00:23:32,920
Speaker 2: nineteen thirty six through twenty seventeen. Actually a pretty famous

410
00:23:32,920 --> 00:23:36,440
Speaker 2: Serbian actor I read, also a director and a producer.

411
00:23:36,720 --> 00:23:42,520
Speaker 2: He was very popular during the nineteen sixties in various films.

412
00:23:42,560 --> 00:23:45,240
Speaker 2: He was a popular TV actor in the nineteen eighties,

413
00:23:45,600 --> 00:23:49,520
Speaker 2: and he directed the internationally acclaimed two thousand film Skyhook.

414
00:23:50,400 --> 00:23:53,960
Speaker 2: So it's a fun supporting role, but it's definitely one

415
00:23:54,000 --> 00:23:56,240
Speaker 2: of these cases where you can see how this guy

416
00:23:56,359 --> 00:23:58,800
Speaker 2: might go on to have a great deal of success.

417
00:23:59,040 --> 00:24:02,320
Speaker 2: Like if this were a traditional genre film, this would

418
00:24:02,359 --> 00:24:04,520
Speaker 2: be our hero. Photo Tony would be the one to

419
00:24:04,600 --> 00:24:07,320
Speaker 2: stand up and save the girl and so forth.

420
00:24:07,760 --> 00:24:09,840
Speaker 3: Yeah, in the same way that Biba is contrasted to

421
00:24:09,920 --> 00:24:12,480
Speaker 3: Robert because she has more will and agency. I would

422
00:24:12,520 --> 00:24:15,200
Speaker 3: say that photo Tony also has more concrete will and

423
00:24:15,280 --> 00:24:20,000
Speaker 3: agency than Robert, like he's got a goal. Well you know, actually, though,

424
00:24:20,040 --> 00:24:21,840
Speaker 3: I guess Robert does have a goal, but it's just

425
00:24:21,920 --> 00:24:24,280
Speaker 3: not a concrete goal. He just wants to live in

426
00:24:24,359 --> 00:24:27,080
Speaker 3: his imagination. Yeah.

427
00:24:27,160 --> 00:24:31,000
Speaker 2: Also worth noting that Lubashaw was on a twenty nineteen

428
00:24:31,040 --> 00:24:34,879
Speaker 2: Serbian stamp. I included an image of it here for you.

429
00:24:35,000 --> 00:24:38,240
Speaker 2: Joe looks great, great looking stamp, but I would add

430
00:24:38,640 --> 00:24:41,480
Speaker 2: just about anything from this movie belongs on a stamp

431
00:24:42,200 --> 00:24:43,040
Speaker 2: in any country.

432
00:24:43,240 --> 00:24:44,639
Speaker 3: He looks like Kirk Douglas.

433
00:24:45,520 --> 00:24:48,720
Speaker 2: Yeah, yeah, yeah, we see him like earlier in life

434
00:24:48,720 --> 00:24:50,119
Speaker 2: and then later in life. He does have kind of

435
00:24:50,119 --> 00:24:53,240
Speaker 2: a Kirk Douglas kind of a vibe, all right. This

436
00:24:53,359 --> 00:24:56,720
Speaker 2: movie notably has a female android in it by the

437
00:24:56,760 --> 00:25:00,600
Speaker 2: name of Andre. If you've seen any like covers for

438
00:25:00,680 --> 00:25:03,960
Speaker 2: this film, any posters, or certainly any footage, you've probably

439
00:25:04,000 --> 00:25:08,800
Speaker 2: seen a glimpse of this entity. And this entity is

440
00:25:08,840 --> 00:25:14,560
Speaker 2: played by the actor Cassinia Prohaska born nineteen fifty three,

441
00:25:14,800 --> 00:25:18,440
Speaker 2: Croatian born actress who also pops up in some American films.

442
00:25:19,280 --> 00:25:22,119
Speaker 2: She played a mummy. I don't know if it's the Mummy,

443
00:25:22,119 --> 00:25:24,800
Speaker 2: but she played a mummy in the I guess kind of.

444
00:25:24,840 --> 00:25:27,840
Speaker 2: I don't know. It's infamous. It's definitely said to be bad.

445
00:25:28,000 --> 00:25:31,680
Speaker 2: But the nineteen eighty five film Transylvania six five thousand,

446
00:25:32,240 --> 00:25:35,760
Speaker 2: a movie that's mostly known for being a film project

447
00:25:36,040 --> 00:25:39,040
Speaker 2: funded by Dow Chemical because Dow Chemical had money in

448
00:25:39,119 --> 00:25:42,520
Speaker 2: Yugoslavia that they could not get out, and so they

449
00:25:42,560 --> 00:25:45,119
Speaker 2: instead said, well, let's make a movie. Then let's funnel

450
00:25:45,160 --> 00:25:49,520
Speaker 2: those funds into a film project, and Transylvania six five

451
00:25:49,560 --> 00:25:53,000
Speaker 2: thousand was that film project that has a pretty good cast,

452
00:25:53,119 --> 00:25:57,120
Speaker 2: but nothing. I've never heard anything nice said about it.

453
00:25:57,440 --> 00:25:58,400
Speaker 3: Have you seen it?

454
00:25:58,960 --> 00:25:59,959
Speaker 2: I have not seen it, of you.

455
00:26:00,400 --> 00:26:02,560
Speaker 3: I tried to watch it one time and did not

456
00:26:02,680 --> 00:26:08,919
Speaker 3: get to the end. It has a very low energy,

457
00:26:09,040 --> 00:26:11,160
Speaker 3: improvised sketch comedy feel.

458
00:26:12,119 --> 00:26:15,760
Speaker 2: Oh yeah, which is a shame because again, fun cast,

459
00:26:15,920 --> 00:26:18,760
Speaker 2: it's got Let's see who's an Ed Begley Junior?

460
00:26:19,200 --> 00:26:21,040
Speaker 3: Is that Jeff Goldblum? I think Jeff Goldblum.

461
00:26:21,080 --> 00:26:24,840
Speaker 2: Gina Davis, Yeah, yeah.

462
00:26:24,080 --> 00:26:26,000
Speaker 3: Well, I don't know. Maybe it gets really good in

463
00:26:26,040 --> 00:26:29,080
Speaker 3: the second half. I remember, I remember something about the

464
00:26:29,080 --> 00:26:32,000
Speaker 3: first few minutes kind of drew me in. I was like, oh, okay,

465
00:26:32,080 --> 00:26:35,760
Speaker 3: yeah sure, but then it just it got incredibly tedious.

466
00:26:36,680 --> 00:26:39,480
Speaker 2: Reviews I was looking at seemed to indicate it does

467
00:26:39,520 --> 00:26:44,280
Speaker 2: not get good. But if listeners have different thoughts, right in,

468
00:26:44,359 --> 00:26:47,639
Speaker 2: we'd love to hear from you. Prohaska also plays Marlene

469
00:26:47,680 --> 00:26:51,080
Speaker 2: Dietrich and Barry Levinson's Bugsy in nineteen ninety one. I

470
00:26:51,080 --> 00:26:52,840
Speaker 2: have not seen Bugsy, but I assume this is like

471
00:26:52,880 --> 00:26:54,679
Speaker 2: maybe a small background kind.

472
00:26:54,520 --> 00:26:54,920
Speaker 3: Of a role.

473
00:26:56,080 --> 00:26:59,159
Speaker 2: So anyway, hard to comment too much on her acting

474
00:26:59,200 --> 00:27:02,720
Speaker 2: ability this because his performance is again an android, a

475
00:27:02,720 --> 00:27:06,640
Speaker 2: female android, but it is a memorable presence. So I'm

476
00:27:06,640 --> 00:27:08,040
Speaker 2: just gonna go ahead and say she's great in it.

477
00:27:08,359 --> 00:27:11,000
Speaker 3: Yeah, totally. Well, she doesn't have to do much acting.

478
00:27:11,040 --> 00:27:13,320
Speaker 3: She just like says a few lines in a robot voice.

479
00:27:13,440 --> 00:27:17,760
Speaker 3: The costume and the makeup do do more of the work.

480
00:27:17,840 --> 00:27:20,439
Speaker 3: Thinking about this this character design, I was wondering, is

481
00:27:20,480 --> 00:27:24,520
Speaker 3: the bored Queen based on this character here? I don't know.

482
00:27:24,920 --> 00:27:29,800
Speaker 2: Oh yeah, I mean, yeah, you look at this, this character,

483
00:27:29,840 --> 00:27:31,639
Speaker 2: and yeah, it makes you think of like the board Queen.

484
00:27:31,680 --> 00:27:34,000
Speaker 2: I thought of cinnabytes a bit as well, because there

485
00:27:34,040 --> 00:27:39,560
Speaker 2: is this mixture of sexuality and like dominant female power,

486
00:27:39,960 --> 00:27:44,200
Speaker 2: but on the other hand, like clearly an uncanny inhuman

487
00:27:44,280 --> 00:27:45,720
Speaker 2: quality to the being as well.

488
00:27:46,240 --> 00:27:48,480
Speaker 3: Yeah, I mean it's a cool character design, and I

489
00:27:48,560 --> 00:27:51,800
Speaker 3: think she looks great. She looks creepy, which is funny

490
00:27:51,840 --> 00:27:54,560
Speaker 3: because a lot of the characters are like commenting on

491
00:27:54,600 --> 00:27:58,280
Speaker 3: how beautiful she is. Yes, and of course she was

492
00:27:58,359 --> 00:27:58,840
Speaker 3: to make of that.

493
00:28:00,200 --> 00:28:04,520
Speaker 2: She is frequently accompanied by two Space children who also

494
00:28:04,640 --> 00:28:09,760
Speaker 2: have like gold space jumpsuits on bright blonde hair that

495
00:28:09,880 --> 00:28:13,280
Speaker 2: is cut in kind of like a medieval night haircut,

496
00:28:13,920 --> 00:28:16,280
Speaker 2: you know, kind of a medieval bowl cut going on there.

497
00:28:16,480 --> 00:28:19,240
Speaker 3: Yeah, that's kind of gray and Nigel tough mel hair.

498
00:28:19,960 --> 00:28:23,240
Speaker 2: Yeah, these children, one of them is played by a

499
00:28:23,359 --> 00:28:27,320
Speaker 2: child actor by the name of Jasminka Alec. But this

500
00:28:27,440 --> 00:28:29,359
Speaker 2: is one of those cases where this is our only credit,

501
00:28:29,440 --> 00:28:35,359
Speaker 2: so presumably she was in nothing else. But the other one, Targo,

502
00:28:35,400 --> 00:28:40,680
Speaker 2: we'll mention, was played by Renee Bittora Jack born nineteen

503
00:28:40,760 --> 00:28:44,160
Speaker 2: seventy two, Croatian actor of note, seen here in his

504
00:28:44,280 --> 00:28:47,880
Speaker 2: very first role, so he's worked rather extensively in Croatian

505
00:28:47,960 --> 00:28:50,800
Speaker 2: and Bosnian projects. I believe he was one of the

506
00:28:50,840 --> 00:28:53,120
Speaker 2: stars of two thousand and one's No Man's Land, a

507
00:28:53,160 --> 00:28:55,880
Speaker 2: film about the Bosnian War that won an Oscar for

508
00:28:55,920 --> 00:28:57,960
Speaker 2: Best Foreign Language Film in two thousand and two.

509
00:28:59,240 --> 00:29:02,280
Speaker 3: I would say so about the kids, it's hard to

510
00:29:02,320 --> 00:29:05,280
Speaker 3: comment much on their performance because they're not doing a

511
00:29:05,280 --> 00:29:08,840
Speaker 3: lot of human style acting. They're just like standing there

512
00:29:08,880 --> 00:29:10,080
Speaker 3: and saying weird lines.

513
00:29:10,960 --> 00:29:14,960
Speaker 2: Yeah, and like you said that, with the Android, the

514
00:29:15,000 --> 00:29:17,920
Speaker 2: makeup is key. And I did note that the makeup

515
00:29:18,000 --> 00:29:20,120
Speaker 2: artist on this, or one of the two makeup artists,

516
00:29:20,280 --> 00:29:24,040
Speaker 2: is Yuri Kurrich born nineteen thirty two, a Czech makeup

517
00:29:24,160 --> 00:29:27,360
Speaker 2: artist who also worked on nineteen seventy eighth Beauty and

518
00:29:27,400 --> 00:29:29,800
Speaker 2: the Beast, which we previously discussed on Weird House.

519
00:29:30,280 --> 00:29:30,320
Speaker 1: No.

520
00:29:30,400 --> 00:29:34,760
Speaker 2: One had some great Avian Beast makeup, Yes, totally, so

521
00:29:35,080 --> 00:29:37,800
Speaker 2: I'm assuming he had a hand in the Android effects here.

522
00:29:38,320 --> 00:29:42,040
Speaker 2: But there's also someone else. Evo Strongmuler born nineteen fifty

523
00:29:42,040 --> 00:29:44,520
Speaker 2: four is also credited on makeup, and he worked on

524
00:29:44,560 --> 00:29:46,720
Speaker 2: some big productions later on as well, including the two

525
00:29:46,720 --> 00:29:50,280
Speaker 2: thousand dooon mini series Alien Versus Predator in two thousand

526
00:29:50,280 --> 00:29:52,920
Speaker 2: and four and The Chronicles of Narnia Prince Caspian in

527
00:29:52,960 --> 00:29:55,840
Speaker 2: two thousand and eight as a prosthetic makeup artist.

528
00:29:56,160 --> 00:30:01,440
Speaker 3: Hmmm, oh wait, but you didn't mention Faarab, did you. Oh?

529
00:30:01,440 --> 00:30:03,880
Speaker 2: No, I didn't mention fat Vampire. That's another one that

530
00:30:03,920 --> 00:30:06,600
Speaker 2: he worked on, a film that we haven't seen, but

531
00:30:06,640 --> 00:30:10,040
Speaker 2: we've mentioned before because it's come up in connections on

532
00:30:10,200 --> 00:30:13,840
Speaker 2: particularly check films. This is like the vampire car movie, right.

533
00:30:14,040 --> 00:30:15,560
Speaker 3: Yeah. I don't know if there's a good way to

534
00:30:15,640 --> 00:30:18,040
Speaker 3: watch this one. Last time I checked, I didn't find

535
00:30:18,080 --> 00:30:21,520
Speaker 3: one but it and it may not be good at all.

536
00:30:21,600 --> 00:30:24,720
Speaker 3: Some of the reviews are pretty middling, but the premise

537
00:30:24,800 --> 00:30:26,760
Speaker 3: is it's a vampire car, so I kind of have

538
00:30:26,840 --> 00:30:28,080
Speaker 3: to see it even if it's bad.

539
00:30:28,920 --> 00:30:30,920
Speaker 2: Now we've mentioned that this movie has a monster in it.

540
00:30:30,960 --> 00:30:33,240
Speaker 2: The monster's name is Mumu, and we'll spend a fair

541
00:30:33,240 --> 00:30:37,120
Speaker 2: amount of time discussing him. But the really fun thing

542
00:30:37,200 --> 00:30:40,640
Speaker 2: here is that the monster designer here, the person who

543
00:30:40,680 --> 00:30:43,760
Speaker 2: created Mumu and helped bring him to life, is none

544
00:30:43,760 --> 00:30:47,880
Speaker 2: other than Yons funk Meyer born nineteen thirty four. So

545
00:30:47,960 --> 00:30:51,880
Speaker 2: this is the check Stop motion animation master himself.

546
00:30:52,320 --> 00:30:56,280
Speaker 3: I think while I was out on parental leave last year,

547
00:30:56,520 --> 00:31:00,000
Speaker 3: you and Seth covered a Yan's funk Meyer film, didn't you.

548
00:31:00,120 --> 00:31:03,200
Speaker 2: We did. We talked about nineteen eighty eight's Alice, So

549
00:31:03,280 --> 00:31:05,040
Speaker 2: if you want to hear more about spunk Meyer, go

550
00:31:05,080 --> 00:31:08,240
Speaker 2: back and listen to that episode, because we spend a

551
00:31:08,280 --> 00:31:10,120
Speaker 2: lot of time talking about the man in his work

552
00:31:10,200 --> 00:31:14,240
Speaker 2: and how influential he was and still is in the

553
00:31:14,240 --> 00:31:17,239
Speaker 2: world of stop motion animation. But I'll sum it all

554
00:31:17,320 --> 00:31:19,560
Speaker 2: up by stressing that he's just a master of the

555
00:31:19,640 --> 00:31:21,920
Speaker 2: medium and if he has anything to do with the

556
00:31:21,920 --> 00:31:24,440
Speaker 2: look of a film, you're probably.

557
00:31:24,000 --> 00:31:24,640
Speaker 3: In good hands.

558
00:31:24,680 --> 00:31:28,080
Speaker 2: And indeed, Mumu is just insane.

559
00:31:28,520 --> 00:31:31,920
Speaker 3: It's amazing. Yeah, it is one of the weirdest things

560
00:31:31,920 --> 00:31:33,080
Speaker 3: I've ever seen on film.

561
00:31:33,560 --> 00:31:37,160
Speaker 2: Yeah, I should stress like spunk Meyers is part of

562
00:31:37,360 --> 00:31:41,160
Speaker 2: huge part of that world of like strange stop motion animation,

563
00:31:41,400 --> 00:31:45,200
Speaker 2: perhaps creepy stop motion animation that some of you might

564
00:31:45,240 --> 00:31:48,920
Speaker 2: not be that familiar with, but it's out there, it's

565
00:31:48,960 --> 00:31:52,080
Speaker 2: waiting for you. And then finally, the music for this

566
00:31:52,200 --> 00:31:55,080
Speaker 2: film is really good too. I really enjoyed it. It

567
00:31:55,120 --> 00:31:58,680
Speaker 2: is a score by a Croatian born composer by the

568
00:31:58,760 --> 00:32:02,600
Speaker 2: name of Thomas of Simovic who lived nineteen thirty one

569
00:32:02,680 --> 00:32:06,840
Speaker 2: through twenty fourteen. He worked on multiple films and shorts

570
00:32:06,880 --> 00:32:11,160
Speaker 2: for Fukatk, including sixty one's The Substitute, seventy three's Man

571
00:32:11,280 --> 00:32:15,400
Speaker 2: the Polluter, and seventy seven's Operation Stadium. Other films of

572
00:32:15,480 --> 00:32:19,280
Speaker 2: note include sixty seven's The Fourth Companion and sixty eight

573
00:32:19,320 --> 00:32:21,080
Speaker 2: So I Have Two Mothers and Two Fathers.

574
00:32:21,320 --> 00:32:24,160
Speaker 3: I agree with your assessment. Really good music in this one.

575
00:32:24,680 --> 00:32:27,680
Speaker 2: Yeah. It's full of like cascading synth and all the

576
00:32:27,760 --> 00:32:30,560
Speaker 2: sort of sci fi motifs you'd expect from a movie

577
00:32:30,600 --> 00:32:33,840
Speaker 2: like this. And I'm happy to say that it is available.

578
00:32:34,640 --> 00:32:36,560
Speaker 2: It was put out by the Croatian label Fox and

579
00:32:36,560 --> 00:32:39,560
Speaker 2: his Friends, and it's actually available to stream in all

580
00:32:39,560 --> 00:32:43,440
Speaker 2: the usual places. Just look up Visitors from the Arkana Galaxy.

581
00:32:43,480 --> 00:32:45,640
Speaker 3: I don't know if this makes any sense, but the

582
00:32:45,720 --> 00:32:48,720
Speaker 3: music that plays over the opening credits. I was listening

583
00:32:48,760 --> 00:32:52,200
Speaker 3: with headphones while I watched the movie, and the music

584
00:32:52,440 --> 00:32:56,840
Speaker 3: created a sensation, like a kind of bubble of heat

585
00:32:57,080 --> 00:33:01,960
Speaker 3: expanding through the inside of my cranium. Just soft, strange,

586
00:33:02,160 --> 00:33:06,640
Speaker 3: enveloping sonic texture, a very strong mood. Really really good.

587
00:33:07,400 --> 00:33:10,080
Speaker 2: Yeah, yeah, yeah, it's this kind of I mean today

588
00:33:10,080 --> 00:33:11,440
Speaker 2: we would would think of it as this kind of

589
00:33:11,480 --> 00:33:15,160
Speaker 2: like retro electronic sound, and I guess at the time

590
00:33:15,240 --> 00:33:18,320
Speaker 2: it was maybe slightly retro but also sounded like the future.

591
00:33:18,320 --> 00:33:20,320
Speaker 2: And it still sounds like the future as far as

592
00:33:20,320 --> 00:33:21,000
Speaker 2: I'm concerned.

593
00:33:21,440 --> 00:33:23,720
Speaker 3: Also, I love the visuals that went with it. In

594
00:33:23,760 --> 00:33:26,720
Speaker 3: the opening credits, there's this nice mix of concrete and

595
00:33:26,760 --> 00:33:31,680
Speaker 3: abstract imagery. So like, while that music is playing, you

596
00:33:31,720 --> 00:33:35,240
Speaker 3: see something abstract that looks like these blooming flowers of

597
00:33:35,320 --> 00:33:40,000
Speaker 3: blue paint, but represented on what looks like an ultrasound display. Ye,

598
00:33:40,480 --> 00:33:43,880
Speaker 3: And then there are also these slow pans over physical objects.

599
00:33:44,000 --> 00:33:47,880
Speaker 3: One thing looks like the bolts around the glass face

600
00:33:47,920 --> 00:33:50,960
Speaker 3: plate of an EVA helmet. And then you just see

601
00:33:51,000 --> 00:33:54,120
Speaker 3: you know, space imagery, like these blue rivers flowing through

602
00:33:54,160 --> 00:33:57,920
Speaker 3: space into a green sun, and droplets that look like

603
00:33:58,040 --> 00:34:00,560
Speaker 3: the you know, the bits of splatter flying out of

604
00:34:00,560 --> 00:34:03,440
Speaker 3: a lava lake. But that's like going just passing between

605
00:34:03,480 --> 00:34:04,120
Speaker 3: the stars.

606
00:34:04,960 --> 00:34:06,720
Speaker 2: Yeah, yeah, I mean this is this is a film

607
00:34:06,760 --> 00:34:10,480
Speaker 2: that portrays space as being a place of color and

608
00:34:10,920 --> 00:34:14,360
Speaker 2: wonder and mystery. It's not a dark void of death

609
00:34:14,400 --> 00:34:15,560
Speaker 2: and in emptiness.

610
00:34:16,000 --> 00:34:18,880
Speaker 3: And so maybe we should get right into the plot then.

611
00:34:19,239 --> 00:34:21,439
Speaker 2: Yeah, yeah, yeah, we're already here. Let's keep going.

612
00:34:21,760 --> 00:34:24,120
Speaker 3: Okay, So we begin with some narration after we see

613
00:34:24,160 --> 00:34:27,000
Speaker 3: you know space and the credits. The narrator says, one

614
00:34:27,000 --> 00:34:30,920
Speaker 3: of the rare populated planets in the cold, uninviting universe

615
00:34:31,080 --> 00:34:35,440
Speaker 3: is the small planet Tugador. Not the most elegant sounding

616
00:34:35,440 --> 00:34:39,719
Speaker 3: planet name I've ever heard, but Tugador located in the

617
00:34:39,760 --> 00:34:43,480
Speaker 3: depths of the Arkonic Galaxy. Its inhabitants look a lot

618
00:34:43,600 --> 00:34:47,879
Speaker 3: like humans, but their abilities are almost godlike. Their spaceships

619
00:34:47,920 --> 00:34:50,480
Speaker 3: move at such speed that they can travel and explore

620
00:34:50,520 --> 00:34:53,560
Speaker 3: even the most remote galaxies. It was one of those

621
00:34:53,640 --> 00:34:58,520
Speaker 3: journeys that Targo and Ulu embarked on, followed by Andra,

622
00:34:59,400 --> 00:35:02,640
Speaker 3: and the whole time this narration is going on, we're

623
00:35:02,640 --> 00:35:05,560
Speaker 3: watching stars flashing in space, and then we cut to

624
00:35:05,640 --> 00:35:09,000
Speaker 3: a totally different scene. A voice mimo recorder with like

625
00:35:09,200 --> 00:35:11,719
Speaker 3: a cassette tape in it, held in a man's hand.

626
00:35:12,040 --> 00:35:15,799
Speaker 3: He's talking into the microphone and the narration continues. The

627
00:35:15,800 --> 00:35:20,680
Speaker 3: inhabitants of Tugador had perfect maps of space. They knew

628
00:35:20,880 --> 00:35:25,000
Speaker 3: all of the other inhabited planets. And now we see

629
00:35:25,040 --> 00:35:28,280
Speaker 3: on the screen that the man speaking, Robert, is wearing

630
00:35:28,360 --> 00:35:31,719
Speaker 3: what appears to be a space helmet, and he goes

631
00:35:31,760 --> 00:35:35,000
Speaker 3: on talking, he says, and Earth, a planet revolving around

632
00:35:35,000 --> 00:35:38,480
Speaker 3: a great shining star, has peaked their interest since the

633
00:35:38,560 --> 00:35:43,640
Speaker 3: dawn of time. Andra, the she Robot, Targo, and Ulu

634
00:35:43,800 --> 00:35:47,720
Speaker 3: are now approaching the surface of this unknown and mysterious planet.

635
00:35:48,480 --> 00:35:52,160
Speaker 3: And then suddenly this is interrupted when a woman's hand

636
00:35:52,440 --> 00:35:55,600
Speaker 3: just like wraps on the faceplate of the space helmet,

637
00:35:56,280 --> 00:35:58,880
Speaker 3: and a woman's voice says, Robert, your coffee is ready,

638
00:36:00,239 --> 00:36:02,759
Speaker 3: and so we're not in space at all. Robert is

639
00:36:02,920 --> 00:36:05,880
Speaker 3: just a regular guy in his apartment. He is sitting

640
00:36:05,880 --> 00:36:09,800
Speaker 3: at his desk narrating his own science fiction story into

641
00:36:09,840 --> 00:36:13,200
Speaker 3: a voice recorder, and his office. In his office, we

642
00:36:13,239 --> 00:36:15,839
Speaker 3: see all these like books on shelves, presumably a lot

643
00:36:15,840 --> 00:36:20,239
Speaker 3: of science fiction books, kind of gadgets and sci fi

644
00:36:20,360 --> 00:36:24,279
Speaker 3: toys and gizmos, posters scattered all around of NASA and

645
00:36:25,200 --> 00:36:27,919
Speaker 3: you know, the moon landings and things like that. And

646
00:36:27,960 --> 00:36:30,120
Speaker 3: the woman who was wrapping on his face plate is

647
00:36:30,160 --> 00:36:33,759
Speaker 3: his girlfriend, Biba, who clearly has very little patience for

648
00:36:33,880 --> 00:36:36,600
Speaker 3: his writing or his astronomical obsessions.

649
00:36:38,320 --> 00:36:41,600
Speaker 2: It's a great saying because yeah, the whole like writing

650
00:36:41,680 --> 00:36:45,640
Speaker 2: environment is very convincing and cozy, and there's nothing, Yeah,

651
00:36:45,719 --> 00:36:49,719
Speaker 2: there's nothing too weird about it, but yeah, his insistence

652
00:36:49,719 --> 00:36:52,160
Speaker 2: on setting there, dictating his notes while wearing the space

653
00:36:52,200 --> 00:36:57,440
Speaker 2: helmet really drives on this comic understanding that yeah, he's

654
00:36:57,440 --> 00:37:00,480
Speaker 2: maybe not getting that much done and it's more about

655
00:37:00,480 --> 00:37:02,840
Speaker 2: shutting himself off from the rest of the world and

656
00:37:02,880 --> 00:37:03,800
Speaker 2: living in fantasy.

657
00:37:04,120 --> 00:37:06,880
Speaker 3: Yeah, yeah, she says, clearly annoyed. She says, are you

658
00:37:06,880 --> 00:37:09,239
Speaker 3: gonna sit around all day with this bucket on your head?

659
00:37:10,320 --> 00:37:14,040
Speaker 3: And then the narrator the narration goes on. Robert says

660
00:37:14,080 --> 00:37:17,440
Speaker 3: time didn't matter for the three Space visitors. They manage

661
00:37:17,480 --> 00:37:22,240
Speaker 3: their time like we handle water faucets. And then Biba

662
00:37:22,360 --> 00:37:29,440
Speaker 3: is like, we don't handle water fasces, we turn them.

663
00:37:27,920 --> 00:37:29,280
Speaker 2: Like Robert, that's not even good writing.

664
00:37:29,680 --> 00:37:32,760
Speaker 3: But like I was saying earlier, the writing as as

665
00:37:33,000 --> 00:37:35,960
Speaker 3: writing does not seem to be the point. Robert is

666
00:37:36,000 --> 00:37:39,760
Speaker 3: not in love with language. He is not a wordsmith.

667
00:37:39,960 --> 00:37:41,920
Speaker 3: He is an ideas.

668
00:37:41,400 --> 00:37:44,920
Speaker 2: Guy, absolutely, So it's more like if he could write,

669
00:37:45,480 --> 00:37:48,040
Speaker 2: then it would balance things out. But it's all it's

670
00:37:48,080 --> 00:37:49,359
Speaker 2: all like trapped in there, right.

671
00:37:49,880 --> 00:37:53,640
Speaker 3: Yeah, But we see Robert has a very frustrated life

672
00:37:53,680 --> 00:37:56,640
Speaker 3: because he wants to be just spending his days wrapped

673
00:37:56,680 --> 00:37:59,960
Speaker 3: up in I guess talking this story into his tape recorder.

674
00:38:00,440 --> 00:38:03,680
Speaker 3: But Biba does not like him spending his time that way.

675
00:38:03,760 --> 00:38:06,799
Speaker 3: She gets annoyed with him. Also, his neighbors bother him,

676
00:38:06,880 --> 00:38:10,239
Speaker 3: Like his neighbors come over and start having conflict. So

677
00:38:10,320 --> 00:38:14,680
Speaker 3: his neighbor is Photo Tony and photo Tony's mother's dog, Vicky,

678
00:38:15,000 --> 00:38:17,640
Speaker 3: keeps causing problems and they're trying to get Robert to

679
00:38:17,680 --> 00:38:20,480
Speaker 3: sort this out for some reason. It is a cute dog,

680
00:38:20,560 --> 00:38:22,480
Speaker 3: by the way, But they bring the dog over and

681
00:38:22,520 --> 00:38:24,520
Speaker 3: they put it on Robert's desk and it peas on

682
00:38:24,560 --> 00:38:25,480
Speaker 3: his manuscript.

683
00:38:26,040 --> 00:38:28,160
Speaker 2: At first, I thought Robert was maybe like the super

684
00:38:28,280 --> 00:38:31,040
Speaker 2: or something, but I think it's just like the supposed

685
00:38:31,080 --> 00:38:33,040
Speaker 2: to give us an idea of the close knit community

686
00:38:33,160 --> 00:38:35,080
Speaker 2: of this particular apartment building.

687
00:38:35,280 --> 00:38:37,520
Speaker 3: Yeah, yeah, for some reason, they want Robert to solve

688
00:38:37,560 --> 00:38:40,840
Speaker 3: their problems. But I don't know why they'd be going to.

689
00:38:41,239 --> 00:38:45,600
Speaker 3: Robert displays throughout the film no ability whatsoever to mediate

690
00:38:45,680 --> 00:38:48,960
Speaker 3: or solve other people's problems. That not that I can remember.

691
00:38:49,320 --> 00:38:52,200
Speaker 2: He's just so checked out. He seems neutral, like yeah,

692
00:38:52,280 --> 00:38:55,000
Speaker 2: I guess so, yeah, like Robert doesn't have a bone

693
00:38:55,000 --> 00:38:56,880
Speaker 2: to pick, let him solve this problem.

694
00:38:56,960 --> 00:39:01,440
Speaker 3: That's a good point. Yes, it's like he's a disinterested party. Yeah,

695
00:39:02,000 --> 00:39:04,000
Speaker 3: so he just wants time to write, but he can

696
00:39:04,040 --> 00:39:06,879
Speaker 3: never have a moment's piece. No one respects his ambitions.

697
00:39:07,680 --> 00:39:10,640
Speaker 3: And also, this was really funny. He just keeps trying

698
00:39:10,640 --> 00:39:15,719
Speaker 3: to put the space helmet back on while everybody's bothering him.

699
00:39:16,040 --> 00:39:19,279
Speaker 3: But so we see that Biba is actually jealous of

700
00:39:19,400 --> 00:39:23,080
Speaker 3: Robert's characters. She's literally like, if you care about this

701
00:39:23,160 --> 00:39:25,880
Speaker 3: she robot Andra so much, why don't you marry her

702
00:39:25,920 --> 00:39:31,160
Speaker 3: instead of me? And we'll come back to that theme. Yeah,

703
00:39:31,200 --> 00:39:34,680
Speaker 3: So they go to visit Biba's family. I think it,

704
00:39:35,040 --> 00:39:37,960
Speaker 3: did you understand it the same way that Biba's sister

705
00:39:38,280 --> 00:39:40,879
Speaker 3: is getting married, and so her whole family is there

706
00:39:40,920 --> 00:39:43,799
Speaker 3: in the house trying to get ready for the wedding. Yeah.

707
00:39:43,920 --> 00:39:46,920
Speaker 2: Yeah, there's a big wedding coming up. And I believe

708
00:39:46,960 --> 00:39:50,360
Speaker 2: the individual that Robert ends up talking to next is

709
00:39:50,719 --> 00:39:52,920
Speaker 2: the fiance the groom.

710
00:39:53,040 --> 00:39:56,960
Speaker 3: Yes, yeah, so yeah, Robert goes along with Biba to

711
00:39:57,000 --> 00:40:00,320
Speaker 3: the house she's meeting with her family. Her family, he

712
00:40:00,719 --> 00:40:03,279
Speaker 3: seems to look down on Robert. They're like, I don't

713
00:40:03,280 --> 00:40:05,799
Speaker 3: know what you're doing with this guy, and Robert he's

714
00:40:05,840 --> 00:40:08,520
Speaker 3: just there to he obviously he wants to talk to

715
00:40:08,840 --> 00:40:13,520
Speaker 3: the fiance of the sister about science fiction novels. They're like, oh, boy,

716
00:40:14,120 --> 00:40:15,960
Speaker 3: you know, did you read this one. It's about a

717
00:40:16,000 --> 00:40:19,080
Speaker 3: monster from space. And so this other guy is like, look,

718
00:40:19,360 --> 00:40:22,160
Speaker 3: you can't call it Visitors from the Arcanic Galaxy. That's

719
00:40:22,160 --> 00:40:24,040
Speaker 3: what Robert wants to call his novel. He says, you've

720
00:40:24,080 --> 00:40:26,840
Speaker 3: got to call it the monster from our cana Galaxy.

721
00:40:27,239 --> 00:40:29,440
Speaker 3: And Robert says, there's no monster in the story. But

722
00:40:29,480 --> 00:40:32,560
Speaker 3: the other guy's like, look, you're not writing Hansel and Gretel. Here.

723
00:40:33,200 --> 00:40:35,680
Speaker 3: He explains that you've got to have a monster, and

724
00:40:35,719 --> 00:40:37,920
Speaker 3: he talks about another sci fi novel that has a

725
00:40:37,960 --> 00:40:41,279
Speaker 3: monster that bites off people's heads. Hey, yeah, sounds good.

726
00:40:41,880 --> 00:40:44,320
Speaker 3: So the quote is, he says, you gotta a quote.

727
00:40:44,360 --> 00:40:47,680
Speaker 3: You have to scare people. That's the secret to success.

728
00:40:48,400 --> 00:40:50,120
Speaker 2: I love how he brings up Hansel and Gretel as

729
00:40:50,160 --> 00:40:53,400
Speaker 2: if Hansel and Gretel does not have horrifying elements to

730
00:40:53,440 --> 00:40:55,440
Speaker 2: it and it's purest telling.

731
00:40:55,880 --> 00:40:58,879
Speaker 3: I think it's interesting that he's giving Robert these very

732
00:41:00,280 --> 00:41:04,680
Speaker 3: mercenary kind of pieces of advice about what the reading

733
00:41:04,800 --> 00:41:07,680
Speaker 3: public wants. About like what makes a book marketable. But

734
00:41:07,800 --> 00:41:09,960
Speaker 3: Robert doesn't seem to have written anything yet. It's not

735
00:41:10,000 --> 00:41:12,279
Speaker 3: like he has a manuscript that's been rejected by a

736
00:41:12,280 --> 00:41:15,680
Speaker 3: bunch of publishers. It's like he's he's like, I'm going

737
00:41:15,760 --> 00:41:17,439
Speaker 3: to write a novel right.

738
00:41:17,480 --> 00:41:21,439
Speaker 2: In fact, it's so unformed that he basically is like, oh, yeah, okay,

739
00:41:21,480 --> 00:41:24,960
Speaker 2: I can add a monster. It really doesn't wrack anything

740
00:41:25,000 --> 00:41:26,960
Speaker 2: at all because nothing has been written yet.

741
00:41:27,000 --> 00:41:30,880
Speaker 3: Apparently that's right. So Robert ultimately decides his monster should

742
00:41:30,920 --> 00:41:34,360
Speaker 3: be a toy belonging to the children in the story.

743
00:41:35,040 --> 00:41:37,239
Speaker 3: And he also briefly says, you know what, I'm gonna

744
00:41:37,280 --> 00:41:40,680
Speaker 3: cut out Targo, the boy from space or else. That'll

745
00:41:40,719 --> 00:41:43,719
Speaker 3: just be too many characters. So four characters would be

746
00:41:43,719 --> 00:41:46,000
Speaker 3: too many if he as the monster, He's got to

747
00:41:46,000 --> 00:41:49,680
Speaker 3: get rid of Targo. And so he goes back home,

748
00:41:49,840 --> 00:41:52,440
Speaker 3: gets back to writing, and now the tone of the

749
00:41:52,480 --> 00:41:54,960
Speaker 3: story is a little bit different. He talks into his

750
00:41:55,000 --> 00:41:58,120
Speaker 3: tape recorder and he says Andra and Ulu, visitors with

751
00:41:58,200 --> 00:42:01,920
Speaker 3: power from the Arcanic Galaxy, are a menace to human life,

752
00:42:02,040 --> 00:42:04,840
Speaker 3: and they are approaching the Earth and they're not alone.

753
00:42:05,200 --> 00:42:08,319
Speaker 3: The Monster of the Arcana galaxy is with them? Are

754
00:42:08,360 --> 00:42:12,480
Speaker 3: we ready for that encounter? But while he's talking, we

755
00:42:12,520 --> 00:42:15,239
Speaker 3: see out the window behind Robert and he lives in

756
00:42:15,320 --> 00:42:17,640
Speaker 3: an apartment building that's like right on the water. It's

757
00:42:17,640 --> 00:42:19,960
Speaker 3: on the coast looking out over I guess the Adriatic.

758
00:42:20,800 --> 00:42:24,799
Speaker 3: We see a bright object fall from the sky and

759
00:42:24,880 --> 00:42:28,600
Speaker 3: land on an island across the water. Oh and by

760
00:42:28,600 --> 00:42:30,680
Speaker 3: the way, yes, he is wearing his space helmet in

761
00:42:30,760 --> 00:42:33,520
Speaker 3: this scene. But he goes to the kitchen to get

762
00:42:33,520 --> 00:42:37,320
Speaker 3: a glass of milk, when suddenly his voice memo recorder

763
00:42:37,520 --> 00:42:41,719
Speaker 3: starts talking back to him. It's a woman's voice, very

764
00:42:41,760 --> 00:42:46,520
Speaker 3: tiney and robotic, saying, Robert, we have arrived. This is Andra,

765
00:42:46,760 --> 00:42:50,319
Speaker 3: come find us on the island, and he gets very,

766
00:42:50,520 --> 00:42:52,759
Speaker 3: very freaked out. He checks the tape to see if

767
00:42:52,800 --> 00:42:55,880
Speaker 3: their voices were recorded, but there's only the hiss of static.

768
00:42:55,920 --> 00:42:58,480
Speaker 3: The tape is blank after he stopped talking into it,

769
00:42:59,160 --> 00:43:01,560
Speaker 3: so he doesn't know what to think. But Robert borrows

770
00:43:01,600 --> 00:43:04,320
Speaker 3: a boat from photo Tony photo Tony's got a boat.

771
00:43:04,680 --> 00:43:09,319
Speaker 3: Photo Tony's doing okay, and he motors out to the

772
00:43:09,360 --> 00:43:12,520
Speaker 3: island in photo Tony's boat. He docks, climbs ashore and

773
00:43:12,520 --> 00:43:16,320
Speaker 3: he goes wandering through the forest and then whoa, suddenly

774
00:43:16,760 --> 00:43:20,000
Speaker 3: they are here. So he like follows a flashing blue

775
00:43:20,120 --> 00:43:22,960
Speaker 3: light through the courtyard of this building. I think the

776
00:43:23,000 --> 00:43:25,840
Speaker 3: building is part of a like a tourist resort area

777
00:43:25,880 --> 00:43:29,000
Speaker 3: on the island. And then he goes through the trees

778
00:43:29,200 --> 00:43:32,320
Speaker 3: and then over this rocky landscape and down a ravine

779
00:43:32,719 --> 00:43:35,520
Speaker 3: until he meets the three alien beings. And when he

780
00:43:35,920 --> 00:43:38,480
Speaker 3: meets them, one of the two children starts trying to

781
00:43:38,560 --> 00:43:40,080
Speaker 3: zap him with eye lasers.

782
00:43:41,760 --> 00:43:45,120
Speaker 2: I love the eye lasers. They're they're quite destructive, as

783
00:43:45,160 --> 00:43:45,840
Speaker 2: we'll see later on.

784
00:43:46,200 --> 00:43:49,480
Speaker 3: That's Targo who tries to eye laser him, but Andress

785
00:43:49,480 --> 00:43:52,760
Speaker 3: stops him. So again, they introduce themselves. There, Andra, Ulu

786
00:43:52,800 --> 00:43:56,680
Speaker 3: and Targo and Rob. How would you describe exactly what

787
00:43:56,760 --> 00:43:59,600
Speaker 3: you what they look like. They're wearing like gold suits,

788
00:44:00,200 --> 00:44:03,160
Speaker 3: and I guess you already mentioned they're like the children

789
00:44:03,239 --> 00:44:08,120
Speaker 3: having the long white hair, metal band hair that Andra

790
00:44:08,440 --> 00:44:13,280
Speaker 3: kind of has these gold ridges along her large pale head.

791
00:44:14,600 --> 00:44:16,359
Speaker 3: I don't know what else there is to say. I mean,

792
00:44:16,360 --> 00:44:17,560
Speaker 3: they look strange.

793
00:44:18,080 --> 00:44:21,040
Speaker 2: Yeah, their gold space suits could also be robot bodies,

794
00:44:21,160 --> 00:44:24,080
Speaker 2: especially in the case of Andre And Yeah, she has

795
00:44:24,120 --> 00:44:27,760
Speaker 2: this big head like a like a like a heightened

796
00:44:27,800 --> 00:44:31,880
Speaker 2: forehead situation going on, which is of course used a

797
00:44:31,880 --> 00:44:35,799
Speaker 2: lot of times, especially with you know, aliens of like

798
00:44:35,920 --> 00:44:39,279
Speaker 2: fifties and sixties science fiction. But here it is it's

799
00:44:39,320 --> 00:44:42,520
Speaker 2: done so well. Like it doesn't it doesn't look fake

800
00:44:42,640 --> 00:44:46,719
Speaker 2: it it's just it just looks exceptional. I loved it.

801
00:44:47,200 --> 00:44:51,760
Speaker 3: Yeah. Is there a Missus Exeter maybe maybe right here?

802
00:44:52,160 --> 00:44:54,319
Speaker 2: And they must have I mean, this makeup job must

803
00:44:54,320 --> 00:44:59,360
Speaker 2: have been really taxed the artist behind it, because she

804
00:44:59,600 --> 00:45:01,560
Speaker 2: has these tubes as well that come out of the

805
00:45:01,560 --> 00:45:05,080
Speaker 2: side of her head and go into her jawline. Yeah,

806
00:45:05,080 --> 00:45:08,040
Speaker 2: And granted she's not doing a lot of like emoting

807
00:45:08,120 --> 00:45:11,400
Speaker 2: with her face, but she is speaking lines and like

808
00:45:11,880 --> 00:45:14,000
Speaker 2: you never see a shot where it looks like anything's

809
00:45:14,040 --> 00:45:17,440
Speaker 2: cracking or coming apart. It looks great every time he's

810
00:45:17,480 --> 00:45:17,960
Speaker 2: on the screen.

811
00:45:18,280 --> 00:45:21,520
Speaker 3: When we first meet the kids, Targo says to Robert,

812
00:45:21,680 --> 00:45:24,080
Speaker 3: you wanted to remove me from the story, but you

813
00:45:24,160 --> 00:45:28,000
Speaker 3: were unsuccessful. There's something so threatening about that.

814
00:45:28,840 --> 00:45:32,600
Speaker 2: Yeah, already we see that he doesn't have control over

815
00:45:32,680 --> 00:45:35,879
Speaker 2: what he's creating. He doesn't have control over his imagination.

816
00:45:36,320 --> 00:45:39,319
Speaker 2: He tried to prune it a little bit, and his

817
00:45:39,640 --> 00:45:41,279
Speaker 2: imagined world rejected the.

818
00:45:41,280 --> 00:45:46,080
Speaker 3: Change, that's right, and Targo, seemingly upset by this, he

819
00:45:46,120 --> 00:45:48,760
Speaker 3: throws out his toy, a little toy he has with him,

820
00:45:48,960 --> 00:45:51,800
Speaker 3: which grows to a giant size. And this is moumoo

821
00:45:51,920 --> 00:45:54,320
Speaker 3: the monster. But at this moment we only get a glimpse,

822
00:45:54,320 --> 00:45:56,359
Speaker 3: so maybe we won't fully describe it yet.

823
00:45:56,760 --> 00:45:58,520
Speaker 2: Yeah, at this point we can just tell that it's

824
00:45:58,920 --> 00:46:02,000
Speaker 2: roughly by peedle, has kind of a snout or a

825
00:46:02,040 --> 00:46:04,759
Speaker 2: trunk going on. But you don't really get much more

826
00:46:04,800 --> 00:46:05,040
Speaker 2: than that.

827
00:46:05,600 --> 00:46:09,720
Speaker 3: Right, So Robert is chased by the monster. He runs away.

828
00:46:10,080 --> 00:46:12,800
Speaker 3: Then he's chased by what looks like a glowing blue

829
00:46:12,960 --> 00:46:15,480
Speaker 3: Christmas ornament that floats in the air. It's like a

830
00:46:15,880 --> 00:46:19,680
Speaker 3: sky blue ball with these greebles on it. He gets

831
00:46:19,680 --> 00:46:22,720
Speaker 3: in the boat, he tries to drive away. He wields

832
00:46:22,760 --> 00:46:25,640
Speaker 3: it I think a beer bottle and self defense against

833
00:46:25,680 --> 00:46:30,279
Speaker 3: the thing, and the ship just keeps chasing him. He

834
00:46:30,480 --> 00:46:33,000
Speaker 3: jumps out of the boat somehow, I don't know. Somehow

835
00:46:33,040 --> 00:46:34,920
Speaker 3: he ends up back back home.

836
00:46:35,560 --> 00:46:37,840
Speaker 2: Yeah, yeah, rather freaked out by the whole encounter.

837
00:46:38,239 --> 00:46:41,200
Speaker 3: Right, So the next day Robert goes to speak to

838
00:46:41,400 --> 00:46:44,800
Speaker 3: a professor. It's just a character, just called the professor

839
00:46:45,280 --> 00:46:49,000
Speaker 3: about whether he is having a psychotic episode. He's like, yeah,

840
00:46:49,040 --> 00:46:51,279
Speaker 3: here's what I saw, doc. And the doctor is like,

841
00:46:51,400 --> 00:46:54,359
Speaker 3: do you use drugs? And he says no, and he's like, oh, well,

842
00:46:54,360 --> 00:46:57,520
Speaker 3: it seems all right then. But he explains a bit

843
00:46:57,560 --> 00:47:02,160
Speaker 3: about his personal history. Robert says that sadly, his mother

844
00:47:02,239 --> 00:47:05,160
Speaker 3: died when he was born, but when he was a baby,

845
00:47:05,360 --> 00:47:10,000
Speaker 3: he wanted milk, and he psychically made his father grow

846
00:47:10,120 --> 00:47:14,240
Speaker 3: breasts so that his dad could breastfeed him. That's the story.

847
00:47:14,440 --> 00:47:17,200
Speaker 2: You might ask, well, how would he remember that, Well,

848
00:47:18,840 --> 00:47:21,839
Speaker 2: he probably he would not remember that. I think if

849
00:47:21,840 --> 00:47:23,040
Speaker 2: you go back to some of our stuff to blow

850
00:47:23,080 --> 00:47:26,680
Speaker 2: your mind episodes on this. But luckily the movie depicts

851
00:47:26,719 --> 00:47:30,920
Speaker 2: this entire scene. We see his father grow breast and

852
00:47:30,960 --> 00:47:35,239
Speaker 2: then breastfeed the young baby Robert. And already, you know,

853
00:47:35,640 --> 00:47:37,640
Speaker 2: there's been plenty of weird stuff already in the film,

854
00:47:37,680 --> 00:47:40,360
Speaker 2: but this was a scene that really lets you know like, Okay,

855
00:47:40,400 --> 00:47:43,240
Speaker 2: this movie is going to continue to take some sharp

856
00:47:43,280 --> 00:47:45,200
Speaker 2: turns that you were not anticipating.

857
00:47:45,400 --> 00:47:49,960
Speaker 3: Yes, psychic powers making yeah, yeah, So the professor listens

858
00:47:49,960 --> 00:47:52,160
Speaker 3: to this story kind of nods, He's like, oh yeah, yeah,

859
00:47:52,160 --> 00:47:56,440
Speaker 3: that's called tellergy, he said. The professor says, this concept

860
00:47:56,480 --> 00:47:59,320
Speaker 3: is not yet proven, but it's under intense study in

861
00:47:59,360 --> 00:48:03,480
Speaker 3: parapsycholic and it's a condition where a person of intense

862
00:48:03,600 --> 00:48:08,040
Speaker 3: willpower can make their desires manifest as physical reality. And

863
00:48:08,120 --> 00:48:11,920
Speaker 3: Robert's like, oh cool. And the professor is like, do

864
00:48:11,960 --> 00:48:14,719
Speaker 3: you have a problem or an obsession that is bothering you?

865
00:48:15,200 --> 00:48:17,480
Speaker 3: And of course Robert does. It's the book he wants

866
00:48:17,520 --> 00:48:19,640
Speaker 3: to write. But you know, he's like, it's always on

867
00:48:19,719 --> 00:48:22,160
Speaker 3: his mind, but he's being bothered all the time. He's

868
00:48:22,160 --> 00:48:24,879
Speaker 3: not really able to write it. And while they're sitting there,

869
00:48:24,960 --> 00:48:28,960
Speaker 3: Robert psychically manifests a book on the professor's desk. It

870
00:48:29,080 --> 00:48:33,000
Speaker 3: just like appears out of thin air. And the Professor's like, oh,

871
00:48:33,000 --> 00:48:36,200
Speaker 3: that's interesting. You just made a book appear. So he's like, okay,

872
00:48:36,200 --> 00:48:38,640
Speaker 3: I'm going to write you a prescription for chilling out.

873
00:48:38,800 --> 00:48:44,680
Speaker 3: You need to relax, and Robert says, okay. This is

874
00:48:44,719 --> 00:48:48,280
Speaker 3: a good scene. And then after this, Robert he picks

875
00:48:48,360 --> 00:48:51,120
Speaker 3: up the book that he psychically manifested in the desk

876
00:48:51,280 --> 00:48:54,040
Speaker 3: and he takes it to his sci fi buddy from earlier,

877
00:48:54,160 --> 00:48:57,719
Speaker 3: who I think he's working at a bookstore, and when

878
00:48:57,800 --> 00:49:00,200
Speaker 3: going into the store, the guy is talking to another

879
00:49:00,280 --> 00:49:04,200
Speaker 3: customer and he's like, ah, yes, it's an alien beast

880
00:49:04,200 --> 00:49:07,400
Speaker 3: from another galaxy. It you know, it eats everyone. And

881
00:49:07,480 --> 00:49:09,839
Speaker 3: Robert interrupts him to be like, hey, I just made

882
00:49:09,920 --> 00:49:13,080
Speaker 3: this book appear. Do you have another copy of it?

883
00:49:13,120 --> 00:49:15,759
Speaker 3: I think, is what he asks, and the guy's like, no,

884
00:49:16,120 --> 00:49:18,839
Speaker 3: this book says it's by you, and Robert says that's right.

885
00:49:19,000 --> 00:49:21,359
Speaker 3: And then the owner of the shop, I think, comes

886
00:49:21,400 --> 00:49:23,080
Speaker 3: in and looks at the book and says, all the

887
00:49:23,120 --> 00:49:25,359
Speaker 3: pages are blank. This isn't a book, you know, come

888
00:49:25,400 --> 00:49:36,920
Speaker 3: back when when it's got words in it. So we

889
00:49:36,960 --> 00:49:40,480
Speaker 3: get some a little more seeing into Robert's mundane day

890
00:49:40,520 --> 00:49:43,720
Speaker 3: to day life. He's doing a pretty crummy job at work.

891
00:49:44,080 --> 00:49:46,960
Speaker 3: His day job is he's a desk clerk at like

892
00:49:47,000 --> 00:49:50,719
Speaker 3: a hotel or resort on the coast here, and he

893
00:49:50,760 --> 00:49:52,880
Speaker 3: gets in trouble with his boss for having a beard.

894
00:49:53,040 --> 00:49:54,839
Speaker 3: His boss is like, shave that thing off.

895
00:49:55,640 --> 00:49:59,400
Speaker 2: Yeah, it doesn't look like a great work environment. His

896
00:49:59,440 --> 00:50:01,320
Speaker 2: boss does seem like a bit of a meanie, but

897
00:50:02,200 --> 00:50:04,279
Speaker 2: Robert's could have clearly not putting a lot.

898
00:50:04,200 --> 00:50:06,839
Speaker 3: Of effort into the whole endeavor yeah, it is bad

899
00:50:06,880 --> 00:50:08,919
Speaker 3: on every end. I think his boss would be mean

900
00:50:09,000 --> 00:50:11,640
Speaker 3: even if he was a good employee. But he's not

901
00:50:11,719 --> 00:50:16,320
Speaker 3: really trying. No. But later that night, the voice contacts

902
00:50:16,400 --> 00:50:19,480
Speaker 3: Robert again through the recorder, and Andrew is there. She

903
00:50:19,920 --> 00:50:24,399
Speaker 3: tells him that she and the space aliens, all three

904
00:50:24,440 --> 00:50:27,799
Speaker 3: of them, belong to him because he created them, and

905
00:50:27,840 --> 00:50:30,160
Speaker 3: he's got to come back to the island. Oh but

906
00:50:30,280 --> 00:50:32,359
Speaker 3: before he goes back to the island, it shows more

907
00:50:32,480 --> 00:50:36,839
Speaker 3: relationship problems between Robert and Biba. Her family is mad

908
00:50:36,880 --> 00:50:40,080
Speaker 3: at him for acting strangely and being a bad boyfriend.

909
00:50:40,440 --> 00:50:42,719
Speaker 3: But Robert knows how to fix it. He's going to

910
00:50:42,760 --> 00:50:44,920
Speaker 3: take Biba out to the island and show her that

911
00:50:45,000 --> 00:50:48,840
Speaker 3: his alien robot characters have physically manifested and come to life,

912
00:50:49,040 --> 00:50:51,839
Speaker 3: which is the perfect way to save any relationship that's

913
00:50:51,880 --> 00:50:55,759
Speaker 3: on the rocks. That's right, totally the right move. So

914
00:50:55,840 --> 00:50:58,000
Speaker 3: they go out, they explore the island. They see the

915
00:50:58,040 --> 00:51:01,799
Speaker 3: giant glowing blue Christmas ornament going inside a cave. And

916
00:51:01,840 --> 00:51:04,239
Speaker 3: you know what, I'm surprised here because what I expected

917
00:51:04,239 --> 00:51:06,040
Speaker 3: to happen would be that he could see them and

918
00:51:06,120 --> 00:51:08,680
Speaker 3: she couldn't. You know, that seems like what would happen

919
00:51:08,719 --> 00:51:11,359
Speaker 3: in another movie, but no, she immediately sees it too,

920
00:51:11,520 --> 00:51:14,600
Speaker 3: and so it's like totally physically externally real for her

921
00:51:14,640 --> 00:51:18,799
Speaker 3: as well. And she sees Andra and Targo and Ulu

922
00:51:19,120 --> 00:51:22,640
Speaker 3: and they are having quote an anatomy class where they

923
00:51:22,640 --> 00:51:26,440
Speaker 3: have captured a guard from the resort on the island

924
00:51:26,560 --> 00:51:29,160
Speaker 3: and they are dissecting him and removing his heart.

925
00:51:30,320 --> 00:51:33,200
Speaker 2: Yes, which then this scene I have to stress it

926
00:51:33,280 --> 00:51:36,080
Speaker 2: is not anywhere near as graphic as that may sound,

927
00:51:36,480 --> 00:51:39,680
Speaker 2: but it is like one hundred percent weirder than we

928
00:51:39,719 --> 00:51:42,399
Speaker 2: made it sound too, because it's like floating and they've

929
00:51:42,440 --> 00:51:46,520
Speaker 2: like bloodlessly removed his heart and he's and also the

930
00:51:46,800 --> 00:51:49,360
Speaker 2: guard is seemingly like a wake during the whole process.

931
00:51:49,360 --> 00:51:52,600
Speaker 2: He's just kind of like, uh, and it's wonderful.

932
00:51:53,280 --> 00:51:57,400
Speaker 3: So Robert then sees the blue sphere floating around and

933
00:51:57,400 --> 00:51:59,359
Speaker 3: he's like, I'm gonna touch it. I want to touch

934
00:51:59,400 --> 00:52:02,040
Speaker 3: the blue sphere. So he reaches out, he touches it,

935
00:52:02,120 --> 00:52:06,239
Speaker 3: and this destroys it. It like it explodes and disappears.

936
00:52:06,600 --> 00:52:09,560
Speaker 3: And then Andra is furious with him. She says, you know,

937
00:52:09,600 --> 00:52:12,000
Speaker 3: this is our ship. How are we going to get

938
00:52:12,000 --> 00:52:14,960
Speaker 3: home now? But she has a solution. She says, in

939
00:52:15,040 --> 00:52:17,400
Speaker 3: situations like this, the only thing to do is to

940
00:52:17,440 --> 00:52:21,520
Speaker 3: go back in time. So Andra opens up her torso

941
00:52:21,680 --> 00:52:25,480
Speaker 3: and shows us her mechanical guts and then winds back

942
00:52:25,560 --> 00:52:28,760
Speaker 3: the clock to the time before Robert touched the ship,

943
00:52:29,040 --> 00:52:31,160
Speaker 3: and this time she interrupts him before he does it.

944
00:52:31,760 --> 00:52:35,879
Speaker 2: This insight into the inner workings of Android are very

945
00:52:35,920 --> 00:52:40,719
Speaker 2: well done as well. It's varies glowing and mechanical, and

946
00:52:40,920 --> 00:52:44,120
Speaker 2: in a later scene we see I believe Robert like

947
00:52:44,200 --> 00:52:47,800
Speaker 2: look through from the other side, which reminded me specifically

948
00:52:47,880 --> 00:52:49,440
Speaker 2: of a scene in Tobor the Great.

949
00:52:49,920 --> 00:52:50,120
Speaker 3: Yes.

950
00:52:50,840 --> 00:52:53,239
Speaker 2: Yeah, so I wonder if that was inspiration or if

951
00:52:53,239 --> 00:52:54,960
Speaker 2: this was like maybe a common trope of sort of

952
00:52:55,000 --> 00:52:56,640
Speaker 2: old robot movies that inspired it.

953
00:52:57,040 --> 00:53:00,160
Speaker 3: Wow, if this movie was inspired by Towbor, that that

954
00:53:00,200 --> 00:53:03,759
Speaker 3: would be something. Why not that I would mean two

955
00:53:03,840 --> 00:53:08,279
Speaker 3: degrees of separation from the Christmas Carol sponsored by the

956
00:53:08,320 --> 00:53:12,320
Speaker 3: Magnavox Corporation to visitors from the Arcanic Galaxy.

957
00:53:14,560 --> 00:53:17,399
Speaker 2: Now, this is a lot for Biba to take in here, Yes,

958
00:53:17,640 --> 00:53:20,640
Speaker 2: and I think we should not be shocked to see

959
00:53:20,680 --> 00:53:21,839
Speaker 2: that she freaks out a little bit.

960
00:53:22,040 --> 00:53:24,600
Speaker 3: That's right, She gets scared and tries to run away

961
00:53:25,080 --> 00:53:28,200
Speaker 3: Andre says she cannot escape, and then zaps her with

962
00:53:28,239 --> 00:53:32,240
Speaker 3: some kind of energy beam which transforms Biba into a cube.

963
00:53:32,320 --> 00:53:35,000
Speaker 3: It like shrinks her into a metallic cube, first, a

964
00:53:35,200 --> 00:53:39,560
Speaker 3: larger I don't know, like maybe foot cube, metallic cube

965
00:53:39,560 --> 00:53:42,399
Speaker 3: with a hand sticking out of it, and then they

966
00:53:42,440 --> 00:53:45,439
Speaker 3: shrink her into an even smaller cube that can fit

967
00:53:45,520 --> 00:53:47,120
Speaker 3: into the palm of Robert's hand.

968
00:53:47,560 --> 00:53:50,120
Speaker 2: Yes, I think one of the children initially zaps her,

969
00:53:50,400 --> 00:53:52,600
Speaker 2: and then Andre has to finish it, and she says,

970
00:53:52,600 --> 00:53:55,879
Speaker 2: so you can't do that yet. Yeah, you haven't worked

971
00:53:55,880 --> 00:53:56,399
Speaker 2: out the art.

972
00:53:56,880 --> 00:54:00,160
Speaker 3: Your skill at shrinking people into metallic cubes is not

973
00:54:00,280 --> 00:54:04,040
Speaker 3: yet perfected. This is another classic way to heal a

974
00:54:04,040 --> 00:54:07,640
Speaker 3: struggling relationship. One of you at least has to temporarily

975
00:54:07,680 --> 00:54:11,799
Speaker 3: transform into a cube. That's right. And the aliens start

976
00:54:11,800 --> 00:54:14,000
Speaker 3: talking to Robert. They're like, are you a mammal? And

977
00:54:14,040 --> 00:54:17,600
Speaker 3: he says yeah, and they're like gross. And the children

978
00:54:17,760 --> 00:54:22,520
Speaker 3: marvel at the fact of how primitive an undeveloped Robert

979
00:54:22,600 --> 00:54:25,759
Speaker 3: is and the paradox that he created them. They are

980
00:54:25,800 --> 00:54:29,000
Speaker 3: the much more advanced beings with all this technology and

981
00:54:29,000 --> 00:54:33,439
Speaker 3: intelligence and everything, and they were created by this being

982
00:54:33,480 --> 00:54:36,080
Speaker 3: that is far less complex than they are, which is

983
00:54:36,160 --> 00:54:40,520
Speaker 3: kind of an interesting theme. Like Targo, as this character

984
00:54:40,560 --> 00:54:43,480
Speaker 3: from a sci fi planet, knows about ways that he

985
00:54:43,560 --> 00:54:47,359
Speaker 3: could have been imagined that Robert doesn't know about. So

986
00:54:47,440 --> 00:54:50,080
Speaker 3: Targo is like, if our creator had been more advanced,

987
00:54:50,120 --> 00:54:53,279
Speaker 3: we could have had para lasers in our eyes. They

988
00:54:53,280 --> 00:54:56,560
Speaker 3: don't specify how para lasers are better or more advanced

989
00:54:56,600 --> 00:54:59,919
Speaker 3: than the regular eye lasers Targo already has, but that's

990
00:55:00,160 --> 00:55:04,359
Speaker 3: to be understood. And so the kids are kind of like,

991
00:55:04,640 --> 00:55:07,360
Speaker 3: they're kind of bummed out. They're like, if only Robert

992
00:55:07,520 --> 00:55:10,879
Speaker 3: had been from a more advanced planet, then we could

993
00:55:10,880 --> 00:55:14,319
Speaker 3: have been imagined with more advanced capabilities of our own.

994
00:55:15,200 --> 00:55:18,439
Speaker 2: Yeah, and Targo, I think, still has a grudge about

995
00:55:18,440 --> 00:55:21,960
Speaker 2: the whole attempted pruning from the Fantastic narrative.

996
00:55:22,600 --> 00:55:25,200
Speaker 3: That's right, Targo never really gets over it. He's got

997
00:55:25,239 --> 00:55:26,800
Speaker 3: a chip on his shoulder the whole time.

998
00:55:27,239 --> 00:55:30,560
Speaker 2: Yeah, you tried to cut me from the story, and

999
00:55:30,640 --> 00:55:31,400
Speaker 2: I refuse to go.

1000
00:55:32,160 --> 00:55:35,680
Speaker 3: But Andra is more interested in what Robert has imagined

1001
00:55:35,719 --> 00:55:38,120
Speaker 3: for their future. She's like, what's in the next chapter

1002
00:55:38,160 --> 00:55:40,880
Speaker 3: of the story. And Robert doesn't really have an answer

1003
00:55:40,920 --> 00:55:43,160
Speaker 3: for that, because you know, he's not very he's not

1004
00:55:43,200 --> 00:55:46,040
Speaker 3: really into the details the plot mechanics. He's a big

1005
00:55:46,080 --> 00:55:49,920
Speaker 3: ideas guy. Yeah. Oh. But then in one of the

1006
00:55:50,880 --> 00:55:53,640
Speaker 3: funniest scenes in the movie, even though it does involve

1007
00:55:53,680 --> 00:55:56,920
Speaker 3: corporal punishment of children, not usually funny, but funny in

1008
00:55:56,920 --> 00:56:01,000
Speaker 3: this case, Andre disciplines the children after they eye laser

1009
00:56:01,120 --> 00:56:04,800
Speaker 3: her fingers off. So I think Targo shoots her fingers

1010
00:56:04,840 --> 00:56:08,319
Speaker 3: off with beams of light from his eyes, and then

1011
00:56:08,360 --> 00:56:11,239
Speaker 3: she whips the children with a lightsaber.

1012
00:56:11,600 --> 00:56:14,320
Speaker 2: Yeah, she grows the missing finger back and then yeah,

1013
00:56:14,400 --> 00:56:17,120
Speaker 2: one of her fingers extends into a lightsaber and you're like, oh,

1014
00:56:17,120 --> 00:56:20,120
Speaker 2: what's gonna happen next? Just she starts spanking the knuckles,

1015
00:56:20,200 --> 00:56:23,880
Speaker 2: lashing the knuckles of the children and they're like oh wow, which, again,

1016
00:56:24,320 --> 00:56:28,040
Speaker 2: normally maybe wouldn't be funny, but in this scene is hilarious.

1017
00:56:28,440 --> 00:56:32,000
Speaker 3: Yeah. Great. So back on land, Robert has to explain

1018
00:56:32,040 --> 00:56:35,160
Speaker 3: to Biba's sister that she has been transformed into a cube,

1019
00:56:35,560 --> 00:56:38,360
Speaker 3: and Beba's sister she doesn't like. She gets mad, she

1020
00:56:38,480 --> 00:56:40,719
Speaker 3: knocks the cube into the water and then he's like,

1021
00:56:40,800 --> 00:56:43,319
Speaker 3: oh no, she's down to the water. So they have

1022
00:56:43,360 --> 00:56:45,320
Speaker 3: to get a diver to find the cube.

1023
00:56:46,080 --> 00:56:48,600
Speaker 2: They taste great because Beba's sister too, is like, she

1024
00:56:48,640 --> 00:56:52,120
Speaker 2: doesn't outright say I think he killed my sister, but

1025
00:56:52,239 --> 00:56:55,879
Speaker 2: it's heavily implied, like what on earth has happened here?

1026
00:56:56,680 --> 00:56:58,480
Speaker 2: But then he keeps going on about this cube, and

1027
00:56:58,520 --> 00:57:00,759
Speaker 2: she's like, okay, I get saw listened to.

1028
00:57:00,719 --> 00:57:04,080
Speaker 3: Him, yes, and then but well, actually, Biba's got multiple sisters,

1029
00:57:04,120 --> 00:57:06,759
Speaker 3: so Biba's I think her older sister is the one

1030
00:57:06,760 --> 00:57:09,880
Speaker 3: who's skeptical. Biba's little sister seems to believe it, but

1031
00:57:09,920 --> 00:57:11,759
Speaker 3: she's like, Okay, we got to cut the cube open

1032
00:57:11,800 --> 00:57:14,600
Speaker 3: to get her out, but Robert has to explain no, no, no,

1033
00:57:14,640 --> 00:57:17,200
Speaker 3: she's not in the cube. She is the cube, so

1034
00:57:17,240 --> 00:57:21,800
Speaker 3: you can't cut it. Eventually, the cube spontaneously transforms back

1035
00:57:21,840 --> 00:57:23,160
Speaker 3: into Beiba, proving him right.

1036
00:57:23,760 --> 00:57:27,439
Speaker 2: Yeah, and I think the children or Andre had said

1037
00:57:27,440 --> 00:57:29,760
Speaker 2: that it was only temporary, so it's well timed before

1038
00:57:29,760 --> 00:57:32,440
Speaker 2: anyone could freak out any longer, or anyone could be

1039
00:57:32,560 --> 00:57:33,360
Speaker 2: charged with murder.

1040
00:57:34,040 --> 00:57:36,200
Speaker 3: If you thought things were weird so far, it is

1041
00:57:36,240 --> 00:57:39,880
Speaker 3: going to get so much stranger on the island. There's

1042
00:57:39,880 --> 00:57:43,840
Speaker 3: a sequence of events where like a tourist child no no, no,

1043
00:57:43,880 --> 00:57:48,640
Speaker 3: the child of the cook in the resort there finds

1044
00:57:49,200 --> 00:57:53,520
Speaker 3: the severed Andra finger, so like the severed alien robot finger,

1045
00:57:54,040 --> 00:57:57,680
Speaker 3: and takes it into the restaurant kitchen at the resort

1046
00:57:57,960 --> 00:58:00,400
Speaker 3: and is like, Dad, look a finger. And he's holding

1047
00:58:00,440 --> 00:58:03,160
Speaker 3: it right there next to a meat grinder, and all

1048
00:58:03,200 --> 00:58:06,680
Speaker 3: these tourists come into the kitchen, including photo Tony who's

1049
00:58:06,680 --> 00:58:09,640
Speaker 3: standing there with his camera, and they're all watching as

1050
00:58:09,680 --> 00:58:13,720
Speaker 3: they're holding this finger over the meat grinder. The finger

1051
00:58:13,800 --> 00:58:16,560
Speaker 3: falls in, it gets ground up with the other meat,

1052
00:58:16,600 --> 00:58:18,480
Speaker 3: which they do. They do explain what the meat is

1053
00:58:18,480 --> 00:58:20,960
Speaker 3: gonna be used for. It's gonna be to make stuffed peppers,

1054
00:58:22,280 --> 00:58:26,080
Speaker 3: and then the finger gets ground into a metallic powder.

1055
00:58:26,560 --> 00:58:28,840
Speaker 3: And there is a large man with a red beard

1056
00:58:28,880 --> 00:58:33,000
Speaker 3: who just keeps appearing and sort of like issuing authoritative statements.

1057
00:58:33,040 --> 00:58:34,560
Speaker 3: I don't know who this guy is or where he

1058
00:58:34,600 --> 00:58:36,920
Speaker 3: comes from. The big guy with the beard, he just

1059
00:58:37,000 --> 00:58:41,320
Speaker 3: looks at the bowl of ground meat. He says, that's

1060
00:58:41,360 --> 00:58:42,320
Speaker 3: not a human finger.

1061
00:58:43,000 --> 00:58:45,680
Speaker 2: This guy, I think must I think he's the town crackpot.

1062
00:58:46,200 --> 00:58:49,160
Speaker 2: I think we glimpse him earlier in the sci fi bookstore.

1063
00:58:49,240 --> 00:58:52,960
Speaker 2: I'm not sure. Oh, and I think the actor who

1064
00:58:53,000 --> 00:58:55,880
Speaker 2: plays him, who I looked him up in it. He's

1065
00:58:56,000 --> 00:58:59,680
Speaker 2: rather tall. I think he plays Frankenstein in the Transylvania

1066
00:58:59,720 --> 00:59:01,280
Speaker 2: film we were talking about earlier.

1067
00:59:01,400 --> 00:59:02,360
Speaker 3: Oh that's funny.

1068
00:59:02,680 --> 00:59:05,560
Speaker 2: Yeah, but it's like he's the town crackpot and now

1069
00:59:05,560 --> 00:59:07,840
Speaker 2: it is his time to shine. And I love how

1070
00:59:07,840 --> 00:59:09,400
Speaker 2: people start listening to him.

1071
00:59:09,760 --> 00:59:12,360
Speaker 3: Yeah. Wait a minute, when you say he played he

1072
00:59:12,400 --> 00:59:14,560
Speaker 3: plays Victor Frankenstein replays the creature.

1073
00:59:14,880 --> 00:59:17,640
Speaker 2: Oh, well, you know I Frankenstein the monster.

1074
00:59:17,800 --> 00:59:19,760
Speaker 3: Yes, Oh okay, I'm not trying to be pedantic. I

1075
00:59:19,800 --> 00:59:21,840
Speaker 3: just didn't know for sure.

1076
00:59:22,080 --> 00:59:26,880
Speaker 2: Is Victor Frankenstein in They had Bagley Junior translating idea.

1077
00:59:26,920 --> 00:59:27,720
Speaker 3: I don't remember.

1078
00:59:28,800 --> 00:59:31,000
Speaker 2: There is some sort of Frankenstein's monster in it, and

1079
00:59:31,080 --> 00:59:33,280
Speaker 2: I believe this is the gentleman who also plays it.

1080
00:59:34,160 --> 00:59:36,840
Speaker 3: So everybody on this island now it's full of tourists.

1081
00:59:37,120 --> 00:59:38,560
Speaker 3: They all been hanging out of the beach and I

1082
00:59:38,560 --> 00:59:40,600
Speaker 3: guess they're bored and they want to see aliens. Now

1083
00:59:40,600 --> 00:59:42,600
Speaker 3: They're like, all right, that wasn't a human finger, so

1084
00:59:42,640 --> 00:59:44,880
Speaker 3: there must be aliens on the island. So they start

1085
00:59:45,240 --> 00:59:48,320
Speaker 3: like running all around trying to find the aliens. There

1086
00:59:48,400 --> 00:59:51,480
Speaker 3: are dudes in wetsuits with spear guns who say they're

1087
00:59:51,480 --> 00:59:54,240
Speaker 3: gonna hunt the aliens, and they go to the cave

1088
00:59:54,440 --> 00:59:57,960
Speaker 3: where the aliens are hanging out and shoot spear guns

1089
00:59:58,000 --> 01:00:01,160
Speaker 3: at them, and there's like a laser battle where the

1090
01:00:01,200 --> 01:00:04,520
Speaker 3: aliens are shooting you know, cyclops I beams at them

1091
01:00:04,840 --> 01:00:07,600
Speaker 3: and Ulu Zapp's one of the spear gun men on

1092
01:00:07,640 --> 01:00:08,920
Speaker 3: the butt with a laser.

1093
01:00:09,400 --> 01:00:11,200
Speaker 2: Oh. This seems great because it's like they're trying to

1094
01:00:11,200 --> 01:00:13,600
Speaker 2: make this aquatic landing. It's like the Battle of the

1095
01:00:14,000 --> 01:00:17,240
Speaker 2: the Alien Cave, and the eye beams are just causing

1096
01:00:17,440 --> 01:00:20,440
Speaker 2: enormous explosions in the water, which I guess it's due

1097
01:00:20,480 --> 01:00:23,240
Speaker 2: to like like the rapid thermal heating.

1098
01:00:22,960 --> 01:00:24,080
Speaker 3: Of the of the water.

1099
01:00:24,480 --> 01:00:28,160
Speaker 2: That probably, Yeah, the effect is explosives in the water.

1100
01:00:28,520 --> 01:00:29,520
Speaker 3: But it's great.

1101
01:00:29,560 --> 01:00:31,640
Speaker 2: It's like wow, it's like this is this is it.

1102
01:00:31,840 --> 01:00:35,800
Speaker 2: It's like the children are artillery in a battle.

1103
01:00:35,800 --> 01:00:39,760
Speaker 3: It's wonderful. Yeah, And so this causes tourists from the

1104
01:00:39,800 --> 01:00:42,520
Speaker 3: beach now they know the aliens are in the caves,

1105
01:00:42,600 --> 01:00:46,280
Speaker 3: so like hundreds of tourists flood into the caves to

1106
01:00:46,280 --> 01:00:49,000
Speaker 3: find the aliens. And I don't even know where this

1107
01:00:49,040 --> 01:00:51,120
Speaker 3: comes from, a bunch of them start yelling and they're

1108
01:00:51,160 --> 01:00:53,320
Speaker 3: like come out and meet us, and they decide to

1109
01:00:53,360 --> 01:00:56,360
Speaker 3: get naked to prove to the aliens they are harmless.

1110
01:00:56,400 --> 01:00:58,400
Speaker 3: So a bunch of the tourists just like take all

1111
01:00:58,440 --> 01:01:01,200
Speaker 3: their clothes off, except they've still got shoes on, and

1112
01:01:01,200 --> 01:01:04,400
Speaker 3: they're running around in the cave naked but with shoes.

1113
01:01:04,960 --> 01:01:07,360
Speaker 3: And then the big guy with the beard is there

1114
01:01:07,360 --> 01:01:09,000
Speaker 3: and he's like, if you see them, don't make any

1115
01:01:09,080 --> 01:01:10,760
Speaker 3: sudden moves. Yes.

1116
01:01:10,840 --> 01:01:14,240
Speaker 2: They then say something about just smile, just smile and

1117
01:01:14,240 --> 01:01:15,400
Speaker 2: look peaceful or something.

1118
01:01:15,520 --> 01:01:15,960
Speaker 3: Yeah.

1119
01:01:16,120 --> 01:01:20,080
Speaker 2: I love this. Barker in her notes points out that

1120
01:01:20,160 --> 01:01:24,320
Speaker 2: it's like this inversion of the Frankenstein scenario where the

1121
01:01:24,440 --> 01:01:27,560
Speaker 2: villagers instead of grabbing pitchforks and going up there and like,

1122
01:01:27,600 --> 01:01:29,360
Speaker 2: let's get him. Though I guess we do see that

1123
01:01:29,400 --> 01:01:32,600
Speaker 2: initially with the first phase of the assault, but here

1124
01:01:32,680 --> 01:01:35,200
Speaker 2: with the villagers, it's more of like, no, let's just

1125
01:01:35,280 --> 01:01:37,120
Speaker 2: take all our clothes off so they know that we're

1126
01:01:37,760 --> 01:01:40,480
Speaker 2: just soft and harmless. Yeah, and we don't wish them

1127
01:01:40,520 --> 01:01:43,880
Speaker 2: any harm, though we are still rapidly invading their space.

1128
01:01:44,080 --> 01:01:49,480
Speaker 3: Yeah, maximum disarmament of just getting completely naked. Yeah, But

1129
01:01:49,520 --> 01:01:51,440
Speaker 3: they go looking around in the caves, they don't find him.

1130
01:01:51,480 --> 01:01:54,120
Speaker 3: It's like where are they? It turns out the aliens

1131
01:01:54,120 --> 01:01:57,760
Speaker 3: have moved into Robert's apartment. So he comes. Yeah, Robert

1132
01:01:57,760 --> 01:02:01,600
Speaker 3: comes home and he finds Andra operating her own hand

1133
01:02:01,680 --> 01:02:04,600
Speaker 3: as a magical vacuum cleaner on the floors and she's

1134
01:02:04,640 --> 01:02:07,360
Speaker 3: like vacuuming. He drops his groceries when he sees her,

1135
01:02:07,840 --> 01:02:11,520
Speaker 3: and her vacuum cleaner sucks up objects as large as

1136
01:02:11,560 --> 01:02:12,960
Speaker 3: an apple and a baguette.

1137
01:02:13,400 --> 01:02:16,480
Speaker 2: Yeah, some nice stop motion work here, and yeah, I

1138
01:02:16,520 --> 01:02:19,240
Speaker 2: love that her arm is extended into a vacuum cleaner.

1139
01:02:19,560 --> 01:02:22,040
Speaker 2: And when she's done with it, like it glows and

1140
01:02:22,080 --> 01:02:24,200
Speaker 2: then shrinks back down to a normal hand again.

1141
01:02:24,560 --> 01:02:27,120
Speaker 3: So he says he's hungry, and she offers to cook

1142
01:02:27,200 --> 01:02:29,520
Speaker 3: for him. She's like, you know, what do you want?

1143
01:02:29,600 --> 01:02:31,240
Speaker 3: And he says, you know what, I would like a

1144
01:02:31,280 --> 01:02:35,280
Speaker 3: steak Pomfrey and a salad. And so she makes him

1145
01:02:35,280 --> 01:02:38,120
Speaker 3: a steak, Pomfrey and a salad out of her this

1146
01:02:38,240 --> 01:02:41,720
Speaker 3: like weird magnet in her guts. But it's tiny, it's

1147
01:02:41,720 --> 01:02:44,800
Speaker 3: like a little tiny plate. It's one bite of each thing.

1148
01:02:45,480 --> 01:02:48,400
Speaker 3: He says, it pills like in Santa versus the Martians.

1149
01:02:48,480 --> 01:02:51,160
Speaker 3: That's right. He says that it's the best beef steak

1150
01:02:51,200 --> 01:02:54,240
Speaker 3: he's ever had, but portions are kind of small, and

1151
01:02:54,280 --> 01:02:56,440
Speaker 3: she's like, no, no, no, you don't need any more

1152
01:02:56,480 --> 01:03:01,880
Speaker 3: than this. Oh, and then it just Andrew starts demanding

1153
01:03:01,920 --> 01:03:05,080
Speaker 3: that Robert touch her. She's like, touch me, and he

1154
01:03:05,200 --> 01:03:09,360
Speaker 3: wants to, but he's very afraid. And then Targo interrupts

1155
01:03:09,400 --> 01:03:11,760
Speaker 3: by he comes into the room, the kid, and he

1156
01:03:11,800 --> 01:03:15,120
Speaker 3: has his little monster toy with him, Mumu, and he

1157
01:03:15,280 --> 01:03:18,280
Speaker 3: like makes it turn into a big monster and sends

1158
01:03:18,320 --> 01:03:21,720
Speaker 3: it after Robert. And so for a moment it's menacing,

1159
01:03:21,800 --> 01:03:24,680
Speaker 3: but Andrew shows him how to defend himself by pressing

1160
01:03:24,680 --> 01:03:26,560
Speaker 3: a button on this little remote control.

1161
01:03:27,480 --> 01:03:30,440
Speaker 2: Now we only get a really a quick look at

1162
01:03:30,440 --> 01:03:33,760
Speaker 2: the full size Mumou here, but already we can see

1163
01:03:33,760 --> 01:03:36,920
Speaker 2: that this is an incredible creation. I have to say,

1164
01:03:37,000 --> 01:03:39,960
Speaker 2: Mumu is unlike anything I've ever seen before in a

1165
01:03:40,000 --> 01:03:43,640
Speaker 2: monster film. The basic concept I think does remind me

1166
01:03:43,680 --> 01:03:46,120
Speaker 2: a bit of what we talked about in Terror Vision,

1167
01:03:46,160 --> 01:03:49,160
Speaker 2: which of course came later, the idea that you wanted

1168
01:03:49,200 --> 01:03:53,040
Speaker 2: to create a practical effects monster that was at once

1169
01:03:53,800 --> 01:03:57,479
Speaker 2: incredibly terrifying if the context was right, but also looked

1170
01:03:57,560 --> 01:04:02,760
Speaker 2: really dumb. So Mumu's an absurd monstrosity with parts of

1171
01:04:02,840 --> 01:04:04,840
Speaker 2: him seem to be He seems to be cobbled together

1172
01:04:04,880 --> 01:04:08,800
Speaker 2: from oversized and misplaced bits of human anatomy, Like a

1173
01:04:08,840 --> 01:04:11,000
Speaker 2: lot of him, Like he seems to have sort of

1174
01:04:11,000 --> 01:04:15,520
Speaker 2: wing like appendages or features that that seem to be

1175
01:04:16,000 --> 01:04:18,520
Speaker 2: big human ears that are part of his body.

1176
01:04:18,920 --> 01:04:21,360
Speaker 3: Yeah, but they're also kind of they're kind of mouse

1177
01:04:21,440 --> 01:04:24,560
Speaker 3: ears at a distance, but they're also a curled up

1178
01:04:24,680 --> 01:04:27,080
Speaker 3: appendage making it look like a rams horn.

1179
01:04:28,040 --> 01:04:30,520
Speaker 2: Yeah. Oh, oh, you're talking about on his head, Yeah,

1180
01:04:30,520 --> 01:04:30,800
Speaker 2: he does.

1181
01:04:31,040 --> 01:04:33,000
Speaker 3: I'm sorry, I'm sorry I misheard you.

1182
01:04:33,040 --> 01:04:35,960
Speaker 2: Then no, yeah, because on his head he has these

1183
01:04:35,960 --> 01:04:38,480
Speaker 2: things that are like ears or horns but are also

1184
01:04:38,520 --> 01:04:42,680
Speaker 2: like tentacles. But then on his torso it's like he

1185
01:04:42,760 --> 01:04:46,600
Speaker 2: has giant human ear lows as part of him.

1186
01:04:46,880 --> 01:04:49,400
Speaker 3: Yeah, so you're right, it's really weird, like the outer

1187
01:04:49,600 --> 01:04:52,479
Speaker 3: fleshy part of a of a human ear on as

1188
01:04:52,560 --> 01:04:53,800
Speaker 3: as wings. Almost.

1189
01:04:54,320 --> 01:04:58,640
Speaker 2: Yeah, and yeah, we'll see a lot more from Mumu.

1190
01:04:58,880 --> 01:05:01,040
Speaker 2: And there's never any way did scene with move and

1191
01:05:01,080 --> 01:05:04,880
Speaker 2: move's terrific. It's because it's either you're getting like a

1192
01:05:04,880 --> 01:05:08,120
Speaker 2: bumbling rubber monster suit kind of an effect in all

1193
01:05:08,160 --> 01:05:11,080
Speaker 2: the best ways and it's you know, it certainly allows

1194
01:05:11,120 --> 01:05:13,480
Speaker 2: you to lean into the comedy and the absurdity, but

1195
01:05:13,680 --> 01:05:17,840
Speaker 2: also he's like legitimately terrifying and scenes as well, especially

1196
01:05:17,880 --> 01:05:20,160
Speaker 2: given the context of the film and the sort of

1197
01:05:20,200 --> 01:05:23,680
Speaker 2: thematic ambiguity of the film, where at least for me anyway,

1198
01:05:23,720 --> 01:05:26,120
Speaker 2: watching it as someone who's you know, not there as

1199
01:05:26,160 --> 01:05:30,040
Speaker 2: part of its original time period and original release audience, like,

1200
01:05:30,160 --> 01:05:32,160
Speaker 2: I don't know what's going to happen. I don't know

1201
01:05:32,200 --> 01:05:34,800
Speaker 2: what to expect of this movie, and therefore the monster's

1202
01:05:34,840 --> 01:05:36,280
Speaker 2: a little more dangerous because of it.

1203
01:05:36,800 --> 01:05:39,040
Speaker 3: Yeah, you know what, I would actually compare it to though,

1204
01:05:39,280 --> 01:05:43,040
Speaker 3: This design is one hundred times weirder and more interesting

1205
01:05:43,080 --> 01:05:47,320
Speaker 3: and better. But it has a similar dual nature and

1206
01:05:47,440 --> 01:05:49,720
Speaker 3: appearance to Trumpy from Pod People.

1207
01:05:50,240 --> 01:05:57,720
Speaker 2: Yeah, yeah, yeah, similar morphology. This is like the nightmare version,

1208
01:05:57,840 --> 01:06:00,640
Speaker 2: like the extra nightmare version of it. And of course

1209
01:06:00,720 --> 01:06:04,160
Speaker 2: later on we see stop motion and puppetry effects added

1210
01:06:04,800 --> 01:06:15,120
Speaker 2: into the overall moomoo effect and it just works wonderfully.

1211
01:06:16,720 --> 01:06:19,440
Speaker 3: All right. So, after this next thing that happens is

1212
01:06:19,480 --> 01:06:23,160
Speaker 3: Biba comes home to Robert's apartment only to catch Robert

1213
01:06:23,280 --> 01:06:27,680
Speaker 3: caressing Andra, the alien android, and Biba is very angry

1214
01:06:27,760 --> 01:06:30,920
Speaker 3: about this. Robert tries to defend himself by saying, but Biba,

1215
01:06:31,480 --> 01:06:34,080
Speaker 3: every part of her body makes a different beeping noise

1216
01:06:34,120 --> 01:06:37,600
Speaker 3: when you touch it. She is perfection. And Biba is

1217
01:06:37,640 --> 01:06:40,360
Speaker 3: not swayed by this, like this doesn't make her less angry.

1218
01:06:41,480 --> 01:06:44,000
Speaker 2: Yeah, this scene is great because on the one hand,

1219
01:06:44,040 --> 01:06:45,800
Speaker 2: this is very much a trope, you know, the whole.

1220
01:06:46,120 --> 01:06:48,640
Speaker 2: You know, one character catches the other two in the

1221
01:06:48,720 --> 01:06:52,640
Speaker 2: act and there's a confrontation. But it's all the more

1222
01:06:52,720 --> 01:06:54,680
Speaker 2: ridiculous here. It's not even the first time this has

1223
01:06:54,680 --> 01:06:56,520
Speaker 2: been done with a human in a robot being caught

1224
01:06:56,520 --> 01:07:00,560
Speaker 2: by another human, or the last time. But it's just

1225
01:07:01,120 --> 01:07:03,520
Speaker 2: it has such absurdity to it, like the whole, like

1226
01:07:03,520 --> 01:07:05,680
Speaker 2: like her body makes a different beba you know, wherever

1227
01:07:05,680 --> 01:07:08,360
Speaker 2: you touch it, and Biba's like, I bet it dies.

1228
01:07:08,760 --> 01:07:15,680
Speaker 3: Yeah. Yeah, So Biba gets very angry. She directs a

1229
01:07:15,680 --> 01:07:18,360
Speaker 3: lot of her anger at Andra. She calls her an

1230
01:07:18,400 --> 01:07:22,800
Speaker 3: erotic bucket of bolts and compares her to a laundry machine.

1231
01:07:23,640 --> 01:07:26,240
Speaker 3: And then at one point, Andra shocks Biba with blue

1232
01:07:26,320 --> 01:07:28,600
Speaker 3: light to like, I don't know, I guess in reaction

1233
01:07:28,640 --> 01:07:32,360
Speaker 3: to her touching her, and Biba then begs Robert to

1234
01:07:32,400 --> 01:07:35,200
Speaker 3: send them back to the Arcana galaxy. She says, make

1235
01:07:35,240 --> 01:07:37,640
Speaker 3: them go away forever. If She's like, if you love me,

1236
01:07:37,760 --> 01:07:41,480
Speaker 3: make them disappear. And he tries. He you know, he

1237
01:07:41,560 --> 01:07:43,720
Speaker 3: cares about Biba, so he does want to do that.

1238
01:07:43,840 --> 01:07:46,880
Speaker 3: He tries to make them disappear, but he is unable to.

1239
01:07:47,040 --> 01:07:49,240
Speaker 3: He doesn't know how to get rid of them. Mentally,

1240
01:07:49,400 --> 01:07:54,320
Speaker 3: They're just stuck here now. So Biba storms out and somehow,

1241
01:07:54,720 --> 01:08:01,040
Speaker 3: I think, does Targo put the Moomu doll in EBA's purse?

1242
01:08:01,240 --> 01:08:02,080
Speaker 3: Is that what happens?

1243
01:08:02,560 --> 01:08:05,200
Speaker 2: Yeah, he does that, mean spirited little scamp. He puts

1244
01:08:05,240 --> 01:08:07,520
Speaker 2: that Moomu doll right into her purse.

1245
01:08:08,440 --> 01:08:11,360
Speaker 3: And so she goes back to her family's house, where

1246
01:08:11,400 --> 01:08:13,480
Speaker 3: I think she was coming to get Robert to go

1247
01:08:13,560 --> 01:08:16,680
Speaker 3: to her sister's wedding. So the wedding celebration is going on.

1248
01:08:17,920 --> 01:08:20,000
Speaker 3: I don't know if it's like a rehearsal dinner the

1249
01:08:20,080 --> 01:08:21,920
Speaker 3: night before or if it's the wedding itself. I don't know.

1250
01:08:21,960 --> 01:08:23,879
Speaker 3: There are a bunch of people at the house, gathered

1251
01:08:23,880 --> 01:08:26,559
Speaker 3: for a big meal. She goes back to the house,

1252
01:08:26,800 --> 01:08:30,960
Speaker 3: takes the Mumoo doll with her and Unfortunately, it transforms

1253
01:08:31,439 --> 01:08:35,040
Speaker 3: back at her family's house into its full size mode

1254
01:08:35,720 --> 01:08:39,920
Speaker 3: and just it just goes wild. It starts attacking people.

1255
01:08:40,200 --> 01:08:44,920
Speaker 3: Somebody cuts off it's like weird snout snake tongue thing

1256
01:08:45,040 --> 01:08:48,960
Speaker 3: anteater tongue, and it sprays green blood all over everybody,

1257
01:08:49,160 --> 01:08:52,479
Speaker 3: ruins the wedding. There is this giant scene that goes

1258
01:08:52,520 --> 01:08:56,120
Speaker 3: on forever of Mumu, just like attacking the wedding and

1259
01:08:56,200 --> 01:09:01,080
Speaker 3: ruining the feast and like shooting weird tentacles everywhere and

1260
01:09:01,160 --> 01:09:04,160
Speaker 3: maybe being defeated, like oh, Dad gets it, like shoots

1261
01:09:04,200 --> 01:09:06,160
Speaker 3: the monster and then it falls down, but then it

1262
01:09:06,200 --> 01:09:09,080
Speaker 3: gets back up. And then the professor is there at

1263
01:09:09,080 --> 01:09:11,000
Speaker 3: the wedding for some reason, and he's like, you are

1264
01:09:11,080 --> 01:09:14,400
Speaker 3: witnesses to the first ever visitor from another galaxy. And

1265
01:09:14,439 --> 01:09:16,600
Speaker 3: he goes and tries to touch the thing. No this

1266
01:09:16,840 --> 01:09:18,800
Speaker 3: he later goes and tries to touch it after he

1267
01:09:18,920 --> 01:09:22,719
Speaker 3: decides instead that it's a collective hallucination, and it bites

1268
01:09:22,720 --> 01:09:26,360
Speaker 3: his hand off. It twists the grandpa's head off. This

1269
01:09:26,400 --> 01:09:30,719
Speaker 3: other grandpa is playing accordion wedding music the entire time.

1270
01:09:31,800 --> 01:09:34,760
Speaker 3: It like attacks some family member with this puff of

1271
01:09:34,800 --> 01:09:38,840
Speaker 3: green gash and then at the end, the monster's alf

1272
01:09:38,960 --> 01:09:41,559
Speaker 3: trunk turns into a flame thrower and is just like

1273
01:09:41,600 --> 01:09:46,040
Speaker 3: torching everything, and it spits out a glowing hot fork

1274
01:09:46,120 --> 01:09:48,800
Speaker 3: into a slice of cake and the cake hisses, which

1275
01:09:48,840 --> 01:09:49,639
Speaker 3: is a nice touch.

1276
01:09:50,280 --> 01:09:52,200
Speaker 2: This is a lot to try and handle, I realize,

1277
01:09:52,280 --> 01:09:54,519
Speaker 2: especially if you haven't if you haven't seen the film

1278
01:09:54,560 --> 01:09:56,639
Speaker 2: and you're just hearing all this, because it's like, on

1279
01:09:56,640 --> 01:10:01,559
Speaker 2: one hand, like the flamethrower is terrifying. It's a lot

1280
01:10:01,560 --> 01:10:05,080
Speaker 2: of these fire effects more day, more nowadays than ever.

1281
01:10:05,240 --> 01:10:07,439
Speaker 2: I'm just like, oh my god, it's just terrifying. It's

1282
01:10:07,479 --> 01:10:11,200
Speaker 2: real flame. This is not a computer effect. The head

1283
01:10:11,280 --> 01:10:13,240
Speaker 2: ripping off, and I think a leg gets ripped off

1284
01:10:13,240 --> 01:10:16,880
Speaker 2: as well. These are not bloody scenes. It's more of

1285
01:10:16,920 --> 01:10:24,200
Speaker 2: like a surrealistic, like absurd dismembering where he pulls people apart,

1286
01:10:24,240 --> 01:10:27,200
Speaker 2: like their dolls. Like when he pulls the head off

1287
01:10:27,200 --> 01:10:29,800
Speaker 2: and he throws it lands in the punch bowl, and

1288
01:10:29,840 --> 01:10:31,920
Speaker 2: then there in the poet punch bowl, the head is

1289
01:10:31,920 --> 01:10:34,120
Speaker 2: bobbing around and still speaking.

1290
01:10:34,320 --> 01:10:38,120
Speaker 3: Yeah, it keeps talking. Yeah. And the effect they did

1291
01:10:38,160 --> 01:10:41,479
Speaker 3: on that is great. There's a cartoonishness, kind of non

1292
01:10:41,560 --> 01:10:45,680
Speaker 3: reality to it. And Robert arrives just in time to

1293
01:10:45,800 --> 01:10:48,400
Speaker 3: save Biba by pressing the button on the remote to

1294
01:10:48,400 --> 01:10:49,640
Speaker 3: make the monster disappear.

1295
01:10:49,960 --> 01:10:51,960
Speaker 2: Oh wait, before the monster disappears, I also have to

1296
01:10:52,000 --> 01:10:56,680
Speaker 2: mention this is pure synchronicity. But the monster also manifests

1297
01:10:56,760 --> 01:10:58,840
Speaker 2: a belly mouth and nipple eyes.

1298
01:10:59,360 --> 01:11:01,479
Speaker 3: Yes, catch, yeah, yeah.

1299
01:11:01,320 --> 01:11:04,559
Speaker 2: Which we just finished talking about on our core stuff

1300
01:11:04,560 --> 01:11:07,280
Speaker 2: to blow your mind episodes. But yes, swank Meyer didn't

1301
01:11:07,320 --> 01:11:12,120
Speaker 2: hold back. This monster Mumu is just a buffet of

1302
01:11:12,280 --> 01:11:14,000
Speaker 2: just absurd monstrosity.

1303
01:11:14,400 --> 01:11:17,320
Speaker 3: So Robert goes back and complains to Andra. He's like,

1304
01:11:17,520 --> 01:11:22,120
Speaker 3: this monster from your planet attacked Biba's family's wedding guests,

1305
01:11:22,560 --> 01:11:24,960
Speaker 3: and Andre says, you can't be mad at a toy.

1306
01:11:25,200 --> 01:11:29,040
Speaker 3: She's like weirdly unsympathetic at first, but then she says,

1307
01:11:29,080 --> 01:11:30,800
Speaker 3: you know what, we can go back in time and

1308
01:11:30,840 --> 01:11:34,840
Speaker 3: fix it. So she rewinds the clock on reality goes

1309
01:11:34,880 --> 01:11:38,439
Speaker 3: back to before Biba walked in on them earlier, and

1310
01:11:38,520 --> 01:11:40,760
Speaker 3: so now Biba comes into the apartment and does not

1311
01:11:40,880 --> 01:11:44,920
Speaker 3: find Robert caressing Andra, but instead she finds the blue

1312
01:11:44,960 --> 01:11:49,080
Speaker 3: ball floating around the apartment, the alien spaceship, and from

1313
01:11:49,160 --> 01:11:55,200
Speaker 3: here Andra Targo Ulu Mumu, and Robert all fly away

1314
01:11:55,240 --> 01:11:58,200
Speaker 3: together in the spaceship into space to go back to

1315
01:11:58,240 --> 01:12:02,719
Speaker 3: the Arcanic galaxy. And then there's an interesting twist in space.

1316
01:12:04,240 --> 01:12:06,519
Speaker 3: He's like sitting there sort of at a desk, just

1317
01:12:06,560 --> 01:12:09,800
Speaker 3: floating in space. It's like their spaceship doesn't have really

1318
01:12:09,840 --> 01:12:12,559
Speaker 3: like a metal interior hull. It's just like they're floating

1319
01:12:12,600 --> 01:12:16,240
Speaker 3: through the stars and he's sitting at his desk and

1320
01:12:16,240 --> 01:12:19,040
Speaker 3: Andra comes up to him and says, your coffee's on

1321
01:12:19,080 --> 01:12:22,720
Speaker 3: the table, which is what Biba said to him at

1322
01:12:22,720 --> 01:12:25,599
Speaker 3: the very beginning of the movie when interrupting his writing

1323
01:12:25,920 --> 01:12:29,080
Speaker 3: and not letting him concentrate. So it kind of makes

1324
01:12:29,080 --> 01:12:31,840
Speaker 3: you wonder that in a way, he's like, oh, have

1325
01:12:31,920 --> 01:12:34,840
Speaker 3: I been freed from all of these distractions now? Can

1326
01:12:34,880 --> 01:12:38,160
Speaker 3: I just like dream and imagine forever because I'm floating

1327
01:12:38,200 --> 01:12:41,439
Speaker 3: off to this other galaxy with my alien friends. Maybe

1328
01:12:41,439 --> 01:12:44,120
Speaker 3: not really, maybe they're just going to keep interrupting him.

1329
01:12:44,160 --> 01:12:48,160
Speaker 2: Now. This is also a callback to when Andre pours

1330
01:12:48,240 --> 01:12:51,240
Speaker 2: in coffee to go with his meal. I don't know

1331
01:12:51,280 --> 01:12:53,759
Speaker 2: if we mentioned this or not, but she pours coffee

1332
01:12:53,800 --> 01:12:57,639
Speaker 2: out of her fingertip and then and then pours cream

1333
01:12:57,680 --> 01:12:59,960
Speaker 2: out of the other fingertip. She's just like a swim

1334
01:13:00,000 --> 01:13:02,719
Speaker 2: this army knife of gadgets and features.

1335
01:13:03,200 --> 01:13:04,960
Speaker 3: I wonder what you made of the ending, rob Is

1336
01:13:05,320 --> 01:13:09,519
Speaker 3: it a more straightforward, sentimental, happy ending where Robert is

1337
01:13:09,880 --> 01:13:12,720
Speaker 3: finally getting to live the life of the imagination now

1338
01:13:12,720 --> 01:13:16,439
Speaker 3: that the people are back on earth unharmed, Like you know,

1339
01:13:16,479 --> 01:13:18,639
Speaker 3: they wound back the clock so the monster didn't actually

1340
01:13:18,720 --> 01:13:22,360
Speaker 3: hurt anybody. Everybody's okay, and now he just gets to

1341
01:13:22,560 --> 01:13:25,160
Speaker 3: you know, dream and imagine forever. Or is it a

1342
01:13:25,200 --> 01:13:28,599
Speaker 3: more satirical thing where it's kind of like Robert's problems

1343
01:13:28,600 --> 01:13:29,479
Speaker 3: are not solved.

1344
01:13:30,439 --> 01:13:32,760
Speaker 2: Yeah, I guess it's kind of both, right, because yeah,

1345
01:13:32,960 --> 01:13:36,519
Speaker 2: I mean it comes back to that confrontation earlier, like

1346
01:13:37,960 --> 01:13:40,360
Speaker 2: where Baba walks in and there's the you know, a

1347
01:13:40,400 --> 01:13:44,320
Speaker 2: big argument and you know, this is like like the

1348
01:13:44,520 --> 01:13:48,519
Speaker 2: final straw of your fantasy versus your reality. You have

1349
01:13:48,560 --> 01:13:52,200
Speaker 2: to choose, and of course he's not really able to

1350
01:13:52,280 --> 01:13:55,439
Speaker 2: muster enough will to choose, and it leads to this

1351
01:13:55,520 --> 01:13:59,680
Speaker 2: whole catastrophic set of events with Mumu the monster rampaging

1352
01:13:59,720 --> 01:14:04,080
Speaker 2: and killing people. But then they solve it by just

1353
01:14:04,160 --> 01:14:08,840
Speaker 2: turning back the clock and removing that point of confrontation

1354
01:14:09,320 --> 01:14:12,360
Speaker 2: by just going ahead and removing any choice from him,

1355
01:14:12,720 --> 01:14:15,439
Speaker 2: and so he just gets whisked away into that world

1356
01:14:15,520 --> 01:14:18,599
Speaker 2: of fantasy. But at the same time he seems happy.

1357
01:14:18,720 --> 01:14:21,200
Speaker 2: I guess he's happy, And I mean an argument could

1358
01:14:21,200 --> 01:14:23,920
Speaker 2: be made that everyone off else is better off without him,

1359
01:14:24,320 --> 01:14:28,040
Speaker 2: especially if he's just gonna manifest rampaging monsters if left

1360
01:14:28,080 --> 01:14:29,120
Speaker 2: to his own designs.

1361
01:14:29,640 --> 01:14:33,559
Speaker 3: I don't know if it's consciously getting at this, but

1362
01:14:33,600 --> 01:14:35,600
Speaker 3: I wonder if another thing is, well, these are the

1363
01:14:35,640 --> 01:14:38,880
Speaker 3: creatures that he is imagining, so in some way he

1364
01:14:38,960 --> 01:14:42,400
Speaker 3: is kind of responsible for what they do. So I

1365
01:14:42,479 --> 01:14:46,320
Speaker 3: wonder if the whole thing of her now saying you know, Robert,

1366
01:14:46,360 --> 01:14:48,800
Speaker 3: your coffee is on the table and interrupting him while

1367
01:14:48,800 --> 01:14:51,280
Speaker 3: he's trying to dream on the ship is a way

1368
01:14:51,280 --> 01:14:55,120
Speaker 3: of showing that he's like creating the situations where he

1369
01:14:55,240 --> 01:14:59,280
Speaker 3: is constantly being interrupted to sort of like prevent himself

1370
01:14:59,320 --> 01:15:02,679
Speaker 3: from ever having to follow through on the full creative work.

1371
01:15:02,760 --> 01:15:05,519
Speaker 3: You know, I think we all know creative people, or

1372
01:15:05,560 --> 01:15:08,200
Speaker 3: probably in some sense creative people know a part of

1373
01:15:08,240 --> 01:15:12,240
Speaker 3: yourself that's like this, where like you can you know

1374
01:15:12,320 --> 01:15:15,320
Speaker 3: if you fear that you're not going to be able

1375
01:15:15,439 --> 01:15:17,519
Speaker 3: to create the thing you want to create in the

1376
01:15:17,560 --> 01:15:19,960
Speaker 3: way that you want to create it, you might sometimes

1377
01:15:20,040 --> 01:15:24,120
Speaker 3: subconsciously put obstacles in your own path that kind of

1378
01:15:24,200 --> 01:15:27,880
Speaker 3: obviate that that problem, like that prevent you from ever

1379
01:15:28,439 --> 01:15:30,240
Speaker 3: failing on your own terms.

1380
01:15:30,280 --> 01:15:32,960
Speaker 2: Honestly, Yeah, I mean, especially if you like you have

1381
01:15:33,040 --> 01:15:36,599
Speaker 2: you haven't sort of embraced the reality that that any

1382
01:15:36,600 --> 01:15:39,000
Speaker 2: creative endeavor is going to kind of have those two phases,

1383
01:15:39,080 --> 01:15:42,160
Speaker 2: right or more or certainly more than one phase. You're

1384
01:15:42,160 --> 01:15:45,040
Speaker 2: gonna have that initial phase of sort of free form creativity.

1385
01:15:45,400 --> 01:15:47,280
Speaker 2: But then you have to make the stuff work. You

1386
01:15:47,320 --> 01:15:49,719
Speaker 2: have to you have to to turn it into language,

1387
01:15:49,720 --> 01:15:51,680
Speaker 2: you have to turn it into cinema, you have to

1388
01:15:51,680 --> 01:15:54,680
Speaker 2: break it down into a script, et cetera. And a

1389
01:15:54,760 --> 01:15:56,160
Speaker 2: lot of times you are going to lose stuff and

1390
01:15:56,200 --> 01:15:58,840
Speaker 2: you're gonna have to, Like, the dream is not going

1391
01:15:58,920 --> 01:16:03,559
Speaker 2: to come willingly into reality, you know, coming back to

1392
01:16:04,120 --> 01:16:07,920
Speaker 2: the whole idea of reality and fantasy budding heads. And

1393
01:16:08,000 --> 01:16:10,960
Speaker 2: you know, Robert I guess is just fundamentally unable to

1394
01:16:12,720 --> 01:16:16,240
Speaker 2: deal with this transference. You know, he's not able to

1395
01:16:16,320 --> 01:16:19,040
Speaker 2: muster the will to control the fantasy or to like

1396
01:16:19,080 --> 01:16:24,240
Speaker 2: control its possible entry into reality in either a fantastic

1397
01:16:24,280 --> 01:16:27,360
Speaker 2: sense or a realistic sense, like writing the book.

1398
01:16:27,840 --> 01:16:29,679
Speaker 3: How much of it do you think he ever actually

1399
01:16:29,720 --> 01:16:32,920
Speaker 3: did write. We see some of a manuscript at the beginning,

1400
01:16:33,040 --> 01:16:35,800
Speaker 3: like with the dog peas on some pages. At another

1401
01:16:35,800 --> 01:16:38,160
Speaker 3: part we see him wad up some pages and throw

1402
01:16:38,200 --> 01:16:40,600
Speaker 3: them in the trash. So he's writing something, but I

1403
01:16:40,640 --> 01:16:42,679
Speaker 3: never get the feeling that he's getting very far.

1404
01:16:43,600 --> 01:16:48,080
Speaker 2: I'm assuming he has a bunch of notes, like sort

1405
01:16:48,120 --> 01:16:50,880
Speaker 2: of D and D setting notes about characters and factions

1406
01:16:50,880 --> 01:16:53,800
Speaker 2: and planets, though again not more than four characters, because

1407
01:16:53,840 --> 01:16:57,800
Speaker 2: that's plenty. And then he probably has like five to

1408
01:16:57,840 --> 01:17:02,240
Speaker 2: ten pages that he is just constantly rewriting and tinkering with,

1409
01:17:02,360 --> 01:17:04,880
Speaker 2: but never getting much much further than five or ten pages.

1410
01:17:04,960 --> 01:17:07,240
Speaker 3: Oh my god, this dude's drawing maps, you know what

1411
01:17:07,320 --> 01:17:09,040
Speaker 3: I mean. Yeah, he's drawing maps.

1412
01:17:09,880 --> 01:17:13,519
Speaker 2: Yeah, Trugidour that's the planet, right, Trugador is fully mapped,

1413
01:17:13,600 --> 01:17:16,040
Speaker 2: all the continents everything.

1414
01:17:15,760 --> 01:17:17,519
Speaker 3: All right? Should we call it there? Yeah?

1415
01:17:17,560 --> 01:17:18,920
Speaker 2: We should go and call it here. We could keep

1416
01:17:18,920 --> 01:17:21,559
Speaker 2: talking about this movie. Yeah, it's a great one. Highly

1417
01:17:21,600 --> 01:17:23,960
Speaker 2: recommend it. Check it out wherever you can get it

1418
01:17:24,040 --> 01:17:27,000
Speaker 2: rented at video. Drone by it from deaf crocodile. Just

1419
01:17:27,040 --> 01:17:30,320
Speaker 2: see it if you can. Just a reminder that Stuff

1420
01:17:30,320 --> 01:17:32,600
Speaker 2: to Blow Your Mind is primarily a science podcast with

1421
01:17:32,640 --> 01:17:35,200
Speaker 2: core episodes on Tuesdays and Thursdays, but on Fridays we

1422
01:17:35,240 --> 01:17:37,200
Speaker 2: set aside most serious concerns to just talk about a

1423
01:17:37,200 --> 01:17:39,600
Speaker 2: weird film on Weird House Cinema. If you want to

1424
01:17:39,600 --> 01:17:41,240
Speaker 2: see a list of all the movies we've covered on

1425
01:17:41,280 --> 01:17:44,240
Speaker 2: Weird House Cinema, well, you can go to letterboxed dot com.

1426
01:17:44,240 --> 01:17:45,880
Speaker 2: This's l E T T E r bo x D

1427
01:17:46,000 --> 01:17:47,840
Speaker 2: dot com. We are Weird House on there, and we

1428
01:17:47,840 --> 01:17:49,360
Speaker 2: have a list of all the movies we've covered over

1429
01:17:49,400 --> 01:17:53,320
Speaker 2: the years, sometimes a glimpse ahead at what's coming up next.

1430
01:17:53,600 --> 01:17:56,320
Speaker 2: I also blog about these films at some immutomusic dot com.

1431
01:17:56,840 --> 01:17:58,560
Speaker 2: Don't always put a lot on those blog posts, but

1432
01:17:58,640 --> 01:18:00,479
Speaker 2: on this one I'll make sure to throw some of

1433
01:18:00,479 --> 01:18:03,240
Speaker 2: those short films and also some of the music so

1434
01:18:03,280 --> 01:18:05,240
Speaker 2: you can check those out as well, and also some

1435
01:18:05,320 --> 01:18:07,080
Speaker 2: links to where you can obtain the picture.

1436
01:18:07,360 --> 01:18:10,960
Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway.

1437
01:18:11,040 --> 01:18:12,559
Speaker 3: If you would like to get in touch with us

1438
01:18:12,560 --> 01:18:15,120
Speaker 3: with feedback on this episode or any other to suggest

1439
01:18:15,120 --> 01:18:17,080
Speaker 3: a topic for the future, or just to say hello.

1440
01:18:17,240 --> 01:18:19,760
Speaker 3: You can email us at contact at stuff to Blow

1441
01:18:19,800 --> 01:18:27,280
Speaker 3: your Mind dot com.

1442
01:18:27,400 --> 01:18:30,360
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1443
01:18:30,439 --> 01:18:33,240
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1444
01:18:33,360 --> 01:18:36,600
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.