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Speaker 1: Dear listeners of Hollywood Land, does it feel like you're

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Speaker 1: stuck in limbo? Standing under a flickering street light at

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Speaker 1: the corner of Hollywood and True Crime, waiting for the

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Speaker 1: next episode of hollywood Land to drop. I got you.

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Speaker 1: Welcome to Hollywood Land, the Rap Party. What's going on?

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Speaker 1: You movie geeks? You true crime freaks just like me?

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Speaker 1: You guys like your movie history served up with a

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Speaker 1: side of grit and grime. This, of course, is the

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Speaker 1: place where we dig up the stories often lost to history,

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Speaker 1: buried there in the corner of the cutting room floor,

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Speaker 1: the stories they didn't want told, the very same ones

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Speaker 1: that have now made you the most dangerous person at

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Speaker 1: the party. I'm your host, Zeth Lundy, writer, editor, showrunner,

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Speaker 1: and good doctor. Here at Double Elvison. Today in the

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Speaker 1: hollywood Land Rap Party, we are talking about the oscars,

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Speaker 1: what are they good for? And also we're ranking Nicholas

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Speaker 1: Cage movies. We're taking a peek at the Secret Agent,

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Speaker 1: talking Power Pop and Cheap Trick, plus your text emails

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Speaker 1: and so much more. So. Come on, everybody, let's party,

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Speaker 1: all right, gang. We are just about there at the

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Speaker 1: end of Awards season, at long last, the Academy Awards.

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Speaker 1: The Oscars are insight. They happen this Sunday night, once again,

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Speaker 1: hosted by Conan O'Brien. And for those of you who

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Speaker 1: are members of Disgraceland All Access over in Patreon, perhaps

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Speaker 1: you've been voting in our official OSCAR polls over there

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Speaker 1: for the six major categories, which I'm going to get

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Speaker 1: into in a minute, But first I wanted to talk

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Speaker 1: to you about what the Oscars really mean. I mean,

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Speaker 1: like really, and I'm not talking in terms of boosting

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Speaker 1: an actress visibility or an actress ego, or even opening

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Speaker 1: certain doors for an actor or director or whoever. There's

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Speaker 1: plenty of evidence to the contrary on that last point,

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Speaker 1: by the way, that just by winning an OSCAR, an

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Speaker 1: interesting or an emerging career is suddenly changed for the

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Speaker 1: better in an instant. Just look up Melissa Leo's comments

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Speaker 1: about her win for Best Supporting Actress for The Fighter

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Speaker 1: back in twenty eleven. And I know I brought this

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Speaker 1: up before, but it's my favorite example of this. Allow

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Speaker 1: me to motion here at the career of Nicholas Cage

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Speaker 1: before and after his win for leaving Las Vegas. But

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Speaker 1: what do the Oscars mean, I don't think they mean

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Speaker 1: much of anything. Honestly, giving out awards for art seems

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Speaker 1: to defeat the whole purpose, you know what I mean.

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Speaker 1: Last year, I loved Sinners, I loved One Battle after Another.

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Speaker 1: I loved train Dream. I love The Secret Agent, which

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Speaker 1: I'll talk more about in the recommendations section of this episode.

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Speaker 1: I look forward to rewatching them all again at some point.

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Speaker 1: In fact, I've already rewatched Sinners in one Battle. I

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Speaker 1: loved Michael B. Jordan and Sinners. I loved Timothy Shallome

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Speaker 1: and Marty Supreme, Leonardo DiCaprio, Emma Stone, Jesse Buckley, Rose

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Speaker 1: Byrne Amy mad Again. The list goes on and on

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Speaker 1: and on. But I feel that awarding statuettes to any

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Speaker 1: of these performances, or to the crew, to the writers, editors,

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Speaker 1: and so on, I feel that awarding statuettes is just

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Speaker 1: antithetical to the art. Let's recognize great art from the year. Absolutely,

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Speaker 1: But you start getting into how actors and studios lobby

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Speaker 1: for votes in the way that an organization lobbies the

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Speaker 1: government to pass a bill, or you get into the

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Speaker 1: not so best kept secret of the whole process, which

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Speaker 1: is that many people who vote for these awards, don't

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Speaker 1: even wind up watching all of the nominees before voting,

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Speaker 1: and if they do, they're watching screeners at home. They're

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Speaker 1: on their phones. They're totally divorced from the whole process.

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Speaker 1: And while I get that Hollywood has always been and

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Speaker 1: will always be a business, these days the average person,

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Speaker 1: the average moviegoer, is so oddly concerned with box office performance,

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Speaker 1: so concerned with how much a movie earns against what

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Speaker 1: it costs to make, which, let's be clear, should not

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Speaker 1: matter in the slightest when it comes to talking about

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Speaker 1: how great a film is, how great music is, or

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Speaker 1: literature or art or whatever. But somehow it matters in

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Speaker 1: common conversation these days, especially when it comes to movies,

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Speaker 1: and it matters in a way that I feel like

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Speaker 1: it hasn't mattered before. Don't even get me started on

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Speaker 1: all the bullshit around Sinners from last year and how

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Speaker 1: the press tried to undermine its success at the box office,

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Speaker 1: and how that brand of thinking has really seeped into

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Speaker 1: how we experience movies. Remember that is supposed to be

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Speaker 1: motivated not by how much money something made or by

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Speaker 1: how many statues it won, but by emotion, by connection,

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Speaker 1: by waiting, as David Bowie once sang, for the gift

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Speaker 1: of sound and vision. Now this is where I'm going

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Speaker 1: to contradict myself, because well, I contain multitudes, So to

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Speaker 1: deal with it, I'm going to pivot from saying that

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Speaker 1: the Oscars don't really mean anything to talking about my

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Speaker 1: history of engaging with and watching the Oscars, which I've

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Speaker 1: been doing since the late nineteen eighties. I think nineteen

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Speaker 1: eighty eight nineteen eighty nine were really pivotal years for

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Speaker 1: me when it comes to my formative obsession with movies.

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Speaker 1: I was eleven or twelve years old. I started reading

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Speaker 1: Premieer magazine religiously shortly thereafter, and the annual Oscar ceremony

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Speaker 1: was an opportunity for me to get two things out

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Speaker 1: of it, Okay. One was that it gave me this

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Speaker 1: feeling of validation that the films that I was watching

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Speaker 1: and really enjoying they were receiving this recognition in these

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Speaker 1: awards from a much larger, more esteemed body. But it

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Speaker 1: also served as a place to learn about movies that

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Speaker 1: maybe I'd only read about in a magazine, or maybe

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Speaker 1: I hadn't heard of at all, like smaller films perhaps

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Speaker 1: foreign language films. I mean back then, during the Oscar ceremony,

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Speaker 1: they would use clips from every film that was nominated,

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Speaker 1: every performance that was nominated, every director or screenplay, whatever.

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Speaker 1: They would use clips when they would read off the

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Speaker 1: nominations clips of the movie. And I'm not talking just

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Speaker 1: like you two seconds either. They'd be like a juicy,

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Speaker 1: like ten twenty second clip, so you would get a

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Speaker 1: taste of a scene. And sometimes it was the only

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Speaker 1: way for someone like me to catch a vibe for

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Speaker 1: what a particular film was all about. This the Oscar

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Speaker 1: served this purpose at that time. It was a purpose

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Speaker 1: that went beyond handing out awards. But then in college,

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Speaker 1: the Oscars became a real us versus them thing for me.

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Speaker 1: Me and my fellow film students, we like hate watched

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Speaker 1: the Oscars. We were wide eyed champions of the little

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Speaker 1: guy of independent film, you know, movies made on the margins,

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Speaker 1: and the Academy Awards represented it was almost like the enemy.

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Speaker 1: It was the machine, it was the bloat, It was

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Speaker 1: the sentimentality. The director Jim Jarmish, for example, one of

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Speaker 1: my guys back in film school, and by guys, I

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Speaker 1: mean like I wasn't hanging out with Jim Jarmish. I'd

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Speaker 1: mean I loved the films of Jim Jarmish, which up

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Speaker 1: to that point where movies like Stranger Than Paradise and

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Speaker 1: Down by Law, Mystery Train, Night on Earth, Dead Man,

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Speaker 1: I've fucking loved Jim jarmis movies and I watched them

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Speaker 1: all the time and talked about them all the time.

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Speaker 1: And the Oscars never recognized a filmmaker like Jim Jarmish.

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Speaker 1: He's still making movies and the Academy has still never

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Speaker 1: recognized him with with with even a nomination. And I

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Speaker 1: was shocked in the nineties, I say shocked really when

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Speaker 1: my other guys, the Coen Brothers, when they won for

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Speaker 1: Best Screenplay and Best Actress for Fargo. For me, that

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Speaker 1: moment was like, it's like when your favorite indie band

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Speaker 1: suddenly signs with Columbia Records and now the whole world

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Speaker 1: loves them, which makes them, in your eyes, like less

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Speaker 1: cool for a hot minute. It's like, Ah, this used

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Speaker 1: to be my thing, and now it's everybody's thing. So

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Speaker 1: now you know, the Oscars go from something in which

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Speaker 1: I learn about movies and get validation for my taste

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Speaker 1: into an US versus them scenario, and then it morphs

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Speaker 1: into this thing where it's like, it's like messing with me,

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Speaker 1: It's like messing with the trajectory of these idiosyncratic filmmakers

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Speaker 1: that I call my own. And that was a whole

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Speaker 1: mind fuck in itself. So the Oscars for me are complicated.

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Speaker 1: I do think at the end of the day they

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Speaker 1: mean nothing for art, but I still find myself invested

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Speaker 1: in it nonetheless. And perhaps this year is tougher than

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Speaker 1: most because, as you know, when it comes to and

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Speaker 1: I say tougher when it comes to sort of deciding

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Speaker 1: like what is quote unquote best, because I find out

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Speaker 1: that a lot of what has been nominated this year

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Speaker 1: to be worthy and I'm not drawn to a strong

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Speaker 1: opinion of this one must win over that one. You know. However,

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Speaker 1: all that said, like I mentioned at the top of

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Speaker 1: the show, we did these polls over on our Patreon

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Speaker 1: Disgraceland All Access on Patreon, and you guys, alum I

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Speaker 1: voted as well, but you guys voted for the top

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Speaker 1: six categories this year in the running, and we closed

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Speaker 1: voting this past Sunday, and with the Oscars coming up

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Speaker 1: this following Sunday, I kind of wanted to take a

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Speaker 1: minute here and we can talk through these results and

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Speaker 1: I can tell you, guys, what the community of discos here.

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Speaker 1: What if the disco community was the voting board for

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Speaker 1: the Academy Awards. This is how it would go down. Okay,

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Speaker 1: the six big categories here, We're going to start with

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Speaker 1: Best Supporting Actor. Stellin scars Guard for Sentimental Value received

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Speaker 1: zero percent of the nominations. By the way, I'm going from,

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Speaker 1: I'm going from the least amount of votes to the winner. Okay,

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Speaker 1: going reverse order here, Stealin'scar's Guard zero percent. Jacob Elordi,

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Speaker 1: who played the monster in Frankenstein, he got eleven percent

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Speaker 1: of the votes, Benicio del Toro one battle after another

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Speaker 1: seventeen percent, Sean Penn one battle after another thirty one percent,

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Speaker 1: and then Delroy Lindo for Sinners got forty two percent

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Speaker 1: of the vote. I've said this before, I really want

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Speaker 1: Delroy Lindo to win, not just because the dude is

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Speaker 1: overdue for an Oscar Award, but just because, you know, man,

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Speaker 1: that car scene alone and Sinners when they're driving out

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Speaker 1: to the Duke Duke Joint and Delroy Lindo's telling that

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Speaker 1: story that really heart wrenching story. And the audio you

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Speaker 1: kind of hear the audio of the scene, this violent

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Speaker 1: scene kind of taking place in the background, and then

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Speaker 1: he starts to like hum and sing to sort of

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Speaker 1: bring himself out of it or whatever, which I hear

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Speaker 1: a big chunk of that was improvised by him. Like

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Speaker 1: that scene alone just seals it from me. And you know,

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Speaker 1: like Benicio is great, He's gonna be quoted forever. The

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Speaker 1: A Few Small Beers line is gonna be quoted forever.

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Speaker 1: Sean Penn was great, but del Roy Lindo obviously has

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Speaker 1: the disco's vote here for sure. Moving on to best

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Speaker 1: Supporting Actress, both Elle Fanning and Inga Ebe's daughter Lilias

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Speaker 1: for sentimental value, they both tied at two percent. Tiana Taylor,

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Speaker 1: who played Perfidia Beverly Hills in One Battle after Another,

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Speaker 1: got twenty eight percent. Amy Madigan as on Gladys got

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Speaker 1: thirty two percent for weapons, and then coming in with

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Speaker 1: the most votes here thirty five percent is Woomi Musaku

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Speaker 1: for Sinners. She of course plays Annie and Sinners who

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Speaker 1: is Smoke's a strange wife, She's got the hoodoo going on,

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Speaker 1: and again just like that del Roy Lindo scene talk

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Speaker 1: about I mean, there's so many scenes in this movie

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Speaker 1: that sort of defined a character for you, wholly define

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Speaker 1: a character for you in the in the span of

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Speaker 1: a couple of minutes, and that scene when Smoke goes

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Speaker 1: to her place to reunite with her after a very

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Speaker 1: long time being a part and they reconnect, you basically

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Speaker 1: get their whole relationship within the course of a couple

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Speaker 1: of minutes through like these glances and gestures, and it's

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Speaker 1: just it's just the best. So obviously Disco's recognized that

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Speaker 1: here and she is our winner for Supporting Actress. Moving

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Speaker 1: on to actor in a leading role, We've got Wagner

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Speaker 1: Mora for The Secret Agent. Zero percent. Nobody voted for

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Speaker 1: my guy, Vagner Moora here. I'm going to talk about

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Speaker 1: this movie later in the recommendation section, but he got

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Speaker 1: a big old zilch from you guys. Also, surprisingly, Leonardo

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Speaker 1: DiCaprio for One Battle after Another. He only got five

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Speaker 1: percent of the vote, and then Ethan Hawk for Blue

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Speaker 1: Moon and Timothy Chalome for Marty Supreme. We're both tied

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Speaker 1: at thirteen percent each, but perhaps surprisingly coming in with

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Speaker 1: a robust sixty eight percent is Michael B. Jordan for sinners.

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Speaker 1: Michael B. Jordan recently won was the Bafter, right, He

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Speaker 1: won the Bafter for this, which sort of all these

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Speaker 1: people who are sort of handicapping the Oscar race were like,

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Speaker 1: oh shit, maybe Michael B. Jordan is gonna win, you know.

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Speaker 1: And then simultaneously, you know, Timothy Shalome is over here

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Speaker 1: catching some heat recently for this conversation he had with

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Speaker 1: matthewmcconaughey in which he was like disan opera and ballet

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Speaker 1: and shit. So there's this scuttlebot now and like he's

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Speaker 1: getting all this bad press now and all the people

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Speaker 1: in the arts hate him. But honestly, you know, I

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Speaker 1: think what appeals to this Michael B. Jordan role is

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Speaker 1: he's playing two roles here, right, He's playing these twin brothers,

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Speaker 1: Smoke and Stack, and he's playing opposite himself so often

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Speaker 1: in the film, just like the movie itself, you know,

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Speaker 1: he's doing a lot of different He a lot of

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Speaker 1: different things here. It's like he's in a lot of

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Speaker 1: different movies. He's acting in a drama, he's in a thriller,

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Speaker 1: he's in a horror film. He's in an action movie.

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Speaker 1: I think disc goes. I think you got it right.

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Speaker 1: I think this is the performance to beat this year,

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Speaker 1: and let's see if we can take this to reality

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Speaker 1: here on Sunday. So again, Michael B. Jordan Disco's winner

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Speaker 1: for actor going to now actress in a leading role.

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Speaker 1: Sentimental value coming in low once again. Rente rains Fay

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Speaker 1: got zero percent for sentimental value zero okay, if you're

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Speaker 1: keeping score only the supporting actresses got both tied at

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Speaker 1: two percent for this movie, so this is sentimental value

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Speaker 1: is tracking very low. Emma Stone coming in at twenty

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Speaker 1: percent for Bogonia, and then Kate Hudson for Son Sun

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Speaker 1: Blue and Rose Byrne for If I Had Legs, I'd

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Speaker 1: Kick You are both tied at twenty two percent each,

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Speaker 1: and Jesse Buckley for Hamnett coming in at thirty five

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Speaker 1: percent Hamnet. I have not seen Hamnet yet. I can't

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Speaker 1: speak to this. I think it hit a streaming service recently,

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Speaker 1: so I'm going to rectify that soon. But from all talk,

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Speaker 1: Jesse Buckley is the one to beat here, and it

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Speaker 1: seems like Discos are sort of in line with that prediction.

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Speaker 1: Moving on to directing, only two directors got votes from

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Speaker 1: the Patreon community. Here only two Chloe Jao for Hamnet Nothing,

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Speaker 1: Josh Safti for Marty Supreme Nothing, Joaquin Treer for Sentimental

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Speaker 1: Value Zilch Baby PTA Paul Thomas Anderson got thirty percent

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Speaker 1: of your vote, and Ryan Coogler got seventy percent of

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Speaker 1: your vote. Like I was saying earlier, I cannot pick

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Speaker 1: a winner here. These guys are both operating at the

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Speaker 1: top of their game. PTA made an action movie that's

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Speaker 1: like The Battle of Algiers mixed with Midnight Run, which

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Speaker 1: is crazy. And then Kogler is over here using Imax

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Speaker 1: and Ultra Panavision seventy cameras, two separate kinds of film stock,

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Speaker 1: which I didn't notice until the second time I saw

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Speaker 1: this movie, when I saw it at home. When I

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Speaker 1: saw it in the theater, I did notice. But at

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Speaker 1: home you really notice the separation between the two film

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Speaker 1: stocks because the aspect ratio of the picture changes. It's

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Speaker 1: just wild. This is a very commercial filmmaker who is

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Speaker 1: also a very deep thinker about how film is shot.

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Speaker 1: And the dude's only thirty nine, So I don't know, man,

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Speaker 1: Maybe the best is yet to come. Again, Ryan Kugler

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Speaker 1: coming out on top with seventy percent of your vote,

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Speaker 1: and then finally, in the Best Picture category, ten films

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Speaker 1: are nominated for Best Picture this year, only six of

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Speaker 1: them got votes from you guys. Okay, Hamnet, The Secret Agent,

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Speaker 1: Sentimental Value and Trained Dreams all got zero percent of

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Speaker 1: your votes. F One and Marty Supreme they tied three percent,

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Speaker 1: and then Bogonia and Frankenstein also tied at six percent.

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Speaker 1: One Battle twenty percent of your votes, and then coming

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Speaker 1: out again triumphantly at top Sinners at sixty three percent.

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Speaker 1: Disco Community is clearly team Sinners. It's team Kugler, Team

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Speaker 1: Michael B. Jordan, It's team wu Mi Mosaku. Sentimental Value

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Speaker 1: practically shut out by you guys. You don't give a

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Speaker 1: shit about sentimental Value was the that's the takeaway here.

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Speaker 1: I can see us, by the way, doing an episode

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Speaker 1: of this film should be played loud all about Sinners

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Speaker 1: one of these days, because I mean, the whole Sinners.

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Speaker 1: The whole movie is about blues music. It's rooted in

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Speaker 1: sort of the origins of blues music in the South.

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Speaker 1: And if we do that at some point, I know

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Speaker 1: that we will, at some point that'll be over on

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Speaker 1: our Patreon Disgraceland All Access, which is where we release

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Speaker 1: that video podcast exclusively every month. It's also where these

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Speaker 1: votes all took place. So thanks to everyone over there

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Speaker 1: who voted, who got involved, and everybody who commented as

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Speaker 1: well throughout the process. Listen. If you want to get

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Speaker 1: in on the sweet Patreon action, if you want to

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Speaker 1: be voting with others, if you want to check out

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Speaker 1: this film should we played loud? Just go to disgracelandpod

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Speaker 1: dot com and sign up today. All right, let's take

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Speaker 1: a quick break and then we're gonna come back with

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Speaker 1: your calls, texts, emails and so much more. Just like

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Speaker 1: Chuck Berry's cousin Marvin Barry said at the Enchantment under

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Speaker 1: the Sea Dance, don't nobody go nowhere. All right, guys,

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Speaker 1: we're back and listen. I didn't even mention yet. We've

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Speaker 1: got this fully scripted and sound design episode in your

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Speaker 1: feed right now, your Hollywood Land feed. On the Maverick

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Speaker 1: John Houston. He was a writer, director, actor. He won

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Speaker 1: Oscars for both writing and directing the Treasure of the

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Speaker 1: Sierra Madre back in nineteen forty eight. He was nominated

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Speaker 1: many other times. This Friday, here in the screening room,

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Speaker 1: I'm gonna be doing a deep dive on the nineteen

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Speaker 1: seventy four film Chinatown, in which John Houston plays a

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Speaker 1: real mean sum bitch for all time Noah Cross, one

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Speaker 1: of the great movie villains, one of my favorite films

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Speaker 1: of all time. So make sure you check that out.

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Speaker 1: And the next week and continuing, I ricks an Outliers

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Speaker 1: month here in Hollywood ly and as I'm calling it,

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Speaker 1: we're gonna feature our episode on Dennis Hopper, a Hollywood

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Speaker 1: wild man if there ever was one. From Easy Rider

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Speaker 1: to Apocalypse Now and beyond, Dennis Hopper gave these brain

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Speaker 1: scrambling performances for the ages, which got me thinking for

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Speaker 1: next week's question of the week. What movie did you

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Speaker 1: watch way too young and it scrambled your brain forever?

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Speaker 1: Hit me up and let me know. You can text

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Speaker 1: or call six one seven nine oh six six six

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Speaker 1: three eight. It's a real phone number. Call it if

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Speaker 1: you want. Don't worry, no one's gonna pick up and

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Speaker 1: like put you on the spot. It's gonna go rate

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Speaker 1: to voicemail, or you can text it, just like Flow

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Speaker 1: did in the three one seven Flow Rights in Yo.

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Speaker 1: This is flow from the three one seven. This message

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Speaker 1: is for doctor Lundy. So my wife and I stumbled

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Speaker 1: across the twenty twenty one thriller Pig starring Nicholas Cage

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Speaker 1: this weekend, which spiraled us down a Nicholas Cage movie marathon,

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Speaker 1: which included the classics Raising Arizona, face Off, et cetera.

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Speaker 1: But my favorite of his films is probably The Sinister

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Speaker 1: Leaving Las Vegas. Having dabbled in youthful self destruction, I

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Speaker 1: can relate to the quote unquote inner Neanderthal inside all

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Speaker 1: men thoughts on a top five Nick Cage movie list,

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Speaker 1: rock a rolla Flow. I've got thoughts. I've got lots

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Speaker 1: of thoughts. You're speaking my language here. I love me

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Speaker 1: some Nicholas Cage. I love Nicholas Cage. I love how

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Speaker 1: bizarre he can get, and I love how he's somehow

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Speaker 1: translated his weirdness to all these major, major roles in Hollywood.

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Speaker 1: Nicholas Cage has I see three stages of his career.

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Speaker 1: He's got the there's the before, the Oscar for leaving

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Speaker 1: Las Vegas. When he's like an actor's actor, He's making

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Speaker 1: all these idiosyncratic choices and really establishing himself as a

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Speaker 1: as a one of one, and then there's the immediate

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Speaker 1: post oscar Win when he's making big action movies like

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Speaker 1: The Rock and con Air and Face Off. And then

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Speaker 1: there's this whole post action hero period that we find

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Speaker 1: ourselves in now that seems to be a response almost

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Speaker 1: to this action hero era that he was in, in

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Speaker 1: which he's making weird movies again, but they're in a

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Speaker 1: much different gear than before. It's almost like there's this

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Speaker 1: desire to flex his chops in different ways. And you know,

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Speaker 1: whether it's in Pig like you mentioned, which I really liked,

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Speaker 1: or The Unbearable Weight of Massive Talent, which I also liked.

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Speaker 1: He's made so many movies. I don't know. I wonder.

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Speaker 1: I wonder if he's in the running for some of

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Speaker 1: the most movies ever made before in an actress career.

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Speaker 1: I would hazard a guess that he is. He has

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Speaker 1: made so much. And there was a stretch there, I

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Speaker 1: think where he was basically saying yes to any offer

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Speaker 1: that came across his desk because he had all these

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Speaker 1: debts to like the irs or whatever he had to

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Speaker 1: pay off. But I digress. I'm going to give you

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Speaker 1: flow my top five Nicholas Cage movie list. But first

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Speaker 1: some honorable mentions here leaving Las Vegas. Of course, like

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Speaker 1: you mentioned, I'm seeing that in the theater when it

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Speaker 1: came out and being blown away, having been a Nicholas

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Speaker 1: Cage fan up to that point, blown away by that.

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Speaker 1: I also want to shout out matchtick Men, which is

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Speaker 1: totally underrated, a pig, like you said, dream Scenario, which

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Speaker 1: came out recently and was really fascinating, and then Moonstruck.

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Speaker 1: This Moonstruck almost made my top five. I love Nick

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Speaker 1: Cage and Moonstruck. I love Moonstruck in general. I could

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Speaker 1: have swapped out number five for Moonstruck. But here's my

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Speaker 1: top five. I'm going to go in reverse order from

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Speaker 1: my fifth favorite to my first favorite, so Moonstruck could

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Speaker 1: have been number five, but number five I made The Rock,

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Speaker 1: the Michael Bay nineteen ninety six movie with Sean Connery

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Speaker 1: and Ed Harris co starring. I wanted to include this

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Speaker 1: because this is my pick for big budget Nicholas Cage

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Speaker 1: and for those of us who were a fan of

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Speaker 1: his at the time, who came up watching him in

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Speaker 1: the eighties in the nineties and then saw him win

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Speaker 1: the Oscar and then saw him suddenly become this unlikely

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Speaker 1: action hero in The Rock. It was really exciting to

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Speaker 1: see see such a cookie cutter style action film with

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Speaker 1: the sort of X factor ingredient of the spicy sauce

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Speaker 1: in the pasta. Here that was Nicholas Cage in this

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Speaker 1: Michael Bay action movie. It was super thrilling. Then I

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Speaker 1: still think it's a hell of a good time to

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Speaker 1: throw on. So I'm gonna put The Rock at number five.

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Speaker 1: At number four, I'm gonna say Bringing Out the Dead,

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Speaker 1: which is a Martin Scorsese film from nineteen ninety nine,

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Speaker 1: written by frequent or frequent collaborator back on the day,

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Speaker 1: Paul Schrader, who also wrote famously Taxi Driver. This one,

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Speaker 1: Nicholas Cage plays a paramedic in New York City. I

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Speaker 1: think it takes place over like a day or two.

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Speaker 1: Super underrated Scorsese movie, by the way, I think. I

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Speaker 1: think it got pretty good reviews when it came out,

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Speaker 1: but somehow it's kind of been lost in the shuffle

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Speaker 1: when people talk about great Scorsese movies. But this is

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Speaker 1: Nick Cage in like he's kind of in that leaving

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Speaker 1: Las Vegas zone. Here's you know, the bloodshot eyes, the depression,

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Speaker 1: the existentialness of it all. This has got great energy.

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Speaker 1: This movie has incredible needle drops, as always for a

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Speaker 1: Scorsese movie, but also a killer score by Elmer Bernstein

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Speaker 1: as well. So Bringing Out the Dead is great. Check

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Speaker 1: it out. Number three on my list is the film Adaptation,

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Speaker 1: which is directed by Spike Jones, written by Charlie Kaufman.

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Speaker 1: This is from two thousand and two. These guys also

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Speaker 1: collaborated on Being John Malkovich, but in this one, Nicholas

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Speaker 1: Cage plays twin brothers. Not unlike Michael B. Jordan doing

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Speaker 1: the smoke and stack thing. He's playing twin brothers, Charlie

423
00:24:33,040 --> 00:24:37,600
Speaker 1: and Donald Kaufman. Okay, so the character Charlie Kaufman, who's

424
00:24:37,640 --> 00:24:41,479
Speaker 1: written by the real life screenwriter Charlie Coffman, don't get confused,

425
00:24:42,160 --> 00:24:46,960
Speaker 1: is trying to adapt Susan Orlean's book The Orchid Thief. Meanwhile,

426
00:24:47,280 --> 00:24:51,040
Speaker 1: his brother, Donald Kaufman basically wants to become a screenwriter

427
00:24:51,160 --> 00:24:54,520
Speaker 1: and is sort of representing everything that the Charlie Coffman

428
00:24:54,560 --> 00:24:58,280
Speaker 1: character doesn't want. He's representing sort of like the populist

429
00:24:59,080 --> 00:25:01,680
Speaker 1: mainstream to write a bunch of bullshit or whatever and

430
00:25:02,119 --> 00:25:04,800
Speaker 1: Charlie Coffins the serious artist trying to adapt this book.

431
00:25:05,160 --> 00:25:09,200
Speaker 1: This is based on the actual Charlie Coffman's own attempts

432
00:25:09,560 --> 00:25:13,080
Speaker 1: to adapt this book and failing. It is a super

433
00:25:13,320 --> 00:25:16,720
Speaker 1: meta script and film. If you have not seen this,

434
00:25:16,960 --> 00:25:20,800
Speaker 1: it is a trip with a capital T. It's inventive,

435
00:25:20,840 --> 00:25:24,359
Speaker 1: it's hilarious. And Nicholas Cage doing the dual role playing

436
00:25:24,400 --> 00:25:28,000
Speaker 1: the self loathing depressive and also the goofy hack is

437
00:25:28,119 --> 00:25:32,240
Speaker 1: just so so good adaptation. Check it out. Number two.

438
00:25:32,280 --> 00:25:34,600
Speaker 1: I've talked about this movie before numerous times, I think,

439
00:25:34,720 --> 00:25:36,159
Speaker 1: so I'm not gonna say too much about it right now,

440
00:25:36,200 --> 00:25:38,960
Speaker 1: but Wild at Heart the David Lynch film from nineteen

441
00:25:39,040 --> 00:25:42,119
Speaker 1: ninety in which Nicholas Cage plays Sailor, the guy who

442
00:25:42,200 --> 00:25:44,679
Speaker 1: wears the snakeskin jacket, which is a symbol of his

443
00:25:44,800 --> 00:25:48,199
Speaker 1: individuality and his belief in personal freedom. This is a

444
00:25:48,280 --> 00:25:52,560
Speaker 1: movie for sickos. Al a minute, but you know, sometimes

445
00:25:52,600 --> 00:25:55,280
Speaker 1: you gotta go the siko route, and I love this movie.

446
00:25:55,320 --> 00:25:59,159
Speaker 1: This is Nicholas Cage at his horny macho best. Okay.

447
00:25:59,520 --> 00:26:02,960
Speaker 1: And then number one, you mentioned it earlier, raising Arizona

448
00:26:03,240 --> 00:26:06,800
Speaker 1: Joel and Ethan Cohen nineteen eighty seven. Matt Boden from

449
00:26:06,840 --> 00:26:09,960
Speaker 1: Double Elvison. I had a conversation recently about our favorite

450
00:26:09,960 --> 00:26:13,560
Speaker 1: Coen Brothers movie, and I think, well, first of all,

451
00:26:13,600 --> 00:26:17,400
Speaker 1: I think pound for pounds, my favorite filmmakers probably are

452
00:26:17,720 --> 00:26:21,240
Speaker 1: the Cohens, and for someday on some days, this is

453
00:26:21,280 --> 00:26:24,080
Speaker 1: my favorite film of theirs. This is the very essence

454
00:26:24,200 --> 00:26:27,080
Speaker 1: of Nicholas Cage for me. You know, he's so, he's elastic,

455
00:26:27,160 --> 00:26:30,320
Speaker 1: he slapstick, he's the most quotable he's ever been, and

456
00:26:30,359 --> 00:26:34,080
Speaker 1: he fully embodies this dope hi, this guy who just

457
00:26:34,160 --> 00:26:36,399
Speaker 1: wants to make his wife happy. He just wants to

458
00:26:36,440 --> 00:26:38,199
Speaker 1: do the right thing, even though pretty much everything he

459
00:26:38,240 --> 00:26:41,720
Speaker 1: does in this film, from stealing money from a convenience

460
00:26:41,720 --> 00:26:44,040
Speaker 1: store to stealing a baby to hanging out with his

461
00:26:44,400 --> 00:26:48,280
Speaker 1: jail break deadbeat buddies, is all wrong. But man, it

462
00:26:48,400 --> 00:26:53,320
Speaker 1: is a great, great time raising Arizona classic flow. Thank

463
00:26:53,359 --> 00:26:56,520
Speaker 1: you for inspiring me to go down that path and

464
00:26:56,640 --> 00:26:59,600
Speaker 1: construct a top five. Let me know right back, let

465
00:26:59,640 --> 00:27:02,960
Speaker 1: me know what your top five list of Nick Cage

466
00:27:02,960 --> 00:27:05,520
Speaker 1: movies is, especially since you just rewatched revisited some of them.

467
00:27:05,560 --> 00:27:08,160
Speaker 1: That'd be great. Last week we were talking about great

468
00:27:08,200 --> 00:27:12,359
Speaker 1: performances by non actors, and I got this text that says, hey,

469
00:27:12,720 --> 00:27:15,359
Speaker 1: it's Josh from the four six. Love what you're doing,

470
00:27:15,760 --> 00:27:17,960
Speaker 1: love that you keep it wrong, intelligent, But I have

471
00:27:18,000 --> 00:27:20,719
Speaker 1: to say that performances by people that aren't truly actors,

472
00:27:20,760 --> 00:27:23,199
Speaker 1: you've got to give it up. To Meet Loaf and

473
00:27:23,320 --> 00:27:27,080
Speaker 1: Fight Club, his portrayal of Bob was epic, not just

474
00:27:27,119 --> 00:27:31,080
Speaker 1: for comical factors, but truly solid. Plus you get a

475
00:27:31,119 --> 00:27:35,680
Speaker 1: bonus that Jared Leto gets his face destroyed. Great movie

476
00:27:35,760 --> 00:27:40,399
Speaker 1: Rock and ROLLA thanks Josh, Yeah, isn't that didn't? I

477
00:27:40,440 --> 00:27:43,240
Speaker 1: read that's why Fincher cast Jared Leto in that movie

478
00:27:43,240 --> 00:27:46,119
Speaker 1: because he had a pretty face that he could destroy. Right,

479
00:27:46,320 --> 00:27:48,439
Speaker 1: that was the whole point of having him be in

480
00:27:48,440 --> 00:27:50,840
Speaker 1: that movie, which I love that Meet Loaf is bitch hits,

481
00:27:50,920 --> 00:27:54,920
Speaker 1: He's Bob. His name was Robert Paulson, right, And I agree, Josh.

482
00:27:55,080 --> 00:27:57,040
Speaker 1: He's so great in that movie. Do you remember him

483
00:27:57,119 --> 00:28:02,080
Speaker 1: in Wayne's World as the tiny at the club that

484
00:28:02,240 --> 00:28:04,280
Speaker 1: Wayne and Garth go to And Wayne and Garth are like,

485
00:28:04,280 --> 00:28:09,000
Speaker 1: who's playing tonight? And he's like the shitty Beatles. They're like,

486
00:28:09,040 --> 00:28:14,479
Speaker 1: are they any good? And he's like, no, The shitty

487
00:28:14,480 --> 00:28:19,000
Speaker 1: beatles awesome, Thanks Josh for that. Last week in the

488
00:28:19,040 --> 00:28:21,760
Speaker 1: screening room, I did an episode on Prisoners, the Danis

489
00:28:21,840 --> 00:28:23,720
Speaker 1: VILLANEUV film, and I got a bunch of feedback from

490
00:28:23,760 --> 00:28:25,600
Speaker 1: you guys, a lot of people writing in to say

491
00:28:25,600 --> 00:28:28,000
Speaker 1: that you love that movie and we're psyched to hear

492
00:28:28,040 --> 00:28:29,840
Speaker 1: the episode on it, which is great. I got this

493
00:28:29,920 --> 00:28:34,439
Speaker 1: text from the six'h eight that says, Zeth Prisoners is

494
00:28:34,480 --> 00:28:37,600
Speaker 1: one of my favorite movies. The first song that came

495
00:28:37,640 --> 00:28:39,800
Speaker 1: to mind for the mixtape is a little silly, but

496
00:28:39,840 --> 00:28:42,920
Speaker 1: it's locked Up by Akon. Thank you to the six

497
00:28:43,000 --> 00:28:44,800
Speaker 1: o eight and sorry a little bit more context for

498
00:28:44,840 --> 00:28:47,200
Speaker 1: this in the screening room episodes, if you guys haven't

499
00:28:47,200 --> 00:28:50,760
Speaker 1: heard these, I've been taking an opportunity to make a theoretical, metaphorical,

500
00:28:51,080 --> 00:28:55,160
Speaker 1: hypothetical mixtape inspired by the movie and six o eight

501
00:28:55,200 --> 00:28:57,520
Speaker 1: here is talking about including the song locked Up by

502
00:28:57,520 --> 00:29:01,040
Speaker 1: Acon on this mixtape that I was made making six o'

503
00:29:01,040 --> 00:29:04,000
Speaker 1: eight back on the two thousands, when this came out,

504
00:29:04,480 --> 00:29:07,560
Speaker 1: I was working for how long was I there for?

505
00:29:07,600 --> 00:29:10,560
Speaker 1: Four years? Maybe? I think so three or four years.

506
00:29:10,600 --> 00:29:13,640
Speaker 1: I worked at a hip hop station, hip hop and

507
00:29:13,760 --> 00:29:16,400
Speaker 1: R and B station in Boston called Jam in ninety

508
00:29:16,440 --> 00:29:20,800
Speaker 1: four five and out in Medford, mass commercial hip hop

509
00:29:20,920 --> 00:29:23,960
Speaker 1: R and B station Clear Channel owned I think Clear

510
00:29:24,000 --> 00:29:27,720
Speaker 1: Channel Live Nation, whatever the hell yeah, Clear Channel. So anyways,

511
00:29:28,040 --> 00:29:30,680
Speaker 1: you know, very very strict playlist, with the exception of

512
00:29:30,720 --> 00:29:34,040
Speaker 1: like maybe you know, your afternoon throwback mix the DJ

513
00:29:34,120 --> 00:29:37,880
Speaker 1: would do during your lunchtime throwback mix, or then like

514
00:29:37,920 --> 00:29:40,800
Speaker 1: the afternoon drive where maybe a DJ would come in

515
00:29:40,800 --> 00:29:42,400
Speaker 1: and kind of put their own spin on it. There

516
00:29:42,440 --> 00:29:45,120
Speaker 1: were certain songs that were selected by the you know,

517
00:29:45,200 --> 00:29:48,120
Speaker 1: the the music director there at the station that worked

518
00:29:48,120 --> 00:29:49,959
Speaker 1: in tandem with the labels and the whole thing, you know.

519
00:29:50,320 --> 00:29:52,560
Speaker 1: So basically there was like a playlist of like eight

520
00:29:52,640 --> 00:29:55,640
Speaker 1: songs that were shuffled all day long on repeat, and

521
00:29:55,800 --> 00:30:00,360
Speaker 1: the station was piped in throughout the building, so wherever

522
00:30:00,400 --> 00:30:04,360
Speaker 1: you went you could not escape Akon every fucking ninety minutes.

523
00:30:04,440 --> 00:30:08,960
Speaker 1: Acon was so like it's almost kind of like triggering.

524
00:30:09,000 --> 00:30:11,000
Speaker 1: Now when I hear Akon, I'm like like back in

525
00:30:11,040 --> 00:30:15,760
Speaker 1: that cubicle listening to those same mate songs all day. Anyways,

526
00:30:16,120 --> 00:30:19,440
Speaker 1: thanks for that that recommendation. There will stick that on

527
00:30:19,560 --> 00:30:24,400
Speaker 1: our hypothetical theoretical metaphorical mixtape. Also one other email I

528
00:30:24,400 --> 00:30:26,560
Speaker 1: wanted to read here. This is an email with the

529
00:30:26,560 --> 00:30:30,560
Speaker 1: title Elvis film. It says ze Jason in the eight

530
00:30:30,560 --> 00:30:34,080
Speaker 1: four or five here, it's amazing. It's he's referring to

531
00:30:34,400 --> 00:30:36,360
Speaker 1: the Elvis movie, the new Elvis movie I talked about

532
00:30:36,400 --> 00:30:39,240
Speaker 1: last week, epic Elvis Presley in concert. Okay, back to

533
00:30:39,240 --> 00:30:43,320
Speaker 1: the email. It's amazing, except just like the Get Back documentary,

534
00:30:43,320 --> 00:30:47,760
Speaker 1: the film over sharpened and gave the film a plastic look.

535
00:30:48,160 --> 00:30:50,440
Speaker 1: I do color work for TV, and the deleting of

536
00:30:50,560 --> 00:30:55,280
Speaker 1: so much artifacts makes it look weird. Thanks, Jason. I

537
00:30:55,320 --> 00:30:58,200
Speaker 1: know what you're talking about here, Jason, because I do

538
00:30:58,280 --> 00:31:03,880
Speaker 1: remember watching the Get Back documentary, the Beatles documentary on Disney,

539
00:31:03,920 --> 00:31:07,719
Speaker 1: plus that Peter Jackson's team restored just like they restored

540
00:31:07,720 --> 00:31:10,880
Speaker 1: this footage for the Elvis documentary. And I do remember

541
00:31:10,920 --> 00:31:14,920
Speaker 1: watching The Beatles one and thinking it looked incredible. Then

542
00:31:14,960 --> 00:31:18,080
Speaker 1: it occasionally it was like it was like that Uncanny

543
00:31:18,200 --> 00:31:20,600
Speaker 1: Valley thing where it like looked too incredible, it looked

544
00:31:20,680 --> 00:31:23,560
Speaker 1: too good, Like it was almost like there's like an

545
00:31:23,560 --> 00:31:27,240
Speaker 1: impostor in John Lennon's face. So I totally know what

546
00:31:27,280 --> 00:31:30,520
Speaker 1: you're talking about. I didn't notice it the first go.

547
00:31:30,760 --> 00:31:32,880
Speaker 1: I've only seen this Elvistock one, so I didn't notice

548
00:31:32,920 --> 00:31:35,360
Speaker 1: it the first time around. But I'm gonna keep my

549
00:31:35,360 --> 00:31:37,600
Speaker 1: eyes open the second time around. And I appreciate you

550
00:31:37,640 --> 00:31:40,160
Speaker 1: looking out for the detail and hipping me to these

551
00:31:40,240 --> 00:31:43,760
Speaker 1: kinds of things. Color work, color correction, over sharpening, all

552
00:31:43,800 --> 00:31:46,120
Speaker 1: that stuff. I'm sure I'm getting the lingo wrong, but

553
00:31:46,160 --> 00:31:49,320
Speaker 1: I appreciate the message. Jason and everybody else, I appreciate

554
00:31:49,360 --> 00:31:52,440
Speaker 1: your messages. If you want to jump in here to

555
00:31:52,520 --> 00:31:54,960
Speaker 1: the fray, just get at me. You know you know

556
00:31:54,960 --> 00:31:56,760
Speaker 1: how to do it. Six one seven nine oh six

557
00:31:56,800 --> 00:32:00,280
Speaker 1: six six three eight Disgrace lampod at gmail dot com

558
00:32:00,560 --> 00:32:03,880
Speaker 1: in the chat over and disgraced land All Access on Patreon.

559
00:32:04,160 --> 00:32:06,920
Speaker 1: Give me your Nick Cage top five lists, give me

560
00:32:06,920 --> 00:32:09,040
Speaker 1: all you got a right, Let's take another short break,

561
00:32:09,080 --> 00:32:11,120
Speaker 1: and when we come back, I'm gonna give you some

562
00:32:11,160 --> 00:32:27,200
Speaker 1: recommendations on what I've been checking out recently. Oh right, Hollywood,

563
00:32:27,280 --> 00:32:30,760
Speaker 1: land Gain, it is time for the recommendations portion of

564
00:32:30,880 --> 00:32:33,400
Speaker 1: our show, to talk to you about what I've been

565
00:32:33,440 --> 00:32:36,960
Speaker 1: watching and listening to this past week. I mentioned this earlier.

566
00:32:37,400 --> 00:32:39,400
Speaker 1: This was in our poll for the Oscars. This is

567
00:32:39,480 --> 00:32:42,160
Speaker 1: up for some Oscar Awards. This weekend, I finally got

568
00:32:42,160 --> 00:32:44,720
Speaker 1: around to watching The Secret Agent, which I wanted to

569
00:32:44,720 --> 00:32:46,680
Speaker 1: see ever since it came out. It was not playing

570
00:32:46,680 --> 00:32:49,120
Speaker 1: in a theater near me, and then it hit streaming

571
00:32:49,120 --> 00:32:50,480
Speaker 1: when it was like twenty bucks to rent it, so

572
00:32:50,520 --> 00:32:52,920
Speaker 1: I kind of held off, and just this past week

573
00:32:52,960 --> 00:32:55,400
Speaker 1: I think it's finally It's available on Hulu and Disney

574
00:32:55,400 --> 00:32:57,560
Speaker 1: Plus to stream. If you subscribed to either of those,

575
00:32:58,320 --> 00:33:02,640
Speaker 1: I highly highly recommend this film. It's called The Secret Agent.

576
00:33:02,880 --> 00:33:06,800
Speaker 1: It's written and directed by a Brazilian filmmaker named kleeber

577
00:33:06,960 --> 00:33:11,640
Speaker 1: Mendoza Filio. It's a Brazilian film. Stars Vagner Mora, who

578
00:33:11,640 --> 00:33:14,640
Speaker 1: I talked about earlier. You may remember him from Civil War,

579
00:33:14,720 --> 00:33:18,680
Speaker 1: the twenty twenty four Alex Garland film, or Dope Thief,

580
00:33:18,720 --> 00:33:22,040
Speaker 1: which is the recent Apple TV Plus series. Here he

581
00:33:22,080 --> 00:33:25,680
Speaker 1: plays a man in nineteen seventy seven Brazil, a man

582
00:33:25,760 --> 00:33:28,720
Speaker 1: known as Marcello. He's traveling when we first meet him.

583
00:33:28,720 --> 00:33:33,280
Speaker 1: He's driving this yellow VW beadle. This awesome, awesome opening

584
00:33:33,320 --> 00:33:36,680
Speaker 1: scene at a gas station with a dead body and

585
00:33:36,760 --> 00:33:39,920
Speaker 1: the state police. It might be my favorite opening scene

586
00:33:39,960 --> 00:33:42,760
Speaker 1: of any film from last year that I've seen, but

587
00:33:42,800 --> 00:33:44,520
Speaker 1: you get the sense right after bat this guy is

588
00:33:44,560 --> 00:33:48,320
Speaker 1: living someone outside the laws. Maybe he's on the rung

589
00:33:48,600 --> 00:33:52,040
Speaker 1: or he's keeping on the DL for some reason. This

590
00:33:52,080 --> 00:33:54,560
Speaker 1: is a time of great political upheaval in Brazil. There's

591
00:33:54,560 --> 00:33:56,600
Speaker 1: a title card at the very beginning that defines it

592
00:33:56,640 --> 00:33:59,200
Speaker 1: as a time of great mischief, as they call it.

593
00:33:59,640 --> 00:34:02,280
Speaker 1: Although the movie just kind of drops you into this

594
00:34:03,120 --> 00:34:05,880
Speaker 1: world and never really explains anything for you, so you're

595
00:34:05,960 --> 00:34:09,439
Speaker 1: kind of figuring it out as you go. But he's

596
00:34:09,440 --> 00:34:13,080
Speaker 1: traveling to Recife, where he's being expected by this old woman,

597
00:34:13,160 --> 00:34:16,879
Speaker 1: this amazing performance by the actress Tanya Maria, this woman

598
00:34:16,920 --> 00:34:19,400
Speaker 1: who runs this hostel of sorts I guess for dissidence

599
00:34:19,480 --> 00:34:22,239
Speaker 1: and refugee types. And again, although we don't get the

600
00:34:22,239 --> 00:34:24,560
Speaker 1: plot handed to us, it starts to come together here

601
00:34:25,040 --> 00:34:27,640
Speaker 1: in ways that we don't fully understand, like, Okay, he's

602
00:34:28,560 --> 00:34:31,760
Speaker 1: hiding out from somebody. We learn through these other scenes

603
00:34:31,800 --> 00:34:34,399
Speaker 1: there's somebody has put a hit out on him. He's

604
00:34:34,440 --> 00:34:37,719
Speaker 1: hired some guys to kill him, which we don't fully understand.

605
00:34:38,239 --> 00:34:40,799
Speaker 1: And I really really love a movie like this, a

606
00:34:40,840 --> 00:34:44,240
Speaker 1: movie that doesn't treat you like a child, that doesn't

607
00:34:44,280 --> 00:34:46,160
Speaker 1: treat you like you're an idiot that just lets you

608
00:34:46,280 --> 00:34:50,280
Speaker 1: live in this world. The world's already there, it already exists,

609
00:34:50,280 --> 00:34:52,520
Speaker 1: and you just sort of drop in as like this

610
00:34:52,960 --> 00:34:55,319
Speaker 1: fly on the wall. Right. It's a beautiful world. By

611
00:34:55,360 --> 00:34:58,640
Speaker 1: the way, the colors in this film are extraordinary, as

612
00:34:58,719 --> 00:35:02,080
Speaker 1: is the sense that you are here, You're in nineteen

613
00:35:02,160 --> 00:35:06,280
Speaker 1: seventy seven, in Recife, among these people. Just this whole

614
00:35:06,400 --> 00:35:09,480
Speaker 1: like hangout vibe of the movie is worth price of

615
00:35:09,480 --> 00:35:12,759
Speaker 1: emission in the first place. Right. But throughout it's two

616
00:35:12,800 --> 00:35:15,600
Speaker 1: hours and forty minutes, and yes it is long, and

617
00:35:15,680 --> 00:35:18,760
Speaker 1: it is at times slowly paced, but it's never boring.

618
00:35:19,600 --> 00:35:21,720
Speaker 1: So throughout this two hours and forty minutes, it plays

619
00:35:21,760 --> 00:35:24,680
Speaker 1: at times like a political thriller, like a movie that's

620
00:35:24,760 --> 00:35:27,879
Speaker 1: that came from the paranoid nineteen seventies, but it also

621
00:35:27,880 --> 00:35:31,000
Speaker 1: plays like an absurdiest Fellini film. At times it plays

622
00:35:31,080 --> 00:35:34,120
Speaker 1: like a character study, and it's very interested in memory

623
00:35:34,160 --> 00:35:36,319
Speaker 1: and time and place. It's a movie that can be

624
00:35:36,440 --> 00:35:40,480
Speaker 1: very lovely, very sad, and also full of life, and

625
00:35:40,560 --> 00:35:43,400
Speaker 1: it's sometimes very violent as well. It's just a really

626
00:35:43,440 --> 00:35:47,200
Speaker 1: special piece of work. And there must be something that

627
00:35:47,280 --> 00:35:50,520
Speaker 1: was in the air or the water last year, because

628
00:35:50,880 --> 00:35:53,960
Speaker 1: just like Sinners in one battle after another. The Secret

629
00:35:54,000 --> 00:35:56,920
Speaker 1: Agent is not content to just be one kind of film.

630
00:35:57,239 --> 00:36:01,040
Speaker 1: You know, I'm wondering if we're seeing, you know, this

631
00:36:01,120 --> 00:36:03,600
Speaker 1: wave of filmmakers who are in their thirties, their forties

632
00:36:03,680 --> 00:36:06,760
Speaker 1: or fifties, who grew up on this like balanced diet

633
00:36:06,800 --> 00:36:10,200
Speaker 1: of influences. You know, they got their influences not just

634
00:36:10,280 --> 00:36:13,680
Speaker 1: from indie films, but also from big budget films, and

635
00:36:13,719 --> 00:36:17,759
Speaker 1: they learn how you can tell stories throughout different kinds

636
00:36:17,800 --> 00:36:20,839
Speaker 1: of genre. And I think this well balanced diet is

637
00:36:20,960 --> 00:36:23,120
Speaker 1: really turning up now in the movies that people like

638
00:36:23,719 --> 00:36:27,600
Speaker 1: Cleber Mendozaphilio or Ryan Coogler or Paul Thomas Anderson or

639
00:36:27,600 --> 00:36:30,440
Speaker 1: even Jordan Peel are making. And I'm here for it.

640
00:36:30,520 --> 00:36:33,279
Speaker 1: I'm for anything that feels different, I am here for it.

641
00:36:33,600 --> 00:36:35,759
Speaker 1: So again, The Secret Agent. If you guys haven't seen this,

642
00:36:36,200 --> 00:36:38,720
Speaker 1: check it out. It's totally worthwhile, and I'd be interested

643
00:36:38,719 --> 00:36:40,520
Speaker 1: to hear what you guys think about it as well.

644
00:36:40,600 --> 00:36:44,160
Speaker 1: I've also been watching every week, we've been watching The Pit.

645
00:36:44,400 --> 00:36:47,560
Speaker 1: This is my wife's and my are weekly constant. This

646
00:36:47,600 --> 00:36:51,440
Speaker 1: is the hospital show that takes place in Pittsburgh, starring

647
00:36:51,480 --> 00:36:54,680
Speaker 1: Noah Wiley that's been on HBO. This is the second season.

648
00:36:55,239 --> 00:36:58,000
Speaker 1: You know, the framework of the show is that every

649
00:36:58,000 --> 00:37:01,160
Speaker 1: episode is one hour in a in a fifteen hour

650
00:37:01,239 --> 00:37:04,240
Speaker 1: shift in one day at this hospital, and a lot's

651
00:37:04,239 --> 00:37:07,280
Speaker 1: been written about and talked about how this show feels

652
00:37:07,320 --> 00:37:09,520
Speaker 1: like a throwback to dramas of the past, like dramas

653
00:37:09,560 --> 00:37:13,560
Speaker 1: of the nineteen nineties, you know, like this pre prestige

654
00:37:13,880 --> 00:37:16,320
Speaker 1: drama kind of feel where it's just this like comfort

655
00:37:16,320 --> 00:37:19,560
Speaker 1: food kind of drama, right, And recently in this season,

656
00:37:19,600 --> 00:37:22,040
Speaker 1: there was a plot device where the hospital had to

657
00:37:22,080 --> 00:37:26,760
Speaker 1: go completely offline, so they've like literally in the narrative

658
00:37:26,800 --> 00:37:30,040
Speaker 1: of the show, they've resorted back to old school drama

659
00:37:30,120 --> 00:37:33,839
Speaker 1: with these pre Internet protocols. So it's really cool for

660
00:37:34,160 --> 00:37:36,160
Speaker 1: you know, people my generation and Gen Next Generation is

661
00:37:36,200 --> 00:37:38,399
Speaker 1: sort of it's almost like you're experiencing something that could

662
00:37:38,400 --> 00:37:40,680
Speaker 1: have been made back in the nineties, and it's just like,

663
00:37:40,760 --> 00:37:43,040
Speaker 1: you know, the balancing of all these characters, the stories.

664
00:37:43,560 --> 00:37:45,880
Speaker 1: You're super invested, and the show just zooms by all

665
00:37:45,880 --> 00:37:47,719
Speaker 1: of a sudden it cuts to the credits, and you're

666
00:37:47,760 --> 00:37:50,279
Speaker 1: bummed that it's over, because even though there's like a

667
00:37:50,280 --> 00:37:52,479
Speaker 1: lot of gnarly hospital shit that I have to watch

668
00:37:52,520 --> 00:37:55,200
Speaker 1: through my fingers. And you know, unlike Noah Wiley's other

669
00:37:55,560 --> 00:37:58,040
Speaker 1: hospital show, Er, this is on HBO, so they can

670
00:37:58,040 --> 00:37:59,440
Speaker 1: show you a lot of stuff they couldn't show you

671
00:37:59,440 --> 00:38:02,520
Speaker 1: on Er, so it gets gnarly. I'm so invested in

672
00:38:02,560 --> 00:38:05,120
Speaker 1: these characters and I just really enjoy hanging out with

673
00:38:05,160 --> 00:38:08,399
Speaker 1: them episode to episode. So if you're not watching the Pit,

674
00:38:08,480 --> 00:38:10,839
Speaker 1: it's a great show. And I've got some friends in

675
00:38:10,880 --> 00:38:13,879
Speaker 1: the hospital world. I'm always curious that I've asked about

676
00:38:13,880 --> 00:38:15,759
Speaker 1: this show. I wonder if they're like, ah, now that's

677
00:38:15,800 --> 00:38:18,920
Speaker 1: not that's not how it's done, or that's not real

678
00:38:19,000 --> 00:38:22,120
Speaker 1: or whatever. And although they do have a gripe here there,

679
00:38:22,480 --> 00:38:24,520
Speaker 1: all my hospital friends who I've talked to are just

680
00:38:24,560 --> 00:38:26,640
Speaker 1: as addicted to the show as I am. So that's

681
00:38:26,880 --> 00:38:29,920
Speaker 1: that should tell you something. Speaking of HBO, which continues

682
00:38:29,960 --> 00:38:32,120
Speaker 1: to kick ass on the TV series front, we started

683
00:38:32,160 --> 00:38:36,360
Speaker 1: to watch DTF Saint Louis. This is a new show

684
00:38:36,480 --> 00:38:41,120
Speaker 1: with Jason Bateman, David Harber, and Linda Cardellini. Bateman coming

685
00:38:41,120 --> 00:38:43,960
Speaker 1: off The Amazing Black Rabbit, of course, this one's about

686
00:38:43,960 --> 00:38:46,080
Speaker 1: these co workers who get involved with this dating app

687
00:38:46,160 --> 00:38:50,200
Speaker 1: called DTF Saint Louis. It's an app for married people

688
00:38:50,239 --> 00:38:53,839
Speaker 1: to carry out these clandestine affairs, and you know, sort

689
00:38:53,880 --> 00:38:56,160
Speaker 1: of this midlife crisis, seven year rich moment for all

690
00:38:56,200 --> 00:38:59,200
Speaker 1: these unhappy people to spice things up, and it results

691
00:38:59,239 --> 00:39:01,320
Speaker 1: in one of them dying one of them being murdered,

692
00:39:01,680 --> 00:39:04,640
Speaker 1: which sounds like a great premise, But at first watching

693
00:39:04,680 --> 00:39:07,359
Speaker 1: this episode, I was like, not totally sold. I kind

694
00:39:07,400 --> 00:39:10,279
Speaker 1: of want more of the sarcastic Jason Bateman than we're

695
00:39:10,280 --> 00:39:12,719
Speaker 1: getting here. What was really throwing me off with some

696
00:39:12,760 --> 00:39:15,520
Speaker 1: of those sort of like technical decisions and how it shot,

697
00:39:15,640 --> 00:39:18,520
Speaker 1: how it's edited, And that's totally a pedantic, like me

698
00:39:18,680 --> 00:39:20,359
Speaker 1: thing to worry about, so don't worry about it. But

699
00:39:20,840 --> 00:39:22,920
Speaker 1: all that said, by the end of the episode, the

700
00:39:22,960 --> 00:39:25,319
Speaker 1: way that the episode wrapped up and the way that

701
00:39:25,400 --> 00:39:28,640
Speaker 1: it left on a cliffhanger, I felt like I could

702
00:39:28,680 --> 00:39:31,160
Speaker 1: easily easily get hooked this. So I'm gonna I want

703
00:39:31,200 --> 00:39:33,279
Speaker 1: to watch more for sure. I got episode two to

704
00:39:33,360 --> 00:39:34,800
Speaker 1: I'm ready to watch here one of these nights, so

705
00:39:34,800 --> 00:39:37,760
Speaker 1: I'm gonna get into that. That's called DTF Saint Louis.

706
00:39:38,239 --> 00:39:40,200
Speaker 1: As far as what I've been listening to, I've been

707
00:39:40,239 --> 00:39:45,200
Speaker 1: listening in the car a lot to cheap trick, cheap trick.

708
00:39:46,040 --> 00:39:48,520
Speaker 1: Why has cheap trick escaped me for so long? I

709
00:39:48,560 --> 00:39:51,239
Speaker 1: don't know. This is one of those like why have

710
00:39:51,360 --> 00:39:53,600
Speaker 1: I not been obsessed with this band for years? I

711
00:39:53,640 --> 00:39:57,640
Speaker 1: remember I reviewed the deluxe edition of their their Live

712
00:39:57,680 --> 00:40:00,960
Speaker 1: at Budican album when the deluxe just came out, like whatever,

713
00:40:00,960 --> 00:40:02,759
Speaker 1: that was ten or fifteen years ago, back when I

714
00:40:02,800 --> 00:40:06,400
Speaker 1: was still doing the music criticism thing. I really really

715
00:40:06,480 --> 00:40:08,839
Speaker 1: liked the concert, I really liked the box set or whatever,

716
00:40:08,960 --> 00:40:10,879
Speaker 1: but I never went down the cheap trick rabbit hole

717
00:40:11,320 --> 00:40:13,800
Speaker 1: for whatever reason. I don't know, but I am. Now.

718
00:40:14,120 --> 00:40:17,560
Speaker 1: I'm listening a constant repeat to albums, the early albums,

719
00:40:17,600 --> 00:40:21,680
Speaker 1: you know, Heaven, Tonight, In Dreams, Dream Police, and these

720
00:40:21,719 --> 00:40:25,000
Speaker 1: songs man. You know, of course everyone knows Surrender, but

721
00:40:25,160 --> 00:40:28,440
Speaker 1: also Downed. Downed is like my favorite song right now

722
00:40:28,520 --> 00:40:32,080
Speaker 1: at the moment. Also, Hello there, good night California. Man,

723
00:40:32,200 --> 00:40:35,920
Speaker 1: Big Eyes. They're so weird, you know, like lyrically they

724
00:40:35,960 --> 00:40:39,720
Speaker 1: are refreshingly weird for a band that is all about

725
00:40:39,719 --> 00:40:43,920
Speaker 1: these ginormous pop hooks, and especially for a band it

726
00:40:43,960 --> 00:40:46,719
Speaker 1: just looks like four regular dudes from Illinois, which I

727
00:40:46,760 --> 00:40:51,160
Speaker 1: suppose they were the drummer Bunny Carlos looks like a

728
00:40:51,200 --> 00:40:53,839
Speaker 1: guy that your dad plays poker with, you know, every

729
00:40:53,880 --> 00:40:57,279
Speaker 1: Wednesday night. Maybe Rick Nielsen with his like, you know,

730
00:40:57,400 --> 00:41:00,560
Speaker 1: quadruple neck guitar or however many next his guitar. Maybe

731
00:41:00,560 --> 00:41:04,319
Speaker 1: he was not just a regular looking dube. Anyways, they

732
00:41:04,320 --> 00:41:06,960
Speaker 1: seem to have this like this like it's almost like kiss,

733
00:41:07,000 --> 00:41:08,880
Speaker 1: but it's tongue in cheek, you know. Like they have

734
00:41:08,960 --> 00:41:11,880
Speaker 1: this song that's literally like hello there, ladies and gents,

735
00:41:11,960 --> 00:41:14,319
Speaker 1: are you ready to rock? Like it's a song they

736
00:41:14,360 --> 00:41:17,520
Speaker 1: created in order to like tailor made to play a

737
00:41:17,600 --> 00:41:20,440
Speaker 1: kick ass rock and roll show, right, And that kind

738
00:41:20,440 --> 00:41:22,320
Speaker 1: of has this kiss vibe to me for whatever reason.

739
00:41:23,000 --> 00:41:25,799
Speaker 1: And of course they did that at buddhacom So as

740
00:41:25,840 --> 00:41:28,759
Speaker 1: I was listening to all these cheap trick records over

741
00:41:28,760 --> 00:41:31,480
Speaker 1: the last week in my car, I was thinking to myself,

742
00:41:31,719 --> 00:41:34,319
Speaker 1: is this a cheap trick the best power pop band ever?

743
00:41:34,840 --> 00:41:37,640
Speaker 1: Are they possibly? I think they possibly are? If not,

744
00:41:37,760 --> 00:41:40,400
Speaker 1: tell me who is. By the way, the whole Buddakan

745
00:41:40,480 --> 00:41:43,120
Speaker 1: show like video of the show, the legendary show they

746
00:41:43,120 --> 00:41:45,080
Speaker 1: did in Japan, is on YouTube. You can check it out.

747
00:41:45,120 --> 00:41:46,840
Speaker 1: It's pretty great. I need to know more about that

748
00:41:46,880 --> 00:41:48,960
Speaker 1: whole story, by the way, about how they blew up

749
00:41:49,320 --> 00:41:51,560
Speaker 1: in Japan like that, right, Like, isn't that how it

750
00:41:51,600 --> 00:41:53,840
Speaker 1: went down? Like they were they weren't like famous famous

751
00:41:53,840 --> 00:41:55,840
Speaker 1: in the States, but then they did Budukan and it

752
00:41:55,880 --> 00:41:58,000
Speaker 1: pushed them over the edge. I need to know more

753
00:41:58,040 --> 00:42:01,000
Speaker 1: about how and why that happened, and I need more details,

754
00:42:01,040 --> 00:42:03,799
Speaker 1: A need more context. But see, I've never spent the

755
00:42:03,840 --> 00:42:06,800
Speaker 1: time digging into their history as I have with other bands.

756
00:42:06,840 --> 00:42:10,319
Speaker 1: If you guys got any good shit on Cheap Trick

757
00:42:10,520 --> 00:42:13,560
Speaker 1: or have any other recommendations for I'm sort of stuck

758
00:42:13,560 --> 00:42:15,480
Speaker 1: on like the classic period of Cheap Trick, let me know.

759
00:42:15,840 --> 00:42:18,279
Speaker 1: I mean, of course I know that record with the

760
00:42:18,320 --> 00:42:20,200
Speaker 1: Flame on it. I had that on cassette when I

761
00:42:20,239 --> 00:42:22,080
Speaker 1: was a kid, that came out in the late eighties

762
00:42:22,160 --> 00:42:24,319
Speaker 1: or whatever. I'm not talking about that record. But if

763
00:42:24,320 --> 00:42:26,520
Speaker 1: there's anything else deep cut wise for Cheap Trick, or

764
00:42:26,800 --> 00:42:29,759
Speaker 1: you got any good Cheap Trick stories or myths or

765
00:42:30,200 --> 00:42:33,000
Speaker 1: rumors or legends or whatever, get at me. Let me know.

766
00:42:33,520 --> 00:42:35,880
Speaker 1: You can text me, you can call me six one

767
00:42:36,040 --> 00:42:41,520
Speaker 1: seven nine oh six six six three eight. Hanging in there, guys,

768
00:42:41,560 --> 00:43:04,759
Speaker 1: I'm gonna take a quick break and I'll be right back. Okay, gang,

769
00:43:05,800 --> 00:43:08,440
Speaker 1: look at my time is just about up in the

770
00:43:08,440 --> 00:43:11,200
Speaker 1: wrap party. I gotta wrap this thing up. I gotta

771
00:43:11,320 --> 00:43:14,160
Speaker 1: flick the lights. Last call you guys, gotta get out

772
00:43:14,160 --> 00:43:16,359
Speaker 1: of here. We all gotta go somewhere else, do something else.

773
00:43:16,520 --> 00:43:19,600
Speaker 1: Me currently to let you in behind the curtain. I'm

774
00:43:19,640 --> 00:43:23,480
Speaker 1: currently I'm gonna go do some writing for a Disgracelane

775
00:43:23,520 --> 00:43:26,120
Speaker 1: episode that will come out later this year. On Christina Grimmy,

776
00:43:26,520 --> 00:43:29,799
Speaker 1: who I knew very little about. She went viral on

777
00:43:29,840 --> 00:43:33,400
Speaker 1: YouTube as a teenager for cover songs that she was singing,

778
00:43:33,680 --> 00:43:37,160
Speaker 1: which then earned her a spot on NBC's The Voice,

779
00:43:37,600 --> 00:43:42,360
Speaker 1: the Singing competition show, and then, tragically, very tragically, she

780
00:43:42,480 --> 00:43:46,239
Speaker 1: was gunned down by a crazed fan during a meet

781
00:43:46,239 --> 00:43:48,680
Speaker 1: and greet in Orlando. She was only twenty two. It's

782
00:43:48,719 --> 00:43:51,160
Speaker 1: a really sad story, but it's rate and arline for

783
00:43:51,239 --> 00:43:53,400
Speaker 1: true crime storytelling us. I gotta grab some lunch and

784
00:43:53,440 --> 00:43:56,000
Speaker 1: I'm gonna get cracking on that script. I also threw

785
00:43:56,000 --> 00:43:58,680
Speaker 1: together a show outline for Jake and I to go record.

786
00:43:58,800 --> 00:44:01,840
Speaker 1: The next episode of this film should be played loud,

787
00:44:01,880 --> 00:44:05,799
Speaker 1: which is gonna be all about, drum roll please, The

788
00:44:05,840 --> 00:44:09,319
Speaker 1: Big Lebowski, the Coen Brothers nineteen ninety eight classic movie,

789
00:44:09,400 --> 00:44:11,799
Speaker 1: or should I say all about the soundtrack to The

790
00:44:11,800 --> 00:44:14,720
Speaker 1: Big Lebowski, which is as deep and funny and thrilling

791
00:44:14,719 --> 00:44:16,560
Speaker 1: as the film. And I can't wait to talk to

792
00:44:16,600 --> 00:44:18,360
Speaker 1: Jake about this and then for all of you to

793
00:44:18,560 --> 00:44:23,080
Speaker 1: see it over there on Patreon Disgraceland All Access. And remember, guys,

794
00:44:23,520 --> 00:44:25,600
Speaker 1: question of the week for next week. We've got Dennis

795
00:44:25,600 --> 00:44:27,880
Speaker 1: Harper con up next week question of the week? What

796
00:44:28,040 --> 00:44:31,360
Speaker 1: movie did you see? Way too young? And it's totally

797
00:44:31,400 --> 00:44:34,840
Speaker 1: scrambled your little brain forever? Call me or text me

798
00:44:35,200 --> 00:44:37,720
Speaker 1: six one seven nine oh six six six three eight,

799
00:44:38,239 --> 00:44:42,319
Speaker 1: email me disgracelampodat gmail dot com, get at me on

800
00:44:42,360 --> 00:44:45,680
Speaker 1: the socials at disgrace Lampod, or jump in the chat

801
00:44:45,760 --> 00:44:49,960
Speaker 1: over in the Patreon app. With all that said, let's

802
00:44:49,960 --> 00:44:53,759
Speaker 1: recap number one first of all, right, now in your hollywoodland,

803
00:44:53,760 --> 00:44:57,719
Speaker 1: feed our episode on John Houston. Number two coming at

804
00:44:57,760 --> 00:44:59,719
Speaker 1: you this Friday. We've got a new episode of the

805
00:44:59,760 --> 00:45:02,640
Speaker 1: sc reading Room and this week I'm talking all about

806
00:45:02,680 --> 00:45:06,680
Speaker 1: the nineteen seventy four film Chinatown, directed by Roman Polanski.

807
00:45:06,920 --> 00:45:10,440
Speaker 1: Starring Jack Nicholson, Faye Dunaway, and our guy, of course,

808
00:45:10,560 --> 00:45:14,120
Speaker 1: John Houston. Number three. Next week on Monday, we continue

809
00:45:14,120 --> 00:45:17,120
Speaker 1: our Mavericks and Outliers month with a fully scripted and

810
00:45:17,200 --> 00:45:21,239
Speaker 1: sound design episode on Dennis Hopper. Number four. Over in

811
00:45:21,320 --> 00:45:24,880
Speaker 1: our sister show Disgraceland, we just dropped our previously exclusive

812
00:45:24,920 --> 00:45:27,719
Speaker 1: episode on Towns van Zandt, one of the greatest singer

813
00:45:27,760 --> 00:45:30,239
Speaker 1: songwriters who ever lived and didn't really get his due

814
00:45:30,640 --> 00:45:33,400
Speaker 1: until his death at fifty two. Talk about someone that

815
00:45:33,480 --> 00:45:35,680
Speaker 1: the Academy Awards never would have recognized. Am I right?

816
00:45:36,160 --> 00:45:39,840
Speaker 1: You can hear that over in the Disgraceland feed. Number five.

817
00:45:40,000 --> 00:45:43,520
Speaker 1: Do not sleep on Disgraceland All Access over in Patreon,

818
00:45:43,560 --> 00:45:45,960
Speaker 1: where you can get ad free listening of all of

819
00:45:45,960 --> 00:45:49,640
Speaker 1: our shows, plus bonus audio and video content, including our

820
00:45:49,680 --> 00:45:52,520
Speaker 1: monthly video podcast. This film should be played loud, the

821
00:45:52,560 --> 00:45:55,200
Speaker 1: only place where Disgraceland and Hollywood Land come together like

822
00:45:55,280 --> 00:45:58,960
Speaker 1: Voltron to bring you conversations about the greatest music in

823
00:45:59,000 --> 00:46:01,560
Speaker 1: some of the greatest films of all time. Just go

824
00:46:01,600 --> 00:46:05,359
Speaker 1: to disgrace lamppod dot com to sign up. And now,

825
00:46:05,760 --> 00:46:08,440
Speaker 1: in honor of this week's episode, here's what America was

826
00:46:08,480 --> 00:46:11,640
Speaker 1: watching at the movies in August of nineteen eighty seven,

827
00:46:11,920 --> 00:46:14,200
Speaker 1: the month that John Houston died at the age of

828
00:46:14,239 --> 00:46:19,640
Speaker 1: eighty one. Number one The Living Daylights directed by John Glenn.

829
00:46:20,960 --> 00:46:27,040
Speaker 1: Number two Stakeout directed by John Baden. Number three LaBamba

830
00:46:27,600 --> 00:46:32,400
Speaker 1: directed by Louis Valdez. Number four The Lost Ye Steve Gary,

831
00:46:32,600 --> 00:46:35,400
Speaker 1: directed by Joel Shoe. Number eight or seven, Number five,

832
00:46:35,560 --> 00:46:39,120
Speaker 1: seven RoboCop Devices directed directed by Paul Verehovens. Number eight,

833
00:46:39,480 --> 00:46:43,160
Speaker 1: Number number six Masters of the Universe direct directed by

834
00:46:43,200 --> 00:46:47,480
Speaker 1: Gary Goddard. Number seven, You Can't Buy Me Love directed

835
00:46:47,520 --> 00:46:51,640
Speaker 1: directed by Steve Rash. Number eight Snow White and the

836
00:46:51,680 --> 00:46:55,799
Speaker 1: seven Quit talking and start mixing good