1 00:00:01,000 --> 00:00:03,880 Speaker 1: Dear listeners of Hollywood Land, does it feel like you're 2 00:00:03,880 --> 00:00:07,120 Speaker 1: stuck in limbo? Standing under a flickering street light at 3 00:00:07,160 --> 00:00:09,880 Speaker 1: the corner of Hollywood and True Crime, waiting for the 4 00:00:09,920 --> 00:00:11,639 Speaker 1: next episode of hollywood Land to drop. 5 00:00:12,680 --> 00:00:13,159 Speaker 2: I got you. 6 00:00:13,960 --> 00:00:29,080 Speaker 1: Welcome to Hollywood Land, the Rap Party. What has happened 7 00:00:29,080 --> 00:00:32,159 Speaker 1: in all you movie geeks, your true crime freaks. 8 00:00:32,440 --> 00:00:33,040 Speaker 2: I know you. 9 00:00:33,200 --> 00:00:35,320 Speaker 1: I know what you like because I like it too. 10 00:00:35,440 --> 00:00:38,720 Speaker 1: I'm just like you. I like my movie history served 11 00:00:38,800 --> 00:00:41,599 Speaker 1: up with a side of grit and grime. 12 00:00:41,720 --> 00:00:42,280 Speaker 2: As do you. 13 00:00:42,360 --> 00:00:44,760 Speaker 1: And of course this is the place where we dig 14 00:00:44,920 --> 00:00:50,240 Speaker 1: up those movie history stories often lost somewhere on the 15 00:00:50,280 --> 00:00:53,320 Speaker 1: cunning room floor, buried in a corner. These are the 16 00:00:53,320 --> 00:00:56,520 Speaker 1: stories that maybe they didn't want told, the very ones 17 00:00:56,560 --> 00:01:00,000 Speaker 1: that have made you the most dangerous person at the park. 18 00:01:00,840 --> 00:01:04,240 Speaker 1: I'm your host, Zeth Lundi, writer and showrunner. Here at 19 00:01:04,319 --> 00:01:07,280 Speaker 1: Double Elvis, and today in the hollywood Land Rat Party, 20 00:01:07,280 --> 00:01:11,520 Speaker 1: we are talking about anti Westerns, revisionist westerns. We're talking 21 00:01:11,520 --> 00:01:14,720 Speaker 1: about novels by Chris Whitaker and Donna Tart. We're talking 22 00:01:14,720 --> 00:01:18,720 Speaker 1: about ladies Men, and about this week's full episode subject, 23 00:01:18,840 --> 00:01:22,360 Speaker 1: The Misfits, as well as next week's subject, Patty Hurst, 24 00:01:22,760 --> 00:01:26,720 Speaker 1: and we are talking about cursed movies. I've got your voicemails, 25 00:01:26,760 --> 00:01:29,480 Speaker 1: text emails and more on this very subject and so 26 00:01:29,600 --> 00:01:50,360 Speaker 1: much more. So, Come on, everybody, let's party. Marilyn Monroe 27 00:01:51,080 --> 00:01:55,120 Speaker 1: died sixty four years ago this year at one of 28 00:01:55,160 --> 00:01:59,800 Speaker 1: her homes, the one in Brentwood, California. She had another 29 00:01:59,800 --> 00:02:02,960 Speaker 1: home home out in Palm Springs that was built just 30 00:02:03,000 --> 00:02:06,840 Speaker 1: a year before she passed away, in the Vista Las 31 00:02:06,880 --> 00:02:12,000 Speaker 1: Palmas neighborhood. Three thousand square foot place, mid century modern, 32 00:02:12,160 --> 00:02:15,040 Speaker 1: has that Jetson kind of feel to it, very open, 33 00:02:15,160 --> 00:02:20,240 Speaker 1: very spacious, nestled in the Sandracino Mountains, surrounded by palm trees. 34 00:02:20,400 --> 00:02:23,680 Speaker 1: And it can be yours for the cool price tag 35 00:02:24,120 --> 00:02:30,040 Speaker 1: of just three point three million dollars. Okay, that's as 36 00:02:30,120 --> 00:02:32,040 Speaker 1: of a couple of days ago. The home is on 37 00:02:32,080 --> 00:02:34,560 Speaker 1: the market. This is what I say, guys. I say 38 00:02:34,600 --> 00:02:38,959 Speaker 1: we all pull our resources together and this will become 39 00:02:39,160 --> 00:02:42,320 Speaker 1: ground zero for Hollywood Land. We will set up camp 40 00:02:42,400 --> 00:02:46,600 Speaker 1: in Marilyn Monroe's former home in Palm Springs. It's very spacious, 41 00:02:46,639 --> 00:02:48,640 Speaker 1: it's very spread out. There's a lot of room for 42 00:02:48,720 --> 00:02:50,600 Speaker 1: us to sort of there's a lot of room for activities. 43 00:02:50,960 --> 00:02:55,399 Speaker 1: As Will Ferrell and John c Riley would say in Stepbrothers, 44 00:02:55,639 --> 00:02:56,799 Speaker 1: there's a lot of room for us to kind of 45 00:02:56,800 --> 00:02:58,080 Speaker 1: spread out and do our thing. There's a lot of 46 00:02:58,080 --> 00:03:00,440 Speaker 1: outside space, a lot of inside space, and a lot 47 00:03:00,480 --> 00:03:02,280 Speaker 1: of space to sort of engage with nature there too. 48 00:03:02,400 --> 00:03:05,919 Speaker 1: So I'm envisioning a very very bright future for us 49 00:03:05,960 --> 00:03:09,640 Speaker 1: here in Hollywood Land, and it is at Marilyn Monroe's 50 00:03:09,840 --> 00:03:13,800 Speaker 1: former residence in Palm Springs. Who is with me, Matt? 51 00:03:13,800 --> 00:03:16,760 Speaker 1: This is where you add the sound of crickets in here. 52 00:03:18,680 --> 00:03:22,680 Speaker 1: Due north, of course, of Palm Springs, about five hundred 53 00:03:22,720 --> 00:03:27,560 Speaker 1: miles north is Reno, Nevada, the Pyramid Lake region where 54 00:03:27,600 --> 00:03:31,080 Speaker 1: Marilyn Monroe filmed the final movie she is able to 55 00:03:31,080 --> 00:03:33,840 Speaker 1: complete in her lifetime, the one we're talking about this week, 56 00:03:34,240 --> 00:03:37,560 Speaker 1: The Misfits. In many ways, you know, this is a 57 00:03:37,800 --> 00:03:41,680 Speaker 1: gigantic Hollywood undertaking, and yet in other ways it's a 58 00:03:41,760 --> 00:03:46,040 Speaker 1: completely subversive and highly highly underrated film. I mean, this 59 00:03:46,200 --> 00:03:51,040 Speaker 1: is massive star power and massive artists coming together on 60 00:03:51,080 --> 00:03:54,520 Speaker 1: a single project. And if you heard our episodes on 61 00:03:54,800 --> 00:03:57,720 Speaker 1: The Misfits the movie, you know this. But I don't 62 00:03:57,760 --> 00:04:01,080 Speaker 1: think this can be overemphasized okay. The Misfits had a 63 00:04:01,120 --> 00:04:04,480 Speaker 1: script written by Arthur Miller, one of the greatest American 64 00:04:04,520 --> 00:04:08,240 Speaker 1: playwrights of all time, who wrote, amongst other works, Death 65 00:04:08,280 --> 00:04:11,840 Speaker 1: of a Salesman and The Crucible. He won a Pulitzer Prize, 66 00:04:11,920 --> 00:04:14,520 Speaker 1: he won Tony Awards, and he wrote a handful of 67 00:04:14,520 --> 00:04:18,359 Speaker 1: screenplays for Hollywood, including this one, in which his wife 68 00:04:18,400 --> 00:04:21,960 Speaker 1: at the time, Marilyn Monroe, the biggest actress and sex 69 00:04:22,000 --> 00:04:25,720 Speaker 1: symbol in the world then and arguably now, in which 70 00:04:25,760 --> 00:04:30,480 Speaker 1: she was starring alongside another titan of cinema, Clark Gable, 71 00:04:30,839 --> 00:04:33,720 Speaker 1: who was a little bit older than her. Also featured 72 00:04:33,720 --> 00:04:36,400 Speaker 1: Montgomery Clift, who wo had come up with Marlon Brando 73 00:04:36,520 --> 00:04:39,920 Speaker 1: and James Dean, and also Eli Wallach and Thelma Ritter, 74 00:04:40,240 --> 00:04:44,320 Speaker 1: two incredible character actors of the era. And on top 75 00:04:44,360 --> 00:04:46,600 Speaker 1: of it all, it was directed by John Houston, who 76 00:04:46,600 --> 00:04:49,920 Speaker 1: by nineteen sixty one had already directed The Maltese Falcon, 77 00:04:50,279 --> 00:04:53,960 Speaker 1: Treasurer of the Sierra Madre, The Asphalt Jungle, The African Queen, Beat, 78 00:04:54,000 --> 00:04:57,640 Speaker 1: The Devil, Moby Dick goes on and on. This was 79 00:04:57,720 --> 00:05:01,479 Speaker 1: old Hollywood coming together with New Hall. Maybe I shouldn't 80 00:05:01,520 --> 00:05:03,720 Speaker 1: use that term. I'm not talking about new New Hollywood, 81 00:05:03,800 --> 00:05:06,240 Speaker 1: like you know we talked about when we talk about 82 00:05:06,240 --> 00:05:08,919 Speaker 1: the nineteen seventies, that was still yet to arrive. But 83 00:05:08,960 --> 00:05:13,200 Speaker 1: you know, Clark Gable had been acting since the nineteen twenties, 84 00:05:13,320 --> 00:05:15,200 Speaker 1: so he was part of the older guard at this point, 85 00:05:15,360 --> 00:05:18,720 Speaker 1: you know, Marilyn Monroe and Monte Cliff with a new guard. 86 00:05:19,520 --> 00:05:22,080 Speaker 1: But despite all this, despite all this movie had going 87 00:05:22,120 --> 00:05:24,440 Speaker 1: for it, all these selling points, to all these reasons 88 00:05:24,480 --> 00:05:27,479 Speaker 1: to get butts in seats, the Misfits did not do 89 00:05:27,680 --> 00:05:32,080 Speaker 1: well at the time of its original release. Also despite 90 00:05:32,080 --> 00:05:34,240 Speaker 1: the fact that, like The Dark Knight and Heath Ledger 91 00:05:34,720 --> 00:05:38,200 Speaker 1: decades later, one of its main stars, Clark Gable, had 92 00:05:38,200 --> 00:05:40,520 Speaker 1: a heart attack the day after production wrapped, and he 93 00:05:40,600 --> 00:05:43,839 Speaker 1: never pulled out of it. He wound up dying just 94 00:05:43,920 --> 00:05:48,400 Speaker 1: before the film's theatrical premiere. I remember reading about this 95 00:05:48,480 --> 00:05:51,680 Speaker 1: film for a very long time before I actually was 96 00:05:51,720 --> 00:05:56,920 Speaker 1: able to see it. Back before streaming DVD reissues, you 97 00:05:57,000 --> 00:06:00,080 Speaker 1: had to catch this movie in a repertory theater. And 98 00:06:00,120 --> 00:06:02,920 Speaker 1: I spent close to fifteen years of my young adult 99 00:06:02,960 --> 00:06:06,600 Speaker 1: life in both Boston and Los Angeles going to repertory 100 00:06:06,640 --> 00:06:10,720 Speaker 1: theaters on a regular basis, and I never remember seeing 101 00:06:10,760 --> 00:06:14,160 Speaker 1: this one advertised once, but you would read about it, 102 00:06:14,760 --> 00:06:17,160 Speaker 1: you know, you'd read about in you know, in in 103 00:06:17,279 --> 00:06:22,040 Speaker 1: scholarly texts. I guess about how off the beaten path 104 00:06:22,279 --> 00:06:25,080 Speaker 1: the movie was, how it was such a different vehicle 105 00:06:25,480 --> 00:06:29,719 Speaker 1: from Marilyn Monroe. It often gets called an anti Western 106 00:06:29,800 --> 00:06:33,159 Speaker 1: or a revisionist Western, whatever that is. I mean, yes, like, 107 00:06:33,320 --> 00:06:37,279 Speaker 1: I get it. I know what the alleged sub genres are. 108 00:06:37,480 --> 00:06:41,600 Speaker 1: When it comes to anti Westerns and revisionist westerns. You're 109 00:06:41,640 --> 00:06:45,200 Speaker 1: meant to think of films like mccab and Missus Miller, 110 00:06:45,360 --> 00:06:48,880 Speaker 1: or The Wild Bunch or even Unforgiven. You know, these 111 00:06:48,880 --> 00:06:53,080 Speaker 1: are films that challenge the myth of the romantic Hollywood Western. 112 00:06:53,120 --> 00:06:56,960 Speaker 1: They challenge the myth of the so called cowboys and indians, 113 00:06:57,000 --> 00:06:59,760 Speaker 1: trope es versus them, the black and white ness of 114 00:06:59,800 --> 00:07:02,440 Speaker 1: the the good guys versus the bad guys. I get 115 00:07:02,440 --> 00:07:05,200 Speaker 1: all that, but I feel like calling a film an 116 00:07:05,279 --> 00:07:08,039 Speaker 1: anti Western or a revisionist Western, it's just a way 117 00:07:08,080 --> 00:07:11,160 Speaker 1: to avoid saying that you like Western westerns. You know, 118 00:07:11,160 --> 00:07:14,200 Speaker 1: It's like a snooty thing, right, like, like, oh, well, 119 00:07:15,080 --> 00:07:17,800 Speaker 1: The Misfits is an anti Western, so I can I 120 00:07:17,840 --> 00:07:20,000 Speaker 1: can like it and talk about it intellectually. You know, 121 00:07:20,040 --> 00:07:23,880 Speaker 1: it's like saying that you like Sturgel Simpson because he's 122 00:07:23,960 --> 00:07:27,240 Speaker 1: rocking meta modern sounds in country and Western. He's not 123 00:07:27,360 --> 00:07:31,680 Speaker 1: doing straight up the old school country and Western. But 124 00:07:31,720 --> 00:07:34,360 Speaker 1: if you're into Surgil Simpson, like, why aren't you into 125 00:07:34,400 --> 00:07:37,000 Speaker 1: Whalen and Willie and Hank and all those dudes too? 126 00:07:37,120 --> 00:07:37,280 Speaker 2: Right? 127 00:07:37,440 --> 00:07:41,320 Speaker 1: Okay, anyways, short rant over back to my original point here. 128 00:07:42,080 --> 00:07:45,800 Speaker 1: The Misfits was a massive Hollywood undertaking, So why did 129 00:07:45,800 --> 00:07:48,920 Speaker 1: it not do well at the box office? Well, first 130 00:07:48,960 --> 00:07:51,040 Speaker 1: of all, let's look at nineteen sixty one. This was 131 00:07:51,080 --> 00:07:54,040 Speaker 1: the year of West Side Story, the year of the 132 00:07:54,080 --> 00:07:58,080 Speaker 1: Parent Trap, the absent Minded Professor, one hundred and one Dalmatians. 133 00:07:58,480 --> 00:08:02,920 Speaker 1: It's peak Hollywood escape. This is also two years before 134 00:08:02,960 --> 00:08:07,480 Speaker 1: the jfk assassination, and everyone's brains broke right in. The 135 00:08:07,480 --> 00:08:11,680 Speaker 1: Misfits was bleak. It was about broken men, about aging men, 136 00:08:11,960 --> 00:08:14,360 Speaker 1: men out of time. It was about a woman who 137 00:08:14,400 --> 00:08:16,480 Speaker 1: was not so much as sex simo anymore than she was, 138 00:08:16,640 --> 00:08:19,360 Speaker 1: you know, sort of revealed to be a person, a person, 139 00:08:19,680 --> 00:08:23,080 Speaker 1: a human being with raw emotions. Which is all to say, 140 00:08:23,120 --> 00:08:24,800 Speaker 1: And this has all been said and written about at 141 00:08:24,880 --> 00:08:27,800 Speaker 1: length before me telling you about this, But the movie 142 00:08:27,840 --> 00:08:30,840 Speaker 1: was simply ahead of its time. If it had arrived 143 00:08:31,440 --> 00:08:33,920 Speaker 1: in the nineteen seventies, perhaps it would have fared better 144 00:08:34,000 --> 00:08:37,400 Speaker 1: in terms of how it fits in the conversation of 145 00:08:37,440 --> 00:08:41,319 Speaker 1: the history of cinema. There was also a marketing gambit 146 00:08:41,400 --> 00:08:43,880 Speaker 1: here that didn't pay off for United Artists. 147 00:08:43,920 --> 00:08:44,400 Speaker 2: The studio. 148 00:08:44,720 --> 00:08:46,760 Speaker 1: You know, they weren't really sure how to market this 149 00:08:47,040 --> 00:08:49,720 Speaker 1: to the American public since it was such a stark portrait, 150 00:08:50,280 --> 00:08:52,160 Speaker 1: and you know, they certainly weren't helped by all the 151 00:08:52,200 --> 00:08:55,040 Speaker 1: crazy shit that was going on with the production. And 152 00:08:55,080 --> 00:08:56,959 Speaker 1: these are the things that we focus on in our 153 00:08:57,679 --> 00:09:00,680 Speaker 1: episode from Monday. As you know, you know, Marrelyn Monroe 154 00:09:00,679 --> 00:09:05,080 Speaker 1: and Arthur Miller's relationship was falling apart. Marilyn was hospitalized 155 00:09:05,080 --> 00:09:08,880 Speaker 1: at one point. Montgomery Cliff was continuing down this personal 156 00:09:08,880 --> 00:09:12,040 Speaker 1: and professional downslide Clark Gable's heart attack. I mean, this 157 00:09:12,200 --> 00:09:14,200 Speaker 1: was the kind of stuff that the press reported on 158 00:09:14,360 --> 00:09:17,040 Speaker 1: at the time, and that no doubt bled over into 159 00:09:17,080 --> 00:09:19,240 Speaker 1: the release of the film. And perhaps America was just like, 160 00:09:19,280 --> 00:09:22,400 Speaker 1: you know, I don't know about this cluster cluster happening 161 00:09:22,400 --> 00:09:24,280 Speaker 1: over here. I don't want anything to do with it. 162 00:09:24,320 --> 00:09:26,679 Speaker 1: You know, the critics certainly didn't help either. 163 00:09:27,040 --> 00:09:27,800 Speaker 2: These were some of the. 164 00:09:27,720 --> 00:09:31,240 Speaker 1: Words that critics used to describe the film at the time. 165 00:09:31,280 --> 00:09:35,160 Speaker 1: They called it melodramatic, They called it pretentious. They said 166 00:09:35,160 --> 00:09:40,679 Speaker 1: it was wallowing and self pity. They called it erratic, uncomfortable, disturbing. 167 00:09:41,360 --> 00:09:44,600 Speaker 1: Our gal Pauline Kale, longtime critic for The New Yorker, 168 00:09:45,080 --> 00:09:50,199 Speaker 1: called it a quote generally unlucky picture that is often affecting, 169 00:09:50,559 --> 00:09:54,720 Speaker 1: unquote damning with faint praise. I guess I do think again, 170 00:09:55,240 --> 00:09:56,920 Speaker 1: it was ahead of its time in that way. I 171 00:09:56,960 --> 00:10:00,760 Speaker 1: do think it carried with it its failure at the box 172 00:10:00,840 --> 00:10:05,120 Speaker 1: office for decades to come, until enough time passed and 173 00:10:05,360 --> 00:10:08,680 Speaker 1: it was re evaluated. And look, if we didn't have 174 00:10:08,720 --> 00:10:11,440 Speaker 1: The Misfits the film from nineteen sixty one, we wouldn't 175 00:10:11,480 --> 00:10:14,520 Speaker 1: have the Misfits the Glenn Danzig band from twenty years later. 176 00:10:14,559 --> 00:10:17,240 Speaker 1: So take with that what you will. So look, I 177 00:10:17,280 --> 00:10:20,520 Speaker 1: wrote this episode when it originally came out, and it 178 00:10:20,559 --> 00:10:23,520 Speaker 1: was one of those challenging episodes because, Okay, first of all, 179 00:10:23,520 --> 00:10:25,640 Speaker 1: we really wanted to get into the curse of it all, 180 00:10:25,880 --> 00:10:27,760 Speaker 1: you know, the idea of a cursed film set that 181 00:10:27,800 --> 00:10:31,360 Speaker 1: follows these three actors around after they finish. But the 182 00:10:31,480 --> 00:10:34,000 Speaker 1: challenging thing with that is that you're rocking three different 183 00:10:34,000 --> 00:10:37,960 Speaker 1: povs instead of just one, which is, you know, the 184 00:10:37,960 --> 00:10:40,360 Speaker 1: one POV is typically the easy way to do these things, 185 00:10:40,400 --> 00:10:42,680 Speaker 1: with these thirty minute episodes that we have, just so 186 00:10:42,720 --> 00:10:45,800 Speaker 1: you don't make it. It can get really confusing when 187 00:10:45,840 --> 00:10:48,040 Speaker 1: you have all kinds of names and all kinds of 188 00:10:48,080 --> 00:10:51,800 Speaker 1: different storylines going on, you know. So, I don't remember 189 00:10:51,840 --> 00:10:56,800 Speaker 1: how I successfully accomplished making this into a compelling narrative, 190 00:10:56,800 --> 00:11:00,600 Speaker 1: which I hope I did, but I do member. I 191 00:11:00,640 --> 00:11:02,040 Speaker 1: want to tell you guys about this that one of 192 00:11:02,080 --> 00:11:04,319 Speaker 1: the sources that I used, if any of you are interested, 193 00:11:04,559 --> 00:11:08,839 Speaker 1: is this really cool book published by Fayden who if 194 00:11:08,960 --> 00:11:09,640 Speaker 1: you know them. 195 00:11:09,720 --> 00:11:11,280 Speaker 2: Phaid O n. 196 00:11:11,480 --> 00:11:17,000 Speaker 1: They do lots of these coffee table type books on art, architecture, photography, fashion, 197 00:11:17,040 --> 00:11:19,920 Speaker 1: that sort of thing. This book isn't the coffee table 198 00:11:20,000 --> 00:11:22,720 Speaker 1: size though. It is a hardcover book and the subtitle 199 00:11:22,880 --> 00:11:25,480 Speaker 1: is it's just called the Misfits by the Way, and 200 00:11:25,559 --> 00:11:29,040 Speaker 1: the subtitle is Story of a Shoot. It's largely a 201 00:11:29,080 --> 00:11:32,800 Speaker 1: collection of photographs from the set the film shoot had 202 00:11:32,880 --> 00:11:36,600 Speaker 1: something like close to ten photographers present who were documenting 203 00:11:36,640 --> 00:11:40,239 Speaker 1: the whole process. So there are all these incredible photos 204 00:11:40,280 --> 00:11:44,360 Speaker 1: of Marilyn and Clark Gable and Monty Cliff and John 205 00:11:44,440 --> 00:11:49,560 Speaker 1: Houston and Arthur Miller, both different perspectives of scenes from 206 00:11:49,600 --> 00:11:52,880 Speaker 1: the actual movie, as well as behind the scenes photos. 207 00:11:53,480 --> 00:11:55,600 Speaker 1: And then along with these there's an interview with Arthur 208 00:11:55,640 --> 00:11:59,800 Speaker 1: Miller as well as an essay by Serge tu Biana, 209 00:12:00,120 --> 00:12:04,040 Speaker 1: film critic, longtime co editor of Kaye to Cinema. Really 210 00:12:04,040 --> 00:12:07,560 Speaker 1: fascinating stuff, and the black and white photographs are pretty inspiring. 211 00:12:07,679 --> 00:12:09,720 Speaker 1: So if you're into that kind of thing, old Hollywood 212 00:12:09,800 --> 00:12:13,480 Speaker 1: history and sort of like a naked eye look into 213 00:12:13,559 --> 00:12:18,440 Speaker 1: the process of making this quote unquote supposed alleged cursed film, 214 00:12:18,920 --> 00:12:23,679 Speaker 1: check that book out about the Misfits. All right, listen, 215 00:12:23,760 --> 00:12:26,480 Speaker 1: what's shift gears here a little bit looking ahead to 216 00:12:26,679 --> 00:12:30,480 Speaker 1: later this week to Friday for our screening room episode. 217 00:12:31,000 --> 00:12:33,560 Speaker 1: The obvious thing here for me was to feature the 218 00:12:33,600 --> 00:12:36,240 Speaker 1: Misfits in the screening room. But you know, like our 219 00:12:36,280 --> 00:12:39,120 Speaker 1: scripted episode from Monday got into the myth of the movie, 220 00:12:39,760 --> 00:12:42,840 Speaker 1: and then here today we're talking about other aspects of it. 221 00:12:42,920 --> 00:12:44,480 Speaker 1: So I wasn't really sure what I was going to 222 00:12:44,520 --> 00:12:45,840 Speaker 1: talk about if I was going to talk about the 223 00:12:45,840 --> 00:12:49,400 Speaker 1: Misfits on Friday, it just felt like overkill slash, too 224 00:12:49,480 --> 00:12:51,960 Speaker 1: much of a challenge for me. So what I wanted 225 00:12:52,000 --> 00:12:54,560 Speaker 1: to do was flip the script a little and you know, 226 00:12:54,640 --> 00:12:58,560 Speaker 1: hang with this cursed film theme, but talk about a 227 00:12:58,600 --> 00:13:01,240 Speaker 1: movie that's not like the production isn't curse, but the 228 00:13:01,280 --> 00:13:04,679 Speaker 1: movie itself is about a curse, right, And one of 229 00:13:04,720 --> 00:13:08,840 Speaker 1: my favorite movies about a curse is Sam Ramis Drag 230 00:13:08,920 --> 00:13:11,760 Speaker 1: Me to Hell from two thousand and nine. Talk about 231 00:13:11,840 --> 00:13:15,800 Speaker 1: underrated movies. I love this movie. So that's what I'm 232 00:13:15,800 --> 00:13:18,360 Speaker 1: gonna be getting into on Friday, Drag Me to Hell, 233 00:13:18,480 --> 00:13:20,400 Speaker 1: the Sam Rami movie. I hope you guys joined me 234 00:13:20,600 --> 00:13:22,960 Speaker 1: for that. And then on Monday of next week, we're 235 00:13:23,000 --> 00:13:25,640 Speaker 1: gonna run our fully scripted and sound design episode on 236 00:13:25,800 --> 00:13:29,800 Speaker 1: Patty Hurst, of course, the granddaughter of media magnet William 237 00:13:29,880 --> 00:13:33,839 Speaker 1: Randolph Hurst, who was kidnapped in nineteen seventy four by 238 00:13:33,840 --> 00:13:37,640 Speaker 1: the Symbionese Liberation Army, and her story, oddly enough or 239 00:13:37,679 --> 00:13:40,439 Speaker 1: perhaps not so oddly enough, as we know here in 240 00:13:40,480 --> 00:13:43,800 Speaker 1: the pod, winds up in Hollywood, So make sure you 241 00:13:43,840 --> 00:13:46,320 Speaker 1: check that out. And what will the Screening Room episode 242 00:13:46,360 --> 00:13:48,880 Speaker 1: for that week be with Patti Hurst. Well, you're just 243 00:13:48,880 --> 00:13:50,880 Speaker 1: gonna have to tune in to find out, but I 244 00:13:50,880 --> 00:13:54,319 Speaker 1: will entertain your guesses for now. What I can tell 245 00:13:54,360 --> 00:13:56,400 Speaker 1: you is that next week's Question of the Week is this, 246 00:13:56,440 --> 00:13:58,120 Speaker 1: because I want you guys thinking about this and I 247 00:13:58,120 --> 00:14:00,320 Speaker 1: want you to get in touch with me with your answers. Okay, 248 00:14:00,679 --> 00:14:04,680 Speaker 1: thinking about Patty Hurst, who was an unexpected actress, I 249 00:14:04,679 --> 00:14:06,480 Speaker 1: guess is the way to put it. Someone who became 250 00:14:06,640 --> 00:14:10,080 Speaker 1: an actress kind of out of the blue. I want 251 00:14:10,080 --> 00:14:12,720 Speaker 1: to know what are some of your favorite performances by 252 00:14:12,840 --> 00:14:16,400 Speaker 1: non actors or actresses. There were a ton in movies 253 00:14:16,480 --> 00:14:18,800 Speaker 1: last year, believe it or not, movies like Marty Supreme 254 00:14:18,960 --> 00:14:21,840 Speaker 1: and One Battle after another. But tell me what your 255 00:14:22,000 --> 00:14:25,160 Speaker 1: favorite performance is by a non actor or actress. You 256 00:14:25,200 --> 00:14:28,600 Speaker 1: can text or call me at six one seven nine 257 00:14:28,680 --> 00:14:33,040 Speaker 1: oh six six six three eight to let me know. Now, 258 00:14:33,080 --> 00:14:35,360 Speaker 1: this week's Question of the Week was all about the 259 00:14:35,400 --> 00:14:40,040 Speaker 1: most cursed movie in Hollywood history. And I've got some DMS, emails, texts, 260 00:14:40,040 --> 00:14:41,320 Speaker 1: all kinds of stuff all. 261 00:14:41,200 --> 00:14:42,920 Speaker 2: About that, plus a lot more. 262 00:14:43,440 --> 00:15:03,920 Speaker 1: So stay tuned and I'll be right back, all right, gang, 263 00:15:03,960 --> 00:15:05,560 Speaker 1: A couple of housekeeping things to get out of the 264 00:15:05,560 --> 00:15:07,480 Speaker 1: way here up at the top of the block. Here 265 00:15:07,520 --> 00:15:10,640 Speaker 1: before I get into all of the correspondence from all 266 00:15:10,720 --> 00:15:15,960 Speaker 1: y'all today, which is Wednesday, February twenty fifth, we are dropping, 267 00:15:16,080 --> 00:15:19,320 Speaker 1: or perhaps we've already dropped, depending on where you are 268 00:15:19,360 --> 00:15:22,120 Speaker 1: and when you're listening to this episode. We're dropping the 269 00:15:22,200 --> 00:15:26,440 Speaker 1: third episode in our monthly video podcast over on Patreon. 270 00:15:26,920 --> 00:15:30,240 Speaker 1: The podcast is called This Film should be Played Loud. 271 00:15:30,840 --> 00:15:35,320 Speaker 1: Members of Disgraceland All Access at the Sound and Fury 272 00:15:35,400 --> 00:15:39,200 Speaker 1: Tier on Patreon can watch this brand new sixty minute 273 00:15:39,240 --> 00:15:42,560 Speaker 1: episode in which Jake and I break down the incredible 274 00:15:42,600 --> 00:15:45,320 Speaker 1: music that is at the heart and soul of Paul 275 00:15:45,360 --> 00:15:49,920 Speaker 1: Thomas Anderson's nineteen ninety seven classic film Boogie Nights. And 276 00:15:49,960 --> 00:15:53,760 Speaker 1: this conversation is wide ranging. We're talking about songs that 277 00:15:53,800 --> 00:15:56,600 Speaker 1: sent us down the rabbit hole, songs that we hated 278 00:15:56,680 --> 00:15:59,440 Speaker 1: before seeing the film but we love now. And of 279 00:15:59,480 --> 00:16:02,920 Speaker 1: course we are asking the age old question, is the 280 00:16:02,960 --> 00:16:06,720 Speaker 1: base taken away from my vocal again? To watch this, 281 00:16:07,160 --> 00:16:09,880 Speaker 1: and to watch our first two episodes on Goodfellas and Trainspotting, 282 00:16:10,080 --> 00:16:12,040 Speaker 1: plus all the good shit we've got coming down the 283 00:16:12,040 --> 00:16:16,000 Speaker 1: pike head over to disgrace lampod dot com. Right there 284 00:16:16,040 --> 00:16:18,480 Speaker 1: on the homepage there's more info and there's a link 285 00:16:18,720 --> 00:16:21,640 Speaker 1: for you to join via Patreon, which is where this 286 00:16:21,760 --> 00:16:25,640 Speaker 1: video podcast is happening. I mentioned that the Patreon tier 287 00:16:25,800 --> 00:16:29,080 Speaker 1: is called Sound and Fury. That's our video tier. It's 288 00:16:29,120 --> 00:16:31,720 Speaker 1: ten bucks a month. But right now, for a limited time, 289 00:16:31,880 --> 00:16:37,520 Speaker 1: you can use the code Disco that's dsgo disco at 290 00:16:37,600 --> 00:16:40,400 Speaker 1: checkout and you can get twenty percent off your first 291 00:16:40,400 --> 00:16:44,840 Speaker 1: month or your first year, depending on what floats your boat. Okay, 292 00:16:45,000 --> 00:16:48,240 Speaker 1: we've got lower tiers as well, cheaper tiers for ad 293 00:16:48,280 --> 00:16:52,480 Speaker 1: free audio only listening and the like, if that's your thing. 294 00:16:53,440 --> 00:16:56,320 Speaker 1: And for those of you who are new here as 295 00:16:56,360 --> 00:16:59,520 Speaker 1: I know where, we're continuing to rap up new new listeners. 296 00:16:59,600 --> 00:17:01,080 Speaker 2: Welcome site. You're here. 297 00:17:01,200 --> 00:17:03,680 Speaker 1: But perhaps you're like, wait a minute, this film should 298 00:17:03,720 --> 00:17:04,040 Speaker 1: be played? 299 00:17:04,080 --> 00:17:05,280 Speaker 2: What now? Jake? 300 00:17:05,320 --> 00:17:10,800 Speaker 1: Who Disgraceland? What real quick? Disgraceland. That is our sister show. 301 00:17:10,960 --> 00:17:14,920 Speaker 1: That is the og show from our company here, Double Elvis. 302 00:17:15,320 --> 00:17:18,080 Speaker 1: It's a show all about the intersection of music in 303 00:17:18,119 --> 00:17:21,400 Speaker 1: true crime. It's hosted by Jake Brennan, who also narrates 304 00:17:21,680 --> 00:17:24,560 Speaker 1: the fully scripted episodes of Hollywood lands. You get here 305 00:17:24,600 --> 00:17:27,720 Speaker 1: on Mondays, and this film should be played loud. Is 306 00:17:27,760 --> 00:17:31,760 Speaker 1: the one place where our two worlds collide, music and movies. 307 00:17:32,240 --> 00:17:35,560 Speaker 1: And again it's unlike anything else we're doing anywhere, so 308 00:17:35,960 --> 00:17:39,399 Speaker 1: make sure you check that out. Also happening, I should 309 00:17:39,440 --> 00:17:42,840 Speaker 1: mention this on our Patreon all access Right now, we're 310 00:17:42,920 --> 00:17:47,760 Speaker 1: running polls on Patreon for the major Academy Award categories 311 00:17:47,920 --> 00:17:50,400 Speaker 1: where a couple of weeks out from the Academy Awards, 312 00:17:50,800 --> 00:17:53,200 Speaker 1: come join us over there because you can vote for 313 00:17:53,560 --> 00:17:56,520 Speaker 1: who you think are gonna win. The major categories. We're 314 00:17:56,560 --> 00:18:00,440 Speaker 1: doing Best Supporting Actor and Actress, Best Actor in Actress, 315 00:18:00,480 --> 00:18:03,159 Speaker 1: we're doing Best Director in Best Picture, and we're releasing 316 00:18:03,160 --> 00:18:05,160 Speaker 1: a couple of polls a week for the next few 317 00:18:05,200 --> 00:18:08,240 Speaker 1: weeks leading up to it. So go over there, cast 318 00:18:08,280 --> 00:18:12,520 Speaker 1: or vote. Do it before eleven fifty nine pm Eastern 319 00:18:12,600 --> 00:18:16,480 Speaker 1: Time on Sunday, March eighth, and then I'll go through 320 00:18:16,520 --> 00:18:19,600 Speaker 1: the results in that week's wrap party and we'll see 321 00:18:19,640 --> 00:18:22,520 Speaker 1: how we did. Cool. All right, let's get into some 322 00:18:22,680 --> 00:18:25,520 Speaker 1: messages from you guys. First of all, let's talk about 323 00:18:25,720 --> 00:18:29,280 Speaker 1: the question of the Week this week, which was cursed movies. 324 00:18:29,359 --> 00:18:31,600 Speaker 1: Movies that are cursed like the Misfits. What are other 325 00:18:31,680 --> 00:18:34,800 Speaker 1: curse movies? One of the most cursed movies from Hollywood history. 326 00:18:35,080 --> 00:18:37,520 Speaker 1: Got an email from Jason who said, I guess everyone 327 00:18:37,560 --> 00:18:40,639 Speaker 1: will say this, but Twilight is on the movie. Yep, 328 00:18:40,920 --> 00:18:42,960 Speaker 1: we did get a number of people saying Twilet is 329 00:18:43,000 --> 00:18:45,560 Speaker 1: on the movie, and for good reason. This is an 330 00:18:45,600 --> 00:18:51,160 Speaker 1: anthology film from nineteen eighty three. So there's four segments 331 00:18:51,200 --> 00:18:53,800 Speaker 1: I think in this movie, and each segment is directed 332 00:18:53,840 --> 00:18:57,560 Speaker 1: by a different director, John Landis, George Miller, Joe Dante, 333 00:18:57,920 --> 00:19:01,439 Speaker 1: and Steven Spielberg. Segment was also a remake of an 334 00:19:01,440 --> 00:19:05,040 Speaker 1: old Twilight Zone episode. And the big thing that happened 335 00:19:05,080 --> 00:19:07,560 Speaker 1: on this film set that Jason's referring to here is 336 00:19:07,600 --> 00:19:11,280 Speaker 1: there was a helicopter crash that killed the actor Vic Morrow, 337 00:19:11,359 --> 00:19:13,639 Speaker 1: as well as two child actors, and it was all 338 00:19:13,720 --> 00:19:15,800 Speaker 1: kinds of fall up from that as well. It cast 339 00:19:15,840 --> 00:19:20,160 Speaker 1: a pall on the entire thing. I've never seen this film, 340 00:19:20,240 --> 00:19:25,520 Speaker 1: despite the caliber of filmmakers involved, completely off my radar. 341 00:19:25,600 --> 00:19:27,560 Speaker 1: And maybe it's because of the whole paul that was 342 00:19:27,560 --> 00:19:30,080 Speaker 1: cast over this whole thing by by the tragedy on set. 343 00:19:30,320 --> 00:19:32,640 Speaker 1: But I have always wanted to do an episode about 344 00:19:32,680 --> 00:19:35,240 Speaker 1: this movie. So great, call Jason and everybody else who 345 00:19:35,359 --> 00:19:38,440 Speaker 1: called out the Twilight Zone. We got another mention over 346 00:19:38,480 --> 00:19:41,560 Speaker 1: on Patreon. Sean chimed in and said, hey, Zeth, as 347 00:19:41,560 --> 00:19:44,679 Speaker 1: far as curse movies besides the ones you all already 348 00:19:44,680 --> 00:19:47,040 Speaker 1: have done episodes on, did you hear about the filming 349 00:19:47,080 --> 00:19:50,040 Speaker 1: of the John Wayne movie The Conqueror? Allegedly it was 350 00:19:50,080 --> 00:19:53,160 Speaker 1: filmed near the atomic bomb testing site And I can't 351 00:19:53,200 --> 00:19:55,840 Speaker 1: remember the exact number, but a number that worked on 352 00:19:55,880 --> 00:19:58,320 Speaker 1: the film ended up getting a form of cancer in 353 00:19:58,359 --> 00:20:01,640 Speaker 1: one person committed suicide. Thank you Sean for mentioning this. 354 00:20:01,640 --> 00:20:04,920 Speaker 1: This is, of course, the infamous movie in which John 355 00:20:05,000 --> 00:20:12,560 Speaker 1: Wayne plays get Ready Genghis Khan awful awful casting for 356 00:20:12,600 --> 00:20:14,360 Speaker 1: a number of reasons which I'm not gonna get into 357 00:20:14,440 --> 00:20:18,040 Speaker 1: right now. Also, this movie, The Conqueror quite frequently makes 358 00:20:18,359 --> 00:20:21,240 Speaker 1: those like worst Movies of All Time lists. I did 359 00:20:21,240 --> 00:20:23,840 Speaker 1: not know about the cancer thing here, Sean, but I 360 00:20:23,840 --> 00:20:26,639 Speaker 1: looked into it briefly, and it does look like about 361 00:20:26,640 --> 00:20:30,520 Speaker 1: forty percent of the crew developed cancer by nineteen eighty, 362 00:20:30,520 --> 00:20:33,359 Speaker 1: which is like twenty years later, and around twenty percent 363 00:20:33,400 --> 00:20:36,040 Speaker 1: of them passed away from cancer, and many of them 364 00:20:36,080 --> 00:20:39,000 Speaker 1: I guess did suspect that the filming location had something 365 00:20:39,080 --> 00:20:41,719 Speaker 1: to do with it? Again, I had no idea about that, 366 00:20:41,760 --> 00:20:43,479 Speaker 1: but I'm definitely gonna look into that a little bit 367 00:20:43,480 --> 00:20:45,720 Speaker 1: more and see if there's see if there's there there. 368 00:20:45,760 --> 00:20:49,040 Speaker 1: So thank you Sean for shouting that out. Switching gears 369 00:20:49,040 --> 00:20:51,640 Speaker 1: here a little bit. I wanted to go back to 370 00:20:51,760 --> 00:20:54,520 Speaker 1: something I was talking about a few weeks ago. A 371 00:20:54,520 --> 00:20:58,400 Speaker 1: week ago, I don't remember. I was talking about Clute, 372 00:20:58,440 --> 00:21:01,960 Speaker 1: I was talking about the cinematographer Gordon Willis, and I 373 00:21:02,040 --> 00:21:04,520 Speaker 1: was talking about my beloved TV show from the nineties, 374 00:21:04,600 --> 00:21:08,960 Speaker 1: The X Files, which inspired this voicemail from the nine 375 00:21:09,000 --> 00:21:09,800 Speaker 1: to oh eight Mac. 376 00:21:09,840 --> 00:21:10,359 Speaker 2: Can you play this? 377 00:21:10,960 --> 00:21:13,240 Speaker 3: Hey, this is Matt from New Jersey calling with a 378 00:21:13,280 --> 00:21:16,080 Speaker 3: message for Zef. So. I heard you say that you 379 00:21:16,640 --> 00:21:22,160 Speaker 3: like the cinematography of The X Files. Well, I believe 380 00:21:23,080 --> 00:21:27,840 Speaker 3: that the whole look and style of not only the cinematography, 381 00:21:27,840 --> 00:21:30,400 Speaker 3: but a lot of the the style of the show, 382 00:21:30,400 --> 00:21:34,160 Speaker 3: in particularly Agent's Scullies character, is based on the silence 383 00:21:34,200 --> 00:21:40,240 Speaker 3: of the Lambs, young often doubted female FBI agent who 384 00:21:40,320 --> 00:21:43,080 Speaker 3: has a knack for figuring things out. You know. Obviously, 385 00:21:43,240 --> 00:21:45,280 Speaker 3: X File is a film in the Pacific Northwest. It 386 00:21:45,359 --> 00:21:49,480 Speaker 3: kind of has that gray color to it, pretty dark, 387 00:21:49,560 --> 00:21:52,160 Speaker 3: not a lot of sunshine, similar to Silence of the Lambs, 388 00:21:52,240 --> 00:21:55,920 Speaker 3: even down to the locations coming across the bottom of 389 00:21:55,960 --> 00:21:59,840 Speaker 3: the screen and typewriter. That was a that was a 390 00:22:00,080 --> 00:22:03,080 Speaker 3: inspired by Silence of the Lambs, as well as the 391 00:22:03,119 --> 00:22:05,840 Speaker 3: Lone Gunmen, who eventually had their own spin off. Those 392 00:22:05,840 --> 00:22:10,200 Speaker 3: are the punk rock nerds who assists Scullian Molder sometimes 393 00:22:10,320 --> 00:22:13,720 Speaker 3: the computer guys there directly based on the nerds who 394 00:22:13,840 --> 00:22:17,520 Speaker 3: play chess with bugs in Silence of the Lambs and 395 00:22:17,600 --> 00:22:22,120 Speaker 3: help to identify the Death's Head moths that Buffalo Bill uses. Yeah, 396 00:22:22,160 --> 00:22:23,760 Speaker 3: that's all going off the top of my head. You know, 397 00:22:23,800 --> 00:22:26,600 Speaker 3: I could have could have googled it the double check, 398 00:22:26,640 --> 00:22:28,440 Speaker 3: but I figured I would rather have a conversation with 399 00:22:28,600 --> 00:22:29,840 Speaker 3: you the way we would if we were at a 400 00:22:29,840 --> 00:22:32,280 Speaker 3: bar or a cafe or something like that. It's more fun. 401 00:22:32,359 --> 00:22:35,840 Speaker 3: I'm old school, So I enjoyed the show and look 402 00:22:35,880 --> 00:22:36,640 Speaker 3: into it later. 403 00:22:37,359 --> 00:22:40,400 Speaker 1: Matt, you are blowing my mind here a little bit. 404 00:22:40,520 --> 00:22:41,040 Speaker 2: Of course. 405 00:22:41,600 --> 00:22:43,520 Speaker 1: Of course, I don't know why this slipped my mind 406 00:22:43,520 --> 00:22:44,879 Speaker 1: when I was talking about it, But of course the 407 00:22:45,000 --> 00:22:48,119 Speaker 1: X files are indebted to Silence of the Lambs, the 408 00:22:48,520 --> 00:22:52,760 Speaker 1: parallels between Dana Scully and Clarie Starling for starters, and 409 00:22:52,800 --> 00:22:54,639 Speaker 1: of course the way it shot, the way it looks. 410 00:22:55,440 --> 00:22:59,080 Speaker 1: But when you're blowing my mind here about the nerds 411 00:22:59,200 --> 00:23:02,560 Speaker 1: who helped clear you know, id that chrysalis that's found 412 00:23:02,640 --> 00:23:07,040 Speaker 1: in the corpse's mouth, and how they directly mirror the 413 00:23:07,080 --> 00:23:10,280 Speaker 1: Lone Gunman and the X Files. That is a great call. 414 00:23:10,359 --> 00:23:13,560 Speaker 1: I hadn't even thought about that connection. In both the 415 00:23:13,560 --> 00:23:16,080 Speaker 1: movie and the TV show, those characters are clearly designed 416 00:23:16,080 --> 00:23:20,880 Speaker 1: to provide some levity to some otherwise heavy subjects, So 417 00:23:21,000 --> 00:23:24,639 Speaker 1: thanks so much for pointing that out. I actually rewatched 418 00:23:24,640 --> 00:23:27,639 Speaker 1: Silence of the Lambs not too long ago. I forget 419 00:23:27,640 --> 00:23:30,240 Speaker 1: the context why I watched it again. Maybe it was 420 00:23:30,280 --> 00:23:33,560 Speaker 1: with one of my kids actually, but damn, man, that 421 00:23:33,640 --> 00:23:37,440 Speaker 1: movie still holds up. Jonathan DEMI could make a fucking movie. 422 00:23:37,480 --> 00:23:40,360 Speaker 2: Man. Rip to Jonathan dem And. 423 00:23:40,440 --> 00:23:42,560 Speaker 1: While we're on the subject of just sitting around talking 424 00:23:42,640 --> 00:23:45,040 Speaker 1: about stuff like we're at a bar and not researching 425 00:23:45,040 --> 00:23:47,320 Speaker 1: it online, you know, just gabbing off the top of 426 00:23:47,320 --> 00:23:49,520 Speaker 1: our domes here. I don't know if I mentioned this 427 00:23:49,600 --> 00:23:53,600 Speaker 1: here before, but I remember back in the nineties and 428 00:23:53,720 --> 00:23:55,560 Speaker 1: the two thousands, but you know, in the nineties when 429 00:23:55,600 --> 00:24:01,080 Speaker 1: this came out, I remember hearing that the the production 430 00:24:01,240 --> 00:24:04,800 Speaker 1: team put this low tone in the sound design of 431 00:24:04,840 --> 00:24:08,560 Speaker 1: the film that was there from the beginning, and it 432 00:24:08,600 --> 00:24:11,320 Speaker 1: was I don't know what the technical term is for this. 433 00:24:12,280 --> 00:24:15,280 Speaker 1: I don't claim to be an expert on sound production 434 00:24:15,440 --> 00:24:18,480 Speaker 1: or manipulation, but it was a tone that was low 435 00:24:18,600 --> 00:24:21,040 Speaker 1: enough that you didn't really know that you were hearing it, 436 00:24:21,080 --> 00:24:23,720 Speaker 1: but your body was kind of experiencing it, knew knew 437 00:24:23,720 --> 00:24:27,520 Speaker 1: that it was there. And the tone is was allegedly 438 00:24:28,359 --> 00:24:31,639 Speaker 1: retained throughout the entire film until the very one of 439 00:24:31,640 --> 00:24:35,399 Speaker 1: the last scenes when Clarice goes to the house and 440 00:24:35,840 --> 00:24:39,399 Speaker 1: is hunting Buffalo Bill in the darkness. 441 00:24:38,920 --> 00:24:41,359 Speaker 2: In the in the in the. 442 00:24:40,800 --> 00:24:43,399 Speaker 1: Sub recesses of that house and he's gone on the 443 00:24:43,480 --> 00:24:48,240 Speaker 1: night vision goggles at that moment, that they removed that 444 00:24:48,520 --> 00:24:52,399 Speaker 1: sound from the sound design, and so your body just 445 00:24:52,600 --> 00:24:55,439 Speaker 1: like realizes that something is off when you're sitting in 446 00:24:55,440 --> 00:24:58,760 Speaker 1: the theater because suddenly that that tone is gone. Now, 447 00:24:59,440 --> 00:25:03,480 Speaker 1: if that's true, that is incredible. I love that. And 448 00:25:03,800 --> 00:25:05,840 Speaker 1: I am going to tell you, Matt that I have 449 00:25:06,240 --> 00:25:11,400 Speaker 1: not fact checked myself on this because I don't want 450 00:25:11,440 --> 00:25:14,200 Speaker 1: to know that it's not true. If it's not true, 451 00:25:14,200 --> 00:25:16,040 Speaker 1: I don't want to know because it's such a cool 452 00:25:16,720 --> 00:25:19,800 Speaker 1: so I want to keep telling that story. I want 453 00:25:19,800 --> 00:25:21,159 Speaker 1: to go back to the nineties when we can just 454 00:25:21,240 --> 00:25:24,119 Speaker 1: keep telling these stories all the time. Anyways, that's my 455 00:25:24,600 --> 00:25:27,800 Speaker 1: silence of the Lambs. Potentially true, potentially false tidbit. I 456 00:25:27,800 --> 00:25:31,000 Speaker 1: always like to drag out when that film is brought up. Matt, 457 00:25:31,000 --> 00:25:33,399 Speaker 1: thanks so much for the call. We've got a text 458 00:25:33,400 --> 00:25:36,680 Speaker 1: here from the four to one three which says, hi Zeth, 459 00:25:36,760 --> 00:25:40,159 Speaker 1: with regard to your request for bad guys, what are 460 00:25:40,200 --> 00:25:41,439 Speaker 1: you watching? What are you reading? 461 00:25:41,480 --> 00:25:41,960 Speaker 2: Et cetera. 462 00:25:42,680 --> 00:25:45,200 Speaker 1: One of the most shocking bad guys in cinematic history 463 00:25:45,280 --> 00:25:47,879 Speaker 1: was the role Henry Fonda played in Once Upon a 464 00:25:47,920 --> 00:25:51,720 Speaker 1: Time in the West. His character kills an innocent child 465 00:25:51,800 --> 00:25:56,840 Speaker 1: in cold blood. This shocked audiences other Day to their core. Next, 466 00:25:57,119 --> 00:26:00,359 Speaker 1: if you haven't watched The Lowdown, you gotta Besides touting 467 00:26:00,440 --> 00:26:04,840 Speaker 1: everything Tulsa, including its diverse citizenry, it showcases the Tulsa 468 00:26:04,880 --> 00:26:09,400 Speaker 1: sound with a JJ Kale forward soundtrack. Finally, an unexpected 469 00:26:09,440 --> 00:26:13,119 Speaker 1: reading delight is Chloe Dalton's book Raising Hair. Thanks for 470 00:26:13,119 --> 00:26:17,560 Speaker 1: a fascinating well researched podcast full of personality and compelling information. 471 00:26:18,640 --> 00:26:21,439 Speaker 1: Well four one three, Thanks so much for that. Appreciate it. 472 00:26:21,520 --> 00:26:24,320 Speaker 1: Lots here to speak of first stuff. Thanks for the 473 00:26:24,960 --> 00:26:28,560 Speaker 1: book recommendation, Raising Hair. I'm in the middle of reading 474 00:26:28,600 --> 00:26:30,200 Speaker 1: some stuff right now, which I'll talk about in a bit, 475 00:26:30,240 --> 00:26:32,920 Speaker 1: but I'm definitely going to put this on my good 476 00:26:32,920 --> 00:26:36,240 Speaker 1: Reads list right now. Do you guys use good Reads 477 00:26:37,080 --> 00:26:39,680 Speaker 1: so many freakin' apps for all your shit that you're doing, 478 00:26:39,720 --> 00:26:41,680 Speaker 1: right I got Letterbox from my movies, I got good 479 00:26:41,720 --> 00:26:45,520 Speaker 1: Reads from my books. My wife religiously uses good Reads 480 00:26:45,520 --> 00:26:47,520 Speaker 1: because she'll forget that she read a book if she 481 00:26:47,520 --> 00:26:50,160 Speaker 1: doesn't have it documented. All right, So thank you, Raising Hair. 482 00:26:50,160 --> 00:26:52,920 Speaker 1: I'm going to read that The Lowdown. Yes, watched it, 483 00:26:53,080 --> 00:26:55,880 Speaker 1: loved it. This is a show on Hulu that ran 484 00:26:55,960 --> 00:26:58,760 Speaker 1: last year. I think Ethan Hawk is incredible. I'll watch 485 00:26:58,800 --> 00:27:01,680 Speaker 1: anything he's in. Stoked to see Blue Moon, by the way, 486 00:27:01,680 --> 00:27:04,000 Speaker 1: which I think is on Netflix now. And I too, 487 00:27:04,040 --> 00:27:06,639 Speaker 1: really enjoyed this The Portrait of Tulsa. You know, I 488 00:27:06,960 --> 00:27:10,159 Speaker 1: enjoyed the the windy old school detective plot of it, 489 00:27:10,200 --> 00:27:12,920 Speaker 1: all all the characters, and yes, the music was super dope. 490 00:27:13,320 --> 00:27:15,720 Speaker 1: The Jjkal zone is just a beautiful place to be, 491 00:27:15,880 --> 00:27:19,920 Speaker 1: isn't it? The Jjkal zone? Guys, it doesn't get enough love. 492 00:27:20,280 --> 00:27:23,120 Speaker 1: Probably safe to say that most people know Jjkale through 493 00:27:23,320 --> 00:27:27,560 Speaker 1: other people's covers of his songs, songs like After Midnight Cocaine, 494 00:27:27,920 --> 00:27:31,240 Speaker 1: call Me the Breeze, But nobody does Kale quite like Kale. 495 00:27:31,280 --> 00:27:33,320 Speaker 1: And listen when you're stuck looking for something to put on. 496 00:27:34,160 --> 00:27:36,920 Speaker 1: You know, whether you're driving, you're cooking, you're hosting, you're 497 00:27:36,960 --> 00:27:39,480 Speaker 1: just hanging out, you can never do wrong with a 498 00:27:39,520 --> 00:27:43,600 Speaker 1: little Jjkale because you know, the Jjkal zone just works 499 00:27:43,640 --> 00:27:46,200 Speaker 1: for just about everything. Okay, give it a shot. Four 500 00:27:46,200 --> 00:27:48,600 Speaker 1: one and three knows what I'm talking about. Also, thanks 501 00:27:48,600 --> 00:27:50,679 Speaker 1: for the bad Boys shout out. We were talking about 502 00:27:50,720 --> 00:27:54,640 Speaker 1: bad boys, bad boys, what You're gonna do last week 503 00:27:54,800 --> 00:27:57,320 Speaker 1: talking about Sean Penn and the four one three here 504 00:27:57,359 --> 00:28:00,639 Speaker 1: is talking about Henry Fonda playing very against type. You 505 00:28:00,680 --> 00:28:03,320 Speaker 1: know Henry Fonda, Come on, he's the good guy. He's 506 00:28:03,400 --> 00:28:07,240 Speaker 1: Wyatt erp and my darling Clementine. He's Tom Joad in 507 00:28:07,440 --> 00:28:10,760 Speaker 1: the Grapes of Wrath and here he's a dude who 508 00:28:11,000 --> 00:28:14,720 Speaker 1: shoots an innocent child in cold blood. So yeah, against 509 00:28:14,760 --> 00:28:17,840 Speaker 1: type shocking. I haven't seen this film in. 510 00:28:17,760 --> 00:28:19,120 Speaker 2: A very very long time. 511 00:28:19,160 --> 00:28:22,520 Speaker 1: Once upon a Time in the West Sergio Leone, and 512 00:28:22,560 --> 00:28:24,639 Speaker 1: I don't even know what cut I saw, because again, 513 00:28:24,800 --> 00:28:27,760 Speaker 1: like a lot of these spaghetti westerns foreign films at 514 00:28:27,760 --> 00:28:31,240 Speaker 1: the time, there were different cuts for different countries, so 515 00:28:31,280 --> 00:28:32,760 Speaker 1: I don't even know if I saw the shorter version 516 00:28:32,760 --> 00:28:35,360 Speaker 1: of the longer version or what. But perhaps it's time 517 00:28:35,400 --> 00:28:36,719 Speaker 1: to take a look at that again. So thank you 518 00:28:36,760 --> 00:28:39,080 Speaker 1: for one to three for putting that on my radar. 519 00:28:39,720 --> 00:28:45,400 Speaker 1: Over here, we got an email from Nathan which just says, hey, Zeth, 520 00:28:46,080 --> 00:28:50,680 Speaker 1: Nathan from Australia. Here, Rose Tattoo, bad Boy for Love, 521 00:28:51,280 --> 00:28:53,640 Speaker 1: Nice Boys, Love the Pods, gentlemen. 522 00:28:54,000 --> 00:28:54,440 Speaker 2: Thank you. 523 00:28:55,000 --> 00:28:56,640 Speaker 1: It took me a second to figure this out, but 524 00:28:56,720 --> 00:29:02,240 Speaker 1: Nathan is hipping me to the Rose Tattoo, an Australian 525 00:29:02,280 --> 00:29:05,200 Speaker 1: band and some of their songs such as bad Boy 526 00:29:05,240 --> 00:29:07,600 Speaker 1: for Love and Nice Boys, which is super dope. 527 00:29:07,720 --> 00:29:08,080 Speaker 2: Nathan. 528 00:29:08,160 --> 00:29:11,920 Speaker 1: I will always take band recommendations, especially bands that I 529 00:29:12,000 --> 00:29:13,840 Speaker 1: don't know of. This looks like an Australian band from 530 00:29:13,840 --> 00:29:16,760 Speaker 1: the seventies. I do know the Dropkick Murphy song Rose Tattoo. 531 00:29:16,760 --> 00:29:17,920 Speaker 1: I don't know if this has anything to do with 532 00:29:17,920 --> 00:29:21,520 Speaker 1: this band or not. But that said, Nathan, you might 533 00:29:21,640 --> 00:29:25,640 Speaker 1: like to know I just recently wrote an In Excess 534 00:29:25,720 --> 00:29:30,160 Speaker 1: part two episode for Disgraceland, which I believe is coming 535 00:29:30,160 --> 00:29:34,080 Speaker 1: out next month, and in this episode I get into 536 00:29:34,120 --> 00:29:38,000 Speaker 1: the so called wild West scene of Australian pub rock 537 00:29:38,400 --> 00:29:41,120 Speaker 1: from back in the seventies, you know, in Excess playing 538 00:29:41,120 --> 00:29:44,200 Speaker 1: for minors way out in the middle of nowhere. Perhaps 539 00:29:44,280 --> 00:29:47,400 Speaker 1: you know, Nathan, about this riot that happened in the 540 00:29:47,480 --> 00:29:50,560 Speaker 1: late seventies in Australia when one of the venues closed 541 00:29:50,600 --> 00:29:53,800 Speaker 1: down and there was this huge riot. One of the 542 00:29:54,000 --> 00:29:56,440 Speaker 1: members of one of the bands was arrested. People set 543 00:29:56,480 --> 00:29:59,960 Speaker 1: like police cars on fire. It was fucking crazy. So anyways, 544 00:30:00,520 --> 00:30:05,440 Speaker 1: look for that Australian gripping music history coming very soon Intosgraceland. 545 00:30:05,720 --> 00:30:09,320 Speaker 1: To everybody else, thanks all of you for getting in touch. 546 00:30:09,640 --> 00:30:12,760 Speaker 1: Keep those messages coming, I'll keep responding to them. I'm 547 00:30:12,800 --> 00:30:15,120 Speaker 1: gonna take another quick break right here, but I'm going 548 00:30:15,200 --> 00:30:17,480 Speaker 1: to be right back, so do not touch that dial. 549 00:30:30,120 --> 00:30:33,240 Speaker 1: All right, everybody, we are back Zeth Lundy hanging here 550 00:30:33,280 --> 00:30:36,280 Speaker 1: with you in the wrap party, Hollywood Land. It's time 551 00:30:36,320 --> 00:30:39,560 Speaker 1: for the recommendation section of the show, what I've been watching, 552 00:30:39,760 --> 00:30:44,240 Speaker 1: listening to, reading, etc. First off, if you guys listened 553 00:30:44,280 --> 00:30:46,280 Speaker 1: to The After Party with Jake on the Regular, you 554 00:30:46,360 --> 00:30:48,880 Speaker 1: know that last year he was super into this book 555 00:30:48,960 --> 00:30:52,080 Speaker 1: called We Began at the End by Chris Whitaker. He 556 00:30:52,120 --> 00:30:54,080 Speaker 1: talked about it a lot. I know a lot of 557 00:30:54,080 --> 00:30:56,760 Speaker 1: you had either already read it or wound up reading it. 558 00:30:56,800 --> 00:30:58,400 Speaker 1: He may have even done like a book club thing 559 00:30:58,440 --> 00:31:01,760 Speaker 1: with this as well as well. I loved it. I 560 00:31:01,760 --> 00:31:04,920 Speaker 1: couldn't put it down. I thought it ruled. So just 561 00:31:05,040 --> 00:31:08,200 Speaker 1: last week my wife got Chris Whitaker's latest book from 562 00:31:08,240 --> 00:31:11,480 Speaker 1: the library the Books, called All the Colors of the Dark. 563 00:31:12,240 --> 00:31:13,960 Speaker 2: She read it voraciously. 564 00:31:14,120 --> 00:31:16,640 Speaker 1: You know when you when you're reading something and it's 565 00:31:16,640 --> 00:31:22,640 Speaker 1: so good you ignore your significant outher like there's just 566 00:31:22,720 --> 00:31:25,000 Speaker 1: like no there was no interrupting her when she was 567 00:31:25,040 --> 00:31:27,480 Speaker 1: reading this, or, as she put it so well, when 568 00:31:27,480 --> 00:31:30,640 Speaker 1: she was done. When you read a book and it's 569 00:31:30,760 --> 00:31:32,600 Speaker 1: so good that when you get to the end of 570 00:31:32,600 --> 00:31:36,040 Speaker 1: the book, you're like disappointed because you know that whatever 571 00:31:36,080 --> 00:31:38,040 Speaker 1: you're going to read next just is not going to 572 00:31:38,040 --> 00:31:40,960 Speaker 1: compare at all. Well, so's this is what happened with 573 00:31:41,040 --> 00:31:43,040 Speaker 1: her in this book. All the Colors of the Dark, 574 00:31:43,080 --> 00:31:45,400 Speaker 1: and she was like, listen, can you drop whatever you're 575 00:31:45,400 --> 00:31:48,239 Speaker 1: reading right now and read this before it's due back 576 00:31:48,280 --> 00:31:51,040 Speaker 1: to the library. So that's what I'm doing. I crushed 577 00:31:51,080 --> 00:31:53,720 Speaker 1: like three hundred pages or so this past weekend. The 578 00:31:53,760 --> 00:31:57,720 Speaker 1: whole thing's like five hundred plus pages. And Guys, this 579 00:31:57,760 --> 00:32:01,800 Speaker 1: book delivers. It is every bit as compelling and page 580 00:32:01,840 --> 00:32:04,840 Speaker 1: turning as we begin. At the end, I'm really blown 581 00:32:04,880 --> 00:32:07,479 Speaker 1: away that Chris Whittaker is British. You know, he's a 582 00:32:07,480 --> 00:32:11,320 Speaker 1: former trader, even I believe. But he's writing these novels 583 00:32:11,360 --> 00:32:14,800 Speaker 1: about America that are so steeped in American culture and 584 00:32:14,840 --> 00:32:17,160 Speaker 1: like the flora and fauna of America. I mean a 585 00:32:17,280 --> 00:32:21,160 Speaker 1: chapter does not go by, guys, where he's not describing 586 00:32:21,920 --> 00:32:25,800 Speaker 1: in great detail trees, flowers, shrubs, weeds, things that have 587 00:32:25,960 --> 00:32:28,120 Speaker 1: names that I don't even know the names to them, 588 00:32:28,280 --> 00:32:30,200 Speaker 1: things that I see on a regular basis, I don't 589 00:32:30,200 --> 00:32:32,280 Speaker 1: know what they are. Chris Whitaker knows what they are. 590 00:32:32,400 --> 00:32:37,520 Speaker 1: How I don't know. But his research is so detailed 591 00:32:37,560 --> 00:32:41,680 Speaker 1: it's incredible. This book takes place in Missouri. It starts 592 00:32:41,680 --> 00:32:43,440 Speaker 1: in the mid seventies, and I don't want to say 593 00:32:43,440 --> 00:32:45,800 Speaker 1: too much about it, because part of the joy of 594 00:32:45,840 --> 00:32:48,520 Speaker 1: reading this is being taken on this journey. You know, 595 00:32:48,600 --> 00:32:50,800 Speaker 1: you think the book is about one thing, but then 596 00:32:50,800 --> 00:32:53,080 Speaker 1: it's about something else, and then it's about something else, 597 00:32:53,160 --> 00:32:56,360 Speaker 1: and so on and so on. It spans years and decades, 598 00:32:56,400 --> 00:32:59,800 Speaker 1: and over halfway through it's still got me madly turning 599 00:32:59,840 --> 00:33:02,280 Speaker 1: the pages and wondering what's going to happen next. It's 600 00:33:02,320 --> 00:33:07,640 Speaker 1: got deeply realized characters with great names like Patch and Saint, 601 00:33:07,840 --> 00:33:11,000 Speaker 1: who are navigating trauma growing up. You know, it is 602 00:33:11,040 --> 00:33:13,760 Speaker 1: the loss of innocence and childhood here. And you know, 603 00:33:13,800 --> 00:33:15,440 Speaker 1: though I say all that this is not like a 604 00:33:15,480 --> 00:33:19,280 Speaker 1: slow drama, it's a very briskly paced thriller. It just 605 00:33:19,360 --> 00:33:22,320 Speaker 1: has good bones at the center. So again all the 606 00:33:22,320 --> 00:33:25,320 Speaker 1: colors of the dark check that out. I love discovering 607 00:33:25,360 --> 00:33:27,360 Speaker 1: an author like this and then looking to see what 608 00:33:27,400 --> 00:33:30,040 Speaker 1: else they've written. You know, It's like discovering a band 609 00:33:30,120 --> 00:33:32,000 Speaker 1: through one album and then you realize you have this 610 00:33:32,080 --> 00:33:35,000 Speaker 1: whole back catalog of other albums you can dive into. 611 00:33:35,600 --> 00:33:37,280 Speaker 1: And this book made me think of a book by 612 00:33:37,400 --> 00:33:40,400 Speaker 1: a favorite author of mine, Donna Tart her second book, 613 00:33:40,480 --> 00:33:44,360 Speaker 1: The Little Friend, which has similar themes even though it's 614 00:33:44,400 --> 00:33:46,520 Speaker 1: a completely different story and a different book. 615 00:33:46,640 --> 00:33:48,959 Speaker 2: You guys, read Donna's Heart before. She's the best, right. 616 00:33:49,560 --> 00:33:53,080 Speaker 1: She has three books right now so far, The Secret History, 617 00:33:53,360 --> 00:33:57,040 Speaker 1: The Little Friend, and The Goldfinch. They all rule. But 618 00:33:57,080 --> 00:33:58,680 Speaker 1: that's all she's got so far. You know, it took 619 00:33:58,720 --> 00:34:01,560 Speaker 1: her ten years between my first two books, took her 620 00:34:01,600 --> 00:34:04,520 Speaker 1: eleven years between the second and the third, and now 621 00:34:04,520 --> 00:34:08,120 Speaker 1: it's been thirteen years since The Goldfinch, and we've got nothing. 622 00:34:08,400 --> 00:34:10,880 Speaker 1: Supposedly she's working on a new book. I saw an 623 00:34:10,880 --> 00:34:12,960 Speaker 1: interview with her from a few years ago where she 624 00:34:13,080 --> 00:34:15,799 Speaker 1: mentioned she was writing something new. But I was thinking 625 00:34:15,840 --> 00:34:18,799 Speaker 1: about these Chris Whitaker novels, you know, thinking, man, they 626 00:34:18,800 --> 00:34:21,680 Speaker 1: would make a really great, like prestige TV series, like 627 00:34:21,719 --> 00:34:24,480 Speaker 1: on HBO. But then I thought, you know, be careful 628 00:34:24,480 --> 00:34:27,600 Speaker 1: what you wish for, because the one adaptation of a 629 00:34:27,640 --> 00:34:30,480 Speaker 1: Donna Tarte book that's been made so far, The Goldfinch, 630 00:34:31,480 --> 00:34:34,480 Speaker 1: was pretty weak, I gotta say. And don't think Donna 631 00:34:34,520 --> 00:34:37,040 Speaker 1: Tart didn't notice that, guys, because even though she was 632 00:34:37,080 --> 00:34:40,600 Speaker 1: reportedly paid something like three million dollars for the film rights, 633 00:34:40,760 --> 00:34:43,400 Speaker 1: she was not given the chance to write the screenplay 634 00:34:43,680 --> 00:34:46,000 Speaker 1: for the film. Nor did she get a producer credit, 635 00:34:46,520 --> 00:34:49,640 Speaker 1: and as such, she fired her agent of like three 636 00:34:49,640 --> 00:34:53,120 Speaker 1: decades in the fallout, which is crazy. So that's the 637 00:34:53,120 --> 00:34:56,040 Speaker 1: Donna Taart news we get right now until her new 638 00:34:56,040 --> 00:35:00,000 Speaker 1: book sees the light of day. Speaking of writers and adaptations, 639 00:35:00,200 --> 00:35:03,239 Speaker 1: I watched over the weekend See of Love. This is 640 00:35:03,280 --> 00:35:07,480 Speaker 1: a nineteen eighty nine neo noir film starring al Pacino 641 00:35:07,960 --> 00:35:11,000 Speaker 1: and Ellen Barkin, directed by Harold Becker, which is a 642 00:35:11,000 --> 00:35:14,120 Speaker 1: director I know absolutely nothing about. Looks sort of like 643 00:35:14,160 --> 00:35:17,080 Speaker 1: a Journeyman director, and it has a screenplay written by 644 00:35:17,160 --> 00:35:21,000 Speaker 1: Richard Price based on his novel Ladies Man. I was 645 00:35:21,040 --> 00:35:23,239 Speaker 1: talking about Richard Price the other week. I was in 646 00:35:23,280 --> 00:35:25,560 Speaker 1: this Richard Price state of mind, and I saw that 647 00:35:25,640 --> 00:35:27,600 Speaker 1: this film was on Netflix and it was leaving at 648 00:35:27,600 --> 00:35:29,960 Speaker 1: the end of the month, and I'd never seen it before, 649 00:35:30,440 --> 00:35:33,799 Speaker 1: so I fired it up to the night and it's 650 00:35:33,840 --> 00:35:37,279 Speaker 1: quite good. The Richard Price cop banter is in full 651 00:35:37,280 --> 00:35:39,360 Speaker 1: effect here, especially for the first half of the movie. 652 00:35:40,480 --> 00:35:43,320 Speaker 1: Co stars John Goodman, who is a cop along with 653 00:35:43,360 --> 00:35:47,480 Speaker 1: al Pacino, and John Goodman is at his lovable best here. 654 00:35:47,560 --> 00:35:50,160 Speaker 1: He's so funny and so alive in this movie. And 655 00:35:50,280 --> 00:35:50,839 Speaker 1: here's the deal. 656 00:35:50,920 --> 00:35:51,080 Speaker 2: Right. 657 00:35:51,160 --> 00:35:53,799 Speaker 1: So al Pacino and John Goodman they both pick up 658 00:35:53,880 --> 00:35:57,480 Speaker 1: murder cases that have similarities, and they quickly figure out 659 00:35:58,000 --> 00:36:01,640 Speaker 1: that they've got someone who's been responding to singles ads 660 00:36:01,800 --> 00:36:04,520 Speaker 1: in the paper, going on dates with men and then 661 00:36:04,640 --> 00:36:07,920 Speaker 1: murdering them. So these two guys, Paccino and Goodman, they 662 00:36:07,960 --> 00:36:11,920 Speaker 1: plot to write their own phony singles ad and then 663 00:36:12,040 --> 00:36:14,680 Speaker 1: pose as the ad writer, you know, looking for love, 664 00:36:15,200 --> 00:36:17,560 Speaker 1: going out on dates with women to see if they 665 00:36:17,600 --> 00:36:20,960 Speaker 1: can snare the killer in their trap. The whole time 666 00:36:21,040 --> 00:36:23,160 Speaker 1: I was watching this, I was like, damn, if David 667 00:36:23,200 --> 00:36:26,960 Speaker 1: Fincher got his hands on this, it would rule because again, 668 00:36:27,080 --> 00:36:29,319 Speaker 1: it's like it's a neo noir, which is right up 669 00:36:29,320 --> 00:36:32,240 Speaker 1: as Alley, but it's also very, very sexual. The murders 670 00:36:32,239 --> 00:36:35,920 Speaker 1: are sexual. There's this red hawk chemistry between Pacino and 671 00:36:35,920 --> 00:36:38,399 Speaker 1: Ellen Barkin as well. So just in my mind, I'm 672 00:36:38,400 --> 00:36:41,600 Speaker 1: Mike I would love to see Fincher's version of this movie. 673 00:36:41,960 --> 00:36:44,040 Speaker 1: The reason the title is Sea of Love and not 674 00:36:44,239 --> 00:36:46,040 Speaker 1: Ladies Man, which is the name of the book again, 675 00:36:46,480 --> 00:36:48,760 Speaker 1: is because there's a forty five of the phil Phillips 676 00:36:48,800 --> 00:36:51,799 Speaker 1: song Sea of Love playing over and over on a turntable. 677 00:36:52,080 --> 00:36:54,360 Speaker 1: When the first body is found and it's played a 678 00:36:54,360 --> 00:36:56,839 Speaker 1: bunch during the movie. There's an incredible scene where John 679 00:36:56,880 --> 00:36:59,719 Speaker 1: Goodman sings it actually with a bunch of cops, and 680 00:37:00,120 --> 00:37:03,640 Speaker 1: in the end credits, Tom Waits's incredible cover of the 681 00:37:03,719 --> 00:37:06,240 Speaker 1: song plays, which I believe he did for this film. 682 00:37:06,480 --> 00:37:10,480 Speaker 1: You can find that cover on Tom Waits Orphans compilation, 683 00:37:10,680 --> 00:37:14,840 Speaker 1: The Brawlers, Ballers and Bastards three disc compilation. This is 684 00:37:14,880 --> 00:37:16,640 Speaker 1: a song, you know, I was thinking about it, man. 685 00:37:17,280 --> 00:37:21,440 Speaker 1: So many fascinating covers of this song. There's Tom Waits' version. 686 00:37:21,840 --> 00:37:25,400 Speaker 1: Tom waits buddy Iggy Pop also covered this on an 687 00:37:25,400 --> 00:37:28,040 Speaker 1: album from the eighties called Party. Iggy's version kind of 688 00:37:28,040 --> 00:37:30,359 Speaker 1: feels like a fifties era slow dance thing, you know. 689 00:37:30,840 --> 00:37:33,280 Speaker 1: And then Cap Power did another one of my favorite 690 00:37:33,360 --> 00:37:36,719 Speaker 1: covers of this song, accompanying herself only with an out 691 00:37:36,719 --> 00:37:39,719 Speaker 1: of tune autoharp. I think that's what she's playing or 692 00:37:39,719 --> 00:37:44,120 Speaker 1: someone's playing. Just an incredible song and the I don't 693 00:37:44,160 --> 00:37:46,279 Speaker 1: know that I really heard the Phil Phillips version, the 694 00:37:46,320 --> 00:37:49,200 Speaker 1: whole version, until I saw this movie, But see you 695 00:37:49,320 --> 00:37:50,480 Speaker 1: love guys worth checking out. 696 00:37:50,520 --> 00:37:50,919 Speaker 2: It's cool. 697 00:37:51,000 --> 00:37:53,680 Speaker 1: I dug it real quick here when I'm listening to 698 00:37:54,000 --> 00:37:57,359 Speaker 1: I've been listening to a lot of Hank Williams. And 699 00:37:57,400 --> 00:38:00,000 Speaker 1: by a lot, I mean I have the two record 700 00:38:00,280 --> 00:38:03,880 Speaker 1: set that's called twenty four of Hank Williams's greatest hits. 701 00:38:04,160 --> 00:38:07,400 Speaker 1: It's got like a little bust of Hank Williams on 702 00:38:07,440 --> 00:38:11,279 Speaker 1: the cover. This should be in anyone's record collection. It's 703 00:38:11,360 --> 00:38:14,239 Speaker 1: one of the greatest, like best of compilations of all time. 704 00:38:14,360 --> 00:38:18,200 Speaker 1: The simplicity of the songs, the economy of the language. 705 00:38:18,239 --> 00:38:21,400 Speaker 1: Was it Dylan who called him the Shakespeare of country? 706 00:38:21,960 --> 00:38:24,920 Speaker 1: In my opinion, he's less verbose than Shakespeare. He's more 707 00:38:24,960 --> 00:38:28,000 Speaker 1: like the William Carlos Williams of country or something like that. 708 00:38:28,200 --> 00:38:31,000 Speaker 1: Hank Williams man, it just doesn't get any better. The 709 00:38:31,000 --> 00:38:33,040 Speaker 1: first time I ever heard a Hank Williams song that 710 00:38:33,200 --> 00:38:35,880 Speaker 1: wasn't like Hey, good Looking or something like that was 711 00:38:35,920 --> 00:38:39,320 Speaker 1: when I saw a production of Sam Shepherd's True West 712 00:38:39,920 --> 00:38:42,879 Speaker 1: on PBS back in the eighties or nineties with John 713 00:38:42,920 --> 00:38:46,560 Speaker 1: Malkovich and Gary Sineize. And that version, the filmed version 714 00:38:46,840 --> 00:38:48,959 Speaker 1: that was shown on public television for a long time. 715 00:38:49,239 --> 00:38:52,600 Speaker 1: It opens with Hank Williams ramblin man and just hearing 716 00:38:52,600 --> 00:38:56,919 Speaker 1: that pedal steal and Hank's Lonesome Wine and it has 717 00:38:57,080 --> 00:39:00,719 Speaker 1: had like this darkness to it, this minor key kind 718 00:39:00,760 --> 00:39:04,520 Speaker 1: of thing just really transported me somewhere else. This is 719 00:39:05,160 --> 00:39:08,480 Speaker 1: the rare kind of music that takes you somewhere every time. 720 00:39:09,000 --> 00:39:10,960 Speaker 1: So got to shout that out. Also shout out to 721 00:39:11,000 --> 00:39:16,759 Speaker 1: Sam Sheppard, playwright, actor, total stud very child favorite play 722 00:39:16,760 --> 00:39:19,080 Speaker 1: of mine, but also True West This is what I'm 723 00:39:19,080 --> 00:39:21,919 Speaker 1: talking about, which was also performed over the years by 724 00:39:22,440 --> 00:39:26,240 Speaker 1: Philip Seymour Hoffman and John c Riley did a performance 725 00:39:26,239 --> 00:39:28,239 Speaker 1: of this on Broadway. This is one of those, like 726 00:39:28,400 --> 00:39:30,360 Speaker 1: one of my greatest I wish I'd been there moments 727 00:39:30,880 --> 00:39:32,799 Speaker 1: when they did this on Broadway and they actually I 728 00:39:32,800 --> 00:39:35,920 Speaker 1: think they switched roles halfway through or something, which is 729 00:39:35,960 --> 00:39:39,759 Speaker 1: totally incredible. I wish that that was recorded somewhere so 730 00:39:39,800 --> 00:39:43,280 Speaker 1: that I could check that out. Anyways, Hank Williams, True West, 731 00:39:43,880 --> 00:39:47,800 Speaker 1: Sea of Love, Donna Tart, Chris Whitaker's All the Colors 732 00:39:47,840 --> 00:39:50,440 Speaker 1: of the Dark. That's what I'm talking about. What about you, guys, 733 00:39:50,520 --> 00:39:53,000 Speaker 1: let me know what you've been watching reading, listening to 734 00:39:53,200 --> 00:39:56,279 Speaker 1: hit me up six one seven nine oh six six 735 00:39:56,440 --> 00:39:59,959 Speaker 1: six three eight. You can also email Disgrace lamb pod 736 00:40:00,160 --> 00:40:02,560 Speaker 1: at gmail dot com. You can hit me up on 737 00:40:02,600 --> 00:40:05,800 Speaker 1: the socials at Disgrace lampod or if you're a member 738 00:40:05,800 --> 00:40:08,239 Speaker 1: of All Access over on Patreon, just get at me 739 00:40:08,280 --> 00:40:10,279 Speaker 1: in the chat. All right, hangtight, guys, I'm gonna be 740 00:40:10,360 --> 00:40:10,640 Speaker 1: right back. 741 00:40:10,640 --> 00:40:24,959 Speaker 2: We're right after this. Well well, well, as. 742 00:40:24,920 --> 00:40:27,960 Speaker 1: John Lennon WANs saying here, we are once again coming 743 00:40:28,000 --> 00:40:30,600 Speaker 1: to the end of another installment of the Rap Party. 744 00:40:31,040 --> 00:40:34,560 Speaker 1: We talked about Marilyn Monroe earlier and John Houston as well. 745 00:40:34,600 --> 00:40:37,399 Speaker 1: We've got a couple of episodes on Marilyn Part one 746 00:40:37,440 --> 00:40:39,880 Speaker 1: and Part two in the archive, and we're gonna be 747 00:40:39,920 --> 00:40:43,880 Speaker 1: surfacing our episode on John Houston next month in March 748 00:40:44,239 --> 00:40:47,839 Speaker 1: as part of our Mavericks and Outliers month featuring other 749 00:40:47,920 --> 00:40:51,880 Speaker 1: subjects like Dennis Hopper, Alfred Hitchcock, and Brandon Lee. So 750 00:40:51,960 --> 00:40:54,960 Speaker 1: get ready for those, and also be thinking about your 751 00:40:55,000 --> 00:40:58,640 Speaker 1: favorite performances by a non actor or actress. Someone who 752 00:40:58,640 --> 00:41:00,799 Speaker 1: didn't go to school for it, someone who's not been 753 00:41:00,840 --> 00:41:03,880 Speaker 1: grandfathered in by nepotism, someone who just came out of 754 00:41:03,880 --> 00:41:07,360 Speaker 1: the blue and really delivered something truly memorable. Call or 755 00:41:07,400 --> 00:41:10,239 Speaker 1: text me to let me know. Six one, seven, nine 756 00:41:10,239 --> 00:41:15,000 Speaker 1: oh six six six three eight. Perhaps, perhaps, perhaps your 757 00:41:15,040 --> 00:41:17,440 Speaker 1: response will make it into next week's edition of The 758 00:41:17,520 --> 00:41:21,799 Speaker 1: Rap Party. Until then, let's recap number one. First of all, 759 00:41:21,880 --> 00:41:25,000 Speaker 1: Right now in your hollywoodland, feed our episode on the 760 00:41:25,040 --> 00:41:28,400 Speaker 1: Misfits Number two coming at you this Friday. We've got 761 00:41:28,440 --> 00:41:30,600 Speaker 1: a new episode of the Screening Room, and this week 762 00:41:30,640 --> 00:41:33,320 Speaker 1: I'm talking all about the two thousand and nine film 763 00:41:33,600 --> 00:41:37,000 Speaker 1: Dragged Me to Hell, directed by Sam Raimie, starring Alison 764 00:41:37,040 --> 00:41:42,080 Speaker 1: Lohman Justin Long in a very scary Lorna Raver. Number 765 00:41:42,120 --> 00:41:45,000 Speaker 1: three Next week on Monday, We're officially in the month 766 00:41:45,000 --> 00:41:47,239 Speaker 1: of March, which is the start of our Mavericks and 767 00:41:47,320 --> 00:41:50,719 Speaker 1: Outliers month, with a fully scripted and sound design episode 768 00:41:51,080 --> 00:41:52,480 Speaker 1: all about Patty Hurst. 769 00:41:52,840 --> 00:41:53,359 Speaker 2: Number four. 770 00:41:53,680 --> 00:41:56,200 Speaker 1: Over in our sister show, Disgraceland, we just dropped a 771 00:41:56,200 --> 00:41:59,520 Speaker 1: brand new episode, Part three of the Grateful Dead Saga 772 00:41:59,719 --> 00:42:02,040 Speaker 1: this week on all about why Bob Weir of the 773 00:42:02,080 --> 00:42:05,680 Speaker 1: Dead was a member of the Secretive Bohemian Club. Listen 774 00:42:05,719 --> 00:42:08,359 Speaker 1: to that in the Disgraceland feed to hear all about it. 775 00:42:08,560 --> 00:42:13,080 Speaker 1: Number five over in Disgraceland All Access on Patreon beginning today. 776 00:42:13,400 --> 00:42:16,440 Speaker 1: Members at the Sound and Fury Video Teer can watch 777 00:42:16,480 --> 00:42:19,560 Speaker 1: our brand new episode of our video podcast. This film 778 00:42:19,640 --> 00:42:22,880 Speaker 1: should be played loud all about the incredible music in 779 00:42:22,960 --> 00:42:25,640 Speaker 1: PTA's nineteen ninety seven film Boogie Nights. 780 00:42:25,960 --> 00:42:26,480 Speaker 2: Once again. 781 00:42:26,520 --> 00:42:30,040 Speaker 1: Go to disgracelaandpod dot com to sign up, and now, 782 00:42:30,480 --> 00:42:33,200 Speaker 1: in honor of this week's episode, Here's what America was 783 00:42:33,239 --> 00:42:36,000 Speaker 1: watching at the movies in nineteen sixty one, the year 784 00:42:36,040 --> 00:42:43,160 Speaker 1: that The Misfits premiered in theaters. Number one West Side Story, 785 00:42:43,719 --> 00:42:48,560 Speaker 1: directed by Robert Wise and Jerome Robbins. Number two, The 786 00:42:48,640 --> 00:42:52,960 Speaker 1: Guns of Navarone directed by jay Lee Thompson Niels, Move Offessor. 787 00:42:53,239 --> 00:42:58,120 Speaker 1: Number three, El Sid directed by Anthony Numbers eight, number 788 00:42:58,120 --> 00:43:01,360 Speaker 1: four and one, The Parent Travels Wretch directed by David Swift. 789 00:43:01,520 --> 00:43:04,520 Speaker 1: Number seventh. In this number five Fly the Addison Minor 790 00:43:04,560 --> 00:43:08,759 Speaker 1: Professor amer directed by Robert Stephens at number eighteen. Number six, 791 00:43:09,520 --> 00:43:15,959 Speaker 1: King of Kings directed by Nicholas Red. Number seven, Quit 792 00:43:16,160 --> 00:43:18,719 Speaker 1: talking and start mixing good