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Speaker 1: Dear listeners of Hollywoodland, does it feel like you're stuck

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Speaker 1: in limbo, standing under a flickering streetlight at the corner

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Speaker 1: of Hollywood and true crime, waiting for the next episode

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Speaker 1: of Hollywoodland to drop? I got you. Welcome to Hollywoodland,

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Speaker 1: the rap party. What's happening, my fellow movie geeks, you

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Speaker 1: true crime freaks? Just like me, you guys, like your

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Speaker 1: movie history, served up the side of grit and grime. This,

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Speaker 1: of course, is the place where we rescue stories from

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Speaker 1: the cutting room floor, the stories that were left behind,

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Speaker 1: the very same stories that have now made you the

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Speaker 1: most dangerous person at the party. I'm your host, Zeth Lundy, writer, showrunner,

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Speaker 1: and good doctor here at Double Elvis. And today, in

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Speaker 1: the Hollywoodland Rap Party, we are talking about the distance

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Speaker 1: between a performer's public image and their criminal past. So naturally,

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Speaker 1: we're talking about Tim Allen. So we're also talking about

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Speaker 1: staring down long prison sentences like the kind that Edward

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Speaker 1: Norton stares down in the film 25th Hour, a film

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Speaker 1: with a great score by the great Terrence Blanchard. So

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Speaker 1: later in the episode, I'll be joined by Jake Brennan

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Speaker 1: of Disgraceland to give you guys some dirty recs for

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Speaker 1: some of our favorite film scores of all time. Plus,

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Speaker 1: I've got your calls, your texts, and emails. So come on, everybody.

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Speaker 1: Let's party. I'm going to say this once up at

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Speaker 1: the top here, and I'm not going to say it again.

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Speaker 1: Spooky season. I've said this phrase before, and every time

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Speaker 1: I say it, I just feel like I'm in a

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Speaker 1: Target commercial or something. So I'm not going to say

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Speaker 1: it again. I'm going to endeavor to not say it again. But, well,

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Speaker 1: here we go. I'm going to break my rule already.

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Speaker 1: We are in the midst of spooky season. I don't

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Speaker 1: know what else to call it. Let me work on that.

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Speaker 1: But as we mentioned before, this is the time of

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Speaker 1: year when you break out all these, you know, scary

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Speaker 1: Halloween movies, horror films, horror season. I've got my favorites,

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Speaker 1: you know, some of the perennials here that we drag out.

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Speaker 1: Rosemary's Baby, The Shining. I'm always looking for new stuff

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Speaker 1: to watch, and I put out the call to you guys,

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Speaker 1: I think last week, asking for some more scary movie recommendations.

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Speaker 1: I got very few responses, unless I dreamed that I

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Speaker 1: asked for that, but I'm pretty sure I put it

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Speaker 1: out there into the world. So if you got some

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Speaker 1: good recs for scary movies this time of year, hit

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Speaker 1: us all up and let us know, okay? My son,

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Speaker 1: I've talked about him before. He's a teenager. He's a

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Speaker 1: huge horror buff. He's been a horror buff for as

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Speaker 1: long as I can remember. It's almost like his comfort

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Speaker 1: watching his horror films. It's so strange to me. So

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Speaker 1: I asked him to send me a list of some

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Speaker 1: things that he had watched that he loves that perhaps

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Speaker 1: I had not seen. He suggested a film called Sinister,

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Speaker 1: starring Ethan Hawke, which I watched the other night. It's

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Speaker 1: pretty good. I liked it a lot. My takeaway in

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Speaker 1: that is that Ethan Hawke needs a bigger flashlight. He

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Speaker 1: and I also watched Hocum the other night, this new

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Speaker 1: Damian McCarthy film starring Adam Scott. That's not one that

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Speaker 1: he recommended to me, but he did recommend this guy,

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Speaker 1: Damian McCarthy's previous film called Caveat, I think. So anyways,

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Speaker 1: my son, he sends me this list of stuff to watch.

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Speaker 1: And in the list, he suggested some David Lynch stuff.

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Speaker 1: And first of all, I was like, dude, how does

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Speaker 1: he not already know how much of a Lynch head

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Speaker 1: that I am? And then I think, well, probably because

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Speaker 1: I've been waiting to introduce Lynch to him until he

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Speaker 1: got a little bit older for a couple of reasons.

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Speaker 1: But he's always finding stuff on his own. Besides watching

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Speaker 1: stuff with me, he watches stuff with his friends. He

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Speaker 1: watches stuff on his own. He watches stuff with his mom.

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Speaker 1: He's watching stuff all the time. He's my one child

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Speaker 1: who really is into films as much as I am

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Speaker 1: and is always seeking out new stuff, exciting stuff. It

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Speaker 1: reminds me a lot of me when I was his age.

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Speaker 1: So I said to him, I was like, this is

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Speaker 1: really funny that you're mentioning David Lynch, because I know

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Speaker 1: of what you speak here. And also, just the other day,

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Speaker 1: I covered Mulholland Drive in Hollywoodland. And so I mentioned

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Speaker 1: Twin Peaks to him. That was on my brain. David

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Speaker 1: Lynch was on my brain all last week. And I said,

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Speaker 1: you and I should watch that sometime, because talking about

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Speaker 1: David Lynch last week got me thinking about Twin Peaks again.

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Speaker 1: And it's been so long since I watched that show.

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Speaker 1: And I've been dying to do a rewatch here. And

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Speaker 1: I attempted a rewatch a year or so ago. I

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Speaker 1: tried to watch it with my oldest daughter, and she

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Speaker 1: was not having it. She was just laughing at it

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Speaker 1: and not in the way that you want to laugh

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Speaker 1: at it. You know what I mean? There's a certain

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Speaker 1: aspect of Twin Peaks that wants you to laugh at it.

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Speaker 1: But she just found it too cringy. And I was like,

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Speaker 1: that's the point, though. It's this cheesy... cringy soap opera

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Speaker 1: thing that's slowly and thoroughly subverted through all this weirdness

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Speaker 1: and interdimensional dream craziness, whatever. Anyways, not having it. My son,

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Speaker 1: on the other hand, we started watching Twin Peaks. We

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Speaker 1: watched the pilot in episode two the other day, and

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Speaker 1: he's loving it already. I'm loving re-watching it. There's something

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Speaker 1: about that time in our culture. It comes out in 1990.

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Speaker 1: This is right before Nirvana explodes. And, you know, you

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Speaker 1: forget sometime how much of the 80s was ported over

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Speaker 1: into the 90s. We tend to have this view of

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Speaker 1: decades and sort of like, you know, from zero to

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Speaker 1: nine is the decade. You know, it's what the decade

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Speaker 1: felt like and sounded like and, you know, smelled like,

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Speaker 1: I guess, to a certain degree. But these things aren't...

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Speaker 1: These things are more malleable than that, right? So it's

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Speaker 1: this 80s culture and fashion and that's sort of like

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Speaker 1: bleeding into the 1990s. And we're just like Bobby, the

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Speaker 1: way Bobby dresses in the show, you know, it is

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Speaker 1: like t-shirt over the long sleeve shirt or like the

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Speaker 1: long sleeve tied around your waist or whatever. It's almost

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Speaker 1: like predicting grunge and nirvana and everything that's going to

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Speaker 1: come down the line. And it's just like catnip for me.

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Speaker 1: But as I'm watching this and thinking about David Lynch

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Speaker 1: all last week and into the weekend, and then I

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Speaker 1: was also thinking about Tim Allen because I knew that

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Speaker 1: we've got this Tim Allen episode coming out this week.

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Speaker 1: And I'm like, man, could there be two completely different

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Speaker 1: people on the cultural slash cinematic spectrum in the 1990s

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Speaker 1: than David Lynch and Tim Allen? And then I realized

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Speaker 1: the connection between these two guys. I realized how to

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Speaker 1: thread the needle here. from one week to the next,

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Speaker 1: because Twin Peaks was famously canceled after two seasons in 1991.

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Speaker 1: ABC had forced Lynch and his co-creator, Mark Frost, to

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Speaker 1: solve Laura Palmer's murder before they had intended. Lynch later

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Speaker 1: would say that they wanted to solve the murder at

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Speaker 1: the very end of the show, which he hoped would

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Speaker 1: run for many, many seasons, not just two. But the

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Speaker 1: head of ABC at the time, Bob Iger, pushed them

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Speaker 1: to wrap up the case early which they did in

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Speaker 1: the middle of season two. And this sort of threw

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Speaker 1: the whole show off its axis and ratings went down

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Speaker 1: and the plot was lost, as they say. So anyways,

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Speaker 1: Twin Peaks airs its last episode in June of 1991.

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Speaker 1: And then after the summer, in September of that same year,

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Speaker 1: the Tim Allen sitcom Home Improvement debuts on ABC. Home

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Speaker 1: Improvement replaces Twin Peaks. Now, I don't think Home Improvement

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Speaker 1: literally took Twin Peaks' slot. I think Twin Peaks aired

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Speaker 1: at 9 or even 10 at night, and I'm guessing

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Speaker 1: that Home Improvement was like an 8 or 8.30 show.

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Speaker 1: But you get what I mean here. You've got this

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Speaker 1: critically acclaimed, groundbreaking show, perhaps too groundbreaking for its own

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Speaker 1: good back in 1991. A show that is strange and

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Speaker 1: goofy and campy and profound and honestly, unlike anything that

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Speaker 1: anyone has seen up until that point. And it's replaced

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Speaker 1: with a sitcom that which represented broad humor, the lowest

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Speaker 1: common denominator humor, the same sitcom tropes that have been

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Speaker 1: dragged around for years. It's exactly the kind of thing

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Speaker 1: that people want to watch on a weeknight when they

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Speaker 1: can just turn off their brains and chill out. There

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Speaker 1: was no turning off your brain with Twin Peaks. But

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Speaker 1: the thing is, none of us back in the day,

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Speaker 1: back in 1991 when Home Improvement premiered, and suddenly Tim

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Speaker 1: Allen was this unicorn of a pop culture force, He

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Speaker 1: was one of the few or only people I can

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Speaker 1: think of who had the number one show, Home Improvement,

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Speaker 1: the number one movie, The Santa Claus, and the number

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Speaker 1: one book on the New York Times bestseller list. It

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Speaker 1: was a book called Don't Stand Too Close to a

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Speaker 1: Naked Man. All within the span of a week, which

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Speaker 1: is nuts. None of us knew then at that time

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Speaker 1: that Tim Allen had this wild fucking background story in

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Speaker 1: which he, Tim the Toolman, Buzz Lightyear, friggin' Santa Claus,

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Speaker 1: That guy was slinging cocaine in the Midwest. He was

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Speaker 1: getting busted in an airport, sent to prison, staring down

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Speaker 1: a life sentence thanks to the laws at the time.

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Speaker 1: It's the sort of thing that blows your mind when

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Speaker 1: you find that shit out.

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Speaker 2: Like, him?

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Speaker 1: I dare say when it comes to all the stories

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Speaker 1: we've told here in Hollywoodland, this one has the largest

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Speaker 1: chasm between the person we see on the screen and

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Speaker 1: the real person. And Tim Allen, despite how you feel

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Speaker 1: about him, at this time in his life in 1978,

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Speaker 1: with 100% more mustache than you're used to seeing Tim

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Speaker 1: Allen with. He was facing real stakes. This wasn't just

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Speaker 1: some dumb Steve McQueen gets thrown in the clink overnight

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Speaker 1: in Alaska or whatever the fuck, right? Not only was

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Speaker 1: Tim Allen facing a life sentence, but he was also

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Speaker 1: facing real criminals, some real tough motherfuckers on the inside,

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Speaker 1: guys who would love the opportunities to fuck you up.

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Speaker 1: And Tim Allen essentially honed his craft of stand-up comedy

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Speaker 1: in order to to save himself from getting fucked up

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Speaker 1: by his cellmates. It quite literally became his survival. The

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Speaker 1: whole men are pigs shtick of his, the grunting man,

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Speaker 1: the er, er, er thing, you know, it was everywhere

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Speaker 1: back in the 90s, early 90s. It was like pre-Austin Powers, yeah, baby.

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Speaker 1: You know, there was something so broad, again, about the

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Speaker 1: comedy and so universal to tap into, but it was

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Speaker 1: so basic and it was so domestic. for us as

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Speaker 1: edgy Gen X teens, that Tim Allen was an easy target.

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Speaker 1: He was not cool. And being Santa Claus in a

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Speaker 1: Christmas movie didn't help him either. There was this whole

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Speaker 1: us versus them factor to it back then as well.

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Speaker 1: There was like the Thinking Man's comedy series or the

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Speaker 1: the lowest common denominator one. I've managed to reconcile those

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Speaker 1: two wolves inside of me in more recent years. You know,

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Speaker 1: you can have both, guys. It doesn't have to be

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Speaker 1: one or the other. That's what makes life so great.

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Speaker 1: I mean, come on, even Mel Brooks likes a good

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Speaker 1: fart joke. I just watched the latest Jackass movie the

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Speaker 1: other night, and I probably have not laughed that much

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Speaker 1: all year long at anything else. So there's that. I

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Speaker 1: don't know that there are any brilliant Tim Allen films

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Speaker 1: out there, at least nothing that I wanted to cover

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Speaker 1: in the screening room this week. So instead, I chose

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Speaker 1: something that I think has a spiritual connection to Tim

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Speaker 1: Allen in a way. On Friday, here in the podcast,

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Speaker 1: I'm going to do a deep dive into Spike Lee's

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Speaker 1: 2002 film, 25th Hour, starring Edward Norton as a drug

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Speaker 1: dealer who was about to start his prison sentence. Am

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Speaker 1: I seeing a connection here? Bug?

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Speaker 2: Nat?

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Speaker 1: That's an Uncle Buck joke for all you John Candy

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Speaker 1: heads out there. This film also stars Philip Seymour Hoffman,

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Speaker 1: Rosaria Dawson, Anna Paquin, Barry Pepper. It rules. Underrated spike.

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Speaker 1: Or maybe now it's just plain old rated just fine spike.

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Speaker 1: I don't know. But hang with me here on Friday

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Speaker 1: and let's talk about it. Maybe you have thoughts on

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Speaker 1: this film. Maybe you've never seen it and you want

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Speaker 1: to watch it and get involved in the conversation. You

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Speaker 1: can always call me or text me at 617-906-6666. and

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Speaker 1: let me know, all right? Now, this film, 25th Hour,

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Speaker 1: has a score by Spike Lee's frequent collaborator, Terrence Blanchard,

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Speaker 1: which reminded me that back when Jake and I covered

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Speaker 1: Do the Right Thing for our video podcast, this film

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Speaker 1: should be played loud. That's our video podcast available exclusively

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Speaker 1: over on Patreon. When we talked about Do the Right Thing,

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Speaker 1: Jake mentioned that Terrence Blanchard's score for Clockers was one

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Speaker 1: of his favorite film scores of all time. So coming

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Speaker 1: up later in the show, in the Dirty Rex section,

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Speaker 1: Jake is going to join me and we're going to

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Speaker 1: give you guys some of our favorite movie scores. All right?

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Speaker 1: So stay tuned for that. And then next week on Monday,

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Speaker 1: we'll be back at it with another fully scripted and

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Speaker 1: sound design episode from the archive. This one on the

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Speaker 1: so-called Poltergeist Curse. If you guys don't know about this

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Speaker 1: so-called curse, Four different actors from the 1980s horror franchise

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Speaker 1: Poltergeist died within a six-year span. Dominique Dunn was murdered.

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Speaker 1: Julian Beck succumbed to stomach cancer. Will Sampson suffered from

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Speaker 1: a degenerative disease. And Heather O'Rourke's death at the age

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Speaker 1: of 12 was deemed distinctly unusual. So in this episode,

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Speaker 1: we get into whether or not this was just an

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Speaker 1: eerie coincidence or if there was something else more sinister

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Speaker 1: going on here. Don't miss that episode. It's really fun.

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Speaker 1: It ties a bunch of stories together in a spooky

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Speaker 1: season kind of way. Now that I've just laid bare

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Speaker 1: my hatred for that phrase, I'm just going to keep

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Speaker 1: on saying it, but I'm going to say it's spooky

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Speaker 1: season when I say it. It's about time for me

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Speaker 1: to check in with all of you beautiful people, which

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Speaker 1: I'm going to do right after this quick break. So

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Speaker 1: stay with me. I'll be right back. What's up, guys? Dr.

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Speaker 1: Lundy hanging with you here in the wrap party, 617-906-6638.

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Speaker 1: That's how you get in touch, just like this caller

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Speaker 1: from the 623.

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Speaker 2: Hey, this is Scott from the 623, and this one

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Speaker 2: is for Zeph, Dr. Zeph, the good Dr. Zeph, following

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Speaker 2: up on my call about my dad being a stuntman

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Speaker 2: in Hollywood back in the days. My dad has since

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Speaker 2: passed away, but some great memories. My dad grew up

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Speaker 2: with Dan Haggerty as one of his best friends, so

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Speaker 2: I spent a lot of time at Dan's. Malibu Beach

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Speaker 2: House in the Colony, when my parents were divorced, back

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Speaker 2: and forth between Minnesota and summers in L.A. with my dad.

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Speaker 2: And Dan knew everybody at the time, you know, everybody

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Speaker 2: from Mary Hartman, Mary Hartman, and Bob Bob Blacksheet with

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Speaker 2: Robert Conrad. And, you know, just a flow of people

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Speaker 2: flowing in and out of that house. My dad was

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Speaker 2: a stunt coordinator on the original Starsky and Hutch TV show,

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Speaker 2: and his buddy Kenny played Starsky's stunt double, and my

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Speaker 2: dad created a lot of those stunts that they did

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Speaker 2: back then. One of the major things that he was

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Speaker 2: credited with was helping create a fire suit for a

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Speaker 2: scene that lasted longer than I believe it was back then,

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Speaker 2: only like a minute you had to get in and

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Speaker 2: out of the car. created a fire suit with another

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Speaker 2: gentleman that lasted about two and a half minutes and

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Speaker 2: made the scenes easier. Lots of stories I could go

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Speaker 2: on and on, but I just wanted to follow up

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Speaker 2: with one of them. My dad worked on the Blues Brothers, eventually, unfortunately,

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Speaker 2: broke his back while doing a stunt and didn't end

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Speaker 2: his career in Hollywood, though. He went on to be

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Speaker 2: a set decorator, no less, and worked on the movie Hook,

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Speaker 2: which is where I had the great fortune to meet

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Speaker 2: Robin Williams one day on the set with my dad.

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Speaker 2: That's all I got for right now. I just wanted

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Speaker 2: to follow up on the call. Rock and roll up.

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Speaker 1: Incredible call. Thank you so much for calling back and

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Speaker 1: giving us some of those details about your dad. For

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Speaker 1: those of you who missed it, Scott here had gotten

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Speaker 1: in touch with us a little while back and mentioned

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Speaker 1: that his dad was a stuntman. And I was like, dude,

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Speaker 1: I want more details. And this is exactly what I

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Speaker 1: was talking about. The Blues Brothers, man. Legendary stunt work

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Speaker 1: in that film. One of the greatest... car pileups in history, right?

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Speaker 1: And it was the most cars destroyed on a movie set.

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Speaker 1: I think that the really bad Blues Brothers sequel that

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Speaker 1: happened years later, like topped it by one car. That

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Speaker 1: was sort of the joke. But this is awesome stuff.

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Speaker 1: I really appreciate you calling back in. And those are

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Speaker 1: really cool memories to have. Meeting Robin Williams, that's so cool.

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Speaker 1: Have you ever heard of this film called The Stumpman

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Speaker 1: from 1980 starring Peter O'Toole? It's something that someone was

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Speaker 1: telling me about the other day, and I'm really intrigued

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Speaker 1: to watch that at some point. Yeah, just curious if

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Speaker 1: you've seen that. It's cool, too, that the Academy Awards

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Speaker 1: now have an award for stunt work, which is very rad,

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Speaker 1: and I'm sure your dad would be stoked on that.

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Speaker 1: Thanks again, Scott. Appreciate you calling in. 617-906-6638. Oh, you

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Speaker 1: can also text us, not just call. And speaking of

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Speaker 1: Scott here, Scott also followed up his voicemail with a

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Speaker 1: text that says, Dr. Zeth, I listened to the player

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Speaker 1: bonus episode. Again, one of my absolute favorite movies. I

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Speaker 1: sent you a voicemail saying this, but you were listing

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Speaker 1: off movies that satirize Hollywood. And I think another great

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Speaker 1: one that you forgot was Swimming with Sharks with Kevin

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Speaker 1: Spacey and the amazing Frank Whaley. Yeah, I have not

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Speaker 1: seen that film since it came out in like, what, 94, 95? But,

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Speaker 1: you know, they sure cast, you know, cast an asshole

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Speaker 1: to play an asshole. So that works out for them there. Anyways, Scott,

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Speaker 1: appreciate the text and the call.

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Speaker 3: 617-906-6638.

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Speaker 1: Got another voicemail here from the 630.

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Speaker 3: Hey, Jake and Seth. This is Chris Berry. I'm from Chicagoland.

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Speaker 3: And I was listening to your bonus episode about dreams

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Speaker 3: and the dreamer who dreams and then lives inside dreams.

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Speaker 2: And you guys made a major error.

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Speaker 3: And I'm probably not the first one to call you

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Speaker 3: out on this. But when you were talking about the

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Speaker 3: band Cheap Trick, You mentioned the movie Fast Times at

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Speaker 3: Ridgemont High when Mike DeMone was trying to sell tickets

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Speaker 3: to Cheap Trick. You had said that... or Zeth had

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Speaker 3: said that the song he was trying to sell to

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Speaker 3: the person he was trying to get tickets for was

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Speaker 3: The Dream Police, when in fact I think it was

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Speaker 3: the song Surrender. I can't remember the album that that

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Speaker 3: song was off of, but The Dream Police actually was

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Speaker 3: off of the album The Dream Police, which came out

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Speaker 3: in 1979, I think. So just wanted to clarify that.

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Speaker 3: Love the podcast. Listen to it any chance I get.

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Speaker 4: So that's about it.

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Speaker 3: So thank you.

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Speaker 4: Take care.

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Speaker 2: Bye.

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Speaker 1: Chris from Chicago. Thank you for correcting us. This was

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Speaker 1: Jake and I last week in the Dirty Rex portion

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Speaker 1: of the show. We're giving some recommendations for songs and

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Speaker 1: movies about dreams. And Jake chose Dream Police. by Cheap Trick.

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Speaker 1: And the way he began talking about this song was

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Speaker 1: saying that a character in the film Fast Times at

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Speaker 1: Ridgemont High was singing it in the movie. And I

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Speaker 1: guess that was incorrect. It was Surrender, which makes total sense, right?

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Speaker 1: Because Surrender is like the huge Cheap Trick song. So

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Speaker 1: you would think that that would be the one that

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Speaker 1: would be mentioned there. So thank you, Chris, for keeping

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Speaker 1: us honest. You know, a lot of what we do

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Speaker 1: here in The Rap Party... And over in Disgraceland, our

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Speaker 1: sister show in the after party, a lot of it's

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Speaker 1: kind of off the dome. The conversations that Jake and

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Speaker 1: I have together, we try to keep those as like

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Speaker 1: old school and off the dome as possible. So we're

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Speaker 1: not looking shit up and, you know, fact checking ourselves

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Speaker 1: in the moment. It's a lot more fun to have

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Speaker 1: like an analog conversation where, you know, you're like, dude,

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Speaker 1: did you know that Tim, the tool man, was busted

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Speaker 1: for slinging coke back in 19? Now, fuck you, man.

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Speaker 1: That's not true. That's the energy we're looking for here.

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Speaker 1: please always call us out and write our wrongs, just

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Speaker 1: like Chris here from Chicago. 617-906-6638. I got another text

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Speaker 1: here from the 410 that says, Hi, Zeth. Listening to

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Speaker 1: the bonus, I married an axe murderer episode and I

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Speaker 1: had a couple of things. One, I get what one

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Speaker 1: listener was saying, but to me, movies and music are inextricably,

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Speaker 1: I cannot ever say that word, inextricably linked. Two, for

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Speaker 1: my weird movie, It would be Heavenly Creatures with Melanie

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Speaker 1: Linsky and Kate Winslet. It's directed by Peter Jackson, based

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Speaker 1: on a true story as well. And number three, I

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Speaker 1: liked how you mentioned comfort movies. So that's my question

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Speaker 1: to everyone. What's your comfort movie? Thanks for all the

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Speaker 1: great suggestions. Bex from the 410. Great question, Bex. Comfort movies.

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Speaker 1: What do you guys think? What's your comfort movie? For me,

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Speaker 1: it would probably be like North by Northwest. by Hitchcock or,

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Speaker 1: I don't know, like Minority Report. I just like a,

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Speaker 1: you know, action, you know, Minority Report and North by

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Speaker 1: Northwest are basically the same kind of movie, right? It's

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Speaker 1: like the mistaken, a dude has been mistaken or framed

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Speaker 1: or right for something and he's sort of on the

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Speaker 1: run trying to prove his innocence. Man, it's like the

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Speaker 1: exact same movie. It's so strange that I thought about

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Speaker 1: those two movies at the same time. Yeah, something like that,

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Speaker 1: I guess, you know, or just the Big Lebowski, you know,

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Speaker 1: that's an easy one too. Let us know, guys. Call

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Speaker 1: or text 617-906-6638. What is your comfort movie? Over on Spotify,

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Speaker 1: I don't look over on Spotify a ton.

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Speaker 4: I don't know.

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Speaker 1: We tend to get a lot of like negative comments on,

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Speaker 1: there's so much negative comments online. It seems like Spotify

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Speaker 1: is a beacon for those for some reason. So I'm

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Speaker 1: just like, I don't know. I don't really need to

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Speaker 1: have more negativity in my life. However, got a couple

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Speaker 1: of good comments in here, went over there and took

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Speaker 1: a look for the first time in a while. There

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Speaker 1: was some things set up there on Spotify where we

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Speaker 1: had this filter set up where all comments had to

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Speaker 1: be moderated by us. And so comments wouldn't appear to

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Speaker 1: the public unless we went in and individually said, okay.

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Speaker 1: And it was a total pain in the ass. And

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Speaker 1: I just realized what was happening and I changed, toggled

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Speaker 1: the thing so it's no longer going to happen. So

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Speaker 1: if you left a comment like six months ago and

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Speaker 1: you haven't seen it until today. That's the reason why.

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Speaker 1: So sorry, apologies back here, wearing a lot of hats,

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Speaker 1: keeping up as best as we can. Anyways, Charlie on

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Speaker 1: Spotify made the comment, casino is absolutely as good, if

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Speaker 1: not better than Goodfellas. I honestly believe it's the lighting

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Speaker 1: and casino that makes it quote unquote better. But if

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Speaker 1: you were to weigh them out after your first time

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Speaker 1: watching each, I think you'd be flipping a coin. Charlie,

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Speaker 1: I think you're spot on here. I think I basically

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Speaker 1: made that argument, but I think there's some freedom in

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Speaker 1: coming around to admitting this to be the truth. So

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Speaker 1: I appreciate you being on board with me. Also, got

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Speaker 1: a comment here from Chris on Spotify that said, OMG, Zeth,

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Speaker 1: thanks for calling out the fake coffee cup bullshit in movies.

423
00:24:51,480 --> 00:24:53,699
Speaker 1: It's the same on TV shows as well. Definitely right

424
00:24:53,740 --> 00:24:56,540
Speaker 1: there with you on this issue. Love the podcast. Thanks, Chris.

425
00:24:56,619 --> 00:24:59,970
Speaker 1: I think we should start like a petition. that you can't,

426
00:25:00,130 --> 00:25:03,230
Speaker 1: if someone's drinking coffee in your movie or your TV show,

427
00:25:03,630 --> 00:25:06,490
Speaker 1: put fucking coffee in it or put fucking water in it.

428
00:25:06,550 --> 00:25:09,570
Speaker 1: I don't care. Put a liquid in it. When you

429
00:25:09,609 --> 00:25:13,830
Speaker 1: pick up a styrofoam cup and the styrofoam cup basically

430
00:25:13,890 --> 00:25:16,810
Speaker 1: weighs almost as much as air and there's nothing in it,

431
00:25:17,260 --> 00:25:19,700
Speaker 1: we can all tell and it takes us out of

432
00:25:19,720 --> 00:25:24,820
Speaker 1: the moment, okay? So, you know, fucking do better. 617-906 6638.

433
00:25:31,200 --> 00:25:34,900
Speaker 1: Call me, text me. You can email me at disgracelandpod

434
00:25:35,020 --> 00:25:39,310
Speaker 1: at gmail.com. What are some of your pet peeves in movies,

435
00:25:40,010 --> 00:25:43,170
Speaker 1: like the coffee cup pet peeve? What things do you

436
00:25:43,210 --> 00:25:44,970
Speaker 1: hate that takes you out of the movie? Let me know.

437
00:25:45,430 --> 00:25:49,710
Speaker 1: Even the greatest movies can have these little annoyances in them,

438
00:25:49,970 --> 00:25:53,600
Speaker 1: and I really wish they weren't there. So let me know.

439
00:25:53,980 --> 00:25:55,560
Speaker 1: While you're doing that, I got to take a quick break.

440
00:25:55,619 --> 00:25:57,660
Speaker 1: When I come back, I'm going to be joined by

441
00:25:57,920 --> 00:25:59,880
Speaker 1: Jake Brennan, We're going to give you guys some dirty

442
00:25:59,960 --> 00:26:04,150
Speaker 1: recs all about our favorite film scores. Don't nobody go nowhere.

443
00:26:25,640 --> 00:26:28,379
Speaker 1: All right, gang, welcome back into the wrap party. Dr.

444
00:26:28,440 --> 00:26:32,920
Speaker 1: Lundy hanging with you here alongside Jake Brennan from Disgraceland.

445
00:26:33,010 --> 00:26:36,350
Speaker 1: We're about to get into some dirty wrecks. How dirty

446
00:26:36,369 --> 00:26:37,409
Speaker 1: will they be today? We'll find out.

447
00:26:37,430 --> 00:26:42,399
Speaker 4: They're going to be appropriately dirty. Appropriately dirty for a

448
00:26:42,450 --> 00:26:44,180
Speaker 4: Mainer like yourself. How's that?

449
00:26:44,800 --> 00:26:46,480
Speaker 1: It's that time of year. Things getting a little dirty

450
00:26:46,500 --> 00:26:48,419
Speaker 1: around here, you know? Got the dirty leaves on the

451
00:26:48,440 --> 00:26:49,300
Speaker 1: ground and you know.

452
00:26:49,670 --> 00:26:52,700
Speaker 4: Yeah, Halloween in Maine is a dirty time of year,

453
00:26:52,760 --> 00:26:54,560
Speaker 4: I think. I feel like you have a lot to

454
00:26:54,600 --> 00:26:57,939
Speaker 4: work out. Stephen King has left you with a mess

455
00:26:58,180 --> 00:27:00,340
Speaker 4: to unpack. It's true.

456
00:27:00,500 --> 00:27:03,439
Speaker 1: It's true. Yeah, people put the fucking red balloons on

457
00:27:03,540 --> 00:27:05,660
Speaker 1: sewer grates here. It's just, you know, it's a good time.

458
00:27:06,020 --> 00:27:07,100
Speaker 4: Beautiful. I love that.

459
00:27:07,320 --> 00:27:07,800
Speaker 2: I love that.

460
00:27:07,980 --> 00:27:10,459
Speaker 4: And it's perfect for my first recommendation. Can I just

461
00:27:10,500 --> 00:27:11,200
Speaker 4: dive right in here?

462
00:27:11,320 --> 00:27:13,220
Speaker 1: We can, but let's just remind people we're talking about

463
00:27:13,720 --> 00:27:14,260
Speaker 1: film scores.

464
00:27:14,880 --> 00:27:16,659
Speaker 4: Yeah, they know what's up. They just listen to you

465
00:27:16,680 --> 00:27:19,119
Speaker 4: for like 20 fucking minutes, man. Give them some credit.

466
00:27:20,300 --> 00:27:22,679
Speaker 1: All right, go for it.

467
00:27:24,180 --> 00:27:26,540
Speaker 4: I watched Maximum Overdrive over the weekend with my two

468
00:27:26,560 --> 00:27:30,540
Speaker 4: sons and my stepdad. What was the last time you

469
00:27:30,580 --> 00:27:32,220
Speaker 4: saw this movie? I know you've seen this movie.

470
00:27:33,200 --> 00:27:33,960
Speaker 1: Maybe high school.

471
00:27:34,550 --> 00:27:34,830
Speaker 2: Okay.

472
00:27:35,910 --> 00:27:37,910
Speaker 4: I saw it when it came out. It was like

473
00:27:38,050 --> 00:27:40,290
Speaker 4: the biggest fucking thing in our neighborhood. It was huge

474
00:27:40,410 --> 00:27:45,530
Speaker 4: because ACDC was part of the movie. And not only

475
00:27:45,550 --> 00:27:48,010
Speaker 4: were they part of the movie, they had this massive

476
00:27:48,070 --> 00:27:50,220
Speaker 4: new album at the time, Who Made Who? and a

477
00:27:50,280 --> 00:27:54,110
Speaker 4: huge tour, I saw him on the tour. And for me,

478
00:27:54,150 --> 00:27:57,790
Speaker 4: it was like what I imagined these Marvel movies are

479
00:27:57,810 --> 00:28:01,490
Speaker 4: like for kids nowadays or in the last 20 years,

480
00:28:01,710 --> 00:28:04,360
Speaker 4: when they sort of like, when these worlds come together.

481
00:28:04,780 --> 00:28:08,240
Speaker 4: That's what was happening. I could not believe that Stephen

482
00:28:08,320 --> 00:28:13,610
Speaker 4: King and ACDC were part of the same thing. It just,

483
00:28:13,740 --> 00:28:16,950
Speaker 4: it completely blew my mind. I don't remember seeing the

484
00:28:16,990 --> 00:28:19,909
Speaker 4: movie back then. I absolutely saw it, but it clearly

485
00:28:19,950 --> 00:28:22,190
Speaker 4: didn't leave an impression on me like the album did.

486
00:28:22,210 --> 00:28:23,630
Speaker 1: Okay.

487
00:28:23,780 --> 00:28:28,619
Speaker 4: I went back and I rewatched the movie about five

488
00:28:28,680 --> 00:28:31,520
Speaker 4: years ago and I was blown away at how hysterical

489
00:28:31,780 --> 00:28:35,300
Speaker 4: and how dumb it is. You know how when you're reading,

490
00:28:35,320 --> 00:28:39,960
Speaker 4: I just read Salem's Lot, reread it, and you're reading

491
00:28:40,040 --> 00:28:42,810
Speaker 4: Stephen King. Salem's Lot is like a very lofty, like

492
00:28:42,830 --> 00:28:44,950
Speaker 4: he's really trying to, I feel like it's his second novel.

493
00:28:45,320 --> 00:28:49,840
Speaker 4: he's really trying to prove himself as a writer, you know,

494
00:28:50,120 --> 00:28:53,020
Speaker 4: not just the guy who writes books, but as a writer.

495
00:28:53,220 --> 00:28:53,440
Speaker 2: Right.

496
00:28:53,760 --> 00:28:58,550
Speaker 4: And he really does. He, he, the writing's gorgeous. Um,

497
00:28:58,710 --> 00:29:03,250
Speaker 4: but even in that gorgeous prose, that's very, very so

498
00:29:03,350 --> 00:29:08,610
Speaker 4: specifically main, there are fart jokes and there are like

499
00:29:08,650 --> 00:29:11,410
Speaker 4: things that are just very Stephen King that he can't

500
00:29:11,470 --> 00:29:12,170
Speaker 4: help himself.

501
00:29:12,270 --> 00:29:12,590
Speaker 1: Yeah.

502
00:29:12,710 --> 00:29:12,870
Speaker 2: Yeah.

503
00:29:13,770 --> 00:29:18,150
Speaker 4: Maximum Overdrive is like one big fart joke. And it

504
00:29:18,190 --> 00:29:21,090
Speaker 4: comes at the worst time in his career. He must

505
00:29:21,130 --> 00:29:26,459
Speaker 4: have become so successful that they were like, here, dude,

506
00:29:26,640 --> 00:29:29,640
Speaker 4: go direct a movie. Like write and direct a movie,

507
00:29:29,680 --> 00:29:32,980
Speaker 4: which couldn't have been a dumber idea by whatever studio

508
00:29:33,040 --> 00:29:33,620
Speaker 4: greenlit this.

509
00:29:34,020 --> 00:29:34,520
Speaker 1: Right.

510
00:29:34,820 --> 00:29:38,170
Speaker 4: Because he fucks it. He totally fucks it. Aside from

511
00:29:38,210 --> 00:29:43,280
Speaker 4: getting ACDC involved- it's so bad. It's so bad.

512
00:29:44,390 --> 00:29:47,000
Speaker 1: So are the songs that are on Who Made Who,

513
00:29:47,100 --> 00:29:48,760
Speaker 1: are those the songs that are in the film?

514
00:29:49,420 --> 00:29:49,740
Speaker 2: Yes.

515
00:29:50,060 --> 00:29:53,000
Speaker 4: Okay. Yes. It's a combination. Who Made Who is written directly.

516
00:29:53,560 --> 00:29:57,320
Speaker 4: I think there's three songs written directly for the movie.

517
00:29:57,640 --> 00:29:59,690
Speaker 4: Who Made Who is one of them. the other two

518
00:29:59,750 --> 00:30:02,370
Speaker 4: are instrumentals and no ways.

519
00:30:02,750 --> 00:30:02,950
Speaker 1: Yeah.

520
00:30:02,990 --> 00:30:05,570
Speaker 4: And those end up being the score, which is the point.

521
00:30:05,630 --> 00:30:08,250
Speaker 4: And they really work. It really works. Like when you

522
00:30:08,290 --> 00:30:12,800
Speaker 4: just like strip down Angus and Malcolm's playing with the

523
00:30:12,840 --> 00:30:13,580
Speaker 4: rhythm section.

524
00:30:13,600 --> 00:30:14,060
Speaker 1: Yeah.

525
00:30:14,200 --> 00:30:17,420
Speaker 4: It's, and thank God your guy, Brian Johnson, isn't on

526
00:30:17,440 --> 00:30:19,880
Speaker 4: the score. I'm just kidding.

527
00:30:19,920 --> 00:30:20,700
Speaker 1: I love Brian Johnson.

528
00:30:21,040 --> 00:30:21,360
Speaker 2: They do.

529
00:30:21,380 --> 00:30:23,170
Speaker 4: We're going to hit on some very familiar Jake and

530
00:30:23,190 --> 00:30:27,210
Speaker 4: Zeph themes and my recommendations. And they, they, um, There's

531
00:30:27,710 --> 00:30:30,430
Speaker 4: one Bon Scott song. So other songs make their way

532
00:30:30,710 --> 00:30:35,040
Speaker 4: onto the soundtrack album, into the soundtrack. Most of them

533
00:30:35,100 --> 00:30:37,620
Speaker 4: are Brian Johnson era. One is a Bon Scott era

534
00:30:37,720 --> 00:30:41,860
Speaker 4: ride on, which is perfect for it. But in rewatching

535
00:30:41,920 --> 00:30:44,770
Speaker 4: the whole thing again, I was... I was like, wow,

536
00:30:44,810 --> 00:30:47,550
Speaker 4: the score is really fucking working here. And it's just two,

537
00:30:47,810 --> 00:30:50,620
Speaker 4: two song, like instrumental quote unquote songs.

538
00:30:51,040 --> 00:30:51,240
Speaker 1: Yeah.

539
00:30:51,260 --> 00:30:54,400
Speaker 4: They, they didn't actually do any, I doubt Angus is

540
00:30:54,440 --> 00:30:56,580
Speaker 4: sitting there watching the movie, like playing shit.

541
00:30:56,660 --> 00:30:57,380
Speaker 1: You know what I mean?

542
00:30:57,400 --> 00:30:58,760
Speaker 4: Like Neil Young and Deadman.

543
00:30:58,920 --> 00:30:59,580
Speaker 2: Yeah. Yeah.

544
00:30:59,640 --> 00:30:59,800
Speaker 3: Yeah.

545
00:30:59,820 --> 00:31:03,070
Speaker 4: Yeah. He's, they just like, he's like, they're like, here's

546
00:31:03,090 --> 00:31:04,190
Speaker 4: some shit, figure it out.

547
00:31:04,790 --> 00:31:07,550
Speaker 1: It seems like Angus probably couldn't be bothered to do that.

548
00:31:07,630 --> 00:31:08,770
Speaker 1: You know what I mean?

549
00:31:08,790 --> 00:31:10,830
Speaker 4: I don't know. I don't know. Angus does some pretty

550
00:31:10,870 --> 00:31:14,190
Speaker 4: cool shit. I don't know. Why he dissing Angus?

551
00:31:14,230 --> 00:31:16,770
Speaker 1: No, I'm not dissing him. I'm just saying. I can

552
00:31:16,790 --> 00:31:18,510
Speaker 1: see Neil being like, oh yeah, put me in a room,

553
00:31:19,850 --> 00:31:21,850
Speaker 1: a darkened room with just a movie playing and I'm

554
00:31:21,870 --> 00:31:23,950
Speaker 1: going to score it as I watch it. I just can't.

555
00:31:24,230 --> 00:31:27,220
Speaker 1: Angus Young just seems a little too, he's a little

556
00:31:27,240 --> 00:31:30,060
Speaker 1: too hyper for that. He's got fucking faces to melt,

557
00:31:30,100 --> 00:31:30,340
Speaker 1: you know?

558
00:31:30,680 --> 00:31:33,100
Speaker 4: Yeah, he does have faces to melt, but but Jim,

559
00:31:33,240 --> 00:31:36,979
Speaker 4: Jim Jarmusch was a very engaged filmmaker. Stephen King was

560
00:31:37,120 --> 00:31:40,400
Speaker 4: out of his fucking tits. He was like, right. Literally

561
00:31:40,500 --> 00:31:41,800
Speaker 4: drunk at eight in the morning.

562
00:31:41,840 --> 00:31:42,920
Speaker 1: I was going to say, this is the height of

563
00:31:42,960 --> 00:31:44,760
Speaker 1: his alcoholism. I believe.

564
00:31:44,800 --> 00:31:44,940
Speaker 4: Yeah.

565
00:31:44,960 --> 00:31:45,300
Speaker 2: God.

566
00:31:45,380 --> 00:31:46,020
Speaker 1: Yeah.

567
00:31:46,040 --> 00:31:48,180
Speaker 4: The stories I was reading this morning, just when I

568
00:31:48,200 --> 00:31:51,640
Speaker 4: was trying to figure this out, we're fucking insane. Like

569
00:31:51,780 --> 00:31:55,580
Speaker 4: the cinematographer or the, or the primary cameraman, someone lost

570
00:31:55,640 --> 00:31:58,440
Speaker 4: an eye on the set. Like how to sue Stephen

571
00:31:58,480 --> 00:32:03,120
Speaker 4: King to get like, literally lost his eye. Like the cameraman, like, Jesus.

572
00:32:03,640 --> 00:32:06,400
Speaker 4: Stephen King rode down to where they filmed it in

573
00:32:06,480 --> 00:32:09,440
Speaker 4: North Carolina to get away from having to pay the unions.

574
00:32:09,480 --> 00:32:11,960
Speaker 4: They filmed it in North Carolina. So Stephen King rode

575
00:32:12,000 --> 00:32:15,670
Speaker 4: down on his motorcycle from Maine, like apparently to be

576
00:32:15,750 --> 00:32:18,469
Speaker 4: next to the trucks. So he could really experience the

577
00:32:18,550 --> 00:32:22,110
Speaker 4: massive violence of these trucks that he was about to film.

578
00:32:22,190 --> 00:32:22,490
Speaker 1: Wow.

579
00:32:22,730 --> 00:32:23,030
Speaker 2: Yeah.

580
00:32:23,110 --> 00:32:26,490
Speaker 4: It's just crazy stuff. So I don't think Angus had

581
00:32:26,520 --> 00:32:31,430
Speaker 4: the opportunity to really kind of artistically engaged with the

582
00:32:31,510 --> 00:32:34,170
Speaker 4: auteur here. Cause he was, like I said, out of

583
00:32:34,230 --> 00:32:34,950
Speaker 4: his fricking mind.

584
00:32:35,210 --> 00:32:36,100
Speaker 2: Yeah. Wow.

585
00:32:36,220 --> 00:32:37,000
Speaker 1: Great pick. Love it.

586
00:32:37,460 --> 00:32:41,460
Speaker 4: But Maximum Overdrive, great Halloween movie. And honestly, so, so

587
00:32:41,900 --> 00:32:44,910
Speaker 4: like truly so bad. It's great. When it came out,

588
00:32:45,440 --> 00:32:47,480
Speaker 4: I was reading this morning, Variety gave it this review

589
00:32:47,530 --> 00:32:49,010
Speaker 4: that was like, this is one of those movies you

590
00:32:49,050 --> 00:32:50,330
Speaker 4: talk back to in movie theaters.

591
00:32:50,350 --> 00:32:50,430
Speaker 2: Yeah.

592
00:32:52,810 --> 00:32:56,530
Speaker 4: Which is just perfect. Yeah. Perfect. Okay. So that's number one.

593
00:32:57,310 --> 00:32:58,970
Speaker 4: Number two, I think this is what got you into

594
00:32:58,990 --> 00:33:02,480
Speaker 4: this conversation was you were talking about Spike Lee, right? Yeah.

595
00:33:02,900 --> 00:33:03,100
Speaker 1: All right.

596
00:33:03,120 --> 00:33:04,480
Speaker 4: So I don't want to belabor it, but this is

597
00:33:04,520 --> 00:33:07,760
Speaker 4: kind of what I think compelled this whole recommendation. You

598
00:33:07,780 --> 00:33:08,180
Speaker 4: won't belabor it.

599
00:33:08,180 --> 00:33:09,410
Speaker 1: I just touched on it. Go for it.

600
00:33:09,640 --> 00:33:10,480
Speaker 4: So it's Clockers.

601
00:33:10,700 --> 00:33:10,920
Speaker 1: Yeah.

602
00:33:11,500 --> 00:33:16,570
Speaker 4: Which is 1995. And do you know the filmography off

603
00:33:16,610 --> 00:33:18,810
Speaker 4: the top of your head? How does he get from

604
00:33:18,850 --> 00:33:20,050
Speaker 4: Do the Right Thing to Clockers? Yeah.

605
00:33:21,080 --> 00:33:25,570
Speaker 1: Do the Right Thing, Moe Betta Blues, Jungle Fever, Malcolm X, Crooklyn,

606
00:33:26,050 --> 00:33:27,630
Speaker 1: and then Clockers. Okay.

607
00:33:28,010 --> 00:33:30,790
Speaker 4: So throughout all of this, I feel like throughout that

608
00:33:30,830 --> 00:33:34,010
Speaker 4: whole run, even though I haven't seen Jungle Fever, I've

609
00:33:34,050 --> 00:33:36,770
Speaker 4: seen the rest of them. Throughout all of this, Spike

610
00:33:36,810 --> 00:33:41,850
Speaker 4: Lee is kind of like flirting with this signature Spike

611
00:33:41,910 --> 00:33:42,790
Speaker 4: Lee score.

612
00:33:43,030 --> 00:33:43,270
Speaker 2: Yes.

613
00:33:43,810 --> 00:33:46,820
Speaker 4: Which comes in and out of these movies in various

614
00:33:46,890 --> 00:33:49,480
Speaker 4: ways and with various intensity. And his dad is a

615
00:33:49,520 --> 00:33:52,240
Speaker 4: big piece of that. And to me, it all culminates

616
00:33:53,000 --> 00:33:54,160
Speaker 4: with Clockers.

617
00:33:54,700 --> 00:33:57,540
Speaker 1: Well, there's a shift because Bill Lee scores the first

618
00:33:57,580 --> 00:34:00,640
Speaker 1: couple of films and then Terrence Blanchard takes over, I think,

619
00:34:00,680 --> 00:34:03,660
Speaker 1: around Jungle Fever and starts to score. So there's this

620
00:34:03,780 --> 00:34:07,310
Speaker 1: handoff that happens. And I think like you're saying, once

621
00:34:07,350 --> 00:34:10,089
Speaker 1: we get to Clockers, it's like Blanchard's really cooking, you know?

622
00:34:10,469 --> 00:34:13,690
Speaker 4: He's kind of taken what Spike's dad had started to

623
00:34:13,770 --> 00:34:19,950
Speaker 4: create and he's created the fullest realization of it. In

624
00:34:19,969 --> 00:34:21,730
Speaker 4: a lot of ways, it reminds me of like the

625
00:34:22,230 --> 00:34:25,710
Speaker 4: early 2000s Boston Red Sox where Theo Epstein is like

626
00:34:25,770 --> 00:34:28,410
Speaker 4: the young kind of intern who gets the GM job.

627
00:34:28,830 --> 00:34:31,060
Speaker 4: And by the end of that run, he's kind of

628
00:34:31,120 --> 00:34:34,339
Speaker 4: taken over Larry Lucchino's gig who hired him. You know

629
00:34:34,360 --> 00:34:37,160
Speaker 4: what I mean? And that's sort of what happens here.

630
00:34:37,180 --> 00:34:39,380
Speaker 4: And it's kind of sad because Bill Lee is Spike

631
00:34:39,420 --> 00:34:43,460
Speaker 4: Lee's dad. But when you're creative, you got to go

632
00:34:43,540 --> 00:34:47,890
Speaker 4: where the juice is. And Spike and his dad had

633
00:34:47,930 --> 00:34:51,360
Speaker 4: all these troubles like, Like Jungle Fever is basically Spike

634
00:34:51,400 --> 00:34:53,580
Speaker 4: being like, fuck you, dad. And his dad worked on

635
00:34:53,600 --> 00:34:59,170
Speaker 4: that film. But it is beautiful. The music in Clockers

636
00:34:59,250 --> 00:35:04,750
Speaker 4: is absolutely beautiful. And the Terrence Blanchard score, it inspires,

637
00:35:05,650 --> 00:35:08,630
Speaker 4: as a lot of good scoring does, the soundtrack, which is,

638
00:35:09,100 --> 00:35:11,879
Speaker 4: as we know, different. And the music that's on that

639
00:35:12,320 --> 00:35:14,880
Speaker 4: by Shaka Kong and Mark Dorsey, I believe is the

640
00:35:14,900 --> 00:35:18,439
Speaker 4: guy's name, who writes, I wrote it down. sorry.

641
00:35:18,520 --> 00:35:18,680
Speaker 1: Yeah.

642
00:35:18,719 --> 00:35:22,259
Speaker 4: Mark Dorsey people in search of a life, which is, it's,

643
00:35:22,400 --> 00:35:24,920
Speaker 4: it's a great, great, great. One of those songs, it's

644
00:35:24,960 --> 00:35:27,220
Speaker 4: like totally on the fucking nose, but just works.

645
00:35:27,660 --> 00:35:27,799
Speaker 2: Yeah.

646
00:35:27,820 --> 00:35:29,319
Speaker 4: Just, you know what I mean? It's like totally on

647
00:35:29,340 --> 00:35:32,370
Speaker 4: the nose for the film and it just works. There's

648
00:35:32,410 --> 00:35:37,149
Speaker 4: something mentally that happens when that happens, where, um, this

649
00:35:37,510 --> 00:35:40,589
Speaker 4: it's just, it's so blatantly obvious what they're doing with

650
00:35:40,610 --> 00:35:44,100
Speaker 4: the tune that your brain forgives them for making that choice.

651
00:35:44,420 --> 00:35:44,580
Speaker 2: Yeah.

652
00:35:44,850 --> 00:35:48,530
Speaker 4: But there's a notch below it where it's unforgivable psychologically.

653
00:35:48,550 --> 00:35:49,830
Speaker 4: You know what I'm saying?

654
00:35:50,390 --> 00:35:51,190
Speaker 1: Oh yeah, definitely.

655
00:35:51,230 --> 00:35:54,969
Speaker 4: I know. I, I highly recommend, I can't find the

656
00:35:55,010 --> 00:35:58,630
Speaker 4: score for clockers. Watch the movie and the soundtrack is

657
00:35:58,670 --> 00:36:02,380
Speaker 4: available on Spotify. And I highly recommend checking that out. Um,

658
00:36:02,610 --> 00:36:07,220
Speaker 4: there seal is on the clockers soundtrack. Oh, and seal

659
00:36:07,260 --> 00:36:09,140
Speaker 4: gets me to my third recommendation.

660
00:36:09,260 --> 00:36:09,920
Speaker 1: Oh, okay.

661
00:36:10,020 --> 00:36:10,360
Speaker 4: Okay.

662
00:36:10,700 --> 00:36:15,080
Speaker 1: Batman forever. No, That's a kiss from a rose is

663
00:36:15,120 --> 00:36:16,000
Speaker 1: on that soundtrack.

664
00:36:16,380 --> 00:36:16,700
Speaker 2: Really?

665
00:36:16,840 --> 00:36:17,120
Speaker 1: Okay.

666
00:36:17,560 --> 00:36:17,940
Speaker 2: Okay. Yeah.

667
00:36:17,980 --> 00:36:18,600
Speaker 4: I like that song.

668
00:36:18,860 --> 00:36:19,020
Speaker 3: Yeah.

669
00:36:19,080 --> 00:36:21,010
Speaker 4: I like all seal. Dude.

670
00:36:21,070 --> 00:36:21,989
Speaker 1: Seal is great, man.

671
00:36:22,340 --> 00:36:22,810
Speaker 4: Yeah.

672
00:36:22,969 --> 00:36:24,850
Speaker 1: I slept on seal back on the day, back when

673
00:36:25,150 --> 00:36:28,310
Speaker 1: he was happening. I was like, this is cheesy. Uh,

674
00:36:28,430 --> 00:36:30,430
Speaker 1: it's so good though. Yeah, it is cheesy.

675
00:36:30,630 --> 00:36:33,210
Speaker 4: It's so fucking cheesy. It's great though, but it's so

676
00:36:33,350 --> 00:36:35,690
Speaker 4: cool in a way too. And I, you know what

677
00:36:35,710 --> 00:36:38,570
Speaker 4: I love about seal. And as George Casanza says, I

678
00:36:38,630 --> 00:36:47,160
Speaker 4: say this with a strong record of heterosexuality. Yeah. He's

679
00:36:47,400 --> 00:36:50,390
Speaker 4: obviously the scar and all that, right? I feel like

680
00:36:50,430 --> 00:36:54,640
Speaker 4: he's attractive to women in a way that I just... Like,

681
00:36:54,680 --> 00:36:57,060
Speaker 4: I know objectively it's a thing, right? Like, who was

682
00:36:57,080 --> 00:36:58,839
Speaker 4: he married to? Heidi Klum or someone like that?

683
00:36:58,860 --> 00:36:59,919
Speaker 1: Heidi Klum for the longest time.

684
00:36:59,940 --> 00:37:01,440
Speaker 4: One of the most beautiful women in the world. Yeah.

685
00:37:01,920 --> 00:37:05,360
Speaker 4: But I do feel like he just occupies this lane

686
00:37:05,410 --> 00:37:10,830
Speaker 4: of sexuality that is like, objectively, I actually don't understand it. No, subjectively,

687
00:37:10,870 --> 00:37:12,890
Speaker 4: I don't. Like, I don't get it. I kind of

688
00:37:12,910 --> 00:37:13,350
Speaker 4: don't get it.

689
00:37:13,610 --> 00:37:13,790
Speaker 2: Yeah.

690
00:37:13,910 --> 00:37:15,950
Speaker 4: But I can appreciate how it's a thing, if that

691
00:37:15,969 --> 00:37:16,569
Speaker 4: makes any sense.

692
00:37:16,650 --> 00:37:17,450
Speaker 1: I'm babbling.

693
00:37:17,469 --> 00:37:20,970
Speaker 4: Too much coffee. True Romance is my next one, okay?

694
00:37:21,489 --> 00:37:22,390
Speaker 1: Oh, okay.

695
00:37:22,550 --> 00:37:26,160
Speaker 4: Seal gets me to True Romance. And I will reveal

696
00:37:26,200 --> 00:37:30,890
Speaker 4: why in a minute. 1993, the Tony Scott directed film

697
00:37:30,910 --> 00:37:33,109
Speaker 4: that Quentin Tarantino wrote the script for, right?

698
00:37:33,469 --> 00:37:33,629
Speaker 1: Yeah.

699
00:37:33,989 --> 00:37:36,290
Speaker 4: And the script existed before it was contemplated to be

700
00:37:36,330 --> 00:37:37,390
Speaker 4: a film by Tony Scott.

701
00:37:37,430 --> 00:37:37,569
Speaker 3: Correct.

702
00:37:37,590 --> 00:37:38,730
Speaker 4: If I understand this correctly, right?

703
00:37:38,750 --> 00:37:38,820
Speaker 3: Yes.

704
00:37:39,130 --> 00:37:40,790
Speaker 4: And then Quentin needed the money, so he took the

705
00:37:40,830 --> 00:37:41,589
Speaker 4: money and then he put that.

706
00:37:41,550 --> 00:37:44,460
Speaker 1: Money into Reservoir Dogs? I think so, yes. Okay.

707
00:37:44,980 --> 00:37:45,160
Speaker 2: Right.

708
00:37:45,400 --> 00:37:46,700
Speaker 4: And he doesn't like the movie?

709
00:37:46,880 --> 00:37:47,740
Speaker 1: Correct. Okay.

710
00:37:47,780 --> 00:37:48,339
Speaker 4: He doesn't like the movie.

711
00:37:48,360 --> 00:37:50,200
Speaker 1: He doesn't like that. He doesn't like Natural Born Killers,

712
00:37:50,219 --> 00:37:50,919
Speaker 1: which he also wrote.

713
00:37:51,340 --> 00:37:53,860
Speaker 4: I understand that. Natural Born Killers is not a good movie.

714
00:37:54,730 --> 00:37:56,810
Speaker 4: True Romance is a great movie.

715
00:37:56,950 --> 00:37:57,330
Speaker 1: It really.

716
00:37:57,370 --> 00:37:59,350
Speaker 4: It's not a great Quentin Tarantino movie, but it is

717
00:37:59,370 --> 00:38:00,330
Speaker 4: a great movie, don't you think?

718
00:38:00,950 --> 00:38:04,069
Speaker 1: I like it. My estimation of it has gone down

719
00:38:04,130 --> 00:38:06,810
Speaker 1: since I was younger. I rewatched it in the last

720
00:38:06,870 --> 00:38:08,910
Speaker 1: year for the first time in a long time, and

721
00:38:08,930 --> 00:38:10,990
Speaker 1: I was actually kind of like... I don't know.

722
00:38:11,489 --> 00:38:13,700
Speaker 4: I just... Gary Oldham?

723
00:38:13,940 --> 00:38:17,660
Speaker 1: Blackface? No, I love him. I love all the minor

724
00:38:17,700 --> 00:38:20,680
Speaker 1: characters in the movie. I love Gary Oldman. I love

725
00:38:21,120 --> 00:38:21,660
Speaker 1: Brad Pitt.

726
00:38:22,719 --> 00:38:23,020
Speaker 4: I love.

727
00:38:23,570 --> 00:38:25,049
Speaker 1: not minor, but you know what I mean? Like not

728
00:38:25,070 --> 00:38:30,339
Speaker 1: the two, I love Patricia Arquette. I just, it just

729
00:38:30,400 --> 00:38:33,360
Speaker 1: felt like, it felt like someone was trying to do

730
00:38:33,400 --> 00:38:37,390
Speaker 1: like Quentin Tarantino on training wheels, kind of, you know, like, Sure.

731
00:38:37,550 --> 00:38:38,810
Speaker 1: Like we're almost there, you know?

732
00:38:39,210 --> 00:38:41,350
Speaker 4: Yeah, I totally understand. That's a really good way of

733
00:38:41,370 --> 00:38:44,170
Speaker 4: putting it. But in the defense of the movie, we

734
00:38:44,210 --> 00:38:47,190
Speaker 4: didn't quite know who Quentin Tarantino was yet when it

735
00:38:47,230 --> 00:38:49,490
Speaker 4: was made. Of course. And who's going to do Quentin

736
00:38:49,510 --> 00:38:52,000
Speaker 4: Tarantino better than Quentin Tarantino? Nobody.

737
00:38:52,219 --> 00:38:52,940
Speaker 2: Of course. Right.

738
00:38:55,680 --> 00:39:00,100
Speaker 4: It might be Brad Pitt's best five minutes on film ever.

739
00:39:00,200 --> 00:39:00,879
Speaker 1: It's so good.

740
00:39:01,239 --> 00:39:06,839
Speaker 4: It's so good. Yeah. It's so fucking great. It's unbelievably great.

741
00:39:06,860 --> 00:39:10,219
Speaker 4: If I were Brad Pitt, I'd be like, yo, when

742
00:39:10,260 --> 00:39:12,360
Speaker 4: I die, this is the thing I want you to

743
00:39:12,400 --> 00:39:12,880
Speaker 4: show people.

744
00:39:13,140 --> 00:39:13,339
Speaker 2: Right.

745
00:39:13,440 --> 00:39:14,360
Speaker 1: I want this in my headline.

746
00:39:15,020 --> 00:39:15,900
Speaker 4: It's so great.

747
00:39:16,320 --> 00:39:17,819
Speaker 1: So wait, who did the score for this film?

748
00:39:18,860 --> 00:39:22,010
Speaker 4: Well, there's the, it's really, I think Hans Zimmer gets

749
00:39:22,050 --> 00:39:24,370
Speaker 4: the credit for the score. but it's really about the

750
00:39:24,590 --> 00:39:31,359
Speaker 4: one piece, that little ding-dong-ding-ding fucking tropical thing. Oh, right.

751
00:39:31,380 --> 00:39:34,180
Speaker 4: It's called You're So Cool, which makes total sense because

752
00:39:34,200 --> 00:39:38,520
Speaker 4: that's the iconic line that Clarence and Alabama are constantly

753
00:39:38,719 --> 00:39:40,360
Speaker 4: saying to one another. Or is Alabama just saying it

754
00:39:40,380 --> 00:39:41,840
Speaker 4: to Clarence? Alabama's just saying.

755
00:39:41,700 --> 00:39:43,660
Speaker 1: It to Clarence. Yeah, yeah, yeah.

756
00:39:44,320 --> 00:39:47,680
Speaker 4: And I didn't know... So this thing is... The thing

757
00:39:47,719 --> 00:39:51,440
Speaker 4: I think that makes... the film so memorable is that

758
00:39:51,500 --> 00:39:55,290
Speaker 4: piece of music it really reminds me of nothing else

759
00:39:55,989 --> 00:39:58,210
Speaker 4: but that movie and when i think of the movie

760
00:39:58,370 --> 00:40:00,630
Speaker 4: i actually think of that music i truly do i'm

761
00:40:00,770 --> 00:40:02,630
Speaker 4: it's like and when i put the movie on or

762
00:40:02,650 --> 00:40:05,230
Speaker 4: when i come across it and that music comes on

763
00:40:05,270 --> 00:40:07,320
Speaker 4: it makes me feel all warm and fuzzy and nostalgic

764
00:40:07,780 --> 00:40:11,020
Speaker 4: inside and i didn't know this until this morning and

765
00:40:11,040 --> 00:40:13,500
Speaker 4: researching it and it was one of those moments where

766
00:40:13,520 --> 00:40:16,339
Speaker 4: it's like oh duh how did you not fucking know

767
00:40:16,360 --> 00:40:22,819
Speaker 4: this They are paying homage to Terrence Malick in Badlands

768
00:40:23,480 --> 00:40:28,080
Speaker 4: in the score there where Sissy Spacek is delivering the

769
00:40:28,160 --> 00:40:31,299
Speaker 4: monologue and the voiceover to set the movie up.

770
00:40:31,520 --> 00:40:32,000
Speaker 1: Yeah.

771
00:40:32,180 --> 00:40:37,290
Speaker 4: And it's that weird love story between Sissy Spacek's character

772
00:40:37,810 --> 00:40:40,110
Speaker 4: and Charles Starkweather played by Martin Sheen.

773
00:40:40,370 --> 00:40:40,569
Speaker 2: Yeah.

774
00:40:40,950 --> 00:40:43,860
Speaker 4: To further connected Emilio Estevez, Martin Sheen's son is the

775
00:40:43,910 --> 00:40:46,960
Speaker 4: star of Maximum Overdrive. So we're still connected here. I

776
00:40:47,060 --> 00:40:50,680
Speaker 4: have no clockers Sheen. No clockers Sheen connection.

777
00:40:50,719 --> 00:40:52,819
Speaker 1: Well, you just set me up for a slam dunk

778
00:40:52,860 --> 00:40:55,020
Speaker 1: because I'm going to keep connecting here as I give

779
00:40:55,040 --> 00:40:55,900
Speaker 1: you my recommendations.

780
00:40:56,080 --> 00:40:58,960
Speaker 4: Okay, hold on. One quick thing here, okay? Because we

781
00:40:59,020 --> 00:41:01,740
Speaker 4: can't apparently have a conversation about anything without arguing about

782
00:41:01,910 --> 00:41:06,390
Speaker 4: Bon Scott and Brian Johnson or Love Story. The Love Story,

783
00:41:06,489 --> 00:41:10,700
Speaker 4: John F. Kennedy, Carolyn Bissett score... I don't care what

784
00:41:10,739 --> 00:41:12,540
Speaker 4: anybody says, if this is intentional or not, it is

785
00:41:12,620 --> 00:41:16,920
Speaker 4: directly tied to true romance. The guy from The National

786
00:41:17,380 --> 00:41:20,380
Speaker 4: who did the Love Story score, if you hear the

787
00:41:20,520 --> 00:41:23,719
Speaker 4: scoring in that, not the music, which is great. I mean,

788
00:41:23,900 --> 00:41:26,640
Speaker 4: music supervision by my friend Jen Malone, she fucking crushed it.

789
00:41:27,680 --> 00:41:32,850
Speaker 4: Bryce Dessner, who I didn't realize, The National guy, like serious,

790
00:41:32,969 --> 00:41:35,250
Speaker 4: serious composer dude.

791
00:41:35,390 --> 00:41:37,489
Speaker 1: Yeah, yeah, yeah. And I think, hasn't he worked with

792
00:41:37,570 --> 00:41:39,350
Speaker 1: Taylor Swift on a ton of her shit?

793
00:41:40,430 --> 00:41:41,489
Speaker 4: Oh, I wouldn't surprise me.

794
00:41:41,489 --> 00:41:42,629
Speaker 1: I'm pretty sure he has, yeah.

795
00:41:42,650 --> 00:41:44,730
Speaker 4: He's worked with fucking everybody.

796
00:41:44,810 --> 00:41:45,350
Speaker 1: Everybody, yeah.

797
00:41:45,370 --> 00:41:47,310
Speaker 4: It's wild. He's got this whole other thing going on.

798
00:41:47,450 --> 00:41:48,330
Speaker 1: Yeah, it's crazy.

799
00:41:49,090 --> 00:41:52,730
Speaker 4: And I just find it's too ironic not to mention

800
00:41:53,010 --> 00:41:56,100
Speaker 4: that he is the guy who does the music for

801
00:41:56,160 --> 00:41:58,779
Speaker 4: Love Story, yet he is also the guy who's in

802
00:41:58,820 --> 00:42:01,879
Speaker 4: the biggest divorce rock, dad rock band of all time.

803
00:42:01,900 --> 00:42:03,100
Speaker 1: They are very dad rock.

804
00:42:03,440 --> 00:42:08,609
Speaker 4: The National. Dude, women, if you are female and you

805
00:42:08,710 --> 00:42:12,290
Speaker 4: are like strongly into the national, like you buy national

806
00:42:12,310 --> 00:42:15,310
Speaker 4: tickets to go see them with your girlfriends or you

807
00:42:15,610 --> 00:42:19,940
Speaker 4: guys are going listening to the national on purpose without,

808
00:42:19,980 --> 00:42:21,180
Speaker 4: like I want to know.

809
00:42:21,500 --> 00:42:23,680
Speaker 1: After you binge like Rush's catalog and you go.

810
00:42:24,280 --> 00:42:27,860
Speaker 4: Yeah, Rush's catalog, right. Well, I made this mistake before

811
00:42:27,940 --> 00:42:30,600
Speaker 4: where I mentioned that women didn't like Tool, and I

812
00:42:30,680 --> 00:42:34,160
Speaker 4: could not have been more fucking wrong. Wow. Women came

813
00:42:34,180 --> 00:42:35,000
Speaker 4: out of the woodwork.

814
00:42:35,219 --> 00:42:37,060
Speaker 1: I can see you being wrong on that one. That

815
00:42:37,080 --> 00:42:39,779
Speaker 1: doesn't surprise me, but at the National, I don't know.

816
00:42:40,140 --> 00:42:42,170
Speaker 1: I wouldn't be surprised.

817
00:42:42,450 --> 00:42:45,510
Speaker 4: Which makes me wonder if women like New Balance sneakers

818
00:42:45,810 --> 00:42:48,250
Speaker 4: on men. I wear them all the time.

819
00:42:49,370 --> 00:42:50,710
Speaker 1: Okay, so you mentioned Terrence Malick.

820
00:42:51,090 --> 00:42:51,350
Speaker 2: I did.

821
00:42:52,710 --> 00:42:55,730
Speaker 1: So my first pick is Terrence Malick's second film, Days

822
00:42:55,770 --> 00:42:59,930
Speaker 1: of Heaven, from 1978, which... I recently saw it for

823
00:42:59,950 --> 00:43:02,770
Speaker 1: the first time in the last year or two. I'd

824
00:43:02,790 --> 00:43:05,430
Speaker 1: never seen it before. And I think I already talked

825
00:43:05,450 --> 00:43:08,510
Speaker 1: about this experience here on the show. So I apologize

826
00:43:08,530 --> 00:43:10,270
Speaker 1: to listeners if you've already heard me say this. But

827
00:43:11,330 --> 00:43:12,529
Speaker 1: you ever have one of those moments when you watch

828
00:43:12,570 --> 00:43:15,009
Speaker 1: a movie that has been a blind spot for you

829
00:43:15,030 --> 00:43:16,589
Speaker 1: for so long? And you watch it and you're like,

830
00:43:16,610 --> 00:43:20,279
Speaker 1: did this just instantly become one of my favorite movies ever?

831
00:43:20,300 --> 00:43:20,660
Speaker 2: Oh, yeah.

832
00:43:20,719 --> 00:43:23,860
Speaker 1: You know what I mean? This movie stars Richard Gere,

833
00:43:24,040 --> 00:43:28,439
Speaker 1: Linda Mance, the great Linda Mance. Sam Shepard's in it. Okay,

834
00:43:28,460 --> 00:43:32,900
Speaker 1: so Ennio Morricone did the score. There's also some, Leo Cocchi,

835
00:43:32,940 --> 00:43:36,840
Speaker 1: the guitar player, some of his guitar instrumentals are in

836
00:43:36,860 --> 00:43:41,950
Speaker 1: this as well. But the movie opens with a movement from,

837
00:43:41,969 --> 00:43:45,489
Speaker 1: I guess it's a symphony by, I'm going to butcher

838
00:43:45,510 --> 00:43:50,069
Speaker 1: the name, Camille Saint-Saëns. called carnival of the animals this

839
00:43:50,090 --> 00:43:54,090
Speaker 1: was a symphony written back in uh 1886 and it

840
00:43:54,170 --> 00:43:57,000
Speaker 1: opens with a movement called aquarium and marconi kind of

841
00:43:57,040 --> 00:44:02,560
Speaker 1: like absorbs this this movement into his score but dude

842
00:44:02,640 --> 00:44:06,880
Speaker 1: it sounds 1886 this sounds like first of all it

843
00:44:06,920 --> 00:44:09,910
Speaker 1: gives you like that spine tingling feeling i used to

844
00:44:09,950 --> 00:44:11,549
Speaker 1: get at the movies when i was a kid and

845
00:44:11,570 --> 00:44:13,270
Speaker 1: like the lights would go down and the music would

846
00:44:13,310 --> 00:44:16,300
Speaker 1: start It sounds like it could be from like Harry Potter.

847
00:44:16,340 --> 00:44:17,839
Speaker 1: It could be from Star Wars. It can be from

848
00:44:17,860 --> 00:44:20,640
Speaker 1: like any of these like major motion, like it sounds

849
00:44:20,660 --> 00:44:23,060
Speaker 1: like John Williams wrote it. Right. And it has these

850
00:44:23,080 --> 00:44:25,759
Speaker 1: like twinkly instruments that are, that's just the way I

851
00:44:25,780 --> 00:44:29,000
Speaker 1: can describe it. It feels like, like twinkling lights in the,

852
00:44:29,130 --> 00:44:32,910
Speaker 1: in the darkness. And it just sets this incredible, like

853
00:44:32,930 --> 00:44:35,890
Speaker 1: you hear it, at least for me, you're watching the

854
00:44:35,950 --> 00:44:38,029
Speaker 1: opening credits and you're just like, holy shit, this movie

855
00:44:38,070 --> 00:44:39,950
Speaker 1: is about to be fucking incredible.

856
00:44:40,010 --> 00:44:40,210
Speaker 2: Right.

857
00:44:40,250 --> 00:44:42,910
Speaker 1: Just the feeling of it all. So anyways, that's my

858
00:44:42,969 --> 00:44:45,049
Speaker 1: first pick. And I just, I love that movie so much.

859
00:44:45,130 --> 00:44:49,009
Speaker 1: If people haven't seen it, Richard Gere is, he works

860
00:44:49,030 --> 00:44:51,810
Speaker 1: at like a factory in a, maybe in Chicago, somewhere

861
00:44:51,850 --> 00:44:55,029
Speaker 1: in the Midwest, in the city. And right off the bat,

862
00:44:55,090 --> 00:44:59,069
Speaker 1: he accidentally like kills like his supervisor. And so he

863
00:44:59,110 --> 00:45:02,220
Speaker 1: has to flee with his girlfriend and his kid sister.

864
00:45:02,880 --> 00:45:05,380
Speaker 1: And they have to go and they wind up in

865
00:45:05,400 --> 00:45:09,060
Speaker 1: the texas i think in the texas panhandle or somewhere

866
00:45:09,120 --> 00:45:12,620
Speaker 1: working for sam shepherd who owns this giant land they

867
00:45:12,640 --> 00:45:15,420
Speaker 1: work there like um taking care of the land harvesting

868
00:45:15,460 --> 00:45:16,200
Speaker 1: crops things like that.

869
00:45:16,140 --> 00:45:18,720
Speaker 4: I have never seen this movie it is.

870
00:45:20,219 --> 00:45:22,529
Speaker 1: It's it's a it's just an enchanting movie and it's

871
00:45:22,910 --> 00:45:25,330
Speaker 1: um it has a great the plot is great the

872
00:45:25,370 --> 00:45:29,090
Speaker 1: performances are great the entire thing was famously shot during

873
00:45:29,290 --> 00:45:32,089
Speaker 1: magic hour so the whole look of the film just

874
00:45:32,150 --> 00:45:35,250
Speaker 1: has this incredible look it has this um this iconic

875
00:45:35,630 --> 00:45:38,450
Speaker 1: locust scene in it too. And it's short too. It's

876
00:45:38,469 --> 00:45:39,669
Speaker 1: like a tight 90 minutes.

877
00:45:39,690 --> 00:45:40,190
Speaker 3: It's great.

878
00:45:40,550 --> 00:45:41,570
Speaker 2: Wow. Okay.

879
00:45:41,870 --> 00:45:44,350
Speaker 4: You have sold days of heaven to me.

880
00:45:45,110 --> 00:45:48,200
Speaker 1: And then Malick did not make a film until 20

881
00:45:48,200 --> 00:45:50,440
Speaker 1: years later when he made Thin Red Lines. Thin Red Lines.

882
00:45:50,480 --> 00:45:53,180
Speaker 1: Fucking crazy, dude. One of the greatest filmmakers and he

883
00:45:53,219 --> 00:45:54,320
Speaker 1: had this 20 year gap.

884
00:45:55,239 --> 00:45:55,500
Speaker 2: Okay.

885
00:45:55,980 --> 00:45:59,160
Speaker 1: There's this black and white French film from 1958 called

886
00:45:59,239 --> 00:46:03,950
Speaker 1: Elevator to the Gallows. I think the French- translation is

887
00:46:04,010 --> 00:46:06,310
Speaker 1: technically like lift to the scaffold or something like that.

888
00:46:06,350 --> 00:46:09,310
Speaker 1: But in English, it's called Elevator to the Gallas. So

889
00:46:09,450 --> 00:46:11,880
Speaker 1: it's a Louis Malle film. Louis Malle, you know, as

890
00:46:11,900 --> 00:46:14,680
Speaker 1: the director of My Dinner with Andre. This is the

891
00:46:14,719 --> 00:46:16,740
Speaker 1: movie where Miles Davis did the score.

892
00:46:16,760 --> 00:46:18,640
Speaker 4: Oh, yes, yes, yes, yes.

893
00:46:18,660 --> 00:46:21,520
Speaker 1: And they flew him over to France and he recorded

894
00:46:21,540 --> 00:46:22,140
Speaker 1: the score there.

895
00:46:22,600 --> 00:46:23,930
Speaker 4: What year did you say, 58?

896
00:46:23,930 --> 00:46:27,070
Speaker 1: 58. So this is right before Kind of Blue. I

897
00:46:27,130 --> 00:46:28,730
Speaker 1: read somewhere once that someone said this is like the

898
00:46:28,810 --> 00:46:31,770
Speaker 1: loneliest the trumpet has ever sounded, which is totally true.

899
00:46:31,810 --> 00:46:34,799
Speaker 1: It feels like a trumpet like under a spotlight in

900
00:46:34,840 --> 00:46:38,810
Speaker 1: a dark, dirty street in the back streets of Paris somewhere.

901
00:46:39,810 --> 00:46:43,049
Speaker 1: But it's just, it's so evocative, you know? And this

902
00:46:43,090 --> 00:46:45,070
Speaker 1: film is, this film's pretty good. It's like, it's a

903
00:46:45,130 --> 00:46:48,370
Speaker 1: French noir about these two lovers that plan this murder,

904
00:46:48,410 --> 00:46:50,589
Speaker 1: but then there's a monkey wrench thrown in it when

905
00:46:50,650 --> 00:46:52,910
Speaker 1: like one of them gets stuck in an elevator, right?

906
00:46:53,590 --> 00:46:55,230
Speaker 1: The film's good, but this might be one of those

907
00:46:55,290 --> 00:46:58,570
Speaker 1: instances where the score is actually better than the film.

908
00:46:58,610 --> 00:47:01,410
Speaker 1: I think the score is incredible. And I think the

909
00:47:01,450 --> 00:47:05,560
Speaker 1: film is just like, it's pretty solid. But definitely one,

910
00:47:05,640 --> 00:47:07,680
Speaker 1: this is one that you can just put on as

911
00:47:07,700 --> 00:47:09,739
Speaker 1: an album and it just sounds incredible. Yeah.

912
00:47:10,100 --> 00:47:10,399
Speaker 2: All right.

913
00:47:10,460 --> 00:47:10,880
Speaker 3: Awesome.

914
00:47:10,900 --> 00:47:11,739
Speaker 4: I'm going to do that today.

915
00:47:12,180 --> 00:47:15,070
Speaker 1: We've talked about this before. I love listening to Trent

916
00:47:15,090 --> 00:47:17,489
Speaker 1: Reznor and Atticus Ross's scores when I write.

917
00:47:18,330 --> 00:47:18,410
Speaker 3: Yeah.

918
00:47:18,430 --> 00:47:20,509
Speaker 1: Because they have such a cinematic vibe to them. They

919
00:47:20,530 --> 00:47:24,150
Speaker 1: do a lot of Fincher scores like Gone Girl and

920
00:47:24,310 --> 00:47:26,390
Speaker 1: Girl with a Dragon Tattoo. Those are two of my

921
00:47:26,930 --> 00:47:30,279
Speaker 1: heavy rotation ones when I'm writing. Yeah. But my favorite

922
00:47:30,410 --> 00:47:32,109
Speaker 1: that they did is not for a movie, but for

923
00:47:32,120 --> 00:47:36,150
Speaker 1: a TV series. It was for the HBO adaptation of Watchmen,

924
00:47:36,670 --> 00:47:41,250
Speaker 1: the comic book from the 80s by People Are Gonna

925
00:47:41,270 --> 00:47:43,930
Speaker 1: Kill Me. Alan Moore did that, I think. This was

926
00:47:43,969 --> 00:47:46,230
Speaker 1: made into a movie that was kind of a disaster

927
00:47:47,050 --> 00:47:52,210
Speaker 1: when 2000s, early 2000s maybe. But this TV show on

928
00:47:52,330 --> 00:47:57,150
Speaker 1: HBO completely kind of recontextualized the comic. And it's an

929
00:47:57,190 --> 00:48:00,570
Speaker 1: incredible show. the score that they did for this show

930
00:48:00,810 --> 00:48:06,129
Speaker 1: is just so cool. And it's so propulsive. I need like,

931
00:48:06,170 --> 00:48:08,779
Speaker 1: we talked about this. I need like, you know, I

932
00:48:08,880 --> 00:48:12,000
Speaker 1: need John Coltrane, like Olay Coltrane, or I need like

933
00:48:12,060 --> 00:48:14,299
Speaker 1: blue train or I need giant steps. I need some like,

934
00:48:14,840 --> 00:48:17,360
Speaker 1: I need some like go-go juice when I'm writing, you

935
00:48:17,380 --> 00:48:20,840
Speaker 1: know what I mean? Yeah, yeah. And this Watchmen score

936
00:48:20,860 --> 00:48:23,280
Speaker 1: totally gives you, and also like the sense of dread.

937
00:48:23,320 --> 00:48:25,520
Speaker 1: I need a sense of, I need like, something's chasing

938
00:48:25,560 --> 00:48:26,880
Speaker 1: me and I need to get to the end of

939
00:48:26,900 --> 00:48:28,100
Speaker 1: the paragraph. That's what I need.

940
00:48:28,200 --> 00:48:30,299
Speaker 4: It's me, I'm chasing you. Have you finished yet?

941
00:48:30,620 --> 00:48:37,230
Speaker 1: Yeah, exactly. So there you go. Watchmen, Elevator to the Gallows,

942
00:48:37,390 --> 00:48:38,150
Speaker 1: and Days of Heaven.

943
00:48:38,830 --> 00:48:39,270
Speaker 4: Love that.

944
00:48:39,770 --> 00:48:41,049
Speaker 1: Love that. Good shit, man.

945
00:48:41,489 --> 00:48:46,279
Speaker 4: Can I make a quick, quick TV comment? Music recommendation here?

946
00:48:46,460 --> 00:48:47,030
Speaker 1: Yeah, do it.

947
00:48:47,600 --> 00:48:51,299
Speaker 4: I watched the pilot episode of Below last night on

948
00:48:51,440 --> 00:48:55,500
Speaker 4: the new Netflix series, and really good.

949
00:48:55,900 --> 00:48:56,160
Speaker 1: Okay.

950
00:48:56,840 --> 00:49:01,020
Speaker 4: The music in it, not the score, the soundtrack is really, really,

951
00:49:01,340 --> 00:49:01,819
Speaker 4: really good.

952
00:49:01,940 --> 00:49:02,980
Speaker 1: It has that.

953
00:49:02,920 --> 00:49:07,300
Speaker 4: Waterboys song we were obsessing over a couple years ago,

954
00:49:07,320 --> 00:49:10,640
Speaker 4: and it's perfect. It's like that song was written, and

955
00:49:10,880 --> 00:49:13,330
Speaker 4: they've finally gotten around to making a TV show For

956
00:49:13,370 --> 00:49:14,370
Speaker 4: this song to fit into.

957
00:49:14,430 --> 00:49:14,859
Speaker 1: I love that.

958
00:49:15,140 --> 00:49:17,859
Speaker 4: Uh yeah that's so good um but i have high

959
00:49:17,900 --> 00:49:20,880
Speaker 4: hopes for the uh the rest of this season i

960
00:49:20,900 --> 00:49:22,440
Speaker 4: don't know if it's good i'm just saying the pilots

961
00:49:22,580 --> 00:49:23,620
Speaker 4: all right all right again it.

962
00:49:23,660 --> 00:49:26,290
Speaker 1: Is great noted noted there we go all right thanks

963
00:49:26,310 --> 00:49:27,830
Speaker 1: for having me on all right man thanks for coming

964
00:49:27,870 --> 00:49:48,779
Speaker 1: yeah talk soon All right, gang, there you go. A

965
00:49:48,960 --> 00:49:52,320
Speaker 1: handful of dirty wrecks all about some of our favorite

966
00:49:52,580 --> 00:49:54,920
Speaker 1: film scores. I know you guys got some and I

967
00:49:54,980 --> 00:49:56,960
Speaker 1: want to hear. Call me or text me. Let me

968
00:49:57,000 --> 00:50:03,719
Speaker 1: know what your favorite film score is. 617-906-6638. Whether it's

969
00:50:03,760 --> 00:50:07,250
Speaker 1: some big sweeping old school orchestral thing or it's a

970
00:50:07,290 --> 00:50:14,310
Speaker 1: more modern synthesizer take, holler at me. 617-906-6638. You can

971
00:50:14,350 --> 00:50:18,630
Speaker 1: also email me at disgracelandpod at gmail.com. Spotify, you can

972
00:50:18,650 --> 00:50:23,069
Speaker 1: leave a comment there. Patreon, if you're a member, disgracelandallaccess

973
00:50:23,150 --> 00:50:25,910
Speaker 1: over on Patreon, just leave a comment in the chat.

974
00:50:26,450 --> 00:50:28,169
Speaker 1: I get to as many as I can over there.

975
00:50:28,230 --> 00:50:32,620
Speaker 1: Sometimes I miss things, but keep them coming, guys, all right? Also,

976
00:50:32,700 --> 00:50:34,640
Speaker 1: back to the top of the show, if you want

977
00:50:34,660 --> 00:50:39,240
Speaker 1: to let me know what you're watching for October for

978
00:50:39,620 --> 00:50:43,880
Speaker 1: spooky season, let me know. Speaking of other spooky things,

979
00:50:44,120 --> 00:50:47,750
Speaker 1: I watched on TCM the other night new documentary called

980
00:50:47,810 --> 00:50:52,150
Speaker 1: Borman and the Devil. It's all about the director, John Borman.

981
00:50:52,210 --> 00:50:57,770
Speaker 1: He made Deliverance. He made Point Blank with Lee Marvin.

982
00:50:58,290 --> 00:51:02,590
Speaker 1: John Borman was tapped to make the sequel to The Exorcist,

983
00:51:02,690 --> 00:51:06,650
Speaker 1: The Exorcist 2, because William Friedkin, the director of the

984
00:51:06,690 --> 00:51:09,640
Speaker 1: original Exorcist, was like, hell no, I'm not going to

985
00:51:09,660 --> 00:51:12,190
Speaker 1: make a sequel to that movie. So John Borman was

986
00:51:12,250 --> 00:51:15,660
Speaker 1: tapped and his sequel went down in history as not

987
00:51:15,719 --> 00:51:17,880
Speaker 1: only one of the worst sequels of all time, but

988
00:51:17,920 --> 00:51:20,400
Speaker 1: as one of the worst films of all time. And

989
00:51:20,440 --> 00:51:22,040
Speaker 1: if you're a film buff like me, and I know

990
00:51:22,080 --> 00:51:23,759
Speaker 1: that a lot of you are, most of you are

991
00:51:23,820 --> 00:51:26,259
Speaker 1: listening to the show, and you dig these behind the

992
00:51:26,300 --> 00:51:31,280
Speaker 1: scenes making of documentaries, more specifically, how a really great

993
00:51:31,360 --> 00:51:37,109
Speaker 1: director can knock out something so bad. Definitely check this out.

994
00:51:37,150 --> 00:51:39,850
Speaker 1: It's totally worth watching. Like I said, I saw it

995
00:51:39,870 --> 00:51:42,609
Speaker 1: on TCM, so it's probably on Hulu as well, I guess.

996
00:51:43,570 --> 00:51:45,220
Speaker 1: It's out there in the ether. And let me know

997
00:51:45,239 --> 00:51:50,540
Speaker 1: what you think. Let's go to recap time here before

998
00:51:50,560 --> 00:51:53,660
Speaker 1: we bust out and get on with the week, all right?

999
00:51:53,920 --> 00:51:56,959
Speaker 1: Number one, first of all, right now in your Hollywoodland feed,

1000
00:51:57,080 --> 00:52:00,720
Speaker 1: our episode on Tim Allen. Number two, coming at you

1001
00:52:00,739 --> 00:52:02,989
Speaker 1: this Friday, we've got a new episode of The Screening Room.

1002
00:52:03,030 --> 00:52:05,910
Speaker 1: And this week, I'm talking all about the 2002 Spike

1003
00:52:05,950 --> 00:52:09,470
Speaker 1: Lee film, 25th Hour. Number three, next week on Monday,

1004
00:52:09,670 --> 00:52:12,410
Speaker 1: we're bringing you our fully scripted and sound design episode

1005
00:52:12,710 --> 00:52:18,000
Speaker 1: on The Poltergeist Curse. Number four, over in our sister show, Disgraceland,

1006
00:52:18,420 --> 00:52:20,920
Speaker 1: we've got a brand new episode on As I Lay Dying,

1007
00:52:21,440 --> 00:52:24,899
Speaker 1: the notorious Christian metalcore band. And not only is this

1008
00:52:24,940 --> 00:52:28,270
Speaker 1: episode about the band's frontman, Tim Lambesis, who tried to

1009
00:52:28,330 --> 00:52:31,310
Speaker 1: hire a hitman to kill his own wife, but it

1010
00:52:31,430 --> 00:52:36,120
Speaker 1: also interrogates the question, Are phonies running the Christian metal scene?

1011
00:52:36,680 --> 00:52:39,860
Speaker 1: Check it out on Apple Podcasts, the iHeartRadio app, or

1012
00:52:39,930 --> 00:52:44,549
Speaker 1: wherever you get your podcasts. Number five, this film should

1013
00:52:44,610 --> 00:52:49,690
Speaker 1: be played loud. Our video podcast available exclusively to members

1014
00:52:49,730 --> 00:52:53,029
Speaker 1: of Disgraceland All Access over on Patreon. We've got an

1015
00:52:53,150 --> 00:52:55,770
Speaker 1: episode just came out a few weeks ago all about

1016
00:52:55,910 --> 00:53:00,860
Speaker 1: Gross Point Blank. the John Cusack film from the late 1990s.

1017
00:53:01,780 --> 00:53:03,620
Speaker 1: We've got a new episode coming out in a couple

1018
00:53:03,660 --> 00:53:05,420
Speaker 1: weeks at the end of the month on Shaun of

1019
00:53:05,460 --> 00:53:08,540
Speaker 1: the Dead, the Edgar Wright film. If you guys don't

1020
00:53:08,580 --> 00:53:12,120
Speaker 1: know about this video podcast of ours, this is where

1021
00:53:12,400 --> 00:53:15,480
Speaker 1: Jake and I come together, where Hollywoodland and Disgraceland come

1022
00:53:15,500 --> 00:53:20,430
Speaker 1: together to talk all about the great music in some

1023
00:53:20,469 --> 00:53:23,529
Speaker 1: of our favorite films of all time. We're talking soundtracks,

1024
00:53:23,590 --> 00:53:28,000
Speaker 1: needle drops, scores, the whole shablam, all right? You can

1025
00:53:28,120 --> 00:53:32,600
Speaker 1: only get it on our Patreon. Just go to disgracelandpod.com

1026
00:53:32,739 --> 00:53:35,910
Speaker 1: for more information and to sign up. And now, in

1027
00:53:35,969 --> 00:53:38,290
Speaker 1: honor of this week's episode, here is what America was

1028
00:53:38,330 --> 00:53:41,390
Speaker 1: watching at the movies in September 1991, the month that

1029
00:53:41,489 --> 00:53:47,730
Speaker 1: Home Improvement replaced Twin Peaks on ABC. Number one, Freddy's Dead,

1030
00:53:48,070 --> 00:53:53,509
Speaker 1: The Final Nightmare, directed by Rachel Talali. Number two, Dead Again,

1031
00:53:53,910 --> 00:53:58,950
Speaker 1: directed by Kenneth Branagh. Number three, Terminator 2, Judgment Day.

1032
00:53:59,530 --> 00:54:04,210
Speaker 1: Directed by James Cameron. Number four, Hot Shots. Directed by

1033
00:54:04,330 --> 00:54:09,489
Speaker 1: Jim Abrams. Number five, Doc Hollywood. Directed by Michael Caton-Jones.

1034
00:54:10,710 --> 00:54:16,160
Speaker 1: Number six, Child's Play 3. Directed by Jack Bender. Number seven,

1035
00:54:16,739 --> 00:54:22,400
Speaker 1: The Doctor. Directed by Randa Haynes. Number eight, City Slippers.

1036
00:54:22,719 --> 00:54:25,279
Speaker 1: Quit talking and start mixing!

1037
00:54:25,480 --> 00:54:25,930
Speaker 3: Cut it!