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

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

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Speaker 3: And I'm Jim McCormick, and we have got a post

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Speaker 3: apocalyptic buddy cop movie for you today.

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Speaker 2: That's right, So peel a chocolate off the side of

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Speaker 2: your fridge, sugar down your coffee, and prepare for the ride.

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Speaker 2: That is nineteen ninety two's Split Second.

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Speaker 3: Now this was new to me. I actually just finished

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Speaker 3: watching it minutes ago. But you had already seen this one,

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Speaker 3: I think last year or the year before or something,

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Speaker 3: so you brought it back up for the show, right right.

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Speaker 2: I had watched it in one setting sometime in the

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Speaker 2: last few years, and I was watching it late at night,

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Speaker 2: so I got a little sleepy towards the end. Not

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Speaker 2: not the film's fault, but my fault. This time around,

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Speaker 2: I watched it in chunks, often first thing in the morning,

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Speaker 2: while I myself was having a cup of coffee. So

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Speaker 2: I really got to appreciate every detail, every nook and

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Speaker 2: cranny of this film. And I feel like second helpings

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Speaker 2: have Split Second Yeah, really paid off for me.

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Speaker 3: Now, did this movie convince you to use about three

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Speaker 3: quarters of a cup of sugar per mug of coffee.

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Speaker 2: Yeah yeah, yeah, as well, we'll get into in this

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Speaker 2: we there's just such all reckless disregard for our hero's

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Speaker 2: health as he does he doesn't drink, which I think

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Speaker 2: is more anymore. Yes, he's given up the alcohol but

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Speaker 2: has taken to just reckless consumption of chocolate and sugar

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Speaker 2: heavy caffeine.

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Speaker 3: And like his teeth are like Swiss cheese, Like he

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Speaker 3: is just and I bet this world. So this is

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Speaker 3: a dystopian future buddy cop movie that is set in

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Speaker 3: a future London that has been flooded by global warming.

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Speaker 3: So like water levels have risen, the ten is now

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Speaker 3: creeping out into the outer burrows I guess. So all

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Speaker 3: the streets are now like the canals of Venice just

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Speaker 3: flooded with gross, muddy rat water and the cops have

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Speaker 3: to like drive around in them in these big jeeps

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Speaker 3: that can drive in the shallow water or actually navigate

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Speaker 3: them in fan boats like it's a bayou movie.

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Speaker 2: Yeah, yeah, this is the Again, this is a ninety

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Speaker 2: two film, so this is the future of two thousand

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Speaker 2: and eighty. But one of the things about this film

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Speaker 2: is that I feel like. It does have a really

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Speaker 2: solid visual feel. It has a great esthetic, you know,

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Speaker 2: just all these scenes of just a two wet London

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Speaker 2: and everything's at least partially flooded. It's just a soggy

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Speaker 2: mess and everything else the rest of the world has

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Speaker 2: a suitably industrial grime to it as well. It looks.

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Speaker 2: It looks great. I really enjoyed the look of the film.

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Speaker 3: It's the steam injected microbial matt future of Highlander two

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Speaker 3: where everything is always just dark and moist and unpleasant.

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Speaker 2: Yeah, there's a little bit of a blade Runner DNA

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Speaker 2: in this for sure. We'll discuss. Another great thing about

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Speaker 2: this film, and we'll touch on this time and time

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Speaker 2: again too, is that it has all the hallmarks of

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Speaker 2: the film in which the script has been reworked multiple

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Speaker 2: times with different intents in mind, and its result it

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Speaker 2: results in a kind of chaos in key places, kind

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Speaker 2: of ambiguity that can in the right proportions, work really

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Speaker 2: well for a detective story or a monster story, and

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Speaker 2: luckily this film is both.

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Speaker 3: I would say for me, this was one of the

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Speaker 3: funniest movies we have watched so far for Weird House Cinema,

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Speaker 3: and to explain what I mean, so it has. It's

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Speaker 3: like a cargo truck just packed with every grizzled, macho

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Speaker 3: buddy cop movie cliche and every dystopian sci fi cliche

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Speaker 3: all together, but at such a volume and velocity that

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Speaker 3: it does not seem just like lazy hack writing, but

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Speaker 3: more kind of transcendent parody. But at the same time time,

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Speaker 3: it doesn't go to the level of parody where it's

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Speaker 3: winking at you about it. It plays it straight, which

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Speaker 3: makes for a much funnier end product.

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Speaker 2: Yeah, so I feel like when we laugh at this film,

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Speaker 2: and I laughed at it at two, we're not laughing,

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Speaker 2: you know, at somebody's failed art or something here. You know,

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Speaker 2: We're not just we're not. It's not like a mean laugh.

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Speaker 2: I feel like we are laughing in a way that

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Speaker 2: was intended by at least a large number of people

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Speaker 2: involved in this film.

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Speaker 3: Yes, Split Second is not a failure. It succeeds.

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Speaker 2: Yes, though that.

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Speaker 3: Seems to have been lost on people when it originally

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Speaker 3: came out, who seemed to just regard it why or

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Speaker 3: at least some of the reviews we were looking at

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Speaker 3: people were just saying, like another you know, hackneyed, cliched

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Speaker 3: dystopian sci fi movie. You can skip it. I think

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Speaker 3: this one is worth a solidly worth a watch.

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Speaker 2: Yeah. When I looked it up after i'd seen it

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Speaker 2: the second time, I looked it up in the Psychotronic

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Speaker 2: Video Guide from Michael Weldon, and I found he didn't

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Speaker 2: care for it. He called it a quote boring, dull,

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Speaker 2: misty science fiction movie. And yeah, greedy disagree on this one,

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Speaker 2: because I think it's pretty terrific. It's a lot of fun.

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Speaker 2: Maybe it was just too fresh in nineteen ninety six

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Speaker 2: and hasn't hadn't aged enough yet. I'm not sure. But

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Speaker 2: then again, you could also argue that the tropes wouldn't

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Speaker 2: have been as trod well trod in the early nineties

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Speaker 2: as they would be in the year twenty twenty one.

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Speaker 3: Well, a lot of the funny stuff in this movie

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Speaker 3: would continue to be used unronically for the next decade

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Speaker 3: or two in straightforward like a list cop movie. Yes, oh,

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Speaker 3: but I don't know if we've been mentioned. Also, this

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Speaker 3: is a monster movie, so it is a dystopian sci

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Speaker 3: fi movie, a grizzled buddy cop movie, and a monster

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Speaker 3: movie all crammed into one.

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Speaker 2: Yeah, here's your elevator pitch okay. In the Gritty future

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Speaker 2: of two thousand and eight, a murderous horror emerges from

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Speaker 2: the flooded London underground, and only the gruffiest cop imaginable,

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Speaker 2: supercharged on a diet of anxiety, coffee and chocolate, can

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Speaker 2: stop it.

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Speaker 3: I don't know if you noticed that. You said gruffiest,

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Speaker 3: which I I think that is the right term, because

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Speaker 3: he's gruff and he's scruffy.

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Speaker 2: Yeah, it's a combination. It's a hybrid that he has

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Speaker 2: absorbed the DNA of both qualities.

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Speaker 3: Let's hear that trailer audio.

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Speaker 2: He can hear its heartbeat. There you go. He knows

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Speaker 2: it's out there.

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Speaker 3: Somebody must have seen something. He knows what it can do, you're.

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Speaker 1: Telling me, but's something running around loose in this city,

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Speaker 1: ripping a hot out.

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Speaker 3: Of people, anything though, maybe eat some for breakfast.

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Speaker 2: Now it's really pissing him off.

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Speaker 3: But the.

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Speaker 2: And his new partner work.

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Speaker 3: Makes two paranoid people with guns are a menace to society?

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Speaker 2: Do you need paranoid to like this?

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Speaker 3: Follow you?

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Speaker 2: Rutger Hower? Split second?

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Speaker 3: Nice timing? Split second?

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Speaker 2: All right?

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Speaker 3: Well, oh sorry, did you specify before that this is

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Speaker 3: a rutger Hower film.

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Speaker 2: I don't know that we did. It'll probably be obvious

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Speaker 2: to a number of people. And maybe there's a picture

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Speaker 2: of rutger Hower, you know, capping this thing off. But yes,

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Speaker 2: this is this is a rutger Hower extravaganza. In the

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Speaker 2: same way that modern film fans a lot of you

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Speaker 2: like the cage Rage. This one is filled.

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Speaker 3: With Howard power, yes, yeah, oh yeah.

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Speaker 2: But there are other people involved too. Let's let's start

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Speaker 2: where we tend to start. Let's start with the director. Okay,

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Speaker 2: guy by the name of Tony Mayleem, English director who

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Speaker 2: also directed the nineteen eighty one slasher film The Burning.

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Speaker 2: Mayleem also went on to do a fair amount of

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Speaker 2: documentary work, and I'm to understand Split Second was a

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Speaker 2: particularly grueling project for him, and he had he had

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Speaker 2: to step away towards the end of the production and

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Speaker 2: let Ian Sharp finish directing the picture.

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Speaker 3: Yeah, I can imagine this might have been some trouble

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Speaker 3: because you're dealing with a lot of flooded sets. I

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Speaker 3: mean almost you know, like every other set in this movie.

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Speaker 3: There's just water everywhere, and I would imagine that makes

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Speaker 3: filming very difficult and tedious.

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Speaker 2: Yeah, and then you got to have a pigeon wrangler.

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Speaker 2: You got to have a rat wrangler. Oh yeah, you

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Speaker 2: gotta have a Hower wrangler, and every every everybody's got

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Speaker 2: to be on hand.

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Speaker 3: I didn't check for the credits, but was there an

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Speaker 3: assistant to mister Hower in there?

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Speaker 2: I didn't notice. Yeah, I should have. I should have looked.

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Speaker 2: Somebody had to get him his coffee.

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Speaker 3: The Hower power generator.

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Speaker 2: He might. I think he might be self powering. I

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Speaker 2: really don't know enough about We'll get We'll get to

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Speaker 2: Howard in a second.

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Speaker 3: Power is renewable.

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Speaker 2: Yes. Now. The writer on this was a guy named

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Speaker 2: Gary Scott Thompson. Not a lot that I know about him,

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Speaker 2: except that he is the guy who gave us Too Fast,

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Speaker 2: Too Furious. He also wrote the Hollow Man Joe It

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Speaker 2: was Too Fast, Too Furious, one of the good fast

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Speaker 2: furious movies.

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Speaker 3: No, you generally want to stay away from the even

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Speaker 3: numbered ones until you get to around six or eight.

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Speaker 2: Uh huh.

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Speaker 3: Once you get once you get past five, everything is

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Speaker 3: like bad but worth watchings. Everything's kind of good bad

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Speaker 3: After that's where you're in, like the Flying Cars era,

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Speaker 3: the real ones you want to stay away from I

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Speaker 3: think are like two and four, which I remember being

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Speaker 3: rather boring.

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Speaker 2: All right, cool, I'll keep that in mind well.

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Speaker 3: And also The Hollow Man. God. I love Paul Verhoven,

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Speaker 3: but that is just a dreadful movie.

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Speaker 2: Yeah, I don't remember anything good about that one. Now.

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Speaker 2: As for split second here again, this script seems like

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Speaker 2: it was probably changed a number of times, and I

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Speaker 2: think that was the case based on some just IMDb

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Speaker 2: stuff I looked at. It has a lot of the

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Speaker 2: obvious signs of Blade Runner and Alien on it, as

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Speaker 2: you would expect at that time, and certainly casting Rudger

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Speaker 2: howerd is that was, you know, one of the films

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Speaker 2: he made a big splash in Blade Runner. But it

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Speaker 2: also to me anyway, I feel like there's a huge

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Speaker 2: two thousand and eighty comics influence here as well. I

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Speaker 2: have no proof of that. And Gary Scott Thompson, I

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Speaker 2: believe is an American writer, not British, but there are

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Speaker 2: a lot of British folks involved in this one, and

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Speaker 2: I feel like it thematically has a lot of the

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Speaker 2: elements you find in those original Judge Dread comics, you know,

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Speaker 2: where there's a grittiness, but there's also this comedic and

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Speaker 2: satiric vein going through everything like everything's over the top, like,

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Speaker 2: and we lose some of that in the americanized versions

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Speaker 2: of Judge Dread you know where in the films. Yeah,

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Speaker 2: Judge Dread is you know, grumbling and blasting things with

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Speaker 2: an enormous gun. But he doesn't have a humorous made

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Speaker 2: or funny robots in his life like he does in

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Speaker 2: the comics.

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Speaker 3: So one thing that's funny about this movie is that

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Speaker 3: it is very British. It's not just incidentally set in London. Like,

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Speaker 3: the setting is very pointedly British, and some of the

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Speaker 3: characters are very pointedly British in the way they're characterized.

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Speaker 3: But our main hero, Howard, despite being Rutger Hower, is

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Speaker 3: a very American cop character. He's very much like an

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Speaker 3: American tough guy cop lead.

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Speaker 2: Yeah, that's right, despite of course being Dutch. Rugger Howard

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Speaker 2: was born in nineteen forty four and died in twenty nineteen.

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Speaker 2: In this he plays Harley Stone, a character we will

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Speaker 2: discuss at length here, but yeah, he was a wonderful actor, environmentalist.

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Speaker 2: He also had a nonprofit aimed at HIV and AIDS

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Speaker 2: awareness called The Rugger Howard Starfish Association, and he wrote

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Speaker 2: to prominence in the films a fellow Dutchman of filmmaker

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Speaker 2: Paul of Villehoven, who we just mentioned and made a

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Speaker 2: huge splash in American cinema in nineteen eighty two's Blade Runner.

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Speaker 2: He's also very notable in nineteen eighty five's Lady Hawk

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Speaker 2: and nineteen eighty six is The Hitcher. And he's worked

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Speaker 2: with Hooven culminated in the nineteen eighty five medieval adventure

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Speaker 2: film that I have not seen, Lesh and Blood, which

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Speaker 2: co star Jennifer Jason Lee and Ronald Lacy. And I

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Speaker 2: understand that the two disagreed on the nature of his character.

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Speaker 2: Howard wanted to get away from villain roles, but Verhoven

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Speaker 2: wanted him to play a more morally ambiguous character. And

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Speaker 2: that's an interesting wrinkle to think about because in this

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Speaker 2: obviously he's our hero, and I can't think of a

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Speaker 2: lot of films like Later On where he played anything

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Speaker 2: other than a protagonist, you know, like, what are the

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Speaker 2: big rudger howand villain roles? Yeah, you named Blade Runner

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Speaker 2: the Hitcher, but anything else, well, I would.

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Speaker 3: Argue that maybe you shouldn't even think of him necessarily

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Speaker 3: as the villain of Blade Runner. I mean in Blade Runners,

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Speaker 3: I would say he's something more like the creature in Frankenstein,

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Speaker 3: as someone true does bad things, who harms people, but

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Speaker 3: in other ways is sort of a sort of a

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Speaker 3: babe in the wilderness, like he's lost and desperate and

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Speaker 3: doesn't know what to do with his own mortality.

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Speaker 2: Yeah, but you can easily imagine the like the filmmaking

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Speaker 2: system after Blade Run, it's like, oh, can we get

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Speaker 2: Howard to play this terrorist? Can we get Howard to

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Speaker 2: play this this evil king? And it sounds like he

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Speaker 2: was like, I don't want those type of roles I want.

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Speaker 2: I want something different. I want and you know, you know,

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Speaker 2: my mind come turns to Batman begins.

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Speaker 3: Right, he's a corrupt business man.

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Speaker 2: He's a corrupt businessman, but he's yeah, he's a suit

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Speaker 2: in that.

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Speaker 3: Oh I think he's also I remember, God, I haven't

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Speaker 3: seen sin City in many years, but I remember him

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Speaker 3: being some kind of evil corrupt like yeah or something

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Speaker 3: in that also.

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Speaker 2: Okay, Well, he maybe managed to sprinkle some villainy in

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Speaker 2: the later movies, but yeah, he went on to be

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Speaker 2: in a ton of films and TV projects, one hundred

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Speaker 2: and seventy five acting credits on IMDb, and they really

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Speaker 2: run the gamut from B movies to blockbusters, Like, he

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Speaker 2: was just in a lot of stuff and he's I've

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Speaker 2: never seen him in something where I'm like, ah, that's boring.

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Speaker 2: You know, he's he's he's an exciting element, even in

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Speaker 2: a bad picture.

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Speaker 3: Oh, you should try to watch Dariu Argento's Dracula.

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Speaker 2: Oka the second time You've challenged me on that one.

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Speaker 3: No, I'm not saying I've watched it. I'm saying I've

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Speaker 3: never been able to watch more than like sixty seconds

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Speaker 3: of it. Okay, But so, I guess if we're talking

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Speaker 3: about Rutger, how are we got to talk about the

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Speaker 3: tears in the rain monologue? Which this is a famous moment,

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Speaker 3: probably the most famous moment of Rutger Howard's career, also

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Speaker 3: the most famous moment of Blade Runner the movie. The

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Speaker 3: context is, of course, Harrison Ford in the movie plays Deckard,

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Speaker 3: who is a type of police officer or bounty hunter

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Speaker 3: who is hired to quote retire escaped replicants. Replicants are

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Speaker 3: you know, sort of androids or humanoids who are created

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Speaker 3: by this company to essentially be forced labor, and they

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Speaker 3: have a very short lifespan there so that they don't,

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Speaker 3: you know, get off and get ideas about independence. They

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Speaker 3: can only live for something like four years. And so

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Speaker 3: the plot of Blade Runner is that there are a

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Speaker 3: group of replicants who escape and they're trying to find

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Speaker 3: a way to get more life. They want to extend

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Speaker 3: their lifespan. Meanwhile, Harrison Ford Deckard is trying to hunt

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Speaker 3: them down, and in the end of the movie, he's

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Speaker 3: chasing around in a building while the rain is pouring outside.

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Speaker 3: He's chasing Rutger Hower's character, a replicant named Roy Beatty,

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Speaker 3: and there's a moment where where Deckard is almost about

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Speaker 3: to fall to his death off the roof, but then

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Speaker 3: Roy Baty grabs his arm and saves him. Despite him

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Speaker 3: being there to kill him. He saves him and then

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Speaker 3: he gives this speech. It's a soliloquy. He says, I've

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Speaker 3: seen things you people wouldn't believe. Attack ships on fire

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Speaker 3: off the shoulder of Orian. I watch seabeams glitter in

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Speaker 3: the dark near the tan Hauser Gate. All those moments

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Speaker 3: will be lost in time, like tears in rain. It's

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Speaker 3: a beautiful moment and a beautiful metaphor. But what I've

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Speaker 3: read is that apparently there was a line similar to

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Speaker 3: that already in the script, which I think was written

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Speaker 3: by David Peeples, but apparently Rutger Hower himself rewrote the

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Speaker 3: line before filming, and he was the person who added

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Speaker 3: the comparison to tears in Rain the most famous part

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Speaker 3: of it. So that's from the actor himself.

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Speaker 2: Yeah. I've always been impressed by that, and of course

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Speaker 2: that that monologue we've talked about on the show before.

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Speaker 2: Oh here's the line that DJs should be using in

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Speaker 2: their tracks. They definitely got the memo on Tears and Rain,

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Speaker 2: because man, I can think of so many different mixes

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Speaker 2: and tracks where something from Roy pops up. That pops

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Speaker 2: up on it's a I mean, it's just a great piece.

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Speaker 3: Yeah. Yeah, it's such a great line that in a

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Speaker 3: way it's kind of lost its power by being over

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Speaker 3: analyzed and over quoted.

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Speaker 2: There's a band called Grumbling Fur and they have a

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Speaker 2: song titled The Ballad of Roy Batty and it's this

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Speaker 2: this kind of somber British song, but it's the lyrics

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Speaker 2: are that that monologue. Oh wow, Yeah, So check that

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Speaker 2: out if you want.

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Speaker 3: But here a very different role in this. So he

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Speaker 3: plays in Blade Runner he is a tragic Frankenstein's creature

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Speaker 3: type character who who doesn't understand the point of his

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Speaker 3: own existence. He wants more life, but he can't have it,

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Speaker 3: and he and he ends in this tragic introspective state.

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Speaker 3: In split second, Hower is just Hower is the ultimate

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Speaker 3: like beef steak grumpy cop.

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Speaker 2: Yeah, yeah, he is something. It's worth noting that he

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Speaker 2: was I believe forty seven or forty eight at the time,

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Speaker 2: so this is, you know, slightly older Rutger Hower certainly

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Speaker 2: compared to like Blade Runner and stuff. He's carrying a

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Speaker 2: bit of weight in this though though nothing that feels

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Speaker 2: like awkward or anything. But I think it feel like

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Speaker 2: it feels like his physicality works perfectly well portraying this

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Speaker 2: cop on the edge he's not taken care of himself,

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Speaker 2: who lives this reckless lifestyle and the bit of a slob.

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Speaker 2: And yeah again, While they avoid the hard drinking stereotype

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Speaker 2: in this because he's apparently quit drinking, he does smoke

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Speaker 2: like a chimney, just constantly smoking, consumes copious amounts of

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Speaker 2: cough sugar, chocolate, and man that name to Harley Stone.

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Speaker 2: It's motorcycle plus rocks. You know, you couldn't do any

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Speaker 2: better than that.

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Speaker 3: That was the thing that convinced me to watch this movie.

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Speaker 3: I looked it up and I saw the main character

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Speaker 3: is named Harley Stone, and I was like, I'm in.

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Speaker 2: Yep, I mean yeah, and he has I think a

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Speaker 2: Harley in his apartment, so it's I guess that's part

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Speaker 2: of it.

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Speaker 3: But actually no, no, it was multiple things. I'm sorry

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Speaker 3: I have to add on his name is Harley Stone.

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Speaker 3: And then of course it becomes a here's here's your

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Speaker 3: new partner buddy cop movie. It's like Tango and Cash,

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Speaker 3: but said in the future, where there's a he's got

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Speaker 3: a partner who's the opposite of him in every way,

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Speaker 3: and this partner is named Dick Durkin.

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Speaker 2: Yep, Harley and Dick. The Adventures off. Well, we've touched

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Speaker 2: on the tropes here, but like one of the big

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Speaker 2: tropes with this guy with Harley Stone is he's the worst.

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Speaker 2: I can't stand him, but he's the best. We've got

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Speaker 2: to use him, like he's just a walking disaster, but

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Speaker 2: nobody does it better than Harley Stone, so we have

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Speaker 2: to use him. He's the only one who can get

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Speaker 2: our man and.

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Speaker 3: Or monster exactly. It's the you're a loose cannon, you're

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Speaker 3: off the force, you're the only man for the job.

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Speaker 2: And Howard is is I mean, he is so good

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Speaker 2: in this because this character, this Harley Stone. At times,

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Speaker 2: there are all these moments where you realize that the

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Speaker 2: film is winking at you that it's you know that

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Speaker 2: he's just so over the top. He's just doing what

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Speaker 2: he's doing in the way he's acting is just it's

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Speaker 2: it's just ridiculous. But yet Howard also walks that line

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Speaker 2: to where he is, you know. I feel he is

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Speaker 2: definitely cool in a lot of the film too, in

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Speaker 2: a way that the mini actors wouldn't be able to

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Speaker 2: pull that off, you know, like like here's this uh this,

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Speaker 2: you know, this this over the hill rundown cop. But yeah,

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Speaker 2: he looks pretty cool in those glasses and that giant

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Speaker 2: leather coat.

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Speaker 3: Yeah, it never gets too juicy.

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Speaker 2: Yeah, So it's ultimately just a joy to watch him.

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Speaker 2: I think some of the best scenes are ones where

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Speaker 2: they're just we're just going about about a day, you know,

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Speaker 2: it's a ride along with Harley Stone as he does

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Speaker 2: things like like sha at a bar where he has

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Speaker 2: shown up for breakfast, you know things like that.

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Speaker 3: Yeah, he goes to like a moody night club for

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Speaker 3: breakfast where they're playing Knights in White Satin on the jukebox,

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Speaker 3: and they give him a big old plate, a full inger.

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Speaker 3: I think it is a full English breakfast, meaning that

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Speaker 3: it's not just eggs and bacon, but there's baked beans

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Speaker 3: on that plate and he's slurping it up and shaving

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Speaker 3: with an electric razor over his plate.

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Speaker 2: Yep. And yeah, so, oh my god, he's just so good.

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Speaker 2: But let's talk a little bit about that partner. This

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Speaker 2: would be again, Detective Dick Durkin, played by an actor

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Speaker 2: by the name of Alistair Duncan.

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Speaker 3: You know I love this guy too.

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Speaker 2: I think he's great in this role. Like again, he

404
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Speaker 2: hits just the right note, like he's he's not too comedic,

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Speaker 2: he's just comedic enough.

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Speaker 3: He's the perfect foil to Harley Stone. So they're setting

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Speaker 3: it up like a you know, a Rigs and Myrtle

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Speaker 3: or Tango and Cash kind of thing where they're opposites,

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Speaker 3: but they end up complimenting each other. And this guy,

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Speaker 3: this guy is the the wimpy, bookish nerd who went

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Speaker 3: to Oxford.

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Speaker 2: Yeah, well, I mean not completely wimpy. He's a he's

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Speaker 2: very fitness conscious, right true. And uh and and he's

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Speaker 2: a yeah, but he's by the books. He's he's I

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Speaker 2: think he's doing tai chi in one scene. And he

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Speaker 2: of course Rudger Howard's character Stone is like just so

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Speaker 2: anxiety written. At one point he's like, let me give

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Speaker 2: you a massage, let me let me help you out.

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Speaker 2: He's like, don't touch me, like take the town in

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Speaker 2: his nose. But uh, but yeah, yeah, he's great in this. Uh.

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Speaker 2: Duncan perfectly fine actor. He's done an increasing amount of

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Speaker 2: high profile voice work over the over the years, especially

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Speaker 2: in major video games, but he was a steady actor

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Speaker 2: in the nineties as well, showed up on things like

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Speaker 2: Highlander of the TV series, Hercules Murder. She wrote, so

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Speaker 2: a bunch of stuff.

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Speaker 3: Wait, he's not the voice of Wheatley in Portal Too,

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Speaker 3: is he?

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Speaker 2: He might be? I don't know. I didn't look that

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Speaker 2: one up specifically, but I did notice that he's okay,

431
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Speaker 2: you know, for instance, you know the the mortor games

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Speaker 2: where you.

433
00:21:56,160 --> 00:21:58,920
Speaker 3: Know, I'm sorry, I looked it up No, that's a

434
00:21:58,920 --> 00:22:02,840
Speaker 3: guy named Stephen murch But for a second I thought

435
00:22:02,880 --> 00:22:03,160
Speaker 3: it was.

436
00:22:03,119 --> 00:22:06,280
Speaker 2: Possible Stephen, they're kind of cut from the same cloth, though,

437
00:22:06,280 --> 00:22:09,520
Speaker 2: I can imagine Merchant in this role, but no, Auster duncan.

438
00:22:09,640 --> 00:22:12,439
Speaker 2: I believe one of his more high profile roles is

439
00:22:12,440 --> 00:22:15,520
Speaker 2: those the Shadow of Mordor Games. He plays like the

440
00:22:15,680 --> 00:22:18,560
Speaker 2: raith elf that is your alter ego or whatnot. I

441
00:22:18,560 --> 00:22:21,119
Speaker 2: haven't really played the Games, but he's that character. Oh okay,

442
00:22:21,480 --> 00:22:24,640
Speaker 2: but let's not forget our female lead, Joe Ooh.

443
00:22:24,760 --> 00:22:28,000
Speaker 3: So this movie has Kim catroll in it. She plays

444
00:22:28,480 --> 00:22:32,399
Speaker 3: Michelle McLain and so, of course. Kim Cattrall is a

445
00:22:32,440 --> 00:22:35,639
Speaker 3: Canadian actress, probably best known today for being part of

446
00:22:35,640 --> 00:22:38,080
Speaker 3: the main cast of Sex and the City, but with

447
00:22:38,119 --> 00:22:41,240
Speaker 3: a long career of lots of interesting movie and TV roles.

448
00:22:41,640 --> 00:22:44,840
Speaker 3: More in The Weird House, Wheelhouse, you might say, Big

449
00:22:44,880 --> 00:22:47,359
Speaker 3: Trouble in Little China, in which she plays Gracie Law,

450
00:22:47,800 --> 00:22:50,400
Speaker 3: or Star Trek six The Undiscovered Country, which I think

451
00:22:50,440 --> 00:22:53,119
Speaker 3: she was filming either right around the same time as

452
00:22:53,160 --> 00:22:56,159
Speaker 3: Split Second or simultaneous to Split Second.

453
00:22:56,640 --> 00:22:59,320
Speaker 2: Yeah, because of the hair, right right, And.

454
00:22:59,480 --> 00:23:02,040
Speaker 3: I gotta say I love Kim Katrol. People who have

455
00:23:02,119 --> 00:23:04,880
Speaker 3: only seen her in like more straightforward roles I think

456
00:23:05,000 --> 00:23:08,159
Speaker 3: might not appreciate just how good her comic timing is

457
00:23:08,760 --> 00:23:11,560
Speaker 3: and how good she is at walking that fine line,

458
00:23:11,560 --> 00:23:14,359
Speaker 3: which is like exactly what she's doing in this movie,

459
00:23:14,440 --> 00:23:18,040
Speaker 3: that that tight rope of like absurdity and parody but

460
00:23:18,200 --> 00:23:19,159
Speaker 3: not quite.

461
00:23:19,640 --> 00:23:23,520
Speaker 2: Yeah, yeah, I agree, absolutely certainly, Big Dub and Little

462
00:23:23,600 --> 00:23:27,320
Speaker 2: China is a great example for work. But prior to

463
00:23:27,560 --> 00:23:29,520
Speaker 2: Sex and the City, she was in a fair amount

464
00:23:29,520 --> 00:23:33,080
Speaker 2: of genre pictures. She kind of reinvented ourselves herself, I

465
00:23:33,080 --> 00:23:35,399
Speaker 2: guess with the Sex and the City role. But before

466
00:23:35,480 --> 00:23:37,439
Speaker 2: that she was in she was in an episode of

467
00:23:37,440 --> 00:23:40,240
Speaker 2: the nineties Outer Limits. I don't think one I've seen yet,

468
00:23:40,359 --> 00:23:42,240
Speaker 2: but I'm going to get to it as I steadily

469
00:23:42,240 --> 00:23:44,400
Speaker 2: make my way through all that. But she was also

470
00:23:44,440 --> 00:23:47,840
Speaker 2: in a nineteen ninety eight TV adaptation of Peter Binchley's Creature,

471
00:23:48,160 --> 00:23:51,199
Speaker 2: in which she and Craig T. Nelson battle a Nazi

472
00:23:51,240 --> 00:23:52,359
Speaker 2: engineered killer shark.

473
00:23:52,760 --> 00:23:56,159
Speaker 3: I watched that on TV when it premiered when I

474
00:23:56,240 --> 00:23:59,200
Speaker 3: was a kid. I think I was in I don't know,

475
00:23:59,240 --> 00:24:02,840
Speaker 3: it would have been like sick grade or something, and yeah, wow,

476
00:24:03,000 --> 00:24:04,280
Speaker 3: it was a it was a winner.

477
00:24:05,080 --> 00:24:09,080
Speaker 2: So Kim is great and split second given the limited

478
00:24:09,080 --> 00:24:11,639
Speaker 2: amount of stuff that she's given to work with. So

479
00:24:12,000 --> 00:24:13,840
Speaker 2: this is a film where she doesn't have much of

480
00:24:13,880 --> 00:24:26,760
Speaker 2: a role, but she manages to shine through that role anyway. Yeah,

481
00:24:26,880 --> 00:24:28,400
Speaker 2: all right, let's talk about some of the other bit

482
00:24:28,400 --> 00:24:31,920
Speaker 2: players in this. Oh you have this guy all In Armstrong.

483
00:24:32,440 --> 00:24:34,359
Speaker 3: Is that not just Is Alan?

484
00:24:34,440 --> 00:24:38,200
Speaker 2: I'm sorry it's a Alan, but I guess it's Alan Alan.

485
00:24:39,920 --> 00:24:42,119
Speaker 2: I don't know. I'm just gonna call him Thrasher because

486
00:24:42,119 --> 00:24:46,200
Speaker 2: that's his character's name. So born in nineteen forty six,

487
00:24:46,480 --> 00:24:49,919
Speaker 2: Armstrong is a great British character actor. You would recognize

488
00:24:50,000 --> 00:24:53,119
Speaker 2: him for instance, very recognizable face. But he's been in

489
00:24:53,160 --> 00:24:57,480
Speaker 2: films such as Kroll, Brave Heart, Van Helsing and Sleepy Hollow,

490
00:24:57,560 --> 00:25:00,880
Speaker 2: The Double There and tons of TV were And he's

491
00:25:00,920 --> 00:25:03,119
Speaker 2: great in this because he plays the I mean, this

492
00:25:03,200 --> 00:25:05,560
Speaker 2: is a trope too. You have your problematic cop, but

493
00:25:05,600 --> 00:25:09,800
Speaker 2: then you have their just just completely enraged boss who

494
00:25:09,920 --> 00:25:11,800
Speaker 2: just can't take this guy anymore. But he's the best,

495
00:25:11,800 --> 00:25:13,639
Speaker 2: so you got to work with him. And that's what

496
00:25:13,720 --> 00:25:17,680
Speaker 2: Thrasher is. Except Thrasher manages to be like the angriest,

497
00:25:18,000 --> 00:25:23,679
Speaker 2: foulest police chief ever, like just bristling with rage. Just

498
00:25:23,680 --> 00:25:26,800
Speaker 2: his face, his kind of already gargoylish face is just

499
00:25:26,920 --> 00:25:32,200
Speaker 2: twisted with anger and just resentment of Stone. And he

500
00:25:32,560 --> 00:25:34,679
Speaker 2: also has I love his hair in this because he

501
00:25:34,720 --> 00:25:37,680
Speaker 2: has this great dying widow's peak, you know where it's

502
00:25:37,720 --> 00:25:39,359
Speaker 2: like it used to be a widow's peak and now

503
00:25:39,359 --> 00:25:42,720
Speaker 2: it's barely anything, and it somehow elevates the character to

504
00:25:42,760 --> 00:25:46,200
Speaker 2: an even greater level of just again, just such visceral

505
00:25:46,480 --> 00:25:48,320
Speaker 2: hate in every breath he takes.

506
00:25:48,640 --> 00:25:50,919
Speaker 3: At the British casting office, they were like, get me

507
00:25:51,000 --> 00:25:54,560
Speaker 3: the actor who's every breath says you're off the force.

508
00:25:54,680 --> 00:25:55,800
Speaker 3: Here's your new partner.

509
00:25:56,040 --> 00:25:58,920
Speaker 2: Yes, except louder and more intense.

510
00:25:59,119 --> 00:26:01,280
Speaker 3: Yeah, because some expletives in there.

511
00:26:01,440 --> 00:26:03,480
Speaker 2: Yeah. So he's wonderful in this and he has some

512
00:26:03,800 --> 00:26:07,480
Speaker 2: great scenes. Now the next actor of note sadly doesn't

513
00:26:07,480 --> 00:26:10,639
Speaker 2: really have any great scenes but is just by all accounts,

514
00:26:11,480 --> 00:26:15,840
Speaker 2: was a tremendous actor, Pete Posselthwaite, who lived from nineteen

515
00:26:15,880 --> 00:26:17,520
Speaker 2: forty six through twenty eleven.

516
00:26:18,560 --> 00:26:19,360
Speaker 3: I love Pete.

517
00:26:19,520 --> 00:26:22,600
Speaker 2: Yeah, so if you don't recognize the name, look him up.

518
00:26:22,600 --> 00:26:27,320
Speaker 2: You recognize the face. Tremendous English actor with instantly recognizable

519
00:26:27,359 --> 00:26:30,280
Speaker 2: from such films as Alien three, in the Name of

520
00:26:30,320 --> 00:26:35,240
Speaker 2: the Father, Amistad, The Sharp Films, The Lost World, Jurassic Park.

521
00:26:35,280 --> 00:26:37,520
Speaker 2: I believe he was the big game hunter character in that.

522
00:26:37,960 --> 00:26:39,840
Speaker 3: Yep, yep, he was yep.

523
00:26:39,960 --> 00:26:42,800
Speaker 2: Great look, great actor. Again, not much of a role

524
00:26:42,840 --> 00:26:46,240
Speaker 2: for him in this, but but you know, he's great

525
00:26:46,240 --> 00:26:48,840
Speaker 2: in so many other things. We have to point him out.

526
00:26:49,160 --> 00:26:51,800
Speaker 3: Well, most of the parts in this movie are sort

527
00:26:51,840 --> 00:26:56,879
Speaker 3: of underwritten compared to the main two cops. Yeah, but

528
00:26:57,080 --> 00:26:59,560
Speaker 3: the cast members really do shine through, like you were

529
00:26:59,600 --> 00:27:02,800
Speaker 3: saying with with Kim Cattrol and Alan Armstrong, they all

530
00:27:02,840 --> 00:27:03,919
Speaker 3: kind of bring you to attention.

531
00:27:04,800 --> 00:27:09,080
Speaker 2: Now, one interesting thing about Pustlethwaite in this is that

532
00:27:09,280 --> 00:27:11,080
Speaker 2: he's a guy who largely kept out of the spotlight,

533
00:27:11,080 --> 00:27:14,520
Speaker 2: but he was passionate about various causes, including anti war

534
00:27:14,600 --> 00:27:18,880
Speaker 2: protests and environmentalism, which is which is interesting given the

535
00:27:19,119 --> 00:27:21,840
Speaker 2: environmental I don't want to say theme of this film,

536
00:27:21,840 --> 00:27:25,720
Speaker 2: but like mild sprinkling to the plot. Because he starred

537
00:27:25,760 --> 00:27:27,639
Speaker 2: in a film in two thousand and nine titled The

538
00:27:27,680 --> 00:27:31,040
Speaker 2: Age of Stupid, in which quote a failed archivist looks

539
00:27:31,040 --> 00:27:33,640
Speaker 2: at old footage from the year two thousand and eight,

540
00:27:34,040 --> 00:27:38,200
Speaker 2: to understand why humankind failed to address climate change. So

541
00:27:38,400 --> 00:27:41,879
Speaker 2: basically it's a documentary and at some point in making

542
00:27:41,920 --> 00:27:44,000
Speaker 2: the film, they decided they wanted to add a like

543
00:27:44,040 --> 00:27:46,920
Speaker 2: a fictional narrative structure to it, where it's like somebody

544
00:27:46,960 --> 00:27:50,120
Speaker 2: from the future looking back on today. And they reached

545
00:27:50,160 --> 00:27:51,639
Speaker 2: out to him because they knew he was great and

546
00:27:51,680 --> 00:27:54,159
Speaker 2: they knew that he was interested in these causes, and

547
00:27:54,200 --> 00:27:57,200
Speaker 2: he ended up signing up for it, and it allowed

548
00:27:57,200 --> 00:27:59,680
Speaker 2: the film to just to reach a lot more theaters

549
00:27:59,680 --> 00:28:02,600
Speaker 2: and to really reach far more people with its message.

550
00:28:02,600 --> 00:28:05,280
Speaker 2: So it's a documentary but has a sci fi narrative structure.

551
00:28:05,680 --> 00:28:08,560
Speaker 3: Interesting. Now, there's another character in this movie that is

552
00:28:08,840 --> 00:28:11,080
Speaker 3: very weird, but we don't get to until like the

553
00:28:11,160 --> 00:28:13,320
Speaker 3: last ten to fifteen minutes of the movie.

554
00:28:13,720 --> 00:28:16,560
Speaker 2: Yeah, Like I kept thinking, did I miss Michael J.

555
00:28:16,680 --> 00:28:19,080
Speaker 2: Pollard Because Michael J. Pollard who is in this He

556
00:28:19,080 --> 00:28:23,240
Speaker 2: plays this rat catcher character and it's a very small role,

557
00:28:23,440 --> 00:28:27,480
Speaker 2: but he has a very fun scene with our detectives. Now. Pollard,

558
00:28:27,600 --> 00:28:32,200
Speaker 2: American actor, lived thirty nine through twenty nineteen, probably best

559
00:28:32,240 --> 00:28:34,600
Speaker 2: well known for his one of his earlier roles in

560
00:28:34,720 --> 00:28:37,199
Speaker 2: Bonnie and Clyde Well I say, earlier roles. But he

561
00:28:37,240 --> 00:28:39,280
Speaker 2: also was in a lot of TV stuff before that,

562
00:28:39,400 --> 00:28:42,920
Speaker 2: like Andy Griffith's show, Classic Star Trek, Albert Hitchcock Presents.

563
00:28:42,920 --> 00:28:45,040
Speaker 2: But he was in sixty seven's Bonnie and Clyde.

564
00:28:45,080 --> 00:28:47,120
Speaker 3: Is that's the one with Warren Bady.

565
00:28:47,440 --> 00:28:51,320
Speaker 2: Yeah, Faye Dunaway, Yeah, yeah, the Bonnie and Clyde. Yeah.

566
00:28:51,800 --> 00:28:53,840
Speaker 2: It's been a long time since I've seen that, but

567
00:28:53,840 --> 00:28:56,800
Speaker 2: I can picture it like I remember his character Pollard was.

568
00:28:56,800 --> 00:28:58,680
Speaker 2: Also he was in a bunch of stuff, but you

569
00:28:58,760 --> 00:29:03,160
Speaker 2: might recognize him from Scrooged. He was in Roxanne in

570
00:29:03,240 --> 00:29:07,040
Speaker 2: nineteen eighty seven, and some listeners to Weird House especially

571
00:29:07,160 --> 00:29:10,480
Speaker 2: might remember him from Rob Zombie's House of a Thousand Corpses.

572
00:29:11,240 --> 00:29:14,120
Speaker 2: He was also, like a lot of actors of that generation,

573
00:29:14,160 --> 00:29:16,080
Speaker 2: he showed up on Tales from the Crypt in an

574
00:29:16,120 --> 00:29:18,720
Speaker 2: episode titled Came the Dawn. So he was in a

575
00:29:18,760 --> 00:29:22,240
Speaker 2: lot of stuff. Always good, all right, Just a couple

576
00:29:22,240 --> 00:29:24,880
Speaker 2: of more two small acting roles of note here. Ian

577
00:29:25,000 --> 00:29:28,520
Speaker 2: Durry plays his character JJ, very small part. But this

578
00:29:28,560 --> 00:29:30,720
Speaker 2: is Ian Durry of the Blockheads, and he was part

579
00:29:30,720 --> 00:29:33,040
Speaker 2: of the new wave in post punk scene. Lived forty

580
00:29:33,040 --> 00:29:35,719
Speaker 2: two through two thousand. I don't really know him or

581
00:29:35,720 --> 00:29:38,080
Speaker 2: his work, but as a fun Easter egg, I imagine

582
00:29:38,080 --> 00:29:40,080
Speaker 2: for some of you music fans out there.

583
00:29:40,200 --> 00:29:42,240
Speaker 3: I don't remember who JJ was in the movie.

584
00:29:42,280 --> 00:29:44,760
Speaker 2: I think I'm like thirty five percent sure he was

585
00:29:44,840 --> 00:29:48,640
Speaker 2: the bartender, but I don't remember. I just know he's

586
00:29:48,640 --> 00:29:52,280
Speaker 2: in it. And then there's this also, this character in

587
00:29:52,320 --> 00:29:55,040
Speaker 2: it named Pat O'Donnell, played by an actor by the

588
00:29:55,120 --> 00:29:59,720
Speaker 2: name of Tony Steadman or Steedman, I'm not sure, but

589
00:30:00,160 --> 00:30:02,640
Speaker 2: this is an English character actor who played Socrates and

590
00:30:02,720 --> 00:30:06,400
Speaker 2: Bill and Ted. Oh. Okay, yeah, so in this he's

591
00:30:06,440 --> 00:30:08,760
Speaker 2: just the guy who checks out weapons at the London

592
00:30:08,760 --> 00:30:09,480
Speaker 2: police Department.

593
00:30:09,680 --> 00:30:11,600
Speaker 3: Well, actually all he does is he says like, no,

594
00:30:11,720 --> 00:30:13,760
Speaker 3: you can't have that, and then they grab it behind

595
00:30:13,760 --> 00:30:14,200
Speaker 3: his back.

596
00:30:14,320 --> 00:30:16,400
Speaker 2: Yeah. He's like that gun's too big and they're like, no,

597
00:30:17,080 --> 00:30:17,880
Speaker 2: we're taking it.

598
00:30:17,920 --> 00:30:18,840
Speaker 3: We need big guns.

599
00:30:18,920 --> 00:30:20,600
Speaker 2: He's like, all right, I did what I what I could.

600
00:30:21,880 --> 00:30:24,520
Speaker 2: Now getting into some of the other people involved in this.

601
00:30:24,520 --> 00:30:27,200
Speaker 2: This is also pretty interesting because you listen to the

602
00:30:27,280 --> 00:30:31,080
Speaker 2: musical score in this film, and it's from my point

603
00:30:31,080 --> 00:30:33,520
Speaker 2: of view, it's not bad. It's it's at least not

604
00:30:33,760 --> 00:30:38,320
Speaker 2: you know, classical piano, but it's it's you know, it's

605
00:30:38,440 --> 00:30:40,480
Speaker 2: ultimately kind of lukewarm. It has kind of like hell

606
00:30:40,560 --> 00:30:46,440
Speaker 2: razorily hell Hell razory synth corals at times. You know,

607
00:30:46,480 --> 00:30:49,360
Speaker 2: it's got some synth drums and so forth. So it

608
00:30:49,440 --> 00:30:52,520
Speaker 2: works for me. I never hated it, but he's interesting

609
00:30:52,600 --> 00:30:54,040
Speaker 2: considering what might have been.

610
00:30:54,400 --> 00:30:56,880
Speaker 3: Oh that's right now, how did you come across this

611
00:30:56,960 --> 00:30:59,000
Speaker 3: next fact? Give me the story?

612
00:30:59,320 --> 00:31:01,360
Speaker 2: Well, there's not much story, Like a lot of these things.

613
00:31:01,440 --> 00:31:03,880
Speaker 2: I think I was just reading IMDb too much. And

614
00:31:04,720 --> 00:31:09,920
Speaker 2: it was noted that the filmmakers actually rejected the original score,

615
00:31:10,360 --> 00:31:13,520
Speaker 2: which was composed by the legendary Wendy Carlos.

616
00:31:13,680 --> 00:31:16,160
Speaker 3: How could you reject a Wendy Carlos score?

617
00:31:16,560 --> 00:31:22,080
Speaker 2: Yeah, I mean Wendy Carlos is a legend basically twofold.

618
00:31:22,200 --> 00:31:25,000
Speaker 2: On one hand, she wrote the scores for this like

619
00:31:25,040 --> 00:31:29,640
Speaker 2: the Shining Tron a clockwork Orange, but also just in general,

620
00:31:29,720 --> 00:31:32,160
Speaker 2: she's a true pioneer of electronic music and the use

621
00:31:32,200 --> 00:31:35,280
Speaker 2: of the synthesizer. Yeah, Andy, as we touched on on

622
00:31:35,280 --> 00:31:37,200
Speaker 2: stuff to blow your mind before. She's also a great

623
00:31:37,200 --> 00:31:39,240
Speaker 2: solar photographer. So how could you say no?

624
00:31:39,600 --> 00:31:41,880
Speaker 3: Yeah, it's crazy? So the yeah, the score. They ended

625
00:31:41,960 --> 00:31:44,280
Speaker 3: up going with I feel like it is extremely generic.

626
00:31:44,760 --> 00:31:48,160
Speaker 3: It's just doo doo don don doo doo dun is

627
00:31:48,160 --> 00:31:52,920
Speaker 3: a standard ominous future drums and drone. And I went

628
00:31:53,040 --> 00:31:56,160
Speaker 3: and I looked up some clips because you provided a link.

629
00:31:56,200 --> 00:31:59,840
Speaker 3: There's like an AllMusic page where Wendy Carlos at some

630
00:32:00,280 --> 00:32:05,160
Speaker 3: point released a collection of lost or themes from movies,

631
00:32:05,200 --> 00:32:08,680
Speaker 3: including a couple of things she composed for this movie

632
00:32:08,680 --> 00:32:11,440
Speaker 3: that never actually made it into the film. The two

633
00:32:11,480 --> 00:32:14,680
Speaker 3: tracks here are Visit to a Morgue and Return to

634
00:32:14,720 --> 00:32:17,160
Speaker 3: the Morgue, which I thought was funny, but I checked

635
00:32:17,200 --> 00:32:19,720
Speaker 3: them out, and having heard both side by side, I'm

636
00:32:19,800 --> 00:32:22,960
Speaker 3: certain her complete score would have been one hundred times better.

637
00:32:23,440 --> 00:32:25,680
Speaker 2: Absolutely. I listened it to these tracks as well, and

638
00:32:26,040 --> 00:32:28,280
Speaker 2: I think they sound great. I'd love it to hear

639
00:32:28,320 --> 00:32:30,760
Speaker 2: the whole thing. If you want to listen to these tracks.

640
00:32:30,800 --> 00:32:33,960
Speaker 2: The album to look up is Rediscovering Lost Scores, Volume two.

641
00:32:34,320 --> 00:32:36,240
Speaker 2: I'll try to include a link to it on the

642
00:32:37,280 --> 00:32:40,520
Speaker 2: post I do for this episode at samoodimusic dot com.

643
00:32:40,520 --> 00:32:44,160
Speaker 2: But yeah, it's quite good. Sadly, I don't think you

644
00:32:44,160 --> 00:32:45,600
Speaker 2: can find this on Spotify right now.

645
00:32:45,920 --> 00:32:48,120
Speaker 3: Wendy Carlos is still alive. I don't know if she's

646
00:32:48,160 --> 00:32:51,320
Speaker 3: composing anymore, but filmmakers out there, if you have the

647
00:32:51,360 --> 00:32:53,880
Speaker 3: opportunity to get a Wendy Carlos score in your movie,

648
00:32:53,960 --> 00:32:54,920
Speaker 3: don't pass it up.

649
00:32:55,520 --> 00:32:58,720
Speaker 2: Now. One last interesting individual involved in the creation of

650
00:32:58,760 --> 00:33:02,719
Speaker 2: Split Second, Stephen Norrington was involved in the creature design.

651
00:33:03,400 --> 00:33:05,760
Speaker 2: So some of you might recognize the name. This is

652
00:33:05,840 --> 00:33:09,360
Speaker 2: London born effects makeup artist who worked on such films

653
00:33:09,400 --> 00:33:14,680
Speaker 2: as Aliens, Young Sherlock Holmes, Hardware, Alien Three, Jim Henson's

654
00:33:14,720 --> 00:33:17,960
Speaker 2: The Storyteller, and then he would go on from this

655
00:33:18,080 --> 00:33:20,920
Speaker 2: to direct a film titled Death Machine with Brad Doriff

656
00:33:21,000 --> 00:33:24,680
Speaker 2: and Richard Brake. Before I think any I don't think

657
00:33:24,720 --> 00:33:26,520
Speaker 2: I knew who Richard Brake was at that time, but

658
00:33:26,520 --> 00:33:29,479
Speaker 2: he's since gone on to make a name for himself

659
00:33:29,520 --> 00:33:35,400
Speaker 2: as a as a reliable, intimidating character actor. But he

660
00:33:35,480 --> 00:33:42,160
Speaker 2: followed this film up Norrington did, directing nineteen ninety eight's Blade,

661
00:33:41,880 --> 00:33:46,600
Speaker 2: the film that started all of the Marvel Cinematic universe, starring,

662
00:33:46,640 --> 00:33:48,120
Speaker 2: of course, Wesley Snipes.

663
00:33:48,440 --> 00:33:51,720
Speaker 3: Now, I know you're kind of a bladehead, and the

664
00:33:51,840 --> 00:33:56,120
Speaker 3: only I think I've only seen the original Blade once

665
00:33:56,320 --> 00:33:58,920
Speaker 3: many many years ago, like in middle school, and that's

666
00:33:59,120 --> 00:34:00,120
Speaker 3: that's about all I know.

667
00:34:00,760 --> 00:34:02,840
Speaker 2: Oh, well, you need to see it again because it

668
00:34:03,040 --> 00:34:05,600
Speaker 2: absolutely holds up. I do remember.

669
00:34:05,840 --> 00:34:08,239
Speaker 3: I remember a lot of gross scenes where they're like

670
00:34:08,440 --> 00:34:11,160
Speaker 3: they're like shining a flashlight on a on a big

671
00:34:11,200 --> 00:34:13,960
Speaker 3: fat vampire to like burn his skin and make him talk.

672
00:34:14,440 --> 00:34:18,319
Speaker 2: Yep, yep that happened. Yeah, that that's that's a fun thing.

673
00:34:18,320 --> 00:34:21,399
Speaker 2: I love the first two Blade movies, and and that

674
00:34:21,560 --> 00:34:24,839
Speaker 2: was that was Norton here. But from there he went

675
00:34:24,880 --> 00:34:26,520
Speaker 2: on to make a film title The Last Minute that

676
00:34:26,520 --> 00:34:29,279
Speaker 2: I don't know anything about, and then the film that

677
00:34:29,360 --> 00:34:32,080
Speaker 2: caused him to I think peace out on directing entirely,

678
00:34:32,560 --> 00:34:36,839
Speaker 2: The League of Extraordinary Gentlemen. But I believe you guys

679
00:34:36,880 --> 00:34:39,279
Speaker 2: continued to work in effects in other areas of filmmaking.

680
00:34:39,640 --> 00:34:42,200
Speaker 3: I never saw that one, but it is notorious. I

681
00:34:42,280 --> 00:34:46,120
Speaker 3: remember the day that my friends had been out and

682
00:34:46,160 --> 00:34:48,400
Speaker 3: seen it earlier in the day, and then I was

683
00:34:48,440 --> 00:34:50,319
Speaker 3: hanging out with them later in the day and they

684
00:34:50,360 --> 00:34:52,759
Speaker 3: could not stop talking about how awful. It was.

685
00:34:53,480 --> 00:34:55,960
Speaker 2: Yeah, I never saw it. I read the graphic novels

686
00:34:55,960 --> 00:34:58,440
Speaker 2: by Alan Moore and love those, and it has so

687
00:34:58,520 --> 00:35:02,759
Speaker 2: many tremendous actors in it. But yeah, it was. It

688
00:35:02,800 --> 00:35:06,239
Speaker 2: was apparently no fun for anybody that was involved in

689
00:35:06,239 --> 00:35:10,160
Speaker 2: it or solid. But you know, this brings me to

690
00:35:10,200 --> 00:35:11,920
Speaker 2: a good point that I feel like we need to,

691
00:35:12,200 --> 00:35:13,920
Speaker 2: you know, make sure we hammer home every now and then.

692
00:35:14,040 --> 00:35:17,320
Speaker 2: Is that, you know, between Norrington's case and Meleem's experiences

693
00:35:17,360 --> 00:35:19,560
Speaker 2: that we mentioned earlier, I think it's always worth reminding

694
00:35:19,560 --> 00:35:23,719
Speaker 2: ourselves that it's an endeavor for any motion picture to

695
00:35:23,760 --> 00:35:26,080
Speaker 2: be made, and it's ultimately kind of a minor miracle

696
00:35:26,160 --> 00:35:30,280
Speaker 2: that any creative process of the scope actually reaches completion,

697
00:35:31,000 --> 00:35:33,879
Speaker 2: and the stresses of creative projects like this are very real.

698
00:35:34,000 --> 00:35:37,279
Speaker 2: So you know, it's you know, it's surprising you don't

699
00:35:37,280 --> 00:35:39,439
Speaker 2: see more pictures where people you just have to step

700
00:35:39,440 --> 00:35:40,719
Speaker 2: away from it because it's too much.

701
00:35:41,040 --> 00:35:43,879
Speaker 3: Yeah, it's one of the kind of beautiful things about

702
00:35:43,920 --> 00:35:47,360
Speaker 3: B cinema, emphasized in even in great movies like the

703
00:35:47,360 --> 00:35:50,600
Speaker 3: movie ed Wood about the actual director ed Wood, that

704
00:35:50,880 --> 00:35:54,040
Speaker 3: B movies, to whatever extent they succeed or fail, can

705
00:35:54,160 --> 00:35:57,680
Speaker 3: often be funny, but it's also it's kind of it's

706
00:35:57,760 --> 00:35:59,520
Speaker 3: kind of magical that they get made at all.

707
00:36:01,560 --> 00:36:05,120
Speaker 2: All right, well, let's get into the movie itself. This

708
00:36:05,160 --> 00:36:09,040
Speaker 2: one starts out with an opening scroll and opening some

709
00:36:09,080 --> 00:36:11,479
Speaker 2: text to read, which I always like because I feel

710
00:36:11,520 --> 00:36:14,080
Speaker 2: like that way time travelers from the early days of

711
00:36:14,120 --> 00:36:16,840
Speaker 2: cinema won't be instantly out of place when they go

712
00:36:16,880 --> 00:36:19,360
Speaker 2: to the movie theater. You know, it's going to be

713
00:36:19,360 --> 00:36:21,120
Speaker 2: a talkie, it's going to be a lot, but it's

714
00:36:21,160 --> 00:36:23,279
Speaker 2: going to start off the old fashioned way with some

715
00:36:23,480 --> 00:36:24,880
Speaker 2: words on a screen and.

716
00:36:25,239 --> 00:36:27,720
Speaker 3: A guy playing the piano in the side of the theater.

717
00:36:29,239 --> 00:36:33,880
Speaker 2: Yeah. Basically, the opening scroll is after forty days and

718
00:36:34,000 --> 00:36:37,200
Speaker 2: nights of torrential rain, the city is largely submerged below water,

719
00:36:37,560 --> 00:36:40,360
Speaker 2: a result of the devastating effects of continued global warming.

720
00:36:40,760 --> 00:36:43,680
Speaker 2: The warnings ignored for decades have now resulted in undreamed

721
00:36:43,719 --> 00:36:47,399
Speaker 2: of levels of pollution where day has become almost endless night.

722
00:36:48,120 --> 00:36:50,200
Speaker 3: You know, I'll have to check, but I do not

723
00:36:50,360 --> 00:36:53,400
Speaker 3: recall endless night being one of the one of the

724
00:36:53,440 --> 00:36:55,760
Speaker 3: proposed consequences of a warming climate.

725
00:36:57,000 --> 00:37:03,000
Speaker 2: No, that's day for night sometimes. Now, yeah, this one this,

726
00:37:03,120 --> 00:37:05,400
Speaker 2: And also it also brings up the idea that it

727
00:37:05,480 --> 00:37:08,200
Speaker 2: was just it recently rained a lot, which also seems

728
00:37:08,239 --> 00:37:09,520
Speaker 2: out of keep. Like I thought it was just the

729
00:37:09,520 --> 00:37:11,880
Speaker 2: fact that London is pretty flooded. These days because of

730
00:37:12,200 --> 00:37:16,960
Speaker 2: rising yah, you know, rising sea levels, but also some

731
00:37:17,000 --> 00:37:19,640
Speaker 2: other like sinking issues that have been going on with

732
00:37:19,680 --> 00:37:21,080
Speaker 2: the city for some time. Yeah.

733
00:37:21,120 --> 00:37:24,200
Speaker 3: Well, so they start while they're showing this text crawl

734
00:37:24,280 --> 00:37:27,319
Speaker 3: like the Star Wars thing. Instead of a starfield, it's

735
00:37:27,400 --> 00:37:30,960
Speaker 3: panning over an aerial shot of a flooded London with

736
00:37:31,080 --> 00:37:34,799
Speaker 3: a kind of sinister tangerine sun flaring in the background.

737
00:37:35,360 --> 00:37:38,759
Speaker 3: And it's brighter in that opening panning shot than it

738
00:37:38,840 --> 00:37:41,800
Speaker 3: is at any other point in the movie. True, true,

739
00:37:42,080 --> 00:37:44,360
Speaker 3: But I did find myself wondering how did they achieve

740
00:37:44,440 --> 00:37:47,920
Speaker 3: this shot because it does actually look like an aerial

741
00:37:47,960 --> 00:37:50,440
Speaker 3: shot of London and it does actually look flooded.

742
00:37:50,880 --> 00:37:52,920
Speaker 2: Yeah, there are details you see, especially as they sort

743
00:37:52,920 --> 00:37:54,400
Speaker 2: of re use this footage later in the film. You

744
00:37:54,400 --> 00:37:56,239
Speaker 2: can see like, oh yeah, that's that looks like a

745
00:37:56,320 --> 00:37:58,520
Speaker 2: lake over here. And you know they didn't do it digitally.

746
00:37:58,520 --> 00:37:59,480
Speaker 2: This is nineteen ninety one.

747
00:37:59,600 --> 00:38:01,560
Speaker 3: Yeah, so was wondering what was going on there? I mean,

748
00:38:01,960 --> 00:38:05,160
Speaker 3: did they did London actually flood at some point and

749
00:38:05,200 --> 00:38:07,760
Speaker 3: this was real footage of it that they digitally altered

750
00:38:07,800 --> 00:38:09,520
Speaker 3: somehow I don't know.

751
00:38:09,640 --> 00:38:12,479
Speaker 2: But it's convincing. It does set the stage and again

752
00:38:12,800 --> 00:38:15,680
Speaker 2: let the city that the city is just a flooded

753
00:38:15,760 --> 00:38:18,120
Speaker 2: mess throughout this entire picture. You buy it completely. It's

754
00:38:18,120 --> 00:38:20,280
Speaker 2: not like they just give you this bit of world

755
00:38:20,280 --> 00:38:22,839
Speaker 2: building and then that it's is ignored for the rest

756
00:38:22,840 --> 00:38:25,360
Speaker 2: of the film. No, It's present in virtually every shot.

757
00:38:26,480 --> 00:38:29,360
Speaker 3: And one thing I like is that before you see

758
00:38:29,400 --> 00:38:31,960
Speaker 3: the title of the movie, you just see Rutger Hower

759
00:38:32,200 --> 00:38:33,600
Speaker 3: red letters.

760
00:38:33,440 --> 00:38:34,120
Speaker 2: As it should be.

761
00:38:34,440 --> 00:38:36,840
Speaker 3: Yeah, but then when the when the title of the

762
00:38:36,880 --> 00:38:38,720
Speaker 3: movie comes up, it looks really funny.

763
00:38:39,200 --> 00:38:41,160
Speaker 2: Yeah, for a film with such a strong sense of

764
00:38:41,160 --> 00:38:43,959
Speaker 2: its own aesthetics, the title card just looks really dumb.

765
00:38:44,000 --> 00:38:46,960
Speaker 2: The letters are like these big blue balloons, like they're

766
00:38:47,120 --> 00:38:49,640
Speaker 2: should be floating in the sky of a Mario Brothers level.

767
00:38:49,880 --> 00:38:53,080
Speaker 3: Yes, yes, and it's so it's it says split second.

768
00:38:53,160 --> 00:38:55,600
Speaker 3: But I was experienced a kind of I was seeing

769
00:38:55,600 --> 00:38:59,120
Speaker 3: a kind of selective dyslexic effect where it was hard

770
00:38:59,120 --> 00:39:01,800
Speaker 3: for me to not see the title as spilt second.

771
00:39:02,960 --> 00:39:06,000
Speaker 3: And then also because of the way the L and

772
00:39:06,040 --> 00:39:09,920
Speaker 3: the capital I come together sput second, kind of like

773
00:39:09,960 --> 00:39:14,680
Speaker 3: the celebrity Jeopardy for and Flicks problem. And I've just

774
00:39:14,760 --> 00:39:18,200
Speaker 3: now wondered for the first time, what is the significance

775
00:39:18,200 --> 00:39:20,200
Speaker 3: of the title split second.

776
00:39:21,200 --> 00:39:24,120
Speaker 2: I don't think it has any significance at all other

777
00:39:24,200 --> 00:39:29,000
Speaker 2: than it just implies a pacing that is largely backed

778
00:39:29,040 --> 00:39:31,760
Speaker 2: up by the picture. You know, stuff is just happening,

779
00:39:31,800 --> 00:39:35,080
Speaker 2: and characters are especially stone. It just has a gut

780
00:39:35,160 --> 00:39:39,040
Speaker 2: level response to everything. So I guess that's the extent

781
00:39:39,080 --> 00:39:39,239
Speaker 2: of it.

782
00:39:39,480 --> 00:39:43,160
Speaker 3: Yeah, the movie might as well be called exciting exciting.

783
00:39:43,280 --> 00:39:48,239
Speaker 2: Yeah, so yeah, they didn't take long for hud or

784
00:39:48,239 --> 00:39:49,960
Speaker 2: Howard to pop up. He has a lot of screen

785
00:39:50,000 --> 00:39:52,399
Speaker 2: time in this and the first I think we see

786
00:39:52,400 --> 00:39:55,760
Speaker 2: of him is he's walking up in leather, scratching his groin,

787
00:39:55,880 --> 00:39:58,200
Speaker 2: putting on a pair of shades. He's got a big

788
00:39:58,200 --> 00:40:02,480
Speaker 2: old gun. And then then shortly thereafter my favorite, one

789
00:40:02,520 --> 00:40:05,799
Speaker 2: of my favorite sequences in the film, he lights his

790
00:40:05,840 --> 00:40:09,200
Speaker 2: cigar with a blowtorch, then gets out of his vehicle

791
00:40:09,680 --> 00:40:12,600
Speaker 2: calls a dog a dickhead on his way into a

792
00:40:12,600 --> 00:40:15,719
Speaker 2: grimy nightclub. For some reason, it's just so it's such

793
00:40:15,719 --> 00:40:18,120
Speaker 2: a funny scene. Like when I saw that scene the

794
00:40:18,120 --> 00:40:19,640
Speaker 2: first time I watched the film, I was like, oh

795
00:40:19,640 --> 00:40:21,480
Speaker 2: my god, I'm watching all of this.

796
00:40:21,840 --> 00:40:24,600
Speaker 3: I'm in Before he even gets in the car, we

797
00:40:24,719 --> 00:40:28,200
Speaker 3: just get this corridor advancing scene. This is our introduction

798
00:40:28,400 --> 00:40:32,000
Speaker 3: to our protagonist, and god his costume. So he's got

799
00:40:32,000 --> 00:40:36,120
Speaker 3: the sci fi stomper boots. I guess these are actual

800
00:40:36,200 --> 00:40:38,120
Speaker 3: all weather boots of some kind. I don't know what

801
00:40:38,160 --> 00:40:39,680
Speaker 3: they're called, but they're the ones with a bunch of

802
00:40:39,680 --> 00:40:43,400
Speaker 3: straps and buckles poking out all over the place. And

803
00:40:43,440 --> 00:40:46,759
Speaker 3: then we get holster vision, like an extreme close up

804
00:40:46,800 --> 00:40:49,560
Speaker 3: of all his different holsters and the guns in them.

805
00:40:49,800 --> 00:40:52,920
Speaker 3: Of course, he's wearing a long coat, right, klflinth coat,

806
00:40:53,080 --> 00:40:55,480
Speaker 3: because hey, how else are they going to know that

807
00:40:55,520 --> 00:40:56,040
Speaker 3: you're bad?

808
00:40:56,719 --> 00:40:59,920
Speaker 2: Yeah, despite it being like really humid looking in this city.

809
00:41:00,160 --> 00:41:03,080
Speaker 2: I don't know, it just seems like the smells, I

810
00:41:03,080 --> 00:41:03,360
Speaker 2: don't know.

811
00:41:03,640 --> 00:41:05,399
Speaker 3: You would not want to wear that coat, I don't think.

812
00:41:06,360 --> 00:41:09,319
Speaker 3: And then and then he's wearing just plastic pants with

813
00:41:09,480 --> 00:41:13,000
Speaker 3: a gut stabber silver belt buckle. It looks like if

814
00:41:13,000 --> 00:41:15,120
Speaker 3: he bends over to tie his shoes it's going to

815
00:41:15,200 --> 00:41:17,879
Speaker 3: cause internal bleeding and is large intestine.

816
00:41:18,280 --> 00:41:21,600
Speaker 2: Yeah yeah, And you don't get the sense that he's

817
00:41:21,760 --> 00:41:24,200
Speaker 2: purchased any new This character has not purchased any new

818
00:41:24,239 --> 00:41:26,120
Speaker 2: clothing since he's let himself go, you.

819
00:41:26,040 --> 00:41:31,000
Speaker 3: Know, right, exactly sunglasses with tiny frames like the beady

820
00:41:31,040 --> 00:41:33,760
Speaker 3: little circular frames that are about the size of a quarter,

821
00:41:35,160 --> 00:41:37,960
Speaker 3: like they simultaneously like they kind of look cool but

822
00:41:38,040 --> 00:41:42,240
Speaker 3: it's also funny. Yeah. And cigar in his mouth at

823
00:41:42,280 --> 00:41:47,640
Speaker 3: all times, just pathological oral fixation. It never leaves his lips.

824
00:41:47,560 --> 00:41:51,040
Speaker 2: Yeap constantly, just a halo of smoke around his head.

825
00:41:51,400 --> 00:41:53,520
Speaker 3: Uh huh. So in a way, he's kind of a

826
00:41:53,640 --> 00:41:55,560
Speaker 3: dystopian sci fi pouci.

827
00:41:56,400 --> 00:41:59,080
Speaker 2: Yeah. Yeah, but but again is rugger Hower, and he

828
00:41:59,440 --> 00:42:02,080
Speaker 2: manages to strike that balance where it you know, you

829
00:42:02,800 --> 00:42:04,920
Speaker 2: in any given scene, you're either buying into the coolness

830
00:42:05,000 --> 00:42:07,520
Speaker 2: or noticing again the wink in his performance and or

831
00:42:07,560 --> 00:42:08,040
Speaker 2: the writing.

832
00:42:08,680 --> 00:42:10,279
Speaker 3: So here's a question I don't know if you have

833
00:42:10,320 --> 00:42:12,600
Speaker 3: an answer to. Maybe if you don't, maybe the listeners

834
00:42:12,640 --> 00:42:16,120
Speaker 3: can add some input. Where does the long coats as

835
00:42:16,280 --> 00:42:19,360
Speaker 3: cool thing come from? In movies where you got a

836
00:42:19,440 --> 00:42:22,799
Speaker 3: character who's just a real like a just bad to

837
00:42:22,840 --> 00:42:25,880
Speaker 3: the bone, he's got to wear like a calf length coat.

838
00:42:26,320 --> 00:42:28,239
Speaker 2: That's a great question. I don't know, But it's it's

839
00:42:28,239 --> 00:42:30,719
Speaker 2: been around for a while at this point. It doesn't

840
00:42:30,760 --> 00:42:32,680
Speaker 2: seem to be going away anytime soon.

841
00:42:32,880 --> 00:42:35,280
Speaker 3: Like it was already in place at this time, really

842
00:42:35,320 --> 00:42:39,560
Speaker 3: realized in Matrix Chic. But yeah, but this was way

843
00:42:39,600 --> 00:42:43,040
Speaker 3: before that, and it was definitely in movies even before this.

844
00:42:43,719 --> 00:42:45,640
Speaker 2: Yeah, I don't have an answer for that. Maybe that's

845
00:42:45,640 --> 00:42:48,840
Speaker 2: one we can our listeners will have some insight on.

846
00:42:49,239 --> 00:42:53,000
Speaker 3: Yeah, okay. Oh and also this movie is if anybody

847
00:42:53,120 --> 00:42:56,800
Speaker 3: out there is actually like a gun owner or into

848
00:42:57,440 --> 00:43:00,000
Speaker 3: firearms safety at all, this movie will just make you

849
00:43:00,120 --> 00:43:04,279
Speaker 3: shudder because all Rutger Howard does is just walk around

850
00:43:04,480 --> 00:43:07,640
Speaker 3: swinging big guns all over the place and tossing them

851
00:43:07,680 --> 00:43:09,040
Speaker 3: around like Duffel bags.

852
00:43:09,440 --> 00:43:12,640
Speaker 2: Yeah, yeah, gesturing with them. He'll stick a gun in

853
00:43:12,680 --> 00:43:14,840
Speaker 2: your face for virtually no reason.

854
00:43:15,040 --> 00:43:16,759
Speaker 3: Yeah, just to play around, you know.

855
00:43:17,000 --> 00:43:20,000
Speaker 2: Yeah, other character, other characters to pick up on this

856
00:43:20,000 --> 00:43:23,359
Speaker 2: this recklessness and start engaging in it. And boy, there

857
00:43:23,440 --> 00:43:25,359
Speaker 2: there's some big gun Like the guns look good in this,

858
00:43:25,480 --> 00:43:29,719
Speaker 2: like the gun these are some some video game asque weapons,

859
00:43:29,760 --> 00:43:32,200
Speaker 2: you know, Like he has this pistol that just looks

860
00:43:32,239 --> 00:43:34,680
Speaker 2: like a big just sci fi cannon. And then later

861
00:43:35,160 --> 00:43:40,320
Speaker 2: these like mini gun looking combat shotgun things. It's pretty crazy.

862
00:43:40,480 --> 00:43:42,880
Speaker 3: Yeah, you're not joking about that. They literally have like

863
00:43:42,960 --> 00:43:45,680
Speaker 3: it's like a mini gun barrel so like the multiple

864
00:43:45,680 --> 00:43:48,239
Speaker 3: barrels and the rotating I don't know what you call

865
00:43:48,280 --> 00:43:51,359
Speaker 3: that piece, but like like like what Jesse Ventura has

866
00:43:51,440 --> 00:43:54,840
Speaker 3: in Predator, except it's supposed to be shotgun barrels.

867
00:43:54,920 --> 00:43:56,799
Speaker 2: Yeah, like a shotgun gatlin gun.

868
00:43:57,000 --> 00:43:59,640
Speaker 3: Yeah. And then at the very beginning, so we see

869
00:43:59,680 --> 00:44:02,320
Speaker 3: him come down the corridor showing off his cool look,

870
00:44:02,520 --> 00:44:04,960
Speaker 3: and then he gets into a jeep and drives away,

871
00:44:05,440 --> 00:44:07,319
Speaker 3: and of course we see that his car is just

872
00:44:07,360 --> 00:44:11,640
Speaker 3: a rolling sty It is full of garbage, mostly coffee

873
00:44:11,719 --> 00:44:14,560
Speaker 3: cups and the containers of sugary products.

874
00:44:14,960 --> 00:44:17,080
Speaker 2: Yeah, there's like he's a one brand guy when it

875
00:44:17,120 --> 00:44:20,040
Speaker 2: comes to these sugary things. I think maybe they're donuts

876
00:44:20,080 --> 00:44:22,920
Speaker 2: or chocolate balls. But like when we say that he

877
00:44:22,960 --> 00:44:25,040
Speaker 2: lives on a diet, like that's directly from the film

878
00:44:25,120 --> 00:44:26,880
Speaker 2: that they say that he lives on a diet of

879
00:44:27,200 --> 00:44:30,960
Speaker 2: of what caffeine, sugar and anxiety anxiety, No caffeine, no sugar,

880
00:44:31,040 --> 00:44:32,960
Speaker 2: chocolate in anxiety or is it sugar?

881
00:44:33,280 --> 00:44:36,920
Speaker 3: I think coffee sugar or sugar chocolate in anxiety?

882
00:44:36,960 --> 00:44:39,560
Speaker 2: Yeah? Maybe, yeah, yeah, I think so. And so that's

883
00:44:39,600 --> 00:44:43,080
Speaker 2: like literally if he's not smoking, and or if he's smoking,

884
00:44:43,239 --> 00:44:48,319
Speaker 2: he's also liable to be consuming chocolate and putting just

885
00:44:48,440 --> 00:44:50,200
Speaker 2: tons of sugar. Like it's a scene where he fills

886
00:44:50,280 --> 00:44:52,960
Speaker 2: up his coffee in an office and it's just like

887
00:44:53,440 --> 00:44:55,880
Speaker 2: thirty percent sugar and then the rest is coffee.

888
00:44:55,960 --> 00:44:58,120
Speaker 3: Yeah, And so he's driving around. You mentioned that he's

889
00:44:58,120 --> 00:45:00,360
Speaker 3: on his way to this filthy nightclub he's going to.

890
00:45:00,440 --> 00:45:03,480
Speaker 3: But also, for some reason at the very beginning, it's

891
00:45:03,880 --> 00:45:07,080
Speaker 3: not established why this is at all, he's being pursued

892
00:45:07,160 --> 00:45:11,000
Speaker 3: by police, so he is a police detective. But he's

893
00:45:11,040 --> 00:45:14,439
Speaker 3: also like while he's driving around, there are cops chasing him,

894
00:45:14,440 --> 00:45:19,000
Speaker 3: being like, where's Harley Stone going? Just unbeatable? Yeah, But

895
00:45:19,040 --> 00:45:20,920
Speaker 3: he ends up in this dirty night club that he

896
00:45:20,960 --> 00:45:25,240
Speaker 3: has to enter through like a corrugated aluminum sewer tunnel

897
00:45:25,280 --> 00:45:28,080
Speaker 3: that has a bunch of wet socks dangling from the walls.

898
00:45:28,120 --> 00:45:30,600
Speaker 3: And I don't know what the deal with that was.

899
00:45:30,640 --> 00:45:33,360
Speaker 3: But he goes inside. He's told there's a two drink minimum,

900
00:45:33,719 --> 00:45:37,400
Speaker 3: and he orders two coffees with extra sugar, and he

901
00:45:37,440 --> 00:45:40,080
Speaker 3: seems to be here trying to scope things out. It's

902
00:45:40,120 --> 00:45:43,000
Speaker 3: like he's got a sixth sense that there is a

903
00:45:43,480 --> 00:45:46,640
Speaker 3: that there is Duin's afoot in the club. And he's

904
00:45:46,719 --> 00:45:51,480
Speaker 3: just scoping around and eventually ends up trying to make

905
00:45:51,520 --> 00:45:53,520
Speaker 3: a phone call I think, but it's hard to understand

906
00:45:53,560 --> 00:45:55,319
Speaker 3: what he's saying on the phone because he's still got

907
00:45:55,360 --> 00:45:56,520
Speaker 3: the cigar in his mouth.

908
00:45:56,880 --> 00:45:58,440
Speaker 2: He's not here for fun though, because I don't think

909
00:45:58,480 --> 00:45:59,640
Speaker 2: Harley Stone does fun.

910
00:46:00,440 --> 00:46:02,520
Speaker 3: No, he does not go to the club to party.

911
00:46:02,560 --> 00:46:05,680
Speaker 3: He goes to the club to find the killer. Yeah,

912
00:46:05,719 --> 00:46:08,640
Speaker 3: and he's looking for somebody, I guess, the killer. But

913
00:46:08,680 --> 00:46:10,920
Speaker 3: then meanwhile there's a scream and we find that a

914
00:46:10,920 --> 00:46:15,040
Speaker 3: woman has been murdered in the bathroom. There's blood splattered everywhere,

915
00:46:15,440 --> 00:46:19,239
Speaker 3: her heart has been removed, and there is there are

916
00:46:19,280 --> 00:46:22,720
Speaker 3: the words I'm back scrawled on the mirror in blood.

917
00:46:23,440 --> 00:46:25,719
Speaker 2: Yeah. And this is one of many scenes that will

918
00:46:25,760 --> 00:46:29,320
Speaker 2: come in this film where a filthy environment is sprawled

919
00:46:29,320 --> 00:46:32,799
Speaker 2: with blood and it looks it looks great like it

920
00:46:33,080 --> 00:46:36,279
Speaker 2: this film man Like Again. The aesthetics of this film

921
00:46:36,280 --> 00:46:40,279
Speaker 2: are pretty tremendous, and there's something about like. It has

922
00:46:40,320 --> 00:46:45,319
Speaker 2: an almost erotic fixation on blood and death, and you

923
00:46:45,480 --> 00:46:48,400
Speaker 2: see the first taste of it in this scene.

924
00:46:48,239 --> 00:46:51,120
Speaker 3: And we see that Harley Stone, the character is also

925
00:46:51,239 --> 00:46:55,319
Speaker 3: fixated because he's he's not just on a case. He

926
00:46:55,520 --> 00:46:59,640
Speaker 3: is obsessed. He starts chasing down the blood trail that's

927
00:46:59,719 --> 00:47:03,120
Speaker 3: running out of the bathroom. He's freaking out. He's pointing

928
00:47:03,160 --> 00:47:06,160
Speaker 3: his gun at random people as he runs through these alleys.

929
00:47:06,600 --> 00:47:09,399
Speaker 3: Other police are trying to like join in and help him,

930
00:47:09,400 --> 00:47:11,279
Speaker 3: I think, but he's screaming at them to get out

931
00:47:11,320 --> 00:47:13,640
Speaker 3: of his way. And here I believe we have a

932
00:47:13,640 --> 00:47:16,000
Speaker 3: classic case of taking it too personal.

933
00:47:16,320 --> 00:47:17,800
Speaker 2: Yep, he's taking it too personal.

934
00:47:18,440 --> 00:47:22,239
Speaker 3: Chief says he's taking it too personal. That's right, you

935
00:47:22,280 --> 00:47:24,640
Speaker 3: can't stop. I mean, he's the best, even if he

936
00:47:24,680 --> 00:47:27,160
Speaker 3: has taken it too personal. And the whole chase we

937
00:47:27,239 --> 00:47:30,799
Speaker 3: get this doom doom. We hear a heart beating and

938
00:47:30,880 --> 00:47:35,440
Speaker 3: heavy breathing that suggests a psychic connection somehow between the

939
00:47:35,520 --> 00:47:39,200
Speaker 3: killer and Harley Stone. But I guess somehow he gets subdued.

940
00:47:39,239 --> 00:47:41,040
Speaker 3: I think he ends up like on a fire escape,

941
00:47:41,160 --> 00:47:45,200
Speaker 3: just kind of I don't know, hyperventilating and leaning against

942
00:47:45,239 --> 00:47:47,640
Speaker 3: the railing. And then we cut to the fan boats,

943
00:47:47,680 --> 00:47:50,120
Speaker 3: you know, the Bayou boats, except they're out on the Thames,

944
00:47:50,880 --> 00:47:55,000
Speaker 3: and we hear the Chief of Police Thrasher, talking to

945
00:47:55,040 --> 00:47:57,640
Speaker 3: this other guy, and we get some backstory on Harleystone.

946
00:47:57,719 --> 00:47:59,480
Speaker 3: Is he talking to Dick Durkin?

947
00:47:59,800 --> 00:48:01,919
Speaker 2: I think so, yeah, because he's preparing him. Because again,

948
00:48:01,960 --> 00:48:04,040
Speaker 2: he's the best. We've got to use him. But we

949
00:48:04,120 --> 00:48:06,880
Speaker 2: need a good cop to pal around with him, to

950
00:48:07,280 --> 00:48:09,360
Speaker 2: keep tabs on him, keep him from getting out of hand.

951
00:48:09,320 --> 00:48:12,000
Speaker 3: Right, we need a nerd cop to put a leash

952
00:48:12,040 --> 00:48:16,239
Speaker 3: on the loose cannon cop. Yeah, And so it's just

953
00:48:16,480 --> 00:48:20,160
Speaker 3: perfect cop movie cliches. Butt on a fan boat on

954
00:48:20,200 --> 00:48:23,680
Speaker 3: the Thames and Thrasher talks about how it took four

955
00:48:23,840 --> 00:48:26,879
Speaker 3: officers to subdue Harley Stone and now he's in lock

956
00:48:26,960 --> 00:48:29,840
Speaker 3: up and Dick Dirkin is so curious what happened to

957
00:48:29,880 --> 00:48:33,960
Speaker 3: Harley Stone to make him this way? And Thrasher says, well,

958
00:48:34,040 --> 00:48:37,640
Speaker 3: a serial killer murdered his partner Foster three years ago,

959
00:48:38,040 --> 00:48:41,600
Speaker 3: and he was there when it happened. And Dick Dirkin says, oh,

960
00:48:41,760 --> 00:48:45,760
Speaker 3: is it survivor's guilt? And Thrasher says, nah, just plain guilt.

961
00:48:46,160 --> 00:48:49,439
Speaker 3: He had an affair with Foster's wife, left her, hit

962
00:48:49,480 --> 00:48:52,560
Speaker 3: the booze went over the edge. Now he lives on

963
00:48:52,640 --> 00:48:58,000
Speaker 3: here's the quote anxiety, coffee and chocolate. Oh, and they

964
00:48:58,040 --> 00:49:00,279
Speaker 3: specified that he's worked in every hell hole in the

965
00:49:00,320 --> 00:49:03,319
Speaker 3: world and he's been fired from all of them, and

966
00:49:03,560 --> 00:49:04,760
Speaker 3: they say he's the best.

967
00:49:06,800 --> 00:49:09,160
Speaker 2: So, yeah, what are these other hell holes? I wonder

968
00:49:09,200 --> 00:49:11,719
Speaker 2: It's like there's a whole there's a whole universe of

969
00:49:12,000 --> 00:49:14,239
Speaker 2: Harley Stone adventures we don't know anything about.

970
00:49:14,120 --> 00:49:16,200
Speaker 3: Right, So he's worked in like every city in the

971
00:49:16,200 --> 00:49:18,800
Speaker 3: world or something, or only the ones that are hell holes.

972
00:49:18,800 --> 00:49:19,440
Speaker 3: Which are those?

973
00:49:20,120 --> 00:49:24,160
Speaker 2: Yep? Just every like flooded, monster ridden metropolis on Earth.

974
00:49:24,400 --> 00:49:26,560
Speaker 3: I guess we may have missed our chance for a

975
00:49:26,600 --> 00:49:30,480
Speaker 3: prequel that's like the Adventures of Harley Stone in I

976
00:49:30,520 --> 00:49:32,480
Speaker 3: don't know, New Orleans or something.

977
00:49:32,880 --> 00:49:35,160
Speaker 2: Yeah, I don't know who the young Rutger Hower would be.

978
00:49:35,200 --> 00:49:37,719
Speaker 2: I mean, he can't really replace him.

979
00:49:37,840 --> 00:49:41,799
Speaker 3: Yeah. But so Harley Stone's back in the station. He's

980
00:49:41,880 --> 00:49:44,880
Speaker 3: raging against the bars and lock up, rattling them, and

981
00:49:44,880 --> 00:49:47,040
Speaker 3: then he gets out eventually and he's getting coffee. And

982
00:49:47,080 --> 00:49:49,000
Speaker 3: here we get one of the great coffee scenes where

983
00:49:49,040 --> 00:49:51,719
Speaker 3: he puts like, you know, eighteen spoonfuls of sugar in.

984
00:49:53,120 --> 00:49:56,520
Speaker 3: And then we meet Pete Postelwaite and they have a

985
00:49:56,520 --> 00:49:59,960
Speaker 3: big confrontation. It is clear that Rutger and Pete do

986
00:50:00,120 --> 00:50:01,160
Speaker 3: not like one another.

987
00:50:02,840 --> 00:50:06,800
Speaker 2: I think it's later revealed that Pete's character was also

988
00:50:07,320 --> 00:50:09,799
Speaker 2: the Swain partner's best friend, and so he holds it

989
00:50:09,840 --> 00:50:10,520
Speaker 2: against him.

990
00:50:10,520 --> 00:50:14,040
Speaker 3: Right, And then there's a great chief chewout scene, and

991
00:50:14,120 --> 00:50:18,000
Speaker 3: so he gets invited into the chief's office. Harley Stone

992
00:50:18,000 --> 00:50:20,440
Speaker 3: gets chewed out. We hear all about how he's a

993
00:50:20,480 --> 00:50:23,160
Speaker 3: loose cannon, how he's taken it to personal, how he's

994
00:50:23,200 --> 00:50:26,279
Speaker 3: off the force, and then here's your new partner. And

995
00:50:26,320 --> 00:50:28,760
Speaker 3: the new partner, of course, is Dick Drkin, the nerd

996
00:50:28,840 --> 00:50:32,680
Speaker 3: from Oxford who is getting filled in on the case.

997
00:50:32,760 --> 00:50:34,920
Speaker 3: And he's like, I thought we were dealing with the psychotic,

998
00:50:35,000 --> 00:50:38,440
Speaker 3: not a psychopath. But the scoop on Dick Dirkin is

999
00:50:38,440 --> 00:50:41,399
Speaker 3: that he's an expert on serial killers. He's a sort

1000
00:50:41,400 --> 00:50:44,279
Speaker 3: of lily livered college boy who went to Oxford. And

1001
00:50:44,360 --> 00:50:47,760
Speaker 3: Harley Stone does not like him. I think Harley Stone,

1002
00:50:47,840 --> 00:50:51,480
Speaker 3: I think, clearly believes that the book learning is weak

1003
00:50:51,640 --> 00:50:52,280
Speaker 3: and puny.

1004
00:50:53,200 --> 00:50:58,800
Speaker 2: Well, it's like any kind of premeditation is puny Stone

1005
00:50:59,400 --> 00:51:03,879
Speaker 2: again from the gut, He's he's just all action and

1006
00:51:03,880 --> 00:51:07,080
Speaker 2: and and no chill. There's just his brain is just

1007
00:51:07,160 --> 00:51:11,600
Speaker 2: a like an exploding rat of anxiety and of you know,

1008
00:51:11,640 --> 00:51:13,280
Speaker 2: fueled with caffeine and sugar.

1009
00:51:13,440 --> 00:51:16,000
Speaker 3: Yeah, and then oh oh oh, and then I so,

1010
00:51:16,200 --> 00:51:18,960
Speaker 3: can you explain to me what you think is implied

1011
00:51:19,000 --> 00:51:22,080
Speaker 3: to have happened in the following scene, because after right

1012
00:51:22,120 --> 00:51:25,080
Speaker 3: after the chew out, Harley Stone goes back to his

1013
00:51:25,160 --> 00:51:27,960
Speaker 3: desk and there's just a cooler with a heart in it. There,

1014
00:51:28,239 --> 00:51:30,520
Speaker 3: like a cooler full of ice that's got a chewed

1015
00:51:30,600 --> 00:51:34,080
Speaker 3: up heart. And I don't know why it's on ice,

1016
00:51:34,239 --> 00:51:37,240
Speaker 3: because this is not going to be a successful transplant

1017
00:51:37,560 --> 00:51:40,839
Speaker 3: or like donor organ. It has a bite taken out

1018
00:51:40,880 --> 00:51:43,440
Speaker 3: of it, but for some reason it's on ice in

1019
00:51:43,520 --> 00:51:46,640
Speaker 3: a cooler sitting right next to his desk. Are we

1020
00:51:46,719 --> 00:51:49,960
Speaker 3: to understand that this heart has been delivered by the

1021
00:51:50,080 --> 00:51:51,320
Speaker 3: killer to his desk?

1022
00:51:51,920 --> 00:51:55,319
Speaker 2: I think, okay, So out of picture, I would say

1023
00:51:55,440 --> 00:51:58,200
Speaker 2: this is a clear sign of an earlier draft of

1024
00:51:58,000 --> 00:52:00,319
Speaker 2: the of the plot. I think at one point this

1025
00:52:00,360 --> 00:52:02,279
Speaker 2: screenplay did not have a monster in it. It was

1026
00:52:02,320 --> 00:52:05,480
Speaker 2: just a serial killer flick. It was supposed to be

1027
00:52:05,520 --> 00:52:08,719
Speaker 2: a serial color story. I think, if I'm going to

1028
00:52:08,760 --> 00:52:11,399
Speaker 2: try and read into the movie, I'm going to live

1029
00:52:11,520 --> 00:52:15,120
Speaker 2: within the narrative of the film. The monster killer villain

1030
00:52:15,640 --> 00:52:19,480
Speaker 2: must have hired at delivery service to deliver this heart,

1031
00:52:19,920 --> 00:52:23,200
Speaker 2: I mean, must have stolen the cooler and some ice

1032
00:52:23,600 --> 00:52:27,480
Speaker 2: from like a local store in order just to mess

1033
00:52:27,520 --> 00:52:28,040
Speaker 2: with Stone.

1034
00:52:28,360 --> 00:52:31,160
Speaker 3: Why the ice, The heart's not going to be used

1035
00:52:31,160 --> 00:52:31,760
Speaker 3: for anything.

1036
00:52:32,320 --> 00:52:35,040
Speaker 2: I think it basically the well out of picture. The

1037
00:52:35,040 --> 00:52:38,160
Speaker 2: reason is because it looks really cool glistening among the ice.

1038
00:52:38,200 --> 00:52:40,200
Speaker 2: You know, it's a beautiful one of these scenes that again,

1039
00:52:40,800 --> 00:52:42,880
Speaker 2: things that are dead or bleeding in this film are

1040
00:52:42,920 --> 00:52:45,560
Speaker 2: the only things that are beautiful aside from Kim Cattrell.

1041
00:52:45,960 --> 00:52:50,640
Speaker 2: Everything else is grizzly and dirty. Yeah, and so I

1042
00:52:50,640 --> 00:52:53,560
Speaker 2: think that's the real reason. Otherwise, I guess just shock value,

1043
00:52:53,600 --> 00:52:55,839
Speaker 2: just to be like, hey, here's this heart on ice.

1044
00:52:56,200 --> 00:52:59,360
Speaker 3: Maybe the dewey, glistening cubes of ice as they slowly

1045
00:52:59,440 --> 00:53:03,520
Speaker 3: melt into a puddle, they symbolize the fleetingness of human life.

1046
00:53:03,760 --> 00:53:07,799
Speaker 2: I guess. So, Yeah, it's impossible to say. With this

1047
00:53:07,960 --> 00:53:09,320
Speaker 2: monster slash Killer.

1048
00:53:17,400 --> 00:53:19,560
Speaker 3: They pretty much go straight out into the field. So

1049
00:53:19,560 --> 00:53:22,840
Speaker 3: it's Harley Stone and Dick Dirkin learning to be buddy

1050
00:53:22,840 --> 00:53:26,200
Speaker 3: cops and finding out about each other, finding out about

1051
00:53:26,239 --> 00:53:30,240
Speaker 3: each other's minds and bodies as they investigate the scenes

1052
00:53:30,239 --> 00:53:30,760
Speaker 3: of the crime.

1053
00:53:31,480 --> 00:53:33,480
Speaker 2: Yeah, and oh man, there's some there's so many great

1054
00:53:33,560 --> 00:53:36,239
Speaker 2: hijinks that come out of this is they you know,

1055
00:53:36,239 --> 00:53:38,720
Speaker 2: feel each other, and it's basically you know, odd couple,

1056
00:53:39,239 --> 00:53:41,799
Speaker 2: mixed body cop kind of stuff. But it's just really

1057
00:53:41,840 --> 00:53:42,440
Speaker 2: well done.

1058
00:53:42,760 --> 00:53:45,360
Speaker 3: There's a part where a murder gets called in and

1059
00:53:45,400 --> 00:53:47,360
Speaker 3: they go to investigate the murder and it's like on

1060
00:53:47,400 --> 00:53:49,439
Speaker 3: the top floor of an apartment building and we see

1061
00:53:49,440 --> 00:53:52,480
Speaker 3: that Harley Stone has trouble climbing the stairs, I guess

1062
00:53:52,480 --> 00:53:54,320
Speaker 3: because he's out of shape, and he asks to stop

1063
00:53:54,360 --> 00:53:56,120
Speaker 3: for a cigar halfway.

1064
00:53:55,760 --> 00:53:58,399
Speaker 2: Up, out of breath, got to stop and smoke, right,

1065
00:53:59,080 --> 00:54:00,120
Speaker 2: But so we find.

1066
00:54:00,120 --> 00:54:02,719
Speaker 3: There's another victim of the killer up in this apartment.

1067
00:54:02,760 --> 00:54:05,160
Speaker 3: It's a twenty eight year old man who has had

1068
00:54:05,200 --> 00:54:09,080
Speaker 3: his heart torn out, and Stone somehow knows intuitively what

1069
00:54:09,160 --> 00:54:11,279
Speaker 3: the time of death was. And this is one of

1070
00:54:11,280 --> 00:54:14,360
Speaker 3: the hints picking up on the thing at the club earlier,

1071
00:54:14,400 --> 00:54:17,920
Speaker 3: that there's a psychic connection between Harley Stone and the killer.

1072
00:54:18,280 --> 00:54:18,760
Speaker 2: Yeah.

1073
00:54:18,760 --> 00:54:21,120
Speaker 3: Oh, and here we get a there's a really funny

1074
00:54:21,120 --> 00:54:25,040
Speaker 3: part here where there's just a rat execution, like the

1075
00:54:25,440 --> 00:54:28,319
Speaker 3: partner Harley Stone pulls out his gun and it looks

1076
00:54:28,360 --> 00:54:30,640
Speaker 3: like he's about to shoot Dick Dirkin in the face,

1077
00:54:31,160 --> 00:54:34,280
Speaker 3: but instead he shoots right over his shoulder to shoot

1078
00:54:34,320 --> 00:54:37,040
Speaker 3: a rat that was going to bite him or something.

1079
00:54:37,480 --> 00:54:39,560
Speaker 2: It was a monster. It looked like a monster rat too,

1080
00:54:39,640 --> 00:54:41,960
Speaker 2: because there are plenty of live rats in this picture,

1081
00:54:42,200 --> 00:54:44,520
Speaker 2: But right before he shoots it, it looks like it's

1082
00:54:44,560 --> 00:54:47,560
Speaker 2: a like a puppet rat and looks extra gross. So

1083
00:54:48,280 --> 00:54:51,520
Speaker 2: I don't know, you know, Couch that within the narrative,

1084
00:54:51,560 --> 00:54:52,080
Speaker 2: as you will.

1085
00:54:53,000 --> 00:54:55,600
Speaker 3: Oh, and clearly the killer is trying to send a

1086
00:54:55,680 --> 00:55:00,120
Speaker 3: message with these crimes, because there are multiple messages for Stone,

1087
00:55:00,239 --> 00:55:03,120
Speaker 3: his dead former partner's gun is at the scene of

1088
00:55:03,120 --> 00:55:06,640
Speaker 3: this crime, and there is an occult symbol in blood

1089
00:55:06,719 --> 00:55:10,160
Speaker 3: on the ceiling and Dirkin immediately starts coming up with

1090
00:55:10,239 --> 00:55:13,719
Speaker 3: theories about this. He's I guess he knows all about astrology,

1091
00:55:13,719 --> 00:55:17,279
Speaker 3: and he's like, it's the symbol of scorpio. It's used

1092
00:55:17,320 --> 00:55:19,120
Speaker 3: in the occult.

1093
00:55:19,800 --> 00:55:23,520
Speaker 2: Yeah, there's a lot of occult nonsense that it's brought

1094
00:55:23,600 --> 00:55:26,040
Speaker 2: up as they try and figure out this killer.

1095
00:55:26,400 --> 00:55:28,480
Speaker 3: Oh and then there's a there's a great moment where

1096
00:55:29,040 --> 00:55:33,360
Speaker 3: they get they get to Harley Stone a dental cast

1097
00:55:33,560 --> 00:55:36,160
Speaker 3: based on the bites on the heart, and it's a

1098
00:55:36,200 --> 00:55:39,480
Speaker 3: giant beast mouth. But still after this, everybody's talking about

1099
00:55:39,520 --> 00:55:42,279
Speaker 3: a serial killer, like this isn't just an obvious piece

1100
00:55:42,320 --> 00:55:45,239
Speaker 3: of evidence that it's a monster they're dealing with. Yeah,

1101
00:55:45,840 --> 00:55:48,040
Speaker 3: is this a serial killer with a panther's head?

1102
00:55:48,360 --> 00:55:51,239
Speaker 2: Because as well, we'll find out later, and becomes increasingly

1103
00:55:51,320 --> 00:55:53,720
Speaker 2: clear this is not a human we're going up against.

1104
00:55:53,800 --> 00:55:56,320
Speaker 2: This is a monster. This is essentially a grindel beast.

1105
00:55:56,520 --> 00:56:00,400
Speaker 3: Yeah. Yeah, And meanwhile, some things happen. Harley's own has

1106
00:56:00,440 --> 00:56:03,480
Speaker 3: another like anxiety attack in an alley and starts shooting

1107
00:56:03,480 --> 00:56:05,640
Speaker 3: his gun randomly at the sky. I think he has

1108
00:56:05,680 --> 00:56:09,040
Speaker 3: to get talked down. But eventually, finally we get to

1109
00:56:09,040 --> 00:56:13,640
Speaker 3: meet Kim Katrol. So Harley Stone goes to I think

1110
00:56:13,719 --> 00:56:16,799
Speaker 3: the grave of his former partner. Is that right?

1111
00:56:17,160 --> 00:56:17,520
Speaker 2: Yeah?

1112
00:56:17,560 --> 00:56:21,440
Speaker 3: And she's there, she's placing memento on his grave. Is

1113
00:56:21,480 --> 00:56:24,879
Speaker 3: she supposed to be his dead partner's widow? I might

1114
00:56:24,920 --> 00:56:28,960
Speaker 3: have missed that, Yes, yes, okay, because they've previously had

1115
00:56:29,000 --> 00:56:33,240
Speaker 3: a relationship, right, okay, Well, as soon as he arrives,

1116
00:56:33,560 --> 00:56:36,200
Speaker 3: she shows concern for his well being. She observes that

1117
00:56:36,320 --> 00:56:41,560
Speaker 3: he is he is not the cleanest or the most

1118
00:56:41,600 --> 00:56:45,760
Speaker 3: well rested, and that he needs caring for I think.

1119
00:56:45,800 --> 00:56:47,680
Speaker 2: Yeah, yep, So they go back to this apartment.

1120
00:56:47,760 --> 00:56:50,000
Speaker 3: Yeah, they go back to his filthy apartment that just

1121
00:56:50,040 --> 00:56:54,080
Speaker 3: looks like the inside of of like an unethical animal enclosure.

1122
00:56:54,600 --> 00:56:56,839
Speaker 2: It is it is. I mean, it's like every scene

1123
00:56:56,880 --> 00:56:59,560
Speaker 2: in this film. It's like they went wild decorating. It's

1124
00:57:00,040 --> 00:57:04,360
Speaker 2: any grizzly details in this just pig style that he

1125
00:57:04,440 --> 00:57:08,120
Speaker 2: lives in, including live pigeons and live rats.

1126
00:57:08,239 --> 00:57:11,520
Speaker 3: Yes, live pigeons, live rats. So a few other details

1127
00:57:11,560 --> 00:57:12,960
Speaker 3: I want to run by you to make sure I'm

1128
00:57:12,960 --> 00:57:16,320
Speaker 3: not mistaken here. Number one, does he keep his gun

1129
00:57:16,400 --> 00:57:17,440
Speaker 3: in a refrigerator?

1130
00:57:18,360 --> 00:57:20,600
Speaker 2: Yes, though we don't have a clear indication that the

1131
00:57:20,640 --> 00:57:21,560
Speaker 2: refrigerator is on.

1132
00:57:22,000 --> 00:57:25,080
Speaker 3: Okay, maybe it is just using a broken refrigerator as

1133
00:57:25,080 --> 00:57:25,600
Speaker 3: a shelf.

1134
00:57:25,960 --> 00:57:28,880
Speaker 2: Yeah, he has an actual refrigerator in which he keeps

1135
00:57:28,920 --> 00:57:33,280
Speaker 2: other foul things. But there's like a convenience store refrigerator

1136
00:57:33,280 --> 00:57:34,840
Speaker 2: that might not be plugged up and has like a

1137
00:57:34,840 --> 00:57:36,040
Speaker 2: shotgun and some ammo in it.

1138
00:57:36,080 --> 00:57:37,960
Speaker 3: Okay, that's what I thought. And then also, yeah, the

1139
00:57:38,000 --> 00:57:42,080
Speaker 3: apartment's full of live pigeons and motorcycles. There are just

1140
00:57:42,880 --> 00:57:45,520
Speaker 3: his apartment is full of motorcycles.

1141
00:57:45,840 --> 00:57:48,600
Speaker 2: How motorcycle signs as well.

1142
00:57:48,560 --> 00:57:52,000
Speaker 3: Yes, how did he get them in there? Did he

1143
00:57:52,040 --> 00:57:54,520
Speaker 3: get those Harley Davidson's up the steps?

1144
00:57:55,440 --> 00:57:55,960
Speaker 2: I guess so?

1145
00:57:57,400 --> 00:57:59,800
Speaker 3: And then also we at one point we see inside

1146
00:57:59,840 --> 00:58:04,480
Speaker 3: his refrigerator, which seems to contain exclusively coffee, and then

1147
00:58:04,680 --> 00:58:08,520
Speaker 3: like mud, there's just a big, just a big canister

1148
00:58:08,680 --> 00:58:10,600
Speaker 3: of mud that is spilled everywhere.

1149
00:58:11,000 --> 00:58:14,240
Speaker 2: Well, I think there are chocolates in there, or perhaps don't.

1150
00:58:14,280 --> 00:58:15,920
Speaker 2: I don't know. There are those chocolate things that he

1151
00:58:15,960 --> 00:58:18,280
Speaker 2: eats out of those little bags. So the refrigerator has

1152
00:58:18,320 --> 00:58:21,760
Speaker 2: those bags in there. Yeah, and yeah, and also these

1153
00:58:21,960 --> 00:58:23,040
Speaker 2: foul looking chocolates.

1154
00:58:23,080 --> 00:58:25,880
Speaker 3: And so basically, as soon as they get to his apartment, well,

1155
00:58:25,960 --> 00:58:30,800
Speaker 3: Kim Katrol is still surveying the land of disgust. She

1156
00:58:30,800 --> 00:58:33,080
Speaker 3: she he like falls asleep on the couch with a

1157
00:58:33,120 --> 00:58:35,880
Speaker 3: cigarette burning right next to his eye, and she has

1158
00:58:35,920 --> 00:58:38,560
Speaker 3: to go put it out for him. But I think

1159
00:58:38,560 --> 00:58:41,680
Speaker 3: the implication is this, this this filthy down on his

1160
00:58:41,760 --> 00:58:45,800
Speaker 3: luck cop Uh just just needs his own his own

1161
00:58:45,840 --> 00:58:49,080
Speaker 3: personal Kim Katrol to help make his house into a home.

1162
00:58:49,560 --> 00:58:54,240
Speaker 2: Yeah, and she's really she's not tremendously disgusted by this environment.

1163
00:58:54,440 --> 00:58:56,840
Speaker 3: No, she she kind of rolls with it.

1164
00:58:57,240 --> 00:59:02,120
Speaker 2: Yeah, despite being like this yellic being really yeah. Oh.

1165
00:59:02,160 --> 00:59:04,520
Speaker 3: At some point also, I think, to emphasize how dirty

1166
00:59:04,560 --> 00:59:07,400
Speaker 3: he is, he combs his hair with like a shoe

1167
00:59:07,400 --> 00:59:08,480
Speaker 3: polish brush.

1168
00:59:08,720 --> 00:59:11,960
Speaker 2: Yeah, yep, yep, because he does groom himself. He's not like,

1169
00:59:12,440 --> 00:59:16,000
Speaker 2: you know, completely abandoned self care, but what self care

1170
00:59:16,040 --> 00:59:18,960
Speaker 2: he does, it's reckless in you know, the wrong place

1171
00:59:19,040 --> 00:59:19,720
Speaker 2: is like at a bar.

1172
00:59:20,640 --> 00:59:24,600
Speaker 3: At some point later, Durkin and Harley Stone are driving

1173
00:59:24,640 --> 00:59:27,640
Speaker 3: around and they're trying to like outmacho each other. Rutger

1174
00:59:27,720 --> 00:59:31,800
Speaker 3: Hower is derisively tossing aside books that he finds in

1175
00:59:31,880 --> 00:59:34,680
Speaker 3: the car. The implication, I think is that like books

1176
00:59:34,680 --> 00:59:36,000
Speaker 3: are for weak, puny men.

1177
00:59:36,920 --> 00:59:39,000
Speaker 2: Yep, yep. I think this is also the scene where

1178
00:59:39,040 --> 00:59:41,760
Speaker 2: we find out that that Dirkin has sex every night.

1179
00:59:42,360 --> 00:59:44,120
Speaker 3: That is what he claims. Though you wonder if he's

1180
00:59:44,160 --> 00:59:45,840
Speaker 3: just trying to impress Harley Stone.

1181
00:59:46,160 --> 00:59:47,200
Speaker 2: Yeah, Stone is doubtful.

1182
00:59:47,400 --> 00:59:50,840
Speaker 3: Oh oh oh, And then there was this fascinating strength.

1183
00:59:50,920 --> 00:59:53,680
Speaker 3: So meanwhile, while they're out doing something I don't remember

1184
00:59:53,680 --> 00:59:56,120
Speaker 3: what they're doing. They're driving somewhere and we see Kim

1185
00:59:56,200 --> 01:00:00,840
Speaker 3: catroll back at Harley Stone's rancid cell and she finds

1186
01:00:00,840 --> 01:00:04,000
Speaker 3: a bunch of chocolates that are just stuck to the

1187
01:00:04,040 --> 01:00:07,760
Speaker 3: outside of the filthy refrigerator in the shape of a heart.

1188
01:00:08,120 --> 01:00:11,920
Speaker 3: And then she plucks one off of the refrigerator facade

1189
01:00:12,040 --> 01:00:14,000
Speaker 3: and she eats it. Disgusting.

1190
01:00:14,880 --> 01:00:17,480
Speaker 2: Yeah, this, this made no sense that you would like,

1191
01:00:17,520 --> 01:00:19,520
Speaker 2: why are they stuck there? Why are they being stored

1192
01:00:19,520 --> 01:00:22,880
Speaker 2: there again in a place that clearly pigeons and rats

1193
01:00:22,880 --> 01:00:25,760
Speaker 2: have access to. Uh huh. It seems like a terrible move,

1194
01:00:25,800 --> 01:00:28,280
Speaker 2: even if you want ready access to your chocolate. And

1195
01:00:28,320 --> 01:00:30,720
Speaker 2: then for her to be like, oh, this is fine,

1196
01:00:30,720 --> 01:00:32,520
Speaker 2: this is normal. I'm hungry for chocolate.

1197
01:00:32,680 --> 01:00:34,960
Speaker 3: Oh wait, no, no, no, I remember where they were going. Now,

1198
01:00:35,080 --> 01:00:37,440
Speaker 3: this is when they're going out to get quote breakfast,

1199
01:00:37,520 --> 01:00:39,920
Speaker 3: but they go to like the moody night club that's

1200
01:00:39,920 --> 01:00:41,200
Speaker 3: playing Knights in White Satin.

1201
01:00:41,480 --> 01:00:42,920
Speaker 2: Yeah, and then that's where he shaves.

1202
01:00:42,960 --> 01:00:44,800
Speaker 3: He shaves over his plate at the bar.

1203
01:00:45,200 --> 01:00:47,160
Speaker 2: But they're getting work done. They're figuring out what the

1204
01:00:47,240 --> 01:00:48,480
Speaker 2: killer might be, right.

1205
01:00:48,400 --> 01:00:51,080
Speaker 3: Durkin has a theory. He thinks that he's like, I

1206
01:00:51,120 --> 01:00:53,880
Speaker 3: think you and this killer are on the same psychic wavelength.

1207
01:00:53,960 --> 01:00:56,880
Speaker 3: What sign are you? And it's revealed that he's a

1208
01:00:56,920 --> 01:01:01,040
Speaker 3: scorpio and Durkin has all kinds of astrologic theories about

1209
01:01:01,040 --> 01:01:04,360
Speaker 3: when the killer strikes. And then meanwhile, there is a

1210
01:01:04,400 --> 01:01:07,520
Speaker 3: tent scene where the killer breaks into Harley's apartment while

1211
01:01:07,600 --> 01:01:10,880
Speaker 3: Kim Katral is taking a shower. It's very psycho and

1212
01:01:10,920 --> 01:01:14,360
Speaker 3: he's sneaking around doing his heartbeat thing, and of course

1213
01:01:14,400 --> 01:01:16,920
Speaker 3: Harley gets a bad feeling, you know, get through his

1214
01:01:16,920 --> 01:01:19,760
Speaker 3: psychic connection and him and Durkin run back to the

1215
01:01:19,760 --> 01:01:22,680
Speaker 3: apartment and they're rushing up to the rescue. I was

1216
01:01:22,720 --> 01:01:25,280
Speaker 3: really afraid Kim Katral was going to be killed, but nope.

1217
01:01:25,360 --> 01:01:28,360
Speaker 3: Instead they heard her scream earlier, but she screamed because

1218
01:01:28,360 --> 01:01:31,440
Speaker 3: the water got cold, and instead, somebody somewhere else in

1219
01:01:31,480 --> 01:01:35,240
Speaker 3: the building got their heart ripped out. So Stone and

1220
01:01:35,360 --> 01:01:38,200
Speaker 3: Durkin chase, and then a lot happens really fast. We

1221
01:01:38,760 --> 01:01:41,920
Speaker 3: find somebody else with their heart ripped out. Durkin gets

1222
01:01:41,960 --> 01:01:44,480
Speaker 3: blasted with a shotgun by the killer.

1223
01:01:44,800 --> 01:01:47,280
Speaker 2: And what looks like he's blasted through a window with

1224
01:01:47,360 --> 01:01:49,520
Speaker 2: it as well, so you just think he's dead at that.

1225
01:01:49,400 --> 01:01:52,520
Speaker 3: Point, yeah, And then yeah, yeah, he goes out the

1226
01:01:52,520 --> 01:01:54,840
Speaker 3: window after getting hit like in the belly with a

1227
01:01:54,840 --> 01:01:58,320
Speaker 3: scatter gun. And then we also find out, Kim Katrall

1228
01:01:58,400 --> 01:02:00,480
Speaker 3: gets bitten on the shoulder by the monster.

1229
01:02:00,600 --> 01:02:04,200
Speaker 2: Somehow we do not see that happen, though they're.

1230
01:02:04,040 --> 01:02:08,280
Speaker 3: Still talking about this being a human killer. And again,

1231
01:02:08,320 --> 01:02:09,880
Speaker 3: this is one of the things where like I think

1232
01:02:09,920 --> 01:02:12,400
Speaker 3: the script I don't know, like you were saying earlier,

1233
01:02:12,480 --> 01:02:15,320
Speaker 3: like the earlier drafts are showing through. Because are we

1234
01:02:15,400 --> 01:02:18,040
Speaker 3: to understand in the final version of the movie that

1235
01:02:18,160 --> 01:02:21,640
Speaker 3: the monster shot Durkin with a shotgun?

1236
01:02:22,360 --> 01:02:24,840
Speaker 2: Yes? Yes, and if you I was watching for it

1237
01:02:24,920 --> 01:02:28,040
Speaker 2: this time, and it's the shotgun is clearly held by

1238
01:02:28,120 --> 01:02:32,840
Speaker 2: monster's hands. So our monster is clearly capable of utilizing

1239
01:02:33,000 --> 01:02:37,480
Speaker 2: modern tools, well like the cooler that he somehow delivered

1240
01:02:37,480 --> 01:02:40,520
Speaker 2: through a shipping service, but also he can handle a shotgun.

1241
01:02:40,600 --> 01:02:43,600
Speaker 3: Okay, all right, But anyway, we find out after this

1242
01:02:43,600 --> 01:02:46,680
Speaker 3: big shootout, we find out everybody's okay. Durkin is in

1243
01:02:46,720 --> 01:02:48,760
Speaker 3: fact is not dead. He's like, haven't you ever heard

1244
01:02:48,800 --> 01:02:53,480
Speaker 3: of a bulletproof vest? And Kim Cattrall's okay. But Harley

1245
01:02:53,480 --> 01:02:56,240
Speaker 3: Stone has another panic attack again. He starts freaking out

1246
01:02:56,280 --> 01:02:59,240
Speaker 3: in the alley and he has to get sedated by cops.

1247
01:03:00,000 --> 01:03:01,440
Speaker 2: I have to say, it is kind of interesting to

1248
01:03:01,440 --> 01:03:04,840
Speaker 2: see a hero suffer a panic attack in a film

1249
01:03:04,960 --> 01:03:08,000
Speaker 2: like split second, like a believable panic attack, you know,

1250
01:03:08,080 --> 01:03:10,280
Speaker 2: not like a and not one that reeks of like

1251
01:03:11,040 --> 01:03:14,360
Speaker 2: machismo all that much. But because generally in a film

1252
01:03:14,440 --> 01:03:17,360
Speaker 2: like this, it's kind of a rule that stress never

1253
01:03:17,440 --> 01:03:20,800
Speaker 2: gets on top of your hero. You know, they're they're, they're,

1254
01:03:20,840 --> 01:03:23,000
Speaker 2: they're up for the battle. You know. It's like Beowulf

1255
01:03:23,040 --> 01:03:25,960
Speaker 2: doesn't have a panic attack. So I don't know, in

1256
01:03:25,960 --> 01:03:28,080
Speaker 2: a way, it's kind of a nice human element that

1257
01:03:28,080 --> 01:03:31,440
Speaker 2: that Harley Stone is is human enough to you know,

1258
01:03:31,520 --> 01:03:33,560
Speaker 2: to not be able to stay on top of it all.

1259
01:03:33,880 --> 01:03:37,640
Speaker 3: Yeah, it is unusual. So he is a gruff and

1260
01:03:37,720 --> 01:03:42,440
Speaker 3: absurdly macho in that classic cop protagonist style, but he

1261
01:03:42,560 --> 01:03:45,200
Speaker 3: also clearly has real anxiety issues.

1262
01:03:45,480 --> 01:03:47,600
Speaker 2: Yeah, like to the point where there's a medical intervention

1263
01:03:47,680 --> 01:03:50,120
Speaker 2: here because he's having such a panic attack.

1264
01:03:50,480 --> 01:03:52,800
Speaker 3: Yeah, that that does not seem usual. I can't think

1265
01:03:52,800 --> 01:03:55,840
Speaker 3: of other examples of that. Maybe there are some, but

1266
01:03:55,920 --> 01:03:57,760
Speaker 3: oh oh, and then we get a good flashback scene

1267
01:03:57,800 --> 01:04:00,640
Speaker 3: where it's revealed that he saw his partner gets slaughtered

1268
01:04:00,680 --> 01:04:03,120
Speaker 3: by the killer. He just like they're walking around in

1269
01:04:03,200 --> 01:04:07,160
Speaker 3: ankle deep water in some gross place and his partner

1270
01:04:07,240 --> 01:04:09,960
Speaker 3: just gets yanked down under the water, and then the

1271
01:04:10,040 --> 01:04:14,200
Speaker 3: killer somehow mauls him, mauls Harley Stone, leaving a big

1272
01:04:14,240 --> 01:04:18,160
Speaker 3: scratch on his arm, and then after Harley Stone comes

1273
01:04:18,200 --> 01:04:20,960
Speaker 3: to later, Durkin sees the big scar going down from

1274
01:04:21,000 --> 01:04:23,360
Speaker 3: his shoulder to his arm and he's like, that's it.

1275
01:04:23,520 --> 01:04:27,000
Speaker 3: That's the psychic connection. But back at the station there's

1276
01:04:27,000 --> 01:04:30,080
Speaker 3: another great chief chewout scene where there's suddenly just an

1277
01:04:30,160 --> 01:04:32,840
Speaker 3: exposition dump. They're like, oh, we got to move this

1278
01:04:32,880 --> 01:04:36,360
Speaker 3: plot along. So there you find out that during the

1279
01:04:36,360 --> 01:04:39,120
Speaker 3: gunfight earlier, Rutger howerd shot the killer a bunch of

1280
01:04:39,120 --> 01:04:43,200
Speaker 3: times and yet it's still alive, so something's up. And

1281
01:04:43,240 --> 01:04:45,640
Speaker 3: then they also get some lab reports back where they

1282
01:04:45,640 --> 01:04:49,120
Speaker 3: say that the killer's DNA is polymorphic. It has the

1283
01:04:49,240 --> 01:04:53,960
Speaker 3: DNA of all its previous victims put together, including Harley Stone,

1284
01:04:54,000 --> 01:04:56,680
Speaker 3: I think from when he got scratched by it, and

1285
01:04:56,760 --> 01:05:00,640
Speaker 3: it has his dead former partner's fingerprints, and it has

1286
01:05:00,720 --> 01:05:05,520
Speaker 3: like rat DNA and rat virus DNA. Yeah, this scene

1287
01:05:05,600 --> 01:05:09,280
Speaker 3: is a supreme pizza. They're getting you everything.

1288
01:05:09,200 --> 01:05:11,280
Speaker 2: All the topic click all the boxes. Yes.

1289
01:05:12,240 --> 01:05:14,080
Speaker 3: Oh, And then there's a great so right after this

1290
01:05:14,160 --> 01:05:16,840
Speaker 3: there's a great scene where Durkin and Harley Stone go

1291
01:05:16,960 --> 01:05:20,760
Speaker 3: to the Morgue because they realize, oh, the killer didn't

1292
01:05:20,800 --> 01:05:23,200
Speaker 3: manage to get the last victim's heart. The heart is

1293
01:05:23,240 --> 01:05:26,040
Speaker 3: still in them. So they're like, oh, it's going to

1294
01:05:26,080 --> 01:05:28,040
Speaker 3: come back to the Morgue and try to get the heart.

1295
01:05:28,440 --> 01:05:30,360
Speaker 3: So they go to the morgue. This is actually kind

1296
01:05:30,360 --> 01:05:32,520
Speaker 3: of a cool looking scene the way it's set up,

1297
01:05:32,560 --> 01:05:35,400
Speaker 3: with like all the plastic and there are these nasty

1298
01:05:35,480 --> 01:05:37,600
Speaker 3: like ivy bags everywhere.

1299
01:05:37,160 --> 01:05:40,960
Speaker 2: But otherwise it's a very sterile and wide environment. Yeah,

1300
01:05:40,960 --> 01:05:44,520
Speaker 2: because again this film, it there's an eroticism of death.

1301
01:05:44,920 --> 01:05:49,040
Speaker 2: So the cleanest, holiest place, the holiest scene in the

1302
01:05:49,200 --> 01:05:52,680
Speaker 2: entire film, the holiest setting is the Morgue. Yes, it

1303
01:05:52,680 --> 01:05:54,960
Speaker 2: feels like a heaven with corpses in it.

1304
01:05:55,240 --> 01:05:57,880
Speaker 3: And since they're returning to the Morgue here, I think

1305
01:05:57,920 --> 01:06:01,040
Speaker 3: this would have been the occasion for Wendy Carlos's return

1306
01:06:01,160 --> 01:06:03,120
Speaker 3: to the Morgue theme, which you can hear a clip

1307
01:06:03,160 --> 01:06:06,760
Speaker 3: of online. Yeah, and you know, once again we wish

1308
01:06:06,760 --> 01:06:09,760
Speaker 3: we'd had that score. But so they're creeping around trying

1309
01:06:09,760 --> 01:06:12,000
Speaker 3: to find things. They end up pointing their guns at

1310
01:06:12,000 --> 01:06:15,920
Speaker 3: some unwitting lab technician who's like, oh, no, what's going on.

1311
01:06:16,400 --> 01:06:18,320
Speaker 3: And then there is a really funny part where they

1312
01:06:18,400 --> 01:06:23,840
Speaker 3: start they start to see that the ceiling panels are jiggling. Yeah,

1313
01:06:22,840 --> 01:06:26,320
Speaker 3: and I think that means, oh, the monster is up there.

1314
01:06:26,920 --> 01:06:29,080
Speaker 3: And they have to face the monster. And there's a

1315
01:06:29,080 --> 01:06:31,520
Speaker 3: big scene where they start shooting at it while it's

1316
01:06:31,600 --> 01:06:36,040
Speaker 3: running around, and eventually it escapes. But Durkin, having now

1317
01:06:36,120 --> 01:06:39,840
Speaker 3: confronted the monster firsthand, is a changed man.

1318
01:06:40,720 --> 01:06:43,960
Speaker 2: Yes, and here we get to probably my favorite part

1319
01:06:44,000 --> 01:06:45,360
Speaker 2: of the whole film, the conversion.

1320
01:06:45,560 --> 01:06:47,120
Speaker 3: Yes, this is amazing.

1321
01:06:47,520 --> 01:06:50,280
Speaker 2: Yeah, this is where so Durkin has encountered the killer

1322
01:06:50,680 --> 01:06:54,000
Speaker 2: and he is shaken by this and he undergoes what

1323
01:06:54,160 --> 01:06:57,720
Speaker 2: is kind of a religious conversion, and Stone is here

1324
01:06:57,760 --> 01:07:00,040
Speaker 2: to guide him along the way. So he's like that

1325
01:07:00,080 --> 01:07:03,080
Speaker 2: anxiety you're feeling, now, well here. First of all, that

1326
01:07:03,120 --> 01:07:05,120
Speaker 2: anxiety is good. That will fuel you. But you need

1327
01:07:05,160 --> 01:07:08,280
Speaker 2: more fuel. You need these chocolates, Eat this chocolate, Drink

1328
01:07:08,320 --> 01:07:11,800
Speaker 2: of this burnt coffee that's thirty percent sugar. And now

1329
01:07:11,880 --> 01:07:14,360
Speaker 2: let's get you a giant gun right out of you know,

1330
01:07:14,440 --> 01:07:17,959
Speaker 2: some ridiculous video game. This is the Harley Stone Way

1331
01:07:18,280 --> 01:07:20,040
Speaker 2: and this is how you're going to live your life

1332
01:07:20,320 --> 01:07:22,680
Speaker 2: from here on out. And I am not exaggerating.

1333
01:07:22,920 --> 01:07:26,920
Speaker 3: Chocolate, sugar, coffee, and the guns from Doom. And he

1334
01:07:27,360 --> 01:07:30,160
Speaker 3: converts him to the religion of Harley Stone. You are

1335
01:07:30,240 --> 01:07:32,040
Speaker 3: one thousand percent correct.

1336
01:07:32,160 --> 01:07:34,600
Speaker 2: Yeah, And he stays converted for the rest of the picture.

1337
01:07:34,680 --> 01:07:38,520
Speaker 3: It's beautiful, and he basically reverts to adolescents. So he

1338
01:07:38,960 --> 01:07:42,840
Speaker 3: like really starts loving Harley Stone's motorcycles in this apartment,

1339
01:07:43,200 --> 01:07:44,440
Speaker 3: sits on them and he goes.

1340
01:07:44,280 --> 01:07:48,160
Speaker 2: Like broom, broom, yep, yep, and he keeps mumbling. It's

1341
01:07:48,200 --> 01:07:51,240
Speaker 2: like a mantra. He's like, we need big freaking guns. Yeah,

1342
01:07:51,280 --> 01:07:53,480
Speaker 2: we need big freaking guns, big freaking guns.

1343
01:07:53,600 --> 01:07:57,480
Speaker 3: And he also starts dressing like Harley Stone. I don't

1344
01:07:57,480 --> 01:07:59,720
Speaker 3: remember when this starts, but he puts on a big

1345
01:07:59,840 --> 01:08:00,640
Speaker 3: leg their coat.

1346
01:08:01,240 --> 01:08:04,720
Speaker 2: Yeah. So again it's this is so like, this is

1347
01:08:04,800 --> 01:08:08,320
Speaker 2: this was no accident, this is this is brilliant. Uh.

1348
01:08:08,320 --> 01:08:10,680
Speaker 3: And then I guess maybe after this point, I'm going

1349
01:08:10,760 --> 01:08:12,840
Speaker 3: to describe the plot in less detail, but we'll just

1350
01:08:12,840 --> 01:08:15,400
Speaker 3: say it goes into third act overdrive, and there are

1351
01:08:15,480 --> 01:08:19,519
Speaker 3: various people getting kidnapped. Durkin gets kidnapped and then Harley

1352
01:08:19,520 --> 01:08:22,559
Speaker 3: Stone goes back to get him. Michelle McLain gets kidnapped.

1353
01:08:22,560 --> 01:08:25,840
Speaker 3: That's Kim Control. She goes missing and then they're trying

1354
01:08:25,880 --> 01:08:29,080
Speaker 3: to find her. There's a great part where after Durkin

1355
01:08:29,120 --> 01:08:32,040
Speaker 3: has been kidnapped to the monster has apparently like carved

1356
01:08:32,080 --> 01:08:36,280
Speaker 3: all of this like occult symbology into his chest, and

1357
01:08:36,320 --> 01:08:39,240
Speaker 3: then they realize like, wait, it's not a cult symbols,

1358
01:08:39,400 --> 01:08:41,840
Speaker 3: it's a map, and they're like holding a map up

1359
01:08:41,880 --> 01:08:43,799
Speaker 3: to his chest while he's bleeding everything.

1360
01:08:44,360 --> 01:08:47,360
Speaker 2: Yeah, bleeding chest. It looks it awful, like he needs

1361
01:08:47,360 --> 01:08:48,920
Speaker 2: to go to the emergency room. But you know it's

1362
01:08:48,960 --> 01:08:51,320
Speaker 2: like all right, bundle up, grab some chocolate. We're going

1363
01:08:51,360 --> 01:08:51,960
Speaker 2: out in the field.

1364
01:08:52,160 --> 01:08:53,800
Speaker 3: And there's a big set piece at the end where

1365
01:08:53,800 --> 01:08:55,840
Speaker 3: they have to go rescue Kim Katrol in like a

1366
01:08:55,880 --> 01:08:59,040
Speaker 3: flooded subway tunnel and they confront the monster and there

1367
01:08:59,080 --> 01:09:01,960
Speaker 3: are various kinds of like traps and weapons setups they

1368
01:09:02,040 --> 01:09:04,400
Speaker 3: use against him. They try to use electricity and they

1369
01:09:04,439 --> 01:09:08,080
Speaker 3: try to use explosives, and then in the end this

1370
01:09:08,240 --> 01:09:12,759
Speaker 3: was totally inexplicable to me. Did you understand why Harley

1371
01:09:12,800 --> 01:09:15,639
Speaker 3: Stone was able to do a Temple of Doom style

1372
01:09:15,760 --> 01:09:18,120
Speaker 3: reverse heart ripping on the monster.

1373
01:09:19,360 --> 01:09:21,200
Speaker 2: I think it was. I think it's kind of like

1374
01:09:21,240 --> 01:09:24,880
Speaker 2: when obi Wan battles General Grievous, Like General Grievous is

1375
01:09:24,960 --> 01:09:28,120
Speaker 2: damaged enough in the battle that obi Wan is able

1376
01:09:28,200 --> 01:09:33,599
Speaker 2: to target the inner weak spot. Okay, so I think

1377
01:09:33,640 --> 01:09:36,200
Speaker 2: that's basically what's happened here, is like all their attempts

1378
01:09:36,280 --> 01:09:39,400
Speaker 2: to blow him up and shoot him and to electrocute him,

1379
01:09:39,560 --> 01:09:42,680
Speaker 2: it managed to expose the heart enough that he was

1380
01:09:42,720 --> 01:09:47,240
Speaker 2: able to reach in and pull this grotesque like black

1381
01:09:47,479 --> 01:09:51,000
Speaker 2: just solid black heart out of the monster that continues

1382
01:09:51,040 --> 01:09:54,600
Speaker 2: to beat like NonStop after he rips.

1383
01:09:54,360 --> 01:09:56,240
Speaker 3: It out, and then he shoots it while it's in

1384
01:09:56,280 --> 01:09:59,559
Speaker 3: his hand point blank. Yes, it looks like you would

1385
01:09:59,560 --> 01:10:00,760
Speaker 3: have shot his fingers off.

1386
01:10:01,040 --> 01:10:01,280
Speaker 2: Yes.

1387
01:10:03,000 --> 01:10:05,479
Speaker 3: But so one of my favorite things about this movie.

1388
01:10:05,479 --> 01:10:07,479
Speaker 3: I kept thinking, like, Okay, so what are we going

1389
01:10:07,520 --> 01:10:09,200
Speaker 3: to find out about the monster in the end, We're

1390
01:10:09,240 --> 01:10:12,759
Speaker 3: going to find out like it's actually his former partner

1391
01:10:13,000 --> 01:10:16,040
Speaker 3: as or something like that. But nope, it's like it

1392
01:10:16,080 --> 01:10:19,439
Speaker 3: has no it's not any character we previously knew. It

1393
01:10:19,479 --> 01:10:22,400
Speaker 3: doesn't really have any causal connection to anything else that

1394
01:10:22,479 --> 01:10:26,679
Speaker 3: happens in the story. It's only really apparently after Harley

1395
01:10:26,680 --> 01:10:29,640
Speaker 3: Stone just because they happened to have met before. Like

1396
01:10:29,720 --> 01:10:31,200
Speaker 3: it's just a random monster.

1397
01:10:31,680 --> 01:10:35,080
Speaker 2: Yeah, and but it's increasingly difficult to try and figure

1398
01:10:35,080 --> 01:10:37,519
Speaker 2: out what this monster's supposed to be, uh huh, because

1399
01:10:37,520 --> 01:10:39,800
Speaker 2: we have all these strange qualities that are brought up,

1400
01:10:40,680 --> 01:10:44,680
Speaker 2: some oftentimes conflicting. So we know it's it's humanoid but

1401
01:10:44,760 --> 01:10:48,040
Speaker 2: not human. It lives in the sewers and flooded ruins.

1402
01:10:48,080 --> 01:10:50,880
Speaker 2: It has rat DNA, but it also has DNA from

1403
01:10:50,920 --> 01:10:52,960
Speaker 2: all of its victims, so it's some sort of a

1404
01:10:53,000 --> 01:10:56,760
Speaker 2: gene stealer. It's intelligent, it knows human language, it knows

1405
01:10:56,760 --> 01:11:01,320
Speaker 2: occult symbology. It can use weapons and tools and delivery services.

1406
01:11:02,200 --> 01:11:05,599
Speaker 2: But it's also this total grindel monster. It's a bestial killer.

1407
01:11:05,640 --> 01:11:10,960
Speaker 2: It has monster hands and monster teeth. We're largely left

1408
01:11:11,000 --> 01:11:13,720
Speaker 2: to assume it is completely organic and or naked, but

1409
01:11:14,080 --> 01:11:16,720
Speaker 2: in one of the rare glimpses we see of it,

1410
01:11:16,720 --> 01:11:20,200
Speaker 2: it has this kind of motorcycle visor kind of head

1411
01:11:20,680 --> 01:11:23,799
Speaker 2: that makes you think, well, maybe it's part robot or something,

1412
01:11:24,360 --> 01:11:26,880
Speaker 2: or costume or something as well.

1413
01:11:27,080 --> 01:11:30,640
Speaker 3: It looks like a cross between the xenomorph venom and

1414
01:11:30,880 --> 01:11:33,240
Speaker 3: like Judge Dread with the helmet.

1415
01:11:33,800 --> 01:11:36,960
Speaker 2: Well, this more specifically reminds me of Judge Death. I believe,

1416
01:11:37,640 --> 01:11:41,120
Speaker 2: one of the foul evil judges where you have like

1417
01:11:41,200 --> 01:11:44,080
Speaker 2: the big teeth underneath the Yeah, I think that's Judge Dead.

1418
01:11:44,120 --> 01:11:44,759
Speaker 2: I may have my Judge.

1419
01:11:44,840 --> 01:11:47,000
Speaker 3: Well, I don't know Judge dread World all that. Well,

1420
01:11:47,040 --> 01:11:49,080
Speaker 3: I just mean, like, yes, you're exactly right. Its head

1421
01:11:49,080 --> 01:11:52,439
Speaker 3: does look like a helmet with a solid black visor.

1422
01:11:52,960 --> 01:11:56,439
Speaker 2: Yeah, and on top of that, it may think it's

1423
01:11:56,479 --> 01:11:59,120
Speaker 2: the devil, or is the devil? It eats human hearts,

1424
01:11:59,160 --> 01:12:01,880
Speaker 2: there's a psychic can between it and the people it's harmed,

1425
01:12:01,960 --> 01:12:06,240
Speaker 2: or at least with stone. Itself obsessed with the occult

1426
01:12:06,280 --> 01:12:08,640
Speaker 2: and the Chinese zodiac. It's active during the year at

1427
01:12:08,640 --> 01:12:11,320
Speaker 2: the rat and again it's weird. Black heart continues to

1428
01:12:11,360 --> 01:12:14,800
Speaker 2: beat outside its body, so you're left asking, like, what

1429
01:12:14,960 --> 01:12:19,000
Speaker 2: exactly is this thing? Did a human killer mutate into

1430
01:12:19,040 --> 01:12:21,920
Speaker 2: this in the sewers? Is it an emergent horror, a

1431
01:12:22,000 --> 01:12:25,680
Speaker 2: genetically engineered monster, an alien we just don't know.

1432
01:12:25,920 --> 01:12:29,320
Speaker 3: Is it a rat virus that took on bodily form?

1433
01:12:29,680 --> 01:12:32,400
Speaker 3: What was the part about it being a rat virus?

1434
01:12:32,439 --> 01:12:34,120
Speaker 3: There's just like one line about that.

1435
01:12:34,600 --> 01:12:37,600
Speaker 2: Yeah, again, perhaps all these rewrites are the cause. But

1436
01:12:38,280 --> 01:12:41,360
Speaker 2: ultimately I really liked this. I love not knowing what

1437
01:12:41,400 --> 01:12:46,600
Speaker 2: this thing is because again, monstrosity is often about category confusion,

1438
01:12:46,680 --> 01:12:51,400
Speaker 2: and this monster is confusing. Yes, there's a chaotic ambiguity

1439
01:12:51,439 --> 01:12:53,880
Speaker 2: about it, and I find that I ultimately really like

1440
01:12:53,960 --> 01:12:57,720
Speaker 2: that it's emerged from the inhuman realm and humans are

1441
01:12:57,720 --> 01:13:01,080
Speaker 2: able to kill it. Possibly we have that stinger with

1442
01:13:01,120 --> 01:13:05,160
Speaker 2: the bubbles, but human understanding fails any attempt to comprehend it,

1443
01:13:05,240 --> 01:13:08,800
Speaker 2: and so it has this kind of pure monstrosity to

1444
01:13:08,880 --> 01:13:12,000
Speaker 2: it that works. And they also don't shoot it. A lot,

1445
01:13:12,040 --> 01:13:14,720
Speaker 2: we don't see much of it, so there's a lot

1446
01:13:14,760 --> 01:13:16,760
Speaker 2: of mystery regarding what it is.

1447
01:13:17,120 --> 01:13:18,360
Speaker 3: Yeah, I wouldn't change a thing.

1448
01:13:19,520 --> 01:13:19,720
Speaker 2: Oh.

1449
01:13:19,920 --> 01:13:21,840
Speaker 3: One thing I forgot to mention that I thought was

1450
01:13:21,880 --> 01:13:25,639
Speaker 3: great about the conversion to the religion of Harley Stone

1451
01:13:26,160 --> 01:13:29,880
Speaker 3: is that you also see after the plots resolved, like

1452
01:13:30,080 --> 01:13:34,599
Speaker 3: further religious disciplining to keep him on the path. Because

1453
01:13:35,040 --> 01:13:38,280
Speaker 3: Durkin at one point they ask after they've beaten the monster.

1454
01:13:38,680 --> 01:13:44,040
Speaker 3: I think Kim Katral says, is it dead? And Durkin says, existentially,

1455
01:13:44,080 --> 01:13:46,680
Speaker 3: that's difficult to answer. Philosophy of death is one of

1456
01:13:46,680 --> 01:13:49,759
Speaker 3: my hobbies and then they both yell at him like Durkin.

1457
01:13:50,680 --> 01:13:53,240
Speaker 3: I think the implication is that, uh oh, it sounds

1458
01:13:53,240 --> 01:13:58,040
Speaker 3: like he's reverting to his puny, milksop intellectual personality and

1459
01:13:58,080 --> 01:14:00,439
Speaker 3: they need to like, you know, whip him to make

1460
01:14:00,479 --> 01:14:02,719
Speaker 3: sure he adheres to the Harley Stone path.

1461
01:14:03,320 --> 01:14:06,720
Speaker 2: Yeah, eat some chocolate and have some more coffee and

1462
01:14:06,880 --> 01:14:11,559
Speaker 2: cigars right now. Uh yeah. I feel like the Harley

1463
01:14:11,600 --> 01:14:14,400
Speaker 2: Stone way is also similar to like my taste in films,

1464
01:14:15,560 --> 01:14:18,280
Speaker 2: and perhaps someone out there might might see one of

1465
01:14:18,320 --> 01:14:21,040
Speaker 2: the films we cover on Weird House and for the

1466
01:14:21,080 --> 01:14:23,720
Speaker 2: first time and experience a similar conversion, you know, like

1467
01:14:23,760 --> 01:14:27,200
Speaker 2: something has shaken you, something has changed after seeing a

1468
01:14:27,200 --> 01:14:30,160
Speaker 2: film like Split Second or Mad Love or Teens in

1469
01:14:30,200 --> 01:14:33,360
Speaker 2: the Universe. What do I do now? Well, let us

1470
01:14:33,400 --> 01:14:37,559
Speaker 2: recommend this cinematic diet of chocolate, brain jarring, coffee and

1471
01:14:37,680 --> 01:14:39,160
Speaker 2: violent excess. Yeah.

1472
01:14:39,320 --> 01:14:40,120
Speaker 3: Put that coat on.

1473
01:14:40,360 --> 01:14:44,200
Speaker 2: Yeah, put this coat on. Have a seat on this motorcycle.

1474
01:14:47,200 --> 01:14:48,679
Speaker 3: Gets you some plastic pants.

1475
01:14:50,840 --> 01:14:54,519
Speaker 2: Yeah. So this one's really fun. I recommend it. Let's

1476
01:14:54,520 --> 01:14:56,840
Speaker 2: see places to see it. I think we both watched

1477
01:14:56,880 --> 01:14:59,920
Speaker 2: it streaming on Amazon Prime. It's part of the Prime

1478
01:15:01,240 --> 01:15:03,479
Speaker 2: streaming plan. Right now, at least in the United States.

1479
01:15:03,680 --> 01:15:05,320
Speaker 2: It's probably I think it's one of these films is

1480
01:15:05,400 --> 01:15:11,080
Speaker 2: ultimately available wherever you buy or rent things digitally. I

1481
01:15:11,120 --> 01:15:13,160
Speaker 2: forgot to check place. Yeah, yeah, I forgot to check

1482
01:15:13,200 --> 01:15:14,680
Speaker 2: if there is like a really good Blu ray or

1483
01:15:14,680 --> 01:15:17,600
Speaker 2: anything of it. But I hope there is. If not,

1484
01:15:17,640 --> 01:15:18,360
Speaker 2: there should be one.

1485
01:15:18,439 --> 01:15:20,479
Speaker 3: Wait, I thought you, I thought the last time you

1486
01:15:20,479 --> 01:15:22,520
Speaker 3: watched it, you rented it from videodrome.

1487
01:15:23,000 --> 01:15:26,000
Speaker 2: No last time, or did I hmm hmm.

1488
01:15:26,280 --> 01:15:29,240
Speaker 3: Our local video store where yes, you can still rent

1489
01:15:29,439 --> 01:15:30,439
Speaker 3: movies on disc.

1490
01:15:30,840 --> 01:15:33,439
Speaker 2: Yeah, excellent place. Well I would have rented it there.

1491
01:15:33,520 --> 01:15:35,479
Speaker 2: Oh well, you know, I take that back. There is

1492
01:15:35,880 --> 01:15:38,000
Speaker 2: This is not the addition that I rented if I

1493
01:15:38,040 --> 01:15:41,080
Speaker 2: did rent it, But there is a very handsome looking

1494
01:15:41,160 --> 01:15:45,800
Speaker 2: Blu ray of this available now Criteria not Criterion. It

1495
01:15:45,840 --> 01:15:48,519
Speaker 2: looks like it's MVD. I'm not familiar with that, but

1496
01:15:48,560 --> 01:15:51,160
Speaker 2: it has some wonderful brand new art on the cover

1497
01:15:51,320 --> 01:15:54,800
Speaker 2: that looks absolutely snazzy. Looks like this came out. Oh,

1498
01:15:54,880 --> 01:15:57,840
Speaker 2: this just came out in August of last year, so

1499
01:15:58,200 --> 01:16:00,160
Speaker 2: I would say, yeah, check this out. I feel kind

1500
01:16:00,160 --> 01:16:02,240
Speaker 2: of foolish for not picking this up on Blu ray

1501
01:16:02,280 --> 01:16:04,519
Speaker 2: now and it looks like it. Oh my goodness, it

1502
01:16:04,520 --> 01:16:07,000
Speaker 2: has audio commentary Terry's. It has a bunch of stuff

1503
01:16:07,040 --> 01:16:10,840
Speaker 2: on it. So yeah, if you're into this, go check

1504
01:16:10,880 --> 01:16:11,240
Speaker 2: it out.

1505
01:16:11,640 --> 01:16:14,040
Speaker 3: The tagline on the cover. So a few things about

1506
01:16:14,040 --> 01:16:16,200
Speaker 3: the box art. I think this is the original box

1507
01:16:16,320 --> 01:16:18,439
Speaker 3: art that may have the newer version may have something

1508
01:16:18,439 --> 01:16:19,040
Speaker 3: more elaborate.

1509
01:16:19,160 --> 01:16:19,360
Speaker 2: Yeah.

1510
01:16:19,439 --> 01:16:22,439
Speaker 3: First of all, the old box art looks like a

1511
01:16:22,479 --> 01:16:27,280
Speaker 3: Sega Genesis game. Yes, you see that. And then second,

1512
01:16:27,600 --> 01:16:30,439
Speaker 3: I want to talk about the taglines says Rutger Hower

1513
01:16:30,680 --> 01:16:33,679
Speaker 3: split Second, and then it says he's seen the future.

1514
01:16:34,240 --> 01:16:38,000
Speaker 3: Now he has to kill it, and he does. Yeah,

1515
01:16:38,120 --> 01:16:40,599
Speaker 3: he kills the future. Oh and it also says he'll

1516
01:16:40,600 --> 01:16:43,360
Speaker 3: need bigger guns. It's like they couldn't decide, so they

1517
01:16:44,320 --> 01:16:46,440
Speaker 3: included both possible taglines.

1518
01:16:46,840 --> 01:16:49,639
Speaker 2: Yeah I think that. So yeah, this this Blu ray

1519
01:16:49,680 --> 01:16:52,840
Speaker 2: looks impressive and has a mini poster that comes with

1520
01:16:52,880 --> 01:16:55,639
Speaker 2: it with the original style VHS artwork. But I don't

1521
01:16:55,640 --> 01:16:59,479
Speaker 2: say see anything about Windy Carlos score being an option

1522
01:16:59,560 --> 01:17:03,839
Speaker 2: on there, so sadly that will remain lost to history.

1523
01:17:03,960 --> 01:17:06,120
Speaker 3: If you've got connections in the film world, you want

1524
01:17:06,120 --> 01:17:09,479
Speaker 3: to put out a new remastered version of Split Second,

1525
01:17:09,640 --> 01:17:13,200
Speaker 3: with the all new original Wendy Carlos score. I would

1526
01:17:13,200 --> 01:17:15,200
Speaker 3: pay top dollar for that disc.

1527
01:17:15,560 --> 01:17:18,280
Speaker 2: Yeah, we're talking thirty forty bucks here. Yeah, so make

1528
01:17:18,360 --> 01:17:22,240
Speaker 2: it happen. All right, Well, we're gonna go ahead and

1529
01:17:22,240 --> 01:17:23,960
Speaker 2: close this one out, but we'd love to hear from

1530
01:17:23,960 --> 01:17:27,120
Speaker 2: everyone out there. You know, people who saw Split Second

1531
01:17:27,200 --> 01:17:29,519
Speaker 2: back in the day when it came out, people who've

1532
01:17:29,520 --> 01:17:32,120
Speaker 2: discovered it since then. What are your thoughts on the

1533
01:17:32,120 --> 01:17:36,800
Speaker 2: film with the performances. Yeah, everything's on the table. In

1534
01:17:36,840 --> 01:17:38,839
Speaker 2: the meantime, if you want to check out other episodes

1535
01:17:38,840 --> 01:17:41,840
Speaker 2: of Weird House Cinema, this publishes every Friday in the

1536
01:17:41,880 --> 01:17:45,200
Speaker 2: Stuff to Blow your Mind podcast feed. You can find

1537
01:17:45,240 --> 01:17:48,680
Speaker 2: that feed wherever you get your podcasts, and we just

1538
01:17:48,720 --> 01:17:53,000
Speaker 2: asked you rate, review and subscribe as I have been doing.

1539
01:17:53,080 --> 01:17:55,559
Speaker 2: If you go to Summuta music dot com, it's se

1540
01:17:55,720 --> 01:17:58,960
Speaker 2: m U T A m U s I C dot com.

1541
01:17:59,320 --> 01:18:02,000
Speaker 2: That's a little personal blog, but I will put up

1542
01:18:03,120 --> 01:18:05,320
Speaker 2: bits about the episodes of Weird House there. So some

1543
01:18:05,360 --> 01:18:08,080
Speaker 2: of these other media bits that I've discussed here, I'll

1544
01:18:08,120 --> 01:18:10,080
Speaker 2: include them there for your easy access.

1545
01:18:10,479 --> 01:18:13,400
Speaker 3: Huge thanks as always to our excellent audio producer Seth

1546
01:18:13,479 --> 01:18:15,840
Speaker 3: Nicholas Johnson If you would like to get in touch

1547
01:18:15,880 --> 01:18:18,160
Speaker 3: with us with feedback on this episode or any other,

1548
01:18:18,640 --> 01:18:20,920
Speaker 3: to suggest a topic for the future, or just to

1549
01:18:20,960 --> 01:18:23,840
Speaker 3: say hello, you can email us at contact at stuff

1550
01:18:23,880 --> 01:18:32,360
Speaker 3: to Blow your Mind dot com.

1551
01:18:32,479 --> 01:18:35,439
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1552
01:18:35,520 --> 01:18:38,320
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1553
01:18:38,479 --> 01:18:41,720
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.