WEBVTT - Weirdhouse Cinema: Split Second (1992)

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<v Speaker 1>Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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<v Speaker 2>Hey, welcome to Weird House Cinema. This is Rob Lamb.

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<v Speaker 3>And I'm Jim McCormick, and we have got a post

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<v Speaker 3>apocalyptic buddy cop movie for you today.

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<v Speaker 2>That's right, So peel a chocolate off the side of

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<v Speaker 2>your fridge, sugar down your coffee, and prepare for the ride.

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<v Speaker 2>That is nineteen ninety two's Split Second.

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<v Speaker 3>Now this was new to me. I actually just finished

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<v Speaker 3>watching it minutes ago. But you had already seen this one,

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<v Speaker 3>I think last year or the year before or something,

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<v Speaker 3>so you brought it back up for the show, right right.

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<v Speaker 2>I had watched it in one setting sometime in the

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<v Speaker 2>last few years, and I was watching it late at night,

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<v Speaker 2>so I got a little sleepy towards the end. Not

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<v Speaker 2>not the film's fault, but my fault. This time around,

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<v Speaker 2>I watched it in chunks, often first thing in the morning,

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<v Speaker 2>while I myself was having a cup of coffee. So

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<v Speaker 2>I really got to appreciate every detail, every nook and

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<v Speaker 2>cranny of this film. And I feel like second helpings

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<v Speaker 2>have Split Second Yeah, really paid off for me.

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<v Speaker 3>Now, did this movie convince you to use about three

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<v Speaker 3>quarters of a cup of sugar per mug of coffee.

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<v Speaker 2>Yeah yeah, yeah, as well, we'll get into in this

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<v Speaker 2>we there's just such all reckless disregard for our hero's

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<v Speaker 2>health as he does he doesn't drink, which I think

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

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<v Speaker 2>has taken to just reckless consumption of chocolate and sugar

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<v Speaker 2>heavy caffeine.

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<v Speaker 3>And like his teeth are like Swiss cheese, Like he

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<v Speaker 3>is just and I bet this world. So this is

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<v Speaker 3>a dystopian future buddy cop movie that is set in

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<v Speaker 3>a future London that has been flooded by global warming.

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<v Speaker 3>So like water levels have risen, the ten is now

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<v Speaker 3>creeping out into the outer burrows I guess. So all

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<v Speaker 3>the streets are now like the canals of Venice just

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<v Speaker 3>flooded with gross, muddy rat water and the cops have

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<v Speaker 3>to like drive around in them in these big jeeps

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<v Speaker 3>that can drive in the shallow water or actually navigate

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<v Speaker 3>them in fan boats like it's a bayou movie.

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<v Speaker 2>Yeah, yeah, this is the Again, this is a ninety

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<v Speaker 2>two film, so this is the future of two thousand

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<v Speaker 2>and eighty. But one of the things about this film

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<v Speaker 2>is that I feel like. It does have a really

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<v Speaker 2>solid visual feel. It has a great esthetic, you know,

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<v Speaker 2>just all these scenes of just a two wet London

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<v Speaker 2>and everything's at least partially flooded. It's just a soggy

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<v Speaker 2>mess and everything else the rest of the world has

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<v Speaker 2>a suitably industrial grime to it as well. It looks.

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<v Speaker 2>It looks great. I really enjoyed the look of the film.

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<v Speaker 3>It's the steam injected microbial matt future of Highlander two

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<v Speaker 3>where everything is always just dark and moist and unpleasant.

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<v Speaker 2>Yeah, there's a little bit of a blade Runner DNA

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<v Speaker 2>in this for sure. We'll discuss. Another great thing about

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<v Speaker 2>this film, and we'll touch on this time and time

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<v Speaker 2>again too, is that it has all the hallmarks of

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<v Speaker 2>the film in which the script has been reworked multiple

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<v Speaker 2>times with different intents in mind, and its result it

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<v Speaker 2>results in a kind of chaos in key places, kind

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<v Speaker 2>of ambiguity that can in the right proportions, work really

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<v Speaker 2>well for a detective story or a monster story, and

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<v Speaker 2>luckily this film is both.

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<v Speaker 3>I would say for me, this was one of the

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<v Speaker 3>funniest movies we have watched so far for Weird House Cinema,

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

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<v Speaker 3>like a cargo truck just packed with every grizzled, macho

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<v Speaker 3>buddy cop movie cliche and every dystopian sci fi cliche

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<v Speaker 3>all together, but at such a volume and velocity that

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<v Speaker 3>it does not seem just like lazy hack writing, but

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<v Speaker 3>more kind of transcendent parody. But at the same time time,

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<v Speaker 3>it doesn't go to the level of parody where it's

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<v Speaker 3>winking at you about it. It plays it straight, which

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<v Speaker 3>makes for a much funnier end product.

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<v Speaker 2>Yeah, so I feel like when we laugh at this film,

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<v Speaker 2>and I laughed at it at two, we're not laughing,

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

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<v Speaker 2>We're not just we're not. It's not like a mean laugh.

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<v Speaker 2>I feel like we are laughing in a way that

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<v Speaker 2>was intended by at least a large number of people

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<v Speaker 2>involved in this film.

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<v Speaker 3>Yes, Split Second is not a failure. It succeeds.

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<v Speaker 2>Yes, though that.

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<v Speaker 3>Seems to have been lost on people when it originally

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<v Speaker 3>came out, who seemed to just regard it why or

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<v Speaker 3>at least some of the reviews we were looking at

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<v Speaker 3>people were just saying, like another you know, hackneyed, cliched

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<v Speaker 3>dystopian sci fi movie. You can skip it. I think

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<v Speaker 3>this one is worth a solidly worth a watch.

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<v Speaker 2>Yeah. When I looked it up after i'd seen it

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<v Speaker 2>the second time, I looked it up in the Psychotronic

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<v Speaker 2>Video Guide from Michael Weldon, and I found he didn't

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<v Speaker 2>care for it. He called it a quote boring, dull,

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<v Speaker 2>misty science fiction movie. And yeah, greedy disagree on this one,

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

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<v Speaker 2>Maybe it was just too fresh in nineteen ninety six

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

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<v Speaker 2>then again, you could also argue that the tropes wouldn't

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<v Speaker 2>have been as trod well trod in the early nineties

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<v Speaker 2>as they would be in the year twenty twenty one.

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<v Speaker 3>Well, a lot of the funny stuff in this movie

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<v Speaker 3>would continue to be used unronically for the next decade

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<v Speaker 3>or two in straightforward like a list cop movie. Yes, oh,

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

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<v Speaker 3>is a monster movie, so it is a dystopian sci

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<v Speaker 3>fi movie, a grizzled buddy cop movie, and a monster

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<v Speaker 3>movie all crammed into one.

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

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<v Speaker 2>of two thousand and eight, a murderous horror emerges from

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<v Speaker 2>the flooded London underground, and only the gruffiest cop imaginable,

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<v Speaker 2>supercharged on a diet of anxiety, coffee and chocolate, can

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<v Speaker 2>stop it.

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

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<v Speaker 3>which I I think that is the right term, because

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<v Speaker 3>he's gruff and he's scruffy.

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<v Speaker 2>Yeah, it's a combination. It's a hybrid that he has

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<v Speaker 2>absorbed the DNA of both qualities.

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<v Speaker 3>Let's hear that trailer audio.

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<v Speaker 2>He can hear its heartbeat. There you go. He knows

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<v Speaker 2>it's out there.

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

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<v Speaker 1>Telling me, but's something running around loose in this city,

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<v Speaker 1>ripping a hot out.

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<v Speaker 3>Of people, anything though, maybe eat some for breakfast.

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<v Speaker 2>Now it's really pissing him off.

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<v Speaker 3>But the.

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<v Speaker 2>And his new partner work.

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<v Speaker 3>Makes two paranoid people with guns are a menace to society?

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<v Speaker 2>Do you need paranoid to like this?

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<v Speaker 3>Follow you?

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<v Speaker 2>Rutger Hower? Split second?

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<v Speaker 3>Nice timing? Split second?

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<v Speaker 2>All right?

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<v Speaker 3>Well, oh sorry, did you specify before that this is

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<v Speaker 3>a rutger Hower film.

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

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<v Speaker 2>to a number of people. And maybe there's a picture

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<v Speaker 2>of rutger Hower, you know, capping this thing off. But yes,

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<v Speaker 2>this is this is a rutger Hower extravaganza. In the

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<v Speaker 2>same way that modern film fans a lot of you

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<v Speaker 2>like the cage Rage. This one is filled.

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<v Speaker 3>With Howard power, yes, yeah, oh yeah.

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<v Speaker 2>But there are other people involved too. Let's let's start

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

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<v Speaker 2>guy by the name of Tony Mayleem, English director who

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<v Speaker 2>also directed the nineteen eighty one slasher film The Burning.

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<v Speaker 2>Mayleem also went on to do a fair amount of

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<v Speaker 2>documentary work, and I'm to understand Split Second was a

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<v Speaker 2>particularly grueling project for him, and he had he had

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<v Speaker 2>to step away towards the end of the production and

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<v Speaker 2>let Ian Sharp finish directing the picture.

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<v Speaker 3>Yeah, I can imagine this might have been some trouble

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<v Speaker 3>because you're dealing with a lot of flooded sets. I

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<v Speaker 3>mean almost you know, like every other set in this movie.

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<v Speaker 3>There's just water everywhere, and I would imagine that makes

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<v Speaker 3>filming very difficult and tedious.

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<v Speaker 2>Yeah, and then you got to have a pigeon wrangler.

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<v Speaker 2>You got to have a rat wrangler. Oh yeah, you

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<v Speaker 2>gotta have a Hower wrangler, and every every everybody's got

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<v Speaker 2>to be on hand.

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<v Speaker 3>I didn't check for the credits, but was there an

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<v Speaker 3>assistant to mister Hower in there?

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<v Speaker 2>I didn't notice. Yeah, I should have. I should have looked.

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<v Speaker 2>Somebody had to get him his coffee.

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<v Speaker 3>The Hower power generator.

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<v Speaker 2>He might. I think he might be self powering. I

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<v Speaker 2>really don't know enough about We'll get We'll get to

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<v Speaker 2>Howard in a second.

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<v Speaker 3>Power is renewable.

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<v Speaker 2>Yes. Now. The writer on this was a guy named

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<v Speaker 2>Gary Scott Thompson. Not a lot that I know about him,

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<v Speaker 2>except that he is the guy who gave us Too Fast,

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<v Speaker 2>Too Furious. He also wrote the Hollow Man Joe It

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<v Speaker 2>was Too Fast, Too Furious, one of the good fast

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<v Speaker 2>furious movies.

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<v Speaker 3>No, you generally want to stay away from the even

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<v Speaker 3>numbered ones until you get to around six or eight.

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<v Speaker 2>Uh huh.

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<v Speaker 3>Once you get once you get past five, everything is

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<v Speaker 3>like bad but worth watchings. Everything's kind of good bad

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

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<v Speaker 3>the real ones you want to stay away from I

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<v Speaker 3>think are like two and four, which I remember being

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<v Speaker 3>rather boring.

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<v Speaker 2>All right, cool, I'll keep that in mind well.

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<v Speaker 3>And also The Hollow Man. God. I love Paul Verhoven,

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<v Speaker 3>but that is just a dreadful movie.

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

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<v Speaker 2>As for split second here again, this script seems like

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<v Speaker 2>it was probably changed a number of times, and I

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<v Speaker 2>think that was the case based on some just IMDb

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<v Speaker 2>stuff I looked at. It has a lot of the

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<v Speaker 2>obvious signs of Blade Runner and Alien on it, as

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<v Speaker 2>you would expect at that time, and certainly casting Rudger

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<v Speaker 2>howerd is that was, you know, one of the films

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<v Speaker 2>he made a big splash in Blade Runner. But it

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<v Speaker 2>also to me anyway, I feel like there's a huge

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<v Speaker 2>two thousand and eighty comics influence here as well. I

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<v Speaker 2>have no proof of that. And Gary Scott Thompson, I

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<v Speaker 2>believe is an American writer, not British, but there are

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<v Speaker 2>a lot of British folks involved in this one, and

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<v Speaker 2>I feel like it thematically has a lot of the

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<v Speaker 2>elements you find in those original Judge Dread comics, you know,

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<v Speaker 2>where there's a grittiness, but there's also this comedic and

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<v Speaker 2>satiric vein going through everything like everything's over the top, like,

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<v Speaker 2>and we lose some of that in the americanized versions

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<v Speaker 2>of Judge Dread you know where in the films. Yeah,

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<v Speaker 2>Judge Dread is you know, grumbling and blasting things with

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<v Speaker 2>an enormous gun. But he doesn't have a humorous made

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<v Speaker 2>or funny robots in his life like he does in

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<v Speaker 2>the comics.

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<v Speaker 3>So one thing that's funny about this movie is that

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

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<v Speaker 3>the setting is very pointedly British, and some of the

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<v Speaker 3>characters are very pointedly British in the way they're characterized.

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<v Speaker 3>But our main hero, Howard, despite being Rutger Hower, is

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<v Speaker 3>a very American cop character. He's very much like an

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<v Speaker 3>American tough guy cop lead.

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

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<v Speaker 2>was born in nineteen forty four and died in twenty nineteen.

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<v Speaker 2>In this he plays Harley Stone, a character we will

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

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<v Speaker 2>He also had a nonprofit aimed at HIV and AIDS

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<v Speaker 2>awareness called The Rugger Howard Starfish Association, and he wrote

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<v Speaker 2>to prominence in the films a fellow Dutchman of filmmaker

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<v Speaker 2>Paul of Villehoven, who we just mentioned and made a

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<v Speaker 2>huge splash in American cinema in nineteen eighty two's Blade Runner.

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<v Speaker 2>He's also very notable in nineteen eighty five's Lady Hawk

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<v Speaker 2>and nineteen eighty six is The Hitcher. And he's worked

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<v Speaker 2>with Hooven culminated in the nineteen eighty five medieval adventure

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<v Speaker 2>film that I have not seen, Lesh and Blood, which

0:12:01.280 --> 0:12:04.360
<v Speaker 2>co star Jennifer Jason Lee and Ronald Lacy. And I

0:12:04.440 --> 0:12:07.760
<v Speaker 2>understand that the two disagreed on the nature of his character.

0:12:07.880 --> 0:12:11.200
<v Speaker 2>Howard wanted to get away from villain roles, but Verhoven

0:12:11.240 --> 0:12:15.440
<v Speaker 2>wanted him to play a more morally ambiguous character. And

0:12:15.440 --> 0:12:18.920
<v Speaker 2>that's an interesting wrinkle to think about because in this

0:12:19.040 --> 0:12:23.360
<v Speaker 2>obviously he's our hero, and I can't think of a

0:12:23.400 --> 0:12:25.760
<v Speaker 2>lot of films like Later On where he played anything

0:12:25.800 --> 0:12:29.120
<v Speaker 2>other than a protagonist, you know, like, what are the

0:12:29.120 --> 0:12:32.160
<v Speaker 2>big rudger howand villain roles? Yeah, you named Blade Runner

0:12:32.760 --> 0:12:35.559
<v Speaker 2>the Hitcher, but anything else, well, I would.

0:12:35.440 --> 0:12:38.319
<v Speaker 3>Argue that maybe you shouldn't even think of him necessarily

0:12:38.360 --> 0:12:41.599
<v Speaker 3>as the villain of Blade Runner. I mean in Blade Runners,

0:12:41.640 --> 0:12:45.600
<v Speaker 3>I would say he's something more like the creature in Frankenstein,

0:12:45.720 --> 0:12:49.280
<v Speaker 3>as someone true does bad things, who harms people, but

0:12:50.040 --> 0:12:51.959
<v Speaker 3>in other ways is sort of a sort of a

0:12:52.240 --> 0:12:55.680
<v Speaker 3>babe in the wilderness, like he's lost and desperate and

0:12:55.720 --> 0:12:57.800
<v Speaker 3>doesn't know what to do with his own mortality.

0:12:58.400 --> 0:13:01.880
<v Speaker 2>Yeah, but you can easily imagine the like the filmmaking

0:13:01.920 --> 0:13:04.520
<v Speaker 2>system after Blade Run, it's like, oh, can we get

0:13:04.520 --> 0:13:06.439
<v Speaker 2>Howard to play this terrorist? Can we get Howard to

0:13:06.440 --> 0:13:10.240
<v Speaker 2>play this this evil king? And it sounds like he

0:13:10.280 --> 0:13:12.640
<v Speaker 2>was like, I don't want those type of roles I want.

0:13:12.679 --> 0:13:16.480
<v Speaker 2>I want something different. I want and you know, you know,

0:13:16.559 --> 0:13:19.400
<v Speaker 2>my mind come turns to Batman begins.

0:13:19.120 --> 0:13:20.480
<v Speaker 3>Right, he's a corrupt business man.

0:13:20.559 --> 0:13:22.760
<v Speaker 2>He's a corrupt businessman, but he's yeah, he's a suit

0:13:22.880 --> 0:13:23.199
<v Speaker 2>in that.

0:13:23.559 --> 0:13:25.920
<v Speaker 3>Oh I think he's also I remember, God, I haven't

0:13:25.920 --> 0:13:28.200
<v Speaker 3>seen sin City in many years, but I remember him

0:13:28.240 --> 0:13:31.520
<v Speaker 3>being some kind of evil corrupt like yeah or something

0:13:31.559 --> 0:13:32.280
<v Speaker 3>in that also.

0:13:32.679 --> 0:13:35.880
<v Speaker 2>Okay, Well, he maybe managed to sprinkle some villainy in

0:13:35.920 --> 0:13:38.040
<v Speaker 2>the later movies, but yeah, he went on to be

0:13:38.080 --> 0:13:40.760
<v Speaker 2>in a ton of films and TV projects, one hundred

0:13:40.760 --> 0:13:44.079
<v Speaker 2>and seventy five acting credits on IMDb, and they really

0:13:44.160 --> 0:13:46.640
<v Speaker 2>run the gamut from B movies to blockbusters, Like, he

0:13:46.800 --> 0:13:50.320
<v Speaker 2>was just in a lot of stuff and he's I've

0:13:50.320 --> 0:13:52.880
<v Speaker 2>never seen him in something where I'm like, ah, that's boring.

0:13:52.960 --> 0:13:55.960
<v Speaker 2>You know, he's he's he's an exciting element, even in

0:13:56.000 --> 0:13:56.680
<v Speaker 2>a bad picture.

0:13:56.880 --> 0:14:03.440
<v Speaker 3>Oh, you should try to watch Dariu Argento's Dracula.

0:14:00.000 --> 0:14:03.960
<v Speaker 2>Oka the second time You've challenged me on that one.

0:14:04.080 --> 0:14:06.320
<v Speaker 3>No, I'm not saying I've watched it. I'm saying I've

0:14:06.360 --> 0:14:08.760
<v Speaker 3>never been able to watch more than like sixty seconds

0:14:08.760 --> 0:14:13.319
<v Speaker 3>of it. Okay, But so, I guess if we're talking

0:14:13.320 --> 0:14:15.560
<v Speaker 3>about Rutger, how are we got to talk about the

0:14:15.600 --> 0:14:20.160
<v Speaker 3>tears in the rain monologue? Which this is a famous moment,

0:14:20.240 --> 0:14:23.240
<v Speaker 3>probably the most famous moment of Rutger Howard's career, also

0:14:23.280 --> 0:14:26.680
<v Speaker 3>the most famous moment of Blade Runner the movie. The

0:14:26.720 --> 0:14:29.680
<v Speaker 3>context is, of course, Harrison Ford in the movie plays Deckard,

0:14:29.760 --> 0:14:32.480
<v Speaker 3>who is a type of police officer or bounty hunter

0:14:32.720 --> 0:14:37.400
<v Speaker 3>who is hired to quote retire escaped replicants. Replicants are

0:14:37.760 --> 0:14:42.000
<v Speaker 3>you know, sort of androids or humanoids who are created

0:14:42.640 --> 0:14:45.880
<v Speaker 3>by this company to essentially be forced labor, and they

0:14:45.920 --> 0:14:49.080
<v Speaker 3>have a very short lifespan there so that they don't,

0:14:49.120 --> 0:14:51.720
<v Speaker 3>you know, get off and get ideas about independence. They

0:14:51.760 --> 0:14:54.520
<v Speaker 3>can only live for something like four years. And so

0:14:54.640 --> 0:14:56.360
<v Speaker 3>the plot of Blade Runner is that there are a

0:14:56.400 --> 0:14:59.720
<v Speaker 3>group of replicants who escape and they're trying to find

0:14:59.760 --> 0:15:02.080
<v Speaker 3>a way to get more life. They want to extend

0:15:02.080 --> 0:15:06.360
<v Speaker 3>their lifespan. Meanwhile, Harrison Ford Deckard is trying to hunt

0:15:06.360 --> 0:15:08.240
<v Speaker 3>them down, and in the end of the movie, he's

0:15:08.320 --> 0:15:11.680
<v Speaker 3>chasing around in a building while the rain is pouring outside.

0:15:11.960 --> 0:15:15.120
<v Speaker 3>He's chasing Rutger Hower's character, a replicant named Roy Beatty,

0:15:15.280 --> 0:15:18.880
<v Speaker 3>and there's a moment where where Deckard is almost about

0:15:18.880 --> 0:15:20.960
<v Speaker 3>to fall to his death off the roof, but then

0:15:21.400 --> 0:15:25.280
<v Speaker 3>Roy Baty grabs his arm and saves him. Despite him

0:15:25.360 --> 0:15:28.480
<v Speaker 3>being there to kill him. He saves him and then

0:15:28.480 --> 0:15:32.520
<v Speaker 3>he gives this speech. It's a soliloquy. He says, I've

0:15:32.560 --> 0:15:36.280
<v Speaker 3>seen things you people wouldn't believe. Attack ships on fire

0:15:36.360 --> 0:15:39.800
<v Speaker 3>off the shoulder of Orian. I watch seabeams glitter in

0:15:39.840 --> 0:15:42.920
<v Speaker 3>the dark near the tan Hauser Gate. All those moments

0:15:42.960 --> 0:15:47.120
<v Speaker 3>will be lost in time, like tears in rain. It's

0:15:47.160 --> 0:15:50.120
<v Speaker 3>a beautiful moment and a beautiful metaphor. But what I've

0:15:50.120 --> 0:15:53.240
<v Speaker 3>read is that apparently there was a line similar to

0:15:53.320 --> 0:15:55.600
<v Speaker 3>that already in the script, which I think was written

0:15:55.600 --> 0:16:00.040
<v Speaker 3>by David Peeples, but apparently Rutger Hower himself rewrote the

0:15:59.880 --> 0:16:03.320
<v Speaker 3>line before filming, and he was the person who added

0:16:03.360 --> 0:16:06.160
<v Speaker 3>the comparison to tears in Rain the most famous part

0:16:06.160 --> 0:16:08.080
<v Speaker 3>of it. So that's from the actor himself.

0:16:08.560 --> 0:16:11.040
<v Speaker 2>Yeah. I've always been impressed by that, and of course

0:16:11.080 --> 0:16:14.560
<v Speaker 2>that that monologue we've talked about on the show before.

0:16:14.600 --> 0:16:16.720
<v Speaker 2>Oh here's the line that DJs should be using in

0:16:16.760 --> 0:16:21.680
<v Speaker 2>their tracks. They definitely got the memo on Tears and Rain,

0:16:21.760 --> 0:16:23.920
<v Speaker 2>because man, I can think of so many different mixes

0:16:24.640 --> 0:16:29.760
<v Speaker 2>and tracks where something from Roy pops up. That pops

0:16:29.840 --> 0:16:31.920
<v Speaker 2>up on it's a I mean, it's just a great piece.

0:16:32.280 --> 0:16:34.680
<v Speaker 3>Yeah. Yeah, it's such a great line that in a

0:16:34.680 --> 0:16:37.080
<v Speaker 3>way it's kind of lost its power by being over

0:16:37.200 --> 0:16:38.680
<v Speaker 3>analyzed and over quoted.

0:16:39.520 --> 0:16:43.160
<v Speaker 2>There's a band called Grumbling Fur and they have a

0:16:43.200 --> 0:16:46.920
<v Speaker 2>song titled The Ballad of Roy Batty and it's this

0:16:46.920 --> 0:16:50.160
<v Speaker 2>this kind of somber British song, but it's the lyrics

0:16:50.200 --> 0:16:54.040
<v Speaker 2>are that that monologue. Oh wow, Yeah, So check that

0:16:54.120 --> 0:16:55.680
<v Speaker 2>out if you want.

0:16:56.320 --> 0:16:58.800
<v Speaker 3>But here a very different role in this. So he

0:16:58.880 --> 0:17:03.520
<v Speaker 3>plays in Blade Runner he is a tragic Frankenstein's creature

0:17:03.600 --> 0:17:07.119
<v Speaker 3>type character who who doesn't understand the point of his

0:17:07.160 --> 0:17:10.040
<v Speaker 3>own existence. He wants more life, but he can't have it,

0:17:10.480 --> 0:17:13.960
<v Speaker 3>and he and he ends in this tragic introspective state.

0:17:14.480 --> 0:17:18.320
<v Speaker 3>In split second, Hower is just Hower is the ultimate

0:17:18.440 --> 0:17:20.520
<v Speaker 3>like beef steak grumpy cop.

0:17:21.320 --> 0:17:26.439
<v Speaker 2>Yeah, yeah, he is something. It's worth noting that he

0:17:26.560 --> 0:17:28.639
<v Speaker 2>was I believe forty seven or forty eight at the time,

0:17:28.960 --> 0:17:32.040
<v Speaker 2>so this is, you know, slightly older Rutger Hower certainly

0:17:32.040 --> 0:17:34.560
<v Speaker 2>compared to like Blade Runner and stuff. He's carrying a

0:17:34.560 --> 0:17:36.679
<v Speaker 2>bit of weight in this though though nothing that feels

0:17:36.720 --> 0:17:39.639
<v Speaker 2>like awkward or anything. But I think it feel like

0:17:39.720 --> 0:17:42.720
<v Speaker 2>it feels like his physicality works perfectly well portraying this

0:17:42.880 --> 0:17:45.360
<v Speaker 2>cop on the edge he's not taken care of himself,

0:17:45.520 --> 0:17:49.320
<v Speaker 2>who lives this reckless lifestyle and the bit of a slob.

0:17:49.760 --> 0:17:53.120
<v Speaker 2>And yeah again, While they avoid the hard drinking stereotype

0:17:53.119 --> 0:17:56.040
<v Speaker 2>in this because he's apparently quit drinking, he does smoke

0:17:56.119 --> 0:17:59.680
<v Speaker 2>like a chimney, just constantly smoking, consumes copious amounts of

0:17:59.720 --> 0:18:05.199
<v Speaker 2>cough sugar, chocolate, and man that name to Harley Stone.

0:18:05.240 --> 0:18:08.760
<v Speaker 2>It's motorcycle plus rocks. You know, you couldn't do any

0:18:08.800 --> 0:18:09.560
<v Speaker 2>better than that.

0:18:09.560 --> 0:18:11.920
<v Speaker 3>That was the thing that convinced me to watch this movie.

0:18:11.960 --> 0:18:13.680
<v Speaker 3>I looked it up and I saw the main character

0:18:13.840 --> 0:18:16.480
<v Speaker 3>is named Harley Stone, and I was like, I'm in.

0:18:17.000 --> 0:18:18.639
<v Speaker 2>Yep, I mean yeah, and he has I think a

0:18:18.720 --> 0:18:21.320
<v Speaker 2>Harley in his apartment, so it's I guess that's part

0:18:21.320 --> 0:18:21.600
<v Speaker 2>of it.

0:18:21.800 --> 0:18:24.240
<v Speaker 3>But actually no, no, it was multiple things. I'm sorry

0:18:24.280 --> 0:18:26.240
<v Speaker 3>I have to add on his name is Harley Stone.

0:18:26.320 --> 0:18:28.720
<v Speaker 3>And then of course it becomes a here's here's your

0:18:28.720 --> 0:18:31.919
<v Speaker 3>new partner buddy cop movie. It's like Tango and Cash,

0:18:31.960 --> 0:18:33.720
<v Speaker 3>but said in the future, where there's a he's got

0:18:33.720 --> 0:18:36.320
<v Speaker 3>a partner who's the opposite of him in every way,

0:18:36.600 --> 0:18:38.720
<v Speaker 3>and this partner is named Dick Durkin.

0:18:39.240 --> 0:18:44.080
<v Speaker 2>Yep, Harley and Dick. The Adventures off. Well, we've touched

0:18:44.119 --> 0:18:46.160
<v Speaker 2>on the tropes here, but like one of the big

0:18:46.200 --> 0:18:49.600
<v Speaker 2>tropes with this guy with Harley Stone is he's the worst.

0:18:49.880 --> 0:18:52.440
<v Speaker 2>I can't stand him, but he's the best. We've got

0:18:52.480 --> 0:18:55.159
<v Speaker 2>to use him, like he's just a walking disaster, but

0:18:55.320 --> 0:18:58.440
<v Speaker 2>nobody does it better than Harley Stone, so we have

0:18:58.520 --> 0:19:00.360
<v Speaker 2>to use him. He's the only one who can get

0:19:00.359 --> 0:19:02.080
<v Speaker 2>our man and.

0:19:02.080 --> 0:19:05.200
<v Speaker 3>Or monster exactly. It's the you're a loose cannon, you're

0:19:05.200 --> 0:19:07.520
<v Speaker 3>off the force, you're the only man for the job.

0:19:08.320 --> 0:19:10.920
<v Speaker 2>And Howard is is I mean, he is so good

0:19:10.920 --> 0:19:15.280
<v Speaker 2>in this because this character, this Harley Stone. At times,

0:19:15.760 --> 0:19:17.760
<v Speaker 2>there are all these moments where you realize that the

0:19:17.800 --> 0:19:19.720
<v Speaker 2>film is winking at you that it's you know that

0:19:19.760 --> 0:19:21.679
<v Speaker 2>he's just so over the top. He's just doing what

0:19:21.720 --> 0:19:23.760
<v Speaker 2>he's doing in the way he's acting is just it's

0:19:23.840 --> 0:19:27.640
<v Speaker 2>it's just ridiculous. But yet Howard also walks that line

0:19:27.680 --> 0:19:30.280
<v Speaker 2>to where he is, you know. I feel he is

0:19:30.320 --> 0:19:32.919
<v Speaker 2>definitely cool in a lot of the film too, in

0:19:32.920 --> 0:19:34.800
<v Speaker 2>a way that the mini actors wouldn't be able to

0:19:34.840 --> 0:19:37.439
<v Speaker 2>pull that off, you know, like like here's this uh this,

0:19:37.680 --> 0:19:41.240
<v Speaker 2>you know, this this over the hill rundown cop. But yeah,

0:19:41.280 --> 0:19:43.479
<v Speaker 2>he looks pretty cool in those glasses and that giant

0:19:43.560 --> 0:19:44.119
<v Speaker 2>leather coat.

0:19:45.520 --> 0:19:47.240
<v Speaker 3>Yeah, it never gets too juicy.

0:19:47.640 --> 0:19:51.400
<v Speaker 2>Yeah, So it's ultimately just a joy to watch him.

0:19:51.520 --> 0:19:53.520
<v Speaker 2>I think some of the best scenes are ones where

0:19:53.520 --> 0:19:55.680
<v Speaker 2>they're just we're just going about about a day, you know,

0:19:55.720 --> 0:19:58.320
<v Speaker 2>it's a ride along with Harley Stone as he does

0:19:58.359 --> 0:20:01.880
<v Speaker 2>things like like sha at a bar where he has

0:20:02.480 --> 0:20:04.600
<v Speaker 2>shown up for breakfast, you know things like that.

0:20:04.840 --> 0:20:06.960
<v Speaker 3>Yeah, he goes to like a moody night club for

0:20:07.080 --> 0:20:10.560
<v Speaker 3>breakfast where they're playing Knights in White Satin on the jukebox,

0:20:10.600 --> 0:20:12.479
<v Speaker 3>and they give him a big old plate, a full inger.

0:20:12.840 --> 0:20:15.600
<v Speaker 3>I think it is a full English breakfast, meaning that

0:20:15.680 --> 0:20:18.280
<v Speaker 3>it's not just eggs and bacon, but there's baked beans

0:20:18.320 --> 0:20:21.320
<v Speaker 3>on that plate and he's slurping it up and shaving

0:20:21.359 --> 0:20:23.520
<v Speaker 3>with an electric razor over his plate.

0:20:23.960 --> 0:20:27.040
<v Speaker 2>Yep. And yeah, so, oh my god, he's just so good.

0:20:27.320 --> 0:20:29.399
<v Speaker 2>But let's talk a little bit about that partner. This

0:20:29.440 --> 0:20:33.800
<v Speaker 2>would be again, Detective Dick Durkin, played by an actor

0:20:33.800 --> 0:20:35.800
<v Speaker 2>by the name of Alistair Duncan.

0:20:36.720 --> 0:20:38.320
<v Speaker 3>You know I love this guy too.

0:20:38.480 --> 0:20:40.520
<v Speaker 2>I think he's great in this role. Like again, he

0:20:40.600 --> 0:20:45.440
<v Speaker 2>hits just the right note, like he's he's not too comedic,

0:20:45.880 --> 0:20:47.120
<v Speaker 2>he's just comedic enough.

0:20:48.160 --> 0:20:50.639
<v Speaker 3>He's the perfect foil to Harley Stone. So they're setting

0:20:50.640 --> 0:20:53.080
<v Speaker 3>it up like a you know, a Rigs and Myrtle

0:20:53.160 --> 0:20:55.760
<v Speaker 3>or Tango and Cash kind of thing where they're opposites,

0:20:55.800 --> 0:20:58.640
<v Speaker 3>but they end up complimenting each other. And this guy,

0:20:58.880 --> 0:21:02.520
<v Speaker 3>this guy is the the wimpy, bookish nerd who went

0:21:02.560 --> 0:21:03.400
<v Speaker 3>to Oxford.

0:21:04.240 --> 0:21:06.239
<v Speaker 2>Yeah, well, I mean not completely wimpy. He's a he's

0:21:06.320 --> 0:21:09.880
<v Speaker 2>very fitness conscious, right true. And uh and and he's

0:21:09.920 --> 0:21:12.399
<v Speaker 2>a yeah, but he's by the books. He's he's I

0:21:12.440 --> 0:21:14.520
<v Speaker 2>think he's doing tai chi in one scene. And he

0:21:14.760 --> 0:21:17.720
<v Speaker 2>of course Rudger Howard's character Stone is like just so

0:21:17.840 --> 0:21:19.920
<v Speaker 2>anxiety written. At one point he's like, let me give

0:21:19.920 --> 0:21:22.159
<v Speaker 2>you a massage, let me let me help you out.

0:21:22.200 --> 0:21:23.840
<v Speaker 2>He's like, don't touch me, like take the town in

0:21:23.880 --> 0:21:28.040
<v Speaker 2>his nose. But uh, but yeah, yeah, he's great in this. Uh.

0:21:28.320 --> 0:21:31.480
<v Speaker 2>Duncan perfectly fine actor. He's done an increasing amount of

0:21:31.520 --> 0:21:34.399
<v Speaker 2>high profile voice work over the over the years, especially

0:21:34.440 --> 0:21:37.359
<v Speaker 2>in major video games, but he was a steady actor

0:21:37.359 --> 0:21:39.560
<v Speaker 2>in the nineties as well, showed up on things like

0:21:39.800 --> 0:21:43.600
<v Speaker 2>Highlander of the TV series, Hercules Murder. She wrote, so

0:21:44.240 --> 0:21:45.040
<v Speaker 2>a bunch of stuff.

0:21:45.200 --> 0:21:47.760
<v Speaker 3>Wait, he's not the voice of Wheatley in Portal Too,

0:21:47.880 --> 0:21:48.720
<v Speaker 3>is he?

0:21:48.720 --> 0:21:50.119
<v Speaker 2>He might be? I don't know. I didn't look that

0:21:50.119 --> 0:21:53.240
<v Speaker 2>one up specifically, but I did notice that he's okay,

0:21:53.280 --> 0:21:55.760
<v Speaker 2>you know, for instance, you know the the mortor games

0:21:55.800 --> 0:21:56.200
<v Speaker 2>where you.

0:21:56.160 --> 0:21:58.920
<v Speaker 3>Know, I'm sorry, I looked it up No, that's a

0:21:58.920 --> 0:22:02.840
<v Speaker 3>guy named Stephen murch But for a second I thought

0:22:02.880 --> 0:22:03.160
<v Speaker 3>it was.

0:22:03.119 --> 0:22:06.280
<v Speaker 2>Possible Stephen, they're kind of cut from the same cloth, though,

0:22:06.280 --> 0:22:09.520
<v Speaker 2>I can imagine Merchant in this role, but no, Auster duncan.

0:22:09.640 --> 0:22:12.439
<v Speaker 2>I believe one of his more high profile roles is

0:22:12.440 --> 0:22:15.520
<v Speaker 2>those the Shadow of Mordor Games. He plays like the

0:22:15.680 --> 0:22:18.560
<v Speaker 2>raith elf that is your alter ego or whatnot. I

0:22:18.560 --> 0:22:21.119
<v Speaker 2>haven't really played the Games, but he's that character. Oh okay,

0:22:21.480 --> 0:22:24.640
<v Speaker 2>but let's not forget our female lead, Joe Ooh.

0:22:24.760 --> 0:22:28.000
<v Speaker 3>So this movie has Kim catroll in it. She plays

0:22:28.480 --> 0:22:32.399
<v Speaker 3>Michelle McLain and so, of course. Kim Cattrall is a

0:22:32.440 --> 0:22:35.639
<v Speaker 3>Canadian actress, probably best known today for being part of

0:22:35.640 --> 0:22:38.080
<v Speaker 3>the main cast of Sex and the City, but with

0:22:38.119 --> 0:22:41.240
<v Speaker 3>a long career of lots of interesting movie and TV roles.

0:22:41.640 --> 0:22:44.840
<v Speaker 3>More in The Weird House, Wheelhouse, you might say, Big

0:22:44.880 --> 0:22:47.359
<v Speaker 3>Trouble in Little China, in which she plays Gracie Law,

0:22:47.800 --> 0:22:50.400
<v Speaker 3>or Star Trek six The Undiscovered Country, which I think

0:22:50.440 --> 0:22:53.119
<v Speaker 3>she was filming either right around the same time as

0:22:53.160 --> 0:22:56.159
<v Speaker 3>Split Second or simultaneous to Split Second.

0:22:56.640 --> 0:22:59.320
<v Speaker 2>Yeah, because of the hair, right right, And.

0:22:59.480 --> 0:23:02.040
<v Speaker 3>I gotta say I love Kim Katrol. People who have

0:23:02.119 --> 0:23:04.880
<v Speaker 3>only seen her in like more straightforward roles I think

0:23:05.000 --> 0:23:08.159
<v Speaker 3>might not appreciate just how good her comic timing is

0:23:08.760 --> 0:23:11.560
<v Speaker 3>and how good she is at walking that fine line,

0:23:11.560 --> 0:23:14.359
<v Speaker 3>which is like exactly what she's doing in this movie,

0:23:14.440 --> 0:23:18.040
<v Speaker 3>that that tight rope of like absurdity and parody but

0:23:18.200 --> 0:23:19.159
<v Speaker 3>not quite.

0:23:19.640 --> 0:23:23.520
<v Speaker 2>Yeah, yeah, I agree, absolutely certainly, Big Dub and Little

0:23:23.600 --> 0:23:27.320
<v Speaker 2>China is a great example for work. But prior to

0:23:27.560 --> 0:23:29.520
<v Speaker 2>Sex and the City, she was in a fair amount

0:23:29.520 --> 0:23:33.080
<v Speaker 2>of genre pictures. She kind of reinvented ourselves herself, I

0:23:33.080 --> 0:23:35.399
<v Speaker 2>guess with the Sex and the City role. But before

0:23:35.480 --> 0:23:37.439
<v Speaker 2>that she was in she was in an episode of

0:23:37.440 --> 0:23:40.240
<v Speaker 2>the nineties Outer Limits. I don't think one I've seen yet,

0:23:40.359 --> 0:23:42.240
<v Speaker 2>but I'm going to get to it as I steadily

0:23:42.240 --> 0:23:44.400
<v Speaker 2>make my way through all that. But she was also

0:23:44.440 --> 0:23:47.840
<v Speaker 2>in a nineteen ninety eight TV adaptation of Peter Binchley's Creature,

0:23:48.160 --> 0:23:51.199
<v Speaker 2>in which she and Craig T. Nelson battle a Nazi

0:23:51.240 --> 0:23:52.359
<v Speaker 2>engineered killer shark.

0:23:52.760 --> 0:23:56.159
<v Speaker 3>I watched that on TV when it premiered when I

0:23:56.240 --> 0:23:59.200
<v Speaker 3>was a kid. I think I was in I don't know,

0:23:59.240 --> 0:24:02.840
<v Speaker 3>it would have been like sick grade or something, and yeah, wow,

0:24:03.000 --> 0:24:04.280
<v Speaker 3>it was a it was a winner.

0:24:05.080 --> 0:24:09.080
<v Speaker 2>So Kim is great and split second given the limited

0:24:09.080 --> 0:24:11.639
<v Speaker 2>amount of stuff that she's given to work with. So

0:24:12.000 --> 0:24:13.840
<v Speaker 2>this is a film where she doesn't have much of

0:24:13.880 --> 0:24:26.760
<v Speaker 2>a role, but she manages to shine through that role anyway. Yeah,

0:24:26.880 --> 0:24:28.400
<v Speaker 2>all right, let's talk about some of the other bit

0:24:28.400 --> 0:24:31.920
<v Speaker 2>players in this. Oh you have this guy all In Armstrong.

0:24:32.440 --> 0:24:34.359
<v Speaker 3>Is that not just Is Alan?

0:24:34.440 --> 0:24:38.200
<v Speaker 2>I'm sorry it's a Alan, but I guess it's Alan Alan.

0:24:39.920 --> 0:24:42.119
<v Speaker 2>I don't know. I'm just gonna call him Thrasher because

0:24:42.119 --> 0:24:46.200
<v Speaker 2>that's his character's name. So born in nineteen forty six,

0:24:46.480 --> 0:24:49.919
<v Speaker 2>Armstrong is a great British character actor. You would recognize

0:24:50.000 --> 0:24:53.119
<v Speaker 2>him for instance, very recognizable face. But he's been in

0:24:53.160 --> 0:24:57.480
<v Speaker 2>films such as Kroll, Brave Heart, Van Helsing and Sleepy Hollow,

0:24:57.560 --> 0:25:00.880
<v Speaker 2>The Double There and tons of TV were And he's

0:25:00.920 --> 0:25:03.119
<v Speaker 2>great in this because he plays the I mean, this

0:25:03.200 --> 0:25:05.560
<v Speaker 2>is a trope too. You have your problematic cop, but

0:25:05.600 --> 0:25:09.800
<v Speaker 2>then you have their just just completely enraged boss who

0:25:09.920 --> 0:25:11.800
<v Speaker 2>just can't take this guy anymore. But he's the best,

0:25:11.800 --> 0:25:13.639
<v Speaker 2>so you got to work with him. And that's what

0:25:13.720 --> 0:25:17.680
<v Speaker 2>Thrasher is. Except Thrasher manages to be like the angriest,

0:25:18.000 --> 0:25:23.679
<v Speaker 2>foulest police chief ever, like just bristling with rage. Just

0:25:23.680 --> 0:25:26.800
<v Speaker 2>his face, his kind of already gargoylish face is just

0:25:26.920 --> 0:25:32.200
<v Speaker 2>twisted with anger and just resentment of Stone. And he

0:25:32.560 --> 0:25:34.679
<v Speaker 2>also has I love his hair in this because he

0:25:34.720 --> 0:25:37.680
<v Speaker 2>has this great dying widow's peak, you know where it's

0:25:37.720 --> 0:25:39.359
<v Speaker 2>like it used to be a widow's peak and now

0:25:39.359 --> 0:25:42.720
<v Speaker 2>it's barely anything, and it somehow elevates the character to

0:25:42.760 --> 0:25:46.200
<v Speaker 2>an even greater level of just again, just such visceral

0:25:46.480 --> 0:25:48.320
<v Speaker 2>hate in every breath he takes.

0:25:48.640 --> 0:25:50.919
<v Speaker 3>At the British casting office, they were like, get me

0:25:51.000 --> 0:25:54.560
<v Speaker 3>the actor who's every breath says you're off the force.

0:25:54.680 --> 0:25:55.800
<v Speaker 3>Here's your new partner.

0:25:56.040 --> 0:25:58.920
<v Speaker 2>Yes, except louder and more intense.

0:25:59.119 --> 0:26:01.280
<v Speaker 3>Yeah, because some expletives in there.

0:26:01.440 --> 0:26:03.480
<v Speaker 2>Yeah. So he's wonderful in this and he has some

0:26:03.800 --> 0:26:07.480
<v Speaker 2>great scenes. Now the next actor of note sadly doesn't

0:26:07.480 --> 0:26:10.639
<v Speaker 2>really have any great scenes but is just by all accounts,

0:26:11.480 --> 0:26:15.840
<v Speaker 2>was a tremendous actor, Pete Posselthwaite, who lived from nineteen

0:26:15.880 --> 0:26:17.520
<v Speaker 2>forty six through twenty eleven.

0:26:18.560 --> 0:26:19.360
<v Speaker 3>I love Pete.

0:26:19.520 --> 0:26:22.600
<v Speaker 2>Yeah, so if you don't recognize the name, look him up.

0:26:22.600 --> 0:26:27.320
<v Speaker 2>You recognize the face. Tremendous English actor with instantly recognizable

0:26:27.359 --> 0:26:30.280
<v Speaker 2>from such films as Alien three, in the Name of

0:26:30.320 --> 0:26:35.240
<v Speaker 2>the Father, Amistad, The Sharp Films, The Lost World, Jurassic Park.

0:26:35.280 --> 0:26:37.520
<v Speaker 2>I believe he was the big game hunter character in that.

0:26:37.960 --> 0:26:39.840
<v Speaker 3>Yep, yep, he was yep.

0:26:39.960 --> 0:26:42.800
<v Speaker 2>Great look, great actor. Again, not much of a role

0:26:42.840 --> 0:26:46.240
<v Speaker 2>for him in this, but but you know, he's great

0:26:46.240 --> 0:26:48.840
<v Speaker 2>in so many other things. We have to point him out.

0:26:49.160 --> 0:26:51.800
<v Speaker 3>Well, most of the parts in this movie are sort

0:26:51.840 --> 0:26:56.879
<v Speaker 3>of underwritten compared to the main two cops. Yeah, but

0:26:57.080 --> 0:26:59.560
<v Speaker 3>the cast members really do shine through, like you were

0:26:59.600 --> 0:27:02.800
<v Speaker 3>saying with with Kim Cattrol and Alan Armstrong, they all

0:27:02.840 --> 0:27:03.919
<v Speaker 3>kind of bring you to attention.

0:27:04.800 --> 0:27:09.080
<v Speaker 2>Now, one interesting thing about Pustlethwaite in this is that

0:27:09.280 --> 0:27:11.080
<v Speaker 2>he's a guy who largely kept out of the spotlight,

0:27:11.080 --> 0:27:14.520
<v Speaker 2>but he was passionate about various causes, including anti war

0:27:14.600 --> 0:27:18.880
<v Speaker 2>protests and environmentalism, which is which is interesting given the

0:27:19.119 --> 0:27:21.840
<v Speaker 2>environmental I don't want to say theme of this film,

0:27:21.840 --> 0:27:25.720
<v Speaker 2>but like mild sprinkling to the plot. Because he starred

0:27:25.760 --> 0:27:27.639
<v Speaker 2>in a film in two thousand and nine titled The

0:27:27.680 --> 0:27:31.040
<v Speaker 2>Age of Stupid, in which quote a failed archivist looks

0:27:31.040 --> 0:27:33.640
<v Speaker 2>at old footage from the year two thousand and eight,

0:27:34.040 --> 0:27:38.200
<v Speaker 2>to understand why humankind failed to address climate change. So

0:27:38.400 --> 0:27:41.879
<v Speaker 2>basically it's a documentary and at some point in making

0:27:41.920 --> 0:27:44.000
<v Speaker 2>the film, they decided they wanted to add a like

0:27:44.040 --> 0:27:46.920
<v Speaker 2>a fictional narrative structure to it, where it's like somebody

0:27:46.960 --> 0:27:50.120
<v Speaker 2>from the future looking back on today. And they reached

0:27:50.160 --> 0:27:51.639
<v Speaker 2>out to him because they knew he was great and

0:27:51.680 --> 0:27:54.159
<v Speaker 2>they knew that he was interested in these causes, and

0:27:54.200 --> 0:27:57.200
<v Speaker 2>he ended up signing up for it, and it allowed

0:27:57.200 --> 0:27:59.680
<v Speaker 2>the film to just to reach a lot more theaters

0:27:59.680 --> 0:28:02.600
<v Speaker 2>and to really reach far more people with its message.

0:28:02.600 --> 0:28:05.280
<v Speaker 2>So it's a documentary but has a sci fi narrative structure.

0:28:05.680 --> 0:28:08.560
<v Speaker 3>Interesting. Now, there's another character in this movie that is

0:28:08.840 --> 0:28:11.080
<v Speaker 3>very weird, but we don't get to until like the

0:28:11.160 --> 0:28:13.320
<v Speaker 3>last ten to fifteen minutes of the movie.

0:28:13.720 --> 0:28:16.560
<v Speaker 2>Yeah, Like I kept thinking, did I miss Michael J.

0:28:16.680 --> 0:28:19.080
<v Speaker 2>Pollard Because Michael J. Pollard who is in this He

0:28:19.080 --> 0:28:23.240
<v Speaker 2>plays this rat catcher character and it's a very small role,

0:28:23.440 --> 0:28:27.480
<v Speaker 2>but he has a very fun scene with our detectives. Now. Pollard,

0:28:27.600 --> 0:28:32.200
<v Speaker 2>American actor, lived thirty nine through twenty nineteen, probably best

0:28:32.240 --> 0:28:34.600
<v Speaker 2>well known for his one of his earlier roles in

0:28:34.720 --> 0:28:37.199
<v Speaker 2>Bonnie and Clyde Well I say, earlier roles. But he

0:28:37.240 --> 0:28:39.280
<v Speaker 2>also was in a lot of TV stuff before that,

0:28:39.400 --> 0:28:42.920
<v Speaker 2>like Andy Griffith's show, Classic Star Trek, Albert Hitchcock Presents.

0:28:42.920 --> 0:28:45.040
<v Speaker 2>But he was in sixty seven's Bonnie and Clyde.

0:28:45.080 --> 0:28:47.120
<v Speaker 3>Is that's the one with Warren Bady.

0:28:47.440 --> 0:28:51.320
<v Speaker 2>Yeah, Faye Dunaway, Yeah, yeah, the Bonnie and Clyde. Yeah.

0:28:51.800 --> 0:28:53.840
<v Speaker 2>It's been a long time since I've seen that, but

0:28:53.840 --> 0:28:56.800
<v Speaker 2>I can picture it like I remember his character Pollard was.

0:28:56.800 --> 0:28:58.680
<v Speaker 2>Also he was in a bunch of stuff, but you

0:28:58.760 --> 0:29:03.160
<v Speaker 2>might recognize him from Scrooged. He was in Roxanne in

0:29:03.240 --> 0:29:07.040
<v Speaker 2>nineteen eighty seven, and some listeners to Weird House especially

0:29:07.160 --> 0:29:10.480
<v Speaker 2>might remember him from Rob Zombie's House of a Thousand Corpses.

0:29:11.240 --> 0:29:14.120
<v Speaker 2>He was also, like a lot of actors of that generation,

0:29:14.160 --> 0:29:16.080
<v Speaker 2>he showed up on Tales from the Crypt in an

0:29:16.120 --> 0:29:18.720
<v Speaker 2>episode titled Came the Dawn. So he was in a

0:29:18.760 --> 0:29:22.240
<v Speaker 2>lot of stuff. Always good, all right, Just a couple

0:29:22.240 --> 0:29:24.880
<v Speaker 2>of more two small acting roles of note here. Ian

0:29:25.000 --> 0:29:28.520
<v Speaker 2>Durry plays his character JJ, very small part. But this

0:29:28.560 --> 0:29:30.720
<v Speaker 2>is Ian Durry of the Blockheads, and he was part

0:29:30.720 --> 0:29:33.040
<v Speaker 2>of the new wave in post punk scene. Lived forty

0:29:33.040 --> 0:29:35.719
<v Speaker 2>two through two thousand. I don't really know him or

0:29:35.720 --> 0:29:38.080
<v Speaker 2>his work, but as a fun Easter egg, I imagine

0:29:38.080 --> 0:29:40.080
<v Speaker 2>for some of you music fans out there.

0:29:40.200 --> 0:29:42.240
<v Speaker 3>I don't remember who JJ was in the movie.

0:29:42.280 --> 0:29:44.760
<v Speaker 2>I think I'm like thirty five percent sure he was

0:29:44.840 --> 0:29:48.640
<v Speaker 2>the bartender, but I don't remember. I just know he's

0:29:48.640 --> 0:29:52.280
<v Speaker 2>in it. And then there's this also, this character in

0:29:52.320 --> 0:29:55.040
<v Speaker 2>it named Pat O'Donnell, played by an actor by the

0:29:55.120 --> 0:29:59.720
<v Speaker 2>name of Tony Steadman or Steedman, I'm not sure, but

0:30:00.160 --> 0:30:02.640
<v Speaker 2>this is an English character actor who played Socrates and

0:30:02.720 --> 0:30:06.400
<v Speaker 2>Bill and Ted. Oh. Okay, yeah, so in this he's

0:30:06.440 --> 0:30:08.760
<v Speaker 2>just the guy who checks out weapons at the London

0:30:08.760 --> 0:30:09.480
<v Speaker 2>police Department.

0:30:09.680 --> 0:30:11.600
<v Speaker 3>Well, actually all he does is he says like, no,

0:30:11.720 --> 0:30:13.760
<v Speaker 3>you can't have that, and then they grab it behind

0:30:13.760 --> 0:30:14.200
<v Speaker 3>his back.

0:30:14.320 --> 0:30:16.400
<v Speaker 2>Yeah. He's like that gun's too big and they're like, no,

0:30:17.080 --> 0:30:17.880
<v Speaker 2>we're taking it.

0:30:17.920 --> 0:30:18.840
<v Speaker 3>We need big guns.

0:30:18.920 --> 0:30:20.600
<v Speaker 2>He's like, all right, I did what I what I could.

0:30:21.880 --> 0:30:24.520
<v Speaker 2>Now getting into some of the other people involved in this.

0:30:24.520 --> 0:30:27.200
<v Speaker 2>This is also pretty interesting because you listen to the

0:30:27.280 --> 0:30:31.080
<v Speaker 2>musical score in this film, and it's from my point

0:30:31.080 --> 0:30:33.520
<v Speaker 2>of view, it's not bad. It's it's at least not

0:30:33.760 --> 0:30:38.320
<v Speaker 2>you know, classical piano, but it's it's you know, it's

0:30:38.440 --> 0:30:40.480
<v Speaker 2>ultimately kind of lukewarm. It has kind of like hell

0:30:40.560 --> 0:30:46.440
<v Speaker 2>razorily hell Hell razory synth corals at times. You know,

0:30:46.480 --> 0:30:49.360
<v Speaker 2>it's got some synth drums and so forth. So it

0:30:49.440 --> 0:30:52.520
<v Speaker 2>works for me. I never hated it, but he's interesting

0:30:52.600 --> 0:30:54.040
<v Speaker 2>considering what might have been.

0:30:54.400 --> 0:30:56.880
<v Speaker 3>Oh that's right now, how did you come across this

0:30:56.960 --> 0:30:59.000
<v Speaker 3>next fact? Give me the story?

0:30:59.320 --> 0:31:01.360
<v Speaker 2>Well, there's not much story, Like a lot of these things.

0:31:01.440 --> 0:31:03.880
<v Speaker 2>I think I was just reading IMDb too much. And

0:31:04.720 --> 0:31:09.920
<v Speaker 2>it was noted that the filmmakers actually rejected the original score,

0:31:10.360 --> 0:31:13.520
<v Speaker 2>which was composed by the legendary Wendy Carlos.

0:31:13.680 --> 0:31:16.160
<v Speaker 3>How could you reject a Wendy Carlos score?

0:31:16.560 --> 0:31:22.080
<v Speaker 2>Yeah, I mean Wendy Carlos is a legend basically twofold.

0:31:22.200 --> 0:31:25.000
<v Speaker 2>On one hand, she wrote the scores for this like

0:31:25.040 --> 0:31:29.640
<v Speaker 2>the Shining Tron a clockwork Orange, but also just in general,

0:31:29.720 --> 0:31:32.160
<v Speaker 2>she's a true pioneer of electronic music and the use

0:31:32.200 --> 0:31:35.280
<v Speaker 2>of the synthesizer. Yeah, Andy, as we touched on on

0:31:35.280 --> 0:31:37.200
<v Speaker 2>stuff to blow your mind before. She's also a great

0:31:37.200 --> 0:31:39.240
<v Speaker 2>solar photographer. So how could you say no?

0:31:39.600 --> 0:31:41.880
<v Speaker 3>Yeah, it's crazy? So the yeah, the score. They ended

0:31:41.960 --> 0:31:44.280
<v Speaker 3>up going with I feel like it is extremely generic.

0:31:44.760 --> 0:31:48.160
<v Speaker 3>It's just doo doo don don doo doo dun is

0:31:48.160 --> 0:31:52.920
<v Speaker 3>a standard ominous future drums and drone. And I went

0:31:53.040 --> 0:31:56.160
<v Speaker 3>and I looked up some clips because you provided a link.

0:31:56.200 --> 0:31:59.840
<v Speaker 3>There's like an AllMusic page where Wendy Carlos at some

0:32:00.280 --> 0:32:05.160
<v Speaker 3>point released a collection of lost or themes from movies,

0:32:05.200 --> 0:32:08.680
<v Speaker 3>including a couple of things she composed for this movie

0:32:08.680 --> 0:32:11.440
<v Speaker 3>that never actually made it into the film. The two

0:32:11.480 --> 0:32:14.680
<v Speaker 3>tracks here are Visit to a Morgue and Return to

0:32:14.720 --> 0:32:17.160
<v Speaker 3>the Morgue, which I thought was funny, but I checked

0:32:17.200 --> 0:32:19.720
<v Speaker 3>them out, and having heard both side by side, I'm

0:32:19.800 --> 0:32:22.960
<v Speaker 3>certain her complete score would have been one hundred times better.

0:32:23.440 --> 0:32:25.680
<v Speaker 2>Absolutely. I listened it to these tracks as well, and

0:32:26.040 --> 0:32:28.280
<v Speaker 2>I think they sound great. I'd love it to hear

0:32:28.320 --> 0:32:30.760
<v Speaker 2>the whole thing. If you want to listen to these tracks.

0:32:30.800 --> 0:32:33.960
<v Speaker 2>The album to look up is Rediscovering Lost Scores, Volume two.

0:32:34.320 --> 0:32:36.240
<v Speaker 2>I'll try to include a link to it on the

0:32:37.280 --> 0:32:40.520
<v Speaker 2>post I do for this episode at samoodimusic dot com.

0:32:40.520 --> 0:32:44.160
<v Speaker 2>But yeah, it's quite good. Sadly, I don't think you

0:32:44.160 --> 0:32:45.600
<v Speaker 2>can find this on Spotify right now.

0:32:45.920 --> 0:32:48.120
<v Speaker 3>Wendy Carlos is still alive. I don't know if she's

0:32:48.160 --> 0:32:51.320
<v Speaker 3>composing anymore, but filmmakers out there, if you have the

0:32:51.360 --> 0:32:53.880
<v Speaker 3>opportunity to get a Wendy Carlos score in your movie,

0:32:53.960 --> 0:32:54.920
<v Speaker 3>don't pass it up.

0:32:55.520 --> 0:32:58.720
<v Speaker 2>Now. One last interesting individual involved in the creation of

0:32:58.760 --> 0:33:02.719
<v Speaker 2>Split Second, Stephen Norrington was involved in the creature design.

0:33:03.400 --> 0:33:05.760
<v Speaker 2>So some of you might recognize the name. This is

0:33:05.840 --> 0:33:09.360
<v Speaker 2>London born effects makeup artist who worked on such films

0:33:09.400 --> 0:33:14.680
<v Speaker 2>as Aliens, Young Sherlock Holmes, Hardware, Alien Three, Jim Henson's

0:33:14.720 --> 0:33:17.960
<v Speaker 2>The Storyteller, and then he would go on from this

0:33:18.080 --> 0:33:20.920
<v Speaker 2>to direct a film titled Death Machine with Brad Doriff

0:33:21.000 --> 0:33:24.680
<v Speaker 2>and Richard Brake. Before I think any I don't think

0:33:24.720 --> 0:33:26.520
<v Speaker 2>I knew who Richard Brake was at that time, but

0:33:26.520 --> 0:33:29.479
<v Speaker 2>he's since gone on to make a name for himself

0:33:29.520 --> 0:33:35.400
<v Speaker 2>as a as a reliable, intimidating character actor. But he

0:33:35.480 --> 0:33:42.160
<v Speaker 2>followed this film up Norrington did, directing nineteen ninety eight's Blade,

0:33:41.880 --> 0:33:46.600
<v Speaker 2>the film that started all of the Marvel Cinematic universe, starring,

0:33:46.640 --> 0:33:48.120
<v Speaker 2>of course, Wesley Snipes.

0:33:48.440 --> 0:33:51.720
<v Speaker 3>Now, I know you're kind of a bladehead, and the

0:33:51.840 --> 0:33:56.120
<v Speaker 3>only I think I've only seen the original Blade once

0:33:56.320 --> 0:33:58.920
<v Speaker 3>many many years ago, like in middle school, and that's

0:33:59.120 --> 0:34:00.120
<v Speaker 3>that's about all I know.

0:34:00.760 --> 0:34:02.840
<v Speaker 2>Oh, well, you need to see it again because it

0:34:03.040 --> 0:34:05.600
<v Speaker 2>absolutely holds up. I do remember.

0:34:05.840 --> 0:34:08.239
<v Speaker 3>I remember a lot of gross scenes where they're like

0:34:08.440 --> 0:34:11.160
<v Speaker 3>they're like shining a flashlight on a on a big

0:34:11.200 --> 0:34:13.960
<v Speaker 3>fat vampire to like burn his skin and make him talk.

0:34:14.440 --> 0:34:18.319
<v Speaker 2>Yep, yep that happened. Yeah, that that's that's a fun thing.

0:34:18.320 --> 0:34:21.399
<v Speaker 2>I love the first two Blade movies, and and that

0:34:21.560 --> 0:34:24.839
<v Speaker 2>was that was Norton here. But from there he went

0:34:24.880 --> 0:34:26.520
<v Speaker 2>on to make a film title The Last Minute that

0:34:26.520 --> 0:34:29.279
<v Speaker 2>I don't know anything about, and then the film that

0:34:29.360 --> 0:34:32.080
<v Speaker 2>caused him to I think peace out on directing entirely,

0:34:32.560 --> 0:34:36.839
<v Speaker 2>The League of Extraordinary Gentlemen. But I believe you guys

0:34:36.880 --> 0:34:39.279
<v Speaker 2>continued to work in effects in other areas of filmmaking.

0:34:39.640 --> 0:34:42.200
<v Speaker 3>I never saw that one, but it is notorious. I

0:34:42.280 --> 0:34:46.120
<v Speaker 3>remember the day that my friends had been out and

0:34:46.160 --> 0:34:48.400
<v Speaker 3>seen it earlier in the day, and then I was

0:34:48.440 --> 0:34:50.319
<v Speaker 3>hanging out with them later in the day and they

0:34:50.360 --> 0:34:52.759
<v Speaker 3>could not stop talking about how awful. It was.

0:34:53.480 --> 0:34:55.960
<v Speaker 2>Yeah, I never saw it. I read the graphic novels

0:34:55.960 --> 0:34:58.440
<v Speaker 2>by Alan Moore and love those, and it has so

0:34:58.520 --> 0:35:02.759
<v Speaker 2>many tremendous actors in it. But yeah, it was. It

0:35:02.800 --> 0:35:06.239
<v Speaker 2>was apparently no fun for anybody that was involved in

0:35:06.239 --> 0:35:10.160
<v Speaker 2>it or solid. But you know, this brings me to

0:35:10.200 --> 0:35:11.920
<v Speaker 2>a good point that I feel like we need to,

0:35:12.200 --> 0:35:13.920
<v Speaker 2>you know, make sure we hammer home every now and then.

0:35:14.040 --> 0:35:17.320
<v Speaker 2>Is that, you know, between Norrington's case and Meleem's experiences

0:35:17.360 --> 0:35:19.560
<v Speaker 2>that we mentioned earlier, I think it's always worth reminding

0:35:19.560 --> 0:35:23.719
<v Speaker 2>ourselves that it's an endeavor for any motion picture to

0:35:23.760 --> 0:35:26.080
<v Speaker 2>be made, and it's ultimately kind of a minor miracle

0:35:26.160 --> 0:35:30.280
<v Speaker 2>that any creative process of the scope actually reaches completion,

0:35:31.000 --> 0:35:33.879
<v Speaker 2>and the stresses of creative projects like this are very real.

0:35:34.000 --> 0:35:37.279
<v Speaker 2>So you know, it's you know, it's surprising you don't

0:35:37.280 --> 0:35:39.439
<v Speaker 2>see more pictures where people you just have to step

0:35:39.440 --> 0:35:40.719
<v Speaker 2>away from it because it's too much.

0:35:41.040 --> 0:35:43.879
<v Speaker 3>Yeah, it's one of the kind of beautiful things about

0:35:43.920 --> 0:35:47.360
<v Speaker 3>B cinema, emphasized in even in great movies like the

0:35:47.360 --> 0:35:50.600
<v Speaker 3>movie ed Wood about the actual director ed Wood, that

0:35:50.880 --> 0:35:54.040
<v Speaker 3>B movies, to whatever extent they succeed or fail, can

0:35:54.160 --> 0:35:57.680
<v Speaker 3>often be funny, but it's also it's kind of it's

0:35:57.760 --> 0:35:59.520
<v Speaker 3>kind of magical that they get made at all.

0:36:01.560 --> 0:36:05.120
<v Speaker 2>All right, well, let's get into the movie itself. This

0:36:05.160 --> 0:36:09.040
<v Speaker 2>one starts out with an opening scroll and opening some

0:36:09.080 --> 0:36:11.479
<v Speaker 2>text to read, which I always like because I feel

0:36:11.520 --> 0:36:14.080
<v Speaker 2>like that way time travelers from the early days of

0:36:14.120 --> 0:36:16.840
<v Speaker 2>cinema won't be instantly out of place when they go

0:36:16.880 --> 0:36:19.360
<v Speaker 2>to the movie theater. You know, it's going to be

0:36:19.360 --> 0:36:21.120
<v Speaker 2>a talkie, it's going to be a lot, but it's

0:36:21.160 --> 0:36:23.279
<v Speaker 2>going to start off the old fashioned way with some

0:36:23.480 --> 0:36:24.880
<v Speaker 2>words on a screen and.

0:36:25.239 --> 0:36:27.720
<v Speaker 3>A guy playing the piano in the side of the theater.

0:36:29.239 --> 0:36:33.880
<v Speaker 2>Yeah. Basically, the opening scroll is after forty days and

0:36:34.000 --> 0:36:37.200
<v Speaker 2>nights of torrential rain, the city is largely submerged below water,

0:36:37.560 --> 0:36:40.360
<v Speaker 2>a result of the devastating effects of continued global warming.

0:36:40.760 --> 0:36:43.680
<v Speaker 2>The warnings ignored for decades have now resulted in undreamed

0:36:43.719 --> 0:36:47.399
<v Speaker 2>of levels of pollution where day has become almost endless night.

0:36:48.120 --> 0:36:50.200
<v Speaker 3>You know, I'll have to check, but I do not

0:36:50.360 --> 0:36:53.400
<v Speaker 3>recall endless night being one of the one of the

0:36:53.440 --> 0:36:55.760
<v Speaker 3>proposed consequences of a warming climate.

0:36:57.000 --> 0:37:03.000
<v Speaker 2>No, that's day for night sometimes. Now, yeah, this one this,

0:37:03.120 --> 0:37:05.400
<v Speaker 2>And also it also brings up the idea that it

0:37:05.480 --> 0:37:08.200
<v Speaker 2>was just it recently rained a lot, which also seems

0:37:08.239 --> 0:37:09.520
<v Speaker 2>out of keep. Like I thought it was just the

0:37:09.520 --> 0:37:11.880
<v Speaker 2>fact that London is pretty flooded. These days because of

0:37:12.200 --> 0:37:16.960
<v Speaker 2>rising yah, you know, rising sea levels, but also some

0:37:17.000 --> 0:37:19.640
<v Speaker 2>other like sinking issues that have been going on with

0:37:19.680 --> 0:37:21.080
<v Speaker 2>the city for some time. Yeah.

0:37:21.120 --> 0:37:24.200
<v Speaker 3>Well, so they start while they're showing this text crawl

0:37:24.280 --> 0:37:27.319
<v Speaker 3>like the Star Wars thing. Instead of a starfield, it's

0:37:27.400 --> 0:37:30.960
<v Speaker 3>panning over an aerial shot of a flooded London with

0:37:31.080 --> 0:37:34.799
<v Speaker 3>a kind of sinister tangerine sun flaring in the background.

0:37:35.360 --> 0:37:38.759
<v Speaker 3>And it's brighter in that opening panning shot than it

0:37:38.840 --> 0:37:41.800
<v Speaker 3>is at any other point in the movie. True, true,

0:37:42.080 --> 0:37:44.360
<v Speaker 3>But I did find myself wondering how did they achieve

0:37:44.440 --> 0:37:47.920
<v Speaker 3>this shot because it does actually look like an aerial

0:37:47.960 --> 0:37:50.440
<v Speaker 3>shot of London and it does actually look flooded.

0:37:50.880 --> 0:37:52.920
<v Speaker 2>Yeah, there are details you see, especially as they sort

0:37:52.920 --> 0:37:54.400
<v Speaker 2>of re use this footage later in the film. You

0:37:54.400 --> 0:37:56.239
<v Speaker 2>can see like, oh yeah, that's that looks like a

0:37:56.320 --> 0:37:58.520
<v Speaker 2>lake over here. And you know they didn't do it digitally.

0:37:58.520 --> 0:37:59.480
<v Speaker 2>This is nineteen ninety one.

0:37:59.600 --> 0:38:01.560
<v Speaker 3>Yeah, so was wondering what was going on there? I mean,

0:38:01.960 --> 0:38:05.160
<v Speaker 3>did they did London actually flood at some point and

0:38:05.200 --> 0:38:07.760
<v Speaker 3>this was real footage of it that they digitally altered

0:38:07.800 --> 0:38:09.520
<v Speaker 3>somehow I don't know.

0:38:09.640 --> 0:38:12.479
<v Speaker 2>But it's convincing. It does set the stage and again

0:38:12.800 --> 0:38:15.680
<v Speaker 2>let the city that the city is just a flooded

0:38:15.760 --> 0:38:18.120
<v Speaker 2>mess throughout this entire picture. You buy it completely. It's

0:38:18.120 --> 0:38:20.280
<v Speaker 2>not like they just give you this bit of world

0:38:20.280 --> 0:38:22.839
<v Speaker 2>building and then that it's is ignored for the rest

0:38:22.840 --> 0:38:25.360
<v Speaker 2>of the film. No, It's present in virtually every shot.

0:38:26.480 --> 0:38:29.360
<v Speaker 3>And one thing I like is that before you see

0:38:29.400 --> 0:38:31.960
<v Speaker 3>the title of the movie, you just see Rutger Hower

0:38:32.200 --> 0:38:33.600
<v Speaker 3>red letters.

0:38:33.440 --> 0:38:34.120
<v Speaker 2>As it should be.

0:38:34.440 --> 0:38:36.840
<v Speaker 3>Yeah, but then when the when the title of the

0:38:36.880 --> 0:38:38.720
<v Speaker 3>movie comes up, it looks really funny.

0:38:39.200 --> 0:38:41.160
<v Speaker 2>Yeah, for a film with such a strong sense of

0:38:41.160 --> 0:38:43.959
<v Speaker 2>its own aesthetics, the title card just looks really dumb.

0:38:44.000 --> 0:38:46.960
<v Speaker 2>The letters are like these big blue balloons, like they're

0:38:47.120 --> 0:38:49.640
<v Speaker 2>should be floating in the sky of a Mario Brothers level.

0:38:49.880 --> 0:38:53.080
<v Speaker 3>Yes, yes, and it's so it's it says split second.

0:38:53.160 --> 0:38:55.600
<v Speaker 3>But I was experienced a kind of I was seeing

0:38:55.600 --> 0:38:59.120
<v Speaker 3>a kind of selective dyslexic effect where it was hard

0:38:59.120 --> 0:39:01.800
<v Speaker 3>for me to not see the title as spilt second.

0:39:02.960 --> 0:39:06.000
<v Speaker 3>And then also because of the way the L and

0:39:06.040 --> 0:39:09.920
<v Speaker 3>the capital I come together sput second, kind of like

0:39:09.960 --> 0:39:14.680
<v Speaker 3>the celebrity Jeopardy for and Flicks problem. And I've just

0:39:14.760 --> 0:39:18.200
<v Speaker 3>now wondered for the first time, what is the significance

0:39:18.200 --> 0:39:20.200
<v Speaker 3>of the title split second.

0:39:21.200 --> 0:39:24.120
<v Speaker 2>I don't think it has any significance at all other

0:39:24.200 --> 0:39:29.000
<v Speaker 2>than it just implies a pacing that is largely backed

0:39:29.040 --> 0:39:31.760
<v Speaker 2>up by the picture. You know, stuff is just happening,

0:39:31.800 --> 0:39:35.080
<v Speaker 2>and characters are especially stone. It just has a gut

0:39:35.160 --> 0:39:39.040
<v Speaker 2>level response to everything. So I guess that's the extent

0:39:39.080 --> 0:39:39.239
<v Speaker 2>of it.

0:39:39.480 --> 0:39:43.160
<v Speaker 3>Yeah, the movie might as well be called exciting exciting.

0:39:43.280 --> 0:39:48.239
<v Speaker 2>Yeah, so yeah, they didn't take long for hud or

0:39:48.239 --> 0:39:49.960
<v Speaker 2>Howard to pop up. He has a lot of screen

0:39:50.000 --> 0:39:52.399
<v Speaker 2>time in this and the first I think we see

0:39:52.400 --> 0:39:55.760
<v Speaker 2>of him is he's walking up in leather, scratching his groin,

0:39:55.880 --> 0:39:58.200
<v Speaker 2>putting on a pair of shades. He's got a big

0:39:58.200 --> 0:40:02.480
<v Speaker 2>old gun. And then then shortly thereafter my favorite, one

0:40:02.520 --> 0:40:05.799
<v Speaker 2>of my favorite sequences in the film, he lights his

0:40:05.840 --> 0:40:09.200
<v Speaker 2>cigar with a blowtorch, then gets out of his vehicle

0:40:09.680 --> 0:40:12.600
<v Speaker 2>calls a dog a dickhead on his way into a

0:40:12.600 --> 0:40:15.719
<v Speaker 2>grimy nightclub. For some reason, it's just so it's such

0:40:15.719 --> 0:40:18.120
<v Speaker 2>a funny scene. Like when I saw that scene the

0:40:18.120 --> 0:40:19.640
<v Speaker 2>first time I watched the film, I was like, oh

0:40:19.640 --> 0:40:21.480
<v Speaker 2>my god, I'm watching all of this.

0:40:21.840 --> 0:40:24.600
<v Speaker 3>I'm in Before he even gets in the car, we

0:40:24.719 --> 0:40:28.200
<v Speaker 3>just get this corridor advancing scene. This is our introduction

0:40:28.400 --> 0:40:32.000
<v Speaker 3>to our protagonist, and god his costume. So he's got

0:40:32.000 --> 0:40:36.120
<v Speaker 3>the sci fi stomper boots. I guess these are actual

0:40:36.200 --> 0:40:38.120
<v Speaker 3>all weather boots of some kind. I don't know what

0:40:38.160 --> 0:40:39.680
<v Speaker 3>they're called, but they're the ones with a bunch of

0:40:39.680 --> 0:40:43.400
<v Speaker 3>straps and buckles poking out all over the place. And

0:40:43.440 --> 0:40:46.759
<v Speaker 3>then we get holster vision, like an extreme close up

0:40:46.800 --> 0:40:49.560
<v Speaker 3>of all his different holsters and the guns in them.

0:40:49.800 --> 0:40:52.920
<v Speaker 3>Of course, he's wearing a long coat, right, klflinth coat,

0:40:53.080 --> 0:40:55.480
<v Speaker 3>because hey, how else are they going to know that

0:40:55.520 --> 0:40:56.040
<v Speaker 3>you're bad?

0:40:56.719 --> 0:40:59.920
<v Speaker 2>Yeah, despite it being like really humid looking in this city.

0:41:00.160 --> 0:41:03.080
<v Speaker 2>I don't know, it just seems like the smells, I

0:41:03.080 --> 0:41:03.360
<v Speaker 2>don't know.

0:41:03.640 --> 0:41:05.399
<v Speaker 3>You would not want to wear that coat, I don't think.

0:41:06.360 --> 0:41:09.319
<v Speaker 3>And then and then he's wearing just plastic pants with

0:41:09.480 --> 0:41:13.000
<v Speaker 3>a gut stabber silver belt buckle. It looks like if

0:41:13.000 --> 0:41:15.120
<v Speaker 3>he bends over to tie his shoes it's going to

0:41:15.200 --> 0:41:17.879
<v Speaker 3>cause internal bleeding and is large intestine.

0:41:18.280 --> 0:41:21.600
<v Speaker 2>Yeah yeah, And you don't get the sense that he's

0:41:21.760 --> 0:41:24.200
<v Speaker 2>purchased any new This character has not purchased any new

0:41:24.239 --> 0:41:26.120
<v Speaker 2>clothing since he's let himself go, you.

0:41:26.040 --> 0:41:31.000
<v Speaker 3>Know, right, exactly sunglasses with tiny frames like the beady

0:41:31.040 --> 0:41:33.760
<v Speaker 3>little circular frames that are about the size of a quarter,

0:41:35.160 --> 0:41:37.960
<v Speaker 3>like they simultaneously like they kind of look cool but

0:41:38.040 --> 0:41:42.240
<v Speaker 3>it's also funny. Yeah. And cigar in his mouth at

0:41:42.280 --> 0:41:47.640
<v Speaker 3>all times, just pathological oral fixation. It never leaves his lips.

0:41:47.560 --> 0:41:51.040
<v Speaker 2>Yeap constantly, just a halo of smoke around his head.

0:41:51.400 --> 0:41:53.520
<v Speaker 3>Uh huh. So in a way, he's kind of a

0:41:53.640 --> 0:41:55.560
<v Speaker 3>dystopian sci fi pouci.

0:41:56.400 --> 0:41:59.080
<v Speaker 2>Yeah. Yeah, but but again is rugger Hower, and he

0:41:59.440 --> 0:42:02.080
<v Speaker 2>manages to strike that balance where it you know, you

0:42:02.800 --> 0:42:04.920
<v Speaker 2>in any given scene, you're either buying into the coolness

0:42:05.000 --> 0:42:07.520
<v Speaker 2>or noticing again the wink in his performance and or

0:42:07.560 --> 0:42:08.040
<v Speaker 2>the writing.

0:42:08.680 --> 0:42:10.279
<v Speaker 3>So here's a question I don't know if you have

0:42:10.320 --> 0:42:12.600
<v Speaker 3>an answer to. Maybe if you don't, maybe the listeners

0:42:12.640 --> 0:42:16.120
<v Speaker 3>can add some input. Where does the long coats as

0:42:16.280 --> 0:42:19.360
<v Speaker 3>cool thing come from? In movies where you got a

0:42:19.440 --> 0:42:22.799
<v Speaker 3>character who's just a real like a just bad to

0:42:22.840 --> 0:42:25.880
<v Speaker 3>the bone, he's got to wear like a calf length coat.

0:42:26.320 --> 0:42:28.239
<v Speaker 2>That's a great question. I don't know, But it's it's

0:42:28.239 --> 0:42:30.719
<v Speaker 2>been around for a while at this point. It doesn't

0:42:30.760 --> 0:42:32.680
<v Speaker 2>seem to be going away anytime soon.

0:42:32.880 --> 0:42:35.280
<v Speaker 3>Like it was already in place at this time, really

0:42:35.320 --> 0:42:39.560
<v Speaker 3>realized in Matrix Chic. But yeah, but this was way

0:42:39.600 --> 0:42:43.040
<v Speaker 3>before that, and it was definitely in movies even before this.

0:42:43.719 --> 0:42:45.640
<v Speaker 2>Yeah, I don't have an answer for that. Maybe that's

0:42:45.640 --> 0:42:48.840
<v Speaker 2>one we can our listeners will have some insight on.

0:42:49.239 --> 0:42:53.000
<v Speaker 3>Yeah, okay. Oh and also this movie is if anybody

0:42:53.120 --> 0:42:56.800
<v Speaker 3>out there is actually like a gun owner or into

0:42:57.440 --> 0:43:00.000
<v Speaker 3>firearms safety at all, this movie will just make you

0:43:00.120 --> 0:43:04.279
<v Speaker 3>shudder because all Rutger Howard does is just walk around

0:43:04.480 --> 0:43:07.640
<v Speaker 3>swinging big guns all over the place and tossing them

0:43:07.680 --> 0:43:09.040
<v Speaker 3>around like Duffel bags.

0:43:09.440 --> 0:43:12.640
<v Speaker 2>Yeah, yeah, gesturing with them. He'll stick a gun in

0:43:12.680 --> 0:43:14.840
<v Speaker 2>your face for virtually no reason.

0:43:15.040 --> 0:43:16.759
<v Speaker 3>Yeah, just to play around, you know.

0:43:17.000 --> 0:43:20.000
<v Speaker 2>Yeah, other character, other characters to pick up on this

0:43:20.000 --> 0:43:23.359
<v Speaker 2>this recklessness and start engaging in it. And boy, there

0:43:23.440 --> 0:43:25.359
<v Speaker 2>there's some big gun Like the guns look good in this,

0:43:25.480 --> 0:43:29.719
<v Speaker 2>like the gun these are some some video game asque weapons,

0:43:29.760 --> 0:43:32.200
<v Speaker 2>you know, Like he has this pistol that just looks

0:43:32.239 --> 0:43:34.680
<v Speaker 2>like a big just sci fi cannon. And then later

0:43:35.160 --> 0:43:40.320
<v Speaker 2>these like mini gun looking combat shotgun things. It's pretty crazy.

0:43:40.480 --> 0:43:42.880
<v Speaker 3>Yeah, you're not joking about that. They literally have like

0:43:42.960 --> 0:43:45.680
<v Speaker 3>it's like a mini gun barrel so like the multiple

0:43:45.680 --> 0:43:48.239
<v Speaker 3>barrels and the rotating I don't know what you call

0:43:48.280 --> 0:43:51.359
<v Speaker 3>that piece, but like like like what Jesse Ventura has

0:43:51.440 --> 0:43:54.840
<v Speaker 3>in Predator, except it's supposed to be shotgun barrels.

0:43:54.920 --> 0:43:56.799
<v Speaker 2>Yeah, like a shotgun gatlin gun.

0:43:57.000 --> 0:43:59.640
<v Speaker 3>Yeah. And then at the very beginning, so we see

0:43:59.680 --> 0:44:02.320
<v Speaker 3>him come down the corridor showing off his cool look,

0:44:02.520 --> 0:44:04.960
<v Speaker 3>and then he gets into a jeep and drives away,

0:44:05.440 --> 0:44:07.319
<v Speaker 3>and of course we see that his car is just

0:44:07.360 --> 0:44:11.640
<v Speaker 3>a rolling sty It is full of garbage, mostly coffee

0:44:11.719 --> 0:44:14.560
<v Speaker 3>cups and the containers of sugary products.

0:44:14.960 --> 0:44:17.080
<v Speaker 2>Yeah, there's like he's a one brand guy when it

0:44:17.120 --> 0:44:20.040
<v Speaker 2>comes to these sugary things. I think maybe they're donuts

0:44:20.080 --> 0:44:22.920
<v Speaker 2>or chocolate balls. But like when we say that he

0:44:22.960 --> 0:44:25.040
<v Speaker 2>lives on a diet, like that's directly from the film

0:44:25.120 --> 0:44:26.880
<v Speaker 2>that they say that he lives on a diet of

0:44:27.200 --> 0:44:30.960
<v Speaker 2>of what caffeine, sugar and anxiety anxiety, No caffeine, no sugar,

0:44:31.040 --> 0:44:32.960
<v Speaker 2>chocolate in anxiety or is it sugar?

0:44:33.280 --> 0:44:36.920
<v Speaker 3>I think coffee sugar or sugar chocolate in anxiety?

0:44:36.960 --> 0:44:39.560
<v Speaker 2>Yeah? Maybe, yeah, yeah, I think so. And so that's

0:44:39.600 --> 0:44:43.080
<v Speaker 2>like literally if he's not smoking, and or if he's smoking,

0:44:43.239 --> 0:44:48.319
<v Speaker 2>he's also liable to be consuming chocolate and putting just

0:44:48.440 --> 0:44:50.200
<v Speaker 2>tons of sugar. Like it's a scene where he fills

0:44:50.280 --> 0:44:52.960
<v Speaker 2>up his coffee in an office and it's just like

0:44:53.440 --> 0:44:55.880
<v Speaker 2>thirty percent sugar and then the rest is coffee.

0:44:55.960 --> 0:44:58.120
<v Speaker 3>Yeah, And so he's driving around. You mentioned that he's

0:44:58.120 --> 0:45:00.360
<v Speaker 3>on his way to this filthy nightclub he's going to.

0:45:00.440 --> 0:45:03.480
<v Speaker 3>But also, for some reason at the very beginning, it's

0:45:03.880 --> 0:45:07.080
<v Speaker 3>not established why this is at all, he's being pursued

0:45:07.160 --> 0:45:11.000
<v Speaker 3>by police, so he is a police detective. But he's

0:45:11.040 --> 0:45:14.439
<v Speaker 3>also like while he's driving around, there are cops chasing him,

0:45:14.440 --> 0:45:19.000
<v Speaker 3>being like, where's Harley Stone going? Just unbeatable? Yeah, But

0:45:19.040 --> 0:45:20.920
<v Speaker 3>he ends up in this dirty night club that he

0:45:20.960 --> 0:45:25.240
<v Speaker 3>has to enter through like a corrugated aluminum sewer tunnel

0:45:25.280 --> 0:45:28.080
<v Speaker 3>that has a bunch of wet socks dangling from the walls.

0:45:28.120 --> 0:45:30.600
<v Speaker 3>And I don't know what the deal with that was.

0:45:30.640 --> 0:45:33.360
<v Speaker 3>But he goes inside. He's told there's a two drink minimum,

0:45:33.719 --> 0:45:37.400
<v Speaker 3>and he orders two coffees with extra sugar, and he

0:45:37.440 --> 0:45:40.080
<v Speaker 3>seems to be here trying to scope things out. It's

0:45:40.120 --> 0:45:43.000
<v Speaker 3>like he's got a sixth sense that there is a

0:45:43.480 --> 0:45:46.640
<v Speaker 3>that there is Duin's afoot in the club. And he's

0:45:46.719 --> 0:45:51.480
<v Speaker 3>just scoping around and eventually ends up trying to make

0:45:51.520 --> 0:45:53.520
<v Speaker 3>a phone call I think, but it's hard to understand

0:45:53.560 --> 0:45:55.319
<v Speaker 3>what he's saying on the phone because he's still got

0:45:55.360 --> 0:45:56.520
<v Speaker 3>the cigar in his mouth.

0:45:56.880 --> 0:45:58.440
<v Speaker 2>He's not here for fun though, because I don't think

0:45:58.480 --> 0:45:59.640
<v Speaker 2>Harley Stone does fun.

0:46:00.440 --> 0:46:02.520
<v Speaker 3>No, he does not go to the club to party.

0:46:02.560 --> 0:46:05.680
<v Speaker 3>He goes to the club to find the killer. Yeah,

0:46:05.719 --> 0:46:08.640
<v Speaker 3>and he's looking for somebody, I guess, the killer. But

0:46:08.680 --> 0:46:10.920
<v Speaker 3>then meanwhile there's a scream and we find that a

0:46:10.920 --> 0:46:15.040
<v Speaker 3>woman has been murdered in the bathroom. There's blood splattered everywhere,

0:46:15.440 --> 0:46:19.239
<v Speaker 3>her heart has been removed, and there is there are

0:46:19.280 --> 0:46:22.720
<v Speaker 3>the words I'm back scrawled on the mirror in blood.

0:46:23.440 --> 0:46:25.719
<v Speaker 2>Yeah. And this is one of many scenes that will

0:46:25.760 --> 0:46:29.320
<v Speaker 2>come in this film where a filthy environment is sprawled

0:46:29.320 --> 0:46:32.799
<v Speaker 2>with blood and it looks it looks great like it

0:46:33.080 --> 0:46:36.279
<v Speaker 2>this film man Like Again. The aesthetics of this film

0:46:36.280 --> 0:46:40.279
<v Speaker 2>are pretty tremendous, and there's something about like. It has

0:46:40.320 --> 0:46:45.319
<v Speaker 2>an almost erotic fixation on blood and death, and you

0:46:45.480 --> 0:46:48.400
<v Speaker 2>see the first taste of it in this scene.

0:46:48.239 --> 0:46:51.120
<v Speaker 3>And we see that Harley Stone, the character is also

0:46:51.239 --> 0:46:55.319
<v Speaker 3>fixated because he's he's not just on a case. He

0:46:55.520 --> 0:46:59.640
<v Speaker 3>is obsessed. He starts chasing down the blood trail that's

0:46:59.719 --> 0:47:03.120
<v Speaker 3>running out of the bathroom. He's freaking out. He's pointing

0:47:03.160 --> 0:47:06.160
<v Speaker 3>his gun at random people as he runs through these alleys.

0:47:06.600 --> 0:47:09.399
<v Speaker 3>Other police are trying to like join in and help him,

0:47:09.400 --> 0:47:11.279
<v Speaker 3>I think, but he's screaming at them to get out

0:47:11.320 --> 0:47:13.640
<v Speaker 3>of his way. And here I believe we have a

0:47:13.640 --> 0:47:16.000
<v Speaker 3>classic case of taking it too personal.

0:47:16.320 --> 0:47:17.800
<v Speaker 2>Yep, he's taking it too personal.

0:47:18.440 --> 0:47:22.239
<v Speaker 3>Chief says he's taking it too personal. That's right, you

0:47:22.280 --> 0:47:24.640
<v Speaker 3>can't stop. I mean, he's the best, even if he

0:47:24.680 --> 0:47:27.160
<v Speaker 3>has taken it too personal. And the whole chase we

0:47:27.239 --> 0:47:30.799
<v Speaker 3>get this doom doom. We hear a heart beating and

0:47:30.880 --> 0:47:35.440
<v Speaker 3>heavy breathing that suggests a psychic connection somehow between the

0:47:35.520 --> 0:47:39.200
<v Speaker 3>killer and Harley Stone. But I guess somehow he gets subdued.

0:47:39.239 --> 0:47:41.040
<v Speaker 3>I think he ends up like on a fire escape,

0:47:41.160 --> 0:47:45.200
<v Speaker 3>just kind of I don't know, hyperventilating and leaning against

0:47:45.239 --> 0:47:47.640
<v Speaker 3>the railing. And then we cut to the fan boats,

0:47:47.680 --> 0:47:50.120
<v Speaker 3>you know, the Bayou boats, except they're out on the Thames,

0:47:50.880 --> 0:47:55.000
<v Speaker 3>and we hear the Chief of Police Thrasher, talking to

0:47:55.040 --> 0:47:57.640
<v Speaker 3>this other guy, and we get some backstory on Harleystone.

0:47:57.719 --> 0:47:59.480
<v Speaker 3>Is he talking to Dick Durkin?

0:47:59.800 --> 0:48:01.919
<v Speaker 2>I think so, yeah, because he's preparing him. Because again,

0:48:01.960 --> 0:48:04.040
<v Speaker 2>he's the best. We've got to use him. But we

0:48:04.120 --> 0:48:06.880
<v Speaker 2>need a good cop to pal around with him, to

0:48:07.280 --> 0:48:09.360
<v Speaker 2>keep tabs on him, keep him from getting out of hand.

0:48:09.320 --> 0:48:12.000
<v Speaker 3>Right, we need a nerd cop to put a leash

0:48:12.040 --> 0:48:16.239
<v Speaker 3>on the loose cannon cop. Yeah, And so it's just

0:48:16.480 --> 0:48:20.160
<v Speaker 3>perfect cop movie cliches. Butt on a fan boat on

0:48:20.200 --> 0:48:23.680
<v Speaker 3>the Thames and Thrasher talks about how it took four

0:48:23.840 --> 0:48:26.879
<v Speaker 3>officers to subdue Harley Stone and now he's in lock

0:48:26.960 --> 0:48:29.840
<v Speaker 3>up and Dick Dirkin is so curious what happened to

0:48:29.880 --> 0:48:33.960
<v Speaker 3>Harley Stone to make him this way? And Thrasher says, well,

0:48:34.040 --> 0:48:37.640
<v Speaker 3>a serial killer murdered his partner Foster three years ago,

0:48:38.040 --> 0:48:41.600
<v Speaker 3>and he was there when it happened. And Dick Dirkin says, oh,

0:48:41.760 --> 0:48:45.760
<v Speaker 3>is it survivor's guilt? And Thrasher says, nah, just plain guilt.

0:48:46.160 --> 0:48:49.439
<v Speaker 3>He had an affair with Foster's wife, left her, hit

0:48:49.480 --> 0:48:52.560
<v Speaker 3>the booze went over the edge. Now he lives on

0:48:52.640 --> 0:48:58.000
<v Speaker 3>here's the quote anxiety, coffee and chocolate. Oh, and they

0:48:58.040 --> 0:49:00.279
<v Speaker 3>specified that he's worked in every hell hole in the

0:49:00.320 --> 0:49:03.319
<v Speaker 3>world and he's been fired from all of them, and

0:49:03.560 --> 0:49:04.760
<v Speaker 3>they say he's the best.

0:49:06.800 --> 0:49:09.160
<v Speaker 2>So, yeah, what are these other hell holes? I wonder

0:49:09.200 --> 0:49:11.719
<v Speaker 2>It's like there's a whole there's a whole universe of

0:49:12.000 --> 0:49:14.239
<v Speaker 2>Harley Stone adventures we don't know anything about.

0:49:14.120 --> 0:49:16.200
<v Speaker 3>Right, So he's worked in like every city in the

0:49:16.200 --> 0:49:18.800
<v Speaker 3>world or something, or only the ones that are hell holes.

0:49:18.800 --> 0:49:19.440
<v Speaker 3>Which are those?

0:49:20.120 --> 0:49:24.160
<v Speaker 2>Yep? Just every like flooded, monster ridden metropolis on Earth.

0:49:24.400 --> 0:49:26.560
<v Speaker 3>I guess we may have missed our chance for a

0:49:26.600 --> 0:49:30.480
<v Speaker 3>prequel that's like the Adventures of Harley Stone in I

0:49:30.520 --> 0:49:32.480
<v Speaker 3>don't know, New Orleans or something.

0:49:32.880 --> 0:49:35.160
<v Speaker 2>Yeah, I don't know who the young Rutger Hower would be.

0:49:35.200 --> 0:49:37.719
<v Speaker 2>I mean, he can't really replace him.

0:49:37.840 --> 0:49:41.799
<v Speaker 3>Yeah. But so Harley Stone's back in the station. He's

0:49:41.880 --> 0:49:44.880
<v Speaker 3>raging against the bars and lock up, rattling them, and

0:49:44.880 --> 0:49:47.040
<v Speaker 3>then he gets out eventually and he's getting coffee. And

0:49:47.080 --> 0:49:49.000
<v Speaker 3>here we get one of the great coffee scenes where

0:49:49.040 --> 0:49:51.719
<v Speaker 3>he puts like, you know, eighteen spoonfuls of sugar in.

0:49:53.120 --> 0:49:56.520
<v Speaker 3>And then we meet Pete Postelwaite and they have a

0:49:56.520 --> 0:49:59.960
<v Speaker 3>big confrontation. It is clear that Rutger and Pete do

0:50:00.120 --> 0:50:01.160
<v Speaker 3>not like one another.

0:50:02.840 --> 0:50:06.800
<v Speaker 2>I think it's later revealed that Pete's character was also

0:50:07.320 --> 0:50:09.799
<v Speaker 2>the Swain partner's best friend, and so he holds it

0:50:09.840 --> 0:50:10.520
<v Speaker 2>against him.

0:50:10.520 --> 0:50:14.040
<v Speaker 3>Right, And then there's a great chief chewout scene, and

0:50:14.120 --> 0:50:18.000
<v Speaker 3>so he gets invited into the chief's office. Harley Stone

0:50:18.000 --> 0:50:20.440
<v Speaker 3>gets chewed out. We hear all about how he's a

0:50:20.480 --> 0:50:23.160
<v Speaker 3>loose cannon, how he's taken it to personal, how he's

0:50:23.200 --> 0:50:26.279
<v Speaker 3>off the force, and then here's your new partner. And

0:50:26.320 --> 0:50:28.760
<v Speaker 3>the new partner, of course, is Dick Drkin, the nerd

0:50:28.840 --> 0:50:32.680
<v Speaker 3>from Oxford who is getting filled in on the case.

0:50:32.760 --> 0:50:34.920
<v Speaker 3>And he's like, I thought we were dealing with the psychotic,

0:50:35.000 --> 0:50:38.440
<v Speaker 3>not a psychopath. But the scoop on Dick Dirkin is

0:50:38.440 --> 0:50:41.399
<v Speaker 3>that he's an expert on serial killers. He's a sort

0:50:41.400 --> 0:50:44.279
<v Speaker 3>of lily livered college boy who went to Oxford. And

0:50:44.360 --> 0:50:47.760
<v Speaker 3>Harley Stone does not like him. I think Harley Stone,

0:50:47.840 --> 0:50:51.480
<v Speaker 3>I think, clearly believes that the book learning is weak

0:50:51.640 --> 0:50:52.280
<v Speaker 3>and puny.

0:50:53.200 --> 0:50:58.800
<v Speaker 2>Well, it's like any kind of premeditation is puny Stone

0:50:59.400 --> 0:51:03.879
<v Speaker 2>again from the gut, He's he's just all action and

0:51:03.880 --> 0:51:07.080
<v Speaker 2>and and no chill. There's just his brain is just

0:51:07.160 --> 0:51:11.600
<v Speaker 2>a like an exploding rat of anxiety and of you know,

0:51:11.640 --> 0:51:13.280
<v Speaker 2>fueled with caffeine and sugar.

0:51:13.440 --> 0:51:16.000
<v Speaker 3>Yeah, and then oh oh oh, and then I so,

0:51:16.200 --> 0:51:18.960
<v Speaker 3>can you explain to me what you think is implied

0:51:19.000 --> 0:51:22.080
<v Speaker 3>to have happened in the following scene, because after right

0:51:22.120 --> 0:51:25.080
<v Speaker 3>after the chew out, Harley Stone goes back to his

0:51:25.160 --> 0:51:27.960
<v Speaker 3>desk and there's just a cooler with a heart in it. There,

0:51:28.239 --> 0:51:30.520
<v Speaker 3>like a cooler full of ice that's got a chewed

0:51:30.600 --> 0:51:34.080
<v Speaker 3>up heart. And I don't know why it's on ice,

0:51:34.239 --> 0:51:37.240
<v Speaker 3>because this is not going to be a successful transplant

0:51:37.560 --> 0:51:40.839
<v Speaker 3>or like donor organ. It has a bite taken out

0:51:40.880 --> 0:51:43.440
<v Speaker 3>of it, but for some reason it's on ice in

0:51:43.520 --> 0:51:46.640
<v Speaker 3>a cooler sitting right next to his desk. Are we

0:51:46.719 --> 0:51:49.960
<v Speaker 3>to understand that this heart has been delivered by the

0:51:50.080 --> 0:51:51.320
<v Speaker 3>killer to his desk?

0:51:51.920 --> 0:51:55.319
<v Speaker 2>I think, okay, So out of picture, I would say

0:51:55.440 --> 0:51:58.200
<v Speaker 2>this is a clear sign of an earlier draft of

0:51:58.000 --> 0:52:00.319
<v Speaker 2>the of the plot. I think at one point this

0:52:00.360 --> 0:52:02.279
<v Speaker 2>screenplay did not have a monster in it. It was

0:52:02.320 --> 0:52:05.480
<v Speaker 2>just a serial killer flick. It was supposed to be

0:52:05.520 --> 0:52:08.719
<v Speaker 2>a serial color story. I think, if I'm going to

0:52:08.760 --> 0:52:11.399
<v Speaker 2>try and read into the movie, I'm going to live

0:52:11.520 --> 0:52:15.120
<v Speaker 2>within the narrative of the film. The monster killer villain

0:52:15.640 --> 0:52:19.480
<v Speaker 2>must have hired at delivery service to deliver this heart,

0:52:19.920 --> 0:52:23.200
<v Speaker 2>I mean, must have stolen the cooler and some ice

0:52:23.600 --> 0:52:27.480
<v Speaker 2>from like a local store in order just to mess

0:52:27.520 --> 0:52:28.040
<v Speaker 2>with Stone.

0:52:28.360 --> 0:52:31.160
<v Speaker 3>Why the ice, The heart's not going to be used

0:52:31.160 --> 0:52:31.760
<v Speaker 3>for anything.

0:52:32.320 --> 0:52:35.040
<v Speaker 2>I think it basically the well out of picture. The

0:52:35.040 --> 0:52:38.160
<v Speaker 2>reason is because it looks really cool glistening among the ice.

0:52:38.200 --> 0:52:40.200
<v Speaker 2>You know, it's a beautiful one of these scenes that again,

0:52:40.800 --> 0:52:42.880
<v Speaker 2>things that are dead or bleeding in this film are

0:52:42.920 --> 0:52:45.560
<v Speaker 2>the only things that are beautiful aside from Kim Cattrell.

0:52:45.960 --> 0:52:50.640
<v Speaker 2>Everything else is grizzly and dirty. Yeah, and so I

0:52:50.640 --> 0:52:53.560
<v Speaker 2>think that's the real reason. Otherwise, I guess just shock value,

0:52:53.600 --> 0:52:55.839
<v Speaker 2>just to be like, hey, here's this heart on ice.

0:52:56.200 --> 0:52:59.360
<v Speaker 3>Maybe the dewey, glistening cubes of ice as they slowly

0:52:59.440 --> 0:53:03.520
<v Speaker 3>melt into a puddle, they symbolize the fleetingness of human life.

0:53:03.760 --> 0:53:07.799
<v Speaker 2>I guess. So, Yeah, it's impossible to say. With this

0:53:07.960 --> 0:53:09.320
<v Speaker 2>monster slash Killer.

0:53:17.400 --> 0:53:19.560
<v Speaker 3>They pretty much go straight out into the field. So

0:53:19.560 --> 0:53:22.840
<v Speaker 3>it's Harley Stone and Dick Dirkin learning to be buddy

0:53:22.840 --> 0:53:26.200
<v Speaker 3>cops and finding out about each other, finding out about

0:53:26.239 --> 0:53:30.240
<v Speaker 3>each other's minds and bodies as they investigate the scenes

0:53:30.239 --> 0:53:30.760
<v Speaker 3>of the crime.

0:53:31.480 --> 0:53:33.480
<v Speaker 2>Yeah, and oh man, there's some there's so many great

0:53:33.560 --> 0:53:36.239
<v Speaker 2>hijinks that come out of this is they you know,

0:53:36.239 --> 0:53:38.720
<v Speaker 2>feel each other, and it's basically you know, odd couple,

0:53:39.239 --> 0:53:41.799
<v Speaker 2>mixed body cop kind of stuff. But it's just really

0:53:41.840 --> 0:53:42.440
<v Speaker 2>well done.

0:53:42.760 --> 0:53:45.360
<v Speaker 3>There's a part where a murder gets called in and

0:53:45.400 --> 0:53:47.360
<v Speaker 3>they go to investigate the murder and it's like on

0:53:47.400 --> 0:53:49.439
<v Speaker 3>the top floor of an apartment building and we see

0:53:49.440 --> 0:53:52.480
<v Speaker 3>that Harley Stone has trouble climbing the stairs, I guess

0:53:52.480 --> 0:53:54.320
<v Speaker 3>because he's out of shape, and he asks to stop

0:53:54.360 --> 0:53:56.120
<v Speaker 3>for a cigar halfway.

0:53:55.760 --> 0:53:58.399
<v Speaker 2>Up, out of breath, got to stop and smoke, right,

0:53:59.080 --> 0:54:00.120
<v Speaker 2>But so we find.

0:54:00.120 --> 0:54:02.719
<v Speaker 3>There's another victim of the killer up in this apartment.

0:54:02.760 --> 0:54:05.160
<v Speaker 3>It's a twenty eight year old man who has had

0:54:05.200 --> 0:54:09.080
<v Speaker 3>his heart torn out, and Stone somehow knows intuitively what

0:54:09.160 --> 0:54:11.279
<v Speaker 3>the time of death was. And this is one of

0:54:11.280 --> 0:54:14.360
<v Speaker 3>the hints picking up on the thing at the club earlier,

0:54:14.400 --> 0:54:17.920
<v Speaker 3>that there's a psychic connection between Harley Stone and the killer.

0:54:18.280 --> 0:54:18.760
<v Speaker 2>Yeah.

0:54:18.760 --> 0:54:21.120
<v Speaker 3>Oh, and here we get a there's a really funny

0:54:21.120 --> 0:54:25.040
<v Speaker 3>part here where there's just a rat execution, like the

0:54:25.440 --> 0:54:28.319
<v Speaker 3>partner Harley Stone pulls out his gun and it looks

0:54:28.360 --> 0:54:30.640
<v Speaker 3>like he's about to shoot Dick Dirkin in the face,

0:54:31.160 --> 0:54:34.280
<v Speaker 3>but instead he shoots right over his shoulder to shoot

0:54:34.320 --> 0:54:37.040
<v Speaker 3>a rat that was going to bite him or something.

0:54:37.480 --> 0:54:39.560
<v Speaker 2>It was a monster. It looked like a monster rat too,

0:54:39.640 --> 0:54:41.960
<v Speaker 2>because there are plenty of live rats in this picture,

0:54:42.200 --> 0:54:44.520
<v Speaker 2>But right before he shoots it, it looks like it's

0:54:44.560 --> 0:54:47.560
<v Speaker 2>a like a puppet rat and looks extra gross. So

0:54:48.280 --> 0:54:51.520
<v Speaker 2>I don't know, you know, Couch that within the narrative,

0:54:51.560 --> 0:54:52.080
<v Speaker 2>as you will.

0:54:53.000 --> 0:54:55.600
<v Speaker 3>Oh, and clearly the killer is trying to send a

0:54:55.680 --> 0:55:00.120
<v Speaker 3>message with these crimes, because there are multiple messages for Stone,

0:55:00.239 --> 0:55:03.120
<v Speaker 3>his dead former partner's gun is at the scene of

0:55:03.120 --> 0:55:06.640
<v Speaker 3>this crime, and there is an occult symbol in blood

0:55:06.719 --> 0:55:10.160
<v Speaker 3>on the ceiling and Dirkin immediately starts coming up with

0:55:10.239 --> 0:55:13.719
<v Speaker 3>theories about this. He's I guess he knows all about astrology,

0:55:13.719 --> 0:55:17.279
<v Speaker 3>and he's like, it's the symbol of scorpio. It's used

0:55:17.320 --> 0:55:19.120
<v Speaker 3>in the occult.

0:55:19.800 --> 0:55:23.520
<v Speaker 2>Yeah, there's a lot of occult nonsense that it's brought

0:55:23.600 --> 0:55:26.040
<v Speaker 2>up as they try and figure out this killer.

0:55:26.400 --> 0:55:28.480
<v Speaker 3>Oh and then there's a there's a great moment where

0:55:29.040 --> 0:55:33.360
<v Speaker 3>they get they get to Harley Stone a dental cast

0:55:33.560 --> 0:55:36.160
<v Speaker 3>based on the bites on the heart, and it's a

0:55:36.200 --> 0:55:39.480
<v Speaker 3>giant beast mouth. But still after this, everybody's talking about

0:55:39.520 --> 0:55:42.279
<v Speaker 3>a serial killer, like this isn't just an obvious piece

0:55:42.320 --> 0:55:45.239
<v Speaker 3>of evidence that it's a monster they're dealing with. Yeah,

0:55:45.840 --> 0:55:48.040
<v Speaker 3>is this a serial killer with a panther's head?

0:55:48.360 --> 0:55:51.239
<v Speaker 2>Because as well, we'll find out later, and becomes increasingly

0:55:51.320 --> 0:55:53.720
<v Speaker 2>clear this is not a human we're going up against.

0:55:53.800 --> 0:55:56.320
<v Speaker 2>This is a monster. This is essentially a grindel beast.

0:55:56.520 --> 0:56:00.400
<v Speaker 3>Yeah. Yeah, And meanwhile, some things happen. Harley's own has

0:56:00.440 --> 0:56:03.480
<v Speaker 3>another like anxiety attack in an alley and starts shooting

0:56:03.480 --> 0:56:05.640
<v Speaker 3>his gun randomly at the sky. I think he has

0:56:05.680 --> 0:56:09.040
<v Speaker 3>to get talked down. But eventually, finally we get to

0:56:09.040 --> 0:56:13.640
<v Speaker 3>meet Kim Katrol. So Harley Stone goes to I think

0:56:13.719 --> 0:56:16.799
<v Speaker 3>the grave of his former partner. Is that right?

0:56:17.160 --> 0:56:17.520
<v Speaker 2>Yeah?

0:56:17.560 --> 0:56:21.440
<v Speaker 3>And she's there, she's placing memento on his grave. Is

0:56:21.480 --> 0:56:24.879
<v Speaker 3>she supposed to be his dead partner's widow? I might

0:56:24.920 --> 0:56:28.960
<v Speaker 3>have missed that, Yes, yes, okay, because they've previously had

0:56:29.000 --> 0:56:33.240
<v Speaker 3>a relationship, right, okay, Well, as soon as he arrives,

0:56:33.560 --> 0:56:36.200
<v Speaker 3>she shows concern for his well being. She observes that

0:56:36.320 --> 0:56:41.560
<v Speaker 3>he is he is not the cleanest or the most

0:56:41.600 --> 0:56:45.760
<v Speaker 3>well rested, and that he needs caring for I think.

0:56:45.800 --> 0:56:47.680
<v Speaker 2>Yeah, yep, So they go back to this apartment.

0:56:47.760 --> 0:56:50.000
<v Speaker 3>Yeah, they go back to his filthy apartment that just

0:56:50.040 --> 0:56:54.080
<v Speaker 3>looks like the inside of of like an unethical animal enclosure.

0:56:54.600 --> 0:56:56.839
<v Speaker 2>It is it is. I mean, it's like every scene

0:56:56.880 --> 0:56:59.560
<v Speaker 2>in this film. It's like they went wild decorating. It's

0:57:00.040 --> 0:57:04.360
<v Speaker 2>any grizzly details in this just pig style that he

0:57:04.440 --> 0:57:08.120
<v Speaker 2>lives in, including live pigeons and live rats.

0:57:08.239 --> 0:57:11.520
<v Speaker 3>Yes, live pigeons, live rats. So a few other details

0:57:11.560 --> 0:57:12.960
<v Speaker 3>I want to run by you to make sure I'm

0:57:12.960 --> 0:57:16.320
<v Speaker 3>not mistaken here. Number one, does he keep his gun

0:57:16.400 --> 0:57:17.440
<v Speaker 3>in a refrigerator?

0:57:18.360 --> 0:57:20.600
<v Speaker 2>Yes, though we don't have a clear indication that the

0:57:20.640 --> 0:57:21.560
<v Speaker 2>refrigerator is on.

0:57:22.000 --> 0:57:25.080
<v Speaker 3>Okay, maybe it is just using a broken refrigerator as

0:57:25.080 --> 0:57:25.600
<v Speaker 3>a shelf.

0:57:25.960 --> 0:57:28.880
<v Speaker 2>Yeah, he has an actual refrigerator in which he keeps

0:57:28.920 --> 0:57:33.280
<v Speaker 2>other foul things. But there's like a convenience store refrigerator

0:57:33.280 --> 0:57:34.840
<v Speaker 2>that might not be plugged up and has like a

0:57:34.840 --> 0:57:36.040
<v Speaker 2>shotgun and some ammo in it.

0:57:36.080 --> 0:57:37.960
<v Speaker 3>Okay, that's what I thought. And then also, yeah, the

0:57:38.000 --> 0:57:42.080
<v Speaker 3>apartment's full of live pigeons and motorcycles. There are just

0:57:42.880 --> 0:57:45.520
<v Speaker 3>his apartment is full of motorcycles.

0:57:45.840 --> 0:57:48.600
<v Speaker 2>How motorcycle signs as well.

0:57:48.560 --> 0:57:52.000
<v Speaker 3>Yes, how did he get them in there? Did he

0:57:52.040 --> 0:57:54.520
<v Speaker 3>get those Harley Davidson's up the steps?

0:57:55.440 --> 0:57:55.960
<v Speaker 2>I guess so?

0:57:57.400 --> 0:57:59.800
<v Speaker 3>And then also we at one point we see inside

0:57:59.840 --> 0:58:04.480
<v Speaker 3>his refrigerator, which seems to contain exclusively coffee, and then

0:58:04.680 --> 0:58:08.520
<v Speaker 3>like mud, there's just a big, just a big canister

0:58:08.680 --> 0:58:10.600
<v Speaker 3>of mud that is spilled everywhere.

0:58:11.000 --> 0:58:14.240
<v Speaker 2>Well, I think there are chocolates in there, or perhaps don't.

0:58:14.280 --> 0:58:15.920
<v Speaker 2>I don't know. There are those chocolate things that he

0:58:15.960 --> 0:58:18.280
<v Speaker 2>eats out of those little bags. So the refrigerator has

0:58:18.320 --> 0:58:21.760
<v Speaker 2>those bags in there. Yeah, and yeah, and also these

0:58:21.960 --> 0:58:23.040
<v Speaker 2>foul looking chocolates.

0:58:23.080 --> 0:58:25.880
<v Speaker 3>And so basically, as soon as they get to his apartment, well,

0:58:25.960 --> 0:58:30.800
<v Speaker 3>Kim Katrol is still surveying the land of disgust. She

0:58:30.800 --> 0:58:33.080
<v Speaker 3>she he like falls asleep on the couch with a

0:58:33.120 --> 0:58:35.880
<v Speaker 3>cigarette burning right next to his eye, and she has

0:58:35.920 --> 0:58:38.560
<v Speaker 3>to go put it out for him. But I think

0:58:38.560 --> 0:58:41.680
<v Speaker 3>the implication is this, this this filthy down on his

0:58:41.760 --> 0:58:45.800
<v Speaker 3>luck cop Uh just just needs his own his own

0:58:45.840 --> 0:58:49.080
<v Speaker 3>personal Kim Katrol to help make his house into a home.

0:58:49.560 --> 0:58:54.240
<v Speaker 2>Yeah, and she's really she's not tremendously disgusted by this environment.

0:58:54.440 --> 0:58:56.840
<v Speaker 3>No, she she kind of rolls with it.

0:58:57.240 --> 0:59:02.120
<v Speaker 2>Yeah, despite being like this yellic being really yeah. Oh.

0:59:02.160 --> 0:59:04.520
<v Speaker 3>At some point also, I think, to emphasize how dirty

0:59:04.560 --> 0:59:07.400
<v Speaker 3>he is, he combs his hair with like a shoe

0:59:07.400 --> 0:59:08.480
<v Speaker 3>polish brush.

0:59:08.720 --> 0:59:11.960
<v Speaker 2>Yeah, yep, yep, because he does groom himself. He's not like,

0:59:12.440 --> 0:59:16.000
<v Speaker 2>you know, completely abandoned self care, but what self care

0:59:16.040 --> 0:59:18.960
<v Speaker 2>he does, it's reckless in you know, the wrong place

0:59:19.040 --> 0:59:19.720
<v Speaker 2>is like at a bar.

0:59:20.640 --> 0:59:24.600
<v Speaker 3>At some point later, Durkin and Harley Stone are driving

0:59:24.640 --> 0:59:27.640
<v Speaker 3>around and they're trying to like outmacho each other. Rutger

0:59:27.720 --> 0:59:31.800
<v Speaker 3>Hower is derisively tossing aside books that he finds in

0:59:31.880 --> 0:59:34.680
<v Speaker 3>the car. The implication, I think is that like books

0:59:34.680 --> 0:59:36.000
<v Speaker 3>are for weak, puny men.

0:59:36.920 --> 0:59:39.000
<v Speaker 2>Yep, yep. I think this is also the scene where

0:59:39.040 --> 0:59:41.760
<v Speaker 2>we find out that that Dirkin has sex every night.

0:59:42.360 --> 0:59:44.120
<v Speaker 3>That is what he claims. Though you wonder if he's

0:59:44.160 --> 0:59:45.840
<v Speaker 3>just trying to impress Harley Stone.

0:59:46.160 --> 0:59:47.200
<v Speaker 2>Yeah, Stone is doubtful.

0:59:47.400 --> 0:59:50.840
<v Speaker 3>Oh oh oh, And then there was this fascinating strength.

0:59:50.920 --> 0:59:53.680
<v Speaker 3>So meanwhile, while they're out doing something I don't remember

0:59:53.680 --> 0:59:56.120
<v Speaker 3>what they're doing. They're driving somewhere and we see Kim

0:59:56.200 --> 1:00:00.840
<v Speaker 3>catroll back at Harley Stone's rancid cell and she finds

1:00:00.840 --> 1:00:04.000
<v Speaker 3>a bunch of chocolates that are just stuck to the

1:00:04.040 --> 1:00:07.760
<v Speaker 3>outside of the filthy refrigerator in the shape of a heart.

1:00:08.120 --> 1:00:11.920
<v Speaker 3>And then she plucks one off of the refrigerator facade

1:00:12.040 --> 1:00:14.000
<v Speaker 3>and she eats it. Disgusting.

1:00:14.880 --> 1:00:17.480
<v Speaker 2>Yeah, this, this made no sense that you would like,

1:00:17.520 --> 1:00:19.520
<v Speaker 2>why are they stuck there? Why are they being stored

1:00:19.520 --> 1:00:22.880
<v Speaker 2>there again in a place that clearly pigeons and rats

1:00:22.880 --> 1:00:25.760
<v Speaker 2>have access to. Uh huh. It seems like a terrible move,

1:00:25.800 --> 1:00:28.280
<v Speaker 2>even if you want ready access to your chocolate. And

1:00:28.320 --> 1:00:30.720
<v Speaker 2>then for her to be like, oh, this is fine,

1:00:30.720 --> 1:00:32.520
<v Speaker 2>this is normal. I'm hungry for chocolate.

1:00:32.680 --> 1:00:34.960
<v Speaker 3>Oh wait, no, no, no, I remember where they were going. Now,

1:00:35.080 --> 1:00:37.440
<v Speaker 3>this is when they're going out to get quote breakfast,

1:00:37.520 --> 1:00:39.920
<v Speaker 3>but they go to like the moody night club that's

1:00:39.920 --> 1:00:41.200
<v Speaker 3>playing Knights in White Satin.

1:00:41.480 --> 1:00:42.920
<v Speaker 2>Yeah, and then that's where he shaves.

1:00:42.960 --> 1:00:44.800
<v Speaker 3>He shaves over his plate at the bar.

1:00:45.200 --> 1:00:47.160
<v Speaker 2>But they're getting work done. They're figuring out what the

1:00:47.240 --> 1:00:48.480
<v Speaker 2>killer might be, right.

1:00:48.400 --> 1:00:51.080
<v Speaker 3>Durkin has a theory. He thinks that he's like, I

1:00:51.120 --> 1:00:53.880
<v Speaker 3>think you and this killer are on the same psychic wavelength.

1:00:53.960 --> 1:00:56.880
<v Speaker 3>What sign are you? And it's revealed that he's a

1:00:56.920 --> 1:01:01.040
<v Speaker 3>scorpio and Durkin has all kinds of astrologic theories about

1:01:01.040 --> 1:01:04.360
<v Speaker 3>when the killer strikes. And then meanwhile, there is a

1:01:04.400 --> 1:01:07.520
<v Speaker 3>tent scene where the killer breaks into Harley's apartment while

1:01:07.600 --> 1:01:10.880
<v Speaker 3>Kim Katral is taking a shower. It's very psycho and

1:01:10.920 --> 1:01:14.360
<v Speaker 3>he's sneaking around doing his heartbeat thing, and of course

1:01:14.400 --> 1:01:16.920
<v Speaker 3>Harley gets a bad feeling, you know, get through his

1:01:16.920 --> 1:01:19.760
<v Speaker 3>psychic connection and him and Durkin run back to the

1:01:19.760 --> 1:01:22.680
<v Speaker 3>apartment and they're rushing up to the rescue. I was

1:01:22.720 --> 1:01:25.280
<v Speaker 3>really afraid Kim Katral was going to be killed, but nope.

1:01:25.360 --> 1:01:28.360
<v Speaker 3>Instead they heard her scream earlier, but she screamed because

1:01:28.360 --> 1:01:31.440
<v Speaker 3>the water got cold, and instead, somebody somewhere else in

1:01:31.480 --> 1:01:35.240
<v Speaker 3>the building got their heart ripped out. So Stone and

1:01:35.360 --> 1:01:38.200
<v Speaker 3>Durkin chase, and then a lot happens really fast. We

1:01:38.760 --> 1:01:41.920
<v Speaker 3>find somebody else with their heart ripped out. Durkin gets

1:01:41.960 --> 1:01:44.480
<v Speaker 3>blasted with a shotgun by the killer.

1:01:44.800 --> 1:01:47.280
<v Speaker 2>And what looks like he's blasted through a window with

1:01:47.360 --> 1:01:49.520
<v Speaker 2>it as well, so you just think he's dead at that.

1:01:49.400 --> 1:01:52.520
<v Speaker 3>Point, yeah, And then yeah, yeah, he goes out the

1:01:52.520 --> 1:01:54.840
<v Speaker 3>window after getting hit like in the belly with a

1:01:54.840 --> 1:01:58.320
<v Speaker 3>scatter gun. And then we also find out, Kim Katrall

1:01:58.400 --> 1:02:00.480
<v Speaker 3>gets bitten on the shoulder by the monster.

1:02:00.600 --> 1:02:04.200
<v Speaker 2>Somehow we do not see that happen, though they're.

1:02:04.040 --> 1:02:08.280
<v Speaker 3>Still talking about this being a human killer. And again,

1:02:08.320 --> 1:02:09.880
<v Speaker 3>this is one of the things where like I think

1:02:09.920 --> 1:02:12.400
<v Speaker 3>the script I don't know, like you were saying earlier,

1:02:12.480 --> 1:02:15.320
<v Speaker 3>like the earlier drafts are showing through. Because are we

1:02:15.400 --> 1:02:18.040
<v Speaker 3>to understand in the final version of the movie that

1:02:18.160 --> 1:02:21.640
<v Speaker 3>the monster shot Durkin with a shotgun?

1:02:22.360 --> 1:02:24.840
<v Speaker 2>Yes? Yes, and if you I was watching for it

1:02:24.920 --> 1:02:28.040
<v Speaker 2>this time, and it's the shotgun is clearly held by

1:02:28.120 --> 1:02:32.840
<v Speaker 2>monster's hands. So our monster is clearly capable of utilizing

1:02:33.000 --> 1:02:37.480
<v Speaker 2>modern tools, well like the cooler that he somehow delivered

1:02:37.480 --> 1:02:40.520
<v Speaker 2>through a shipping service, but also he can handle a shotgun.

1:02:40.600 --> 1:02:43.600
<v Speaker 3>Okay, all right, But anyway, we find out after this

1:02:43.600 --> 1:02:46.680
<v Speaker 3>big shootout, we find out everybody's okay. Durkin is in

1:02:46.720 --> 1:02:48.760
<v Speaker 3>fact is not dead. He's like, haven't you ever heard

1:02:48.800 --> 1:02:53.480
<v Speaker 3>of a bulletproof vest? And Kim Cattrall's okay. But Harley

1:02:53.480 --> 1:02:56.240
<v Speaker 3>Stone has another panic attack again. He starts freaking out

1:02:56.280 --> 1:02:59.240
<v Speaker 3>in the alley and he has to get sedated by cops.

1:03:00.000 --> 1:03:01.440
<v Speaker 2>I have to say, it is kind of interesting to

1:03:01.440 --> 1:03:04.840
<v Speaker 2>see a hero suffer a panic attack in a film

1:03:04.960 --> 1:03:08.000
<v Speaker 2>like split second, like a believable panic attack, you know,

1:03:08.080 --> 1:03:10.280
<v Speaker 2>not like a and not one that reeks of like

1:03:11.040 --> 1:03:14.360
<v Speaker 2>machismo all that much. But because generally in a film

1:03:14.440 --> 1:03:17.360
<v Speaker 2>like this, it's kind of a rule that stress never

1:03:17.440 --> 1:03:20.800
<v Speaker 2>gets on top of your hero. You know, they're they're, they're,

1:03:20.840 --> 1:03:23.000
<v Speaker 2>they're up for the battle. You know. It's like Beowulf

1:03:23.040 --> 1:03:25.960
<v Speaker 2>doesn't have a panic attack. So I don't know, in

1:03:25.960 --> 1:03:28.080
<v Speaker 2>a way, it's kind of a nice human element that

1:03:28.080 --> 1:03:31.440
<v Speaker 2>that Harley Stone is is human enough to you know,

1:03:31.520 --> 1:03:33.560
<v Speaker 2>to not be able to stay on top of it all.

1:03:33.880 --> 1:03:37.640
<v Speaker 3>Yeah, it is unusual. So he is a gruff and

1:03:37.720 --> 1:03:42.440
<v Speaker 3>absurdly macho in that classic cop protagonist style, but he

1:03:42.560 --> 1:03:45.200
<v Speaker 3>also clearly has real anxiety issues.

1:03:45.480 --> 1:03:47.600
<v Speaker 2>Yeah, like to the point where there's a medical intervention

1:03:47.680 --> 1:03:50.120
<v Speaker 2>here because he's having such a panic attack.

1:03:50.480 --> 1:03:52.800
<v Speaker 3>Yeah, that that does not seem usual. I can't think

1:03:52.800 --> 1:03:55.840
<v Speaker 3>of other examples of that. Maybe there are some, but

1:03:55.920 --> 1:03:57.760
<v Speaker 3>oh oh, and then we get a good flashback scene

1:03:57.800 --> 1:04:00.640
<v Speaker 3>where it's revealed that he saw his partner gets slaughtered

1:04:00.680 --> 1:04:03.120
<v Speaker 3>by the killer. He just like they're walking around in

1:04:03.200 --> 1:04:07.160
<v Speaker 3>ankle deep water in some gross place and his partner

1:04:07.240 --> 1:04:09.960
<v Speaker 3>just gets yanked down under the water, and then the

1:04:10.040 --> 1:04:14.200
<v Speaker 3>killer somehow mauls him, mauls Harley Stone, leaving a big

1:04:14.240 --> 1:04:18.160
<v Speaker 3>scratch on his arm, and then after Harley Stone comes

1:04:18.200 --> 1:04:20.960
<v Speaker 3>to later, Durkin sees the big scar going down from

1:04:21.000 --> 1:04:23.360
<v Speaker 3>his shoulder to his arm and he's like, that's it.

1:04:23.520 --> 1:04:27.000
<v Speaker 3>That's the psychic connection. But back at the station there's

1:04:27.000 --> 1:04:30.080
<v Speaker 3>another great chief chewout scene where there's suddenly just an

1:04:30.160 --> 1:04:32.840
<v Speaker 3>exposition dump. They're like, oh, we got to move this

1:04:32.880 --> 1:04:36.360
<v Speaker 3>plot along. So there you find out that during the

1:04:36.360 --> 1:04:39.120
<v Speaker 3>gunfight earlier, Rutger howerd shot the killer a bunch of

1:04:39.120 --> 1:04:43.200
<v Speaker 3>times and yet it's still alive, so something's up. And

1:04:43.240 --> 1:04:45.640
<v Speaker 3>then they also get some lab reports back where they

1:04:45.640 --> 1:04:49.120
<v Speaker 3>say that the killer's DNA is polymorphic. It has the

1:04:49.240 --> 1:04:53.960
<v Speaker 3>DNA of all its previous victims put together, including Harley Stone,

1:04:54.000 --> 1:04:56.680
<v Speaker 3>I think from when he got scratched by it, and

1:04:56.760 --> 1:05:00.640
<v Speaker 3>it has his dead former partner's fingerprints, and it has

1:05:00.720 --> 1:05:05.520
<v Speaker 3>like rat DNA and rat virus DNA. Yeah, this scene

1:05:05.600 --> 1:05:09.280
<v Speaker 3>is a supreme pizza. They're getting you everything.

1:05:09.200 --> 1:05:11.280
<v Speaker 2>All the topic click all the boxes. Yes.

1:05:12.240 --> 1:05:14.080
<v Speaker 3>Oh, And then there's a great so right after this

1:05:14.160 --> 1:05:16.840
<v Speaker 3>there's a great scene where Durkin and Harley Stone go

1:05:16.960 --> 1:05:20.760
<v Speaker 3>to the Morgue because they realize, oh, the killer didn't

1:05:20.800 --> 1:05:23.200
<v Speaker 3>manage to get the last victim's heart. The heart is

1:05:23.240 --> 1:05:26.040
<v Speaker 3>still in them. So they're like, oh, it's going to

1:05:26.080 --> 1:05:28.040
<v Speaker 3>come back to the Morgue and try to get the heart.

1:05:28.440 --> 1:05:30.360
<v Speaker 3>So they go to the morgue. This is actually kind

1:05:30.360 --> 1:05:32.520
<v Speaker 3>of a cool looking scene the way it's set up,

1:05:32.560 --> 1:05:35.400
<v Speaker 3>with like all the plastic and there are these nasty

1:05:35.480 --> 1:05:37.600
<v Speaker 3>like ivy bags everywhere.

1:05:37.160 --> 1:05:40.960
<v Speaker 2>But otherwise it's a very sterile and wide environment. Yeah,

1:05:40.960 --> 1:05:44.520
<v Speaker 2>because again this film, it there's an eroticism of death.

1:05:44.920 --> 1:05:49.040
<v Speaker 2>So the cleanest, holiest place, the holiest scene in the

1:05:49.200 --> 1:05:52.680
<v Speaker 2>entire film, the holiest setting is the Morgue. Yes, it

1:05:52.680 --> 1:05:54.960
<v Speaker 2>feels like a heaven with corpses in it.

1:05:55.240 --> 1:05:57.880
<v Speaker 3>And since they're returning to the Morgue here, I think

1:05:57.920 --> 1:06:01.040
<v Speaker 3>this would have been the occasion for Wendy Carlos's return

1:06:01.160 --> 1:06:03.120
<v Speaker 3>to the Morgue theme, which you can hear a clip

1:06:03.160 --> 1:06:06.760
<v Speaker 3>of online. Yeah, and you know, once again we wish

1:06:06.760 --> 1:06:09.760
<v Speaker 3>we'd had that score. But so they're creeping around trying

1:06:09.760 --> 1:06:12.000
<v Speaker 3>to find things. They end up pointing their guns at

1:06:12.000 --> 1:06:15.920
<v Speaker 3>some unwitting lab technician who's like, oh, no, what's going on.

1:06:16.400 --> 1:06:18.320
<v Speaker 3>And then there is a really funny part where they

1:06:18.400 --> 1:06:23.840
<v Speaker 3>start they start to see that the ceiling panels are jiggling. Yeah,

1:06:22.840 --> 1:06:26.320
<v Speaker 3>and I think that means, oh, the monster is up there.

1:06:26.920 --> 1:06:29.080
<v Speaker 3>And they have to face the monster. And there's a

1:06:29.080 --> 1:06:31.520
<v Speaker 3>big scene where they start shooting at it while it's

1:06:31.600 --> 1:06:36.040
<v Speaker 3>running around, and eventually it escapes. But Durkin, having now

1:06:36.120 --> 1:06:39.840
<v Speaker 3>confronted the monster firsthand, is a changed man.

1:06:40.720 --> 1:06:43.960
<v Speaker 2>Yes, and here we get to probably my favorite part

1:06:44.000 --> 1:06:45.360
<v Speaker 2>of the whole film, the conversion.

1:06:45.560 --> 1:06:47.120
<v Speaker 3>Yes, this is amazing.

1:06:47.520 --> 1:06:50.280
<v Speaker 2>Yeah, this is where so Durkin has encountered the killer

1:06:50.680 --> 1:06:54.000
<v Speaker 2>and he is shaken by this and he undergoes what

1:06:54.160 --> 1:06:57.720
<v Speaker 2>is kind of a religious conversion, and Stone is here

1:06:57.760 --> 1:07:00.040
<v Speaker 2>to guide him along the way. So he's like that

1:07:00.080 --> 1:07:03.080
<v Speaker 2>anxiety you're feeling, now, well here. First of all, that

1:07:03.120 --> 1:07:05.120
<v Speaker 2>anxiety is good. That will fuel you. But you need

1:07:05.160 --> 1:07:08.280
<v Speaker 2>more fuel. You need these chocolates, Eat this chocolate, Drink

1:07:08.320 --> 1:07:11.800
<v Speaker 2>of this burnt coffee that's thirty percent sugar. And now

1:07:11.880 --> 1:07:14.360
<v Speaker 2>let's get you a giant gun right out of you know,

1:07:14.440 --> 1:07:17.959
<v Speaker 2>some ridiculous video game. This is the Harley Stone Way

1:07:18.280 --> 1:07:20.040
<v Speaker 2>and this is how you're going to live your life

1:07:20.320 --> 1:07:22.680
<v Speaker 2>from here on out. And I am not exaggerating.

1:07:22.920 --> 1:07:26.920
<v Speaker 3>Chocolate, sugar, coffee, and the guns from Doom. And he

1:07:27.360 --> 1:07:30.160
<v Speaker 3>converts him to the religion of Harley Stone. You are

1:07:30.240 --> 1:07:32.040
<v Speaker 3>one thousand percent correct.

1:07:32.160 --> 1:07:34.600
<v Speaker 2>Yeah, And he stays converted for the rest of the picture.

1:07:34.680 --> 1:07:38.520
<v Speaker 3>It's beautiful, and he basically reverts to adolescents. So he

1:07:38.960 --> 1:07:42.840
<v Speaker 3>like really starts loving Harley Stone's motorcycles in this apartment,

1:07:43.200 --> 1:07:44.440
<v Speaker 3>sits on them and he goes.

1:07:44.280 --> 1:07:48.160
<v Speaker 2>Like broom, broom, yep, yep, and he keeps mumbling. It's

1:07:48.200 --> 1:07:51.240
<v Speaker 2>like a mantra. He's like, we need big freaking guns. Yeah,

1:07:51.280 --> 1:07:53.480
<v Speaker 2>we need big freaking guns, big freaking guns.

1:07:53.600 --> 1:07:57.480
<v Speaker 3>And he also starts dressing like Harley Stone. I don't

1:07:57.480 --> 1:07:59.720
<v Speaker 3>remember when this starts, but he puts on a big

1:07:59.840 --> 1:08:00.640
<v Speaker 3>leg their coat.

1:08:01.240 --> 1:08:04.720
<v Speaker 2>Yeah. So again it's this is so like, this is

1:08:04.800 --> 1:08:08.320
<v Speaker 2>this was no accident, this is this is brilliant. Uh.

1:08:08.320 --> 1:08:10.680
<v Speaker 3>And then I guess maybe after this point, I'm going

1:08:10.760 --> 1:08:12.840
<v Speaker 3>to describe the plot in less detail, but we'll just

1:08:12.840 --> 1:08:15.400
<v Speaker 3>say it goes into third act overdrive, and there are

1:08:15.480 --> 1:08:19.519
<v Speaker 3>various people getting kidnapped. Durkin gets kidnapped and then Harley

1:08:19.520 --> 1:08:22.559
<v Speaker 3>Stone goes back to get him. Michelle McLain gets kidnapped.

1:08:22.560 --> 1:08:25.840
<v Speaker 3>That's Kim Control. She goes missing and then they're trying

1:08:25.880 --> 1:08:29.080
<v Speaker 3>to find her. There's a great part where after Durkin

1:08:29.120 --> 1:08:32.040
<v Speaker 3>has been kidnapped to the monster has apparently like carved

1:08:32.080 --> 1:08:36.280
<v Speaker 3>all of this like occult symbology into his chest, and

1:08:36.320 --> 1:08:39.240
<v Speaker 3>then they realize like, wait, it's not a cult symbols,

1:08:39.400 --> 1:08:41.840
<v Speaker 3>it's a map, and they're like holding a map up

1:08:41.880 --> 1:08:43.799
<v Speaker 3>to his chest while he's bleeding everything.

1:08:44.360 --> 1:08:47.360
<v Speaker 2>Yeah, bleeding chest. It looks it awful, like he needs

1:08:47.360 --> 1:08:48.920
<v Speaker 2>to go to the emergency room. But you know it's

1:08:48.960 --> 1:08:51.320
<v Speaker 2>like all right, bundle up, grab some chocolate. We're going

1:08:51.360 --> 1:08:51.960
<v Speaker 2>out in the field.

1:08:52.160 --> 1:08:53.800
<v Speaker 3>And there's a big set piece at the end where

1:08:53.800 --> 1:08:55.840
<v Speaker 3>they have to go rescue Kim Katrol in like a

1:08:55.880 --> 1:08:59.040
<v Speaker 3>flooded subway tunnel and they confront the monster and there

1:08:59.080 --> 1:09:01.960
<v Speaker 3>are various kinds of like traps and weapons setups they

1:09:02.040 --> 1:09:04.400
<v Speaker 3>use against him. They try to use electricity and they

1:09:04.439 --> 1:09:08.080
<v Speaker 3>try to use explosives, and then in the end this

1:09:08.240 --> 1:09:12.759
<v Speaker 3>was totally inexplicable to me. Did you understand why Harley

1:09:12.800 --> 1:09:15.639
<v Speaker 3>Stone was able to do a Temple of Doom style

1:09:15.760 --> 1:09:18.120
<v Speaker 3>reverse heart ripping on the monster.

1:09:19.360 --> 1:09:21.200
<v Speaker 2>I think it was. I think it's kind of like

1:09:21.240 --> 1:09:24.880
<v Speaker 2>when obi Wan battles General Grievous, Like General Grievous is

1:09:24.960 --> 1:09:28.120
<v Speaker 2>damaged enough in the battle that obi Wan is able

1:09:28.200 --> 1:09:33.599
<v Speaker 2>to target the inner weak spot. Okay, so I think

1:09:33.640 --> 1:09:36.200
<v Speaker 2>that's basically what's happened here, is like all their attempts

1:09:36.280 --> 1:09:39.400
<v Speaker 2>to blow him up and shoot him and to electrocute him,

1:09:39.560 --> 1:09:42.680
<v Speaker 2>it managed to expose the heart enough that he was

1:09:42.720 --> 1:09:47.240
<v Speaker 2>able to reach in and pull this grotesque like black

1:09:47.479 --> 1:09:51.000
<v Speaker 2>just solid black heart out of the monster that continues

1:09:51.040 --> 1:09:54.600
<v Speaker 2>to beat like NonStop after he rips.

1:09:54.360 --> 1:09:56.240
<v Speaker 3>It out, and then he shoots it while it's in

1:09:56.280 --> 1:09:59.559
<v Speaker 3>his hand point blank. Yes, it looks like you would

1:09:59.560 --> 1:10:00.760
<v Speaker 3>have shot his fingers off.

1:10:01.040 --> 1:10:01.280
<v Speaker 2>Yes.

1:10:03.000 --> 1:10:05.479
<v Speaker 3>But so one of my favorite things about this movie.

1:10:05.479 --> 1:10:07.479
<v Speaker 3>I kept thinking, like, Okay, so what are we going

1:10:07.520 --> 1:10:09.200
<v Speaker 3>to find out about the monster in the end, We're

1:10:09.240 --> 1:10:12.759
<v Speaker 3>going to find out like it's actually his former partner

1:10:13.000 --> 1:10:16.040
<v Speaker 3>as or something like that. But nope, it's like it

1:10:16.080 --> 1:10:19.439
<v Speaker 3>has no it's not any character we previously knew. It

1:10:19.479 --> 1:10:22.400
<v Speaker 3>doesn't really have any causal connection to anything else that

1:10:22.479 --> 1:10:26.679
<v Speaker 3>happens in the story. It's only really apparently after Harley

1:10:26.680 --> 1:10:29.640
<v Speaker 3>Stone just because they happened to have met before. Like

1:10:29.720 --> 1:10:31.200
<v Speaker 3>it's just a random monster.

1:10:31.680 --> 1:10:35.080
<v Speaker 2>Yeah, and but it's increasingly difficult to try and figure

1:10:35.080 --> 1:10:37.519
<v Speaker 2>out what this monster's supposed to be, uh huh, because

1:10:37.520 --> 1:10:39.800
<v Speaker 2>we have all these strange qualities that are brought up,

1:10:40.680 --> 1:10:44.680
<v Speaker 2>some oftentimes conflicting. So we know it's it's humanoid but

1:10:44.760 --> 1:10:48.040
<v Speaker 2>not human. It lives in the sewers and flooded ruins.

1:10:48.080 --> 1:10:50.880
<v Speaker 2>It has rat DNA, but it also has DNA from

1:10:50.920 --> 1:10:52.960
<v Speaker 2>all of its victims, so it's some sort of a

1:10:53.000 --> 1:10:56.760
<v Speaker 2>gene stealer. It's intelligent, it knows human language, it knows

1:10:56.760 --> 1:11:01.320
<v Speaker 2>occult symbology. It can use weapons and tools and delivery services.

1:11:02.200 --> 1:11:05.599
<v Speaker 2>But it's also this total grindel monster. It's a bestial killer.

1:11:05.640 --> 1:11:10.960
<v Speaker 2>It has monster hands and monster teeth. We're largely left

1:11:11.000 --> 1:11:13.720
<v Speaker 2>to assume it is completely organic and or naked, but

1:11:14.080 --> 1:11:16.720
<v Speaker 2>in one of the rare glimpses we see of it,

1:11:16.720 --> 1:11:20.200
<v Speaker 2>it has this kind of motorcycle visor kind of head

1:11:20.680 --> 1:11:23.799
<v Speaker 2>that makes you think, well, maybe it's part robot or something,

1:11:24.360 --> 1:11:26.880
<v Speaker 2>or costume or something as well.

1:11:27.080 --> 1:11:30.640
<v Speaker 3>It looks like a cross between the xenomorph venom and

1:11:30.880 --> 1:11:33.240
<v Speaker 3>like Judge Dread with the helmet.

1:11:33.800 --> 1:11:36.960
<v Speaker 2>Well, this more specifically reminds me of Judge Death. I believe,

1:11:37.640 --> 1:11:41.120
<v Speaker 2>one of the foul evil judges where you have like

1:11:41.200 --> 1:11:44.080
<v Speaker 2>the big teeth underneath the Yeah, I think that's Judge Dead.

1:11:44.120 --> 1:11:44.759
<v Speaker 2>I may have my Judge.

1:11:44.840 --> 1:11:47.000
<v Speaker 3>Well, I don't know Judge dread World all that. Well,

1:11:47.040 --> 1:11:49.080
<v Speaker 3>I just mean, like, yes, you're exactly right. Its head

1:11:49.080 --> 1:11:52.439
<v Speaker 3>does look like a helmet with a solid black visor.

1:11:52.960 --> 1:11:56.439
<v Speaker 2>Yeah, and on top of that, it may think it's

1:11:56.479 --> 1:11:59.120
<v Speaker 2>the devil, or is the devil? It eats human hearts,

1:11:59.160 --> 1:12:01.880
<v Speaker 2>there's a psychic can between it and the people it's harmed,

1:12:01.960 --> 1:12:06.240
<v Speaker 2>or at least with stone. Itself obsessed with the occult

1:12:06.280 --> 1:12:08.640
<v Speaker 2>and the Chinese zodiac. It's active during the year at

1:12:08.640 --> 1:12:11.320
<v Speaker 2>the rat and again it's weird. Black heart continues to

1:12:11.360 --> 1:12:14.800
<v Speaker 2>beat outside its body, so you're left asking, like, what

1:12:14.960 --> 1:12:19.000
<v Speaker 2>exactly is this thing? Did a human killer mutate into

1:12:19.040 --> 1:12:21.920
<v Speaker 2>this in the sewers? Is it an emergent horror, a

1:12:22.000 --> 1:12:25.680
<v Speaker 2>genetically engineered monster, an alien we just don't know.

1:12:25.920 --> 1:12:29.320
<v Speaker 3>Is it a rat virus that took on bodily form?

1:12:29.680 --> 1:12:32.400
<v Speaker 3>What was the part about it being a rat virus?

1:12:32.439 --> 1:12:34.120
<v Speaker 3>There's just like one line about that.

1:12:34.600 --> 1:12:37.600
<v Speaker 2>Yeah, again, perhaps all these rewrites are the cause. But

1:12:38.280 --> 1:12:41.360
<v Speaker 2>ultimately I really liked this. I love not knowing what

1:12:41.400 --> 1:12:46.600
<v Speaker 2>this thing is because again, monstrosity is often about category confusion,

1:12:46.680 --> 1:12:51.400
<v Speaker 2>and this monster is confusing. Yes, there's a chaotic ambiguity

1:12:51.439 --> 1:12:53.880
<v Speaker 2>about it, and I find that I ultimately really like

1:12:53.960 --> 1:12:57.720
<v Speaker 2>that it's emerged from the inhuman realm and humans are

1:12:57.720 --> 1:13:01.080
<v Speaker 2>able to kill it. Possibly we have that stinger with

1:13:01.120 --> 1:13:05.160
<v Speaker 2>the bubbles, but human understanding fails any attempt to comprehend it,

1:13:05.240 --> 1:13:08.800
<v Speaker 2>and so it has this kind of pure monstrosity to

1:13:08.880 --> 1:13:12.000
<v Speaker 2>it that works. And they also don't shoot it. A lot,

1:13:12.040 --> 1:13:14.720
<v Speaker 2>we don't see much of it, so there's a lot

1:13:14.760 --> 1:13:16.760
<v Speaker 2>of mystery regarding what it is.

1:13:17.120 --> 1:13:18.360
<v Speaker 3>Yeah, I wouldn't change a thing.

1:13:19.520 --> 1:13:19.720
<v Speaker 2>Oh.

1:13:19.920 --> 1:13:21.840
<v Speaker 3>One thing I forgot to mention that I thought was

1:13:21.880 --> 1:13:25.639
<v Speaker 3>great about the conversion to the religion of Harley Stone

1:13:26.160 --> 1:13:29.880
<v Speaker 3>is that you also see after the plots resolved, like

1:13:30.080 --> 1:13:34.599
<v Speaker 3>further religious disciplining to keep him on the path. Because

1:13:35.040 --> 1:13:38.280
<v Speaker 3>Durkin at one point they ask after they've beaten the monster.

1:13:38.680 --> 1:13:44.040
<v Speaker 3>I think Kim Katral says, is it dead? And Durkin says, existentially,

1:13:44.080 --> 1:13:46.680
<v Speaker 3>that's difficult to answer. Philosophy of death is one of

1:13:46.680 --> 1:13:49.759
<v Speaker 3>my hobbies and then they both yell at him like Durkin.

1:13:50.680 --> 1:13:53.240
<v Speaker 3>I think the implication is that, uh oh, it sounds

1:13:53.240 --> 1:13:58.040
<v Speaker 3>like he's reverting to his puny, milksop intellectual personality and

1:13:58.080 --> 1:14:00.439
<v Speaker 3>they need to like, you know, whip him to make

1:14:00.479 --> 1:14:02.719
<v Speaker 3>sure he adheres to the Harley Stone path.

1:14:03.320 --> 1:14:06.720
<v Speaker 2>Yeah, eat some chocolate and have some more coffee and

1:14:06.880 --> 1:14:11.559
<v Speaker 2>cigars right now. Uh yeah. I feel like the Harley

1:14:11.600 --> 1:14:14.400
<v Speaker 2>Stone way is also similar to like my taste in films,

1:14:15.560 --> 1:14:18.280
<v Speaker 2>and perhaps someone out there might might see one of

1:14:18.320 --> 1:14:21.040
<v Speaker 2>the films we cover on Weird House and for the

1:14:21.080 --> 1:14:23.720
<v Speaker 2>first time and experience a similar conversion, you know, like

1:14:23.760 --> 1:14:27.200
<v Speaker 2>something has shaken you, something has changed after seeing a

1:14:27.200 --> 1:14:30.160
<v Speaker 2>film like Split Second or Mad Love or Teens in

1:14:30.200 --> 1:14:33.360
<v Speaker 2>the Universe. What do I do now? Well, let us

1:14:33.400 --> 1:14:37.559
<v Speaker 2>recommend this cinematic diet of chocolate, brain jarring, coffee and

1:14:37.680 --> 1:14:39.160
<v Speaker 2>violent excess. Yeah.

1:14:39.320 --> 1:14:40.120
<v Speaker 3>Put that coat on.

1:14:40.360 --> 1:14:44.200
<v Speaker 2>Yeah, put this coat on. Have a seat on this motorcycle.

1:14:47.200 --> 1:14:48.679
<v Speaker 3>Gets you some plastic pants.

1:14:50.840 --> 1:14:54.519
<v Speaker 2>Yeah. So this one's really fun. I recommend it. Let's

1:14:54.520 --> 1:14:56.840
<v Speaker 2>see places to see it. I think we both watched

1:14:56.880 --> 1:14:59.920
<v Speaker 2>it streaming on Amazon Prime. It's part of the Prime

1:15:01.240 --> 1:15:03.479
<v Speaker 2>streaming plan. Right now, at least in the United States.

1:15:03.680 --> 1:15:05.320
<v Speaker 2>It's probably I think it's one of these films is

1:15:05.400 --> 1:15:11.080
<v Speaker 2>ultimately available wherever you buy or rent things digitally. I

1:15:11.120 --> 1:15:13.160
<v Speaker 2>forgot to check place. Yeah, yeah, I forgot to check

1:15:13.200 --> 1:15:14.680
<v Speaker 2>if there is like a really good Blu ray or

1:15:14.680 --> 1:15:17.600
<v Speaker 2>anything of it. But I hope there is. If not,

1:15:17.640 --> 1:15:18.360
<v Speaker 2>there should be one.

1:15:18.439 --> 1:15:20.479
<v Speaker 3>Wait, I thought you, I thought the last time you

1:15:20.479 --> 1:15:22.520
<v Speaker 3>watched it, you rented it from videodrome.

1:15:23.000 --> 1:15:26.000
<v Speaker 2>No last time, or did I hmm hmm.

1:15:26.280 --> 1:15:29.240
<v Speaker 3>Our local video store where yes, you can still rent

1:15:29.439 --> 1:15:30.439
<v Speaker 3>movies on disc.

1:15:30.840 --> 1:15:33.439
<v Speaker 2>Yeah, excellent place. Well I would have rented it there.

1:15:33.520 --> 1:15:35.479
<v Speaker 2>Oh well, you know, I take that back. There is

1:15:35.880 --> 1:15:38.000
<v Speaker 2>This is not the addition that I rented if I

1:15:38.040 --> 1:15:41.080
<v Speaker 2>did rent it, But there is a very handsome looking

1:15:41.160 --> 1:15:45.800
<v Speaker 2>Blu ray of this available now Criteria not Criterion. It

1:15:45.840 --> 1:15:48.519
<v Speaker 2>looks like it's MVD. I'm not familiar with that, but

1:15:48.560 --> 1:15:51.160
<v Speaker 2>it has some wonderful brand new art on the cover

1:15:51.320 --> 1:15:54.800
<v Speaker 2>that looks absolutely snazzy. Looks like this came out. Oh,

1:15:54.880 --> 1:15:57.840
<v Speaker 2>this just came out in August of last year, so

1:15:58.200 --> 1:16:00.160
<v Speaker 2>I would say, yeah, check this out. I feel kind

1:16:00.160 --> 1:16:02.240
<v Speaker 2>of foolish for not picking this up on Blu ray

1:16:02.280 --> 1:16:04.519
<v Speaker 2>now and it looks like it. Oh my goodness, it

1:16:04.520 --> 1:16:07.000
<v Speaker 2>has audio commentary Terry's. It has a bunch of stuff

1:16:07.040 --> 1:16:10.840
<v Speaker 2>on it. So yeah, if you're into this, go check

1:16:10.880 --> 1:16:11.240
<v Speaker 2>it out.

1:16:11.640 --> 1:16:14.040
<v Speaker 3>The tagline on the cover. So a few things about

1:16:14.040 --> 1:16:16.200
<v Speaker 3>the box art. I think this is the original box

1:16:16.320 --> 1:16:18.439
<v Speaker 3>art that may have the newer version may have something

1:16:18.439 --> 1:16:19.040
<v Speaker 3>more elaborate.

1:16:19.160 --> 1:16:19.360
<v Speaker 2>Yeah.

1:16:19.439 --> 1:16:22.439
<v Speaker 3>First of all, the old box art looks like a

1:16:22.479 --> 1:16:27.280
<v Speaker 3>Sega Genesis game. Yes, you see that. And then second,

1:16:27.600 --> 1:16:30.439
<v Speaker 3>I want to talk about the taglines says Rutger Hower

1:16:30.680 --> 1:16:33.679
<v Speaker 3>split Second, and then it says he's seen the future.

1:16:34.240 --> 1:16:38.000
<v Speaker 3>Now he has to kill it, and he does. Yeah,

1:16:38.120 --> 1:16:40.599
<v Speaker 3>he kills the future. Oh and it also says he'll

1:16:40.600 --> 1:16:43.360
<v Speaker 3>need bigger guns. It's like they couldn't decide, so they

1:16:44.320 --> 1:16:46.440
<v Speaker 3>included both possible taglines.

1:16:46.840 --> 1:16:49.639
<v Speaker 2>Yeah I think that. So yeah, this this Blu ray

1:16:49.680 --> 1:16:52.840
<v Speaker 2>looks impressive and has a mini poster that comes with

1:16:52.880 --> 1:16:55.639
<v Speaker 2>it with the original style VHS artwork. But I don't

1:16:55.640 --> 1:16:59.479
<v Speaker 2>say see anything about Windy Carlos score being an option

1:16:59.560 --> 1:17:03.839
<v Speaker 2>on there, so sadly that will remain lost to history.

1:17:03.960 --> 1:17:06.120
<v Speaker 3>If you've got connections in the film world, you want

1:17:06.120 --> 1:17:09.479
<v Speaker 3>to put out a new remastered version of Split Second,

1:17:09.640 --> 1:17:13.200
<v Speaker 3>with the all new original Wendy Carlos score. I would

1:17:13.200 --> 1:17:15.200
<v Speaker 3>pay top dollar for that disc.

1:17:15.560 --> 1:17:18.280
<v Speaker 2>Yeah, we're talking thirty forty bucks here. Yeah, so make

1:17:18.360 --> 1:17:22.240
<v Speaker 2>it happen. All right, Well, we're gonna go ahead and

1:17:22.240 --> 1:17:23.960
<v Speaker 2>close this one out, but we'd love to hear from

1:17:23.960 --> 1:17:27.120
<v Speaker 2>everyone out there. You know, people who saw Split Second

1:17:27.200 --> 1:17:29.519
<v Speaker 2>back in the day when it came out, people who've

1:17:29.520 --> 1:17:32.120
<v Speaker 2>discovered it since then. What are your thoughts on the

1:17:32.120 --> 1:17:36.800
<v Speaker 2>film with the performances. Yeah, everything's on the table. In

1:17:36.840 --> 1:17:38.839
<v Speaker 2>the meantime, if you want to check out other episodes

1:17:38.840 --> 1:17:41.840
<v Speaker 2>of Weird House Cinema, this publishes every Friday in the

1:17:41.880 --> 1:17:45.200
<v Speaker 2>Stuff to Blow your Mind podcast feed. You can find

1:17:45.240 --> 1:17:48.680
<v Speaker 2>that feed wherever you get your podcasts, and we just

1:17:48.720 --> 1:17:53.000
<v Speaker 2>asked you rate, review and subscribe as I have been doing.

1:17:53.080 --> 1:17:55.559
<v Speaker 2>If you go to Summuta music dot com, it's se

1:17:55.720 --> 1:17:58.960
<v Speaker 2>m U T A m U s I C dot com.

1:17:59.320 --> 1:18:02.000
<v Speaker 2>That's a little personal blog, but I will put up

1:18:03.120 --> 1:18:05.320
<v Speaker 2>bits about the episodes of Weird House there. So some

1:18:05.360 --> 1:18:08.080
<v Speaker 2>of these other media bits that I've discussed here, I'll

1:18:08.120 --> 1:18:10.080
<v Speaker 2>include them there for your easy access.

1:18:10.479 --> 1:18:13.400
<v Speaker 3>Huge thanks as always to our excellent audio producer Seth

1:18:13.479 --> 1:18:15.840
<v Speaker 3>Nicholas Johnson If you would like to get in touch

1:18:15.880 --> 1:18:18.160
<v Speaker 3>with us with feedback on this episode or any other,

1:18:18.640 --> 1:18:20.920
<v Speaker 3>to suggest a topic for the future, or just to

1:18:20.960 --> 1:18:23.840
<v Speaker 3>say hello, you can email us at contact at stuff

1:18:23.880 --> 1:18:32.360
<v Speaker 3>to Blow your Mind dot com.

1:18:32.479 --> 1:18:35.439
<v Speaker 1>Stuff to Blow Your Mind is production of iHeartRadio. For

1:18:35.520 --> 1:18:38.320
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