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Speaker 1: Too Much Information is a production of iHeartRadio. Hello everyone,

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Speaker 1: and welcome to another episode of Too Much Information, the

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Speaker 1: show that brings you the little known facts and secret

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Speaker 1: histories behind your favorite movies, music, TV shows, and more.

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Speaker 1: We are your specters of specificity. You're vomiting, tween girls

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Speaker 1: of trivia. You're dead people of details. My name is

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Speaker 1: Jordan run Tug, and my name is Malcolm Crow. That's

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Speaker 1: a good name. That's a very u name. It is.

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Speaker 2: Yeah, yeah, it's just you know, alarmingly on the nose.

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Speaker 2: I guess my sixth stentance name would be Alex Podcast,

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Speaker 2: but podcasts would be spelled with like a K or something.

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Speaker 1: Alex angry podcast. Yeah, yeah, I'm Alex Higel. And today

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Speaker 1: we are taking a look at the horror movie that

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Speaker 1: even your grandmother likes, A terrifying treat that manages to

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Speaker 1: bring a tear to my eye every time a movie

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Speaker 1: it up the ante for twist endings. I'm, of course

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Speaker 1: talking about the sixth sense preemptive spoiler alert.

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Speaker 2: Nobody gets spoilers on this movie anymore.

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Speaker 1: Shut up.

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Speaker 2: It's Bruce Willis is dead the whole time. We'd like

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Speaker 2: damn if you don't know the spoiler for six cents

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Speaker 2: by this point, like, I have no pity for you turning.

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Speaker 1: Twenty five years old. This summer m Night, Shyamalan's story

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Speaker 1: about an eight year old who saw dead people became

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Speaker 1: the second highest grossing movie of nineteen ninety nine, made

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Speaker 1: Hala jaw Osmon into one of the biggest child stars

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Speaker 1: of the era.

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Speaker 2: For such a brief period of time.

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Speaker 1: And made Bruce Willis like ten million bucks. Yeah, that's cool,

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Speaker 1: that's good for Bruce. I remember being allowed to see

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Speaker 1: this for some reason when it came out, even though

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Speaker 1: I was like eleven, because I guess I don't know again,

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Speaker 1: like I said, it was the scary movie that we

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Speaker 1: all could agree on it was okay, and revisiting it lately,

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Speaker 1: it's both more scary ends more sad than I remember.

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Speaker 1: What do you think about this all? I can't imagine

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Speaker 1: this being like not as scary for you as a

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Speaker 1: kid as you would like, Oh no, I mean I.

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Speaker 2: Saw one of my cousins rented it when we were

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Speaker 2: all up at this like cabin that we used to

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Speaker 2: go to, and she was so restrained in a way

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Speaker 2: that like, I'm not where she was like, yeah, this

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Speaker 2: movie was really popular when it was in theaters, and

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Speaker 2: I had missed all of it, you know, because I

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Speaker 2: was interesting. Yeah, I was like eleven. Again, not a

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Speaker 2: lot of eleven year olds at my small school we're

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Speaker 2: talking about this.

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Speaker 1: So I missed all of it.

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Speaker 2: And I got it like full ground zero, like bowled

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Speaker 2: over by the twist, like just all that. It was great.

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Speaker 2: It's obviously his best film. It's a tremendous, like perfect masterpiece.

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Speaker 2: And he never scaled those heights again, and.

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Speaker 1: No one really did except Tony Colette.

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Speaker 2: Tony Collet's the only one who came out of those

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Speaker 2: and yet it was like I have not yet begun

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Speaker 2: to fight. She's like, I'm going to turn in so

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Speaker 2: many more incredible performances with my career. You people have

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Speaker 2: no idea what you were squandering all this time.

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Speaker 1: She is so good in this I kind of forgot

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Speaker 1: like everybody other than Bruce Willis and Osma she's amazing. Oh,

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Speaker 1: she wasn't like in anything at the time.

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Speaker 2: I mean, you know, as she wasn't as much of

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Speaker 2: a known quantity, I should say, but like, yeah, I mean,

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Speaker 2: in hindsight, she's the one who came out of it,

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Speaker 2: like as one of the defining talents of her generation.

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Speaker 2: You know, yeah, great movie, love it to death, so

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Speaker 2: so sad, so so so so so sad.

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Speaker 1: I don't remember it being that sad, and then rewatching it,

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Speaker 1: I wept, oh my at several points. Dude, it's yeah.

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Speaker 1: I mean it's so like.

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Speaker 2: All this stuff between she and Haley are like apple,

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Speaker 2: hjo Is We're gonna call him?

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Speaker 1: Yeah, the car scene, which I remember being like boring

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Speaker 1: as a kid and being like, all right, where's the

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Speaker 1: good because you.

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Speaker 2: Don't get that stuff when you're a kid. You're like, well,

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Speaker 2: all the jump scares and stuff, and the suspense registers,

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Speaker 2: and then you like, as you grow and you go

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Speaker 2: back to this film, you're like, ah, yes, the like

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Speaker 2: actual searing terror of adulthood, which is like processing my

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Speaker 2: feelings towards my parents. You know, it's so good. Yeah,

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Speaker 2: I mean what else? What else was there to say?

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Speaker 1: Well? I gotta say it was weird for me revisiting

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Speaker 1: this movie not only as an adult, but also because

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Speaker 1: I became vaguely acquainted with Hala jaw Osmont in college,

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Speaker 1: So that added a weird element to watching this to me,

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Speaker 1: because it's like, oh, I know that guy. We were

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Speaker 1: classmates at NYU together when he was in the acting

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Speaker 1: department and I was in the screenwriting department. So we

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Speaker 1: ran in some way social circles. And I can't say

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Speaker 1: that we were buddies, but he was friends with friends

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Speaker 1: of mine, and we crossed paths at various parties and stuff,

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Speaker 1: and he was he was an okay guy. One of

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Speaker 1: the more surreal moments of my life was being on

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Speaker 1: the rooftop of the mckibbon Lofts one night, very very

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Speaker 1: late at night, in like two thousand and eight with

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Speaker 1: my best friend bugs Yes, yes, with my best friend

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Speaker 1: and Halea jaw Osmon. I also went to school with

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Speaker 1: Marl Wilson, who played Matilda and the Olsen Twins, So

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Speaker 1: I really hit the nineties child star jackpot. Yes you

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Speaker 1: did secondary education.

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Speaker 2: You got any dirt on them?

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Speaker 1: No? No, they were all They were all seemed like

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Speaker 1: pretty pretty stand up people. Uh. The only time I

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Speaker 1: ever obliquely referenced Haley's career to him was we were

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Speaker 1: at a at a vending machine and a dorm lobby

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Speaker 1: and I was reaching for change in my pocket and

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Speaker 1: the moment presented itself. I say, hey, I need six cents?

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Speaker 1: Does anyone have six sense? And it got a chuckle.

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Speaker 2: I can't believe that's where you went with it. I

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Speaker 2: mean it was it was there. It was there. Yeah,

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Speaker 2: it was there. No, that's good, that's fine, that's fine.

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Speaker 1: Well you were from like sort of close to Philly

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Speaker 1: with this movie, has said, did you have any any

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Speaker 1: personal reactions with this production? Well?

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Speaker 2: I think that's why my cousin because she went to

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Speaker 2: Villanova and that's why she was so jazzed on it

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Speaker 2: was because yeah, it was like all set in Philly

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Speaker 2: and everything. Yeah, I mean I do have to admire

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Speaker 2: m Knight. Mister Knight's uh, you know, constantly please mister

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Speaker 2: Knight's my father. Yeah, constant big upping of Philly. Of course,

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Speaker 2: that's great. We don't need him though, we have gritty now,

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Speaker 2: like we don't.

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Speaker 1: Gritty. That's a point for m Night Shamalan in Philly lore.

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Speaker 1: What if you took off the gritty mask and it

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Speaker 1: was that would be the twist Philly twist. He's playing

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Speaker 1: the long con Yeah, exactly.

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Speaker 2: No, I mean I hate him like as a person.

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Speaker 2: I you know, he has this like incredible arrogance about

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Speaker 2: his like works and and himself and his like place,

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Speaker 2: and thankfully he got this stuffing a little bit knocked

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Speaker 2: out of him by uh, you know, the rest of

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Speaker 2: his career, say all his failures, his successive failures. And

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Speaker 2: there are people who will argue that like a lot

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Speaker 2: of his latter day stuff is like are have like

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Speaker 2: secret masterpieces in them, but they don't.

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Speaker 1: Those people are wrong.

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Speaker 2: He's really good with a camera and he's like you know,

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Speaker 2: but his writing has gotten worse, which is so funny

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Speaker 2: someone who like uh you know made his bones in

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Speaker 2: Hollywood early on as a writer, as we'll talk about.

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Speaker 2: But like, yeah, man, I mean there's like a there's

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Speaker 2: there's a character. There's like a rapper in old whose

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Speaker 2: name is like mid size Sedan, and that's like that's

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Speaker 2: supposed to be funny. There's like a scene in the

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Speaker 2: visit where this like kid just like raps it like

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Speaker 2: raps at the camera for a while, and it's like

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Speaker 2: supposed to be I think you're supposed to like laugh

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Speaker 2: at him, be like ah, this dumb young kid is

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Speaker 2: this is not Yeah, it never it never pans out

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Speaker 2: when the joke is just supposed to be like look

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Speaker 2: at this guy who thinks he it's just I don't know,

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Speaker 2: it's just dumb and uh yeah, I don't know, man,

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Speaker 2: I mean even up to the like his new thing

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Speaker 2: is financing all of his movies himself so that they

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Speaker 2: don't take a loss basically, and then he just takes

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Speaker 2: it out of the back end when they do well,

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Speaker 2: and like I guess repays whatever producers he he is

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Speaker 2: working with. Yeah, I just I don't like him, man.

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Speaker 2: I don't like arrogant people. I don't like I just

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Speaker 2: something about his Like now, I don't know how really I.

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Speaker 1: Was so sure this is gonna be a thing that

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Speaker 1: you really liked, that was gonna be unadulterated positivity. No no, no, no, no,

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Speaker 1: no no.

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Speaker 2: I love this movie like he I mean, he really

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Speaker 2: fucking nailed it, dude. Yeah, And like I must hand

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Speaker 2: it to him. It's just everything successively I've been like,

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Speaker 2: you suck. You are just so up your own ass

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Speaker 2: with and like impressed with yourself all the time. And

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Speaker 2: it's like his cameos, it's the Lady in the water,

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Speaker 2: it's the stuff with Old when like Old was I

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Speaker 2: mean he does adaptations now, right, Like I'm not like

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Speaker 2: up on his filmography but I know Old and uh,

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Speaker 2: Knock at the Cabin were both adaptations, and he felt

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Speaker 2: like he had to like meddle with them. Like he

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Speaker 2: still feels that he is like creatively better than the

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Speaker 2: people whose material that he adapts, and he's like, oh,

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Speaker 2: I'm going to change the ending to Old so it

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Speaker 2: has a patented twist, and like, I think I believe

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Speaker 2: he changed an aspect of like maybe the whole.

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Speaker 1: Ending of Knock of the Cabin. I don't know. I mean,

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Speaker 1: it just bothers me. Man.

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Speaker 2: I don't like people who are like who do that.

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Speaker 2: It's like people who can be that arrogant like Spielberg.

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Speaker 2: If I found if Spielberg was like shoving himself into

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Speaker 2: every movie, I'd be like, yeah, because you're like one

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Speaker 2: of the greatest of all time. If Marty did that,

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Speaker 2: I'd be like, yeah, because you're one of the greatest

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Speaker 2: of all time.

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Speaker 1: M Night doesn't.

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Speaker 2: I'm like, yeah, man, you got like one good movie

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Speaker 2: and then a lot of bees and b minuses like

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Speaker 2: shut up anyway him great movie though, well.

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Speaker 1: It's a movie about paranormal experiences and uh oh yeah,

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Speaker 1: that whole thing about ghosts. Do you have any any

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Speaker 1: paranormal experiences or ghost stories. Yeah, I mean I was

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Speaker 1: not like a ghost.

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Speaker 2: I love, you know, spooky stuff, but I never really

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Speaker 2: believed in ghosts as a kid and then or as

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Speaker 2: an adult really and then like you know what I

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Speaker 2: did it for me is like I went down to

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Speaker 2: New Orleans and oh wow, you know they have like

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Speaker 2: this kitchy like vampire ghost culture where you like see

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Speaker 2: like sign up that say like for reent haunted or

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Speaker 2: for Ren not haunted. And I don't watch ghost Hunters.

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Speaker 2: I don't watch any of that stuff. Like I'm not

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Speaker 2: like a not into that. I don't believe it. But

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Speaker 2: I went to Congo Square.

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Speaker 1: I don't know what that is.

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Speaker 2: Congo Square is like basically where jazz happened, right like

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Speaker 2: it's it's because.

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Speaker 1: It's where mistakes happened a bunch of times and then

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Speaker 1: it became jazz. Thank you. That was the anchors I've

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Speaker 1: ever seen you look in all of our years together.

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Speaker 2: I'm sorry, no, because Louisiana and gave the slaves Sunday

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Speaker 2: off and they weren't allowed to gather in any of

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Speaker 2: the places in the South, and they were just like, okay,

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Speaker 2: well you can have this area congo square to like

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Speaker 2: come get together and do your drumming and like you're singing,

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Speaker 2: and you know, jazz as we knew it kind of

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Speaker 2: came together from the confluence of like all of these

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Speaker 2: Afro Cuban, Afro Caribbean rhythmic influences that came across in

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Speaker 2: the drums and you know these other influence too. There's

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Speaker 2: like the whole black string band minstrel tradition and all

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Speaker 2: this stuff. But the introduction of horns comes through because

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Speaker 2: of all the marching bands and like that the white

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Speaker 2: like European culture that like you know, saxophones don't come

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Speaker 2: from Africa, Like the trombone is not an African invention,

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Speaker 2: like so it's but it's those well yeah, I mean

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Speaker 2: that that all came basically way like years after this, right,

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Speaker 2: like because they weren't formalized into bands while they were slaves.

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Speaker 2: It was just the fact that like the particular space

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Speaker 2: that they weren't allowed to mingle in and like you

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Speaker 2: know do all this stuff dancing and singing and playing

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Speaker 2: instruments like unmolested for a time. Was like when you

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Speaker 2: started getting the specific pollination of like European harmony and

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Speaker 2: instruments and African uh you know, rhythms and tonalities and

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Speaker 2: that's what makes jazz. Anyway, I went there like and

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Speaker 2: you know, I wasn't like tripping or anything, but I

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Speaker 2: was just like sitting in Congo Square and I was like,

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Speaker 2: this place is haunted, you know, like this is I

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Speaker 2: feel I feel something going on here.

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Speaker 1: And that's it.

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Speaker 2: Never again or since, never again, never again, really like

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Speaker 2: I don't know, I mean, like maybe if I went

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Speaker 2: to the Overlook, which I'm still like trying to do. Oh, Stanley, Stanley,

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Speaker 2: It's really called the Stanley, I think.

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Speaker 1: So yeah, yeah, how about you. Yeah, I've had a

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Speaker 1: couple of interesting experiences. I mean, my whole family has

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Speaker 1: kind of had funny little like my grandfather used to

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Speaker 1: always say that my grandmother had part gypsy in her

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Speaker 1: and he was a painter, and he painted this portrait

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Speaker 1: of her as like a fortune teller back in like

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Speaker 1: the forties, and they always hung, you know, in our

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Speaker 1: family homes at this portrait of my grandmother. And she

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Speaker 1: used to have these these dreams that she believed that

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Speaker 1: would predict the future, and the one that she would

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Speaker 1: always cite was my uh, my aunt was gonna go

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Speaker 1: on some kind of like college tour trip when she

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Speaker 1: was a teenager looking at colleges. And the night before

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Speaker 1: she was due to leave on this trip, my grandmother

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Speaker 1: had a vision of what she says, was Jesus on

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Speaker 1: a horseback, like just kind of riding up and just

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Speaker 1: shaking his head no. And she somehow intuited that that meant,

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Speaker 1: don't let her go on this trip. And so she

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Speaker 1: told her daughter like, no, I'm sorry, I just have

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Speaker 1: a really bad feeling you can't go on this college trip.

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Speaker 1: And of course my aunt was devastated and angry and

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Speaker 1: ran off to her room and slammed the door. And

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Speaker 1: the people who went off on that trip, the car

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Speaker 1: they were in that went off a bridge and everybody

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Speaker 1: all in the car died. Oh so yeah, there are

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Speaker 1: a lot of people in my life who were connected

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Speaker 1: to whatever you want to call it. And my stepmother

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Speaker 1: is a reiki master and a spiritual counselor and has

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Speaker 1: done drum journeys with me and things like that. And well,

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Speaker 1: I'm sure I maybe you know what, maybe I never

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Speaker 1: told you. As you know, my mother died when I

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Speaker 1: was a kid, and about a week after she died

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Speaker 1: or so a neighbor had us over for dinner, and

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Speaker 1: we came back home later that night and every television

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Speaker 1: in the house was on and it was all on

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Speaker 1: like my mom loved like E, true Hollywood type stuff,

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Speaker 1: and every television was on. I think it was E,

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Speaker 1: the channel E. But yeah, it wasn't like there was

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Speaker 1: a power surgeon, you know, all the lights and everything wrong.

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Speaker 1: It was just the TVs in every room We're all

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Speaker 1: on and it was on the same channel, and we

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Speaker 1: were all convinced like, ohause to me, it makes a

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Speaker 1: certain amount of sense. I was just talking with my

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Speaker 1: dad about this recently. Like, we as human beings are

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Speaker 1: electricity to a certain extent. So I think that when

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Speaker 1: we die, that dissipates, and if we are able in

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Speaker 1: some way to interact with anything, I think it would

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Speaker 1: make sense that we're able to interact with sure electrical

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Speaker 1: things that are around us before we you know, completely

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Speaker 1: dissipate wherever it is we go. Yeah, I mean exactly.

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Speaker 2: Well, I mean that's like the most that's the most

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Speaker 2: spiritual belief that I have is that, like you know,

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Speaker 2: matter is neither created nor destroyed, so like, yeah, yeah,

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Speaker 2: in your head is a different form of energy or

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Speaker 2: whatever is your soul or whatever. Oh no, it's a

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Speaker 2: line from the movie when they're in the car and

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Speaker 2: when she asked her about Grandma's be pendant, and he

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Speaker 2: says like, sometimes you think things have gone, but they

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Speaker 2: just moved to a different place.

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Speaker 1: Yeah. Yeah, pretty great.

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Speaker 2: Thesis statement for the afterlife as far as I'm concerned.

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Speaker 2: But you know, I still think you're just rotten the ground.

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Speaker 1: Several episodes we've talked about what you want done with

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Speaker 1: your physical remains after you go, And now I'm glad

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Speaker 1: we're getting to the metaphysical remains.

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Speaker 2: Yeah. No, I mean I'm gonna be so pissed if

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Speaker 2: there's a heaven.

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Speaker 1: Like Steve Martin bit, it's like, oh, man, wouldn't it be.

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Speaker 2: Word if you died and you woke up and you

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Speaker 2: were in heaven just like they always told you.

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Speaker 1: Wouldn't you feel stupid? There were pearly Gates and Saint

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Speaker 1: Peter and everybody had wings on their angels when you

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Speaker 1: go no, oh no, I've got like an idiot. No.

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Speaker 1: In college they said this was all bullshit.

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Speaker 2: So like I already have to do, I've had to

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Speaker 2: You want me to deal with people my entire life

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Speaker 2: and then go to the where there's like every one

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Speaker 2: of them from history.

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Speaker 1: That no even worse, all the good ones. Yeah yeah,

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Speaker 1: anyway about this movie.

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Speaker 2: Set in Philly, baby.

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Speaker 1: Yeah, Well, from the hilarious legal kerfuffle that resulted in

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Speaker 1: Bruce Willis's casting to the time we nearly had in

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Speaker 1: the rest of development star Seeing Dead People, the insane

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Speaker 1: lengths Donnie Wahlberg went to prep for his incredibly brief role,

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Speaker 1: and the ridiculous lengths the director went to conceal the

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Speaker 1: iconic twist, ending here's everything you didn't know about the

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Speaker 1: sixth sense.

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Speaker 2: Yeah, so you and I both I would say reasonable

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Speaker 2: more first than the average person in like the travails

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Speaker 2: of the Disney Company through the eighties and nineties, just

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Speaker 2: by virtue doing this pod and in a way you

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Speaker 2: can I mean not in a way literally, you can trace, uh,

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Speaker 2: you can trace the sixth sense to one of the

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Speaker 2: architects of a huge chunk of the company's time, a

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Speaker 2: guy named David Vogel. And he's kind of been erased

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Speaker 2: from the history of the film. Like I was actually

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Speaker 2: listening to a separate podcast doing research for this, and

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Speaker 2: this guy was talking about how he bought the making

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Speaker 2: of the Sixth Sense book and he was like, it's awful.

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Speaker 2: It's just such a hagiography. And and they don't really

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Speaker 2: mention this guy, David Vogel at all, but he's really

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Speaker 2: fascinating because as far as a film executive goes, he's

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Speaker 2: one of the good ones. You know, this guy moved

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Speaker 2: to la in nineteen seventy nine. He reached out to

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Speaker 2: the one guy he knew, which is a guy named

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Speaker 2: Richard Rubinstein, who was George Romero's producing partner. So he

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Speaker 2: literally answered phones in a closet in their office and

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Speaker 2: that was his first job in Hollywood, and then he

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Speaker 2: worked his way up. He was working as a producer

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Speaker 2: for spiel on Amazing Stories. And now enter Jeffrey Katzenberg.

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Speaker 1: That is he cool on this one? Or yeah? Okay,

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Speaker 1: now okay, well maybe I mean, I don't know.

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Speaker 2: He did give Vogel a job, but anyway, So Katzenberg

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Speaker 2: formed Hollywood Pictures, which is a Disney subsidiary similar to Touchstone.

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Speaker 2: Is basically the way that they were going to keep

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Speaker 2: putting out live action and stuff that they didn't necessarily

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Speaker 2: want the Disney brand on. And one of the earliest

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Speaker 2: releases was the super Barbario Brothers movie, so they just

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Speaker 2: knocked it out of the park right at their first

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Speaker 2: at bat. But this kept going, and Katzenberg poached Vogel

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Speaker 2: for the imprint and sent him out to Disneyland for research.

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Speaker 2: Seems like a weird thing to do, but fine. Vogel

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Speaker 2: left with the idea that it would be hard to

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Speaker 2: keep spinning out live action kids movies or adaptations from

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Speaker 2: Disney rosters. But what he was struck by going to

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Speaker 2: Disneyland was how many adults were there, seemingly without children.

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Speaker 2: So he came back like all fired up with his

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Speaker 2: pitch that he was going to give to these their

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Speaker 2: executives about like we can make films that show like

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Speaker 2: the best of human spirit and touch adults just as

379
00:19:06,680 --> 00:19:10,399
Speaker 2: our animated division touches children's And he like mentioned Shindler's

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Speaker 2: List in this pitch meeting, and and they could like

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Speaker 2: ignored him or laughed him out of the room, but

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Speaker 2: he basically kind of went on to kill it, you know.

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Speaker 2: He did Homeward Bound, the what is this subtitle of that,

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Speaker 2: The Incredible Journey or.

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Speaker 1: Incredible Journey, the first movie I cried at in front

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Speaker 1: of my father was that's the movie that just I discovered.

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Speaker 2: Shame that movie's up, dude, Yeah it is. I so

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Speaker 2: terrified when Chance gets the porcupine calls in his face.

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Speaker 1: Oh god, forgot. I just remember it being so sad

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Speaker 1: and Shadow was in the hole at the end and

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Speaker 1: he thought he was gone. Yeah, oh that was so sad.

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Speaker 2: Just kind of like the worst, just a skit that

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Speaker 2: you could spin off from that movie where it's.

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Speaker 1: Like it's cool hand Luke, but like Shadow in the box.

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Speaker 2: I was gonna say Shadow in the pit, and then

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Speaker 2: all of a sudden you just get some like redneck

397
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Speaker 2: coming up from from Central Casting. He's like, hmm, dog

398
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Speaker 2: in a pit. We're eating to not get the pork

399
00:20:00,080 --> 00:20:02,200
Speaker 2: pills out of that at Warren's face. We can still

400
00:20:02,280 --> 00:20:06,520
Speaker 2: use post of that smash cut to credits.

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Speaker 1: Wow. So he did.

402
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Speaker 2: Homeward Bound, he did the one hundred and one Dalmatian

403
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Speaker 2: starring Glenn Close, and he did George of the Jungle

404
00:20:12,720 --> 00:20:18,080
Speaker 2: Peak Brendan Fraser Physique and Comedy. And this was very

405
00:20:18,119 --> 00:20:21,080
Speaker 2: necessary for m Knight because m Knight was in director

406
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Speaker 2: jail at the time. Basically he wasn't really known as

407
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Speaker 2: a director because he had done mostly script work since

408
00:20:26,640 --> 00:20:29,359
Speaker 2: he graduated from n YU, and you and I both

409
00:20:29,359 --> 00:20:32,679
Speaker 2: found this hilarious when we were discussing this episode. He

410
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Speaker 2: co wrote Stuart Little That's amazing. I had no idea

411
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Speaker 2: about that, and did an uncredited punch up on She's

412
00:20:40,119 --> 00:20:43,320
Speaker 2: all that Whoa. But he was, like I guess, considered

413
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Speaker 2: pretty hot coming out of NYU. He got into NYU

414
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Speaker 2: in like a full scholarship because he was a national

415
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Speaker 2: Merit Scholar or whatever in all of his little hoity

416
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Speaker 2: toity private schools. Yeah yeah, makes jerking off gesture, Yeah exactly.

417
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Speaker 2: And his script that he this script, his first grip

418
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Speaker 2: that got picked up was called Labor of Love, which

419
00:21:03,359 --> 00:21:06,399
Speaker 2: is like a guy is so bereaved after his wife's

420
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Speaker 2: death or something that he walks across the United States,

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Speaker 2: which is essentially the plot of David Lynch's The Straight Story,

422
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Speaker 2: except the guy rides lawnmower, and that was actually picked

423
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Speaker 2: up by Fox at one point but it never made.

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Speaker 2: And then his first full length feature, Praying with Anger,

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Speaker 2: which is did.

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Speaker 1: We looked at the poster for that? Didn't we?

427
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Speaker 2: Yeah?

428
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Speaker 1: He's And then what was the slogan I'm finding it now?

429
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Speaker 2: In a land torn apart by hate, he found the

430
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Speaker 2: strength to love, and sure enough he stars in it

431
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Speaker 2: and he's on the poster. Yeah, that never made it

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Speaker 2: to a wide release. Then his second feature that he

433
00:21:46,880 --> 00:21:48,479
Speaker 2: did though, was called Wide Awake.

434
00:21:48,640 --> 00:21:50,320
Speaker 1: Did you hear about this movie? Did you know anything

435
00:21:50,320 --> 00:21:51,439
Speaker 1: about this? No?

436
00:21:51,520 --> 00:21:55,720
Speaker 2: It's a faith based coming of age comedy starring Rosy O'Donnell,

437
00:21:55,920 --> 00:21:59,600
Speaker 2: Dennis Leary, and Julius Stiles that was shot in nineteen

438
00:21:59,680 --> 00:22:02,760
Speaker 2: ninety five but came out in nineteen ninety eight. And

439
00:22:02,800 --> 00:22:04,600
Speaker 2: we'll circle back around to that. But give us a

440
00:22:04,600 --> 00:22:08,320
Speaker 2: little of the negotiations that good old mister Knight scored

441
00:22:08,359 --> 00:22:09,200
Speaker 2: on this one.

442
00:22:09,440 --> 00:22:14,120
Speaker 1: Yeah, considering that not exactly illustrious, CV, he had some

443
00:22:15,200 --> 00:22:17,800
Speaker 1: he had some brass ones for a director whose first

444
00:22:17,840 --> 00:22:21,159
Speaker 1: two movies hadn't exactly set the world on fire. He

445
00:22:21,240 --> 00:22:23,880
Speaker 1: later relayed to The Hollywood Reporter that as demands for

446
00:22:24,000 --> 00:22:26,840
Speaker 1: what became The Sixth Sense were as follows, I have

447
00:22:26,920 --> 00:22:29,760
Speaker 1: to be attached as director, and we're going to have

448
00:22:29,840 --> 00:22:33,480
Speaker 1: a one million dollar minimum bid on my script. If

449
00:22:33,480 --> 00:22:35,359
Speaker 1: they want to read it, they have to know that

450
00:22:35,480 --> 00:22:38,920
Speaker 1: this is going to start one million dollars. I guess

451
00:22:39,000 --> 00:22:42,840
Speaker 1: Disney did not shy away from this budget. David Vogel,

452
00:22:42,880 --> 00:22:45,399
Speaker 1: the aforementioned Disney executive, he was so taken with the

453
00:22:45,440 --> 00:22:48,959
Speaker 1: script that he skipped his lunch plans to finish it.

454
00:22:49,040 --> 00:22:52,040
Speaker 1: He couldn't tear himself away from it. He would say

455
00:22:52,080 --> 00:22:54,400
Speaker 1: that it quote had more potential to be a big

456
00:22:54,480 --> 00:22:57,240
Speaker 1: hit than any other movie I had ever read, and

457
00:22:57,359 --> 00:22:58,240
Speaker 1: he was not wrong.

458
00:22:58,800 --> 00:23:00,960
Speaker 2: There's some context to this, and like this was sort

459
00:23:00,960 --> 00:23:04,200
Speaker 2: of a big boom era for screenwriters essentially, and I

460
00:23:04,240 --> 00:23:06,439
Speaker 2: think you can kind of trace that to stuff like

461
00:23:06,680 --> 00:23:11,120
Speaker 2: pulp fiction. Oh wow, but it started directors you made

462
00:23:11,200 --> 00:23:13,080
Speaker 2: or just yeah, but it started even earlier than that though,

463
00:23:13,080 --> 00:23:16,040
Speaker 2: because this thing I was reading turned up this crazy

464
00:23:16,080 --> 00:23:18,720
Speaker 2: figure that like there was something like half a dozen

465
00:23:18,800 --> 00:23:23,280
Speaker 2: to a dozen scripts purchased in nineteen ninety for seven figures.

466
00:23:23,560 --> 00:23:28,120
Speaker 1: That's wild, yeah, especially because I mean nowadays with inflation,

467
00:23:28,160 --> 00:23:29,919
Speaker 1: that's probably like five six million, I know.

468
00:23:30,040 --> 00:23:31,959
Speaker 2: Yeah, And so they were just like I guess there

469
00:23:32,000 --> 00:23:33,680
Speaker 2: was a big gold rush to find like the next

470
00:23:33,760 --> 00:23:38,040
Speaker 2: Quentin or you know, the next Michael Simono. I don't know, like,

471
00:23:40,080 --> 00:23:42,000
Speaker 2: but yeah, that's that's what went into some of these

472
00:23:42,000 --> 00:23:42,639
Speaker 2: bidding wars.

473
00:23:43,720 --> 00:23:47,720
Speaker 1: Wow. So David Vogel, this Disney executive. He loved the

474
00:23:47,760 --> 00:23:50,240
Speaker 1: sixth cent script so much that, in order to kind

475
00:23:50,240 --> 00:23:53,640
Speaker 1: of circumvent any potential bidding war, he shelled out two

476
00:23:53,720 --> 00:23:57,600
Speaker 1: point two five million dollars, reportedly the most ever spent

477
00:23:57,680 --> 00:24:00,439
Speaker 1: on a script at the time, and promised Night that

478
00:24:00,480 --> 00:24:03,280
Speaker 1: he could direct for at least two weeks before he

479
00:24:03,359 --> 00:24:05,760
Speaker 1: was formally installed as the film As director, he had

480
00:24:05,800 --> 00:24:09,680
Speaker 1: a two week trial period, which I think is funny. Unfortunately,

481
00:24:09,920 --> 00:24:12,600
Speaker 1: Vogel didn't consult with his superiors at the House of

482
00:24:12,680 --> 00:24:15,720
Speaker 1: Mouse before shelling out this amount for the movie. He'd

483
00:24:15,760 --> 00:24:17,560
Speaker 1: been with the company for I think eight years at

484
00:24:17,560 --> 00:24:19,720
Speaker 1: that point, and he believed he earn a certain degree

485
00:24:19,800 --> 00:24:24,359
Speaker 1: of creative autonomy, but he thought wrong. When Disney Brass

486
00:24:24,440 --> 00:24:27,439
Speaker 1: learns what Vogel had done, they were not happy. They

487
00:24:27,480 --> 00:24:29,640
Speaker 1: had such little faith in the sixth sense that they

488
00:24:29,680 --> 00:24:33,360
Speaker 1: sold the production rights to another company, Spyglass, which meant

489
00:24:33,400 --> 00:24:36,159
Speaker 1: that Disney would only earn twelve point five percent of

490
00:24:36,200 --> 00:24:39,560
Speaker 1: the box office receipts through a distribution fee, and not

491
00:24:40,200 --> 00:24:42,280
Speaker 1: one hundred percent of what would prove to be a

492
00:24:42,320 --> 00:24:46,119
Speaker 1: huge hit. They asked Vogel to restructure the details of

493
00:24:46,160 --> 00:24:49,960
Speaker 1: his employee contract as the president of his company, which

494
00:24:50,000 --> 00:24:52,440
Speaker 1: basically would limit his powers and ensure that he would

495
00:24:52,480 --> 00:24:54,639
Speaker 1: never be able to pull stunt like this again and

496
00:24:54,720 --> 00:24:57,840
Speaker 1: shill out this much money without checking with his bosses first.

497
00:24:58,600 --> 00:25:01,399
Speaker 1: He refused, and for this he was fired in July

498
00:25:01,560 --> 00:25:04,600
Speaker 1: nineteen ninety nine, a month before The Sixth Sense was

499
00:25:04,640 --> 00:25:08,160
Speaker 1: released and swept the world, becoming the most successful live

500
00:25:08,200 --> 00:25:12,000
Speaker 1: action film in the history of Disney, earning just under

501
00:25:12,040 --> 00:25:14,720
Speaker 1: three hundred million dollars in the United States and six

502
00:25:14,800 --> 00:25:19,520
Speaker 1: Academy Award nominations. The Sixth Sense. The script started out

503
00:25:19,520 --> 00:25:22,240
Speaker 1: with the image of a little boy at a funeral

504
00:25:22,440 --> 00:25:26,399
Speaker 1: in m. Knight's mind. Grim Yeah, he said, that was

505
00:25:26,440 --> 00:25:29,160
Speaker 1: the first image that came to mind. Then in my mind,

506
00:25:29,200 --> 00:25:31,440
Speaker 1: I was wondering if he was talking to the person

507
00:25:31,480 --> 00:25:34,800
Speaker 1: that had died at the funeral. That kind of stimulated

508
00:25:34,840 --> 00:25:38,720
Speaker 1: the story, and he spent roughly a year developing the script,

509
00:25:38,840 --> 00:25:41,800
Speaker 1: unsure exactly where it would go. In an early version

510
00:25:41,880 --> 00:25:45,080
Speaker 1: is described as having been inspired by Silence of the Lambs,

511
00:25:45,280 --> 00:25:48,639
Speaker 1: with Bruce Willis's character working as a crime photographer instead

512
00:25:48,680 --> 00:25:50,880
Speaker 1: of a therapist, and the crime photographer had a son

513
00:25:50,920 --> 00:25:55,359
Speaker 1: who experienced visions of the Victims. Around ten drafts later,

514
00:25:55,760 --> 00:25:58,560
Speaker 1: the script had transformed into the psychological drama with the

515
00:25:58,560 --> 00:26:01,560
Speaker 1: famous twist ending that would Earn and m Night comparisons

516
00:26:01,600 --> 00:26:03,680
Speaker 1: to Hitchcock and Spielberg.

517
00:26:06,000 --> 00:26:08,400
Speaker 2: That's why he went so crazy because he had people

518
00:26:08,440 --> 00:26:10,879
Speaker 2: blown smoke up his ass after this called him Spielberg.

519
00:26:10,920 --> 00:26:14,400
Speaker 2: Nobody's Spielberg. It's like Oasis and the Beatles.

520
00:26:14,440 --> 00:26:19,280
Speaker 1: Shut up, knightwo soft Pitches. Script is a cross between

521
00:26:19,320 --> 00:26:22,960
Speaker 1: the Exorcist and Ordinary People, the Ladder of which is

522
00:26:23,000 --> 00:26:25,879
Speaker 1: a gripping character study about a family picking up the

523
00:26:25,880 --> 00:26:29,600
Speaker 1: pieces after the drowning death of their oldest son, which

524
00:26:29,640 --> 00:26:31,160
Speaker 1: is interesting. Do you ever see the movie?

525
00:26:32,119 --> 00:26:34,919
Speaker 2: No, my dad always talked about it being like crushingly sad,

526
00:26:35,000 --> 00:26:38,119
Speaker 2: but he was very taken by Pocabell's cannon.

527
00:26:39,600 --> 00:26:41,440
Speaker 1: Oh wow, yeah, yeah, yeah, I.

528
00:26:41,400 --> 00:26:43,560
Speaker 2: Mean, you know about Pocobell's cannon being the like chord

529
00:26:43,600 --> 00:26:47,560
Speaker 2: progression for like every every wedding song. Yeah, but apparently

530
00:26:47,560 --> 00:26:52,080
Speaker 2: it was like basically forgotten Johann Pocabell, you know, was

531
00:26:52,119 --> 00:26:56,320
Speaker 2: forgotten until like nineteen sixty eight when it was performed

532
00:26:56,320 --> 00:26:59,640
Speaker 2: by a chamber orchestra and it just caught on again

533
00:26:59,680 --> 00:27:02,639
Speaker 2: as part of the repertoire. It's so close to being

534
00:27:03,200 --> 00:27:04,359
Speaker 2: just completely forgotten.

535
00:27:07,000 --> 00:27:12,160
Speaker 1: So for our band a. But the Disney executive David

536
00:27:12,200 --> 00:27:15,720
Speaker 1: Vogel getting fired was not the only studio drama associated

537
00:27:15,760 --> 00:27:16,680
Speaker 1: with the sixth Sense.

538
00:27:16,960 --> 00:27:19,000
Speaker 2: Knight would later claim that he wrote the role of

539
00:27:19,080 --> 00:27:22,280
Speaker 2: doctor Malcolm Crowe because crows are associated with death. You

540
00:27:22,440 --> 00:27:27,359
Speaker 2: understand there's layers to this, specifically with Bruce Willis in mind.

541
00:27:27,800 --> 00:27:31,520
Speaker 2: But uh, that's not true, or at least it's it

542
00:27:31,600 --> 00:27:34,480
Speaker 2: might it might be true, but no, I disagree, man.

543
00:27:34,560 --> 00:27:37,040
Speaker 2: What the was Bruce Willis known for when this would

544
00:27:37,040 --> 00:27:39,280
Speaker 2: have been getting written, he would have been in a

545
00:27:39,400 --> 00:27:41,679
Speaker 2: very He would have been in a fallow period, man,

546
00:27:41,720 --> 00:27:44,520
Speaker 2: because he had done like you know, he had done.

547
00:27:44,480 --> 00:27:45,600
Speaker 1: He's Bruce Willis.

548
00:27:46,320 --> 00:27:49,040
Speaker 2: He would have been coming off like Diehard three because

549
00:27:49,080 --> 00:27:52,320
Speaker 2: he had done Bruce Willis moonlighting.

550
00:27:52,400 --> 00:27:53,440
Speaker 1: And I guess.

551
00:27:53,200 --> 00:27:55,560
Speaker 2: Anyway, fine, So Knight would claim that he wrote the

552
00:27:55,640 --> 00:27:58,280
Speaker 2: role of doctor Malcolm crow specifically with Bruce Willis in mind,

553
00:27:58,600 --> 00:28:01,680
Speaker 2: But fewer people know that Willis took the role because

554
00:28:01,680 --> 00:28:04,879
Speaker 2: he was forced to. And this all goes back down

555
00:28:05,240 --> 00:28:08,480
Speaker 2: the winding memory lane of Hollywood to an incident now

556
00:28:08,520 --> 00:28:14,200
Speaker 2: known as the Broadway Brawler Debacle story Gate, the Broadway

557
00:28:14,280 --> 00:28:15,000
Speaker 2: Brawler Gate.

558
00:28:16,160 --> 00:28:16,760
Speaker 1: It's pretty good.

559
00:28:16,840 --> 00:28:19,040
Speaker 2: Jordan tell us a little bit about Broadway Brawler Gate.

560
00:28:19,240 --> 00:28:20,960
Speaker 1: Oh, this feels like something you should do.

561
00:28:21,040 --> 00:28:23,400
Speaker 2: This is I mean, I did take well, we talked

562
00:28:23,400 --> 00:28:26,159
Speaker 2: about it before, right, what movie would be talk I

563
00:28:26,160 --> 00:28:28,840
Speaker 2: think it was Armagaddy Right. So, in the mid nineties,

564
00:28:28,880 --> 00:28:31,280
Speaker 2: Willis was attached to both produce and star in a

565
00:28:31,359 --> 00:28:35,479
Speaker 2: rom com for Disney called Broadway Brawler. The Wikipedia summary

566
00:28:35,560 --> 00:28:39,320
Speaker 2: is as follows Eddie Kapinski. Bruce Willis, a has been

567
00:28:39,360 --> 00:28:42,680
Speaker 2: retired professional ice hockey player, starts up a relationship with

568
00:28:42,680 --> 00:28:47,120
Speaker 2: a character played by Maratini the film Whither Maratini?

569
00:28:47,240 --> 00:28:50,880
Speaker 1: How's she doing? Mar Tierney, Yeah, I don't know. She

570
00:28:50,960 --> 00:28:53,000
Speaker 1: was from news radio. I don't know what she's now.

571
00:28:53,280 --> 00:28:53,880
Speaker 1: I just liked her.

572
00:28:54,200 --> 00:28:57,480
Speaker 2: Oh she's good to This was supposed to have been

573
00:28:57,480 --> 00:28:59,120
Speaker 2: like a sort of in the vein of Jerry Maguire.

574
00:28:59,280 --> 00:29:00,720
Speaker 2: You know, it's like going to do like a whole

575
00:29:00,760 --> 00:29:03,040
Speaker 2: sports adjacent thing, but like a rom com. You know,

576
00:29:03,160 --> 00:29:05,160
Speaker 2: had me at Hello, et cetera. Should have been a

577
00:29:05,200 --> 00:29:06,360
Speaker 2: done deal, should have been easy.

578
00:29:07,400 --> 00:29:08,040
Speaker 1: Enter Bruce.

579
00:29:08,760 --> 00:29:13,680
Speaker 2: Twenty days into the shoot, Bruce Willis fired the director

580
00:29:13,840 --> 00:29:14,720
Speaker 2: and most of the.

581
00:29:14,720 --> 00:29:16,640
Speaker 1: Crew in his capacity as produced.

582
00:29:16,720 --> 00:29:20,040
Speaker 2: Yes, we expand and I believe installed like a buddy

583
00:29:20,080 --> 00:29:24,520
Speaker 2: of his. Yes, okay, Yes. Willis, who was producing the film,

584
00:29:24,560 --> 00:29:28,600
Speaker 2: shut down the production in Delaware, firing the director Lee Grant,

585
00:29:28,640 --> 00:29:31,600
Speaker 2: who had won an Oscar for acting in Shampoo, and

586
00:29:31,680 --> 00:29:35,680
Speaker 2: her producer husband who supposedly brought Willis aboard, which is

587
00:29:35,720 --> 00:29:39,840
Speaker 2: even funnier. Fire the cinematographer, wardrobe designer. This is twenty

588
00:29:39,960 --> 00:29:43,280
Speaker 2: days into production, and Willis called his old Moonlighting director

589
00:29:43,320 --> 00:29:47,640
Speaker 2: Dennis Dugan to come and take over. There's a lot

590
00:29:47,680 --> 00:29:49,960
Speaker 2: of stuff in a contemporary La Times reading about this

591
00:29:50,160 --> 00:29:54,400
Speaker 2: in which Bruce doesn't come out looking great. You know,

592
00:29:54,520 --> 00:29:56,360
Speaker 2: I know we're not supposed to say that about him,

593
00:29:56,400 --> 00:30:01,040
Speaker 2: But before the disease and they all abuse and everything,

594
00:30:01,120 --> 00:30:05,800
Speaker 2: he was like one of Hollywood's most notorious, like prickly men.

595
00:30:06,120 --> 00:30:08,800
Speaker 2: And so the chief of Synergy, who is the company

596
00:30:09,000 --> 00:30:13,760
Speaker 2: bankrolling Broadway Brawler, canned the whole thing with Joe Roth,

597
00:30:13,760 --> 00:30:16,160
Speaker 2: who was chairman of Disney. At that point. Production had

598
00:30:16,160 --> 00:30:19,800
Speaker 2: already cost Synergy seventeen million twenty days into the shoot.

599
00:30:20,080 --> 00:30:22,400
Speaker 2: So Roth and Disney fixed matters by paying off the

600
00:30:22,400 --> 00:30:25,480
Speaker 2: seventeen million that this production company had already burned through,

601
00:30:25,640 --> 00:30:30,320
Speaker 2: and then forcing heavily asking Bruce Willis to start in

602
00:30:30,360 --> 00:30:35,120
Speaker 2: three movies for a hugely discounted rate, and it actually

603
00:30:35,200 --> 00:30:37,840
Speaker 2: ended up working extraordinarily well for him because the three

604
00:30:37,840 --> 00:30:41,760
Speaker 2: movies that he made at gunpoint were Armageddon, The Sixth Sense,

605
00:30:41,840 --> 00:30:45,080
Speaker 2: and The Kid. Those three movies grossed one point three

606
00:30:45,240 --> 00:30:48,440
Speaker 2: billion dollars worldwide in the mid nineties.

607
00:30:48,920 --> 00:30:51,960
Speaker 1: Bruce only got ten million instead of his customary twenty

608
00:30:52,000 --> 00:30:57,680
Speaker 1: million for these movies, So there's that anyway, He's very

609
00:30:57,680 --> 00:30:58,800
Speaker 1: brave now, though.

610
00:31:00,560 --> 00:31:03,520
Speaker 2: Apparently in a series of Reddit amas and interviews, Hailey

611
00:31:03,600 --> 00:31:05,959
Speaker 2: Joe Olismont did reveal that why are you Why did

612
00:31:06,000 --> 00:31:06,360
Speaker 2: you write this?

613
00:31:06,560 --> 00:31:08,920
Speaker 1: Is this a reference to the film that I've forgotten? No?

614
00:31:09,360 --> 00:31:13,800
Speaker 2: Yeah, Hale, I want to set this up, Jordan, what

615
00:31:13,880 --> 00:31:15,080
Speaker 2: did you write in this outline?

616
00:31:16,920 --> 00:31:20,080
Speaker 1: I wrote this inauspicious beginning would make one assume that

617
00:31:20,080 --> 00:31:22,280
Speaker 1: Bruce Willis was a nightmare on the set of The

618
00:31:22,320 --> 00:31:25,960
Speaker 1: Sixth Sense, but that's patently not the case. In a

619
00:31:26,000 --> 00:31:28,600
Speaker 1: series of Reddit amas and interviews, his young co star

620
00:31:28,680 --> 00:31:31,960
Speaker 1: Harley jo Osmond revealed that Willis was actually not unlike

621
00:31:31,960 --> 00:31:32,560
Speaker 1: a mushroom.

622
00:31:33,400 --> 00:31:35,920
Speaker 2: He was a fun guy doing in the podcast or

623
00:31:36,000 --> 00:31:41,000
Speaker 2: voice is funnier, but I'm still mad at you. Willis

624
00:31:41,000 --> 00:31:43,520
Speaker 2: would DJ. There were parties held by the cast and crew,

625
00:31:43,920 --> 00:31:46,960
Speaker 2: and you know, he fancies himself a musical man. Remember

626
00:31:47,000 --> 00:31:50,560
Speaker 2: the famous Bruno Bruno returned of Bruno, there's that whole

627
00:31:50,560 --> 00:31:52,200
Speaker 2: bit where he came on to he comes out when

628
00:31:52,200 --> 00:31:54,080
Speaker 2: he hosted s Naley, he came out and like jammed

629
00:31:54,080 --> 00:31:56,480
Speaker 2: with the band on harmonica. So the week after Rick

630
00:31:56,520 --> 00:32:00,000
Speaker 2: Moranis was hosting and came out and proceeded to quote unk,

631
00:32:00,080 --> 00:32:02,960
Speaker 2: We'll play every single instrument in.

632
00:32:02,880 --> 00:32:05,720
Speaker 1: The like to like run and like go into the

633
00:32:05,760 --> 00:32:10,120
Speaker 1: director's booth, started shooting the camera man and Bruce was

634
00:32:10,160 --> 00:32:12,120
Speaker 1: reportedly very upset by that.

635
00:32:13,280 --> 00:32:17,480
Speaker 2: But you know Bruce. Also he gave mister Knight a

636
00:32:17,600 --> 00:32:19,960
Speaker 2: boy Knight. I gotta figure I gottaigure out a more

637
00:32:19,960 --> 00:32:24,720
Speaker 2: denigrating name for him, Little Night, Long Night, short Night.

638
00:32:25,920 --> 00:32:26,520
Speaker 1: I'll get there.

639
00:32:27,680 --> 00:32:33,160
Speaker 3: He gave Long Night's Journey into Oh yeah, yeah, gave

640
00:32:33,240 --> 00:32:37,640
Speaker 3: our boy long Day's Journey in Tonight his first hangovers,

641
00:32:37,880 --> 00:32:40,560
Speaker 3: he told Variety, Bruce definitely introduced me to the notion

642
00:32:40,600 --> 00:32:41,960
Speaker 3: of partying and letting loose.

643
00:32:42,560 --> 00:32:44,560
Speaker 2: Back in those days, he was a big DJ and

644
00:32:44,600 --> 00:32:47,040
Speaker 2: the parties were super fun. He definitely gave me my

645
00:32:47,120 --> 00:32:49,880
Speaker 2: first hangover. He'd always keep giving me shots that he

646
00:32:50,000 --> 00:32:54,959
Speaker 2: kept calling Candy. Here's candy, here's candy. I don't like that, No,

647
00:32:55,120 --> 00:32:57,560
Speaker 2: I don't Yeah, And then the next morning I just

648
00:32:57,600 --> 00:32:59,760
Speaker 2: could not get off the sofa and I didn't know

649
00:32:59,800 --> 00:33:01,640
Speaker 2: what this throbbing pain in my head was.

650
00:33:02,000 --> 00:33:04,320
Speaker 1: Bruce was just laughing his butt off, and Night was

651
00:33:04,320 --> 00:33:07,280
Speaker 1: twenty eight years old. He should have known why he

652
00:33:07,400 --> 00:33:12,640
Speaker 1: withelt back herb. We're going to take a quick break,

653
00:33:12,840 --> 00:33:15,280
Speaker 1: but we'll be right back with more. Too much information

654
00:33:15,400 --> 00:33:24,760
Speaker 1: in just a moment. Wow, wow, wow wow.

655
00:33:27,920 --> 00:33:31,120
Speaker 2: Bruce Willis's character, as I mentioned earlier, is named Malcolm Crowe,

656
00:33:31,360 --> 00:33:35,320
Speaker 2: although it's spelled like Cameron Crow, so that's it's clever,

657
00:33:36,720 --> 00:33:41,800
Speaker 2: you know, Crow's death. Hayley Joe osmond character, meanwhile, is

658
00:33:41,880 --> 00:33:47,360
Speaker 2: named Cole Sear because he's a seer, you understand, you know,

659
00:33:47,400 --> 00:33:50,000
Speaker 2: he says I see dead people. That's also his last name,

660
00:33:50,400 --> 00:33:53,120
Speaker 2: but he spelled it like a burn, like you know,

661
00:33:53,160 --> 00:33:56,960
Speaker 2: you pan seer or something. So maybe that's another level

662
00:33:57,000 --> 00:34:01,560
Speaker 2: that M. Knight has yet to reveal to us Cole

663
00:34:01,640 --> 00:34:04,800
Speaker 2: Sear has gone to become Hjo's signature role, but it

664
00:34:04,880 --> 00:34:08,160
Speaker 2: very nearly went to another few talent few other talented children.

665
00:34:08,480 --> 00:34:11,360
Speaker 2: Don't like that sentence construction and perhaps one of the

666
00:34:13,040 --> 00:34:16,600
Speaker 2: really ripping you anyone on this the weirdest fantasy casting

667
00:34:16,600 --> 00:34:20,319
Speaker 2: we ever had on this show. That role almost went

668
00:34:20,360 --> 00:34:26,879
Speaker 2: to Michael and Serah. He was ten, but like, could

669
00:34:26,880 --> 00:34:30,040
Speaker 2: you imagine his doofy little face in all of those

670
00:34:30,040 --> 00:34:33,880
Speaker 2: shots crying. Haley Joe Osmond is so chrubic and so

671
00:34:34,000 --> 00:34:35,920
Speaker 2: precious you just want to protect him.

672
00:34:36,200 --> 00:34:39,200
Speaker 1: Michael Sarah would have been like, oh it haunted though

673
00:34:39,440 --> 00:34:39,719
Speaker 1: he does.

674
00:34:40,440 --> 00:34:43,279
Speaker 2: Michael Sarah had been like, ah, you deserve this thrown

675
00:34:43,320 --> 00:34:44,040
Speaker 2: part of the screen.

676
00:34:44,440 --> 00:34:46,560
Speaker 1: Well that's kind of why he didn't get it. Yeah, yeah,

677
00:34:46,640 --> 00:34:47,479
Speaker 1: he's audition scene.

678
00:34:47,560 --> 00:34:51,359
Speaker 2: Sarah's was instead of crying like Haley Joe Osmond did

679
00:34:51,400 --> 00:34:54,600
Speaker 2: in his audition, he said he's played this audition scene

680
00:34:54,600 --> 00:34:57,800
Speaker 2: as quote upbeat. He don't ask whyre In two thousand

681
00:34:57,800 --> 00:34:59,480
Speaker 2: and nine, I auditioned for the sixth Sense, which I

682
00:34:59,480 --> 00:35:02,160
Speaker 2: didn't know was seeing dead people. They didn't mention that

683
00:35:02,200 --> 00:35:05,120
Speaker 2: in the breakdown. After seeing the movie and remembering the

684
00:35:05,120 --> 00:35:07,160
Speaker 2: seed they had me read. It was the scene with

685
00:35:07,200 --> 00:35:09,839
Speaker 2: the penny. Bruce Willis is saying I can't be your

686
00:35:09,840 --> 00:35:13,080
Speaker 2: doctor anymore, and Haley Joe Osmond starts crying and slides

687
00:35:13,120 --> 00:35:15,760
Speaker 2: the penny over to him. It's a very emotional scene.

688
00:35:15,960 --> 00:35:19,080
Speaker 2: And I did not do that way. I did it upbeat.

689
00:35:19,320 --> 00:35:23,920
Speaker 2: I said, some Magic's real, very optimistically. Can you imagine,

690
00:35:25,040 --> 00:35:29,920
Speaker 2: you imagine, like Sarah do it? Some Magic's real? George

691
00:35:29,960 --> 00:35:35,800
Speaker 2: Michael in full More? Who's is Liam Aikin guy? So

692
00:35:35,840 --> 00:35:38,399
Speaker 2: he related to Clay. Oh, I don't think so.

693
00:35:39,040 --> 00:35:41,960
Speaker 1: I didn't know either, which is very sad because this

694
00:35:42,160 --> 00:35:46,480
Speaker 1: kid had two chances to become the biggest child star

695
00:35:46,560 --> 00:35:49,560
Speaker 1: of the late nineties and early two thousands, and he

696
00:35:50,080 --> 00:35:53,960
Speaker 1: missed out narrowly on two occasions. He will let her

697
00:35:54,000 --> 00:35:55,960
Speaker 1: went on the have Rolls in two thousand and two's

698
00:35:56,000 --> 00:35:58,640
Speaker 1: Road to Perdition in two thousand and four's Lemonee Snickets

699
00:35:58,680 --> 00:36:01,759
Speaker 1: a series of unfortunate events. But you'll notice that neither

700
00:36:01,800 --> 00:36:04,200
Speaker 1: of those movies are as big as The Sixth Sense,

701
00:36:04,880 --> 00:36:07,200
Speaker 1: which he passed on because his mother felt the film

702
00:36:07,239 --> 00:36:11,680
Speaker 1: was too dark, and he also was passed over for

703
00:36:11,880 --> 00:36:15,520
Speaker 1: Harry Potter. He was very nearly the lead in the

704
00:36:15,560 --> 00:36:18,719
Speaker 1: Harry Potter film franchise, but then he was passed over

705
00:36:18,719 --> 00:36:22,200
Speaker 1: at the last minute in favor of Daniel Radcliffe Bomber,

706
00:36:23,160 --> 00:36:26,200
Speaker 1: but of course the role ultimately go to Haley Joel Osmon,

707
00:36:26,320 --> 00:36:28,920
Speaker 1: whose biggest role to date was that of Little Forrest

708
00:36:29,120 --> 00:36:33,560
Speaker 1: in Forrest Gump, which was adorable. He was primed for

709
00:36:33,640 --> 00:36:36,840
Speaker 1: life on the big screen by his father, Eugene Michael Osmon,

710
00:36:37,360 --> 00:36:39,800
Speaker 1: who sort of seems like one of the great stage

711
00:36:39,920 --> 00:36:42,759
Speaker 1: dads of our time. He and his wife had left

712
00:36:42,760 --> 00:36:46,120
Speaker 1: their native Birmingham, Alabama, to pursue his dreams of movie stardom,

713
00:36:46,400 --> 00:36:49,239
Speaker 1: but unfortunately he hadn't hit yet, so he passed this

714
00:36:49,440 --> 00:36:53,840
Speaker 1: verve unto his young son, delivering such stark advice as

715
00:36:54,280 --> 00:36:56,480
Speaker 1: this could be the last time you ever work, so

716
00:36:56,640 --> 00:36:59,480
Speaker 1: give it your best grim advice to give you a

717
00:36:59,560 --> 00:37:03,440
Speaker 1: child act your kid. Hall Jah Osmond's semi mythical origin

718
00:37:03,520 --> 00:37:07,399
Speaker 1: story states that he was walking through a Nikea in Burbank, California,

719
00:37:07,440 --> 00:37:09,640
Speaker 1: at the age of four when he was spotted by

720
00:37:09,640 --> 00:37:12,520
Speaker 1: a casting agent who took his picture and got his

721
00:37:12,560 --> 00:37:15,239
Speaker 1: mom's number. The following day, he got a call to

722
00:37:15,280 --> 00:37:18,200
Speaker 1: audition for a Pizza Hut commercial where he triumphed over

723
00:37:18,320 --> 00:37:21,640
Speaker 1: hundreds of kids, having bagged the role of Little Forrest

724
00:37:21,680 --> 00:37:24,919
Speaker 1: and Forrest Gump. The following year, age five, he spent

725
00:37:25,000 --> 00:37:29,080
Speaker 1: two seasons on the sitcom thunder Alley as Ed Asner's grandson,

726
00:37:29,560 --> 00:37:32,319
Speaker 1: and then a further two seasons is Jeff foxworthy Son

727
00:37:32,400 --> 00:37:35,840
Speaker 1: on The Jeff Foxworthy Show, which I didn't remember, and

728
00:37:35,880 --> 00:37:38,600
Speaker 1: when that was canceled, he played Murphy Brown's Born out

729
00:37:38,600 --> 00:37:43,520
Speaker 1: of Wedlock Child for six episodes, so quite a formidable

730
00:37:43,560 --> 00:37:45,840
Speaker 1: run of TV shows there. Before the age of ten.

731
00:37:46,480 --> 00:37:50,239
Speaker 1: He also performed in I Hate This is an overused word,

732
00:37:50,280 --> 00:37:51,719
Speaker 1: but it's the only word I can think of for

733
00:37:51,920 --> 00:37:56,360
Speaker 1: a n iconic guest spot on Walker Texas Ranger, which

734
00:37:56,440 --> 00:38:00,279
Speaker 1: was turned into a proto meam by Conan O'Brien. Say

735
00:38:00,320 --> 00:38:05,400
Speaker 1: it with me, now, come on, igil, no, you have to.

736
00:38:06,960 --> 00:38:09,359
Speaker 1: I probably am the most dispositionally able to do it.

737
00:38:10,480 --> 00:38:17,960
Speaker 1: Walker tells me, I have aids. Hayley would later say,

738
00:38:18,000 --> 00:38:20,239
Speaker 1: in high school and college people will be really cool

739
00:38:20,280 --> 00:38:22,600
Speaker 1: about not talking about the movies I was in, but

740
00:38:22,640 --> 00:38:26,120
Speaker 1: no one had any qualms about saying, wait, you had aids.

741
00:38:26,120 --> 00:38:34,319
Speaker 1: On Walker Texas Ranger, they truly bizarre, bizarrely written, bizarrely performed.

742
00:38:34,360 --> 00:38:36,919
Speaker 1: Everything about that bit is so weird. Would you want

743
00:38:37,000 --> 00:38:39,880
Speaker 1: Chuck Norris delivering bad news to you? Sure?

744
00:38:40,400 --> 00:38:41,879
Speaker 2: I guess I'd be okay with that. Not I think

745
00:38:41,880 --> 00:38:43,960
Speaker 2: about it, all right, glad we covered that.

746
00:38:44,760 --> 00:38:46,880
Speaker 1: I should probably splice in the actual quote. You know,

747
00:38:46,960 --> 00:38:50,279
Speaker 1: I probably will do that. Yeah, yeah, yeah, yeah yeah.

748
00:38:50,320 --> 00:38:52,880
Speaker 1: Although my performance was good too, right, it was it

749
00:38:52,960 --> 00:38:53,440
Speaker 1: really was?

750
00:38:53,480 --> 00:38:55,920
Speaker 2: You really able to do the spirit of it? Okay,

751
00:38:56,000 --> 00:38:58,560
Speaker 2: we we'll do both. A three hour episode coming up.

752
00:39:00,280 --> 00:39:03,600
Speaker 1: And how you do a little barda fine? And it's

753
00:39:03,680 --> 00:39:08,000
Speaker 1: a little visitor now, Adamoyolis? How you say it in Cherokee?

754
00:39:08,239 --> 00:39:11,880
Speaker 1: Oh well, pardon my French, but I'll be damned.

755
00:39:15,000 --> 00:39:16,279
Speaker 2: Walker told me I had eat.

756
00:39:17,880 --> 00:39:21,760
Speaker 1: Haley earned praise from his accomplished co stars for his precociousness.

757
00:39:22,239 --> 00:39:26,160
Speaker 1: Kevin Spacey would uh undiplomatically describe Haley as quote a

758
00:39:26,280 --> 00:39:29,040
Speaker 1: forty year old. Can we say that? Do we have

759
00:39:29,040 --> 00:39:32,600
Speaker 1: to bleep that sake? They weren't a It was ai right?

760
00:39:33,280 --> 00:39:37,200
Speaker 1: I think no pay forward? Oh yeah yeah, yeah right sorry.

761
00:39:39,080 --> 00:39:42,879
Speaker 1: Michael Caine would offer a similar observation. He said, it's

762
00:39:42,920 --> 00:39:45,520
Speaker 1: like talking to a forty five year old. I don't

763
00:39:45,560 --> 00:39:46,239
Speaker 1: know what movie they.

764
00:39:46,120 --> 00:39:49,840
Speaker 2: Were in together, The Lions of something. I know exactly

765
00:39:49,920 --> 00:39:50,560
Speaker 2: what movie it is.

766
00:39:51,480 --> 00:39:52,840
Speaker 1: Its old lions.

767
00:39:53,160 --> 00:39:56,160
Speaker 2: There's something secondhand lions.

768
00:39:56,200 --> 00:39:59,400
Speaker 1: God, I was so close. What the hell is that about? Uh?

769
00:39:59,680 --> 00:40:02,520
Speaker 2: Robert Duval, Michael Caine and Haley jo Osmon are like

770
00:40:02,560 --> 00:40:03,600
Speaker 2: on a farm or something.

771
00:40:03,600 --> 00:40:03,840
Speaker 1: I don't know.

772
00:40:03,880 --> 00:40:08,640
Speaker 2: The roller rings suspenders, hmm, sounds awful. Two thousand and three,

773
00:40:10,640 --> 00:40:12,160
Speaker 2: Oh so I was going he was on his way out.

774
00:40:12,960 --> 00:40:17,000
Speaker 1: Yeah, Hailey. We get auditioned advice from his father. Most notably,

775
00:40:17,040 --> 00:40:19,960
Speaker 1: we need received the script for the Sixth Sense. Eugene

776
00:40:20,000 --> 00:40:22,640
Speaker 1: advised Haley to think of it not as a horror movie,

777
00:40:23,239 --> 00:40:26,640
Speaker 1: but a story about communication, which is a very good

778
00:40:26,680 --> 00:40:29,319
Speaker 1: note for reading the script of the Sixth Sense. I think.

779
00:40:30,440 --> 00:40:32,680
Speaker 1: He also told Haley to read through the script twice,

780
00:40:32,920 --> 00:40:34,960
Speaker 1: a fact that made a big impression on M. Knight

781
00:40:34,960 --> 00:40:38,600
Speaker 1: Shyamalan during the audition. You read your lines through twice,

782
00:40:38,640 --> 00:40:41,680
Speaker 1: he asked the boy. No, Haley corrected, I read the

783
00:40:41,680 --> 00:40:45,560
Speaker 1: whole script through twice. That is that is music to

784
00:40:45,600 --> 00:40:47,680
Speaker 1: the ears of a writer. Let me tell you. M.

785
00:40:47,760 --> 00:40:52,400
Speaker 1: Knight was very impressed with this child's prep work, his confidence,

786
00:40:52,800 --> 00:40:55,719
Speaker 1: his precociousness, and the fact that he'd worn a tie

787
00:40:55,760 --> 00:41:00,480
Speaker 1: to the audition. Ah, right, so cute. Yeah. After Haley

788
00:41:00,560 --> 00:41:03,640
Speaker 1: left the audition, Night would tell the casting director, I

789
00:41:03,640 --> 00:41:05,480
Speaker 1: don't know if I want to make this movie anymore

790
00:41:05,520 --> 00:41:09,480
Speaker 1: if Haley Joe Osmond's not in it narrator voice, he

791
00:41:09,520 --> 00:41:13,040
Speaker 1: would not. Haley was the consummate pro on the set,

792
00:41:13,320 --> 00:41:15,759
Speaker 1: and Night would recall a moment when Bruce Willis brought

793
00:41:15,800 --> 00:41:18,520
Speaker 1: ice cream for all the kids on the Philadelphia neighborhood

794
00:41:18,520 --> 00:41:21,279
Speaker 1: where they were filming, but Haley was too occupied with

795
00:41:21,320 --> 00:41:25,080
Speaker 1: his onset obligations to join in the fun. He would say,

796
00:41:25,120 --> 00:41:28,279
Speaker 1: it was all precise and perfect with Hailey a very

797
00:41:28,320 --> 00:41:34,680
Speaker 1: disciplined art form like ballet. Hey. Yeah, particularly troubling instance

798
00:41:34,719 --> 00:41:37,800
Speaker 1: of stage dadding occurred in the scene where Bruce Willis

799
00:41:37,840 --> 00:41:40,720
Speaker 1: tells Haley then he can no longer be his doctor.

800
00:41:40,760 --> 00:41:44,880
Speaker 1: I think that's the scene that the audition Sarah audition for. Yeah,

801
00:41:44,960 --> 00:41:48,359
Speaker 1: Haley was having trouble crying on the set, so his dad,

802
00:41:48,360 --> 00:41:52,319
Speaker 1: Eugene intervened. Haley's always good at getting the tears, but

803
00:41:52,400 --> 00:41:54,439
Speaker 1: that day he was having trouble getting there.

804
00:41:54,480 --> 00:41:57,759
Speaker 2: He recalled, imagine saying that about your child, your own

805
00:41:57,800 --> 00:42:01,120
Speaker 2: flesh and blood. Haley's good getting the tears.

806
00:42:02,640 --> 00:42:05,040
Speaker 1: So I walked up to Bruce because I know it

807
00:42:05,120 --> 00:42:08,279
Speaker 1: to push Haley's buttons, and he told Bruce Willis to

808
00:42:08,360 --> 00:42:12,480
Speaker 1: shout his lines off camera at Haley. Bruce was uncomfortable

809
00:42:12,480 --> 00:42:15,680
Speaker 1: with it. Haley's dad added, but I said, Bruce, he

810
00:42:15,760 --> 00:42:18,720
Speaker 1: knows you're acting. If you yell at him like you're angry,

811
00:42:19,000 --> 00:42:22,800
Speaker 1: he's going to start crying, because to this day, Haley

812
00:42:22,840 --> 00:42:25,879
Speaker 1: can't stand yelling. It worked immediately.

813
00:42:26,239 --> 00:42:30,080
Speaker 2: Holy fucking dude, let's.

814
00:42:29,840 --> 00:42:33,440
Speaker 1: Think about that. Yeah, that's that's some Brian movie.

815
00:42:33,480 --> 00:42:36,359
Speaker 2: My son doesn't like to be yelled at, so yell

816
00:42:36,400 --> 00:42:39,640
Speaker 2: at him. Wasn't he also like hurling himself into like

817
00:42:39,719 --> 00:42:43,440
Speaker 2: door frames or something to be like properly shaken before

818
00:42:43,480 --> 00:42:44,560
Speaker 2: scenes exactly?

819
00:42:44,640 --> 00:42:46,520
Speaker 1: Yes, To get into the move. For a scene where

820
00:42:46,560 --> 00:42:49,279
Speaker 1: he witnesses a kid with a gunshot wounds with like

821
00:42:49,360 --> 00:42:52,640
Speaker 1: dripping blood. I think it's a head wound, Haley hurled

822
00:42:52,680 --> 00:42:56,399
Speaker 1: himself against the wall repeatedly to appear traumatized for a take.

823
00:42:56,640 --> 00:42:59,520
Speaker 1: I believe he would say that it was about five

824
00:42:59,560 --> 00:43:01,080
Speaker 1: in the after noon and we needed a wrap for

825
00:43:01,120 --> 00:43:03,000
Speaker 1: the day soon, and I knew I had to get it.

826
00:43:06,239 --> 00:43:11,560
Speaker 1: He was eleven. I believe, Yeah, good lord, Yeah. The

827
00:43:11,719 --> 00:43:15,480
Speaker 1: role of Cole's mother, Lynn very nearly went to Marissa Tomy,

828
00:43:15,800 --> 00:43:20,759
Speaker 1: but she lost out to Tony Collette. Wow, man, both

829
00:43:20,880 --> 00:43:23,000
Speaker 1: very good. I was gonna say, don't maybe choose between

830
00:43:23,040 --> 00:43:28,040
Speaker 1: my children? My god? Oh man. Hilariously, Tony Collette kind

831
00:43:28,040 --> 00:43:30,000
Speaker 1: of couldn't care less that she got this movie at

832
00:43:30,000 --> 00:43:33,880
Speaker 1: the time. She was ambivalent when she found out because

833
00:43:34,080 --> 00:43:36,160
Speaker 1: she had her heart set on being cast in Martin

834
00:43:36,200 --> 00:43:40,239
Speaker 1: Scorsese's upcoming film Bringing Out the Dead. But m Knight

835
00:43:40,320 --> 00:43:42,440
Speaker 1: knew she was the right actress after having seen her

836
00:43:42,440 --> 00:43:46,040
Speaker 1: act in the nineteen ninety four tragic comic film Muriel's

837
00:43:46,080 --> 00:43:50,080
Speaker 1: Wedding in her native Australia. However, he was worried that

838
00:43:50,120 --> 00:43:52,719
Speaker 1: the studio wouldn't go for her, apparently because she had

839
00:43:52,719 --> 00:43:56,200
Speaker 1: a shaved head. Tony came in and her head was shaved.

840
00:43:56,280 --> 00:43:58,080
Speaker 1: I forget if it was for fun or for a movie.

841
00:43:58,440 --> 00:43:59,800
Speaker 1: I think it was for eight and a half women

842
00:44:00,040 --> 00:44:01,839
Speaker 1: believe that was the movie it was for. She did

843
00:44:01,880 --> 00:44:03,759
Speaker 1: such a beautiful job. I didn't want to show the

844
00:44:03,800 --> 00:44:06,680
Speaker 1: audition video for fear that the studio would be concerned

845
00:44:06,719 --> 00:44:09,480
Speaker 1: about her appearance, and I said, I want to cast

846
00:44:09,520 --> 00:44:12,520
Speaker 1: the woman from Muriel's Wedding, and then Bruce backed me

847
00:44:12,600 --> 00:44:15,319
Speaker 1: and said, oh, I love Muriel's Wedding. So we kind

848
00:44:15,320 --> 00:44:17,839
Speaker 1: of got it without the studio seeing the audition, and

849
00:44:17,880 --> 00:44:18,800
Speaker 1: I was so lucky.

850
00:44:18,880 --> 00:44:21,799
Speaker 2: There's an interview where she's like her agent called her

851
00:44:21,880 --> 00:44:23,640
Speaker 2: and was like, I have great news for you. You

852
00:44:23,719 --> 00:44:26,200
Speaker 2: got the part, and she was like already started freaking out,

853
00:44:26,239 --> 00:44:28,080
Speaker 2: like walking down the sidewalk, and he was like, but

854
00:44:28,800 --> 00:44:32,560
Speaker 2: it's for the Sixth Sense. She said something like and

855
00:44:32,600 --> 00:44:34,440
Speaker 2: I said, and I immediately turned to my friend and

856
00:44:34,440 --> 00:44:35,800
Speaker 2: I was like, I was hoping for Maddie.

857
00:44:39,239 --> 00:44:41,920
Speaker 1: Ah, what a treasure. Uh. I don't know why I

858
00:44:41,960 --> 00:44:45,319
Speaker 1: love this bit, so m yes, I love the wig bit.

859
00:44:45,520 --> 00:44:48,720
Speaker 1: Go ahead. Tommy Klet is actually wearing a wig throughout

860
00:44:48,760 --> 00:44:51,040
Speaker 1: all of the Sixth Sense, which m Night claims was

861
00:44:51,080 --> 00:44:54,799
Speaker 1: from her previous role in Velvet gold Mine, the Todd

862
00:44:54,840 --> 00:44:57,799
Speaker 1: Hayes movie about glam Rock era Britten. I love that.

863
00:44:59,120 --> 00:44:59,239
Speaker 3: Uh.

864
00:44:59,680 --> 00:45:01,719
Speaker 1: He's interestingly and this kind of comes up again and

865
00:45:01,760 --> 00:45:04,680
Speaker 1: again in cast interviews. Tony Klek didn't realize that The

866
00:45:04,719 --> 00:45:07,600
Speaker 1: Sixth Sense was a horror film. She said she felt

867
00:45:07,640 --> 00:45:09,920
Speaker 1: so moved by the emotional aspect of the movie that

868
00:45:09,960 --> 00:45:12,400
Speaker 1: she didn't realize that it was supposed to be this

869
00:45:12,600 --> 00:45:16,560
Speaker 1: dark and spooky until after its release. Despite this, though,

870
00:45:16,760 --> 00:45:21,080
Speaker 1: she had some spooky occurrences I can't do it, can

871
00:45:21,120 --> 00:45:24,960
Speaker 1: you do it? Spooky? Yeah, thank you, spooky occurrences while

872
00:45:24,960 --> 00:45:28,160
Speaker 1: shooting the movie. She would later say, in the hotel

873
00:45:28,239 --> 00:45:31,720
Speaker 1: room I was staying in Philadelphia, I started meditating a lot,

874
00:45:31,920 --> 00:45:34,040
Speaker 1: and then I would wake up at night, roll over

875
00:45:34,160 --> 00:45:35,799
Speaker 1: and look at the clock, and it was always a

876
00:45:35,840 --> 00:45:40,879
Speaker 1: repeated number one eleven, three thirty three, four forty four.

877
00:45:41,440 --> 00:45:44,080
Speaker 1: That really started to spook me. Although I have to say,

878
00:45:44,120 --> 00:45:45,640
Speaker 1: I don't know if this has ever happened to you, Heigel.

879
00:45:45,640 --> 00:45:46,640
Speaker 1: That used to happen to me a lot when I

880
00:45:46,640 --> 00:45:48,080
Speaker 1: would look at a clock and I would see it

881
00:45:48,120 --> 00:45:51,200
Speaker 1: was like twelve thirty four or something, and I assumed

882
00:45:51,239 --> 00:45:53,560
Speaker 1: it was purely just biased because that's like an easily

883
00:45:53,600 --> 00:45:57,400
Speaker 1: rememberable number. Yeah. I also used to wake up at

884
00:45:57,440 --> 00:45:59,239
Speaker 1: the same time in the middle of the night all

885
00:45:59,280 --> 00:46:01,880
Speaker 1: the time, and my dad does too. We're both convinced

886
00:46:01,920 --> 00:46:03,800
Speaker 1: that this is the time that we're gonna die someday.

887
00:46:04,680 --> 00:46:06,440
Speaker 1: And the fact that we both like came to this

888
00:46:06,520 --> 00:46:09,920
Speaker 1: conclusion independently, I think is proof that it's gonna happen

889
00:46:10,239 --> 00:46:12,640
Speaker 1: or it's meant to. Illness has just passed through genetics

890
00:46:12,640 --> 00:46:15,319
Speaker 1: in my family one or the other.

891
00:46:16,080 --> 00:46:18,160
Speaker 2: Now, then don't they think that that like midnight waking

892
00:46:18,239 --> 00:46:21,040
Speaker 2: up is because uh, people actually didn't sleep as long

893
00:46:21,080 --> 00:46:23,480
Speaker 2: as we did before the Industrial Age, like because you

894
00:46:23,560 --> 00:46:26,279
Speaker 2: were waking up at like essentially the crack of dawn

895
00:46:26,480 --> 00:46:28,840
Speaker 2: to like, yeah, farm right, it's.

896
00:46:28,640 --> 00:46:30,960
Speaker 1: The Amish ruined everything.

897
00:46:32,480 --> 00:46:38,120
Speaker 2: So, my Sha Barton, your thoughts, Ah, there's the worst

898
00:46:38,200 --> 00:46:42,440
Speaker 2: segway we've ever I've ever felt of the show. Nuh,

899
00:46:42,600 --> 00:46:44,560
Speaker 2: my Sha Barton, what do you think about it?

900
00:46:45,200 --> 00:46:47,640
Speaker 1: Jordan? Jordan, what do you let's.

901
00:46:47,440 --> 00:46:48,960
Speaker 2: Really get down to that. Let's really get down to

902
00:46:49,000 --> 00:46:50,920
Speaker 2: brass tacks here. What do you think about old Mish?

903
00:46:50,960 --> 00:46:54,600
Speaker 2: I thought I was plans Misha Barton show Misha, why

904
00:46:54,680 --> 00:46:55,400
Speaker 2: you ad met to me?

905
00:46:56,800 --> 00:46:59,400
Speaker 1: I knew of her vaguely through the O C and

906
00:46:59,440 --> 00:47:01,560
Speaker 1: I had no idea that she was in the sixth sense.

907
00:47:01,800 --> 00:47:04,439
Speaker 1: And then when I was at MYU, I would see

908
00:47:04,480 --> 00:47:06,719
Speaker 1: her in the lobby of my dorms and she was

909
00:47:06,760 --> 00:47:09,120
Speaker 1: being signed in and I didn't know why. And then

910
00:47:09,239 --> 00:47:11,840
Speaker 1: all my friends would say, oh, she's probably here to

911
00:47:11,840 --> 00:47:13,719
Speaker 1: see Haley, and she was, and I said, what do

912
00:47:13,800 --> 00:47:15,520
Speaker 1: you mean? Oh, they were in the sixth sense together

913
00:47:16,000 --> 00:47:18,680
Speaker 1: and they stayed friends, which I think is really cute.

914
00:47:18,719 --> 00:47:21,680
Speaker 1: That is so at least circa two thousand and six

915
00:47:22,160 --> 00:47:25,040
Speaker 1: they were still tight. That is cute. Yeah. I don't

916
00:47:25,120 --> 00:47:28,840
Speaker 1: know much about her, though, well you will.

917
00:47:29,760 --> 00:47:34,040
Speaker 2: She plays Cure Collins, the little girl whose mother is

918
00:47:34,080 --> 00:47:37,040
Speaker 2: a textbook Munchausen by proxy case and is just like

919
00:47:37,719 --> 00:47:43,680
Speaker 2: poisoning her with dreno gypsy Rose Blanchard case. It's like

920
00:47:43,719 --> 00:47:47,919
Speaker 2: a distinct psychological phenomenon that's for the parent. There's nothing

921
00:47:47,920 --> 00:47:50,440
Speaker 2: to do with the kid, but the parent like thrives

922
00:47:50,480 --> 00:47:52,719
Speaker 2: off the attention being given to them as a caretaker,

923
00:47:52,880 --> 00:47:56,600
Speaker 2: and so they go to increasingly extreme lengths to keep

924
00:47:57,320 --> 00:47:58,080
Speaker 2: that high going.

925
00:47:58,600 --> 00:47:58,839
Speaker 1: Man.

926
00:47:58,920 --> 00:48:01,560
Speaker 2: Yeah, when she likes the door to his tent and

927
00:48:01,640 --> 00:48:08,120
Speaker 2: just like like Jeff Goldbloom and the flies like right. So, well,

928
00:48:08,280 --> 00:48:10,280
Speaker 2: you will be pleased to know she didn't.

929
00:48:10,040 --> 00:48:15,680
Speaker 1: Actually vomit for this role. Or die or die said that,

930
00:48:15,760 --> 00:48:19,000
Speaker 1: so cheerfully. Hey, not for nothing, folks, I don't know.

931
00:48:19,080 --> 00:48:21,560
Speaker 1: Not many people know this, But she didn't actually die

932
00:48:21,560 --> 00:48:22,600
Speaker 1: to make this movie.

933
00:48:24,560 --> 00:48:27,319
Speaker 2: It was a breakfast cereal that she would hold in

934
00:48:27,320 --> 00:48:28,920
Speaker 2: her mind. It's gotta be like cream of wheat, right,

935
00:48:29,120 --> 00:48:31,920
Speaker 2: or like a watery like a watered down oatmeal.

936
00:48:32,000 --> 00:48:34,279
Speaker 1: What do you think? Yeah, it was either granola or oatmeal. Yeah,

937
00:48:34,280 --> 00:48:35,120
Speaker 1: it was probably oatmeal.

938
00:48:36,120 --> 00:48:38,480
Speaker 2: Barton didn't tell her friends that she was in the movie,

939
00:48:39,000 --> 00:48:40,759
Speaker 2: which I guess led to an incident where one of

940
00:48:40,800 --> 00:48:43,000
Speaker 2: them just happened to see it and ran out of

941
00:48:43,000 --> 00:48:45,640
Speaker 2: the movie theater screaming because they thought their friend had died.

942
00:48:47,280 --> 00:48:48,399
Speaker 1: Just not how movies work.

943
00:48:48,600 --> 00:48:50,680
Speaker 2: But yeah, it was like running from the train, like

944
00:48:50,719 --> 00:48:56,640
Speaker 2: that comes you know, it's not actually coming at you.

945
00:48:57,840 --> 00:49:01,960
Speaker 1: Kids are dumb. Micha had kind of a rough break.

946
00:49:02,400 --> 00:49:05,160
Speaker 2: She wrote in twenty twenty one Harper's Bizarre Piece that

947
00:49:05,239 --> 00:49:07,760
Speaker 2: she felt she had been sexualized in her earlier film Roles,

948
00:49:08,000 --> 00:49:12,200
Speaker 2: even becoming a quote strange sex symbol at thirteen in Asia,

949
00:49:12,880 --> 00:49:18,800
Speaker 2: where her movie Pups garnered significant attention.

950
00:49:20,760 --> 00:49:23,120
Speaker 1: I don't yeah, don't look up. Don't look up that movie.

951
00:49:23,120 --> 00:49:24,560
Speaker 2: No, I don't want I don't want to know anything

952
00:49:24,560 --> 00:49:24,880
Speaker 2: about it.

953
00:49:24,920 --> 00:49:26,799
Speaker 1: I thought it was like an animated movie. I thought,

954
00:49:27,000 --> 00:49:28,719
Speaker 1: or like some. I don't know. I thought it was

955
00:49:28,719 --> 00:49:30,120
Speaker 1: like a kid's movie. It's not.

956
00:49:30,360 --> 00:49:33,880
Speaker 2: I don't want to do it. Nope, Nope, nope nope.

957
00:49:34,400 --> 00:49:36,319
Speaker 2: She also revealed that she felt pressure to lose her

958
00:49:36,360 --> 00:49:38,400
Speaker 2: virginity at the age of eighteen when she joined the

959
00:49:38,440 --> 00:49:41,320
Speaker 2: cast of The OC so her character was sexually active

960
00:49:41,320 --> 00:49:45,160
Speaker 2: in that show, and just because. In two thousand and five,

961
00:49:45,160 --> 00:49:47,279
Speaker 2: she showed an interview with that a Hollywood publicist had

962
00:49:47,280 --> 00:49:50,279
Speaker 2: once instructed her to sleep with Leonardo DiCaprio in an

963
00:49:50,320 --> 00:49:55,200
Speaker 2: effort to help her career. She had some diys and

964
00:49:55,239 --> 00:50:00,160
Speaker 2: some coke stuff, right, diy she ran a DIY punk venue. No,

965
00:50:00,280 --> 00:50:02,879
Speaker 2: she's got one of those famous mug shots from her.

966
00:50:03,000 --> 00:50:06,799
Speaker 2: Uh because she was driving drunk unlicensed and she's kind

967
00:50:06,800 --> 00:50:08,600
Speaker 2: of like smirking in her mug shot.

968
00:50:09,800 --> 00:50:12,360
Speaker 1: Oh, I mean this was the era of smirking mug shots.

969
00:50:12,680 --> 00:50:19,840
Speaker 2: That's true anyway, good for her? Uh? Oh boy, Donnie Walls,

970
00:50:20,120 --> 00:50:24,280
Speaker 2: My boy, Donnie Walls. Donny Wahlberg, speaking of bit characters

971
00:50:24,320 --> 00:50:27,239
Speaker 2: with no segue X New Kid on the Block boy

972
00:50:27,280 --> 00:50:30,600
Speaker 2: band are from Boston. Give me comm any hate crimes?

973
00:50:30,680 --> 00:50:32,360
Speaker 1: Or is that just his brother? I thought that was

974
00:50:32,440 --> 00:50:33,640
Speaker 1: just Marky Mark.

975
00:50:33,560 --> 00:50:37,360
Speaker 2: Yeah, well, yeah, he'd uh go. Donnie had appeared in

976
00:50:37,440 --> 00:50:41,120
Speaker 2: stuff like Ransom with Moe Gibson, nineteen ninety six movie

977
00:50:41,120 --> 00:50:43,440
Speaker 2: called Bullet with Tupac.

978
00:50:43,000 --> 00:50:46,240
Speaker 1: And Mickey Rourke. Oh to be a fly on that wall? Tupac?

979
00:50:46,360 --> 00:50:49,799
Speaker 1: Was that a movie called Bullet? Ooh? Yeah, Timing, I

980
00:50:49,840 --> 00:50:54,080
Speaker 1: hate Donny, I hate the Wahlbergs. Do you want to

981
00:50:54,080 --> 00:50:55,719
Speaker 1: elaborate on that? Do I need to?

982
00:50:56,239 --> 00:50:58,000
Speaker 2: Shouldn't that just be eminently obvious?

983
00:50:58,760 --> 00:51:01,480
Speaker 1: How many Wallburgs are there? There was? Because now I'm

984
00:51:01,480 --> 00:51:03,000
Speaker 1: confusing with like the ball It was like, is there

985
00:51:03,000 --> 00:51:04,600
Speaker 1: a Stephen Wahlberg? No, No, it's a ball.

986
00:51:04,719 --> 00:51:07,080
Speaker 2: No, but there's one of them that has a Burger place,

987
00:51:07,120 --> 00:51:09,279
Speaker 2: because don't they have like a reality show called about

988
00:51:09,280 --> 00:51:11,480
Speaker 2: it called Wallburs Yeah?

989
00:51:11,640 --> 00:51:12,040
Speaker 1: But is that?

990
00:51:12,040 --> 00:51:14,280
Speaker 2: And let's look, that's just like a guy from Southey

991
00:51:14,560 --> 00:51:16,440
Speaker 2: that like now he's just trying.

992
00:51:16,200 --> 00:51:18,280
Speaker 1: To Oh, there are quite a few Wahlberg.

993
00:51:18,000 --> 00:51:19,920
Speaker 2: Of course they're Boston Irish Catholic.

994
00:51:19,719 --> 00:51:24,240
Speaker 1: Dude, Donnie Mark, Jim Robert, Paul Wahlberg.

995
00:51:24,400 --> 00:51:32,400
Speaker 2: Patrick, Patrick Moira. I'm running out offensively Irish names. I

996
00:51:32,440 --> 00:51:34,000
Speaker 2: didn't have more prepared. I should have gone into that

997
00:51:34,000 --> 00:51:39,040
Speaker 2: bib uh Yeah, Donnie was hoping that The Sixth Sense

998
00:51:39,080 --> 00:51:42,000
Speaker 2: would jump start his career as a quote unquote serious actor,

999
00:51:42,239 --> 00:51:45,200
Speaker 2: and as such threw himself into the part of Vincent,

1000
00:51:45,640 --> 00:51:50,360
Speaker 2: the disturbed former patient of Bruce Willis's with equally psychotic Gusto.

1001
00:51:50,719 --> 00:51:53,160
Speaker 2: Wahlberg told the Hollywood Reporter, I remember, and I'm saying,

1002
00:51:53,160 --> 00:51:55,759
Speaker 2: this scene really has to kickstart the movie. I tried

1003
00:51:55,760 --> 00:51:58,480
Speaker 2: not to think about the burden and the responsibility and

1004
00:51:58,600 --> 00:52:00,680
Speaker 2: just try to honor the script and stay in tune

1005
00:52:00,680 --> 00:52:02,879
Speaker 2: with what I needed to play this part. I thought,

1006
00:52:02,880 --> 00:52:04,879
Speaker 2: if I was in that room standing across from Bruce

1007
00:52:04,880 --> 00:52:07,799
Speaker 2: Willis and Olivia Williams and haven't suffered and really gone

1008
00:52:07,840 --> 00:52:09,960
Speaker 2: through some dramatic can I do in the voice I

1009
00:52:10,000 --> 00:52:13,280
Speaker 2: remember Nights saying this scene has really got to kickstot

1010
00:52:13,360 --> 00:52:17,640
Speaker 2: the movie. Sorry, no, I don't think I kickstot the movie.

1011
00:52:18,320 --> 00:52:20,680
Speaker 2: I tried not to think about that burden and that

1012
00:52:20,840 --> 00:52:23,480
Speaker 2: responsibility and just try to on of the script and

1013
00:52:23,520 --> 00:52:26,319
Speaker 2: stay in tune with what I needed to Kennedy when

1014
00:52:26,400 --> 00:52:29,160
Speaker 2: I needed to play this pot smart guy.

1015
00:52:29,800 --> 00:52:31,880
Speaker 1: The only boss at axcit work, I say, is North. No.

1016
00:52:32,320 --> 00:52:34,720
Speaker 2: No thought if I was really in that room standing

1017
00:52:34,719 --> 00:52:38,320
Speaker 2: across from Bruce Willis and Olivia Williams. I haven't suffered,

1018
00:52:39,239 --> 00:52:42,880
Speaker 2: really gone through some really dramatic situations before through this

1019
00:52:43,040 --> 00:52:45,719
Speaker 2: scene to take it back to a serious place. He

1020
00:52:45,760 --> 00:52:48,840
Speaker 2: then gives the truly traumatic, amazing kicker to this sentence,

1021
00:52:49,120 --> 00:52:52,000
Speaker 2: How am I going to bear my clothes, never mind

1022
00:52:52,040 --> 00:52:55,680
Speaker 2: bear my soul? So he starved himself. He moved to

1023
00:52:55,719 --> 00:52:57,440
Speaker 2: New York and stayed in a friend's apartment with no

1024
00:52:57,560 --> 00:52:59,560
Speaker 2: money or credit cards, and he would fast for a

1025
00:52:59,600 --> 00:53:02,040
Speaker 2: couple of day at times and then just eat vegetables,

1026
00:53:02,239 --> 00:53:05,279
Speaker 2: chew gum all day, and then quote walk the streets.

1027
00:53:06,520 --> 00:53:08,440
Speaker 2: Then when he got to Philadelphia, he said, I slept

1028
00:53:08,440 --> 00:53:10,080
Speaker 2: in a park one night and was going through this

1029
00:53:10,160 --> 00:53:13,760
Speaker 2: really crazy process. He lost forty three pounds in five

1030
00:53:13,800 --> 00:53:18,400
Speaker 2: weeks and stopped showering. He was not, however, allowed to

1031
00:53:18,440 --> 00:53:21,520
Speaker 2: do full frontal or full battle. I guess as he

1032
00:53:21,560 --> 00:53:24,120
Speaker 2: thought he was going to, So he wore his underwear

1033
00:53:24,280 --> 00:53:28,360
Speaker 2: to hang onto that PG. Thirteen rating and he's in

1034
00:53:28,400 --> 00:53:32,520
Speaker 2: it for like ten minutes, five minutes, three minutes. See, yeah,

1035
00:53:32,840 --> 00:53:37,080
Speaker 2: it's short, whatever it is. Yeah, but his self abuse

1036
00:53:38,000 --> 00:53:40,880
Speaker 2: achieved the goal. He went onto other stuff like the

1037
00:53:40,920 --> 00:53:44,759
Speaker 2: Band of Brothers, miniseries and Saw Saw Too.

1038
00:53:44,920 --> 00:53:47,080
Speaker 1: He's in Saw Too and Saw three.

1039
00:53:47,200 --> 00:53:51,080
Speaker 2: I think Donnie Wahlberg's performance was significantly better, however, than

1040
00:53:51,120 --> 00:53:54,960
Speaker 2: our buddy fly By Night's own acting chops. As is

1041
00:53:55,000 --> 00:53:57,200
Speaker 2: so often the case with directors, you know, Hitchcock and

1042
00:53:57,239 --> 00:54:01,040
Speaker 2: so forth, fly by Night makes a director and his movies.

1043
00:54:01,760 --> 00:54:03,480
Speaker 1: He means m night Chamalan, folks.

1044
00:54:03,560 --> 00:54:06,520
Speaker 2: I'm workshopping some nicknames. I like fly by Night. I

1045
00:54:06,560 --> 00:54:08,120
Speaker 2: had some more queued up. Let me know.

1046
00:54:08,239 --> 00:54:11,480
Speaker 1: Night moves, Oh, night moves is good night owl one

1047
00:54:11,600 --> 00:54:14,120
Speaker 1: night stand. That's good too, because that's kind of what

1048
00:54:14,160 --> 00:54:20,400
Speaker 1: he is. Oh got his ass? Uh? Oh, Ship's passing

1049
00:54:20,400 --> 00:54:24,920
Speaker 1: in the night. I like that. Good Night Vienna, Oh

1050
00:54:24,960 --> 00:54:26,839
Speaker 1: that's good. Long Day's Journey in the night.

1051
00:54:27,160 --> 00:54:30,520
Speaker 2: M Night is h M Night is Young Red Sky,

1052
00:54:30,840 --> 00:54:35,160
Speaker 2: m Night, Sailor's Delight, Saturday Night Special.

1053
00:54:34,960 --> 00:54:36,520
Speaker 1: Saturday Night's all right for Fighting?

1054
00:54:36,719 --> 00:54:40,839
Speaker 2: Yeah, stag Night anything there, Night on the Town, three

1055
00:54:40,880 --> 00:54:42,719
Speaker 2: Dog Night, three Dog Night.

1056
00:54:43,160 --> 00:54:46,200
Speaker 1: Yeah, so our boy Saturday Night Special.

1057
00:54:46,960 --> 00:54:50,440
Speaker 2: Uh, I'm liking that one actually gives him a kind

1058
00:54:50,440 --> 00:54:51,399
Speaker 2: of gives him.

1059
00:54:51,320 --> 00:54:55,880
Speaker 1: A pop just pops, doesn't it? Uh? Anyway, he's he

1060
00:54:56,239 --> 00:54:58,400
Speaker 1: does his cameo. Here's a doctor.

1061
00:54:58,520 --> 00:55:00,520
Speaker 2: He wrote the part is a quote nice little thing

1062
00:55:00,600 --> 00:55:03,759
Speaker 2: to honor his parents, who are both doctors, and he

1063
00:55:04,160 --> 00:55:06,360
Speaker 2: cut most of it because he's bad at acting, but

1064
00:55:06,600 --> 00:55:09,360
Speaker 2: apparently improved so much by lading the water that he

1065
00:55:09,360 --> 00:55:12,640
Speaker 2: felt he could cast himself as the savior of mankind.

1066
00:55:13,800 --> 00:55:15,279
Speaker 1: Herb oh Man.

1067
00:55:15,360 --> 00:55:19,880
Speaker 2: Somebody tweeted us about last week's question that we faced

1068
00:55:20,120 --> 00:55:22,640
Speaker 2: or the joy Division episode. We were attempting to ascertain

1069
00:55:23,239 --> 00:55:27,120
Speaker 2: where the north of England begins, and so we had

1070
00:55:27,200 --> 00:55:32,200
Speaker 2: a listener tweet at me a gentleman named Andy who drums.

1071
00:55:32,840 --> 00:55:34,839
Speaker 2: I think I believe he has a black metal band

1072
00:55:34,880 --> 00:55:37,600
Speaker 2: of some kind from what I was briefly able to

1073
00:55:37,640 --> 00:55:38,840
Speaker 2: glean from his Twitter profile.

1074
00:55:39,160 --> 00:55:40,000
Speaker 1: He tweeted us.

1075
00:55:39,960 --> 00:55:42,799
Speaker 2: Anything north of Sheffield is the north of England, which

1076
00:55:42,800 --> 00:55:45,720
Speaker 2: he said was further bolstered by a Scotsman. He knows

1077
00:55:46,440 --> 00:55:48,520
Speaker 2: who gave that this second opinion, And far be it

1078
00:55:48,520 --> 00:55:51,000
Speaker 2: for me to argue with the Scotsman. So oh, thank you,

1079
00:55:51,080 --> 00:55:54,000
Speaker 2: Oh yes, so there he is. Yes, mcknightride or thank you. Yeah,

1080
00:55:54,040 --> 00:55:57,440
Speaker 2: I consider that matter settled. TMI regrets the error.

1081
00:55:57,880 --> 00:55:59,120
Speaker 1: I think that was what I said.

1082
00:55:59,200 --> 00:56:04,160
Speaker 2: Okay, well, don't let's not be petty, Jordan. I've said

1083
00:56:04,239 --> 00:56:09,640
Speaker 2: plenty of things that were right too, he said lyingly.

1084
00:56:10,040 --> 00:56:15,560
Speaker 2: Disney quickly surrounded the inexperienced hard Day's Night with producer

1085
00:56:15,640 --> 00:56:16,680
Speaker 2: Kathleen Kennedy.

1086
00:56:17,200 --> 00:56:20,120
Speaker 1: Anything there. I just was really proud that after speaking

1087
00:56:20,120 --> 00:56:22,120
Speaker 1: about the north of England, you made a Beatles reference

1088
00:56:22,200 --> 00:56:24,319
Speaker 1: in reference to them Night Shauman's name, So that.

1089
00:56:24,280 --> 00:56:27,920
Speaker 2: Was good connections being made up here. Producer Kathleen Kennedy

1090
00:56:28,040 --> 00:56:32,200
Speaker 2: and cinematographer tak Fujimoto. This is interesting because tak Fujimoto

1091
00:56:32,560 --> 00:56:36,359
Speaker 2: was Demi's longtime director of photography during that hot streak

1092
00:56:36,360 --> 00:56:38,480
Speaker 2: in the eighties and nineties, but he actually broke through

1093
00:56:38,520 --> 00:56:41,160
Speaker 2: into the industry with Terrence Malex bad Lands, which is

1094
00:56:41,600 --> 00:56:43,840
Speaker 2: generally considered to be one of the most beautiful movies

1095
00:56:43,840 --> 00:56:46,200
Speaker 2: of his era. So you know, you get the guy

1096
00:56:46,239 --> 00:56:48,040
Speaker 2: that did that, went on to work with Demi for

1097
00:56:48,160 --> 00:56:50,920
Speaker 2: like five movies and then went onto sixth Cents. You're

1098
00:56:50,960 --> 00:56:54,320
Speaker 2: in pretty good hands. Other notables included editor Andrew Monsheine,

1099
00:56:54,320 --> 00:56:56,520
Speaker 2: who had come from What's Eating Gilbert Grape and Joanna

1100
00:56:56,600 --> 00:56:59,960
Speaker 2: Johnston who was from Spielberg and Zemic is his camp

1101
00:57:00,480 --> 00:57:03,880
Speaker 2: doing wardrobe. So many little details in this movie that

1102
00:57:03,920 --> 00:57:05,880
Speaker 2: are so great. Did you talk about how he's always

1103
00:57:05,880 --> 00:57:08,560
Speaker 2: wearing the same outfit but in different configurations so that

1104
00:57:08,600 --> 00:57:11,399
Speaker 2: it's not as obvious, and he's just so like drab

1105
00:57:11,440 --> 00:57:13,200
Speaker 2: and boring that you're like, yeah, I probably would wear

1106
00:57:13,239 --> 00:57:14,399
Speaker 2: the same suit and tie every day.

1107
00:57:14,560 --> 00:57:17,840
Speaker 1: Yeah. Anyway. The Sixth Sense was shot in and around Philadelphia,

1108
00:57:17,840 --> 00:57:20,680
Speaker 1: where m Knight's from, and the film features little location

1109
00:57:20,840 --> 00:57:24,120
Speaker 1: specific hints for ego eyed viewers, and perhaps you, as

1110
00:57:24,120 --> 00:57:26,080
Speaker 1: a Pennsylvania boy, picked up on some of them. There

1111
00:57:26,120 --> 00:57:29,440
Speaker 1: was a bottle of pen made sour cream, which is

1112
00:57:29,480 --> 00:57:32,400
Speaker 1: only available in the Philadelphia area, as well as new

1113
00:57:32,440 --> 00:57:35,480
Speaker 1: logos for the Philadelphia Eagles and the seventy six ers

1114
00:57:35,480 --> 00:57:39,160
Speaker 1: from nineteen ninety six and nineteen ninety seven. Many of

1115
00:57:39,160 --> 00:57:42,600
Speaker 1: the indoor sets were built in the Philadelphia Convention Center,

1116
00:57:42,640 --> 00:57:45,760
Speaker 1: which was torn down in two thousand and five. Halo

1117
00:57:45,840 --> 00:57:49,800
Speaker 1: Joe Alsoma would recall big empty marble hallways, kind of

1118
00:57:49,800 --> 00:57:53,120
Speaker 1: a shining feel around the set itself. I believe JFK

1119
00:57:53,320 --> 00:57:56,000
Speaker 1: did a speech there during a campaign in nineteen sixty.

1120
00:57:56,760 --> 00:57:59,160
Speaker 1: I was not able to turn up anything about JFK,

1121
00:57:59,360 --> 00:58:02,800
Speaker 1: but Martin Luther King did speak there as ad LBJ Nelson,

1122
00:58:02,840 --> 00:58:06,280
Speaker 1: Mandela Pope John Paul the Second, in addition to the Beatles,

1123
00:58:06,360 --> 00:58:09,200
Speaker 1: The Stones, and the Dead, who all performed there, as

1124
00:58:09,200 --> 00:58:12,360
Speaker 1: did the Jackson Five, who reportedly played their first gig

1125
00:58:12,400 --> 00:58:15,880
Speaker 1: there after signing to motown. All of this to say,

1126
00:58:16,320 --> 00:58:21,320
Speaker 1: these halls are surely haunted. It must feel crazy in there,

1127
00:58:22,080 --> 00:58:24,040
Speaker 1: or did before they tore it down. Yeah, he did

1128
00:58:24,080 --> 00:58:26,040
Speaker 1: the same thing for Unbreakable. He filmed it in there

1129
00:58:26,080 --> 00:58:30,360
Speaker 1: Pacific Center. Yeah, good for him. Hill Is Jewson would continue,

1130
00:58:30,520 --> 00:58:33,040
Speaker 1: it was very old on ornate and had these cavernous

1131
00:58:33,080 --> 00:58:37,160
Speaker 1: marble stairways that went really deep down. Yes, it really

1132
00:58:37,240 --> 00:58:40,840
Speaker 1: had a creepy feeling. Despite this, he says he wasn't

1133
00:58:40,880 --> 00:58:43,720
Speaker 1: afraid as he and Misha wander the darkened corners of

1134
00:58:43,760 --> 00:58:47,560
Speaker 1: this building. He said he was somewhat desensitized during filming,

1135
00:58:47,680 --> 00:58:50,480
Speaker 1: and then he never had nightmares or anything of the sort.

1136
00:58:50,880 --> 00:58:53,320
Speaker 1: Misha Barton said something similar about the time she spent

1137
00:58:53,400 --> 00:58:57,160
Speaker 1: sprinting through in her Dead Kid makeup, which is a

1138
00:58:57,200 --> 00:59:00,240
Speaker 1: great little detail. She said, this movie didn't really bother

1139
00:59:00,360 --> 00:59:03,240
Speaker 1: me that much. I've always been fascinated by gothic and

1140
00:59:03,360 --> 00:59:06,840
Speaker 1: dark things, so it wasn't like I was scared. It

1141
00:59:06,880 --> 00:59:10,080
Speaker 1: was more just really interesting subject matter. I've always felt

1142
00:59:10,080 --> 00:59:13,600
Speaker 1: there's a real need to do the character justice. Everybody asks,

1143
00:59:13,760 --> 00:59:17,520
Speaker 1: was it traumatizing doing this movie? It really wasn't. I

1144
00:59:17,600 --> 00:59:25,120
Speaker 1: was already thirteen and I could handle it. Poor girl. Yeah,

1145
00:59:25,480 --> 00:59:27,480
Speaker 1: I can only imagine that Hella jo Osma was about

1146
00:59:27,480 --> 00:59:29,520
Speaker 1: the biggest crush on her. He was eleven. She was

1147
00:59:29,560 --> 00:59:30,280
Speaker 1: so nice.

1148
00:59:30,720 --> 00:59:34,600
Speaker 2: God, dude, can you imagine the searing failings that young

1149
00:59:34,640 --> 00:59:36,680
Speaker 2: boy had chasing her around the convention.

1150
00:59:36,400 --> 00:59:38,160
Speaker 1: Center in the darkened court.

1151
00:59:38,160 --> 00:59:40,480
Speaker 2: You could just do a whole movie on just that relationship.

1152
00:59:41,280 --> 00:59:44,760
Speaker 1: Yeah. Even so, there were still some scenes that were

1153
00:59:44,800 --> 00:59:48,720
Speaker 1: deemed too troubling for the final cut. Ozma remembered shooting

1154
00:59:48,760 --> 00:59:51,000
Speaker 1: a scene where he looked out a window and saw

1155
00:59:51,040 --> 00:59:56,320
Speaker 1: an entire hospital wing of quote horribly disfigured and mutilated people,

1156
00:59:57,320 --> 00:59:59,680
Speaker 1: and might cut it from the movie, possibly to protect

1157
00:59:59,680 --> 01:00:04,560
Speaker 1: its peace rating. We touched on this earlier bit while filming.

1158
01:00:04,600 --> 01:00:07,800
Speaker 1: The cast wasn't totally aware of how terrifying this film

1159
01:00:07,840 --> 01:00:11,280
Speaker 1: would ultimately be. Most thought it was an emotional drama

1160
01:00:11,320 --> 01:00:15,000
Speaker 1: about characters grappling with communication issues with their loved ones

1161
01:00:15,160 --> 01:00:18,760
Speaker 1: dead or alive. Awesome, it would tell variety. The first

1162
01:00:18,840 --> 01:00:20,800
Speaker 1: time I remember seeing a lot of it. Of even

1163
01:00:20,880 --> 01:00:23,880
Speaker 1: Day's was at Disney's lot in Burbank in the Seven

1164
01:00:23,920 --> 01:00:27,080
Speaker 1: Dwarfs building, but they had some screening rooms. I went

1165
01:00:27,120 --> 01:00:29,479
Speaker 1: there with my whole family. A friend of mine came

1166
01:00:29,560 --> 01:00:32,520
Speaker 1: and I remember him getting really scared by it. That

1167
01:00:32,680 --> 01:00:35,400
Speaker 1: was the first time I was like, oh, wow, this

1168
01:00:35,480 --> 01:00:36,880
Speaker 1: is what this movie does to people.

1169
01:00:39,720 --> 01:00:42,160
Speaker 2: As you meditate on that, we'll be right back with

1170
01:00:42,280 --> 01:00:44,680
Speaker 2: more too much information after these messages.

1171
01:00:52,240 --> 01:01:00,760
Speaker 1: Wow. Halo Jaws recalled that the most difficult scene to

1172
01:01:00,840 --> 01:01:03,360
Speaker 1: film was the one in the car, where the character

1173
01:01:03,440 --> 01:01:07,040
Speaker 1: of Cole reveals a personal story to his mother about

1174
01:01:07,040 --> 01:01:11,920
Speaker 1: his grandmother, which ultimately convinces her of his supernatural abilities.

1175
01:01:12,680 --> 01:01:17,680
Speaker 1: His mother went to her mother's grave and asked if

1176
01:01:17,680 --> 01:01:21,360
Speaker 1: her late mother was proud of her, and her answer

1177
01:01:21,480 --> 01:01:26,480
Speaker 1: delivered through her young son every day. What's that mean?

1178
01:01:27,360 --> 01:01:32,720
Speaker 1: Oh God? That scene is crushing. It crushing hasn't recalled

1179
01:01:32,720 --> 01:01:34,920
Speaker 1: a sci fi wire. It was raining and we were

1180
01:01:34,920 --> 01:01:37,200
Speaker 1: in a car and I remember being kind of rushed

1181
01:01:37,200 --> 01:01:40,680
Speaker 1: in that scene and the tone is really delicate. But

1182
01:01:41,960 --> 01:01:43,080
Speaker 1: nailed it, baby.

1183
01:01:42,880 --> 01:01:45,080
Speaker 2: Yeah, I was gonna say, knocked it out of the park.

1184
01:01:45,520 --> 01:01:48,680
Speaker 1: Both people in that scene were nominated for oscars. That

1185
01:01:48,760 --> 01:01:52,959
Speaker 1: seems tough. That's really yeah. I rewatched it several times

1186
01:01:53,040 --> 01:01:57,280
Speaker 1: in advance of this, and I am stunned by them.

1187
01:01:57,320 --> 01:02:00,520
Speaker 1: And I'm not good at like recognizing good act For me,

1188
01:02:00,600 --> 01:02:04,000
Speaker 1: it's like pizza, Like everything above a certain very low

1189
01:02:04,080 --> 01:02:07,480
Speaker 1: threshold to me reads as like decent acting. And it's

1190
01:02:07,600 --> 01:02:10,000
Speaker 1: very hard for me, which is sad considering I went

1191
01:02:10,040 --> 01:02:12,200
Speaker 1: to school for film. It's very hard for me to

1192
01:02:12,240 --> 01:02:13,760
Speaker 1: recognize truly great acting.

1193
01:02:13,840 --> 01:02:17,360
Speaker 2: But good lord, that scene is yeah, I mean, what

1194
01:02:17,560 --> 01:02:18,200
Speaker 2: happened to him?

1195
01:02:18,240 --> 01:02:21,360
Speaker 1: Man? Like, we'll talk about that towards the end of

1196
01:02:21,360 --> 01:02:23,440
Speaker 1: the episode. I mean, I don't know. I mean, may

1197
01:02:23,960 --> 01:02:25,320
Speaker 1: just be a case of like you can't be that

1198
01:02:25,440 --> 01:02:26,240
Speaker 1: hungry twice.

1199
01:02:27,160 --> 01:02:30,960
Speaker 2: I mean, but he's so like ahead of his years

1200
01:02:31,000 --> 01:02:33,440
Speaker 2: in that movie. And then just I mean especially and

1201
01:02:33,840 --> 01:02:37,320
Speaker 2: going up against Tony Killette. You know, like anyway six

1202
01:02:37,520 --> 01:02:39,320
Speaker 2: we talked to We just mentioned this, but you know,

1203
01:02:40,000 --> 01:02:44,400
Speaker 2: this movie is actually really seriously impressive in how it

1204
01:02:44,680 --> 01:02:49,160
Speaker 2: adheres to its proof of concept you know, logic, Yeah, right,

1205
01:02:49,240 --> 01:02:50,800
Speaker 2: And it's like one of those things that once you

1206
01:02:50,800 --> 01:02:53,360
Speaker 2: get the twist, you watch it again and you're like, damn,

1207
01:02:53,400 --> 01:02:54,080
Speaker 2: they really.

1208
01:02:53,880 --> 01:02:55,360
Speaker 1: Did like flawlessly support this.

1209
01:02:55,440 --> 01:02:59,200
Speaker 2: Through the whole movie, Malcolm Crow only wears articles of

1210
01:02:59,200 --> 01:03:01,680
Speaker 2: clothing that he or touched the night of his death,

1211
01:03:01,760 --> 01:03:05,640
Speaker 2: like the overcoat, his blue rowing sweatshirt, the suit jacket.

1212
01:03:06,760 --> 01:03:09,280
Speaker 2: He doesn't interact with anyone other than coal. He doesn't

1213
01:03:09,280 --> 01:03:12,919
Speaker 2: touch any objects except for the Latin dictionary. And funnily enough,

1214
01:03:13,040 --> 01:03:15,600
Speaker 2: Bruce Willis actually had to learn how to write with

1215
01:03:15,640 --> 01:03:18,320
Speaker 2: his right hand for scenes where they were doing shots

1216
01:03:18,320 --> 01:03:21,120
Speaker 2: of that, because he's left handed, and they couldn't show

1217
01:03:21,160 --> 01:03:22,960
Speaker 2: him righting with the left because they would have spoiled

1218
01:03:22,960 --> 01:03:23,840
Speaker 2: the wedding ring moment.

1219
01:03:24,440 --> 01:03:27,720
Speaker 1: Isn't that cool? Yeah, that's cool. Speaking of spoiling, I

1220
01:03:27,800 --> 01:03:28,800
Speaker 1: added that later.

1221
01:03:31,640 --> 01:03:36,800
Speaker 2: Hugh another interesting how dare you? Another interesting clue is

1222
01:03:36,880 --> 01:03:39,040
Speaker 2: the use of the color red throughout the film, but

1223
01:03:39,200 --> 01:03:42,000
Speaker 2: used it sparingly in shots that depicted, as he said,

1224
01:03:42,400 --> 01:03:45,040
Speaker 2: anything that's tainted from the ghost world or has a

1225
01:03:45,040 --> 01:03:46,440
Speaker 2: connection to the other side.

1226
01:03:47,800 --> 01:03:49,720
Speaker 1: You if anything that's tainted from the ghost world or

1227
01:03:49,760 --> 01:03:50,600
Speaker 1: the other side.

1228
01:03:50,720 --> 01:03:53,680
Speaker 2: Buddy, what don't I have that's tainted from the ghost

1229
01:03:53,680 --> 01:03:59,320
Speaker 2: world or the other side in this economy? The doorknob

1230
01:03:59,360 --> 01:04:02,760
Speaker 2: that the locked basement door that Bruce tries to get open,

1231
01:04:03,000 --> 01:04:06,120
Speaker 2: the balloon that leads Cole up the winding staircase at

1232
01:04:06,120 --> 01:04:09,040
Speaker 2: the birthday party, where the ghost slash at his sweater,

1233
01:04:09,160 --> 01:04:11,680
Speaker 2: which is also red. The door of the church where

1234
01:04:11,680 --> 01:04:18,400
Speaker 2: Cole seeks church stuff, Cole's ghost tent and this scream

1235
01:04:18,440 --> 01:04:20,240
Speaker 2: of consciousness scrawl across his desk.

1236
01:04:20,640 --> 01:04:24,320
Speaker 1: Oh what I said. Oh, it's just as creepy.

1237
01:04:24,520 --> 01:04:28,280
Speaker 2: The dress of that horror of a mother wears at

1238
01:04:28,280 --> 01:04:31,160
Speaker 2: the funeral, the nerve on her, the cheek of it

1239
01:04:31,800 --> 01:04:35,320
Speaker 2: red at a funeral, exactly right the box holding the

1240
01:04:35,360 --> 01:04:38,440
Speaker 2: dead girl's videotape. Speak of color, it is interesting to

1241
01:04:38,480 --> 01:04:41,720
Speaker 2: note that both Osmond and Wahlberg's characters who can see

1242
01:04:41,840 --> 01:04:43,600
Speaker 2: you know the dead people.

1243
01:04:43,800 --> 01:04:45,600
Speaker 1: Have white hairs on their heads.

1244
01:04:49,840 --> 01:04:55,320
Speaker 2: One night only decided that all quote spirit spotters would share.

1245
01:04:55,360 --> 01:04:57,720
Speaker 2: This physical attribute is that when a ghost has like

1246
01:04:57,760 --> 01:04:59,000
Speaker 2: a light flow period.

1247
01:04:59,480 --> 01:05:04,400
Speaker 1: Oh, usually I have a pretty good sense, you may

1248
01:05:04,480 --> 01:05:06,840
Speaker 1: even call it a sixth sense of where you're about

1249
01:05:06,880 --> 01:05:09,880
Speaker 1: to go or what you're about to do. That one,

1250
01:05:10,480 --> 01:05:14,840
Speaker 1: that one I didn't see. I did not see that.

1251
01:05:15,800 --> 01:05:17,920
Speaker 2: According to the film's logic, the temperature drops when a

1252
01:05:17,960 --> 01:05:20,960
Speaker 2: ghost gets upset, right, which we've we covered in our

1253
01:05:21,280 --> 01:05:22,160
Speaker 2: Extorsist series.

1254
01:05:24,680 --> 01:05:29,960
Speaker 1: Yeah, I never thought about that. Hey, why to pissed off?

1255
01:05:29,960 --> 01:05:33,480
Speaker 1: Ghosts make things cold? You should know this, You know,

1256
01:05:33,520 --> 01:05:35,040
Speaker 1: I got no idea. Maybe it's to do with.

1257
01:05:35,000 --> 01:05:41,000
Speaker 2: The goo, the the the the fat fantasm, the patantasma, goria,

1258
01:05:42,000 --> 01:05:47,440
Speaker 2: their gool and they have goo exo exoplasm, psychoplasm something

1259
01:05:47,480 --> 01:05:48,600
Speaker 2: like that, right, is it the goo?

1260
01:05:48,720 --> 01:05:51,040
Speaker 1: Yeah, let's call it dan Akroyd, he'll know.

1261
01:05:51,720 --> 01:05:54,200
Speaker 2: I can't believe he slipped himself getting a ghost blowy

1262
01:05:54,240 --> 01:05:54,680
Speaker 2: into that.

1263
01:05:54,680 --> 01:05:56,920
Speaker 1: Movie, Jamie, can you get dan akroad online?

1264
01:05:57,200 --> 01:06:01,320
Speaker 2: So anyway, the ghosts, their goo makes it cold, right,

1265
01:06:01,440 --> 01:06:03,760
Speaker 2: That's what we've decided here. And so you can see

1266
01:06:03,760 --> 01:06:05,960
Speaker 2: Bruce Willis's wife's breath at the end of the movie,

1267
01:06:06,560 --> 01:06:10,840
Speaker 2: and along with the line I see dead people. M

1268
01:06:10,960 --> 01:06:14,760
Speaker 2: Night decided not to use CGI to facilitate the image

1269
01:06:14,800 --> 01:06:17,439
Speaker 2: of this breath coming out, and instead he put Haley

1270
01:06:17,520 --> 01:06:22,080
Speaker 2: Joe Osmon in a frozen box. I believe that he

1271
01:06:22,160 --> 01:06:26,080
Speaker 2: built a cold room, and he said his rationale for

1272
01:06:26,080 --> 01:06:29,000
Speaker 2: doing this was CGI at the time was not perfected

1273
01:06:29,000 --> 01:06:30,840
Speaker 2: to the place where I felt comfortable that it could

1274
01:06:30,880 --> 01:06:34,800
Speaker 2: do breath. So we built a cold room. Osmon wasn't acting.

1275
01:06:34,920 --> 01:06:37,480
Speaker 2: It was cold and you could see the physicality on

1276
01:06:37,520 --> 01:06:40,720
Speaker 2: his skin and the way he's shivering. And even now

1277
01:06:40,880 --> 01:06:43,240
Speaker 2: with CGI, I might do it the same way because

1278
01:06:43,240 --> 01:06:46,160
Speaker 2: of what it makes the actors do. God it sucks.

1279
01:06:47,600 --> 01:06:50,200
Speaker 2: Hjo explained a little bit more. He said, what they

1280
01:06:50,240 --> 01:06:52,520
Speaker 2: would do is drape this huge plastic sheeting over the

1281
01:06:52,520 --> 01:06:54,840
Speaker 2: sets and then pump in freezing cold air so that

1282
01:06:54,840 --> 01:06:57,200
Speaker 2: it would be below freezing and you could see our breath.

1283
01:06:58,480 --> 01:07:00,240
Speaker 2: There was a limited time that we could be there

1284
01:07:00,240 --> 01:07:02,240
Speaker 2: because it was so cold, and most of our scenes

1285
01:07:02,280 --> 01:07:05,000
Speaker 2: I'm in my underwear or something. It's a tough environment,

1286
01:07:05,080 --> 01:07:06,760
Speaker 2: but it's great when you're in scene we're supposed to

1287
01:07:06,760 --> 01:07:09,080
Speaker 2: be frightened and shivering, and it really is that cold.

1288
01:07:09,480 --> 01:07:12,720
Speaker 2: You can actually use real elements in those situations. Exorcist

1289
01:07:12,760 --> 01:07:15,520
Speaker 2: was done like twenty below at one point right because

1290
01:07:15,520 --> 01:07:17,800
Speaker 2: of the lighting in that room. They had to like

1291
01:07:17,960 --> 01:07:21,560
Speaker 2: get it that cold. Of course, speaking of these airtight moments,

1292
01:07:22,040 --> 01:07:25,160
Speaker 2: if any viewers picked up this airtight construction on the

1293
01:07:25,200 --> 01:07:27,000
Speaker 2: first time that they saw the movie, and the end

1294
01:07:27,040 --> 01:07:30,960
Speaker 2: of the film pretty much blew everyone's minds, Nighty Night

1295
01:07:31,040 --> 01:07:33,600
Speaker 2: and his crew went to great lengths to preserve the

1296
01:07:33,680 --> 01:07:36,120
Speaker 2: surprise that Bruce Willis's character has been dead throughout the

1297
01:07:36,240 --> 01:07:38,400
Speaker 2: entirety of the movie, and in fact, he nearly cut

1298
01:07:38,440 --> 01:07:41,400
Speaker 2: the legendary I See Dead People Lyne due to concerns

1299
01:07:41,440 --> 01:07:43,920
Speaker 2: that it gave the twist away. This was less due

1300
01:07:43,920 --> 01:07:46,600
Speaker 2: to the line itself, and more because the camera immediately

1301
01:07:46,640 --> 01:07:48,720
Speaker 2: cuts to a shot of Bruce Willis's character as soon

1302
01:07:48,760 --> 01:07:51,080
Speaker 2: as he says it. This was meant as a subtle

1303
01:07:51,120 --> 01:07:53,320
Speaker 2: signal that doctor Crowe was one of the aforementioned dead

1304
01:07:53,320 --> 01:07:56,200
Speaker 2: people that Cold could see. However, after watching an early

1305
01:07:56,240 --> 01:07:59,240
Speaker 2: cut of the film, Nighty Night was concerned that this

1306
01:08:00,120 --> 01:08:01,720
Speaker 2: stick with that. Nighty Night was concerned that this was

1307
01:08:01,720 --> 01:08:04,640
Speaker 2: all tar too obvious and reportedly ordered the exchange cut,

1308
01:08:04,840 --> 01:08:07,040
Speaker 2: and his editors decided to leave the scene in for

1309
01:08:07,080 --> 01:08:11,480
Speaker 2: test screenings in order to gauge the audience response. Predictably,

1310
01:08:11,600 --> 01:08:13,680
Speaker 2: no one picked up on it, and Knight decided to

1311
01:08:13,720 --> 01:08:15,600
Speaker 2: leave it in, giving birth to one of the most

1312
01:08:15,600 --> 01:08:20,240
Speaker 2: famous catchphrases in horror movie history. Another truly insane way

1313
01:08:20,280 --> 01:08:22,599
Speaker 2: they worked to disguise this twist was forcing Bruce Willis,

1314
01:08:22,640 --> 01:08:25,160
Speaker 2: who was naturally left handed, to learn to write with

1315
01:08:25,240 --> 01:08:27,400
Speaker 2: his right hand, because there's a scene in which his

1316
01:08:27,439 --> 01:08:29,320
Speaker 2: character signs his name, and they worried that if he

1317
01:08:29,400 --> 01:08:32,840
Speaker 2: used his left hand, audience would realize that he isn't

1318
01:08:32,840 --> 01:08:34,800
Speaker 2: wearing a wedding band. You'll remember at the end of

1319
01:08:34,800 --> 01:08:38,160
Speaker 2: the movie, he realizes he's dead because his wife is

1320
01:08:38,240 --> 01:08:42,120
Speaker 2: clutching his ring. And all of these efforts are made

1321
01:08:42,160 --> 01:08:44,599
Speaker 2: so much more hilarious by the fact that James Newton

1322
01:08:44,640 --> 01:08:48,799
Speaker 2: Howard's score contains a piece of music that plays whenever

1323
01:08:48,800 --> 01:08:51,720
Speaker 2: Bruce Willis's character is on screen, and appears on the

1324
01:08:51,720 --> 01:08:54,040
Speaker 2: soundtrack listed as Malcolm is dead.

1325
01:08:54,600 --> 01:08:57,080
Speaker 1: So if you bought the soundtrack CD to The Sixth Senses,

1326
01:08:57,080 --> 01:08:59,559
Speaker 1: a big old spoiler on the track list.

1327
01:09:00,000 --> 01:09:03,320
Speaker 2: Good job Newton, Newton Howard, loser, all right?

1328
01:09:03,520 --> 01:09:07,840
Speaker 1: Moving on? As m Night, Shyamalan readied his film for

1329
01:09:07,880 --> 01:09:10,920
Speaker 1: release throughout the summer of nineteen ninety nine. He worried

1330
01:09:10,960 --> 01:09:13,679
Speaker 1: deeply that The Sixth Sense would be a victim of timing,

1331
01:09:14,200 --> 01:09:17,439
Speaker 1: specifically because it was too similar to another movie that

1332
01:09:17,520 --> 01:09:21,679
Speaker 1: have been released sort of around the same time. Now,

1333
01:09:21,760 --> 01:09:24,200
Speaker 1: there have been numerous occasions over the years where film's

1334
01:09:24,280 --> 01:09:26,920
Speaker 1: chances of the box office were neetcapped due to other

1335
01:09:27,000 --> 01:09:30,360
Speaker 1: movies with a similar theme getting prominence around the same

1336
01:09:30,439 --> 01:09:34,320
Speaker 1: time he was finding Nemo and a Shark's Tale, Armageddon

1337
01:09:34,360 --> 01:09:38,120
Speaker 1: in Deep Impact, Dante's Peak and Volcano, A Bug's Life

1338
01:09:38,200 --> 01:09:41,960
Speaker 1: and Ants, and even Mega Mind and Despicable Me. All

1339
01:09:41,960 --> 01:09:44,519
Speaker 1: of these comparisons make a certain amount of sense considering

1340
01:09:44,560 --> 01:09:48,479
Speaker 1: they were, you know, very similar thematically and released during

1341
01:09:48,520 --> 01:09:52,800
Speaker 1: a very tight time period. However, m Night Shamalan's concerns

1342
01:09:53,000 --> 01:09:57,760
Speaker 1: are kind of ridiculous. He was reportedly worried because he

1343
01:09:57,840 --> 01:10:02,799
Speaker 1: feared that nineteen ninety five's ca Asper saturated the market

1344
01:10:02,920 --> 01:10:07,519
Speaker 1: with ghost movies, despite the fact that Casper was released

1345
01:10:07,640 --> 01:10:13,240
Speaker 1: four years earlier and it was for children. I've seen

1346
01:10:13,320 --> 01:10:18,360
Speaker 1: this sighted on numerous listicles from reputable sites, but I

1347
01:10:18,439 --> 01:10:22,479
Speaker 1: will admit there's a distinct possibility that it is fake news,

1348
01:10:22,520 --> 01:10:26,839
Speaker 1: because I just think that's absurd. However, there is another

1349
01:10:26,920 --> 01:10:29,479
Speaker 1: movie out there that was crushed at the box office

1350
01:10:29,520 --> 01:10:32,120
Speaker 1: by the Sixth Sense. I'm talking about The Stir of

1351
01:10:32,160 --> 01:10:35,160
Speaker 1: Echoes starring Kevin Bacon. Oh yeah, which followed me. I

1352
01:10:35,200 --> 01:10:39,280
Speaker 1: think was the first horror movie I ever saw it. Actually, actually, yeah,

1353
01:10:39,360 --> 01:10:41,800
Speaker 1: I saw that probably before the Sixth Sense. Like the

1354
01:10:41,840 --> 01:10:44,400
Speaker 1: Sixth Sense, this movie also set out around a child's

1355
01:10:44,400 --> 01:10:48,639
Speaker 1: ability to see dead people and ghosts. Fortunately for Old Bakes,

1356
01:10:49,360 --> 01:10:53,320
Speaker 1: his fifty summer movie barely made its budget back a

1357
01:10:53,439 --> 01:10:56,799
Speaker 1: faith that he blames on the Sixth Sense. And apparently

1358
01:10:56,920 --> 01:10:59,679
Speaker 1: Kevin Bacon has a seething hatred for the Sixth Sense

1359
01:11:00,240 --> 01:11:03,280
Speaker 1: to this day. That's great, it is.

1360
01:11:03,439 --> 01:11:05,960
Speaker 2: Yeah, I hope he takes it out on m Night,

1361
01:11:06,200 --> 01:11:09,120
Speaker 2: not anyone else in the film. She's just like been

1362
01:11:09,160 --> 01:11:14,519
Speaker 2: working for years to unseat shyamal On. M Knight comes

1363
01:11:14,560 --> 01:11:19,800
Speaker 2: back from his Bacon Brothers musical tour, seething, I'm gonna

1364
01:11:19,840 --> 01:11:23,840
Speaker 2: get that guy, think Bacon, think what is his weakness?

1365
01:11:24,760 --> 01:11:28,559
Speaker 1: Writing it on a whiteboard, switch bad movies and underlines it.

1366
01:11:30,479 --> 01:11:33,280
Speaker 2: Uh, are they like Shymalan stands or are gonna like

1367
01:11:33,280 --> 01:11:34,280
Speaker 2: come after me for this?

1368
01:11:36,640 --> 01:11:40,280
Speaker 1: I just it's become such a punchline. Yeah, I mean,

1369
01:11:40,439 --> 01:11:43,559
Speaker 1: Jesus Christ, I mean I just think of the Robot

1370
01:11:43,680 --> 01:11:44,200
Speaker 1: Chicken bit.

1371
01:11:44,320 --> 01:11:50,120
Speaker 2: Yeah, uh, marginally racist Seth Green doing an Indian accent.

1372
01:11:50,439 --> 01:11:53,760
Speaker 1: Uh oh, that was Seth Green. I assume I could

1373
01:11:53,760 --> 01:11:57,680
Speaker 1: almost imagine m Night like appearing in Robot Chicken. He

1374
01:11:57,760 --> 01:11:58,680
Speaker 1: was in Entourage.

1375
01:11:59,160 --> 01:12:01,559
Speaker 2: Yeah, I guess that's true, all right.

1376
01:12:02,800 --> 01:12:05,679
Speaker 1: The Sixth Sense was released on August sixth Night, Get

1377
01:12:05,720 --> 01:12:08,519
Speaker 1: It nineteen ninety nine, which also happened to be m

1378
01:12:08,640 --> 01:12:12,559
Speaker 1: Night's twenty ninth birthday. Wow, he was young. Oh of

1379
01:12:12,600 --> 01:12:13,439
Speaker 1: course he did that.

1380
01:12:13,600 --> 01:12:15,519
Speaker 2: No, he doesn't have control over the release dates, but

1381
01:12:15,560 --> 01:12:16,240
Speaker 2: it is funny.

1382
01:12:16,360 --> 01:12:18,040
Speaker 1: He took that as a sign that the Sixth Sense

1383
01:12:18,160 --> 01:12:21,600
Speaker 1: was quote being guided. Ah, in a way, he was

1384
01:12:21,600 --> 01:12:26,320
Speaker 1: not wrong. Despite receiving very little fanfare upon its release,

1385
01:12:26,680 --> 01:12:29,800
Speaker 1: the Sixth Sense made more than eight million dollars on

1386
01:12:29,840 --> 01:12:32,760
Speaker 1: its opening day. To put that in perspective, his first

1387
01:12:32,760 --> 01:12:36,040
Speaker 1: two movies, nineteen ninety two's Praying with Anger and nineteen

1388
01:12:36,120 --> 01:12:39,080
Speaker 1: ninety eight Wide Awake, grossed three hundred and fifty thousand

1389
01:12:39,120 --> 01:12:44,200
Speaker 1: dollars combined I think total, So eight million dollars an

1390
01:12:44,200 --> 01:12:47,280
Speaker 1: opening day not bad. The Sixth Sense ultimately went on

1391
01:12:47,320 --> 01:12:51,280
Speaker 1: to make six hundred and seventy three million dollars globally

1392
01:12:51,320 --> 01:12:54,080
Speaker 1: on a forty million dollar budget, making it the second

1393
01:12:54,160 --> 01:12:57,479
Speaker 1: highest grossing movie of nineteen ninety nine behind Star Wars

1394
01:12:57,520 --> 01:13:01,200
Speaker 1: The Phantom Menace. It beat out Toy Story two, Austin Powers,

1395
01:13:01,200 --> 01:13:04,000
Speaker 1: The Spy Who Shagged Me and The Matrix. It was

1396
01:13:04,040 --> 01:13:06,919
Speaker 1: also the most rented VHS of the year. Two thousand,

1397
01:13:07,160 --> 01:13:11,439
Speaker 1: with over eighty million people checking it out, crushing the

1398
01:13:11,479 --> 01:13:15,840
Speaker 1: Phantom Menaces rental record. The Sixth Sense also famously surpassed

1399
01:13:15,920 --> 01:13:18,439
Speaker 1: Jaws to become the highest grossing horror movie of all

1400
01:13:18,479 --> 01:13:21,800
Speaker 1: time until twenty seventeen following the release of the It

1401
01:13:22,000 --> 01:13:24,280
Speaker 1: reboot worthy successor.

1402
01:13:23,880 --> 01:13:28,080
Speaker 2: No, Okay, I actually liked those movies, but it has

1403
01:13:28,120 --> 01:13:29,760
Speaker 2: nothing really to do with the horror of it. I

1404
01:13:29,880 --> 01:13:32,000
Speaker 2: just like all the They really knocked it out of

1405
01:13:32,040 --> 01:13:35,240
Speaker 2: the part casting both of those really clearly writing on

1406
01:13:35,320 --> 01:13:37,760
Speaker 2: the stranger thing stuff, but like the kids in that

1407
01:13:37,960 --> 01:13:39,800
Speaker 2: great chemistry and then sort of the adult cast.

1408
01:13:40,040 --> 01:13:43,439
Speaker 1: So hilariously, given the big stink that Disney made about

1409
01:13:43,439 --> 01:13:47,160
Speaker 1: financing the picture and the firing of the executive David Vogel,

1410
01:13:47,200 --> 01:13:51,720
Speaker 1: you remember, it became Disney Imprint Hollywood Picture's most successful

1411
01:13:51,840 --> 01:13:56,520
Speaker 1: film ever, and even more hilariously, the studio was ultimately

1412
01:13:56,640 --> 01:14:01,400
Speaker 1: bankrupted due to a series of poor investments after the success.

1413
01:14:02,000 --> 01:14:05,479
Speaker 1: This included a cinematic adaptation of Kurt Vonneget's Breakfast of

1414
01:14:05,600 --> 01:14:11,040
Speaker 1: Champions starring who else Bruce Willis. Yeah, I can't believe

1415
01:14:11,080 --> 01:14:11,680
Speaker 1: he Wasn't he.

1416
01:14:11,920 --> 01:14:14,920
Speaker 2: The sales guy who goes crazy and kills people. Yeah,

1417
01:14:15,080 --> 01:14:17,760
Speaker 2: but still, yeah, he was in a Kurt Vonnega adaptation.

1418
01:14:18,240 --> 01:14:21,320
Speaker 1: Yeah, it's just weird. It is the diehard guy. It's

1419
01:14:21,360 --> 01:14:23,280
Speaker 1: not who I would have assumed. Yeah, you're right. And

1420
01:14:23,320 --> 01:14:26,360
Speaker 1: also the black comedy gun Shy starring Liam Neeson and

1421
01:14:26,400 --> 01:14:29,519
Speaker 1: Sandra Bullock not a real movie. Hollywood Pictures shuddered in

1422
01:14:29,600 --> 01:14:33,040
Speaker 1: two thousand and seven. Also Spyglass Entertainment, who purchased the

1423
01:14:33,120 --> 01:14:37,000
Speaker 1: rights from Disney to finance The Sixth Sense also went

1424
01:14:37,080 --> 01:14:41,200
Speaker 1: under in twenty twelve, despite helming Bruce Almighty, the Oscar

1425
01:14:41,280 --> 01:14:45,960
Speaker 1: nominated Invictus and the Star Trek reboot. So despite all

1426
01:14:45,960 --> 01:14:48,240
Speaker 1: the money the sixth Cents made, it could not save

1427
01:14:48,360 --> 01:14:52,160
Speaker 1: these two studios. Now we're into a section I call

1428
01:14:52,360 --> 01:14:55,720
Speaker 1: I see gold people the Sixth Sense at the Oscars,

1429
01:14:55,920 --> 01:14:56,360
Speaker 1: that one.

1430
01:14:56,439 --> 01:14:57,599
Speaker 2: You knocked it out of the park.

1431
01:14:57,920 --> 01:15:00,000
Speaker 1: Yeah, thank you. I mean, I can't believe he didn't

1432
01:15:00,040 --> 01:15:02,800
Speaker 1: read the other subsection heading come on, baby, do the

1433
01:15:02,840 --> 01:15:05,360
Speaker 1: twist when we discussed the ending of the movie. But

1434
01:15:05,880 --> 01:15:07,120
Speaker 1: I'm glad I got that in here.

1435
01:15:07,240 --> 01:15:09,120
Speaker 2: I am glad you got it in here as well.

1436
01:15:09,600 --> 01:15:12,360
Speaker 1: The Sixth Sense also got significant recognition from the Motion

1437
01:15:12,479 --> 01:15:18,280
Speaker 1: Picture Academy. It received appropriately six nominations See What They

1438
01:15:18,280 --> 01:15:23,080
Speaker 1: Did There, including Best Picture, making it one of only

1439
01:15:23,600 --> 01:15:26,479
Speaker 1: six horror movies See What They Did There to receive

1440
01:15:26,560 --> 01:15:29,320
Speaker 1: the Best Picture nomination. The others are The Exorcist in

1441
01:15:29,400 --> 01:15:33,040
Speaker 1: nineteen seventy three, Jaws in nineteen seventy five, Silence of

1442
01:15:33,040 --> 01:15:36,120
Speaker 1: the Lambs in nineteen ninety one, Black Swan and twenty eleven,

1443
01:15:36,400 --> 01:15:41,000
Speaker 1: and Get Out in twenty seventeen. Of those, I think

1444
01:15:41,160 --> 01:15:42,880
Speaker 1: Silence of the Lambs was the only one that won

1445
01:15:43,720 --> 01:15:46,719
Speaker 1: you get Out noe? That was? That was Moonlight Year. Yeah.

1446
01:15:46,800 --> 01:15:50,080
Speaker 1: It also earned nominations for Best Editing, Best Original Screenplay,

1447
01:15:50,120 --> 01:15:53,280
Speaker 1: Best Supporting Actress for Tony Collette and m Night. Shyamalan

1448
01:15:53,360 --> 01:15:57,680
Speaker 1: became the sixth Jesus See What They Did There and

1449
01:15:57,920 --> 01:16:02,320
Speaker 1: as of twenty twenty three, last person nominated for an

1450
01:16:02,320 --> 01:16:05,800
Speaker 1: Academy Award for Best Director before the age of thirty again,

1451
01:16:05,880 --> 01:16:08,400
Speaker 1: he was twenty nine. He follows in the lineage of

1452
01:16:08,600 --> 01:16:12,040
Speaker 1: Orson Wells, who was twenty six when he directed nineteen

1453
01:16:12,120 --> 01:16:16,240
Speaker 1: forty one Citizen Kane, Charles Lalush, who was twenty nine

1454
01:16:16,280 --> 01:16:18,680
Speaker 1: when he directed nineteen sixty six As a Man and

1455
01:16:18,720 --> 01:16:22,000
Speaker 1: a Woman. George Lucas, who's twenty nine when he directed

1456
01:16:22,000 --> 01:16:25,519
Speaker 1: American Graffiti in nineteen seventy three, Sir Kenneth Branna, who

1457
01:16:25,560 --> 01:16:29,680
Speaker 1: directed Henry the Fifth in nineteen eighty nine, and John Singleton,

1458
01:16:29,680 --> 01:16:32,200
Speaker 1: who was just twenty four when he directed Boys in

1459
01:16:32,240 --> 01:16:36,360
Speaker 1: the Hood in nineteen ninety one. That is wild. Yeah,

1460
01:16:36,560 --> 01:16:40,519
Speaker 1: none of those directors won, and also, fittingly, the sixth

1461
01:16:40,520 --> 01:16:42,439
Speaker 1: sense one none of it's Oscar nomination.

1462
01:16:42,560 --> 01:16:44,559
Speaker 2: I mean, can you imagine how much worse he would

1463
01:16:44,560 --> 01:16:45,920
Speaker 2: have been had he walked out of there with a

1464
01:16:46,000 --> 01:16:47,680
Speaker 2: Best Director statue.

1465
01:16:47,240 --> 01:16:50,200
Speaker 1: At age twenty nine. No, we would not have survived,

1466
01:16:50,640 --> 01:16:54,000
Speaker 1: would not have gone well. No, this is w sad

1467
01:16:54,040 --> 01:16:56,719
Speaker 1: for poor Haley jaw Osmond, who was for Best Supporting

1468
01:16:56,760 --> 01:17:00,720
Speaker 1: Actor at the age of eleven. He was beaten by

1469
01:17:00,760 --> 01:17:08,679
Speaker 1: Michael Caine for Cider House Rules. I've done that, every

1470
01:17:08,760 --> 01:17:11,680
Speaker 1: mention of Cider House Rules. I can't believe how much

1471
01:17:11,720 --> 01:17:16,639
Speaker 1: mylein's that got. I even capitalized it in the script

1472
01:17:16,640 --> 01:17:20,640
Speaker 1: and put an exclamation mark. But Hailey Josmond was hilariously

1473
01:17:20,680 --> 01:17:23,200
Speaker 1: confident on the red carpet at the Oscars that night,

1474
01:17:23,280 --> 01:17:26,600
Speaker 1: telling an AP reporter. People like Tom Cruise obviously have

1475
01:17:26,640 --> 01:17:28,880
Speaker 1: a lot of name recognition, So I guess that puts

1476
01:17:28,920 --> 01:17:31,160
Speaker 1: a little favor in their corner, but I'd say the

1477
01:17:31,240 --> 01:17:36,160
Speaker 1: race is very even. He was eleven awesome. Good for him.

1478
01:17:36,840 --> 01:17:40,599
Speaker 1: There's also a funny, sad story that took place at

1479
01:17:40,600 --> 01:17:44,080
Speaker 1: the two thousand Golden Globe Awards. According to a report

1480
01:17:44,080 --> 01:17:48,000
Speaker 1: in New York Magazine, Hailey jaw Osmond cried inconsolably at

1481
01:17:48,000 --> 01:17:50,840
Speaker 1: his table for much of the evening after losing out

1482
01:17:50,960 --> 01:17:54,560
Speaker 1: to Tom Cruise, who won for Magnolia. He was apparently

1483
01:17:54,600 --> 01:17:57,960
Speaker 1: so distraught that at one point Harrison Ford came over

1484
01:17:58,000 --> 01:18:00,360
Speaker 1: to his table to try to cheer him up. Kid,

1485
01:18:00,479 --> 01:18:04,439
Speaker 1: shut up bombing the rest of us out. I snuck

1486
01:18:04,479 --> 01:18:06,479
Speaker 1: a j in here, and I'm pretty roasted right now.

1487
01:18:06,520 --> 01:18:08,439
Speaker 1: I don't need to be looking at a crying kid,

1488
01:18:11,040 --> 01:18:15,559
Speaker 1: and me and Nicholson are over on the corner. But

1489
01:18:15,720 --> 01:18:18,759
Speaker 1: in a twenty fifteen interview with details, Hala jaw Osmond

1490
01:18:18,800 --> 01:18:21,479
Speaker 1: denies that it went down like this. This is funny,

1491
01:18:21,479 --> 01:18:24,160
Speaker 1: he said, at the Golden Globes, you eat. So I

1492
01:18:24,240 --> 01:18:26,880
Speaker 1: was cutting my chicken and I cut my finger, and

1493
01:18:26,920 --> 01:18:30,599
Speaker 1: my category was the first one they announced. I looked upset,

1494
01:18:30,800 --> 01:18:33,240
Speaker 1: but I didn't care about the awards at all and

1495
01:18:33,360 --> 01:18:35,960
Speaker 1: Sigourney Weaver and everybody came over and thought I was

1496
01:18:36,000 --> 01:18:39,639
Speaker 1: sad because I lost? What kid cares about awards? As

1497
01:18:39,680 --> 01:18:42,040
Speaker 1: a kid, How do you feel like you're competing with

1498
01:18:42,120 --> 01:18:44,920
Speaker 1: like Tom Cruise? What do you think Do you think

1499
01:18:45,200 --> 01:18:47,000
Speaker 1: he was crying because he lost or because he cut

1500
01:18:47,040 --> 01:18:49,920
Speaker 1: his finger cutting chicken? Has anybody ever cut their finger

1501
01:18:49,960 --> 01:18:53,920
Speaker 1: cutting chicken? I mean, yes, I have.

1502
01:18:55,240 --> 01:18:57,519
Speaker 2: No, that's not true. I didn't cut the tip of

1503
01:18:57,520 --> 01:18:59,360
Speaker 2: my finger off with a meat slice or to Deli ones.

1504
01:18:59,360 --> 01:19:02,280
Speaker 2: Though you put it back on, you must you play

1505
01:19:02,320 --> 01:19:05,960
Speaker 2: it all. Oh no, it was completely just just right off.

1506
01:19:06,120 --> 01:19:07,080
Speaker 2: I got to sew that back on.

1507
01:19:08,080 --> 01:19:09,200
Speaker 1: Got a lot of mileage. Though.

1508
01:19:09,200 --> 01:19:11,040
Speaker 2: People would ask me, what's what happened, and I'd be like, oh,

1509
01:19:11,080 --> 01:19:13,040
Speaker 2: I cut my finger on the meat slicer. Let me

1510
01:19:13,040 --> 01:19:16,120
Speaker 2: know if you find it the chicken salad. Great joke,

1511
01:19:16,320 --> 01:19:19,760
Speaker 2: great joke at that Deli also traumatized and couldn't play

1512
01:19:19,760 --> 01:19:20,519
Speaker 2: bass for a long time.

1513
01:19:21,200 --> 01:19:25,599
Speaker 1: Really sucked. So you've had a lot of hand injuries,

1514
01:19:25,840 --> 01:19:29,440
Speaker 1: I know, right, all right.

1515
01:19:29,200 --> 01:19:33,000
Speaker 2: So despite the Oscar snob, Hjo got props from the

1516
01:19:33,040 --> 01:19:38,280
Speaker 2: Dean of Pissy Critics himself, Roger Ebert Osmond, he wrote,

1517
01:19:38,479 --> 01:19:40,800
Speaker 2: who was on screen in almost every scene, is one

1518
01:19:40,800 --> 01:19:43,760
Speaker 2: of the best actors now working. The New York Times

1519
01:19:43,760 --> 01:19:47,160
Speaker 2: reviews sniped and this year's Touched by an Angel Award

1520
01:19:47,240 --> 01:19:52,559
Speaker 2: for gaggingly mawkish supernatural Kitch goes to Bruce Willis's newest film,

1521
01:19:52,800 --> 01:19:55,559
Speaker 2: The Sixth Sense. Who was that Vincent Canby?

1522
01:19:56,240 --> 01:19:59,440
Speaker 1: I see I think so? Oh it seems like bitch.

1523
01:20:00,840 --> 01:20:05,360
Speaker 2: Fame did not go well for young Hgo, who you know,

1524
01:20:05,560 --> 01:20:08,599
Speaker 2: basically had the standard child star sort of situation. He

1525
01:20:10,000 --> 01:20:15,679
Speaker 2: found himself a stalker, let his father go to forbid

1526
01:20:15,720 --> 01:20:18,720
Speaker 2: him from hanging out in public places alone, and he

1527
01:20:18,760 --> 01:20:20,519
Speaker 2: would say that this was partially to blame for him

1528
01:20:20,560 --> 01:20:22,160
Speaker 2: going off the rails at the age of eighteen in

1529
01:20:22,160 --> 01:20:24,120
Speaker 2: two thousand and six, when he got drunk after seeing

1530
01:20:24,120 --> 01:20:28,439
Speaker 2: the band Muse Who among Us and drove home, crashing

1531
01:20:28,479 --> 01:20:31,960
Speaker 2: his nineteen ninety six Saturn into a concrete mailbox. I

1532
01:20:31,960 --> 01:20:33,559
Speaker 2: got to know what kind of car it was, SL two,

1533
01:20:33,840 --> 01:20:35,840
Speaker 2: SL four, the sedan? I think he said it was

1534
01:20:35,840 --> 01:20:38,559
Speaker 2: a station wagon. Oh yeah, yeah, my family had one

1535
01:20:38,560 --> 01:20:40,800
Speaker 2: of those, but I also had the Sedan SL two.

1536
01:20:41,040 --> 01:20:43,919
Speaker 1: Great car. Could have driven that thing into Helen.

1537
01:20:43,800 --> 01:20:47,120
Speaker 2: Back apparently not not if you're a non of inch

1538
01:20:47,120 --> 01:20:47,920
Speaker 2: shows at the wheel.

1539
01:20:47,920 --> 01:20:48,360
Speaker 1: Baby.

1540
01:20:48,800 --> 01:20:51,559
Speaker 2: Yeah, he rolled the car and wound up in the hospital,

1541
01:20:52,080 --> 01:20:55,000
Speaker 2: and then he got a dui possession of marijuana. His

1542
01:20:55,120 --> 01:20:58,160
Speaker 2: dad would say, I had been watchdogging Haley for years.

1543
01:20:58,520 --> 01:21:01,479
Speaker 2: Weird thing to say. I decided that summer he was

1544
01:21:01,520 --> 01:21:03,920
Speaker 2: going to do pretty much whatever he wanted. I didn't

1545
01:21:03,920 --> 01:21:06,439
Speaker 2: ask a whole lot of questions. That's the most important

1546
01:21:06,479 --> 01:21:09,200
Speaker 2: mistake that I made, and the result was I gave

1547
01:21:09,280 --> 01:21:11,280
Speaker 2: him so much freedom that he got himself in trouble.

1548
01:21:12,160 --> 01:21:14,240
Speaker 2: H Jo claimed at the time that he swore off

1549
01:21:14,280 --> 01:21:16,679
Speaker 2: alcohol at that point until he was of legal age,

1550
01:21:17,080 --> 01:21:18,360
Speaker 2: and Jordan.

1551
01:21:18,760 --> 01:21:21,920
Speaker 1: Can back that one up. I can kind of poke

1552
01:21:21,960 --> 01:21:23,080
Speaker 1: holes on that, okay.

1553
01:21:23,800 --> 01:21:26,600
Speaker 2: He enrolled at NYU, the only academic acting program that

1554
01:21:26,600 --> 01:21:29,280
Speaker 2: would allow him to take leaves of absence to work.

1555
01:21:29,680 --> 01:21:33,240
Speaker 1: Leaves of absence? Am I right? Oh?

1556
01:21:33,280 --> 01:21:36,000
Speaker 2: Because he the dui? No, it was good, it was good.

1557
01:21:36,240 --> 01:21:38,360
Speaker 2: I'm yeah, I'm with it. I'm right there with you now.

1558
01:21:39,320 --> 01:21:41,400
Speaker 2: Made his Broadway debut in two thousand and eight, alongside

1559
01:21:41,479 --> 01:21:46,360
Speaker 2: John Luisiamo and Cedric the Entertainer in David Mammott's American Buffalo.

1560
01:21:47,720 --> 01:21:50,280
Speaker 1: That was supposed really a good play, right, supposed to be.

1561
01:21:50,360 --> 01:21:53,080
Speaker 2: It's like a upper echelon Mammot upper ash Mams, as

1562
01:21:53,120 --> 01:21:58,480
Speaker 2: we call it in the Steppenwolf Theater fandom where Mamalkovich

1563
01:21:58,520 --> 01:22:02,879
Speaker 2: and Cooper heads at Sorry my Malcolvich and Gary Sineze head's.

1564
01:22:02,680 --> 01:22:06,479
Speaker 1: At you know, the Steppenwolf bro Mammot forever.

1565
01:22:07,160 --> 01:22:09,599
Speaker 2: I've rolled up my sleeve show of a heart tattoo

1566
01:22:09,600 --> 01:22:13,880
Speaker 2: with Mammot in it. Uh you say, Joe Osmond dated

1567
01:22:13,880 --> 01:22:15,040
Speaker 2: one of man It's daughters.

1568
01:22:15,400 --> 01:22:19,919
Speaker 1: Uh not the yeah, the one that wasn't Jojah from Girls, She's.

1569
01:22:19,720 --> 01:22:21,040
Speaker 2: The most forgettable to me.

1570
01:22:21,120 --> 01:22:24,160
Speaker 1: Out of the girls. There's the obnoxious one, the pretty one,

1571
01:22:25,160 --> 01:22:30,000
Speaker 1: the there's a hippie one, one was British, right yeah,

1572
01:22:30,240 --> 01:22:35,080
Speaker 1: Simon Kirk's daughter, and the cat nice that was. That

1573
01:22:35,200 --> 01:22:35,800
Speaker 1: was well done.

1574
01:22:36,400 --> 01:22:38,920
Speaker 2: For those of you who don't know this repeated inside

1575
01:22:39,000 --> 01:22:41,320
Speaker 2: joke Jordan and I keep making is that in the

1576
01:22:41,439 --> 01:22:46,280
Speaker 2: nicknames for Kiss, Geene Simmons is the demon, Ace Frehley is,

1577
01:22:47,080 --> 01:22:49,200
Speaker 2: Paul Stanley is the star child.

1578
01:22:49,280 --> 01:22:52,479
Speaker 1: I don't know. Yeah, yeah, actually like no, I thought

1579
01:22:52,520 --> 01:22:54,679
Speaker 1: a yeah, Ace was star child.

1580
01:22:54,880 --> 01:22:58,479
Speaker 2: Paul Stanley is like the Golden Boy, or something.

1581
01:22:59,640 --> 01:23:00,719
Speaker 1: I don't know anyway.

1582
01:23:01,080 --> 01:23:01,200
Speaker 3: Uh.

1583
01:23:01,560 --> 01:23:04,679
Speaker 2: Peter Cris, the drummer most famous for his tender ballad

1584
01:23:04,760 --> 01:23:12,760
Speaker 2: Beth was the Cat. We got a demon guy, we

1585
01:23:12,880 --> 01:23:13,720
Speaker 2: got a space guy.

1586
01:23:13,920 --> 01:23:16,080
Speaker 1: We got a guy with a like a star in

1587
01:23:16,120 --> 01:23:18,320
Speaker 1: his face. Uh, Peter, where do you want to be?

1588
01:23:18,640 --> 01:23:21,000
Speaker 1: M the cat?

1589
01:23:23,479 --> 01:23:25,160
Speaker 2: We're cutting that guy out of the royalties.

1590
01:23:26,680 --> 01:23:26,800
Speaker 1: Uh.

1591
01:23:31,920 --> 01:23:34,160
Speaker 2: The critics, for the most first time in his career

1592
01:23:34,240 --> 01:23:37,080
Speaker 2: were quite mean to h Jo. Oh I was wrong.

1593
01:23:37,280 --> 01:23:40,040
Speaker 2: It wasn't top tier Mammott. Ben Brawdley wrote The New

1594
01:23:40,120 --> 01:23:43,559
Speaker 2: York Times, mister Osmond's facial stubble and slumping posture failed

1595
01:23:43,560 --> 01:23:46,559
Speaker 2: to override the impression that he's giving a perfect School

1596
01:23:46,560 --> 01:23:49,120
Speaker 2: of Disney juvenile performance that.

1597
01:23:49,240 --> 01:23:51,840
Speaker 1: Seems personally that's less about Mammott more about him.

1598
01:23:51,960 --> 01:23:54,040
Speaker 2: This contributed to the reasons why the show closed after

1599
01:23:54,120 --> 01:23:57,880
Speaker 2: only eight performances. H Jo then enrolled in the NYU's

1600
01:23:57,920 --> 01:24:00,960
Speaker 2: Experimental Theater Workshop, a place I can only imagine as

1601
01:24:01,000 --> 01:24:03,760
Speaker 2: a very specific level of hell. They would do things

1602
01:24:03,760 --> 01:24:10,520
Speaker 2: like elaborate vocal drills, afro Haitian dance classes, Jersey Grotowski

1603
01:24:10,560 --> 01:24:13,640
Speaker 2: movement exercises that could involve students running around flapping their

1604
01:24:13,720 --> 01:24:19,240
Speaker 2: arms like birds. Oh God, film school Man, you're like

1605
01:24:19,280 --> 01:24:20,040
Speaker 2: the only good one.

1606
01:24:20,080 --> 01:24:22,760
Speaker 1: I know. That's very kind of you.

1607
01:24:23,400 --> 01:24:25,800
Speaker 2: Never once was I like, oh, I already know this,

1608
01:24:25,960 --> 01:24:28,160
Speaker 2: he said of the experience. It was just a totally

1609
01:24:28,160 --> 01:24:32,639
Speaker 2: different thing, and it broadens you as an artist. He

1610
01:24:32,760 --> 01:24:33,840
Speaker 2: did a Ted Bundy movie.

1611
01:24:34,000 --> 01:24:37,320
Speaker 1: Yeah, he had a bit roll in The Evil Vile

1612
01:24:37,560 --> 01:24:41,240
Speaker 1: and incredibly totally yeah whatever that Netflix was.

1613
01:24:41,479 --> 01:24:43,360
Speaker 2: Definitely he's been on like Robot Chicken a lot.

1614
01:24:43,439 --> 01:24:46,160
Speaker 1: Right, Oh was he or did they just make fun

1615
01:24:46,200 --> 01:24:46,479
Speaker 1: of him?

1616
01:24:47,040 --> 01:24:47,080
Speaker 2: No?

1617
01:24:47,200 --> 01:24:49,639
Speaker 1: I thought he was like actually on that. Oh that's cool.

1618
01:24:49,720 --> 01:24:52,600
Speaker 1: I mean it would make sense like he was like

1619
01:24:52,680 --> 01:24:56,720
Speaker 1: he had a good sense of humor about Yeah, I'm

1620
01:24:56,760 --> 01:24:58,080
Speaker 1: sure he has a ton of money.

1621
01:24:58,160 --> 01:24:59,559
Speaker 2: Oh he pops up on what we do in the

1622
01:24:59,560 --> 01:25:01,519
Speaker 2: Shadow actually yeah yeah.

1623
01:25:02,040 --> 01:25:07,760
Speaker 1: And the boys. Hey, I mean he was a good guy.

1624
01:25:07,760 --> 01:25:11,160
Speaker 1: I mean when I know him, he was a good guy. Yeah.

1625
01:25:11,439 --> 01:25:14,799
Speaker 1: I believe it. He's probably still a good guy, you know, Yeah,

1626
01:25:14,920 --> 01:25:20,559
Speaker 1: he's actually he seems to be. Yeah from what I've heard. Okay, alright, Hjo,

1627
01:25:21,600 --> 01:25:23,240
Speaker 1: it was just I wish you could know how weird

1628
01:25:23,280 --> 01:25:25,560
Speaker 1: it was. It's me and my best friends since we

1629
01:25:25,600 --> 01:25:29,000
Speaker 1: were five years old. In Hjo alone, on the roof

1630
01:25:29,000 --> 01:25:31,559
Speaker 1: of the mckibbon Lofts in like two thousand and eight,

1631
01:25:32,240 --> 01:25:35,280
Speaker 1: at someone godly hour, just like on our backs looking

1632
01:25:35,360 --> 01:25:39,439
Speaker 1: up at the stars, just like pontificating. It's like one

1633
01:25:39,479 --> 01:25:41,160
Speaker 1: of the weirder moments of my life.

1634
01:25:42,800 --> 01:25:45,479
Speaker 2: Sixth Sense as a movie has age slightly better than

1635
01:25:45,479 --> 01:25:50,639
Speaker 2: Haley Joel Sorry. The phrase icy dead people currently ranks

1636
01:25:50,640 --> 01:25:52,960
Speaker 2: in the forty fourth position on AFI's list of one

1637
01:25:53,040 --> 01:25:57,880
Speaker 2: hundred greatest movie quotes. However, a slightly different version of

1638
01:25:57,920 --> 01:26:02,719
Speaker 2: the quote exists in another movie prior, also starring Bruce Willis,

1639
01:26:02,800 --> 01:26:06,919
Speaker 2: nineteen ninety five's Twelve Monkeys Underrated film Boy Terry Gilliam

1640
01:26:08,000 --> 01:26:11,559
Speaker 2: Brad Pitt Solid flick Twelve Monkeys. In the film, Bruce

1641
01:26:11,560 --> 01:26:14,200
Speaker 2: Willis's character looks around and states, all I see are

1642
01:26:14,240 --> 01:26:16,320
Speaker 2: dead people. I think that was because he was a

1643
01:26:16,360 --> 01:26:20,200
Speaker 2: time traveler sent back to protect people from an epidemic,

1644
01:26:20,280 --> 01:26:22,600
Speaker 2: and he was like ranting that everyone was going to

1645
01:26:22,640 --> 01:26:26,120
Speaker 2: die in that epidemic. Fans of the children's horror anthology

1646
01:26:26,160 --> 01:26:29,320
Speaker 2: Are You Afraid of the Dark. Meanwhile, in Nickelodeon Classic

1647
01:26:29,360 --> 01:26:31,479
Speaker 2: we have done an episode on have pointed out that

1648
01:26:31,520 --> 01:26:33,759
Speaker 2: the nineteen ninety five episode the Tale of the Dream

1649
01:26:33,800 --> 01:26:37,040
Speaker 2: Girl shares a similar storyline to the sixth Sense. In

1650
01:26:37,080 --> 01:26:39,280
Speaker 2: the episode, a teen named Johnny and his sister Erica

1651
01:26:39,360 --> 01:26:42,639
Speaker 2: have a close relation to what what are you setting

1652
01:26:42,640 --> 01:26:43,160
Speaker 2: me up for?

1653
01:26:43,640 --> 01:26:46,160
Speaker 1: I think? No, no, no, don't worry a friendship. They

1654
01:26:46,160 --> 01:26:47,080
Speaker 1: have a close friendship.

1655
01:26:47,640 --> 01:26:49,800
Speaker 2: Johnny begins seeing a beautiful girl in a letter jacket

1656
01:26:49,800 --> 01:26:52,400
Speaker 2: who calls Who calls to him? Erica tells him that

1657
01:26:52,400 --> 01:26:54,280
Speaker 2: the dream girl's name is Donna. She died in a

1658
01:26:54,280 --> 01:26:57,400
Speaker 2: tragic accident in the recent past. Ultimately, it turns out

1659
01:26:57,400 --> 01:26:59,960
Speaker 2: that Johnny is also dead, having died in the at

1660
01:27:00,040 --> 01:27:05,280
Speaker 2: accident with Donna, and only Erica can see him. Ultimately,

1661
01:27:05,320 --> 01:27:08,040
Speaker 2: Johnny says goodbye to his sister and joins Donna as

1662
01:27:08,080 --> 01:27:12,360
Speaker 2: they head to Hell. I'm sorry the afterlife, it's because

1663
01:27:12,360 --> 01:27:16,439
Speaker 2: the next realm, it's because they had premarital sex. When

1664
01:27:16,439 --> 01:27:19,760
Speaker 2: an interviewer asked M. Knight Shyamalan about whether or not

1665
01:27:19,800 --> 01:27:22,599
Speaker 2: he was inspired by the episode, he adopted the familiar

1666
01:27:22,720 --> 01:27:25,400
Speaker 2: deny till you die strategy. He claimed to have not

1667
01:27:25,439 --> 01:27:28,240
Speaker 2: only never seen the episode, but that he was unfamiliar

1668
01:27:28,320 --> 01:27:31,559
Speaker 2: with the show as a whole. He said, that's really weird.

1669
01:27:31,600 --> 01:27:33,800
Speaker 2: I don't think I've ever seen that show. I don't

1670
01:27:33,800 --> 01:27:35,839
Speaker 2: want to ignore something that might have been an influence.

1671
01:27:35,920 --> 01:27:39,080
Speaker 2: But nothing rings a bell when you say that. Beads

1672
01:27:39,080 --> 01:27:41,160
Speaker 2: of sweat pouring out of him. For what it's worth.

1673
01:27:41,200 --> 01:27:45,320
Speaker 2: The cult classic horror movie Carnival of Souls was released

1674
01:27:45,320 --> 01:27:49,200
Speaker 2: in nineteen sixty two, widely considered to be ground zero

1675
01:27:49,280 --> 01:27:52,520
Speaker 2: for the they were dead the whole time, twist ending.

1676
01:27:53,000 --> 01:27:54,920
Speaker 1: And now we're at a section I like to call

1677
01:27:55,240 --> 01:27:58,960
Speaker 1: I see outros. Obviously, to date, m Knight has not

1678
01:27:59,000 --> 01:28:01,160
Speaker 1: been able to match the sixth of the film, released

1679
01:28:01,200 --> 01:28:05,120
Speaker 1: on his twenty ninth birthday, which in a way is sad.

1680
01:28:05,560 --> 01:28:08,639
Speaker 1: His addiction to overwrought twist endings has marked him as

1681
01:28:09,000 --> 01:28:11,160
Speaker 1: something of a punchline a hack.

1682
01:28:12,000 --> 01:28:15,280
Speaker 2: Well, yeah, I mean yeah, I mean, if you charged

1683
01:28:15,280 --> 01:28:18,840
Speaker 2: a career, Unbreakable came out. But people really like that one.

1684
01:28:18,920 --> 01:28:20,760
Speaker 2: It's an interesting take. I mean I should also point

1685
01:28:20,760 --> 01:28:21,960
Speaker 2: out that, and I don't we don't know how much

1686
01:28:22,000 --> 01:28:24,280
Speaker 2: of this is tak Fujimoto, but like there's a lot

1687
01:28:24,320 --> 01:28:26,680
Speaker 2: of interesting camera work in sixth sense. You know, he

1688
01:28:27,080 --> 01:28:30,920
Speaker 2: mixes sort of long shots and general and like more

1689
01:28:31,080 --> 01:28:34,000
Speaker 2: formal moving the big camera techniques with a lot of

1690
01:28:34,000 --> 01:28:35,720
Speaker 2: handheld stuff in a way that I think was kind

1691
01:28:35,760 --> 01:28:41,280
Speaker 2: of apprecient and in the direction film would go. And Unbreakable,

1692
01:28:41,479 --> 01:28:43,559
Speaker 2: I think I find him interesting because of his thing

1693
01:28:43,600 --> 01:28:47,640
Speaker 2: about like American mythologies, right, Unbreakable is predicated all on

1694
01:28:47,680 --> 01:28:50,440
Speaker 2: like comic book stuff. It opens with a complete falsehood,

1695
01:28:50,479 --> 01:28:54,320
Speaker 2: which is like more Americans consume comics than food or

1696
01:28:54,320 --> 01:28:57,840
Speaker 2: something like that, Like it's just made up statistic, which

1697
01:28:57,880 --> 01:28:59,360
Speaker 2: is just so hilariously.

1698
01:29:00,520 --> 01:29:00,640
Speaker 1: Night.

1699
01:29:00,880 --> 01:29:03,720
Speaker 2: But I think it was right around Lady in the

1700
01:29:03,720 --> 01:29:06,320
Speaker 2: Water that people really were like enough of this guy,

1701
01:29:06,600 --> 01:29:10,720
Speaker 2: because Village I think was kind of a fine. And

1702
01:29:10,760 --> 01:29:14,640
Speaker 2: then Lady the Water came out, and then he did Avatar, right,

1703
01:29:14,680 --> 01:29:17,240
Speaker 2: he did the first big screen adaptation of Avatar, the

1704
01:29:17,280 --> 01:29:20,719
Speaker 2: Last Airbender, if memory serves Yes, and that really sealed

1705
01:29:20,720 --> 01:29:22,680
Speaker 2: his fate. And then he took some time off and

1706
01:29:23,040 --> 01:29:26,080
Speaker 2: started this new practice where he just I believe, self

1707
01:29:26,120 --> 01:29:29,759
Speaker 2: funds his films and then and collects makes this money

1708
01:29:29,760 --> 01:29:30,519
Speaker 2: back and then.

1709
01:29:30,439 --> 01:29:31,800
Speaker 1: Absurd profit on the back end.

1710
01:29:31,920 --> 01:29:34,240
Speaker 2: And I think that latter period started with the visit

1711
01:29:34,360 --> 01:29:37,120
Speaker 2: If I Am not Mistaken, and has continued through with

1712
01:29:37,160 --> 01:29:40,559
Speaker 2: stuff like Split, which I think is probably the best

1713
01:29:40,560 --> 01:29:41,559
Speaker 2: of his latter day stuff.

1714
01:29:43,320 --> 01:29:45,439
Speaker 1: Sorry, what were we talking about? The after career? The

1715
01:29:45,479 --> 01:29:49,000
Speaker 1: after birth of M Night shown along Oh God, but

1716
01:29:49,120 --> 01:29:52,439
Speaker 1: you know, for all of this talk about what M

1717
01:29:52,560 --> 01:29:54,920
Speaker 1: Night has become. He made a really interesting point in

1718
01:29:54,960 --> 01:29:58,040
Speaker 1: a Variety interview recently. He said, the Sixth Sense was

1719
01:29:58,080 --> 01:30:00,400
Speaker 1: the movie that I didn't have the lega see to

1720
01:30:00,439 --> 01:30:02,760
Speaker 1: deal with. It didn't have my name to deal with.

1721
01:30:03,200 --> 01:30:05,080
Speaker 1: It would be interesting if The Sixth Sense was the

1722
01:30:05,160 --> 01:30:07,760
Speaker 1: third or fourth movie. How would that have changed the

1723
01:30:07,800 --> 01:30:10,960
Speaker 1: audience's relationship to the film. Could you even watch the

1724
01:30:11,000 --> 01:30:13,439
Speaker 1: movie or from the first moment in the movie, would

1725
01:30:13,439 --> 01:30:16,320
Speaker 1: you go, oh, I know what's happening. It's a really

1726
01:30:16,360 --> 01:30:19,800
Speaker 1: interesting thing that movie created a relationship with my name,

1727
01:30:20,040 --> 01:30:22,400
Speaker 1: and then the name itself now is a framing for

1728
01:30:22,479 --> 01:30:23,839
Speaker 1: all the rest of its cousins.

1729
01:30:24,160 --> 01:30:27,960
Speaker 2: That doesn't mean anything. That's a stupid quote. It's the

1730
01:30:28,000 --> 01:30:30,320
Speaker 2: one movie, the Sixth Sense. The Sixth Sense is the

1731
01:30:30,320 --> 01:30:32,599
Speaker 2: one movie that got to live without my Name.

1732
01:30:32,840 --> 01:30:33,920
Speaker 1: I think that's interesting.

1733
01:30:34,439 --> 01:30:36,120
Speaker 2: I mean, I get what he's saying is that, like

1734
01:30:36,200 --> 01:30:38,200
Speaker 2: it established this template that he was going to be

1735
01:30:38,240 --> 01:30:41,760
Speaker 2: the twist guy. But also he established that template by

1736
01:30:41,800 --> 01:30:46,519
Speaker 2: doing it in every movie. So no dude, if you

1737
01:30:46,520 --> 01:30:48,240
Speaker 2: had made that third or fourth we would have been like,

1738
01:30:48,280 --> 01:30:50,519
Speaker 2: it's the twist guy who makes twists in all of

1739
01:30:50,560 --> 01:30:53,040
Speaker 2: his movies. This is merely the first film in which

1740
01:30:53,040 --> 01:30:53,799
Speaker 2: you did twists.

1741
01:30:54,680 --> 01:30:57,880
Speaker 1: But he did it so damn well for the Sixth Sense,

1742
01:30:58,040 --> 01:31:00,559
Speaker 1: he sure did. As the final scene Phase to Black

1743
01:31:00,640 --> 01:31:04,720
Speaker 1: were left with the haunting silence of unspoken truths, the

1744
01:31:04,800 --> 01:31:11,040
Speaker 1: relentless grip of grief, and the transformative power of acceptance. Ultimately,

1745
01:31:11,080 --> 01:31:13,640
Speaker 1: the Sixth Sense is more than a ghost story, but

1746
01:31:13,720 --> 01:31:16,519
Speaker 1: a journey into the deepest recesses of the human psyche,

1747
01:31:17,000 --> 01:31:21,320
Speaker 1: illuminating our collective fears and hopes by exploring the unseen

1748
01:31:21,520 --> 01:31:25,320
Speaker 1: and the end said, echoing the silent struggles we all

1749
01:31:25,360 --> 01:31:29,160
Speaker 1: face in our lives. The characters, each grappling with their

1750
01:31:29,200 --> 01:31:32,439
Speaker 1: own ghosts, remind us that the past lingers not as

1751
01:31:32,479 --> 01:31:37,160
Speaker 1: mere memories, but as entities that shape our present and future.

1752
01:31:38,040 --> 01:31:40,600
Speaker 1: The film success lies and its ability to touch on

1753
01:31:40,680 --> 01:31:45,960
Speaker 1: those universal experiences, making us confront our vulnerabilities and ultimately,

1754
01:31:46,000 --> 01:31:49,720
Speaker 1: our humanity. The poignancy of the Sixth Sense is not

1755
01:31:49,840 --> 01:31:53,000
Speaker 1: just in its shocking twist, but in its revelation that

1756
01:31:53,080 --> 01:31:58,880
Speaker 1: true healing comes from understanding and compassion. It teaches us

1757
01:31:58,880 --> 01:32:03,280
Speaker 1: that seeing true seeing goes beyond the physical. It's an

1758
01:32:03,280 --> 01:32:07,960
Speaker 1: emotional and spiritual awakening born through the recognition that love

1759
01:32:08,160 --> 01:32:13,640
Speaker 1: and forgiveness are the keys to releasing our own inner spectors.

1760
01:32:15,160 --> 01:32:17,479
Speaker 1: Good kicker beat that.

1761
01:32:20,240 --> 01:32:25,360
Speaker 2: Uh yeah man, good good stuff. I don't like I

1762
01:32:25,400 --> 01:32:27,280
Speaker 2: have anything that insightful to say about this movie.

1763
01:32:27,560 --> 01:32:30,799
Speaker 1: Uh neither is some night.

1764
01:32:31,200 --> 01:32:36,599
Speaker 2: Ha uh yeah, dude, ah man.

1765
01:32:38,280 --> 01:32:42,280
Speaker 1: And his daughter. And I'm just gonna insert I wish

1766
01:32:42,360 --> 01:32:44,080
Speaker 1: I had like a button, like one of those like

1767
01:32:44,240 --> 01:32:47,160
Speaker 1: staples that was easy buttons just but what a twist

1768
01:32:47,520 --> 01:32:49,160
Speaker 1: and just all through. I'm gonna go back in when

1769
01:32:49,200 --> 01:32:55,080
Speaker 1: I'm editing this this insert, I just gotta do this

1770
01:32:55,120 --> 01:32:59,639
Speaker 1: in the and the Reynolds boice it's been too much information.

1771
01:33:00,880 --> 01:33:04,800
Speaker 1: I'm uh Alex Heigel and I'm Jordan Runtog. We'll catch

1772
01:33:04,800 --> 01:33:13,040
Speaker 1: you next time. Too Much Information was a production of iHeartRadio.

1773
01:33:13,320 --> 01:33:16,479
Speaker 1: The show's executive producers are Noel Brown and Jordan Runtog.

1774
01:33:16,720 --> 01:33:19,559
Speaker 1: The show's supervising producer is Michael Alder June.

1775
01:33:19,840 --> 01:33:22,960
Speaker 2: The show was researched, written, and hosted by Jordan Runtogg

1776
01:33:23,000 --> 01:33:24,120
Speaker 2: and Alex Heigel.

1777
01:33:23,960 --> 01:33:27,160
Speaker 1: With original music by Seth Applebaum and the Ghost Funk Orchestra.

1778
01:33:27,520 --> 01:33:29,559
Speaker 1: If you like what you heard, please subscribe and leave

1779
01:33:29,600 --> 01:33:32,560
Speaker 1: us a review. For more podcasts on iHeartRadio, visit the

1780
01:33:32,600 --> 01:33:35,880
Speaker 1: iHeartRadio app, Apple Podcasts, or wherever you listen to your

1781
01:33:35,920 --> 01:33:36,639
Speaker 1: favorite shows.