1 00:00:01,000 --> 00:00:03,880 Speaker 1: Dear listeners of Hollywood Land, does it feel like you're 2 00:00:03,880 --> 00:00:07,160 Speaker 1: stuck in limbo? Standing under a flickering street light at 3 00:00:07,160 --> 00:00:09,880 Speaker 1: the corner of Hollywood and True Crime, waiting for the 4 00:00:09,920 --> 00:00:13,159 Speaker 1: next episode of hollywood Land to drop. I got you. 5 00:00:13,960 --> 00:00:30,000 Speaker 1: Welcome to Hollywood Land, the Rap Party. What has happened 6 00:00:30,000 --> 00:00:32,760 Speaker 1: in all you movie geeks, your true crime freaks just 7 00:00:32,880 --> 00:00:35,400 Speaker 1: like me? You guys like your movie history served up 8 00:00:35,440 --> 00:00:38,440 Speaker 1: with the side of grit and grime. This, of course, 9 00:00:38,479 --> 00:00:40,640 Speaker 1: is the place where we dig up those stories often 10 00:00:40,680 --> 00:00:43,280 Speaker 1: lost to history. They're buried in the corner of the 11 00:00:43,320 --> 00:00:46,120 Speaker 1: cutting room floor, the stories they didn't want told, the 12 00:00:46,240 --> 00:00:48,280 Speaker 1: very same stories that have now made you the most 13 00:00:48,360 --> 00:00:51,840 Speaker 1: dangerous person at the party. I'm your host, Zeth Lundy, 14 00:00:51,880 --> 00:00:55,040 Speaker 1: writer and showrunner here at Double Elvis, and today in 15 00:00:55,080 --> 00:00:57,560 Speaker 1: the hollywood Land Rap Party, we are talking about the 16 00:00:57,640 --> 00:01:02,400 Speaker 1: life and legacy of Robert Davall, the uncompromising documentaries of 17 00:01:02,560 --> 00:01:06,479 Speaker 1: Frederick Wiseman. We're talking this week's full episode subject, Sean Penn, 18 00:01:06,600 --> 00:01:09,640 Speaker 1: as well as next week's subject, the nineteen sixty one 19 00:01:09,720 --> 00:01:13,200 Speaker 1: film The Misfits. And we are talking all about your 20 00:01:13,240 --> 00:01:15,920 Speaker 1: favorite bad boys and bad girls of movie history. I've 21 00:01:15,920 --> 00:01:19,240 Speaker 1: got your voicemails, texts, emails, and more on this very subject. 22 00:01:19,280 --> 00:01:32,920 Speaker 1: So come on, everybody, let's party, all right, guys, The 23 00:01:33,080 --> 00:01:37,679 Speaker 1: hits keep on coming. News coming in just yesterday, yesterday 24 00:01:37,680 --> 00:01:41,160 Speaker 1: being Monday, because today is Tuesday when I'm recording this, 25 00:01:42,120 --> 00:01:45,480 Speaker 1: but news coming in of two more movie industry deaths 26 00:01:45,520 --> 00:01:48,920 Speaker 1: on the same day, the incredible actor Robert Davall, who 27 00:01:48,960 --> 00:01:51,960 Speaker 1: just passed away at ninety five years old, and the 28 00:01:52,120 --> 00:01:56,400 Speaker 1: one of one documentary filmmaker Frederick Wiseman, who died at 29 00:01:56,440 --> 00:01:59,720 Speaker 1: the age of ninety six. Now, the last thing I 30 00:01:59,720 --> 00:02:03,440 Speaker 1: want is for this show to become an immemorium show. 31 00:02:04,000 --> 00:02:07,559 Speaker 1: But listen, I gotta pause here and speak on these 32 00:02:07,680 --> 00:02:11,320 Speaker 1: two legends for a moment. Okay, Let's start with Robert Deaval. 33 00:02:11,480 --> 00:02:14,320 Speaker 1: He was born in nineteen thirty one in San Diego, 34 00:02:14,800 --> 00:02:17,360 Speaker 1: grew up in Annapolis, Maryland. He did a tour of 35 00:02:17,440 --> 00:02:20,880 Speaker 1: duty with the army and the Korean War, and then 36 00:02:20,880 --> 00:02:23,720 Speaker 1: he came back and he had this realization that acting 37 00:02:23,800 --> 00:02:27,240 Speaker 1: was the only thing that he really truly excelled at. 38 00:02:26,960 --> 00:02:30,000 Speaker 1: He once said that he had this epiphany that he 39 00:02:30,120 --> 00:02:33,960 Speaker 1: was terrible at everything else, terrible being his word. So 40 00:02:34,160 --> 00:02:37,120 Speaker 1: in the mid nineteen fifties, he went to New York City. 41 00:02:37,680 --> 00:02:41,160 Speaker 1: He went to study at the Neighborhood Playhouse School with 42 00:02:41,360 --> 00:02:45,120 Speaker 1: the acting teacher Sanford Meisner, where he was classmates with 43 00:02:45,240 --> 00:02:49,280 Speaker 1: James Kahn, Gene Hackman, and Dustin Hoffman, guys who would 44 00:02:49,280 --> 00:02:52,840 Speaker 1: remain his friends for years to come. I cannot think 45 00:02:52,919 --> 00:02:56,760 Speaker 1: of a more reliable presence on screen than Robert Devall. 46 00:02:56,880 --> 00:03:00,920 Speaker 1: You never saw him phone in a performance. And I 47 00:03:00,919 --> 00:03:03,400 Speaker 1: also think he was the consummate supporting actor. And I 48 00:03:03,440 --> 00:03:05,840 Speaker 1: don't mean that's not a pejorative, but you know, whether 49 00:03:05,880 --> 00:03:10,320 Speaker 1: it's The Godfather one or two, or Apocalypse Now or Network, 50 00:03:11,000 --> 00:03:14,120 Speaker 1: Robert dedaval is a rock. He's a fixed point. He 51 00:03:14,240 --> 00:03:17,760 Speaker 1: is true North, and he liked being that guy. He 52 00:03:17,840 --> 00:03:20,919 Speaker 1: once told The New York Times quote, somebody once said 53 00:03:21,120 --> 00:03:23,120 Speaker 1: that the best life in the world is the life 54 00:03:23,200 --> 00:03:26,120 Speaker 1: of a second leading man. You travel, you get a 55 00:03:26,120 --> 00:03:28,840 Speaker 1: per diem, and you're probably got a better part anyway, 56 00:03:29,120 --> 00:03:31,440 Speaker 1: and you don't have the weight of the entire movie 57 00:03:31,440 --> 00:03:35,520 Speaker 1: on your shoulders unquote. But the thing is, if Robert 58 00:03:35,560 --> 00:03:39,000 Speaker 1: Deavaal's shoulders weren't there, these movies would collapse on themselves. 59 00:03:39,120 --> 00:03:42,560 Speaker 1: You know, I can't imagine anyone else as Tom Hagen, 60 00:03:42,960 --> 00:03:47,119 Speaker 1: consickilary and lawyer for the Corleone family adopted brother. He's 61 00:03:47,160 --> 00:03:49,640 Speaker 1: the brain doing all the work in the background. He's loyal, 62 00:03:50,080 --> 00:03:52,720 Speaker 1: He's the guy trying to keep things centered as tragedy 63 00:03:52,760 --> 00:03:55,840 Speaker 1: and threats take a toll on the family. I also 64 00:03:55,880 --> 00:04:00,360 Speaker 1: can't imagine anyone else as Colonel Kilgore, all that yellow 65 00:04:00,440 --> 00:04:04,000 Speaker 1: and green, the big hat, the big gun in Apocalypse Now, 66 00:04:04,480 --> 00:04:06,560 Speaker 1: Robert Daval got to deliver the best line of that 67 00:04:06,600 --> 00:04:09,240 Speaker 1: whole movie. I love the smell of napalm in the morning, 68 00:04:09,440 --> 00:04:12,960 Speaker 1: a line that is arguably up there with well other 69 00:04:13,000 --> 00:04:15,000 Speaker 1: lines from cinema history, like I'll make him an offer 70 00:04:15,040 --> 00:04:20,279 Speaker 1: he can't refuse. Robert Daval and all these crazy good movies. Man. 71 00:04:20,720 --> 00:04:22,960 Speaker 1: But you know what I really loved about Robert Daval 72 00:04:23,080 --> 00:04:25,279 Speaker 1: more than all of that, is that he rolled with it. 73 00:04:25,360 --> 00:04:30,839 Speaker 1: Man age appearance life, He just rolled with it. He 74 00:04:30,960 --> 00:04:34,760 Speaker 1: was probably the most anti Hollywood Hollywood guy out there. 75 00:04:34,800 --> 00:04:37,640 Speaker 1: He didn't live in Los Angeles, he didn't schmooze in 76 00:04:37,680 --> 00:04:41,400 Speaker 1: all those showbiz circles, and he allowed himself to age 77 00:04:41,480 --> 00:04:45,039 Speaker 1: naturally and gracefully. There was no vanity in making himself 78 00:04:45,080 --> 00:04:47,880 Speaker 1: look twenty years younger, or you know, to get like 79 00:04:49,400 --> 00:04:52,200 Speaker 1: something done in his face or hair plugs or rugs 80 00:04:52,240 --> 00:04:54,120 Speaker 1: or whatever. I mean. This is a guy who was 81 00:04:54,200 --> 00:04:56,880 Speaker 1: rocking a receding hairline all the way back in nineteen 82 00:04:56,960 --> 00:04:59,760 Speaker 1: seventy two, and over the years he let it continue 83 00:04:59,760 --> 00:05:03,640 Speaker 1: to until it was gone. He didn't care. He was 84 00:05:03,760 --> 00:05:06,280 Speaker 1: as effortless in his lack of caring about all that 85 00:05:06,320 --> 00:05:09,920 Speaker 1: fame bullshit as he was in delivering one of his many, 86 00:05:09,960 --> 00:05:16,200 Speaker 1: many brilliant performances fairly well. Robert Deval, the other death 87 00:05:16,240 --> 00:05:18,760 Speaker 1: from this Monday, is someone that you may not be 88 00:05:19,160 --> 00:05:22,760 Speaker 1: quite as familiar with as Robert Deaval. The Great Frederick 89 00:05:22,839 --> 00:05:26,720 Speaker 1: Wiseman was a documentary filmmaker. I don't think he liked 90 00:05:26,760 --> 00:05:29,800 Speaker 1: to be called a documentary filmmaker, but objectively that's what 91 00:05:29,880 --> 00:05:33,760 Speaker 1: he did. He was known for these epic, slow burn 92 00:05:34,160 --> 00:05:37,360 Speaker 1: warts and all looks at different aspects of American life. 93 00:05:37,400 --> 00:05:39,760 Speaker 1: He made a four and a half hour documentary called 94 00:05:39,800 --> 00:05:44,120 Speaker 1: City Hall that's all about Boston City government. He made 95 00:05:44,480 --> 00:05:50,640 Speaker 1: a four hour documentary called Menus pleiser les troys gross. 96 00:05:51,080 --> 00:05:54,440 Speaker 1: Hopefully I got that semi correct. This is a four 97 00:05:54,480 --> 00:05:57,520 Speaker 1: hour documentary about a Michelin Star French restaurant, another four 98 00:05:57,560 --> 00:06:00,920 Speaker 1: hour documentary called Belfast, Maine, about one of my favorite 99 00:06:00,960 --> 00:06:03,200 Speaker 1: towns here in the state. But not all of his 100 00:06:03,320 --> 00:06:06,920 Speaker 1: films were that long. His debut film, the nineteen sixty 101 00:06:07,000 --> 00:06:11,560 Speaker 1: seven film Titticut Follies clocks in under ninety minutes. Now, 102 00:06:11,680 --> 00:06:14,719 Speaker 1: this film his debut. It's shone a light on some 103 00:06:14,839 --> 00:06:18,320 Speaker 1: of the inhumane practices being implemented at the Bridgewater State 104 00:06:18,360 --> 00:06:21,800 Speaker 1: Hospital in Bridgewater, mass and it was actually banned at 105 00:06:21,800 --> 00:06:25,040 Speaker 1: the time. The film showed very disturbing stuff. I mean, 106 00:06:25,080 --> 00:06:29,280 Speaker 1: we're talking like naked inmates being taunted by guards, force feeding, 107 00:06:29,720 --> 00:06:33,960 Speaker 1: just lots of just awful things, and Wiseman always maintained 108 00:06:34,000 --> 00:06:36,120 Speaker 1: that the state stepped in to block the film in 109 00:06:36,200 --> 00:06:39,280 Speaker 1: order to sort of protect its ass. But years later 110 00:06:39,320 --> 00:06:42,680 Speaker 1: the band was lifted and since it's been preserved by 111 00:06:42,800 --> 00:06:46,680 Speaker 1: the National Film Registry at the Library of Congress. Wiseman 112 00:06:46,760 --> 00:06:51,520 Speaker 1: had other movies like this that probed institutions, whether it 113 00:06:51,680 --> 00:06:56,720 Speaker 1: was a high school in Pennsylvania or public housing in Chicago, 114 00:06:57,560 --> 00:07:02,240 Speaker 1: domestic violence in Florida, a nude cabaret in Paris, France, 115 00:07:02,640 --> 00:07:06,880 Speaker 1: a boxing gym in Austin, Texas. These are all portraits 116 00:07:06,960 --> 00:07:10,880 Speaker 1: and products of truly independent cinema. You know, little preparation, 117 00:07:11,280 --> 00:07:14,400 Speaker 1: shooting with a handheld camera, not knowing what the narrative 118 00:07:14,400 --> 00:07:16,760 Speaker 1: of the story is even gonna be going into it, 119 00:07:16,800 --> 00:07:20,720 Speaker 1: but finding that narrative in the editing process. In some cases, 120 00:07:21,200 --> 00:07:23,400 Speaker 1: you know, Wiseman would shoot upwards of like one hundred 121 00:07:23,440 --> 00:07:26,120 Speaker 1: and fifty hours of raw footage and then going to 122 00:07:26,160 --> 00:07:28,640 Speaker 1: the editing booth and edit it down to two three 123 00:07:28,760 --> 00:07:31,440 Speaker 1: four hours. Like I said, one of one. I don't 124 00:07:31,480 --> 00:07:34,240 Speaker 1: think there's ever been a filmmaker quite like him. I 125 00:07:34,240 --> 00:07:37,640 Speaker 1: don't know how you would be that filmmaker today. You know, 126 00:07:37,760 --> 00:07:42,679 Speaker 1: chasing down financing was a lifelong struggle for Frederick Wiseman. 127 00:07:42,720 --> 00:07:45,040 Speaker 1: I think the only time he didn't have to chase 128 00:07:45,040 --> 00:07:48,840 Speaker 1: financing is when he had a contract with public Broadcasting 129 00:07:48,880 --> 00:07:50,560 Speaker 1: for a bit in the seventies. I mean, but can 130 00:07:50,560 --> 00:07:53,320 Speaker 1: you imagine trying to get financing to make one of 131 00:07:53,360 --> 00:07:57,600 Speaker 1: these behemoth films that probe into some sort of like 132 00:07:57,680 --> 00:08:03,360 Speaker 1: cultural institution. That said, despite all that, his filmography is stunning, 133 00:08:03,760 --> 00:08:08,120 Speaker 1: considering the uphill battle filmmaker like him faces every single day. 134 00:08:08,160 --> 00:08:11,960 Speaker 1: And you know, he worked up to just about the 135 00:08:12,560 --> 00:08:14,520 Speaker 1: end here I mean that the movie about the Michelin 136 00:08:14,520 --> 00:08:17,760 Speaker 1: Star restaurant. I mentioned that was probably what will be 137 00:08:17,840 --> 00:08:19,560 Speaker 1: his final film that came out a couple years ago 138 00:08:19,600 --> 00:08:22,240 Speaker 1: in twenty twenty three, so he was still working there. 139 00:08:22,320 --> 00:08:26,160 Speaker 1: To the end, rip to the great Frederick Wiseman. Okay, 140 00:08:26,240 --> 00:08:28,640 Speaker 1: gonna shift gears a little bit on a whippan over 141 00:08:28,680 --> 00:08:31,360 Speaker 1: here to our guy, Sham Penn, who is this week's 142 00:08:31,600 --> 00:08:36,000 Speaker 1: subject full episode, subject fully scripted sound design episode that 143 00:08:36,040 --> 00:08:39,839 Speaker 1: we dropped from our archive on Monday. Schampenn, as you 144 00:08:39,920 --> 00:08:43,240 Speaker 1: probably know, is up for another Academy Award next month 145 00:08:43,280 --> 00:08:46,560 Speaker 1: for his performance as Colonel Stephen J. Lockjaw and Paul 146 00:08:46,600 --> 00:08:51,040 Speaker 1: Thomas Anderson's One Battle after Another. The way Shampen walks 147 00:08:51,080 --> 00:08:54,640 Speaker 1: in this film alone is award worthy, right. He walks 148 00:08:54,679 --> 00:08:57,360 Speaker 1: like he's got a huge stick up his ass. He 149 00:08:57,440 --> 00:09:00,840 Speaker 1: never unclenches it either throughout the entire thing. Sean Penn's 150 00:09:00,840 --> 00:09:03,920 Speaker 1: been acting for decades. He won Oscars previously for Mystic 151 00:09:04,000 --> 00:09:07,360 Speaker 1: River and for Milk, but the Colonel Lockjaw role has 152 00:09:07,559 --> 00:09:10,199 Speaker 1: got to be one of my favorites of his of 153 00:09:10,280 --> 00:09:13,400 Speaker 1: all time. He plays this guy like a ball of 154 00:09:13,440 --> 00:09:16,720 Speaker 1: self hatred and hypocrisy and rage all wound up tight 155 00:09:17,120 --> 00:09:19,400 Speaker 1: and ready to blow at any minute. Some notes of 156 00:09:19,440 --> 00:09:22,160 Speaker 1: the hot head Champenn in The Public Eye back of 157 00:09:22,160 --> 00:09:25,360 Speaker 1: the nineteen eighties. But let's see. For this award, he 158 00:09:25,440 --> 00:09:28,760 Speaker 1: is up against his co star Benicio del Toro, of course, 159 00:09:28,760 --> 00:09:32,480 Speaker 1: who plays Sense also incredible in that movie. Jacob Alordi 160 00:09:32,640 --> 00:09:38,000 Speaker 1: is up as the monster in Frankenstein, Delroy Lindo in Sinners, 161 00:09:38,080 --> 00:09:42,440 Speaker 1: and Stellin's Scarsguard in sentimental value. You know, let me 162 00:09:42,480 --> 00:09:45,760 Speaker 1: speak on Delroy Lindo for a moment. Look, this guy's 163 00:09:45,840 --> 00:09:50,000 Speaker 1: seventy three years old, Okay, Malcolm X Crookland Clockers get Shorty, 164 00:09:50,320 --> 00:09:53,880 Speaker 1: heist the Five Bloods, the harder they fall. This dude's 165 00:09:53,920 --> 00:09:57,040 Speaker 1: been out here operating on a Robert Davall level of 166 00:09:57,120 --> 00:10:02,559 Speaker 1: reliability and presence for years, and only now, at seventy 167 00:10:02,600 --> 00:10:06,200 Speaker 1: three years old, is the guy getting an Academy Award nomination. 168 00:10:06,640 --> 00:10:09,360 Speaker 1: So as great as Sham Penn is in one battle 169 00:10:09,400 --> 00:10:14,079 Speaker 1: after another, Delroy Lindo is incredible as this season Bluesman 170 00:10:14,240 --> 00:10:18,959 Speaker 1: Delta Slim in Sinners. Sinners is an incredible movie as well. 171 00:10:18,960 --> 00:10:22,839 Speaker 1: A sidebar, Delroy Lindo is due. Okay, Shampen has already 172 00:10:22,880 --> 00:10:25,160 Speaker 1: got his statue, He's got his flowers, So I say 173 00:10:25,240 --> 00:10:28,480 Speaker 1: give this thing to Delroy Lindo. What do you guys 174 00:10:28,480 --> 00:10:31,040 Speaker 1: think got any oscar predictions? Should we start some kind 175 00:10:31,080 --> 00:10:34,360 Speaker 1: of a friendly pool, maybe something for all you All 176 00:10:34,400 --> 00:10:37,560 Speaker 1: Access members over on Patreon. Let me know next week 177 00:10:37,559 --> 00:10:39,559 Speaker 1: we've got our episode on The Misfits. This is the 178 00:10:39,640 --> 00:10:43,240 Speaker 1: nineteen sixty one John Houston film written by Arthur Miller, 179 00:10:43,320 --> 00:10:46,440 Speaker 1: starring Miller's wife at the time, Marilyn Monroe, along with 180 00:10:46,480 --> 00:10:49,840 Speaker 1: Clark Gable and Montgomery Clift. This was the final film 181 00:10:49,960 --> 00:10:53,000 Speaker 1: for both Marylyn and Clark Gable. It was kind of 182 00:10:53,040 --> 00:10:55,760 Speaker 1: the beginning of the end for Montgomery Cliff, although maybe 183 00:10:55,760 --> 00:10:57,560 Speaker 1: he was already at the beginning of the end before this. 184 00:10:57,920 --> 00:11:00,000 Speaker 1: I don't know. It's up for debate, but this film 185 00:11:00,120 --> 00:11:02,280 Speaker 1: has this whole cursed aura to it, you know, the 186 00:11:02,320 --> 00:11:06,040 Speaker 1: deaths of these two huge screen presences. So shortly after 187 00:11:06,040 --> 00:11:09,880 Speaker 1: they wrap shooting, that production was beset with gambling, bankruptcies 188 00:11:09,920 --> 00:11:12,719 Speaker 1: and hospital stays. So it got me thinking for next 189 00:11:12,760 --> 00:11:15,040 Speaker 1: week's question of the week, what is the most cursed 190 00:11:15,120 --> 00:11:17,720 Speaker 1: movie in Hollywood history? Is it The Misfits or is 191 00:11:17,720 --> 00:11:20,120 Speaker 1: it something else? I want to know what you think. 192 00:11:20,400 --> 00:11:23,839 Speaker 1: Maybe you read something wild about a film set, some 193 00:11:23,880 --> 00:11:26,280 Speaker 1: sort of curse history here, tell me all about it. 194 00:11:26,760 --> 00:11:29,200 Speaker 1: You can text me, you can call me six one 195 00:11:29,360 --> 00:11:33,760 Speaker 1: seven nine oh six six six three eight. You're gonna 196 00:11:33,800 --> 00:11:38,680 Speaker 1: hear my guys voice Jake Brennan on that message. I believe, Uh, 197 00:11:38,720 --> 00:11:40,400 Speaker 1: it's okay. Do you can leave a message for me 198 00:11:40,440 --> 00:11:43,640 Speaker 1: there too, All right, just tell him chill Jake. This 199 00:11:43,640 --> 00:11:46,600 Speaker 1: one's for Zeth okay six one seven nine oh six 200 00:11:47,080 --> 00:11:50,520 Speaker 1: six six three eight. You can also email us Disgrace 201 00:11:50,640 --> 00:11:54,880 Speaker 1: lambpod at gmail dot com if that's an easier route 202 00:11:54,920 --> 00:11:58,199 Speaker 1: for you. Now onto this week's question of the week, 203 00:11:58,240 --> 00:12:00,719 Speaker 1: which was all about bad boys, the actors who are 204 00:12:01,080 --> 00:12:03,400 Speaker 1: the best at being bad, the characters you love to hate. 205 00:12:03,440 --> 00:12:06,839 Speaker 1: And I've got your DMS, emails and text messages all 206 00:12:06,880 --> 00:12:34,200 Speaker 1: about that right after this quick break. Okay, everybody, we 207 00:12:34,320 --> 00:12:38,440 Speaker 1: are back, and I'm here into the engagement section with 208 00:12:38,480 --> 00:12:40,959 Speaker 1: you guys, looking at all the messages that have come 209 00:12:40,960 --> 00:12:43,520 Speaker 1: in this past week. The only time I look at 210 00:12:43,520 --> 00:12:47,160 Speaker 1: these things, guys, is like the morning, just minutes ago, 211 00:12:47,640 --> 00:12:50,439 Speaker 1: I get into the inboxes rate before I sit down 212 00:12:50,480 --> 00:12:53,839 Speaker 1: to record these episodes. So this stuff's coming in hot, 213 00:12:53,840 --> 00:12:56,559 Speaker 1: it's coming in fresh. First of all, let's see, I'm 214 00:12:56,559 --> 00:13:00,920 Speaker 1: gonna go over to the email machine. Here, got an 215 00:13:00,920 --> 00:13:04,800 Speaker 1: email here from Jason. The subject of the email is 216 00:13:05,160 --> 00:13:08,800 Speaker 1: bad boy, bad Boy, and he writes in Frank Booth 217 00:13:09,160 --> 00:13:12,440 Speaker 1: from Blue Velvet the worst and then in parentheses best 218 00:13:13,160 --> 00:13:17,000 Speaker 1: Jason in the eight four or five, Yeah, Jason, Heineken, 219 00:13:17,000 --> 00:13:20,160 Speaker 1: fuck that shit, perhaps blue Ribbon, right. I still say 220 00:13:20,160 --> 00:13:23,640 Speaker 1: that every time I grab a PBR, you know, Jason 221 00:13:23,640 --> 00:13:26,360 Speaker 1: in my mind, Like over the years, I'm like, oh, 222 00:13:26,440 --> 00:13:30,480 Speaker 1: that crazy Dennis Hopper in his Blue Velvet role. But 223 00:13:30,679 --> 00:13:33,000 Speaker 1: I rewatched this movie for the first time in a 224 00:13:33,160 --> 00:13:36,640 Speaker 1: long time when David Lynch passed away, and I was like, 225 00:13:36,720 --> 00:13:41,600 Speaker 1: oh shit, he is fucking terrifying this movie. Like I 226 00:13:41,600 --> 00:13:44,120 Speaker 1: think I'd kind of forgotten. I think I'd almost reduced 227 00:13:44,720 --> 00:13:46,800 Speaker 1: this character to a parody in my own mind. But 228 00:13:47,600 --> 00:13:50,360 Speaker 1: the scenes with Isabella Russellini in the apartment with Kyle 229 00:13:50,480 --> 00:13:53,480 Speaker 1: McLoughlin watching from the closet, those are rough, dude. And 230 00:13:53,520 --> 00:13:56,200 Speaker 1: then when they're at that other house in Dean Stockwell, 231 00:13:56,240 --> 00:13:59,040 Speaker 1: his lip syncing the Roy Orbison song one of the 232 00:13:59,080 --> 00:14:03,000 Speaker 1: most incredible moments of all time, and Frank Booth is 233 00:14:03,040 --> 00:14:05,760 Speaker 1: looking on. I mean, we've all been there, not necessarily 234 00:14:05,800 --> 00:14:08,880 Speaker 1: at a fucked up party like that with the guys 235 00:14:08,920 --> 00:14:13,200 Speaker 1: singing into a construction clamplight or whatever, but when you 236 00:14:13,240 --> 00:14:15,840 Speaker 1: suddenly realize the person you're standing next to you is 237 00:14:16,200 --> 00:14:20,720 Speaker 1: totally psychotic. Jason also sent a separate email about last week. 238 00:14:20,720 --> 00:14:24,120 Speaker 1: We were talking about paranoia in cinema, maybe in the 239 00:14:24,120 --> 00:14:26,600 Speaker 1: screening room, I guess about Clute and I was making 240 00:14:26,600 --> 00:14:31,280 Speaker 1: a paranoid playlist. Jason said that the best paranoia song 241 00:14:31,600 --> 00:14:34,960 Speaker 1: is What's He Building in There? By Tom Waits. What's 242 00:14:35,000 --> 00:14:38,800 Speaker 1: He Building in There? Yes, this is one of Tom's funny, 243 00:14:38,840 --> 00:14:43,600 Speaker 1: slash frightening spoken word tracks. It's like that Tom Hanks 244 00:14:43,600 --> 00:14:46,720 Speaker 1: movie The Burbs, but filtered through the junkyard mine of 245 00:14:46,760 --> 00:14:49,640 Speaker 1: Tom Waits. It's a tale of two Tom's. And yes, Jason, 246 00:14:49,680 --> 00:14:52,080 Speaker 1: I agree, What's He Building in There is a great, 247 00:14:52,240 --> 00:14:54,680 Speaker 1: great paranoid song that we need to include in that playlist. 248 00:14:54,720 --> 00:14:57,320 Speaker 1: So thank you for that. Speaking of that paranoid playlist, 249 00:14:57,360 --> 00:14:59,160 Speaker 1: I got to go off tangent for one second here 250 00:14:59,200 --> 00:15:00,960 Speaker 1: and then I'll get back on to the Bad Boys thing. 251 00:15:01,720 --> 00:15:06,160 Speaker 1: But over in Patreon, Jackie chimed in with Elvis Costello's 252 00:15:06,200 --> 00:15:09,120 Speaker 1: Watching the Detectives, which I like slapped my I think 253 00:15:09,160 --> 00:15:11,880 Speaker 1: I literally slapped my forehead with my hand when I 254 00:15:11,920 --> 00:15:15,960 Speaker 1: read that. I don't know how I missed including one 255 00:15:15,960 --> 00:15:19,479 Speaker 1: of the greatest songs by one of the greatest songwriters 256 00:15:19,480 --> 00:15:24,880 Speaker 1: of all time on that list, Watching the Detectives. Great choice, Jackie, Yes, absolutely, 257 00:15:24,880 --> 00:15:28,320 Speaker 1: that's a must. And then Michael said Destroyer, which is 258 00:15:28,360 --> 00:15:31,200 Speaker 1: a song by The Kinks, which Michael makes the argument 259 00:15:31,240 --> 00:15:33,960 Speaker 1: for is like clute in song form and reading through 260 00:15:33,960 --> 00:15:36,720 Speaker 1: some of these lyrics, You're totally right on, Michael. So 261 00:15:36,760 --> 00:15:39,000 Speaker 1: we're going to add those to that playlist as well. 262 00:15:39,080 --> 00:15:41,200 Speaker 1: I got to find a way too. Did I already 263 00:15:41,200 --> 00:15:43,960 Speaker 1: talk about this? Somebody asked this at one point about 264 00:15:43,960 --> 00:15:47,360 Speaker 1: making these playlists like available for people. Oh yeah. My 265 00:15:47,400 --> 00:15:52,120 Speaker 1: response was, I don't have time, right, Okay, well, I 266 00:15:52,120 --> 00:15:53,800 Speaker 1: don't know. Put a pin in that, because I like 267 00:15:53,920 --> 00:15:56,200 Speaker 1: this idea of these being these living, breathing things that 268 00:15:56,240 --> 00:15:59,040 Speaker 1: we add to as time goes on. So stand by 269 00:15:59,080 --> 00:16:01,680 Speaker 1: for that. Let's get back to our regular schedule programming. 270 00:16:01,720 --> 00:16:05,200 Speaker 1: Here and a text from the nine to one seven. 271 00:16:05,520 --> 00:16:09,120 Speaker 1: This text reads fairly new listener to Hollywood Land. But 272 00:16:09,200 --> 00:16:12,920 Speaker 1: your podcast on Clute rocked. If you did all that 273 00:16:13,000 --> 00:16:16,840 Speaker 1: analysis without a script, You're my new hero. I'm a 274 00:16:16,880 --> 00:16:20,240 Speaker 1: professor that teaches film and photo history and I'd love 275 00:16:20,280 --> 00:16:22,760 Speaker 1: to get in on this bad girl's bad boys thing. 276 00:16:23,480 --> 00:16:27,720 Speaker 1: Shameless plug for Louise Brooks and Pandora's Box as a 277 00:16:27,720 --> 00:16:30,760 Speaker 1: bad girl because I published an essay on her called 278 00:16:30,880 --> 00:16:35,040 Speaker 1: bad Girls My bad boy choice not as original Brando 279 00:16:35,240 --> 00:16:37,800 Speaker 1: in the wild One. Can't wait for your next pod. 280 00:16:38,400 --> 00:16:42,480 Speaker 1: Vanessa from New Hampshire. Vanessa, thank you so much for 281 00:16:42,520 --> 00:16:45,920 Speaker 1: writing in Welcome here to the Hollywood Land. Gains stoked 282 00:16:46,000 --> 00:16:48,040 Speaker 1: to have you here. Lots to get in here with 283 00:16:48,120 --> 00:16:51,760 Speaker 1: your message. First of all, the screening room episodes, I 284 00:16:51,880 --> 00:16:54,000 Speaker 1: do those with a very loose script, sort of a 285 00:16:54,280 --> 00:16:57,080 Speaker 1: roadmap of where I'm going and what I'm talking about, 286 00:16:58,000 --> 00:17:00,480 Speaker 1: So it's not like a script script like the scripted 287 00:17:00,520 --> 00:17:03,720 Speaker 1: episodes that you hear Jake narrate on Mondays. But it's 288 00:17:03,800 --> 00:17:06,840 Speaker 1: also not entirely off the dome either, like a lot 289 00:17:06,880 --> 00:17:10,119 Speaker 1: of these rap party scripts are or episodes are. I 290 00:17:10,119 --> 00:17:13,159 Speaker 1: appreciate the love either way. I love the Louise Brooks 291 00:17:13,200 --> 00:17:16,080 Speaker 1: Pandora's Box shout out that's of course the nineteen twenty 292 00:17:16,160 --> 00:17:19,800 Speaker 1: nine GW. Pabst film. Saw that film back in the 293 00:17:19,880 --> 00:17:24,520 Speaker 1: day at film school, I think freshman year I saw 294 00:17:24,560 --> 00:17:27,800 Speaker 1: that that movie and it made quite an impression. The 295 00:17:27,880 --> 00:17:30,200 Speaker 1: Louise Brooks is definitely a vibe in that one. And yes, 296 00:17:30,240 --> 00:17:33,160 Speaker 1: she's kind of like the bad girl template for cinema. Yeah, 297 00:17:33,520 --> 00:17:36,080 Speaker 1: finessa drop a link to that bad girl's essay next 298 00:17:36,080 --> 00:17:37,960 Speaker 1: time you send a text in and if you I'd 299 00:17:37,960 --> 00:17:40,359 Speaker 1: love to check that out. And as for bad boys, 300 00:17:40,400 --> 00:17:42,600 Speaker 1: you know, Brando and the Wild One again a template. 301 00:17:42,680 --> 00:17:45,920 Speaker 1: You know, some would peg James Dean and rebeled out 302 00:17:45,920 --> 00:17:47,800 Speaker 1: a cause as like the bad boy of choice from 303 00:17:47,840 --> 00:17:50,480 Speaker 1: this era. But I think Brando is better just because 304 00:17:50,480 --> 00:17:52,320 Speaker 1: of the menace. There's got to be some menace with 305 00:17:52,359 --> 00:17:54,760 Speaker 1: your bad boy, you know, or your bad girl. And 306 00:17:55,440 --> 00:17:57,679 Speaker 1: James Dean, I don't know. He's kind of just like 307 00:17:57,760 --> 00:18:00,520 Speaker 1: tossed around by his own emotions a bit like Ragdall 308 00:18:00,560 --> 00:18:03,800 Speaker 1: and brand knows is badass. So great text. Thank you 309 00:18:04,280 --> 00:18:07,040 Speaker 1: for listening and for getting involved here in the conversation. 310 00:18:07,320 --> 00:18:11,160 Speaker 1: Switching gears a little bit here in the rip department. 311 00:18:11,520 --> 00:18:13,600 Speaker 1: Got a text here from Matt in the three one seven, 312 00:18:13,720 --> 00:18:18,119 Speaker 1: he writes in Rip bud Court, the very first Beta 313 00:18:18,160 --> 00:18:20,560 Speaker 1: Max tape it was the late seventies. Who knew my 314 00:18:20,680 --> 00:18:24,000 Speaker 1: father bought was Harold and Maud. This was my introduction 315 00:18:24,080 --> 00:18:27,640 Speaker 1: to dark comedy and I'm eternally grateful. Even better, when 316 00:18:27,680 --> 00:18:30,240 Speaker 1: I introduced it to my child, I learned my favorite 317 00:18:30,320 --> 00:18:33,399 Speaker 1: romance stories involved the sentence it just so happens, like 318 00:18:33,560 --> 00:18:36,959 Speaker 1: it just so happens. He's twenty and she's eighty. If 319 00:18:37,000 --> 00:18:38,840 Speaker 1: you want to sing out, sing out, if you want 320 00:18:38,840 --> 00:18:40,960 Speaker 1: to be free, be free. Take care Matt from the 321 00:18:40,960 --> 00:18:43,639 Speaker 1: three one seven. Thanks Matt for shouting out bud Court, 322 00:18:44,119 --> 00:18:46,760 Speaker 1: who passed away last week at the age of seventy seven. 323 00:18:46,840 --> 00:18:49,720 Speaker 1: He had a funky career early on in his early twenties. 324 00:18:50,400 --> 00:18:54,439 Speaker 1: He was in Robert Altman's Brewster McLeod and also Mash 325 00:18:54,520 --> 00:18:57,320 Speaker 1: and then in Harold and Maud. As Matt pointed out, 326 00:18:57,600 --> 00:19:01,120 Speaker 1: the hal ashby Black comedy co starring Roof Gordon, who 327 00:19:01,160 --> 00:19:04,679 Speaker 1: you may know better as Missus Castavet from Rosemary's Baby 328 00:19:05,320 --> 00:19:08,959 Speaker 1: Time has not softened Harold and Maud's black humor or 329 00:19:09,080 --> 00:19:12,240 Speaker 1: its ingenuity. This is this is the definition of a 330 00:19:12,280 --> 00:19:15,160 Speaker 1: cult hit, one that found its legacy and its audience 331 00:19:15,280 --> 00:19:18,600 Speaker 1: not at opening weekend at the box office, but in 332 00:19:18,720 --> 00:19:22,879 Speaker 1: later runs at repertory theaters through word of mouth. If 333 00:19:22,880 --> 00:19:25,119 Speaker 1: this was released today, it would be the kind of 334 00:19:25,160 --> 00:19:28,320 Speaker 1: movie that wouldn't catch on until it hits streaming, and 335 00:19:28,320 --> 00:19:31,760 Speaker 1: then it would find it's a weirdo audience there and 336 00:19:32,160 --> 00:19:33,680 Speaker 1: take off with word of mouth. I don't even know 337 00:19:33,680 --> 00:19:36,280 Speaker 1: if that word of mouth thing really exists anymore in 338 00:19:36,280 --> 00:19:39,359 Speaker 1: that way. I mean, there's just so much out there, 339 00:19:40,080 --> 00:19:44,000 Speaker 1: so many streamers, so many movies and shows and options, 340 00:19:44,560 --> 00:19:47,120 Speaker 1: that it's kind of hard for It's kind of hard 341 00:19:47,119 --> 00:19:49,960 Speaker 1: for anything to really be a cult hit anymore. Right, 342 00:19:50,119 --> 00:19:52,360 Speaker 1: Is that is that? I don't know, Maybe I'm wrong 343 00:19:52,400 --> 00:19:55,600 Speaker 1: about that, But like a movie like this, just I 344 00:19:55,600 --> 00:19:57,359 Speaker 1: wonder if it would get lost in the shuffle today. 345 00:19:57,359 --> 00:19:59,400 Speaker 1: Probably there probably are movies like this they're getting lost 346 00:19:59,400 --> 00:20:01,800 Speaker 1: in the shuffle right now. For me, Matt, the legacy 347 00:20:01,840 --> 00:20:05,600 Speaker 1: of this film is the Cat Stevens soundtrack, which you 348 00:20:05,600 --> 00:20:07,199 Speaker 1: gave a nod to there on your message if you 349 00:20:07,200 --> 00:20:10,560 Speaker 1: want to out sing out. Cat Stevens was in heavy 350 00:20:10,640 --> 00:20:13,159 Speaker 1: rotation in my house growing up. Actually have all my 351 00:20:13,240 --> 00:20:17,000 Speaker 1: parents old Cat Stevens albums, they are well loved, they're 352 00:20:17,000 --> 00:20:20,159 Speaker 1: all falling apart the sleeves. But nothing really puts me 353 00:20:20,240 --> 00:20:22,600 Speaker 1: back in the late seventies or very early eighties more 354 00:20:22,640 --> 00:20:25,200 Speaker 1: than putting one of those on Budd Court. I think 355 00:20:25,240 --> 00:20:27,440 Speaker 1: he was involved in like a car accident at some point, 356 00:20:27,520 --> 00:20:30,199 Speaker 1: and I don't know if that had anything to do 357 00:20:30,280 --> 00:20:32,600 Speaker 1: with the trajectory of his career. I know that he 358 00:20:32,680 --> 00:20:36,359 Speaker 1: was in Wes Anderson's The Life Aquatic later on as 359 00:20:36,400 --> 00:20:39,120 Speaker 1: like the exactly the kind of character you'd expect Wes 360 00:20:39,160 --> 00:20:42,120 Speaker 1: Anderson to pick. But his career was definitely like I said, 361 00:20:42,160 --> 00:20:44,520 Speaker 1: it was funky. Yeah, great call. Thanks Matt for shouting 362 00:20:44,560 --> 00:20:47,520 Speaker 1: that out. Thanks for shouting out to the passing of 363 00:20:47,600 --> 00:20:51,400 Speaker 1: Bud Court. Getting back to the Paranoi thing, got an 364 00:20:51,400 --> 00:20:55,920 Speaker 1: email here from Jason with the subject line paranoia One 365 00:20:56,119 --> 00:20:59,440 Speaker 1: add on, says IZI Jason from the eight four to 366 00:20:59,560 --> 00:21:03,280 Speaker 1: five a week late, but had to add two things. First, 367 00:21:03,480 --> 00:21:06,920 Speaker 1: isn't the nineteen fifties with all the anti communist alien 368 00:21:07,000 --> 00:21:10,160 Speaker 1: and monster films Invasion of the Body Snatchers for one, 369 00:21:10,600 --> 00:21:15,479 Speaker 1: the first real apex of paranoid cinema, but it's coded. Second, 370 00:21:15,960 --> 00:21:21,200 Speaker 1: isn't the ultimate nutty MC nutster. Paranoid filmmaker Oliver Stone 371 00:21:21,240 --> 00:21:24,560 Speaker 1: loved the show. Jason. Yeah, Jason, I agree with you 372 00:21:24,680 --> 00:21:27,159 Speaker 1: about the evasion of the Body Snatchers and the nineteen 373 00:21:27,200 --> 00:21:31,080 Speaker 1: fifties and conflating aliens growing in pause and with communists 374 00:21:31,160 --> 00:21:35,359 Speaker 1: as definitely a first wave of paranoid cinema. Did I 375 00:21:35,400 --> 00:21:38,280 Speaker 1: not mention invasion of the Body Snatchers when I was 376 00:21:38,320 --> 00:21:41,200 Speaker 1: talking about all this? Or oh, actually maybe I guess 377 00:21:41,200 --> 00:21:45,000 Speaker 1: what you're saying. Yeah, Okay, my thesis here it revolved 378 00:21:45,000 --> 00:21:47,240 Speaker 1: around the seventies as the first apex made. So no, 379 00:21:47,320 --> 00:21:49,919 Speaker 1: I think you're right. It was definitely coded. You know, 380 00:21:50,000 --> 00:21:52,199 Speaker 1: back in the it was like a little Richardson. You know, 381 00:21:52,320 --> 00:21:54,880 Speaker 1: back in the fifties you couldn't say what you wanted 382 00:21:54,880 --> 00:21:55,879 Speaker 1: to say, so you had to write it all and 383 00:21:55,960 --> 00:21:59,560 Speaker 1: could so great call there. And also Oliver Stone is 384 00:22:00,000 --> 00:22:03,200 Speaker 1: that's one of our most paranoid filmmakers. Something that's I 385 00:22:03,240 --> 00:22:05,159 Speaker 1: completely agree with you there. Did you ever see his 386 00:22:05,200 --> 00:22:09,120 Speaker 1: movie U Turn Incidantly starring this week's subject Sean Penn. 387 00:22:09,119 --> 00:22:11,119 Speaker 1: I mean, JFK is one kind of paranoid, but you 388 00:22:11,240 --> 00:22:16,440 Speaker 1: Turn that movie is paranoid. Af Thanks Jason. Something else 389 00:22:16,440 --> 00:22:20,440 Speaker 1: we were talking about last week was prompted by one 390 00:22:20,440 --> 00:22:23,639 Speaker 1: of our members on Patreon All Access members. In the 391 00:22:23,720 --> 00:22:26,520 Speaker 1: chat over there, we were talking about movie quotes that 392 00:22:26,880 --> 00:22:28,320 Speaker 1: we love to quote, and I got a text from 393 00:22:28,320 --> 00:22:32,639 Speaker 1: the six four six here saying movie quotes anything from 394 00:22:32,760 --> 00:22:36,520 Speaker 1: Doc Holliday and Tombstone. His dialogue is one for the ages. 395 00:22:36,920 --> 00:22:40,320 Speaker 1: Of course, the six four six is talking about Val Kilmer. 396 00:22:40,600 --> 00:22:43,920 Speaker 1: I'm your Huckleberry is one of the legendary lines from 397 00:22:43,920 --> 00:22:46,080 Speaker 1: this movie. You know, Val Kilmer does not get enough 398 00:22:46,080 --> 00:22:49,240 Speaker 1: credit for being a consummate weirdo. We often peg someone 399 00:22:49,359 --> 00:22:53,359 Speaker 1: like Crispin Glover or even Johnny Depp for that role. 400 00:22:53,520 --> 00:22:56,680 Speaker 1: But Val Kilmer here, to your credit six four six, 401 00:22:56,720 --> 00:23:00,720 Speaker 1: he is just savoring every single line in the movie. 402 00:23:01,080 --> 00:23:03,480 Speaker 1: So thanks for writing in on that, and I am 403 00:23:03,520 --> 00:23:07,400 Speaker 1: savoring all these messages from you. Keep them coming. I'll 404 00:23:07,480 --> 00:23:10,840 Speaker 1: keep answering them here in the wrap party. But now 405 00:23:10,880 --> 00:23:14,320 Speaker 1: I want a whippan once again, this time over to 406 00:23:14,400 --> 00:23:17,200 Speaker 1: the recommendations portion of the show, which I'm going to 407 00:23:17,280 --> 00:23:32,920 Speaker 1: do right after this, So do not touch that dial Hey, gang, 408 00:23:33,040 --> 00:23:36,600 Speaker 1: let's talk some recommendation shows. What have I been listening 409 00:23:36,640 --> 00:23:40,800 Speaker 1: to watching? Reading? You want to know, well, I'm glad 410 00:23:40,880 --> 00:23:44,880 Speaker 1: you asked allow me to tell you allow me to retort. 411 00:23:45,520 --> 00:23:50,000 Speaker 1: First of all, I stumbled onto this used copy of 412 00:23:50,160 --> 00:23:52,600 Speaker 1: the making of Once Upon a Time in Hollywood, book 413 00:23:52,640 --> 00:23:55,919 Speaker 1: by Jay Glenny, all about the Tarantino film. This is 414 00:23:55,960 --> 00:24:00,680 Speaker 1: a huge, hardcover, coffee table kind of book, behind the 415 00:24:00,720 --> 00:24:05,400 Speaker 1: scenes photos, art call sheets, technical design, and full of 416 00:24:05,840 --> 00:24:10,200 Speaker 1: oral histories from all the people involved. It's movie geek 417 00:24:10,359 --> 00:24:14,000 Speaker 1: catnip for sure, especially if this movie is your bag. 418 00:24:14,480 --> 00:24:16,360 Speaker 1: I looked at this with interest when it came out 419 00:24:16,400 --> 00:24:18,639 Speaker 1: whenever it came out last fall, I think, and the 420 00:24:19,200 --> 00:24:21,919 Speaker 1: retail price tag on this thing is quite hefty, so 421 00:24:21,960 --> 00:24:23,800 Speaker 1: that sort of kept me at bay. But I was 422 00:24:23,840 --> 00:24:27,440 Speaker 1: psyched to luck into this used, cheaper copy that appears 423 00:24:27,480 --> 00:24:30,200 Speaker 1: to be barely touched in the first place. So I've 424 00:24:30,240 --> 00:24:32,240 Speaker 1: just started to read through this. I can tell it's 425 00:24:32,240 --> 00:24:35,760 Speaker 1: gonna be a blast. KP posted Also this week, I 426 00:24:35,840 --> 00:24:40,359 Speaker 1: began research on a Grace Jones episode. I'm going to 427 00:24:40,400 --> 00:24:44,600 Speaker 1: write a Grace Jones episode for Disgraceland, our sister show, 428 00:24:45,160 --> 00:24:47,760 Speaker 1: and I don't know how much you guys know about her, 429 00:24:47,880 --> 00:24:51,440 Speaker 1: about her life or career, but it's way more true 430 00:24:51,440 --> 00:24:54,280 Speaker 1: crime than I ever would have imagined, So we're going 431 00:24:54,320 --> 00:24:57,480 Speaker 1: to get into all that. Of course, she's also just 432 00:24:57,520 --> 00:25:02,119 Speaker 1: a fascinating figure from music, movie, in fashion history. So 433 00:25:02,280 --> 00:25:04,639 Speaker 1: researching her sent me over to my record shelf and 434 00:25:04,680 --> 00:25:07,399 Speaker 1: I pulled out a couple of Grace Jones' records and 435 00:25:07,440 --> 00:25:11,160 Speaker 1: I've got to shout out her nineteen eighty one album Nightclubbing. 436 00:25:11,640 --> 00:25:14,480 Speaker 1: If you don't know this record, you must. This was 437 00:25:14,520 --> 00:25:18,840 Speaker 1: recorded at Compass Point in the Bahamas, with Island Records 438 00:25:18,960 --> 00:25:23,560 Speaker 1: head Chris Blackwell co producing. It's got the great, great, 439 00:25:23,840 --> 00:25:27,840 Speaker 1: great Jamaican rhythm section, Sly and Robbie holding that down, 440 00:25:27,880 --> 00:25:32,440 Speaker 1: that slide Dumbbar and Robbie Shakespeare rip by the way 441 00:25:32,520 --> 00:25:36,160 Speaker 1: to Slide Dumbar, who just passed away a few weeks ago. 442 00:25:36,520 --> 00:25:39,600 Speaker 1: Robbie Shakespeare died back in twenty twenty one. So anyways, 443 00:25:39,640 --> 00:25:42,479 Speaker 1: this record comes out in nineteen eighty one. It's post disco. 444 00:25:43,040 --> 00:25:46,320 Speaker 1: Grace was a big mainstay in the studio fifty four 445 00:25:46,520 --> 00:25:50,479 Speaker 1: Warhol New York scene, but as disco backlash set in, 446 00:25:50,600 --> 00:25:53,840 Speaker 1: she made a pivot to new wave. I suppose the 447 00:25:53,840 --> 00:25:57,800 Speaker 1: pivot began with the record before this, Warm Leatherette, though 448 00:25:57,960 --> 00:26:00,320 Speaker 1: she does it here with Sly and Robbie and this 449 00:26:00,480 --> 00:26:04,800 Speaker 1: very Jamaican pov on the whole post disco new wave thing. 450 00:26:05,359 --> 00:26:09,040 Speaker 1: This record features the incredible song original song pull Up 451 00:26:09,080 --> 00:26:13,240 Speaker 1: to the Bumper, which is both, as you can probably tell, 452 00:26:13,760 --> 00:26:18,159 Speaker 1: lyrically provocative and also musically undeniable, just definitely in the 453 00:26:19,400 --> 00:26:24,560 Speaker 1: tooty fruity Little Richard area here of being lyrically musically 454 00:26:24,600 --> 00:26:27,879 Speaker 1: codd But the really thrilling aspect of this album for 455 00:26:28,000 --> 00:26:31,080 Speaker 1: me is the cover songs. She covers Iggy Pop's Nightclubbing 456 00:26:31,080 --> 00:26:33,960 Speaker 1: and that's the title track. She also covers Demolition Man 457 00:26:34,000 --> 00:26:37,560 Speaker 1: by the Police and the great Bill Withers song Use Me. 458 00:26:38,119 --> 00:26:42,160 Speaker 1: These covers, though, they're so sonically reduced, like they are lean, 459 00:26:42,440 --> 00:26:46,080 Speaker 1: mean funk machines. And this is not talking James Brown funk. 460 00:26:46,440 --> 00:26:49,240 Speaker 1: It's not even Bill Withersfunk. Bill Withersfunk is super tight, 461 00:26:50,040 --> 00:26:52,680 Speaker 1: those James Gadson drums, you know. But this stuff Sli 462 00:26:52,800 --> 00:26:55,520 Speaker 1: and Robbie's it's like snaps like a rubber band. It's 463 00:26:55,560 --> 00:26:58,800 Speaker 1: so tight that it almost feels robotic, like the early 464 00:26:58,960 --> 00:27:02,520 Speaker 1: eighties sheen of it. Grace Jones got her strong yet 465 00:27:02,800 --> 00:27:07,399 Speaker 1: monosyllabic voice. This is just some of the best interpretations 466 00:27:07,400 --> 00:27:10,960 Speaker 1: of other artists material that makes each song feel new 467 00:27:11,080 --> 00:27:15,680 Speaker 1: and revelatory. Again. This record is called Nightclubbing Grace Jones 468 00:27:16,160 --> 00:27:21,119 Speaker 1: check that out also from that era in time. I 469 00:27:21,160 --> 00:27:24,119 Speaker 1: recently put together for myself a playlist on Apple Music 470 00:27:24,200 --> 00:27:27,720 Speaker 1: of all the songs featured in Paul Thomas Anderson's nineteen 471 00:27:27,800 --> 00:27:31,879 Speaker 1: ninety seven film Boogie Nights. There is an official soundtrack 472 00:27:31,920 --> 00:27:35,359 Speaker 1: release for this there's actually two volumes. But first of all, 473 00:27:35,600 --> 00:27:38,040 Speaker 1: even though there's two volumes, they don't cover every needle 474 00:27:38,119 --> 00:27:40,960 Speaker 1: drop in the movie, I don't think. And second of all, 475 00:27:41,040 --> 00:27:43,760 Speaker 1: like if you're looking on streaming, you can find volume 476 00:27:43,800 --> 00:27:47,640 Speaker 1: one on like Apple and the others Spotify, but half 477 00:27:47,720 --> 00:27:50,560 Speaker 1: the songs are blocked out due to copyright stuff. So 478 00:27:50,800 --> 00:27:54,240 Speaker 1: I created my own playlist. It's in chronological order and 479 00:27:54,240 --> 00:27:57,080 Speaker 1: how the songs appear in the film. I clocked twenty 480 00:27:57,119 --> 00:28:01,080 Speaker 1: six songs total in this movie. I did this exercise 481 00:28:01,119 --> 00:28:04,600 Speaker 1: because just a little behind the scenes here, Jake and 482 00:28:04,640 --> 00:28:07,880 Speaker 1: I just recorded a new episode of our video podcast. 483 00:28:07,960 --> 00:28:11,120 Speaker 1: This film should be played loud all about Boogie Nights, 484 00:28:11,119 --> 00:28:13,240 Speaker 1: which is going to drop a week from today actually 485 00:28:13,359 --> 00:28:18,280 Speaker 1: next Wednesday, exclusively over on our Patreon look guys, we're 486 00:28:18,320 --> 00:28:20,440 Speaker 1: really getting our shit together on the show. Like we've 487 00:28:20,480 --> 00:28:23,399 Speaker 1: been building this thing live with you guys, watching it 488 00:28:23,440 --> 00:28:26,840 Speaker 1: all come together in real time. But for this new episode, 489 00:28:26,960 --> 00:28:30,560 Speaker 1: we finally applied some more structure. We've got categories. Even 490 00:28:30,920 --> 00:28:34,160 Speaker 1: I can say objectively that this is our best episode yet. 491 00:28:34,200 --> 00:28:37,080 Speaker 1: So if you haven't joined us there on Patreon all 492 00:28:37,119 --> 00:28:41,160 Speaker 1: access at the Sound and Fury tier that's our video tier, 493 00:28:41,840 --> 00:28:44,480 Speaker 1: definitely make that happen asaps so you can check out 494 00:28:44,480 --> 00:28:47,080 Speaker 1: this new Boogie Night's episode and our past episodes on 495 00:28:47,240 --> 00:28:52,120 Speaker 1: Trainspotting and Goodfellas, plus all the other monthly episodes we've 496 00:28:52,120 --> 00:28:54,560 Speaker 1: gotten the works coming at you. Quick pitch for this. 497 00:28:54,760 --> 00:28:56,920 Speaker 1: It's ten bucks a month to be a Sound and 498 00:28:56,920 --> 00:28:59,840 Speaker 1: Fury member, but we do have a discount running right 499 00:28:59,840 --> 00:29:03,200 Speaker 1: now now for the next month. I believe if you're 500 00:29:03,240 --> 00:29:05,880 Speaker 1: not a Sound and Fury member, if you're a member 501 00:29:05,880 --> 00:29:07,920 Speaker 1: of a lower tier, or maybe you're a free member, 502 00:29:08,000 --> 00:29:10,040 Speaker 1: or maybe you haven't even signed up to be a 503 00:29:10,040 --> 00:29:13,960 Speaker 1: free member or whatever, you can get twenty percent off 504 00:29:14,120 --> 00:29:18,160 Speaker 1: your first month or your first year. Just use the 505 00:29:18,200 --> 00:29:24,640 Speaker 1: code disco at checkout. That's DSGO as in discos here 506 00:29:24,680 --> 00:29:29,720 Speaker 1: in Disgraceland. Okay, dsgo use that discount. I think it's running, 507 00:29:29,760 --> 00:29:31,800 Speaker 1: like I said, for about a month. Just go to 508 00:29:31,840 --> 00:29:36,760 Speaker 1: disgracelamdpod dot com for more details and to sign up. 509 00:29:36,800 --> 00:29:38,360 Speaker 1: We would love to hang with you there on the 510 00:29:38,400 --> 00:29:42,400 Speaker 1: sound and fury level. So anyway, I'm deep into Boogie 511 00:29:42,480 --> 00:29:45,040 Speaker 1: Night's needle Drops, and a lot of the stuff is 512 00:29:45,080 --> 00:29:48,520 Speaker 1: stuff that people would categorize historically as a guilty pleasure, right, 513 00:29:49,160 --> 00:29:51,560 Speaker 1: but I'm not down with that classification. Look, you either 514 00:29:51,760 --> 00:29:53,840 Speaker 1: like it or you don't. Okay, you don't have to 515 00:29:53,920 --> 00:29:57,720 Speaker 1: excuse what you like by defining it as a guilty pleasure. 516 00:29:58,240 --> 00:30:01,800 Speaker 1: This is one of the greatest thing about growing up 517 00:30:02,280 --> 00:30:04,680 Speaker 1: and getting older and realizing, you know what, if I 518 00:30:04,720 --> 00:30:06,360 Speaker 1: want to listen to Best of My Love by the 519 00:30:06,400 --> 00:30:10,320 Speaker 1: Emotions or Driver's Seat by sniffing the tears at maximum 520 00:30:10,400 --> 00:30:13,800 Speaker 1: volume and do it not ironically, I'm gonna do it, 521 00:30:13,920 --> 00:30:16,720 Speaker 1: damn it. Driver's Seat definitely one of my favorites here, 522 00:30:17,200 --> 00:30:19,200 Speaker 1: as is Got to Give It Up by Marvin Gay 523 00:30:19,880 --> 00:30:24,200 Speaker 1: ROBERTA Phlax, incredible cover of compared to what Andrew Gold's 524 00:30:24,240 --> 00:30:27,200 Speaker 1: Lonely Boy, The more yacht Rock, the Better Baby. That's 525 00:30:27,240 --> 00:30:29,200 Speaker 1: what I say something that Jake and I touched on 526 00:30:29,440 --> 00:30:31,400 Speaker 1: very very briefly in the episode, so this really isn't 527 00:30:31,400 --> 00:30:34,360 Speaker 1: a spoiler for that is that every single needle drop 528 00:30:34,400 --> 00:30:37,959 Speaker 1: in this film speaks directly to a character or to 529 00:30:38,000 --> 00:30:41,920 Speaker 1: a moment. They're all hard coded into what is happening 530 00:30:42,440 --> 00:30:45,720 Speaker 1: in the film. If you had to choose a different song, 531 00:30:45,880 --> 00:30:48,040 Speaker 1: you would It's almost like you'd have to change the 532 00:30:48,040 --> 00:30:51,120 Speaker 1: script a little bit, like, for instance, the song Lonely Boy, 533 00:30:51,120 --> 00:30:53,920 Speaker 1: which I just mentioned this is playing when Julian Moore's 534 00:30:53,960 --> 00:30:56,960 Speaker 1: character Amber, she's doing coke at a party when her 535 00:30:57,080 --> 00:30:59,960 Speaker 1: estranged son calls looking for her, and we've already seen 536 00:31:00,120 --> 00:31:03,040 Speaker 1: her try to contact him and she can't, and she's 537 00:31:03,160 --> 00:31:07,080 Speaker 1: very distraught because her ex husband has custody of the kid, 538 00:31:07,520 --> 00:31:10,719 Speaker 1: so she plunges herself deeper into this lifestyle and deeper 539 00:31:10,720 --> 00:31:13,120 Speaker 1: into drugs. And then when her son does call her 540 00:31:13,160 --> 00:31:15,960 Speaker 1: back and someone else answers the phone and the kids 541 00:31:16,040 --> 00:31:18,760 Speaker 1: using her real name Maggie, not her screen name Amber, 542 00:31:19,160 --> 00:31:21,239 Speaker 1: They're like, no, there's no Maggie here, and they hang up. 543 00:31:21,240 --> 00:31:25,800 Speaker 1: It's this heartbreaking moment made even more dramatic by Andrew 544 00:31:25,880 --> 00:31:29,200 Speaker 1: Gold singing lonely boy in the background, whether you consciously 545 00:31:29,560 --> 00:31:33,160 Speaker 1: notice it or not. And sometimes these are funny needle drops, 546 00:31:33,160 --> 00:31:35,680 Speaker 1: like when we're first introduced to Philip seymour Hoffin's character 547 00:31:35,720 --> 00:31:39,080 Speaker 1: Scotty Jay to the sounds of hot chocolates use sexy thing, 548 00:31:39,760 --> 00:31:43,080 Speaker 1: or when we finally see Derk Diggler's manhood at the 549 00:31:43,160 --> 00:31:45,840 Speaker 1: very end of the film the stuntcock, as it were, 550 00:31:46,520 --> 00:31:50,160 Speaker 1: technical term which Pta said he treated like Jaws or 551 00:31:50,160 --> 00:31:54,640 Speaker 1: et swear to God. It's like, it's the thing that 552 00:31:55,240 --> 00:31:57,800 Speaker 1: you hold back I'm revealing for the longest time. You 553 00:31:57,840 --> 00:32:00,320 Speaker 1: talk about it, you show other people's reaction to it, 554 00:32:00,360 --> 00:32:02,479 Speaker 1: but you wait to actually reveal it to the audience. 555 00:32:02,520 --> 00:32:04,480 Speaker 1: So when that happens in the very last scene of 556 00:32:04,480 --> 00:32:08,000 Speaker 1: this movie, suddenly the needle drops on ELO's living thing, 557 00:32:08,320 --> 00:32:11,120 Speaker 1: which is a great joke. Anyway, the moral of the 558 00:32:11,160 --> 00:32:13,520 Speaker 1: story here is, like what you like, all right? You 559 00:32:13,560 --> 00:32:16,000 Speaker 1: want to listen to the disco channel on Sirius XM. 560 00:32:16,080 --> 00:32:17,840 Speaker 1: Do it up. You want to cue up a bunch 561 00:32:17,880 --> 00:32:21,280 Speaker 1: of songs that have Michael McDonald singing back up on them. 562 00:32:21,560 --> 00:32:24,800 Speaker 1: Be my guest, ain't no shame in that game. In fact, 563 00:32:24,920 --> 00:32:28,080 Speaker 1: I will join you all right real quick here what 564 00:32:28,280 --> 00:32:31,920 Speaker 1: I've been watching. I finally got around to watching the 565 00:32:31,960 --> 00:32:35,000 Speaker 1: new John Candy documentary I Like Me, which you can 566 00:32:35,040 --> 00:32:38,719 Speaker 1: find on Amazon Prime. This was directed by Colin Hanks 567 00:32:38,800 --> 00:32:42,120 Speaker 1: co produced by Ryan Reynolds. Many of you here in 568 00:32:42,200 --> 00:32:45,320 Speaker 1: Patreon and elsewhere I have recommended this and I've been 569 00:32:45,360 --> 00:32:47,640 Speaker 1: wanting to check it out for a while. John Candy 570 00:32:47,720 --> 00:32:49,360 Speaker 1: is an all time favorite of mine. Some of my 571 00:32:49,440 --> 00:32:54,200 Speaker 1: favorite comedies have John Candy in them form and of comedies, really, 572 00:32:54,800 --> 00:32:57,400 Speaker 1: Uncle Buck is just the best that character, that performance. 573 00:32:58,680 --> 00:33:00,840 Speaker 1: The thing about the documentary here, I think I mentioned 574 00:33:00,840 --> 00:33:02,240 Speaker 1: this before, is I knew it was going to be 575 00:33:02,440 --> 00:33:04,600 Speaker 1: super sad, so I avoided it for a while. But 576 00:33:04,760 --> 00:33:07,160 Speaker 1: with the death of Catherine O'Hara, who I knew was 577 00:33:07,160 --> 00:33:09,360 Speaker 1: in this movie, I've been thinking about it a lot 578 00:33:09,360 --> 00:33:12,000 Speaker 1: more so I finally I checked it out. It's quite good. 579 00:33:12,080 --> 00:33:14,680 Speaker 1: It's very heartbreaking, you know, not just his death and 580 00:33:14,720 --> 00:33:17,640 Speaker 1: how it still clear clearly affects his family and friends 581 00:33:17,680 --> 00:33:20,720 Speaker 1: and all the people he worked with, but the revelations 582 00:33:20,720 --> 00:33:24,120 Speaker 1: in here about what he endured psychologically when it came 583 00:33:24,200 --> 00:33:27,920 Speaker 1: to his weight and the public. Like there's so many 584 00:33:27,960 --> 00:33:31,200 Speaker 1: TV reporters, you know, so many quote unquote journalists that 585 00:33:31,240 --> 00:33:33,520 Speaker 1: were just obsessed with talking about it. You know. Like 586 00:33:33,560 --> 00:33:37,320 Speaker 1: there's one clip where he's asked about his weight and 587 00:33:37,440 --> 00:33:39,600 Speaker 1: he tells this person interviewing him that he doesn't have 588 00:33:39,640 --> 00:33:43,560 Speaker 1: a problem with how he looks. He likes the way 589 00:33:43,560 --> 00:33:45,480 Speaker 1: that he is. And then he spends it around and 590 00:33:45,480 --> 00:33:48,840 Speaker 1: he asked the interviewer if they have a problem, it's because, oh, 591 00:33:48,840 --> 00:33:50,560 Speaker 1: maybe you have a problem because you brought it up. 592 00:33:50,640 --> 00:33:53,920 Speaker 1: You know. It just sucks, man, I don't know, it's 593 00:33:54,400 --> 00:33:57,360 Speaker 1: it's intense. If I have one bone to pick with 594 00:33:57,400 --> 00:34:03,200 Speaker 1: this documentary, though, it's that the is just it's very 595 00:34:03,240 --> 00:34:08,200 Speaker 1: sentimental and very manipulative. It pulls at your heartstrings NonStop, 596 00:34:08,239 --> 00:34:10,600 Speaker 1: and not just like you know, at the beginning or 597 00:34:10,640 --> 00:34:12,600 Speaker 1: at the end or whatever. It feels like it's throughout 598 00:34:12,640 --> 00:34:14,680 Speaker 1: the entire film. And I got to say, it became 599 00:34:14,719 --> 00:34:18,080 Speaker 1: a little distracting from me. I wish that aspect of 600 00:34:18,120 --> 00:34:19,799 Speaker 1: this had been a little bit different. I wish the 601 00:34:19,800 --> 00:34:21,920 Speaker 1: filmmakers would have just let Candy and his friends and 602 00:34:21,920 --> 00:34:25,239 Speaker 1: his family members communicate what they wanted to communicate without 603 00:34:25,280 --> 00:34:28,120 Speaker 1: being reminded that that it's all very heavy and very sad, 604 00:34:28,120 --> 00:34:30,799 Speaker 1: you know, what I mean. All right, listen, it's your turn. 605 00:34:30,880 --> 00:34:32,040 Speaker 1: I want you to. I want to know if you've 606 00:34:32,040 --> 00:34:34,640 Speaker 1: seen this, what do you think about Grace Jones? What 607 00:34:34,680 --> 00:34:36,720 Speaker 1: do you think about Boogie Nights? What have you been watching, 608 00:34:37,040 --> 00:34:40,080 Speaker 1: reading listening to? Hit me up and let me know. 609 00:34:40,640 --> 00:34:44,919 Speaker 1: Six one seven nine oh six six six three eight. 610 00:34:45,680 --> 00:35:00,120 Speaker 1: I'll be right back right after this, Okay, do ok? Everybody? Hey, 611 00:35:00,120 --> 00:35:02,480 Speaker 1: if you're still here, if you're still listening, hey, all 612 00:35:02,520 --> 00:35:03,880 Speaker 1: the way at the end here, I want to tell 613 00:35:03,920 --> 00:35:07,680 Speaker 1: you you are a real one. I appreciate you. I 614 00:35:07,719 --> 00:35:11,880 Speaker 1: appreciate everyone listening to the show wherever and however that 615 00:35:11,920 --> 00:35:15,439 Speaker 1: may be. I especially appreciate all the members of all 616 00:35:15,480 --> 00:35:18,520 Speaker 1: Access over on Patreon allowing us to make some really 617 00:35:18,560 --> 00:35:21,959 Speaker 1: cool shit there. And perhaps those of you on all 618 00:35:22,000 --> 00:35:24,560 Speaker 1: Access want to jump in the chat and get in 619 00:35:24,640 --> 00:35:27,960 Speaker 1: on next week's question of the week, which again reminder, 620 00:35:28,440 --> 00:35:31,480 Speaker 1: what is the most cursed movie of all time? Perhaps 621 00:35:31,480 --> 00:35:33,880 Speaker 1: you have a strange story that has to do with 622 00:35:34,360 --> 00:35:36,480 Speaker 1: a movie in some spot of bad luck as a 623 00:35:36,520 --> 00:35:39,200 Speaker 1: result of seeing that movie yourself. I don't know, whatever 624 00:35:39,239 --> 00:35:43,399 Speaker 1: it is, if this topic or this question sparks some 625 00:35:43,440 --> 00:35:45,880 Speaker 1: sort of idea or answering you I want to hear it. 626 00:35:45,880 --> 00:35:48,560 Speaker 1: I want to know about cursed movies. Call me, text 627 00:35:48,600 --> 00:35:52,520 Speaker 1: me six one seven nine oh six six six three eight, 628 00:35:52,880 --> 00:35:57,239 Speaker 1: email me at disgracelampod at gmail dot com. You can 629 00:35:57,320 --> 00:36:00,920 Speaker 1: hit me up on the socials at Disgrace Lamb, or 630 00:36:01,040 --> 00:36:04,160 Speaker 1: of course, as I mentioned numerous times here, jump in 631 00:36:04,239 --> 00:36:07,240 Speaker 1: the chat just like Harry Nilson jumping in the fire 632 00:36:07,719 --> 00:36:13,120 Speaker 1: over on All Access on Patreon. Perhaps, perhaps, perhaps your 633 00:36:13,160 --> 00:36:15,759 Speaker 1: response will make it into next week's edition of the 634 00:36:15,840 --> 00:36:20,359 Speaker 1: Rap Party. Until then, let's recap number one first of all, right, 635 00:36:20,400 --> 00:36:23,440 Speaker 1: now in your Hollywood Land feed, our episode on Sean 636 00:36:23,480 --> 00:36:26,480 Speaker 1: Penn number two coming at you this Friday. We've got 637 00:36:26,520 --> 00:36:29,279 Speaker 1: a new episode of the Screening Room here in the 638 00:36:29,280 --> 00:36:31,880 Speaker 1: Hollywood Land Feed, and this week I'm talking all about 639 00:36:32,200 --> 00:36:35,560 Speaker 1: the nineteen eighty six film At Close Range, directed by 640 00:36:35,640 --> 00:36:40,800 Speaker 1: James Foley, starring Christopher walk and, Mary Stewart, Masterson, David Strahan, 641 00:36:41,239 --> 00:36:45,520 Speaker 1: Crispin Glover, Chris Penn, and of course our guy Sean Penn. 642 00:36:46,080 --> 00:36:49,120 Speaker 1: Number three. Next week on Monday, we wrap up February 643 00:36:49,160 --> 00:36:51,840 Speaker 1: and Awards season month with our fully scripted sound design 644 00:36:51,880 --> 00:36:55,440 Speaker 1: episode on The Misfits, the nineteen sixty one film starring 645 00:36:55,480 --> 00:37:00,200 Speaker 1: Marilyn Monroe Clark Gable in Montgomery Cliff. Number four. We're 646 00:37:00,239 --> 00:37:03,880 Speaker 1: in our sister show, Disgraceland. We just dropped an episode 647 00:37:03,880 --> 00:37:06,120 Speaker 1: on the most rock and roll journalist of all time, 648 00:37:06,480 --> 00:37:09,800 Speaker 1: The Outlaw, the Rebel, the hell Raiser, the Good Doctor, 649 00:37:10,080 --> 00:37:13,160 Speaker 1: Hunter s. Thompson. Hear all about the wild life and 650 00:37:13,200 --> 00:37:16,080 Speaker 1: times of the man who was nearly murdered by bikers 651 00:37:16,160 --> 00:37:20,400 Speaker 1: over in the Disgraceland feed. And now, in honor of 652 00:37:20,400 --> 00:37:23,040 Speaker 1: this week's episode, here's what America was watching at the 653 00:37:23,080 --> 00:37:26,160 Speaker 1: movies in February two thousand and four, the month that 654 00:37:26,280 --> 00:37:29,560 Speaker 1: Sean Penn won his first Academy Award for his role 655 00:37:29,640 --> 00:37:35,840 Speaker 1: in the film Mystic River. Number one, The Passion of 656 00:37:35,840 --> 00:37:40,600 Speaker 1: the Christ, directed by Mel Gibson. Number two fifty First 657 00:37:40,680 --> 00:37:45,719 Speaker 1: Dates directed by Peter Siegel. Number three Barbershop two, You're 658 00:37:45,760 --> 00:37:49,120 Speaker 1: Back in Business, You Guys, directed by Kevin Rodney Seldo Stokes. 659 00:37:49,520 --> 00:37:53,279 Speaker 1: Number four Miracle Along directed by Gavin o'conn directed by 660 00:37:53,360 --> 00:37:57,439 Speaker 1: John Number five or six The Butterfly directed by Eric 661 00:37:57,480 --> 00:38:01,440 Speaker 1: Brest and Jay McKay Kruger. A Long Came Poll. Number 662 00:38:01,440 --> 00:38:06,279 Speaker 1: six You Got Served, directed by Chris Stoves. Number seven 663 00:38:06,840 --> 00:38:11,919 Speaker 1: Along came, Paul quit talking and start mixing coul