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Speaker 1: Hey, discoes, we have a special treat for you today

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Speaker 1: in the feed. Today we are unveiling to all of you,

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Speaker 1: a or most of you anyways, a special sneak peek

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Speaker 1: at our new video podcast, This Film Should Be Played Loud.

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Speaker 1: This Film Should Be Played Loud is a new monthly

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Speaker 1: podcast co hosted by myself, Disgraceland host of course, Jake Brennan,

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Speaker 1: and Hollywood Land's Zeth Lundy. In this new show, Zeth

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Speaker 1: and I tackle our favorite topic, the convergence of music

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Speaker 1: and films. Is kind of like a combination of Disgraceland

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Speaker 1: and hollywood Land, but just centered around the music in movies.

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Speaker 1: Each episode of This Film Should Be Played Loud is

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Speaker 1: a discussion about the great music in an equally great

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Speaker 1: movie that we both love soundtracks, needle drop scores. We

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Speaker 1: take you into the moments in these films where music

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Speaker 1: heightens the storytelling and the movie watching experience. We tackle

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Speaker 1: one film in every episode. So if you want to

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Speaker 1: know about what drove Martin Scorsese's incredible song selection for

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Speaker 1: the Good Fellow soundtrack, or curious to understand how the

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Speaker 1: songs in Train Spotting impacted nineties pop culture, or maybe

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Speaker 1: you want to hear why Boogie Knights contains the single

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Speaker 1: greatest performance by an actor in a recording studio ever

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Speaker 1: captured on film. All of these topics are covered in

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Speaker 1: our episodes. Songs from movies that sent us down rabbit hole,

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Speaker 1: scenes with songs by that musician who became your favorite,

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Speaker 1: who you didn't know you loved until you saw the film,

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Speaker 1: How films soundtrack, the devil and the tunes you hated

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Speaker 1: before they made it onto the screen, but that you

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Speaker 1: now love. We discuss, We discuss all this and more

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Speaker 1: in this film should be played loud. Now. This new

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Speaker 1: podcast is available to watch and listen to exclusively on Patreon.

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Speaker 1: For our Disgraceland All Access members, go to disgracelandpod dot

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Speaker 1: com to sign up now and use discount code Disco

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Speaker 1: for twenty percent off your monthly or yearly membership. But

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Speaker 1: act now because this discount is only available for a

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Speaker 1: limited time. Again, this podcast, this film should be played loud.

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Speaker 1: It's not going to be available here in the Disgrace

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Speaker 1: Sland feed or in the Hollywood Land Feed. You can

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Speaker 1: only get it on Patreon and again, you can watch

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Speaker 1: it and you can listen to it all right as promised.

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Speaker 1: We're now gonna let you hear our first episode of

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Speaker 1: this film should be played loud on the great soundtrack

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Speaker 1: for the incredible film Goodfellas. You can hear it here

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Speaker 1: for a limited time and the disgrace Sland feed. But

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Speaker 1: all Access members can watch this good Fellaws episode along with,

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Speaker 1: like I said, episodes on Train Spotting, Boogie Nights, and

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Speaker 1: more to come all over on Patreon by becoming Disgraceland

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Speaker 1: all Access members. As always, guys, thank you for your support.

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Speaker 1: Without further ado, here is this film should be played loud.

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Speaker 1: I'm gonna go get my shinebox, right, Is that what

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Speaker 1: we're doing? Is that's the way.

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Speaker 2: Yeah, Yeah, go eat your shinebox. I'm gonna go pistol,

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Speaker 2: whip my neighbor across the street and go to bed.

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Speaker 1: You want some fucko? Welcome to the first episode of

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Speaker 1: this film should be played loud in exclusive video podcasts

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Speaker 1: for our Patreon listeners. A podcast about great music in

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Speaker 1: great film. This first episode is on Goodfellas and it's

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Speaker 1: incredible soundtrack. They often call me Speedo, but my real

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Speaker 1: name is mister Jake Brennan. That's doctor Zeth Lundy. My

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Speaker 1: co host Seth how are you my man.

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Speaker 2: I'm doing great, man. I'm psyched to talk about Goodfellas.

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Speaker 2: It's turned thirty five this year.

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Speaker 1: I know that's crazy. That is I was. I was

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Speaker 1: nineteen ninety it came out. I was sixteen years old.

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Speaker 1: I saw it at the Sears Town Mall in Leminster, Massachusetts.

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Speaker 1: I went with a bunch of friends from Clinton. I

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Speaker 1: believe Bruce Millett took us in what would have been

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Speaker 1: a big black Cadillac arriving in style. And I think

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Speaker 1: my good friend mister Dave Dutch now skiers with us.

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Speaker 1: I can't remember who I was, probably Seth Sala, Sean Hastings. Anyways,

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Speaker 1: we all saw this, and you know, it was just

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Speaker 1: I didn't know anything about Martin Scorsese. I didn't know

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Speaker 1: really that much about Robert de Niro. I was just

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Speaker 1: sixteen years old. But what I did know about was

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Speaker 1: the Rolling Stones, and oh my god, what this movie

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Speaker 1: did for the Rolling Stones. We're going to talk about

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Speaker 1: that later, but I want to know how you first

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Speaker 1: saw this movie and how the music impacted you at

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Speaker 1: the age you were at when you finally saw Goodfellas.

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Speaker 2: You know, I was thinking about that earlier. I did

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Speaker 2: not see it in the theater. This came out in

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Speaker 2: nineteen ninety, so I was, you know, I was thirteen

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Speaker 2: when it came out, just about to go into high school,

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Speaker 2: or I was going into high school, and I did

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Speaker 2: not see it in the theater. I don't know when

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Speaker 2: I saw it. It wasn't one of the first corsesa

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Speaker 2: films I saw, because I remember very early on seeing

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Speaker 2: Raging Bowl and a Taxi Driver and some of the

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Speaker 2: earlier ones like that first, and then getting into Too

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Speaker 2: Goodfellas later. But to your point, the music aspect of it.

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Speaker 1: Really.

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Speaker 2: We'll get into this some more later, but but it

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Speaker 2: really illuminated some musical icons for me that weren't illuminated

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Speaker 2: for me at the time, right.

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Speaker 1: Pre internet era. Yeah, you're not scrolling through it. You

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Speaker 1: don't have the benefit of streaming scrolling, none of that.

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Speaker 1: You got your your snobby record store guy. You got

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Speaker 1: your your friend, your friend who's got an older brother

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Speaker 1: at college. I actually had a friend in high school

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Speaker 1: around the same time whose older brother went to school

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Speaker 1: in London or somewhere in England. I think it was London,

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Speaker 1: but he had this sounds weird. This sounds like something

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Speaker 1: you would hear somebody who grew up in the nineteen

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Speaker 1: sixties say, but it just goes you couldn't. We didn't

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Speaker 1: have the access to music like we did. I mean,

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Speaker 1: CDs weren't even a thing yet, so it was cassettes

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Speaker 1: for us. And no one really listened to vinyl except

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Speaker 1: their parents, and they weren't really using record players anymore.

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Speaker 1: And Chad Taylor's older brother, I think he got them

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Speaker 1: from Going to Going to Call. He had all the

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Speaker 1: early singles that ended up being that Singles box set,

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Speaker 1: and Chad would make me tapes. So I had all that.

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Speaker 1: I had. Memo from Turner I had.

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Speaker 2: You know, that was my mind. I didn't know about

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Speaker 2: Memo from Turner until like, way, way, way, way longer.

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Speaker 1: Well, yeah, well I did. I didn't know the actual

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Speaker 1: lineage of Memo from Turner. And there's some interesting history

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Speaker 1: with the film here. So so Memo from Turner is

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Speaker 1: an obscure Mick Jagger song that the Rolling Stones recorded.

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Speaker 1: It was first recorded by the Stones. Then I think

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Speaker 1: I have this writers first recorded by the Rolling Stones.

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Speaker 1: Uh then Mick re recorded it with John Hyatt and

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Speaker 1: some members of the Rolling Stones. I think, God, there's

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Speaker 1: there's somebody else famous who plays on this From this.

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Speaker 2: Track, Rycooter plays slide on it?

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Speaker 1: Did I say, I said, John Hyatt? I met Ry Hooter?

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Speaker 2: Yeah, And this is for the performance soundtrack.

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Speaker 1: Performance soundtrack, right you and I'm not d It's nine

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Speaker 1: Gene fifth and six. You're a baggy, a little let

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Speaker 1: a boy with a small up pie six stick. And

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Speaker 1: that's the version that's in Goodfellas. It's in that incredible

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Speaker 1: run of the helicopter scene. Right, everyone knows the helicopter

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Speaker 1: scene from Goodfellas. This might be me.

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Speaker 2: You're jumping ahead here, but you're getting whatever.

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Speaker 1: We have no format. This is just all about, you know,

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Speaker 1: music in movies that we love. So the helicopter scene.

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Speaker 1: I went back and I looked. It's it's the best

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Speaker 1: mixtape inside of a movie that I that I've ever

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Speaker 1: come across. And it's it feels like it's a long

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Speaker 1: tape when you think of the impact of it, but

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Speaker 1: it's actually pretty short. It's Jumping the Fire by Harry Nilsson.

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Speaker 1: Then it goes to memo from Turner. The Mick Jagger version, however,

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Speaker 1: incorrectly credited in the soundtrack as a Rolling Stone song,

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Speaker 1: it's actually Mick Jagger version. Then it goes into like

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Speaker 1: a couple of seconds of the live version of Magic

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Speaker 1: Bus by The Who, and then it goes into Monkey

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Speaker 1: Man and then What Is by George Harrison. You kind

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Speaker 1: of feel like he's getting away with it, like he's

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Speaker 1: get away with it, and then Managed Boy by Muddy Waters,

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Speaker 1: and then of course the writing's on the wall for

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Speaker 1: him to hill, but hang on.

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Speaker 2: The best part about that whole stretch, for me, at least,

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Speaker 2: my favorite part is in between Monkey Man and What

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Speaker 2: Is Life. There's just the briefest clip of Muddy Waters

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Speaker 2: at the beginning of Man Is Boy going, yes, everything,

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Speaker 2: everything is gonna be all right.

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Speaker 1: That's it, everything, everything be all right, this morning to shop.

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Speaker 2: And then it comes right into What Is Life? And

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Speaker 2: you're like, what the fuck is going on here?

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Speaker 1: You're absolutely right and you know in that Okay, So

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Speaker 1: we need to talk about Scorsese's approach here before Goodfellas.

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Speaker 1: Scorsese is famously the guy because of mean streets. He's

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Speaker 1: famously the guy who uses rock and roll to express emotion,

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Speaker 1: to use rock and roll songs pop songs to express

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Speaker 1: emotion in film as opposed to using score. There's Okay.

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Speaker 1: So by the time he gets a Good Fellas, you know,

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Speaker 1: he's already gone through and he's worked up the script

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Speaker 1: with Nicholas Plegi, and he's got like he's he's indicating

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Speaker 1: in the margins what songs he wants. And I read

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Speaker 1: an interview with the music editor for the film where

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Speaker 1: he said that Scorsese knew two years in advance what

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Speaker 1: songs exactly he wanted playing in which frames of the film.

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Speaker 2: He was putting it in the script. He was like,

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Speaker 2: put cream, sunshine your love.

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Speaker 1: He right, like exactly. Pledge's rereading the script and it's

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Speaker 1: just this is some shine I love. It's just said

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Speaker 1: add cream. Yeahgi's like, what the fuck do you mean?

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Speaker 1: Ad cream? He's like, dun. You know, it's interesting when

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Speaker 1: I read this thing about the music editor from Goodfellas

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Speaker 1: making a big deal of the fact that Scorsese knew

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Speaker 1: exactly what songs he wanted in the film two years

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Speaker 1: in advance, it didn't strike me as being strange. I

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Speaker 1: was just like, well, yeah, that's how you fucking do it, dude,

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Speaker 1: right right, But it's not how you do it. I mean,

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Speaker 1: I've actually, I've worked on indie films and stuff. I've

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Speaker 1: have music supervised stuff and did music for a film,

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Speaker 1: a Parker Posi film, and the director, who was a friend,

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Speaker 1: he was basically like, I don't know shit about music.

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Speaker 1: You figure it out. And I feel like that's an

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Speaker 1: approach that a lot of directors have.

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Speaker 2: I think you're right. But remember that Scorsese started. I mean,

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Speaker 2: one of his first major gigs was the Woodstock movie,

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Speaker 2: which he's credited for now as an editor, but I

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Speaker 2: believe at the time this was in that that mister

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Speaker 2: Scorsese documentary was on Apple recently. He was like the

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Speaker 2: second director of that movie. So like he's he's creating

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Speaker 2: that movie. He's cutting that movie with music at the

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Speaker 2: forefront of his mind.

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Speaker 1: Right exactly exactly, and he's obviously he's surrounded by great

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Speaker 1: live music, Santana's Slaston and all that stuff. Yeah, but

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Speaker 1: this is after he grows up. And this is the

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Speaker 1: good thing about good Fellas. It really feels like a

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Speaker 1: like I don't know it was growing up in my

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Speaker 1: small town. It was very much like this, where you know,

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Speaker 1: we all hung out on this main drag, right and

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Speaker 1: you would just hear there just be this soundtrack constantly

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Speaker 1: cars driving by people still carry boomboxes around. I'm not

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Speaker 1: trying to make it sound like I grew up in

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Speaker 1: the Bronx. I didn't. But music was kind of like

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Speaker 1: it was more in the air then than it is now.

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Speaker 1: Now everyone's got you know, ear pods on and you know,

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Speaker 1: in their little pods and their cars and whatever. It

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Speaker 1: just it was. It was different then, and and I

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Speaker 1: feel like it was much different in a much more

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Speaker 1: extreme version of what I just explained in a tiny,

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Speaker 1: little sort of you know, two block stretch of downtown

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Speaker 1: New York where Martin Scorsese grew up in the nineteen sixties,

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Speaker 1: and that sort of like jukebox system that he was

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Speaker 1: living in. Yeah, and that's what that movie feels like

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Speaker 1: all the way throughout the beginning. I mean, the first

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Speaker 1: you know, the opening is you know, by the time

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Speaker 1: he blows up the cars, you've already whipped through like

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Speaker 1: your your ears are just on fire from all the

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Speaker 1: incredible soundtracking that's going on.

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Speaker 2: It's like a radio station, you know, it's just like

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Speaker 2: switching the channels. It's do up zach groups, it's it's Italian,

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Speaker 2: it's it's it's it's all over the place.

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Speaker 1: But it's what he would have heard, right, And he's

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Speaker 1: so fearless with his music choices and confident, and you know,

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Speaker 1: I don't care man Like, like I know, we all

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Speaker 1: love Memo from Turner and Monkey Man, but no one

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Speaker 1: knew those fucking songs except Stones Heads. And they'd be like,

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Speaker 1: wellf you're gonna put a stone song in there, give

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Speaker 1: me shelter. I understand, but you know, why not Jump

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Speaker 1: and Jump? Why not Brown Sugar? Why not? Hey, they

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Speaker 1: got the new Steel Wheels album just came out. Why

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Speaker 1: don't we use the song off the you know what

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Speaker 1: I mean? Like, and he's like, no, fuck you. It's

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Speaker 1: these songs I.

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Speaker 2: Had never heard. To the point earlier talking about Memo

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Speaker 2: from Turner, I had never heard Monkey Man. I had

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Speaker 2: never heard Memo from Turner. I never heard Harry Neilson's

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Speaker 2: Jumping the Fire. I had never heard any of these

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Speaker 2: songs until I saw them in Goodfellas.

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Speaker 1: Yeah, yeah, it really And then think of like I

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Speaker 1: was thinking about this too. This movie does a lot

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Speaker 1: for Eric Clapton, who I have a real rough relationship with, like.

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Speaker 2: I think we all do.

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Speaker 1: But yes, yeah, like the Rolling Stones were I was

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Speaker 1: kind of like I was like in my group of friends,

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Speaker 1: I was like the guy who listened. I was the

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Speaker 1: Stones guy. But I was also the guy who listened

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Speaker 1: to like old music. And it's only I'm not trying to,

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Speaker 1: you know, inflate my taste as a young fucking Wes

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Speaker 1: Anderson character. But my dad had a massive record collection,

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Speaker 1: so I had actually the shit that other my friends didn't, right, Yeah,

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Speaker 1: but I was like the Stones guy. I was always

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Speaker 1: I was always trying to push the Stones on people,

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Speaker 1: and you know, people were going to go.

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Speaker 2: So far because they were fucking lame in nineteen because

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Speaker 2: all we knew was rocking a hard play said the

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Speaker 2: late eighties, you know what I mean?

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Speaker 1: Yes, yes, it was. They were lame. Those records sucked.

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Speaker 1: Those nineteen eighties records sucked. Steel wheels.

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Speaker 2: I like now, I kind of like stee wheels now.

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Speaker 2: I gotta I gotta admit, yeah.

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Speaker 1: Hated it then, and all my friends records as well.

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Speaker 1: But then Goodfellas happens and it's like, oh yeah, and

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Speaker 1: I'm sitting there going see I told you pricks, you know,

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Speaker 1: like listen, listen. However, we have to talk about Clapton

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Speaker 1: and we have to talk. There's something. This happens. It

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Speaker 1: happens twice in this movie with me. I've never been

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Speaker 1: an aeric Clapton fan. I'm becoming one. I'm becoming one.

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Speaker 1: But we used to, you know, you know, ten years

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Speaker 1: after Goodfellas is out. Now it's like Shorthand, and it's

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Speaker 1: in the culture, it's in the zeitgeist. We're hanging out

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Speaker 1: upstairs at the Middle East or whatever with our friends

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Speaker 1: and we're like, Lala's on or like, and you know,

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Speaker 1: the piano part happens. We're like, this is the best

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Speaker 1: shit Clapton ever, did you know what I mean? Because

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Speaker 1: he's not on it, it's right, yeah at that point. Yeah,

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Speaker 1: but it cemented that song for me. I love it.

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Speaker 1: I fucking love the tune, the whole thing, the entire song.

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Speaker 1: It's fantastic. And I gotta say, like, you know, Sunshine

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Speaker 1: of Your Love. I showed Goodfellas to Harlan, my eleven

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Speaker 1: year old the other night, and that scene Jimmy Conway

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Speaker 1: at the bar, no out, don't, don't, don't and he

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Speaker 1: and he and it's when he's really he realizes he's

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Speaker 1: gonna kill Mary. Yeah, and they've.

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Speaker 2: Taken that long drag on the cigarette.

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Speaker 1: Yeah. Yeah, it's fucking pure evil and Sunshine of Your

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Speaker 1: Love is playing, It's getting when's closed upside, and my

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Speaker 1: son just goes.

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Speaker 3: Like that was it?

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Speaker 1: Like he was so moved by that, like this really

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Speaker 1: like you know, he just knew how awesome that was.

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Speaker 2: I love that. I love that. That's great, that's great.

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Speaker 2: You know, there's something about the way. I think it

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Speaker 2: was Philip Seymour Hoffman who once said that, uh, cigarettes

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Speaker 2: are great for actors because it gives them something to

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Speaker 2: do with their hands. Like, but but de Niro really

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Speaker 2: knows how to like the pull on that cigarette. Like

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Speaker 2: he doesn't have to say anything, you just that and

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Speaker 2: the song. And in the song you hear air craft

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Speaker 2: and say it's getting near dark, right, it's getting near dark?

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Speaker 2: Really shit, like yeah.

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Speaker 1: Oh wow wow. So and just like the Rolling Stones

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Speaker 1: in nineteen ninety were fucking dead, Clapton was nothing in

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Speaker 1: nineteen ninety.

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Speaker 2: Yeah, I mean.

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Speaker 1: The lamest, you know, like my friend's dad's like Derek Clapton,

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Speaker 1: you know what I mean.

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Speaker 2: It was that whole we joke about this, but it's

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Speaker 2: that whole divorce Rock era really is what's that shit?

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Speaker 2: What was that record? He had out.

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Speaker 1: It was pro that's not the one. It's uh, it's promises.

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Speaker 1: He is a song promise I love. I love that shit.

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Speaker 1: Now that's the thing.

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Speaker 2: No, I knew too hold on. But he had a

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Speaker 2: he like, he had this incredible divorce rock record out

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Speaker 2: at that time. Journeyman came out in nineteen eighty nine.

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Speaker 2: Journeyman had Pretending Running on Faith, Bad Love, No Alibis.

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Speaker 2: This was like the super slick Aoar Eric Clapton, which

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Speaker 2: which sort of made him, uh, super lame.

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Speaker 1: Yeah. The I think the eyeshot, the sheriff shot stuff

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Speaker 1: is like nineteen eighty nineteen eighty one, that's okay, and

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Speaker 1: then it's bad. And then he has a Scorsese he

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Speaker 1: like rise again with Color of Money.

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Speaker 2: Or Money, which is also lame.

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Speaker 1: I was like, this is like a fucking Miller, like

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Speaker 1: it's latest.

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Speaker 2: Well I know, but that's that's what makes that movie

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Speaker 2: so great. It's like the Phil Collins on in that

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Speaker 2: movie as well, Like it makes that it's of that time,

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Speaker 2: you know.

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Speaker 1: Yeah. Yeah, Color of Money is.

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Speaker 2: It's it's essential, it's amazing essential. Really, it's essential. It's essential. Scorsese, Yes, yeah.

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Speaker 1: It's it, you know. Tom Cruise could have done nothing

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Speaker 1: after that, and we would have been like, Tom Cruise

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Speaker 1: is fucking the man.

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Speaker 2: He's amazing in that.

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Speaker 1: He's incredible. Oh, that's real. The whole thing we're getting

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Speaker 1: out track with with Vince.

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Speaker 2: And just the fact that he's playing We don't have

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Speaker 2: to go in the weeds about this, but he's playing

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Speaker 2: Paul Newman thinks he's playing Tom Cruise, and Tom Cruise

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Speaker 2: has been playing Paul new in the whole movie.

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Speaker 1: It's just it is so good. It's so damn good.

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Speaker 1: All right, So I wanted to do this thing. Okay,

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Speaker 1: there's no score in Goodfellas in this podcast, just so

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Speaker 1: everyone knows, we'll reset it a little bit. This podcast,

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Speaker 1: Zeth and I are gonna do this once a month

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Speaker 1: for Patreon listeners, for you guys, and we're gonna do

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Speaker 1: a new movie every month, and we're gonna talk about

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Speaker 1: the music in that movie. We're gonna talk about this here.

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Speaker 1: We're clearly talking about the soundtrack, but we're also gonna

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Speaker 1: talk about score. We're gonna talk about music supervision, and

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Speaker 1: we're gonna do it, you know, more in a fanboy

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Speaker 1: kind of way and less than kind of a nerdy

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Speaker 1: research kind of way, because we do enough nerdy research

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Speaker 1: on other stuff. Yeah, and this is just stuff that's

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Speaker 1: fun to talk about on a Tuesday night. Well, I'm

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Speaker 1: having a glass of bourbon with my doctor here, so

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Speaker 1: so we're gonna keep it to that now. In Goodfellas,

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Speaker 1: there's no score like zero right, nine, zilch. This has

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Speaker 1: become my new favorite thing in watching film and television, okay,

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Speaker 1: because I'm like, I've had it with modern scoring and television.

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Speaker 1: Like I'm watching the new Clear Danes Netflix show, which

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Speaker 1: I kind of like a lot, and the score is

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Speaker 1: just like it's like, yeah, we've been doing the same

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Speaker 1: score since Ozark. Okay, everybody does this, and it gets

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Speaker 1: in the way of the emotion. It's so predictable. It

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Speaker 1: puts a sort of governor on the emotion, right, And

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Speaker 1: it's also there's something going on with the way they're

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Speaker 1: mixing stuff lately where it's so hard to hear dialogue

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Speaker 1: and I don't know if it's our TVs or what

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Speaker 1: the hell it is. Anyhow, I'm rewatching the wire, like

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Speaker 1: we talked about, absolutely no score in the wire.

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Speaker 2: Interesting, no scoring.

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Speaker 1: Everything is incidental. It's all the radio or whatever. Same

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Speaker 1: thing with Rachel getting married another great example of that.

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Speaker 1: And this, this is intentional what he does, like absolutely

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Speaker 1: no score, fantastic, there's this. There's a best Score in

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Speaker 1: Music Supervision category at the Oscars. There it is no

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Speaker 1: best Soundtrack award at the Oscars. Their fucking should be man. Yeah,

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Speaker 1: like you think of all the great movies with great soundtracks. Yeah, Goodfellas,

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Speaker 1: Boogie Knights, Easy Rider. I can go on and I'll

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Speaker 1: do the right thing. It's ending, yeah, yeah, it's the graduate.

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Speaker 1: It's it's like, why we're going to be doing this

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Speaker 1: show forever exactly? Endless material. So one thing I want

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Speaker 1: to look at though, if I want to look at, Like, okay,

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Speaker 1: if there was a best soundtrack category, sure right from

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Speaker 1: films that were released when Goodfellows was released in nineteen ninety, Okay,

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Speaker 1: who would win it? So it's it's hard to come

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Speaker 1: up with a list of nominees. I think you get

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Speaker 1: a look first at the Best Picture nominees, which Goodfellas

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Speaker 1: was nominated for Best Picture, didn't win, It only won.

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Speaker 1: It was nominated for five awards it won. Joe Peshi

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Speaker 1: won for Best Supporting Actor. That's it, Okay, one Best

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Speaker 1: Picture the Best Picture was Dances with Wolves. Yeah, okay, okay,

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Speaker 1: So Best Picture nominies Dances with Wolves, Ghost, Awakenings, Godfather Three,

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Speaker 1: and Goodfellas. Now, of these, I think the only one

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Speaker 1: that sniffs a Best Soundtrack nomination. I can't believe I'm

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Speaker 1: fucking saying this, but Ghost because of that iconic Righteous

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Speaker 1: Brothers fucking Swayze. I was like, was that Swayze kind

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Speaker 1: of like I was thinking about it? Was Swayze kind

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Speaker 1: of like like like feeling up Whoopy Goldberg and Ghosts

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Speaker 1: and the Righteous Brothers were playing. I looked at it.

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Speaker 1: I was like, no to me more, but Whoopy Goldger

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Speaker 1: Goldberg was in Ghosts Ghost.

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Speaker 2: Yeah, all right, So again another movie where I and

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Speaker 2: it's just probably part of our generation, but I was

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Speaker 2: made aware of unchained melody by that movie.

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Speaker 1: You know, yeah, I probably was too. Yeah, Big Chill

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Speaker 1: turned me onto a lot of shit.

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Speaker 2: Big Chill, Big Chill, stand by Me, Good Morning Vietnam

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Speaker 2: and all that stuff.

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Speaker 1: Yeah.

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Speaker 2: Yeah.

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Speaker 1: What was the other one, the share one? Was it

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Speaker 1: The Mermaids Little Mermaids? Yeah? I think that was another one,

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Speaker 1: kind of big Chili. So other films from nineteen ninety

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Speaker 1: that came out that weren't Best Picture. Okakay, here's the

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Speaker 1: list of the top grossing films in order. Some of

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Speaker 1: them were Best Picture Nomenies, Ghost, Home Alone, Pretty Women,

425
00:22:15,080 --> 00:22:17,840
Speaker 1: Dances with Wolves, Total Recall, Back to the Future three,

426
00:22:17,920 --> 00:22:21,199
Speaker 1: and even though there was a three, Diehard two, Presumed Innocent,

427
00:22:21,240 --> 00:22:24,600
Speaker 1: Teenage Mutant, Ninja Turnals, and Kindergarten Cop. So those are

428
00:22:24,640 --> 00:22:28,320
Speaker 1: the best, the highest tuma. It's gross. It's not a

429
00:22:28,400 --> 00:22:29,320
Speaker 1: tuma at all.

430
00:22:29,720 --> 00:22:32,480
Speaker 2: Pretty Woman had a soundtrack soundtrack, but the rest of

431
00:22:32,480 --> 00:22:33,960
Speaker 2: those probably had scores.

432
00:22:33,640 --> 00:22:36,800
Speaker 1: Right it did. Yes, you're right, I'm sure Back to

433
00:22:36,800 --> 00:22:39,440
Speaker 1: the Future had a soundtrack. So Pretty Women and Ghost

434
00:22:39,560 --> 00:22:43,200
Speaker 1: are in the mix here. Okay, So now let's look

435
00:22:43,359 --> 00:22:46,760
Speaker 1: at so so far we've got good fellows, Pretty Women,

436
00:22:46,880 --> 00:22:49,959
Speaker 1: and Ghost for possible nominees. Okay, so let's look at

437
00:22:50,000 --> 00:22:54,240
Speaker 1: some of the best independent films from nineteen ninety. Okay,

438
00:22:54,320 --> 00:22:57,439
Speaker 1: here's where it gets interesting. Okay, all right, pump up

439
00:22:57,480 --> 00:22:58,080
Speaker 1: the volume.

440
00:22:58,720 --> 00:23:01,159
Speaker 2: Oh yeah, oh yeah, oh yeah, pump up the volume.

441
00:23:01,160 --> 00:23:05,359
Speaker 2: Has got the Wave of Mutilation, UK Surf version, that

442
00:23:05,480 --> 00:23:09,200
Speaker 2: slow version of the Pixies song. Mm hmm, yeah, sorry

443
00:23:09,280 --> 00:23:10,080
Speaker 2: I digressed there.

444
00:23:10,160 --> 00:23:13,320
Speaker 1: It also has Henry Rollins and bad Brains doing MC

445
00:23:13,480 --> 00:23:17,200
Speaker 1: five Metropolitan. I just wanted to mention this movie because

446
00:23:17,200 --> 00:23:20,639
Speaker 1: I love it, but it doesn't have a soundtrack. Slacker,

447
00:23:21,440 --> 00:23:28,240
Speaker 1: Wild at Heart, King of New York House Party. Oh yeah,

448
00:23:28,400 --> 00:23:31,400
Speaker 1: some great soundtracks here. Let's just dip into the pump

449
00:23:31,480 --> 00:23:32,560
Speaker 1: up the volume soundtrack here.

450
00:23:32,600 --> 00:23:32,879
Speaker 2: All right?

451
00:23:32,960 --> 00:23:37,119
Speaker 1: All right, this is gold everybody Knows by Concrete Blonde,

452
00:23:38,119 --> 00:23:40,720
Speaker 1: the Leonard Cohen song, the Leonard Gowenson. Yeah, Wave of

453
00:23:40,840 --> 00:23:44,760
Speaker 1: Mutilation Pixies. You mentioned that UK surf version Kick Out

454
00:23:44,800 --> 00:23:48,359
Speaker 1: the Jams. I mentioned the MC five tune, Bad Brains

455
00:23:48,480 --> 00:23:52,119
Speaker 1: and Henry Rollins, Me and the Devil Blues, Robert Johnson

456
00:23:52,200 --> 00:23:58,720
Speaker 1: song by Cowboy Junkies, just so so so good dad,

457
00:23:58,760 --> 00:24:00,399
Speaker 1: I'm in jail, But was not on us.

458
00:24:02,880 --> 00:24:03,680
Speaker 2: The other day.

459
00:24:03,960 --> 00:24:04,520
Speaker 1: Yeah, why were we?

460
00:24:04,560 --> 00:24:06,840
Speaker 2: Why were we talking about I'm in jail? Because you were.

461
00:24:06,880 --> 00:24:08,960
Speaker 2: We were just talking about it was and not was?

462
00:24:09,000 --> 00:24:11,200
Speaker 2: And uh I asked you if you knew that song,

463
00:24:11,240 --> 00:24:13,480
Speaker 2: and you and uh, it's just it's such a great song.

464
00:24:14,000 --> 00:24:17,679
Speaker 2: So even a song, it's just an experimental, strange track.

465
00:24:17,600 --> 00:24:20,280
Speaker 1: Just a telephone call. It's just Don Wallas recording Ryan

466
00:24:20,320 --> 00:24:24,480
Speaker 1: Adams calling home. All right, So all right, The Wilded

467
00:24:24,600 --> 00:24:29,440
Speaker 1: Hearts soundtrack. Yeah, all right, lot of Angelo, Bottle of metalmente.

468
00:24:29,640 --> 00:24:31,119
Speaker 1: Uh so I'm not gonna go through that. Literally like

469
00:24:31,160 --> 00:24:34,800
Speaker 1: seven songs. There's them them doing baby Please Don't Go Sure, great,

470
00:24:35,320 --> 00:24:38,800
Speaker 1: Chris Isaac's Wicked Game, Jean Vincent Beatbaupaalula, this is this

471
00:24:38,840 --> 00:24:41,480
Speaker 1: is what you'd expect.

472
00:24:41,680 --> 00:24:43,800
Speaker 2: I think there's that like that thrash metal band is

473
00:24:43,840 --> 00:24:45,560
Speaker 2: on there too. That the club they go to, it's

474
00:24:45,600 --> 00:24:47,680
Speaker 2: it's kind of all over the place. Yeah, best way.

475
00:24:47,800 --> 00:24:51,080
Speaker 1: Yeah, yeah, I don't remember this movie hardly at all.

476
00:24:52,080 --> 00:24:55,920
Speaker 1: I know I saw it with my girlfriend at the time.

477
00:24:56,000 --> 00:24:59,800
Speaker 1: I was probably distracted and I want, I really want

478
00:24:59,800 --> 00:25:01,680
Speaker 1: to hear Nick Age doing love Me Tender. Dude.

479
00:25:01,720 --> 00:25:04,679
Speaker 2: It's amazing. It's amazing. Like I've watched this movie probably

480
00:25:04,680 --> 00:25:08,920
Speaker 2: more than I should. It's one of my favorites. But yes,

481
00:25:09,119 --> 00:25:13,120
Speaker 2: Nick Age doing singing those songs, it's incredible, especially inside

482
00:25:13,160 --> 00:25:16,240
Speaker 2: that that thrash metal club where he has the thrash

483
00:25:16,280 --> 00:25:20,200
Speaker 2: band stop and has them provide the backing to love

484
00:25:20,240 --> 00:25:23,400
Speaker 2: Me Tender to to. Uh, it's not love Me Tender

485
00:25:23,440 --> 00:25:25,040
Speaker 2: because he wait, he says he's going to sing that

486
00:25:25,119 --> 00:25:29,280
Speaker 2: to his wife. He sings another Elvis song Love Love

487
00:25:29,400 --> 00:25:30,160
Speaker 2: Me maybe Yeah.

488
00:25:30,080 --> 00:25:43,480
Speaker 1: Yeah, yeah love all right, so Wild at Heart, Pump

489
00:25:43,560 --> 00:25:46,760
Speaker 1: up the Volume and then House Party, Ello, Cool J

490
00:25:47,880 --> 00:25:52,440
Speaker 1: to the Break, Dawn, Luther Vandros Delphonix, Hey Love Yeah,

491
00:25:52,640 --> 00:25:55,040
Speaker 1: bad Boy having a Party, Sam Cook, So this is

492
00:25:55,080 --> 00:25:56,880
Speaker 1: this is a good one. This is a good one.

493
00:25:56,920 --> 00:26:02,640
Speaker 1: He didn't really crack the Eric Barek him run for Cover. Yeah,

494
00:26:02,840 --> 00:26:05,560
Speaker 1: this is a great, great soundtrack. So if we're nominating,

495
00:26:06,320 --> 00:26:08,119
Speaker 1: we got to come up with five. Let me know.

496
00:26:08,240 --> 00:26:11,320
Speaker 1: These are the five. I have goodfellas, Pretty Woman, Pump

497
00:26:11,400 --> 00:26:14,840
Speaker 1: up the Volume, House Party in Ghost all from nineteen ninety.

498
00:26:14,920 --> 00:26:16,640
Speaker 2: Okay, all right, I can go. I can get with that.

499
00:26:16,760 --> 00:26:19,119
Speaker 1: There's nothing I missed, right, No, No, you don't want

500
00:26:19,119 --> 00:26:21,879
Speaker 1: to throw Godfather three in here for Godfather Waltz for

501
00:26:21,880 --> 00:26:23,160
Speaker 1: the seventeen hundredth time.

502
00:26:24,600 --> 00:26:26,440
Speaker 2: No, no, I don't. And I actually did a little

503
00:26:26,520 --> 00:26:28,600
Speaker 2: recon just to see if we were missing anything, and

504
00:26:28,720 --> 00:26:31,639
Speaker 2: I you know, we're really not. There was The Adventures

505
00:26:31,640 --> 00:26:35,320
Speaker 2: of Ford Farreley movie with the Dice Clay Dice play

506
00:26:35,880 --> 00:26:38,280
Speaker 2: that has a pretty kind of an interesting soundtrack, but

507
00:26:38,480 --> 00:26:39,840
Speaker 2: I don't know that it really deserves to be in

508
00:26:39,840 --> 00:26:40,240
Speaker 2: this list.

509
00:26:40,280 --> 00:26:43,960
Speaker 1: So no, I mean it's almost like this is an

510
00:26:44,119 --> 00:26:47,120
Speaker 1: unfair version of this, Like I really think this could

511
00:26:47,119 --> 00:26:49,480
Speaker 1: be a good device to do like podcast episode of

512
00:26:49,520 --> 00:26:52,439
Speaker 1: podcast episode. Yeah, like what are the what are the

513
00:26:52,440 --> 00:26:55,400
Speaker 1: best soundtrack nominations for the year that the movie comes out?

514
00:26:56,119 --> 00:26:59,119
Speaker 1: But Goodfellas might be the greatest soundtrack ever, so nothing

515
00:26:59,200 --> 00:27:01,680
Speaker 1: is going to come close to it in nineteen ninety.

516
00:27:02,160 --> 00:27:04,760
Speaker 2: You know what's great about Goodfellows soundtrack is it just

517
00:27:04,760 --> 00:27:08,960
Speaker 2: seems to span the genesis of rock and roll. You know,

518
00:27:09,000 --> 00:27:12,040
Speaker 2: it's it starts with Douop and Girl Group and then

519
00:27:12,080 --> 00:27:17,080
Speaker 2: it moves into you know, British Invasion and uh uh

520
00:27:18,359 --> 00:27:21,640
Speaker 2: that does gritty rock and roll, rolling stones cream whatever.

521
00:27:21,480 --> 00:27:24,800
Speaker 1: Drug rock, drug rock. That's like classic rock, drug rock.

522
00:27:24,920 --> 00:27:27,800
Speaker 1: It's not Queens of the Stone Age drug rock. It's

523
00:27:28,000 --> 00:27:30,960
Speaker 1: Eric Clapton at his filthiest, like exactly.

524
00:27:30,600 --> 00:27:33,240
Speaker 2: Like everything's got that. Yeah, they've been filthy, gritty, kind.

525
00:27:33,080 --> 00:27:36,000
Speaker 1: Of dyne Amon and needles hanging out of their arms

526
00:27:36,040 --> 00:27:37,960
Speaker 1: and like that era Clapton, you know what I mean,

527
00:27:38,080 --> 00:27:42,160
Speaker 1: Like songs written by a fucking murderer, but Clapton.

528
00:27:42,359 --> 00:27:47,760
Speaker 2: Clean the credit and two songs that involve Jim Gordon

529
00:27:47,840 --> 00:27:51,040
Speaker 2: on drums right Leila and uh Jump into the Fire.

530
00:27:51,600 --> 00:27:53,159
Speaker 1: Yeah, yeah, pretty incredible.

531
00:27:53,160 --> 00:27:56,800
Speaker 2: Do you know about the songs that Squire says he

532
00:27:56,880 --> 00:27:59,240
Speaker 2: had on a list that he didn't include in this movie?

533
00:27:59,440 --> 00:28:00,919
Speaker 1: No, but I can't wait to hear this.

534
00:28:01,440 --> 00:28:06,520
Speaker 2: So, so there's a made man I think is the

535
00:28:06,600 --> 00:28:07,960
Speaker 2: name of the book is a book is about the

536
00:28:07,960 --> 00:28:10,159
Speaker 2: making of good fellas, And in that book there's a

537
00:28:10,320 --> 00:28:13,160
Speaker 2: there's a list of song titles that Squire says he had,

538
00:28:13,800 --> 00:28:15,600
Speaker 2: and a bunch of them were the ones that we

539
00:28:15,640 --> 00:28:17,239
Speaker 2: hear in the movie. You know what's funny is that

540
00:28:17,720 --> 00:28:20,320
Speaker 2: Jump into the Fire by Harry Nilsen is not on

541
00:28:20,359 --> 00:28:23,680
Speaker 2: this list. But the songs, some of the songs that

542
00:28:23,680 --> 00:28:26,639
Speaker 2: are on this list that were not used include with

543
00:28:26,720 --> 00:28:28,719
Speaker 2: a Little Help from My Friends by Joe Cocker.

544
00:28:29,119 --> 00:28:31,720
Speaker 1: Okay, I feel like he used Did he use that

545
00:28:31,800 --> 00:28:33,440
Speaker 1: in Casino? No?

546
00:28:34,160 --> 00:28:37,119
Speaker 2: I don't think so. I don't think so, Keep Going,

547
00:28:37,160 --> 00:28:39,200
Speaker 2: I don't want to cut y'af keep Going Gasoline Alley

548
00:28:39,280 --> 00:28:41,920
Speaker 2: by Rod Stewart. I was thinking if there was a

549
00:28:41,960 --> 00:28:43,680
Speaker 2: song that could have been included here that was not

550
00:28:44,000 --> 00:28:46,360
Speaker 2: like A Face's Rod Stewart's song again with that sort

551
00:28:46,360 --> 00:28:48,120
Speaker 2: of like gritty, like druggy rock.

552
00:28:48,280 --> 00:29:00,560
Speaker 3: That's true blue tue a million, I don't care. Oh

553
00:29:01,200 --> 00:29:01,840
Speaker 3: it's so good.

554
00:29:02,120 --> 00:29:03,640
Speaker 1: I'm using that one in my movie.

555
00:29:03,680 --> 00:29:06,440
Speaker 2: What year is that? From True Blue? It seems a

556
00:29:06,440 --> 00:29:07,760
Speaker 2: little too late, don't you think.

557
00:29:07,880 --> 00:29:10,120
Speaker 1: No, it's still it's still seventies. I think.

558
00:29:10,120 --> 00:29:13,440
Speaker 2: Okay, oh no, you're right, you're right, Okay, all right, anyways, okay,

559
00:29:13,480 --> 00:29:16,080
Speaker 2: Gasoline ally rods to it. Only the good die Young

560
00:29:16,320 --> 00:29:18,120
Speaker 2: Billy joel O, great one.

561
00:29:19,000 --> 00:29:26,680
Speaker 1: You might have no die. If that was in Goodfellas, right,

562
00:29:26,760 --> 00:29:29,080
Speaker 1: we would now be saying that makes perfect sense. These

563
00:29:29,080 --> 00:29:32,720
Speaker 1: were like Long Island mobster Queen's guys, you know, likely,

564
00:29:32,760 --> 00:29:34,880
Speaker 1: and it would have had this whole blow up shine

565
00:29:34,920 --> 00:29:38,000
Speaker 1: culturally to it that it doesn't really have. Yeah, you know.

566
00:29:38,120 --> 00:29:45,560
Speaker 2: Yeah. Now, not to get like too like uh too

567
00:29:45,920 --> 00:29:48,280
Speaker 2: too much, professor Lundy about this at all, But do

568
00:29:48,360 --> 00:29:51,680
Speaker 2: you notice that it stocked Wendy to you when we

569
00:29:51,720 --> 00:29:54,560
Speaker 2: get into when we get into like the True like

570
00:29:54,600 --> 00:29:58,400
Speaker 2: when when Polly's like, don't be involved in in drugs,

571
00:29:58,440 --> 00:30:00,600
Speaker 2: don't be involved in heroin and Henry's like, hey, yeah,

572
00:30:00,600 --> 00:30:03,080
Speaker 2: no problem, and then we cut to him doing coke

573
00:30:03,920 --> 00:30:06,280
Speaker 2: and immediately that's like, give me shelter. The rolling stones

574
00:30:06,280 --> 00:30:09,080
Speaker 2: we jumped from do wop and girl group stuff to

575
00:30:09,280 --> 00:30:12,000
Speaker 2: rock and roll, When the when the corruption comes in,

576
00:30:12,080 --> 00:30:17,000
Speaker 2: When the Vice comes in the darkns very tellingly right

577
00:30:17,120 --> 00:30:22,280
Speaker 2: after Henry is arrested, after that incredible playlist of songs

578
00:30:22,280 --> 00:30:26,560
Speaker 2: with the Nielsen Rolling Stones, Muddy Waters, He's arrested, and

579
00:30:26,600 --> 00:30:28,720
Speaker 2: then the rest of the movie, which is like twenty

580
00:30:28,760 --> 00:30:31,920
Speaker 2: to twenty five minutes, has no music at all. I

581
00:30:32,000 --> 00:30:37,080
Speaker 2: know nothing. It's the anything. It's the aftermath. Yeah yeah, yeah,

582
00:30:37,120 --> 00:30:40,240
Speaker 2: it's just like it's dead. Everything's dead. It's Hines ketchup

583
00:30:40,280 --> 00:30:45,280
Speaker 2: on egg noodles dead. I was gonna say, you noticed

584
00:30:45,280 --> 00:30:50,920
Speaker 2: that de Niro's that Jimmy puts ketchup on his pasta.

585
00:30:49,760 --> 00:30:53,360
Speaker 1: And he shakes it. He shakes it. My buddy Dave

586
00:30:53,400 --> 00:30:55,280
Speaker 1: Wels from Clinton used to do that. You should just

587
00:30:55,480 --> 00:30:56,240
Speaker 1: fucking shake it.

588
00:30:56,600 --> 00:30:57,120
Speaker 2: Oh my god.

589
00:30:57,160 --> 00:30:58,720
Speaker 1: It's like, dude, it's gonna take you twenty minutes to

590
00:30:58,760 --> 00:31:00,840
Speaker 1: get that shit on your fresh fries. I know you're doing.

591
00:31:02,040 --> 00:31:02,680
Speaker 1: Come on now.

592
00:31:03,360 --> 00:31:03,920
Speaker 2: Oh man.

593
00:31:04,080 --> 00:31:06,040
Speaker 1: It's hard to find glass bottles of Hinds, I gotta

594
00:31:06,080 --> 00:31:08,480
Speaker 1: tell you, yeah, I know, and getting for like nine

595
00:31:08,520 --> 00:31:10,680
Speaker 1: bucks at Whole Foods. But you know who wants to

596
00:31:10,720 --> 00:31:17,640
Speaker 1: do that. So there's some interesting music. Uh, life imitating

597
00:31:17,800 --> 00:31:21,720
Speaker 1: art in this film. Okay, it's when they're at the Kopa.

598
00:31:22,480 --> 00:31:27,320
Speaker 1: It's Henny Youngman, wife, please, it's the real Henny Youngman

599
00:31:27,400 --> 00:31:30,520
Speaker 1: playing himself like twenty years older than he should be

600
00:31:30,600 --> 00:31:33,800
Speaker 1: in that scene. And they do that incredible device where

601
00:31:34,360 --> 00:31:36,720
Speaker 1: they cut from I think it's the Copa or Henny Youngman.

602
00:31:36,800 --> 00:31:39,480
Speaker 1: It's some club, I think so. And they cut from

603
00:31:39,480 --> 00:31:43,680
Speaker 1: the club and Henning on stage doing his thing, take

604
00:31:43,720 --> 00:31:45,680
Speaker 1: my wife, that whole bit, you know what I mean? Right,

605
00:31:45,800 --> 00:31:49,000
Speaker 1: and he keeps going. If they cut through the airport

606
00:31:49,200 --> 00:31:52,120
Speaker 1: where they're they're stealing, they're you know, they're robbing the airport.

607
00:31:52,120 --> 00:31:58,720
Speaker 2: The fod still doing his bit. Doctor welshers here one

608
00:31:58,800 --> 00:32:03,760
Speaker 2: of them. Doctor give a guys say, while they're showing

609
00:32:03,800 --> 00:32:06,080
Speaker 2: them walking, you still hear it.

610
00:32:06,080 --> 00:32:10,200
Speaker 1: It's so good. I know, it's so fucking good. It's

611
00:32:10,200 --> 00:32:12,480
Speaker 1: one of those things I'm like, did Scorsese like fall

612
00:32:12,520 --> 00:32:15,200
Speaker 1: into that? Did he invent that? Or who did he

613
00:32:15,240 --> 00:32:17,040
Speaker 1: steal it from? I want to know where that came

614
00:32:17,080 --> 00:32:19,960
Speaker 1: from because it's so simple, it's but it's so brilliant.

615
00:32:20,000 --> 00:32:21,680
Speaker 1: It's just great. It's just great.

616
00:32:22,160 --> 00:32:25,160
Speaker 2: His cinematic language is just unmatch. It's really this like

617
00:32:25,920 --> 00:32:29,719
Speaker 2: the syntax, the punctuation that everything. He's just it's like

618
00:32:30,040 --> 00:32:32,840
Speaker 2: it's like someone's talking to you with all the senses,

619
00:32:32,880 --> 00:32:33,080
Speaker 2: you know.

620
00:32:33,440 --> 00:32:36,600
Speaker 1: Yeah, yeah, I mean it was I was reading about

621
00:32:37,200 --> 00:32:41,520
Speaker 1: talk about punctuation. The opening scene, you know, when they're

622
00:32:41,560 --> 00:32:44,160
Speaker 1: after they opened the trunk of the car and they

623
00:32:44,440 --> 00:32:49,600
Speaker 1: they stab bats and then they they slammed the trunk

624
00:32:49,920 --> 00:32:53,240
Speaker 1: and Rags to Riches starts. Yep. They had a fight

625
00:32:53,320 --> 00:32:55,800
Speaker 1: in the edit over and over again to get that.

626
00:32:56,040 --> 00:33:03,959
Speaker 1: So the trunk slams on the downbeat, you know what

627
00:33:03,960 --> 00:33:06,160
Speaker 1: I mean. It's like normally you would start it like

628
00:33:06,760 --> 00:33:08,920
Speaker 1: with the yup, like on the on the one or whatever,

629
00:33:09,000 --> 00:33:11,520
Speaker 1: but it's like that they and he wanted the down

630
00:33:11,800 --> 00:33:16,960
Speaker 1: beat because the slamming of the trunk down just brilliant.

631
00:33:18,000 --> 00:33:19,720
Speaker 1: It's so smart, and I.

632
00:33:19,640 --> 00:33:21,200
Speaker 2: Think it's just all in his head. I think it's

633
00:33:21,200 --> 00:33:24,720
Speaker 2: just evidenced by all those storyboards that he drew as

634
00:33:24,760 --> 00:33:27,240
Speaker 2: a kid. I think he's just he just has he

635
00:33:27,360 --> 00:33:30,320
Speaker 2: has this innate, god given nack for that sort of thing.

636
00:33:31,040 --> 00:33:35,280
Speaker 1: Yeah, yeah, he absolutely does. And again, the confidence of

637
00:33:36,160 --> 00:33:38,160
Speaker 1: this is one of those things too that has to

638
00:33:38,200 --> 00:33:41,120
Speaker 1: be some sort of like we just we can pull

639
00:33:41,160 --> 00:33:42,760
Speaker 1: this one of these out of every movie. I feel

640
00:33:42,760 --> 00:33:46,120
Speaker 1: like on every movie soundtrack we talked about, this movie

641
00:33:46,200 --> 00:33:50,479
Speaker 1: kind of makes you like Clapton. It absolutely. Now, this

642
00:33:50,520 --> 00:33:52,880
Speaker 1: took a while. Like I didn't see Don't Look Back,

643
00:33:52,960 --> 00:33:56,920
Speaker 1: the Dylan movie until probably ten years after I saw

644
00:33:57,000 --> 00:33:59,200
Speaker 1: Good Fellas. Yeah, same, yeah, So it took me a

645
00:33:59,240 --> 00:34:01,560
Speaker 1: full decade developed my hatred of Donovan.

646
00:34:02,000 --> 00:34:06,560
Speaker 2: Okay, and I your hatred of Donovan like vicariously through

647
00:34:06,600 --> 00:34:09,120
Speaker 2: Bob Dylan, because Bob Dylan hates Donovan.

648
00:34:09,280 --> 00:34:10,959
Speaker 1: Really well you can kind of tell in that movie.

649
00:34:11,200 --> 00:34:15,360
Speaker 1: And he's just such a twit and he's he's I was,

650
00:34:15,560 --> 00:34:18,920
Speaker 1: this guy so contrived and full of shit. You know,

651
00:34:19,160 --> 00:34:22,480
Speaker 1: he's like Scott Wiland without the darkness, you know.

652
00:34:22,400 --> 00:34:24,200
Speaker 2: What I mean, Like, yeah, I hear you, I hear you.

653
00:34:24,800 --> 00:34:28,879
Speaker 1: But then and even like Goodfella, it took it took

654
00:34:28,920 --> 00:34:32,120
Speaker 1: like twenty years of Goodfellas for me to finally be like,

655
00:34:32,560 --> 00:34:40,200
Speaker 1: I love Donovan just because of Atlantis.

656
00:34:40,320 --> 00:34:40,960
Speaker 2: Atlantis.

657
00:34:41,040 --> 00:34:44,200
Speaker 1: Yeah, it's it's so good. The counterpoint between that song

658
00:34:44,239 --> 00:34:47,200
Speaker 1: and it's hippie dippy bullshit and the violence that's going

659
00:34:47,239 --> 00:34:51,320
Speaker 1: on totally. Oh you know who stole that completely his

660
00:34:51,640 --> 00:34:56,440
Speaker 1: Gus Van's aunt in Goodwill Hunting. It's me. It's me

661
00:34:56,600 --> 00:35:02,640
Speaker 1: Will remember we went to kindergarten together. We when they're

662
00:35:02,640 --> 00:35:04,720
Speaker 1: tooling on the kid in South Boston in the beginning

663
00:35:04,760 --> 00:35:08,920
Speaker 1: of the film and Jerry Rafferty's uh Baker Street is playing. Yep. Yeah,

664
00:35:08,960 --> 00:35:12,760
Speaker 1: it's absolutely it's the same thing. It's absolutely slow motion

665
00:35:13,440 --> 00:35:14,839
Speaker 1: all of it. I don't know they I think they

666
00:35:14,840 --> 00:35:17,480
Speaker 1: do like a bit of slow motion in the in

667
00:35:17,560 --> 00:35:19,760
Speaker 1: the scene where they're beating on billy bats.

668
00:35:21,040 --> 00:35:23,760
Speaker 2: Maybe not, there might be. I always get that scene.

669
00:35:24,320 --> 00:35:27,000
Speaker 2: That scene is very similar to that scene in Casino

670
00:35:27,080 --> 00:35:30,560
Speaker 2: where the staffs the guy with the neck with a pen.

671
00:35:30,680 --> 00:35:31,720
Speaker 2: It's very similar.

672
00:35:31,840 --> 00:35:33,520
Speaker 1: Yeah, it is very similar.

673
00:35:37,560 --> 00:35:39,600
Speaker 2: The the Good Fella scene though with Atlantis is one

674
00:35:39,640 --> 00:35:43,000
Speaker 2: of those great like you put it, counterpoints like that

675
00:35:43,000 --> 00:35:46,160
Speaker 2: that that song is not at all what you'd expect

676
00:35:46,280 --> 00:35:49,920
Speaker 2: for that moment of violence, you know, and it and

677
00:35:49,960 --> 00:35:52,560
Speaker 2: it just the violence does seem way more real with

678
00:35:52,680 --> 00:35:53,360
Speaker 2: that song playing.

679
00:35:53,880 --> 00:35:59,680
Speaker 1: Yeah, And this is why counterpoint with filmmaking and soundtracking,

680
00:36:00,080 --> 00:36:01,560
Speaker 1: you just hit the nail completely on the head, and

681
00:36:01,600 --> 00:36:04,080
Speaker 1: I want to reinforce it. It's why it's so important

682
00:36:04,080 --> 00:36:06,759
Speaker 1: because if you were in a bar and a fight

683
00:36:06,800 --> 00:36:11,960
Speaker 1: broke out, the fucking jukebox doesn't care what song's playing exactly. Yeah,

684
00:36:12,000 --> 00:36:15,600
Speaker 1: and that's how life works. It's absurd and there's strange

685
00:36:15,600 --> 00:36:18,120
Speaker 1: shit happening all the time and you can't control it.

686
00:36:18,160 --> 00:36:21,080
Speaker 1: And he's just like it's but I have to say,

687
00:36:21,160 --> 00:36:25,080
Speaker 1: that's not how I think that the majority of creative

688
00:36:25,120 --> 00:36:28,480
Speaker 1: people think. They think, like we have to match the

689
00:36:28,520 --> 00:36:33,040
Speaker 1: emotion sure of what we're seeing and sure, and Scorse's

690
00:36:33,160 --> 00:36:36,520
Speaker 1: brave bravery is creative bravery is just like, no, this

691
00:36:36,680 --> 00:36:40,280
Speaker 1: is how I saw a guy getting his head fucking

692
00:36:40,400 --> 00:36:43,239
Speaker 1: stomped on the ground in my neighborhood. And you know,

693
00:36:43,440 --> 00:36:47,080
Speaker 1: Frankie Valley, a Frankie Valley ballad was playing in the background,

694
00:36:47,360 --> 00:36:47,560
Speaker 1: you know.

695
00:36:47,680 --> 00:36:50,000
Speaker 2: Yeah, He's he seemed to just kind of say like

696
00:36:50,040 --> 00:36:52,560
Speaker 2: fuck it with this movie, like I'm just gonna I'm

697
00:36:52,560 --> 00:36:55,319
Speaker 2: gonna do whatever creative impulse I want to do with

698
00:36:55,360 --> 00:36:58,560
Speaker 2: this movie. And you know what I mean, like detractors

699
00:36:58,560 --> 00:36:59,440
Speaker 2: be damned or whatever.

700
00:36:59,680 --> 00:37:04,680
Speaker 1: Right, Yeah, it's it's his. I think it's his most

701
00:37:04,680 --> 00:37:05,520
Speaker 1: personal movie.

702
00:37:06,280 --> 00:37:09,440
Speaker 2: I think I wouldn't be a surprised knowing his upbringing.

703
00:37:09,480 --> 00:37:13,160
Speaker 1: You know, I mean, maybe maybe mean streets. But it's

704
00:37:13,200 --> 00:37:16,120
Speaker 1: so much earlier, and he wasn't at the peak of

705
00:37:16,120 --> 00:37:19,160
Speaker 1: his powers. He didn't have the budget. I'm trying to

706
00:37:19,200 --> 00:37:21,120
Speaker 1: think of another one that is more personal. It's kind

707
00:37:21,120 --> 00:37:23,960
Speaker 1: of later. Maybe The Irishman. That's very personal, I feel

708
00:37:24,040 --> 00:37:26,560
Speaker 1: like because of how the age he was at when

709
00:37:26,560 --> 00:37:28,799
Speaker 1: he made it and all those guys were at. Yeah, yeah,

710
00:37:29,120 --> 00:37:32,239
Speaker 1: I can see that. Scoring in that is fantastic as

711
00:37:32,239 --> 00:37:34,840
Speaker 1: well soundtracking in that and the scoring he used his

712
00:37:34,840 --> 00:37:38,200
Speaker 1: score he has Robbie Robertson scoring, Yeah, yeah, which is

713
00:37:38,200 --> 00:37:40,360
Speaker 1: a reason we have to cover Irishman. And that was

714
00:37:40,360 --> 00:37:43,920
Speaker 1: something too, which in the beginning, you don't like Irishman

715
00:37:43,960 --> 00:37:44,399
Speaker 1: as much as.

716
00:37:44,320 --> 00:37:46,840
Speaker 2: I do do No, no, I no, I like the Irishman.

717
00:37:46,880 --> 00:37:48,799
Speaker 2: I haven't. I need to see it more. I haven't

718
00:37:48,800 --> 00:37:51,239
Speaker 2: seen it enough. I need to see it more. So

719
00:37:51,280 --> 00:37:53,800
Speaker 2: it's sort of like lives in me some more, you

720
00:37:53,840 --> 00:37:54,200
Speaker 2: know what I mean.

721
00:37:54,239 --> 00:37:57,720
Speaker 1: But yeah, in the beginning, the scoring was a sore thumb,

722
00:37:57,960 --> 00:38:00,400
Speaker 1: and now I can't live without it. Now I just

723
00:38:00,680 --> 00:38:02,120
Speaker 1: I love it. It's fantastics.

724
00:38:02,200 --> 00:38:05,680
Speaker 2: The the best music, the best the best movies are

725
00:38:05,680 --> 00:38:09,239
Speaker 2: the ones that you know. It's like it's like Glenn says,

726
00:38:09,239 --> 00:38:11,520
Speaker 2: in Raising Arizona. It's a way, Homer, you only get

727
00:38:11,560 --> 00:38:12,520
Speaker 2: it on the way home.

728
00:38:15,360 --> 00:38:18,800
Speaker 1: I love that. Okay, more more life imitating art. Bobby

729
00:38:18,840 --> 00:38:22,719
Speaker 1: Vinton at the Coopa, Okay, that's actually Bobby Vinton, it's

730
00:38:22,840 --> 00:38:27,640
Speaker 1: Robert Vinton. That's Bobby Winton's sons exactly like his dad

731
00:38:28,000 --> 00:38:31,719
Speaker 1: and is actually I think he's the same age his

732
00:38:31,800 --> 00:38:34,480
Speaker 1: old man would have been at in that era when

733
00:38:34,480 --> 00:38:35,120
Speaker 1: they were doing.

734
00:38:35,160 --> 00:38:36,640
Speaker 2: No way, what else? Did what?

735
00:38:36,640 --> 00:38:37,000
Speaker 1: What? Did he?

736
00:38:37,560 --> 00:38:37,879
Speaker 2: What else?

737
00:38:37,880 --> 00:38:39,080
Speaker 1: I don't think he did anything. I think he was

738
00:38:39,120 --> 00:38:42,440
Speaker 1: just sitting around this whole entire life being like, Okay, here,

739
00:38:42,480 --> 00:38:45,960
Speaker 1: I'm ready, mister Squire saysy, here we go.

740
00:38:46,080 --> 00:38:47,879
Speaker 2: Oh my god, Roses are read? Is that the song?

741
00:38:47,920 --> 00:38:50,040
Speaker 2: He does that scene Roses and he holds out his

742
00:38:50,120 --> 00:38:53,480
Speaker 2: hand to that the bottle goes to the table and he's.

743
00:38:53,200 --> 00:38:55,520
Speaker 1: Yeah, yeah, yeah, that's the one.

744
00:38:55,680 --> 00:38:58,239
Speaker 2: The way that this film is scored with its soundtrack,

745
00:38:58,280 --> 00:39:02,959
Speaker 2: that rock and roll is equals corruption, rock and roll

746
00:39:03,040 --> 00:39:06,520
Speaker 2: equals reckoning. Not not that Scorsese is coming down on

747
00:39:06,640 --> 00:39:09,880
Speaker 2: rock and roll, but it's just the way the seduction

748
00:39:09,960 --> 00:39:12,120
Speaker 2: of the Lifestyle, which is the first half of the film,

749
00:39:12,280 --> 00:39:15,520
Speaker 2: how you're seduced by this lifestyle, that's all do wop.

750
00:39:15,560 --> 00:39:18,840
Speaker 2: It's girl groups, it's like, you know, uh.

751
00:39:19,080 --> 00:39:22,000
Speaker 1: Big strings arrangements, it's roses are red.

752
00:39:22,280 --> 00:39:25,120
Speaker 2: It's then he kissed me leader of the pack, you know,

753
00:39:25,239 --> 00:39:28,040
Speaker 2: like he's sure the boy. I love all these the ronettes,

754
00:39:28,080 --> 00:39:31,880
Speaker 2: the crystals, the whatever. And then as soon as we

755
00:39:32,000 --> 00:39:35,720
Speaker 2: get into the nitty gritty of Henry Hill doing cocaine

756
00:39:35,760 --> 00:39:39,759
Speaker 2: with one of his multiple mistresses, it's like, you know,

757
00:39:40,320 --> 00:39:42,160
Speaker 2: it's Mick Jagger saying about rape and murder.

758
00:39:42,200 --> 00:39:44,840
Speaker 1: You know what I mean, Mick Jagger literally like puking

759
00:39:44,840 --> 00:39:46,680
Speaker 1: into the microphone on a monkey man like a.

760
00:39:57,200 --> 00:40:01,120
Speaker 2: Yeah, exactly. And it's that's obviously so deliberate choice, and

761
00:40:01,200 --> 00:40:03,640
Speaker 2: it works so well I think on a almost like

762
00:40:03,680 --> 00:40:06,840
Speaker 2: a subconscious level as you're watching this movie and moves

763
00:40:06,880 --> 00:40:10,919
Speaker 2: you through where the where the character ark of Henry

764
00:40:10,960 --> 00:40:11,520
Speaker 2: Hill is going.

765
00:40:12,320 --> 00:40:14,759
Speaker 1: Yeah, I think that's accurate. I think that's accurate. I

766
00:40:14,800 --> 00:40:18,160
Speaker 1: think this is I don't own this soundtrack.

767
00:40:19,120 --> 00:40:21,960
Speaker 2: I don't think it exists. It exists. I mean it

768
00:40:22,000 --> 00:40:23,000
Speaker 2: came out back in the day.

769
00:40:23,120 --> 00:40:25,560
Speaker 1: It came out. It's not it's not you can't stream it.

770
00:40:25,600 --> 00:40:28,120
Speaker 2: You can find playlists, right, but you know what, you know,

771
00:40:28,160 --> 00:40:30,640
Speaker 2: what was not on it's just a wild I looked

772
00:40:30,680 --> 00:40:32,640
Speaker 2: at the soundtrack. You know what song was not on

773
00:40:32,680 --> 00:40:36,520
Speaker 2: the soundtrack the physical CD that came out was Jumping

774
00:40:36,520 --> 00:40:36,959
Speaker 2: to the Fire.

775
00:40:38,120 --> 00:40:39,840
Speaker 1: Hmm. That's interesting, which.

776
00:40:39,680 --> 00:40:42,000
Speaker 2: Might be because it's so long. Maybe they didn't you.

777
00:40:41,960 --> 00:40:44,920
Speaker 1: Know, Yeah, yeah, you only had seventy minutes on a

778
00:40:44,920 --> 00:40:47,080
Speaker 1: CD or whatever it was, right, did you know? I

779
00:40:47,080 --> 00:40:48,680
Speaker 1: think you're the one who told me this. That my way.

780
00:40:48,719 --> 00:40:51,320
Speaker 1: They wanted the Sinatra version of it for the closing credits.

781
00:40:51,440 --> 00:40:52,480
Speaker 2: Oh, I didn't tell you that.

782
00:40:52,480 --> 00:40:54,279
Speaker 1: I didn't know that. Yeah, and they couldn't get it,

783
00:40:54,520 --> 00:40:56,799
Speaker 1: so they went with the sid Business version. And how

784
00:40:56,880 --> 00:40:58,520
Speaker 1: fucking great is that? I love that.

785
00:40:58,760 --> 00:40:59,239
Speaker 2: I love that.

786
00:40:59,520 --> 00:41:03,839
Speaker 1: Yeah much better, Yeah, so much better totally. I mean,

787
00:41:04,200 --> 00:41:05,880
Speaker 1: I don't even think he would have gone with the

788
00:41:05,880 --> 00:41:08,000
Speaker 1: Sinatra thing if he did clear it, because it just

789
00:41:08,080 --> 00:41:09,839
Speaker 1: I mean so on the money. I mean, what it

790
00:41:09,920 --> 00:41:11,719
Speaker 1: was the plan to have the Sinatra thing playing while

791
00:41:11,760 --> 00:41:12,440
Speaker 1: Tommy shooting?

792
00:41:16,440 --> 00:41:18,200
Speaker 2: Yeah, no, because that would have that would have taken

793
00:41:18,280 --> 00:41:20,200
Speaker 2: us back in time. We need the we need to

794
00:41:20,239 --> 00:41:23,640
Speaker 2: be moving forward. The music's moving forward, as the character's

795
00:41:23,719 --> 00:41:26,399
Speaker 2: moving forward. You need to have the nineteen seventy seven

796
00:41:26,520 --> 00:41:29,000
Speaker 2: seventy eight, seventy nine, whatever it is version of that song,

797
00:41:29,280 --> 00:41:30,760
Speaker 2: the punk version, it's.

798
00:41:30,600 --> 00:41:34,200
Speaker 1: The best credits to It's just the shooting too. It's

799
00:41:34,200 --> 00:41:38,640
Speaker 1: just fucking it's so good. It's great, it's so good.

800
00:41:38,640 --> 00:41:40,400
Speaker 1: All right, all right, let's talk about some movies we're

801
00:41:40,400 --> 00:41:42,040
Speaker 1: gonna do next next month. We're gonna do this. We're

802
00:41:42,040 --> 00:41:44,840
Speaker 1: gonna do this every month, guys, and we're gonna do

803
00:41:44,880 --> 00:41:46,160
Speaker 1: it towards the end of the month because we need

804
00:41:46,200 --> 00:41:49,440
Speaker 1: time to think about this and and you know, put

805
00:41:49,480 --> 00:41:55,960
Speaker 1: them together. I just think there's no shortage of incredible

806
00:41:56,000 --> 00:41:58,439
Speaker 1: topics that we can cover here. Boogie Knights comes to mind.

807
00:41:58,520 --> 00:42:01,600
Speaker 1: That is a huge one. We can do seventeen different

808
00:42:02,840 --> 00:42:05,359
Speaker 1: Scorsese ones. There's a million Tarantino ones. We came out

809
00:42:05,400 --> 00:42:07,560
Speaker 1: of the game big here with Goodfellas. I want to

810
00:42:07,680 --> 00:42:09,080
Speaker 1: I want to. I don't want to go so big.

811
00:42:09,080 --> 00:42:11,239
Speaker 1: I don't want to burn out on all the huge ones. Yeah,

812
00:42:11,280 --> 00:42:12,799
Speaker 1: early on, we got to come up with a good mix.

813
00:42:13,239 --> 00:42:15,239
Speaker 1: I watched the other night. This is gonna sound like

814
00:42:15,280 --> 00:42:17,239
Speaker 1: the most emo shit ever. And I'm not trying to

815
00:42:17,440 --> 00:42:20,239
Speaker 1: sound like fucking gee from right to spring. But I

816
00:42:20,280 --> 00:42:22,120
Speaker 1: watched Rachel getting married the other night.

817
00:42:22,280 --> 00:42:24,520
Speaker 2: Yeah, yeah, I watched it the other day too.

818
00:42:24,640 --> 00:42:31,160
Speaker 1: And the soundtrack is it's uh, it's actually incidental. There

819
00:42:31,200 --> 00:42:35,560
Speaker 1: are no songs mixed into it. But it's about a family,

820
00:42:35,880 --> 00:42:38,000
Speaker 1: uh in the music business, and you there's a bunch

821
00:42:38,040 --> 00:42:41,880
Speaker 1: of musicians at this wedding and you hear everything. It's fantastic.

822
00:42:41,960 --> 00:42:45,319
Speaker 1: And the stories behind how they got that music, how

823
00:42:45,320 --> 00:42:47,879
Speaker 1: they made it, how they shot it, because it's a small,

824
00:42:47,880 --> 00:42:50,719
Speaker 1: little indie film, is really interesting. So I'd like to

825
00:42:50,800 --> 00:42:53,759
Speaker 1: cover that at some point as well. I mean, there's

826
00:42:53,760 --> 00:42:55,560
Speaker 1: so many I mean, I would even I don't even

827
00:42:55,560 --> 00:42:57,200
Speaker 1: know how we would do it, but i'd love to do.

828
00:42:57,960 --> 00:43:00,680
Speaker 1: There's no music in no Country for all men, and

829
00:43:00,800 --> 00:43:03,840
Speaker 1: somehow I think there's a version of us covering that

830
00:43:04,080 --> 00:43:06,959
Speaker 1: because all the spots where the music should be, where

831
00:43:07,080 --> 00:43:09,800
Speaker 1: it would have fucked it up. I don't know what

832
00:43:10,040 --> 00:43:11,840
Speaker 1: are some of the choices you've been thinking about.

833
00:43:12,320 --> 00:43:14,640
Speaker 2: I mentioned this to you earlier. I mentioned Trainsponding earlier.

834
00:43:14,840 --> 00:43:17,480
Speaker 2: Every watched train Sponning recently, and I really think that

835
00:43:17,480 --> 00:43:22,200
Speaker 2: that is sort of like the consummate example of using

836
00:43:23,480 --> 00:43:26,760
Speaker 2: songs in your movie to to sort of communicate whatever

837
00:43:26,800 --> 00:43:30,960
Speaker 2: you're whatever's going on theme thematically and narratively in the film,

838
00:43:31,040 --> 00:43:35,920
Speaker 2: So that springs to mind right away. Yeah, there's so

839
00:43:35,960 --> 00:43:37,600
Speaker 2: many there's so many places we can go with this.

840
00:43:38,360 --> 00:43:42,680
Speaker 1: I mean, yeah, okay, we could. We could just turn

841
00:43:42,719 --> 00:43:45,440
Speaker 1: this into the selections pod. We're not going to do that.

842
00:43:45,800 --> 00:43:49,279
Speaker 1: Let's get some sort of list together with the listeners

843
00:43:49,440 --> 00:43:52,240
Speaker 1: on Patreon. We'll get some suggestions from folks.

844
00:43:52,320 --> 00:43:52,920
Speaker 2: Great adele.

845
00:43:54,560 --> 00:43:56,439
Speaker 1: Yeah, man, this was fun. This is good.

846
00:43:56,719 --> 00:43:57,279
Speaker 2: Absolutely.

847
00:43:58,400 --> 00:44:00,680
Speaker 1: I'm gonna go get my shinebox, right, is that what

848
00:44:00,680 --> 00:44:01,560
Speaker 1: we're doing? Is that's the way.

849
00:44:01,680 --> 00:44:03,880
Speaker 2: Yeah, yeah, go eat your shinebox. I'm gonna go pistol,

850
00:44:03,880 --> 00:44:06,200
Speaker 2: whip my neighbor across the street and go to bed.

851
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Speaker 1: You want some fucko? You want you want some? Sure?

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Speaker 1: All right? Hope you guys. Dug that that was our

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