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 --> 00:00:07,120 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 --> 00:00:28,920 Speaker 1: Welcome to Hollywood Land the Rap Party. What is going on? 6 00:00:29,000 --> 00:00:33,479 Speaker 1: Everybody here? We are in another bonus episode of hollywood Land. Welcome, Welcome, 7 00:00:33,680 --> 00:00:36,440 Speaker 1: Welcome to the Rap Party. This is the show that 8 00:00:36,479 --> 00:00:38,920 Speaker 1: gets you from one full episode of hollywood Land to 9 00:00:39,080 --> 00:00:42,360 Speaker 1: the next. The place where movie history is far from boring. 10 00:00:42,600 --> 00:00:45,920 Speaker 1: It's full of players and fixers and behind the scenesters, 11 00:00:46,159 --> 00:00:48,839 Speaker 1: and of course it routinely intersects with the world of 12 00:00:48,880 --> 00:00:51,720 Speaker 1: true crime. My name is Zeth Lundy, writer at Double Elvis, 13 00:00:51,760 --> 00:00:54,560 Speaker 1: showrunner for Hollywood Land, and on this bonus episode, we 14 00:00:54,600 --> 00:00:58,600 Speaker 1: are talking about this week's full episode subject the Poltergeist Curse. 15 00:00:58,960 --> 00:01:01,800 Speaker 1: We are previewing next week's episode on Hunter S. Thompson. 16 00:01:01,960 --> 00:01:05,280 Speaker 1: We're talking movie and music recommendations, and of course we're 17 00:01:05,280 --> 00:01:08,480 Speaker 1: going to check out your voicemails, your text DMS emails. 18 00:01:08,680 --> 00:01:28,560 Speaker 1: So come on, everybody, let's party. I really don't want 19 00:01:28,560 --> 00:01:32,640 Speaker 1: this podcast to become this immemoriam thing here going forward. 20 00:01:33,360 --> 00:01:35,399 Speaker 1: But look, I got to take a second and talk 21 00:01:35,520 --> 00:01:39,039 Speaker 1: about the late great Diane Keaton, who we just lost 22 00:01:39,080 --> 00:01:41,720 Speaker 1: a few days ago at the age of seventy nine. 23 00:01:42,560 --> 00:01:45,720 Speaker 1: Sometimes I actually forgot that her name was Diane Keaton 24 00:01:46,200 --> 00:01:49,960 Speaker 1: and just call her Annie Hall, because her entire persona, 25 00:01:50,040 --> 00:01:53,040 Speaker 1: her style, it was so entwined, at least in my mind, 26 00:01:53,600 --> 00:01:56,080 Speaker 1: with that great role she played in the nineteen seventy 27 00:01:56,120 --> 00:01:59,400 Speaker 1: seven Woody Allen film, the film that earned her her 28 00:01:59,640 --> 00:02:03,800 Speaker 1: Award for Best Actress. Her maiden name actually was Hall. 29 00:02:04,400 --> 00:02:07,160 Speaker 1: She changed it to Keaton, which was her mother's maiden 30 00:02:07,240 --> 00:02:09,480 Speaker 1: name when she joined the Union, and there was already 31 00:02:09,520 --> 00:02:13,680 Speaker 1: another actress registered under the name Diane Hall. But Woody 32 00:02:13,720 --> 00:02:16,440 Speaker 1: Allen wrote that role for her, and so I've got 33 00:02:16,480 --> 00:02:19,320 Speaker 1: to think that the character was in many ways an 34 00:02:19,360 --> 00:02:22,160 Speaker 1: echo of the real Diane Keaton, just like Woody's character 35 00:02:22,840 --> 00:02:25,040 Speaker 1: in many ways as an echo of him. This was, 36 00:02:25,120 --> 00:02:28,120 Speaker 1: of course, five years after her big break as Kay 37 00:02:28,240 --> 00:02:31,679 Speaker 1: and the Godfather, a role she won out after Francis 38 00:02:31,680 --> 00:02:36,320 Speaker 1: Ford Coppola auditioned something like a hundred actresses. And this role, 39 00:02:36,400 --> 00:02:38,480 Speaker 1: the role of Kay, is so different from Annie Hall. 40 00:02:38,560 --> 00:02:41,959 Speaker 1: I mean, there's so much that Diane Keaton is doing 41 00:02:42,000 --> 00:02:44,240 Speaker 1: in this movie, but doing it low key. I mean, 42 00:02:44,680 --> 00:02:47,519 Speaker 1: the whole movie is in her face at the very 43 00:02:47,639 --> 00:02:50,440 Speaker 1: end when Michael lies to her and then the door 44 00:02:50,520 --> 00:02:53,280 Speaker 1: shuts on him as he's becoming the thing he never 45 00:02:53,320 --> 00:02:57,000 Speaker 1: wanted to be, which is basically the devil. But it's 46 00:02:57,120 --> 00:02:59,960 Speaker 1: all in your in her face, your your entire understand 47 00:03:00,240 --> 00:03:03,120 Speaker 1: of what's happening, of what's just happened over the course 48 00:03:03,200 --> 00:03:06,400 Speaker 1: of the two plus hours, what's going to happen. You 49 00:03:06,480 --> 00:03:09,200 Speaker 1: see her seeing this and you're like, oh fuck. It's 50 00:03:09,240 --> 00:03:13,000 Speaker 1: one of the greatest non veriable pieces of acting, of 51 00:03:13,080 --> 00:03:17,639 Speaker 1: reacting ever on screen. But if I'm being brutally honest, 52 00:03:17,680 --> 00:03:21,519 Speaker 1: here about my first really true introduction to Diane Keaton. 53 00:03:21,960 --> 00:03:24,760 Speaker 1: It was not Annie Hall, it was not The Godfather. 54 00:03:25,400 --> 00:03:27,800 Speaker 1: It was this movie called Baby Boom, which came out 55 00:03:27,919 --> 00:03:31,040 Speaker 1: in nineteen eighty seven. This is the rom com in 56 00:03:31,120 --> 00:03:35,200 Speaker 1: which Diane Keaton plays a Manhattan yuppie who inherits a 57 00:03:35,200 --> 00:03:38,520 Speaker 1: toddler when one of her family members dies. It's such 58 00:03:38,520 --> 00:03:42,200 Speaker 1: a nineteen eighties movie. I forget the exact details of 59 00:03:42,960 --> 00:03:46,280 Speaker 1: how she ends up with this baby, but her you know, 60 00:03:46,440 --> 00:03:50,720 Speaker 1: her fast paced a Manhattan life is turned upside down, 61 00:03:50,720 --> 00:03:53,120 Speaker 1: and she ends up leaving New York City and moving 62 00:03:53,120 --> 00:03:57,320 Speaker 1: to Vermont, where she meets Sam Shepherd's veterinarian guy. And 63 00:03:57,400 --> 00:03:59,880 Speaker 1: this is also long before I realized who Sam Shepherd 64 00:04:00,080 --> 00:04:02,400 Speaker 1: really was, that he was this incredible play right behind 65 00:04:02,600 --> 00:04:06,080 Speaker 1: amazing plays like Barry Child in True West. But I digress. 66 00:04:06,400 --> 00:04:09,240 Speaker 1: I have not seen Baby Boom in a long long time. 67 00:04:09,320 --> 00:04:11,600 Speaker 1: But this was sort of like the cinematic comfort food 68 00:04:11,640 --> 00:04:13,800 Speaker 1: that was on in the house that I grew up 69 00:04:13,920 --> 00:04:17,520 Speaker 1: in Diane Keaton Goldie Hon This was the stuff that 70 00:04:17,680 --> 00:04:19,839 Speaker 1: was on in the background, like you know a radio 71 00:04:19,880 --> 00:04:23,000 Speaker 1: station would be, you know, more than The Godfather, more 72 00:04:23,000 --> 00:04:26,039 Speaker 1: than Annie Hall. It was Baby Boom that gave me 73 00:04:26,080 --> 00:04:29,960 Speaker 1: one of my earliest glimpses into New York City, into 74 00:04:30,440 --> 00:04:33,960 Speaker 1: the whole vibe of the big city like that, which 75 00:04:34,080 --> 00:04:37,000 Speaker 1: seemed so incredible and also so frightening to me at 76 00:04:37,040 --> 00:04:39,200 Speaker 1: the same time. But look, I'm just being real here. 77 00:04:39,240 --> 00:04:41,840 Speaker 1: I probably watched Annie Hall in Manhattan more than any 78 00:04:41,880 --> 00:04:45,240 Speaker 1: other Diane Keaton movie, But it was Baby Boom that 79 00:04:45,360 --> 00:04:48,719 Speaker 1: gave me that first real glimpse at herd the genius 80 00:04:48,720 --> 00:04:50,800 Speaker 1: to Wagne which she was seemed to be a one 81 00:04:50,800 --> 00:04:53,839 Speaker 1: of one. You know, she did that exasperated thing better 82 00:04:53,880 --> 00:04:55,840 Speaker 1: than anyone like that, that thing where you're fighting through 83 00:04:55,839 --> 00:04:58,039 Speaker 1: a challenge while still trying to remain one hundred percent 84 00:04:58,279 --> 00:05:01,840 Speaker 1: composed and calm, like there nobody better than her doing that. 85 00:05:02,200 --> 00:05:05,520 Speaker 1: And you know, this reminds me too, just thinking about 86 00:05:05,880 --> 00:05:08,719 Speaker 1: dian Keaton and the different size of her, the ways 87 00:05:08,720 --> 00:05:11,040 Speaker 1: in which she could do a dramatic role at the Godfather, 88 00:05:11,080 --> 00:05:13,479 Speaker 1: and then something so funny like Annie Hall or Baby 89 00:05:13,480 --> 00:05:17,159 Speaker 1: Boom reminds me of this great photo by Annie Leebwitz, 90 00:05:17,240 --> 00:05:20,040 Speaker 1: the iconic photographer. Her photos always gave you this really 91 00:05:20,080 --> 00:05:24,080 Speaker 1: incredible insight into a celebrity soul. I guess kind of 92 00:05:24,920 --> 00:05:26,960 Speaker 1: you saw whatever was going on in the inside on 93 00:05:26,960 --> 00:05:28,680 Speaker 1: the outside of these photos that she would take. And 94 00:05:28,680 --> 00:05:31,880 Speaker 1: it's this great one that Annie Leebwitz took of Diane Keaton, 95 00:05:31,960 --> 00:05:34,680 Speaker 1: I think around the time Baby Boom came out late eighties. 96 00:05:34,880 --> 00:05:37,560 Speaker 1: It's black and white. Her forehead is just it's resting 97 00:05:37,560 --> 00:05:40,640 Speaker 1: against this wall and it's just all shadow, like her 98 00:05:40,680 --> 00:05:44,200 Speaker 1: face is obscured in shadow. She's very much she's deep 99 00:05:44,200 --> 00:05:46,360 Speaker 1: in thought, or maybe she's deep in trying to rid 100 00:05:46,400 --> 00:05:48,520 Speaker 1: her mind of all thought, you know. But her hair 101 00:05:48,600 --> 00:05:50,320 Speaker 1: is up in its back, but some of it's falling 102 00:05:50,320 --> 00:05:52,240 Speaker 1: down in front of her face, and it's just this 103 00:05:52,360 --> 00:05:59,000 Speaker 1: incredible portrait of stillness, of interiority, especially for someone an 104 00:05:59,000 --> 00:06:01,920 Speaker 1: actress who is known for always having this huge smile 105 00:06:02,000 --> 00:06:06,600 Speaker 1: and photos this infectious energy, and here she's just still. 106 00:06:06,880 --> 00:06:10,359 Speaker 1: It's a striking, striking photo, one of my favorite Annie 107 00:06:10,400 --> 00:06:12,919 Speaker 1: Leebwo's photos. It's almost like you're looking on this like 108 00:06:13,000 --> 00:06:16,360 Speaker 1: lesser known side of her. Speaking of lesser known stuff 109 00:06:16,400 --> 00:06:18,320 Speaker 1: when it comes to Diane Keaton, I didn't realize until 110 00:06:18,360 --> 00:06:21,200 Speaker 1: this weekend when I was reading some stuff about some 111 00:06:21,720 --> 00:06:25,680 Speaker 1: you know, abituaries and remembrances on her that she directed 112 00:06:25,680 --> 00:06:28,040 Speaker 1: an episode of Twin Peaks, an episode from season two, 113 00:06:28,360 --> 00:06:30,320 Speaker 1: directing with something that she explored for a little bit, 114 00:06:30,400 --> 00:06:34,080 Speaker 1: I think primarily in TV, and talking about her experience 115 00:06:34,160 --> 00:06:36,640 Speaker 1: working on Twin Peaks, she said that David Lynch was 116 00:06:37,240 --> 00:06:39,440 Speaker 1: very hands off and kind of just left it to 117 00:06:39,480 --> 00:06:41,680 Speaker 1: her like yep, go ahead, you do your own thing, 118 00:06:41,920 --> 00:06:45,080 Speaker 1: which I find to be such an amazing thing, like 119 00:06:45,160 --> 00:06:47,000 Speaker 1: talk about a one of one, you know, David Lynch, 120 00:06:47,040 --> 00:06:50,480 Speaker 1: to have this show that has come from your mind says, 121 00:06:50,520 --> 00:06:53,440 Speaker 1: your creations, your baby, and just to hand over the 122 00:06:53,480 --> 00:06:55,920 Speaker 1: reins to somebody else, someone who doesn't even do this 123 00:06:55,960 --> 00:06:59,480 Speaker 1: for a living, doesn't direct TV, and just say yep, 124 00:06:59,520 --> 00:07:01,280 Speaker 1: go ahead, and you steer this thing the way the 125 00:07:01,760 --> 00:07:03,120 Speaker 1: way that you want to steer it, you know, and 126 00:07:03,160 --> 00:07:06,440 Speaker 1: then it's so trusting, but it's also so empowering for 127 00:07:06,480 --> 00:07:09,039 Speaker 1: the person who's getting the reins. You know. It's either 128 00:07:09,080 --> 00:07:11,280 Speaker 1: that or maybe David Lynch had already checked out since 129 00:07:11,440 --> 00:07:15,160 Speaker 1: he was having such creative difficulties with ABC at this time, 130 00:07:15,200 --> 00:07:18,360 Speaker 1: and was like whatever, But either way, wild to me 131 00:07:18,480 --> 00:07:20,720 Speaker 1: that dian Keaton and David Lynch are connected in that way. 132 00:07:20,720 --> 00:07:22,840 Speaker 1: I'd never would have thought about putting the two of 133 00:07:22,840 --> 00:07:25,600 Speaker 1: them together like that. But rest in peace to the 134 00:07:25,800 --> 00:07:29,320 Speaker 1: inimitable Diane Keaton. Switching gears here, I was thinking about 135 00:07:29,320 --> 00:07:32,160 Speaker 1: what to say about this week's new episode on the 136 00:07:32,200 --> 00:07:35,480 Speaker 1: Poltergeist Curse, which is in your Hollywood Land feed right now. 137 00:07:36,120 --> 00:07:37,920 Speaker 1: This was one of those that was really fun but 138 00:07:38,000 --> 00:07:40,960 Speaker 1: also really nerve racking when it comes to like creative 139 00:07:41,040 --> 00:07:45,320 Speaker 1: challenges where you've essentially got four or five stories to 140 00:07:45,440 --> 00:07:48,400 Speaker 1: tell instead of one story, and you need to tell 141 00:07:48,400 --> 00:07:51,160 Speaker 1: these four or five stories as like one big cohesive 142 00:07:51,200 --> 00:07:54,480 Speaker 1: story that checks all of the storytelling boxes that we've 143 00:07:54,560 --> 00:07:57,400 Speaker 1: we've longed since established here at Double Elvison to do 144 00:07:57,440 --> 00:08:00,160 Speaker 1: it in a way that's satisfying. It feels like we've 145 00:08:00,160 --> 00:08:02,640 Speaker 1: gone on this journey, on this narrative arc. You know. 146 00:08:02,680 --> 00:08:05,040 Speaker 1: I like episodes like this because a it breaks you 147 00:08:05,120 --> 00:08:07,520 Speaker 1: out of this one character rut. Sometimes you get into 148 00:08:07,560 --> 00:08:10,440 Speaker 1: these things where you're writing, I've written stories about you know, 149 00:08:10,560 --> 00:08:13,320 Speaker 1: whether it's addiction or murder or whatever, and you get 150 00:08:13,320 --> 00:08:16,320 Speaker 1: these these similar sort of stories in a row and 151 00:08:16,480 --> 00:08:20,440 Speaker 1: feel like you're kind of writing you're going back over familiar, 152 00:08:20,680 --> 00:08:23,920 Speaker 1: well trod, well trodden ground. Is that how you say that? 153 00:08:24,320 --> 00:08:26,840 Speaker 1: But to break out of that rut is always really 154 00:08:26,880 --> 00:08:30,200 Speaker 1: exciting and also be challenges the system that you have 155 00:08:30,240 --> 00:08:32,800 Speaker 1: in place. It's like a pressure test for what we 156 00:08:32,840 --> 00:08:36,440 Speaker 1: do here, Like can our system that we built, the 157 00:08:36,480 --> 00:08:40,000 Speaker 1: way in which we think about editorially, how we structure 158 00:08:40,559 --> 00:08:45,000 Speaker 1: our thirty minute narratives here, can that system support something 159 00:08:45,080 --> 00:08:47,360 Speaker 1: completely different like this? And sometimes this kind of thing 160 00:08:47,400 --> 00:08:50,200 Speaker 1: works better than it does other times. But with this 161 00:08:50,240 --> 00:08:53,679 Speaker 1: one in particular, we anchored this whole story with this 162 00:08:53,720 --> 00:08:55,839 Speaker 1: near death experience that one of the actors from the 163 00:08:55,840 --> 00:08:59,760 Speaker 1: Poultrygeist movies had in a way that just really amplified 164 00:08:59,800 --> 00:09:02,560 Speaker 1: every everything else we were talking about and everything else we 165 00:09:02,559 --> 00:09:04,320 Speaker 1: were covering. And I don't want to give it away 166 00:09:04,320 --> 00:09:05,800 Speaker 1: for those of you who haven't heard it yet, but 167 00:09:06,320 --> 00:09:08,960 Speaker 1: you know, if you typically listen to these episodes based 168 00:09:09,000 --> 00:09:12,320 Speaker 1: on the subject, maybe you're like really into this actor 169 00:09:12,400 --> 00:09:15,200 Speaker 1: or this actress or director or whatever, and maybe there 170 00:09:15,240 --> 00:09:18,160 Speaker 1: just aren't super iconic names in this one. I got 171 00:09:18,160 --> 00:09:20,280 Speaker 1: to tell you. It's a wild ride of an episode, 172 00:09:20,480 --> 00:09:23,240 Speaker 1: and you really don't want to miss this one. It's 173 00:09:23,280 --> 00:09:26,559 Speaker 1: this crazy series of tragedies that seem to follow all 174 00:09:26,640 --> 00:09:29,360 Speaker 1: these people around who are associated with these movies, including 175 00:09:29,760 --> 00:09:33,000 Speaker 1: the brutal murder of course, of actress Dominique Dunn, who 176 00:09:33,440 --> 00:09:35,960 Speaker 1: was the sister of Griffin Dunn from After Hours Fame. 177 00:09:36,640 --> 00:09:38,480 Speaker 1: I guess I'm saying all this because I'm curious. I'm 178 00:09:38,480 --> 00:09:41,200 Speaker 1: always curious to hear how these I don't know these 179 00:09:41,640 --> 00:09:45,120 Speaker 1: outlier episodes land with the audience, but the ones that 180 00:09:45,200 --> 00:09:48,640 Speaker 1: kind of go outside are normal way of doing things, 181 00:09:48,960 --> 00:09:51,920 Speaker 1: which again they are constrained within the way that we 182 00:09:52,000 --> 00:09:55,240 Speaker 1: do things. If I'm explaining this correctly, it's just you 183 00:09:55,240 --> 00:09:56,600 Speaker 1: know what I mean, It's a different kind of episode 184 00:09:56,600 --> 00:09:57,960 Speaker 1: and I'd just love to hear from all of you. 185 00:09:58,040 --> 00:10:01,480 Speaker 1: And also next week's episode on Terress Thompson, which is 186 00:10:01,520 --> 00:10:04,000 Speaker 1: as gonzo as you would hope, and I think also 187 00:10:04,080 --> 00:10:05,960 Speaker 1: contains a bunch of stuff that you probably don't know, 188 00:10:06,760 --> 00:10:09,120 Speaker 1: which is always one of the biggest thrills for me 189 00:10:09,240 --> 00:10:11,360 Speaker 1: in researching these things is finding out things that I 190 00:10:11,400 --> 00:10:13,920 Speaker 1: don't know, and I love to put those things in 191 00:10:13,920 --> 00:10:16,360 Speaker 1: the episodes and hip you guys to all that. So 192 00:10:16,640 --> 00:10:17,920 Speaker 1: I don't know, like, let me know what you think 193 00:10:17,920 --> 00:10:19,840 Speaker 1: about these these things when you listen to them and 194 00:10:19,840 --> 00:10:22,000 Speaker 1: when you think of it, shoot me a text or 195 00:10:22,040 --> 00:10:24,240 Speaker 1: give me a call at six one seven nine oh 196 00:10:24,280 --> 00:10:27,680 Speaker 1: six six six three eight. You can also email at 197 00:10:27,920 --> 00:10:34,440 Speaker 1: disgracelandpod at gmail dot com. Okay, I'm gonna shift gears here. 198 00:10:34,840 --> 00:10:38,560 Speaker 1: I'm gonna get into your messages, your texts, your dms, 199 00:10:39,040 --> 00:10:41,480 Speaker 1: and I'm gonna do that right after a quick break, 200 00:10:41,720 --> 00:11:00,360 Speaker 1: So don't go anywhere. Oh right, everybody, Well, we come 201 00:11:00,440 --> 00:11:03,920 Speaker 1: back once again to the Rap Party, your weekly bonus 202 00:11:04,000 --> 00:11:06,720 Speaker 1: episode of the Hollywood Lamb Podcast. And this is the 203 00:11:06,760 --> 00:11:09,160 Speaker 1: part of the show where I get to hear from 204 00:11:09,280 --> 00:11:14,160 Speaker 1: all y'all. Last week, I was talking about this interview 205 00:11:14,160 --> 00:11:16,719 Speaker 1: that Ridley Scott gave where he said that we are 206 00:11:16,800 --> 00:11:20,760 Speaker 1: drowning and mediocrity. I think that I'm paraphrasing, but mediocrety 207 00:11:20,880 --> 00:11:23,120 Speaker 1: was definitely a word that was used. But the argument 208 00:11:23,160 --> 00:11:26,400 Speaker 1: there was that, you know, most movies suck, and a 209 00:11:26,480 --> 00:11:29,400 Speaker 1: very small percentage, like five percent, are really actually great 210 00:11:29,440 --> 00:11:31,680 Speaker 1: these days. I did a little bit of my own, 211 00:11:31,800 --> 00:11:34,520 Speaker 1: my own math, which is, you know, not don't try 212 00:11:34,520 --> 00:11:37,120 Speaker 1: this at home. This is not the math that my 213 00:11:37,240 --> 00:11:40,160 Speaker 1: kids are currently learning in school because I don't recognize 214 00:11:40,160 --> 00:11:42,160 Speaker 1: that math because I have my own math that I 215 00:11:42,200 --> 00:11:44,800 Speaker 1: do so according to my math, I was sort of 216 00:11:45,000 --> 00:11:48,720 Speaker 1: looking at movies from the past in different years and 217 00:11:48,800 --> 00:11:51,520 Speaker 1: how how the percentage is stacked up with good versus 218 00:11:51,559 --> 00:11:53,520 Speaker 1: bad movies. Right, So I got an email here from 219 00:11:53,600 --> 00:11:58,440 Speaker 1: Jason from the eight four five. Jason writes, take nineteen 220 00:11:58,520 --> 00:12:02,640 Speaker 1: fifty five into INTERNIM movie database. There were two three 221 00:12:02,800 --> 00:12:06,440 Speaker 1: hundred and ninety six films made worldwide. Holy shit, that 222 00:12:06,480 --> 00:12:09,680 Speaker 1: was my introduction there. Jason writes, Of course, who knows 223 00:12:09,720 --> 00:12:12,720 Speaker 1: how many great films from India, China and Russia, Spain, Argentina, 224 00:12:12,720 --> 00:12:15,560 Speaker 1: et cetera. Are great but are not well known here. 225 00:12:16,080 --> 00:12:21,440 Speaker 1: So including the best from Europe and Hollywood, maybe thirty 226 00:12:21,440 --> 00:12:25,200 Speaker 1: to forty so let's say well under five percent. I 227 00:12:25,200 --> 00:12:27,920 Speaker 1: think one to five percent is all there ever was, 228 00:12:28,080 --> 00:12:30,520 Speaker 1: and maybe during the studio system it was even worse, 229 00:12:31,080 --> 00:12:35,160 Speaker 1: and so many are gone or not available to judge. Yeah, thanks, Jason, 230 00:12:35,200 --> 00:12:37,520 Speaker 1: you are proof of my point here. I think if 231 00:12:37,520 --> 00:12:40,080 Speaker 1: we do the math, we've always been drowning in mediocrity. 232 00:12:40,520 --> 00:12:43,840 Speaker 1: To paraphrase with the Scout again, You've you've always been 233 00:12:43,960 --> 00:12:50,040 Speaker 1: drowning in mediocrity. You've always been the caretaker. Jake gave 234 00:12:50,080 --> 00:12:51,920 Speaker 1: me some shit on this last week in maybe in 235 00:12:51,960 --> 00:12:53,600 Speaker 1: the after party or something. He said, I picked a 236 00:12:53,600 --> 00:12:55,640 Speaker 1: bunky or in nice in eighty nine, and I should 237 00:12:55,640 --> 00:12:57,960 Speaker 1: have picked something that had some more meat on the bone, 238 00:12:58,000 --> 00:13:00,720 Speaker 1: like nineteen ninety five. He was saying, let's see nineteen 239 00:13:00,760 --> 00:13:05,880 Speaker 1: ninety five, that was the year of seven Heat, Casino 240 00:13:06,280 --> 00:13:10,200 Speaker 1: Toy Story, Clueless Before Sunrise, Twelve Monkeys, Die Hard with 241 00:13:10,200 --> 00:13:15,720 Speaker 1: a Vengeance, Apollo thirteen, Lahne, The Basketball Diaries, Strange Days, Friday, 242 00:13:15,800 --> 00:13:19,560 Speaker 1: Billy Madison, dead Man, dead Man Walking, Leaving Las Vegas, 243 00:13:19,600 --> 00:13:23,640 Speaker 1: Crimson Tide to Die for Babe, Tommy Boy, Get Shorty City, 244 00:13:23,640 --> 00:13:27,160 Speaker 1: Have Lost Children, Devil in a Blue Dress, Clockers. I'm 245 00:13:27,200 --> 00:13:30,320 Speaker 1: sure there were many more worthy of greatness here. But 246 00:13:30,360 --> 00:13:32,320 Speaker 1: if you take these, that was twenty five. I just 247 00:13:32,400 --> 00:13:35,920 Speaker 1: rotted off there, and let's just call these great and 248 00:13:36,000 --> 00:13:39,079 Speaker 1: put them against the what four hundred movies that were 249 00:13:39,080 --> 00:13:42,480 Speaker 1: made that year, six hundred. It's hard to tell exactly, 250 00:13:42,600 --> 00:13:44,679 Speaker 1: but you know, you're still getting that shitty percentage that 251 00:13:44,720 --> 00:13:48,319 Speaker 1: we're talking about there. So I appreciate you, Jason, chiming 252 00:13:48,320 --> 00:13:51,640 Speaker 1: in on this and helping to proof that my math 253 00:13:51,760 --> 00:13:56,200 Speaker 1: isn't so wonky after all. I gotta tell you, though, 254 00:13:56,240 --> 00:13:58,120 Speaker 1: guys like this the math problems that the kids are 255 00:13:58,160 --> 00:14:00,520 Speaker 1: doing today, like God bless them. You know, they're they're 256 00:14:00,559 --> 00:14:02,319 Speaker 1: really putting in the work. They're putting me to shame. 257 00:14:03,000 --> 00:14:05,080 Speaker 1: Speaking on the same subject, we got a text from 258 00:14:05,120 --> 00:14:08,840 Speaker 1: the six four six. This listener writes him was listening 259 00:14:08,840 --> 00:14:10,600 Speaker 1: on the train and wanted to get this out before 260 00:14:10,640 --> 00:14:13,679 Speaker 1: I forget it. But when discussing quote unquote the end 261 00:14:13,679 --> 00:14:16,960 Speaker 1: of movies, I think there is a convergence between nepotism 262 00:14:17,000 --> 00:14:21,040 Speaker 1: in Hollywood and the mediocrity of film. Now, Frank Sinatra 263 00:14:21,400 --> 00:14:25,080 Speaker 1: famously told his kids not to do it. Thanks for that, 264 00:14:25,120 --> 00:14:28,280 Speaker 1: six four six, And listen Frankie talks. You gotta listen, Okay. 265 00:14:28,280 --> 00:14:31,040 Speaker 1: Can you imagine Frank Sinatra is your father. You don't 266 00:14:31,080 --> 00:14:33,680 Speaker 1: have to tell me twice to pick up my room, daddy. 267 00:14:33,680 --> 00:14:37,560 Speaker 1: O interesting take here on nepotism and mediocrety. So if 268 00:14:37,560 --> 00:14:40,080 Speaker 1: I'm understanding what you're saying correctly, six four six, we're 269 00:14:40,080 --> 00:14:43,480 Speaker 1: basically we're getting stand ins now for movie stars in 270 00:14:43,560 --> 00:14:46,000 Speaker 1: place of where their moms and dads used to be, right, 271 00:14:46,040 --> 00:14:49,480 Speaker 1: instead of brand new faces, brand new people who who 272 00:14:49,760 --> 00:14:55,600 Speaker 1: are there for other reasons. Someone has probably written or 273 00:14:55,640 --> 00:14:59,360 Speaker 1: spoken on this far more eloquently than I have. See, 274 00:14:59,400 --> 00:15:03,680 Speaker 1: I can't even say eloquently in a sentence. But I wonder, 275 00:15:04,000 --> 00:15:06,280 Speaker 1: I wonder when that mindset changed, you know, from Frank 276 00:15:06,320 --> 00:15:08,920 Speaker 1: Sinatra's advice to not join the club, as it were, 277 00:15:09,520 --> 00:15:13,480 Speaker 1: to the shift into supporting or even encouraging your child 278 00:15:13,960 --> 00:15:16,280 Speaker 1: to get into the biz like that. I'm sure glad 279 00:15:16,280 --> 00:15:18,400 Speaker 1: that Nancy Sinatra didn't take that advice from her old 280 00:15:18,400 --> 00:15:20,560 Speaker 1: man though, because you know, as Jake and I talked 281 00:15:20,600 --> 00:15:23,120 Speaker 1: about in the after party last week over in Disgraceland, 282 00:15:23,400 --> 00:15:26,040 Speaker 1: she made some seriously awesome music in the sixties with 283 00:15:26,200 --> 00:15:28,960 Speaker 1: Lee Hazel Woods. So I don't know. Has nepotism always 284 00:15:29,000 --> 00:15:30,960 Speaker 1: been a thing like the mediocrity issue, Maybe not as 285 00:15:31,040 --> 00:15:33,240 Speaker 1: much as it is now, but interesting to think about. 286 00:15:33,320 --> 00:15:36,920 Speaker 1: Interesting take their six four six really appreciate you writ 287 00:15:37,000 --> 00:15:39,560 Speaker 1: and in for sure. I think I was soliciting some 288 00:15:39,720 --> 00:15:42,400 Speaker 1: scary movie recommendations last week. Where we are in the 289 00:15:42,400 --> 00:15:45,600 Speaker 1: month of October, we are in a spooky season here, 290 00:15:45,880 --> 00:15:48,840 Speaker 1: I dabble in the scary stuff. There's some things I 291 00:15:48,880 --> 00:15:50,400 Speaker 1: like and some things I don't like. I can't do 292 00:15:50,560 --> 00:15:52,920 Speaker 1: like saw movies, I can't do those, but I can 293 00:15:53,000 --> 00:15:55,520 Speaker 1: do hereditary So I don't know. Here's a text from 294 00:15:55,640 --> 00:15:58,800 Speaker 1: the four one two. Oh and I also asked about 295 00:15:59,080 --> 00:16:01,000 Speaker 1: the show The Loadown last week, So the text me 296 00:16:01,000 --> 00:16:03,360 Speaker 1: the four one two says, definitely check out The Lowdown 297 00:16:03,520 --> 00:16:05,640 Speaker 1: Ethan Hawk is awesome in it, all right. And then 298 00:16:05,760 --> 00:16:09,200 Speaker 1: horror movies you gotta watch every Halloween season. Halloween the Original, 299 00:16:09,400 --> 00:16:13,680 Speaker 1: the Original, The Fog Texas, Chainsaw the Original, and the 300 00:16:13,680 --> 00:16:17,120 Speaker 1: two thousand and three remake with r Lee Emery. Return 301 00:16:17,160 --> 00:16:20,080 Speaker 1: of the Living Dead is a hilariously good movie. The Original, 302 00:16:20,120 --> 00:16:23,640 Speaker 1: The Thing Monster Squad is a classic, and Fall is 303 00:16:23,680 --> 00:16:25,560 Speaker 1: a great movie that will mess you up if you 304 00:16:25,640 --> 00:16:28,080 Speaker 1: don't like Heights. The Wave is a good movie too, 305 00:16:28,200 --> 00:16:31,680 Speaker 1: Norwegian movie about a massive landslide that caused a tidal 306 00:16:31,720 --> 00:16:34,200 Speaker 1: wave in a town. Both of those movies are super 307 00:16:34,240 --> 00:16:36,760 Speaker 1: scary if retired of the old monster movies. Thanks Kevin 308 00:16:36,800 --> 00:16:39,680 Speaker 1: from the four to one two great recommendations here. Kevin 309 00:16:39,840 --> 00:16:42,280 Speaker 1: totally appreciate it. Dude, Texas Chainsaw mask, I just what 310 00:16:42,280 --> 00:16:44,880 Speaker 1: I'm talking about. Fuck, man, I stay away from that 311 00:16:44,960 --> 00:16:47,360 Speaker 1: kind of shit. I should probably put my big boy 312 00:16:47,360 --> 00:16:50,360 Speaker 1: pants on at some point and check it out. I 313 00:16:50,440 --> 00:16:53,960 Speaker 1: know it's so influential Tobe Hooper, right, but man, I 314 00:16:54,080 --> 00:16:56,160 Speaker 1: just that's historically the kind of thing that I shy 315 00:16:56,200 --> 00:16:59,240 Speaker 1: away from. But at some point I really gotta, I 316 00:16:59,240 --> 00:17:02,640 Speaker 1: gotta do it. The Thing is amazing, John Carpenter's nineteen 317 00:17:02,640 --> 00:17:06,080 Speaker 1: eighty two horror film that notoriously had to battle with 318 00:17:06,160 --> 00:17:08,800 Speaker 1: et that year, so it suffered at the box office, 319 00:17:08,800 --> 00:17:10,919 Speaker 1: and it's since become this cult classic. I mean, the 320 00:17:10,960 --> 00:17:13,240 Speaker 1: thing is, if you had not seen the Thing, take 321 00:17:13,320 --> 00:17:15,600 Speaker 1: Kevin from the four one two's advice here and check 322 00:17:15,680 --> 00:17:18,240 Speaker 1: that out. And man, I haven't thought about Monster Squad 323 00:17:18,320 --> 00:17:20,240 Speaker 1: in a long time, so I appreciate that. Back to 324 00:17:20,280 --> 00:17:22,399 Speaker 1: the top of your message, I did start watching The 325 00:17:22,440 --> 00:17:25,080 Speaker 1: Lowdown just last night. I actually watched the first episode, 326 00:17:25,320 --> 00:17:27,520 Speaker 1: loving it so far. So thank you Kevin, and also 327 00:17:27,520 --> 00:17:29,840 Speaker 1: thank you someone over on Patreon told me to check 328 00:17:29,840 --> 00:17:33,440 Speaker 1: that out. So thanks everybody for the recommendations. All right, 329 00:17:34,080 --> 00:17:37,080 Speaker 1: we were talking about someone who broke up with a 330 00:17:37,119 --> 00:17:39,399 Speaker 1: boyfriend or a girlfriend because they did not like the 331 00:17:39,440 --> 00:17:43,760 Speaker 1: movie seven, and I asked if anybody had similar stories. 332 00:17:44,080 --> 00:17:48,240 Speaker 1: We got a text from D five four. Oh hey, 333 00:17:48,280 --> 00:17:50,240 Speaker 1: it's Ali from the five to four to Oh I'm 334 00:17:50,240 --> 00:17:52,880 Speaker 1: married now. But in my dating days, I would make 335 00:17:52,920 --> 00:17:56,520 Speaker 1: every person I dated watch the movie It follows, and 336 00:17:56,560 --> 00:17:58,280 Speaker 1: if they told me it was dumb or they didn't 337 00:17:58,320 --> 00:18:02,240 Speaker 1: understand it, the dates would end there. I'm not sure 338 00:18:02,280 --> 00:18:04,359 Speaker 1: why I picked that movie, but I wonder how many 339 00:18:04,359 --> 00:18:10,400 Speaker 1: people I psychologically tormented by making them watch it. Ellie, 340 00:18:10,440 --> 00:18:13,679 Speaker 1: incredible stuff, great little litmus tests you got there. Now, 341 00:18:13,720 --> 00:18:16,399 Speaker 1: I'm curious, is this like first aid material or is 342 00:18:16,400 --> 00:18:18,320 Speaker 1: this after you get to know them for a little bit, 343 00:18:18,359 --> 00:18:20,680 Speaker 1: And did you tell them that this was the reason 344 00:18:20,680 --> 00:18:24,159 Speaker 1: why it was ending. I'm just curious, and also For 345 00:18:24,200 --> 00:18:25,840 Speaker 1: the record, I don't think this is out of line 346 00:18:25,840 --> 00:18:28,480 Speaker 1: at all. I am totally with you here on movie 347 00:18:28,480 --> 00:18:31,880 Speaker 1: compatibility being a thing, and I'm glad you were able 348 00:18:31,920 --> 00:18:34,680 Speaker 1: to find a partner who gets it follows at least 349 00:18:34,720 --> 00:18:38,040 Speaker 1: I'm assuming your spouse does. So. Congrats and thank you again, 350 00:18:38,080 --> 00:18:40,880 Speaker 1: Ellie for sending them that message. Too funny. Last week 351 00:18:40,960 --> 00:18:43,040 Speaker 1: or the week before, I forget when it was Robert 352 00:18:43,080 --> 00:18:46,760 Speaker 1: Mitcham week. We were talking about Robert Mitchum's musical career, 353 00:18:46,840 --> 00:18:50,480 Speaker 1: which I was unaware of, and over on Patreon, b 354 00:18:50,840 --> 00:18:54,959 Speaker 1: Lowe wrote, Zeth hands down best singer of an actor. 355 00:18:55,119 --> 00:18:58,679 Speaker 1: Clint Eastwood also happens to be the star of the 356 00:18:58,680 --> 00:19:03,160 Speaker 1: greatest musical ever Your Wagon well below, I got to say, 357 00:19:03,640 --> 00:19:05,600 Speaker 1: just like the Robert Mitchham thing, I was not aware 358 00:19:05,640 --> 00:19:09,960 Speaker 1: of this, so I real quick was on YouTube this 359 00:19:10,040 --> 00:19:13,800 Speaker 1: morning and I found footage of Clint Eastwood in I 360 00:19:13,840 --> 00:19:17,760 Speaker 1: think the early sixties singing a song called Beyond the 361 00:19:17,800 --> 00:19:20,879 Speaker 1: Sun on his TV show Raw Hide, which he was 362 00:19:20,880 --> 00:19:24,840 Speaker 1: on before he became a famous movie actor. And then 363 00:19:25,240 --> 00:19:27,760 Speaker 1: I realized as I did a little bit more research 364 00:19:27,800 --> 00:19:30,679 Speaker 1: that in nineteen sixty three he actually put out an 365 00:19:30,720 --> 00:19:36,560 Speaker 1: album called Raw hides. Clint Eastwood sings Cowboy Favorites. It's 366 00:19:36,600 --> 00:19:39,280 Speaker 1: got like that similar vibe to the Robert Mitcham thing 367 00:19:39,280 --> 00:19:41,399 Speaker 1: I was talking about where it's you know, it's very 368 00:19:41,480 --> 00:19:44,399 Speaker 1: much of its time. But yeah, his voice. I got 369 00:19:44,560 --> 00:19:46,399 Speaker 1: to say that, the dude's got a good voice. I 370 00:19:46,440 --> 00:19:48,720 Speaker 1: think we forget that. Actors, entertainers, they used to be 371 00:19:48,800 --> 00:19:50,960 Speaker 1: triple threats in a way that they just are not 372 00:19:51,080 --> 00:19:54,199 Speaker 1: anymore thanks to that method or whatever. But you know, 373 00:19:54,200 --> 00:19:57,359 Speaker 1: Clint Eastwood, they acted, they danced, they sang. I think 374 00:19:57,400 --> 00:20:00,520 Speaker 1: Clint Eastwood was a piano player early on and even 375 00:20:00,800 --> 00:20:03,880 Speaker 1: considered a musical career before he became an actor. And 376 00:20:03,920 --> 00:20:07,280 Speaker 1: then later in his career little known fact, he actually 377 00:20:07,359 --> 00:20:10,840 Speaker 1: started to score the films that he directed, like Mister River, 378 00:20:11,000 --> 00:20:13,920 Speaker 1: Million Dollar Baby. He scored those movies. Speaking of John 379 00:20:13,960 --> 00:20:16,400 Speaker 1: Carpenter a second ago, the thing this is an accolade 380 00:20:16,400 --> 00:20:19,040 Speaker 1: typically reserved for John Carpenter because he famously does the 381 00:20:19,119 --> 00:20:20,760 Speaker 1: music for all his movies as well. But you know, 382 00:20:20,920 --> 00:20:22,560 Speaker 1: you've got to give it up for Clint too, man, 383 00:20:22,720 --> 00:20:24,800 Speaker 1: And don't forget, you know, when it comes to music, 384 00:20:25,119 --> 00:20:27,760 Speaker 1: Clint used have made a movie about Charlie Parker in 385 00:20:27,760 --> 00:20:31,600 Speaker 1: the nineteen eighties called Bird, with Forrest Whittaker starring as 386 00:20:31,720 --> 00:20:34,080 Speaker 1: Charlie Parker. If you've got seen Bird, do you dig it? 387 00:20:34,240 --> 00:20:37,960 Speaker 1: What's your favorite movie about a musician? And it doesn't 388 00:20:38,000 --> 00:20:40,280 Speaker 1: have to be a biopic like Bird, it could be 389 00:20:40,359 --> 00:20:43,480 Speaker 1: completely fictional. Hit me up, let me know six one 390 00:20:43,640 --> 00:20:47,320 Speaker 1: seven nine oh six six six three eight. And while 391 00:20:47,320 --> 00:20:49,879 Speaker 1: you're doing that, I'm going to take another super quick break. 392 00:20:50,320 --> 00:20:52,040 Speaker 1: But when I come back, I'm going to hit you 393 00:20:52,160 --> 00:21:21,720 Speaker 1: up with some recommendations. Okay, dope, ye, welcome back, ye 394 00:21:21,880 --> 00:21:24,119 Speaker 1: to the rap party? Is that fun to hear with 395 00:21:24,240 --> 00:21:27,440 Speaker 1: you once again? Talking to you about what I've been watching, 396 00:21:27,560 --> 00:21:31,439 Speaker 1: listening to reading. I mentioned the Lowdown earlier. I'm also 397 00:21:31,520 --> 00:21:35,119 Speaker 1: still watching Task And damn. If you were watching Task 398 00:21:35,240 --> 00:21:38,800 Speaker 1: and you just watched the latest episode, the penultimate episode 399 00:21:38,840 --> 00:21:42,000 Speaker 1: before next week's finale, episode six, that just came out, 400 00:21:42,040 --> 00:21:45,080 Speaker 1: I say again, damn. Not gonna spoil it for those 401 00:21:45,080 --> 00:21:47,200 Speaker 1: who haven't seen it yet, but holy shit, I thought, 402 00:21:48,080 --> 00:21:49,920 Speaker 1: kind of thought the best episode of the season happened 403 00:21:49,960 --> 00:21:51,719 Speaker 1: a few episodes ago, but I think this one might 404 00:21:51,760 --> 00:21:54,960 Speaker 1: take the cake. And so much, holy shit, so much 405 00:21:54,960 --> 00:21:58,160 Speaker 1: happened in this episode, so much that I was not expecting. 406 00:21:59,119 --> 00:22:01,639 Speaker 1: My pulse is like racing for the last I can't 407 00:22:02,600 --> 00:22:04,760 Speaker 1: I can't wait for this last episode. I just just 408 00:22:04,960 --> 00:22:08,200 Speaker 1: Sunday cannot come fast enough. So anyways, task I also 409 00:22:08,640 --> 00:22:11,960 Speaker 1: checked out also on HBO, Tim Robinson's new show, The 410 00:22:12,040 --> 00:22:15,040 Speaker 1: Chair Company. I'm a huge fan of Tim Robinson's show 411 00:22:15,040 --> 00:22:17,440 Speaker 1: I Think You Should Leave, which I gotta say is 412 00:22:17,440 --> 00:22:19,800 Speaker 1: probably the best example, maybe in the history of TV 413 00:22:19,920 --> 00:22:22,160 Speaker 1: or movies, of the kind of stuff that you watch 414 00:22:22,280 --> 00:22:25,840 Speaker 1: and you don't really register sometimes how incredible it is 415 00:22:25,960 --> 00:22:29,919 Speaker 1: until much later, until you've watched it like a million times, 416 00:22:30,200 --> 00:22:32,600 Speaker 1: or until it really sinks in like I mean so 417 00:22:32,680 --> 00:22:35,359 Speaker 1: much like incredible. I mean, you don't really get it. It 418 00:22:35,280 --> 00:22:37,560 Speaker 1: doesn't really hit you. It's like Glenn says in Raising Arizona, 419 00:22:37,960 --> 00:22:39,600 Speaker 1: it's a way homer because you only get it on 420 00:22:39,640 --> 00:22:42,359 Speaker 1: the way home. Like I Think You Should Leave is 421 00:22:42,440 --> 00:22:47,320 Speaker 1: the greatest away homer in TV history. But unlike I 422 00:22:47,359 --> 00:22:49,960 Speaker 1: Think You Should Leave, The Chair Company isn't a skit show. 423 00:22:50,480 --> 00:22:53,680 Speaker 1: It's a narrative comedy show, and it fuses together two 424 00:22:53,720 --> 00:22:57,800 Speaker 1: of my favorite things, comedies and conspiracy thrillers. Tim Robinson, 425 00:22:57,960 --> 00:23:00,320 Speaker 1: as usual, was killing it. He and his creative partner 426 00:23:00,640 --> 00:23:04,520 Speaker 1: Zach Canaan. They're delivering something here that feels both familiar 427 00:23:04,560 --> 00:23:07,720 Speaker 1: and also feels like uncharted territory. And there's this quick 428 00:23:07,760 --> 00:23:09,320 Speaker 1: thing with a pillow in the middle of the first 429 00:23:09,320 --> 00:23:12,000 Speaker 1: episode that is the hardest I've laughed in a long time. 430 00:23:12,520 --> 00:23:15,480 Speaker 1: So if you're into Tim Robinson, if you're into his 431 00:23:15,560 --> 00:23:18,639 Speaker 1: brand or humor, even if you're not, just check the 432 00:23:18,680 --> 00:23:21,560 Speaker 1: show out. The Great Jim Downie is also in the show, 433 00:23:21,760 --> 00:23:25,240 Speaker 1: a longtime SNL writer who's been popping up in a 434 00:23:25,240 --> 00:23:29,200 Speaker 1: bunch of stuff this year, So anyways, check that out. Also, recently, 435 00:23:29,240 --> 00:23:32,000 Speaker 1: I borrowed Stephen King's collection of short stories If It 436 00:23:32,080 --> 00:23:34,919 Speaker 1: Bleeds from a friend because I wanted to read the 437 00:23:35,000 --> 00:23:37,400 Speaker 1: story The Life of Chuck before I check out that movie, 438 00:23:37,440 --> 00:23:39,640 Speaker 1: which I want to do soon. So I read it, 439 00:23:39,800 --> 00:23:41,880 Speaker 1: and look, I'm not the smartest guy in the world, 440 00:23:41,960 --> 00:23:43,320 Speaker 1: but you know, I like to think I know a 441 00:23:43,320 --> 00:23:46,359 Speaker 1: few things. But my first reaction to this was, huh, Like, 442 00:23:46,440 --> 00:23:51,000 Speaker 1: the story is written in three sections, reverse chronological, and 443 00:23:51,040 --> 00:23:53,400 Speaker 1: I had to think about it to really grasp at 444 00:23:53,400 --> 00:23:56,440 Speaker 1: what my guy sk was getting at here. And I'm 445 00:23:56,440 --> 00:23:58,440 Speaker 1: sorry this is old news for all of you who 446 00:23:58,480 --> 00:23:59,800 Speaker 1: read this when it first came out. I am a 447 00:23:59,800 --> 00:24:02,840 Speaker 1: main and I believe it's in the law here in 448 00:24:02,960 --> 00:24:05,680 Speaker 1: Maine that you're required to read everything that Stephen King 449 00:24:05,720 --> 00:24:08,359 Speaker 1: puts out. But man, the guy writes a lot, so 450 00:24:08,400 --> 00:24:11,280 Speaker 1: I'm still catching up. Back to the story, It's Stephen 451 00:24:11,359 --> 00:24:14,280 Speaker 1: King in a different mode, non horror modes, more meditation 452 00:24:14,400 --> 00:24:18,120 Speaker 1: on what is life and what are people? And you know, 453 00:24:18,440 --> 00:24:20,080 Speaker 1: you know that this kind of thing is working when 454 00:24:20,160 --> 00:24:22,080 Speaker 1: you spend the next few days thinking about it and 455 00:24:22,119 --> 00:24:24,360 Speaker 1: talking about it. And here I am still talking about 456 00:24:24,359 --> 00:24:27,040 Speaker 1: it and still thinking about it, and I think, I know, 457 00:24:27,640 --> 00:24:29,200 Speaker 1: I think I know what the story is about. And 458 00:24:29,240 --> 00:24:33,679 Speaker 1: I'm really looking forward to seeing how Mike Flanagan turned 459 00:24:33,680 --> 00:24:37,000 Speaker 1: this into a movie. Anyways, I'll report back when I 460 00:24:37,080 --> 00:24:39,080 Speaker 1: checked that out. If any of you have seen that 461 00:24:39,240 --> 00:24:41,440 Speaker 1: or read that, let me know what you think. Definitely 462 00:24:41,840 --> 00:24:45,760 Speaker 1: a different speed of Stephen King's story for sure. Listening 463 00:24:45,800 --> 00:24:48,800 Speaker 1: to listen this is basic bitch stuff here. But I'm 464 00:24:48,840 --> 00:24:51,000 Speaker 1: really into the new Geese record getting Killed, just like 465 00:24:51,040 --> 00:24:53,600 Speaker 1: everybody else is. I think what I really like about it, 466 00:24:53,760 --> 00:24:56,439 Speaker 1: and what I like about this band is that you know, 467 00:24:56,440 --> 00:25:00,480 Speaker 1: it's super easy for a band. Maybe it's not super easy. 468 00:25:00,960 --> 00:25:04,159 Speaker 1: I think it's common for a band to try to 469 00:25:04,200 --> 00:25:06,560 Speaker 1: do something like like a band like Geese is doing, 470 00:25:06,640 --> 00:25:09,360 Speaker 1: or a band like Parquet Courts is another example. It's 471 00:25:09,720 --> 00:25:13,600 Speaker 1: routine for a band to come along and have them 472 00:25:13,600 --> 00:25:15,280 Speaker 1: sound like it's a put on, you know what I mean, 473 00:25:15,359 --> 00:25:18,439 Speaker 1: Like this guy in Geese like you sing like that, 474 00:25:18,600 --> 00:25:21,119 Speaker 1: and nine times out of ten it's gonna feel like 475 00:25:21,160 --> 00:25:23,880 Speaker 1: a performance, like you're wearing a shirt that doesn't fit right. 476 00:25:24,520 --> 00:25:28,520 Speaker 1: But Geese, the shirt really fits. And hopefully you know 477 00:25:28,560 --> 00:25:30,640 Speaker 1: what I'm talking about here. If you've heard these guys 478 00:25:30,680 --> 00:25:34,360 Speaker 1: and gals wicked cool record, I get some like Pixies 479 00:25:34,440 --> 00:25:37,600 Speaker 1: vibes from it. At first, it's got this great loud, 480 00:25:37,680 --> 00:25:42,240 Speaker 1: quiet loud opening song, and then it settles into something 481 00:25:42,280 --> 00:25:45,280 Speaker 1: that is just feels holy unique to me. And again 482 00:25:45,680 --> 00:25:48,360 Speaker 1: the shirt fits. Man, check this out getting killed by Geese. 483 00:25:48,600 --> 00:25:52,600 Speaker 1: It's fall, days are getting shorter, the night's coming earlier, 484 00:25:52,640 --> 00:25:55,000 Speaker 1: and so we're slipping into follow music over here, right, 485 00:25:55,480 --> 00:25:58,399 Speaker 1: We're slip it into the basement tapes by Bob Dylan 486 00:25:58,400 --> 00:26:03,800 Speaker 1: and the Band, Lonely by Frank Sinatra, Yola Tangos and 487 00:26:03,840 --> 00:26:07,360 Speaker 1: then Nothing turn itself inside out anything and everything by 488 00:26:07,400 --> 00:26:10,840 Speaker 1: Neil Young, especially Decade. But what about all you guys, 489 00:26:10,880 --> 00:26:14,000 Speaker 1: what are your go to albums for fall? Hit me up, 490 00:26:14,280 --> 00:26:17,400 Speaker 1: let me know six one, seven, nine oh six six, 491 00:26:17,560 --> 00:26:21,000 Speaker 1: six three eight, Hang tight. We got to take one 492 00:26:21,000 --> 00:26:22,840 Speaker 1: more break, but I'll be right back with some final 493 00:26:22,880 --> 00:26:38,840 Speaker 1: parting thoughts. Yo yo, yo, My good people people of 494 00:26:38,880 --> 00:26:41,320 Speaker 1: Hollywood Land. Once again, we are at the end of 495 00:26:41,359 --> 00:26:44,399 Speaker 1: another episode of the Wrap Party. Really appreciate all of 496 00:26:44,440 --> 00:26:46,680 Speaker 1: you reaching out getting in touch. I love hearing from 497 00:26:46,680 --> 00:26:48,439 Speaker 1: all you, and I hope you've been getting something out 498 00:26:48,480 --> 00:26:51,080 Speaker 1: of these bonus episodes. I wanted to mention here real 499 00:26:51,200 --> 00:26:53,639 Speaker 1: quick something that Jake was teasing out in the after 500 00:26:53,720 --> 00:26:56,800 Speaker 1: Party last week. That's over in Disgraced Land, and that's 501 00:26:56,840 --> 00:26:59,600 Speaker 1: that Jake and I and Matt and the Double Elvis 502 00:26:59,600 --> 00:27:02,520 Speaker 1: crew here, we've been working on something new and exciting, 503 00:27:02,560 --> 00:27:04,679 Speaker 1: this new video thing that's going to be happening in 504 00:27:04,800 --> 00:27:08,679 Speaker 1: Patreon with an audio version of Sorts happening concurrently for 505 00:27:08,720 --> 00:27:12,000 Speaker 1: Apple podcast members of All Access, which of course you 506 00:27:12,080 --> 00:27:13,879 Speaker 1: know about, and if you don't, you can go to 507 00:27:13,880 --> 00:27:16,480 Speaker 1: Disgrace lampod dot com to find out more. But part 508 00:27:16,520 --> 00:27:19,159 Speaker 1: of this video thing is the show called Dead Notes 509 00:27:19,560 --> 00:27:21,960 Speaker 1: that we've been trying to make happen for years. It's 510 00:27:21,960 --> 00:27:26,200 Speaker 1: a conversation format with me and Jake talking about songs 511 00:27:26,200 --> 00:27:29,199 Speaker 1: about serial killers or about how particular songs are connected 512 00:27:29,200 --> 00:27:32,080 Speaker 1: with true crime. For example, the first episode of the show, 513 00:27:32,320 --> 00:27:35,479 Speaker 1: we got into the Doors songwriters on the Storm and 514 00:27:35,520 --> 00:27:38,720 Speaker 1: the true story of the nineteen fifties spree killer Billy Cook. 515 00:27:39,080 --> 00:27:40,720 Speaker 1: I don't know if I'm saying too much here. I 516 00:27:40,720 --> 00:27:43,000 Speaker 1: think Jake has basically made all this known, but maybe 517 00:27:43,000 --> 00:27:45,040 Speaker 1: it's only been to our All Access people so far. 518 00:27:45,440 --> 00:27:48,040 Speaker 1: But my larger point here is that we're cooking out 519 00:27:48,080 --> 00:27:50,000 Speaker 1: something really awesome and it's coming at the end of 520 00:27:50,040 --> 00:27:52,480 Speaker 1: this month. But you've got to be an All Access 521 00:27:52,520 --> 00:27:56,080 Speaker 1: member to get in on this action. So again to 522 00:27:56,200 --> 00:27:59,320 Speaker 1: quote raising Arizona, got to do that high sign up 523 00:27:59,320 --> 00:28:01,840 Speaker 1: for all Access. Got I get a diptet, sign up 524 00:28:01,880 --> 00:28:04,840 Speaker 1: for All Access, Go to disgrace lampod dot com. Okay, 525 00:28:04,840 --> 00:28:06,880 Speaker 1: and with that, I got a bounce and send this 526 00:28:06,960 --> 00:28:08,600 Speaker 1: over to my guy Matt so we can mix it 527 00:28:08,680 --> 00:28:10,480 Speaker 1: up and make me sound like the kind of person 528 00:28:10,640 --> 00:28:12,680 Speaker 1: who can read the Life of Chuck and understand it. 529 00:28:12,760 --> 00:28:16,240 Speaker 1: But first, do not forget number one available, right now 530 00:28:16,280 --> 00:28:19,040 Speaker 1: in your Hollywood Land feed. Our episode on the Poultergeist 531 00:28:19,040 --> 00:28:22,359 Speaker 1: Curse number two coming next week on Monday. Our episode 532 00:28:22,359 --> 00:28:25,480 Speaker 1: on Hunter S. Thompson number three over in the Disgraceland feed. 533 00:28:25,840 --> 00:28:28,520 Speaker 1: It's nearly Halloween, guys, so that would explain this week's 534 00:28:28,560 --> 00:28:31,800 Speaker 1: episode on Harry Houdini and whether or not his ghosts 535 00:28:32,000 --> 00:28:34,600 Speaker 1: scared the pants off the Red Hot Chili Peppers while 536 00:28:34,640 --> 00:28:37,000 Speaker 1: they were making Blood Sugar, Sex, Magic and now number 537 00:28:37,040 --> 00:28:39,400 Speaker 1: four in honor of this week's episode, me reading you 538 00:28:39,560 --> 00:28:42,040 Speaker 1: the list of the top grossing films from May of 539 00:28:42,120 --> 00:28:45,080 Speaker 1: twenty twenty four, the month that the final film starring 540 00:28:45,160 --> 00:28:51,520 Speaker 1: Diane Keaton was released during her lifetime. Number one Kingdom 541 00:28:51,600 --> 00:28:55,360 Speaker 1: of the Planet of the Apes, directed by Westball, Number 542 00:28:55,360 --> 00:29:00,640 Speaker 1: two The Fall Guy, directed by David Leach, Number three Anyway, 543 00:29:00,680 --> 00:29:03,760 Speaker 1: directed by John Krasinski, Wind Guard, number four, Number the 544 00:29:03,920 --> 00:29:06,719 Speaker 1: Curio Scepters a Mad Max So directed by directed by 545 00:29:06,720 --> 00:29:09,600 Speaker 1: George Miller, came up eighth. The number five The Garfield 546 00:29:09,640 --> 00:29:11,960 Speaker 1: Run directed by It was directed by Mark Hanna Dindlverer. 547 00:29:12,240 --> 00:29:16,600 Speaker 1: The follow number six directed Challengers directed by Luca directed 548 00:29:16,600 --> 00:29:18,520 Speaker 1: by What I Mean Need by John Here was number seven. 549 00:29:18,640 --> 00:29:21,600 Speaker 1: Numbers The Strangers Chapter one Services directed by the three 550 00:29:21,680 --> 00:29:26,760 Speaker 1: series got to do that. And here's got our handsful 551 00:29:26,800 --> 00:29:27,560 Speaker 1: of this little angel.