1
00:00:03,040 --> 00:00:06,400
Speaker 1: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

2
00:00:13,119 --> 00:00:14,880
Speaker 2: Hey you welcome to Weird House Cinema.

3
00:00:15,000 --> 00:00:17,480
Speaker 3: This is Rob Lamb, and this is Joe McCormick.

4
00:00:17,760 --> 00:00:21,280
Speaker 2: Today's film is I guess, kind of a convergence of things. Joe,

5
00:00:21,360 --> 00:00:24,680
Speaker 2: you were wanting to cover another film that comes in

6
00:00:24,720 --> 00:00:27,200
Speaker 2: the wake of Star Wars nineteen seventy seven. Star Wars,

7
00:00:27,280 --> 00:00:31,000
Speaker 2: so many films angle in for a slice of that success.

8
00:00:31,360 --> 00:00:33,520
Speaker 3: Well, yet there are so many films you could call

9
00:00:33,560 --> 00:00:38,040
Speaker 3: Star Wars ripoffs. I think it's kind of interesting to

10
00:00:38,240 --> 00:00:41,680
Speaker 3: study the many different ways that one can rip off

11
00:00:41,720 --> 00:00:44,800
Speaker 3: Star Wars. Sort of a genre of study within its

12
00:00:44,840 --> 00:00:49,280
Speaker 3: own Star Wars ripoff studies. But I'd say, of most

13
00:00:49,320 --> 00:00:51,920
Speaker 3: of the movies we've watched that have come out in

14
00:00:51,960 --> 00:00:54,760
Speaker 3: the wake of Star Wars to ride on its coattails

15
00:00:54,760 --> 00:00:58,360
Speaker 3: for marketing purposes, this one is one of the least

16
00:00:58,680 --> 00:01:01,000
Speaker 3: like Star Wars in terms of narrative content.

17
00:01:01,640 --> 00:01:06,040
Speaker 2: Yeah, yeah, this is This was Disney's answer to Star Wars.

18
00:01:06,440 --> 00:01:09,120
Speaker 2: Now Disney's answer to Star Wars thirty three years later

19
00:01:09,160 --> 00:01:12,959
Speaker 2: would be just to buy lucasfilm pretty much. But at

20
00:01:13,000 --> 00:01:15,200
Speaker 2: the time you can kind of get a sense of

21
00:01:15,240 --> 00:01:18,960
Speaker 2: the swagger here. It's like, oh, Star Wars has done

22
00:01:19,080 --> 00:01:21,800
Speaker 2: very well, but you know, we're we're We're the Walt

23
00:01:21,840 --> 00:01:26,160
Speaker 2: Disney Company. We've got imagineers, gosh darn it, and you

24
00:01:26,160 --> 00:01:28,320
Speaker 2: should see the kinds of things that they can design.

25
00:01:28,680 --> 00:01:31,720
Speaker 2: We've got this long history with with TV and film.

26
00:01:32,480 --> 00:01:35,320
Speaker 2: Let us take a crack at this general area, at

27
00:01:35,319 --> 00:01:38,480
Speaker 2: this this kind of science fiction, and you know, I

28
00:01:38,520 --> 00:01:41,639
Speaker 2: bet we can create something that will connect just as well,

29
00:01:41,760 --> 00:01:43,240
Speaker 2: if not better, with the audience.

30
00:01:43,760 --> 00:01:46,160
Speaker 3: Now, that didn't quite come about, but I do think

31
00:01:46,200 --> 00:01:48,800
Speaker 3: what they produced is interesting, if not quite on the

32
00:01:48,880 --> 00:01:50,000
Speaker 3: level of Star Wars.

33
00:01:50,800 --> 00:01:54,520
Speaker 2: I agree. I agree. This is a film that I

34
00:01:54,840 --> 00:01:58,360
Speaker 2: remember quite fondly from my own childhood. I drew a

35
00:01:58,440 --> 00:02:02,000
Speaker 2: lot of like crayon at of the robots from this

36
00:02:02,120 --> 00:02:06,440
Speaker 2: film back in the day, especially Maximilian, who will describe

37
00:02:06,480 --> 00:02:08,240
Speaker 2: here in a bit. But I do have to stress

38
00:02:08,280 --> 00:02:10,480
Speaker 2: as well that while I saw this film, and I

39
00:02:10,480 --> 00:02:13,400
Speaker 2: guess maybe it was like you know, VHS rentals or something,

40
00:02:13,480 --> 00:02:15,920
Speaker 2: or maybe they would occasionally show it on TV or something,

41
00:02:16,400 --> 00:02:19,320
Speaker 2: but my main connection with the film was not from

42
00:02:19,360 --> 00:02:23,480
Speaker 2: the movie itself, but from the twenty four page read

43
00:02:23,520 --> 00:02:26,639
Speaker 2: along book and record that was put out with this

44
00:02:26,960 --> 00:02:29,119
Speaker 2: that I have, and I think my mom probably still

45
00:02:29,120 --> 00:02:30,520
Speaker 2: has a copy of this, but just a little flip

46
00:02:30,520 --> 00:02:32,040
Speaker 2: book and it comes with a little record that you

47
00:02:32,080 --> 00:02:35,200
Speaker 2: play and it reads along and has all these sound

48
00:02:35,200 --> 00:02:36,280
Speaker 2: effects from the movie.

49
00:02:36,720 --> 00:02:38,680
Speaker 3: Well wait, so if it's a record, does it play

50
00:02:38,680 --> 00:02:40,040
Speaker 3: that scary string theme?

51
00:02:40,480 --> 00:02:43,480
Speaker 2: I think so. Yeah. Like when I was rewatching the

52
00:02:43,520 --> 00:02:45,840
Speaker 2: movie for this episode, and it's the first time I've

53
00:02:45,840 --> 00:02:48,919
Speaker 2: seen the black Hole in Gosh, I mean at least

54
00:02:48,960 --> 00:02:53,600
Speaker 2: ten years, probably much longer, the music instantly resonated with me.

55
00:02:53,720 --> 00:02:57,000
Speaker 2: So yes, it definitely had some of the score on there.

56
00:02:57,440 --> 00:02:59,799
Speaker 3: I've actually never seen it before. This was my first time,

57
00:02:59,840 --> 00:03:02,080
Speaker 3: though you've talked, You've made reference to it a number

58
00:03:02,080 --> 00:03:05,200
Speaker 3: of times, and listeners have written in recommending we cover it,

59
00:03:05,280 --> 00:03:10,480
Speaker 3: so this is partially a listener suggested episode from multiple listeners.

60
00:03:10,480 --> 00:03:12,840
Speaker 3: But I was kind of surprised to find that in

61
00:03:12,880 --> 00:03:16,680
Speaker 3: a way, despite this being a movie from nineteen seventy nine,

62
00:03:17,440 --> 00:03:21,680
Speaker 3: it is a very traditional, almost old fashioned space adventure

63
00:03:21,760 --> 00:03:26,040
Speaker 3: movie where a crew of astronauts with defined roles encounter

64
00:03:26,320 --> 00:03:29,840
Speaker 3: something frightening deep in the heart of space. Except it

65
00:03:29,919 --> 00:03:32,400
Speaker 3: was made in the late seventies with at the time,

66
00:03:32,560 --> 00:03:36,760
Speaker 3: cutting edge special effects, especially computer effects, and the thing

67
00:03:36,800 --> 00:03:40,360
Speaker 3: the astronauts encounter is not a spaceship full of green aliens,

68
00:03:40,400 --> 00:03:44,080
Speaker 3: but a black hole, which of course is a real

69
00:03:44,120 --> 00:03:46,839
Speaker 3: type of object in the universe. Still mysterious and awe

70
00:03:46,840 --> 00:03:49,960
Speaker 3: inspiring today, but at the time it would have been

71
00:03:50,120 --> 00:03:54,360
Speaker 3: a much more recent entry into the public consciousness, a

72
00:03:54,400 --> 00:04:00,160
Speaker 3: more baffling and unfamiliar concept to the general audiences. And

73
00:04:00,200 --> 00:04:04,400
Speaker 3: in fact, the original trailer for the movie spends almost

74
00:04:04,480 --> 00:04:08,000
Speaker 3: the entire trailer basically just explaining the concept of a

75
00:04:08,000 --> 00:04:10,600
Speaker 3: black hole to the audience, like, isn't this scary?

76
00:04:11,280 --> 00:04:13,160
Speaker 2: Yeah, I mean, if not for the fact that there's

77
00:04:13,200 --> 00:04:15,800
Speaker 2: a big budget picture, it's almost like black hole black

78
00:04:15,800 --> 00:04:19,280
Speaker 2: hole exploitation cinema, right, just getting in there first to

79
00:04:19,279 --> 00:04:21,279
Speaker 2: capitalize on it, but then also, yeah, having to do

80
00:04:21,320 --> 00:04:24,480
Speaker 2: the legwork of explaining why this is important now.

81
00:04:24,480 --> 00:04:26,880
Speaker 3: I sort of couldn't help but compare this film to

82
00:04:26,960 --> 00:04:30,080
Speaker 3: some other ones. One that kept coming to mind to

83
00:04:30,200 --> 00:04:33,200
Speaker 3: contrast with The black Hole is Tron, which came out

84
00:04:33,240 --> 00:04:36,559
Speaker 3: three years later in nineteen eighty two, maybe because both

85
00:04:36,600 --> 00:04:40,599
Speaker 3: films made use of what were at the time cutting

86
00:04:40,720 --> 00:04:45,680
Speaker 3: edge and what were considered very impressive computer effects, though

87
00:04:45,720 --> 00:04:50,840
Speaker 3: I think Tron's computer effects are able to establish a

88
00:04:51,080 --> 00:04:55,160
Speaker 3: more unique visual style than the computer effects in this movie,

89
00:04:55,160 --> 00:04:58,400
Speaker 3: which I do really like some of the visual effects

90
00:04:58,400 --> 00:05:01,960
Speaker 3: in the black Holes more than others, And the computer

91
00:05:02,040 --> 00:05:05,240
Speaker 3: effects in The black Hole, really I think are just

92
00:05:05,760 --> 00:05:08,280
Speaker 3: they're not very exciting to modern audiences.

93
00:05:08,880 --> 00:05:11,880
Speaker 2: No, but certainly there are a lot of shots in

94
00:05:11,920 --> 00:05:14,560
Speaker 2: the film that are really beautiful and colorful to look at.

95
00:05:14,600 --> 00:05:17,440
Speaker 2: I don't think i'd seen black Hole in this quality

96
00:05:17,520 --> 00:05:20,960
Speaker 2: before you streamed it off Disney Plus one of the

97
00:05:20,960 --> 00:05:25,120
Speaker 2: main places to watch it these days. So a lot

98
00:05:25,120 --> 00:05:26,680
Speaker 2: of the time I was just watching the screen, just

99
00:05:26,720 --> 00:05:29,760
Speaker 2: really taking in these beautiful like I kept thinking about Epcot.

100
00:05:29,800 --> 00:05:34,360
Speaker 2: You know, it's like you can see the imagineer's fingerprints

101
00:05:34,600 --> 00:05:37,040
Speaker 2: on this picture. You know, there's a lot of gorgeous,

102
00:05:37,320 --> 00:05:41,440
Speaker 2: like seventies style to it. I think the comparison to

103
00:05:41,480 --> 00:05:45,520
Speaker 2: Tron is apt, except I would say infinitely more watchable

104
00:05:45,560 --> 00:05:49,800
Speaker 2: than Tron, like that, Tron really really goes after the

105
00:05:49,839 --> 00:05:53,679
Speaker 2: cutting edge special effects in a way that this film

106
00:05:54,400 --> 00:05:57,240
Speaker 2: thankfully doesn't. Like. One of the taglines for black Hole

107
00:05:57,360 --> 00:06:00,960
Speaker 2: is a place beyond man's vision, but not beyond his

108
00:06:01,080 --> 00:06:05,520
Speaker 2: reach and I feel like Tron is a movie beyond

109
00:06:05,600 --> 00:06:08,160
Speaker 2: man's reach, but not beyond his vision, you know, for

110
00:06:08,400 --> 00:06:12,440
Speaker 2: that period of filmmaking. I don't know, folks can disagree,

111
00:06:12,480 --> 00:06:14,880
Speaker 2: but I have not been able to really get into

112
00:06:14,920 --> 00:06:16,560
Speaker 2: a rewatch of the original Tron.

113
00:06:16,839 --> 00:06:19,479
Speaker 3: Oh, that's interesting. I wonder I have, But I wonder

114
00:06:19,480 --> 00:06:22,719
Speaker 3: if it's mainly powered by nostalgia. It could be that's coloring.

115
00:06:23,480 --> 00:06:26,520
Speaker 3: Another thing I would say that's a difference, though, is

116
00:06:26,560 --> 00:06:30,680
Speaker 3: that I think Trons is a little bit more quotable

117
00:06:30,720 --> 00:06:33,520
Speaker 3: and maybe has more compelling characters, or at least for

118
00:06:34,400 --> 00:06:36,960
Speaker 3: the first half of the movie or so with regards

119
00:06:37,040 --> 00:06:40,040
Speaker 3: to the black Hole, because after I picked this, I mean,

120
00:06:40,080 --> 00:06:42,120
Speaker 3: I was enjoying watching it, but I'd say maybe not

121
00:06:42,160 --> 00:06:44,800
Speaker 3: the first half. The first third or so, I was

122
00:06:44,839 --> 00:06:48,200
Speaker 3: feeling a little disappointed because it seemed something about it

123
00:06:48,240 --> 00:06:51,520
Speaker 3: felt kind of sterile like, even though it had some

124
00:06:51,560 --> 00:06:55,240
Speaker 3: good visual effects, I thought the movie kind of was

125
00:06:55,320 --> 00:06:59,160
Speaker 3: kind of lacking in humanity and personality. And it got

126
00:06:59,200 --> 00:07:01,880
Speaker 3: a little bit better in that regard about a third

127
00:07:01,920 --> 00:07:04,840
Speaker 3: of the way in. And this kind of matched up

128
00:07:04,880 --> 00:07:07,560
Speaker 3: with something I'd been reading about how there were early

129
00:07:07,680 --> 00:07:10,080
Speaker 3: scenes in the movie that were cut that were basically

130
00:07:10,160 --> 00:07:14,160
Speaker 3: all character development scenes with our main characters, Like when

131
00:07:14,200 --> 00:07:17,080
Speaker 3: we start meeting them, essentially all they're doing is like

132
00:07:17,120 --> 00:07:19,960
Speaker 3: giving technobabble lines. They're on the ship saying like, you know,

133
00:07:20,080 --> 00:07:24,000
Speaker 3: shift to manual, coming up three point four degrees. Oh,

134
00:07:24,040 --> 00:07:24,840
Speaker 3: it's a black hole.

135
00:07:25,120 --> 00:07:25,360
Speaker 2: You know.

136
00:07:25,640 --> 00:07:28,320
Speaker 3: There's very little humanity in the beginning of the film,

137
00:07:28,440 --> 00:07:29,440
Speaker 3: or at least it seemed to me.

138
00:07:30,000 --> 00:07:33,080
Speaker 2: Yeah, it is. It's remarkably slow at the beginning, and

139
00:07:33,640 --> 00:07:36,600
Speaker 2: I'm I'm glad I wasn't watching it with my son

140
00:07:36,720 --> 00:07:38,400
Speaker 2: because I think I would have had to have done

141
00:07:38,400 --> 00:07:42,880
Speaker 2: a lot of handholding through the dryer portions leading up

142
00:07:42,880 --> 00:07:44,440
Speaker 2: to anything really cool going on.

143
00:07:45,240 --> 00:07:47,960
Speaker 3: But I thought that once they actually get on board

144
00:07:48,120 --> 00:07:52,120
Speaker 3: the Reinhart's ship and they start kind of like noticing

145
00:07:52,160 --> 00:07:55,240
Speaker 3: all of the strange goings on there, it became a

146
00:07:55,240 --> 00:07:56,360
Speaker 3: lot more interesting to me.

147
00:07:56,720 --> 00:07:59,480
Speaker 2: Yeah, because ultimately, like this film, it's interesting. This is

148
00:07:59,560 --> 00:08:02,800
Speaker 2: kind of the comparison to Star Wars is I think

149
00:08:02,920 --> 00:08:05,640
Speaker 2: essential in terms of the time period, But while Star

150
00:08:05,680 --> 00:08:09,440
Speaker 2: Wars is his sweeping adventure epic, this is more of

151
00:08:09,840 --> 00:08:13,320
Speaker 2: a haunted house movie in the same way that another

152
00:08:14,520 --> 00:08:18,040
Speaker 2: certainly more famous and successful science fiction movie, from the

153
00:08:18,080 --> 00:08:20,960
Speaker 2: same year was and that, of course is Ridley Scott's

154
00:08:21,000 --> 00:08:23,640
Speaker 2: Alien That was very much I've heard Scott and others

155
00:08:23,680 --> 00:08:26,000
Speaker 2: speak of it as a haunted house film, like that

156
00:08:26,160 --> 00:08:29,600
Speaker 2: was how they sort of put it together originally. So, yeah,

157
00:08:29,800 --> 00:08:33,400
Speaker 2: people wind up somewhere out in the Boonies, in this case,

158
00:08:33,480 --> 00:08:35,600
Speaker 2: near the edge of a black hole, and here's this

159
00:08:35,720 --> 00:08:38,480
Speaker 2: old Kookie house and there's an old Kookie man in it,

160
00:08:38,800 --> 00:08:40,640
Speaker 2: and Shenanigan's Unfold.

161
00:08:41,080 --> 00:08:43,640
Speaker 3: Another movie I couldn't help but compare The black Hole

162
00:08:43,679 --> 00:08:46,920
Speaker 3: too is the much later film from the late nineties,

163
00:08:47,080 --> 00:08:49,959
Speaker 3: Event Horizon, which in some ways seems to be a

164
00:08:50,160 --> 00:08:54,560
Speaker 3: low brow, R rated adaptation of Disney's The black Hole.

165
00:08:54,600 --> 00:09:00,240
Speaker 2: Would you agree, Yeah, in some respects, certainly The black Hole,

166
00:09:00,320 --> 00:09:03,920
Speaker 2: but with maybe worse workplace dynamics. I'm not sure. Yeah,

167
00:09:03,960 --> 00:09:07,120
Speaker 2: there's some pretty bad workplace dynamics in this. We'll get

168
00:09:07,120 --> 00:09:08,479
Speaker 2: into when we get into spoilers.

169
00:09:08,559 --> 00:09:13,400
Speaker 3: But like the heaven hell things like the religious connotations

170
00:09:13,400 --> 00:09:16,240
Speaker 3: with the black Hole and somebody who wants to go

171
00:09:16,320 --> 00:09:19,400
Speaker 3: in to we have such sights to show you, well,

172
00:09:19,440 --> 00:09:22,160
Speaker 3: I guess that's hell Raiser, but we won't need eyes

173
00:09:22,200 --> 00:09:25,800
Speaker 3: to see where you're going. There's a lot of similar

174
00:09:25,920 --> 00:09:26,640
Speaker 3: stuff going on.

175
00:09:27,040 --> 00:09:32,320
Speaker 2: Yeah, absolutely, yeah, Yeah, Event Horizon is a solid comparison. Now,

176
00:09:32,400 --> 00:09:35,040
Speaker 2: this is definitely one of those films. We talk about

177
00:09:35,080 --> 00:09:37,719
Speaker 2: a lot of B films on Weird House Cinema, but

178
00:09:37,760 --> 00:09:41,840
Speaker 2: we also talk about occasional blockbusters and higher budget films.

179
00:09:41,840 --> 00:09:45,600
Speaker 2: For sure. This one definitely is a selection that had

180
00:09:45,600 --> 00:09:47,040
Speaker 2: a heftier price tag.

181
00:09:47,360 --> 00:09:50,319
Speaker 3: And a haltier price tag attached to things that, as

182
00:09:50,360 --> 00:09:53,400
Speaker 3: I already said, but we'll stress again, don't look super

183
00:09:53,480 --> 00:09:58,000
Speaker 3: impressive when you see them today, not like they look bad.

184
00:09:58,080 --> 00:10:01,640
Speaker 3: They're just like very simple, because that's what computer graphics

185
00:10:01,679 --> 00:10:04,559
Speaker 3: were capable of at the time. And so I was

186
00:10:04,600 --> 00:10:07,760
Speaker 3: reading about this in an article for The New York

187
00:10:07,800 --> 00:10:11,719
Speaker 3: Times from December sixteenth, nineteen seventy nine by John Colhane

188
00:10:12,080 --> 00:10:16,480
Speaker 3: called The black Hole casts the computer as movie maker.

189
00:10:17,520 --> 00:10:21,360
Speaker 3: So it begins by describing the opening credits of The

190
00:10:21,360 --> 00:10:25,000
Speaker 3: black Hole, in which we see a grid of green

191
00:10:25,280 --> 00:10:28,000
Speaker 3: lines intersecting so it looks like graph paper, you know,

192
00:10:28,000 --> 00:10:32,800
Speaker 3: it's just a flat square grid floating in space, and

193
00:10:32,800 --> 00:10:35,880
Speaker 3: then we zoom over it and then we realize there's

194
00:10:35,920 --> 00:10:38,000
Speaker 3: like a funnel in the middle of it. It's a

195
00:10:38,120 --> 00:10:41,319
Speaker 3: it's a hole and you plunge down into it. Colhane

196
00:10:41,320 --> 00:10:45,120
Speaker 3: writes computer graphics are expensive. Those seventy five seconds of

197
00:10:45,200 --> 00:10:48,560
Speaker 3: animated grid movement in The Black Hole costs Disney fifty

198
00:10:48,640 --> 00:10:52,720
Speaker 3: thousand dollars. Nevertheless, the fabulous success of Star Wars, a

199
00:10:52,760 --> 00:10:56,440
Speaker 3: movie costing eleven million dollars in nineteen seventy seven and

200
00:10:56,480 --> 00:11:00,000
Speaker 3: with worldwide grosses now exceeding four hundred and twenty million,

201
00:11:00,600 --> 00:11:03,880
Speaker 3: has inspired producers to loosen the purse springs for special

202
00:11:03,880 --> 00:11:08,480
Speaker 3: effects of all kinds. The black Hole, Disney's costliest movie ever,

203
00:11:08,800 --> 00:11:13,080
Speaker 3: which will run about twenty million dollars, and Paramounts Star

204
00:11:13,120 --> 00:11:16,200
Speaker 3: Trek the Movie, which cost forty million, are the two

205
00:11:16,280 --> 00:11:19,640
Speaker 3: most expensive productions to open in New York this Christmas.

206
00:11:20,320 --> 00:11:22,640
Speaker 2: Oh wow, you know that center. I never really thought

207
00:11:22,679 --> 00:11:25,520
Speaker 2: as much about Star Trek the movie being also something

208
00:11:25,520 --> 00:11:28,599
Speaker 2: that comes about in the wake of Star Wars and

209
00:11:28,640 --> 00:11:29,760
Speaker 2: because of Star Wars.

210
00:11:30,000 --> 00:11:32,840
Speaker 3: Oh yeah, I mean whether or not the movie itself

211
00:11:33,040 --> 00:11:35,920
Speaker 3: was a direct ripoff of Star Wars or was heavily

212
00:11:35,960 --> 00:11:38,200
Speaker 3: comparable to Star Wars in some way. I think a

213
00:11:38,200 --> 00:11:42,040
Speaker 3: lot of people secured funding for their movies by saying, like,

214
00:11:42,080 --> 00:11:44,240
Speaker 3: it'll be like Star Wars, it'll be that big of

215
00:11:44,280 --> 00:11:45,319
Speaker 3: a money maker.

216
00:11:45,480 --> 00:11:47,560
Speaker 2: Yeah, or just like the basic proof, it's like, look,

217
00:11:47,600 --> 00:11:50,199
Speaker 2: look what kind of money. Well, let me speak your language.

218
00:11:50,240 --> 00:11:53,440
Speaker 2: Look how much money a science fiction movie with the

219
00:11:53,559 --> 00:11:57,000
Speaker 2: with great effects can make. And you know that gets

220
00:11:57,040 --> 00:11:58,679
Speaker 2: through to the industry.

221
00:11:59,040 --> 00:12:01,160
Speaker 3: So this article is of interesting if you want to

222
00:12:01,800 --> 00:12:04,840
Speaker 3: look it up, because it provides a snapshot of what

223
00:12:04,880 --> 00:12:08,440
Speaker 3: people were thinking was possible with computer effects in nineteen

224
00:12:08,480 --> 00:12:11,319
Speaker 3: seventy nine and talks about the idea far down the road.

225
00:12:11,360 --> 00:12:13,520
Speaker 3: They say it'll be a ways off, but the first

226
00:12:13,600 --> 00:12:18,080
Speaker 3: movie completely animated by computers, and it's obviously a very

227
00:12:18,080 --> 00:12:22,120
Speaker 3: exciting prospect to them. So but this is another example.

228
00:12:22,160 --> 00:12:23,560
Speaker 3: I think this has even come up on the show

229
00:12:23,600 --> 00:12:30,439
Speaker 3: before about like early CGI being super compelling to people

230
00:12:30,640 --> 00:12:34,080
Speaker 3: at the time, but something that just has not aged

231
00:12:34,240 --> 00:12:37,400
Speaker 3: very well at all, Like it doesn't look that cool now.

232
00:12:37,440 --> 00:12:39,160
Speaker 3: I mean some of it does, but most of the

233
00:12:39,200 --> 00:12:41,560
Speaker 3: time it doesn't. But at the time people were just

234
00:12:41,720 --> 00:12:45,000
Speaker 3: in awe of it. And an example would be this

235
00:12:46,160 --> 00:12:49,280
Speaker 3: like grid of green squares that just looks like graph

236
00:12:49,320 --> 00:12:52,560
Speaker 3: paper and then eventually it turns into a funnel. That's

237
00:12:52,600 --> 00:12:55,000
Speaker 3: the black hole, you know, that's the bend in space

238
00:12:55,040 --> 00:12:58,319
Speaker 3: time caused by the singularity the and you get to

239
00:12:58,360 --> 00:13:01,320
Speaker 3: go down the hole. That's sounds pretty simple now, but

240
00:13:01,480 --> 00:13:05,640
Speaker 3: they originally had that made for a trailer for the

241
00:13:05,640 --> 00:13:09,880
Speaker 3: black Hole, which is essentially just explaining what a black

242
00:13:09,880 --> 00:13:13,320
Speaker 3: hole is, and then they were so impressed by it

243
00:13:13,360 --> 00:13:15,920
Speaker 3: they ended up using it in the movie itself, so

244
00:13:16,040 --> 00:13:18,440
Speaker 3: now it's the opening credits of the film as well.

245
00:13:20,160 --> 00:13:23,520
Speaker 2: I think one of the most interesting examples to sort

246
00:13:23,559 --> 00:13:26,160
Speaker 2: of put all this in the frame of reference for

247
00:13:26,320 --> 00:13:30,200
Speaker 2: where we are now is John Carpenter's Escape from New York,

248
00:13:30,240 --> 00:13:33,880
Speaker 2: which has that computer. It seems to be a computer

249
00:13:34,000 --> 00:13:37,679
Speaker 2: animated like you know, readout of New York of Manhattan

250
00:13:38,080 --> 00:13:41,600
Speaker 2: in the opening of the film. It's made to look

251
00:13:41,640 --> 00:13:44,800
Speaker 2: like computer graphics, but it's not. It's an actual physical

252
00:13:44,880 --> 00:13:48,320
Speaker 2: model that they use like tape and contrast of dark

253
00:13:48,360 --> 00:13:52,079
Speaker 2: and light to create this effect. Because at the time

254
00:13:52,320 --> 00:13:54,720
Speaker 2: like this was the far more affordable way to go

255
00:13:54,760 --> 00:13:58,720
Speaker 2: about it is actually build the thing. Nowadays it's definitely

256
00:13:58,720 --> 00:14:01,680
Speaker 2: pushed on beyond that to the opposite. It's it's almost

257
00:14:01,679 --> 00:14:05,640
Speaker 2: always cheaper to create the digital version of it no

258
00:14:05,800 --> 00:14:10,559
Speaker 2: quality now standing, but still like to create the physical

259
00:14:10,640 --> 00:14:12,960
Speaker 2: version of a thing is generally far more expensive.

260
00:14:13,720 --> 00:14:16,280
Speaker 3: In the original Star Wars, there are a number of

261
00:14:16,320 --> 00:14:20,440
Speaker 3: animations that look like they're supposed to be computer screens

262
00:14:20,520 --> 00:14:23,000
Speaker 3: or computer animations, but they were actually done by hand,

263
00:14:23,080 --> 00:14:26,000
Speaker 3: like the targeting computer and the X Wing is an

264
00:14:26,000 --> 00:14:28,680
Speaker 3: effect done by hand, but it's made to look like

265
00:14:28,760 --> 00:14:29,760
Speaker 3: a computer effect.

266
00:14:30,200 --> 00:14:32,760
Speaker 2: All right, well, do you do you have an elevator

267
00:14:32,800 --> 00:14:34,160
Speaker 2: pitch for this one? Oh?

268
00:14:34,200 --> 00:14:36,480
Speaker 3: I didn't think of one. What do Yeah, I don't know.

269
00:14:36,600 --> 00:14:38,800
Speaker 3: You go to space to find life, but sometimes you

270
00:14:38,920 --> 00:14:40,000
Speaker 3: just find a black hole.

271
00:14:40,800 --> 00:14:43,280
Speaker 2: I guess. I guess you could make some argument for

272
00:14:43,280 --> 00:14:46,560
Speaker 2: it's it's Captain Nemo or it's you know, Captain Ahab,

273
00:14:46,600 --> 00:14:49,800
Speaker 2: one of the two in space. Strong elements of that.

274
00:14:50,240 --> 00:14:53,800
Speaker 3: Yes, definitely the Captain Nemo thing. Do you think that

275
00:14:53,880 --> 00:14:56,720
Speaker 3: Disney World was working on a ride tie in and

276
00:14:56,760 --> 00:14:58,320
Speaker 3: they just never did it?

277
00:14:58,440 --> 00:15:00,200
Speaker 2: If my memory is correct on this, I watched a

278
00:15:00,200 --> 00:15:05,600
Speaker 2: documentary about it. I believe Star Tours at Disney that ultimately,

279
00:15:05,640 --> 00:15:08,400
Speaker 2: you know, is a Star Wars themed ride. I believe

280
00:15:08,440 --> 00:15:11,120
Speaker 2: it was originally going to be a black hole ride

281
00:15:11,160 --> 00:15:14,200
Speaker 2: but oh and ended up not working out. And I

282
00:15:14,200 --> 00:15:16,760
Speaker 2: don't remember all the reasons there, but I mean, the

283
00:15:16,800 --> 00:15:19,760
Speaker 2: obvious reason would be, why have it themed around the

284
00:15:19,760 --> 00:15:22,600
Speaker 2: black hole when you could do Star Wars actual Star Wars.

285
00:15:23,560 --> 00:15:26,520
Speaker 3: Okay, should we hear some trailer audio, let's do it.

286
00:15:35,480 --> 00:15:39,440
Speaker 4: There is an inexorable force in the cosmos where time

287
00:15:39,560 --> 00:15:46,440
Speaker 4: and space converge, a place beyond Demand's mission watch not

288
00:15:46,600 --> 00:15:51,160
Speaker 4: to his reach, which is the most mysterious and awesome

289
00:15:51,200 --> 00:15:51,680
Speaker 4: point in the.

290
00:15:51,760 --> 00:16:00,920
Speaker 5: Universe where they're here and now maybe forever. It is

291
00:16:01,000 --> 00:16:11,120
Speaker 5: unavoidable moving through space, swallowing everything in its power, radio waves, light,

292
00:16:12,000 --> 00:16:13,600
Speaker 5: even planets and stars.

293
00:16:16,720 --> 00:16:27,480
Speaker 6: Are you programmed to speak? Gravity is a maximum? Damn Like?

294
00:16:27,560 --> 00:16:28,680
Speaker 6: All right, I think it's got us.

295
00:16:30,640 --> 00:16:31,960
Speaker 3: We gotta way here too.

296
00:16:34,760 --> 00:16:41,840
Speaker 6: Now, man, it's about to enter the black Horn.

297
00:16:56,200 --> 00:17:00,880
Speaker 5: Journey that begins where everything end.

298
00:17:05,400 --> 00:17:08,080
Speaker 2: All right, well, let's let's go into that black hole. Now.

299
00:17:09,440 --> 00:17:11,320
Speaker 2: If you want to watch the movie for yourself before

300
00:17:11,359 --> 00:17:13,959
Speaker 2: proceeding through the rest of the episode, well, it's widely

301
00:17:13,960 --> 00:17:17,480
Speaker 2: available Disney Plus subscribers. Subscribers will naturally find the film

302
00:17:17,520 --> 00:17:20,840
Speaker 2: there and after stay. Quality looks really great. I really

303
00:17:21,160 --> 00:17:23,000
Speaker 2: was drawn in by it. I wasn't expecting to be

304
00:17:23,119 --> 00:17:25,679
Speaker 2: as drawn in by the visuals of it. It has

305
00:17:25,720 --> 00:17:28,200
Speaker 2: also been released on DVD and Blu Ray as well,

306
00:17:28,320 --> 00:17:30,560
Speaker 2: if you prefer physical media or want to you know,

307
00:17:30,640 --> 00:17:33,040
Speaker 2: rent it at an actual rental store, if you have

308
00:17:33,119 --> 00:17:44,479
Speaker 2: one of those in your area. All Right, the people

309
00:17:44,560 --> 00:17:48,399
Speaker 2: who brought this film together, the main ones anyway, that

310
00:17:48,440 --> 00:17:51,359
Speaker 2: we tend to reference on the show. Let's start at

311
00:17:51,400 --> 00:17:53,959
Speaker 2: the top with the director. It's Gary Nelson, who lived

312
00:17:54,000 --> 00:17:57,080
Speaker 2: nineteen thirty four through twenty twenty two. Mostly known for

313
00:17:57,119 --> 00:17:58,719
Speaker 2: his TV work, but he worked on some pretty big

314
00:17:58,760 --> 00:18:01,959
Speaker 2: TV shows of the nineteen six followed by such films

315
00:18:02,000 --> 00:18:05,400
Speaker 2: as seventy three's San Tea, eighty one's Nighthawks, eighty two's

316
00:18:05,480 --> 00:18:09,040
Speaker 2: Jimmy the Kid, and eighty six's Alan Quatermain and The

317
00:18:09,080 --> 00:18:11,400
Speaker 2: Lost City of Gold, and also a number of TV

318
00:18:11,480 --> 00:18:16,120
Speaker 2: movies in mini series as well. He was Judy Meredith's husband.

319
00:18:16,280 --> 00:18:18,399
Speaker 2: We of course recently talked about her she was in

320
00:18:18,960 --> 00:18:22,440
Speaker 2: Queen of Blood. So that's the director. And then when

321
00:18:22,440 --> 00:18:26,160
Speaker 2: it comes to screenplay and story credits, they're three individuals referenced.

322
00:18:26,720 --> 00:18:31,280
Speaker 2: There's Jeb Rosebrook who lived nineteen thirty five through twenty eighteen,

323
00:18:31,400 --> 00:18:35,080
Speaker 2: has a screenplay story credit. Mostly a TV writer, mostly Westerns,

324
00:18:35,600 --> 00:18:38,639
Speaker 2: wrote not one but two Kenny Rogers Gambler movies.

325
00:18:39,160 --> 00:18:41,320
Speaker 3: I didn't know that was the thing. They made Gambler

326
00:18:41,400 --> 00:18:42,680
Speaker 3: movies after the song.

327
00:18:43,400 --> 00:18:45,200
Speaker 2: Oh yeah, there was a whole I forget how many,

328
00:18:45,320 --> 00:18:48,520
Speaker 2: but there's like a whole franchise of Kenny Rogers the

329
00:18:48,560 --> 00:18:50,639
Speaker 2: Gambler movies. I don't think I've ever seen them, but

330
00:18:51,160 --> 00:18:54,680
Speaker 2: like I remember seeing the TV ads for them, because

331
00:18:54,680 --> 00:18:57,359
Speaker 2: they're going to play the Gambler in the ads, of course,

332
00:18:57,720 --> 00:19:01,280
Speaker 2: and you can't help but pipe up and start watching

333
00:19:01,280 --> 00:19:03,720
Speaker 2: the trailer, and then you know. I never watched them, though.

334
00:19:03,960 --> 00:19:05,439
Speaker 3: I don't know if I've done my bit on the

335
00:19:05,480 --> 00:19:08,719
Speaker 3: Gambler on the show before, but I've always found that

336
00:19:08,880 --> 00:19:12,359
Speaker 3: song to beat the Poker advice is not specific enough.

337
00:19:12,840 --> 00:19:14,960
Speaker 3: You gotta know when to hold him and know when

338
00:19:15,040 --> 00:19:18,159
Speaker 3: to fold them. Yeah duh. Like what are the rules

339
00:19:18,200 --> 00:19:19,919
Speaker 3: for when to hold him and when to fold.

340
00:19:19,680 --> 00:19:21,720
Speaker 2: Him, or when when to walk away, when to run?

341
00:19:21,880 --> 00:19:23,920
Speaker 2: I don't know. I guess he's saying, like, I can't

342
00:19:23,920 --> 00:19:26,680
Speaker 2: teach you to do this. It's all gut instant.

343
00:19:27,400 --> 00:19:29,160
Speaker 3: But that's not advice.

344
00:19:32,359 --> 00:19:35,640
Speaker 2: He's just a gambler. He's not a teacher. Yeah, all right.

345
00:19:36,320 --> 00:19:38,560
Speaker 2: Another story credit is just a story credit goes to

346
00:19:38,640 --> 00:19:41,840
Speaker 2: Bob Barbash who lived nineteen nineteen through nineteen ninety five.

347
00:19:42,400 --> 00:19:45,760
Speaker 2: Once again, mostly TV, mostly Westerns, but in this case

348
00:19:45,880 --> 00:19:49,159
Speaker 2: no Gambler movies, Bummer. So you might be wondering, what

349
00:19:49,160 --> 00:19:53,320
Speaker 2: does anybody in this have any like sci fi genre history.

350
00:19:53,680 --> 00:19:57,160
Speaker 2: Yes there is one, and that is Richard H. Landau

351
00:19:57,520 --> 00:20:01,280
Speaker 2: who lived nineteen fourteen through nineteen ninety as a screenplay

352
00:20:01,280 --> 00:20:04,119
Speaker 2: story credit, a writer with credits going back to the

353
00:20:04,160 --> 00:20:06,840
Speaker 2: early forties, and certainly there are a bunch of Westerns

354
00:20:06,880 --> 00:20:09,320
Speaker 2: in there because that was the time period, but also

355
00:20:09,359 --> 00:20:12,920
Speaker 2: the nineteen fifty three sci fi movie Space Ways directed

356
00:20:12,920 --> 00:20:17,560
Speaker 2: by Terrence Fisher, fifty five's The Quartermass Experiment, fifty seven's

357
00:20:17,600 --> 00:20:22,160
Speaker 2: Pharaoh's Curse, fifty eight's Frankenstein nineteen seventy and he also

358
00:20:22,200 --> 00:20:26,040
Speaker 2: wrote one episode of the original Outer Limits series. After that,

359
00:20:26,080 --> 00:20:29,480
Speaker 2: it's mostly TV credits, but it includes episodes of The

360
00:20:29,520 --> 00:20:34,200
Speaker 2: Six Million Dollar Man, The Incredible Hulk, and nineteen eighties Beyond.

361
00:20:33,880 --> 00:20:36,280
Speaker 3: Westworld, Pacific Ocean World.

362
00:20:38,680 --> 00:20:42,119
Speaker 2: All right, getting into the cast at the right at

363
00:20:42,160 --> 00:20:47,200
Speaker 2: the top playing doctor hanns ryin Hart, our deranged Black

364
00:20:47,240 --> 00:20:52,200
Speaker 2: Hole Scientists, basically our Captain Nemo character for the flick

365
00:20:52,640 --> 00:20:56,640
Speaker 2: is Maximilian Shell, who lived nineteen thirty through twenty fourteen,

366
00:20:56,840 --> 00:21:00,159
Speaker 2: Austrian born Swiss actor whose family fled the Nazis during

367
00:21:00,240 --> 00:21:03,439
Speaker 2: World War Two. His German and European credits go all

368
00:21:03,480 --> 00:21:05,359
Speaker 2: the way back to the mid nineteen fifties. I believe

369
00:21:05,720 --> 00:21:09,080
Speaker 2: his earliest film credits, Sons, Mothers and a General, actually

370
00:21:09,080 --> 00:21:13,400
Speaker 2: featured both Shell and Kloskinski in small roles as soldiers.

371
00:21:13,400 --> 00:21:15,600
Speaker 2: They're like way down in the cast, but they both

372
00:21:15,640 --> 00:21:19,280
Speaker 2: pop up there. He ascended in German language TV and cinema,

373
00:21:19,280 --> 00:21:22,000
Speaker 2: and then made the move to Hollywood and almost immediately

374
00:21:22,040 --> 00:21:25,479
Speaker 2: won an Academy Award for Best Actor in nineteen sixty

375
00:21:25,520 --> 00:21:29,439
Speaker 2: one's Judgment at Nuremberg. Subsequent credits include seventy fours, The

376
00:21:29,440 --> 00:21:33,200
Speaker 2: Odessa Phile, seventy seven's Cross of Iron, eighty one's The Chosen.

377
00:21:33,720 --> 00:21:36,439
Speaker 2: There's an nineteen eighty six Peter the Great mini series

378
00:21:36,480 --> 00:21:40,960
Speaker 2: and ninety two Stalin mini series, John Carpenter's Vampires and

379
00:21:41,040 --> 00:21:43,360
Speaker 2: Deep Impact, both of those from nineteen ninety eight.

380
00:21:43,720 --> 00:21:46,040
Speaker 3: He's in John Carpenter's Vampires.

381
00:21:46,080 --> 00:21:49,800
Speaker 2: Who is he? In that he's like a Catholic church

382
00:21:50,880 --> 00:21:58,639
Speaker 2: representative who hires the Vampire Slayer James Woods. It's a

383
00:21:58,640 --> 00:22:01,800
Speaker 2: film I've only seen once. It's probably gonna remain at once.

384
00:22:02,960 --> 00:22:06,080
Speaker 3: Yeah, my god, I love John Carpenter. I could not

385
00:22:06,280 --> 00:22:08,440
Speaker 3: finish that movie. Just awful.

386
00:22:09,840 --> 00:22:11,640
Speaker 2: The book. The book was pretty good, as I recall,

387
00:22:11,720 --> 00:22:15,440
Speaker 2: it's based on a novel that's uh, that's pretty terrifying

388
00:22:15,480 --> 00:22:19,520
Speaker 2: in places. But the movie, yeah, I'm not not top

389
00:22:19,560 --> 00:22:20,320
Speaker 2: tier Carpenter.

390
00:22:20,840 --> 00:22:23,239
Speaker 3: But Maximilian shell is a is a great pick for

391
00:22:23,400 --> 00:22:26,160
Speaker 3: for this kind of villain. He's, uh, you know, he's

392
00:22:26,320 --> 00:22:30,560
Speaker 3: he's kind of complex. Uh, he is a little bit refined.

393
00:22:30,640 --> 00:22:34,639
Speaker 3: He's egotistical and of course you know, has has the

394
00:22:34,720 --> 00:22:37,880
Speaker 3: right touch of madness. He also he has he has

395
00:22:37,880 --> 00:22:41,280
Speaker 3: a good hair and beard for this role. He seems

396
00:22:41,320 --> 00:22:43,480
Speaker 3: like the sort of person who could have played resputant

397
00:22:43,520 --> 00:22:44,159
Speaker 3: if he needed to.

398
00:22:44,800 --> 00:22:47,000
Speaker 2: Yeah, great wild to hear and beard in this and

399
00:22:47,040 --> 00:22:48,560
Speaker 2: just I think it. I mean, I don't want to

400
00:22:49,080 --> 00:22:51,639
Speaker 2: oversell it because it is what it is. In this film,

401
00:22:51,640 --> 00:22:54,239
Speaker 2: he's like the deranged villain on a spaceship who has

402
00:22:54,320 --> 00:22:56,480
Speaker 2: robots working for him. But it is still a very

403
00:22:56,520 --> 00:23:02,600
Speaker 2: captivating performance. Like anytime doctor Hans Einhardt is speaking, you're

404
00:23:02,640 --> 00:23:05,679
Speaker 2: taken in by it, his eyes are just really they

405
00:23:05,720 --> 00:23:07,600
Speaker 2: really suck your riding on, like black holes.

406
00:23:09,040 --> 00:23:12,439
Speaker 3: I did notice that in a lot of scenes I

407
00:23:12,480 --> 00:23:15,359
Speaker 3: would be very interested whenever he was talking, but then

408
00:23:15,400 --> 00:23:17,359
Speaker 3: when the scene was over, I would forget what it

409
00:23:17,440 --> 00:23:18,160
Speaker 3: was he had said.

410
00:23:19,000 --> 00:23:23,320
Speaker 2: Yeah, I mean basically just egotistical this, I'm the best

411
00:23:23,440 --> 00:23:26,920
Speaker 2: that you guys should stick around. I'm going into the

412
00:23:26,920 --> 00:23:29,320
Speaker 2: black hole that sort of thing, right, all right? We

413
00:23:29,359 --> 00:23:32,680
Speaker 2: also have Anthony Perkins in this, playing doctor Alex Durant.

414
00:23:33,040 --> 00:23:36,080
Speaker 2: Perkins lived nineteen thirty two through nineteen ninety two American

415
00:23:36,119 --> 00:23:38,159
Speaker 2: actor who's of course best known for his role as

416
00:23:38,200 --> 00:23:41,800
Speaker 2: Norman Bates in nineteen sixty Psycho, a film that really

417
00:23:41,840 --> 00:23:45,240
Speaker 2: flipped the switch on his prior casting as mostly just

418
00:23:45,280 --> 00:23:49,159
Speaker 2: a handsome leading man and not a deranged killer. He

419
00:23:49,200 --> 00:23:52,000
Speaker 2: would go on to do two sequels to Psycho, but

420
00:23:52,119 --> 00:23:54,440
Speaker 2: is also known for nineteen seventy four's Murder on the

421
00:23:54,480 --> 00:23:57,399
Speaker 2: Orient Express, sixty two Is The Trial, eighty four's Crimes

422
00:23:57,400 --> 00:24:01,359
Speaker 2: of Passion, and nineteen seventies Catch twenty to also of

423
00:24:01,440 --> 00:24:04,400
Speaker 2: note for a deeper B movie cuts, nineteen eighty nine's

424
00:24:04,400 --> 00:24:07,760
Speaker 2: Age of Sanity and nineteen eighty eight's Destroyer.

425
00:24:07,680 --> 00:24:10,880
Speaker 3: In this, he plays a kind of groveling super fan

426
00:24:11,040 --> 00:24:12,560
Speaker 3: of doctor Ryan Hart.

427
00:24:12,960 --> 00:24:16,560
Speaker 2: Yeah, he's totally team Ryan Hart. Just almost immediately upon

428
00:24:16,720 --> 00:24:20,560
Speaker 2: meeting the man, He's like, yes, this whatever his scientific

429
00:24:20,640 --> 00:24:23,840
Speaker 2: vision here is, I want to be a part of it. This,

430
00:24:23,840 --> 00:24:25,520
Speaker 2: this is the the road to success.

431
00:24:25,880 --> 00:24:30,480
Speaker 3: He also gets really offended when other people criticize Ryin Hart. Yeah,

432
00:24:30,600 --> 00:24:32,639
Speaker 3: but in a very toxic fan dynamic.

433
00:24:33,080 --> 00:24:35,919
Speaker 2: Yeah, but he's very he's very dry about it. I

434
00:24:36,000 --> 00:24:38,199
Speaker 2: like his I like Perkins' energy in this. You know,

435
00:24:38,240 --> 00:24:41,240
Speaker 2: he's he's he's quick to defend Ryan Hart, but he's

436
00:24:41,960 --> 00:24:45,359
Speaker 2: you know, he keeps an even keel. He's a you know,

437
00:24:45,440 --> 00:24:48,440
Speaker 2: he's he keeps it together. Man seems to be making

438
00:24:48,560 --> 00:24:52,560
Speaker 2: rational if not you know, one sided argument. Yeah, okay,

439
00:24:53,000 --> 00:24:56,880
Speaker 2: all right. But so so he's like, what the science

440
00:24:56,920 --> 00:25:00,280
Speaker 2: officer on the vessel that comes to the signal at

441
00:25:00,280 --> 00:25:02,359
Speaker 2: the edge of the black hole. But with that that

442
00:25:02,440 --> 00:25:06,320
Speaker 2: ship also is the Palmino, I believe the Palomino. Palomino

443
00:25:06,800 --> 00:25:09,760
Speaker 2: and the Captain we have Captain Dan Hollins played by

444
00:25:10,200 --> 00:25:14,360
Speaker 2: Robert Forster. Love Robert Forster. Yeah, Yeah, I mean he's great.

445
00:25:14,400 --> 00:25:17,800
Speaker 2: Live forty one through twenty nineteen American actor whose credits

446
00:25:17,840 --> 00:25:19,639
Speaker 2: go all the way back to the late sixties. He

447
00:25:19,680 --> 00:25:22,720
Speaker 2: played the lead in sixty nine's Medium Cool, directed by

448
00:25:22,760 --> 00:25:26,879
Speaker 2: Haskell Wexler. Later films include Reflections in a GoldenEye from

449
00:25:26,920 --> 00:25:30,560
Speaker 2: sixty seven, An Alligator from nineteen eighty. But he really

450
00:25:30,680 --> 00:25:33,719
Speaker 2: enjoyed a late career resurgence, So they're in a lot

451
00:25:33,760 --> 00:25:35,679
Speaker 2: of you out there, they're probably you probably know him

452
00:25:35,680 --> 00:25:39,040
Speaker 2: best from like nineteen ninety seven's Jackie Brown, his role

453
00:25:39,280 --> 00:25:43,280
Speaker 2: in the Breaking Bad series as ed the What's He's

454
00:25:43,280 --> 00:25:45,119
Speaker 2: not a fixer, he's the guy who can make you

455
00:25:45,160 --> 00:25:47,600
Speaker 2: disappear and get a new life, right. Yeah.

456
00:25:47,680 --> 00:25:49,879
Speaker 3: The main thing I remember is he shows up to

457
00:25:50,080 --> 00:25:54,520
Speaker 3: give Brian Kranston a copy of mister mcgoram's Wonder Emporium

458
00:25:54,600 --> 00:25:57,240
Speaker 3: in this cabin in the in the Mountains.

459
00:25:57,520 --> 00:26:02,240
Speaker 2: Oh yeah. Forrester also shows up in twenty eleven to

460
00:26:02,280 --> 00:26:06,960
Speaker 2: the Descendants, the series twin Peaks, the Return, So yeah,

461
00:26:07,080 --> 00:26:12,639
Speaker 2: very much a guy whose late career was really excelled.

462
00:26:13,080 --> 00:26:16,680
Speaker 2: And Captain Dan is a lot of fun. He's very smooth, cucumber.

463
00:26:16,720 --> 00:26:19,160
Speaker 2: He doesn't I don't think his pulse rate rises too

464
00:26:19,640 --> 00:26:22,040
Speaker 2: high no matter what's happening in the film you know,

465
00:26:22,080 --> 00:26:25,320
Speaker 2: everything's by the books, no messing around, and it makes

466
00:26:25,359 --> 00:26:27,840
Speaker 2: for some nice moments of kind of like dry humor.

467
00:26:27,560 --> 00:26:30,200
Speaker 3: Too agreed. He is the steady hand.

468
00:26:30,600 --> 00:26:32,280
Speaker 2: I think I said he's a smooth cucumber. I guess

469
00:26:32,280 --> 00:26:35,040
Speaker 2: technically is a cool cucumber. I'm not sure which.

470
00:26:35,400 --> 00:26:38,080
Speaker 3: He's a smooth cucumber and a cool operator.

471
00:26:38,280 --> 00:26:42,200
Speaker 2: There you go, all right. We also have another guy

472
00:26:42,440 --> 00:26:45,560
Speaker 2: that's on the ship, and this is Lieutenant Charles Piser.

473
00:26:47,080 --> 00:26:48,840
Speaker 2: Not a lot to say about this guy. He's just,

474
00:26:48,880 --> 00:26:52,480
Speaker 2: you know, the younger dude on the vessel. Played by

475
00:26:52,560 --> 00:26:56,600
Speaker 2: Joseph Bottoms born nineteen fifty four American actor, best known

476
00:26:56,640 --> 00:26:58,960
Speaker 2: for seventy four as the Dove, the nineteen seventy eight

477
00:26:59,000 --> 00:27:02,119
Speaker 2: mini series Holocous as well as this film. He was

478
00:27:02,160 --> 00:27:05,000
Speaker 2: also in nineteen eighty one's The Intruder within, a made

479
00:27:05,080 --> 00:27:07,600
Speaker 2: for TV alien knockoff of sorts that's been on my

480
00:27:07,800 --> 00:27:11,480
Speaker 2: to watch list. He's the brother of Timothy Bottoms, best

481
00:27:11,520 --> 00:27:13,879
Speaker 2: known for nineteen seventy one's The Last Picture Show in

482
00:27:13,920 --> 00:27:15,480
Speaker 2: seventy three's The Paper Chase.

483
00:27:15,960 --> 00:27:18,679
Speaker 3: I thought Timothy Bottoms was best known for looking like

484
00:27:18,760 --> 00:27:21,240
Speaker 3: George W. Bush when that which is why they cast

485
00:27:21,320 --> 00:27:23,200
Speaker 3: him in multiple things to play George W.

486
00:27:23,280 --> 00:27:27,399
Speaker 2: Bush. Yes, he was in such a comedy just prior

487
00:27:27,400 --> 00:27:31,600
Speaker 2: to nine to eleven? Is that recall? And then it

488
00:27:31,640 --> 00:27:32,160
Speaker 2: was canceled.

489
00:27:32,440 --> 00:27:34,359
Speaker 3: But then I think they also cast him in like

490
00:27:34,480 --> 00:27:37,600
Speaker 3: serious nine to eleven movies instead they Wow, that's what

491
00:27:37,680 --> 00:27:38,119
Speaker 3: I thought.

492
00:27:38,560 --> 00:27:40,200
Speaker 2: That may be the case. Yeah, I mean he does

493
00:27:40,600 --> 00:27:43,320
Speaker 2: he especially at that time period. Yeah, it was solid

494
00:27:43,359 --> 00:27:46,400
Speaker 2: casting and really solid actor. So whatever you wanted out

495
00:27:46,400 --> 00:27:49,040
Speaker 2: of him, if you wanted comedy or if you wanted drama,

496
00:27:49,400 --> 00:27:52,200
Speaker 2: you know, Timothy Bottoms could deliver. And if Timothy Bottoms

497
00:27:52,200 --> 00:27:55,399
Speaker 2: couldn't deliver, I guess you could ask Joseph Bottoms. But

498
00:27:55,680 --> 00:27:58,200
Speaker 2: to my knowledge, he never played a president.

499
00:27:58,600 --> 00:28:00,800
Speaker 3: Wait, but I actually do remember him from one other

500
00:28:00,840 --> 00:28:03,240
Speaker 3: thing that made an intense impression on me when I

501
00:28:03,280 --> 00:28:04,639
Speaker 3: was a kid. I think it was a movie my

502
00:28:04,800 --> 00:28:07,960
Speaker 3: dad watched on TV and I caught part of it

503
00:28:08,000 --> 00:28:11,399
Speaker 3: was a movie called roller Coaster from nineteen seventy seven,

504
00:28:11,440 --> 00:28:14,840
Speaker 3: where Timothy Bottoms plays. I could be remembering this wrong,

505
00:28:14,880 --> 00:28:18,560
Speaker 3: but I think he plays a bomber who bombs roller coasters.

506
00:28:18,880 --> 00:28:22,080
Speaker 2: Horrifying ideas cuts like come on, some of us are

507
00:28:22,080 --> 00:28:24,879
Speaker 2: already frightened enough getting on a roller coaster, and you

508
00:28:24,920 --> 00:28:26,399
Speaker 2: got to put this kind of film out there.

509
00:28:26,720 --> 00:28:28,880
Speaker 3: I'm right in that camp. I already did not really

510
00:28:28,960 --> 00:28:31,560
Speaker 3: like roller coasters. And then I watched this movie. Oh great.

511
00:28:32,000 --> 00:28:34,359
Speaker 2: Oh I'm not familiar with it, but Helen Hunts in it.

512
00:28:34,560 --> 00:28:35,480
Speaker 3: I don't remember her.

513
00:28:35,560 --> 00:28:38,280
Speaker 2: I was. She must have been like, you know, thirteen

514
00:28:38,360 --> 00:28:41,760
Speaker 2: or something at the time. All Right. Another member of

515
00:28:41,800 --> 00:28:45,640
Speaker 2: the crew, and really one of the more conceptually interesting

516
00:28:45,680 --> 00:28:49,400
Speaker 2: members of the crew anyway, is doctor Kate McCrae, played

517
00:28:49,400 --> 00:28:53,080
Speaker 2: by Yavette Mimu, who lived nineteen forty two through twenty

518
00:28:53,120 --> 00:28:58,440
Speaker 2: twenty two, American actor who played the character Weena in

519
00:28:58,600 --> 00:29:02,520
Speaker 2: nineteen sixties The Time Machine. So she wasn't a morlock.

520
00:29:02,600 --> 00:29:04,520
Speaker 2: She was what were they, the alloy the.

521
00:29:04,640 --> 00:29:09,280
Speaker 3: La Yeah, yeah, the kind of like gentle dumb people

522
00:29:09,320 --> 00:29:12,640
Speaker 3: who live on the surface and are yeah, by morelocks exactly.

523
00:29:12,720 --> 00:29:16,479
Speaker 2: So she was the main one of those in the

524
00:29:17,120 --> 00:29:20,720
Speaker 2: nineteen sixty Time Machine movie. Later credits include seventy three's

525
00:29:20,800 --> 00:29:24,400
Speaker 2: The Neptune Factor. That's an underwater film that also starred

526
00:29:24,680 --> 00:29:28,720
Speaker 2: Ernest Borgnine, nineteen seventies Journey into Fear, nineteen seventy eight's

527
00:29:28,760 --> 00:29:32,080
Speaker 2: The Devil Dog, the Dog from Hell Satan's actual dog.

528
00:29:32,720 --> 00:29:36,040
Speaker 2: I just added the last part and various TV appearances.

529
00:29:36,600 --> 00:29:39,400
Speaker 3: The Dog from Hell is one of the most superfluous

530
00:29:39,440 --> 00:29:42,000
Speaker 3: subtitles I've ever seen. I generally am not a big

531
00:29:42,040 --> 00:29:45,200
Speaker 3: fan of colon subtitles in movie titles, but that one

532
00:29:45,400 --> 00:29:47,400
Speaker 3: is just chef kiss.

533
00:29:47,600 --> 00:29:51,880
Speaker 2: Yeah, so unnecessary. Anyway, We'll discuss your character in a

534
00:29:51,880 --> 00:29:54,480
Speaker 2: bit more detail later on, but it's one of these

535
00:29:54,520 --> 00:29:59,760
Speaker 2: where the concept behind her character is far more interesting

536
00:29:59,760 --> 00:30:02,000
Speaker 2: than anything they really do with it in the movie,

537
00:30:02,600 --> 00:30:04,720
Speaker 2: and you can't help but wonder what could have been.

538
00:30:05,320 --> 00:30:08,760
Speaker 3: Yeah, but quick note, our producer JJ just chimed in

539
00:30:08,800 --> 00:30:11,000
Speaker 3: to let us know it is in fact Devil Dog

540
00:30:11,120 --> 00:30:14,640
Speaker 3: the Hound of Hell, not the Dog from Hell. But

541
00:30:15,160 --> 00:30:17,760
Speaker 3: I mean, is that a huge difference. I don't know.

542
00:30:18,040 --> 00:30:20,280
Speaker 2: I don't know. My apologies to Richard Krinna, though.

543
00:30:20,520 --> 00:30:23,760
Speaker 3: Clearly that makes it a lot more useful of a subtitle.

544
00:30:24,400 --> 00:30:26,760
Speaker 2: All Right, we just mentioned Ernest borgnine. Well, he's in

545
00:30:26,800 --> 00:30:29,680
Speaker 2: this too. He plays he's like a journalist aboard the

546
00:30:30,240 --> 00:30:32,640
Speaker 2: space vessel. That's his name is Harry Booth.

547
00:30:33,040 --> 00:30:35,840
Speaker 3: We just talked about Ernest borgnine in our episode on

548
00:30:35,920 --> 00:30:38,840
Speaker 3: The Devil's Rain he melted for twenty minutes.

549
00:30:39,560 --> 00:30:42,720
Speaker 2: That's right, as we discussed in that and certainly go

550
00:30:42,720 --> 00:30:45,160
Speaker 2: back to The Devil's Rain for an in depth discussion

551
00:30:45,200 --> 00:30:48,840
Speaker 2: on Borg nine. But basically, like there's Borg nine, like

552
00:30:48,880 --> 00:30:50,960
Speaker 2: older Borg nine movies are all about like the you know,

553
00:30:51,040 --> 00:30:52,520
Speaker 2: him being kind of a heavy and a villain for

554
00:30:52,560 --> 00:30:55,400
Speaker 2: the most part, where they're far more of those, Devil's

555
00:30:55,480 --> 00:30:57,560
Speaker 2: Rain kind of stands out because it's like maybe one

556
00:30:57,600 --> 00:31:00,160
Speaker 2: of the last real villain roles he did. I'm not

557
00:31:00,200 --> 00:31:02,360
Speaker 2: sure on that. There may be some others, but certainly

558
00:31:02,360 --> 00:31:05,920
Speaker 2: stands out for his later career. But you know, he

559
00:31:05,960 --> 00:31:09,720
Speaker 2: also probably has a bigger name for many of the

560
00:31:10,280 --> 00:31:13,520
Speaker 2: you know, the good natured sort of grandpa type characters

561
00:31:13,520 --> 00:31:16,360
Speaker 2: he played later in his career, and that's that's kind

562
00:31:16,360 --> 00:31:19,560
Speaker 2: of the energy here. Like Harry Booth is a likable guy,

563
00:31:20,600 --> 00:31:23,400
Speaker 2: a journalist who you know, just wants to bring the

564
00:31:23,400 --> 00:31:26,040
Speaker 2: truth back home. He wants to stick up for his friends,

565
00:31:26,520 --> 00:31:28,400
Speaker 2: and it's not a lot more to it.

566
00:31:28,840 --> 00:31:31,240
Speaker 3: Well, but there is a weird twist with the end

567
00:31:31,240 --> 00:31:33,840
Speaker 3: of this character's arc because he tries to steal the

568
00:31:33,880 --> 00:31:35,840
Speaker 3: ship and escape and leave them behind.

569
00:31:36,480 --> 00:31:38,520
Speaker 2: Oh god, yes, I forgot about that we'll get to

570
00:31:38,560 --> 00:31:41,760
Speaker 2: that later. Okay, all right, moving, There aren't many more

571
00:31:41,760 --> 00:31:44,600
Speaker 2: people in this film, but and this one's kind of

572
00:31:44,640 --> 00:31:47,960
Speaker 2: a head scratcher. So because at this point we're basically

573
00:31:47,960 --> 00:31:51,440
Speaker 2: out of humans. It takes place on a spaceship out

574
00:31:51,480 --> 00:31:55,400
Speaker 2: in the middle of nowhere as far as the galaxy goes,

575
00:31:55,440 --> 00:31:58,680
Speaker 2: so you know, we're out of humans. But we have

576
00:31:58,760 --> 00:32:02,600
Speaker 2: this other character named Captain Starr Star. I'm not sure

577
00:32:02,600 --> 00:32:04,920
Speaker 2: what this stands for, but we learned that he's like

578
00:32:05,000 --> 00:32:08,960
Speaker 2: the top gunslinging robot on the Sickness.

579
00:32:09,320 --> 00:32:11,760
Speaker 3: Wait, I have a note about what Star stands for.

580
00:32:11,920 --> 00:32:15,200
Speaker 3: It is Special Troops Arms Regiment.

581
00:32:15,840 --> 00:32:18,760
Speaker 2: Okay, okay, that works, that works out.

582
00:32:19,040 --> 00:32:19,160
Speaker 5: Well.

583
00:32:19,200 --> 00:32:23,640
Speaker 3: They're obviously all backronyms in this because they're like full names.

584
00:32:23,640 --> 00:32:26,520
Speaker 3: It's like Vincent and then they make Vincent stand for

585
00:32:26,600 --> 00:32:27,680
Speaker 3: something implausible.

586
00:32:29,640 --> 00:32:33,720
Speaker 2: Yeah, so this is not a major character. There's a

587
00:32:33,760 --> 00:32:35,760
Speaker 2: fun sequence with it. I like, this is the scene

588
00:32:35,800 --> 00:32:38,320
Speaker 2: that involves Captain Star. But yeah, Captain Star is like

589
00:32:38,720 --> 00:32:44,840
Speaker 2: the best of the non Maximilian bad robots. And he's

590
00:32:44,920 --> 00:32:49,640
Speaker 2: played by Tom McLoughlin Bor nineteen fifty, son of a

591
00:32:49,680 --> 00:32:53,080
Speaker 2: magician and former mime, and he apparently also studied mime

592
00:32:53,120 --> 00:32:55,080
Speaker 2: as well, which I guess prepared him for this role

593
00:32:55,480 --> 00:32:59,640
Speaker 2: of slinging around blasters as a robot. He would go

594
00:32:59,680 --> 00:33:02,640
Speaker 2: on to primarily write and direct, with credits that include

595
00:33:02,720 --> 00:33:05,400
Speaker 2: One Dark Night from eighty two, which I've seen all

596
00:33:05,400 --> 00:33:08,440
Speaker 2: are part of about sorority sisters spending the night in

597
00:33:08,520 --> 00:33:10,440
Speaker 2: a mausoleum and there's like a haunted old man with

598
00:33:10,560 --> 00:33:13,320
Speaker 2: lightning coming out of him or something. He also wrote

599
00:33:13,320 --> 00:33:16,400
Speaker 2: and directed nineteen eighty six is Friday the thirteenth, Part

600
00:33:16,480 --> 00:33:19,479
Speaker 2: six Jason Lives Joe. Is that one of the good

601
00:33:19,520 --> 00:33:21,200
Speaker 2: ones define good.

602
00:33:21,240 --> 00:33:25,200
Speaker 3: That's the first one where Jason is undead, So that's

603
00:33:25,520 --> 00:33:29,280
Speaker 3: where that's the first one to introduce explicit magical powers

604
00:33:29,320 --> 00:33:29,920
Speaker 3: to the series.

605
00:33:30,560 --> 00:33:33,480
Speaker 2: This is not the one with the psychic girl in.

606
00:33:33,440 --> 00:33:37,480
Speaker 3: It, No, that's part seven, Part six. Jason gets dug

607
00:33:37,600 --> 00:33:41,520
Speaker 3: up from the ground and then lightning strikes his grave

608
00:33:41,640 --> 00:33:44,000
Speaker 3: and that wakes him up and then he just you know,

609
00:33:44,080 --> 00:33:45,560
Speaker 3: runs around doing Jason stuff.

610
00:33:46,000 --> 00:33:49,440
Speaker 2: Okay, well still, and I guess an important shift in

611
00:33:49,480 --> 00:33:50,760
Speaker 2: the franchise.

612
00:33:50,440 --> 00:33:54,840
Speaker 3: Yes, Part six, I think is it has a more

613
00:33:54,920 --> 00:33:58,240
Speaker 3: overt sense of humor than most of the others. It

614
00:33:58,840 --> 00:34:00,560
Speaker 3: has a lot of jokes and gags in.

615
00:34:00,600 --> 00:34:05,360
Speaker 2: It okay Well. McLaughlin also did an episode of Freddy's Nightmares.

616
00:34:05,400 --> 00:34:08,600
Speaker 2: He did four episodes of Friday the Thirteenth series nineteen

617
00:34:08,680 --> 00:34:11,360
Speaker 2: ninety one Sometimes They Come Back, which is a Stephen

618
00:34:11,400 --> 00:34:14,319
Speaker 2: King adaptation, and mostly TV products up until twenty ten.

619
00:34:14,400 --> 00:34:17,240
Speaker 2: He also has a small acting role in Critters Too Okay,

620
00:34:17,239 --> 00:34:19,160
Speaker 2: But we have a couple of robots to hit voice

621
00:34:19,160 --> 00:34:26,240
Speaker 2: acting wise, the Critters of Hell, we have Vincent. Vincent

622
00:34:26,600 --> 00:34:29,279
Speaker 2: is our good robot, our lead good robot, and he's

623
00:34:29,360 --> 00:34:33,480
Speaker 2: voiced by legendary actor Roddy McDowell, who lived nineteen twenty

624
00:34:33,520 --> 00:34:36,040
Speaker 2: eighth or nineteen ninety eight, best known for the probably

625
00:34:36,080 --> 00:34:38,840
Speaker 2: for the original Planet of the Eighth series, nineteen eighty

626
00:34:38,840 --> 00:34:41,680
Speaker 2: five's Fright Night, as well as such non genre films

627
00:34:41,680 --> 00:34:44,360
Speaker 2: as sixty three Is Cleopatra, forty one's How Green Was

628
00:34:44,360 --> 00:34:47,200
Speaker 2: My Valley? But he's in plenty of B movies as well,

629
00:34:47,239 --> 00:34:50,480
Speaker 2: such as Class of eighty four from eighty two, seventy eight,

630
00:34:50,640 --> 00:34:56,080
Speaker 2: Laser Blast, nineteen ninety six Predator knockoff called Star Hunter,

631
00:34:56,440 --> 00:35:00,800
Speaker 2: and of course there's nineteen nineties Shakma Shakma shack Ma

632
00:35:02,040 --> 00:35:05,560
Speaker 2: No Ononder's seventeen will be admitted. Yes, it's a killer

633
00:35:05,560 --> 00:35:08,279
Speaker 2: Babboon movie. I don't think I'll ever watch it, but

634
00:35:08,360 --> 00:35:13,400
Speaker 2: the trailer is amazing, and then we arived Sma. But

635
00:35:13,480 --> 00:35:17,120
Speaker 2: then we eventually meet another robot. This is Old Bob,

636
00:35:17,880 --> 00:35:21,160
Speaker 2: voiced by Slim Pickens, who lived nineteen nineteen through nineteen

637
00:35:21,200 --> 00:35:24,520
Speaker 2: eighty three cowboy turned cowboy actor, best known for roles

638
00:35:24,520 --> 00:35:27,160
Speaker 2: in sixty four's Doctor Strange, Love, seventy two is The Getaway,

639
00:35:27,239 --> 00:35:31,000
Speaker 2: seventy fours Blazing Saddles, and nineteen eighty one's The Howling.

640
00:35:31,360 --> 00:35:34,480
Speaker 3: They specified that Bob was built in Houston.

641
00:35:34,840 --> 00:35:38,239
Speaker 2: Yeah, that's why he has the Texan accent. I guess, yeah,

642
00:35:38,280 --> 00:35:40,879
Speaker 2: that's right, all right. The music on this one is

643
00:35:41,239 --> 00:35:44,040
Speaker 2: the work of John Berry, who lived nineteen thirty three

644
00:35:44,080 --> 00:35:48,480
Speaker 2: through twenty eleven, legendary English film composer who won Oscars

645
00:35:48,520 --> 00:35:51,040
Speaker 2: for his work, and sixty seven Is Born Free, sixty

646
00:35:51,120 --> 00:35:54,000
Speaker 2: nine Is The Lion, and Winter ninety one Dances with Wolves.

647
00:35:54,440 --> 00:35:57,560
Speaker 2: He also scored sixty two's Doctor No and as such

648
00:35:57,719 --> 00:36:01,080
Speaker 2: created the iconic James Bond theme song and went on

649
00:36:01,120 --> 00:36:03,480
Speaker 2: to do I think twelve Bond films in total, some

650
00:36:03,560 --> 00:36:05,600
Speaker 2: of the best and some of the weirdest and this

651
00:36:05,719 --> 00:36:09,640
Speaker 2: also results in him having some composing credits on some

652
00:36:09,719 --> 00:36:13,279
Speaker 2: of the Bond songs, such as Duran Durand's View to

653
00:36:13,320 --> 00:36:14,800
Speaker 2: a Kill from nineteen eighty five.

654
00:36:15,120 --> 00:36:19,600
Speaker 3: Ah, I would argue maybe one of the best Bond songs.

655
00:36:20,000 --> 00:36:23,080
Speaker 2: Yeah. Absolutely. I got to see Duran Drannon concert just

656
00:36:23,200 --> 00:36:25,640
Speaker 2: last week and they played the song. It was amazing.

657
00:36:25,680 --> 00:36:29,600
Speaker 2: They also did Wild Boys nice. So too many scores

658
00:36:29,640 --> 00:36:32,880
Speaker 2: here to mention from John Barry, but for our purposes

659
00:36:32,880 --> 00:36:36,440
Speaker 2: we should acknowledge that he did Goldfinger, he did, you know,

660
00:36:36,480 --> 00:36:39,480
Speaker 2: all those other Bond films. He did Midnight Cowboys, seventy

661
00:36:39,480 --> 00:36:43,160
Speaker 2: one's Walk About the nineteen seventy six King Kong, seventy

662
00:36:43,160 --> 00:36:48,480
Speaker 2: eight Star Crash, another Star Wars inspired film, and of

663
00:36:48,520 --> 00:36:52,439
Speaker 2: course seventy nine's Moonraker, which was both a Bond film

664
00:36:52,440 --> 00:36:55,680
Speaker 2: and also, I guess arguably a response to Star Wars.

665
00:36:56,040 --> 00:36:58,759
Speaker 3: Arguably. Yes, obviously we've got to come back and do

666
00:36:58,920 --> 00:37:01,480
Speaker 3: Moonraker one day. I think that's the one James Bond

667
00:37:01,560 --> 00:37:04,880
Speaker 3: film just kooky enough to fit in our wheelhouse.

668
00:37:05,239 --> 00:37:08,000
Speaker 2: I think it is absolutely As for the black Hole

669
00:37:08,040 --> 00:37:12,680
Speaker 2: score here, yeah, it's sweeping, absolutely solid by most metrics.

670
00:37:12,680 --> 00:37:16,080
Speaker 2: I think it is rather steeped in adventure and glory

671
00:37:16,160 --> 00:37:20,440
Speaker 2: and that kind of like kind of slightly old fashioned sound.

672
00:37:20,520 --> 00:37:22,640
Speaker 2: I guess it as opposed to like, you know, deep

673
00:37:22,719 --> 00:37:26,319
Speaker 2: dark mysteries of the outer void maybe, but I don't

674
00:37:26,320 --> 00:37:29,319
Speaker 2: know that it does have some great kind of I

675
00:37:29,360 --> 00:37:32,279
Speaker 2: was thinking like drunken ghost ship music as well, that

676
00:37:32,800 --> 00:37:35,440
Speaker 2: I thought was quite good. So I think it's a

677
00:37:35,480 --> 00:37:37,640
Speaker 2: great score in many respects. It's hard for me to

678
00:37:37,680 --> 00:37:42,719
Speaker 2: objectively view to rate it though, because it because I

679
00:37:42,760 --> 00:37:45,160
Speaker 2: have that record still in my head, you know, from

680
00:37:45,280 --> 00:37:47,240
Speaker 2: reading that book as a kid and hearing the music.

681
00:37:47,400 --> 00:37:49,719
Speaker 2: So I think it's pretty great.

682
00:37:50,080 --> 00:37:52,880
Speaker 3: I mean, the main ominous string theme I think is

683
00:37:52,920 --> 00:37:55,160
Speaker 3: really good, even though it's kind of repetitive, but it

684
00:37:55,239 --> 00:37:58,040
Speaker 3: sets the mood quite well. There are some other moments

685
00:37:58,280 --> 00:38:00,440
Speaker 3: I hear what you're talking about, where they're like there

686
00:38:00,440 --> 00:38:02,959
Speaker 3: are fight scenes that just have a kind of bump

687
00:38:03,080 --> 00:38:07,279
Speaker 3: bumber dump bum kind of you know, triumphant horns that

688
00:38:08,360 --> 00:38:10,239
Speaker 3: I don't know, I could take her leave. But on

689
00:38:10,320 --> 00:38:11,879
Speaker 3: the whole, I think the music is pretty good.

690
00:38:12,400 --> 00:38:14,200
Speaker 2: One last person I want to credit here, and that

691
00:38:14,320 --> 00:38:17,840
Speaker 2: is George McGinnis, who is credited as robot designer. He

692
00:38:17,960 --> 00:38:19,799
Speaker 2: lived I'm not sure about his birthday, is I think

693
00:38:19,920 --> 00:38:22,920
Speaker 2: nineteen thirty or thereabouts, and he died in twenty seventeen.

694
00:38:23,320 --> 00:38:27,240
Speaker 2: So Robert McCall, the art director, also did preliminary design

695
00:38:27,239 --> 00:38:29,799
Speaker 2: work on the robots we see in the movie, But

696
00:38:29,880 --> 00:38:32,840
Speaker 2: the final designs that we see for Bob and Vincent,

697
00:38:33,120 --> 00:38:37,719
Speaker 2: and most importantly Maximilian, they seem more firmly aligned with

698
00:38:37,880 --> 00:38:40,920
Speaker 2: the work of McGinnis. I included a couple of images

699
00:38:40,920 --> 00:38:42,440
Speaker 2: here for you, Joe, that I got off of one

700
00:38:42,480 --> 00:38:47,040
Speaker 2: of the Disney wikis. But McGinnis was the last imagineer

701
00:38:47,120 --> 00:38:50,320
Speaker 2: hired by Walt Disney, apparently back in nineteen sixty six.

702
00:38:50,719 --> 00:38:54,960
Speaker 2: He worked on such projects as Space Mountain, Epcot's Horizons Pavilion,

703
00:38:55,200 --> 00:38:57,320
Speaker 2: and the Indiana Jones Adventure Ride.

704
00:38:57,480 --> 00:39:00,640
Speaker 3: The different robots in this film almost feel like they're

705
00:39:00,640 --> 00:39:06,239
Speaker 3: from different movies, you know, Like Maximilian really has it

706
00:39:06,280 --> 00:39:09,920
Speaker 3: doesn't just seem like he has a different personality than Vincent.

707
00:39:10,040 --> 00:39:12,240
Speaker 3: It's like they come from different realities.

708
00:39:13,200 --> 00:39:17,319
Speaker 2: They both both the Vincent, the Vincent, the Bob and Maximilian.

709
00:39:17,400 --> 00:39:19,200
Speaker 2: They they do have. What they have in common is

710
00:39:19,200 --> 00:39:22,719
Speaker 2: that they are floating robots. Yes, that I do like

711
00:39:22,760 --> 00:39:24,400
Speaker 2: because it's kind of like, you know, the idea of

712
00:39:24,440 --> 00:39:27,719
Speaker 2: like you have some sort of astromac type robot. They're

713
00:39:27,719 --> 00:39:31,880
Speaker 2: gonna work primarily in a weightless environment, and therefore, you know,

714
00:39:31,920 --> 00:39:34,880
Speaker 2: their limbs, whatever kind of limbs they have, they're gonna

715
00:39:34,920 --> 00:39:40,640
Speaker 2: revolve around moving around within three dimensions, multiple limbs for

716
00:39:40,719 --> 00:39:44,600
Speaker 2: grabbing onto things. But then there is a lot of

717
00:39:44,600 --> 00:39:47,520
Speaker 2: stylistic difference because Bob and Vincent are you know, arguably

718
00:39:48,000 --> 00:39:49,800
Speaker 2: kind of cute and they have big eyes, you know,

719
00:39:49,880 --> 00:39:54,000
Speaker 2: kind of they have kind of a pleasing epcot feel

720
00:39:54,080 --> 00:39:58,439
Speaker 2: to them, whereas Maximilian is of course red and satanic

721
00:39:58,520 --> 00:40:02,839
Speaker 2: and intimidating and just a fabulous design, but also one

722
00:40:02,880 --> 00:40:05,520
Speaker 2: where you can't quite figure out at first glance what

723
00:40:05,640 --> 00:40:11,680
Speaker 2: everything is with his limbs. Yeah, just fabulous design on

724
00:40:11,800 --> 00:40:13,440
Speaker 2: Maximilian as far as I'm concerned.

725
00:40:22,080 --> 00:40:23,480
Speaker 3: Do you want to get into the plot.

726
00:40:23,520 --> 00:40:26,120
Speaker 2: Oh, let's do it. We're being pulled there by the

727
00:40:26,880 --> 00:40:28,160
Speaker 2: gravitational forces.

728
00:40:28,960 --> 00:40:32,200
Speaker 3: Very interesting thing about the beginning of this movie. There

729
00:40:32,239 --> 00:40:36,440
Speaker 3: is an overture, meaning there is a long opening fanfare

730
00:40:36,600 --> 00:40:39,800
Speaker 3: with like the orchestra playing over a totally black screen,

731
00:40:40,680 --> 00:40:43,080
Speaker 3: and for a while I was wondering, is there's something

732
00:40:43,120 --> 00:40:46,120
Speaker 3: wrong with my streaming service, like I'm not getting video content.

733
00:40:46,160 --> 00:40:49,040
Speaker 3: But no, the visuals really do begin about a minute

734
00:40:49,080 --> 00:40:49,799
Speaker 3: and a half in.

735
00:40:50,360 --> 00:40:53,440
Speaker 2: Yeah, I get what they were going for here, you know,

736
00:40:53,440 --> 00:40:55,080
Speaker 2: And I guess it's also kind of steeped in an

737
00:40:55,080 --> 00:40:58,319
Speaker 2: older style. But I feel like most people watching it

738
00:40:58,360 --> 00:41:00,799
Speaker 2: today are just going to wonder if, you know, there's

739
00:41:00,840 --> 00:41:02,520
Speaker 2: something wrong with their television set.

740
00:41:02,760 --> 00:41:05,400
Speaker 3: So we talked earlier about the green grid. When we

741
00:41:05,440 --> 00:41:07,400
Speaker 3: get to the credits, here it is we are flying

742
00:41:07,440 --> 00:41:10,920
Speaker 3: through space. There's a vast field of stars in the background,

743
00:41:11,160 --> 00:41:14,520
Speaker 3: and we are zooming above and then below the plane

744
00:41:14,719 --> 00:41:18,200
Speaker 3: of a green animated square matrix or grid like green

745
00:41:18,239 --> 00:41:21,440
Speaker 3: graph paper lines floating in space, and we finally zoom

746
00:41:21,440 --> 00:41:24,200
Speaker 3: out to see that in the distance, this flat geometric

747
00:41:24,239 --> 00:41:28,880
Speaker 3: plane sharply curves off down into a pit or a funnel,

748
00:41:29,040 --> 00:41:32,360
Speaker 3: just the way an extremely massive object sharply bend space

749
00:41:32,400 --> 00:41:36,440
Speaker 3: time around it, and so of course we get sucked in.

750
00:41:36,520 --> 00:41:39,200
Speaker 3: We sp we spiral around the pit, and then we

751
00:41:39,239 --> 00:41:43,120
Speaker 3: eventually go down into it. The actual action begins in

752
00:41:43,160 --> 00:41:46,239
Speaker 3: space with stars twinkling in the dark, and there's some

753
00:41:46,400 --> 00:41:50,200
Speaker 3: technical sci fi narration by Roddy McDowell saying things like

754
00:41:50,400 --> 00:41:54,240
Speaker 3: unscheduled course correction do at twenty two hundred rotation access

755
00:41:54,280 --> 00:41:57,239
Speaker 3: plus three degrees, And this kind of thing goes on

756
00:41:57,320 --> 00:42:00,000
Speaker 3: for a while. There's this sort of technical chatter between

757
00:42:00,200 --> 00:42:02,400
Speaker 3: the different characters for a bit, and it made me

758
00:42:02,960 --> 00:42:06,800
Speaker 3: wonder about something. It made me think about, like what

759
00:42:07,280 --> 00:42:10,840
Speaker 3: kinds of choices you make as an actor when you

760
00:42:10,880 --> 00:42:13,200
Speaker 3: are playing a role that, for at least, you know,

761
00:42:13,280 --> 00:42:16,600
Speaker 3: within certain scenes it he doesn't have much of any

762
00:42:16,840 --> 00:42:20,080
Speaker 3: human thing to do where you're just speaking technical dialogue

763
00:42:20,120 --> 00:42:23,279
Speaker 3: like accelerate to full power, switching to manual, you know,

764
00:42:23,480 --> 00:42:25,600
Speaker 3: like what is an actor supposed to do with that?

765
00:42:27,520 --> 00:42:29,759
Speaker 2: Yeah, and it's interesting when you think about where they

766
00:42:29,800 --> 00:42:32,319
Speaker 2: end up going with Vincent, because Vincent ends up being

767
00:42:32,600 --> 00:42:36,759
Speaker 2: a robot that is rather different than C three PO. Like, yes,

768
00:42:36,800 --> 00:42:41,080
Speaker 2: they're both robots that are, you know, personable voice with

769
00:42:40,920 --> 00:42:44,040
Speaker 2: a with a British accent. But while C three PO

770
00:42:44,160 --> 00:42:48,840
Speaker 2: is of course famously cowardly and anxious, Vincent here, you know,

771
00:42:48,840 --> 00:42:51,360
Speaker 2: he's very sure of himself, and he's he's all about

772
00:42:51,400 --> 00:42:54,959
Speaker 2: standing up to bullies and supporting his his human crew

773
00:42:55,000 --> 00:42:58,080
Speaker 2: members and so forth. So he has a different energy

774
00:42:58,120 --> 00:43:00,640
Speaker 2: to him once you get get into his character.

775
00:43:01,000 --> 00:43:02,920
Speaker 3: Yeah, I think that's right. I had a whole note

776
00:43:02,960 --> 00:43:06,000
Speaker 3: about similarities and differences with C. Three PO, but I

777
00:43:06,000 --> 00:43:09,880
Speaker 3: think that's the core of it. He seems to be

778
00:43:10,040 --> 00:43:13,120
Speaker 3: modeled on C. Three PO, but he is brave and scrappy,

779
00:43:13,160 --> 00:43:17,480
Speaker 3: whereas C. Three PO is fussy and cowardly. And another

780
00:43:17,520 --> 00:43:20,120
Speaker 3: difference is that while C three PO often seems to

781
00:43:20,239 --> 00:43:22,919
Speaker 3: though this comes in more in the Empire Strikes Back,

782
00:43:23,680 --> 00:43:29,200
Speaker 3: C THREEO seems to quote quantitative things a lot, like

783
00:43:29,239 --> 00:43:33,680
Speaker 3: statistics or probability of success things. Instead, they have vincent

784
00:43:34,920 --> 00:43:39,520
Speaker 3: like quoting proverbs, quoting sayings and proverbs, which is an

785
00:43:39,560 --> 00:43:42,560
Speaker 3: interesting personality trait for a robot. The movie doesn't really

786
00:43:42,560 --> 00:43:45,759
Speaker 3: do anything with it, but it struck me that in

787
00:43:45,800 --> 00:43:48,480
Speaker 3: the context of a story that was more like thoughtful

788
00:43:48,520 --> 00:43:51,480
Speaker 3: about the meaning of technology, that might be an interesting choice.

789
00:43:52,120 --> 00:43:54,600
Speaker 2: Yeah. And the idea too, that he's here to encourage

790
00:43:54,600 --> 00:43:58,120
Speaker 2: you in your long distance space mission.

791
00:43:58,520 --> 00:44:00,880
Speaker 3: So how do we describe what Vince looks like? You

792
00:44:01,200 --> 00:44:04,360
Speaker 3: mentioned earlier that he's a hovering robot. He floats, but

793
00:44:04,400 --> 00:44:07,239
Speaker 3: he's sort of a metal ball with a whack a

794
00:44:07,280 --> 00:44:09,560
Speaker 3: mole head that pops up out of the top to

795
00:44:09,640 --> 00:44:12,839
Speaker 3: reveal his eyes, which are very cute, but they're just

796
00:44:12,840 --> 00:44:15,720
Speaker 3: static white squares with black dots in the middle.

797
00:44:16,280 --> 00:44:18,920
Speaker 2: Yeah, I think the wack a mole feature is key.

798
00:44:18,800 --> 00:44:21,880
Speaker 2: There are aspects about him that it seemed like he

799
00:44:22,000 --> 00:44:25,360
Speaker 2: was designed toy first in that regard, but in a

800
00:44:25,400 --> 00:44:27,400
Speaker 2: way that that works well. I don't know. There are

801
00:44:27,400 --> 00:44:31,319
Speaker 2: some shots where I feel like he's too large. He's

802
00:44:31,400 --> 00:44:34,120
Speaker 2: really quite big and maybe bigger than he should be.

803
00:44:34,160 --> 00:44:37,160
Speaker 2: I don't know if that makes sense. But otherwise, I mean,

804
00:44:37,200 --> 00:44:40,200
Speaker 2: this is this is the project of Imagineer, so it's

805
00:44:40,480 --> 00:44:43,680
Speaker 2: it's very well put together. But yeah, that's very much

806
00:44:43,719 --> 00:44:46,839
Speaker 2: like a whack a mole head design for floating. Has

807
00:44:47,239 --> 00:44:50,120
Speaker 2: blasters that come out, little grabbers that come out, little

808
00:44:50,160 --> 00:44:53,320
Speaker 2: kind of like I don't know, anti grab boy boys

809
00:44:53,400 --> 00:44:56,040
Speaker 2: that come out where his legs would be. So there's

810
00:44:56,520 --> 00:44:58,839
Speaker 2: there's plenty about him that kind of tracks to an

811
00:44:58,920 --> 00:45:02,800
Speaker 2: understanding of a bike. Heatal creature, but he doesn't function

812
00:45:02,960 --> 00:45:06,840
Speaker 2: like a bipedal creature at all, so he's very functional

813
00:45:06,880 --> 00:45:08,000
Speaker 2: for a space environment.

814
00:45:08,440 --> 00:45:11,319
Speaker 3: Yeah, and also he does violence, unlike C three PO.

815
00:45:11,360 --> 00:45:13,040
Speaker 3: I can't remember if we already said that but this

816
00:45:13,080 --> 00:45:15,520
Speaker 3: is a robot that like fights and in fact kills

817
00:45:15,520 --> 00:45:16,360
Speaker 3: other robots.

818
00:45:16,640 --> 00:45:20,799
Speaker 2: Oh yeah, I mean sometimes he's really kind of a

819
00:45:20,840 --> 00:45:24,279
Speaker 2: bastard with it. When he's in the fighting, he's doing

820
00:45:24,320 --> 00:45:26,120
Speaker 2: like a they're not even shooting at each other. He's

821
00:45:26,160 --> 00:45:30,480
Speaker 2: doing like target practice with Star, and he ends up

822
00:45:30,520 --> 00:45:35,000
Speaker 2: like managing to accidentally shoot Star in the chest, which

823
00:45:35,040 --> 00:45:36,000
Speaker 2: is a great sequence.

824
00:45:36,320 --> 00:45:39,239
Speaker 3: So we learned that this ship is the USS Palomino

825
00:45:39,280 --> 00:45:41,800
Speaker 3: and Vincent is its robot. He's the first one talking,

826
00:45:41,800 --> 00:45:44,080
Speaker 3: but eventually other voices come in and they're all chattering

827
00:45:44,120 --> 00:45:46,400
Speaker 3: back and forth. We learned that they are on a

828
00:45:46,400 --> 00:45:49,080
Speaker 3: mission to explore deep space. I think they're looking for

829
00:45:49,120 --> 00:45:52,520
Speaker 3: signs of life. And the ship has finished its primary objectives.

830
00:45:52,560 --> 00:45:54,759
Speaker 3: It's on the way back to Earth. So we meet

831
00:45:54,800 --> 00:45:57,919
Speaker 3: the ship and its crew. Robert Forster again is Captain Dan.

832
00:45:58,320 --> 00:46:03,760
Speaker 3: Captain Dan Holland. He's strong, brave, terse sensible, dependable. Joseph

833
00:46:03,760 --> 00:46:07,520
Speaker 3: Bottoms is Lieutenant Peiser. He's kind of the young hot head.

834
00:46:07,600 --> 00:46:10,120
Speaker 3: He's ready for adventure and he wants to blast a.

835
00:46:10,160 --> 00:46:15,279
Speaker 2: Laser, but he's politely hot headed. He's conservatively hot headed.

836
00:46:15,360 --> 00:46:20,080
Speaker 3: Right, so we mentioned earlier you vet mim you as

837
00:46:20,120 --> 00:46:23,880
Speaker 3: doctor Kate McCrae has a strange thing that they decided

838
00:46:23,920 --> 00:46:27,360
Speaker 3: to do with her character, which is that she can

839
00:46:27,560 --> 00:46:30,680
Speaker 3: telepathically communicate with robots.

840
00:46:30,960 --> 00:46:36,719
Speaker 2: Huh. Yeah, this is crazy because I didn't remember this

841
00:46:36,880 --> 00:46:39,319
Speaker 2: from any past viewings of the film. I don't think

842
00:46:39,320 --> 00:46:41,279
Speaker 2: this made it into the flip book I had as

843
00:46:41,320 --> 00:46:45,399
Speaker 2: a child, the idea that she has either and it's

844
00:46:45,400 --> 00:46:47,440
Speaker 2: not really They don't explain if this is Does she

845
00:46:47,480 --> 00:46:51,359
Speaker 2: have any level of general ESP? Is it robot specific ESP.

846
00:46:51,600 --> 00:46:54,680
Speaker 2: If so, why is it there is there an implant involved,

847
00:46:55,239 --> 00:46:58,360
Speaker 2: or is it like we would get later in scanners

848
00:46:58,640 --> 00:47:02,480
Speaker 2: Cronenberg scanners, where if you have any kind of psychic ability,

849
00:47:02,520 --> 00:47:04,919
Speaker 2: then you just if you try hard enough, you can

850
00:47:04,960 --> 00:47:06,920
Speaker 2: psychically communicate with a computer.

851
00:47:07,239 --> 00:47:10,040
Speaker 3: You can call a computer from a payphone and read

852
00:47:10,080 --> 00:47:10,680
Speaker 3: its mind.

853
00:47:11,239 --> 00:47:11,680
Speaker 2: Yeah.

854
00:47:12,200 --> 00:47:14,840
Speaker 3: I don't think so, because as far as I could tell,

855
00:47:15,000 --> 00:47:19,919
Speaker 3: she only telepathically communicates with Vincent. She never she never

856
00:47:19,960 --> 00:47:22,560
Speaker 3: reads the mind of any other human that I recall,

857
00:47:22,880 --> 00:47:25,240
Speaker 3: or any robot other than Vincent.

858
00:47:25,960 --> 00:47:27,840
Speaker 2: Yeah, and that would have been an interesting thing to

859
00:47:27,880 --> 00:47:31,000
Speaker 2: explore because basically, like the whole thing is like we're

860
00:47:31,000 --> 00:47:32,840
Speaker 2: in a creepy spaceship and there are whole bunch of

861
00:47:32,840 --> 00:47:35,759
Speaker 2: creepy robots around. That would have been a great opportunity

862
00:47:35,760 --> 00:47:37,919
Speaker 2: for her character to have some sort of like there's

863
00:47:37,920 --> 00:47:40,319
Speaker 2: something wrong with these robots scene. You know, she's like

864
00:47:40,360 --> 00:47:43,760
Speaker 2: they're not reading properly. But they didn't go in that direction.

865
00:47:44,360 --> 00:47:47,439
Speaker 3: Odd choice, but okay, it's good. It's mainly used though

866
00:47:48,200 --> 00:47:50,719
Speaker 3: for the plot the same way it would be like

867
00:47:50,760 --> 00:47:53,400
Speaker 3: if they had a radio communication, she can just talk

868
00:47:53,440 --> 00:47:55,520
Speaker 3: to Vincent from a distance. That's about all.

869
00:47:56,160 --> 00:47:59,040
Speaker 2: Yeah, if they ever do remake this film, and I'm

870
00:47:59,040 --> 00:48:01,640
Speaker 2: not sure that's something I want to see, but if

871
00:48:01,640 --> 00:48:03,640
Speaker 2: they were, like, this is something they should pick up on,

872
00:48:03,880 --> 00:48:07,040
Speaker 2: like this is something from the original film that doesn't

873
00:48:07,040 --> 00:48:09,400
Speaker 2: need to be thrown out or completely recreated the just

874
00:48:09,440 --> 00:48:12,600
Speaker 2: like figure it, like, explore this further. What does it mean?

875
00:48:12,680 --> 00:48:15,520
Speaker 2: Like what if that's just how robots work in the

876
00:48:15,520 --> 00:48:18,319
Speaker 2: black hole vision of the future, where robots are just

877
00:48:18,440 --> 00:48:23,759
Speaker 2: inherently like psychically linked to individuals or multiple people, Like

878
00:48:23,760 --> 00:48:24,719
Speaker 2: there's a lot you could do with that.

879
00:48:25,239 --> 00:48:29,719
Speaker 3: Agree. Okay, you mentioned Anthony Perkins. He plays doctor Alex Durant.

880
00:48:29,760 --> 00:48:34,520
Speaker 3: He's like a whereas y'vet Mimieux is a more empathetic scientist.

881
00:48:34,880 --> 00:48:37,840
Speaker 3: This is a more he's like a cold intellectual scientist.

882
00:48:37,880 --> 00:48:41,880
Speaker 3: He yearns for knowledge and historical significance. Uh, maybe diving

883
00:48:41,880 --> 00:48:44,040
Speaker 3: into a black hole will finally get me a tenure.

884
00:48:45,080 --> 00:48:47,520
Speaker 3: And then we have Ernest borgnine as Harry Booth. This

885
00:48:47,600 --> 00:48:51,400
Speaker 3: is a journalist who's on board the ship for some reason. Harry,

886
00:48:51,520 --> 00:48:53,720
Speaker 3: I would say, is the most down to earth member

887
00:48:53,760 --> 00:48:55,879
Speaker 3: of the crew. He's the one who is neither a

888
00:48:55,880 --> 00:48:59,160
Speaker 3: soldier nor a scientist, and he kind of talks in

889
00:48:59,239 --> 00:49:01,800
Speaker 3: a plane like which with the he offers like the

890
00:49:02,120 --> 00:49:05,080
Speaker 3: hot dog vendors perspective on all the technobabble.

891
00:49:05,800 --> 00:49:06,360
Speaker 2: Yeah.

892
00:49:06,400 --> 00:49:08,440
Speaker 3: So, one thing that was interesting to me once we

893
00:49:08,480 --> 00:49:11,640
Speaker 3: start meeting the crew, and very much sets this movie apart,

894
00:49:11,760 --> 00:49:13,840
Speaker 3: is that when we first meet them, they're floating around.

895
00:49:13,960 --> 00:49:19,520
Speaker 3: They're weightless. Most space travel movies just handwave this away.

896
00:49:19,560 --> 00:49:22,399
Speaker 3: They get rid of the physical reality with some kind

897
00:49:22,400 --> 00:49:27,080
Speaker 3: of magical, unspecified artificial gravity device. More hard sci fi

898
00:49:27,160 --> 00:49:30,600
Speaker 3: movies usually get around it by setting the occupied parts

899
00:49:30,640 --> 00:49:33,160
Speaker 3: of the spaceship within a rotating ring or some other

900
00:49:33,320 --> 00:49:36,800
Speaker 3: mechanism where gravity could be simulated via acceleration like it

901
00:49:36,840 --> 00:49:40,480
Speaker 3: would be in reality. Relatively few movies actually try to

902
00:49:40,600 --> 00:49:45,880
Speaker 3: simulate weightlessness, I guess, mainly because it's a difficult special

903
00:49:45,920 --> 00:49:48,600
Speaker 3: effect to make look right. Like. You can do wires

904
00:49:48,640 --> 00:49:51,440
Speaker 3: and stuff, and if you're really committed, you can film

905
00:49:51,440 --> 00:49:54,799
Speaker 3: and reduced gravity aircraft like the Vomit comet like they

906
00:49:54,800 --> 00:49:58,239
Speaker 3: did in Apollo thirteen, but obviously that is expensive and

907
00:49:58,400 --> 00:50:01,480
Speaker 3: difficult and taxing on everybody involved. So I was going

908
00:50:01,560 --> 00:50:04,000
Speaker 3: to say, I wonder what kinds of effects they used

909
00:50:04,400 --> 00:50:06,799
Speaker 3: to film the weightless scenes in this movie, But right

910
00:50:06,840 --> 00:50:09,760
Speaker 3: when I was typing that, then I was like, oh,

911
00:50:09,080 --> 00:50:12,680
Speaker 3: there's uvets wire rig Okay, so yeah, they're just hanging

912
00:50:12,719 --> 00:50:13,320
Speaker 3: on wires.

913
00:50:13,960 --> 00:50:17,200
Speaker 2: Yeah, there are multiple scenes in the films, at least

914
00:50:17,239 --> 00:50:19,080
Speaker 2: watching it now in the quality that we have it

915
00:50:19,120 --> 00:50:22,120
Speaker 2: in where you can make out these wires. Yeah. It's

916
00:50:22,160 --> 00:50:24,840
Speaker 2: one of those things where if the film was perhaps

917
00:50:25,280 --> 00:50:28,560
Speaker 2: like a bigger deal, like culturally, and you know, it

918
00:50:28,600 --> 00:50:30,680
Speaker 2: was a bigger success, you could imagine they might have

919
00:50:30,719 --> 00:50:32,440
Speaker 2: gone back and cleaned up some of those wires, but

920
00:50:32,760 --> 00:50:35,319
Speaker 2: they're still there. It didn't really it didn't take me

921
00:50:35,360 --> 00:50:39,080
Speaker 2: too much out of the film viewing experience, but it's

922
00:50:39,160 --> 00:50:41,240
Speaker 2: kind of interesting from an effects standpoint.

923
00:50:41,440 --> 00:50:44,920
Speaker 3: So if you're okay with taking a quick diversion here

924
00:50:45,000 --> 00:50:49,720
Speaker 3: regarding the special effects for weightlessness, apparently these effects played

925
00:50:49,840 --> 00:50:56,040
Speaker 3: a convoluted role in establishing the final cast of the film.

926
00:50:56,080 --> 00:50:57,840
Speaker 3: So I was reading about this in an article for

927
00:50:57,920 --> 00:51:01,840
Speaker 3: The Hollywood Reporter by David Ween published in December twenty

928
00:51:01,960 --> 00:51:05,800
Speaker 3: nineteen called we Never Had An Ending. How Disney's Black

929
00:51:05,840 --> 00:51:09,480
Speaker 3: Hole tried to match Star Wars. This article is interesting

930
00:51:09,520 --> 00:51:11,480
Speaker 3: as worth to read about the movie. It includes a

931
00:51:11,560 --> 00:51:14,960
Speaker 3: number of things, such as the fact that for the

932
00:51:15,040 --> 00:51:18,040
Speaker 3: role of doctor Kate McCrae, they were originally wanting to

933
00:51:18,120 --> 00:51:22,319
Speaker 3: cast a pre alien Sigourney Weaver, but they said that

934
00:51:22,360 --> 00:51:25,920
Speaker 3: the head of the casting department was like, Sigourney, uh, oh,

935
00:51:26,000 --> 00:51:27,640
Speaker 3: we're not going to do somebody with that name.

936
00:51:30,040 --> 00:51:33,520
Speaker 2: Well, I'm glad because if this was pre alien, I mean,

937
00:51:33,600 --> 00:51:37,640
Speaker 2: we wouldn't want our ripley trajectory to be off.

938
00:51:38,080 --> 00:51:40,960
Speaker 3: But even that didn't get them directly to you'vet MIMEU.

939
00:51:41,120 --> 00:51:45,000
Speaker 3: They first went to the summer of forty two star

940
00:51:45,160 --> 00:51:50,680
Speaker 3: Jennifer O'Neill, who apparently had signature long hair. And so

941
00:51:50,800 --> 00:51:52,239
Speaker 3: here I'm going to read from this article in the

942
00:51:52,280 --> 00:51:55,960
Speaker 3: Hollywood Reporter quote we shot one day. I think it

943
00:51:56,000 --> 00:51:58,239
Speaker 3: was a test. It was a test or something. She

944
00:51:58,400 --> 00:52:01,440
Speaker 3: was in zero gravity. Remember Nelson, that'd be Gary Nelson,

945
00:52:01,520 --> 00:52:04,680
Speaker 3: the director. She had this long hair down the center

946
00:52:04,719 --> 00:52:06,560
Speaker 3: of her back. She was always very proud of it.

947
00:52:06,560 --> 00:52:09,400
Speaker 3: It actually made her career with hair products and everything.

948
00:52:09,680 --> 00:52:12,000
Speaker 3: And I looked and I said, this is not working.

949
00:52:12,280 --> 00:52:14,839
Speaker 3: You have to cut your hair. And she said, oh,

950
00:52:14,880 --> 00:52:17,239
Speaker 3: I can't do that. And I said, you're going to

951
00:52:17,320 --> 00:52:19,640
Speaker 3: have to because that's what I want and it's right

952
00:52:19,719 --> 00:52:22,640
Speaker 3: for the movie too, and so she finally agreed. She

953
00:52:22,760 --> 00:52:28,640
Speaker 3: brought her professional hairstylist, Vidalsa Soon to the studio, whoa

954
00:52:28,840 --> 00:52:31,719
Speaker 3: Nelson continued. They went up to her dressing room and

955
00:52:31,760 --> 00:52:34,600
Speaker 3: started cutting her hair one inch at a time and

956
00:52:34,719 --> 00:52:37,640
Speaker 3: having a glass of wine, then cutting another inch and

957
00:52:37,680 --> 00:52:40,239
Speaker 3: having another glass of wine. And by the time they

958
00:52:40,280 --> 00:52:42,960
Speaker 3: were finished, it was pretty short and she was looped.

959
00:52:44,719 --> 00:52:47,080
Speaker 3: I was sitting there when it happened, said Bottoms with

960
00:52:47,120 --> 00:52:49,560
Speaker 3: a laugh. When she agreed to get her hair cut,

961
00:52:49,719 --> 00:52:52,239
Speaker 3: that's when I remember the order went out, like could

962
00:52:52,280 --> 00:52:54,839
Speaker 3: someone get me a glass of wine? They would cut

963
00:52:54,840 --> 00:52:57,279
Speaker 3: more and more, and they kept bringing it up and up,

964
00:52:57,520 --> 00:52:59,200
Speaker 3: and then they decided to put a little bit of

965
00:52:59,200 --> 00:53:02,080
Speaker 3: color to lighten some streaks, and you can see Vidal,

966
00:53:02,160 --> 00:53:06,240
Speaker 3: and everyone was concerned. Nelson reported that after the disaster

967
00:53:06,360 --> 00:53:10,320
Speaker 3: haircut session quote, she got in her car to drive home.

968
00:53:10,960 --> 00:53:14,120
Speaker 3: She got into an accident on Sunset Boulevard and ended

969
00:53:14,200 --> 00:53:17,239
Speaker 3: up in the hospital. So we had to recast, and

970
00:53:17,280 --> 00:53:19,960
Speaker 3: we cast you vet Mi Meeu the next day. So

971
00:53:20,040 --> 00:53:23,120
Speaker 3: all that trauma and everything getting her haircut was for naught.

972
00:53:23,320 --> 00:53:24,360
Speaker 3: It's kind of a shame.

973
00:53:24,760 --> 00:53:26,960
Speaker 2: Oh wow, But you know she went on to be

974
00:53:27,040 --> 00:53:29,400
Speaker 2: in Scanners, so I guess you know, for us it

975
00:53:29,480 --> 00:53:29,919
Speaker 2: worked out.

976
00:53:30,120 --> 00:53:31,840
Speaker 3: Wait a minute, she was in Scanners.

977
00:53:32,040 --> 00:53:35,880
Speaker 2: Jennifer O'Neil. Yeah, she plays Kim Obrist. I think she

978
00:53:35,920 --> 00:53:36,640
Speaker 2: has top billy.

979
00:53:36,920 --> 00:53:40,960
Speaker 3: Wow, I missed that. Oh you're exactly right. Uh yeah.

980
00:53:41,960 --> 00:53:43,840
Speaker 3: Don't drink and drive, folks, even if you're getting a

981
00:53:43,880 --> 00:53:44,480
Speaker 3: bad haircut.

982
00:53:44,920 --> 00:53:47,040
Speaker 2: But she was destined, one way or another to be

983
00:53:47,120 --> 00:53:49,160
Speaker 2: in a movie in which someone uses their mind to

984
00:53:49,200 --> 00:53:50,239
Speaker 2: talk to a machine.

985
00:53:50,320 --> 00:53:52,759
Speaker 3: That's right, But it was also it could make these

986
00:53:53,120 --> 00:53:56,719
Speaker 3: wire rig weightlessness effects look right, because you know, if

987
00:53:56,719 --> 00:53:58,799
Speaker 3: your hair's not floating around, it won't look right. So

988
00:53:58,840 --> 00:54:10,880
Speaker 3: everybody does have short Okay, So the first thing that

989
00:54:10,960 --> 00:54:13,920
Speaker 3: really happens in the movie is that Vincent reveals to

990
00:54:13,960 --> 00:54:16,800
Speaker 3: the crew he has detected the presence of something nearby

991
00:54:16,840 --> 00:54:19,759
Speaker 3: the ship, not just a comet or an asteroid, but

992
00:54:19,840 --> 00:54:25,040
Speaker 3: something amazing. Quote, the largest black hole I have ever encountered.

993
00:54:25,480 --> 00:54:27,759
Speaker 3: How many is he encountered? I don't know, he doesn't say,

994
00:54:28,520 --> 00:54:30,479
Speaker 3: And they pull up an image of the black hole

995
00:54:30,560 --> 00:54:34,040
Speaker 3: on the hologram machine. In the movie, it is represented

996
00:54:34,080 --> 00:54:39,000
Speaker 3: as a giant, spiraling whirlpool of blue around a black

997
00:54:39,239 --> 00:54:42,319
Speaker 3: void with an orange dot in the middle. And I

998
00:54:42,400 --> 00:54:45,200
Speaker 3: realized this, The black hole in this movie looks almost

999
00:54:45,239 --> 00:54:48,040
Speaker 3: exactly like a hurricane. It's got like the spiral of

1000
00:54:48,120 --> 00:54:50,160
Speaker 3: rain bands and an eye in the center.

1001
00:54:51,200 --> 00:54:53,239
Speaker 2: Yeah yeah, I mean, of course, based on what we

1002
00:54:53,320 --> 00:54:55,920
Speaker 2: know now about black holes. The thing is, this is

1003
00:54:55,960 --> 00:54:59,200
Speaker 2: absolutely correct. No notes, This is exactly what they look like.

1004
00:55:00,520 --> 00:55:02,839
Speaker 3: I don't think it would be, but it's I like it.

1005
00:55:02,880 --> 00:55:04,920
Speaker 3: You know, it's a good effect. I read that they

1006
00:55:05,000 --> 00:55:07,880
Speaker 3: created the black hole by like swirling paint around a

1007
00:55:07,960 --> 00:55:09,840
Speaker 3: drain in a bathtub or something.

1008
00:55:10,600 --> 00:55:12,719
Speaker 2: Yeah, yeah, I mean it does. It looks great in

1009
00:55:12,760 --> 00:55:16,520
Speaker 2: the film, even if it is probably leaning a lot

1010
00:55:16,560 --> 00:55:19,880
Speaker 2: more towards you know, ocean whirlpool than anything else.

1011
00:55:20,920 --> 00:55:23,720
Speaker 3: So the characters in the movie talk about black holes

1012
00:55:23,760 --> 00:55:26,719
Speaker 3: like a villain character. They're trying to build up as

1013
00:55:26,800 --> 00:55:29,480
Speaker 3: the big bad. When they first see it, Ernest Borgnein says,

1014
00:55:29,880 --> 00:55:34,080
Speaker 3: my god, it's right out of Dante's Inferno, and Anthony

1015
00:55:34,120 --> 00:55:37,680
Speaker 3: Perkins says, yes, the most destructive force in the universe, Harry,

1016
00:55:38,040 --> 00:55:41,520
Speaker 3: Nothing can escape it, not even light. And then Juvet

1017
00:55:41,640 --> 00:55:44,440
Speaker 3: Mian Mew says, I had a professor who predicted that

1018
00:55:44,560 --> 00:55:48,920
Speaker 3: black holes would eventually devour the entire universe. And then

1019
00:55:49,000 --> 00:55:52,040
Speaker 3: Piser says, every time I see one of those things,

1020
00:55:52,040 --> 00:55:54,960
Speaker 3: I expect to spot some guy in red with horns

1021
00:55:55,000 --> 00:55:58,920
Speaker 3: and a pitchfork. Then Captain Dan, the last of the humans,

1022
00:55:59,000 --> 00:56:02,279
Speaker 3: chimes in least expressive of everybody. He just says, it's

1023
00:56:02,280 --> 00:56:06,720
Speaker 3: a monster, all right. But there's a twist. Not only

1024
00:56:06,719 --> 00:56:08,560
Speaker 3: are they in the presence of a gigantic black hole,

1025
00:56:08,560 --> 00:56:12,240
Speaker 3: there appears to be a huge spaceship bobbing in space

1026
00:56:12,360 --> 00:56:15,640
Speaker 3: right next to it. How is that possible? Well, scans

1027
00:56:15,680 --> 00:56:19,120
Speaker 3: revealed this ship is the USS Signus, a ship that

1028
00:56:19,200 --> 00:56:21,760
Speaker 3: was sent out on a mission years ago to discover

1029
00:56:21,920 --> 00:56:25,839
Speaker 3: habitable life in outer space. That's what they say habitable

1030
00:56:25,960 --> 00:56:28,759
Speaker 3: life in outer space. I think that line needs an edit.

1031
00:56:29,760 --> 00:56:33,960
Speaker 3: Maybe the habitable planets or life, I don't know. But

1032
00:56:34,080 --> 00:56:37,720
Speaker 3: it turns out doctor Kate McCrae's father was a crew

1033
00:56:37,760 --> 00:56:40,959
Speaker 3: member on the Signas before it went missing. So could

1034
00:56:41,000 --> 00:56:43,160
Speaker 3: it be that he is still alive on the ship

1035
00:56:43,200 --> 00:56:46,960
Speaker 3: they just stumbled across. Perhaps we learn a bit more

1036
00:56:47,000 --> 00:56:50,200
Speaker 3: about the background of this ship. I think Ernest Borgnin

1037
00:56:50,239 --> 00:56:52,960
Speaker 3: and Anthony Perkins say things about it. So the mission

1038
00:56:53,080 --> 00:56:59,200
Speaker 3: was led by doctor Heinz, doctor Hans Reinhardt, a brilliant

1039
00:56:59,200 --> 00:57:04,360
Speaker 3: but egotistic scientist, and Harry describes how Reinehart talked the

1040
00:57:04,360 --> 00:57:08,000
Speaker 3: authorities into funding his mission of space exploration, only to

1041
00:57:08,200 --> 00:57:11,600
Speaker 3: ignore orders to return to Earth when the mission was recalled.

1042
00:57:12,160 --> 00:57:16,840
Speaker 3: But doctor Durant, that's Anthony Perkins is obviously a Rehinehart superfan,

1043
00:57:16,920 --> 00:57:19,560
Speaker 3: and he says, well, maybe the order to return never

1044
00:57:19,640 --> 00:57:22,480
Speaker 3: got through to the ship. He wouldn't disobey an order

1045
00:57:22,520 --> 00:57:25,280
Speaker 3: from mission control. He's a genius and a great man.

1046
00:57:26,960 --> 00:57:31,200
Speaker 2: He'll continue to move the goalpost on this judgment throughout

1047
00:57:31,240 --> 00:57:31,720
Speaker 2: the picture.

1048
00:57:31,960 --> 00:57:33,959
Speaker 3: So they decided to go in for a closer look.

1049
00:57:34,760 --> 00:57:38,520
Speaker 3: Gravitational forces rattle the Palomino as they get as they approach,

1050
00:57:38,920 --> 00:57:42,680
Speaker 3: and when they get close to the sickness, suddenly there

1051
00:57:42,800 --> 00:57:47,280
Speaker 3: is quote zero gravity, smooth as glass, but there's no

1052
00:57:47,320 --> 00:57:50,160
Speaker 3: sign of life or activity on board, and the gravity

1053
00:57:50,200 --> 00:57:53,400
Speaker 3: returns once they pass by on the other side. And

1054
00:57:53,640 --> 00:57:55,880
Speaker 3: this leads to what I honestly thought was kind of

1055
00:57:55,880 --> 00:57:59,040
Speaker 3: a tedious action scene where the Palomino is just getting

1056
00:57:59,160 --> 00:58:02,280
Speaker 3: damaged after it gets gravity blasted, and then Vincent has

1057
00:58:02,320 --> 00:58:05,600
Speaker 3: to go outside the ship on a tether to do repairs.

1058
00:58:05,720 --> 00:58:08,320
Speaker 3: It did not really thrill my soul. I will say

1059
00:58:08,320 --> 00:58:10,240
Speaker 3: I like the look of the Signas a lot. I

1060
00:58:10,240 --> 00:58:13,080
Speaker 3: think the Signess looks nice and spooky. It has this

1061
00:58:13,200 --> 00:58:16,560
Speaker 3: kind of like kind of scaffolding look to it, with

1062
00:58:16,880 --> 00:58:18,160
Speaker 3: like this inner glow.

1063
00:58:18,600 --> 00:58:20,680
Speaker 2: Little later, when we first encounter it's not glowing at all,

1064
00:58:20,720 --> 00:58:23,320
Speaker 2: but eventually it gets a glow to it and it

1065
00:58:23,360 --> 00:58:25,040
Speaker 2: has a pretty creepy look throughout.

1066
00:58:25,520 --> 00:58:27,800
Speaker 3: I actually did like that. Yeah, So the look of

1067
00:58:27,880 --> 00:58:31,440
Speaker 3: the Palomino and this whole action scene with the repairs

1068
00:58:31,600 --> 00:58:33,680
Speaker 3: is I could take it, take it, or leave. But

1069
00:58:33,800 --> 00:58:36,000
Speaker 3: when they get back to the Signas and the ship

1070
00:58:36,080 --> 00:58:38,320
Speaker 3: lights up, I thought this was one of the better

1071
00:58:38,680 --> 00:58:41,200
Speaker 3: pieces of imagery in the movie, Like you say, it

1072
00:58:41,200 --> 00:58:45,440
Speaker 3: has this skeletal outer framework of struts and bars, almost

1073
00:58:45,440 --> 00:58:49,680
Speaker 3: like a cage, surrounding an inner surface membrane that glows

1074
00:58:49,720 --> 00:58:52,640
Speaker 3: with yellow light, kind of like a paper lantern, I thought,

1075
00:58:52,680 --> 00:58:56,000
Speaker 3: and I liked that a lot. So anyway, they kind

1076
00:58:56,000 --> 00:58:58,000
Speaker 3: of they fly around the Signas and they zoom and

1077
00:58:58,120 --> 00:59:01,360
Speaker 3: enhance a view screen photo a window from the ship,

1078
00:59:01,400 --> 00:59:04,040
Speaker 3: and they see a shadowy figure. So Kate concludes that

1079
00:59:04,120 --> 00:59:08,680
Speaker 3: there are people on board, and Captain Dan is apprehensive,

1080
00:59:08,760 --> 00:59:10,720
Speaker 3: but their ship is damaged, so they don't really have

1081
00:59:10,760 --> 00:59:12,480
Speaker 3: a choice. They go and dock with the Signas so

1082
00:59:12,520 --> 00:59:15,520
Speaker 3: they can do repairs. And once they dock, they discover

1083
00:59:15,640 --> 00:59:19,200
Speaker 3: they quote have gravity, which means that for the rest

1084
00:59:19,240 --> 00:59:21,200
Speaker 3: of the movie. Yeah, they'll just be walking around, no

1085
00:59:21,760 --> 00:59:22,920
Speaker 3: more wire rigs needed.

1086
00:59:23,320 --> 00:59:25,000
Speaker 2: It's nice to go ahead and take the pressure off

1087
00:59:25,040 --> 00:59:27,800
Speaker 2: of everybody. Yeah, you don't have to have Borg nine

1088
00:59:27,840 --> 00:59:29,440
Speaker 2: wired for the entire movie.

1089
00:59:29,880 --> 00:59:34,560
Speaker 3: Seems like a budget conscious rewrite. Yeah, So they head

1090
00:59:34,600 --> 00:59:36,840
Speaker 3: on board the Signas on foot, and then after some

1091
00:59:37,000 --> 00:59:41,760
Speaker 3: ominous investigation of deserted hangars and corridors and riding around

1092
00:59:41,840 --> 00:59:44,160
Speaker 3: on a zippy little go cart, they eventually take an

1093
00:59:44,160 --> 00:59:46,240
Speaker 3: elevator up to the control room, and I thought the

1094
00:59:46,280 --> 00:59:50,120
Speaker 3: control room looked very cool. It is populated by hundreds

1095
00:59:50,120 --> 00:59:54,640
Speaker 3: of blinking lights and screens, and these stations operated by

1096
00:59:54,800 --> 00:59:59,080
Speaker 3: unspeaking hooded figures that we see only in silhouette, and

1097
00:59:59,120 --> 01:00:03,000
Speaker 3: then upon a layer of scaffolding above them. In the room,

1098
01:00:03,320 --> 01:00:06,520
Speaker 3: there are more hooded figures who appear to be constructing

1099
01:00:06,720 --> 01:00:09,600
Speaker 3: glowing planets. In the middle of the room. There's one

1100
01:00:09,680 --> 01:00:12,680
Speaker 3: blue and one the color of flames. I liked it.

1101
01:00:13,240 --> 01:00:16,200
Speaker 2: Yeah, this whole sequence is beautiful to look at. It

1102
01:00:16,240 --> 01:00:20,479
Speaker 2: has that yeah that seventies imagineer vibe to it, lots

1103
01:00:20,520 --> 01:00:23,960
Speaker 2: of color and uh yeah, totally solid.

1104
01:00:24,400 --> 01:00:27,520
Speaker 3: Here we meet a couple of figures. First, a floating

1105
01:00:27,760 --> 01:00:31,640
Speaker 3: humming robot made of red plate metal with a horizontal

1106
01:00:31,840 --> 01:00:35,479
Speaker 3: glowing red visor where his eyes should be. He looks

1107
01:00:35,560 --> 01:00:38,600
Speaker 3: kind of like a Cylon Actually, and Battlestar Galactica was

1108
01:00:38,640 --> 01:00:41,240
Speaker 3: out by this point, I guess similar with like the

1109
01:00:41,280 --> 01:00:42,040
Speaker 3: bars for.

1110
01:00:42,040 --> 01:00:47,880
Speaker 2: The eyes, similar but far superior. The original Cylons look

1111
01:00:48,160 --> 01:00:49,440
Speaker 2: kind of I mean, they have that kind of like

1112
01:00:49,520 --> 01:00:52,600
Speaker 2: clunky like suit of armor look to them.

1113
01:00:52,720 --> 01:00:52,959
Speaker 6: Wow.

1114
01:00:53,520 --> 01:00:58,360
Speaker 2: Maximilian. Here, as we'll learn he's called it's God, I

1115
01:00:58,400 --> 01:01:01,000
Speaker 2: don't know, he's like a he's as much symbol as

1116
01:01:01,240 --> 01:01:04,160
Speaker 2: as artifice, you know, Like there's something about just like

1117
01:01:04,200 --> 01:01:07,800
Speaker 2: the profile he cuts. It's just so clean but also

1118
01:01:08,160 --> 01:01:11,360
Speaker 2: hard to distinguish, Like like he has appears to have

1119
01:01:11,400 --> 01:01:14,000
Speaker 2: what like three arms per arm, Like each of his

1120
01:01:14,120 --> 01:01:17,720
Speaker 2: arms splits out at the elbow into three different multipurpose

1121
01:01:18,560 --> 01:01:21,320
Speaker 2: tools I think only two of which we really get

1122
01:01:21,320 --> 01:01:25,040
Speaker 2: to see in action. So and it's just it's streamlined.

1123
01:01:25,080 --> 01:01:26,960
Speaker 2: Like I was thinking, like if they if they did

1124
01:01:26,960 --> 01:01:29,160
Speaker 2: a remake of certainly if they had done a remake

1125
01:01:29,240 --> 01:01:31,959
Speaker 2: of Black Hole in the last ten years, they would

1126
01:01:31,960 --> 01:01:34,960
Speaker 2: have made this design overly complex. You know, this robot

1127
01:01:35,000 --> 01:01:37,880
Speaker 2: would have looked like a transformer or something, or like

1128
01:01:37,920 --> 01:01:43,480
Speaker 2: the the the Lost in Space robot is. It's been reconceptualized,

1129
01:01:43,760 --> 01:01:46,640
Speaker 2: and if you added more to Maximilian you would take

1130
01:01:46,680 --> 01:01:48,920
Speaker 2: something away from him. There's just something about the way

1131
01:01:48,960 --> 01:01:52,040
Speaker 2: he's so streamlined. He's just perfect.

1132
01:01:52,840 --> 01:01:55,240
Speaker 3: Yes, he's also sort of a devil, isn't he. I

1133
01:01:55,320 --> 01:01:57,840
Speaker 3: Mean that's a little bit obvious with the red, but

1134
01:01:57,920 --> 01:02:00,560
Speaker 3: he does cut the figure kind of a demon or

1135
01:02:00,600 --> 01:02:05,080
Speaker 3: an ARCon. Yeah, but his smoothness is kind of key.

1136
01:02:05,160 --> 01:02:05,360
Speaker 4: Yeah.

1137
01:02:05,400 --> 01:02:09,320
Speaker 3: I like that. He's not a highly textured creature. Anyway,

1138
01:02:09,360 --> 01:02:12,000
Speaker 3: he approaches them, or this robot approaches them, and then

1139
01:02:12,120 --> 01:02:15,920
Speaker 3: Vincent is like, I identify yourself, but instead he just

1140
01:02:15,960 --> 01:02:18,840
Speaker 3: turns his hands into propellers and begins to menace. He

1141
01:02:18,880 --> 01:02:22,040
Speaker 3: goes into menace mode with spinning blades.

1142
01:02:22,480 --> 01:02:25,160
Speaker 2: I mean, it's basically what the Lisa Simpson approached. Right.

1143
01:02:25,200 --> 01:02:28,080
Speaker 2: I'm going to start doing this and riving towards you,

1144
01:02:28,120 --> 01:02:29,720
Speaker 2: and it's up to you what happens next.

1145
01:02:29,960 --> 01:02:32,480
Speaker 3: Except my hands are like blender blades.

1146
01:02:32,760 --> 01:02:34,040
Speaker 2: Yeah.

1147
01:02:34,080 --> 01:02:36,680
Speaker 3: And then there is a man in the shadows, reclining

1148
01:02:36,720 --> 01:02:38,919
Speaker 3: in a command chair who calls out to the crew

1149
01:02:38,960 --> 01:02:42,120
Speaker 3: in a German accent, and he knows their names, he

1150
01:02:42,200 --> 01:02:45,280
Speaker 3: knows their mission. He has been monitoring their every move.

1151
01:02:45,640 --> 01:02:49,680
Speaker 3: This is doctor Hans Reindhart, the brilliant scientist idolized by

1152
01:02:49,720 --> 01:02:53,760
Speaker 3: Anthony Perkins. He explains that mister propeller hands here is

1153
01:02:53,800 --> 01:02:57,440
Speaker 3: indeed Maximilian and that he will obey Rinhart's every command.

1154
01:02:58,080 --> 01:03:00,439
Speaker 3: So when we meet Reinhart, he has wild, old hair,

1155
01:03:00,600 --> 01:03:04,000
Speaker 3: thick beard, wears an unbuttoned lab coat. I guess with

1156
01:03:04,040 --> 01:03:05,600
Speaker 3: his hair they would have made him cut it if

1157
01:03:05,640 --> 01:03:09,160
Speaker 3: he was on board the Palomino, but fortunately he wasn't.

1158
01:03:10,080 --> 01:03:14,240
Speaker 3: He's got the German accent fairly overt shades of mad scientists,

1159
01:03:14,240 --> 01:03:16,120
Speaker 3: which is kind of odd because I think they're trying

1160
01:03:16,160 --> 01:03:20,280
Speaker 3: to do the captain nemo ambiguity. Where is this our

1161
01:03:20,400 --> 01:03:24,160
Speaker 3: dangerous captor or our admirable host? Which is he?

1162
01:03:24,600 --> 01:03:26,840
Speaker 2: Yeah, it seems like they should have had him tone

1163
01:03:26,880 --> 01:03:29,560
Speaker 2: it down a little bit, especially since the dialogue from

1164
01:03:29,600 --> 01:03:31,919
Speaker 2: the crew members. They keep being like, oh, we can't

1165
01:03:31,920 --> 01:03:34,160
Speaker 2: trust this guy. I don't know about this guy seems

1166
01:03:34,160 --> 01:03:36,080
Speaker 2: a bit squirrely. But it's like, well, yeah, that the

1167
01:03:36,120 --> 01:03:39,400
Speaker 2: performance is squirrely, maybe you should have had the performance

1168
01:03:39,440 --> 01:03:40,080
Speaker 2: less squarely.

1169
01:03:40,200 --> 01:03:43,720
Speaker 3: Yeah, And well they immediately have him. Not immediately, but

1170
01:03:43,800 --> 01:03:45,959
Speaker 3: early on. He's saying things like I'm about to prove

1171
01:03:46,000 --> 01:03:48,480
Speaker 3: to you that the end justifies the means.

1172
01:03:49,960 --> 01:03:52,680
Speaker 2: Yeah. He has some great lines and this there's one

1173
01:03:52,760 --> 01:03:55,000
Speaker 2: that he says later on. He says, it's about time

1174
01:03:55,000 --> 01:03:58,320
Speaker 2: that people learn about their failures and my successes. Yes,

1175
01:03:59,560 --> 01:04:01,760
Speaker 2: he has a million of him. He's been thinking him

1176
01:04:01,840 --> 01:04:04,360
Speaker 2: up by himself on the ship for what twenty years.

1177
01:04:04,600 --> 01:04:06,720
Speaker 3: He's had a lot of time. We're hanging out only

1178
01:04:06,760 --> 01:04:07,920
Speaker 3: with robots.

1179
01:04:07,760 --> 01:04:10,320
Speaker 2: At least twenty years, because this film doesn't really get

1180
01:04:10,320 --> 01:04:12,640
Speaker 2: into it. But if he's really hanging out next to

1181
01:04:12,840 --> 01:04:17,000
Speaker 2: a massive black hole, I mean, the time's gonna go

1182
01:04:17,080 --> 01:04:18,800
Speaker 2: a little weird on this ship. Right.

1183
01:04:19,160 --> 01:04:21,120
Speaker 3: Wait, does that mean it would be longer for him

1184
01:04:21,200 --> 01:04:23,600
Speaker 3: or shorter for him? I forget which way would go.

1185
01:04:23,680 --> 01:04:27,240
Speaker 3: You're near a large, massive object, So I think that

1186
01:04:27,320 --> 01:04:30,480
Speaker 3: means his experience of time would be faster compared to

1187
01:04:31,120 --> 01:04:32,600
Speaker 3: the outside frame of reference.

1188
01:04:32,920 --> 01:04:35,080
Speaker 2: Oh yes, so he would have less time to think

1189
01:04:35,160 --> 01:04:38,040
Speaker 2: ups to say to his guest slash captives.

1190
01:04:38,280 --> 01:04:40,760
Speaker 3: But they do not address time dilation at all in

1191
01:04:40,840 --> 01:04:44,320
Speaker 3: this film. But anyway, so he recognizes always like, hey,

1192
01:04:44,320 --> 01:04:46,960
Speaker 3: it's doctor Kate McCrae. I knew your dad. He worked

1193
01:04:47,000 --> 01:04:49,680
Speaker 3: on this ship. He's dead now. I'm sorry about that.

1194
01:04:49,720 --> 01:04:52,520
Speaker 3: He was my most trusted friend, but he perished long ago.

1195
01:04:53,160 --> 01:04:55,240
Speaker 3: And then he gets up in doctor mccray's face and

1196
01:04:55,280 --> 01:04:58,320
Speaker 3: he starts telling her that she has the same eyes,

1197
01:04:59,000 --> 01:05:00,000
Speaker 3: the same eyes.

1198
01:05:02,480 --> 01:05:05,120
Speaker 2: Should we trust this guy? Sure cher, He seems finey,

1199
01:05:05,120 --> 01:05:05,960
Speaker 2: he's a brilliant silence.

1200
01:05:06,400 --> 01:05:09,080
Speaker 3: Well, so they're like, hey, where's the rest of your crew?

1201
01:05:09,760 --> 01:05:14,680
Speaker 3: He says, oh, they didn't make it. Back. He claims

1202
01:05:14,720 --> 01:05:17,919
Speaker 3: they were commanded to return to Earth and the ship

1203
01:05:18,000 --> 01:05:22,120
Speaker 3: was damaged by meteorites, so he stayed behind, but sent

1204
01:05:22,200 --> 01:05:25,080
Speaker 3: the surviving crew back to Earth in the escape pod.

1205
01:05:25,760 --> 01:05:28,760
Speaker 3: And since then he's just been here alone, aided by

1206
01:05:28,760 --> 01:05:32,560
Speaker 3: the robots that he constructed, which include these strange hooded

1207
01:05:32,600 --> 01:05:35,360
Speaker 3: monk figures operating the control room all around them.

1208
01:05:36,040 --> 01:05:39,320
Speaker 2: Yeah, they have these cool like reflective mirror faces like

1209
01:05:39,360 --> 01:05:41,960
Speaker 2: they should be like, I don't know, back up for

1210
01:05:42,200 --> 01:05:44,160
Speaker 2: daft punk. It's a cool look.

1211
01:05:44,440 --> 01:05:46,720
Speaker 3: So there are those robots with the hoods and the

1212
01:05:47,160 --> 01:05:50,240
Speaker 3: mirror masks, and then there are the Sentry robots who

1213
01:05:50,240 --> 01:05:54,360
Speaker 3: are like burgundy colored robots armed with laser guns. There

1214
01:05:54,400 --> 01:05:57,320
Speaker 3: they're gonna be your Imperial Stormtroopers of the movie.

1215
01:05:57,720 --> 01:06:01,880
Speaker 2: Yeah, yeah, and they definitely like robots, like they're doing

1216
01:06:01,920 --> 01:06:04,960
Speaker 2: the robot dance the whole time, to the point where

1217
01:06:04,960 --> 01:06:05,720
Speaker 2: it's a little silly.

1218
01:06:06,240 --> 01:06:10,520
Speaker 3: Also, the scene establishes a rivalry between Vincent and Maximilian.

1219
01:06:10,680 --> 01:06:13,840
Speaker 3: They at once they do not like each other, and

1220
01:06:13,880 --> 01:06:16,640
Speaker 3: they keep locking horns and you can tell there's going

1221
01:06:16,680 --> 01:06:19,320
Speaker 3: to be a payoff of this relationship. But it's kind

1222
01:06:19,320 --> 01:06:22,919
Speaker 3: of strange because at first they're just like repeatedly sort

1223
01:06:22,920 --> 01:06:25,160
Speaker 3: of getting like puffing their chests up at each other

1224
01:06:25,280 --> 01:06:25,880
Speaker 3: over nothing.

1225
01:06:26,360 --> 01:06:28,440
Speaker 2: Yeah. I do love the scene where they do it

1226
01:06:28,440 --> 01:06:31,560
Speaker 2: in the elevator and like they're just having the face

1227
01:06:31,640 --> 01:06:34,560
Speaker 2: off and Vincent's probably mouthing off, and then Maximilian just

1228
01:06:34,600 --> 01:06:37,200
Speaker 2: turns upside down because he's a free floating robot, and

1229
01:06:38,040 --> 01:06:40,440
Speaker 2: then Vincent starts doing the same thing and doing circles.

1230
01:06:40,480 --> 01:06:42,160
Speaker 2: It's I don't know, it just struck me as like

1231
01:06:42,600 --> 01:06:46,640
Speaker 2: it's nice and weird that the robots have their own

1232
01:06:46,880 --> 01:06:51,640
Speaker 2: like physical zero gravity language for talking smack to each other.

1233
01:06:52,120 --> 01:06:54,840
Speaker 3: I agree, Yeah, it was hard to determine exactly what

1234
01:06:54,880 --> 01:06:56,880
Speaker 3: that meant, but you got the gist.

1235
01:06:57,400 --> 01:06:57,800
Speaker 2: Yeah.

1236
01:06:57,920 --> 01:07:00,880
Speaker 3: So anyway, Ryan Hart does the captain sort of thing,

1237
01:07:01,040 --> 01:07:04,600
Speaker 3: like he's like, oh, consider yourself, my guests. You know

1238
01:07:04,640 --> 01:07:08,040
Speaker 3: you're here my guests on the signas there'll be dinner later,

1239
01:07:09,480 --> 01:07:12,400
Speaker 3: and Captain Dan says that they're gonna they're not going

1240
01:07:12,440 --> 01:07:15,040
Speaker 3: to impose on his hospitality. They just need to repair

1241
01:07:15,080 --> 01:07:17,280
Speaker 3: their ship and then they'll be on their way. Of course,

1242
01:07:17,520 --> 01:07:20,400
Speaker 3: they'll offer doctor Reinhardt a lift back to Earth. But

1243
01:07:20,520 --> 01:07:22,600
Speaker 3: he scoffs at this. He's like, why would I want

1244
01:07:22,600 --> 01:07:24,960
Speaker 3: to return to Earth. I'm on the brink of amazing

1245
01:07:25,040 --> 01:07:29,800
Speaker 3: scientific discoveries here, because he says if his ship moves

1246
01:07:29,840 --> 01:07:31,680
Speaker 3: just a bit closer to the black hole, yes it

1247
01:07:31,760 --> 01:07:35,680
Speaker 3: will be destroyed, but he has developed anti gravity technology

1248
01:07:35,720 --> 01:07:38,240
Speaker 3: that keeps him a stable distance away from it, and

1249
01:07:38,280 --> 01:07:41,080
Speaker 3: he implies that he is about to make some kind

1250
01:07:41,080 --> 01:07:43,720
Speaker 3: of discovery with regards to the black hole that will

1251
01:07:43,800 --> 01:07:48,520
Speaker 3: change everything. So Dan, Peiser and Vincent head off with

1252
01:07:48,600 --> 01:07:52,400
Speaker 3: Maximilian to repair the ship. Doctors Durant and McCrae and

1253
01:07:52,560 --> 01:07:56,160
Speaker 3: Ernest borgnine hang out to learn about Reinhardt's scientific discoveries,

1254
01:07:56,440 --> 01:07:59,640
Speaker 3: which they will convey back to Earth for him, and

1255
01:07:59,760 --> 01:08:01,520
Speaker 3: this sort of the end of act one, and it

1256
01:08:01,600 --> 01:08:03,560
Speaker 3: kicks off a middle section of the movie with the

1257
01:08:03,640 --> 01:08:07,480
Speaker 3: characters in various capacities traveling around the ship, learning and

1258
01:08:07,560 --> 01:08:12,800
Speaker 3: observing strange things. So as first you got Maximilian. He

1259
01:08:12,880 --> 01:08:16,280
Speaker 3: leads Dan, Peiser and Vincent around the ship to requisition

1260
01:08:16,400 --> 01:08:19,320
Speaker 3: parts for their repairs, and on the way they observe

1261
01:08:19,439 --> 01:08:23,400
Speaker 3: century robots and hooded monk droids silently marching from place

1262
01:08:23,439 --> 01:08:26,680
Speaker 3: to place. Piser points out, hey, there's a lot of

1263
01:08:26,720 --> 01:08:29,559
Speaker 3: activity going on here. Are they getting ready for something,

1264
01:08:30,080 --> 01:08:32,640
Speaker 3: and then they meet a new robot, a busted up

1265
01:08:32,800 --> 01:08:36,880
Speaker 3: ramshackle robot like Vincent, but this one is named Bob

1266
01:08:37,080 --> 01:08:41,440
Speaker 3: voiced by Slim Pickens. Meanwhile, Reinhart is giving Anthony Perkins,

1267
01:08:41,760 --> 01:08:44,960
Speaker 3: You've met Mimu and Ernest borgnine a tour of the

1268
01:08:45,040 --> 01:08:47,960
Speaker 3: amazing technology he's built on board. He has, like a

1269
01:08:48,000 --> 01:08:53,280
Speaker 3: giant reactor, and Anthony Perkins says, you'll be remembered as

1270
01:08:53,320 --> 01:08:56,519
Speaker 3: one of the greatest space scientists of all time, and

1271
01:08:56,600 --> 01:08:59,160
Speaker 3: rein Hart says, I have never doubted that. Oh yeah,

1272
01:08:59,160 --> 01:09:00,880
Speaker 3: And this is the part where he says that time

1273
01:09:00,920 --> 01:09:03,840
Speaker 3: people learned about their failures and my successes.

1274
01:09:04,760 --> 01:09:06,720
Speaker 2: That's so good. I don't know why I love that

1275
01:09:06,800 --> 01:09:07,519
Speaker 2: line so much.

1276
01:09:07,800 --> 01:09:10,799
Speaker 3: It is really great. But while he's leading them around, meanwhile,

1277
01:09:11,040 --> 01:09:14,320
Speaker 3: Ernest borgnine just sneaks away to explore things for himself.

1278
01:09:14,560 --> 01:09:17,799
Speaker 3: So he finds one room that's I think the control

1279
01:09:17,880 --> 01:09:20,439
Speaker 3: room for the garden where the food is grown for

1280
01:09:20,479 --> 01:09:24,000
Speaker 3: the ship, and he finds a hooded robot operating a

1281
01:09:24,040 --> 01:09:26,040
Speaker 3: machine of some sort and he tries to talk to

1282
01:09:26,040 --> 01:09:28,280
Speaker 3: the robot but it does not respond, and we get

1283
01:09:28,280 --> 01:09:30,800
Speaker 3: a close up on the robot's face under the hood.

1284
01:09:30,840 --> 01:09:33,919
Speaker 3: It has this reflective metal mask, like a mirror surface,

1285
01:09:34,240 --> 01:09:36,439
Speaker 3: and after he tries to talk to it, it leaves

1286
01:09:36,479 --> 01:09:38,760
Speaker 3: the room, limping like it has a broken leg.

1287
01:09:39,720 --> 01:09:43,400
Speaker 2: Yeah, this is interesting because again the century robots all

1288
01:09:43,520 --> 01:09:46,559
Speaker 2: walk like they're doing the robot dance, and this is

1289
01:09:46,600 --> 01:09:48,040
Speaker 2: something distinctly different.

1290
01:09:48,400 --> 01:09:51,479
Speaker 3: At the same time, Captain Dan he's riding the trolley

1291
01:09:51,479 --> 01:09:54,400
Speaker 3: around and he sees a group of hooded robots carrying

1292
01:09:54,439 --> 01:09:57,600
Speaker 3: a large container between them, almost like a coffin in

1293
01:09:57,640 --> 01:10:01,040
Speaker 3: a funeral procession, and he follows them. He walks through

1294
01:10:01,080 --> 01:10:04,240
Speaker 3: a large hall of personal quarters with human beds and

1295
01:10:04,320 --> 01:10:07,400
Speaker 3: offices and closets full of clothes, but it's all empty

1296
01:10:07,400 --> 01:10:10,560
Speaker 3: of human life. Finally, he catches up to the robots

1297
01:10:10,640 --> 01:10:13,840
Speaker 3: and they gather in a solemn formation in a room

1298
01:10:13,880 --> 01:10:17,479
Speaker 3: with external windows, and they launch the container into space,

1299
01:10:17,600 --> 01:10:20,840
Speaker 3: in fact, into the black hole. It goes into the

1300
01:10:20,840 --> 01:10:24,599
Speaker 3: black hole. It really looks like a funeral And then

1301
01:10:24,680 --> 01:10:28,120
Speaker 3: suddenly Captain Dan is caught by Maximilian. He sneaks up

1302
01:10:28,160 --> 01:10:31,639
Speaker 3: behind him and opens a door, but Captain Dan stays

1303
01:10:31,760 --> 01:10:33,600
Speaker 3: very cool. He just says like, must have made a

1304
01:10:33,600 --> 01:10:34,200
Speaker 3: wrong turn.

1305
01:10:34,320 --> 01:10:37,519
Speaker 2: Max Ah, He's so smooth. I love it, like, you know,

1306
01:10:37,560 --> 01:10:40,480
Speaker 2: Maximilian would have just guided him with one of those

1307
01:10:40,280 --> 01:10:42,800
Speaker 2: those the fan blade hands, but he was just so

1308
01:10:42,920 --> 01:10:44,280
Speaker 2: cool about it. He's like, oh, I guess he really

1309
01:10:44,320 --> 01:10:48,880
Speaker 2: did make wrong turn. He's back on track now.

1310
01:10:47,640 --> 01:10:50,200
Speaker 3: But things are really starting to add up that something

1311
01:10:50,240 --> 01:10:53,760
Speaker 3: isn't right. While doing repairs on the Palomino, Captain Dan

1312
01:10:53,920 --> 01:10:57,400
Speaker 3: tells Piser what he saw, and Piser scoffs. He says,

1313
01:10:57,400 --> 01:11:01,040
Speaker 3: nobody has a funeral for a robot, and Dan says,

1314
01:11:01,200 --> 01:11:04,120
Speaker 3: I don't know if it was a robot now here,

1315
01:11:04,200 --> 01:11:06,000
Speaker 3: I think it's It would be good to do a

1316
01:11:06,000 --> 01:11:10,520
Speaker 3: little sidebar on this movie's take on the personhood of robots.

1317
01:11:11,000 --> 01:11:15,519
Speaker 3: Sometimes robots in the Black Hole are treated exactly the

1318
01:11:15,560 --> 01:11:19,440
Speaker 3: same as people. Robert Forster at one point says directly

1319
01:11:19,479 --> 01:11:22,559
Speaker 3: that Vincent is quote one of us. It's like when

1320
01:11:22,560 --> 01:11:26,600
Speaker 3: he's outside working on the ship and they're like, oh, no,

1321
01:11:26,760 --> 01:11:28,280
Speaker 3: he's going to get lost. We've got to go out

1322
01:11:28,280 --> 01:11:30,320
Speaker 3: and save him. And Pizer says, what if it was

1323
01:11:30,360 --> 01:11:33,960
Speaker 3: one of us out there? And Captain Dan says he

1324
01:11:34,160 --> 01:11:37,200
Speaker 3: is one of us. And at the same time, Maximilian

1325
01:11:37,320 --> 01:11:41,680
Speaker 3: is depicted as having the quality of moral evil and malice,

1326
01:11:41,800 --> 01:11:45,799
Speaker 3: not just like bad programming and the Vincent style robots.

1327
01:11:45,880 --> 01:11:49,920
Speaker 3: Vincent and Bob both have clear personalities and hopes and desires.

1328
01:11:50,400 --> 01:11:53,160
Speaker 3: But on the other hand, several major plot points and

1329
01:11:53,200 --> 01:11:56,880
Speaker 3: conversations seem to hinge on the idea that robots do

1330
01:11:56,960 --> 01:12:01,000
Speaker 3: not have thoughts or feelings or desires or humaneanity, like

1331
01:12:01,040 --> 01:12:03,840
Speaker 3: the why have a funeral for a robot point? From

1332
01:12:03,880 --> 01:12:06,479
Speaker 3: what I could tell, the movie's view on this issue

1333
01:12:06,560 --> 01:12:09,080
Speaker 3: was just incoherent, Like it didn't seem to me to

1334
01:12:09,200 --> 01:12:13,040
Speaker 3: reflect a conscious choice to portray the issue as complex.

1335
01:12:13,120 --> 01:12:15,519
Speaker 3: It just kind of felt like an oversight. But it

1336
01:12:15,600 --> 01:12:19,439
Speaker 3: seems like this is another thing that with some tweaking

1337
01:12:19,479 --> 01:12:22,240
Speaker 3: of the story, this could have been really interesting to explore.

1338
01:12:22,840 --> 01:12:25,880
Speaker 2: Yeah, especially when you factor in the esp angle as well.

1339
01:12:26,160 --> 01:12:29,000
Speaker 3: Yeah, there's another thing that it just kind of seems

1340
01:12:29,040 --> 01:12:30,920
Speaker 3: like it's tossed out there, but it could have been

1341
01:12:31,000 --> 01:12:34,919
Speaker 3: very interesting. Like Vincent, the robot at one point claims

1342
01:12:34,960 --> 01:12:37,879
Speaker 3: to hate the company of robots, like he can't stand

1343
01:12:38,040 --> 01:12:42,920
Speaker 3: his own kind of being they're like cats. Yeah, anyway,

1344
01:12:43,000 --> 01:12:45,519
Speaker 3: Dan is wary. He thinks they should get the repairs done,

1345
01:12:45,560 --> 01:12:51,360
Speaker 3: get away from Reinhart as fast as they can Meanwhile, Reinhart, Durant,

1346
01:12:51,400 --> 01:12:53,559
Speaker 3: and McCrae are up in the control room and they're

1347
01:12:53,600 --> 01:12:57,080
Speaker 3: just trading epithets about black holes like it's the deadliest

1348
01:12:57,200 --> 01:13:01,160
Speaker 3: force in the universe, the long dark hunnle to nowhere,

1349
01:13:01,640 --> 01:13:07,080
Speaker 3: and then Reinhart goes or somewhere, and it's like, Okay,

1350
01:13:07,120 --> 01:13:09,680
Speaker 3: I'm starting to get the feeling that despite inventing the

1351
01:13:09,760 --> 01:13:12,840
Speaker 3: anti gravity that allows him to stay above it, Reinhart

1352
01:13:12,880 --> 01:13:14,800
Speaker 3: wants to fall into the black hole.

1353
01:13:15,280 --> 01:13:17,840
Speaker 2: It's like having a cannon on the stage, right you

1354
01:13:17,880 --> 01:13:20,840
Speaker 2: introduce a black hole or a wormhole or what have you.

1355
01:13:21,280 --> 01:13:24,920
Speaker 2: Somebody's going in there, like having an acid vat or

1356
01:13:25,040 --> 01:13:28,800
Speaker 2: a pool of piranhas if you will.

1357
01:13:28,400 --> 01:13:32,679
Speaker 3: Right right, Okay, So a few scenes to briefly mention.

1358
01:13:32,800 --> 01:13:35,479
Speaker 3: There's the laser blasting scene with Vincent, Bob and the

1359
01:13:35,479 --> 01:13:37,920
Speaker 3: Century robots where they're just sort of like doing the

1360
01:13:38,280 --> 01:13:41,320
Speaker 3: doing sort of carnival game sharp shooting. We get to

1361
01:13:41,320 --> 01:13:43,320
Speaker 3: know a bit about Bob here, the robot played by

1362
01:13:43,360 --> 01:13:44,160
Speaker 3: Slim Pickens.

1363
01:13:45,040 --> 01:13:45,240
Speaker 4: Rob.

1364
01:13:45,280 --> 01:13:47,200
Speaker 3: You mentioned you liked the scene. I found it not

1365
01:13:47,400 --> 01:13:50,240
Speaker 3: very exciting, or at least parts where it's kind of

1366
01:13:50,240 --> 01:13:53,000
Speaker 3: a special effects showcase again for effects that look kind

1367
01:13:53,000 --> 01:13:55,879
Speaker 3: of uninteresting today. But I did like slim Pickens.

1368
01:13:56,280 --> 01:14:00,000
Speaker 2: Slim Pickens brings a lot of personality to this role ofvious.

1369
01:14:01,000 --> 01:14:01,200
Speaker 6: Yeah.

1370
01:14:01,240 --> 01:14:05,679
Speaker 2: The actual laser blasting is very mediocre by pretty much

1371
01:14:05,720 --> 01:14:09,880
Speaker 2: I think any even contemporary standards. But what I liked

1372
01:14:10,080 --> 01:14:12,400
Speaker 2: was like the sudden twist of like, oh man Vincent

1373
01:14:12,560 --> 01:14:15,040
Speaker 2: is it is kind of a meanie. He's oh, he

1374
01:14:15,120 --> 01:14:16,760
Speaker 2: really doesn't like other robots.

1375
01:14:17,040 --> 01:14:19,360
Speaker 3: I did like that where he yeah, so this is

1376
01:14:19,360 --> 01:14:23,439
Speaker 3: the scene where in the end Vincent kills Star the robot,

1377
01:14:23,439 --> 01:14:25,719
Speaker 3: but it's like a funny funny kills him.

1378
01:14:26,040 --> 01:14:26,560
Speaker 2: Yeah.

1379
01:14:26,680 --> 01:14:30,120
Speaker 3: We also find out the background that Bob had once

1380
01:14:30,280 --> 01:14:34,160
Speaker 3: beat Star in a shooting contest, and slempick and says

1381
01:14:34,479 --> 01:14:37,479
Speaker 3: he had his revenge though he did things to me.

1382
01:14:37,600 --> 01:14:41,280
Speaker 3: I sure don't like to think about what does that mean?

1383
01:14:41,720 --> 01:14:42,160
Speaker 2: I don't know.

1384
01:14:52,320 --> 01:14:55,000
Speaker 3: There's another kind of Captain Nemo E scene where everybody

1385
01:14:55,040 --> 01:14:57,720
Speaker 3: has dinner with Ryan Hart. For this scene, right Heart

1386
01:14:57,800 --> 01:15:01,320
Speaker 3: changes into a red uniform with metal and they're served

1387
01:15:01,320 --> 01:15:05,280
Speaker 3: by hooded robots. They get a fresh mushroom soup and

1388
01:15:05,360 --> 01:15:08,360
Speaker 3: rein Hart. He shows his contempt for Earth. He's like

1389
01:15:08,400 --> 01:15:10,960
Speaker 3: back on Earth, the news is always the same, only

1390
01:15:11,040 --> 01:15:12,080
Speaker 3: the names change.

1391
01:15:12,640 --> 01:15:15,720
Speaker 2: Is this the scene there where they ask borg Nine, like,

1392
01:15:15,720 --> 01:15:20,439
Speaker 2: what's happening on Earth and he's like ana much like, really,

1393
01:15:20,600 --> 01:15:23,080
Speaker 2: there's no news from Earth. Nothing, It's all good.

1394
01:15:24,520 --> 01:15:28,240
Speaker 3: And Reinhart announces his plan to go into the black hole.

1395
01:15:28,360 --> 01:15:33,360
Speaker 3: He says in through and beyond, and then Ernest Borgnine

1396
01:15:33,360 --> 01:15:37,680
Speaker 3: says that's impossible, and ryin Hart says, the word impossible,

1397
01:15:37,800 --> 01:15:40,960
Speaker 3: mister booth is found only in the Dictionary of Fools.

1398
01:15:42,840 --> 01:15:44,799
Speaker 2: Napoleon says that word is not French.

1399
01:15:47,040 --> 01:15:50,679
Speaker 3: But Reinhart he trusts in his own technology. He says,

1400
01:15:50,800 --> 01:15:53,920
Speaker 3: this anti gravity I've invented. It will protect my ship

1401
01:15:53,960 --> 01:15:56,439
Speaker 3: from being crushed as it travels through the black hole,

1402
01:15:56,760 --> 01:15:59,439
Speaker 3: and I'm going to reach other worlds this way. So

1403
01:15:59,520 --> 01:16:02,599
Speaker 3: Rehinehart leaves the room and the Palomino crew discuss all

1404
01:16:02,640 --> 01:16:05,160
Speaker 3: the things they've discovered, you know, they bring up like

1405
01:16:05,200 --> 01:16:07,800
Speaker 3: all the weird stuff, the robot funeral and everything, and

1406
01:16:08,080 --> 01:16:11,880
Speaker 3: Anthony Perkins just keeps making excuses for Ryan Hart. He's

1407
01:16:11,920 --> 01:16:14,599
Speaker 3: basically like, it's not weird. Stop trying to make him

1408
01:16:14,640 --> 01:16:15,240
Speaker 3: seem weird.

1409
01:16:16,400 --> 01:16:20,040
Speaker 2: Yeah, he really keeps moving the goalpost on on whether

1410
01:16:20,040 --> 01:16:21,679
Speaker 2: they should trust this guy or now He's like, well,

1411
01:16:21,880 --> 01:16:24,400
Speaker 2: what if he did disregard orders to return home. I

1412
01:16:24,439 --> 01:16:26,800
Speaker 2: mean he had he had a higher priority here. I

1413
01:16:26,840 --> 01:16:28,200
Speaker 2: mean he's doing great science.

1414
01:16:28,520 --> 01:16:32,160
Speaker 3: Yeah. But later, after only Durant and McCrae are left

1415
01:16:32,160 --> 01:16:35,519
Speaker 3: in the room, they talk about what's going on. Durant says,

1416
01:16:35,560 --> 01:16:37,200
Speaker 3: you know, I want to stay behind now, I want

1417
01:16:37,200 --> 01:16:39,400
Speaker 3: to become one with Ryan Hart. Now we're gonna we're

1418
01:16:39,400 --> 01:16:41,400
Speaker 3: gonna stay here. We're going to go into the black hole.

1419
01:16:41,439 --> 01:16:44,599
Speaker 3: We will journey into the mind of God. And there's

1420
01:16:44,720 --> 01:16:47,040
Speaker 3: this scene. I thought it would be interesting to note

1421
01:16:47,080 --> 01:16:51,200
Speaker 3: the religious themes that are emerging, which don't I don't

1422
01:16:51,240 --> 01:16:54,639
Speaker 3: know if they feel all that intentional in what they

1423
01:16:54,680 --> 01:16:56,600
Speaker 3: add up to. But I do kind of like the

1424
01:16:56,960 --> 01:17:00,439
Speaker 3: strange merging of science and religion that's going on here.

1425
01:17:01,000 --> 01:17:06,040
Speaker 2: Yeah. Yeah, And it definitely continues and intensifies certainly. Yeah,

1426
01:17:06,080 --> 01:17:08,920
Speaker 2: And the film would be less interesting if it did

1427
01:17:08,960 --> 01:17:11,960
Speaker 2: not have this layer. But on the other hand, yet,

1428
01:17:12,439 --> 01:17:17,679
Speaker 2: does it ultimately, like make any kind of intelligible statement

1429
01:17:17,760 --> 01:17:19,479
Speaker 2: or argument. I don't think it does.

1430
01:17:19,760 --> 01:17:21,559
Speaker 3: I don't know if it does, but I but it's

1431
01:17:21,720 --> 01:17:24,600
Speaker 3: fun texture nonetheless, especially the ending. We'll get there in

1432
01:17:24,640 --> 01:17:29,000
Speaker 3: a bit. But anyway, So there are more revelations that come.

1433
01:17:29,080 --> 01:17:32,040
Speaker 3: Bob reveals to Vincent that the hooded robots with mirror

1434
01:17:32,120 --> 01:17:36,200
Speaker 3: faces are not robots. They are humanoids. They are what

1435
01:17:36,360 --> 01:17:39,760
Speaker 3: is left of the crew after they have been transformed

1436
01:17:39,840 --> 01:17:44,160
Speaker 3: by some horrible evil process that Reinhart did to them. Basically,

1437
01:17:44,240 --> 01:17:47,799
Speaker 3: he murdered them all and turned them into robot servants.

1438
01:17:48,280 --> 01:17:51,000
Speaker 3: When they find out all about this, the esp comes back.

1439
01:17:51,160 --> 01:17:55,040
Speaker 3: Vincent uses their psychic connection to fill Kate in. Kate

1440
01:17:55,160 --> 01:17:57,840
Speaker 3: explains what's going on to Anthony Perkins. They're both hanging

1441
01:17:57,880 --> 01:18:01,800
Speaker 3: out with Reinhardt, and Anthony Perkins pulls a mask off

1442
01:18:01,840 --> 01:18:04,720
Speaker 3: of one of the hooded robots to see, revealing a

1443
01:18:04,880 --> 01:18:06,400
Speaker 3: human zombie face.

1444
01:18:06,920 --> 01:18:10,240
Speaker 2: Oh yeah, it's a great moment and also director's cameo

1445
01:18:10,320 --> 01:18:10,720
Speaker 2: by the way.

1446
01:18:11,120 --> 01:18:13,479
Speaker 3: Oh really yeah, oh I didn't know that.

1447
01:18:14,200 --> 01:18:14,439
Speaker 2: Well.

1448
01:18:14,479 --> 01:18:18,519
Speaker 3: This causes Maximilian to do a brutal attack on Anthony Perkins,

1449
01:18:18,520 --> 01:18:20,439
Speaker 3: and we get the we get a human death here.

1450
01:18:20,920 --> 01:18:28,320
Speaker 3: Maximilian like guts Anthony Perkins with propeller hand to the stomach. Nasty, shocking.

1451
01:18:28,600 --> 01:18:32,160
Speaker 3: It feels, I don't know, more brutal than I expected

1452
01:18:32,240 --> 01:18:33,759
Speaker 3: given the movie up to this point.

1453
01:18:34,000 --> 01:18:36,360
Speaker 2: Yeah, I remember being shocked by this as a kid,

1454
01:18:36,479 --> 01:18:38,840
Speaker 2: even though like rewatching it, knowing it was coming and

1455
01:18:38,880 --> 01:18:42,599
Speaker 2: anticipating it, like it's there's no blood and afterwards there's

1456
01:18:42,600 --> 01:18:44,559
Speaker 2: no blood on the claw or it's you know, it's

1457
01:18:44,800 --> 01:18:47,439
Speaker 2: self cleaning or something. I don't know, but there's something

1458
01:18:47,439 --> 01:18:50,160
Speaker 2: about the way they plotted it where doctor Durant has

1459
01:18:50,200 --> 01:18:55,000
Speaker 2: this this this book, this thick book of of of

1460
01:18:55,280 --> 01:18:58,519
Speaker 2: Reinhart's notes to take back to Earth, and he holds

1461
01:18:58,520 --> 01:19:01,920
Speaker 2: that in front of his chest and the buzzsaw hand

1462
01:19:02,040 --> 01:19:04,439
Speaker 2: cuts through that, and we hear it and see it

1463
01:19:04,479 --> 01:19:08,920
Speaker 2: cutting through that, and then it cuts unseen, you know,

1464
01:19:09,000 --> 01:19:11,760
Speaker 2: into his torso and I don't know. It's like having

1465
01:19:11,760 --> 01:19:14,880
Speaker 2: the book violence ahead of the implied physical violence like

1466
01:19:14,960 --> 01:19:15,920
Speaker 2: really helps to sell it.

1467
01:19:16,280 --> 01:19:19,400
Speaker 3: And you see Anthony Perkins's face while this is happened happening.

1468
01:19:19,400 --> 01:19:24,040
Speaker 3: He starts like jiggling around and going like ooh, it's yeah,

1469
01:19:24,080 --> 01:19:28,920
Speaker 3: it's gross. So anyway, after this, Reinhart sort of chastises Maximilian.

1470
01:19:28,960 --> 01:19:31,160
Speaker 3: He's like, you shouldn't have done that murder of a

1471
01:19:31,240 --> 01:19:35,120
Speaker 3: human being. But then another kind of interesting moment, but

1472
01:19:35,160 --> 01:19:37,400
Speaker 3: I don't know if it connects to anything else. He

1473
01:19:37,439 --> 01:19:42,439
Speaker 3: suddenly whispers to Kate, protect me from Maximilian. Oh whoa,

1474
01:19:42,680 --> 01:19:45,120
Speaker 3: that's a great moment. But I didn't know what does

1475
01:19:45,160 --> 01:19:46,920
Speaker 3: this mean? Are we going to learn more about him

1476
01:19:46,920 --> 01:19:50,640
Speaker 3: actually fearing Maximilian? But I don't think we do. Did

1477
01:19:50,720 --> 01:19:52,120
Speaker 3: that connect to anything for you?

1478
01:19:52,760 --> 01:19:55,559
Speaker 2: Nothing in the actual film. It made me wonder about

1479
01:19:55,600 --> 01:19:58,320
Speaker 2: all sorts of stuff, especially the whole ESP angle. And

1480
01:19:58,439 --> 01:20:01,000
Speaker 2: you know the idea that you know, clear Maximilian is

1481
01:20:01,000 --> 01:20:05,200
Speaker 2: sort of thematically presented as kind of like this, this

1482
01:20:05,320 --> 01:20:07,760
Speaker 2: devil and this, and perhaps you could interpret him as

1483
01:20:07,800 --> 01:20:12,800
Speaker 2: being like the the embodiment of the darker corners of

1484
01:20:13,200 --> 01:20:16,800
Speaker 2: Ryan Hart psyche or something or soul. But you know,

1485
01:20:16,840 --> 01:20:20,200
Speaker 2: it's not really explored beyond you know, just sort of

1486
01:20:20,200 --> 01:20:24,720
Speaker 2: the visual appeal of it. But yeah, if there, if

1487
01:20:24,960 --> 01:20:27,599
Speaker 2: we are in fact in a world where esp between

1488
01:20:27,680 --> 01:20:30,120
Speaker 2: robots and humans is common, you know, you could use that,

1489
01:20:30,160 --> 01:20:33,760
Speaker 2: you could build that up somehow. I'm just remembering. There's

1490
01:20:33,800 --> 01:20:37,679
Speaker 2: also some mention about robot human esp as a means

1491
01:20:37,680 --> 01:20:42,080
Speaker 2: of having long distance communication in space. It's just thrown

1492
01:20:42,120 --> 01:20:44,759
Speaker 2: out there really quickly as well. But that also brings

1493
01:20:44,800 --> 01:20:49,040
Speaker 2: to mind all sorts of like what a strange you know, universe.

1494
01:20:49,240 --> 01:20:52,000
Speaker 2: This could be if it was just developed and they

1495
01:20:52,120 --> 01:20:54,000
Speaker 2: leaned into that weirdness a little bit more.

1496
01:20:54,439 --> 01:20:58,519
Speaker 3: Yeah, yeah, but yeah, why does Reinhart fear the robot

1497
01:20:58,640 --> 01:21:01,360
Speaker 3: he created all of a sudden, I don't know. Well,

1498
01:21:01,400 --> 01:21:03,479
Speaker 3: he sort of goes back on it, though, because then

1499
01:21:04,000 --> 01:21:06,559
Speaker 3: she's like, if there's any justice, that black hole will

1500
01:21:06,600 --> 01:21:09,760
Speaker 3: be your grave. So he commands his robots to take

1501
01:21:09,800 --> 01:21:12,479
Speaker 3: her to the hospital, which seems to be where humans

1502
01:21:12,479 --> 01:21:17,120
Speaker 3: are zombified and transformed into robots. So from here we

1503
01:21:17,160 --> 01:21:19,080
Speaker 3: get the third act and it turns into an action

1504
01:21:19,200 --> 01:21:22,439
Speaker 3: movie for the rest of the time. So Kate alerts

1505
01:21:22,520 --> 01:21:26,960
Speaker 3: Vincent using esp Dan, and the good robots go off

1506
01:21:27,000 --> 01:21:29,240
Speaker 3: to the rescue to save her. They battle their way

1507
01:21:29,280 --> 01:21:32,200
Speaker 3: through a bunch of Century Droids. They rescue Kate and

1508
01:21:32,240 --> 01:21:34,600
Speaker 3: fight Sentry Droids to make it back to the Palomino,

1509
01:21:34,680 --> 01:21:37,080
Speaker 3: a lot of blaster battles along the way that were

1510
01:21:37,479 --> 01:21:38,800
Speaker 3: not especially thrilling to me.

1511
01:21:39,360 --> 01:21:40,600
Speaker 2: Yeah, just blasters a go go.

1512
01:21:41,160 --> 01:21:45,000
Speaker 3: Yeah. But meanwhile, Reinhart begins launching the ship into the

1513
01:21:45,000 --> 01:21:48,240
Speaker 3: black Hole, and this is some good stuff. There is

1514
01:21:48,280 --> 01:21:50,920
Speaker 3: a twist here. While all the action on the Sickness

1515
01:21:51,000 --> 01:21:54,360
Speaker 3: is happening, Ernest borgnine. At one point he like fakes

1516
01:21:54,439 --> 01:21:58,360
Speaker 3: a leg injury. Then he tries when they're like, oh, okay,

1517
01:21:58,439 --> 01:22:00,720
Speaker 3: we'll come back for you, he runs off on his own,

1518
01:22:00,840 --> 01:22:04,840
Speaker 3: gets in the Palomino, launches it by himself, and tries

1519
01:22:04,880 --> 01:22:06,799
Speaker 3: to escape without everybody else.

1520
01:22:07,600 --> 01:22:13,360
Speaker 2: Just a sudden, unearned heel turn right here for Borgdine's.

1521
01:22:12,880 --> 01:22:15,880
Speaker 3: Character, Yeah, he's like, yep, I'm going home without you.

1522
01:22:16,439 --> 01:22:21,599
Speaker 3: But Reinhart shoots down the Palomino, killing Ernest borgnine. His

1523
01:22:21,640 --> 01:22:24,320
Speaker 3: final act was one of treachery and cowardice.

1524
01:22:24,439 --> 01:22:27,639
Speaker 2: Yeah. Yeah, it's a weird choice, Like maybe it's one

1525
01:22:27,640 --> 01:22:30,439
Speaker 2: that at some point earlier on was more supported in

1526
01:22:30,520 --> 01:22:31,960
Speaker 2: the script, you know, mm hmm.

1527
01:22:32,520 --> 01:22:36,080
Speaker 3: But okay, Now only Captain Dan Pizer and Kate McCrae

1528
01:22:36,120 --> 01:22:39,479
Speaker 3: and the two good Robots are left. With the Palomino destroyed.

1529
01:22:39,520 --> 01:22:43,160
Speaker 3: Their only hope of escape is to steal Reinhart's Probe ship.

1530
01:22:43,760 --> 01:22:46,760
Speaker 3: So there's munch of action scenes, you know, blaster battles

1531
01:22:46,560 --> 01:22:49,439
Speaker 3: with Century Droids. Also, the ship at this point is

1532
01:22:49,439 --> 01:22:52,559
Speaker 3: being pelted with meteoroids, and there are some nice special

1533
01:22:52,560 --> 01:22:55,839
Speaker 3: effects shots here, including one I liked where the heroes

1534
01:22:55,880 --> 01:22:58,960
Speaker 3: are running across a bridge in silhouette in the foreground

1535
01:22:59,240 --> 01:23:02,639
Speaker 3: while a giant glowing orange ball rolls toward them from

1536
01:23:02,640 --> 01:23:04,400
Speaker 3: the background. I thought that looked cool.

1537
01:23:04,840 --> 01:23:09,160
Speaker 2: M yeah, I strongly remember that one from previous viewings

1538
01:23:09,160 --> 01:23:10,440
Speaker 2: of the film, very captivating.

1539
01:23:10,800 --> 01:23:13,559
Speaker 3: At one point, Reinhart is so that the ship's all

1540
01:23:13,600 --> 01:23:16,599
Speaker 3: busted up, and Reinhart gets pinned by a falling piece

1541
01:23:16,640 --> 01:23:19,519
Speaker 3: of metal and his robots do not help him. And

1542
01:23:19,840 --> 01:23:23,320
Speaker 3: then there is a battle between Vincent and Maximilian that

1543
01:23:23,479 --> 01:23:26,760
Speaker 3: was so okay, good cute, little floating R two D

1544
01:23:26,840 --> 01:23:31,439
Speaker 3: two robot versus Maximilian, and it ends with no joke,

1545
01:23:31,800 --> 01:23:36,640
Speaker 3: Vincent drilling Maximilian in the guts and Maximilian unleashes a

1546
01:23:36,680 --> 01:23:39,120
Speaker 3: goat scream.

1547
01:23:39,600 --> 01:23:43,160
Speaker 2: It's a this is a robot battle I always liked

1548
01:23:43,200 --> 01:23:45,920
Speaker 2: as a kid. I mean, watching it now, I can

1549
01:23:46,000 --> 01:23:48,200
Speaker 2: see the limitations of what they were working with, but

1550
01:23:48,360 --> 01:23:52,360
Speaker 2: you know, it's it's like Vincent has ranged weaponry, Maximilian

1551
01:23:52,400 --> 01:23:56,920
Speaker 2: does not. Maximilian, though is heavily armored, Vincent is less.

1552
01:23:56,960 --> 01:24:00,760
Speaker 2: So they end up, you know, grappling, and Vincent has

1553
01:24:00,800 --> 01:24:03,880
Speaker 2: like electroid paddles that he's using to like to grat

1554
01:24:03,960 --> 01:24:07,160
Speaker 2: to hold on to Vincent. But yeah, he's not suspecting

1555
01:24:07,800 --> 01:24:12,160
Speaker 2: that secret drill attack from Vincent, and that's what gets him.

1556
01:24:12,760 --> 01:24:15,840
Speaker 3: So our heroes escape onto the Probe ship, but the

1557
01:24:15,880 --> 01:24:18,519
Speaker 3: Probe ship is sucked into the black hole, so everybody

1558
01:24:18,520 --> 01:24:21,160
Speaker 3: goes into the black hole. But there's like this long,

1559
01:24:21,320 --> 01:24:23,400
Speaker 3: weird ending scene where they're all just going like boo.

1560
01:24:24,720 --> 01:24:28,240
Speaker 3: It's playing all these like lines from the movie or

1561
01:24:28,280 --> 01:24:30,000
Speaker 3: echoing in people's heads.

1562
01:24:30,320 --> 01:24:33,599
Speaker 2: And not even necessarily lines that have like a lot

1563
01:24:33,640 --> 01:24:37,800
Speaker 2: of emotional thang to them. I don't know, like it's

1564
01:24:37,840 --> 01:24:39,680
Speaker 2: just there. It just lines from the movie. There's not

1565
01:24:39,760 --> 01:24:42,200
Speaker 2: necessarily any any sense of it.

1566
01:24:42,520 --> 01:24:47,719
Speaker 3: But then the ending, which on one hand it's almost

1567
01:24:47,760 --> 01:24:50,439
Speaker 3: a non sequitur, but on the other hand, I think

1568
01:24:50,520 --> 01:24:54,400
Speaker 3: it really makes the film. The ending is like they

1569
01:24:54,479 --> 01:24:59,120
Speaker 3: all sort of go to heaven and Hell. Like there's

1570
01:24:59,160 --> 01:25:03,000
Speaker 3: a scene where you see an older version of Reinhart

1571
01:25:03,000 --> 01:25:05,800
Speaker 3: floating in space, like his hair is grown out and

1572
01:25:05,840 --> 01:25:07,840
Speaker 3: his beard has grown out and it seems to have

1573
01:25:07,880 --> 01:25:12,680
Speaker 3: turned gray. And then he's like merging with Maximilian, like

1574
01:25:12,720 --> 01:25:16,479
Speaker 3: you see his eyes inside Maximilian. And then there is

1575
01:25:16,520 --> 01:25:21,559
Speaker 3: a scene with the Maximilian Rhinehart being standing on a

1576
01:25:21,640 --> 01:25:26,040
Speaker 3: mountain in Hell with flames leaping into the sky and

1577
01:25:26,080 --> 01:25:29,160
Speaker 3: like doomed figures in hoods crossing the bridge of Kose

1578
01:25:29,240 --> 01:25:33,120
Speaker 3: of Doom. And then there is another sequence with a

1579
01:25:33,160 --> 01:25:36,400
Speaker 3: figure flying through the air in robes through a hall

1580
01:25:36,439 --> 01:25:40,280
Speaker 3: of mirrors into a blue clouded sky, and then our

1581
01:25:40,320 --> 01:25:43,320
Speaker 3: heroes emerge from the other side of the black hole

1582
01:25:43,360 --> 01:25:45,720
Speaker 3: and they see like a planet in the distance. It

1583
01:25:45,840 --> 01:25:48,599
Speaker 3: is a bizarre ending, but I do love it.

1584
01:25:48,800 --> 01:25:51,120
Speaker 2: Yeah, I mean, and it's mostly left open to interpretation.

1585
01:25:51,200 --> 01:25:53,200
Speaker 2: I mean, granted, they're really leaning into the heaven and

1586
01:25:53,240 --> 01:25:56,120
Speaker 2: hell angles here, but as far as what that like

1587
01:25:56,360 --> 01:25:58,880
Speaker 2: literally means or if we're supposed to literally interpret it

1588
01:25:58,920 --> 01:26:02,120
Speaker 2: at all, it's just wide open. Uh. Like I was

1589
01:26:02,240 --> 01:26:05,200
Speaker 2: like just concerning the hell landscape, which is the most

1590
01:26:05,240 --> 01:26:08,280
Speaker 2: impressive and just just like impressive to look at this

1591
01:26:08,360 --> 01:26:11,720
Speaker 2: flaming landscape and the hooded figures. I couldn't tell the

1592
01:26:11,720 --> 01:26:16,320
Speaker 2: hooded figures are meant to be the the cyborgs from

1593
01:26:16,320 --> 01:26:19,639
Speaker 2: the sickness, like maybe with their their faces their their

1594
01:26:19,680 --> 01:26:23,320
Speaker 2: face coverings lost, or if they're indeed like the souls

1595
01:26:23,320 --> 01:26:25,799
Speaker 2: of the damned, and this is like a Dante's Inferno

1596
01:26:25,920 --> 01:26:29,360
Speaker 2: type of situation. I don't know. It's just left to

1597
01:26:29,400 --> 01:26:30,880
Speaker 2: the viewer to interpret it.

1598
01:26:30,920 --> 01:26:34,400
Speaker 3: Seems like in his in the bad afterlife that Reinhart

1599
01:26:34,520 --> 01:26:38,040
Speaker 3: has earned, he will be tortured by the robots he created.

1600
01:26:38,600 --> 01:26:41,679
Speaker 2: Yeah. But then for the for the blessed crew members,

1601
01:26:42,000 --> 01:26:44,960
Speaker 2: what awaits them a new heavenly planet.

1602
01:26:45,040 --> 01:26:47,960
Speaker 3: Yeah, new home, kind of a planet in eclipse, like

1603
01:26:48,000 --> 01:26:48,960
Speaker 3: eclipsing a star.

1604
01:26:49,439 --> 01:26:52,400
Speaker 2: Yeah yeah, habitable life, perhaps.

1605
01:26:52,200 --> 01:26:57,680
Speaker 3: Haitable life you can live in. Okay, Well that's all

1606
01:26:57,720 --> 01:26:59,040
Speaker 3: I got to say about The black Hole.

1607
01:26:59,280 --> 01:26:59,479
Speaker 4: Yeah.

1608
01:26:59,520 --> 01:27:03,080
Speaker 2: I really enjoyed it. I was really drawn into the visuals,

1609
01:27:03,320 --> 01:27:06,760
Speaker 2: the sweeping score, some of the performances, and of just

1610
01:27:06,840 --> 01:27:11,800
Speaker 2: of course the robots, especially Maximilian. Maximilian still still got it,

1611
01:27:11,880 --> 01:27:16,439
Speaker 2: still beautiful, still enthralling, Still one of my favorite robots period.

1612
01:27:16,800 --> 01:27:18,439
Speaker 2: I just wish I knew what his other arms did.

1613
01:27:18,720 --> 01:27:22,040
Speaker 3: He kept making me think of that Beastie Boys song Intergalactic.

1614
01:27:22,960 --> 01:27:26,240
Speaker 2: Oh yeah, yeah. I think that's one of the things

1615
01:27:26,240 --> 01:27:28,880
Speaker 2: that's appealing about him, is there aspects of it that

1616
01:27:28,960 --> 01:27:31,880
Speaker 2: look like he could be a costume, But especially in

1617
01:27:31,920 --> 01:27:34,360
Speaker 2: full profile, there's no way it could be a costume

1618
01:27:34,400 --> 01:27:37,200
Speaker 2: because against this free floating form. So anyway, I could

1619
01:27:37,200 --> 01:27:38,759
Speaker 2: go on and on beautiful robot.

1620
01:27:39,240 --> 01:27:41,320
Speaker 3: May Maximilian drill all of our guts.

1621
01:27:42,960 --> 01:27:45,080
Speaker 2: All right, we'll go ahead and close it out there,

1622
01:27:45,120 --> 01:27:46,600
Speaker 2: but we'd love to hear from everyone out there if

1623
01:27:46,600 --> 01:27:48,920
Speaker 2: you have opinions on the black Hole, from watching it

1624
01:27:48,960 --> 01:27:51,240
Speaker 2: back in the day, or watching it as a kid,

1625
01:27:51,320 --> 01:27:53,800
Speaker 2: rediscovering it now, viewing it in the light of Star

1626
01:27:53,920 --> 01:27:57,479
Speaker 2: Wars and so forth. It's all fair game. Did you

1627
01:27:57,520 --> 01:27:59,360
Speaker 2: have any of the toys? I've looked up images of

1628
01:27:59,400 --> 01:28:01,000
Speaker 2: the toys. I didn't have any of these, but they

1629
01:28:01,080 --> 01:28:03,519
Speaker 2: look pretty cool, you know. I guess you could. You

1630
01:28:03,720 --> 01:28:06,200
Speaker 2: could bust these guys out and maybe you're you know,

1631
01:28:06,240 --> 01:28:09,559
Speaker 2: your your David Lynch Noone Action figures, maybe some Dick

1632
01:28:09,600 --> 01:28:12,560
Speaker 2: Tracy dolls, and have a fun time with toys that

1633
01:28:12,680 --> 01:28:16,439
Speaker 2: maybe not that many kids bought. But yeah, right in,

1634
01:28:16,560 --> 01:28:18,920
Speaker 2: we'd love to hear from you. Just a reminder that

1635
01:28:18,960 --> 01:28:20,880
Speaker 2: we're primarily a science podcast here and the stuff to

1636
01:28:20,880 --> 01:28:22,880
Speaker 2: blow your mind podcast feed, but on Fridays we set

1637
01:28:22,880 --> 01:28:25,200
Speaker 2: aside most serious concerns and just talk about weird movies

1638
01:28:25,200 --> 01:28:27,160
Speaker 2: on Weird House Cinema. If you want to see a

1639
01:28:27,160 --> 01:28:29,479
Speaker 2: full list of what we've covered thus far, you can

1640
01:28:29,640 --> 01:28:32,479
Speaker 2: go out over to letterboxed dot dot com. That's L

1641
01:28:32,520 --> 01:28:34,799
Speaker 2: E T T E R B O x D dot com.

1642
01:28:34,960 --> 01:28:37,720
Speaker 2: We have a profile there called weird House, and if

1643
01:28:37,760 --> 01:28:39,320
Speaker 2: you go there you'll see a list of all the

1644
01:28:39,360 --> 01:28:42,000
Speaker 2: movies and you can put different filters on them if

1645
01:28:42,040 --> 01:28:43,840
Speaker 2: you want see like, you know, look at them by

1646
01:28:43,920 --> 01:28:44,960
Speaker 2: decade and so forth.

1647
01:28:45,040 --> 01:28:48,000
Speaker 3: It's it's really cool, huge thanks to our excellent audio

1648
01:28:48,040 --> 01:28:50,680
Speaker 3: producer JJ Posway. If you would like to get in

1649
01:28:50,720 --> 01:28:53,280
Speaker 3: touch with us with feedback on this episode or any other,

1650
01:28:53,360 --> 01:28:56,439
Speaker 3: to suggest topic for the future, or just to say hello,

1651
01:28:56,560 --> 01:28:59,320
Speaker 3: you can email us at contact Stuff to Blow your

1652
01:28:59,360 --> 01:29:06,880
Speaker 3: Mind dot com.

1653
01:29:07,080 --> 01:29:10,040
Speaker 1: Stuff to Blow your Mind is production of iHeartRadio. For

1654
01:29:10,120 --> 01:29:13,960
Speaker 1: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1655
01:29:14,040 --> 01:29:15,799
Speaker 1: or wherever you listen to your favorite shows.