1 00:00:00,760 --> 00:00:04,760 Speaker 1: Hi, everybody, Happy Saturday. Charles W. Chuck Bryant here with 2 00:00:04,920 --> 00:00:07,960 Speaker 1: a pick from our past from June thirtieth, twenty fifteen. 3 00:00:08,560 --> 00:00:13,000 Speaker 1: How audience testing works. Ooh, I shudder when I say that, 4 00:00:13,080 --> 00:00:15,720 Speaker 1: because we had a TV show for one season and 5 00:00:15,880 --> 00:00:20,120 Speaker 1: was it audience tested? I don't even remember. To be honest, 6 00:00:21,320 --> 00:00:23,720 Speaker 1: it probably wouldn't have scored very well, or maybe it 7 00:00:23,720 --> 00:00:26,200 Speaker 1: would have who knows. At any rate, this is how 8 00:00:26,200 --> 00:00:30,000 Speaker 1: audience testing works for movies, TV shows, all kinds of 9 00:00:30,040 --> 00:00:32,159 Speaker 1: things like that. Please enjoy it. 10 00:00:36,479 --> 00:00:46,080 Speaker 2: Welcome to Stuff You Should Know, a production of iHeartRadio. Hey, 11 00:00:46,120 --> 00:00:48,960 Speaker 2: and welcome to the podcast. I'm Josh Clark, There's Charles W. 12 00:00:49,080 --> 00:00:52,159 Speaker 2: Chuck Bryant, and Jerry's over there. So let's just call 13 00:00:52,200 --> 00:00:53,559 Speaker 2: this Stuff you Should Be, shall we. 14 00:00:54,760 --> 00:00:56,640 Speaker 1: Hey, that's a good name for a show. 15 00:00:57,200 --> 00:00:59,720 Speaker 2: Yeah, you know. I came up with that. 16 00:01:00,240 --> 00:01:05,000 Speaker 1: You did You're the Inventor, and from that was hatched 17 00:01:05,200 --> 00:01:06,680 Speaker 1: all of the stuff podcasts. 18 00:01:07,880 --> 00:01:11,160 Speaker 2: Yeah, but I mean how stuff works? Stuff? 19 00:01:11,400 --> 00:01:13,720 Speaker 1: Yeah, but I don't know. I think you're you're selling 20 00:01:13,760 --> 00:01:14,360 Speaker 1: yourself short. 21 00:01:14,720 --> 00:01:15,279 Speaker 2: It's okay. 22 00:01:15,840 --> 00:01:18,440 Speaker 1: So this is another one of our movie centric podcasts 23 00:01:18,480 --> 00:01:22,960 Speaker 1: that people seem to love. We've done all kinds of things, 24 00:01:23,040 --> 00:01:27,080 Speaker 1: from exploitation films to movies that change filmmaking, to how 25 00:01:27,760 --> 00:01:31,240 Speaker 1: films are rated, THEA N PAA. 26 00:01:30,959 --> 00:01:35,280 Speaker 2: How TV ratings work. Yeah, ten exploitation films, Yeah, that 27 00:01:35,400 --> 00:01:38,759 Speaker 2: was a good one, and some movies that changed filmmaking. 28 00:01:38,880 --> 00:01:40,520 Speaker 2: That's right, all the stuff you just said. 29 00:01:40,600 --> 00:01:43,760 Speaker 1: Yeah, before we get going here, buddy, we need a 30 00:01:43,800 --> 00:01:47,120 Speaker 1: blanket spoiler because we're going to be talking about movies 31 00:01:47,680 --> 00:01:52,400 Speaker 1: that had their endings changed. And so this is your 32 00:01:52,400 --> 00:01:55,160 Speaker 1: fair warning. Most of them are old movies. Most of 33 00:01:55,200 --> 00:01:58,160 Speaker 1: this information is out there, of course, yes, but if 34 00:01:58,160 --> 00:02:01,280 Speaker 1: you're one of those people who gets really upset by 35 00:02:01,320 --> 00:02:04,040 Speaker 1: this kind of thing, you may want to You've been warned. 36 00:02:04,080 --> 00:02:07,840 Speaker 1: You've been warned. And now drum roll, we're gonna talk 37 00:02:07,840 --> 00:02:12,440 Speaker 1: about audience testing, which is depending on the filmmaker and 38 00:02:12,480 --> 00:02:17,560 Speaker 1: the film can be a really super awesome, valuable tool, right. 39 00:02:17,400 --> 00:02:20,519 Speaker 2: It can also be like a terrible the worst thing 40 00:02:20,560 --> 00:02:23,160 Speaker 2: that's ever happened to you. Yep, And apparently even if 41 00:02:23,200 --> 00:02:26,800 Speaker 2: you believe in the system, it's a terrible experience, says 42 00:02:26,880 --> 00:02:27,520 Speaker 2: Ron Howard. 43 00:02:28,080 --> 00:02:30,760 Speaker 1: Yeah, he's he's a fame, well not famous for but 44 00:02:30,840 --> 00:02:35,520 Speaker 1: he is on record along with his producing partner Brian 45 00:02:35,560 --> 00:02:36,639 Speaker 1: Graser for who. 46 00:02:36,520 --> 00:02:38,360 Speaker 2: By the way, do you know this about Brian Grazer 47 00:02:38,639 --> 00:02:41,560 Speaker 2: best hair and show business? Well, clearly, yeah. But he 48 00:02:41,680 --> 00:02:45,360 Speaker 2: has the habit of taking frame pictures of himself over 49 00:02:45,400 --> 00:02:48,200 Speaker 2: to people's houses and when they're not looking like, plants 50 00:02:48,200 --> 00:02:51,240 Speaker 2: them among their family photos. That's pretty awesome, pretty cool. 51 00:02:51,360 --> 00:02:53,680 Speaker 1: That reminds me. I know, you hate George Cliney's guts, 52 00:02:53,720 --> 00:02:58,360 Speaker 1: but there's you said that there's a famous practical He's 53 00:02:58,360 --> 00:03:01,120 Speaker 1: a big practical joker, and he he prepared this one 54 00:03:01,160 --> 00:03:04,120 Speaker 1: over the course of like a year, supposedly told like 55 00:03:04,160 --> 00:03:06,399 Speaker 1: his best friends that he had taken up painting. Oh yeah, 56 00:03:07,080 --> 00:03:08,839 Speaker 1: just kept that going and going, and then like gave 57 00:03:08,880 --> 00:03:12,280 Speaker 1: some of his close friends He's awful, awful paintings, right, 58 00:03:12,560 --> 00:03:14,600 Speaker 1: and you know you're kind of expected to hang it up. 59 00:03:15,160 --> 00:03:16,600 Speaker 1: They're like, oh, thanks George. 60 00:03:16,680 --> 00:03:19,760 Speaker 2: Yeah that's a pretty good one. This is great. Oh 61 00:03:19,800 --> 00:03:21,920 Speaker 2: but he felt so good about himself after that. 62 00:03:22,520 --> 00:03:26,119 Speaker 1: So glib. So Ron Howard and his producing partner Brian 63 00:03:26,160 --> 00:03:29,600 Speaker 1: Greats are are on record as saying that they really 64 00:03:29,840 --> 00:03:31,480 Speaker 1: can get a lot out of it, and like what 65 00:03:31,520 --> 00:03:33,720 Speaker 1: they would hate is to put a movie out and 66 00:03:33,760 --> 00:03:36,800 Speaker 1: find out there's something they really easily could have corrected, 67 00:03:37,200 --> 00:03:40,120 Speaker 1: be either like confused or upset an audience. 68 00:03:39,760 --> 00:03:40,240 Speaker 2: As a whole. 69 00:03:40,920 --> 00:03:44,400 Speaker 1: But he also said it's terrible to go through, like 70 00:03:44,440 --> 00:03:47,560 Speaker 1: even when it's a good experience, is never a good experience. 71 00:03:47,680 --> 00:03:51,720 Speaker 2: And that's somebody who believes in the system. So if 72 00:03:51,720 --> 00:03:53,880 Speaker 2: you don't believe in the system and you still have 73 00:03:53,920 --> 00:03:57,160 Speaker 2: to go through it, like Robert Altman did, He's. 74 00:03:56,960 --> 00:03:58,160 Speaker 1: Not a test audience kind of guy. 75 00:03:58,280 --> 00:04:01,120 Speaker 2: No, can you imagine putting him through that? No, that's 76 00:04:01,160 --> 00:04:05,160 Speaker 2: like letting all of the town's ladies bring Boo Radley 77 00:04:05,200 --> 00:04:09,119 Speaker 2: that the pies for killing Bob Yule. You know, Yeah, 78 00:04:09,560 --> 00:04:13,680 Speaker 2: you can't put Robert Altman through the audience testing system. 79 00:04:13,720 --> 00:04:14,440 Speaker 2: Who did they? Oh? 80 00:04:14,640 --> 00:04:17,160 Speaker 1: I don't know, a dummy because uh yeah, he was 81 00:04:17,520 --> 00:04:21,680 Speaker 1: a Maverick filmmaker. My brother and my Emily worked on 82 00:04:21,960 --> 00:04:25,800 Speaker 1: movies with him. It's pretty neat legend. I know it's 83 00:04:25,839 --> 00:04:27,719 Speaker 1: good stuff. I wish I could tell a couple of 84 00:04:27,720 --> 00:04:28,200 Speaker 1: the stories. 85 00:04:28,240 --> 00:04:30,760 Speaker 2: But but I mean, did you expect to get rich 86 00:04:30,800 --> 00:04:32,200 Speaker 2: off of a Robert Altman movie? 87 00:04:32,640 --> 00:04:32,760 Speaker 1: No? 88 00:04:33,800 --> 00:04:35,200 Speaker 2: Apparently these people did. 89 00:04:35,520 --> 00:04:38,440 Speaker 1: I wonder what his top grossing movie ever was, probably 90 00:04:38,440 --> 00:04:41,000 Speaker 1: The Player or Mash I'll bet it was Mash Yeah, 91 00:04:41,040 --> 00:04:43,320 Speaker 1: movies didn't gross so much back then. Yeah, but it's 92 00:04:43,440 --> 00:04:46,200 Speaker 1: just it's a perennial classic. Yeah, that's true. 93 00:04:46,480 --> 00:04:47,479 Speaker 2: The Player was great. 94 00:04:48,400 --> 00:04:49,920 Speaker 1: Yeah, I mean he's he's made a lot of great 95 00:04:49,920 --> 00:04:51,880 Speaker 1: movies and some kind of stinkers as well. 96 00:04:51,920 --> 00:04:53,200 Speaker 2: Oh yeah, but a. 97 00:04:53,120 --> 00:04:56,200 Speaker 1: Lot of classics like Ashville. Have you ever seen Nashville? 98 00:04:56,240 --> 00:04:57,400 Speaker 2: No? I never saw in Nashville. 99 00:04:57,520 --> 00:04:58,200 Speaker 1: Man so good. 100 00:04:58,360 --> 00:05:04,119 Speaker 2: So the Player cuts. Yeah, didn't see the Uh, the 101 00:05:04,200 --> 00:05:09,800 Speaker 2: Lake Wobegone one with Lindsay Lohan for some reason. What Yeah, 102 00:05:09,839 --> 00:05:15,440 Speaker 2: they did a Prairie Home companion. Yeah, with Lindsay Lohan. 103 00:05:16,080 --> 00:05:16,839 Speaker 1: That's just weird. 104 00:05:17,120 --> 00:05:20,000 Speaker 2: And Meryl Street. 105 00:05:21,000 --> 00:05:21,240 Speaker 1: Huh. 106 00:05:21,520 --> 00:05:23,440 Speaker 2: It was like not a good id to getting casting 107 00:05:23,520 --> 00:05:26,520 Speaker 2: director super drunk. Yeah, they just have a point out 108 00:05:26,520 --> 00:05:28,880 Speaker 2: photos headshots and then that's how we'll cast this. 109 00:05:29,440 --> 00:05:31,839 Speaker 1: Uh. And then mckayb and miss Miller. That's a classic 110 00:05:31,880 --> 00:05:32,120 Speaker 1: as well. 111 00:05:32,320 --> 00:05:35,080 Speaker 2: Never even heard of it. War and Batty liked Mash though. 112 00:05:35,120 --> 00:05:35,880 Speaker 2: That was a good one. 113 00:05:36,040 --> 00:05:41,640 Speaker 1: It was so Ron Howard calls the process brutal and hideous. Yeah, 114 00:05:41,800 --> 00:05:44,600 Speaker 1: he said, even if it's going well, it's not fun. Yeah. 115 00:05:45,040 --> 00:05:45,160 Speaker 2: Uh. 116 00:05:45,320 --> 00:05:50,000 Speaker 1: Francis Ford Coppola is somewhat responsible, although they have tested 117 00:05:50,040 --> 00:05:54,240 Speaker 1: movies all the way back in the thirties. Yeah, when 118 00:05:54,360 --> 00:05:56,919 Speaker 1: audience has said, you know that Somewhere over the Rainbow 119 00:05:56,960 --> 00:05:59,080 Speaker 1: song really slows things down. 120 00:05:59,160 --> 00:06:00,960 Speaker 2: It's a stinker. Get it out of there. 121 00:06:01,760 --> 00:06:04,279 Speaker 1: Thank goodness they didn't listen, because that became one of 122 00:06:04,320 --> 00:06:07,840 Speaker 1: the most iconic singing performances ever in a movie. 123 00:06:07,920 --> 00:06:10,520 Speaker 2: Yeah, and apparently pointing that out is a really good 124 00:06:10,560 --> 00:06:13,000 Speaker 2: way to talk to somebody out of cutting something at 125 00:06:13,040 --> 00:06:18,120 Speaker 2: a test audience. Yeah, think about Somewhere over the Rainbow. Chief. 126 00:06:18,400 --> 00:06:23,920 Speaker 1: So, when Coppola was making Apocalypse Now, he had focus 127 00:06:24,000 --> 00:06:27,800 Speaker 1: groups and really, yeah, I would not have guessed that 128 00:06:28,360 --> 00:06:30,680 Speaker 1: well that movie. You've seen The Hearts of. 129 00:06:30,720 --> 00:06:33,680 Speaker 2: Darkness, right, know, the documentary about it. 130 00:06:33,760 --> 00:06:35,720 Speaker 1: Yeah. No, it's really good that he had a lot 131 00:06:35,720 --> 00:06:37,320 Speaker 1: of studio heat coming down on him. 132 00:06:37,440 --> 00:06:39,960 Speaker 2: You know you've got a great movie when the documentary 133 00:06:39,960 --> 00:06:42,040 Speaker 2: about your great movie is a great movie. 134 00:06:42,279 --> 00:06:44,360 Speaker 1: Yeah, that's a good point. It's really good. I think 135 00:06:44,360 --> 00:06:45,080 Speaker 1: it's wife made. 136 00:06:44,960 --> 00:06:47,960 Speaker 2: That, although that's not necessarily true. The best worst movie 137 00:06:48,520 --> 00:06:50,839 Speaker 2: was a great documentary, and Trolls two was not a 138 00:06:50,839 --> 00:06:52,920 Speaker 2: good movie in any way, shape or form. 139 00:06:52,960 --> 00:06:54,680 Speaker 1: I've never heard of best worst movie. 140 00:06:54,440 --> 00:06:56,240 Speaker 2: It's about have you ever heard of Trolls too? 141 00:06:56,800 --> 00:06:59,080 Speaker 1: I've heard of trolls, so I guess I've heard of trolls. 142 00:06:58,760 --> 00:07:03,040 Speaker 2: Too, apparently by totally different filmmakers, completely unconnected story wise 143 00:07:03,080 --> 00:07:06,039 Speaker 2: and everything. This is just trolls too, gotcha? And this 144 00:07:06,120 --> 00:07:09,559 Speaker 2: documentary caught up with the people from Trolls Too, because 145 00:07:09,600 --> 00:07:12,120 Speaker 2: it became like kind of this cool hipster thing to like, 146 00:07:12,320 --> 00:07:15,320 Speaker 2: look at how terrible this movie is, like the Room Sure, 147 00:07:16,760 --> 00:07:20,760 Speaker 2: And this documentary kind of followed this movement and went 148 00:07:20,800 --> 00:07:23,040 Speaker 2: and found the people who were in this movie who 149 00:07:23,040 --> 00:07:25,280 Speaker 2: had no idea this was going on, and then like 150 00:07:25,440 --> 00:07:28,960 Speaker 2: basically puts them on the road going around promoting showings 151 00:07:28,960 --> 00:07:32,040 Speaker 2: of Trolls Too and just living it up. 152 00:07:32,560 --> 00:07:35,160 Speaker 1: That was great documentary. The documentary is good. The movie 153 00:07:35,240 --> 00:07:38,800 Speaker 1: wasn't good, right, Okay, so I ate my own words understood, 154 00:07:38,840 --> 00:07:39,600 Speaker 1: No you didn't. 155 00:07:39,720 --> 00:07:42,680 Speaker 2: But I think one of your pals from UCB is 156 00:07:42,680 --> 00:07:47,480 Speaker 2: in it Controls Too, in the Best Worst Movie the documentary. 157 00:07:47,600 --> 00:07:54,720 Speaker 1: You know one of the founders. No, not Matt Besser. 158 00:07:56,240 --> 00:08:00,360 Speaker 2: Yes it might be Matt Besser. Maybe I don't. No, 159 00:08:00,480 --> 00:08:01,960 Speaker 2: one of the guys from you. There's like a bunch 160 00:08:01,960 --> 00:08:03,120 Speaker 2: of UCB people in it. 161 00:08:03,320 --> 00:08:05,840 Speaker 1: Yeah, but okay, I got you. Besser was one of 162 00:08:05,880 --> 00:08:10,120 Speaker 1: the founding members though, with Amy Poehler and Ian Roberts 163 00:08:10,160 --> 00:08:10,800 Speaker 1: and Matt Walsh. 164 00:08:11,080 --> 00:08:13,200 Speaker 2: This maybe Matt Walsh is the one that was in 165 00:08:13,280 --> 00:08:16,840 Speaker 2: old school, right, Yeah, so this is the other Matt. 166 00:08:17,320 --> 00:08:19,240 Speaker 1: Yeah, I think he might be in it. Yeah, he's 167 00:08:19,280 --> 00:08:20,560 Speaker 1: a good guy. He listens to our show. 168 00:08:20,760 --> 00:08:22,360 Speaker 2: Prove me wrong, Matt, prove me wrong. 169 00:08:22,440 --> 00:08:24,320 Speaker 1: Oh, Razorbacks, that's for him. 170 00:08:24,600 --> 00:08:27,080 Speaker 2: He's an Arkansas fan. Or he just really likes Razorbacks. No, 171 00:08:27,160 --> 00:08:28,480 Speaker 2: he's a Arkansas guy, gotcha. 172 00:08:29,160 --> 00:08:31,960 Speaker 1: Yeah, he's just a fan of the big Oh. 173 00:08:32,000 --> 00:08:33,320 Speaker 2: We had an ad break yet. 174 00:08:33,240 --> 00:08:35,520 Speaker 1: Not yet, not until I finished the story about Copola. 175 00:08:36,360 --> 00:08:39,240 Speaker 1: He when he was making Apocalypse Now, hired a man 176 00:08:39,320 --> 00:08:43,320 Speaker 1: named Joe Farrell or Farrell to help with marketing. And 177 00:08:43,400 --> 00:08:45,560 Speaker 1: Farrell said, you know what, I see a pretty big 178 00:08:45,600 --> 00:08:50,360 Speaker 1: opportunity here, and so he partnered up with Katherine Catherine 179 00:08:50,720 --> 00:08:55,880 Speaker 1: Para and formed the National Research Group. I don't know, 180 00:08:55,880 --> 00:08:57,800 Speaker 1: I don't think they're still exclusive, but at the time 181 00:08:57,920 --> 00:09:01,520 Speaker 1: signed all the studios to an exclusive contract to do 182 00:09:01,559 --> 00:09:04,280 Speaker 1: their audience testing. And I think they're still the top 183 00:09:04,320 --> 00:09:07,440 Speaker 1: dog in audience testing. Even though I think there are 184 00:09:07,559 --> 00:09:08,760 Speaker 1: other companies that do it. 185 00:09:08,800 --> 00:09:13,719 Speaker 2: Now, this is the company with the extraordinarily secretive name NRG, 186 00:09:14,040 --> 00:09:17,120 Speaker 2: the National Research Group. Yeah, and they also do like 187 00:09:17,200 --> 00:09:20,960 Speaker 2: contract hits I think for the CIA and the NSA. 188 00:09:21,080 --> 00:09:23,120 Speaker 1: No, but they don't have a website that I could find, 189 00:09:23,320 --> 00:09:24,880 Speaker 1: like I was trying to just get a little information 190 00:09:24,920 --> 00:09:25,640 Speaker 1: about the company. 191 00:09:25,760 --> 00:09:27,679 Speaker 2: But so they're a division of Nielsen. 192 00:09:27,920 --> 00:09:30,640 Speaker 1: Well, which of course they're super secretive. We already tell 193 00:09:30,720 --> 00:09:31,000 Speaker 1: they are. 194 00:09:31,400 --> 00:09:33,920 Speaker 2: But yeah, so it's crazy like this. 195 00:09:34,760 --> 00:09:35,560 Speaker 1: It's like a cabal. 196 00:09:35,880 --> 00:09:39,040 Speaker 2: Yeah, you know very much. So Randy Quaid was right. 197 00:09:39,480 --> 00:09:42,520 Speaker 1: You might be. And they don't just do audience testing. 198 00:09:42,559 --> 00:09:46,400 Speaker 1: They also, back when people had telephones, would do a 199 00:09:46,440 --> 00:09:50,800 Speaker 1: lot of just random calling and saying like market research, 200 00:09:50,880 --> 00:09:53,000 Speaker 1: like did you know this movie was coming out? 201 00:09:54,000 --> 00:09:55,720 Speaker 2: It's called awareness, Yeah. 202 00:09:55,559 --> 00:09:58,160 Speaker 1: Awareness campaigns and stuff like that. 203 00:09:58,200 --> 00:10:01,920 Speaker 2: And then they'd split you into four quadrants, right, which 204 00:10:02,000 --> 00:10:04,640 Speaker 2: is the four quadrants that everyone on the planet is 205 00:10:04,640 --> 00:10:09,240 Speaker 2: divided into, men under twenty five, men over twenty five, 206 00:10:09,320 --> 00:10:13,000 Speaker 2: women under twenty five, and women over twenty five. That's right, 207 00:10:13,240 --> 00:10:18,480 Speaker 2: that's it. There's the division of importance. At age twenty five, 208 00:10:19,240 --> 00:10:22,600 Speaker 2: you cross over and get put out to pasture basically. 209 00:10:23,040 --> 00:10:26,320 Speaker 1: All right, so that's the longest setup in history. 210 00:10:26,520 --> 00:10:28,520 Speaker 2: So wait a minute, I want to make sure I 211 00:10:28,559 --> 00:10:30,640 Speaker 2: understand what you're saying, because I made a lot of 212 00:10:30,760 --> 00:10:33,199 Speaker 2: jokes in the middle of all this. 213 00:10:33,280 --> 00:10:33,959 Speaker 1: They were flying. 214 00:10:34,440 --> 00:10:39,880 Speaker 2: But you're saying that NRG, the National Research Group, came 215 00:10:39,960 --> 00:10:43,199 Speaker 2: out of focus groups done for apocalypse. 216 00:10:43,240 --> 00:10:46,280 Speaker 1: Now, yes, that's the way I understand it. Wow. Yeah, 217 00:10:46,480 --> 00:10:48,520 Speaker 1: I did not know that. Yeah, but they were already 218 00:10:48,559 --> 00:10:50,800 Speaker 1: doing focus groups, but this company really ran with it, 219 00:10:50,840 --> 00:10:52,200 Speaker 1: I think, in the corner of the industry. 220 00:10:52,280 --> 00:10:53,280 Speaker 2: Yeah, I gotcha. 221 00:10:53,360 --> 00:10:56,520 Speaker 1: All right, So let's take that promised break and we'll 222 00:10:56,520 --> 00:11:20,720 Speaker 1: talk more about audience testing right after this. All right, 223 00:11:20,800 --> 00:11:24,920 Speaker 1: back with audience testing. There's many different reasons to test 224 00:11:24,960 --> 00:11:29,160 Speaker 1: your movie. Yeah, sometimes if it's a comedy, they will 225 00:11:29,880 --> 00:11:34,080 Speaker 1: literally do multiple screenings just to test little bits and 226 00:11:34,160 --> 00:11:34,800 Speaker 1: little jokes. 227 00:11:34,920 --> 00:11:37,440 Speaker 2: If that makes sense to me. Yeah, if you're testing 228 00:11:37,440 --> 00:11:41,959 Speaker 2: a comedy, totally makes sense. Because a couple of comedy 229 00:11:41,960 --> 00:11:44,640 Speaker 2: writers that you put into like a room and say, 230 00:11:44,760 --> 00:11:47,320 Speaker 2: write this hilarious movie or take this dog of a 231 00:11:47,400 --> 00:11:49,000 Speaker 2: movie and punch it up with some jokes. 232 00:11:49,080 --> 00:11:49,880 Speaker 1: It's very subjective. 233 00:11:49,920 --> 00:11:52,520 Speaker 2: It might sound funny to you, sure, but then you're 234 00:11:52,559 --> 00:11:55,040 Speaker 2: a movie executive and you had like a three scotch launch, 235 00:11:55,120 --> 00:11:57,280 Speaker 2: so everything seems kind of funny right now, you know 236 00:11:57,320 --> 00:11:59,920 Speaker 2: what I mean? Yeah, nineteen sixties, right, so I get 237 00:12:00,120 --> 00:12:02,000 Speaker 2: I get that, and then like this joke landed, this 238 00:12:02,080 --> 00:12:04,800 Speaker 2: joke didn't, This joke was too far, and it like 239 00:12:05,120 --> 00:12:08,040 Speaker 2: went against like what the what the character we've developed 240 00:12:08,040 --> 00:12:11,520 Speaker 2: so far? That and then that to me makes sense. Yeah, 241 00:12:11,559 --> 00:12:14,360 Speaker 2: Like I see audience testing to that end. 242 00:12:14,440 --> 00:12:15,959 Speaker 1: For sure, you see the value. 243 00:12:16,040 --> 00:12:19,720 Speaker 2: But if it's like should this explosion be seventy percent 244 00:12:19,760 --> 00:12:23,400 Speaker 2: more explosive, well, or should this guy's brain splatter like 245 00:12:23,679 --> 00:12:25,560 Speaker 2: more or less? Well? 246 00:12:25,880 --> 00:12:28,400 Speaker 1: With the violence, you have a point they that is 247 00:12:28,440 --> 00:12:30,840 Speaker 1: something they will also test for it like, are you 248 00:12:30,880 --> 00:12:33,079 Speaker 1: turned off by the amount of violence? Could we dial 249 00:12:33,120 --> 00:12:33,920 Speaker 1: it back a little bit? 250 00:12:34,040 --> 00:12:36,400 Speaker 2: Yeah? What was the movie that was given an example 251 00:12:36,440 --> 00:12:39,360 Speaker 2: in this article of of something that was found to 252 00:12:39,360 --> 00:12:40,040 Speaker 2: be too violent? 253 00:12:40,600 --> 00:12:41,200 Speaker 1: Goodfellas? 254 00:12:41,640 --> 00:12:44,679 Speaker 2: Yes, yeah, that was in a Mental Floss article, right. 255 00:12:44,840 --> 00:12:48,560 Speaker 1: Yeah, yeah, Goodfellas? Uh, the audience like he had and 256 00:12:48,600 --> 00:12:50,680 Speaker 1: that was the first movie Scorsese had ever tested. 257 00:12:51,200 --> 00:12:53,720 Speaker 2: Yeah, and yeah that's another guy I don't see like 258 00:12:53,760 --> 00:12:56,280 Speaker 2: testing stuff. I'm really surprised about Apocalypse now. 259 00:12:56,480 --> 00:13:01,679 Speaker 1: Yeah, Well, like I said, it was studio heat, yeah, gotcha, Yes, Scorsese. 260 00:13:01,920 --> 00:13:03,599 Speaker 1: I think like forty or fifty people walked out in 261 00:13:03,640 --> 00:13:06,280 Speaker 1: the first ten minutes because of the violence. Yeah, and 262 00:13:06,320 --> 00:13:09,520 Speaker 1: they said that they didn't like that third act where 263 00:13:10,080 --> 00:13:12,880 Speaker 1: you know, just they thought it was too intense, Yeah. 264 00:13:12,559 --> 00:13:15,160 Speaker 2: And apparently very drawn out, way more drawn out than 265 00:13:15,200 --> 00:13:16,160 Speaker 2: it even is now. 266 00:13:16,280 --> 00:13:19,400 Speaker 1: Yeah, they thought the ending of Goodfellows is too intense. 267 00:13:19,840 --> 00:13:22,640 Speaker 2: Right, and again very drawn out. So he went to 268 00:13:22,679 --> 00:13:26,400 Speaker 2: a quick cut montage thing. Yeah, which actually ended up 269 00:13:26,440 --> 00:13:29,240 Speaker 2: making it better because Henry Hill is like coke to 270 00:13:29,280 --> 00:13:31,600 Speaker 2: the gills at this point. Sure, and like that whole 271 00:13:31,640 --> 00:13:35,240 Speaker 2: thing where like he's looking driving watching the helicopter that's 272 00:13:35,280 --> 00:13:40,080 Speaker 2: following him. Yeah, and it's like chop, chop chop. It 273 00:13:40,160 --> 00:13:41,360 Speaker 2: really gets the point across. 274 00:13:41,400 --> 00:13:42,680 Speaker 1: Yeah, it was very effective. 275 00:13:42,800 --> 00:13:45,440 Speaker 2: So it worked in that case, I think, yes, right, 276 00:13:45,760 --> 00:13:46,840 Speaker 2: the system works. 277 00:13:47,400 --> 00:13:49,440 Speaker 1: Well, I don't know about that. It worked in that case. 278 00:13:50,480 --> 00:13:52,880 Speaker 1: So how these things work is if you live in 279 00:13:52,920 --> 00:13:56,480 Speaker 1: the Los Angeles area and you go to the mall, 280 00:13:56,760 --> 00:13:59,079 Speaker 1: or if you're even in a movie line, yeah, you've 281 00:13:59,080 --> 00:14:03,000 Speaker 1: probably been approached or seeing the people with clipboards. Don't 282 00:14:03,040 --> 00:14:05,840 Speaker 1: run away because they are not trying to sell you something. 283 00:14:06,160 --> 00:14:08,720 Speaker 1: They're trying to give you something, which is a free screening. 284 00:14:09,360 --> 00:14:10,199 Speaker 2: That's true, and. 285 00:14:10,120 --> 00:14:11,760 Speaker 1: They'll come and sign you up there. I ask if 286 00:14:11,800 --> 00:14:14,360 Speaker 1: you're interested. Hey, we got a new uh Owen Wilson 287 00:14:14,400 --> 00:14:17,199 Speaker 1: movie that we're screening in Burbank next Friday night. 288 00:14:17,280 --> 00:14:20,400 Speaker 2: And everybody starts murmuring, oh oh, I love them. He's 289 00:14:20,400 --> 00:14:23,080 Speaker 2: a national treasure. And everybody starts signing up. 290 00:14:23,080 --> 00:14:23,840 Speaker 1: What's with the nose? 291 00:14:24,840 --> 00:14:26,480 Speaker 2: He got it broken when he was younger. 292 00:14:26,560 --> 00:14:29,520 Speaker 1: It looks like more than once. I like that he 293 00:14:29,520 --> 00:14:30,280 Speaker 1: didn't fix it though. 294 00:14:30,360 --> 00:14:31,600 Speaker 2: Yeah, he was a smart alec. 295 00:14:31,760 --> 00:14:35,040 Speaker 1: That thing is just like so crooked, and he's just like, yep, 296 00:14:35,120 --> 00:14:35,520 Speaker 1: this is me. 297 00:14:35,680 --> 00:14:38,040 Speaker 2: He said. He always expected to do something like go 298 00:14:38,120 --> 00:14:41,200 Speaker 2: into advertising or whatever. But if you're a buddy of 299 00:14:41,200 --> 00:14:44,520 Speaker 2: Wes Anderson's from a young age, yeah you're going into movies. Sorry. 300 00:14:44,600 --> 00:14:47,080 Speaker 1: I'm a big fan of him and his nose. Yeah, 301 00:14:47,680 --> 00:14:51,240 Speaker 1: so you're gonna get approached, Like I said, Uh, probably 302 00:14:51,240 --> 00:14:54,040 Speaker 1: in LA but they do test all over the country 303 00:14:54,080 --> 00:14:57,280 Speaker 1: because we've talked about will it play in Peoria? Yeah, 304 00:14:57,320 --> 00:15:00,240 Speaker 1: sometimes they want to go to Ohio and see what 305 00:15:00,960 --> 00:15:04,080 Speaker 1: you know, someone outside of the LA area feels about 306 00:15:04,120 --> 00:15:04,520 Speaker 1: the movie. 307 00:15:04,600 --> 00:15:07,880 Speaker 2: Right. But the reason that your chances are vastly higher 308 00:15:08,080 --> 00:15:10,520 Speaker 2: of being asked to be in a test audience for 309 00:15:10,640 --> 00:15:13,440 Speaker 2: a movie in Los Angeles is because a lot of 310 00:15:13,480 --> 00:15:15,800 Speaker 2: times the people working on the movie who live in 311 00:15:15,800 --> 00:15:20,000 Speaker 2: Los Angeles have to attend these things. Yeah, because not 312 00:15:20,080 --> 00:15:24,400 Speaker 2: only do they want to, they want to get the 313 00:15:24,400 --> 00:15:26,600 Speaker 2: feedback from it, which we'll find out about that. They 314 00:15:26,600 --> 00:15:29,040 Speaker 2: also want to experience it firsthand, sure, so they get 315 00:15:29,040 --> 00:15:31,840 Speaker 2: a real feel for how the audience is responding. 316 00:15:32,120 --> 00:15:34,360 Speaker 1: Yeah, and if you're eighteen to thirty four, you're more 317 00:15:34,440 --> 00:15:36,760 Speaker 1: likely to get approached, because that's the sweet spot of 318 00:15:36,800 --> 00:15:37,880 Speaker 1: course that you talked about. 319 00:15:38,040 --> 00:15:38,240 Speaker 2: Yeah. 320 00:15:38,240 --> 00:15:39,880 Speaker 1: If you're older than that, then forget it. 321 00:15:39,920 --> 00:15:40,840 Speaker 2: No one cares about you. 322 00:15:40,880 --> 00:15:41,640 Speaker 1: No one cares about you. 323 00:15:41,720 --> 00:15:44,840 Speaker 2: Just give up all of your dreams and work and yep, 324 00:15:45,280 --> 00:15:46,640 Speaker 2: smoke a pipe, be quiet. 325 00:15:46,680 --> 00:15:50,520 Speaker 1: That's right. If you are an assistant editor or in 326 00:15:50,920 --> 00:15:53,640 Speaker 1: any part of the editing crew, it's going to be 327 00:15:53,680 --> 00:15:55,720 Speaker 1: a bit of a hellish experience because you're going to 328 00:15:55,800 --> 00:15:59,880 Speaker 1: be scrambling trying to temp in music and temp in 329 00:16:00,000 --> 00:16:04,320 Speaker 1: and special effects like some really hackneyed version of special 330 00:16:04,360 --> 00:16:07,320 Speaker 1: effects just so they know, like in the scene it's 331 00:16:07,360 --> 00:16:09,040 Speaker 1: gonna be a spaceship. 332 00:16:08,720 --> 00:16:11,880 Speaker 2: Right, And then the editor's like, well, I can just 333 00:16:11,920 --> 00:16:14,360 Speaker 2: cut to this stock quick quick time footage of a 334 00:16:14,400 --> 00:16:16,760 Speaker 2: spaceship landing and get the point across. Like sure. 335 00:16:17,320 --> 00:16:19,360 Speaker 1: So they're gonna be scrambling trying to put together as 336 00:16:19,440 --> 00:16:22,840 Speaker 1: much of a finished product as they can, and most 337 00:16:22,880 --> 00:16:24,640 Speaker 1: of the times they will also be at the theater. 338 00:16:24,800 --> 00:16:26,760 Speaker 1: They're gonna cue it up and watch it just to 339 00:16:26,800 --> 00:16:30,760 Speaker 1: make sure it's ready to roll. Yeah, before the audience 340 00:16:30,760 --> 00:16:34,160 Speaker 1: sees it, you're gonna have a moderator. Have you ever 341 00:16:34,160 --> 00:16:34,920 Speaker 1: been to a test screen? 342 00:16:35,160 --> 00:16:35,760 Speaker 2: No of you? 343 00:16:35,840 --> 00:16:36,760 Speaker 1: Yeah? 344 00:16:36,800 --> 00:16:37,160 Speaker 2: Cool? 345 00:16:37,400 --> 00:16:40,080 Speaker 1: Yeah, it's neat what I don't remember? 346 00:16:40,240 --> 00:16:41,800 Speaker 2: Wow, it must not have been very good movie. 347 00:16:41,960 --> 00:16:46,280 Speaker 1: That was a long time ago. Yeah, that was it. 348 00:16:46,480 --> 00:16:47,200 Speaker 2: I love that movie. 349 00:16:47,240 --> 00:16:48,840 Speaker 1: It wasn't. I did watch that the other night, though, 350 00:16:48,880 --> 00:16:49,320 Speaker 1: in full. 351 00:16:50,120 --> 00:16:52,440 Speaker 2: That's that was it. That was one of the songs 352 00:16:52,480 --> 00:16:57,040 Speaker 2: that I sang at piano karaoke a couple of dollars 353 00:16:57,240 --> 00:16:59,680 Speaker 2: saying that you mean and I sang Islands in the Stream. 354 00:16:59,440 --> 00:17:01,680 Speaker 1: Oh well that she did the Kenney Rogers part and 355 00:17:01,680 --> 00:17:02,480 Speaker 1: you did the Dolly part. 356 00:17:02,560 --> 00:17:06,400 Speaker 2: We switched it up a little. Yeah, very hard song 357 00:17:06,480 --> 00:17:07,480 Speaker 2: to sing, by the way. 358 00:17:07,320 --> 00:17:09,720 Speaker 1: And that movie holds up. Man, it's still very funny. Yeah, 359 00:17:09,760 --> 00:17:11,520 Speaker 1: the great Dabney Coleman. 360 00:17:11,840 --> 00:17:15,919 Speaker 2: Great Lily Tomlin, the great Dolly Parton, the great Jane Fonda, 361 00:17:16,840 --> 00:17:18,800 Speaker 2: the great Jane Fonda. 362 00:17:18,600 --> 00:17:20,159 Speaker 1: So good, and you know, the three of them, like 363 00:17:21,040 --> 00:17:23,200 Speaker 1: it was just a great shoot and there were best 364 00:17:23,240 --> 00:17:26,000 Speaker 1: buds and they remain friends all these years later. 365 00:17:26,320 --> 00:17:26,920 Speaker 2: You can tell. 366 00:17:27,040 --> 00:17:31,720 Speaker 1: Yeah, it's kind of neat. Uh, all right, so where 367 00:17:31,840 --> 00:17:34,560 Speaker 1: was I? Oh? Yeah, someone's gonna introduce the movie and 368 00:17:34,560 --> 00:17:36,840 Speaker 1: they're gonna get you all excited and like everyone's glad 369 00:17:36,840 --> 00:17:39,440 Speaker 1: to be here. So you know when Wilson's new movie. 370 00:17:39,400 --> 00:17:42,480 Speaker 2: Right, everybody reach under your seat for some free red vines. 371 00:17:42,600 --> 00:17:44,359 Speaker 1: Yeah, yeah, you might get a little free something you 372 00:17:44,359 --> 00:17:47,199 Speaker 1: never know. And they're going to explain, like what you're 373 00:17:47,240 --> 00:17:49,679 Speaker 1: about to see is gonna be a little rough in parts, 374 00:17:49,720 --> 00:17:52,480 Speaker 1: and the effects aren't complete, so just don't take that 375 00:17:52,560 --> 00:17:53,200 Speaker 1: into account. 376 00:17:53,320 --> 00:17:56,560 Speaker 2: Right, They're not looking for like, whoa, maybe you should 377 00:17:56,560 --> 00:17:58,760 Speaker 2: color correct it a little more before you release it. 378 00:17:58,760 --> 00:17:59,439 Speaker 2: They're aware of that. 379 00:18:00,000 --> 00:18:01,680 Speaker 1: I think you're supposed to take the green screen out 380 00:18:01,720 --> 00:18:02,160 Speaker 1: of the shot. 381 00:18:02,560 --> 00:18:05,399 Speaker 2: Right. What they're looking for is pacing. They want to 382 00:18:05,440 --> 00:18:08,600 Speaker 2: know you as like an audience members keeping up with 383 00:18:08,720 --> 00:18:11,880 Speaker 2: the movie and how it's how it is going, right. 384 00:18:12,040 --> 00:18:15,199 Speaker 1: Yeah, you're gonna well, you're gonna watch the movie just 385 00:18:15,400 --> 00:18:17,520 Speaker 1: as cleanly as possible, and then you're gonna have to 386 00:18:17,520 --> 00:18:21,280 Speaker 1: fill out comment cards. And they're pretty standard, but they 387 00:18:21,320 --> 00:18:24,880 Speaker 1: can tailor it for the movie. Like if, like, let's 388 00:18:24,880 --> 00:18:27,080 Speaker 1: say you think there's a problem with one of the characters, 389 00:18:27,080 --> 00:18:29,800 Speaker 1: they might specifically say, like, what do you think about 390 00:18:29,920 --> 00:18:31,119 Speaker 1: the Luke Wilson character? 391 00:18:31,720 --> 00:18:32,200 Speaker 2: Too much? 392 00:18:32,480 --> 00:18:32,960 Speaker 1: Too little? 393 00:18:33,119 --> 00:18:34,320 Speaker 2: He's no Owen Wilson. 394 00:18:35,760 --> 00:18:40,639 Speaker 1: They might ask your favorite parts, your least favorite parts? Yeah, 395 00:18:40,680 --> 00:18:42,919 Speaker 1: how did it flow? Did anything stand out to you? 396 00:18:43,080 --> 00:18:45,120 Speaker 2: Is like, like could you follow it the whole time? Yeah? 397 00:18:45,200 --> 00:18:47,760 Speaker 1: Did it make sense? That's a good one, right. What 398 00:18:47,840 --> 00:18:50,200 Speaker 1: did you think of the jokes? Yeah? What do you 399 00:18:50,240 --> 00:18:52,480 Speaker 1: think of the jokes? They drill down, They try and 400 00:18:52,520 --> 00:18:54,879 Speaker 1: get as specific as they can, and these are just 401 00:18:54,920 --> 00:18:56,600 Speaker 1: the comment cards. Yeah. 402 00:18:56,640 --> 00:19:00,520 Speaker 2: Supposedly, if you're in the demographic that they're shooting for 403 00:19:00,880 --> 00:19:04,119 Speaker 2: in release and you're at this thing as you're trying 404 00:19:04,119 --> 00:19:06,080 Speaker 2: to leave, they might come up to you and be like, hey, 405 00:19:07,040 --> 00:19:09,959 Speaker 2: like yeah, this is just kind of the schlubby like audience. 406 00:19:10,000 --> 00:19:11,720 Speaker 2: You want to be part of a real focus group, 407 00:19:11,840 --> 00:19:14,919 Speaker 2: come with us, and then you follow the stranger to 408 00:19:15,160 --> 00:19:16,080 Speaker 2: a second location. 409 00:19:16,359 --> 00:19:18,000 Speaker 1: Yeah, do you follow him to a van with a 410 00:19:18,000 --> 00:19:20,560 Speaker 1: little round window in the back that's. 411 00:19:20,320 --> 00:19:23,399 Speaker 2: Been covered over with a black plastic bag. 412 00:19:23,560 --> 00:19:28,399 Speaker 1: Yeah, it got dark, it did. So the big thing 413 00:19:28,440 --> 00:19:31,879 Speaker 1: they're looking for, though, the money question, is would you 414 00:19:31,960 --> 00:19:37,359 Speaker 1: recommend this movie to a friend. That's the one thing 415 00:19:37,440 --> 00:19:39,399 Speaker 1: they want to know, and that is where you're going 416 00:19:39,480 --> 00:19:42,439 Speaker 1: to get your overall score that they really are going 417 00:19:42,480 --> 00:19:43,160 Speaker 1: to hone in on. 418 00:19:43,359 --> 00:19:45,280 Speaker 2: Right, and they want to know that so bad that 419 00:19:45,359 --> 00:19:48,840 Speaker 2: if they don't say I definitely would, Yeah, they don't 420 00:19:48,840 --> 00:19:49,439 Speaker 2: even count that. 421 00:19:49,560 --> 00:19:52,000 Speaker 1: Yeah you can say like yeah, yeah, maybe probably Nope. 422 00:19:52,240 --> 00:19:54,879 Speaker 2: So a movie. A movie gets a score at the end, 423 00:19:54,960 --> 00:19:59,159 Speaker 2: and it's based apparently exclusively on whether or not you 424 00:19:59,200 --> 00:20:02,120 Speaker 2: said you would definitely recommend the movie to a friend. Yeah. 425 00:20:02,160 --> 00:20:04,000 Speaker 1: Out of one hundred people, they will score that. 426 00:20:04,440 --> 00:20:07,680 Speaker 2: So yeah, we're out of however many people. But for example, 427 00:20:07,720 --> 00:20:12,680 Speaker 2: out of one hundred, yeah, if sixty people say that, yeah, 428 00:20:12,720 --> 00:20:16,160 Speaker 2: I guess I would recommend it to a friend, and 429 00:20:16,240 --> 00:20:18,879 Speaker 2: forty people say that they definitely would, that movie got 430 00:20:19,000 --> 00:20:22,439 Speaker 2: to score forty terrible, not even like a like you 431 00:20:22,480 --> 00:20:25,280 Speaker 2: can't even take into account that Yeah, probably, Yeah, you 432 00:20:25,320 --> 00:20:27,840 Speaker 2: have to say you definitely would recommend it to a 433 00:20:27,840 --> 00:20:30,280 Speaker 2: friend to get a point for that movie. 434 00:20:30,720 --> 00:20:32,680 Speaker 1: Yeah, And they said in this article, I'm sure there's 435 00:20:32,720 --> 00:20:36,919 Speaker 1: a huge caveats and a sliding scale, but uh and 436 00:20:37,480 --> 00:20:40,600 Speaker 1: anything over eighty they think they're in pretty decent shape. 437 00:20:41,080 --> 00:20:43,840 Speaker 1: I would guess eighty percent a low B average. 438 00:20:43,880 --> 00:20:46,679 Speaker 2: They've really says a lot, a lot less than eighties lately, 439 00:20:47,400 --> 00:20:49,960 Speaker 2: except of course for Mad Max. They makes an X 440 00:20:50,000 --> 00:20:52,000 Speaker 2: Machina that was a pretty great movie too, so. 441 00:20:52,000 --> 00:20:54,640 Speaker 1: Good they ask in this article, though, it makes you wonder, 442 00:20:54,680 --> 00:20:56,879 Speaker 1: like when you when a train wreck of a movie 443 00:20:56,880 --> 00:21:00,359 Speaker 1: comes out, like what happened? Did they focus group it? 444 00:21:00,440 --> 00:21:02,480 Speaker 1: Did they test screen it? Did they ignore it? 445 00:21:02,680 --> 00:21:03,040 Speaker 2: Yeah? 446 00:21:03,560 --> 00:21:05,679 Speaker 1: Like what what? How does that thing get released? Is 447 00:21:05,680 --> 00:21:06,159 Speaker 1: the question? 448 00:21:06,760 --> 00:21:08,160 Speaker 2: Or are you asking me? Yeah? 449 00:21:08,160 --> 00:21:10,919 Speaker 1: Well, I mean no, I'm just throwing it out there. 450 00:21:10,960 --> 00:21:12,600 Speaker 1: I'm not the one who's been to one of these 451 00:21:12,640 --> 00:21:15,840 Speaker 1: tests creating. No, it does make you wonder though, like 452 00:21:16,000 --> 00:21:17,399 Speaker 1: it probably didn't salvageable. 453 00:21:17,960 --> 00:21:22,159 Speaker 2: They didn't screen it, or the the people who had 454 00:21:23,119 --> 00:21:27,720 Speaker 2: edit rights didn't care to listen. But this this article 455 00:21:27,800 --> 00:21:30,320 Speaker 2: keeps picking on glitter, which seems mean because there's a 456 00:21:30,320 --> 00:21:35,480 Speaker 2: lot of stinkers out there. Apparently Human Centipede three has 457 00:21:35,520 --> 00:21:37,120 Speaker 2: the I think it came out recently. 458 00:21:37,280 --> 00:21:38,159 Speaker 1: Is this the one in prison? 459 00:21:38,840 --> 00:21:39,320 Speaker 2: I don't know. 460 00:21:39,520 --> 00:21:43,719 Speaker 1: I think it's the first, like hundreds of people centipedes. 461 00:21:43,880 --> 00:21:47,120 Speaker 2: Yeah, it has the lowest Metacritics score of all time. 462 00:21:47,240 --> 00:21:49,480 Speaker 1: Really, you saw the first one? 463 00:21:49,880 --> 00:21:53,160 Speaker 2: Yeah? Have you seen it? No, dude, it's definitely worth seeing. 464 00:21:53,200 --> 00:21:55,880 Speaker 1: Really, yeah, I just think I get it just by 465 00:21:55,880 --> 00:21:56,600 Speaker 1: seeing the trailer. 466 00:21:56,680 --> 00:22:00,000 Speaker 2: You would. No, No, I mean there's no real support 467 00:22:00,480 --> 00:22:05,879 Speaker 2: beyond what you've seen in the trailer. But it's not 468 00:22:05,960 --> 00:22:09,600 Speaker 2: even appreciating it in an ironic way. Even taking it 469 00:22:09,640 --> 00:22:11,960 Speaker 2: on its own terms, you're kind of like it's worth 470 00:22:12,119 --> 00:22:13,320 Speaker 2: seeing at least once. 471 00:22:13,280 --> 00:22:15,639 Speaker 1: Like can't be disturbing or yeah. 472 00:22:15,600 --> 00:22:21,440 Speaker 2: Okay, but not like not like hostile can't be disturbing. 473 00:22:22,160 --> 00:22:23,040 Speaker 2: Have you seen Hostile? 474 00:22:23,280 --> 00:22:25,280 Speaker 1: Yeah? I didn't think that was very campy. 475 00:22:25,720 --> 00:22:30,159 Speaker 2: It was just straight up disturbing. This one already disturbing. Yeah, 476 00:22:30,640 --> 00:22:33,240 Speaker 2: the guy was definitely going for an already bent despite 477 00:22:33,280 --> 00:22:35,680 Speaker 2: the premise of the movie. All right, but yeah, there's 478 00:22:35,720 --> 00:22:36,760 Speaker 2: some disturbing stuff. 479 00:22:37,040 --> 00:22:38,920 Speaker 1: I'm curious to see if that guy has anything left 480 00:22:38,920 --> 00:22:41,680 Speaker 1: in his bag of tricks because you can only go 481 00:22:41,760 --> 00:22:43,160 Speaker 1: mouth the butt for so long. 482 00:22:43,440 --> 00:22:46,800 Speaker 2: What's what's can't be disturbing? Give me an example of 483 00:22:46,800 --> 00:22:47,160 Speaker 2: that thing. 484 00:22:47,280 --> 00:22:54,440 Speaker 1: Oh, I think like like a reanimator type of thing. 485 00:22:54,600 --> 00:22:58,760 Speaker 2: Oh yeah, okay, I see, Yeah, hostile's not can't be disturbing. 486 00:22:58,880 --> 00:23:01,240 Speaker 2: That definitely. Yes. 487 00:23:02,280 --> 00:23:04,119 Speaker 1: Can we talk about Tom Cruise for a minute and 488 00:23:04,160 --> 00:23:05,639 Speaker 1: how obnoxious this move was? 489 00:23:05,920 --> 00:23:09,119 Speaker 2: Yeah, I guess he really believed in the way the 490 00:23:09,240 --> 00:23:10,960 Speaker 2: editing process was already going. 491 00:23:11,160 --> 00:23:16,560 Speaker 1: Yeah, he crashed his own test screening of Mission Impossible three, allegedly, 492 00:23:17,320 --> 00:23:21,160 Speaker 1: uh and ran in there and looked like, Hey, everybody, 493 00:23:21,720 --> 00:23:25,240 Speaker 1: I'm Tom Cruise. Let's high five each other, enjoy. 494 00:23:25,040 --> 00:23:26,760 Speaker 2: The movie, give me a couch to jump on. 495 00:23:26,920 --> 00:23:29,760 Speaker 1: I mean, can you believe that that totally negates the 496 00:23:29,800 --> 00:23:33,200 Speaker 1: purpose of an audience screening because everyone there. I'm sure 497 00:23:33,200 --> 00:23:34,359 Speaker 1: there were a few people who are like, oh I 498 00:23:34,359 --> 00:23:36,920 Speaker 1: hatred got too weirdo. But the rest of people are like, 499 00:23:36,960 --> 00:23:38,920 Speaker 1: oh my god, Tom Cruise just came into the very 500 00:23:38,920 --> 00:23:41,640 Speaker 1: test screening. Yeah, like they probably didn't feel good about 501 00:23:41,640 --> 00:23:44,480 Speaker 1: writing negative comments, right, you know why. 502 00:23:44,760 --> 00:23:46,840 Speaker 2: Here he might want to hang out with me after this, 503 00:23:46,920 --> 00:23:48,280 Speaker 2: and I want to be able to tell him that 504 00:23:48,280 --> 00:23:49,399 Speaker 2: I gave him a high marks. 505 00:23:49,640 --> 00:23:51,919 Speaker 1: I can't believe he did that. I can't believe he 506 00:23:51,960 --> 00:23:52,199 Speaker 1: did that. 507 00:23:52,240 --> 00:23:57,119 Speaker 2: Actually, yeah I can too. So by the way, Also, 508 00:23:57,359 --> 00:24:01,200 Speaker 2: there was a really interesting long form our in La 509 00:24:01,280 --> 00:24:05,280 Speaker 2: Weekly from about a year ago called how YouTube and 510 00:24:05,359 --> 00:24:08,840 Speaker 2: internet journalism destroyed Tom Cruise our last real movie star. 511 00:24:09,960 --> 00:24:15,920 Speaker 2: And it's it's not an apologist's view, but it definitely 512 00:24:15,960 --> 00:24:21,040 Speaker 2: defends him against a lot of it's just read it. 513 00:24:21,440 --> 00:24:25,000 Speaker 1: I'm still a fan of his acting in most cases, 514 00:24:25,080 --> 00:24:27,639 Speaker 1: Like that Edge of Tomorrow movie was terrific. Yeah, I 515 00:24:27,640 --> 00:24:29,680 Speaker 1: haven't seen it yet and I've heard nothing but good 516 00:24:29,680 --> 00:24:31,199 Speaker 1: things about it. Yeah, it was really good. But I 517 00:24:31,240 --> 00:24:33,439 Speaker 1: know I can still watch his movies and separate that 518 00:24:33,600 --> 00:24:35,800 Speaker 1: from the wacko in real life. 519 00:24:35,880 --> 00:24:39,440 Speaker 2: This is, yes, this is defending his acting as well, 520 00:24:39,480 --> 00:24:42,640 Speaker 2: but it's defending is that public perception of him as 521 00:24:42,680 --> 00:24:43,439 Speaker 2: being a wacko. 522 00:24:43,720 --> 00:24:44,880 Speaker 1: Yeah, And it. 523 00:24:44,840 --> 00:24:47,760 Speaker 2: Basically like really kind of pulls apart like all the 524 00:24:47,880 --> 00:24:50,480 Speaker 2: layers and you're like, oh yeah, Like it really goes 525 00:24:50,520 --> 00:24:53,720 Speaker 2: to town stressing that he never jumped up and down on. 526 00:24:53,680 --> 00:24:56,359 Speaker 1: The couch, right, He just jumped up on the couch. 527 00:24:56,200 --> 00:24:58,560 Speaker 2: Exactly, But they go to great lengths to point out 528 00:24:58,560 --> 00:25:01,880 Speaker 2: that that is not the same thing as just offhandedly saying, oh, yeah, 529 00:25:01,880 --> 00:25:03,680 Speaker 2: he jumped up and down on that couch like he 530 00:25:03,800 --> 00:25:06,200 Speaker 2: was crazy. Yeah. No, he jumped up on the couch 531 00:25:06,240 --> 00:25:08,479 Speaker 2: once and then stepped down or something like that. So 532 00:25:08,680 --> 00:25:12,280 Speaker 2: it's a really great article, really interesting because he's just 533 00:25:12,320 --> 00:25:16,159 Speaker 2: been like killed around for so long now, it's really 534 00:25:16,200 --> 00:25:19,440 Speaker 2: it's almost surprising to see somebody step up, not as 535 00:25:19,480 --> 00:25:21,919 Speaker 2: like a crusader on behalf of time cruise, but just 536 00:25:21,920 --> 00:25:24,480 Speaker 2: more to be like, everybody put your knives away. 537 00:25:25,240 --> 00:25:27,680 Speaker 1: Well, I think the knives are out, not just because like, oh, 538 00:25:27,720 --> 00:25:30,760 Speaker 1: he's a scientologist and people think that's weird. It's like 539 00:25:31,240 --> 00:25:34,280 Speaker 1: when you dig down into scientology and find out the 540 00:25:34,320 --> 00:25:37,480 Speaker 1: things that he abides by, like the slave labor to 541 00:25:37,560 --> 00:25:41,000 Speaker 1: decorate his cars and to wash his truck, and you know, 542 00:25:42,359 --> 00:25:44,320 Speaker 1: that makes you kind of not a good person, you know. 543 00:25:44,440 --> 00:25:46,160 Speaker 2: Yeah, I see what you mean. 544 00:25:46,240 --> 00:25:48,960 Speaker 1: Like that's beyond like, oh, that's just a strange religion. 545 00:25:49,040 --> 00:25:51,880 Speaker 1: That's like people are being paid fifteen cents an hour 546 00:25:52,400 --> 00:25:53,280 Speaker 1: to take care of me. 547 00:25:54,440 --> 00:25:58,040 Speaker 2: Oh, if they're being paid, that's not slavery, that's true. 548 00:25:58,480 --> 00:25:59,160 Speaker 1: It's a good point. 549 00:26:01,800 --> 00:26:04,280 Speaker 2: What was the what's the name of the was it 550 00:26:04,320 --> 00:26:06,120 Speaker 2: an HBO documentary. 551 00:26:05,640 --> 00:26:08,359 Speaker 1: Going Clear, Going Clear. Yeah, based on the book Going Clear. 552 00:26:08,880 --> 00:26:11,520 Speaker 2: I saw the guy who wrote the book come speak. 553 00:26:11,920 --> 00:26:14,520 Speaker 1: Oh really, that guy likes something that. 554 00:26:14,359 --> 00:26:17,440 Speaker 2: I don't remember his name, but like, I mean, how 555 00:26:17,520 --> 00:26:21,240 Speaker 2: whatever you think of his book, his journalism. That guy 556 00:26:21,320 --> 00:26:24,560 Speaker 2: had brass ones. Oh really, he's the one who did it. 557 00:26:24,640 --> 00:26:27,200 Speaker 2: He's the one who went after scientology when no one 558 00:26:27,200 --> 00:26:29,560 Speaker 2: else would touch it. Yeah, he's the guy who did 559 00:26:29,840 --> 00:26:33,879 Speaker 2: And apparently five million lawyers read that book before it 560 00:26:33,920 --> 00:26:34,760 Speaker 2: was ever published. 561 00:26:35,080 --> 00:26:38,080 Speaker 1: I think HBO supposedly had like one hundred attorneys when 562 00:26:38,080 --> 00:26:40,000 Speaker 1: they went to adapt it as a documentary. 563 00:26:40,080 --> 00:26:42,399 Speaker 2: Yeah, and this is after it had already been vetted 564 00:26:42,440 --> 00:26:44,800 Speaker 2: by all of the lawyers in the book publishing world. 565 00:26:45,000 --> 00:26:49,600 Speaker 1: Yeah, it's good. Yeah, the great book. All right, let's 566 00:26:49,600 --> 00:26:51,600 Speaker 1: take another break here, and when we come back, we'll 567 00:26:51,600 --> 00:26:54,520 Speaker 1: talk about some of the more famous examples of movies 568 00:26:54,560 --> 00:26:56,840 Speaker 1: that have been changed due to audience screenings. 569 00:26:56,840 --> 00:27:21,680 Speaker 2: It's gonna be so good, so Chuck, there's there's some 570 00:27:22,240 --> 00:27:25,400 Speaker 2: legendary changes to movies that have been made over the years. 571 00:27:25,400 --> 00:27:29,159 Speaker 2: Like we mentioned, uh, the Wizard of Oz that was 572 00:27:29,400 --> 00:27:32,440 Speaker 2: not a change actually, but like a test audience suggested 573 00:27:32,480 --> 00:27:37,119 Speaker 2: it be taken out Somewhere over the Rainbow. Apparently. Also 574 00:27:37,280 --> 00:27:43,000 Speaker 2: very famously, James Bond's movie Licensed to Kill was originally 575 00:27:43,040 --> 00:27:47,240 Speaker 2: called License Revoked, and even after all the promotion material 576 00:27:47,320 --> 00:27:50,360 Speaker 2: posters have been made, they changed the name because American 577 00:27:50,359 --> 00:27:53,000 Speaker 2: test audiences were like, I don't understand what the title means, 578 00:27:53,000 --> 00:27:58,040 Speaker 2: like his driver's license was revoked, and they were serious weird. 579 00:27:58,119 --> 00:28:00,840 Speaker 1: I mean it sounds like a like a Queen Tifa comedy, 580 00:28:01,840 --> 00:28:04,639 Speaker 1: like you know, like where she's a bus school sassy 581 00:28:04,640 --> 00:28:05,720 Speaker 1: school bus driver. 582 00:28:05,600 --> 00:28:08,919 Speaker 2: And the like the K and the R backwards or 583 00:28:08,920 --> 00:28:10,320 Speaker 2: something like that, and the poster. 584 00:28:10,560 --> 00:28:16,639 Speaker 1: Yeah, absolutely, she's a sassy bus pretty woman. The movie, 585 00:28:17,040 --> 00:28:21,640 Speaker 1: the Sacarine feel good movie from Richard Gear and Julia Roberts. 586 00:28:21,640 --> 00:28:23,600 Speaker 2: Apparently not started out as Sacraine. 587 00:28:23,760 --> 00:28:26,760 Speaker 1: No, this is hysterical to me. It was originally titled 588 00:28:26,800 --> 00:28:29,800 Speaker 1: three thousand, based on the amount of money it costs 589 00:28:29,840 --> 00:28:33,560 Speaker 1: to hire a hooker for a week. Sure that would 590 00:28:33,680 --> 00:28:34,560 Speaker 1: like made no sense. 591 00:28:34,920 --> 00:28:37,000 Speaker 2: Yeah, Apparently they changed the name not because of the 592 00:28:37,040 --> 00:28:39,959 Speaker 2: test says, because the execs were like, sounds too science 593 00:28:39,960 --> 00:28:42,080 Speaker 2: fiction y, and they were right. 594 00:28:42,040 --> 00:28:43,960 Speaker 1: They were right, pretty woman, it's a much better title 595 00:28:44,000 --> 00:28:46,760 Speaker 1: for that for that movie. Uh. And then apparently it 596 00:28:46,960 --> 00:28:50,080 Speaker 1: had a lot darker edge when it was in script form, 597 00:28:50,280 --> 00:28:55,920 Speaker 1: and it ended with Richard Gear's character kicking Julia Roberts 598 00:28:56,040 --> 00:28:58,760 Speaker 1: character out of his car and driving away. That's how 599 00:28:58,760 --> 00:29:01,960 Speaker 1: it ended. Not very rom COMMI. 600 00:29:01,960 --> 00:29:04,520 Speaker 2: No, No, well it wasn't a rom com. 601 00:29:04,680 --> 00:29:07,800 Speaker 1: No, it was Gary Marshall. But see what I want 602 00:29:07,800 --> 00:29:08,600 Speaker 1: to know is. 603 00:29:08,360 --> 00:29:11,080 Speaker 2: Gary Marshall, he's a rom COMMI director. 604 00:29:11,280 --> 00:29:13,480 Speaker 1: No, that's what I'm saying. He made that, like what 605 00:29:13,560 --> 00:29:15,120 Speaker 1: I want to It seems to me like all that 606 00:29:15,160 --> 00:29:18,640 Speaker 1: would have changed with Gary Marshall, not like in test screenings. 607 00:29:18,920 --> 00:29:21,640 Speaker 2: Yes, I think that's what happened. And then what the 608 00:29:21,680 --> 00:29:24,080 Speaker 2: test audience, the hand they played was that they're like, 609 00:29:24,120 --> 00:29:26,200 Speaker 2: you need to change that ending. Okay, gotch they need 610 00:29:26,200 --> 00:29:27,160 Speaker 2: to get together. 611 00:29:27,400 --> 00:29:31,400 Speaker 1: Right, Fatal Attraction famously changed. 612 00:29:31,880 --> 00:29:35,640 Speaker 2: Yeah, So the ending of Fatal Attraction apparently has Glenn 613 00:29:35,680 --> 00:29:40,840 Speaker 2: Cose Glenn Close, who's Michael Douglas's former one night stand 614 00:29:40,880 --> 00:29:46,120 Speaker 2: turned stalker, killing herself slitting her own throat. Yeah, pretty 615 00:29:46,120 --> 00:29:49,080 Speaker 2: good with a knife with Michael Douglas's fingerprints on it. 616 00:29:49,160 --> 00:29:52,120 Speaker 2: And then Michael Douglas is arrested for her murder. 617 00:29:52,200 --> 00:29:56,000 Speaker 1: Yeah, and like it's supposed to They don't show trials 618 00:29:56,000 --> 00:29:58,800 Speaker 1: and things, but it ends with him going to prison. 619 00:29:58,920 --> 00:30:02,040 Speaker 2: Yeah, and that's great ending. Glenn Close loved it. She 620 00:30:02,200 --> 00:30:05,320 Speaker 2: was very sad when audiences were like, Nope, we hate 621 00:30:05,320 --> 00:30:07,840 Speaker 2: this character so much, like she has to be killed off. 622 00:30:07,880 --> 00:30:10,520 Speaker 2: She can't kill herself. Somebody has to kill her. Yeah, 623 00:30:10,560 --> 00:30:12,800 Speaker 2: and just for good measure make it the wife. 624 00:30:13,120 --> 00:30:17,040 Speaker 1: Well, that makes sense because I think people people weren't 625 00:30:17,080 --> 00:30:19,240 Speaker 1: rooting for Michael Douglas in that movie either because he 626 00:30:19,360 --> 00:30:23,680 Speaker 1: was such a jerk right toyed with this woman left her, 627 00:30:24,520 --> 00:30:27,680 Speaker 1: had this great wife at home and kid. So people 628 00:30:27,880 --> 00:30:29,840 Speaker 1: I think they said, you know what would go over 629 00:30:29,880 --> 00:30:33,000 Speaker 1: the top is if the only sympathetic character in this movie, 630 00:30:33,240 --> 00:30:35,440 Speaker 1: which is Ann Archer, is the one who does it 631 00:30:35,600 --> 00:30:37,360 Speaker 1: right and it was effective, I'll give it to him. 632 00:30:37,480 --> 00:30:40,400 Speaker 2: Yeah. But apparently Glenn Closes like the original ending was 633 00:30:40,400 --> 00:30:40,920 Speaker 2: way better. 634 00:30:41,200 --> 00:30:44,520 Speaker 1: She washed her hands of it. Did you ever see 635 00:30:44,520 --> 00:30:49,440 Speaker 1: Scott Pilgrim Versus The World? No, Michael, it's a good flick. 636 00:30:50,400 --> 00:30:54,040 Speaker 1: The original ending of that one had him had his 637 00:30:54,160 --> 00:31:01,800 Speaker 1: character ending up with his his love Entry knives Chow 638 00:31:02,520 --> 00:31:06,360 Speaker 1: played by Ellen Wong instead of his dream girl Ramona Flowers, 639 00:31:07,200 --> 00:31:11,880 Speaker 1: and the test audiences didn't like that and said, basically, 640 00:31:12,280 --> 00:31:16,080 Speaker 1: this guy spent the whole movie annoyed by this girlfriend 641 00:31:16,200 --> 00:31:19,920 Speaker 1: and pining for this other girl and defeating her evil 642 00:31:19,920 --> 00:31:22,760 Speaker 1: ex boyfriends. Right, he can't just not end up with 643 00:31:22,800 --> 00:31:25,880 Speaker 1: her at the end. It's very anticlimactic. So they said, 644 00:31:26,120 --> 00:31:28,960 Speaker 1: all right, we'll change it. And that's how it was 645 00:31:29,000 --> 00:31:30,880 Speaker 1: in the graphic novel too, So I don't know why 646 00:31:30,880 --> 00:31:31,840 Speaker 1: they changed it to begin with. 647 00:31:31,960 --> 00:31:35,840 Speaker 2: Who knows, So they went back to the original ending. Yeah, 648 00:31:35,920 --> 00:31:38,640 Speaker 2: that it was of the material is adaptive. 649 00:31:38,160 --> 00:31:40,840 Speaker 1: From that's right. Yeah, pretty in pink. 650 00:31:41,800 --> 00:31:45,160 Speaker 2: Yeah, this one's pretty famous too. I'd heard this many 651 00:31:45,160 --> 00:31:49,680 Speaker 2: many years ago that originally they had Molly Ringwald ending 652 00:31:49,760 --> 00:31:53,200 Speaker 2: up with John Cryer, Yeah, with Ducky rather than Blaine 653 00:31:53,320 --> 00:31:56,160 Speaker 2: Andrew McCarthy, which, by the way, saw a Weekend at 654 00:31:56,160 --> 00:32:02,479 Speaker 2: Bernie's again recently HiT's. Ah No, it's not that bad really, Yeah, 655 00:32:02,480 --> 00:32:05,720 Speaker 2: it's very thin. Well it's one. It's one good joke. 656 00:32:05,880 --> 00:32:09,080 Speaker 1: Yeah, but boy, they take it in so many directions. 657 00:32:09,120 --> 00:32:14,680 Speaker 2: Yeah, it's pretty funny, and it's amazing how young Jonathan 658 00:32:14,720 --> 00:32:18,280 Speaker 2: Silverman and Andrew McCarthy look, I mean young. 659 00:32:18,600 --> 00:32:20,960 Speaker 1: Yeah, and the guy who played Bernie, who like I 660 00:32:21,000 --> 00:32:23,880 Speaker 1: don't think ever did anything else. No, I never saw 661 00:32:23,960 --> 00:32:24,640 Speaker 1: him anything else. 662 00:32:24,920 --> 00:32:27,040 Speaker 2: He threw out the ball at like a Los Angeles 663 00:32:27,080 --> 00:32:32,760 Speaker 2: Dodgers game or San Francisco Giants gamers some nineteen eighty seven. Yeah, no, no, 664 00:32:33,200 --> 00:32:36,240 Speaker 2: like last season. Really, I don't remember the reason why, 665 00:32:36,280 --> 00:32:40,360 Speaker 2: but it was like he's been working that character for 666 00:32:40,360 --> 00:32:40,800 Speaker 2: a long time. 667 00:32:40,840 --> 00:32:42,240 Speaker 1: Do you know it would have been genius if they 668 00:32:42,240 --> 00:32:46,360 Speaker 1: would have had Silverman and McCarthy out there like grabbing 669 00:32:46,400 --> 00:32:48,640 Speaker 1: his arm and throwing the ball for him as if 670 00:32:48,640 --> 00:32:50,760 Speaker 1: he were dead, It would have been great. That would 671 00:32:50,800 --> 00:32:53,360 Speaker 1: have been pretty good. I think they call that meta 672 00:32:53,400 --> 00:32:58,720 Speaker 1: these days, Yeah, they do, or metas already out. It 673 00:32:58,800 --> 00:33:02,480 Speaker 1: was like so two years ago, you know, uh, twenty 674 00:33:02,480 --> 00:33:05,080 Speaker 1: eight days later you saw that one, right, Yeah, that 675 00:33:05,120 --> 00:33:10,200 Speaker 1: one ends with Jim's Cillian Murphy's character dying in the 676 00:33:10,240 --> 00:33:14,200 Speaker 1: original ending and his people who are going to rescue 677 00:33:14,240 --> 00:33:17,560 Speaker 1: him just like going back out to fight the zombies again, right, 678 00:33:17,840 --> 00:33:21,240 Speaker 1: are like, No, that stinks. I love this guy. 679 00:33:21,720 --> 00:33:25,360 Speaker 2: Yeah, so they he recovers. Yeah, didn't end in like 680 00:33:25,400 --> 00:33:26,440 Speaker 2: a field or a. 681 00:33:26,360 --> 00:33:29,040 Speaker 1: Meadow or they're like romping in the field and I 682 00:33:29,040 --> 00:33:29,959 Speaker 1: think they see a plane. 683 00:33:30,240 --> 00:33:32,000 Speaker 2: I'm sure Danny bow was like, oh, you want a 684 00:33:32,000 --> 00:33:34,880 Speaker 2: happy ending. Yeah, I'll give you your happy, stupid ending. 685 00:33:35,040 --> 00:33:37,600 Speaker 2: Here's your stupid ending. Choke un it, you, stupid audience. 686 00:33:37,720 --> 00:33:40,280 Speaker 1: I like the ending, though I don't. I like both. 687 00:33:40,280 --> 00:33:42,440 Speaker 1: I don't mind a happy ending when it's done well, 688 00:33:42,480 --> 00:33:46,200 Speaker 1: but I also like dark endings. Yeah, you know, one 689 00:33:46,240 --> 00:33:47,920 Speaker 1: of the It doesn't have to be one or the other. 690 00:33:48,040 --> 00:33:52,440 Speaker 2: What about the opposite dark beginnings in un dark beginnings 691 00:33:52,480 --> 00:33:54,120 Speaker 2: like with Sunset Boulevard. 692 00:33:54,800 --> 00:33:56,440 Speaker 1: All right, go ahead and break it down. I don't 693 00:33:56,440 --> 00:33:59,200 Speaker 1: know that one. Oh have you ever seen Sunset Boulevard. No, 694 00:33:59,320 --> 00:34:02,680 Speaker 1: that's on my left as a classic movie for a reason. 695 00:34:02,760 --> 00:34:06,240 Speaker 1: It's a truly great movie. But apparently at the beginning 696 00:34:06,280 --> 00:34:11,920 Speaker 1: of it, originally they had Bill Holden's Corpse, the character 697 00:34:12,000 --> 00:34:15,680 Speaker 1: he plays Corpse, talking to other corpses in the morgue 698 00:34:16,280 --> 00:34:19,640 Speaker 1: explaining how he got there. Oh wow, and audiences were like, 699 00:34:19,840 --> 00:34:20,719 Speaker 1: is this a comedy? 700 00:34:20,960 --> 00:34:23,680 Speaker 2: Like? What is going on here? Apparently a lot of 701 00:34:23,680 --> 00:34:26,719 Speaker 2: people walked out and Billy Wilder, the director, was there. Yeah, 702 00:34:26,960 --> 00:34:29,080 Speaker 2: and some lady told him to his face that it 703 00:34:29,160 --> 00:34:33,680 Speaker 2: was a steaming pile and maybe didn't know it was 704 00:34:33,760 --> 00:34:37,160 Speaker 2: him or something like that. But the legend goes that 705 00:34:37,239 --> 00:34:40,239 Speaker 2: she told them to his face, like this is terrible and. 706 00:34:40,239 --> 00:34:41,240 Speaker 1: So steaming pile. 707 00:34:41,360 --> 00:34:45,240 Speaker 2: He reshot the beginning to where it's Bill Holden's corpse, 708 00:34:45,280 --> 00:34:48,680 Speaker 2: but it's a voiceover and he's not talking to other 709 00:34:48,760 --> 00:34:49,840 Speaker 2: corpses in the morgue. 710 00:34:50,280 --> 00:34:52,080 Speaker 1: But it's not a comedy, right, it's not at all. 711 00:34:52,520 --> 00:34:55,000 Speaker 1: Maybe because it was Billy Wilder, people had an expectation. 712 00:34:55,960 --> 00:34:58,560 Speaker 2: Yeah, And I mean there's some parts that you wonder like, 713 00:34:58,960 --> 00:35:01,200 Speaker 2: did he mean that to be like kind of funny, 714 00:35:01,239 --> 00:35:04,680 Speaker 2: like in a really dark way. Maybe, Yeah, it's quite possible. 715 00:35:04,719 --> 00:35:07,600 Speaker 1: But great, I need to see that. I love Billy Walls. 716 00:35:07,640 --> 00:35:10,719 Speaker 2: You should watch it, like tonight, doesn't matter the mood 717 00:35:10,760 --> 00:35:12,440 Speaker 2: you're in, It doesn't matter what you got going on. 718 00:35:12,640 --> 00:35:14,839 Speaker 2: Just you could watch Sunset Boulevard and be like, this 719 00:35:14,920 --> 00:35:15,600 Speaker 2: is a great movie. 720 00:35:15,719 --> 00:35:22,120 Speaker 1: Okay, Heathers. Did you see Heathers? The regular ending? Oh, 721 00:35:22,160 --> 00:35:25,880 Speaker 1: I'm sorry, the Yeah. The ending they went with was 722 00:35:27,680 --> 00:35:32,920 Speaker 1: Christian Slater's character wants to blow up the school gymnasium 723 00:35:33,040 --> 00:35:37,560 Speaker 1: during a basketball game, and Veronica what's her faces? Went 724 00:35:37,600 --> 00:35:41,200 Speaker 1: on A Ryder's character shoots him dead, stops it, and 725 00:35:41,320 --> 00:35:45,799 Speaker 1: ends up bonding with the outcast girl. Yes, and the 726 00:35:45,840 --> 00:35:49,040 Speaker 1: original ending and the script I don't think this was 727 00:35:49,080 --> 00:35:53,360 Speaker 1: an I don't think it was shot. But she kills 728 00:35:53,560 --> 00:35:57,680 Speaker 1: Christian Slater's character, straps the bomb to herself and blows 729 00:35:57,719 --> 00:36:01,400 Speaker 1: up the school and everyone has prom and Evan and 730 00:36:01,480 --> 00:36:03,759 Speaker 1: like everybody gets along. The nerds and the geeks are 731 00:36:03,760 --> 00:36:08,439 Speaker 1: all like living in harmony. Huh yeah, not bad. You're like, yeah, 732 00:36:08,520 --> 00:36:14,280 Speaker 1: I could see that. Blade Runner perhaps the most famous 733 00:36:14,400 --> 00:36:15,520 Speaker 1: changed ending of all time. 734 00:36:15,680 --> 00:36:16,560 Speaker 2: I had not heard that. 735 00:36:17,320 --> 00:36:19,520 Speaker 1: Yes, you know, the original ending of Blade Runner was 736 00:36:19,600 --> 00:36:21,600 Speaker 1: very dark, and that's the one that ended up in 737 00:36:21,640 --> 00:36:24,359 Speaker 1: the director's cut, Ridley Scott's director's cut. 738 00:36:24,600 --> 00:36:25,520 Speaker 2: What was that ending? 739 00:36:25,800 --> 00:36:30,200 Speaker 1: Basically that Harrison Ford is going to die, Well, that 740 00:36:30,320 --> 00:36:33,960 Speaker 1: Rachel Ward is going to die because replicants have expiration dates, 741 00:36:34,480 --> 00:36:37,560 Speaker 1: and is Harrison Ford a replicant or not? And it 742 00:36:37,640 --> 00:36:40,880 Speaker 1: leaves open. I'm pretty sure the director's cut leaves it ambiguous, 743 00:36:41,560 --> 00:36:43,480 Speaker 1: even though I think Ridley Scott came out years later 744 00:36:43,520 --> 00:36:44,880 Speaker 1: and said, yeah, he is a replicant. 745 00:36:45,080 --> 00:36:48,000 Speaker 2: So in the in the audience tested version, he turns 746 00:36:48,040 --> 00:36:51,200 Speaker 2: to the camera and says directly the audience, Nope, I'm 747 00:36:51,200 --> 00:36:52,160 Speaker 2: not a replicant. 748 00:36:52,719 --> 00:36:56,320 Speaker 1: Not quite end but they all that terrible voiceover narration 749 00:36:56,480 --> 00:36:58,839 Speaker 1: was added, you know, in the non director's cut, and 750 00:36:58,880 --> 00:37:02,880 Speaker 1: they had the happy ending with infamous blue Sky shot 751 00:37:02,920 --> 00:37:05,520 Speaker 1: the Only Blue Sky, and the whole movie was them 752 00:37:05,600 --> 00:37:07,960 Speaker 1: like driving down the road at the end and explaining 753 00:37:08,239 --> 00:37:13,439 Speaker 1: via voiceover that, well, not all replicants have an expiration date. 754 00:37:13,920 --> 00:37:16,840 Speaker 1: You're special, so you don't have one. Wow, so we 755 00:37:16,880 --> 00:37:19,320 Speaker 1: can just live together in harmony, and. 756 00:37:19,320 --> 00:37:22,560 Speaker 2: That Philip K. Dick rolled over in his grave. Probably so. 757 00:37:23,120 --> 00:37:25,640 Speaker 1: But that shot of the Only Blue Sky, it wasn't 758 00:37:25,640 --> 00:37:29,040 Speaker 1: even from that movie. It was pulled from outtakes of 759 00:37:29,080 --> 00:37:32,719 Speaker 1: The Shining, the beginning car scene in the Shining when 760 00:37:32,760 --> 00:37:33,440 Speaker 1: they're driving. 761 00:37:33,239 --> 00:37:34,040 Speaker 2: Up the road. Wow. 762 00:37:34,640 --> 00:37:38,279 Speaker 1: So wow. Yeah, Blade Runner really screwed that one up. 763 00:37:39,239 --> 00:37:42,120 Speaker 1: And really Scott, of course was he was not so 764 00:37:42,160 --> 00:37:42,879 Speaker 1: happy about that. 765 00:37:43,000 --> 00:37:47,160 Speaker 2: I can imagine this masterpiece. And then somebody tacks on 766 00:37:47,320 --> 00:37:50,600 Speaker 2: outtakes from the shot of the movie. Yeah, weird, bad 767 00:37:51,640 --> 00:37:55,040 Speaker 2: You got anything else? Nope, Okay, I don't either. We 768 00:37:55,080 --> 00:37:56,960 Speaker 2: could probably do this for a while though, because there's 769 00:37:56,960 --> 00:37:59,680 Speaker 2: plenty of other movies that were changed thanks to audiences. 770 00:37:59,719 --> 00:38:02,799 Speaker 2: But if you are ever in a line at a 771 00:38:02,800 --> 00:38:06,480 Speaker 2: movie theater and somebody trustworthy seeming comes up to you 772 00:38:06,520 --> 00:38:07,480 Speaker 2: and I see you. If you want to be in 773 00:38:07,480 --> 00:38:08,920 Speaker 2: a test audience, give it a shot. 774 00:38:09,120 --> 00:38:11,840 Speaker 1: Yeah, and big thanks to Mental Floss for all. A 775 00:38:11,880 --> 00:38:14,120 Speaker 1: lot of that list stuff came from one of their articles. 776 00:38:14,200 --> 00:38:14,839 Speaker 2: Yeah that's right. 777 00:38:16,120 --> 00:38:17,000 Speaker 1: Yeah, that's all I got. 778 00:38:17,080 --> 00:38:19,040 Speaker 2: And if you want to know more about audience testing, 779 00:38:19,080 --> 00:38:21,480 Speaker 2: type those words in the search bart HowStuffWorks dot com. 780 00:38:21,520 --> 00:38:23,680 Speaker 2: And since I said that it's time for listener mail. 781 00:38:26,560 --> 00:38:28,600 Speaker 1: I'm going to call this oceans are cool if I 782 00:38:28,640 --> 00:38:31,560 Speaker 1: pay attention. Hey, guys, love the show. I used to 783 00:38:31,560 --> 00:38:33,800 Speaker 1: listen every day when I rode the trains from Brooklyn 784 00:38:34,200 --> 00:38:37,080 Speaker 1: and to Manhattan to work, but recently I started to 785 00:38:37,160 --> 00:38:39,880 Speaker 1: work in Brooklyn close enough for me to bike to, 786 00:38:40,040 --> 00:38:42,520 Speaker 1: so I don't ride trains anymore. They're pros and cons 787 00:38:42,560 --> 00:38:44,839 Speaker 1: to that. On one hand, I save over one hundred 788 00:38:44,880 --> 00:38:47,520 Speaker 1: and ten dollars a month in metro card fees, don't 789 00:38:47,520 --> 00:38:50,360 Speaker 1: have to wait for trains, which adds another twenty minutes 790 00:38:50,400 --> 00:38:54,480 Speaker 1: to the Google Map travel times. On the downside, when 791 00:38:54,480 --> 00:38:57,120 Speaker 1: it rains, I still have the bike to work, although 792 00:38:57,120 --> 00:38:58,839 Speaker 1: I am learning to love that. And the other con 793 00:38:58,920 --> 00:39:00,840 Speaker 1: is that I don't have time to listen to you. 794 00:39:00,920 --> 00:39:04,440 Speaker 1: Guys as much. Since it's very detailed. I'm paying attention 795 00:39:04,560 --> 00:39:06,480 Speaker 1: is key if I want to enjoy the show, and 796 00:39:06,520 --> 00:39:08,840 Speaker 1: I need to keep my thoughts on the road. My 797 00:39:08,880 --> 00:39:12,439 Speaker 1: commute is also down to fifteen minutes, which doesn't help 798 00:39:12,480 --> 00:39:15,680 Speaker 1: much either. I need to reconcile this fellas. This morning, 799 00:39:15,680 --> 00:39:17,799 Speaker 1: I tried to listen to The Ocean's episode while doing 800 00:39:17,840 --> 00:39:20,239 Speaker 1: some work on my computer. Wasn't long before I knew 801 00:39:20,239 --> 00:39:23,560 Speaker 1: I'd missed something critical. At some point, riptides were defined 802 00:39:23,600 --> 00:39:27,160 Speaker 1: and laddered up to equatorial wins, a connection I recall 803 00:39:27,200 --> 00:39:29,600 Speaker 1: from taking oceanography in high school. But I did not 804 00:39:29,760 --> 00:39:32,600 Speaker 1: understand when I wasn't paying attention this morning. When I 805 00:39:32,680 --> 00:39:34,120 Speaker 1: used to listen on the train, the show had my 806 00:39:34,239 --> 00:39:37,319 Speaker 1: undivided attention. Now I'm trying to find a new time 807 00:39:37,400 --> 00:39:40,080 Speaker 1: to listen. Maybe I'll save up shows and binge them 808 00:39:40,440 --> 00:39:43,759 Speaker 1: on a nice long bike ride. And that is from 809 00:39:43,920 --> 00:39:52,279 Speaker 1: Andrew Negroche nigrsh Nigros Negroch something like that. Interesting, I've 810 00:39:52,280 --> 00:39:52,920 Speaker 1: never heard that name. 811 00:39:53,000 --> 00:39:55,680 Speaker 2: Well, thanks a lot, Andrew. We appreciate you getting in 812 00:39:55,719 --> 00:39:58,560 Speaker 2: touch with this. We hope you figure this out. This 813 00:39:58,640 --> 00:40:01,919 Speaker 2: sounds like a terrible conundrum. Maybe get a new job 814 00:40:02,040 --> 00:40:04,440 Speaker 2: that requires you fur. Yeah. 815 00:40:04,520 --> 00:40:06,160 Speaker 1: Yeah, go work in Vermont. 816 00:40:06,600 --> 00:40:10,320 Speaker 2: Yeah, there you go. Problem solved. If you have a 817 00:40:10,360 --> 00:40:12,680 Speaker 2: problem that you want Chuck and I to solve for you, 818 00:40:12,760 --> 00:40:14,759 Speaker 2: like we just did for Andrew, you can tweet to 819 00:40:14,800 --> 00:40:18,040 Speaker 2: us at sysk podcast. You can join us on Facebook 820 00:40:18,040 --> 00:40:20,359 Speaker 2: dot com slash Stuff you Should Know. You can send 821 00:40:20,440 --> 00:40:23,200 Speaker 2: us an email the Stuff podcast at HowStuffWorks dot com 822 00:40:23,239 --> 00:40:25,200 Speaker 2: and has always joined us at our home on the web. 823 00:40:25,560 --> 00:40:33,040 Speaker 2: Stuff you Should Know dot com. 824 00:40:29,400 --> 00:40:32,399 Speaker 1: You Stuff you Should Know is a production of iHeartRadio. 825 00:40:32,880 --> 00:40:36,080 Speaker 1: For more podcasts my heart Radio, visit the iHeartRadio app, 826 00:40:36,280 --> 00:40:39,200 Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.