WEBVTT - Selects: How Audience Testing Works

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<v Speaker 1>Hi, everybody, Happy Saturday. Charles W. Chuck Bryant here with

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<v Speaker 1>a pick from our past from June thirtieth, twenty fifteen.

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<v Speaker 1>How audience testing works. Ooh, I shudder when I say that,

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<v Speaker 1>because we had a TV show for one season and

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<v Speaker 1>was it audience tested? I don't even remember. To be honest,

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<v Speaker 1>it probably wouldn't have scored very well, or maybe it

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<v Speaker 1>would have who knows. At any rate, this is how

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<v Speaker 1>audience testing works for movies, TV shows, all kinds of

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<v Speaker 1>things like that. Please enjoy it.

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<v Speaker 2>Welcome to Stuff You Should Know, a production of iHeartRadio. Hey,

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<v Speaker 2>and welcome to the podcast. I'm Josh Clark, There's Charles W.

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<v Speaker 2>Chuck Bryant, and Jerry's over there. So let's just call

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<v Speaker 2>this Stuff you Should Be, shall we.

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<v Speaker 1>Hey, that's a good name for a show.

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<v Speaker 2>Yeah, you know. I came up with that.

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<v Speaker 1>You did You're the Inventor, and from that was hatched

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<v Speaker 1>all of the stuff podcasts.

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<v Speaker 2>Yeah, but I mean how stuff works? Stuff?

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<v Speaker 1>Yeah, but I don't know. I think you're you're selling

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<v Speaker 1>yourself short.

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<v Speaker 2>It's okay.

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<v Speaker 1>So this is another one of our movie centric podcasts

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<v Speaker 1>that people seem to love. We've done all kinds of things,

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<v Speaker 1>from exploitation films to movies that change filmmaking, to how

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<v Speaker 1>films are rated, THEA N PAA.

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<v Speaker 2>How TV ratings work. Yeah, ten exploitation films, Yeah, that

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<v Speaker 2>was a good one, and some movies that changed filmmaking.

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<v Speaker 2>That's right, all the stuff you just said.

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<v Speaker 1>Yeah, before we get going here, buddy, we need a

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<v Speaker 1>blanket spoiler because we're going to be talking about movies

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<v Speaker 1>that had their endings changed. And so this is your

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<v Speaker 1>fair warning. Most of them are old movies. Most of

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<v Speaker 1>this information is out there, of course, yes, but if

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<v Speaker 1>you're one of those people who gets really upset by

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<v Speaker 1>this kind of thing, you may want to You've been warned.

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<v Speaker 1>You've been warned. And now drum roll, we're gonna talk

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<v Speaker 1>about audience testing, which is depending on the filmmaker and

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<v Speaker 1>the film can be a really super awesome, valuable tool, right.

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<v Speaker 2>It can also be like a terrible the worst thing

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<v Speaker 2>that's ever happened to you. Yep, And apparently even if

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<v Speaker 2>you believe in the system, it's a terrible experience, says

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<v Speaker 2>Ron Howard.

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<v Speaker 1>Yeah, he's he's a fame, well not famous for but

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<v Speaker 1>he is on record along with his producing partner Brian

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<v Speaker 1>Graser for who.

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<v Speaker 2>By the way, do you know this about Brian Grazer

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<v Speaker 2>best hair and show business? Well, clearly, yeah. But he

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<v Speaker 2>has the habit of taking frame pictures of himself over

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<v Speaker 2>to people's houses and when they're not looking like, plants

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<v Speaker 2>them among their family photos. That's pretty awesome, pretty cool.

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<v Speaker 1>That reminds me. I know, you hate George Cliney's guts,

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<v Speaker 1>but there's you said that there's a famous practical He's

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<v Speaker 1>a big practical joker, and he he prepared this one

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<v Speaker 1>over the course of like a year, supposedly told like

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<v Speaker 1>his best friends that he had taken up painting. Oh yeah,

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<v Speaker 1>just kept that going and going, and then like gave

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<v Speaker 1>some of his close friends He's awful, awful paintings, right,

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<v Speaker 1>and you know you're kind of expected to hang it up.

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<v Speaker 1>They're like, oh, thanks George.

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<v Speaker 2>Yeah that's a pretty good one. This is great. Oh

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<v Speaker 2>but he felt so good about himself after that.

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<v Speaker 1>So glib. So Ron Howard and his producing partner Brian

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<v Speaker 1>Greats are are on record as saying that they really

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<v Speaker 1>can get a lot out of it, and like what

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<v Speaker 1>they would hate is to put a movie out and

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<v Speaker 1>find out there's something they really easily could have corrected,

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<v Speaker 1>be either like confused or upset an audience.

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<v Speaker 2>As a whole.

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<v Speaker 1>But he also said it's terrible to go through, like

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<v Speaker 1>even when it's a good experience, is never a good experience.

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<v Speaker 2>And that's somebody who believes in the system. So if

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<v Speaker 2>you don't believe in the system and you still have

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<v Speaker 2>to go through it, like Robert Altman did, He's.

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<v Speaker 1>Not a test audience kind of guy.

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<v Speaker 2>No, can you imagine putting him through that? No, that's

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<v Speaker 2>like letting all of the town's ladies bring Boo Radley

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<v Speaker 2>that the pies for killing Bob Yule. You know, Yeah,

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<v Speaker 2>you can't put Robert Altman through the audience testing system.

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<v Speaker 2>Who did they? Oh?

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<v Speaker 1>I don't know, a dummy because uh yeah, he was

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<v Speaker 1>a Maverick filmmaker. My brother and my Emily worked on

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<v Speaker 1>movies with him. It's pretty neat legend. I know it's

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<v Speaker 1>good stuff. I wish I could tell a couple of

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<v Speaker 1>the stories.

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<v Speaker 2>But but I mean, did you expect to get rich

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<v Speaker 2>off of a Robert Altman movie?

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<v Speaker 1>No?

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<v Speaker 2>Apparently these people did.

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<v Speaker 1>I wonder what his top grossing movie ever was, probably

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<v Speaker 1>The Player or Mash I'll bet it was Mash Yeah,

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<v Speaker 1>movies didn't gross so much back then. Yeah, but it's

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<v Speaker 1>just it's a perennial classic. Yeah, that's true.

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<v Speaker 2>The Player was great.

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<v Speaker 1>Yeah, I mean he's he's made a lot of great

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<v Speaker 1>movies and some kind of stinkers as well.

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<v Speaker 2>Oh yeah, but a.

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<v Speaker 1>Lot of classics like Ashville. Have you ever seen Nashville?

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<v Speaker 2>No? I never saw in Nashville.

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<v Speaker 1>Man so good.

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<v Speaker 2>So the Player cuts. Yeah, didn't see the Uh, the

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<v Speaker 2>Lake Wobegone one with Lindsay Lohan for some reason. What Yeah,

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<v Speaker 2>they did a Prairie Home companion. Yeah, with Lindsay Lohan.

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<v Speaker 1>That's just weird.

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<v Speaker 2>And Meryl Street.

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<v Speaker 1>Huh.

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<v Speaker 2>It was like not a good id to getting casting

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<v Speaker 2>director super drunk. Yeah, they just have a point out

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<v Speaker 2>photos headshots and then that's how we'll cast this.

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<v Speaker 1>Uh. And then mckayb and miss Miller. That's a classic

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<v Speaker 1>as well.

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<v Speaker 2>Never even heard of it. War and Batty liked Mash though.

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<v Speaker 2>That was a good one.

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<v Speaker 1>It was so Ron Howard calls the process brutal and hideous. Yeah,

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<v Speaker 1>he said, even if it's going well, it's not fun. Yeah.

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<v Speaker 2>Uh.

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<v Speaker 1>Francis Ford Coppola is somewhat responsible, although they have tested

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<v Speaker 1>movies all the way back in the thirties. Yeah, when

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<v Speaker 1>audience has said, you know that Somewhere over the Rainbow

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<v Speaker 1>song really slows things down.

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<v Speaker 2>It's a stinker. Get it out of there.

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<v Speaker 1>Thank goodness they didn't listen, because that became one of

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<v Speaker 1>the most iconic singing performances ever in a movie.

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<v Speaker 2>Yeah, and apparently pointing that out is a really good

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<v Speaker 2>way to talk to somebody out of cutting something at

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<v Speaker 2>a test audience. Yeah, think about Somewhere over the Rainbow. Chief.

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<v Speaker 1>So, when Coppola was making Apocalypse Now, he had focus

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<v Speaker 1>groups and really, yeah, I would not have guessed that

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<v Speaker 1>well that movie. You've seen The Hearts of.

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<v Speaker 2>Darkness, right, know, the documentary about it.

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<v Speaker 1>Yeah. No, it's really good that he had a lot

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<v Speaker 1>of studio heat coming down on him.

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<v Speaker 2>You know you've got a great movie when the documentary

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<v Speaker 2>about your great movie is a great movie.

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<v Speaker 1>Yeah, that's a good point. It's really good. I think

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<v Speaker 1>it's wife made.

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<v Speaker 2>That, although that's not necessarily true. The best worst movie

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<v Speaker 2>was a great documentary, and Trolls two was not a

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<v Speaker 2>good movie in any way, shape or form.

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<v Speaker 1>I've never heard of best worst movie.

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<v Speaker 2>It's about have you ever heard of Trolls too?

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<v Speaker 1>I've heard of trolls, so I guess I've heard of trolls.

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<v Speaker 2>Too, apparently by totally different filmmakers, completely unconnected story wise

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<v Speaker 2>and everything. This is just trolls too, gotcha? And this

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<v Speaker 2>documentary caught up with the people from Trolls Too, because

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<v Speaker 2>it became like kind of this cool hipster thing to like,

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<v Speaker 2>look at how terrible this movie is, like the Room Sure,

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<v Speaker 2>And this documentary kind of followed this movement and went

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<v Speaker 2>and found the people who were in this movie who

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<v Speaker 2>had no idea this was going on, and then like

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<v Speaker 2>basically puts them on the road going around promoting showings

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<v Speaker 2>of Trolls Too and just living it up.

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<v Speaker 1>That was great documentary. The documentary is good. The movie

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<v Speaker 1>wasn't good, right, Okay, so I ate my own words understood,

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<v Speaker 1>No you didn't.

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<v Speaker 2>But I think one of your pals from UCB is

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<v Speaker 2>in it Controls Too, in the Best Worst Movie the documentary.

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<v Speaker 1>You know one of the founders. No, not Matt Besser.

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<v Speaker 2>Yes it might be Matt Besser. Maybe I don't. No,

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<v Speaker 2>one of the guys from you. There's like a bunch

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<v Speaker 2>of UCB people in it.

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<v Speaker 1>Yeah, but okay, I got you. Besser was one of

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<v Speaker 1>the founding members though, with Amy Poehler and Ian Roberts

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<v Speaker 1>and Matt Walsh.

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<v Speaker 2>This maybe Matt Walsh is the one that was in

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<v Speaker 2>old school, right, Yeah, so this is the other Matt.

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<v Speaker 1>Yeah, I think he might be in it. Yeah, he's

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<v Speaker 1>a good guy. He listens to our show.

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<v Speaker 2>Prove me wrong, Matt, prove me wrong.

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<v Speaker 1>Oh, Razorbacks, that's for him.

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<v Speaker 2>He's an Arkansas fan. Or he just really likes Razorbacks. No,

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<v Speaker 2>he's a Arkansas guy, gotcha.

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<v Speaker 1>Yeah, he's just a fan of the big Oh.

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<v Speaker 2>We had an ad break yet.

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<v Speaker 1>Not yet, not until I finished the story about Copola.

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<v Speaker 1>He when he was making Apocalypse Now, hired a man

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<v Speaker 1>named Joe Farrell or Farrell to help with marketing. And

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<v Speaker 1>Farrell said, you know what, I see a pretty big

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<v Speaker 1>opportunity here, and so he partnered up with Katherine Catherine

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<v Speaker 1>Para and formed the National Research Group. I don't know,

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<v Speaker 1>I don't think they're still exclusive, but at the time

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<v Speaker 1>signed all the studios to an exclusive contract to do

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<v Speaker 1>their audience testing. And I think they're still the top

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<v Speaker 1>dog in audience testing. Even though I think there are

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<v Speaker 1>other companies that do it.

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<v Speaker 2>Now, this is the company with the extraordinarily secretive name NRG,

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<v Speaker 2>the National Research Group. Yeah, and they also do like

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<v Speaker 2>contract hits I think for the CIA and the NSA.

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<v Speaker 1>No, but they don't have a website that I could find,

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<v Speaker 1>like I was trying to just get a little information

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<v Speaker 1>about the company.

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<v Speaker 2>But so they're a division of Nielsen.

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<v Speaker 1>Well, which of course they're super secretive. We already tell

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<v Speaker 1>they are.

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<v Speaker 2>But yeah, so it's crazy like this.

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<v Speaker 1>It's like a cabal.

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<v Speaker 2>Yeah, you know very much. So Randy Quaid was right.

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<v Speaker 1>You might be. And they don't just do audience testing.

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<v Speaker 1>They also, back when people had telephones, would do a

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<v Speaker 1>lot of just random calling and saying like market research,

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<v Speaker 1>like did you know this movie was coming out?

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<v Speaker 2>It's called awareness, Yeah.

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<v Speaker 1>Awareness campaigns and stuff like that.

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<v Speaker 2>And then they'd split you into four quadrants, right, which

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<v Speaker 2>is the four quadrants that everyone on the planet is

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<v Speaker 2>divided into, men under twenty five, men over twenty five,

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<v Speaker 2>women under twenty five, and women over twenty five. That's right,

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<v Speaker 2>that's it. There's the division of importance. At age twenty five,

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<v Speaker 2>you cross over and get put out to pasture basically.

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<v Speaker 1>All right, so that's the longest setup in history.

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<v Speaker 2>So wait a minute, I want to make sure I

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<v Speaker 2>understand what you're saying, because I made a lot of

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<v Speaker 2>jokes in the middle of all this.

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<v Speaker 1>They were flying.

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<v Speaker 2>But you're saying that NRG, the National Research Group, came

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<v Speaker 2>out of focus groups done for apocalypse.

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<v Speaker 1>Now, yes, that's the way I understand it. Wow. Yeah,

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<v Speaker 1>I did not know that. Yeah, but they were already

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<v Speaker 1>doing focus groups, but this company really ran with it,

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<v Speaker 1>I think, in the corner of the industry.

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<v Speaker 2>Yeah, I gotcha.

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<v Speaker 1>All right, So let's take that promised break and we'll

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<v Speaker 1>talk more about audience testing right after this. All right,

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<v Speaker 1>back with audience testing. There's many different reasons to test

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<v Speaker 1>your movie. Yeah, sometimes if it's a comedy, they will

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<v Speaker 1>literally do multiple screenings just to test little bits and

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<v Speaker 1>little jokes.

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<v Speaker 2>If that makes sense to me. Yeah, if you're testing

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<v Speaker 2>a comedy, totally makes sense. Because a couple of comedy

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<v Speaker 2>writers that you put into like a room and say,

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<v Speaker 2>write this hilarious movie or take this dog of a

0:11:47.400 --> 0:11:49.000
<v Speaker 2>movie and punch it up with some jokes.

0:11:49.080 --> 0:11:49.880
<v Speaker 1>It's very subjective.

0:11:49.920 --> 0:11:52.520
<v Speaker 2>It might sound funny to you, sure, but then you're

0:11:52.559 --> 0:11:55.040
<v Speaker 2>a movie executive and you had like a three scotch launch,

0:11:55.120 --> 0:11:57.280
<v Speaker 2>so everything seems kind of funny right now, you know

0:11:57.320 --> 0:11:59.920
<v Speaker 2>what I mean? Yeah, nineteen sixties, right, so I get

0:12:00.120 --> 0:12:02.000
<v Speaker 2>I get that, and then like this joke landed, this

0:12:02.080 --> 0:12:04.800
<v Speaker 2>joke didn't, This joke was too far, and it like

0:12:05.120 --> 0:12:08.040
<v Speaker 2>went against like what the what the character we've developed

0:12:08.040 --> 0:12:11.520
<v Speaker 2>so far? That and then that to me makes sense. Yeah,

0:12:11.559 --> 0:12:14.360
<v Speaker 2>Like I see audience testing to that end.

0:12:14.440 --> 0:12:15.959
<v Speaker 1>For sure, you see the value.

0:12:16.040 --> 0:12:19.720
<v Speaker 2>But if it's like should this explosion be seventy percent

0:12:19.760 --> 0:12:23.400
<v Speaker 2>more explosive, well, or should this guy's brain splatter like

0:12:23.679 --> 0:12:25.560
<v Speaker 2>more or less? Well?

0:12:25.880 --> 0:12:28.400
<v Speaker 1>With the violence, you have a point they that is

0:12:28.440 --> 0:12:30.840
<v Speaker 1>something they will also test for it like, are you

0:12:30.880 --> 0:12:33.079
<v Speaker 1>turned off by the amount of violence? Could we dial

0:12:33.120 --> 0:12:33.920
<v Speaker 1>it back a little bit?

0:12:34.040 --> 0:12:36.400
<v Speaker 2>Yeah? What was the movie that was given an example

0:12:36.440 --> 0:12:39.360
<v Speaker 2>in this article of of something that was found to

0:12:39.360 --> 0:12:40.040
<v Speaker 2>be too violent?

0:12:40.600 --> 0:12:41.200
<v Speaker 1>Goodfellas?

0:12:41.640 --> 0:12:44.679
<v Speaker 2>Yes, yeah, that was in a Mental Floss article, right.

0:12:44.840 --> 0:12:48.560
<v Speaker 1>Yeah, yeah, Goodfellas? Uh, the audience like he had and

0:12:48.600 --> 0:12:50.680
<v Speaker 1>that was the first movie Scorsese had ever tested.

0:12:51.200 --> 0:12:53.720
<v Speaker 2>Yeah, and yeah that's another guy I don't see like

0:12:53.760 --> 0:12:56.280
<v Speaker 2>testing stuff. I'm really surprised about Apocalypse now.

0:12:56.480 --> 0:13:01.679
<v Speaker 1>Yeah, Well, like I said, it was studio heat, yeah, gotcha, Yes, Scorsese.

0:13:01.920 --> 0:13:03.599
<v Speaker 1>I think like forty or fifty people walked out in

0:13:03.640 --> 0:13:06.280
<v Speaker 1>the first ten minutes because of the violence. Yeah, and

0:13:06.320 --> 0:13:09.520
<v Speaker 1>they said that they didn't like that third act where

0:13:10.080 --> 0:13:12.880
<v Speaker 1>you know, just they thought it was too intense, Yeah.

0:13:12.559 --> 0:13:15.160
<v Speaker 2>And apparently very drawn out, way more drawn out than

0:13:15.200 --> 0:13:16.160
<v Speaker 2>it even is now.

0:13:16.280 --> 0:13:19.400
<v Speaker 1>Yeah, they thought the ending of Goodfellows is too intense.

0:13:19.840 --> 0:13:22.640
<v Speaker 2>Right, and again very drawn out. So he went to

0:13:22.679 --> 0:13:26.400
<v Speaker 2>a quick cut montage thing. Yeah, which actually ended up

0:13:26.440 --> 0:13:29.240
<v Speaker 2>making it better because Henry Hill is like coke to

0:13:29.280 --> 0:13:31.600
<v Speaker 2>the gills at this point. Sure, and like that whole

0:13:31.640 --> 0:13:35.240
<v Speaker 2>thing where like he's looking driving watching the helicopter that's

0:13:35.280 --> 0:13:40.080
<v Speaker 2>following him. Yeah, and it's like chop, chop chop. It

0:13:40.160 --> 0:13:41.360
<v Speaker 2>really gets the point across.

0:13:41.400 --> 0:13:42.680
<v Speaker 1>Yeah, it was very effective.

0:13:42.800 --> 0:13:45.440
<v Speaker 2>So it worked in that case, I think, yes, right,

0:13:45.760 --> 0:13:46.840
<v Speaker 2>the system works.

0:13:47.400 --> 0:13:49.440
<v Speaker 1>Well, I don't know about that. It worked in that case.

0:13:50.480 --> 0:13:52.880
<v Speaker 1>So how these things work is if you live in

0:13:52.920 --> 0:13:56.480
<v Speaker 1>the Los Angeles area and you go to the mall,

0:13:56.760 --> 0:13:59.079
<v Speaker 1>or if you're even in a movie line, yeah, you've

0:13:59.080 --> 0:14:03.000
<v Speaker 1>probably been approached or seeing the people with clipboards. Don't

0:14:03.040 --> 0:14:05.840
<v Speaker 1>run away because they are not trying to sell you something.

0:14:06.160 --> 0:14:08.720
<v Speaker 1>They're trying to give you something, which is a free screening.

0:14:09.360 --> 0:14:10.199
<v Speaker 2>That's true, and.

0:14:10.120 --> 0:14:11.760
<v Speaker 1>They'll come and sign you up there. I ask if

0:14:11.800 --> 0:14:14.360
<v Speaker 1>you're interested. Hey, we got a new uh Owen Wilson

0:14:14.400 --> 0:14:17.199
<v Speaker 1>movie that we're screening in Burbank next Friday night.

0:14:17.280 --> 0:14:20.400
<v Speaker 2>And everybody starts murmuring, oh oh, I love them. He's

0:14:20.400 --> 0:14:23.080
<v Speaker 2>a national treasure. And everybody starts signing up.

0:14:23.080 --> 0:14:23.840
<v Speaker 1>What's with the nose?

0:14:24.840 --> 0:14:26.480
<v Speaker 2>He got it broken when he was younger.

0:14:26.560 --> 0:14:29.520
<v Speaker 1>It looks like more than once. I like that he

0:14:29.520 --> 0:14:30.280
<v Speaker 1>didn't fix it though.

0:14:30.360 --> 0:14:31.600
<v Speaker 2>Yeah, he was a smart alec.

0:14:31.760 --> 0:14:35.040
<v Speaker 1>That thing is just like so crooked, and he's just like, yep,

0:14:35.120 --> 0:14:35.520
<v Speaker 1>this is me.

0:14:35.680 --> 0:14:38.040
<v Speaker 2>He said. He always expected to do something like go

0:14:38.120 --> 0:14:41.200
<v Speaker 2>into advertising or whatever. But if you're a buddy of

0:14:41.200 --> 0:14:44.520
<v Speaker 2>Wes Anderson's from a young age, yeah you're going into movies. Sorry.

0:14:44.600 --> 0:14:47.080
<v Speaker 1>I'm a big fan of him and his nose. Yeah,

0:14:47.680 --> 0:14:51.240
<v Speaker 1>so you're gonna get approached, Like I said, Uh, probably

0:14:51.240 --> 0:14:54.040
<v Speaker 1>in LA but they do test all over the country

0:14:54.080 --> 0:14:57.280
<v Speaker 1>because we've talked about will it play in Peoria? Yeah,

0:14:57.320 --> 0:15:00.240
<v Speaker 1>sometimes they want to go to Ohio and see what

0:15:00.960 --> 0:15:04.080
<v Speaker 1>you know, someone outside of the LA area feels about

0:15:04.120 --> 0:15:04.520
<v Speaker 1>the movie.

0:15:04.600 --> 0:15:07.880
<v Speaker 2>Right. But the reason that your chances are vastly higher

0:15:08.080 --> 0:15:10.520
<v Speaker 2>of being asked to be in a test audience for

0:15:10.640 --> 0:15:13.440
<v Speaker 2>a movie in Los Angeles is because a lot of

0:15:13.480 --> 0:15:15.800
<v Speaker 2>times the people working on the movie who live in

0:15:15.800 --> 0:15:20.000
<v Speaker 2>Los Angeles have to attend these things. Yeah, because not

0:15:20.080 --> 0:15:24.400
<v Speaker 2>only do they want to, they want to get the

0:15:24.400 --> 0:15:26.600
<v Speaker 2>feedback from it, which we'll find out about that. They

0:15:26.600 --> 0:15:29.040
<v Speaker 2>also want to experience it firsthand, sure, so they get

0:15:29.040 --> 0:15:31.840
<v Speaker 2>a real feel for how the audience is responding.

0:15:32.120 --> 0:15:34.360
<v Speaker 1>Yeah, and if you're eighteen to thirty four, you're more

0:15:34.440 --> 0:15:36.760
<v Speaker 1>likely to get approached, because that's the sweet spot of

0:15:36.800 --> 0:15:37.880
<v Speaker 1>course that you talked about.

0:15:38.040 --> 0:15:38.240
<v Speaker 2>Yeah.

0:15:38.240 --> 0:15:39.880
<v Speaker 1>If you're older than that, then forget it.

0:15:39.920 --> 0:15:40.840
<v Speaker 2>No one cares about you.

0:15:40.880 --> 0:15:41.640
<v Speaker 1>No one cares about you.

0:15:41.720 --> 0:15:44.840
<v Speaker 2>Just give up all of your dreams and work and yep,

0:15:45.280 --> 0:15:46.640
<v Speaker 2>smoke a pipe, be quiet.

0:15:46.680 --> 0:15:50.520
<v Speaker 1>That's right. If you are an assistant editor or in

0:15:50.920 --> 0:15:53.640
<v Speaker 1>any part of the editing crew, it's going to be

0:15:53.680 --> 0:15:55.720
<v Speaker 1>a bit of a hellish experience because you're going to

0:15:55.800 --> 0:15:59.880
<v Speaker 1>be scrambling trying to temp in music and temp in

0:16:00.000 --> 0:16:04.320
<v Speaker 1>and special effects like some really hackneyed version of special

0:16:04.360 --> 0:16:07.320
<v Speaker 1>effects just so they know, like in the scene it's

0:16:07.360 --> 0:16:09.040
<v Speaker 1>gonna be a spaceship.

0:16:08.720 --> 0:16:11.880
<v Speaker 2>Right, And then the editor's like, well, I can just

0:16:11.920 --> 0:16:14.360
<v Speaker 2>cut to this stock quick quick time footage of a

0:16:14.400 --> 0:16:16.760
<v Speaker 2>spaceship landing and get the point across. Like sure.

0:16:17.320 --> 0:16:19.360
<v Speaker 1>So they're gonna be scrambling trying to put together as

0:16:19.440 --> 0:16:22.840
<v Speaker 1>much of a finished product as they can, and most

0:16:22.880 --> 0:16:24.640
<v Speaker 1>of the times they will also be at the theater.

0:16:24.800 --> 0:16:26.760
<v Speaker 1>They're gonna cue it up and watch it just to

0:16:26.800 --> 0:16:30.760
<v Speaker 1>make sure it's ready to roll. Yeah, before the audience

0:16:30.760 --> 0:16:34.160
<v Speaker 1>sees it, you're gonna have a moderator. Have you ever

0:16:34.160 --> 0:16:34.920
<v Speaker 1>been to a test screen?

0:16:35.160 --> 0:16:35.760
<v Speaker 2>No of you?

0:16:35.840 --> 0:16:36.760
<v Speaker 1>Yeah?

0:16:36.800 --> 0:16:37.160
<v Speaker 2>Cool?

0:16:37.400 --> 0:16:40.080
<v Speaker 1>Yeah, it's neat what I don't remember?

0:16:40.240 --> 0:16:41.800
<v Speaker 2>Wow, it must not have been very good movie.

0:16:41.960 --> 0:16:46.280
<v Speaker 1>That was a long time ago. Yeah, that was it.

0:16:46.480 --> 0:16:47.200
<v Speaker 2>I love that movie.

0:16:47.240 --> 0:16:48.840
<v Speaker 1>It wasn't. I did watch that the other night, though,

0:16:48.880 --> 0:16:49.320
<v Speaker 1>in full.

0:16:50.120 --> 0:16:52.440
<v Speaker 2>That's that was it. That was one of the songs

0:16:52.480 --> 0:16:57.040
<v Speaker 2>that I sang at piano karaoke a couple of dollars

0:16:57.240 --> 0:16:59.680
<v Speaker 2>saying that you mean and I sang Islands in the Stream.

0:16:59.440 --> 0:17:01.680
<v Speaker 1>Oh well that she did the Kenney Rogers part and

0:17:01.680 --> 0:17:02.480
<v Speaker 1>you did the Dolly part.

0:17:02.560 --> 0:17:06.400
<v Speaker 2>We switched it up a little. Yeah, very hard song

0:17:06.480 --> 0:17:07.480
<v Speaker 2>to sing, by the way.

0:17:07.320 --> 0:17:09.720
<v Speaker 1>And that movie holds up. Man, it's still very funny. Yeah,

0:17:09.760 --> 0:17:11.520
<v Speaker 1>the great Dabney Coleman.

0:17:11.840 --> 0:17:15.919
<v Speaker 2>Great Lily Tomlin, the great Dolly Parton, the great Jane Fonda,

0:17:16.840 --> 0:17:18.800
<v Speaker 2>the great Jane Fonda.

0:17:18.600 --> 0:17:20.159
<v Speaker 1>So good, and you know, the three of them, like

0:17:21.040 --> 0:17:23.200
<v Speaker 1>it was just a great shoot and there were best

0:17:23.240 --> 0:17:26.000
<v Speaker 1>buds and they remain friends all these years later.

0:17:26.320 --> 0:17:26.920
<v Speaker 2>You can tell.

0:17:27.040 --> 0:17:31.720
<v Speaker 1>Yeah, it's kind of neat. Uh, all right, so where

0:17:31.840 --> 0:17:34.560
<v Speaker 1>was I? Oh? Yeah, someone's gonna introduce the movie and

0:17:34.560 --> 0:17:36.840
<v Speaker 1>they're gonna get you all excited and like everyone's glad

0:17:36.840 --> 0:17:39.440
<v Speaker 1>to be here. So you know when Wilson's new movie.

0:17:39.400 --> 0:17:42.480
<v Speaker 2>Right, everybody reach under your seat for some free red vines.

0:17:42.600 --> 0:17:44.359
<v Speaker 1>Yeah, yeah, you might get a little free something you

0:17:44.359 --> 0:17:47.199
<v Speaker 1>never know. And they're going to explain, like what you're

0:17:47.240 --> 0:17:49.679
<v Speaker 1>about to see is gonna be a little rough in parts,

0:17:49.720 --> 0:17:52.480
<v Speaker 1>and the effects aren't complete, so just don't take that

0:17:52.560 --> 0:17:53.200
<v Speaker 1>into account.

0:17:53.320 --> 0:17:56.560
<v Speaker 2>Right, They're not looking for like, whoa, maybe you should

0:17:56.560 --> 0:17:58.760
<v Speaker 2>color correct it a little more before you release it.

0:17:58.760 --> 0:17:59.439
<v Speaker 2>They're aware of that.

0:18:00.000 --> 0:18:01.680
<v Speaker 1>I think you're supposed to take the green screen out

0:18:01.720 --> 0:18:02.160
<v Speaker 1>of the shot.

0:18:02.560 --> 0:18:05.399
<v Speaker 2>Right. What they're looking for is pacing. They want to

0:18:05.440 --> 0:18:08.600
<v Speaker 2>know you as like an audience members keeping up with

0:18:08.720 --> 0:18:11.880
<v Speaker 2>the movie and how it's how it is going, right.

0:18:12.040 --> 0:18:15.199
<v Speaker 1>Yeah, you're gonna well, you're gonna watch the movie just

0:18:15.400 --> 0:18:17.520
<v Speaker 1>as cleanly as possible, and then you're gonna have to

0:18:17.520 --> 0:18:21.280
<v Speaker 1>fill out comment cards. And they're pretty standard, but they

0:18:21.320 --> 0:18:24.880
<v Speaker 1>can tailor it for the movie. Like if, like, let's

0:18:24.880 --> 0:18:27.080
<v Speaker 1>say you think there's a problem with one of the characters,

0:18:27.080 --> 0:18:29.800
<v Speaker 1>they might specifically say, like, what do you think about

0:18:29.920 --> 0:18:31.119
<v Speaker 1>the Luke Wilson character?

0:18:31.720 --> 0:18:32.200
<v Speaker 2>Too much?

0:18:32.480 --> 0:18:32.960
<v Speaker 1>Too little?

0:18:33.119 --> 0:18:34.320
<v Speaker 2>He's no Owen Wilson.

0:18:35.760 --> 0:18:40.639
<v Speaker 1>They might ask your favorite parts, your least favorite parts? Yeah,

0:18:40.680 --> 0:18:42.919
<v Speaker 1>how did it flow? Did anything stand out to you?

0:18:43.080 --> 0:18:45.120
<v Speaker 2>Is like, like could you follow it the whole time? Yeah?

0:18:45.200 --> 0:18:47.760
<v Speaker 1>Did it make sense? That's a good one, right. What

0:18:47.840 --> 0:18:50.200
<v Speaker 1>did you think of the jokes? Yeah? What do you

0:18:50.240 --> 0:18:52.480
<v Speaker 1>think of the jokes? They drill down, They try and

0:18:52.520 --> 0:18:54.879
<v Speaker 1>get as specific as they can, and these are just

0:18:54.920 --> 0:18:56.600
<v Speaker 1>the comment cards. Yeah.

0:18:56.640 --> 0:19:00.520
<v Speaker 2>Supposedly, if you're in the demographic that they're shooting for

0:19:00.880 --> 0:19:04.119
<v Speaker 2>in release and you're at this thing as you're trying

0:19:04.119 --> 0:19:06.080
<v Speaker 2>to leave, they might come up to you and be like, hey,

0:19:07.040 --> 0:19:09.959
<v Speaker 2>like yeah, this is just kind of the schlubby like audience.

0:19:10.000 --> 0:19:11.720
<v Speaker 2>You want to be part of a real focus group,

0:19:11.840 --> 0:19:14.919
<v Speaker 2>come with us, and then you follow the stranger to

0:19:15.160 --> 0:19:16.080
<v Speaker 2>a second location.

0:19:16.359 --> 0:19:18.000
<v Speaker 1>Yeah, do you follow him to a van with a

0:19:18.000 --> 0:19:20.560
<v Speaker 1>little round window in the back that's.

0:19:20.320 --> 0:19:23.399
<v Speaker 2>Been covered over with a black plastic bag.

0:19:23.560 --> 0:19:28.399
<v Speaker 1>Yeah, it got dark, it did. So the big thing

0:19:28.440 --> 0:19:31.879
<v Speaker 1>they're looking for, though, the money question, is would you

0:19:31.960 --> 0:19:37.359
<v Speaker 1>recommend this movie to a friend. That's the one thing

0:19:37.440 --> 0:19:39.399
<v Speaker 1>they want to know, and that is where you're going

0:19:39.480 --> 0:19:42.439
<v Speaker 1>to get your overall score that they really are going

0:19:42.480 --> 0:19:43.160
<v Speaker 1>to hone in on.

0:19:43.359 --> 0:19:45.280
<v Speaker 2>Right, and they want to know that so bad that

0:19:45.359 --> 0:19:48.840
<v Speaker 2>if they don't say I definitely would, Yeah, they don't

0:19:48.840 --> 0:19:49.439
<v Speaker 2>even count that.

0:19:49.560 --> 0:19:52.000
<v Speaker 1>Yeah you can say like yeah, yeah, maybe probably Nope.

0:19:52.240 --> 0:19:54.879
<v Speaker 2>So a movie. A movie gets a score at the end,

0:19:54.960 --> 0:19:59.159
<v Speaker 2>and it's based apparently exclusively on whether or not you

0:19:59.200 --> 0:20:02.120
<v Speaker 2>said you would definitely recommend the movie to a friend. Yeah.

0:20:02.160 --> 0:20:04.000
<v Speaker 1>Out of one hundred people, they will score that.

0:20:04.440 --> 0:20:07.680
<v Speaker 2>So yeah, we're out of however many people. But for example,

0:20:07.720 --> 0:20:12.680
<v Speaker 2>out of one hundred, yeah, if sixty people say that, yeah,

0:20:12.720 --> 0:20:16.160
<v Speaker 2>I guess I would recommend it to a friend, and

0:20:16.240 --> 0:20:18.879
<v Speaker 2>forty people say that they definitely would, that movie got

0:20:19.000 --> 0:20:22.439
<v Speaker 2>to score forty terrible, not even like a like you

0:20:22.480 --> 0:20:25.280
<v Speaker 2>can't even take into account that Yeah, probably, Yeah, you

0:20:25.320 --> 0:20:27.840
<v Speaker 2>have to say you definitely would recommend it to a

0:20:27.840 --> 0:20:30.280
<v Speaker 2>friend to get a point for that movie.

0:20:30.720 --> 0:20:32.680
<v Speaker 1>Yeah, And they said in this article, I'm sure there's

0:20:32.720 --> 0:20:36.919
<v Speaker 1>a huge caveats and a sliding scale, but uh and

0:20:37.480 --> 0:20:40.600
<v Speaker 1>anything over eighty they think they're in pretty decent shape.

0:20:41.080 --> 0:20:43.840
<v Speaker 1>I would guess eighty percent a low B average.

0:20:43.880 --> 0:20:46.679
<v Speaker 2>They've really says a lot, a lot less than eighties lately,

0:20:47.400 --> 0:20:49.960
<v Speaker 2>except of course for Mad Max. They makes an X

0:20:50.000 --> 0:20:52.000
<v Speaker 2>Machina that was a pretty great movie too, so.

0:20:52.000 --> 0:20:54.640
<v Speaker 1>Good they ask in this article, though, it makes you wonder,

0:20:54.680 --> 0:20:56.879
<v Speaker 1>like when you when a train wreck of a movie

0:20:56.880 --> 0:21:00.359
<v Speaker 1>comes out, like what happened? Did they focus group it?

0:21:00.440 --> 0:21:02.480
<v Speaker 1>Did they test screen it? Did they ignore it?

0:21:02.680 --> 0:21:03.040
<v Speaker 2>Yeah?

0:21:03.560 --> 0:21:05.679
<v Speaker 1>Like what what? How does that thing get released? Is

0:21:05.680 --> 0:21:06.159
<v Speaker 1>the question?

0:21:06.760 --> 0:21:08.160
<v Speaker 2>Or are you asking me? Yeah?

0:21:08.160 --> 0:21:10.919
<v Speaker 1>Well, I mean no, I'm just throwing it out there.

0:21:10.960 --> 0:21:12.600
<v Speaker 1>I'm not the one who's been to one of these

0:21:12.640 --> 0:21:15.840
<v Speaker 1>tests creating. No, it does make you wonder though, like

0:21:16.000 --> 0:21:17.399
<v Speaker 1>it probably didn't salvageable.

0:21:17.960 --> 0:21:22.159
<v Speaker 2>They didn't screen it, or the the people who had

0:21:23.119 --> 0:21:27.720
<v Speaker 2>edit rights didn't care to listen. But this this article

0:21:27.800 --> 0:21:30.320
<v Speaker 2>keeps picking on glitter, which seems mean because there's a

0:21:30.320 --> 0:21:35.480
<v Speaker 2>lot of stinkers out there. Apparently Human Centipede three has

0:21:35.520 --> 0:21:37.120
<v Speaker 2>the I think it came out recently.

0:21:37.280 --> 0:21:38.159
<v Speaker 1>Is this the one in prison?

0:21:38.840 --> 0:21:39.320
<v Speaker 2>I don't know.

0:21:39.520 --> 0:21:43.719
<v Speaker 1>I think it's the first, like hundreds of people centipedes.

0:21:43.880 --> 0:21:47.120
<v Speaker 2>Yeah, it has the lowest Metacritics score of all time.

0:21:47.240 --> 0:21:49.480
<v Speaker 1>Really, you saw the first one?

0:21:49.880 --> 0:21:53.160
<v Speaker 2>Yeah? Have you seen it? No, dude, it's definitely worth seeing.

0:21:53.200 --> 0:21:55.880
<v Speaker 1>Really, yeah, I just think I get it just by

0:21:55.880 --> 0:21:56.600
<v Speaker 1>seeing the trailer.

0:21:56.680 --> 0:22:00.000
<v Speaker 2>You would. No, No, I mean there's no real support

0:22:00.480 --> 0:22:05.879
<v Speaker 2>beyond what you've seen in the trailer. But it's not

0:22:05.960 --> 0:22:09.600
<v Speaker 2>even appreciating it in an ironic way. Even taking it

0:22:09.640 --> 0:22:11.960
<v Speaker 2>on its own terms, you're kind of like it's worth

0:22:12.119 --> 0:22:13.320
<v Speaker 2>seeing at least once.

0:22:13.280 --> 0:22:15.639
<v Speaker 1>Like can't be disturbing or yeah.

0:22:15.600 --> 0:22:21.440
<v Speaker 2>Okay, but not like not like hostile can't be disturbing.

0:22:22.160 --> 0:22:23.040
<v Speaker 2>Have you seen Hostile?

0:22:23.280 --> 0:22:25.280
<v Speaker 1>Yeah? I didn't think that was very campy.

0:22:25.720 --> 0:22:30.159
<v Speaker 2>It was just straight up disturbing. This one already disturbing. Yeah,

0:22:30.640 --> 0:22:33.240
<v Speaker 2>the guy was definitely going for an already bent despite

0:22:33.280 --> 0:22:35.680
<v Speaker 2>the premise of the movie. All right, but yeah, there's

0:22:35.720 --> 0:22:36.760
<v Speaker 2>some disturbing stuff.

0:22:37.040 --> 0:22:38.920
<v Speaker 1>I'm curious to see if that guy has anything left

0:22:38.920 --> 0:22:41.680
<v Speaker 1>in his bag of tricks because you can only go

0:22:41.760 --> 0:22:43.160
<v Speaker 1>mouth the butt for so long.

0:22:43.440 --> 0:22:46.800
<v Speaker 2>What's what's can't be disturbing? Give me an example of

0:22:46.800 --> 0:22:47.160
<v Speaker 2>that thing.

0:22:47.280 --> 0:22:54.440
<v Speaker 1>Oh, I think like like a reanimator type of thing.

0:22:54.600 --> 0:22:58.760
<v Speaker 2>Oh yeah, okay, I see, Yeah, hostile's not can't be disturbing.

0:22:58.880 --> 0:23:01.240
<v Speaker 2>That definitely. Yes.

0:23:02.280 --> 0:23:04.119
<v Speaker 1>Can we talk about Tom Cruise for a minute and

0:23:04.160 --> 0:23:05.639
<v Speaker 1>how obnoxious this move was?

0:23:05.920 --> 0:23:09.119
<v Speaker 2>Yeah, I guess he really believed in the way the

0:23:09.240 --> 0:23:10.960
<v Speaker 2>editing process was already going.

0:23:11.160 --> 0:23:16.560
<v Speaker 1>Yeah, he crashed his own test screening of Mission Impossible three, allegedly,

0:23:17.320 --> 0:23:21.160
<v Speaker 1>uh and ran in there and looked like, Hey, everybody,

0:23:21.720 --> 0:23:25.240
<v Speaker 1>I'm Tom Cruise. Let's high five each other, enjoy.

0:23:25.040 --> 0:23:26.760
<v Speaker 2>The movie, give me a couch to jump on.

0:23:26.920 --> 0:23:29.760
<v Speaker 1>I mean, can you believe that that totally negates the

0:23:29.800 --> 0:23:33.200
<v Speaker 1>purpose of an audience screening because everyone there. I'm sure

0:23:33.200 --> 0:23:34.359
<v Speaker 1>there were a few people who are like, oh I

0:23:34.359 --> 0:23:36.920
<v Speaker 1>hatred got too weirdo. But the rest of people are like,

0:23:36.960 --> 0:23:38.920
<v Speaker 1>oh my god, Tom Cruise just came into the very

0:23:38.920 --> 0:23:41.640
<v Speaker 1>test screening. Yeah, like they probably didn't feel good about

0:23:41.640 --> 0:23:44.480
<v Speaker 1>writing negative comments, right, you know why.

0:23:44.760 --> 0:23:46.840
<v Speaker 2>Here he might want to hang out with me after this,

0:23:46.920 --> 0:23:48.280
<v Speaker 2>and I want to be able to tell him that

0:23:48.280 --> 0:23:49.399
<v Speaker 2>I gave him a high marks.

0:23:49.640 --> 0:23:51.919
<v Speaker 1>I can't believe he did that. I can't believe he

0:23:51.960 --> 0:23:52.199
<v Speaker 1>did that.

0:23:52.240 --> 0:23:57.119
<v Speaker 2>Actually, yeah I can too. So by the way, Also,

0:23:57.359 --> 0:24:01.200
<v Speaker 2>there was a really interesting long form our in La

0:24:01.280 --> 0:24:05.280
<v Speaker 2>Weekly from about a year ago called how YouTube and

0:24:05.359 --> 0:24:08.840
<v Speaker 2>internet journalism destroyed Tom Cruise our last real movie star.

0:24:09.960 --> 0:24:15.920
<v Speaker 2>And it's it's not an apologist's view, but it definitely

0:24:15.960 --> 0:24:21.040
<v Speaker 2>defends him against a lot of it's just read it.

0:24:21.440 --> 0:24:25.000
<v Speaker 1>I'm still a fan of his acting in most cases,

0:24:25.080 --> 0:24:27.639
<v Speaker 1>Like that Edge of Tomorrow movie was terrific. Yeah, I

0:24:27.640 --> 0:24:29.680
<v Speaker 1>haven't seen it yet and I've heard nothing but good

0:24:29.680 --> 0:24:31.199
<v Speaker 1>things about it. Yeah, it was really good. But I

0:24:31.240 --> 0:24:33.439
<v Speaker 1>know I can still watch his movies and separate that

0:24:33.600 --> 0:24:35.800
<v Speaker 1>from the wacko in real life.

0:24:35.880 --> 0:24:39.440
<v Speaker 2>This is, yes, this is defending his acting as well,

0:24:39.480 --> 0:24:42.640
<v Speaker 2>but it's defending is that public perception of him as

0:24:42.680 --> 0:24:43.439
<v Speaker 2>being a wacko.

0:24:43.720 --> 0:24:44.880
<v Speaker 1>Yeah, And it.

0:24:44.840 --> 0:24:47.760
<v Speaker 2>Basically like really kind of pulls apart like all the

0:24:47.880 --> 0:24:50.480
<v Speaker 2>layers and you're like, oh yeah, Like it really goes

0:24:50.520 --> 0:24:53.720
<v Speaker 2>to town stressing that he never jumped up and down on.

0:24:53.680 --> 0:24:56.359
<v Speaker 1>The couch, right, He just jumped up on the couch.

0:24:56.200 --> 0:24:58.560
<v Speaker 2>Exactly, But they go to great lengths to point out

0:24:58.560 --> 0:25:01.880
<v Speaker 2>that that is not the same thing as just offhandedly saying, oh, yeah,

0:25:01.880 --> 0:25:03.680
<v Speaker 2>he jumped up and down on that couch like he

0:25:03.800 --> 0:25:06.200
<v Speaker 2>was crazy. Yeah. No, he jumped up on the couch

0:25:06.240 --> 0:25:08.479
<v Speaker 2>once and then stepped down or something like that. So

0:25:08.680 --> 0:25:12.280
<v Speaker 2>it's a really great article, really interesting because he's just

0:25:12.320 --> 0:25:16.159
<v Speaker 2>been like killed around for so long now, it's really

0:25:16.200 --> 0:25:19.440
<v Speaker 2>it's almost surprising to see somebody step up, not as

0:25:19.480 --> 0:25:21.919
<v Speaker 2>like a crusader on behalf of time cruise, but just

0:25:21.920 --> 0:25:24.480
<v Speaker 2>more to be like, everybody put your knives away.

0:25:25.240 --> 0:25:27.680
<v Speaker 1>Well, I think the knives are out, not just because like, oh,

0:25:27.720 --> 0:25:30.760
<v Speaker 1>he's a scientologist and people think that's weird. It's like

0:25:31.240 --> 0:25:34.280
<v Speaker 1>when you dig down into scientology and find out the

0:25:34.320 --> 0:25:37.480
<v Speaker 1>things that he abides by, like the slave labor to

0:25:37.560 --> 0:25:41.000
<v Speaker 1>decorate his cars and to wash his truck, and you know,

0:25:42.359 --> 0:25:44.320
<v Speaker 1>that makes you kind of not a good person, you know.

0:25:44.440 --> 0:25:46.160
<v Speaker 2>Yeah, I see what you mean.

0:25:46.240 --> 0:25:48.960
<v Speaker 1>Like that's beyond like, oh, that's just a strange religion.

0:25:49.040 --> 0:25:51.880
<v Speaker 1>That's like people are being paid fifteen cents an hour

0:25:52.400 --> 0:25:53.280
<v Speaker 1>to take care of me.

0:25:54.440 --> 0:25:58.040
<v Speaker 2>Oh, if they're being paid, that's not slavery, that's true.

0:25:58.480 --> 0:25:59.160
<v Speaker 1>It's a good point.

0:26:01.800 --> 0:26:04.280
<v Speaker 2>What was the what's the name of the was it

0:26:04.320 --> 0:26:06.120
<v Speaker 2>an HBO documentary.

0:26:05.640 --> 0:26:08.359
<v Speaker 1>Going Clear, Going Clear. Yeah, based on the book Going Clear.

0:26:08.880 --> 0:26:11.520
<v Speaker 2>I saw the guy who wrote the book come speak.

0:26:11.920 --> 0:26:14.520
<v Speaker 1>Oh really, that guy likes something that.

0:26:14.359 --> 0:26:17.440
<v Speaker 2>I don't remember his name, but like, I mean, how

0:26:17.520 --> 0:26:21.240
<v Speaker 2>whatever you think of his book, his journalism. That guy

0:26:21.320 --> 0:26:24.560
<v Speaker 2>had brass ones. Oh really, he's the one who did it.

0:26:24.640 --> 0:26:27.200
<v Speaker 2>He's the one who went after scientology when no one

0:26:27.200 --> 0:26:29.560
<v Speaker 2>else would touch it. Yeah, he's the guy who did

0:26:29.840 --> 0:26:33.879
<v Speaker 2>And apparently five million lawyers read that book before it

0:26:33.920 --> 0:26:34.760
<v Speaker 2>was ever published.

0:26:35.080 --> 0:26:38.080
<v Speaker 1>I think HBO supposedly had like one hundred attorneys when

0:26:38.080 --> 0:26:40.000
<v Speaker 1>they went to adapt it as a documentary.

0:26:40.080 --> 0:26:42.399
<v Speaker 2>Yeah, and this is after it had already been vetted

0:26:42.440 --> 0:26:44.800
<v Speaker 2>by all of the lawyers in the book publishing world.

0:26:45.000 --> 0:26:49.600
<v Speaker 1>Yeah, it's good. Yeah, the great book. All right, let's

0:26:49.600 --> 0:26:51.600
<v Speaker 1>take another break here, and when we come back, we'll

0:26:51.600 --> 0:26:54.520
<v Speaker 1>talk about some of the more famous examples of movies

0:26:54.560 --> 0:26:56.840
<v Speaker 1>that have been changed due to audience screenings.

0:26:56.840 --> 0:27:21.680
<v Speaker 2>It's gonna be so good, so Chuck, there's there's some

0:27:22.240 --> 0:27:25.400
<v Speaker 2>legendary changes to movies that have been made over the years.

0:27:25.400 --> 0:27:29.159
<v Speaker 2>Like we mentioned, uh, the Wizard of Oz that was

0:27:29.400 --> 0:27:32.440
<v Speaker 2>not a change actually, but like a test audience suggested

0:27:32.480 --> 0:27:37.119
<v Speaker 2>it be taken out Somewhere over the Rainbow. Apparently. Also

0:27:37.280 --> 0:27:43.000
<v Speaker 2>very famously, James Bond's movie Licensed to Kill was originally

0:27:43.040 --> 0:27:47.240
<v Speaker 2>called License Revoked, and even after all the promotion material

0:27:47.320 --> 0:27:50.360
<v Speaker 2>posters have been made, they changed the name because American

0:27:50.359 --> 0:27:53.000
<v Speaker 2>test audiences were like, I don't understand what the title means,

0:27:53.000 --> 0:27:58.040
<v Speaker 2>like his driver's license was revoked, and they were serious weird.

0:27:58.119 --> 0:28:00.840
<v Speaker 1>I mean it sounds like a like a Queen Tifa comedy,

0:28:01.840 --> 0:28:04.639
<v Speaker 1>like you know, like where she's a bus school sassy

0:28:04.640 --> 0:28:05.720
<v Speaker 1>school bus driver.

0:28:05.600 --> 0:28:08.919
<v Speaker 2>And the like the K and the R backwards or

0:28:08.920 --> 0:28:10.320
<v Speaker 2>something like that, and the poster.

0:28:10.560 --> 0:28:16.639
<v Speaker 1>Yeah, absolutely, she's a sassy bus pretty woman. The movie,

0:28:17.040 --> 0:28:21.640
<v Speaker 1>the Sacarine feel good movie from Richard Gear and Julia Roberts.

0:28:21.640 --> 0:28:23.600
<v Speaker 2>Apparently not started out as Sacraine.

0:28:23.760 --> 0:28:26.760
<v Speaker 1>No, this is hysterical to me. It was originally titled

0:28:26.800 --> 0:28:29.800
<v Speaker 1>three thousand, based on the amount of money it costs

0:28:29.840 --> 0:28:33.560
<v Speaker 1>to hire a hooker for a week. Sure that would

0:28:33.680 --> 0:28:34.560
<v Speaker 1>like made no sense.

0:28:34.920 --> 0:28:37.000
<v Speaker 2>Yeah, Apparently they changed the name not because of the

0:28:37.040 --> 0:28:39.959
<v Speaker 2>test says, because the execs were like, sounds too science

0:28:39.960 --> 0:28:42.080
<v Speaker 2>fiction y, and they were right.

0:28:42.040 --> 0:28:43.960
<v Speaker 1>They were right, pretty woman, it's a much better title

0:28:44.000 --> 0:28:46.760
<v Speaker 1>for that for that movie. Uh. And then apparently it

0:28:46.960 --> 0:28:50.080
<v Speaker 1>had a lot darker edge when it was in script form,

0:28:50.280 --> 0:28:55.920
<v Speaker 1>and it ended with Richard Gear's character kicking Julia Roberts

0:28:56.040 --> 0:28:58.760
<v Speaker 1>character out of his car and driving away. That's how

0:28:58.760 --> 0:29:01.960
<v Speaker 1>it ended. Not very rom COMMI.

0:29:01.960 --> 0:29:04.520
<v Speaker 2>No, No, well it wasn't a rom com.

0:29:04.680 --> 0:29:07.800
<v Speaker 1>No, it was Gary Marshall. But see what I want

0:29:07.800 --> 0:29:08.600
<v Speaker 1>to know is.

0:29:08.360 --> 0:29:11.080
<v Speaker 2>Gary Marshall, he's a rom COMMI director.

0:29:11.280 --> 0:29:13.480
<v Speaker 1>No, that's what I'm saying. He made that, like what

0:29:13.560 --> 0:29:15.120
<v Speaker 1>I want to It seems to me like all that

0:29:15.160 --> 0:29:18.640
<v Speaker 1>would have changed with Gary Marshall, not like in test screenings.

0:29:18.920 --> 0:29:21.640
<v Speaker 2>Yes, I think that's what happened. And then what the

0:29:21.680 --> 0:29:24.080
<v Speaker 2>test audience, the hand they played was that they're like,

0:29:24.120 --> 0:29:26.200
<v Speaker 2>you need to change that ending. Okay, gotch they need

0:29:26.200 --> 0:29:27.160
<v Speaker 2>to get together.

0:29:27.400 --> 0:29:31.400
<v Speaker 1>Right, Fatal Attraction famously changed.

0:29:31.880 --> 0:29:35.640
<v Speaker 2>Yeah, So the ending of Fatal Attraction apparently has Glenn

0:29:35.680 --> 0:29:40.840
<v Speaker 2>Cose Glenn Close, who's Michael Douglas's former one night stand

0:29:40.880 --> 0:29:46.120
<v Speaker 2>turned stalker, killing herself slitting her own throat. Yeah, pretty

0:29:46.120 --> 0:29:49.080
<v Speaker 2>good with a knife with Michael Douglas's fingerprints on it.

0:29:49.160 --> 0:29:52.120
<v Speaker 2>And then Michael Douglas is arrested for her murder.

0:29:52.200 --> 0:29:56.000
<v Speaker 1>Yeah, and like it's supposed to They don't show trials

0:29:56.000 --> 0:29:58.800
<v Speaker 1>and things, but it ends with him going to prison.

0:29:58.920 --> 0:30:02.040
<v Speaker 2>Yeah, and that's great ending. Glenn Close loved it. She

0:30:02.200 --> 0:30:05.320
<v Speaker 2>was very sad when audiences were like, Nope, we hate

0:30:05.320 --> 0:30:07.840
<v Speaker 2>this character so much, like she has to be killed off.

0:30:07.880 --> 0:30:10.520
<v Speaker 2>She can't kill herself. Somebody has to kill her. Yeah,

0:30:10.560 --> 0:30:12.800
<v Speaker 2>and just for good measure make it the wife.

0:30:13.120 --> 0:30:17.040
<v Speaker 1>Well, that makes sense because I think people people weren't

0:30:17.080 --> 0:30:19.240
<v Speaker 1>rooting for Michael Douglas in that movie either because he

0:30:19.360 --> 0:30:23.680
<v Speaker 1>was such a jerk right toyed with this woman left her,

0:30:24.520 --> 0:30:27.680
<v Speaker 1>had this great wife at home and kid. So people

0:30:27.880 --> 0:30:29.840
<v Speaker 1>I think they said, you know what would go over

0:30:29.880 --> 0:30:33.000
<v Speaker 1>the top is if the only sympathetic character in this movie,

0:30:33.240 --> 0:30:35.440
<v Speaker 1>which is Ann Archer, is the one who does it

0:30:35.600 --> 0:30:37.360
<v Speaker 1>right and it was effective, I'll give it to him.

0:30:37.480 --> 0:30:40.400
<v Speaker 2>Yeah. But apparently Glenn Closes like the original ending was

0:30:40.400 --> 0:30:40.920
<v Speaker 2>way better.

0:30:41.200 --> 0:30:44.520
<v Speaker 1>She washed her hands of it. Did you ever see

0:30:44.520 --> 0:30:49.440
<v Speaker 1>Scott Pilgrim Versus The World? No, Michael, it's a good flick.

0:30:50.400 --> 0:30:54.040
<v Speaker 1>The original ending of that one had him had his

0:30:54.160 --> 0:31:01.800
<v Speaker 1>character ending up with his his love Entry knives Chow

0:31:02.520 --> 0:31:06.360
<v Speaker 1>played by Ellen Wong instead of his dream girl Ramona Flowers,

0:31:07.200 --> 0:31:11.880
<v Speaker 1>and the test audiences didn't like that and said, basically,

0:31:12.280 --> 0:31:16.080
<v Speaker 1>this guy spent the whole movie annoyed by this girlfriend

0:31:16.200 --> 0:31:19.920
<v Speaker 1>and pining for this other girl and defeating her evil

0:31:19.920 --> 0:31:22.760
<v Speaker 1>ex boyfriends. Right, he can't just not end up with

0:31:22.800 --> 0:31:25.880
<v Speaker 1>her at the end. It's very anticlimactic. So they said,

0:31:26.120 --> 0:31:28.960
<v Speaker 1>all right, we'll change it. And that's how it was

0:31:29.000 --> 0:31:30.880
<v Speaker 1>in the graphic novel too, So I don't know why

0:31:30.880 --> 0:31:31.840
<v Speaker 1>they changed it to begin with.

0:31:31.960 --> 0:31:35.840
<v Speaker 2>Who knows, So they went back to the original ending. Yeah,

0:31:35.920 --> 0:31:38.640
<v Speaker 2>that it was of the material is adaptive.

0:31:38.160 --> 0:31:40.840
<v Speaker 1>From that's right. Yeah, pretty in pink.

0:31:41.800 --> 0:31:45.160
<v Speaker 2>Yeah, this one's pretty famous too. I'd heard this many

0:31:45.160 --> 0:31:49.680
<v Speaker 2>many years ago that originally they had Molly Ringwald ending

0:31:49.760 --> 0:31:53.200
<v Speaker 2>up with John Cryer, Yeah, with Ducky rather than Blaine

0:31:53.320 --> 0:31:56.160
<v Speaker 2>Andrew McCarthy, which, by the way, saw a Weekend at

0:31:56.160 --> 0:32:02.479
<v Speaker 2>Bernie's again recently HiT's. Ah No, it's not that bad really, Yeah,

0:32:02.480 --> 0:32:05.720
<v Speaker 2>it's very thin. Well it's one. It's one good joke.

0:32:05.880 --> 0:32:09.080
<v Speaker 1>Yeah, but boy, they take it in so many directions.

0:32:09.120 --> 0:32:14.680
<v Speaker 2>Yeah, it's pretty funny, and it's amazing how young Jonathan

0:32:14.720 --> 0:32:18.280
<v Speaker 2>Silverman and Andrew McCarthy look, I mean young.

0:32:18.600 --> 0:32:20.960
<v Speaker 1>Yeah, and the guy who played Bernie, who like I

0:32:21.000 --> 0:32:23.880
<v Speaker 1>don't think ever did anything else. No, I never saw

0:32:23.960 --> 0:32:24.640
<v Speaker 1>him anything else.

0:32:24.920 --> 0:32:27.040
<v Speaker 2>He threw out the ball at like a Los Angeles

0:32:27.080 --> 0:32:32.760
<v Speaker 2>Dodgers game or San Francisco Giants gamers some nineteen eighty seven. Yeah, no, no,

0:32:33.200 --> 0:32:36.240
<v Speaker 2>like last season. Really, I don't remember the reason why,

0:32:36.280 --> 0:32:40.360
<v Speaker 2>but it was like he's been working that character for

0:32:40.360 --> 0:32:40.800
<v Speaker 2>a long time.

0:32:40.840 --> 0:32:42.240
<v Speaker 1>Do you know it would have been genius if they

0:32:42.240 --> 0:32:46.360
<v Speaker 1>would have had Silverman and McCarthy out there like grabbing

0:32:46.400 --> 0:32:48.640
<v Speaker 1>his arm and throwing the ball for him as if

0:32:48.640 --> 0:32:50.760
<v Speaker 1>he were dead, It would have been great. That would

0:32:50.800 --> 0:32:53.360
<v Speaker 1>have been pretty good. I think they call that meta

0:32:53.400 --> 0:32:58.720
<v Speaker 1>these days, Yeah, they do, or metas already out. It

0:32:58.800 --> 0:33:02.480
<v Speaker 1>was like so two years ago, you know, uh, twenty

0:33:02.480 --> 0:33:05.080
<v Speaker 1>eight days later you saw that one, right, Yeah, that

0:33:05.120 --> 0:33:10.200
<v Speaker 1>one ends with Jim's Cillian Murphy's character dying in the

0:33:10.240 --> 0:33:14.200
<v Speaker 1>original ending and his people who are going to rescue

0:33:14.240 --> 0:33:17.560
<v Speaker 1>him just like going back out to fight the zombies again, right,

0:33:17.840 --> 0:33:21.240
<v Speaker 1>are like, No, that stinks. I love this guy.

0:33:21.720 --> 0:33:25.360
<v Speaker 2>Yeah, so they he recovers. Yeah, didn't end in like

0:33:25.400 --> 0:33:26.440
<v Speaker 2>a field or a.

0:33:26.360 --> 0:33:29.040
<v Speaker 1>Meadow or they're like romping in the field and I

0:33:29.040 --> 0:33:29.959
<v Speaker 1>think they see a plane.

0:33:30.240 --> 0:33:32.000
<v Speaker 2>I'm sure Danny bow was like, oh, you want a

0:33:32.000 --> 0:33:34.880
<v Speaker 2>happy ending. Yeah, I'll give you your happy, stupid ending.

0:33:35.040 --> 0:33:37.600
<v Speaker 2>Here's your stupid ending. Choke un it, you, stupid audience.

0:33:37.720 --> 0:33:40.280
<v Speaker 1>I like the ending, though I don't. I like both.

0:33:40.280 --> 0:33:42.440
<v Speaker 1>I don't mind a happy ending when it's done well,

0:33:42.480 --> 0:33:46.200
<v Speaker 1>but I also like dark endings. Yeah, you know, one

0:33:46.240 --> 0:33:47.920
<v Speaker 1>of the It doesn't have to be one or the other.

0:33:48.040 --> 0:33:52.440
<v Speaker 2>What about the opposite dark beginnings in un dark beginnings

0:33:52.480 --> 0:33:54.120
<v Speaker 2>like with Sunset Boulevard.

0:33:54.800 --> 0:33:56.440
<v Speaker 1>All right, go ahead and break it down. I don't

0:33:56.440 --> 0:33:59.200
<v Speaker 1>know that one. Oh have you ever seen Sunset Boulevard. No,

0:33:59.320 --> 0:34:02.680
<v Speaker 1>that's on my left as a classic movie for a reason.

0:34:02.760 --> 0:34:06.240
<v Speaker 1>It's a truly great movie. But apparently at the beginning

0:34:06.280 --> 0:34:11.920
<v Speaker 1>of it, originally they had Bill Holden's Corpse, the character

0:34:12.000 --> 0:34:15.680
<v Speaker 1>he plays Corpse, talking to other corpses in the morgue

0:34:16.280 --> 0:34:19.640
<v Speaker 1>explaining how he got there. Oh wow, and audiences were like,

0:34:19.840 --> 0:34:20.719
<v Speaker 1>is this a comedy?

0:34:20.960 --> 0:34:23.680
<v Speaker 2>Like? What is going on here? Apparently a lot of

0:34:23.680 --> 0:34:26.719
<v Speaker 2>people walked out and Billy Wilder, the director, was there. Yeah,

0:34:26.960 --> 0:34:29.080
<v Speaker 2>and some lady told him to his face that it

0:34:29.160 --> 0:34:33.680
<v Speaker 2>was a steaming pile and maybe didn't know it was

0:34:33.760 --> 0:34:37.160
<v Speaker 2>him or something like that. But the legend goes that

0:34:37.239 --> 0:34:40.239
<v Speaker 2>she told them to his face, like this is terrible and.

0:34:40.239 --> 0:34:41.240
<v Speaker 1>So steaming pile.

0:34:41.360 --> 0:34:45.240
<v Speaker 2>He reshot the beginning to where it's Bill Holden's corpse,

0:34:45.280 --> 0:34:48.680
<v Speaker 2>but it's a voiceover and he's not talking to other

0:34:48.760 --> 0:34:49.840
<v Speaker 2>corpses in the morgue.

0:34:50.280 --> 0:34:52.080
<v Speaker 1>But it's not a comedy, right, it's not at all.

0:34:52.520 --> 0:34:55.000
<v Speaker 1>Maybe because it was Billy Wilder, people had an expectation.

0:34:55.960 --> 0:34:58.560
<v Speaker 2>Yeah, And I mean there's some parts that you wonder like,

0:34:58.960 --> 0:35:01.200
<v Speaker 2>did he mean that to be like kind of funny,

0:35:01.239 --> 0:35:04.680
<v Speaker 2>like in a really dark way. Maybe, Yeah, it's quite possible.

0:35:04.719 --> 0:35:07.600
<v Speaker 1>But great, I need to see that. I love Billy Walls.

0:35:07.640 --> 0:35:10.719
<v Speaker 2>You should watch it, like tonight, doesn't matter the mood

0:35:10.760 --> 0:35:12.440
<v Speaker 2>you're in, It doesn't matter what you got going on.

0:35:12.640 --> 0:35:14.839
<v Speaker 2>Just you could watch Sunset Boulevard and be like, this

0:35:14.920 --> 0:35:15.600
<v Speaker 2>is a great movie.

0:35:15.719 --> 0:35:22.120
<v Speaker 1>Okay, Heathers. Did you see Heathers? The regular ending? Oh,

0:35:22.160 --> 0:35:25.880
<v Speaker 1>I'm sorry, the Yeah. The ending they went with was

0:35:27.680 --> 0:35:32.920
<v Speaker 1>Christian Slater's character wants to blow up the school gymnasium

0:35:33.040 --> 0:35:37.560
<v Speaker 1>during a basketball game, and Veronica what's her faces? Went

0:35:37.600 --> 0:35:41.200
<v Speaker 1>on A Ryder's character shoots him dead, stops it, and

0:35:41.320 --> 0:35:45.799
<v Speaker 1>ends up bonding with the outcast girl. Yes, and the

0:35:45.840 --> 0:35:49.040
<v Speaker 1>original ending and the script I don't think this was

0:35:49.080 --> 0:35:53.360
<v Speaker 1>an I don't think it was shot. But she kills

0:35:53.560 --> 0:35:57.680
<v Speaker 1>Christian Slater's character, straps the bomb to herself and blows

0:35:57.719 --> 0:36:01.400
<v Speaker 1>up the school and everyone has prom and Evan and

0:36:01.480 --> 0:36:03.759
<v Speaker 1>like everybody gets along. The nerds and the geeks are

0:36:03.760 --> 0:36:08.439
<v Speaker 1>all like living in harmony. Huh yeah, not bad. You're like, yeah,

0:36:08.520 --> 0:36:14.280
<v Speaker 1>I could see that. Blade Runner perhaps the most famous

0:36:14.400 --> 0:36:15.520
<v Speaker 1>changed ending of all time.

0:36:15.680 --> 0:36:16.560
<v Speaker 2>I had not heard that.

0:36:17.320 --> 0:36:19.520
<v Speaker 1>Yes, you know, the original ending of Blade Runner was

0:36:19.600 --> 0:36:21.600
<v Speaker 1>very dark, and that's the one that ended up in

0:36:21.640 --> 0:36:24.359
<v Speaker 1>the director's cut, Ridley Scott's director's cut.

0:36:24.600 --> 0:36:25.520
<v Speaker 2>What was that ending?

0:36:25.800 --> 0:36:30.200
<v Speaker 1>Basically that Harrison Ford is going to die, Well, that

0:36:30.320 --> 0:36:33.960
<v Speaker 1>Rachel Ward is going to die because replicants have expiration dates,

0:36:34.480 --> 0:36:37.560
<v Speaker 1>and is Harrison Ford a replicant or not? And it

0:36:37.640 --> 0:36:40.880
<v Speaker 1>leaves open. I'm pretty sure the director's cut leaves it ambiguous,

0:36:41.560 --> 0:36:43.480
<v Speaker 1>even though I think Ridley Scott came out years later

0:36:43.520 --> 0:36:44.880
<v Speaker 1>and said, yeah, he is a replicant.

0:36:45.080 --> 0:36:48.000
<v Speaker 2>So in the in the audience tested version, he turns

0:36:48.040 --> 0:36:51.200
<v Speaker 2>to the camera and says directly the audience, Nope, I'm

0:36:51.200 --> 0:36:52.160
<v Speaker 2>not a replicant.

0:36:52.719 --> 0:36:56.320
<v Speaker 1>Not quite end but they all that terrible voiceover narration

0:36:56.480 --> 0:36:58.839
<v Speaker 1>was added, you know, in the non director's cut, and

0:36:58.880 --> 0:37:02.880
<v Speaker 1>they had the happy ending with infamous blue Sky shot

0:37:02.920 --> 0:37:05.520
<v Speaker 1>the Only Blue Sky, and the whole movie was them

0:37:05.600 --> 0:37:07.960
<v Speaker 1>like driving down the road at the end and explaining

0:37:08.239 --> 0:37:13.439
<v Speaker 1>via voiceover that, well, not all replicants have an expiration date.

0:37:13.920 --> 0:37:16.840
<v Speaker 1>You're special, so you don't have one. Wow, so we

0:37:16.880 --> 0:37:19.320
<v Speaker 1>can just live together in harmony, and.

0:37:19.320 --> 0:37:22.560
<v Speaker 2>That Philip K. Dick rolled over in his grave. Probably so.

0:37:23.120 --> 0:37:25.640
<v Speaker 1>But that shot of the Only Blue Sky, it wasn't

0:37:25.640 --> 0:37:29.040
<v Speaker 1>even from that movie. It was pulled from outtakes of

0:37:29.080 --> 0:37:32.719
<v Speaker 1>The Shining, the beginning car scene in the Shining when

0:37:32.760 --> 0:37:33.440
<v Speaker 1>they're driving.

0:37:33.239 --> 0:37:34.040
<v Speaker 2>Up the road. Wow.

0:37:34.640 --> 0:37:38.279
<v Speaker 1>So wow. Yeah, Blade Runner really screwed that one up.

0:37:39.239 --> 0:37:42.120
<v Speaker 1>And really Scott, of course was he was not so

0:37:42.160 --> 0:37:42.879
<v Speaker 1>happy about that.

0:37:43.000 --> 0:37:47.160
<v Speaker 2>I can imagine this masterpiece. And then somebody tacks on

0:37:47.320 --> 0:37:50.600
<v Speaker 2>outtakes from the shot of the movie. Yeah, weird, bad

0:37:51.640 --> 0:37:55.040
<v Speaker 2>You got anything else? Nope, Okay, I don't either. We

0:37:55.080 --> 0:37:56.960
<v Speaker 2>could probably do this for a while though, because there's

0:37:56.960 --> 0:37:59.680
<v Speaker 2>plenty of other movies that were changed thanks to audiences.

0:37:59.719 --> 0:38:02.799
<v Speaker 2>But if you are ever in a line at a

0:38:02.800 --> 0:38:06.480
<v Speaker 2>movie theater and somebody trustworthy seeming comes up to you

0:38:06.520 --> 0:38:07.480
<v Speaker 2>and I see you. If you want to be in

0:38:07.480 --> 0:38:08.920
<v Speaker 2>a test audience, give it a shot.

0:38:09.120 --> 0:38:11.840
<v Speaker 1>Yeah, and big thanks to Mental Floss for all. A

0:38:11.880 --> 0:38:14.120
<v Speaker 1>lot of that list stuff came from one of their articles.

0:38:14.200 --> 0:38:14.839
<v Speaker 2>Yeah that's right.

0:38:16.120 --> 0:38:17.000
<v Speaker 1>Yeah, that's all I got.

0:38:17.080 --> 0:38:19.040
<v Speaker 2>And if you want to know more about audience testing,

0:38:19.080 --> 0:38:21.480
<v Speaker 2>type those words in the search bart HowStuffWorks dot com.

0:38:21.520 --> 0:38:23.680
<v Speaker 2>And since I said that it's time for listener mail.

0:38:26.560 --> 0:38:28.600
<v Speaker 1>I'm going to call this oceans are cool if I

0:38:28.640 --> 0:38:31.560
<v Speaker 1>pay attention. Hey, guys, love the show. I used to

0:38:31.560 --> 0:38:33.800
<v Speaker 1>listen every day when I rode the trains from Brooklyn

0:38:34.200 --> 0:38:37.080
<v Speaker 1>and to Manhattan to work, but recently I started to

0:38:37.160 --> 0:38:39.880
<v Speaker 1>work in Brooklyn close enough for me to bike to,

0:38:40.040 --> 0:38:42.520
<v Speaker 1>so I don't ride trains anymore. They're pros and cons

0:38:42.560 --> 0:38:44.839
<v Speaker 1>to that. On one hand, I save over one hundred

0:38:44.880 --> 0:38:47.520
<v Speaker 1>and ten dollars a month in metro card fees, don't

0:38:47.520 --> 0:38:50.360
<v Speaker 1>have to wait for trains, which adds another twenty minutes

0:38:50.400 --> 0:38:54.480
<v Speaker 1>to the Google Map travel times. On the downside, when

0:38:54.480 --> 0:38:57.120
<v Speaker 1>it rains, I still have the bike to work, although

0:38:57.120 --> 0:38:58.839
<v Speaker 1>I am learning to love that. And the other con

0:38:58.920 --> 0:39:00.840
<v Speaker 1>is that I don't have time to listen to you.

0:39:00.920 --> 0:39:04.440
<v Speaker 1>Guys as much. Since it's very detailed. I'm paying attention

0:39:04.560 --> 0:39:06.480
<v Speaker 1>is key if I want to enjoy the show, and

0:39:06.520 --> 0:39:08.840
<v Speaker 1>I need to keep my thoughts on the road. My

0:39:08.880 --> 0:39:12.439
<v Speaker 1>commute is also down to fifteen minutes, which doesn't help

0:39:12.480 --> 0:39:15.680
<v Speaker 1>much either. I need to reconcile this fellas. This morning,

0:39:15.680 --> 0:39:17.799
<v Speaker 1>I tried to listen to The Ocean's episode while doing

0:39:17.840 --> 0:39:20.239
<v Speaker 1>some work on my computer. Wasn't long before I knew

0:39:20.239 --> 0:39:23.560
<v Speaker 1>I'd missed something critical. At some point, riptides were defined

0:39:23.600 --> 0:39:27.160
<v Speaker 1>and laddered up to equatorial wins, a connection I recall

0:39:27.200 --> 0:39:29.600
<v Speaker 1>from taking oceanography in high school. But I did not

0:39:29.760 --> 0:39:32.600
<v Speaker 1>understand when I wasn't paying attention this morning. When I

0:39:32.680 --> 0:39:34.120
<v Speaker 1>used to listen on the train, the show had my

0:39:34.239 --> 0:39:37.319
<v Speaker 1>undivided attention. Now I'm trying to find a new time

0:39:37.400 --> 0:39:40.080
<v Speaker 1>to listen. Maybe I'll save up shows and binge them

0:39:40.440 --> 0:39:43.759
<v Speaker 1>on a nice long bike ride. And that is from

0:39:43.920 --> 0:39:52.279
<v Speaker 1>Andrew Negroche nigrsh Nigros Negroch something like that. Interesting, I've

0:39:52.280 --> 0:39:52.920
<v Speaker 1>never heard that name.

0:39:53.000 --> 0:39:55.680
<v Speaker 2>Well, thanks a lot, Andrew. We appreciate you getting in

0:39:55.719 --> 0:39:58.560
<v Speaker 2>touch with this. We hope you figure this out. This

0:39:58.640 --> 0:40:01.919
<v Speaker 2>sounds like a terrible conundrum. Maybe get a new job

0:40:02.040 --> 0:40:04.440
<v Speaker 2>that requires you fur. Yeah.

0:40:04.520 --> 0:40:06.160
<v Speaker 1>Yeah, go work in Vermont.

0:40:06.600 --> 0:40:10.320
<v Speaker 2>Yeah, there you go. Problem solved. If you have a

0:40:10.360 --> 0:40:12.680
<v Speaker 2>problem that you want Chuck and I to solve for you,

0:40:12.760 --> 0:40:14.759
<v Speaker 2>like we just did for Andrew, you can tweet to

0:40:14.800 --> 0:40:18.040
<v Speaker 2>us at sysk podcast. You can join us on Facebook

0:40:18.040 --> 0:40:20.359
<v Speaker 2>dot com slash Stuff you Should Know. You can send

0:40:20.440 --> 0:40:23.200
<v Speaker 2>us an email the Stuff podcast at HowStuffWorks dot com

0:40:23.239 --> 0:40:25.200
<v Speaker 2>and has always joined us at our home on the web.

0:40:25.560 --> 0:40:33.040
<v Speaker 2>Stuff you Should Know dot com.

0:40:29.400 --> 0:40:32.399
<v Speaker 1>You Stuff you Should Know is a production of iHeartRadio.

0:40:32.880 --> 0:40:36.080
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0:40:36.280 --> 0:40:39.200
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