Nomads

[00:00:00] Blank Check with Griffin & David, Crack Check with Griffin & David, John the one to say or to expect. All you need to know is that the name of the shell is blank check.

[00:00:21] The Ordman on Atravak used to tell us tale of the dangers of traveling far, of hunting alone, on the ice, how one might no longer know what was, a podcast.

[00:00:35] What, what are you referencing?

[00:00:36] Real, I don't know. It's apparently in the movie. I mostly just wanted this.

[00:00:40] Is Brosnan saying that?

[00:00:42] Yes.

[00:00:42] Or is it cow chocolate?

[00:00:43] Yeah, did Brosnan age 80 years?

[00:00:45] It's a problem.

[00:00:46] I can only do an impression of old Brosnan.

[00:00:49] Uh-huh.

[00:00:50] So you're trying to do old French Brosnan?

[00:00:53] Well, I was trying to age it down and I was failing in real time.

[00:00:56] I understand.

[00:00:57] Right. You're giving me old. You're giving me Brosnan now in this movie.

[00:01:00] It's hard to do... Yeah, I'm doing Dr. Fate with a French accent.

[00:01:04] It's hard to do an impression of someone who already has a strong accent, applying a bad accent on top of it.

[00:01:11] It's a little bit like the Technology Lorenzo's Oil thing, where it's like two voices clashing against each other.

[00:01:17] Every line reading he has, he simultaneously sounds Irish and French, like it's coming at two different speakers, right?

[00:01:25] With Nulti, he sells his accents through pure bravado.

[00:01:30] Mama Mia! What a piece of pie!

[00:01:32] Like...

[00:01:33] That's a spicy-

[00:01:34] You're like, this man is not embarrassed, right?

[00:01:38] Yes, like this man is- this is how he's gonna speak to us today.

[00:01:41] Piers, you can feel the embarrassment when he's out of his comfort so much.

[00:01:45] Like... But you're ruining-

[00:01:47] But you're ruining-

[00:01:48] Dearing about him, yes.

[00:01:49] That's why in Mala Mia-

[00:01:51] Yes.

[00:01:52] When he's singing an S- he's singing an S- he doesn't really sing-

[00:01:54] Why do you go on?

[00:01:55] Yes.

[00:01:56] Because I compare it to Russell Crowe and Les Mis.

[00:01:59] Yeah.

[00:02:00] Where Russell Crowe is actually a singer.

[00:02:02] Now, is he the best singer in the world? No.

[00:02:04] But that man performs in a band.

[00:02:06] Like- But that makes it worse.

[00:02:07] Nominally enjoys it, but then he seems so uncomfortable in that movie.

[00:02:10] Yes.

[00:02:11] It doesn't make any sense.

[00:02:13] Piers, you feel it because it's the live singing gimmick.

[00:02:15] If Russell Crowe had been allowed to not sing live-

[00:02:18] Yes.

[00:02:18] That might be a better performance.

[00:02:21] That should have single-handedly swung the issue on that movie to maybe some numbers

[00:02:26] are done live.

[00:02:27] No. Never.

[00:02:29] Tom Hooper's All or Nothing.

[00:02:30] Tom Hooper is All or Nothing.

[00:02:31] When I interviewed him back at, he was like, "Absolutely, I would never- like, they must sing live."

[00:02:35] Right. Well, the fragility, the fragility you get on set.

[00:02:37] The fragility.

[00:02:38] But he's also like, the thing he said was like, people do that on stage every night.

[00:02:41] Of course. And I'm like, "Right."

[00:02:43] But if you want to only hire-

[00:02:44] That's the first thing those guys are super cool.

[00:02:46] Yeah, right.

[00:02:46] But also David, think about this way.

[00:02:48] Previously in a movie, Musical, you'd go, "What if I done?

[00:02:52] Sweetie uses, what have I done?

[00:02:53] Come with Keith in the night.

[00:02:54] But come on, talk in the wrong."

[00:02:56] But with this, you can stop and go, "What if I done?"

[00:02:59] So we're-

[00:03:00] Sweet Jesus.

[00:03:00] We're mocking the new V or whatever it was called.

[00:03:04] First Look.

[00:03:05] First Regal, First Look, Lame is to kick off a new mini series about John McTearon!

[00:03:11] Not Tom McTearon!

[00:03:12] Not Tom Hooper!

[00:03:13] About a movie that features none of these actors.

[00:03:15] No.

[00:03:15] But it does feature-

[00:03:16] No.

[00:03:16] Pierce Bros.

[00:03:17] We built a bridge to Pierce.

[00:03:18] We will never have a pure seer run that we have had these last four months on the podcast.

[00:03:25] We did four bonds Muir has two faces, and McTearon is giving us two pierses.

[00:03:30] We've covered him once before.

[00:03:31] Mars attacks.

[00:03:33] We will cover him again.

[00:03:35] We will.

[00:03:35] In this mini series.

[00:03:36] That's what I'm saying.

[00:03:37] But after that,

[00:03:40] how many times might we get back to Pierce?

[00:03:44] Eight Pierce movies.

[00:03:46] Seven of them have been in the last four months.

[00:03:48] We could do Chris Columbus.

[00:03:50] We could drive by fruiting.

[00:03:52] Drive by fruiting, Ben.

[00:03:53] Drive by fruiting.

[00:03:55] Thumbs up.

[00:03:56] But also Mrs. Starfire.

[00:03:57] He's a Mrs. Starfire.

[00:03:58] Her famous quote.

[00:03:59] Oh my God.

[00:04:00] Yes, of course, one of the most quotable films of all time.

[00:04:03] And what is that quote?

[00:04:04] Of course, that rings her in in her handle.

[00:04:06] Well, it's-

[00:04:07] There's a little something-

[00:04:14] Ben's very sleepy today.

[00:04:16] I don't-

[00:04:18] He's in a bit of a nomad sort of trance state where-

[00:04:21] Is he here?

[00:04:22] Is he-

[00:04:22] I'm not sure.

[00:04:23] Experiencing someone else who was here-

[00:04:25] Okay.

[00:04:26] I think we could one day do a Patreon series on like-

[00:04:29] You're looking at the rest of Pierce's career.

[00:04:32] Correct.

[00:04:32] Like on-

[00:04:32] -- could be covered.

[00:04:33] Early 90s, cyberspace movies, right?

[00:04:36] 'Cause like lawn mower man-

[00:04:38] If we did a King.

[00:04:39] virtual city.

[00:04:39] Oh sure.

[00:04:40] Oh, we could do a King-

[00:04:41] Like yeah,

[00:04:41] but isn't that one of those things,

[00:04:42] because he's like,

[00:04:43] "Stop saying I'm associated with this one."

[00:04:45] This one isn't me at all, my friend.

[00:04:47] The only similarity is that it has a lawn mower in it.

[00:04:49] My guy didn't go to the fucking cyberspace.

[00:04:53] No, his book is about a guy who thinks he's like a Sator, right?

[00:04:57] S-A-T-Y-R-E?

[00:04:59] Yeah.

[00:05:00] They took that story and then they merged it with an original screenplay

[00:05:05] called CyberGod.

[00:05:06] Right. And just-

[00:05:07] And they picked CyberGod to not be the title.

[00:05:10] Yes.

[00:05:10] The lawn mower man or CyberGod.

[00:05:13] What's drawing people to feed.

[00:05:14] It's terrible title for that move.

[00:05:15] They pick the lawn mower man because they figure,

[00:05:18] "Well, we can slap Stephen King's name on this."

[00:05:20] Call it CyberGod.

[00:05:21] So they make Jeff Fahey, a lawn mower man in that movie.

[00:05:25] But that's not what the book is about at all.

[00:05:27] So we could do lawn mower man-

[00:05:29] Uh-huh.

[00:05:29] -- forage capacity-

[00:05:31] Johnny-

[00:05:31] Johnny Mnemonic.

[00:05:32] Yeah.

[00:05:33] Ben's favorite.

[00:05:33] Or I favor it.

[00:05:35] Yeah.

[00:05:36] Maybe like-

[00:05:37] I think those are the-

[00:05:39] The net could we do the net.

[00:05:40] The net.

[00:05:41] Tackers.

[00:05:42] Yeah.

[00:05:43] I want movies where you-

[00:05:44] These were your computer movies-

[00:05:45] You want cyber space.

[00:05:46] -- inside the computer.

[00:05:47] So like definitely the first three we just said,

[00:05:49] "I forget if the net does any of that."

[00:05:50] Disclosure does technically do it.

[00:05:53] No.

[00:05:54] The net is more like,

[00:05:55] "Oh no, I ordered a pizza in there after me."

[00:05:57] Yeah.

[00:05:57] The net's true now, right?

[00:05:59] That's the whole thing.

[00:06:00] Yes.

[00:06:00] Everyone laughed it at the time

[00:06:02] because it was visible and now everyone's like-

[00:06:03] -- net basically predicted like online,

[00:06:06] you know, surveillance.

[00:06:07] Yeah.

[00:06:07] Your fucking pizza and the cost of the rest here.

[00:06:09] Correct.

[00:06:10] I think that's it.

[00:06:11] I think so too.

[00:06:12] I don't think there's any other-

[00:06:14] -- I guess we could do John Borman one day.

[00:06:17] Sure.

[00:06:18] It's like year 14.

[00:06:21] Yeah.

[00:06:21] We do Borman.

[00:06:22] Do you know in like,

[00:06:23] year two of this show-

[00:06:23] -- where the podcast is?

[00:06:25] -- on mic we promised if we ever got to year 10,

[00:06:28] we do Tom Shadyak and we are one-year away from that now.

[00:06:32] Did we really?

[00:06:33] Yeah, because we typically-

[00:06:34] We were like, what a ridiculous amount of years

[00:06:37] to be doing this.

[00:06:38] There is no chance we're doing this show after a decade.

[00:06:41] Okay.

[00:06:42] You're listening to your nine of "Blancshex"

[00:06:44] and next year-

[00:06:47] Perhaps we are forced by our own

[00:06:49] golden handcuffs that we've assigned ourselves to cover Tom Shadyak.

[00:06:53] -- I got to ask-

[00:06:53] -- it's nine movies.

[00:06:55] Who's Tom Shadyak?

[00:06:56] A great question!

[00:06:57] -- Here we go Ben, I'll run it down for you.

[00:06:58] -- Let me take it quickly.

[00:06:58] This is "Blancshex" with Driven David,

[00:07:00] a podcast about mammographies,

[00:07:01] directors who have massive success.

[00:07:02] Early on in their careers,

[00:07:03] are given a series of blank checks

[00:07:04] to make whatever crazy patch and products they want.

[00:07:07] And sometimes those checks clear,

[00:07:08] and sometimes they bounce.

[00:07:10] Baby, this is the beginning-

[00:07:11] Boop, boop, boop, boop, boop,

[00:07:12] of a new miniseries.

[00:07:13] It's the films of John McTearnan,

[00:07:15] one of the only filmmakers to go to

[00:07:17] movie jail and federal prison.

[00:07:19] I will never stop making that joke.

[00:07:20] -- I love that joke.

[00:07:20] It's called "Pod Hard With a Venge Cast."

[00:07:24] -- Yup, that's right.

[00:07:25] We decided on that ages ago.

[00:07:26] -- It's one we've been threatened to do

[00:07:28] since the beginning,

[00:07:29] and we had to get him done before Tom Shadyak.

[00:07:32] With his killer run of nine films.

[00:07:34] -- So his nine films are Ben.

[00:07:36] -- Gary DeVince McGany,

[00:07:38] -- You're going to really be feeling it

[00:07:39] at the start of this run.

[00:07:41] -- And then you're going to...

[00:07:41] -- I think you're going to feel...

[00:07:43] -- Then you're going to jump out of the roller coaster report,

[00:07:45] and you're going to feel the twists and turns of this.

[00:07:47] -- Now we're ignoring his TV film,

[00:07:49] Frank and Stein, The College Years,

[00:07:50] although that could, of course, be a Patreon episode.

[00:07:52] -- It sounds good.

[00:07:53] And Ben, you have no idea who he is.

[00:07:54] Do you have any guess of where this

[00:07:56] philosophy is going to go?

[00:07:58] Just off the name.

[00:07:59] -- What you said, Frank and Stein

[00:08:01] went to college?

[00:08:02] -- That seems to be a TV movie he started out with in 1991.

[00:08:05] -- Okay.

[00:08:06] -- I could not predict off of that alone.

[00:08:08] What's next?

[00:08:08] -- Ace Ventura pet detective.

[00:08:10] -- First movie.

[00:08:11] -- Oh, no problems with that movie.

[00:08:14] Number two, the nighty professor with Eddie Murphy.

[00:08:17] -- Huh.

[00:08:18] -- Okay.

[00:08:19] -- Two huge hits in a row.

[00:08:20] -- Yeah.

[00:08:20] -- Number three.

[00:08:21] -- Fucking huge ones.

[00:08:22] -- Number three, what if...

[00:08:23] You couldn't lie, liar, liar, starring Jim Carrey.

[00:08:26] -- Humongous!

[00:08:28] -- Because three free.

[00:08:29] He's like the biggest comedy director in Hollywood.

[00:08:31] -- We're never gonna have problems.

[00:08:33] -- Number four, Patch Adams.

[00:08:34] -- Conconc.

[00:08:35] -- Okay.

[00:08:36] Number five.

[00:08:38] -- That was him.

[00:08:39] Now, let's mix the laughter with a few tears.

[00:08:42] Tom Shadyak goes serious.

[00:08:44] -- Number five.

[00:08:45] -- It makes a stupid amount of money.

[00:08:46] -- It does.

[00:08:46] But everyone agrees it's delicious.

[00:08:48] -- It's a movie that isn't frequency, dragonfly.

[00:08:53] It's the other one.

[00:08:54] -- Yes.

[00:08:55] -- It's sort of like frequency, right?

[00:08:56] -- Because he could see he's talking to the great beyond.

[00:08:58] He's going even more serious.

[00:09:00] -- Okay.

[00:09:01] -- Not a movie people like.

[00:09:02] -- No.

[00:09:02] -- But don't worry, because next movie--

[00:09:04] -- We're all back.

[00:09:05] Bruce Almighty!

[00:09:06] -- Humongous!

[00:09:07] -- Huge hit.

[00:09:07] -- Made the movies not that good.

[00:09:08] -- And everyone likes Tom.

[00:09:10] -- Thank you for returning to comedy.

[00:09:11] You're the biggest comedy director.

[00:09:13] You cannot miss.

[00:09:14] -- Okay, I'm gonna make a sequel then.

[00:09:15] -- Evan Almighty.

[00:09:17] -- One of the biggest flops in Hollywood history.

[00:09:19] -- Deep girl.

[00:09:19] -- Yeah, I remember that.

[00:09:21] -- I remember that.

[00:09:21] -- I remember that.

[00:09:22] -- I remember that.

[00:09:23] -- A movie that cost $200 million.

[00:09:25] -- Yes.

[00:09:26] -- And explicably.

[00:09:27] -- Well, had all these animals in it.

[00:09:29] -- It had the animals.

[00:09:29] It also built--

[00:09:30] -- They built an arc, I think?

[00:09:31] -- Yes.

[00:09:32] And in 2007, they were like,

[00:09:33] "We're gonna be the first carbon neutral production."

[00:09:35] They tried to get ahead of that,

[00:09:37] and it cost so much fucking money.

[00:09:39] -- Then he has a bicycle accident.

[00:09:42] -- Yes.

[00:09:42] -- He doesn't die, but he is injured, I guess.

[00:09:45] -- And Evan Almighty kind of ruins his reputation,

[00:09:47] where it's like, this guy got out of control,

[00:09:49] the budget got out of control,

[00:09:51] he was an egomaniac,

[00:09:52] and then when the movie bombed,

[00:09:53] he blamed the studio for missed marketing.

[00:09:55] -- Using it gets some advice from that.

[00:09:58] -- He had more sort of post-concussive problems.

[00:09:59] So then he makes a movie called, "I Am."

[00:10:02] He gives up a documentary.

[00:10:04] -- All his earthly belongings,

[00:10:05] I believe he moves into a trailer,

[00:10:07] and is like, I reject this life of Hollywood bullshit.

[00:10:12] -- He isolates himself from society completely,

[00:10:14] and then makes a movie about it,

[00:10:15] and makes a movie about where he talks to Desmond Tutu

[00:10:19] and like, Noam Chomsky being like,

[00:10:21] "What's it all about, man?"

[00:10:23] -- I'm trying to get back to the real human experience.

[00:10:26] What a great way to return to the Earth.

[00:10:28] -- The movie no one cares about.

[00:10:29] -- By making a documentary about your life.

[00:10:31] -- Uh-huh.

[00:10:32] -- And then five years ago, Bryan Banks,

[00:10:35] the movie where Aldous Hodge plays a real-life football player,

[00:10:39] who was -- I forgot that.

[00:10:40] -- Wrongly convicted,

[00:10:42] and was like, charged with sexual assault.

[00:10:44] It's kind of like a weird story, never seen it.

[00:10:45] -- Yes.

[00:10:47] -- Anyway, god, that's a real bummer.

[00:10:48] -- That's a bummer.

[00:10:49] -- I combined those two movies.

[00:10:50] There's a New Yorker article about him post-by-school accident,

[00:10:53] his like, resetting of his life,

[00:10:55] where it was like, the studios were still

[00:10:57] pitching him all of these big movies.

[00:11:00] And he was like, "I will sign on to do

[00:11:03] the incredible Mr. Limpet Remake

[00:11:06] if 45 minutes can be devoted to a very

[00:11:09] detailed accounting of how we are destroying water life."

[00:11:12] And the studios were like, "No, fuck off."

[00:11:15] And he kept on being like, "I'm ready to make a comedy again.

[00:11:17] I think comedy is the greatest gift

[00:11:19] we have to give to each other as people.

[00:11:21] I just need to say something in it."

[00:11:23] -- Shadyack.

[00:11:23] -- So we could do that.

[00:11:24] But we'll see.

[00:11:26] Because, look, I was just thinking about Dr. Who, right?

[00:11:28] Dr. Who canonically can transform his body.

[00:11:31] -- The doctor.

[00:11:31] -- The doctor.

[00:11:32] -- Oh, okay.

[00:11:33] -- He can transform his body 12 times.

[00:11:35] They say this is in an early episode.

[00:11:37] -- Sure.

[00:11:37] -- He regenerates.

[00:11:38] He turns into a new actor.

[00:11:39] This is how they recast the role.

[00:11:40] -- Right. And they were like, we'll never have to--

[00:11:42] -- When they picked that number,

[00:11:44] they were like, well, we're never going to do 12 doctors.

[00:11:46] -- Like, best case scenario, this show runs for exactly 50 years

[00:11:50] and no longer.

[00:11:51] And so they had to do a thing at a certain point

[00:11:53] where someone had to be like, can I have 12 more

[00:11:56] regenerations?

[00:11:58] And they're like, yes.

[00:11:59] They had to, like, address this.

[00:12:01] -- So we don't--

[00:12:02] -- So we have to address this.

[00:12:03] -- So let's do this--

[00:12:03] -- Housekeeping.

[00:12:04] -- We are committing--

[00:12:07] -- That's a little harder.

[00:12:07] -- Tom Schadyack will happen in year 20.

[00:12:09] -- Yes.

[00:12:10] -- And no further mulligans allowed.

[00:12:13] But now today we officially begin a director

[00:12:15] that we've been thrilled to talk about for so long.

[00:12:17] Come close to doing a couple times

[00:12:20] and finally we went just fuck it.

[00:12:22] Let's just have fun.

[00:12:23] Let's talk McTearnan.

[00:12:24] -- A new year.

[00:12:25] -- It's a new year.

[00:12:27] We start out with a little babes,

[00:12:28] followed by a big heap and a McTearnan,

[00:12:30] one of the wildest careers.

[00:12:32] -- Tell me, Griffin!

[00:12:34] What do you know about American filmmaker John McTearnan?

[00:12:38] And it better not be that he was born in 1951,

[00:12:40] because I already knew that.

[00:12:41] -- Oh my God.

[00:12:43] -- You're in trouble.

[00:12:43] Where was he born?

[00:12:46] -- He was born in Upstate New York.

[00:12:48] -- Albany.

[00:12:49] -- Hell yeah.

[00:12:50] -- New York's Capitol.

[00:12:51] What do you think Ben of Albany been there?

[00:12:53] -- Maybe.

[00:12:56] -- I've been there and let me tell you what else.

[00:12:58] I've got a bus out of Albany.

[00:12:59] And that is a hair-raising experience, folks.

[00:13:02] But John McTearnan was the son of Myra and John McTearnan.

[00:13:07] -- He's a junior.

[00:13:08] -- Ben, have you ever seen what John McTearnan looks like?

[00:13:10] -- I don't believe I have.

[00:13:11] -- Give him a Google.

[00:13:12] I would say he looks like the owner of a bar

[00:13:14] you do not want to go into.

[00:13:15] -- Yeah, he's got kind of like a grizzled thing.

[00:13:17] Like, here's like classic McTearnan Ben-y, you know.

[00:13:21] And here he is now.

[00:13:24] -- Here he is now, you know, kind of a grizzled fella.

[00:13:26] But he's one of those guys were even the photos where he's smiling.

[00:13:29] They're somehow even more intimidating than the photos where he's

[00:13:33] clowering.

[00:13:34] -- He definitely looks like he could have a dirty rag tied to his belt.

[00:13:39] You know what I mean?

[00:13:40] -- 100%.

[00:13:41] -- 100%.

[00:13:41] -- Yes.

[00:13:42] Look, he's a director who was hugely important, obviously.

[00:13:47] In the 80s and especially in the 90s.

[00:13:49] He's a well-known action director, but certainly not someone who ever sniffed like Oscar or

[00:13:54] awards contention.

[00:13:55] Not a guy whose movies opened at a film festival.

[00:13:57] -- Kind of aggressively unpretentious while being an intellectual,

[00:14:01] but was just like --

[00:14:02] -- An intellectual and caring about the craft of a genre film.

[00:14:06] -- Right.

[00:14:07] And kind of a throwback more to like a peckin' paw.

[00:14:11] -- Yes.

[00:14:12] -- Right?

[00:14:13] Where it's like, I take my movies very seriously.

[00:14:15] I have very serious craft.

[00:14:17] I'm not trying to win fucking Oscars.

[00:14:19] That's not what this is about.

[00:14:21] -- And obviously had his -- I think had people who are genuinely like,

[00:14:26] this is a great filmmaker, and then it's not like contemporaneously he was ignored.

[00:14:31] -- No.

[00:14:31] -- And people figured it out later.

[00:14:33] But still --

[00:14:34] -- But like, maybe --

[00:14:35] -- Look, has never gotten enough flowers.

[00:14:37] -- Compared to someone I don't know.

[00:14:38] -- Like Tom Shady, okay, who after three hit comedies was like, patch atoms.

[00:14:45] -- You know, that's a common arc if someone is working at the highest levels

[00:14:48] of popular cinema is after a couple movies that are like,

[00:14:51] I demand to be taken seriously.

[00:14:53] I demand it.

[00:14:55] Whether I need Oscar consideration or I need to make like a small artsy one for myself

[00:15:01] to get the critics on board.

[00:15:02] McTyrnant was a guy who would like --

[00:15:05] He had the lean he wanted to work in.

[00:15:07] And in a lot of ways it embodies like,

[00:15:10] he is a filmmaker whose career really embodies

[00:15:14] the sort of arc of 80s cinema building up to the excess of 90s Hollywood

[00:15:21] and the fallout of that in the early 2000s.

[00:15:23] -- Now, yes.

[00:15:24] -- John McTyrnant.

[00:15:26] We've done a lot of directors of late, Barbara Streisand,

[00:15:31] David Fincher, even Park Chen book,

[00:15:33] Certainly Buster Keaton, where our researcher, JJ Birsch,

[00:15:37] has had piles of books, autobiography.

[00:15:41] -- Yup, yup, yup.

[00:15:42] -- Chunky interviews, you know, retrospective to dig through.

[00:15:45] John McTyrnant is more the kind of guy

[00:15:47] where you load the Wikipedia page.

[00:15:49] Yeah, Die Hard, Predator, these things are well --

[00:15:52] -- Sure.

[00:15:52] -- A lot of his movies are like,

[00:15:53] John McTyrnant appeared to make this movie about,

[00:15:55] you know, a year before it came out,

[00:15:56] and that seems to be the story on this one.

[00:15:58] -- This film was made and then released,

[00:16:00] people saw it and had varying opinions on it.

[00:16:02] -- Again, like the man made,

[00:16:03] you know, Predator, Die Hard, and Red October.

[00:16:07] Those are well-discussed movies.

[00:16:08] He made two famous bombs,

[00:16:09] Last Action Hero and the 13th Warrior.

[00:16:12] -- Sure.

[00:16:12] -- There's discussions of those.

[00:16:14] He made Die Hard with a vengeance.

[00:16:15] That's a famous sequel.

[00:16:17] -- Most of his movies are so big,

[00:16:18] and the man is not press shy, right?

[00:16:21] Like, he will show up, he'll do retrospective interviews.

[00:16:23] -- He's not like -- I won't tell you what it's about.

[00:16:25] -- Throw up quotes on stuff,

[00:16:26] but he's very much a guy where it's like,

[00:16:27] there is no shortage of reporting

[00:16:30] on the development creation production,

[00:16:33] -- But it's Studio Side.

[00:16:34] -- Predator.

[00:16:35] -- It's stars.

[00:16:35] -- Even if he has quotes,

[00:16:36] it's a hard man to get, like, his biography figures.

[00:16:39] -- Do you want out of this career, John MacTyrna?

[00:16:43] -- Right.

[00:16:43] -- And he's like, I want to go to jail, of course.

[00:16:45] No, he did.

[00:16:46] He did go to jail, which we will talk about later.

[00:16:48] But today we're talking about his first film,

[00:16:50] "An Oterist Project" called "No Man."

[00:16:53] -- His only writing credit --

[00:16:55] Written and directed by John MacTyrna in 1986.

[00:16:58] I see it written here as horror film,

[00:17:01] in my opinion, that is a stretch.

[00:17:03] -- I would agree.

[00:17:04] -- It's a thriller.

[00:17:05] -- Yeah.

[00:17:06] -- It's a sort of, you know,

[00:17:08] thriller that gets your heart rate up to, like,

[00:17:10] you're walking on the treadmill.

[00:17:11] But yes, it's going for thriller.

[00:17:13] -- It's supernatural.

[00:17:14] -- Is it?

[00:17:17] -- No, no, no, no, no, it's saying it is.

[00:17:20] -- Can I talk about "My Ark of Awareness" with this movie?

[00:17:22] -- It's like, supernatural in a way of, like,

[00:17:24] what if people had a weird vibe?

[00:17:25] I'm like, what if it's like,

[00:17:26] what if I told you that spirits in them?

[00:17:28] I'm like, what did that do?

[00:17:29] Gave them a weird vibe.

[00:17:30] Anyway, I'll see you later.

[00:17:32] -- My arc of relationship to this movie.

[00:17:35] This man's second film is "Predator."

[00:17:37] Yeah, and his third film was "Dihart."

[00:17:38] -- And his fourth film was "Hun For Red October."

[00:17:40] -- Right?

[00:17:41] -- And I was just like, man, this guy blasts out of a cannon.

[00:17:44] If his first movie was notable in any way,

[00:17:46] people would talk about it.

[00:17:47] -- Yeah.

[00:17:47] -- Because it certainly didn't take--

[00:17:48] -- And it stars an actor people know.

[00:17:50] Like--

[00:17:51] -- This guy, like, basically started hitting perfection

[00:17:54] from the second movie on, right?

[00:17:57] -- Yes.

[00:17:58] -- And films that are so complicated, towering,

[00:18:00] have lasted our, like, seminal movie star text.

[00:18:04] -- Right?

[00:18:04] -- Where I'm like, this first movie,

[00:18:06] no one talks about, maybe it's a weird little hidden gem,

[00:18:09] but it has to be some kind of minor thing.

[00:18:11] And I just never really looked at or thought about it,

[00:18:13] or had any sort of cultural compulsion

[00:18:15] to watch it outside of just, like,

[00:18:17] someday I want to have seen every John McTearnan movie.

[00:18:19] I'll watch it someday.

[00:18:20] -- Yes.

[00:18:20] -- And so I just never really looked into it,

[00:18:22] and was just, like, all I know is,

[00:18:23] it's called "No Mads" and it stars "Pierce Brosnan."

[00:18:26] And maybe there was some conflation in my mind

[00:18:28] with "13th Warrior."

[00:18:29] But I was like, this is some, like, flesh and blood style.

[00:18:32] Epic.

[00:18:35] This is a swords-and-loin-closs movie, you know?

[00:18:41] I was like, this has to be some tribal period piece action film.

[00:18:44] -- Makes sense.

[00:18:45] -- Right.

[00:18:46] We commit to doing this.

[00:18:47] For the first time, I'm, like,

[00:18:48] timed to order a Blu-ray of "No Mads."

[00:18:50] I look at the poster, I'm like,

[00:18:52] "F*ck, it's "Pierce Brosnan"

[00:18:53] and like a leather jacket being hunted by ghosts?

[00:18:55] -- Exactly.

[00:18:56] -- Is this movie going to f*cking rule?

[00:18:58] -- I was like dreading it when I was like,

[00:19:00] "Oh, he made some sort of, like, somber,

[00:19:03] sort of, like, epic" -- Viking thing or something.

[00:19:06] -- And then I'm like, "Oh, this is like "No Mads" is even a cool title."

[00:19:10] And then I put this thing on, and I'm like,

[00:19:11] "This is neither thing I originally thought this movie was."

[00:19:14] -- I don't know that this movie is anything.

[00:19:16] Maybe it could have been something, but I think it's not anything.

[00:19:19] -- It is so bizarre.

[00:19:20] And the other thing was, I was astonished to see his name come up

[00:19:23] with the writing credit at the beginning,

[00:19:25] because I'm like, this is a guy I do not think of as a writer at all.

[00:19:29] You don't even really hear about him developing scripts.

[00:19:31] And it felt like the rise and fall of his career

[00:19:34] was so much based around when he had access to the best scripts

[00:19:37] in Hollywood versus when he didn't.

[00:19:39] -- Right.

[00:19:39] -- Where I'm like, well, it's not like he's a guy

[00:19:42] who can single-handedly will any script into being good.

[00:19:45] So then I'm like, "Huh, how weird that he wrote one movie?"

[00:19:48] And you watch this, and you're like, "I get why he never wrote another film."

[00:19:51] -- Perfect.

[00:19:51] F*cking lesson!

[00:19:52] -- Yeah.

[00:19:53] -- No, I don't know.

[00:19:53] Ben, what do you think of "No Mads"?

[00:19:54] -- Ben's a little sleepy thing.

[00:19:58] -- Well, yeah, I'm waiting to get roasted.

[00:20:00] -- Oh, she.

[00:20:01] -- Okay. Ben was two hours later recording because he was sleeping.

[00:20:04] -- Yeah.

[00:20:05] -- I stayed up late to watch this movie

[00:20:08] so that I could have seen it before we talked about it.

[00:20:13] -- Sure.

[00:20:13] And that was that unfortunately put us in this bind of you not being here to talk about it.

[00:20:18] You watched it, you prepared.

[00:20:19] -- You did.

[00:20:20] -- Yes.

[00:20:20] I prepared.

[00:20:21] We were seconds away from me hosting, producing this podcast.

[00:20:26] And who knows that, how that would have gone.

[00:20:28] -- I think you would have been okay.

[00:20:29] David was getting behind the control board when Ben finally picked up.

[00:20:32] -- Yes.

[00:20:32] -- Yeah, but what did I think?

[00:20:35] I think it's an interesting idea.

[00:20:37] -- It's an interesting idea.

[00:20:39] And there were moments where I was like,

[00:20:41] "Oh, fuck, is this going to start ruling now?

[00:20:43] Is this what this movie is doing?"

[00:20:45] And it never does it in the way that actually works.

[00:20:47] -- You like scallywags.

[00:20:49] -- Mm.

[00:20:50] -- Scallywags. Go on.

[00:20:52] -- You like, you know, people where, like,

[00:20:56] if I saw them, I'd be like, I'm going to cross the street.

[00:20:58] You know, I don't like the vibe of this sort of biker gang.

[00:21:02] I don't like the vibe of these like guys and leather jackets.

[00:21:05] You like that kind of a group existing?

[00:21:07] -- Absolutely.

[00:21:07] -- Kind of a post-pawn -- Sort of what the streets about.

[00:21:10] -- Yeah, well, Adam Ants.

[00:21:11] -- A silent Adam Ants.

[00:21:12] -- An un-speaking -- is he sort of post his major stardom at this point?

[00:21:20] Like, when is his peak?

[00:21:22] -- Yeah, it's 80 to 83.

[00:21:23] -- Yeah.

[00:21:23] -- So it's like a few years after he's been like the hottest shit, but he's still around.

[00:21:28] -- Yeah.

[00:21:29] -- Prince Jami, that's what he would say.

[00:21:31] Prince Jami, do you like Adam Ants?

[00:21:34] -- Yeah, sure.

[00:21:34] -- Not like a big Adam Ant guy, personally.

[00:21:37] Are you kind of?

[00:21:39] -- Adam Ant is one of those things where I'm like,

[00:21:40] it rocks that for one year pop culture was like,

[00:21:43] you we wanted a fucking Fruv adsor highwayman.

[00:21:46] Like, yes, this is what we wanted.

[00:21:48] And then like, after a year of that, he's like,

[00:21:50] "Should you more highwaymen?"

[00:21:51] And everyone's like, completely sick of you, bro.

[00:21:53] Like, no, no more.

[00:21:55] -- You want to get sick?

[00:21:57] -- But it's just like how Scott, you know,

[00:22:00] like, you know, things would just get hot with like everyone for a year.

[00:22:03] -- Sure.

[00:22:03] -- It's so funny to me.

[00:22:05] So I think it should be celebrated.

[00:22:07] -- Because his look was also just like,

[00:22:09] he got covered in glue and then spun around in a vintage store.

[00:22:13] -- Yeah, yeah, yeah, yeah, yeah, yeah.

[00:22:16] Which is kind of how the nomads in this movie --

[00:22:19] -- And then he like kind of put his hands in paint and then just kind of like,

[00:22:22] you know, slap his face.

[00:22:23] -- Yeah, yeah.

[00:22:24] -- Ben.

[00:22:27] -- David.

[00:22:27] -- Did you know that Socks, Tees, and Underwear are the three most

[00:22:31] requested clothing items in homeless shelters?

[00:22:33] -- Nope.

[00:22:34] -- Bombas, doze, and they're doing something about it.

[00:22:36] They're making ridiculously comfortable versions of all three Socks, Tees, Underwear,

[00:22:41] and they are donating one for every item sold.

[00:22:43] So with all the clothing brands out there,

[00:22:45] it's nice to find some basics.

[00:22:47] And don't just feel good, but do good too.

[00:22:50] -- This is their Bombas' One purchase,

[00:22:52] one donated commitment.

[00:22:53] They've helped customers donate over 100 million essential clothing items

[00:22:57] to people facing homelessness.

[00:22:59] It's a lot of good work done by people just buying the Bombas they wear every day.

[00:23:03] I wear Bombas every single day.

[00:23:06] I love their Socks.

[00:23:07] I love their underwear.

[00:23:08] -- You're wearing them right now?

[00:23:09] -- I am, Butterie Soft T with Noichi Tag,

[00:23:12] Arched Supporting Sock that feels like it was sculpted for your foot.

[00:23:16] They've got easy returns and exchanges.

[00:23:19] They've got 100% happiness guarantees.

[00:23:21] So if you got the wrong size or whatever,

[00:23:23] you can just get a free return or an exchange or a replacement.

[00:23:26] Maybe you're more of a stay-at-home type then.

[00:23:29] You know, it gets dark early these days.

[00:23:31] Bombas gets it.

[00:23:32] They've got winter socks.

[00:23:34] They've got slippers.

[00:23:36] Put these on, you might cancel your plan.

[00:23:39] Their cozy game is off the charts.

[00:23:44] It is.

[00:23:45] Highly, highly, highly cozy.

[00:23:47] So if you get ready to get comfy and get back,

[00:23:49] head over to bombas.com/check and use code-check for 20% off your first purchase.

[00:23:55] That's b-o-m-b-a-s.com/check and use code-check at checkout.

[00:24:01] bombas.com/check.

[00:24:02] -- I would hang with the Nomads.

[00:24:06] -- Sure, of course you would.

[00:24:07] That's what we're seeing.

[00:24:08] -- I'd rather hang with them than fucking Pierce Brosnan!

[00:24:11] -- Well, this is another thing to say in Ben's defense.

[00:24:13] You've not been sleeping well in general.

[00:24:16] -- No.

[00:24:16] -- But the other thing is last night, you and I went to go see

[00:24:19] a motion picture called Die Hard.

[00:24:21] -- Ever heard of it, David.

[00:24:22] -- I'm now realizing that you guys chase Die Hard with Nomads

[00:24:25] which really is not going to make Nomads look good.

[00:24:27] -- That is the exact point.

[00:24:28] -- Right.

[00:24:28] So I--

[00:24:29] -- And you didn't really think you were doing this, right?

[00:24:31] You were just kind of like, Die Hard's playing.

[00:24:32] -- We have this record on the books, our first McTearnet, right?

[00:24:35] And then I, two days ago, saw holy shit.

[00:24:39] Die Hard is playing at night Hawk in 35 millimeter.

[00:24:42] I've never seen it in a theater.

[00:24:43] We're a couple weeks out from actually recording

[00:24:45] that episode, but I was like, "Fucking, get ahead."

[00:24:48] Do the prep work.

[00:24:50] See, Die Hard--

[00:24:50] -- Get ahead, David.

[00:24:52] -- Get ahead.

[00:24:52] -- David, you wouldn't understand what this is like.

[00:24:55] -- Did you--

[00:24:55] -- Some people like to leave things to the last second,

[00:24:58] oversleep, show up late, and other people like to do their work in advance.

[00:25:03] -- Did you see that the Williamsburg--

[00:25:07] -- But it was on the big screen there.

[00:25:08] -- It was scratchy.

[00:25:09] -- It was a real kind of a bust little print.

[00:25:12] -- Okay, but I mean, hey.

[00:25:13] It's skipped over some lines of "Die Hard" social.

[00:25:15] Who needs them?

[00:25:16] -- It was kind of fun.

[00:25:17] -- It's not a portable movie in any way.

[00:25:18] -- Um--

[00:25:19] -- But I started watching "No Mads."

[00:25:21] -- You made a Die Hard sandwich.

[00:25:22] -- Correct.

[00:25:23] -- "No Mads" is the bread.

[00:25:24] -- Right.

[00:25:24] I was trying to finish it, and then I got caught up in some other stuff.

[00:25:26] So I watched half of "No Mads," went and saw Die Hard, went back home.

[00:25:30] -- When you say you got caught up in some other stuff, does that mean pooping, or--

[00:25:32] -- Correct, yes.

[00:25:33] I didn't want to say it, but obviously everyone could infer what that meant.

[00:25:36] -- John Campbell McTearnet Jr. was born January 8.

[00:25:39] -- Then watched all of "Die Hard" and then "No Mads."

[00:25:41] Both of those are bad ways to watch "No Mads," because if you're directly comparing "No Mads"

[00:25:45] right up next to "Die Hard."

[00:25:48] -- It's hard.

[00:25:48] -- Yeah.

[00:25:49] -- January 8, 1951 at Capricorn, Albany, New York.

[00:25:53] I already mentioned his parents are Myra and John Sr.

[00:25:57] -- Yeah, we know this whole ad.

[00:25:58] -- John Sr. apparently, an Upstate New Yorker himself--

[00:26:01] -- OK.

[00:26:02] -- went to Syracuse University, joined the Navy after Pearl Harbor,

[00:26:06] fought in the Pacific campaign, returned after a tropical disease claimed much of his eyesight,

[00:26:13] but then married Myra and they lived together for 61 years.

[00:26:18] -- Wow.

[00:26:19] -- He became a litigator for the state of New York,

[00:26:20] disguising his near blindness with a photographic memory and a prodigious ability

[00:26:25] to absorb documents read to him by his secretary.

[00:26:28] He became the Council of the Transportation Department,

[00:26:31] and because he had such a great courtroom voice, he took singing lessons and discovered the world

[00:26:35] of music, began singing with church and civic choirs,

[00:26:37] then community musical theaters, and finally spent many summers

[00:26:40] singing opera and professional theaters in Maine and Maryland.

[00:26:43] -- Wait, his dad's kind of story?

[00:26:45] -- Yeah, his dad's kind of incredible.

[00:26:46] -- How is the sing-not?

[00:26:48] -- The sing-not.

[00:26:49] -- Director, his father.

[00:26:50] -- Mondays at 10 on NBC.

[00:26:51] -- How is this not--

[00:26:52] [ Laughter ]

[00:26:53] -- How has John never made a movie about his crazy dad's life story?

[00:26:57] -- Praised.

[00:26:58] -- This like basically blind guy who not only becomes like a great courtroom,

[00:27:03] like photographic memory guy, but also sings opera?

[00:27:07] Anyway. So, McTyrnan.

[00:27:09] I guess this sort of suggests--

[00:27:12] -- I'm just reeling from the amount of information.

[00:27:14] -- I know. JJ put it in and bolded it clearly because it's like--

[00:27:17] -- You don't understand, this is sort of interesting.

[00:27:19] -- Yeah.

[00:27:20] And I guess it sort of explains, like, McTyrnan having a love of theater, maybe?

[00:27:27] I don't know, if you're trying to sort of like figure out like where he gets into things.

[00:27:33] -- He wanted to work in the theater, so he enrolled where?

[00:27:36] -- Griffin?

[00:27:37] -- Juilliard.

[00:27:38] -- Juilliard.

[00:27:39] This guy is a Juilliard educated artist.

[00:27:41] -- Yes.

[00:27:41] -- He didn't like Juilliard, though found it suffocating.

[00:27:44] I've never heard that about Juilliard.

[00:27:45] -- He was going there for theatrical directing.

[00:27:48] -- I think so.

[00:27:49] -- He wanted to be a theater director, yes.

[00:27:51] -- Yeah.

[00:27:51] -- Which is odd because, I mean, I think he's got great dramatic instincts,

[00:27:56] but I also think of him as such a visualist.

[00:27:58] He's sort of a guy where you would almost just assume

[00:28:01] the technical came first.

[00:28:03] -- Well, this is the first of what I'm assuming is going to be a lot of John McTyrnan quotes

[00:28:08] that's kind of to the point.

[00:28:09] -- Sure.

[00:28:09] -- I wanted to be a theater director, but it seemed like most

[00:28:12] theater directors were wealthy to begin with.

[00:28:13] Had trust funds and a large proportion of them were also gay.

[00:28:16] It felt somehow that I didn't fit.

[00:28:18] It was a hermetically sealed world, he says.

[00:28:20] -- He's a pretty blunt man.

[00:28:22] While being weirdly eloquent, he says what do you think?

[00:28:27] -- He does not mince words.

[00:28:28] He, while struggling at Juilliard, though, meets some people working on films,

[00:28:32] quote, "I think they call themselves independent filmmakers or some pretentious nonsense."

[00:28:36] -- Johnny.

[00:28:37] -- But this is part of this whole thing.

[00:28:39] Like, hit the brakes?

[00:28:40] Don't think of me as some sort of artist.

[00:28:42] You know?

[00:28:43] He goes to the symphony theater on 95th and Broadway.

[00:28:47] R.A.P doesn't exist anymore.

[00:28:48] So he's taking a day off at Juilliard, which is not allowed.

[00:28:52] Juilliard's very fussy about this sort of stuff.

[00:28:55] -- Yeah.

[00:28:56] -- Have you ever heard about Juilliard from anyone?

[00:28:58] It seems like a fucking nightmare.

[00:28:59] -- They don't let you eat meals.

[00:29:00] -- Yeah, like, it's insane.

[00:29:01] But you eat meals and all?

[00:29:03] -- No, for four years.

[00:29:04] He went to see.

[00:29:05] -- I'm joking.

[00:29:06] -- But they do stuff like that.

[00:29:07] -- They really are very rigid about, yes, like you can't take days off.

[00:29:10] -- If you're like an acting student at Juilliard,

[00:29:12] you get off a paying job, they're like, "Well,

[00:29:16] enjoy dropping out of college."

[00:29:18] It's one or the other.

[00:29:21] You either learn properly or you go take a job like a fucking kid.

[00:29:25] -- You're here to take it seriously or not.

[00:29:25] -- Chill out, Juilliard, and they're answering.

[00:29:28] -- And then every year.

[00:29:29] -- It's so weird.

[00:29:29] They cut people.

[00:29:30] They do it like a fucking elimination style.

[00:29:32] -- Yeah.

[00:29:32] They're like, half your friends won't make it.

[00:29:34] Like, you know, that's how it is up here at, you know, at the big J.

[00:29:37] -- He goes to see "Day for Night."

[00:29:39] -- Fr. Swatrufo's "Day for Night" at the symphony theater.

[00:29:43] He says he thinks he saw it eight times that day.

[00:29:46] He just sat and just like every time they played it, he saw it again.

[00:29:50] Of course, "Day for Night" is a movie about making movies.

[00:29:53] -- Yes.

[00:29:53] It's an excellent film.

[00:29:54] And so he was very interested in, like, I got past the story.

[00:29:59] I got past the acting.

[00:29:59] I got past like, oh, I love this bit.

[00:30:01] And I was just trying to get into the process.

[00:30:03] -- To be true technology and process.

[00:30:04] -- That's fascinating.

[00:30:05] -- I learned to sit in the back row of a theater.

[00:30:07] You never watch it close if you want to see what's there

[00:30:09] or you want to try and reproduce what's there.

[00:30:12] I think I learned "Day for Night" for shot from memory,

[00:30:15] so I could write it down.

[00:30:16] -- Sounds like he's got a fucking Materian and senior memory over there.

[00:30:20] -- Yeah.

[00:30:20] -- Other movies he loves.

[00:30:22] McCabey, Mrs. Miller.

[00:30:24] He loves the big wooden village.

[00:30:28] He likes how they built that.

[00:30:30] He likes the sound of it.

[00:30:31] He thinks that movie is a huge inspiration on "Die Hard with a Vengeance,"

[00:30:36] which we're talking about.

[00:30:37] -- I just think that's not the one.

[00:30:38] I think the sound he says he tried to do some of the techniques

[00:30:43] Altman did with sound there, where you like,

[00:30:45] it doesn't sound like microphones or in people's faces.

[00:30:48] -- But also ensemble cast, especially in his early run of films.

[00:30:51] This is a guy who's so good at juggling 20 primary characters,

[00:30:56] which is a very altman-y thing.

[00:30:59] But Altman is doing that in a way that is not tied to repulsive plot,

[00:31:02] and McCtirenen does, which makes it even more impressive in a certain way.

[00:31:06] -- He quits Juilliard.

[00:31:08] He transfers to SUNY Old Westbury.

[00:31:10] They have a film program.

[00:31:11] He starts-- He says he basically made my own film program,

[00:31:15] because it was so new there.

[00:31:17] I made a long movie called Poor Richard's Almanac

[00:31:20] that was everything that went through the mind of a guy named

[00:31:23] Richard sitting in an apartment in New York City stoned on his ass.

[00:31:26] -- Sounds kind of good.

[00:31:28] Sounds pretty good, yeah.

[00:31:29] He made a student feature like his sort of thesis film called "Tales of the 22nd Century."

[00:31:35] That got him into the AFI where he got an MFA.

[00:31:39] So he's like a true-- It's funny.

[00:31:40] He's like a true first generation of film school kids.

[00:31:47] You know, like these 70s film school kids who are learning the craft

[00:31:51] at these August institutions that are popping up, and then he's like, "Very good.

[00:31:56] What if these guys in The Van Hasselt, we're supposed."

[00:31:59] -- He went through every stage of it.

[00:32:02] It's like, "Well, I learned dramatic storytelling and dramatic craft and actors,

[00:32:07] and then I get into filmmaking, and then I go through film program,

[00:32:11] and then I work in commercials.

[00:32:13] He'd just slowly built up every muscle.

[00:32:17] Start making commercials."

[00:32:18] -- Yes.

[00:32:18] -- Another obvious classic way to do this.

[00:32:20] One thing JJ wants to clear up, Wikipedia, among others,

[00:32:25] cites that this script was based on a book by Chelsea Quinn Yarbrough,

[00:32:29] who is a somewhat well-known sci-fi and sort of fantasy.

[00:32:36] She wrote a vampire novels and stuff.

[00:32:39] She's still alive.

[00:32:39] Okay.

[00:32:40] -- Not true.

[00:32:42] -- It was a novelization that was published before.

[00:32:44] -- Correct.

[00:32:45] -- Even though Nomads was not released until '86, Yarbrough's novelization of

[00:32:49] the script was released in '84, for some reason.

[00:32:52] -- It is wild how big of an industry there was around novelizations for movies of like

[00:32:57] any size.

[00:32:58] And there were a lot of cases of--

[00:33:00] -- I think it was kind of like, the works have done.

[00:33:02] -- Yes.

[00:33:03] -- The stories basically were in any way.

[00:33:04] -- Might as well also sell it as a book,

[00:33:05] and they would just hand people's scripts and have them write the book

[00:33:09] while the film was being made, before it was even filmed,

[00:33:12] and then you get a lot of cases like this.

[00:33:14] And there were times where they intentionally would publish the book first

[00:33:19] and then pretend that the movie was based on the book.

[00:33:22] -- Right.

[00:33:23] -- Like, love story in summer '42 is that as well?

[00:33:26] -- Right.

[00:33:26] -- Is that right?

[00:33:27] -- Right.

[00:33:27] -- But then other times you just have this thing where it's like,

[00:33:30] well, the movie just kind of sits around for a while and it doesn't come out,

[00:33:33] and the book made it to shelves so then people think the movie is based on the book,

[00:33:36] even though the book was never a bestseller.

[00:33:38] -- It's weird.

[00:33:40] I mean, is it helped the marketing?

[00:33:42] -- It did for a while.

[00:33:43] -- Feel like the narrative of this not just being an original screenplay.

[00:33:49] -- Right.

[00:33:50] -- Well, it went from being a like, if a kid like "Star Wars"

[00:33:53] -- I don't know how much helped it at all, right?

[00:33:54] -- It went from being if a kid like "Star Wars"

[00:33:56] publishing companies can make a quick buck by putting a "Star Wars" book on the shelves

[00:34:00] and kids will want to re-read "Star Wars," especially in an era where you don't have home video,

[00:34:06] right?

[00:34:07] It's like, this is your way to live with the movie over and over and over again.

[00:34:11] But then it starts to become this thing where they're like,

[00:34:13] it becomes promotion for the movie.

[00:34:16] -- Sure.

[00:34:17] -- That's weird anyway.

[00:34:17] -- Yeah.

[00:34:18] -- This film is based on nothing other than John McTearen and Sitting Idly.

[00:34:22] -- Yeah, well he was--

[00:34:24] -- What is No Man's?

[00:34:25] -- Always very interested in anthropology, of course.

[00:34:29] Pierce Brosnan's character is an anthropologist in this film.

[00:34:33] He projected the notion of Eskimo monsters, Eskimo is a culturally insensitive word at this point.

[00:34:39] This is an interview from the '80s.

[00:34:41] And he discovered while he's researching this idea that nomadic cultures all have the same

[00:34:47] bloody myth that some of the people out there really aren't people.

[00:34:51] We walk around and a certain percentage of the people we see and deal with aren't really there.

[00:34:56] I don't know what he's talking about.

[00:34:57] -- Horror movies he likes.

[00:35:00] They scared him.

[00:35:01] He loved alien.

[00:35:02] -- Mm-hmm.

[00:35:03] -- So he decides I'm going to do a horror movie.

[00:35:05] He gets a $1 million dollar budget to make this movie from independent producer Elliot Kasner.

[00:35:11] Who is quite a fascinating figure if we can dig into him for a bit.

[00:35:15] -- Uh, he's the executive producer of Windingles Dare.

[00:35:18] He's the work he produced the long goodbye of the Altman film.

[00:35:22] -- He had the Marlo Wright for a while, because he also did the 270s Marlo movies with Mitchum.

[00:35:27] -- Kaster's collected a archive of the production Nomads.

[00:35:30] It's currently on sale for $1,196 on Abe Books, if anyone wants it.

[00:35:36] Kasner, though, yeah.

[00:35:39] I mean, do you want to get into him like more than that?

[00:35:41] Like he's just kind of like a famous like Hollywood roused about, right?

[00:35:45] Like he would fund weird movies like The Missouri Breaks.

[00:35:49] That's another one like that like probably like Major Studios didn't want to deal with.

[00:35:53] -- I mean, can I read two incredibly good quotes about him?

[00:35:55] Because I just think that he's someone with an interesting Wikipedia page.

[00:35:58] -- Yes. Mario Poozo, 1977, said a group of producers

[00:36:04] regarded Kasner as quote, "The greatest genius in the movie business.

[00:36:07] He has put together very big films, nearly all of which are flops,

[00:36:11] and yet he can get the money and stars to produce any movie he decides to.

[00:36:14] He does it with a phone irresistible charm and shameless hotspa."

[00:36:18] So that's an interesting quote where you're like,

[00:36:19] "This guy who's a failure but embodies something of this kind of a classic movie producer

[00:36:24] where he just wills his way into stuff."

[00:36:26] Alan Parker, who makes Angel Heart with Kasner, says, describes him as,

[00:36:30] "An erasible gadfly in the film industry, having been involved with more films than

[00:36:34] Technicolor and outlived 50 studio heads in as many lawsuits.

[00:36:38] Many was the time I've seen him quote, "Work the tables in the Pinewood Studios restaurant

[00:36:42] on the way to the men's room."

[00:36:44] He usually stayed just long enough to blow his nose in your napkin,

[00:36:47] to spend some wickedly cynical aphorism about the movies and move on.

[00:36:51] There was an oft told story that Marlon Brando finally said,

[00:36:54] "Yes to doing misery breaks because he could not face the prospect of Elliot Kasner

[00:36:58] on his knees, crying in front of him one more time."

[00:37:01] Jesus Christ.

[00:37:02] I'm just fascinated by you hear the way people start to talk about him and you're like,

[00:37:06] "Is this some Joel Silver a man McTinner will work with later who just yelled and screamed

[00:37:11] and threw his phone at him-

[00:37:12] You can't fucking do this to me!

[00:37:14] Right.

[00:37:14] Fine, Jesus Joel.

[00:37:16] Or is this some like passionate, "I'm gonna push this uphill.

[00:37:19] I'm a man's kind of James Sheymacy friend-to-filmmakers guy."

[00:37:22] And you're like, "Kasner's in the middle where it's like part of his bit

[00:37:25] is like schmoozing people, part of his bits being pathetic.

[00:37:29] Most of his movies are bad.

[00:37:31] The ones that are good almost feel like they happen by accident."

[00:37:33] It's like, "Why did he get made long goodbye?

[00:37:35] Like that's crazy.

[00:37:36] That movie's actually good."

[00:37:37] Right.

[00:37:38] Or whatever.

[00:37:38] Yes.

[00:37:39] That everyone seemed to be like, "I kind of can't deny this guy."

[00:37:42] Yes.

[00:37:42] But he gives him McTjernan $1,000,000 for this script

[00:37:47] throughout fucking No Man's.

[00:37:49] I don't know.

[00:37:49] Okay.

[00:37:49] I guess they're worse gambles to make.

[00:37:51] Sure.

[00:37:51] I think this movie looks like it made $2 million.

[00:37:55] So it was a robust hit, obviously.

[00:37:57] It made 100% of it's, 200% of it's gross.

[00:37:59] That was the other thing.

[00:37:59] Kasner put his own money in.

[00:38:01] If he's like found material he liked or filmmaker he liked,

[00:38:03] he'd be like, "I'm just going to give you money to write this script."

[00:38:06] Pierce Brosnan has been in

[00:38:08] is basically zero movies.

[00:38:09] He has a nameless role as a gangster in the Long Good Friday,

[00:38:13] he has Harry Chesty looks very sexy.

[00:38:15] And of course he had been on the television show,

[00:38:18] Remington Steel, which is currently airing,

[00:38:20] 'cause it was made in between seasons three and four

[00:38:23] of Remington Steel.

[00:38:24] - So this is in the period where Bond

[00:38:26] has been snatched away from him?

[00:38:29] - Yes, I would assume, well, the Living Daylight is 1987.

[00:38:34] - Okay, so maybe it's about to get snatched away from him,

[00:38:38] maybe they fucking saw Nomads, I mean, I don't know.

[00:38:41] - He's on this bubble, but we've told this story,

[00:38:43] we told it on Patreon, but just to restate it here,

[00:38:45] Remington Steel was this perfect audition piece

[00:38:48] for James Bond, where he's playing a fake version

[00:38:51] of a James Bond type guy.

[00:38:53] To the point where they're like,

[00:38:55] fuck, this is who should play James Bond.

[00:38:57] Remington Steel gets canceled.

[00:38:59] - You've told this story.

[00:39:00] - But I probably told it on Patreon,

[00:39:03] is it getting canceled and they start to cast him as Bond?

[00:39:07] Griffin was to slow it down.

[00:39:09] - Let's slow it down, let's slow it down.

[00:39:11] - The excitement from the rumor mill of Brosnan

[00:39:14] being tipped for Bond makes NBC go, wait a second,

[00:39:18] maybe let's capitalize on this,

[00:39:20] get him back on Remington Steel

[00:39:21] so they uncancelled Remington Steel, he's locked into that,

[00:39:24] he misses Bond, Dalton gets at that time,

[00:39:27] he'll have to wait for later.

[00:39:28] - But of course, if he'd write,

[00:39:29] he does at least end up getting too long.

[00:39:31] - Forever this happens in relation to that whole scenario.

[00:39:35] He is in this zone where people are like,

[00:39:37] this guy might be a leading man in movies,

[00:39:39] - He's had two. - that jumps inevitable.

[00:39:41] - Maybe. - Well, no, back then.

[00:39:43] - And the jump was never enough.

[00:39:44] - The jump, I should say, I should put it this way,

[00:39:46] it is inevitable that they will test him out.

[00:39:49] - Yeah, right.

[00:39:50] - Because he's, yeah.

[00:39:51] He's a recurring manager player.

[00:39:52] - The guy had the potential, the right look, the right,

[00:39:54] what have you.

[00:39:55] This film was unsurprisingly designed for Gerard Depardout

[00:40:01] because for 15 years, there was only one French actor

[00:40:05] that America would acknowledge.

[00:40:07] - It's beyond that.

[00:40:08] It's not just, this is sort of at the beginning

[00:40:10] of his run there.

[00:40:12] - Yeah, 'cause basically 95, they let genre know in it as well.

[00:40:16] Right?

[00:40:17] They're like, he also.

[00:40:18] - There are French actresses who can make it

[00:40:20] and so obviously, the 80s, Gerard, let's not wait,

[00:40:24] first process. - Okay, sorry.

[00:40:25] - Well, actually, well.

[00:40:26] - 'Cause I'm saying this, it's Depardout first.

[00:40:28] - No, I know you're right.

[00:40:29] Yeah, okay.

[00:40:30] We can briefly just mention Depardout

[00:40:31] 'cause obviously, Depardout, I feel like his big breakout

[00:40:34] is like the last Metro, right?

[00:40:36] Like sort of like, there's lots of movies in the 70s.

[00:40:38] - Going places, you know, the last woman

[00:40:42] and you know, within the 80s.

[00:40:43] - When you picture his face, they perdue.

[00:40:46] Do you picture him as like with like a serious look

[00:40:49] or sort of goofy look on his face?

[00:40:52] - I picture him looking like he's just been showing

[00:40:54] a big wheel of cheese.

[00:40:56] - Yeah, me too.

[00:40:57] - Yeah.

[00:40:58] (laughing)

[00:40:59] - I think I was seeing it.

[00:41:01] - I think I made the comment that Depardout now is a man

[00:41:05] who only appears in 3D even when he's acting in a 2D film.

[00:41:09] - He does look like he's been 3D printed, yes.

[00:41:11] - I'm just like, his face is just like so aggressive.

[00:41:15] He's also a nightmare person.

[00:41:17] - He is a nightmare person.

[00:41:18] But in a million ways, he's hot stuff.

[00:41:21] - Yes.

[00:41:21] - And he starts doing stuff like Dantan

[00:41:24] and like Jean de Florent where it's like,

[00:41:27] he's even getting American critics awards

[00:41:29] and stuff like that.

[00:41:30] So yes.

[00:41:31] - But versus later on, he becomes thought of

[00:41:33] as like this Burleigh French character actor.

[00:41:35] - His peak is 1990 where he does green card

[00:41:38] and Serinunu de Virgirac in the same year.

[00:41:40] - And everyone's like he's crossing over.

[00:41:42] - Right.

[00:41:43] And then he comes to America does,

[00:41:44] my father the hero, 1492 conquest of paradise.

[00:41:48] And it's like out.

[00:41:50] - But he had been like France's biggest leading man

[00:41:54] for like 15 years at that point.

[00:41:57] - Yeah, I was going to say his, yeah.

[00:41:58] He'd already broken out before last match actually

[00:42:00] because there's a ton of like, you know?

[00:42:02] - Going places is 74.

[00:42:04] - Yeah.

[00:42:05] - That was like his big breakthrough.

[00:42:05] - Yeah. And then like 1900.

[00:42:07] - Yes.

[00:42:08] - He and DeNiro get dual hand jobs in that movie.

[00:42:10] - Yeah.

[00:42:11] - They do.

[00:42:13] - But yeah.

[00:42:14] - Like side by side.

[00:42:15] - He wins the fucking Golden Globe for green card

[00:42:17] and people are like, I guess they did it.

[00:42:19] The guy who-- - We will talk about

[00:42:20] the one day on green card.

[00:42:21] - Yes.

[00:42:22] - We will do that.

[00:42:23] - But then then he just proceeds to like have a couple

[00:42:25] humongous fuckups in a row.

[00:42:27] And then becomes this guy you cast for shorthand French.

[00:42:31] - Yeah.

[00:42:32] - Like it's the thing in he's so distracting in life a pie

[00:42:36] and his very small part is the angry cook.

[00:42:38] - Yes.

[00:42:39] - Okay.

[00:42:39] - Does he keep eating all the food?

[00:42:41] - Right.

[00:42:42] - I'm choking.

[00:42:42] That's so mean of me.

[00:42:43] - I think he kind of does though.

[00:42:44] Well part of the bit of the movie is that you like

[00:42:46] are made to wonder if he was eating--

[00:42:48] - He was the beating of me.

[00:42:49] - Right.

[00:42:50] But Ang Lee was like, look, I just,

[00:42:54] that character doesn't have a lot of screen time.

[00:42:55] I needed someone who very quickly the audience gets,

[00:42:58] he's friend.

[00:42:59] (laughing)

[00:43:00] And like that sort of becomes the way he's cast after that.

[00:43:02] - Right.

[00:43:03] But-- - In American films

[00:43:04] and Hollywood films.

[00:43:05] - Right.

[00:43:06] - But this is a moment where, yes, it's before his 1990 peak

[00:43:09] but it's in that period where people are saying,

[00:43:11] when a star is so big in a foreign country

[00:43:14] that Hollywood keeps on going like, are we fucking up?

[00:43:17] Is there an untapped resource here?

[00:43:19] It's what sort of happens to Banderas a little later.

[00:43:22] You know, Jackie Chan had a long time in Hong Kong

[00:43:25] where it's like this other country is so fucking crazy

[00:43:27] for this guy that we need to figure it out.

[00:43:30] - The thing is if you're gonna maybe cast your art

[00:43:34] to4juan you write the role French

[00:43:37] and then you cast Pierce Brosnan.

[00:43:38] - Maybe it's--

[00:43:39] - Maybe change it back.

[00:43:41] - Here's the thing.

[00:43:41] - I think-- - Can Irish?

[00:43:42] He's Irish.

[00:43:43] That's an accent.

[00:43:44] - I think he can do it.

[00:43:45] - Departute would have been vaguely disastrous in this film.

[00:43:49] - No one's good in this movie.

[00:43:50] - No. - So it doesn't really matter.

[00:43:52] He might be fun.

[00:43:53] - I can't see him fitting into this film.

[00:43:55] Pierce is struggling so much with the French accent.

[00:43:58] He does feel like better casting

[00:44:00] in every way but the guy being a Frenchman

[00:44:03] which you could just fucking drop.

[00:44:06] - You could just drop it, it's irrelevant to the story.

[00:44:08] - It's pretty irrelevant.

[00:44:09] - Completely irrelevant.

[00:44:10] - Especially just being a film set in the States.

[00:44:13] You could just go, he's from Ireland.

[00:44:15] Or go, what other accents are you going to get at?

[00:44:17] - Anything you got?

[00:44:19] - Don't pose-- - You don't have French.

[00:44:21] - Yes. - You don't have that one.

[00:44:22] But here's the thing.

[00:44:24] McTyrnon really likes Pierce Brosnan.

[00:44:26] Says it was great working with him.

[00:44:27] They stay in touch.

[00:44:28] Obviously they work together again many years later.

[00:44:30] - He's off.

[00:44:32] - He thought he was well used in Remington Steel

[00:44:36] but you know he's playing a bright and chipper character

[00:44:39] so he said like I had him put some weight on.

[00:44:42] You know he would drink four or five beers

[00:44:44] the day to thicken up.

[00:44:45] - Okay, because he's a little less debonair

[00:44:49] obviously a little less trim I guess.

[00:44:51] - Don't know where this is coming in the bond cycle

[00:44:54] but Pierce was like consciously.

[00:44:57] - It's all happening around.

[00:44:58] - It's all happening around the same face.

[00:45:00] I think he was like if I do Remington Steel and Bond

[00:45:03] and other parts like this I will never break out of this ever.

[00:45:06] I'm gonna get pigeonholed into one type of swab.

[00:45:09] - And here's Pierce's quote.

[00:45:11] This is exactly it.

[00:45:12] I was so anxious to get away from that image.

[00:45:15] I think I went a little too far.

[00:45:17] - I agree with that.

[00:45:17] - I grew this big beard.

[00:45:18] I wore my hair long.

[00:45:20] That movie came and went.

[00:45:21] I don't think it was a good move for me.

[00:45:23] Like basically.

[00:45:23] - See here's my argument.

[00:45:25] No one saw this movie.

[00:45:26] It didn't make an impact.

[00:45:27] - Yeah, he, right.

[00:45:28] This isn't really hurt his career.

[00:45:29] - I do think it actually maybe helped him.

[00:45:32] To make a movie no one saw playing something very different

[00:45:35] with a different look.

[00:45:36] If not in terms of public perception

[00:45:38] just in terms of himself.

[00:45:40] - Yeah.

[00:45:40] - Like this movie is just basically an ash can

[00:45:43] for him to just be like let me get this out

[00:45:45] of my system.

[00:45:46] So that when I go back to wearing the tuxedo

[00:45:50] and holding the gun.

[00:45:51] I don't do so with the panic of

[00:45:53] am I going to be stuck here forever?

[00:45:55] - But then like he does the deceivers

[00:45:57] where he like wears fucking disguises or something.

[00:46:01] He does a movie called Mr. Johnson.

[00:46:03] - Uh-huh.

[00:46:04] - Which looks a little good.

[00:46:06] Law and Moore man, obviously.

[00:46:08] - Sure.

[00:46:09] - Then Mrs. Doubtfire which is like a big movie

[00:46:12] and he does get fruited.

[00:46:13] - He would drive by for him.

[00:46:14] - He made a movie called Live Wire

[00:46:16] about spontaneous human combustions

[00:46:18] where he plays a bomb disposal expert.

[00:46:20] - That sounds very good.

[00:46:22] Yes it does.

[00:46:23] So the reason it must be terrible.

[00:46:25] - Yeah, he has to suck.

[00:46:27] - He makes a movie called Entangled with Judd Nelson.

[00:46:30] You don't want to be making movies

[00:46:32] with Judd Nelson in the 90s.

[00:46:34] That's not like, you don't want to be like waking up today

[00:46:37] and being like can't wait to report to set with Judd Nelson.

[00:46:40] So let's land down of course

[00:46:43] as the female lead of this film.

[00:46:44] Kind of the real lead of this film.

[00:46:46] - Yeah, well I mean this film has a--

[00:46:48] - And the structure of this movie.

[00:46:50] - Incredibly bizarre approach to having a lead character.

[00:46:53] - Yeah, so--

[00:46:55] - And you keep thinking I get it.

[00:46:56] This is how it's going to work.

[00:46:58] Is it going to be like a having can wait situation?

[00:47:01] Is it going to be like an all of me situation?

[00:47:03] And you're like no, it will like spend enough time

[00:47:05] with one character that you forget the other character exists

[00:47:08] even though they're sort of occupying the same reality

[00:47:12] but in two different timelines?

[00:47:13] - Right.

[00:47:14] Well, Leslie And down was friend of the Elliott Castner.

[00:47:17] - Okay.

[00:47:18] - And he got lunch with her and he said,

[00:47:20] I've got this new director I'm producing a movie for in LA

[00:47:23] and I would like you to play the girl, the doctor.

[00:47:26] He describes the movie and she says,

[00:47:28] "That doesn't sound like me, I'm English.

[00:47:30] "You're describing an American doctor.

[00:47:33] "I don't think that's going to work for me."

[00:47:36] And he says, "Well I'd like you to be in it

[00:47:37] "would help the selling of it."

[00:47:39] And she was like, okay then,

[00:47:41] they offer her some money.

[00:47:42] She gets off the plane, she says

[00:47:44] and she meets McTurnan, says he's very gruff,

[00:47:47] wasn't nice to her.

[00:47:49] - Because he didn't want her.

[00:47:50] - Right, you are not what I wanted.

[00:47:52] I want it. - I being forced on me,

[00:47:53] he had some American blonde girl.

[00:47:54] - I see Hitchcockie blonde.

[00:47:56] - Right, she says, "probably perfect for the part

[00:47:58] "and I was not and so they had a terrible time.

[00:48:02] "She's not good in this movie.

[00:48:04] "She's not like terrible.

[00:48:05] "She's whatever."

[00:48:07] - Yeah.

[00:48:08] I mean, is anyone good in this movie?

[00:48:11] - Oh, I would say the fan is doing good work.

[00:48:15] - David? - Yep.

[00:48:18] - The economy.

[00:48:19] - No!

[00:48:20] - I know, that's never--

[00:48:22] - It's actually more robust than the press would have you think.

[00:48:24] - But you know what?

[00:48:25] - What?

[00:48:26] - It's hard talking about the economy and this economy.

[00:48:28] It ain't cheap talking about the economy.

[00:48:30] - Hard doing an ad read in this economy?

[00:48:32] - In this economy?

[00:48:33] - Look, I used to spend over $100 a month

[00:48:37] on streaming services.

[00:48:38] - Yeah, same for old. - Yeah, Big saying.

[00:48:40] - Disney Plus.

[00:48:41] - All of them. - All of them.

[00:48:42] - You name it.

[00:48:43] But since I started using ExpressVPN,

[00:48:45] I've been able to cut back and save so much every month.

[00:48:48] You know why?

[00:48:49] - Why?

[00:48:50] - Well, all these streaming services like Netflix

[00:48:52] have thousands more shows than you think

[00:48:54] because if you switch to another country,

[00:48:56] they got a completely different library.

[00:48:58] - Basically hidden behind the door of the whole other rooms

[00:49:00] you never knew about.

[00:49:00] - Check out that Italian Netflix, okay?

[00:49:03] It's got nice Chabatta.

[00:49:04] - Yep.

[00:49:05] - Right?

[00:49:06] - RON!

[00:49:07] We did the legal movie draft for the big picture.

[00:49:10] - We sure did.

[00:49:10] - I was having a hard time finding all the grishums

[00:49:12] and I went, "Let me check ExpressVPN."

[00:49:14] They're all on Disney Plus in the UK.

[00:49:17] - There you go.

[00:49:18] - It was one stop shopping, ran through 'em.

[00:49:20] - 'Cause you just have to use the ExpressVPN app

[00:49:22] to change your online location.

[00:49:23] - That's like I got 90 countries to choose from.

[00:49:26] - Yeah.

[00:49:26] - Every time you run out of stuff to watch,

[00:49:28] switch to another country, unlock some new shows.

[00:49:30] - It's incredibly simple.

[00:49:32] I will save my mother and my brother,

[00:49:35] both live in Europe now.

[00:49:37] - Mm-hmm.

[00:49:37] - I want to sign up for all these new

[00:49:39] Fangled European streaming services

[00:49:40] while they have these old American subscriptions.

[00:49:43] - Okay.

[00:49:44] - ExpressVPN.

[00:49:45] - ExpressVPN.

[00:49:46] - Gave them the promo code.

[00:49:46] They do it, it changed their lives.

[00:49:48] - On top of that, you can even use it to get discounts.

[00:49:50] - Mm-hmm.

[00:49:51] - Some services cost less than other countries.

[00:49:52] Maybe you buy Netflix from Argentina,

[00:49:55] cost a fraction of the price.

[00:49:56] - We love our Argentinian Netflix, we love it.

[00:49:59] - The beef.

[00:50:00] - Oh.

[00:50:01] - It's so cheap there.

[00:50:01] - The olives.

[00:50:02] - And I don't mean Netflix as beef, but maybe I do.

[00:50:04] - Yeah, possible.

[00:50:05] (laughing)

[00:50:06] - At less than $7 a month,

[00:50:07] ExpressVPN pays for itself and so much more.

[00:50:09] It's a no brainer.

[00:50:10] So if you want to get way more shows and save money

[00:50:13] while you're at it, go to expressvpn.com/check.

[00:50:17] Don't forget to use MyLink

[00:50:19] so you can get three extra months for free.

[00:50:21] That's e-x-p-r-e-s-s-vpn.com/check.

[00:50:26] Expressvpn.com/check to learn more.

[00:50:29] - It's MyLink too.

[00:50:30] It's a shared link and it would join custody.

[00:50:33] - Okay, okay buddy.

[00:50:35] - This movie has interesting people in it.

[00:50:40] - It does.

[00:50:41] - And you keep waiting for someone to sort of start popping.

[00:50:45] - Yeah but does anyone pop.

[00:50:46] - No.

[00:50:48] - I think Mary Warrenov, who plays dancing Mary.

[00:50:51] - It's like a legendary.

[00:50:52] - Kind of like a corpsman warhole girl.

[00:50:54] - Hallborough tells partner.

[00:50:56] - Yeah.

[00:50:57] - She's kind of, she holds the camera.

[00:50:59] - She does.

[00:51:00] No, they're people, I mean, they're compelling

[00:51:01] but you're just like waiting for someone

[00:51:03] to sort of have some, I mean,

[00:51:05] it is astounding that he went from this to Predator.

[00:51:08] And my biggest question I just wanna put on the table

[00:51:10] right now is Schwarzenegger takes the credit for,

[00:51:14] he saw this, said this guy established

[00:51:16] he liked the mood of this movie.

[00:51:17] - A good atmosphere and a very low budget.

[00:51:20] Predator was his project, he convinced Fox

[00:51:23] to hire John McTirennad.

[00:51:26] Is Arnold Schwarzenegger a genius

[00:51:28] for being able to pick that out

[00:51:30] or did he get really lucky that McTirenn

[00:51:33] was so much better in terms of potential

[00:51:36] than he even could have realized?

[00:51:37] - I think he's a bit of a genius.

[00:51:39] That's my take.

[00:51:40] - This is the whole argument

[00:51:41] which Schwarzenegger versus his modern-day counterparts

[00:51:44] is like he picked the right fucking collaborators.

[00:51:47] - Yes.

[00:51:47] - He had a great eye for talent and he trusted people.

[00:51:49] - It's possible that he saw this movie

[00:51:51] and was like, well, here's the director I could push around.

[00:51:53] Like, I guess, but I don't think so.

[00:51:56] I think he saw this movie in this movie's only accomplishment

[00:51:59] is that it sets a mood.

[00:52:00] - Yeah.

[00:52:01] - So much so that you're like,

[00:52:02] can't wait for the horror to begin.

[00:52:03] - Right.

[00:52:04] - And then the credits are rolling and you're like,

[00:52:05] he just got hassled by some guys in a van.

[00:52:07] - But you're invisible David.

[00:52:11] - If you're Schwarzenegger, right?

[00:52:13] And like, Silver's got the fucking Predator script.

[00:52:17] - Yeah.

[00:52:18] - Shane Black's doing punch up.

[00:52:19] You're reading it and you're like,

[00:52:20] this is a fucking billion dollar premise.

[00:52:24] If I'm handing him this script

[00:52:26] and this guy's good at mood,

[00:52:28] then he'll probably be able to pull this off.

[00:52:31] - Yeah.

[00:52:32] Yeah, I don't know.

[00:52:35] Arnie's probably a genius.

[00:52:36] We can talk about it more next week.

[00:52:37] I guess if like what that went like.

[00:52:39] - I just, I kept watching this going like,

[00:52:42] what I have been able to recognize

[00:52:44] what he recognized in watching this.

[00:52:46] - Yeah, right.

[00:52:47] But you know.

[00:52:48] - This is not like a wildly unsuccessful film.

[00:52:51] It's not one of the worst movies we've ever covered,

[00:52:53] but it's one of the films that like,

[00:52:55] it makes very little impression.

[00:52:58] I do agree if you're looking at it very seriously,

[00:53:00] you can see like, okay this man does know

[00:53:02] how to construct scenes.

[00:53:04] The film is not dramatically engaging,

[00:53:06] but it looks good for what it is, you know?

[00:53:09] It's got some panache moments.

[00:53:11] But it's definitely not unlike some first films

[00:53:14] we've covered where you're like,

[00:53:15] this thing's rough, but you can feel the energy

[00:53:18] of someone figuring shit out.

[00:53:20] This is not a first film where I would bet on like,

[00:53:22] this guy's absolutely gonna get it together.

[00:53:25] - No.

[00:53:26] - And like you said, I was firing this up just being like,

[00:53:29] maybe this will be a bit of an undiscovered.

[00:53:32] - Secret gem!

[00:53:33] - Even if not a gem,

[00:53:34] just kind of like a fun, pulpy 80s supernatural thing,

[00:53:39] and it's just irritating how much it is not

[00:53:42] supernatural or scary.

[00:53:43] - Right, this was honestly, and that's like,

[00:53:45] big complaint about the movie is like,

[00:53:46] it's a real neither fish nor fowl.

[00:53:48] I mean, she's done a lot of interviews about it since

[00:53:51] where she's like, he was like stuck in this terrible zone

[00:53:53] between like one of them to be.

[00:53:55] - The screen factory did a big release of this.

[00:53:57] - Right, right, yeah.

[00:53:59] - She's the one person who still talks about the film,

[00:54:02] but like, he wanted the sort of more self-serious,

[00:54:06] stripped down, somber version of the thing,

[00:54:10] but it doesn't really work as an actual drama.

[00:54:13] And he stays away from like the pulpiness

[00:54:15] of going full genre with it.

[00:54:18] So you're just stuck in this middle zone

[00:54:20] where it's like just kind of mood.

[00:54:22] The basic premise of this movie

[00:54:24] is that Pierce Brosnan,

[00:54:26] - Oh, please go ahead, try to summarize this quickly.

[00:54:29] - Is a French sociologist.

[00:54:31] - Anthropologist.

[00:54:32] - Anthropologist, sorry, who studies nomadic culture.

[00:54:36] - Correct.

[00:54:37] - Has sort of displaced his loving devoted patient life

[00:54:42] for decades as he just kicks her up

[00:54:44] and goes, "We now need to go to a different sort of

[00:54:48] off the beaten path."

[00:54:49] - We gotta go to fucking write the middle of nowhere

[00:54:51] to study this nomadic culture.

[00:54:53] - Right.

[00:54:54] - It's not gonna be, you know, giant neutropolis, whatever.

[00:54:57] His wife played by Anna Maria Monticelli.

[00:55:00] - That was fine in this.

[00:55:02] He finally settles down in Los Angeles.

[00:55:06] He's gonna start teaching at UCLA.

[00:55:08] Is that the idea?

[00:55:08] Like he's sort of finally trying to set up--

[00:55:11] - He's gotten a job at UCLA.

[00:55:13] - Yeah.

[00:55:14] - They get a suburban home.

[00:55:15] - And he's like, "I'm ready to play the normal person game."

[00:55:17] - And then a van appears.

[00:55:19] Duh dah dah dah!

[00:55:20] (growling)

[00:55:22] - We do have to agree with that.

[00:55:23] - Filled with nomads.

[00:55:25] - Best performance in the movies.

[00:55:27] - Yeah, the van you think.

[00:55:28] - The van.

[00:55:29] - I mean people keep being like, "Holy shit, it's the van!"

[00:55:31] And I almost believe them.

[00:55:33] They're like, "Fuck, it's the van again!"

[00:55:36] - But the way we're introduced to this

[00:55:37] is that Leslie Ann Down--

[00:55:39] - This is the thing.

[00:55:41] That would be a movie.

[00:55:42] - Is the doctor is getting ready to retire?

[00:55:44] - Leslie Ann, I think she's maybe gonna transfer.

[00:55:46] Ileen Flax is her name.

[00:55:49] - She's working in ER shift, a guy comes in and dies.

[00:55:53] He's like screaming and he's bloody.

[00:55:55] It's pierce bros.

[00:55:55] - In front, no one can make sense of what this guy is saying.

[00:55:58] He's losing his fucking mind.

[00:55:59] - He basically like whispers in her ear before he dies

[00:56:02] and she gets like possessed with his memories.

[00:56:03] - She walks away, she was like, "That was fucking weird!"

[00:56:05] And everyone's like, "That guy just died."

[00:56:07] This is the other thing watching this movie

[00:56:10] on the same night as diehard.

[00:56:12] Diehard is one of the most impressive movies

[00:56:14] and its ability to communicate information cleanly

[00:56:18] and in an entertaining fashion that is memorable.

[00:56:21] And this movie I could barely keep track

[00:56:23] of anything that was going on.

[00:56:25] And even putting aside the weird lore

[00:56:27] of the nomadic supernatural thing it's getting at,

[00:56:29] I just couldn't figure out like,

[00:56:31] is Leslie Ann Down retiring or is she transferring

[00:56:34] to a different hospital or is she changing careers?

[00:56:37] There are all these conversations

[00:56:39] that sort of have this tone of her

[00:56:40] being one foot out the door.

[00:56:42] And I could not figure out what exactly

[00:56:45] she was moving from or to.

[00:56:48] - But yes. - It's not important.

[00:56:49] - He whispers into her ear and then basically possesses her

[00:56:52] and you're like, "Okay, so is this one of those movies

[00:56:54] where his soul is inside her body?"

[00:56:57] No. - No, it's not.

[00:57:00] She's reliving his memories.

[00:57:03] - She basically- - But she'll do it

[00:57:04] while she's like, you know, at the deli.

[00:57:06] So like she's going like, "Aah!"

[00:57:07] And like, she thinks she's a person- psychologist.

[00:57:10] At the deli, there's a lady running around screaming.

[00:57:12] - But she's not- - To be clear

[00:57:12] there's no signs of deli.

[00:57:13] - Doing that in like present time,

[00:57:14] it's like, in present moment, she is reliving

[00:57:18] the last week of his life. - Yes.

[00:57:19] - She's basically walking through flashbacks,

[00:57:22] not realizing that in real life,

[00:57:24] she is also in spaces doing things.

[00:57:27] - Yeah, like she's Mr. McGooing kind of across town.

[00:57:30] Like she's on like a steel, you know what I mean?

[00:57:33] Like a steel bar or whatever that's being lifted by a crane

[00:57:37] and she's walking across- - Exactly.

[00:57:39] - But she like doesn't have agency in these flashbacks.

[00:57:42] Like you're just watching piers and buzzing.

[00:57:43] - I just figured out what you're saying

[00:57:44] and yes that's okay. - Yes, no, you nailed it Ben.

[00:57:45] Once again, our finest film critic.

[00:57:47] Even though he's on two hours of sleep.

[00:57:50] - There's like 10 minutes you'll be with Brosnan

[00:57:52] and then they'll cut back to her.

[00:57:54] And yes, she's like walking into a wall

[00:57:56] and everyone's screaming at her.

[00:57:57] - Right.

[00:57:58] - And you're like, oh, right.

[00:57:59] All of what I just saw happened a week ago,

[00:58:02] she has no ability to affect the outcome.

[00:58:05] It's not like a time travel thing.

[00:58:06] It's not a possession thing in a usual sense, right?

[00:58:11] It's not even like, oh, to other people

[00:58:13] she looks like this. - It's stupid.

[00:58:15] - Okay, let's just say it. It's dumb.

[00:58:17] Doesn't make any sense and it doesn't matter.

[00:58:20] 'Cause the movie doesn't wait too many times

[00:58:22] and it's like, what are you doing?

[00:58:24] Like, you know, like, snaps back to her.

[00:58:26] - There's so long. - What's going on?

[00:58:27] - She wakes up in bed with his wife

[00:58:29] and like, did she fuck his wife?

[00:58:32] - Okay, so let's talk about it though.

[00:58:34] That scene- - It's so bizarre.

[00:58:36] - Is weird because it's, she's in Piers' memory.

[00:58:39] - And once again, she's like not even

[00:58:40] 'cause she doesn't have agency in the Piers' possession.

[00:58:42] She's just basically like-

[00:58:44] She's acting out what he did.

[00:58:45] - I gotta get through a week of Piers' life

[00:58:47] to catch up to what actually killed him.

[00:58:50] - Right. - I wanna find out

[00:58:51] what happened to him right before

[00:58:52] I met him in the hospital.

[00:58:54] - And there's a scene where she basically,

[00:58:56] Piers like goes up to a window, undresses

[00:58:59] after being hassled by the people in the van.

[00:59:01] - Sure.

[00:59:02] - You see his shadowy dong and he gets into bed

[00:59:06] and then right, then you're waking up

[00:59:07] and it's her in the bed with his wife.

[00:59:10] - Right, you're like, is she placing herself in there?

[00:59:12] - She's like, do you know what happened to my husband?

[00:59:15] - Right. - He's like, no!

[00:59:16] Do you know what happened to your husband?

[00:59:18] And she's like, no!

[00:59:19] Like, and so you have to figure it out together.

[00:59:21] - But it's like, did she actually show it up?

[00:59:24] - I don't fuck fuck Piers for us,

[00:59:26] and then we had a- - No, fuck,

[00:59:27] but maybe sleep next to you?

[00:59:29] - And then wake up and then be like,

[00:59:31] well, weird coincidence.

[00:59:32] I was living through the memory

[00:59:35] of the last time your husband fucked you,

[00:59:37] but also fucking you.

[00:59:39] - I don't know, they don't fuck.

[00:59:41] They just sleep together.

[00:59:42] - It just feels like there's a version of this movie

[00:59:44] where when she sleeps, she has in her dreams,

[00:59:49] the visions of what he was going through.

[00:59:52] And then she wakes up and tries to solve the mystery herself,

[00:59:54] right?

[00:59:55] Instead, this movie basically has her be possessed

[00:59:58] for a lot of the time.

[00:59:59] And then her friends are kind of trying

[01:00:01] to solve the mystery because her friends are like,

[01:00:04] what the fuck is going on with her?

[01:00:05] - Yeah, right, we need to figure this out.

[01:00:07] - She's acting crazy.

[01:00:09] The mystery is that basically there is this gang of like

[01:00:14] post-punk, - There's a gang of punks

[01:00:16] that travel around in a bag, in a bag.

[01:00:18] - And he's fascinated by them because he's like,

[01:00:20] they seem to be a modern American version

[01:00:22] of a nomadic culture.

[01:00:24] But they turn out to be this sort of like spiritual

[01:00:27] embodiment of a notion of a demon

[01:00:31] that nomadic cultures used to be obsessed with.

[01:00:35] Or some things, yes. - Or some thing, yes.

[01:00:36] - Yes, they are the ein with tuck,

[01:00:39] demonic, inuit, trickster spirits that take human form,

[01:00:42] commit acts of violence and mischief,

[01:00:45] and are attracted to places of death.

[01:00:46] They have like a shrine to a murderer in like a garage.

[01:00:51] He finds that and is like, what's going on?

[01:00:55] This is like the cultures I've studied elsewhere.

[01:00:58] - There's this very specific kind of junky,

[01:01:00] supernatural movie that is like the writer,

[01:01:04] the filmmaker, became obsessed with a real bit

[01:01:07] of mythology that existed in history, right?

[01:01:10] An old bit of folklore that has historical grounding.

[01:01:14] And then they build a movie around it

[01:01:15] in which the lead characters don't know what's going on.

[01:01:19] And in the last 30 minutes,

[01:01:20] you need a professor to explain it to you.

[01:01:23] And it just, it always feels like brutal

[01:01:26] when you get to those scenes and you're like,

[01:01:28] I don't care if this is real or not.

[01:01:30] - The problem is, though, I could accept that

[01:01:34] if there was exciting sequences of that.

[01:01:36] - Which there should be.

[01:01:37] - Which there should be.

[01:01:39] You could give me a home invasion and it'd do.

[01:01:41] - The poster is in leather jacket beard,

[01:01:43] looking like a snack, fucking floating ghost faces above him.

[01:01:47] - With like claws going like, ah!

[01:01:50] - I'm thinking, give me all of this you got.

[01:01:52] - I just want a home invasion, a car chase,

[01:01:56] a battle in an alley.

[01:01:58] - Some fucking ghoulish makeup.

[01:02:00] - Some makeup.

[01:02:01] - And I want to see inside the van.

[01:02:03] - Yeah.

[01:02:04] - Me in there!

[01:02:05] - Yeah, you do!

[01:02:05] - I want to see you pass decorated.

[01:02:07] - The nomads experience on 56th Street

[01:02:10] and Seventh Avenue, you can go inside the van

[01:02:12] with the nomads.

[01:02:13] - You got to get the hell out there,

[01:02:14] lines around the block, especially this time of year.

[01:02:16] - $85 or $95 to actually enter.

[01:02:19] - It's a real tourist try.

[01:02:20] - $85 if you just come near us.

[01:02:21] - They just keep on showing up in this fucking garage

[01:02:24] and fucking with them and driving them a little crazy.

[01:02:26] - Yeah.

[01:02:27] - And it's just like, I know this guy dies,

[01:02:29] that's the other thing.

[01:02:30] There's no real mystery to solve

[01:02:32] as much as the movie acts like there is.

[01:02:34] And you're just slowly moving towards

[01:02:36] the inevitable point of them beating the shit out of him.

[01:02:39] Right?

[01:02:40] - Yeah.

[01:02:41] - 'Cause you're like, the full circle moment of this movie

[01:02:42] is her being like, okay, and now I've lived

[01:02:44] through the death, which is when I entered the picture,

[01:02:47] he showed up bloody and I didn't save his life.

[01:02:49] - I just want to cut to it.

[01:02:51] They fucking look around trying to figure out

[01:02:54] what's going on.

[01:02:55] She's flashing back to what happened to Brosnan,

[01:02:58] which is, they got hassled.

[01:03:01] They eventually get chased out of his home by the punks.

[01:03:06] They flee to the attic, dancing Mary pops her head up

[01:03:09] and is like, oh, no, and then she leaves.

[01:03:13] So then they run away.

[01:03:15] Their house has been ransacked.

[01:03:17] They drive out of the city

[01:03:19] and then they see a guy on a motorcycle

[01:03:21] and it's Pierce Brosnan.

[01:03:22] - Right.

[01:03:23] - And they go, oh my God.

[01:03:25] - And then the movie ends.

[01:03:26] - Listen to him first says keep driving, keep driving.

[01:03:29] No matter what, just keep driving.

[01:03:31] It's like preparing her.

[01:03:32] You're gonna see something

[01:03:33] that's gonna freak you out so fucking much.

[01:03:35] Don't be distracted by it, keep driving.

[01:03:38] - Yes.

[01:03:38] - And then they see him there, he takes off his helmet,

[01:03:40] he looks fucking hot as hell.

[01:03:42] And they're like, whoa, that was intense

[01:03:45] and they keep driving the movies over

[01:03:46] and he's on the side of the roof.

[01:03:48] - You're like, what?

[01:03:48] - What?

[01:03:49] - And I'm not saying what in terms of like,

[01:03:51] I need everything explained to me.

[01:03:53] I'm saying what in terms of like,

[01:03:54] I feel like we're just starting to get somewhere

[01:03:56] with the nomads, guys.

[01:03:58] I don't know if this can be the end of your movie.

[01:04:00] - No.

[01:04:01] - I don't know if people are gonna walk out

[01:04:02] being like, God, it was so crazy at the end

[01:04:03] when it was Pierce Brosnan on a motorcycle.

[01:04:06] - I'm gonna say it, John McTiernan, terrible writer,

[01:04:09] is astounding.

[01:04:11] If you told me this is the first screenplay written

[01:04:13] by a man who came out of commercials,

[01:04:15] which he was coming out of, I'd be like, that makes sense.

[01:04:18] This is a guy, he's got a sense of tone,

[01:04:19] a mood, images, he wants to evoke, right?

[01:04:22] But like maybe he doesn't have a story sense.

[01:04:24] The fact that he started out going to Juilliard,

[01:04:27] that like, dramatic fundamentals were drilled into him,

[01:04:31] something that I do think comes across in his other films.

[01:04:34] - Right.

[01:04:35] - It is astounding that this movie has no sense of story.

[01:04:39] - No.

[01:04:39] - It is so improperly told.

[01:04:41] - What's a movie like this where you're flashing,

[01:04:43] you know, into memory, you know,

[01:04:45] there's lots of movies that are like this, right?

[01:04:47] Like someone's having sort of haunting visions

[01:04:49] of horrible things.

[01:04:51] - Yes.

[01:04:52] Now I'm struggling to think of what--

[01:04:54] - Yeah, I know.

[01:04:55] I'm putting you on the spot.

[01:04:56] - Being Jon Nokvich.

[01:04:57] - No.

[01:04:58] - No, but that's more of what I thought

[01:05:00] this movie was gonna be of like,

[01:05:01] there are two people fighting for space in the body.

[01:05:05] Do you know what I'm saying?

[01:05:07] Whereas this is, she just kind of like,

[01:05:10] it's like her broadcast frequency is overtaken

[01:05:13] by his memories.

[01:05:15] And then she's just powerless.

[01:05:18] - That is still acting and out.

[01:05:20] Yes, we keep discussing this.

[01:05:22] We don't know.

[01:05:23] - But probably--

[01:05:24] - Every time that happens--

[01:05:25] - It seems to be the answer.

[01:05:26] - You're like, you now have two main characters

[01:05:29] with no agency because everything she's acting out,

[01:05:32] she's not actually affecting, and all of it is done.

[01:05:36] It happened a week ago.

[01:05:37] Nothing can be changed.

[01:05:38] - He's dead, which is nominally interesting.

[01:05:42] - Yes.

[01:05:42] - Like we start the movie with like him dying

[01:05:44] and passing on the curse of whatever the fuck this is.

[01:05:47] - Sure.

[01:05:48] - And then she has to both deal with the curse.

[01:05:50] It's like the ring, or you know,

[01:05:52] and figure out what happened to this dead guy.

[01:05:54] - Right.

[01:05:55] - But that's a tough way to introduce

[01:05:57] the leading man of your movie.

[01:05:58] - Yes.

[01:05:59] - He has no active role--

[01:06:00] - And he doesn't deserve a serial leading lady.

[01:06:02] - Sure.

[01:06:03] - It fucks both of them.

[01:06:04] - But Brosnan has no active role in this movie.

[01:06:06] - No.

[01:06:07] - You're just watching him get hassled--

[01:06:08] - Right.

[01:06:09] - Over a week.

[01:06:10] - And thinking about the fact that she's watching this.

[01:06:13] - Yes.

[01:06:14] - In her mind.

[01:06:15] - Brosnan never feels like he's got much

[01:06:17] of a handle, like his character is just like,

[01:06:20] they're like nomads.

[01:06:21] - Right.

[01:06:22] - And you're like, "Okay buddy."

[01:06:23] And he's like, "That's crazy."

[01:06:24] - Yeah.

[01:06:25] - You're like, "Okay."

[01:06:26] And he's like, "Like inclusion, they're nomads."

[01:06:28] - He invokes, it's like more to say on--

[01:06:32] - No, and when he says it to his wife,

[01:06:33] he says it like it's this massive breakthrough,

[01:06:35] these people I've seen, they are nomads.

[01:06:37] I can't even do--

[01:06:39] - Yeah, we, I mean, if we haven't made it clear enough,

[01:06:41] he's speaking in a French accent.

[01:06:42] It is absolutely fucking strong.

[01:06:44] - It's so bad.

[01:06:45] It is so bad.

[01:06:46] - He's singing in SOS, I made that joke on Letterbox.

[01:06:49] And here, it is better.

[01:06:50] He sings SOS better than he talks right here.

[01:06:52] - Oh no no.

[01:06:53] - Yes.

[01:06:54] But there's a similar level of you can just see

[01:06:56] the sweat beads on his forehead

[01:06:58] as he's trying to be a French bearded anthropologist.

[01:07:01] - But what he says like,

[01:07:03] these people who are following me,

[01:07:05] I'm starting to think they might be nomads.

[01:07:07] - It's like, "Who cares, call the police."

[01:07:09] - And his wife responds like, "That's impossible."

[01:07:11] As if he's saying they might be vampires.

[01:07:13] And you're like, nomadic living, that's like a way of life.

[01:07:16] - Right, it's just a person who doesn't live

[01:07:18] in a particular place.

[01:07:19] - It's not supernatural condition.

[01:07:21] These happen to be supernatural nomads,

[01:07:23] but that's not even his thesis.

[01:07:26] His thesis was, "Would you believe it?

[01:07:27] "American nomads."

[01:07:29] And you're like, "Sure, I believe."

[01:07:30] I don't know what the fuck--

[01:07:32] I who cares.

[01:07:33] - There's so many examples that I can think of,

[01:07:36] of nomadic people in this country.

[01:07:39] - Yes.

[01:07:39] - In a modern sense.

[01:07:40] - Made a whole movie about the land of them.

[01:07:43] - A land of them.

[01:07:43] - Mona-cycled group.

[01:07:44] - We gave it a best picture.

[01:07:45] - You know, gangs, motorcycle gangs.

[01:07:47] - We personally gave it best picture.

[01:07:50] - You guys did?

[01:07:50] - The nomad land.

[01:07:51] You don't remember that year in 2020

[01:07:53] they said you guys just voted on the Oscars

[01:07:56] during the pandemic?

[01:07:57] - Yeah.

[01:07:58] I mean, I don't remember a lot of that time.

[01:08:00] - Why not?

[01:08:02] - Try to block it out.

[01:08:03] - What's up?

[01:08:04] Why not?

[01:08:05] Something's going on?

[01:08:06] - That was a blimp.

[01:08:06] - A blimp?

[01:08:07] - Good year.

[01:08:08] - It was a mid-2000s Russell Corey Ridley Scott picture.

[01:08:11] - Oh, good year.

[01:08:12] I'm trying to finish my Scots now.

[01:08:14] I don't know if I told you this and so I watched

[01:08:16] a good year finally.

[01:08:17] Pretty good.

[01:08:18] - Is it?

[01:08:19] - It's kind of charming.

[01:08:21] Unlike 1492 conquest of paradise.

[01:08:23] - Yeah.

[01:08:24] - Starring Shira da Paju.

[01:08:25] You see that fucking turd?

[01:08:28] - That's like his biggest stinker.

[01:08:29] - It's his biggest stinker ever.

[01:08:31] - Yeah.

[01:08:32] - What is it about?

[01:08:32] - Christopher Columbus.

[01:08:33] - Oh, right.

[01:08:34] Okay.

[01:08:35] - Deborah Dewis, Christopher Columbus.

[01:08:36] - Yep.

[01:08:37] - 'Cause they were like, you're French, right?

[01:08:38] But you could play Christopher Columbus.

[01:08:40] What was he Spanish?

[01:08:41] And Deborah Dewis used to play like he was Italian.

[01:08:43] Like, yeah so you can do that, right?

[01:08:46] - On the anniversary.

[01:08:47] - For obvious, one fucking outfit

[01:08:50] in a stupid hat.

[01:08:51] - Yeah, exactly.

[01:08:52] You just go yell at some monks and it'll be fine.

[01:08:54] - Unlike the anniversary of Columbus discovering America,

[01:08:57] there were two rival giant big budget,

[01:09:01] Christopher Columbus biopic epics,

[01:09:04] starring European leading men

[01:09:06] that both came out within months of each other

[01:09:09] and bombed atomically.

[01:09:11] And people were like,

[01:09:12] "Everyone's gonna wanna see a fucking Columbus movie this year."

[01:09:15] Anyway, Deborah Dew.

[01:09:18] - Deborah Dew.

[01:09:19] - More like Deborah Dew Dew.

[01:09:21] - Um, Nomads.

[01:09:23] - Nomads.

[01:09:25] - Nomads.

[01:09:26] - I mean, can you believe it?

[01:09:26] - The, the ganks, the gang is kind of fun.

[01:09:29] - Kind of, but then you also keep waiting for them to pop.

[01:09:32] - Yeah.

[01:09:32] - You're like building a monster.

[01:09:34] - Right, something's gonna happen.

[01:09:35] - The craziest thing that happens is

[01:09:38] Mary warren of pops her head into the attic wearing leather.

[01:09:41] - Yeah.

[01:09:42] - She shrieks at them and kind of like pops one nipple out

[01:09:45] and is like, "Ah!"

[01:09:46] And that's it.

[01:09:48] That's what happens.

[01:09:48] - You don't really know why he died.

[01:09:50] - You know what they feel like?

[01:09:51] They feel like the gang in near dark,

[01:09:54] except they don't talk and they never turn into vampires.

[01:09:58] And let's go back to this.

[01:09:58] - It's very near dark.

[01:10:00] - But that energy of just like something off putting

[01:10:02] about these guys, there's something they're hiding.

[01:10:04] - They're menacing.

[01:10:05] - Right.

[01:10:06] - For some reason.

[01:10:07] - And they're like colorful.

[01:10:09] And then you're like, "What's the movie?

[01:10:10] "What's the big punch that's like storing up?"

[01:10:13] And they're like, "I think that's kind of weird."

[01:10:15] - Like obviously the implication

[01:10:17] of you seeing Brosnan at the end of the film is

[01:10:19] they've like stolen his soul.

[01:10:21] - That's what they did.

[01:10:22] - Okay.

[01:10:23] - And now he's one of the nomads.

[01:10:24] - Great.

[01:10:25] - So he too, will ride a bike.

[01:10:26] - Okay.

[01:10:27] - The most chilling fate.

[01:10:29] (laughing)

[01:10:30] You can't leave the theater 'cause you're crying

[01:10:33] in your seat.

[01:10:35] - Yeah, it doesn't feel like a finish.

[01:10:37] - The chill of your spine has paralyzed you.

[01:10:40] - His next movie is Predator.

[01:10:42] - Ah, it's a better movie.

[01:10:44] - Yeah.

[01:10:44] - Listen, this is still, though, a good idea.

[01:10:48] - Yeah, it's a good idea.

[01:10:49] - What comes to mind is--

[01:10:51] - You could do a page one rewrite on this movie

[01:10:53] and make a very, very enjoyable thriller.

[01:10:56] - Stephen King's the outsider.

[01:10:59] - Sure.

[01:11:00] - Oh, oh, right.

[01:11:01] I see what you're saying.

[01:11:02] - That's serious.

[01:11:03] - Yeah.

[01:11:04] - It's not a movie, but I'm just saying some kind

[01:11:06] of piece of media that's like this.

[01:11:08] - Yeah.

[01:11:09] - Like this ancient force that's out there.

[01:11:11] - Yeah, I like an ancient force.

[01:11:13] - I love it, APIs.

[01:11:14] - I like the infantry men.

[01:11:15] - We love our empty men.

[01:11:17] Empty men's a little--

[01:11:18] - A little like this where it's like a guy being like,

[01:11:20] "What's going on?"

[01:11:21] - Yeah.

[01:11:22] - In regular life.

[01:11:23] - Right.

[01:11:24] - But I'm poking it like, "What's this?"

[01:11:26] - Yeah.

[01:11:27] - This sort of spooky undercurrent, except it's,

[01:11:31] I mean, Patrick Willems, in front of the show,

[01:11:34] his letterbox review is the poster is,

[01:11:37] this is a terrifying supernatural horror movie.

[01:11:39] And the actual movie is,

[01:11:40] a woman remembers Pierce Brosnan being harassed

[01:11:42] by punks in a van.

[01:11:43] - I mean, 10 out 10 grades of a hat.

[01:11:45] - That is what this movie is.

[01:11:47] - Yes, correct.

[01:11:48] Here's the other thing.

[01:11:49] The taglines for this movie.

[01:11:51] This film has two taglines.

[01:11:53] Okay?

[01:11:54] The first one is a terrifying story of the supernatural.

[01:11:59] - Nominally true.

[01:12:02] - Nominally true.

[01:12:03] - Terrifying.

[01:12:04] - It thinks it's terrifying.

[01:12:05] It's kind of supernatural, but sure.

[01:12:07] - Ben, the second tagline for this movie is,

[01:12:10] "If you've never been frightened by anything,

[01:12:13] you'll be frightened by this."

[01:12:15] - Right, so like people maybe who have actually fought

[01:12:17] Satan himself.

[01:12:19] - Yes.

[01:12:20] - And we're not afraid.

[01:12:20] But then they're like, "One ticket to Nomads, please."

[01:12:22] And then they're sobbing with fear.

[01:12:23] - This movie isn't even like saying,

[01:12:25] "Oh, the scariest movie ever made,

[01:12:27] which would be a bold claim."

[01:12:29] This movie is saying, "Hey, you daredevil."

[01:12:31] - The man without fear.

[01:12:32] - All right, we dare you to sit through

[01:12:36] 88 minutes of this or the last.

[01:12:38] - We know you yawn during the exercise.

[01:12:41] - Right, yeah, yeah, yeah.

[01:12:42] - We know you sat unblinking in the middle

[01:12:46] of an active battle zone.

[01:12:48] Unafraid didn't break a sweat.

[01:12:50] Nomads is going to fucking destroy you.

[01:12:52] - She's going to have so many weird dreams in it.

[01:12:56] And spook everyone around here.

[01:12:58] Prozzed in The Delamour Cycle!

[01:13:02] The other thing is,

[01:13:03] - What she wakes up and thinks that she's

[01:13:05] fucked Brosnan's wife after having the memory

[01:13:07] of Brosnan fucking his wife.

[01:13:09] Brosnan's wife says something to the effect

[01:13:11] of, "Don't worry, you slept on the couch."

[01:13:13] - Did you rewind to see if you can see,

[01:13:15] you can't really see his dick.

[01:13:16] - Yeah, everyone's kind of a shadowy scene.

[01:13:20] - Brosnan's widow says, "Don't worry."

[01:13:22] - I hear what you're saying.

[01:13:23] - You slept on the couch and I'm like, "You didn't.

[01:13:25] We just saw you wake up in bed covered in shades.

[01:13:29] You're naked, what do you mean?"

[01:13:31] - Well, maybe it's changing, right?

[01:13:34] Maybe...

[01:13:35] - Yeah.

[01:13:36] - Okay, look, here's some of the stuff from The dossier.

[01:13:39] Okay, while working together-

[01:13:40] - Has Brosnan ever shown more dick

[01:13:41] than this in a movie?

[01:13:43] - Not that I'm aware of,

[01:13:43] but I mean, clearly you need to watch

[01:13:45] that bomb disposal movie or whatever.

[01:13:47] - Yeah.

[01:13:48] While working on this film, Brosnan down realized

[01:13:50] they might have known each other as children.

[01:13:53] They went to school near each other in London,

[01:13:55] and quote, "This is down."

[01:13:57] He was one of the boys that used to hang outside

[01:13:58] of school and the girls would come out

[01:14:00] and hike their skirts and lots of flirting would go on.

[01:14:03] Sounds great.

[01:14:05] - And JJ really grasping at straws in this one.

[01:14:07] - Yeah.

[01:14:08] - JJ puts a bunch of good stuff in that we don't say.

[01:14:10] We're running out of stuff to say

[01:14:12] when looking through JJ's dossier.

[01:14:14] - Okay, well here we go.

[01:14:14] - I saw a bunch of shrug.

[01:14:15] (laughs)

[01:14:16] - All right, well here's a great story from down.

[01:14:18] Quote, "Everything with the punky people

[01:14:19] and everything with us, the doctor and the wife,

[01:14:21] they were shot separately,

[01:14:22] but I did meet the punky people one night.

[01:14:25] It was a dreadful shoot.

[01:14:26] We were at a house in the palisades,

[01:14:27] low and behold,

[01:14:29] outdoors down and all this gunfire starts,

[01:14:31] cut, cut, more gunfire, more bullets.

[01:14:33] Beverly Hills Cop 2 was being shot there.

[01:14:36] - Okay.

[01:14:37] - The night scene where as 20 zillion people get killed.

[01:14:40] So basically they're like next to that.

[01:14:43] It's kind of funny.

[01:14:45] - Music by Bill Conti.

[01:14:46] - Yeah.

[01:14:47] A great fucking Lush.

[01:14:50] - A composer.

[01:14:51] He had just won an Oscar for the right stuff.

[01:14:53] Obviously he's best known for Roxie and Karate Kid.

[01:14:56] Yeah.

[01:14:57] - Yeah.

[01:14:58] - You can't actually never won for Rocky.

[01:14:59] - Is that crazy?

[01:15:01] - That can't be true.

[01:15:02] - How could you give Rocky best picture and not score?

[01:15:04] - He didn't win for scores.

[01:15:06] And now look, we got sort of 15 more minutes to fill, right?

[01:15:09] - Right.

[01:15:10] - What's our runtime here, Ben?

[01:15:11] - This episode is back in business.

[01:15:12] - It's an hour 16.

[01:15:14] - Okay, so you do--

[01:15:14] - One score over Rocky.

[01:15:17] - What one score over Rocky?

[01:15:18] Let's find out.

[01:15:20] 'Cause this is back when they would have like,

[01:15:22] Rocky wasn't even nominated for score.

[01:15:24] - Who the fuck are you two?

[01:15:25] - It was nominated for song,

[01:15:26] gonna fly now.

[01:15:27] Which lost to a star is born evergreen.

[01:15:30] - Okay.

[01:15:32] - It was not nominated for best score.

[01:15:33] That went to an incredibly iconic score,

[01:15:37] Jerry Goldsmith for the Omen.

[01:15:39] - Sure.

[01:15:40] - Of course so big that it like charted.

[01:15:42] - Yeah.

[01:15:43] - Like the fucking song from the Omen

[01:15:45] which is just like rrrrr,

[01:15:47] like was like on the charts.

[01:15:49] - Yeah.

[01:15:50] - And then the others,

[01:15:51] like honestly, it's kind of a,

[01:15:53] okay, so it's Bernard Herman posthumously

[01:15:57] gets two nominations for Taxi Driver,

[01:16:00] an iconic score.

[01:16:01] - Incredible score.

[01:16:02] - An obsession where you're giving--

[01:16:03] - Oh sure.

[01:16:04] - A very Hitchcockian score.

[01:16:06] Jerry Fielding's score for the Outlaw Josie Whales,

[01:16:08] an amazing movie, I can't say I remember the score

[01:16:11] that well.

[01:16:12] And Lalo Shiffrin, a famous composer

[01:16:14] for "Voice of the Damned",

[01:16:16] - Oh, yeah.

[01:16:17] - You know, the book movie. - The book movie.

[01:16:19] - Disaster, right, yeah. - Fade down away.

[01:16:21] - Oh, that's what I mean. - Fade down away.

[01:16:22] - Fade down away, yes. - But it is, yeah.

[01:16:24] No, gonna find out loses.

[01:16:25] - Wild. - I don't know if they fucked Rocky over.

[01:16:28] Maybe Rocky was ineligible for some reason?

[01:16:31] - My question is, what is the story

[01:16:34] behind that not getting nominated?

[01:16:35] - It's one of those crazy years where

[01:16:37] Rocky won best picture, as you know.

[01:16:40] - It's just, in and of itself, a little crazy.

[01:16:42] - Right, because I love Rocky.

[01:16:43] I think a movie is honestly incredible.

[01:16:45] - Yeah, I agree.

[01:16:46] - I know obviously it was a gigantic hit

[01:16:48] and it was a word of wow sensation in all this.

[01:16:50] - Never would have given it best picture,

[01:16:52] especially against that competition.

[01:16:53] - Taxi driver, network, bound for glory,

[01:16:55] and all the president's men.

[01:16:55] Like a really, really insane list of movies.

[01:16:58] - A silly winner from that group.

[01:17:01] - It's a bit of a silly winner,

[01:17:02] but you also kind of get it.

[01:17:03] - It's Rocky. - It's lovable.

[01:17:04] All of those movies are bummer.

[01:17:05] - Underdog.

[01:17:06] - Right, he's an underdog.

[01:17:08] - Like it's like, wait,

[01:17:08] you're gonna fucking give it to Taxi driver in no way.

[01:17:10] He ends with him shooting up a Pimp House.

[01:17:12] - Last thing that guy needs is more encouragement.

[01:17:14] - Right.

[01:17:15] So I think as president's men an incredible movie.

[01:17:17] - Sure.

[01:17:18] - But like it's a quiet movie.

[01:17:20] - Yes.

[01:17:21] - Like it's kind of all soft spoken.

[01:17:22] It ends with them publishing their first stories.

[01:17:24] Like you know, it doesn't have the kind of knockout thing.

[01:17:27] - Sure.

[01:17:28] - Right.

[01:17:29] Network they maybe could have given it to network

[01:17:31] at one three acting Oscars, it was a huge hit.

[01:17:34] - Yeah.

[01:17:34] - Right?

[01:17:35] Or what did you just went to that?

[01:17:36] - It went, no, it went three.

[01:17:37] - Right?

[01:17:38] - Right?

[01:17:39] - No, two, two.

[01:17:40] - No, three, 'cause Phae, Phae and straight.

[01:17:44] - Correct.

[01:17:45] - Almost a straight sweep, the baby put.

[01:17:46] - And it won screenplay.

[01:17:49] - Right.

[01:17:50] I think going into the night people

[01:17:52] assume that was gonna win, especially as--

[01:17:54] - I wonder, now I should look this up at--

[01:17:55] - When Beatrice straight wins, they have to assume shit.

[01:17:57] If she's winning, everyone's winning, right?

[01:17:59] The whole thing is winning.

[01:18:00] - Do you think that's a deserving win?

[01:18:02] - No, I don't.

[01:18:03] - No.

[01:18:04] - No, and I--

[01:18:05] - Actually, she beat, again, really good actors.

[01:18:06] - I think that is one of the best films ever made,

[01:18:08] I think is one of the best acted movies of all time.

[01:18:12] - Yeah.

[01:18:12] - I don't think that performance is good.

[01:18:15] - Beyond the fact that I wouldn't have picked

[01:18:16] out of the competition. - I know, like a scene.

[01:18:18] I think performance is fine, I don't love that scene.

[01:18:20] - It is so, it is, you see the network been?

[01:18:24] - Is that the one about the news?

[01:18:25] - I'm mad as hell, I'm not gonna take anymore.

[01:18:27] - Yeah.

[01:18:28] - Yeah.

[01:18:29] - I have.

[01:18:29] - Phenomenal film.

[01:18:30] - I have to admit something though.

[01:18:31] - What?

[01:18:32] - I didn't finish watching him.

[01:18:33] - Okay, well--

[01:18:34] - Did you finish watching No-Mads?

[01:18:35] - No.

[01:18:36] - All right, okay, so--

[01:18:37] - I need to tap out on No-Mads.

[01:18:39] - And by tap out, did you--

[01:18:40] - I didn't see him on the motorcycle.

[01:18:42] - Okay, well.

[01:18:43] - Oh, that was news to you?

[01:18:44] He's on the motorcycle!

[01:18:45] - Yeah.

[01:18:46] Was your internal monologue while watching network

[01:18:49] I'm bored as hell, and I'm not gonna take it anymore?

[01:18:51] - Okay, no I have one to kill.

[01:18:52] Can you do some fully work for your jaw

[01:18:54] hitting the floor when I tell you he's on the motorcycle?

[01:18:56] Just do a big funk.

[01:18:58] - Yeah.

[01:18:58] - And then I'll have my tongue on for all two.

[01:19:02] - Yeah, that'd be great.

[01:19:06] - They have great straight topola Sims-ism.

[01:19:09] I think it's a ham sandwich in that movie.

[01:19:11] - But everyone is then.

[01:19:13] But everyone else is, how do I put it?

[01:19:17] - Everyone else is very kind of like

[01:19:18] comedically skinny with their performance.

[01:19:21] None of the performances in that movie are subtle.

[01:19:24] Hers is the only one that feels melodramatic

[01:19:26] and self-serious to me.

[01:19:28] - Yeah, the nominees, I agree, basically.

[01:19:31] The other nominees--

[01:19:31] - Jane Alexander.

[01:19:32] - Jane Alexander.

[01:19:33] - Which is an incredible one scene per--

[01:19:34] - All in presence,

[01:19:35] but she's so good in that fucking movie.

[01:19:37] Jodi Foster for Taxi Driver,

[01:19:39] obviously an amazingly iconic performance.

[01:19:41] Lee Grant for dozens of the damned,

[01:19:43] okay, that's the movie I haven't seen.

[01:19:45] Lee Grant's a great actor.

[01:19:46] - Coming after the year she wins though, right?

[01:19:49] - She won--

[01:19:50] - For Shepherd.

[01:19:51] - Yeah, year before for Shepherd.

[01:19:52] And Piper Lori for Carrie,

[01:19:54] which is an awesome performance.

[01:19:55] - That's probably who they should have given it too, right?

[01:19:57] - Maybe.

[01:19:58] - I don't know.

[01:20:00] Yeah, she never won an Oscar.

[01:20:01] - Yeah.

[01:20:02] - I mean, I love Piper Lori.

[01:20:04] Should they bring, is she still alive?

[01:20:06] - Who, Piper Lori?

[01:20:07] - Yeah.

[01:20:08] - Why do I think she just died recently.

[01:20:10] - Yes.

[01:20:11] - We just lost her.

[01:20:12] Or are you gonna say bring her back?

[01:20:13] - Yeah, they should,

[01:20:14] should they pull the--

[01:20:15] - Carrie Legacy.

[01:20:16] - Yeah, what they did to Pour Ellen Burson.

[01:20:18] Have you seen that movie yet?

[01:20:20] Do you know what they do to her?

[01:20:22] - What, they like knock her out

[01:20:24] and then she's just kind of like asleep in a room.

[01:20:25] - Knock her out would be kind.

[01:20:27] Look, Spoiler alert for the exorcist fucking believer.

[01:20:30] - Okay.

[01:20:31] - And that was the official title

[01:20:32] was the exorcist colon fucking believer.

[01:20:34] - No, she's there like, hey, hey, you know,

[01:20:37] we've got a possession situation

[01:20:39] that's like what happened to your daughter.

[01:20:40] - Okay, oh come, okay, yes, no.

[01:20:42] I haven't seen my daughter in years.

[01:20:43] We're estranged, but I'd love to help you.

[01:20:46] Let me go talk to your daughter.

[01:20:48] You know, I'll go in the room with her.

[01:20:49] I'll talk to the kid for like 30 seconds,

[01:20:51] the kid fucking blinds her in both eyes.

[01:20:53] She's in the hospital for the rest of the movie with no eyes.

[01:20:57] No eyes.

[01:20:59] That feels rude.

[01:21:01] It's a little rude.

[01:21:02] - The other thing is,

[01:21:03] she gets to do anything else.

[01:21:04] - At the end of the movie,

[01:21:05] Linda Blair shows up and gives her a hug.

[01:21:07] - That's it?

[01:21:08] - That's the only thing I think I've seen,

[01:21:10] it's pretty much during the big possession scene.

[01:21:11] You kind of cut to her in the hospital

[01:21:12] and she's sort of going like, whoa.

[01:21:14] - That was all there people in a van.

[01:21:17] - Maybe.

[01:21:17] - Maybe sort of just in the background?

[01:21:22] - Okay.

[01:21:23] - When the possess girl

[01:21:24] fucks with Ellen Burston, does she yell

[01:21:26] "Tribliness."

[01:21:28] - Yes.

[01:21:29] - That would be funny.

[01:21:30] That would be funny if she referenced

[01:21:31] the conversation you had with her.

[01:21:33] - Waiting months for me to make that joke.

[01:21:35] (laughing)

[01:21:37] - Leave it.

[01:21:38] I gotta pitch for this scene.

[01:21:39] It might seem a little strange.

[01:21:40] I really think this is a moment to riff on a conversation

[01:21:43] I had with some twerp in a makeup trailer

[01:21:45] 10 years ago.

[01:21:47] - Yeah, typically that's Ellen Burston talking to David

[01:21:50] Gordon Green,

[01:21:51] not Griffin talking to David Sims.

[01:21:52] - No.

[01:21:53] - Bill Conti did the score,

[01:21:55] Elliot Casser again.

[01:21:56] - I wanna go back to that.

[01:21:57] I wanna go back to that.

[01:21:58] 'Cause we're never gonna talk about fucking

[01:21:59] an exorcist fucking believer.

[01:22:01] - Oh sure.

[01:22:02] - I'm changing the title.

[01:22:03] It's not called fucking exorcist

[01:22:04] Colin fucking believer.

[01:22:06] - They, I think it came out that she shot all her footage

[01:22:10] for that movie.

[01:22:11] The end of 2020 because they make this big deal.

[01:22:15] - Yeah.

[01:22:16] - Three films, they're getting Burston back

[01:22:18] her first time since the original film.

[01:22:20] Ellen Burston close to 90.

[01:22:22] - Yeah, she's very old.

[01:22:23] - And they were like, "Look, COVID,

[01:22:24] "we don't know how long this goes on for her."

[01:22:26] She's 90 years old.

[01:22:26] - Let's get a bunch of footage in the can right now.

[01:22:28] Prince World Photography on that movie

[01:22:30] doesn't start until like a year later.

[01:22:32] They foregrounded the Burston shit.

[01:22:35] So what do they just have her eat breakfast and like-

[01:22:37] - This is my fucking question.

[01:22:38] - So maybe that's why it's 'cause it doesn't really-

[01:22:40] - But then she went back for reshoots.

[01:22:42] - She must've 'cause, yeah.

[01:22:43] It doesn't make any sense in the movie.

[01:22:46] Doesn't like her role in the movie doesn't make sense.

[01:22:49] - Yeah.

[01:22:49] Did she shoot a bunch of stuff in 2020

[01:22:51] that they didn't use and it was so unusable

[01:22:54] that they're like in 2023 comeback,

[01:22:56] we're gonna send you to the house.

[01:22:57] - Well they might've just brought her in

[01:22:58] like how fucking How am I?

[01:22:58] Her mother shot the ending in season two.

[01:23:00] - That's what it sounded like.

[01:23:01] - Like and just been like, well, just in case.

[01:23:03] And then they was like, oh actually,

[01:23:05] cover restrictions have lifted.

[01:23:06] You're still in good health.

[01:23:07] Now we'll shoot the real movie with you.

[01:23:08] FYI, you're gonna get stabbed in the eyes.

[01:23:10] - What the fuck is that?

[01:23:11] - I don't know.

[01:23:12] But like the thing in that movie is you can tell

[01:23:14] that David Gordon Green is like, wow,

[01:23:16] this will pull a fast one on them.

[01:23:17] Like that, you know, no one will see this coming.

[01:23:19] The devil gets a win.

[01:23:20] He said that in an interview somewhere like early on,

[01:23:22] it throws you out.

[01:23:23] - No one's coming.

[01:23:24] And after being blinded, she won't see it going.

[01:23:25] - But here's the thing when you're watching the movie,

[01:23:27] you do see it coming because you're like,

[01:23:28] who's letting this 90 year old woman in a room alone

[01:23:31] with a possessed demonic child?

[01:23:33] That's a terrible idea.

[01:23:35] - Don't.

[01:23:35] - She has like a book.

[01:23:36] - Ben, let's get that on the record.

[01:23:38] Ben did not.

[01:23:39] - You didn't do it.

[01:23:40] Ben was not responsible for letting her in.

[01:23:42] - The other thing about that movie is it's like,

[01:23:45] it's just fucking hilarious.

[01:23:46] It's fucking hilarious that that movie came out

[01:23:48] the same year as the Pope's exorcist,

[01:23:50] which is just like a meme on wheels.

[01:23:52] And that movie is like more realistic

[01:23:54] than fucking exorcist believer.

[01:23:55] But there's this moment in exorcist believer.

[01:23:57] - Even like more entertaining, more realistic.

[01:23:59] - It's actually more to say.

[01:24:02] The exorcist believer has this scene where they're like,

[01:24:04] all right, we need an exorcism.

[01:24:06] Catholic priest, will you do it?

[01:24:07] And he's like, no, we don't do those anymore.

[01:24:09] We're getting too much trouble.

[01:24:11] I'm not gonna do it.

[01:24:12] So instead they have to get this like

[01:24:13] motley crew of exorcists to do it.

[01:24:15] - There's the Avengers of Faith, right?

[01:24:17] - Yeah, sure.

[01:24:18] It's the Avengers West Coast at best, I would say, but okay.

[01:24:22] Yeah, and then there's this.

[01:24:25] - They find the flat man of rabbits.

[01:24:27] - Exactly, well, that's a great lakes clothes.

[01:24:29] - Good call.

[01:24:30] - They bring in, and then there's a big twist

[01:24:32] where the priest rushes in the middle of the exorcism

[01:24:34] being like, I will help.

[01:24:35] I feel so guilty about this.

[01:24:36] - Incredible twist.

[01:24:37] - He just like whisked his neck around in one second.

[01:24:39] Take him out of the house.

[01:24:39] - Oh, a true twist, okay.

[01:24:41] - Yeah, anyway, terrible movie.

[01:24:42] Look, I just want to tell you

[01:24:44] how did Bill Conti get this gig Griff?

[01:24:46] - How?

[01:24:47] - Elia Kastner yelled at him.

[01:24:48] That's right.

[01:24:48] He was like, come on, just do it.

[01:24:50] - And then he cried.

[01:24:50] - It seems like there's the answer with everything.

[01:24:51] - I just like that the LA casters producing style

[01:24:54] sounds like Magruber.

[01:24:56] And we're like, please, please, I mean this.

[01:24:59] He goes in and tries to like tough guy hardball him.

[01:25:03] And he becomes so pathetic.

[01:25:07] - It's so funny.

[01:25:08] - So funny.

[01:25:09] - Conti, it's one of the only,

[01:25:13] he'd been working with Larkis Dress.

[01:25:14] This is an electronic moment and a guitar moment.

[01:25:17] Ted Nugent plays the guitar on the score.

[01:25:21] - Ted Nugent has songwriting credits

[01:25:22] for four tracks on this movie

[01:25:25] in the end credits I noticed.

[01:25:27] - So doesn't sing them, but all the songs in the film

[01:25:30] were co-written by Ted Nugent.

[01:25:31] - Apparently in, and this movie is going to Broadway

[01:25:35] to be clear. - Of course.

[01:25:36] - No man, it's coming to Broadway in 2024.

[01:25:39] - Is that why the van, they're doing that.

[01:25:41] - The experience.

[01:25:42] - Exactly. - Yeah, exactly.

[01:25:43] - Okay.

[01:25:44] - There were synthesizers, there's Ted,

[01:25:45] there's John MacTiernan, there's an engineer,

[01:25:47] there's Bill Conti.

[01:25:48] - Okay.

[01:25:49] - There wasn't a score, like he didn't write something down.

[01:25:53] - Okay.

[01:25:53] - He just kind of, they just kind of went in there

[01:25:55] with Ted and kind of jammed,

[01:25:57] and that's how the score happened.

[01:26:00] - That sounds like that.

[01:26:01] - Yeah, Ted Nugent is one of those guys

[01:26:03] where I'm like, who the fuck is he?

[01:26:06] I know he's a famous guitarist.

[01:26:08] I know he was in like damn Yankees,

[01:26:10] he was in these super groups,

[01:26:11] but he's not like, nobody fucking likes Ted Nugent, right?

[01:26:15] It's not like, let me fire up a bunch of Ted Nugent.

[01:26:18] - I didn't know though, I think people,

[01:26:19] I know that now he's like a right-wing--

[01:26:21] - I was gonna say, but even before that,

[01:26:24] he did have the status of like, I like his attitude.

[01:26:27] - He's got like cat scratch fever, right?

[01:26:28] That's like a big redder.

[01:26:30] - Like wango tango.

[01:26:31] - Wango-tango sweet poontay.

[01:26:33] I mean, it says the minute you start hearing this shit,

[01:26:34] you're like, I'm out, I'm fully out.

[01:26:36] - Yeah, but I think a lot of people are like, I'm in.

[01:26:39] - Yeah.

[01:26:40] - I want more, couldn't be more in.

[01:26:43] - MacTiernan said that Conti is very smart

[01:26:45] and knew exactly what he wanted.

[01:26:47] - Okay.

[01:26:48] - He's not a musician, he's not being like,

[01:26:49] give me a B-flat, but like, he would just hear something

[01:26:51] and be like, yes, no, sure.

[01:26:54] That's what directors do.

[01:26:55] - Yeah.

[01:26:55] - Film came out March 1986, gross 2 million

[01:26:57] against a budget of one million,

[01:27:00] was not greeted with a warm reception.

[01:27:02] - Has anyone other than Arnold Schwarzenegger?

[01:27:05] - Right.

[01:27:06] Walter Goodman of the Times calls it murky,

[01:27:11] says there's no real explanation

[01:27:14] why anyone should bother.

[01:27:16] Maybe you tried John MacTiernan

[01:27:18] if you wanna know what was going on in this movie.

[01:27:21] - Wow.

[01:27:22] - Kevin Thomas in the LA Times

[01:27:23] says it does have style,

[01:27:25] brings to mind body double,

[01:27:27] but alongside of the Brian DePalma thriller

[01:27:29] seems as substantial as Shakespeare.

[01:27:31] So fucking shots fired at body double,

[01:27:34] you know, in the killing of nomads.

[01:27:36] He's like shooting through body double to kill nomads.

[01:27:39] - That's rude.

[01:27:40] MacTiernan says, "I was happy with the film To A Point."

[01:27:44] - I don't know.

[01:27:46] As we'll see in the next dossier,

[01:27:47] there was at least one famous fan of the film.

[01:27:49] Ooh, a little tease from JJ there.

[01:27:50] His, yes. - Arnold Schwarzenegger

[01:27:53] is the answer, JJ, your part.

[01:27:55] - Hey, come on.

[01:27:56] - I'm joking, you're not fired.

[01:27:57] - To be fair, JJ did write 10 pages on this movie.

[01:28:00] - Amazing, he got it.

[01:28:02] - That's what font, size.

[01:28:04] 72, single space, like,

[01:28:07] it is for Apple.

[01:28:10] - I would make it clear, he did not flub this.

[01:28:12] He farted his way through this assignment.

[01:28:14] The MacTiernan quote is that like a Kubrick one said,

[01:28:17] getting 50% of what you set out to get

[01:28:19] is doing very well, and then MacTiernan says,

[01:28:22] when you first start in films,

[01:28:23] if you get 10% of what you had in mind,

[01:28:25] you're doing well.

[01:28:26] - Should we play the box office game?

[01:28:28] - So, you know, it's a MacTiernan,

[01:28:29] and this is 10% of what he intended to do.

[01:28:31] - Here's some cool news, Griff.

[01:28:32] Disney is gonna release Soul, Luca,

[01:28:34] and Turning Red in theaters this year.

[01:28:37] - Well, yes, the staggering them,

[01:28:39] giving them semi wide ways to--

[01:28:40] - January, February, February, March.

[01:28:41] - I liked the idea of an idea.

[01:28:43] - Yeah.

[01:28:44] - And then Inside Out 2 comes out in June.

[01:28:45] - You and I were talking about--

[01:28:46] - Talk about the turning red.

[01:28:47] - Yeah.

[01:28:48] - I'll take, yeah, it's kind of not the movie

[01:28:50] to take my daughter too.

[01:28:51] - Maybe.

[01:28:53] - Maybe.

[01:28:54] - Maybe.

[01:28:55] - I don't think she'd care.

[01:28:56] - I saw, that's the only one I got to see in theaters.

[01:28:58] 'Cause they did a tiny little--

[01:28:59] - They did a little one.

[01:28:59] - Unpublicized AMC 25 rule.

[01:29:02] - Yeah, Soul's fun.

[01:29:03] It's got a cat.

[01:29:04] - Globs.

[01:29:04] The cats and the fur.

[01:29:05] - Oh, well, they're real--

[01:29:06] - No, a cat.

[01:29:07] - I mean, let's think about the Soul Cat.

[01:29:09] - That you're new.

[01:29:11] - Soul is a movie where I'm like,

[01:29:13] I saw that in December 2020.

[01:29:15] - Correct.

[01:29:16] - I don't remember it very well,

[01:29:17] and now you haven't thought about it much since.

[01:29:19] - I would very much--

[01:29:20] - It isn't a score sometimes.

[01:29:21] - The score is great.

[01:29:22] I would very much,

[01:29:24] I'm looking forward to seeing both those films in theaters.

[01:29:26] - You and I were talking about the idea

[01:29:27] of trying to curate a film series of movies

[01:29:29] that never got to play in theaters.

[01:29:30] - Yes.

[01:29:31] - Based on extrapolating from the empty man,

[01:29:34] but you could throw a mank in there.

[01:29:35] - I mean, we could do it.

[01:29:36] - Throw a mank in there.

[01:29:37] - Just with the movies we've covered.

[01:29:38] - I throw, I'm thinking of ending things in there.

[01:29:40] - Yeah, we'll see.

[01:29:41] This is if we wanted to--

[01:29:42] - I might throw lover's rock in there,

[01:29:44] the five fucking movies.

[01:29:45] - The Five Flags.

[01:29:45] - Like one day at the Paris City and I missed it.

[01:29:49] - You know, I saw Palm Springs in a theater,

[01:29:52] but that might be fun to get into theaters.

[01:29:54] - You did?

[01:29:55] I mean, even just from our canon,

[01:29:56] empty man, Old Guard, mank,

[01:29:59] Tenen did get a release,

[01:30:00] but a lot of people didn't get to see it that way.

[01:30:02] - Yeah, we had ten in it.

[01:30:03] - Yeah.

[01:30:05] - Real run, which would be cool.

[01:30:06] - Did we see that?

[01:30:07] We saw it in, yeah, but it was just the three of us.

[01:30:09] - Yeah.

[01:30:10] - And your girlfriend.

[01:30:11] - Oh, right.

[01:30:12] - Yeah.

[01:30:12] - And we went in New Jersey the last day

[01:30:15] before they pulled it off of screens.

[01:30:17] - Right.

[01:30:18] I had already seen it.

[01:30:19] I had done that.

[01:30:20] I went to Connecticut to see it the first time.

[01:30:21] - Okay.

[01:30:21] Well.

[01:30:22] - With Stafansky.

[01:30:23] - Okay, well and Erlich?

[01:30:25] - Okay.

[01:30:27] I think it sounds great.

[01:30:28] - Yeah.

[01:30:28] - David?

[01:30:31] - Yes.

[01:30:32] - I co-host a podcast.

[01:30:33] I don't know if you are aware of it.

[01:30:34] - Please check Griffin and David.

[01:30:36] - You actually, you are the other host on.

[01:30:38] - Yeah, I don't know what to say or due expect.

[01:30:40] - All you need to know is the name of the show

[01:30:41] who was playing check.

[01:30:43] People think it must be real cushy being a podcast host.

[01:30:47] - Sure.

[01:30:48] Get to watch movies and talk about them.

[01:30:50] - Oh, what a nice existence you got.

[01:30:52] - But...

[01:30:53] - They're not considering how much I worry about everything.

[01:30:57] - Well, you do.

[01:30:58] - Are my takes hot enough?

[01:31:00] Are they too hot?

[01:31:01] - Uh huh.

[01:31:02] - Am I entering the discourse?

[01:31:03] Am I leaving out?

[01:31:04] I forget to mention some important piece of context.

[01:31:07] - And.

[01:31:08] - Did I not consider that one movie I dislike

[01:31:10] was another person's favorite movie

[01:31:12] and that was rude of them to hear me say that.

[01:31:14] - And...

[01:31:15] - One thing I never have to worry about when I host

[01:31:18] is whether my guests will find their sleeping accommodations

[01:31:21] up to scratch.

[01:31:22] - Oh, interesting.

[01:31:23] Why?

[01:31:24] - Well, I'm realizing now that this copy

[01:31:25] is about hosting people at your home.

[01:31:28] - Uh huh.

[01:31:29] - Like hosting guests.

[01:31:29] - Something you never do.

[01:31:31] - Right.

[01:31:31] And I just read this as if they were obviously asking me

[01:31:33] to talk about being a host of a podcast.

[01:31:35] I'm just realizing this in real time

[01:31:37] and we're not taking this over, this is the ad.

[01:31:39] - 100%.

[01:31:41] You're talking about Burrough's new Shift Sleeper sofa.

[01:31:45] - Exactly.

[01:31:45] - It's one of those things everyone should have

[01:31:47] in their home.

[01:31:48] It's a comfortable everyday sofa

[01:31:49] that easily converts into a queen-sized sleep surface.

[01:31:52] - That's a nice surface.

[01:31:54] Genuine queen size.

[01:31:55] Not a full, full queen-sized sleep surface

[01:31:59] that sleeps two people bury comfortably.

[01:32:01] I've got a burrow.

[01:32:03] - Oh, you do.

[01:32:04] - I do.

[01:32:04] I don't have the sleeper sofa,

[01:32:05] although I am very intrigued.

[01:32:07] I do have the Nomad sofa plus the sleep kit,

[01:32:10] which is another, like, sleep thing that they are,

[01:32:13] which is really good.

[01:32:15] The best thing about Burrough,

[01:32:16] I live in New York City.

[01:32:17] It's hard to get couches through doors,

[01:32:20] and upstairs, and so on and so forth.

[01:32:23] The burrow breaks down very easily

[01:32:24] and then you assemble it in your house.

[01:32:26] - It's easy to get in.

[01:32:27] It's easy to get out.

[01:32:28] I had a burrow at my old apartment.

[01:32:29] - Yeah.

[01:32:30] - I miss it, actually.

[01:32:31] - Go get it.

[01:32:32] - Well, maybe.

[01:32:33] But I'll tell you, here's another thing I like.

[01:32:35] I know this isn't the one they specifically

[01:32:36] have a couple garbage bags.

[01:32:38] - Ask 'bout.

[01:32:39] - You could bring it over one piece at a time.

[01:32:41] You could.

[01:32:41] It's easier to assemble.

[01:32:42] It's easier to assemble.

[01:32:43] - I recently moved and I said to like the movers.

[01:32:45] Like, I said, this couch comes apart

[01:32:47] and he's like, "Oh, believe me.

[01:32:48] "I'm very familiar with Burroughs.

[01:32:50] "They are great for movers."

[01:32:50] - You want movers to like you?

[01:32:52] - Yes.

[01:32:53] - Buy some Burroughs.

[01:32:53] Here's the other thing.

[01:32:54] You hear that you go, "Oh, this is gonna look like

[01:32:56] "it's made out of play-mobile or something."

[01:32:58] - Right, right?

[01:32:59] Oh, it must be junky.

[01:33:00] - It must be junky.

[01:33:01] No, you could fool anyone.

[01:33:02] You could.

[01:33:03] - So, I was over, the thing I was gonna say, my Burrough,

[01:33:05] I had at my old apartment, a feature I really like,

[01:33:08] even though they didn't put this in the copy,

[01:33:10] they put like a charging cable.

[01:33:12] You know what I'm saying?

[01:33:12] There's like USB ports in between the cushions.

[01:33:15] - Yeah, it's pretty clever.

[01:33:16] - So that you can plug your couch into the wall.

[01:33:17] - They got a lot of stuff like that.

[01:33:19] - And you can charge devices while sitting on the couch

[01:33:21] without having to reach over to the outlet.

[01:33:23] You know what I'm saying, Ben?

[01:33:24] - They're all about the thoughtful details.

[01:33:26] - It's good company.

[01:33:27] - And this shift sleepers sofa,

[01:33:28] one when it's unfolded, it's got layers

[01:33:30] of cooling memory foam, it's got comfort foam,

[01:33:32] it's got core foam, you got a nice night of sleep

[01:33:35] for any guests, it's so easy to get into your home,

[01:33:38] it's got a painless online shopping experience,

[01:33:40] free shipping to your door, and of course,

[01:33:42] easy to set up, as we said,

[01:33:43] assembled without tools, in boxes you can move yourself.

[01:33:47] - Now, I want to restate, I myself as a podcast host,

[01:33:50] I'm constantly uncomfortable,

[01:33:52] both physically and mentally.

[01:33:54] But this ad is about making sure you are creating

[01:33:57] comfortable circumstances for guests who may stay with you.

[01:34:01] - Sure, right.

[01:34:02] - That's what they meant, not podcast guests.

[01:34:04] - No, but you do have a lot of anxiety

[01:34:06] about your hosting.

[01:34:07] - I do, I don't do it, that's why.

[01:34:09] - Check out Burroughs' new shift sleepers.

[01:34:11] - I meant Palm Burroughs' new shift sleepers hosting.

[01:34:11] Not the podcast hosting, it's just clarified--

[01:34:13] - Check out Burroughs' new shift sleepers sofa

[01:34:16] and all their incredible furniture at burrow.com/check

[01:34:19] and get 15% off your burrow order when you do.

[01:34:22] That's burrow.com/check

[01:34:24] for 15% off your burrow purchase burrow.com/check.

[01:34:27] - I obviously do podcast hosting,

[01:34:29] even though I do have worries about it.

[01:34:31] - Oh, gave your buddy.

[01:34:33] - Okay, Box Office game, May, March 1986, Griffin.

[01:34:40] - Okay, March 1986.

[01:34:41] - And this is a Box Office game we may do again one day

[01:34:44] on Patreon if Ben has his way,

[01:34:46] because Highlander is opening number seven.

[01:34:48] - Well, that's gonna be my guess.

[01:34:49] - Hey, and it's also one we'll do again on Patreon

[01:34:54] if we have our way, because "Care Bears Movie 2,

[01:34:56] a new generation is opening at number 24."

[01:34:59] - Which I remember liking more than the original.

[01:35:01] - Well, I've seen neither, because I don't care

[01:35:04] for "Care Bears." - Cut lion hearts.

[01:35:05] They diversify, they have different types of animals.

[01:35:07] - Sounds stupid.

[01:35:08] Number one at the Box Office.

[01:35:09] - Good, it's good, it's sensitive and wealth on out.

[01:35:11] - No mad opening number 12 to $1 million.

[01:35:15] - Okay, hey, fuckin' "Cock-casters" probably like,

[01:35:17] budget made, - Yes.

[01:35:18] - I'm fine.

[01:35:19] - Number one at the Box Office is a teen comedy.

[01:35:26] - Braveheart, "The Lion", I was wrong.

[01:35:27] - And "Nouble Heart, the Horse".

[01:35:29] - Yeah, those are the characters.

[01:35:31] - Just trying to remember it.

[01:35:31] - A teen comedy from a major opter of teen comedies.

[01:35:34] - It's a huge.

[01:35:35] - Yes, he didn't direct it.

[01:35:37] - He didn't direct it, is it pretty in pink?

[01:35:39] - Pretty in pink, who directed it?

[01:35:42] - Howie Deutsch.

[01:35:43] - Howie Deutsch, of course.

[01:35:44] - Howie Deutsch.

[01:35:45] - Who also directed some kind of wonderful,

[01:35:46] that's another hues script, great outdoors,

[01:35:50] that's another hues script,

[01:35:51] and getting even with dad is it, is not a hues script.

[01:35:54] What's the hues script that we always forget about?

[01:35:56] It's not getting even with it.

[01:35:57] - Dutch?

[01:35:58] - Dutch, the film "Dutch"?

[01:36:00] - You wrote "Dutch", the "Edo Niole"

[01:36:02] is an embryo-film dutch.

[01:36:03] - Sure.

[01:36:03] - He'd currently see his last movie he directed,

[01:36:06] "Baby's Day Out".

[01:36:07] - "Baby's Day Out" is what I'm thinking.

[01:36:09] - Yeah, that was the joke at the time, was that John.

[01:36:12] - He had what's his pseudonym, Edmond Dantes,

[01:36:16] on Beethoven, right?

[01:36:17] - Yes.

[01:36:18] - The Ed, Mademann, made him in Daven.

[01:36:21] - And made him in Daven?

[01:36:21] - And 101 Dalmatians?

[01:36:23] - 101 Dalmatians is credited as it.

[01:36:24] - What's Dantes?

[01:36:25] - Oh, it was credited.

[01:36:26] - As his flubber.

[01:36:27] - Okay.

[01:36:28] - "Home Alone Three".

[01:36:29] - Yeah, "Reach the Rock".

[01:36:31] - No idea what that is.

[01:36:31] - No idea.

[01:36:32] - The joke that many critics got a lot of mileage off of

[01:36:36] at the time was, John Hughes's protagonists

[01:36:39] are aging down so much,

[01:36:41] he'll be the first guy to write a comedy about sperm.

[01:36:43] - 'Cause "Baby's Day Out" is their baby.

[01:36:44] - Well, it went from "Teenagers" to "Home Alone"

[01:36:46] to "Baby's Day Out".

[01:36:47] - "Baby's Day Out".

[01:36:48] - 20 million critics made that joke.

[01:36:51] And they all had to split the Pulitzer Prize that year.

[01:36:55] They all had split it.

[01:36:56] - It was a 20 million-way time.

[01:36:57] They got one joke. - Did they saw it

[01:36:59] into pieces?

[01:37:00] Or did they share one,

[01:37:02] that they made it around?

[01:37:03] - They got like a cheese grater,

[01:37:05] and they gave everyone some sprinkles.

[01:37:07] - Now, "Pretty in Pink" is,

[01:37:09] I would say a great movie because "Ring While it's So Good"

[01:37:12] in it.

[01:37:12] - It is a movie that is sold by its performance

[01:37:15] as being so good across the board.

[01:37:16] - It's obviously completely notorious as a movie

[01:37:19] where nobody thinks she should end up with fucking,

[01:37:22] what's his plane, but she does.

[01:37:25] Everyone thinks she should end up with "Ducky".

[01:37:26] But you know why?

[01:37:28] - What do you mean do it?

[01:37:28] - They shot the ending where she ends up with "Ducky"

[01:37:32] and the audience responses,

[01:37:34] "Well, this feels weirdly classist"

[01:37:37] that she's sent back,

[01:37:38] that she's not allowed to exist in the space

[01:37:40] of the popular rich kids.

[01:37:42] And they revolted so much that they re-shot the ending

[01:37:44] where "Ducky" is like, "Hey, it's cool."

[01:37:47] - And "Ducky", there's like a girl who smiles at "Ducky".

[01:37:50] - Correct. - "Ducky" is gonna be fine.

[01:37:51] - Yeah.

[01:37:52] - No, I think that script is kind of bullshit.

[01:37:54] - And "Ringwald's Cryer"

[01:38:00] - "Stanting"

[01:38:01] - "Stanting", "Harete, Stanting"

[01:38:03] or anything.

[01:38:04] - Knockout.

[01:38:05] Knockout performances.

[01:38:06] McCarthy is the weakest link in it.

[01:38:08] But yeah, five incredible performances in the script

[01:38:11] that's not interesting.

[01:38:12] - Much like how, what's his pants and 16 candles

[01:38:14] is no good, like "Ringwald's Amazing"

[01:38:16] and that and like fucking Anthony Michael Hall is great,

[01:38:19] but like the stud is totally boring.

[01:38:21] - The stud's enough for me.

[01:38:22] - Yeah, where are you on hues on those movies?

[01:38:25] 'Cause those movies when I watched them

[01:38:26] were like fossils to me.

[01:38:28] - Yeah. - And I didn't dislike them

[01:38:29] but I was like this is not about my like experiences.

[01:38:32] - I reverse engineered my personality around them.

[01:38:35] I was like so, they could not have spoken to me more.

[01:38:39] - Yes.

[01:38:40] - I felt the same way, David.

[01:38:42] It felt a little foreign to me.

[01:38:45] - Like in "Breakfast Club" when Allie Sheenie

[01:38:46] has to transform, I'm like, she's babe.

[01:38:49] Like, and I'm not saying that out of some,

[01:38:50] everyone thinks that.

[01:38:51] I mean, that's, but like, I'm like, I'm from the 90s.

[01:38:54] Her type in the movie is a babe.

[01:38:57] Like, we all love the weird Emo girl now.

[01:38:59] And in the 80s, it's not, yeah,

[01:39:01] it's the most trite observation about Johnny.

[01:39:03] This is why we can't do him because every movie about,

[01:39:05] we could put him on a bracket.

[01:39:07] - You kicked him off the bracket a couple times.

[01:39:09] Maybe we put him on this.

[01:39:10] - Yeah, 'cause I'm always just like,

[01:39:11] everyone said everything there is to say about this fucking man.

[01:39:13] - But he has made a movie I'm quite fond of,

[01:39:17] which is "Uncle Buck."

[01:39:18] - Yes.

[01:39:19] - If we ever do that, Johnny has to come on.

[01:39:22] - Molly, your best friend?

[01:39:23] - Yes.

[01:39:24] - Is that one of your favorite movies?

[01:39:25] - Really?

[01:39:26] - Okay.

[01:39:27] - And she's always been like, once in a while,

[01:39:28] she'll text me and be like, you guys did a Clifford episode,

[01:39:30] and I'm like, yeah, Molly.

[01:39:32] Yeah, we did it years ago, and then we did another one.

[01:39:34] And she'll be like, I love Clifford, and I'm like,

[01:39:36] I know you love Clifford Molly, I live with you for seven years.

[01:39:39] And then she's like, are you ever gonna do an Uncle Buck

[01:39:41] episode, and I'm always like, we'll let you know.

[01:39:44] She's kind of like, that's the other one,

[01:39:46] knows that the two.

[01:39:47] - She's loomed quite large on this show.

[01:39:49] She's come up so many times.

[01:39:51] - Yeah.

[01:39:52] I was talking about her all the time.

[01:39:53] - It'd be very important to me.

[01:39:53] - That's for an informal roommate.

[01:39:55] - I say what, if it ever works.

[01:39:58] - Yeah.

[01:39:59] - I would love to do an episode on "Uncle Buck"

[01:40:01] with Molly.

[01:40:02] - With Molly Ayrmek?

[01:40:03] - Yeah, Molly's choice.

[01:40:04] - Yeah, sure.

[01:40:05] - Ben cosign.

[01:40:07] - Yeah.

[01:40:08] - Ben, you pitched doing like a John Candy collection

[01:40:11] on Patreon, but I argued a lot of Candy's big works are hues.

[01:40:15] - Right.

[01:40:16] - Yeah, but we could call it like the mixed bag of Candy.

[01:40:21] Number two at the box office is a horror.

[01:40:24] - Ben's eyes lit up, his mouth went into the widest grinn

[01:40:27] I've ever seen as if we pumped a full of Smilux.

[01:40:31] - Number two is a horror film.

[01:40:33] - Yeah.

[01:40:34] - It's the start of a franchise.

[01:40:36] - Okay.

[01:40:37] - I've never seen these films.

[01:40:39] There's, I think four of them.

[01:40:41] - 86.

[01:40:41] Is it house?

[01:40:42] - It's house.

[01:40:43] - Dingdong your dead.

[01:40:45] Yeah, you were cordially invited to spending the evening

[01:40:47] with Roger Cobb and friends, don't come alone.

[01:40:49] House Horror has found a new home.

[01:40:51] - I've never seen them before, which means I will probably

[01:40:54] get a text from Brendan Hines yelling at me.

[01:40:56] - Right, Brendan, let's watch them.

[01:40:58] - Two months from now.

[01:41:00] Incredible posters.

[01:41:01] - That's the thing.

[01:41:02] To me, those movies are iconically in the,

[01:41:05] we're at the video store.

[01:41:07] And I would look at them every time I went to the video store

[01:41:09] 'cause I would just go to the video store

[01:41:10] and look at all the videos.

[01:41:11] - Of course.

[01:41:12] - Right?

[01:41:12] - Of course.

[01:41:13] - You just pull them down,

[01:41:14] you'll be like, what is this?

[01:41:16] And house gives you nothing.

[01:41:18] - Sever'd hand.

[01:41:19] - Sever'd bringing a doorbell and the taggling

[01:41:21] is dingdong your dead.

[01:41:22] - The movie's called "House."

[01:41:23] You have no idea what it's about.

[01:41:25] - No.

[01:41:26] - The sequel has the best sequel title ever, Ben.

[01:41:30] House two, the second story.

[01:41:32] - Do you get it?

[01:41:35] - So one day, maybe I'll watch the houses.

[01:41:39] Anyway, it's number two at the box office.

[01:41:41] - Put it on the brag.

[01:41:41] - Sure.

[01:41:42] - It's made $11 million on the way to 19.

[01:41:45] Number three at the box office is a comedy

[01:41:49] based on a French movie,

[01:41:53] based on one of the great French movies,

[01:41:56] the one of the great French films

[01:41:58] from one of its great directors.

[01:41:59] - It's based on one of the great French films

[01:42:02] from one of its great directors.

[01:42:03] - But it is like a sort of big, brassy comedy.

[01:42:07] - It's not, is it down and out in Beverly Hills?

[01:42:10] - Paul Missouri's Key is down and out in Beverly Hills

[01:42:12] is it a very nice piece of the story maker.

[01:42:14] - Of course, buddil say from drowning?

[01:42:15] - John Renoir's buddish say from drowning.

[01:42:17] - Yes.

[01:42:18] - Which is basically like a suicidal homeless man

[01:42:20] appears in the life of like a rich family

[01:42:22] and crazy shit starts happening.

[01:42:24] - That's the French movie.

[01:42:25] Now who do you think you would cast

[01:42:26] in the 80s broad studio comedy version of that same story?

[01:42:30] - I don't know.

[01:42:31] Tell me.

[01:42:32] - It saved me from drowning.

[01:42:34] - Mm hmm, yeah.

[01:42:36] - I was drowning.

[01:42:37] - Richard Dreyfus and Betty Davis of course.

[01:42:40] - I bet Middler and Dreyfus, yeah.

[01:42:43] - Middler and Dreyfus.

[01:42:44] And of course famously little Richard plays their neighbor.

[01:42:47] - Cool.

[01:42:48] That's cool.

[01:42:49] - Yeah.

[01:42:50] - And sings a song.

[01:42:52] - Assed for sugar.

[01:42:53] - It's a Missouri ski.

[01:42:54] - It's a Missouri ski.

[01:42:55] - It's a Missouri ski.

[01:42:56] - Number four at the box office.

[01:42:58] It's a major film of the year

[01:43:00] that makes a hundred million dollars.

[01:43:02] It's a big drama.

[01:43:03] It's not made for best picture.

[01:43:05] - It's not made, it doesn't win best picture.

[01:43:06] - No, in fact it doesn't win a single Oscar.

[01:43:09] - Rude is it the color purple?

[01:43:10] - It's the color purple.

[01:43:11] I was gonna tell you

[01:43:12] it's also came out last year again as the musical,

[01:43:14] but that's an obvious clue.

[01:43:15] - But it was famously,

[01:43:18] for a long time it had the record

[01:43:19] for the most noms with no win.

[01:43:20] - Because I think it got nine Oscar noms.

[01:43:25] - Yes.

[01:43:26] - No, 11 goose egg.

[01:43:29] - Something finally beat it with zero wins.

[01:43:31] - Yes.

[01:43:32] - And more noms.

[01:43:33] - It tied with the turning point.

[01:43:35] Those were the two that had 11.

[01:43:37] There now may be one with 12 that didn't win.

[01:43:39] - Yeah.

[01:43:40] - There's Irishman.

[01:43:41] It's like Rude shit like that.

[01:43:42] - The last couple of years have been--

[01:43:44] - 'Cause to rack that up

[01:43:45] you need to get a bunch of tech nods

[01:43:46] in like three to four acting nods.

[01:43:48] - Yes.

[01:43:49] - Like you need to like,

[01:43:49] and color purple has three acting nominations.

[01:43:51] - But last year was that weird.

[01:43:52] Well now will be two years ago,

[01:43:54] but the 2023 Academy Awards ceremony had that weird thing

[01:43:59] where like three or four of the most nominated films

[01:44:02] got zero wins.

[01:44:03] - Whoa.

[01:44:04] - Because everything everywhere.

[01:44:05] - No.

[01:44:05] - Oh, you mean everything everywhere, right?

[01:44:07] - That year there was like a monopoly on awards.

[01:44:09] - Look, number five of the box office is a great comedy

[01:44:12] from a, you know,

[01:44:14] a fraught figure in the world of comic film making.

[01:44:17] - But you think this is a great one.

[01:44:19] - Yeah, obviously.

[01:44:19] - Like one of his best--

[01:44:20] - 19th, is it Hannah or Sister?

[01:44:22] - Hannah or Sister?

[01:44:23] - Yeah, probably his best movie.

[01:44:24] - It's probably his best movie.

[01:44:25] - I think it's kind of--

[01:44:25] - I don't know, or it's kind of like

[01:44:27] the quintessential Woodyart movie in a way.

[01:44:28] - I think so.

[01:44:29] - You've also got, and a huge,

[01:44:31] well actually, you know what?

[01:44:32] I was about to say a huge hit,

[01:44:33] but like, it's a mid-sized hit.

[01:44:35] But for him it was a big hit.

[01:44:36] - It was his biggest hit ever.

[01:44:37] - Because it made like 40 million dollars.

[01:44:39] - Until Midnight in Paris,

[01:44:40] that was the highest grossing film of his.

[01:44:42] - You've also got Wild Cats.

[01:44:45] - Oh sure.

[01:44:46] - The football movie with Goldie Hawn.

[01:44:48] - Which is quietly--

[01:44:49] - Quietly.

[01:44:50] - A team coach, a football team coach?

[01:44:52] - Quietly.

[01:44:53] The first Woody and Wesley movie.

[01:44:56] - Yes, Woody and Wesley are both in it.

[01:44:58] - Yes.

[01:44:59] - But in small roles.

[01:45:00] - If you wanna complete the Woody Wesley trilogy.

[01:45:03] - He got Highlander, got Sally Field

[01:45:05] in Murphy's Romance with James Garner.

[01:45:09] - James Garner, yeah.

[01:45:10] - That's a movie I feel like I probably would love.

[01:45:12] - Yeah, so he feels.

[01:45:13] She's fucking fake.

[01:45:14] - If I put that on--

[01:45:15] - Babotron, just screening about it for two weeks.

[01:45:17] Do you know how good Murphy's reaction is?

[01:45:19] - Number nine, you have Oben,

[01:45:20] if you ever looked at his sleep.

[01:45:21] - We didn't know how good we had it.

[01:45:22] - Out of Africa, throw it on.

[01:45:23] - David hits it.

[01:45:24] - Very boring.

[01:45:25] - Number 10, of course,

[01:45:27] my favorite movie, the film FX about FX.

[01:45:32] - VFX in crime.

[01:45:34] - Yes.

[01:45:34] - This crime happened with visual effects.

[01:45:37] - Finally, the two biggest stars United,

[01:45:40] Brown and Deney.

[01:45:40] - Brown and Bryan Deney.

[01:45:42] - The Brians.

[01:45:44] - And of course, the sequel was called FX2,

[01:45:46] the deadly art of illusion,

[01:45:48] which is an incredible subtitle.

[01:45:50] - I've said this before,

[01:45:51] but the editing department at my college,

[01:45:56] the college I briefly attended,

[01:45:57] Callaarst had only the FX2 poster framed on the wall.

[01:46:02] And it wasn't like signed to buy an alumni

[01:46:04] who had gone there.

[01:46:05] It was not clear why that was the one poster they had.

[01:46:08] - That's kind of cool, though.

[01:46:10] - Yeah.

[01:46:11] - Good poster.

[01:46:12] - Number 11 is the fourth weekend

[01:46:14] of the Chuck Norris Lee Marvin film, "The Delta Force."

[01:46:17] - Oh, sure.

[01:46:18] - Nomads opening below that.

[01:46:20] John, we're sorry we beat up on this movie.

[01:46:23] I don't know that we're really gonna beat up on any year.

[01:46:25] - Well, maybe a certain movie about a rolling ball.

[01:46:29] (laughs)

[01:46:30] But it's certainly gonna be,

[01:46:31] I think it's gonna be a good run for you for a minute here.

[01:46:34] - We're gonna love the next three.

[01:46:36] - Has he made another film this boring is the question?

[01:46:40] - And there's only one answer.

[01:46:42] There's only one man who knows the medicine man.

[01:46:44] - The medicine.

[01:46:45] - No one knows if that movie's boring or not,

[01:46:46] 'cause no one's ever seen it.

[01:46:47] - No, that was an example of an episode

[01:46:49] where we had to do some digging.

[01:46:51] - That was a like, fucking, you know,

[01:46:54] Bueller, Bueller?

[01:46:55] Like, when we were like,

[01:46:56] "Anyone seen Medicine Man want a guest on this episode?"

[01:46:59] - Someone want a signed homework was how it settled,

[01:47:02] I think it'll be a fun episode.

[01:47:04] Listen, I'm very excited to be doing Mictarinet.

[01:47:06] The rest of these episodes are gonna be fucking corkers.

[01:47:09] The man has made five of the most watchable movies

[01:47:11] in history, arguably.

[01:47:14] And his bounces are big and wild and woolly.

[01:47:17] By and large, and then we'll figure out

[01:47:19] whatever medicine man is.

[01:47:20] - Goodbye, we have to watch the love guru

[01:47:23] in a few minutes.

[01:47:24] So we're gonna watch the love guru.

[01:47:25] - We're gonna watch the love guru today.

[01:47:26] - But I wanna say this is just executive decision

[01:47:29] and we haven't talked about this in advance,

[01:47:31] but I just need to say this, David,

[01:47:33] we need to get this on air.

[01:47:35] JJ will text us random things for a lot of hours

[01:47:37] of the night as he's doing his research.

[01:47:39] And he does his research.

[01:47:40] He starts at far in advance of when we record these episodes.

[01:47:44] So we'll be getting Mictarinet in text

[01:47:45] when we're doing Fincher episodes, right?

[01:47:47] - Sure.

[01:47:48] - And some of these thoughts, you're just like,

[01:47:49] "JJ, I can't respond to this right now.

[01:47:50] This is not where my head's at.

[01:47:52] I'll catch up to you when we get to the dossier

[01:47:53] in a couple of months, right?"

[01:47:55] JJ has pinned in this dossier,

[01:47:57] the fact that we never responded to his text

[01:47:59] where he found on a books often an academic resource

[01:48:04] for people who need to find rare out of print books.

[01:48:06] - I did say this earlier.

[01:48:07] - You did? - Yes.

[01:48:09] - I did.

[01:48:10] - $1,100, right?

[01:48:11] For the entire castner.

[01:48:13] - $1,236.18, $26.53 shipping.

[01:48:17] - I said it very briefly.

[01:48:18] I said it like, "Is it a side?"

[01:48:19] - And JJ has been pushing us to make it a Patreon tier,

[01:48:22] and I'm going to say having watched Nomads

[01:48:24] that I feel no desire to spend $1,200

[01:48:28] finding out more about how this moves us made.

[01:48:30] - Right, I'm like the collected information of Nomads.

[01:48:32] - Executive decision, we do not need all of the paperwork

[01:48:36] from the development of Nomads.

[01:48:37] - If someone paid us $1,200 to receive it.

[01:48:41] - To receive it, to receive it?

[01:48:42] Yes, to read it, no.

[01:48:44] Time is money.

[01:48:46] Time is money.

[01:48:47] I would receive it though.

[01:48:48] If someone wants to pay me $1,200 to have it sent to me,

[01:48:53] - Yeah. - I will accept that package.

[01:48:54] - Right. - Right.

[01:48:56] - And that's the settlement of the issue, it's done.

[01:48:58] - It's over.

[01:48:59] - Ben, any final thoughts?

[01:49:01] - I like in the movie when the character goes home

[01:49:04] and she looks in her fridge and it's empty.

[01:49:07] - Mm-hmm. - 'Cause you can tell

[01:49:08] a lot about a character based on what their fridge is like.

[01:49:10] - Right, and if their fridge is empty,

[01:49:12] you can tell that they didn't maybe finish

[01:49:13] writing the character.

[01:49:14] Ben, you think you're asleep well tonight or poorly?

[01:49:18] Like do you think you've now sort of unlocked the sleep

[01:49:23] and it'll come more easily tonight?

[01:49:24] - You think the sleep pattern that we disrupted

[01:49:28] by doing her episode two hours after originally scheduled

[01:49:31] is going to throw you off and getting to sleep tonight?

[01:49:34] - Unfortunately, usually sometime around 10 o'clock

[01:49:37] is when the sort of ghouls come out, if you will.

[01:49:40] - The nomads. - The nomads.

[01:49:41] - The van pulls up. - Yeah.

[01:49:43] And sort of similarly, it's just these annoying thoughts

[01:49:48] that don't seem to wanna go away.

[01:49:50] - Sure, no, I know it well.

[01:49:53] - Yeah, yeah. - We'll see though.

[01:49:54] Maybe I'll just tuck her myself out

[01:49:56] and I'll run down the street screaming.

[01:49:59] - Oh, I thought you were gonna say watch a tucker

[01:50:02] until he's gently- - I'm gonna watch

[01:50:04] these "Soothes You to Sleep".

[01:50:05] - Smuckers, the movie about the guy who invented the jam.

[01:50:08] - Smuckers the man is- - It is jam jam.

[01:50:11] - I hope so though, I'd like to sleep normally again.

[01:50:14] - Yeah, what would you do if Kopala was like,

[01:50:18] look, I know I said- - Was that million dollar budget?

[01:50:21] - I know I said megalopolis was it.

[01:50:22] And I was going all in it's my final statement.

[01:50:25] But there's the one other story

[01:50:26] that has wrestled inside me for so long.

[01:50:28] - Daniels and I got to talking.

[01:50:30] - Smuckers, the man in his jam.

[01:50:33] - He wants to play JM Smuckers.

[01:50:35] - He wants to know how the jam gets me.

[01:50:39] - Honestly, JM Smuckers kind of looks like fucking Jeff Daniels.

[01:50:44] JM's could play this guy though- - Oh yeah.

[01:50:46] - He looks a lot like Jeff Daniels.

[01:50:49] - Yeah, the guy's like- - Just imagine if he's like,

[01:50:51] what if we squashed the fruit, you know?

[01:50:53] Like, how does that- - How does that movie look?

[01:50:55] - Like, I got the fee back.

[01:50:56] - We all like raspberries,

[01:50:58] but we ought to eat a lot of them at once.

[01:51:00] - Africa? (laughing)

[01:51:02] - I got the feedback from audiences

[01:51:04] that they didn't want to see a film

[01:51:05] about a man who failed in the auto industry.

[01:51:08] So I'm now going to make a movie

[01:51:09] about a man who experiences no conflict

[01:51:11] and just makes a successful jam

[01:51:13] and it lasts forever and creates generational wealth.

[01:51:17] Smuckers, a man in his jam.

[01:51:19] Thank you all for listening.

[01:51:21] This has been the first episode of Podheart with a Venge Cast,

[01:51:23] which I think will be a very fun couple of months.

[01:51:26] David, do you agree?

[01:51:27] - I think it is.

[01:51:28] Yeah, it's going to be great.

[01:51:29] This was the episode where we were hoping there be

[01:51:31] a gem to discover and instead we fucking did

[01:51:33] some Smuckers in there.

[01:51:34] - We just, we snuck Smuckers in there at the last second,

[01:51:37] so no one can say it was an entirely valueless episode.

[01:51:41] Make some Smuckers posters, I don't know.

[01:51:46] We get on Photoshop and do that and post them

[01:51:49] to whatever social platforms still exists

[01:51:51] the time this episode comes out.

[01:51:52] Thank you all for listening.

[01:51:53] Please remember to rate, review, and subscribe.

[01:51:57] Thank you to Marie Barty, our associate producer on the show.

[01:52:00] Thank you to JJ Birch for sending us links to documents

[01:52:05] that are expensive that we will never purchase

[01:52:08] but also doing our research.

[01:52:10] Thank you to, I'll spare an age,

[01:52:13] Jay McCann for editing.

[01:52:15] Lee Montgomery, the great American all

[01:52:17] for our theme song, Jo Bonne Pat Rounds for our artwork.

[01:52:21] Go to blankcheckpod.com for links to some real nerdy shit

[01:52:25] including our Patreon, blank check special features

[01:52:28] where we do commentaries on film series,

[01:52:31] dun dun dun we're doing the Terminator movies.

[01:52:33] - Yup.

[01:52:34] - That's what we're doing.

[01:52:35] - It's Dude Heavy Time for Blank Chat.

[01:52:37] - Arnie Heavy.

[01:52:38] - Arnie Heavy.

[01:52:39] Tune in for that.

[01:52:41] We'll be doing Die Hard 2 over there as well.

[01:52:44] - Yeah, we will.

[01:52:46] I feel like that's a question people have.

[01:52:47] What about Die Hard 2?

[01:52:48] That's what we're doing.

[01:52:49] It over there.

[01:52:50] Five bucks.

[01:52:50] Dun dun dun.

[01:52:51] Dun dun dun.

[01:52:52] - Dun dun dun.

[01:52:53] Enough, enough.

[01:52:54] And as always.

[01:52:55] When you're gone, how can I even try to move on?

[01:53:00] - Can anyone write a novelization?

[01:53:12] - I mean, what do you mean?

[01:53:13] - You need the rights.

[01:53:13] What do you mean?

[01:53:14] - You need the rights.

[01:53:15] - Yeah, that's true.

[01:53:16] - Like anyone could write it.

[01:53:17] You couldn't publish it without having.

[01:53:19] - That's true.

[01:53:20] - Why do you ask?

[01:53:21] - Yeah, why do you ask?

[01:53:23] - Is there a fire in your boat?

[01:53:25] - I don't know.

[01:53:26] Maybe someone needs to tell us the story of doom.

[01:53:31] Doom?

[01:53:32] - Yeah.

[01:53:33] - What do you mean by doom?

[01:53:34] - The movie with the rock in it?

[01:53:35] - You want to write a book of the movie doom

[01:53:40] based off the video game.

[01:53:41] - Correct.

[01:53:42] Okay, let me see if that's been.

[01:53:44] Ben, I regret to inform you

[01:53:45] that a doom film novelization was released

[01:53:48] by PocketStarBooks in 2005 adapted by John Shirley.

[01:53:51] - Fuck.

[01:53:52] Damn it, John.

[01:53:53] - Fuck.

[01:53:55] - Is that okay?

[01:53:56] (speaking in foreign language)

[01:54:00] (speaking in foreign language)

[01:54:03] (speaking in foreign language)

[01:54:07] (speaking in foreign language)

[01:54:12] (speaking in foreign language)

[01:54:16] (speaking in foreign language)

[01:54:19] (speaking in foreign language)

[01:54:23] (speaking in foreign language)