Swing Shift

[00:00:01] Blank Check with Griffin and David, Blank Check with Griffin and David Don't know what to say or to expect All you need to know is that the name of the show is Blank Check First Tabaloski, quote to lead off the show? Yep I think so

[00:00:40] We haven't done a Groundhog Day I didn't do that much of an impression, I just felt kind of intimidated There is an impression to be done Age returning? No, it's too squeaky But there's something, right? There's a voice There's something, I don't have it

[00:00:51] Quotes paid for this movie is limited The tagline for this film is terrible But I was raking my brain to try to remember was There are a number of quotes I like in the director's cut for this film But of course none of those are listed on IMDb

[00:01:08] Interesting, there's a number of quotes from the director's cut you like Yeah, right? I feel like there were like 10 lines that jumped out to me where I was like Wow that's a good line And they were surprisingly They were excised Ben how are these levels doing?

[00:01:25] Yeah it's fine We're in a new studio Small studio Can you turn my volume a little bit? Yeah you turned us all down I'm fussing with stuff This is a great episode Yeah it's also a good start Well I mean classic blank check

[00:01:44] You do one thing to change our completely ordinary routine And we're all just like this is pretty crazy We're in a different table Or in a different room We've got a window again You can really hear the ventilation You can really hear the ventilation But that's ambiance

[00:02:03] It is I mean look maybe this episode Woo! Will serve as a case study in the importance of podcast editing Much like Swing Shift is kind of an incredible case study In film editing Because today we're talking about two cuts of the same movie

[00:02:24] First time since I'll do anything Pretty much and those were two different episodes That's true And I feel like other times we've been like Ah we're just watching the director's cut Or ah we're just watching theatrical We'll pay a little service We'll have some chat

[00:02:40] We'll have a little chat about different versions Man's got different versions Cameron's got different versions But there are very few movies where there's basically a different movie that exists The differences are this fundamental Yes Because I mean man rearranges stuff Adds stuff so tracks stuff

[00:02:56] But it doesn't feel as holy No it's twiddling I mean with Black Hat That's the closest right Sure Black Hat's the closest where he's like I made a major It's not like there's 30 minutes on the cutting room floor But I made a major sort of story change Right

[00:03:13] But it's still He's really just rearranging the pieces That's all This is an example of a movie that was finished Yes And 30 new minutes were shot Yes And about 30 minutes of the original film were cut Right because the cuts are a very similar length They're both about 100 minutes

[00:03:29] The scenes that exist in both versions of the film Are also cut differently Yes That's a huge difference Not all but there's a lot that are noticeably cut differently Right because something like Black Hat it's like Okay big shift here You know it's things like he'll be like

[00:03:43] I changed a couple little things Or like the Aliens in Terminator 2 director's cuts It's like those special editions are like Those are more right It's like character, padding, like you know things like that But here's a like a fundamental difference Is that in the director's cut

[00:03:59] You're like man this is a film of incredible Fluid steady cam shots Like long steady cam shots And then the theatrical cut No shot lasts longer than like 15 seconds So choppy It's one of them yeah There's no character to it Even in the same scenes

[00:04:15] They just cut up those steady cam shots I believe the score is also different Everything's different but we're getting ahead of ourselves Yeah okay Because you know what this is Wait what is it Let's play check With Griffin and Dave Yes

[00:04:32] I do feel totally thrown off don't you Yeah I'm not trying to like hurt something Listen to our following episode Which is the first we recorded in a new studio last time Oh sure And we're also like totally confused It's weird Yeah our rhythms are odd

[00:04:47] It's fine we'll be fine Hello Hi I'm Griffin I'm David What this is always his producer Ben Sitting between us Between the boys Producer Solomon he's got the you know He's the Producer Solomon Cause it's like there's a divide you know

[00:05:04] He's sort of the king on the throne in between us I don't know I like to say Ben Sandwich Yeah sure it's Ben Sandwich But yeah sorry guys we're in a smaller room Oh it's fine turn on my mic It's not your fault

[00:05:15] I mean my headphones not my mic Whatever it is there we go Alright you got the juice boy Turn it all up Turn it up Okay there we go I feel like that sounds a little more Guys this is a careful process okay It's tricky

[00:05:32] Cause this is a podcast about filmographies It's about directors who have master successes early on in their career And give a series of blank checks To make whatever crazy passion products they want And sometimes those checks clean And sometimes they swing baby Sure sometimes they shift

[00:05:48] Well sometimes they definitely shift And this is an example of like a shift He should have been cash in a check after Malvin Howard A small check Well isn't this the small check Or is this the more like They gave him a check

[00:06:03] And then they like repoed all his belongings That he bought with the check And then he just like Wrote himself another check the same year basically So I did a lot of reading last night And this morning And a thing I was reading an interview

[00:06:22] The Guardian interview is that the one you read? I don't know if it was that one But it seemed like it was transcribed from a print interview Where so the transcription was not perfect Okay But it seemed to imply that he was shooting

[00:06:36] Stop making sense at the same time That he was shooting the reshoots on this Hmm I don't know about that No That's why I was confused No It's the interview you read the one with the Elaine May story Yes Okay Well that's the one I read

[00:06:57] I think it's the only time he's ever really talked about it I think usually he'd be like Hi, you know that movie was taken away from me And I just hate talking You know like usually he just sort of shuts it down

[00:07:07] But he tells the story in that about The shoot going long Him feeling like he wasn't gonna wrap in time to make it to the show And Ed Harris faked a headache so that they would wrap early I remember that story Right, you're right And it seemed like

[00:07:25] He was saying I guess they came really close But he says later He says I moved back to New York and made stop making sense That's what's weird about it I think it was more just probably like they were close together Sure

[00:07:39] As we know because this film comes out in 1984 Stop making sense comes out in 1984 Yes You know so like yeah I mean this is supposed to come out the year prior Correct It was supposed to be a big holiday awardsy movie

[00:07:52] And then it got like pushed to May and came out And didn't make much money and you know kind of got dumped And then a year later in June I came out That is true That's the true thing Birthday Benny

[00:08:03] And only one cut there of the umbilical gourd Hey now Oh what about that uh little you know Well I don't want to get it please Alright that's fair I don't want to get into that Oh yeah we should I know we should not get into this

[00:08:15] Let's pause that combo That's a whole other complicated conversation That can be a whole, that can be a Patreon episode next year Put it behind the paywall Okay fine On a scale from 1 to 10 I just wanted to do a quick survey of the room

[00:08:28] How insane do you feel right now because I feel like a 10 You are clearly at a 10 I'm at a 6 I would say I actually got adjusted Okay Ben seems to be it's like started at 9 But he's sort of like decelerating Yeah I'm working on it It's okay So

[00:08:44] Melvin Howard comes out 1980 Oh I should say This is the main series on the films of Jonathan Damian Yeah that's the one It's called Stop Making Podcast That's right and we really should We really should But no better evidence than today

[00:08:57] It's almost like the universe is trying to tell us To stop making podcasts Absolutely not We're gonna make them forever Absolutely Napster Lutely Not Maybe on Napster you could have gotten the director's cut Back in the day Right Think about this as like a reality show

[00:09:12] You know what I'm saying Yes Like we're showing all the behind the scenes Right with the level checks Like that came earlier in the episode Yes But it's all out there You know we're not leaving it on the cutting room floor

[00:09:24] It's like Survivor where every season they're like But there's a twist this season You have to do the thing upside down The boys and the girls are in different teams You know Like this is the episode where they throw a curveball at us And we completely crumble

[00:09:38] Right exactly We show that we We're not up to the task and we should help you on the island Nope absolutely not Check us off Yep Okay so 1980 Melvin Howard Melvin and Howard A modest box office performer But An Oscar winner Yes In two major categories Yes

[00:09:57] And she kind of announces the emergence of a new major voice In American cinema Yeah sure right Goldie Haan has a deal at Warner Brothers She is at this point one of Hollywood's most beloved and reliable stars Has been a huge movie star for 15 years

[00:10:14] Has won an Oscar 15 years earlier She won an Oscar 13 years ago Cactus Flower I think is 69 Sure And has then just kind of an incredible run We are disoriented by everything going on around us She has an incredible run Yeah And by the early 80s

[00:10:34] She has kind of honed in on what a Goldie Haan movie is Sure Right Private Benjamin becomes like the platonic ideal of a Goldie Haan comedy Yeah that's I so I'm looking at her run in the late 70s That's 1980 on the dot So you've got like

[00:10:52] Foul play with Chevy Chase Which was a pretty big hit She does seems like old times with Chevy Chase So it's like okay do you have a good thing going As you say you've got Private Benjamin in 80 Which is a huge hit

[00:11:05] Huge hit she gets the best actress nomination You've got Best Friends the Bert Reynolds movie I think is a couple years before Swing Shift That's 82 yes Which is directed by Norman Jewison But based on Robert Benton's relationship With Jane Curtin's sister Who is a writer for us now

[00:11:20] You just pulled that out of a hat that's pretty impressive I was doing a Goldie D Last night And she as you say she's an Oscar winner With Private Benjamin you have I feel like I don't know there's like a whole other level of legitimacy with that movie

[00:11:34] Like that was one of the big performers of the year She got lead actress nomination That's right because Eileen Brennan gets best supporting actress right Nomination I guess and it gets a screenplay nomination So Nancy Myers is only screenplay nomination Of course But that rare phenomenon in which

[00:11:52] Sixth biggest film of that year Crazy That rare phenomenon in which a mainstream studio comedy Breaks into the Oscars Feels like it's own insane level of success Like the Bridesmaids thing Where it's like you're not just a big hit We're saying you're a legitimate movie

[00:12:09] Because comedies so rarely do well Usually they ignore especially back then Even the more successful a comedy is The more it seems to get ignored You know it's then viewed as like populist whatever So the fact that that movie makes that big of an impact

[00:12:22] I think makes Goldie Haan kind of unstoppable At this point in time Sure 100% she's yes as you say Has a deal with Warner Brothers big star This is all context for the fact that she essentially Was the sort of number one person in the movie And Savatash

[00:12:38] Her producing partner Right around Swingshift I think I don't know if she's working with her at the time Of private benjamin if what happens right after that Is this one whose name I'm forgetting now Anitha And Thea Jones perhaps Okay

[00:12:58] I will pull up the name in a second But I don't want to get my phone because I'm worried about changing my position In relation to the microphone Because everything we're doing right now is very tenuous And Thea Silbert Thank you She was a costume designer She was

[00:13:13] Did Chinatown She did Got an Oscar nomination for that Another film she got an Oscar nomination for Forgotten Thank you You're really going to have to work that computer Famous I always work the computer Famous costume designer who also produced like Half a dozen Goldie Haan movies essentially

[00:13:29] Right She becomes her part They go overboard and Wildcats And I'm jumping all around here But I think there is I have witnessed this a lot There are two things that can Fuck up a movie star And by proxy The film's a movie star is making their vehicles

[00:13:45] Okay One is If they team up with someone Whose job was ostensibly to Make them look good Okay In a capacity outside of that job What are you thinking of? I mean the John Peters Barbara Streisand thing is a perfect example Yes, yes, yes, yes

[00:14:04] Where then they suddenly have He's her stylist and he You have a right hand person Whose job is just to say like They're making you look bad Right You should be winning this movie essentially Right In both a visual sense And in sort of a star power sense

[00:14:22] Yes And in the same way when I say Making them look good It can be a makeup artist And it can be a personal assistant Right But people whose jobs were To just help a movie star Be the best movie star they could be

[00:14:33] Then suddenly becoming producers on a film Usually spells trouble Right And the other thing that usually Fucks up a movie is when The two leads fall in love Well, that's you know This is a really weird scenario Everything about the scenario Okay, like I mean yeah

[00:14:50] This is a very unusual situation It's not that expensive a movie No It's not being made Although it goes way over budget Well because they reshot it Of course Yeah, I'm just saying that That always puts a burden on a film Sure

[00:15:04] But it's really it's an unusual movie It's like Goldie Hawn is A very ridiculous powerhouse Jonathan Demme is still a young director Who basically has made like one legitimate movie You know after coming up with Corman Yeah She is with Kurt Russell Who is still well no

[00:15:19] He's already a big deal He is because he had done the Oldest mini series You don't know but right Like all that stuff's come out Like his John Carpenter stuff He's like deep in that Sure I'm just double checking Yeah, like you know the thing is

[00:15:32] A couple years earlier I guess big trouble in Little China is later You know escape from New York is already coming Right, you know he's But to Kurt Russell context very quickly He is a Disney star I was trying to argue like

[00:15:46] Oh this is like him coming out of his Disney Boyish but now he's already come out of that No I'd argue it's like This is a different shift for him Which is he's a Disney star In the period of the live action Disney films

[00:15:59] That now are being rediscovered Thanks to the Disney Plus Twitter thread Which I think won the Pulitzer Prize For literature this year It was good I liked it It's a good threat But all those sorts of movies That were modest performers at the time

[00:16:13] That no one took seriously And he was the He was a boyish handsome He was the teenage D-Zones He was the squeaky clean Great smile, blue eyed sort of dude And then he does The Elvis mini series The Carpenter Direct Which kind of redefines his career

[00:16:27] And then Carpenter goes You're my muse And makes him the sort of Winking self-knowing action hero For his sort of sly satire Put some in a ton of stuff Right But this is kind of The John Carpenter films are Such a hard swing in the other direction

[00:16:43] From the Disney That this movie Is moving towards the maze again You're like can he be like a charming But he's not in this movie He's supposed to be a jerk Totally But anyway but yes But that's I'm just laying out all the problems That's another problem

[00:16:56] Is that then they fall in love And they went Why doesn't this movie Reflect the chemistry we have in real life And why isn't Kurt as charming As I find him to be I don't think it was just that though I also think it was the studio

[00:17:05] Being like holy shit We've got a genuine publicity situation Where two movie stars Have fallen in love To beautiful movie stars We're gonna make a child Who's gonna really get David Revved up one day He gets you revved up? Oh I love Wyatt Russell You rule

[00:17:23] It's also just one of those classic like Children where you're like You hate each other You're like I'm gonna get a good fight Let's just get back We're gonna take you to This into that Yeah, he does love America. And Goldie Hahn becomes famous for being literally

[00:18:00] the flower child. Yeah, yeah, yeah. And there's such a weird couple in that sense, aside from them both being incredibly, like, preternaturally charismatic and beautiful. He's talked about it right? Like, he's been like, oh, she wanted nothing to do with me. Like, we'd known each other

[00:18:12] because we'd worked each other. They were in a Disney film together when they were one of the 60s ones. And she was just like, you know, he has some cute sort of meat cutie story about how, like, at the beginning of the movie, she was like not interested.

[00:18:25] And by the end, they were in love. Right? They're a non-couple like that. And then Wyatt Russell is the perfect combination of the two of them. He's like a hippie jock. It's true. Oh, God. Him and everybody wants some. He's so good. Woo! Oh, yes, he is. Anyway.

[00:18:39] David was like holding onto his eyebrows like he was trying to rip them off his head. It looked like his Twitter photo. Hmm. Hmm. Yes. I'm just trying to set out all the different elements that come into play. So I think that was really working against Demi.

[00:18:53] Obviously, as you say, Goldie is working against him. Now there's a really good sight and sound piece. Yeah. I think that was published after Demi died called Swingshift, the Unmaking of a Masterpiece. Um, which this guy has seemingly watched both cuts 40 times. Uh, yes, but I will say,

[00:19:12] no, the first sight and sound piece is from a long time ago because Demi references it. Oh, you're right. It was just. I think it was a hyperlink at the top. He would republish because of that. Yeah. Um, but yes, there's a very detailed

[00:19:25] sight and sound piece that's essentially like really going through all the differences, but it's also just like Swingshift is a not very good movie and Swingshift, the Demi cut is like one of the great American films of its decade. That's his argument.

[00:19:39] He's not just like this is a curio. No. He's basically like a Masterpiece was lost and you know, and it was like, it was this like heartbreaking thing. I wrote that article just because I want to give them credit

[00:19:52] because I'm going to be leapfrogging a lot at the stuff that they said, along with Steven Berg, Steinberg, the Guardian article. And then there's also a BFI entry on the film that has a weird amount of detail. But here's the stuff I piece together from all three. Okay.

[00:20:07] Writer of this film, the original writer on the film. Um, sure. Uh, Nancy Dowd, who wrote the original draft of coming home, which was then rewritten. She somewhat disowned. She also wrote Slapshot. She also wrote Slapshot. She had a bunch of uncredited, Yeah, she's a writer.

[00:20:25] She had a bunch of story credits. Worked in SNL when you're... Big deal in the 70s, right? Uh, she writes Swingshift as an original screenplay. I think somewhat to, as a corrective to what she felt, how they had sentimentalized coming home. Right.

[00:20:39] People point out that it has a very similar narrative spine to coming home. Now originally, by all accounts, her script was about Lucky and the Christine Lottie character, but a different name at the time. Sure. And the Goldie Hawn character was very much a supporting character.

[00:20:58] It was not a love triangle as much as it was a film about the two of them. Um, it kicks around for years. It almost gets made at some point in the late 70s with a combination of people I'm forgetting. Uh, and then in the early 80s,

[00:21:15] Goldie Hawn finds it. And she likes it. And she says, this is what I'd like to do. And she reached out to Demi because she liked Melvin Howard. Yeah. And he just won an actress in Oscar and yeah, he's a young, exciting director. They hire Ron Nygaard.

[00:21:31] Is that his name? Yes. Uh, who later... Wait, wait, wait, you mean, um, Ron Nye's Warner. Yes. Yeah, yeah, sorry. Uh, who later goes on to write Philadelphia for Demi to rewrite the script because the more she worked on it with Demi,

[00:21:43] she realized she didn't want to play the Christian Lottie part because it kind of conflicted with her image. Goldie Hawn's thing was, you know, being the cutesy ball of light in the world. And the entire crux of Christian Lottie's character is her fighting to retain agency

[00:22:01] in a world of use her as a tram. Uh-huh. And that was a little too hard-edged and a little too morally dubious for Goldie Hawn. Sure. So they rewrite the script and make this supporting character now the lead of the film. And it becomes more coming-home-ish then.

[00:22:18] Yeah, and Nye's Warner is the script. That's what everyone says. Everyone says that when... Demi was shooting off of that script. That was his draft. The weird thing is that, uh, the film ends up with one solo screenwriting credit which is a person who doesn't exist. Right.

[00:22:34] Which is weird. It's very weird. It's a pseudonym. It's like an Alan Smithy, but it's not that. They shoot this film. Yep. They test it. I think audiences are a little confused. Mostly probably because they're like, where's the Goldie Hawn comedy here? Right.

[00:22:49] Where's the fish out of water? Where's the She Changes people with her effervescence? You know? Mm-hmm. Mm-hmm. Um, and Warner Brothers Freaks Out. And Goldie Hawn of all. Freaks Out. And they're looking at the carousel of it all and they're going, why isn't this having more of like

[00:23:07] heparin and tracy energy? Right. So they bring in a bunch of screenwriters to try to rewrite the movie to make it more of like an oil and vinegar like screwball rom-com. And one of the first people they bring in is Elaine May. Can I read this?

[00:23:23] I've got it up. Thanks. Okay, so this is Jonathan Demme talking about how this movie was essentially, I don't even know if they had a test screening. I read that there was a test screen, but everyone should read this guard again,

[00:23:35] interview, which is so good if you can find it. Yeah. Um, but you know, cause like essentially the executives definitely tested the movie and they were like, no thank you. Like right, they were sort of all the problems you're talking

[00:23:46] about like where this is Goldie Hawn should be, you know, the lovable dits that's like, you know, like going to be an overboard in a couple years. Like that's, you know, the Goldie Hawn everyone's asking for. And overboard is what I think they wanted out of this,

[00:23:59] which is like Kurt's a man and Goldie's a woman and God, they can't get along until they do. Right. Um, so first he says that some other high priced Hollywood writer who he won't mention, uh, comes in and write some scenes. Robert town apparently was,

[00:24:14] I believe that too. He's brought it to you. Yeah. Um, but then he also says that was the second person. The first person they went to was Elaine May obvious first choice at this time. Right. She'll write you screwball comedy.

[00:24:24] Of course Elaine may comes in to see the movie. She has lunch with Goldie and a Goldie's partner, whoever I was trying to throw me off. I was trying to not interrupt. Thank you for my fine. A little just just say it because it just,

[00:24:39] it just makes me think that something's wrong. Okay. So Elaine may comes in. She watches the movie in the original form. Just edit it out. Come on guys. It's okay. Right? It's of course it's okay. It's just such a fucking shitty situation. It's fine. Come on.

[00:24:55] If anything will cut in a testimonial. Yeah. Everyone back to zero please. All right. Thank you. Elaine comes in. She watches the movie. She meets with Goldie walks in. I think sees Jonathan and says, you Jonathan, what a wonderful movie. This is fabulous.

[00:25:13] Are you guys out of your mind? So she sees the movie and is basically like, this is a great movie. Like you don't need me. You already have a product right here. Done. Release it. And they start talking to her like they want more of a Tracy

[00:25:27] and Hepburn kind of thing is what Demi is saying. Right. Which is what you're talking about. And she says, well, that sounds great for some movie. Right. But they go completely against the ecology of this movie. It now exists and you'll never pull it off.

[00:25:39] And Demi remarks like I love that phrase, the ecology of a movie. But it's so spot on because you watch the two cuts and so much of it is like, I've been thinking a lot about when, when Reece was on the show on her spirit away episode. Yeah.

[00:25:54] And he said that he feels like most movies, especially most good movies are either puzzles or dreams. Right? It's resonated. It's a great, it's a great thought. Yes. And watching this, I had this thought that most great directors or at least interesting directors are either anthropologists or engineers.

[00:26:13] I'm kind of on something here. Keep going. Keep going. Cause there's like, you know, the Fincher, Cohen Brothers, Hitchcock, Precision. They're making a machine for you. I'm going to have everything perfectly worked out and I hire people who are professionals

[00:26:27] and they know exactly what I want to do. Like see a shot in their head. I see it in my head. All that magic. Right. And you just have to execute that. And they'll work with people, but they'll work with people to execute

[00:26:36] the very specific thing they had in their mind. And there are people like Demi, who just kind of, and Eng Lee is another example of this. Yep. Who want to like sit down and feel the room and let actors define their roles and bring in collaborators

[00:26:49] who can bring him ideas that he never even would have had on his own and just sit and wait and study and experiment and wait for the results to come in, you know? And that's like... I think that's why this was so traumatic for him. Yes.

[00:27:06] Because it really seems like it was a very traumatic experience for him. Because it's one thing, so many of these situations, what was some director's cut recently? I feel like this was just coming up. The Snyder Cut? I mean there's that.

[00:27:20] That's not even the worst example where it's like... The Midsummer Director's Cut. No, that's different. I mean they're like a thousand examples. Talk about the Snowman. Snowman. But the Justice League is a good example. Midsummer, the director's cut is like basically like... Here's the longer version.

[00:27:33] He's just like, right, I have more and I like it. And I understand that movies have to be a certain length. So like, you know, but if you're interested, that's more the sort of like... Look, if you're more like the man or Cameron...

[00:27:44] Cotton Club, is that the one you were thinking? Well, that's an interesting one. That's interesting. That's more along the lines of this. But no, the Justice League thing is more like... That's a great example of like... The movie is probably a mess no matter what. Right? Sure.

[00:27:58] That's a film where there was a sort of unsalvageable energy and in trying to salvage it, the studio is probably just making it more unsalvageable. Right? Because you know, you've just got this mess on your hands. Right. This is the thing where he made a movie.

[00:28:10] It was good. Yes. People watched it and were like, hmm, I don't like this movie. It's bad. And he was like, I think it's good. And they were like, no. No. Rip the guts out. Right. They'll do anything example is... You watch the theatrical cut event.

[00:28:22] I'll do anything. That's another one. Those are two messes. Right. Both versions of the cut. The director's cut must make sense of this. Yeah, exactly. No. No, it's actually a salvage job. It's actually worse. Right. That's what's so crazy. Right. That's what's so bizarre about this.

[00:28:37] And let's say here, I as a thought experiment had us watch these in different order. That's right. This is Griffin's idea. It was a fun idea. Thank you. So I watched the director's cut first and then watched the goalie honk cut. And you did the opposite. That's right.

[00:28:52] The director's cut has never been commercially released. No, no. There is like an open mat VHS quality transfer that has been digitized and certainly has diminished. It is a little hard to make out in here. Oh, for 100%. No, it's not in good shape. It's watchable. It is watchable.

[00:29:10] I would say maybe more watchable than whatever the f*****g I'll do anything cut I watched was. But you know, similar lines. Yes, similar lines. Of course, I'll do anything also as a musical. So it really would have benefited from you being able to like,

[00:29:21] you know, hear things clearly and all that. Oh, you want to hear Elderbrook's belting it out in perfect 5.1 dopey digital surround sound. But still nonetheless, there is a cut. It is this yes, it's this sort of VHS thing. Right. And you watch that? Yes.

[00:29:38] It's been going around for years. Demi seems to think or seem to think when he rarely spoke of this film that it would be impossible. That it's all gone. Yeah. Now, there are many films in our lifetime that were thought to be

[00:29:51] all gone in the same kind of way. The thought is that Warner Brothers literally throughout that footage. Yes. That's insane. It's insane. Yeah, they trashed his right. But like, but the tapes do exist. I mean, he's, you know. The tapes exist off of-

[00:30:07] He's thinking in a more pre-digital sense. Like you can put something online, you know, it'll last forever. Yes. I mean, not forever. I pray that someday someone f*****g finds this and he can actually like restore the movie.

[00:30:18] Because there was, it's not like it only ever existed on like an avid. His claim is no for sure. Right. So it would have to be some old executive is like, oh, actually I did write it. Have you one of those weird like actually had a hole.

[00:30:31] I kept it. But that Guardian interviews from like 2002. I don't know. It's early. It's him either promoting, I think, truth about Charlie or mentoring candidate. Beloved. So it's from a long time. Jesus Christ. It's 98. Yeah. So I mean shortly after that, not shortly after that,

[00:30:50] but in the 67 years after that Warner Brothers does a kick of doing a lot of restorations where they take like the big red one and they restore the room. The same as falling. The exorcist, like they start doing a lot of- That's true.

[00:31:03] And people kept on thinking like is swing shift going to be next in the mix? But an example that like gives me hope is that for years and years everyone thought the original cut of Little Shop of Horrors was dead.

[00:31:14] To a degree that the first DVD was released with the black and white VHS quality version of the ending. And David Geffen had them pull the DVD from the shelves because he said I don't want people seeing it in this quality.

[00:31:26] I won't release it until it exists in perfect quality. And like five years ago they found it. So maybe someday they'll find it. Maybe someday they'll find it. But as it is right now, you can really only watch like a bootleg of the director's cut

[00:31:41] and nonetheless, so you watched that first. I watched that first. So I was watching a process of subtraction. I was watching the proper film and seeing what got removed and you were watching the addition of the elements that make the film co-heal.

[00:31:54] Right, I just, you know, ran of the damn thing on iTunes, cued it up, watched it with my partner. We'd watch together. We were like- Humble break. It's back baby. And we were just, I think, my experience with the movie. Let me speak about it.

[00:32:10] I'm going to speak on this. Speak on this, my friend. So I watched this movie. I am very fascinated by that period in American life. It is so crazy to think about basically that like most American men from the age of like 20 to 35, vanished from the country.

[00:32:27] It is such a bizarre thing to think about. I was recently rewatching a League of their Own which is like a light and wonderful movie. But it's also about the same thing where it's like, imagine just like

[00:32:36] everyone is old, like you know, like, you know, like you go to like the dance hall and it's a bunch of retight, right? Like that weird sort of surreal lynchee and kind of like- It's like the premise of why The Last Man. And yeah, exactly.

[00:32:48] And then so beyond that obviously, you know, you have all these like very real things that women had to deal with, especially, you know, women who are suddenly like in this household they had to run all by themselves and they had to earn money and all this shit.

[00:33:00] So this is a, I love this period. I love this concept. Yes. And so the first 45 minutes of the movie we're watching, I'm like, this is good. This is a good movie. I love seeing this and like Christine Lottie is fucking killing it.

[00:33:15] And Goldie, I am kind of like, what? She doesn't know what she doesn't have a handle on this. Like cause she's not playing sort of classic Goldie character, right? She seems a little lost. She's not great with the melancholy stuff.

[00:33:28] She's trying to be funny, but like there's not really a lot of funny stuff. That's what you're thinking watching the theatrical. The theatrical. Kurt shows up and I'm like, well, I want to fuck this guy. So I keep yelling about how I want to fuck him. It is.

[00:33:40] And then I would say like halfway through the movie, we really both started every 10 minutes, like looking at each other and being like, what is this about? Where's this going on? And there's the pivotal thing that Ed Harris comes home. We'll talk about it, but you know,

[00:33:55] there's a scene where Ed Harris comes off. He's on shore, leave or whatever. He just sees them together, the three of them. And then we sort of cut ahead and like he just knows, right? Like, you know, there's these additional scenes

[00:34:06] and he just kind of figures it out. And Joanna was like, so he just figured it out. And I was like, yeah, I guess he just figured it out. Right? He just kind of got the vibe.

[00:34:15] But both of us are kind of like a little unfulfilled by that. The whole movie feels like that. Like, I don't know that just happens. There's a lot of mental leaps that you can make because it's a movie.

[00:34:25] And in the last half of the movie, that's what's happening. Like there's this scene where people are, where Holly Hunter is a new guy. And I'm like, wait, when did she get the new guy? Cause previously her only big scene was her crying.

[00:34:37] Is her crying when she learned her husband's design? And so you're just like, I think that was the guy who delivered the news was her new boyfriend. Right, but all this, the director's cut has a lot of scenes that sort of sprinkle in more context.

[00:34:48] And it's just a movie that makes more sense. It was assembled that way. And so we watch it by the end. I'm just like, when the fuck is this thing over? And it's not a long movie. Yeah. And I really got frustrated by it.

[00:35:01] There are hundreds of minutes. There are a hundred minutes each. Right. I think the director's cut is 101. Like it's literally like that. And we turn it off and we're just like, I don't know. We were both like a little frustrated. And that obviously I'm saying to her like,

[00:35:14] ah, there's actually this director's cut. She doesn't give a shit. But like, so I answered she's leaving you. No, but it is, I can imagine if you're watching it in that order, you're like, do I just have to watch this movie again with more scenes added to it?

[00:35:27] So I cue it up. It's just going to be an expanded version. So I cue up the director's cut. Yeah. And I'm like, the next day, I did give myself a break. I watched some packed it back like a lunatic. That is lunatic. That's lunatic level.

[00:35:40] But that's classic you. Well, I'm a lunatic. And the first half of the director's cut is so similar to the actual movie. Not like broadly. But I was almost like, this has been overhyped for me. Like because I'm noticing little editing changes and stuff.

[00:35:58] And I'm still like, get out of here, masterpiece. Yeah. Or what, you know, like get out of here, sight and sound guy who's like, he won't believe it. It's one of the great American movies. And then suddenly everything changes and starts to make sense. Right.

[00:36:11] And I recommend you should go back and watch them both again. The other way. I'm thinking about it. Honestly, like I'm so fascinated by these two films. And I could not believe how good the movie was on rewatching it in this director's cut that basically just like.

[00:36:27] There's all kinds of changes that we can try and talk about. But it just sort of, it feels like a Jonathan Demi movie. I guess is the best way to describe it. It feels empathetic. It feels like a slice of life about a bunch of people.

[00:36:39] It feels like it's more about this workplace and this relationship between Hazel and Kay, you know, Kurt Russell is very much a supporting character. Like all the men in the movie, all the men in the movie are very much supporting characters who are sort of in and out.

[00:36:55] They're disruptive, they're emotional, but they're not like, you know, we don't care about them in the same way. And I turned it up and I was like, I can't believe it. I could not believe it. I texted you immediately. Like stunts.

[00:37:07] So the other sort of legend about the re-cut is that Goldie Hawn felt insecure. This is a legend. A legend. Unconfirmed legend. Yes. It's a legend, but it worth acknowledging that this had always been a whisper.

[00:37:22] Because even at the time of this film's making, it was being written up a lot as this year-long battle between Goldie Hawn and this up-and-coming director. That she apparently felt that Christine Lottie was outshining her in the movie. Yeah.

[00:37:38] Which Christine Lottie is in that position where it's just like, here's an actor who has the goods and is finally being given their first big role and they're just ready for it.

[00:37:48] It's one of those lightning in a bottle things where it's like, this is just someone who is right there. Is so prepared for this moment and shows up and makes the most of it. It is not an incredibly showy performance. It's an incredible performance.

[00:38:02] But it's an incredibly good performance, right? I think it's really incredible. And it is one of those classic right, you're just like, who is this and how do I get more of them? Like, right, you know, like that emerging thing.

[00:38:11] It's like Carrie Mulligan in an education where it's just like, okay, you're a new person now. Great. You're here. Welcome. So tall. Keep making movies. So tall. There's an incredible shot in the director's cut, I think where her Lottie, Goldie Hawn

[00:38:28] and Holly Hunter are all standing together and Lottie is like five foot 11. Yes. And Goldie Hawn is like... Goldie is like five, six. She's like regular sort of. Right. And Holly Hunter is like four, five. Yeah, right. And it is like small, medium lunch.

[00:38:43] At one point someone tried to rivet Holly Hunter into a plane. They just thought she was a little rivet. They put her on a rivet gun. Yeah. Now that ain't a pill. And she fit. That's Holly Hunter. What was I going to say?

[00:38:54] The Lottie thing though is fascinating because Lottie gets the best supporting actress nomination for this movie. Anyway, even though this movie came out in May was a flop and is surrounded by death. She's still so good that she gets it. Totally.

[00:39:08] And in a weird way, if one of the goals had been to minimize Christine Lottie by centering Goldie Hawn more, the movie becomes so jumbled that Christine Lottie comes out of the Warner Brothers Cut as one of the only coherent elements. Yes. It's true.

[00:39:24] So she rises to the top. But it's one reason I don't actually buy that it was like sort of an actor war thing. I think it's more just Lottie is going to suffer because Goldie is like this should be a romcom. This should be a love triangle.

[00:39:38] This should be a, you know, me, Kurt and then like Ed Harris or whoever, you know, the third spoke like we got to put in more Kurt. We got to put in more Kurt. Sure. Yeah. And then so, you know, the Hazel relationship just kind of diminishes.

[00:39:53] And then there are moments in the movie in the ring, the Goldie cut where like Lottie and Goldie's relationship is really important. And you're like, did they even care about each other? Like I don't get this.

[00:40:05] Like the ecology comment is fascinating because there are things watching these two cuts back to back that feel like the Kuleshev effect where you're watching the exact same scene. You're talking about the Kaminsky method. I'm sorry. I'm sorry. It feels like the Kaminsky method, America's favorite comedy series.

[00:40:23] Right. The Kuleshev effect. You know what I'm talking about? No. You don't know about you. You're going to know when I explain what this is. It was that test done by like the Russians. But like the study in sort of the R1 touch. Oh, yeah. Right. Yeah.

[00:40:44] Where they filmed a close-up of like the most famous actress of the time in Russia and just said with a blank expression, we're just going to film you for like two minutes. It's an actor, I believe. I believe it's a lady. Am I wrong about this?

[00:40:55] I think you're wrong. Okay. Isn't it a man? I think it's a man. This man. Oh, I'm not wearing my glasses and computers on the other side of the screen. Excuse me while I put my spectacles on. Okay, it is. I'm sorry. I'll eat a turd.

[00:41:13] The point is it's a man sitting with a totally blank neutral expression and they keep on cutting to other things within his sight line. A little girl in a casket, a bowl of soup. The third one here is a pretty lady on a fainting couch.

[00:41:27] And the idea is that if you cut between these things, the audience projects on the face how they think he would respond to those things. The sadness of a child being dead, the hunger in a bowl of soup, the lust in looking at a woman. Right?

[00:41:44] It's a good movie. But he's doing that. This movie slaps. Yes, yes, yes, yes. And there's this weird thing where like there are scenes in this that I watch in the director's cut and I go, oh, this is an incredible performance from Goldie Hawn in this scene.

[00:42:01] And then the exact same scene happens in the Warner Brothers cut, unfucked with and the performance feels totally flat. Right. And is entirely about what scenes happen before and after. And not just in terms of, oh, story details are missing, but even as Elaine May would

[00:42:16] say, the ecology of the movie being different. It really is that. It's like they, it's you're in Australia and you brought a frog and now all the frogs are multiplying and they're eating the bamboo or whatever it is that happened. Right?

[00:42:31] Like it's like they brought in these extra Kurt Russell scenes and everyone's like, well, everyone likes Kurt Russell. He's sexy. What the hell? How bad could this be? And then suddenly it's like, oh my God, like all the levels are off and they

[00:42:41] can't get them back in line. What's weird is it's not just extra Kurt Russell scenes. It's also like the score is different. Yes. Well, right. The score is very annoying. Really fucking stupid. In the Goldie cut. Yeah. Well, just one of those classic like, ah, I get it.

[00:42:57] Like, no, I didn't have to write. And like when it's a comedy, the score is like two chipper ones. A romance. The score is like two swooning. When there's tension, it becomes a fucking like Z grade Bernard Herman score. Yeah. Right.

[00:43:13] There's the thing where there's the motor that's going to fall on the woman. Yeah. And in the regular version, there's no score and it's just the tension of Goldie noticing it. Right. And that they literally play like shitty vertigo-esque music. Right.

[00:43:26] Um, but also they attack Fujimoto, regular collaborator of Demi gets fired for the reshoots because they thought he was making Goldie look too old. Huh. Sure. So there's like the 30 minutes of scenes added and sometimes even the little pieces in scene.

[00:43:44] You can tell the difference because she is so much more brightly and gauzily lit. The scenes are more flat. But the other thing is in the Demi version Fujimoto, it's like so much steady cam. Yeah. Yeah. Which is and there's also these like these wipe montages.

[00:44:00] Weird wipes that he hasn't done since cage T. I know. I know where they're weird like triangle white things. Um, but, but it is like it's this very fluid movie. Move me up this very fluid movie of camera movements guiding you through a larger space

[00:44:17] and being able to observe the behavior of all these different people. And, uh, in the Warner Brothers cut, even in the first half of the movie where there is not a lot changed on a story level, those are cut down.

[00:44:31] And it feels like Goldie Han doesn't want this much of the movie where she is not at the center of the frame. Yeah. Well, you're like, look, you're right. I don't know. I'd love someone has she's never talked about it. Right. Never.

[00:44:45] Well, no, I mean, I feel like she talked about the time and she said like, look, this is an ego thing. She was very much like I was trying to rescue a movie. Yeah. She was like the film he screamed was a mess.

[00:44:54] There were, I was trying to save it and whatever I could. I didn't succeed, but no one could have fixed this thing. Right. Right. She was sort of doing that when I'm talking about the, the, the, the, the justice like, look, it's, it's the best I could murder.

[00:45:07] You have to amputate. Which is not what happened as Demi has said. He's basically like, I presented them with a complete movie that was good and they made me shoot more scenes that were bad.

[00:45:20] And then I cut them in and it was worse or they cut them, you know, he contractually had to shoot them. Yes. Or else loose his status as director of the film. They made him fire his screenwriter. He knew that new editors are going to come on. Yeah.

[00:45:33] He says I had to cooperate them. I had to shoot them because of the contract. He talked about in this, protect the movie in a way. A lot of Demi being a man. But he talked about it's like, it was such a terrible thing to do.

[00:45:43] And it's not just about the ego of look at my vision. It's about they were racing the work that everyone trusted me with. Actors are giving me performances and cinematographers are giving me images and people are writing a score for me.

[00:45:55] And I'm telling them that I'm going to protect it and keep it intact. And all these things are getting fucked with it were replaced entirely. I just remember finding myself sitting in the bathtub at 6 30 in the morning

[00:46:05] just crying is one thing he's saying when he's talking about all the things you're talking about. And he said, yeah, they like hired someone to write the reshoot scenes. It was a writer. He does not name who eventually got hired who did it because he was trying

[00:46:20] to get Warner Brothers to green light another script he had written. So he thought they would put him in good graces and he deliver the pages and they thought they were bad. So then they had someone else rewrite them and they shot him over four days

[00:46:33] and he was there and he was like, look, I have not my DP. Some other guy they will breaker who he likes. Who he likes. Yeah, but is now mostly hired to try to make all the actors look younger and prettier.

[00:46:44] Yes, yes, because the original version had too much grit. What? Okay. And the actors Goldie is primarily concerned with coming off like classic Goldie. And so he was like, I would just sit there and I would go to the cinematographer

[00:46:57] and say, so what do you want to do? And they show me when they were done and I would go, okay. And I would go, Goldie, what do you want to do? And she would tell me and I would go, okay.

[00:47:05] And I was just sitting there and babysitting. Yeah. Yeah. And it just sounds like this fucking miserable experience. They look at it. The new stuff doesn't work. He's like, I will happily take two of these minutes.

[00:47:19] There are two of the 30 minutes we shot that I think I could use and they went fuck you. And at that point he was essentially off the move and it was out of his hands. They trashed the score. At that point, right?

[00:47:30] He's like, look, I'm going to go make stop making sense. Right. And he's like, you realize was kind of the movie that saved him. Very much so. And also as a movie where he's like, can we celebrate pure creativity? Right.

[00:47:42] And can I do it in a way that's full collaboration, not just with David Bernbeer with everyone on stage and really highlight the work of everyone on stage. And they says from 84 on, I made a role that I wasn't going to make a movie that wasn't fun.

[00:47:56] I wasn't going to work with people that I don't like. Yeah. Let me find it. And something wild feels like such a celebration of like, I'm going to have fucking fun. I would continue. I would hope to continue making movies, but only with people I like.

[00:48:09] So that's my new rule since 1984. I wonder if he, yeah, I feel, I mean, he's never had a legendarily bad experience making a movie again. Obviously. No, those two interviews are done before truth about Charlie. Yeah. So who knows? I don't know how he felt about that film.

[00:48:26] I don't think he felt bad about that movie. I think America felt bad about him, but I don't think he was like, this is a mess. I'm sorry. Like, sure. I think he made the movie wanted to make. Yeah. I think after this he's basically there's, I can't

[00:48:41] actually say on Mike, but there's one movie I heard about that he was on it. He did not love making. Interesting. I'll tell you off me. Okay. I shouldn't even, yeah, I'll tell you off. Here's what for me, the demicut of the movie is about

[00:48:55] and it takes a little while to crystallize, but when you realize what it's sort of saying and what it's interested in, it feels very cogent and cohesive. Right? This weird fucking period, American history, as you said, where like suddenly 80% of our males disappear.

[00:49:12] And society is now like actual children, old men. Sure. People who are sick. Yeah. People who are like, were 4f and probably had like a chip on their shoulder about it. Totally. And I think, you know, they couldn't go serve. Right.

[00:49:28] So there are men who feel somewhat emasculated. 100%. People with money and status able to sort of circumvent the system at a certain level. Although I think in World War II is not that much. Yeah, because like it was cowardice.

[00:49:38] Like it's not like Vietnam where it was a little more like look, no one wants to go over there. That's a small group and they are mostly the proud cowards. They are proud to be cowards. Right? And then you have sort of like fucking political

[00:49:50] radicals, like, you know, I mean, Kurt Russell jokes that he's a communist and that's why he's not in the war. Right. He says he's a Japanese spy? Yes. But no, but in the Watcher McCall, in the longer version, he goes on a longer run.

[00:50:05] He makes a bunch of jokes. I mean clearly in that way of like he doesn't really want to talk about it. So he has like a bunch of funny lines. Totally. Right. But it's mostly yes. Men who feel emasculated by the fact that

[00:50:16] they're not physically fit enough to join the war and old men. Yeah. And so in this weird period women were asked to step up and join the workforce and replace their husbands in their jobs, especially, you know, building planes and such,

[00:50:30] which is why Rosie the Riveter became like such a fucking iconic image. But it was this weird contradictory thing of the government saying women, you need to join the workforce. Our country needs you. But the second they showed up to work,

[00:50:45] all the men went fuck you, you don't belong here. Sure. Don't think we accept you. Sure. That's what I love all that stuff. Charles Napier is sort of in this movie. Love all that stuff. The hostile. Right. And Goldie Haun and her husband, Ed Harris,

[00:50:59] are two fairly boring, waspy, conservative people. Sure. They live in a little cul-de-sac. They have a quiet life. She doesn't seem to have that much of a personality because it feels like she's never had the chance to figure out who she was. 100 percent.

[00:51:14] Because she was kind of told. So many women are for generation. You don't worry yourself about that. You don't need to have an inner life. And there's this person, this one, her neighbor, who's always walking by in these fabulous outfits. And Harris is always calling her Tramp.

[00:51:26] And then Harris is like, ah, that Tramp. That fucking Tramp. And she's like, isn't she a singer? And he's like, singer my foot. Yeah. Sing as the Tramp blues. They both end up at the same factory. Yes. Work in the swing shift. Work in the same line.

[00:51:41] Work in the swing shift. And they sort of slowly, reluctantly become friends. Although Goldie makes the first overture because she doesn't understand the idea that this one could be her. Because she doesn't think about someone having that much self-respect. Sure. 100 percent. Yeah.

[00:51:58] She just tries to do this little like, hey, we're in the, we're in the Apes. And she's like, do you think I'm mute? Yeah. Like, do you think I'm deaf down and blind? You call me a Tramp every single day of my life.

[00:52:08] But the shift of the movie is, I mean, the titular swing shift is not just the hours they are working. 4 to 12. Swing shift. Work in 4 to 12. I had a job. Work in that. Work in that. Yeah. Really? Overnight at FedEx. Loading trucks. You worked loading trucks at FedEx?

[00:52:34] How was it? It lasted three months. It sounds like it'd be really tough. It was the worst. When was this? Well, the problem was I would party before I went to work. What an absolutely ridiculously bad idea. You would party up until 4 p.m.? 3 a.m.

[00:52:50] And then I would show up and I never really... Well, you worked the opposite. You worked 4 a.m. to noon? That's what I thought they were doing. No, they're working 4 p.m. to midnight. Cut it all out! No, but I went, oh, I like this FedEx stuff.

[00:53:02] So you were basically working the night shift. I mean, you're working the deep night shift. I believe they call that the graveyard shift. Yeah, the graveyard, exactly. Okay. Yeah, so I was a graveyard man. And I got fired because I was sleeping in a truck

[00:53:16] and the boxes were just piling up on the conveyor belt. I will say, unfortunately, I think the grounds were dismissal. I wasn't doing his job because of sleep. Yes. But was there just like a culture of like, I feel like the guys who worked that job

[00:53:32] are just like salty dogs. They're salt boys. And like it's a lot of chatter. Yeah, smoke and blunts. Sure, sure. Cool stuff. Speak on that. Speak on that? Sure. Dutch master? I am indeed. Who are your blunts? Dutch master. Dutch master, Philly, White Owl, Optimo. Gotcha.

[00:53:58] I actually pretty surprised how many blunt brands I know. Go back to the movie. So they're on the swing shift. Don't touch the movie. Your thing with swing is metaphorical. The swing is in the absence of a husband and society where now suddenly they are more involved. Sure.

[00:54:17] Goldie Hunt starts to figure out who she is as a person. And they are a community in a way that like they haven't really been before. Right, that Christine Lottie sort of swings her over to a different way of living

[00:54:27] where she actually experiments with who she could be for the first time. Yes. And Kurt Russell is but a part of that. Mm-hmm. You know, he's this charming sort of cat. The Goldie Hunt is very much like, this is a movie about a girl who works a job,

[00:54:43] makes a couple of friends, but in working that job has an affair with the hottest guy. Yes. And where's the, yeah, the movie we, the director's cut is much more right. He's very peripheral. Because I think she was trying to make it like wild cats.

[00:54:57] Like wouldn't it be funny if Goldie Hunt ran a football team? Like what's a place Goldie shouldn't be? You know? Sure, sure. Yeah, yeah, yeah. And there is this little bit of triumph in terms of her becoming like the lead man,

[00:55:09] but it's not a fish out of water comedy. Not at all. And what works so well. It's very collective. Her performance, which I think is incredibly good in the Demi cut. It's good in the, it's better in the Demi cut. I think it's incredibly good.

[00:55:20] I don't know if I did. I was watching it and I was like, this is so interesting I've never seen her do anything like this before. But that also might be a symptom of our flip. That I was so against her performance in the Goldie cut.

[00:55:30] I think so because in the theatrical cut it's a nightmare. It makes zero sense as a character and it feels very forced. What I found interesting in the Demi cut was she's playing someone kind of devoid of the natural light and charisma that Goldie Hawn has.

[00:55:43] And there's the scene where Kurt Russell asked her about herself and she starts talking about Jack, her husband, and their life. He said, I didn't ask about Jack. I asked about you and she goes, well, I'm not interested. I don't have anything going on. Right.

[00:55:56] And it's like she's a person who her entire life is defined by the relationship she has with her husband. And in the absence of her husband, she doesn't know who she is. Yes. Her husband is boring too. He's fine. He's fine. He's fine. He's a basic bitch.

[00:56:11] He's a bit of a basic bitch. He's a bit of a basic bitch. But it's this weird shift in society in which women figure out who they are for the first time.

[00:56:18] This one finds out who she is for the first time, has a friend for the first time. Sure. Autonomy for the first time. All of that. Yeah. But then this weird thing of, of course then, the war ends and the men come back and they're

[00:56:31] expected to go back home. It's not just expected. They were obliged. They were contractually obliged to give up their jobs when the war was over. Don't let the door hit you on the way out. You helped us keep the economy alive.

[00:56:43] You helped us keep our boys up in the air. But also we're never going to give you any credit for it and now go back to working in the kitchen. That scene which I believe is in both cuts of where the planes are flying over.

[00:56:52] I think they come at different times. And she said, I made that. We made that. It's great. It's great. The difference is what fascinates me. Anyway, yes. The difference is the Lottie version ends with her back together with Jack or the Goldie cut called the Goldie.

[00:57:08] No, no, I'm sorry. The Warner Brothers cuts what I mean. Yeah. The Goldie cut. I'm getting all confused. The Demi cut. There's a Demi cut and a Goldie cut. No, I know which ones are which. I forgot which one I was saying. Cancel the episode.

[00:57:21] The Demi cut ends with her and Lottie on the beach. I know what this works. And it's a beautiful, beautiful final shot. It is. What are you freaking out about? I'm not freaking out. I fucked up and then you got the leapfrog.

[00:57:35] I think I was going to say. I completed your thought because you were clearly. I didn't middle it. I had a middle. So wait, what? Cause that wasn't in. I watched the Warner Brothers cut. I mean the Goldie cut.

[00:57:48] It doesn't have to be a stream of them hugging. She's like kissing the dog and then she walks up and she's like, I'm sorry. And then the last line is we really showed them.

[00:57:58] It's, I mean it is very much like me finishing a college essay where I'm like, in conclusion, it's a land of contrast. Also, okay. So in the Demi cut, Christine Lottie has a weird on again off again relationship with Fred Ward playing character named Biscuits. Biscuits.

[00:58:14] Yeah, of course. Right. We stand alleged. Cool name, cool guy. Yeah, exactly. He's actually not a cool guy. No, he's like a dummy with a temper who runs a nightclub. Yes. Right. Like Fred Ward performed like I mean, well cast. Yes. Excellent work in the Demi cut.

[00:58:29] He hits her. Yeah, he slaps her. She slaps him back. He slaps her again or whatever. Maybe she slaps him. He's like that. They have a little sort of exchange of blows. It is a little bit heroin. Oh, it's no good.

[00:58:39] And it makes you realize she should be away from this guy. Right. She needs to figure out what the fuck she's doing with her life, which is probably one of the only reasons that she's even opens herself up

[00:58:48] eventually to Goldie in the first place is cause she realizes she needs to shift. That was the main club she used to perform at. She can't perform there anymore. I mean, he's over him being like now that there's a war on it can make so much money from

[00:59:01] this club. Am I wrong in thinking that the Goldie hut removes the hits and just makes him like, oh, he's sleeping with other women. He kind of knocks her down off of a bike. Sure. That comes later. But here, you know what?

[00:59:14] I'm going to queue up the fucking cut right now when I check it. Okay. But there is, I don't require to watch this morning. I don't believe that other than that you see his character. Cause there's like a moment of starling violence and it feels like the Warren

[00:59:26] Brothers cut kind of stands him down a little bit because there's something to the fact that when he like shows up again at the ball and he's in uniform and he's about to ship out the next day and his friends are calling him by a different name.

[00:59:40] Um, and he actually seems like apologetic like he's tried to remake himself right that you really don't know whether or not to trust this guy. Right. And in the Warner Brothers cut, it's sort of arguing like he's cute. Yeah.

[00:59:55] He kind of just comes back and it's like, I fixed myself up. Please forgive me. The end. Well, the thing I find kind of bittersweet and it feels like in terms of the ecology not being fucked up is coherent in the Demi version is

[01:00:08] it feels kind of sad that Goldie stays with Jack. Sure. And that Lottie ends up married to biscuits because both of them feel like men who are limiting in their men. Yeah. It cuts all of what we're talking about out. Yeah, the slaps are gone. Right.

[01:00:22] They have a fight at the table. They have the fight at the bar table and then it cuts straight to Goldie in the theater looking like looking at a newsreel. Right. It's so stupid. Um, they both end up in these relationships that you feel kind of shitty about.

[01:00:35] It feels like a depressing ending. Sure. All the women are in the kitchen showing off their new, you know, model dishwashers and everything. And then right after the wedding, Lottie and Goldie, Han escape and go to the beach and sit in the beach and drink beers together. Yes.

[01:00:51] And the whole point is this is a rom-com about the two of them. It's a love story about friendship is to women that never had friends before. And how their lives are upended, but you know, the post war era America was not like, yeah, it turns out

[01:01:05] we, we love women's liberation and women should have jobs and, uh, you know, we're just going to totally up in the social. There was active resentment of like the husband's coming home and being like, I can't believe you've been working.

[01:01:15] Well, beyond that, it's just the fifties are such a clear reactionary thing. Like, you know, it's beyond just like, well, uh, back to normal, back to normal. Right. It's more like we, we must reassert that it's like, yes, the family unit is important. This is America.

[01:01:32] We are the beacon of civilization. And like who would have known those ideals, uh, to this day, very day are still very much a problem on our society. Oh yeah. Everything is terrible. Everyone's the worst, but the, um,

[01:01:46] That's almost like a thing now for, for blankies, like, uh, for like bingo or whatever. Yeah. Like anytime griffin reference that everything is bad, the world's terrible. It's all the worst. Um, there is this weird sort of bittersweet ending, which is like they're still trapped by society.

[01:02:02] They're still going to be trapped in these shitty relationships in many ways. The thing they get to carry with them going forward is their relationship that these two women have each other, which they didn't have before. They're both isolated in different ways. Yes, yes, yes. But there's also,

[01:02:17] And that's very poignant. In the director's cut, in Demi's cut, there is the scenes with Ed Harris after he returns. There's this scene where they walk on the beach together and they have more of a genuine reckoning about how they've changed. And she says there's another guy,

[01:02:35] which is all of this is gone from the, um, uh, they're from the Goldie cut, which is why that sort of the Ed then suddenly flips and realizes everything just always, it just feels a little quick and a little easy. In the Demi version, car pulls up,

[01:02:51] Ed Harris gets out, he knocks on the door, she doesn't respond. He immediately starts to seem pissed off. Right. He starts banging on the door more and more aggressively. He's super suspicious. He walks up into the other, into Lottie's home and Goldie, Hanukkah,

[01:03:04] Russell come out of the back like dancing together. Yeah, yeah, yeah. That shot is in both cuts, yeah, of them all dancing together. Right. Um, in the Warner Brothers version, he like walks up to the door holding roses like a big dope and when she's not there,

[01:03:19] he's like, okay, well onto the next door. Well, I guess we'll check next door. Right. Like he comes off as like totally oblivious. Right. And then when he sees them, they weirdly throw in like one extra shot where he like throws a glance back to Kurt Russell

[01:03:31] and tries to figure out what's going on. They do, but then they all said that scene where like he's going through her clothes. Right. And she's got the lead man jersey. And he's like who's this lead man? She's like, would you believe it's me? I'm the lead man.

[01:03:41] He's like, okay, where's my clothes? Right. And she goes, it's like, here, oh God, I got all these airplane parts here. Somewhere under here. Why does she have fucking airplane? She would have airplane parts? She works with a factory. This is clearly like someone rewriting this

[01:03:53] with like three hours to go. Right? So, airplane parts in the closet. Oh, but you don't see any airplane parts. Anyway, it doesn't matter. You're right. There's this beautiful thing of like they flip every balance of terms of when he's suspicious

[01:04:05] and when he's oblivious in the two versions. Right? So then he comes over and Goldie Hawn is like as quickly as possible trying to fix everything in the house to make it look like she hasn't been having fun on her own. Right.

[01:04:16] It's less even the evidence of a man and more just like the evidence of like a life being lived. Yes. And that is what they talk about on the beach and things like that. Right. And he's like, what's going on?

[01:04:25] He's on the beach and they're talking about stuff. She makes a bunch of comments. He calls Christine Laudy a tramp a bunch of times. And she's like, you can't call her that. You're not allowed. And in here it says she's like brainwashing you've changed. You're different now.

[01:04:36] She's gotten to you somehow. And she's like, I am different now. And that's when she like turns her back on him and says like there's another man. But in the... Which he was never going to suspect. He is so blindly trusting.

[01:04:47] Because they sort of present him as Laudy's guy. Right. Like that's their trick right now. Yes. Right. And she should be clear in this studio cut. She does have an affair. She has sexy sex with Mr. Kurt Russell. But he cries. Like when they're having sex, she cries.

[01:05:05] And it's seemingly because of the intimacy. Sure. There's a scene where he's behind her and he's grabbing her boobs. And she's very, you can tell sort of like mixed up about it all that's in the director's gut only. Right. There's nudity in both...

[01:05:20] Mixed up more about like she is so uncomfortable with her own sense of sexuality. That's what the morality of the thing is much. There is nudity in the director's cut. Both in Goldie Hawn sleeping with Kurt Russell and Christine Laudy sleeping with Kurt Russell

[01:05:31] that's cut out of the... And Kurt Russell's touch? Yeah. Tight touch. It's a little more of a sort of sordid shot. It's like rather than them under the covers, it's Russell is face down but up. Totally exposed. No covers.

[01:05:43] And then she's got the covers up to her shoulders. She's got the covers but they sort of fall away. You know, like it's a little more natural in the demi-cut than in the director's cut. But that's a big thing is like they're drunk. They're out together.

[01:05:53] They make it this clear thing that he's been hitting on her for months and months and months and months and months. Time is an interesting thing in both. This is five-ish years being covered and they only sort of acknowledge it sometimes. Which they...

[01:06:03] In the demi-cut, she says you've been asking me out every day for the last three months. There's stuff like that. In the Warner Brothers cut, I think she says five months and it's literally just dubbed over. Like they want to make her seem a little more virtuous.

[01:06:15] Oh great. They're so worried about like Goldie fans turning on her for having an affair. But that's the whole point of the movie. Is the merkiness of it that she feels very guilty about? It's not her being like fun and fancy free. But right, she kind of...

[01:06:29] The movie was rated PG to be clear when it was released. Crazy. Whereas the director's cut probably would have been was certainly would have been an R. I would have thought, yes. Her guard comes down. They get intimate that night. He gives her the ride home. It's raining.

[01:06:45] She starts crying. She wakes up the next morning and like reaches for him and looks over and then recognizes that it's not her husband's butt. And it's this beautiful moment where it's like she first, second thinks she has woken up in her life from a year ago

[01:07:00] and realizes this is a different man that has a complete existential panic about it. Okay, but in the studio, Kurt puts on a bathrobe and makes her an omelet. I mean to be fair, it's pretty sexy. Kurt in a bathrobe. And they have some like,

[01:07:13] I'm a man and you're a woman fight. Yeah. Yeah. Remember that all of that is not in this. It's so weird. Would she like the nightgown or the bathrobe? And he's like, I'd rather be drowned. I'd rather be wet. And then you cut to him in the bathroom

[01:07:28] with the apron making the cheese omelet. And it's weird because it makes it seem like the affair is more of a conscious deliberate decision on her part. But then she stands up for her own integrity. They still have, well they still have these scenes

[01:07:42] that are from the other cut. Of course. Where she's like more conflicted. And I'm married and this is wrong. And I'm not sure what to do about myself. There's the scene where they're giving the sort of tribute to Holly Hunter who's so goodness

[01:07:56] and has so much more to do with Demi version. She's incredible. And they sneak away to make out. Is this, where is Holly Hunter in her career at this point? This is three years before. This is pretty much it. I mean she's a voice in Blood Simple

[01:08:11] and uncredited. Yeah. This is her second movie. She's in the burning. Yeah. And I think a small role. But yeah, so she's nobody. Nobody. Because in 87, which is pretty much her next movie is the raising Arizona broadcast news year. Which is crazy. Right.

[01:08:28] I should go home and watch broadcast news right now. Yeah, I probably will. Do you want to just stay in here and do it? Yeah, let's just do it. This is such a good room. It's got such great energy. It's hard to even remember all the little differences

[01:08:41] of how these things are presented. It's hard to remember all. But we have covered a lot of them. The other thing I was going to say is, so then when Jack comes home, Kurt Russell is very hurt. They have a number of conversations in the Demi version

[01:08:53] where he's like, why are you acting weird? And she's like, I'm married. And he's like, so? You've got to live your own life. I'm married. What do you not understand? This matters to me. I care about this.

[01:09:03] And he both sort of starts to back off a little bit and gets very personally hurt by it. His sort of wounded ego of not being the number one guy. So then there's this scene that is so well acted where he kind of very knowingly asks Christine Lottie

[01:09:20] if she wants to come see him play in the club that night. And it's one of those scenes where like him saying that is pretty much him saying, do you want to fuck? Right. Right. Like you're alone now and I'm alone now. Do you want to fuck?

[01:09:34] And they both kind of go like, yeah, let's them go to your show tonight. Yeah. You know, and they go through the motions and they sleep together and she wakes up the next morning and has Ben's holding up fingers. What do you have to say?

[01:09:47] We're going to skip over Kurt Russell playing trumpet. He learned to play the trumpet for this movie and his trumpet teacher, I looked up because Joanna was interested like, can he play the trumpet? Yeah. And I was like, let's find out. Let's find out.

[01:10:02] It doesn't seem like he's really, no, he's playing the trumpet. Get out. Yes. Because this, I found a very long article that was by like some trumpet guy who's like worst fake trumpeting in movies. Like here we got it.

[01:10:16] He was like, fuck this, fuck that, you know, like lots of, you can tell their mom. Because I was doing it. I was definitely watching him on the vowels and trying to see his lips. Buried in it. Tried to get it.

[01:10:25] Because this movie is so not that a big deal. So buried in this article was him being like, now Kurt Russell in swing shape is actually doing it. And I found an interview with his trumpet teacher who said he was

[01:10:34] really good and worked on it for three months. So like, you know, I'm impressed because man, not only is he very hot, but then getting him on some hot brass. Oh boy. Anyway, as you say, yes, the where he gets with Lahti,

[01:10:52] you know, which is in both cuts. Right. But there's something too in, in the Warner Brothers cut, it just cuts at one point and they're waking up in bed the next morning. Yes. And like, she sees him.

[01:11:05] You see her come in and he's playing like kind of sad jazz. Yeah. And then it's just like, they all this is much longer in the end. The lead up of them having like him inviting her and going out together.

[01:11:17] This is a sentimental song about people have been in love. You know what I mean? Remember he has that whole monologue where he's introducing the song. And then how does, yes, how does Goldie find out in the demi-cut?

[01:11:28] Because in the Warner Brothers cut there's a weird thing where she takes a taxi to. I don't remember. Lucky's trailer. Yeah. And then sees them and then gets back in the cab or something. I don't remember. I don't know. So fucking sloppy.

[01:11:42] But then there's the scene that is largely the same in both versions, but in one version it means something in the other version. It seems completely out of nowhere where. Where they fight. Well, Goldie Lahti comes over to Goldie's house and

[01:11:55] she makes her tea and they're like sort of not talking about it. And Lahti apologizes and is like, so what are we going to do about it? It's one thing. It'll never happen again. We're just going to continue being friends.

[01:12:07] The three of us are just going to be friends. Right. And then they go out to the club and she like totally collapses and freaks out. Joanna when she says that she was like, so at that point you're so baffled by the movie.

[01:12:17] She's like, is it going to be like a threesome? Like it's going to be a plural relationship. I was like, no, I think she's in denial. But like it doesn't matter at that point. That's when Kurt Russell is like, I'm going to go. Right.

[01:12:29] It makes sense when you're watching the Demi version because you're like this woman is so ill equipped to deal with this that she optimistically thinks that she can just ignore it and move on. It's a movie about people leading your lives,

[01:12:39] which is where is the studio cut is more about Goldie and Kurt's like crazy relationship. And then Kurt leaves the movie and the movie just sort of keeps going for a while and you're like Jesus. And Demi's whole point was like the movie was about

[01:12:52] him being like a cat and a piece of shit. He's kind of manipulating both of them. Yeah, Demi says that he's supposed to be a jerk. It's about women learning autonomy and like falling in love with each other and you know forming an important relationship.

[01:13:03] And it was turned into a movie that kind of negates all of the sort of feminist leanings of the film that undercuts all of it because it has to be like look at Goldie she's a go-getter, huh? It's baffling. It's baffling.

[01:13:16] Try to think of the other major differences. We've covered all the major differences. Well not all of them. No, no. Not all the difference but we have covered I feel like a lot of the major differences. Sure. But it is, I mean it's every scene feels different

[01:13:32] either because every scene is fucked with or the scenes surrounding that scene are so fucked with that the scenes don't have the same power. It's the ecology. Because that sort of fight scene when I watch the original version I'm like that's Goldie's best acting I've ever seen.

[01:13:45] And then when you watch the Warner Brothers version you're like this makes no fucking sense. Yes. And it is that weird thing of like it does, I mean this movie freaks you out a little bit. I've read that like a lot of...

[01:13:57] I'm going to read from this site in the sound play. This is just about the fight scene. Yeah, yeah. Hawn is fantastic here. She looks dazzled by the pain of having lost she thinks her lover and her best friend in a single blow.

[01:14:08] That's what her reading of I was in love means. Yeah. That's the whole meaning and then the edit changes all the meaning of that scene in that line. Yes. There is just a coherent very specifically observed woman in the Demi version

[01:14:24] who's usually not the kind of woman that people make movies about and in the Warner Brothers version it is a Frankenstein character that makes no sense. And it's one of those weird things where it's like they're trying to make... I think they're fighting against the idea

[01:14:37] like oh our audience is not going to like Goldie for cheating on her husband. A thousand percent. And the way they try to auto correct that. You made a movie about a woman cheating on her husband. I'm sorry that's the premise, that's the script you picked. Yeah.

[01:14:47] But also the way they try to counteract that is to sometimes make her more of an innocent and sometimes make her more sort of self-righteous in a way that makes no sense. Yes. You know? She goes from being both like a total like

[01:15:01] you know push over to being like the rah rah like well listen to me I live my life now when in reality it's someone who just kind of is living for the first time and is making mistakes and is confused and trafficked at who she is.

[01:15:14] I think as the sight and sound article argues that Russell is actually the actor who suffers the most between cuts. He gets flattened out. He gets completely... everything, his performance is ruined. Yeah. Adding basically like make adding scenes where he is playing a different character

[01:15:29] fucks things up the most. Totally. Because Lottie as we've said basically shines brightest in both cuts anyway. Like obviously they're trying to fuck with that. They're trying to get better scenes that are cut out but her character is less fundamentally changed. And Han...

[01:15:44] Yeah, I mean like everything you've said about Han is very interesting. No, I was just going to say the watching this... Remember there's that final scene that only the studio cut has where Kurt's on the bus? Oh yeah. Another thing they just kind of splice in the letters.

[01:16:01] And the characters' letter is very different in the right. The Warner Brothers cut for his character is like a... I don't know, like a manic... or just like a pixie daddy. Do you know what I'm saying? Like it's like magical...

[01:16:16] Like you're not a real person type of like just representational kind of character more than anything else. Here are some other things. Now I'm just reading this article. Okay. There's a montage of her fixing things in the house. Remember that? Like a toaster or percolator or whatever.

[01:16:30] Which I think is them just being like look how good she is at machines now. Sure. So the scene where she cuts her hair is preceded by... Yes, because in the original version she takes the bath with the goggles on and it gets up, looks in the mirror

[01:16:45] and decides to cut her hair. And it's a sense of just her trying something different for the first time. And in the theatrical version they have a fucking voice over the pier. They're like remember all women must cut their hair.

[01:16:56] Which doesn't explain the fact that the rest of the women in the movie don't cut their hair. No, because they're wearing hair nets. But they're also depriving her of autonomy. They're making her hair cut. I don't know why they did that. A mandated decision.

[01:17:09] There's shit like that that's nuts. There's something, Holly Hunter's character. Yes. There's this pivotal scene in both movies where she is excited to hear from her... I don't know if it's husband or... She gets a letter a couple weeks late from her husband. Husband or sweetheart, whoever.

[01:17:23] You know, like her. I think it's her husband. It's her husband. And then immediately he's told her husband is killed. It's an incredible moment in both where the guy delivering the news has never done it before and is clearly like can't handle her crying and hugging him.

[01:17:36] But then there's in the demicut, there's this scene of her... Tavolosky kind of bragging about how she would hurt her cute tear stained face was on the cover of life. And like she's like smiling about it, but like it is a very ironic and sort of dark scene.

[01:17:50] She's become a superstar. Her grief has become like, yeah, like promotional material for the war. And then the carapans across the catwalk were Goldie Hawn and Kurt Russell are making out. Right. There's like, there's this cynical tone about the sort of patriotic manipulation of everything.

[01:18:06] And that these friendships and these transformations happened anyway. But at no point is the movie like, wasn't America great for giving these ladies a shot? Like no point is the Debbie movie right? Yeah. There's the scene where Lottie sees Fred Ward at the ball

[01:18:26] right before he's about to ship out. Please call him Biscuits. I'm sorry, I'm sorry, I'm sorry. I'm sorry, I'm sorry. I'm sorry, I'm sorry. I'm sorry, I'm sorry. And she's been dancing with a higher ranking man in the military. Yes. And he's sort of trying to butt in.

[01:18:40] Yeah. And you know, Kurt Rod... There's a disagreement where the higher up who is now dancing with Biscuits ex-girlfriend is told that he needs to refer to him as his superior. Yes. And in the original version it is much more tense

[01:18:59] and it is a fucking fast and complicated scene with this guy who used to think that he was a big time. Right, and now he's sort of a slow level mobster. And now he's like an endless sea in the Navy and the guy is like, you know...

[01:19:08] No, your fucking place. Yeah, exactly. Your woman's gone. Right, you've lost everything. And in the studio version it's totally recut around it and the performance takes they pick are goofy and it just sort of becomes like a two-line joke right that like his status has changed.

[01:19:24] There's just like depth and meaning cut out of every moment like just gutted from it, scooped out from the center. It does make you think though about like how rarely we discuss editing in this way because people think about things in terms of like,

[01:19:41] oh that scene's well edited or like, oh it's smart of them to add this thing in or cut this thing out. You're watching the same performances just having the center like removed from them. It's so strange. You realize how much every performance is like

[01:19:58] either totally supported or destroyed by an editor. One thing... You know, and sometimes actors will say that when they get nominated for an Oscar and people think it's like, oh it's like self-effacing, self-deprecating stuff where they're like, I mean, I'm just like so grateful that the editor

[01:20:12] picked the right choices because if they picked the wrong takes I wouldn't be here today. Right. And it is a true thing where it's like the editor and director have so much power. It's the thing that some actors find terrifying about working in films as opposed to theater.

[01:20:24] It's a thing that I find kind of exhilarating about how sort of piecemeal it is. You really are giving someone else the power to totally like redefine your performance because you can do things that will just never make it into the film

[01:20:37] that are the difference between your character being coherent or not. And there are also tons of cases where an actor is terrible on set and in the editing room somehow they find a way to go, oh if you use this and this and this

[01:20:47] it looks like that's a thing. And you make a coherent performance as something that was not coherent on the day. The Swing Shift story is a Hollywood tragedy. That's what Steve Weinberg says. He says it echoes what RKO did to Orson Welles

[01:20:59] as the Magnificent Ambersons but the difference is that even the fucked up version of Ambersons which is the only version that exists is a masterpiece. Whereas the fucked up version of Swing Shift is like you say Frankenstein. It can function

[01:21:13] in that weird Hollywood way that you're talking about where like yeah, okay you could sit down and watch that and come out and be like well I guess I just saw a not very good movie. Sure. That's how I felt.

[01:21:26] And if no one ever told you it got fucked with you just sort of be like well yeah they just whatever they weren't balancing the tones. Which Demi talks about that was the thing that hurt him the most was he felt like he had his breakthrough movie

[01:21:38] and then he read these reviews that were like Swing Shift's a mess, it's a shame Demi really seemed like he was going to be the guy and he was saying like reading it like attacked attacking him personally. As like I guess we misread this guy's potential

[01:21:53] and for him to have to sit back and not be able to comment on it and not say this isn't my movie you cannot like it I don't like it either but this is fundamentally not the movie I made in every regard

[01:22:06] I think it kind of broke him but out of that comes like the new even purer sort of following his own way and STEMMAT. Which is true there's many a director we've covered there's often that traumatic moment earlier in the career that sort of casts a shadow

[01:22:20] the chrysalis like Shaman on a wide which is we all know was about a tie-tie boy it's a it's a tie and James Cameron I'm proud of it too there are many examples like that where directors suffer some kind of loss of control and codifies for them

[01:22:40] that they need to be in charge but then Demi is no tyrant I mean that's the thing about him that's so special it's like never his reputation is always as the grand collaborator right so as some directors I guess like the Camerons of the World War is Shaman

[01:22:56] would be like yeah the lesson I've learned is that I'm in charge I get final cut don't fuck with me and the lesson Demi learns is like I should just work with my friends yep it's interesting what a weird fucking thing oh this will be fun it will

[01:23:14] it's good it's a good box office game April 13th 1984 okay we've got film swing shift opening with 2.7 million 2.2 million I'm sorry number nine at the box office it is not a major player it eventually topped out at let's see 6.6 that is bad very good okay

[01:23:42] so that's that number nine naughty number nine number one at the box office at yawn box office is the fourth I'm gonna triple check this because it's the fourth the fourth or go over or throw whatever his name is on the brain I believe it's

[01:24:03] the fourth yes in a horror franchise okay it's got one of those confusing titles like it's not like you know X4 sure it has a title that suggests something different but it is the fourth in a very long running horror franchise

[01:24:19] is it Friday the 13th the final trap correct which like where they were like Friday the 13th the gimmick is it's Friday the 13th here's our horror movie then Friday the 13th part two they were like you love that one part two it's the same thing

[01:24:33] and then three D right that was their gimmick that time and four they were like fuck what do we do let's just say it's the last one we milk this right there's no more juice left to Jason and then that meant that meant that for Friday could be

[01:24:45] like Jason's back you know they could be like no because five is like the new beginning yeah new beginning Jason's back no but you know do you not know what the plot of five is oh right it's six where Jason lives right right right

[01:24:57] five's a guy who wears a Jason yeah it's it's Tommy or whatever it's it's um it's like six is the one right Roy Roy Jason I don't know what it's not me to ours number six is Jason lives right yes that's where Jason's bad that

[01:25:13] isn't that the one where they sort of explicitly start being like he's like a demon yeah like you know where they're there they're all in on like magical powers right have satan I have been watching those movies because of the I discovered the Paul rust

[01:25:29] Mac or Lee or he's not really what podcast and it's been fun watching yeah but I haven't gotten to for you yeah so I was more of a Freddie guy I was always more of a Michael Myers guy interesting for my friend my my dude of the three

[01:25:43] bad on those I'm bad on the Freddy really Freddy I like no bad I think I've seen one two and three and then maybe new nightmare oh wow I'll raise your guy in a mean I'll raise her made more sense than that sure

[01:25:59] all right so that you know opening and it's just one of those classic things no Freddie movie has ever made a ton of money I mean sorry Jason no no Friday the third sure I think the highest grossing if you exclude

[01:26:11] like the remake is the first one made like 30 but they just would make them every fucking year for two million bucks and they'd always make like 20 like it was just like yeah that's all the horrible is that come out today that make like 50 or 60 it was the

[01:26:27] establishment of that model basically just like look I don't know fucking call for either 13 yeah kill some teens make sure it's out by October yeah see you later because there's a pair amount but they were just like I think it was like it was like the junior dusty

[01:26:41] office and it would just be like yeah yeah get on the woods get a camera just wait you need a camera now fine get a camera in a camera to make a movie so it opens to 11 million dollars I mean big open and I made 32 yeah well

[01:26:55] number two at the box office is one of the big comedies of the year and it does start a franchise it starts a comedy franchise does and is nodding does starts a franchise how many are in the franchise a lot yeah I said this

[01:27:15] oh I think there's more is the police academy yeah the original police academy how many are there seven can I see if I can name them all I'm not sure can I see if I can name them all yet let me just cue them up please one second

[01:27:29] okay name them all please there are seven okay police academy well good job you got that one full boy police academy to their first assignment correct police academy three back to basics close to training back in training back in training which really cheese one assignment and they're back

[01:27:49] in training number four mission of Moscow no that's number seven fuck you're you're now your operation Miami Beach that's five okay which I believe is assignment Miami Beach is this citizens on patrol for yes that's right okay five is assignment Miami Beach what six six is

[01:28:09] way more serious sounding than assignment Miami Beach yes and seven is like an escalation seven's mission of Moscow five is like we assigned it Miami Beach I don't know check it out six six is like uh oh oh no nine eleven police academy nine eleven

[01:28:27] no it is police academy six city under siege oh of course of course to the city I don't know it's under see does not sound like a comedy no not at all yeah anyway that but this is the first police academy do you remember how one

[01:28:43] of the cast members his whole thing is he just made sounds with this mouth of course of course that's like the only thing anyone remembers about police academy right is that sweet truck is that his character fucking now what happened to that kind of comedy

[01:28:55] it was the sixth highest grossing movie of the year that's crazy you know I know it's bring it back and it's made look it's been out for four weeks it's made thirty seven million dollars it's gonna make like 90 so it's like you know it is kind of crazy

[01:29:09] this is the last of a preview H s it is kind of crazy in that period of time someone can get up there and just do really good sound effects on stage at like the improv for ten minutes people are like should put them in movies what

[01:29:23] what does he play cop who's good at sound effects like you could have an act that was totally incompatible with narrative comedy and they'd still figure out a reason why they could put you in a movie number three the box office mm-hmm a good movie

[01:29:43] from director we could cover someday mm-hmm mm-hmm I would call it an adventure is that the only thing you'd call it sort of with it's got some romance hmm it's not romancing the stuff it is romancing the stuff well okay good movie turner zemeckis

[01:30:07] let's do some a kiss it's just long it's fucking long how long 22 yeah and I don't know where you cut I don't think you can cut that's the problem I don't think you can cut one day one day right because what

[01:30:23] because what you want to cut and not do more when that's the problem we can't we gotta do more we must be welcomed yeah well and so you're not going to cut the early ones because those are the ones that one likes the most

[01:30:35] his early run is great because that way it's I want to hold your hand then use cars then romancing the stone then back to the future you're not going to start late no not at all you're not going to get out early honestly the ones

[01:30:47] you combine are the fucking cartoons that's what you do what are the cartoons you know like polar express christmas carol beowulf like where he keeps doing these 3d yeah I never heard of these movies I think all three grossed over a hundred million dollars

[01:31:03] I don't think beowulf made it there the other two definitely beowulf probably made 87 I'm guessing well now I'm gonna have to find yeah 82 domestic can I guess the other ones I think polar express is 170 I won't just give me a second Jesus Christ

[01:31:17] Polar I don't know why I didn't just click on Zomacus well because box office module has changed its interface I'm trying to deal with they're clearly one eighty seven studio ships as well I always rude 87 that's insane and then Christmas Carol is 110 it definitely

[01:31:33] stuck over a hundred let's find out there's lots of them it made 137 oh but they were also expensive that was sort of the hit they all polar express I think didn't lose money especially because they kept re-releasing it the other ones were so expensive

[01:31:47] and he was about to do yellow submarine Jesus with Peter Sarah Fowich yeah well it's gonna play John Lennon I think or Paul McCartney after you're 20 years gone by anyway weird idea a bad idea weird idea I think Zomacus is kind of just has bad ideas these days

[01:32:07] well he has ideas tell that to allied a movie that rule real ally alright number four the only real ally is another yes number four no he's got his stands you know there they'll never leave him number four is um an adventure film a throwback a real throwback

[01:32:29] hmm a real throwback what kind of star are we looking at here um it's he is a star he was a star still alive or just no longer still still alive definitely no longer started like a euro kind of star kind of like a rucker howard type

[01:32:49] it's not deep our do no no no think a little less classy than Lambert Wilson you're thinking you're you are correct Christopher Lambert there you go thank you Christopher Lambert it's a high lander not high lander high lander comes later this is a tarzan gray stuff

[01:33:05] yes gray stroke the legend of tarzan comma lord of the apes long title too long an Oscar nominated film Ralph Richardson I believe and uh Rick Baker I think uh Rick big sure sure sure those monkeys so just um every 10 years

[01:33:23] or so I think some studios just like let's do a Tarzan we're talking about this Tarzan Peter Pan like it no not seven years can go by without someone being like can we and it's not like there are people out there who are like I'm real Tarzan

[01:33:37] head yeah I love Tarzan yeah like even like Godzilla or whatever they're people who are like I worship that series I know all of its intricacies right no one's like I love the lore of Tarzan remember there is a live action Tarzan movie that costs $120 million less than

[01:33:51] five years ago yeah then no one talks about David Yates talks about it he's talking to his financial planner number five is a comedy that I had on VHS and I watched all the time can you a little more than that I don't remember your star

[01:34:11] who's still very much in his comedy face his comedy face so now he's moved out is it a hanks is it the money pit I'm shaking my head but it is hanks it is hanks and it's too early to be big that's right it's not little

[01:34:31] oh it's a big one it's not turn one day there would be a completely separate movie called a bigger one of these oh okay yeah but I wanted to do that clue because it's yeah it's a funny clue the movie is called splash the film that saved Disney

[01:34:46] God I've seen that movie a bunch the film that saved Disney well that's weird it's also the creation of touchdown is it yeah and do you know that splash mountain was originally supposed to be a splash ride nope did not know that that's crazy

[01:35:02] and said it's a ride based on of course path of least resistance song of the south right which is pretty much their only acknowledgement song of the south right yeah like yeah um that and I guess

[01:35:14] I did have a VHS when I was a kid of zippity do do it would be part of the sing along right but not of course no other and even my parents even when I was five were like is it a tricky one

[01:35:24] I was like what song of the south and they were like hmm hmm yeah how do we hmm so much context to give you here for more tune into you must remember this right season the five or six or whatever splash uh

[01:35:40] Ron Howard film guy falls in love with a mermaid Darrell Hannah uh Brian Grazer said he came up with the idea for that movie because he felt like he quote couldn't meet a nice girl in LA all these girls were trashy so he dreamed

[01:35:56] that he could meet a mermaid great uh have you have you seen splash I saw many times as a child I probably have not seen it years since 1996 I think honestly same I used to watch the Disney Channel like has so many people in it though

[01:36:12] I mean John Candy Eugene Lampere and Richard Schiff shows up like all these people pop up yeah yeah Richard Schiff some other movies we're not going to do Ron Howard um maybe he's in the bracket though he might be he could put him in there

[01:36:28] he might be he's there's an argument for him there's an argument you got Moscow on the Hudson ah yes classic in those there's so many of those 80s comedies it's like didn't y'all cut sparing off Rob and Williams for that movie should have yeah in soviet america

[01:36:46] yako sues you what a country number seven terms of endearment which is obviously still running the table right from the previous year yep to just one in oscar though you've got swing shift you got foot loose ah everybody gotta get foot loose you got where the boys

[01:37:06] are the barber not barber bed middler moving no you're thinking of for the boys yes what's where the boys it appears to be a film about sexy ladies and bathing suits on the beach I don't know it's like a sex comedy it's called where the boys are

[01:37:24] yeah um note to self buy all remaining copies that's it great well it's not okay what perfect episode I think it's a fascinating story what happened to this movie it was genuinely fun to watch both cuts which I thought would be sort of a pain in the ass

[01:37:46] I agree and I think I'll do anything it was a pain in the ass and I watched those cuts probably like six months apart mm-hmm yeah I also think it's a fascinating story what happened to my brain being in this different studio because I feel upside down

[01:38:00] I'm sorry no it's not your fault I'm not saying I didn't I don't mean it as any sort of a slight I know I'm just saying more as apologetic I don't want to see you all turned upside down inside out mixed up upside down

[01:38:12] I mean now it's fun it's kind of fun yeah isn't it weird though like so much of just like our we've been doing this for so long now kind of up on five years true this podcast right yeah podcast going to kindergarten about to hit 250 that's crazy

[01:38:30] what should we do for 250 I don't know do you remember my original idea for 200 what was it I don't want to restate it because maybe it's a surprise for 250 okay fine I'll say it off my that's fine I'll tell you what movie Jonathan everybody didn't love making

[01:38:46] off my that sounds like we should end this episode I think so okay see you folks well hey come on let's just my my classic sign off see you folks but I do all the time when I'm in this room apparently

[01:39:01] it is weird though how much like it's like if you work in an office every day and then one day you go in and the desks are flipped you know and you're just like my entire sense of where things are is so tied to the specific setup

[01:39:15] Hosley out just wanted to do my sign off that I do only in this room but please continue with the outro of the episode thank you all for listening please learn rate review subscribe thanks to Andrew good over social media they're high five in now yeah

[01:39:31] anyone coming for a theme song job on Pat rounds for artwork go to T public dot com for some real nerdy shirts next week tune in for stop making sense Demi a DJ we've a amazing episode amazing movie Demi on Demi Demi on Demi Demi squared D squared

[01:39:55] I need to I I don't know either take a nap or have five more cups of coffee or run or lie down or something and as always my classic sign off I'll hear you when I see you and as always and as always and as always

[01:40:26] and as always