Under Siege 2: Dark Territory

[00:00:01] Blank Check with Griffin and David

[00:00:05] Blank Check with Griffin and David

[00:00:09] Don't know what to say or to expect

[00:00:13] All you need to know is that the name of the show

[00:00:17] Is Blank Check

[00:00:20] Right back's gone, Dane.

[00:00:22] Did you see the body?

[00:00:23] Assumption is the mother of all podcasts!

[00:00:26] Yeah, there we go.

[00:00:27] That's the best one.

[00:00:28] Hey!

[00:00:29] That's the best one.

[00:00:30] Welcome everyone to Blank Check with Griffin and David.

[00:00:34] This is a podcast where we take director's filmographies

[00:00:37] And we watch from start to finish, episode to episode

[00:00:40] Analyzing along the way of their career

[00:00:43] When they became a Blank Check director.

[00:00:45] Now today is a special one-off episode

[00:00:48] Because we are doing a palette cleanser

[00:00:51] Between our last miniseries which was Cameron Crow

[00:00:55] And our next miniseries which is going to be very exciting

[00:00:58] James Cameron.

[00:00:59] But today on the podcast we are doing a one-off episode

[00:01:03] About 1995's Action Thriller

[00:01:07] Under siege 2

[00:01:09] Dark territory

[00:01:10] Boom baby!

[00:01:11] Now I'm producer Ben

[00:01:14] Yeah, good thank you for introducing yourself

[00:01:16] Do you go by any other names?

[00:01:17] I have other names

[00:01:18] I want to see if you can do this

[00:01:19] I'm a two-er Ben

[00:01:20] The Ben Deucer

[00:01:22] The Haas

[00:01:24] The Fuckmaster

[00:01:26] The Poet Laureates

[00:01:28] Birthday Benny

[00:01:30] Wait, what was the change?

[00:01:33] Oh, Mr. Haas-ative

[00:01:35] Because I have to do the haas

[00:01:37] That's okay

[00:01:38] And I think I hit them all

[00:01:41] Birthday Benny the tiebreaker

[00:01:42] The tiebreaker

[00:01:43] Sure

[00:01:44] Keeper you're not Professor Crispin

[00:01:45] And I've also graduated along the many series

[00:01:48] Of course there's Kylo Ben

[00:01:50] Ben 1 Kenobi

[00:01:53] Producer Ben Kenobi

[00:01:55] Excuse me, sorry, sorry, sorry

[00:01:57] And then M Knight

[00:01:59] Ben Knight Shumlon

[00:02:01] And then

[00:02:03] What is it, Benny Lane now?

[00:02:05] No, I don't know actually

[00:02:07] Say Benny thing I think

[00:02:09] We did a vote but I haven't looked at the result

[00:02:11] Ben Sate also, you forgot Ben Sate

[00:02:13] Oh Ben Sate of course

[00:02:15] And Hello Fennell

[00:02:17] We see you on the street

[00:02:18] If you see me on the street

[00:02:19] You can always wish me a hearty hello Fennell

[00:02:21] But don't you dare call me Professor Crispy

[00:02:23] I will smack you in the face

[00:02:25] It's worth noting that you know

[00:02:27] You are as we all know our finest film critic

[00:02:30] Of course

[00:02:31] And so we've handed you the reins

[00:02:32] As we like to do sometimes between many series

[00:02:34] Every so often we let Ben choose a movie

[00:02:36] Yeah and you chose

[00:02:38] Underseach 2

[00:02:39] Yes

[00:02:40] Dark territory

[00:02:41] Oh man, I watched this movie

[00:02:43] Anytime this was on TV or like

[00:02:45] I had this, this is another VHS

[00:02:47] Film I owned and I would watch

[00:02:49] Repeatedly, I love this one

[00:02:51] Did you watch it in theaters?

[00:02:52] I did not

[00:02:53] No

[00:02:54] I think I was too young

[00:02:55] Yeah 95

[00:02:56] Yeah I was like 10 years old

[00:02:57] But obsessed with Steven Seagal

[00:02:59] And just in general bad 80's action movies

[00:03:01] Love them, I love the pacing of them

[00:03:03] It's just like easy digestible

[00:03:06] Certainly

[00:03:07] Dumb garbage

[00:03:08] And it's fun and why not

[00:03:10] Why not

[00:03:11] It's fun and why not

[00:03:12] So here we are

[00:03:13] Underseach 2

[00:03:15] Dark territory

[00:03:16] You don't need to see the first under siege

[00:03:18] Well I don't know

[00:03:19] I got some questions

[00:03:20] A film by Jeff Murphy

[00:03:21] Yeah

[00:03:22] Who I want to talk about in a little bit

[00:03:23] Because he is a great director

[00:03:24] And I can't believe he made this movie

[00:03:26] I've seen a lot of his movies

[00:03:27] Done a bunch of sequels too

[00:03:28] He was the sequel guy for a while

[00:03:29] Well because

[00:03:30] Young guns too right

[00:03:31] Yeah because he was

[00:03:32] He was a New Zealand filmmaker

[00:03:34] Who was like

[00:03:35] I mean

[00:03:36] Before Peter Jackson

[00:03:37] He was the greatest thing

[00:03:38] Like New Zealand cinema had ever produced

[00:03:40] Then he comes over to Hollywood

[00:03:41] And Hollywood's like

[00:03:42] Yeah sequels

[00:03:43] Like you want to do some sequels

[00:03:45] Yeah cause he did Young Guns 2

[00:03:47] Yeah

[00:03:48] I don't know

[00:03:49] He did Never Say Die

[00:03:50] What's that again

[00:03:51] He did Fortress 2 reentry

[00:03:52] Okay

[00:03:53] He did a lot of movies

[00:03:55] Like a lot of crap you know

[00:03:57] I'm gonna throw one thing out there

[00:03:59] From the get go

[00:04:00] No New

[00:04:01] Never Say Die is a New Zealand movie

[00:04:02] Yeah go on

[00:04:03] Yes

[00:04:04] I think this movie is really well directed

[00:04:05] Yeah well he's a great director

[00:04:06] Yeah

[00:04:07] I think there is like

[00:04:09] A technical proficiency

[00:04:12] And clarity to this film

[00:04:14] That is not necessary in movies like this

[00:04:16] And it's very much lacking from like

[00:04:18] The equivalent movies of today

[00:04:21] For the equivalent action movies

[00:04:23] Yes

[00:04:24] Okay well here's

[00:04:25] Here's one thing we're gonna talk about

[00:04:26] Yeah

[00:04:27] I'm eating sour Skittles right now

[00:04:28] I know what you're gonna ask and I have an answer

[00:04:29] Well okay

[00:04:31] That really threw me actually

[00:04:32] Okay ask your question

[00:04:33] Well is this happening today

[00:04:35] These kinds of movies

[00:04:36] Very little

[00:04:37] Much less

[00:04:38] Yes

[00:04:39] There's Statham

[00:04:40] That's what I was gonna say

[00:04:41] That's an answer

[00:04:42] I think Statham is the only guy

[00:04:43] Who's occupying a similar space

[00:04:44] Key list

[00:04:45] Mid-sized

[00:04:46] Yes

[00:04:47] Action movie star

[00:04:48] Movies that don't need to clear

[00:04:50] You know 100 million domestic

[00:04:51] Yeah

[00:04:52] Or whatever

[00:04:53] You know

[00:04:54] Decent budget

[00:04:55] Decent return

[00:04:56] But

[00:04:57] Long life on video

[00:04:58] No one's asking many questions

[00:05:00] Milshon finances them

[00:05:01] Yeah

[00:05:02] But I think

[00:05:03] Yeah right

[00:05:04] They're financed by some guy

[00:05:05] Who owns like a building in Qatar

[00:05:06] And he's like

[00:05:07] I love Jason Statham

[00:05:08] And they're like

[00:05:09] Well you're gonna love

[00:05:10] Mechanic Resurrection

[00:05:11] He's gonna kill someone in a swimming pool

[00:05:13] Which I saw the mechanic

[00:05:14] That movie is not a sequel to the mechanic

[00:05:16] No I think they were just like

[00:05:17] Statham's back

[00:05:18] Yeah that's a sequel to

[00:05:19] Every Jason Statham movie

[00:05:21] Mechanic Resurrection

[00:05:22] What I was gonna say is

[00:05:23] What's your word again

[00:05:24] I think

[00:05:25] There

[00:05:26] Is

[00:05:27] A lot more TLC devoted

[00:05:29] To under siege 2

[00:05:30] Than there is to mechanic resurrection

[00:05:32] Okay

[00:05:33] Like I think as part of

[00:05:34] The direction the film industry has been going in

[00:05:36] Where it's like things are either tiny

[00:05:38] Or they're huge

[00:05:39] Like what Segal used to be

[00:05:41] Which was like a $40 million movie

[00:05:43] Is now like a $15 or $20 million movie

[00:05:46] On a Statham level

[00:05:47] You know what I'm saying

[00:05:48] Like the midsize

[00:05:49] The actual midsize doesn't exist anymore

[00:05:51] This was a $60 million movie

[00:05:53] Well this was a sequel to

[00:05:54] Right to a much more conservatively

[00:05:57] But I think yes

[00:05:58] I think originally he was sort of

[00:05:59] In the 40s zone was kind of his like area

[00:06:01] Or in today's dollars it would be about 40

[00:06:04] I also think that

[00:06:06] Well I think this movie is a testament

[00:06:09] To a type of movie star

[00:06:12] That doesn't exist anymore

[00:06:13] But we'll get to that

[00:06:14] I want to let Ben host it

[00:06:15] It doesn't exist as much anymore

[00:06:17] I think our friend Matt Singer

[00:06:19] Will maybe one day be on this podcast

[00:06:22] I would love that

[00:06:23] Hopefully

[00:06:24] Well has talked about Schwarzenegger

[00:06:25] As like an auteur

[00:06:26] You know like it's like

[00:06:27] Don't look at the director

[00:06:28] Of Schwarzenegger's movies

[00:06:29] Like Schwarzenegger's really the auteur

[00:06:31] Same goes for Segal

[00:06:32] I was gonna say I think that's true

[00:06:33] For a lot of these 80s 90s action stars

[00:06:35] Like Van Damme, Segal

[00:06:36] You know the lesser

[00:06:37] Schwarzenegger's but still

[00:06:39] Same kind of deal

[00:06:40] You know the directors were coming in

[00:06:42] They needed them to be proficient

[00:06:44] And not piss off the

[00:06:46] You know Prima Donna

[00:06:47] That's the thing

[00:06:48] All these guys were Prima Donnas

[00:06:49] And they were super

[00:06:50] Like self conscious

[00:06:52] And protective of their image

[00:06:54] And all the movies are about

[00:06:55] Inflating their own dick

[00:06:56] You know

[00:06:57] Absolutely

[00:06:58] And it's like

[00:06:59] You watch these movies

[00:07:00] I mean here's the thing

[00:07:01] Yes the stars of like Chuck Norris

[00:07:03] Film as Steven Segal

[00:07:04] From our Schwarzenegger movie

[00:07:05] A Stallone movie

[00:07:06] They are ultimately the final voice

[00:07:08] Of these films I feel like

[00:07:09] Because the film is so much a

[00:07:11] Testament to who they want people

[00:07:13] To think they are

[00:07:14] Like their movies function as a tribute

[00:07:16] To them

[00:07:17] Right

[00:07:18] But I also think that

[00:07:20] The interesting thing is to look at

[00:07:22] A film like this and see that it is

[00:07:23] Well directed because you're like

[00:07:25] This guy is doing a really good job

[00:07:27] Swerving between the traffic cones

[00:07:29] Yes

[00:07:30] Because you know how many needles

[00:07:31] He had to thread in this movie

[00:07:32] Okay but Ben take the reins

[00:07:33] I just as we now

[00:07:34] I think that's good

[00:07:35] There are some points I want to make

[00:07:37] I think we should go through

[00:07:39] Steven Segal's like backstory

[00:07:41] A little bit

[00:07:42] Oh I want to talk about his backstory

[00:07:43] But you go ahead Ben

[00:07:44] Well I mean yeah sure

[00:07:46] I don't know his backstory

[00:07:47] I mean I assumed he was like a Keto guy

[00:07:49] He was a Karate man

[00:07:50] Do you want to know his backstory

[00:07:51] I mean his backstories

[00:07:52] Yeah he was

[00:07:53] I know his backstory it's amazing

[00:07:54] Yeah

[00:07:55] Well I mean yeah he was in a Keto

[00:07:56] And Karate X

[00:07:57] I mean like I think he started life

[00:07:58] As like a dishwasher

[00:07:59] You know he has one of these like

[00:08:01] You know rags to riches type stories

[00:08:03] And he like met some like you know

[00:08:06] A Karate teacher when he was a dishwasher

[00:08:08] Right

[00:08:09] Like worked in the restaurant

[00:08:10] Who like taught him everything he knows

[00:08:11] And he became this like legendary

[00:08:13] You know at least this is the Segal

[00:08:15] Version of the story

[00:08:16] Which is the only one I've heard

[00:08:17] Like I don't know if there's any

[00:08:18] Massaging of the truth here

[00:08:20] Now the Keto

[00:08:21] The fighting style that he specializes in

[00:08:23] Wherever he's sort of moving his hands around

[00:08:24] It's very much about taking other people's energy

[00:08:27] And reacting to it

[00:08:28] Using it against them

[00:08:29] Exactly

[00:08:30] Yeah and it's not very cinematic

[00:08:31] No

[00:08:32] It's arresting to watch

[00:08:34] Yeah

[00:08:35] Like there is certainly something where you're like

[00:08:37] What is happening right now

[00:08:38] More like modern dance than like action

[00:08:40] Yeah

[00:08:41] I mean that's the incredible thing about him

[00:08:42] Is like everyone else in a Steven Segal movie

[00:08:44] Kind of fights better than Steven Segal

[00:08:46] But he

[00:08:47] Because they're doing like on camera fighting

[00:08:48] Rather than he's practicing a real art form

[00:08:50] That doesn't pop visually

[00:08:52] It's like basically just like

[00:08:53] I did something to your wrist

[00:08:54] And they're like

[00:08:55] Right

[00:08:56] Well it's just a lot of waving his hands around

[00:08:57] Like sort of defensively preemptively

[00:08:59] And then the moves are so quick

[00:09:01] And are so contained and small

[00:09:03] That it doesn't really look like it

[00:09:05] It's like

[00:09:06] It looks like a nun's like disciplinary action

[00:09:09] You know what I'm saying

[00:09:10] Like it doesn't look like

[00:09:11] Yeah it looks like he's

[00:09:12] I mean it looks like the joke of like

[00:09:14] Two cats fighting

[00:09:15] Like they're just slapping each other in the face

[00:09:17] Anyway

[00:09:18] He was

[00:09:19] Michael Ovitz's

[00:09:20] A Keto teacher

[00:09:21] Now you guys

[00:09:22] You know

[00:09:23] Podcast listeners might not know who Michael Ovitz is

[00:09:24] But he founded the creative arts agency

[00:09:26] Yeah

[00:09:27] It was like a legendary

[00:09:28] Like renegade agent of the 70s

[00:09:29] Who became like

[00:09:30] Whatever

[00:09:31] The change maker in that industry

[00:09:32] Yeah he kind of owned Hollywood

[00:09:33] He was completely

[00:09:34] Completely 100% out of his mind

[00:09:37] Yeah crazy person

[00:09:38] I mean like well known as being

[00:09:39] One of the biggest lunatics

[00:09:41] In Hollywood who eventually went over to Disney

[00:09:43] After 20 years of like total success at CIA

[00:09:46] And like literally crash and burn out of Disney

[00:09:48] Within two years

[00:09:49] Yeah

[00:09:50] And like

[00:09:51] I mean if you've seen the late

[00:09:52] What's it called

[00:09:53] The late break

[00:09:54] You know the

[00:09:55] Letterman Leno HBO TV movie

[00:09:57] Oh the late shift

[00:09:58] The late shift

[00:09:59] That's what it's called

[00:10:00] Uh treat Williams plays him

[00:10:01] For like two great scenes

[00:10:02] It's like the best

[00:10:03] You know

[00:10:04] But anyway he was crazy

[00:10:05] Segal was like his Akito teacher

[00:10:07] And he was just like

[00:10:08] You're gonna be a star

[00:10:09] And had him do a demonstration

[00:10:11] For like some studio executive

[00:10:13] And that's how he made above the law

[00:10:15] Yes

[00:10:16] But let's step back

[00:10:17] I mean it's crazy

[00:10:18] I mean like those are the days

[00:10:19] When that shit happens

[00:10:20] He was the Akito teacher of an agent

[00:10:22] Now why this agent's getting

[00:10:23] Akito lessons

[00:10:24] I don't know maybe he just thought

[00:10:25] It was the cool thing that year

[00:10:26] Because he wanted to get inflated too

[00:10:27] That was the time

[00:10:28] In the 80s everyone wanted to be able to say

[00:10:29] My dick's inflated

[00:10:30] Yeah

[00:10:31] I got a puffy dick

[00:10:32] I filled it with air

[00:10:33] You know

[00:10:34] And he goes

[00:10:35] I think you're a movie star

[00:10:37] He brings them

[00:10:38] They do a screen test

[00:10:39] Not for anything in particular

[00:10:40] Just to prove that he could work on screen

[00:10:42] And then they went

[00:10:43] Okay here's your own starring vehicle

[00:10:45] Right

[00:10:46] He had no acting experience

[00:10:47] None

[00:10:48] He practiced a form of fighting

[00:10:49] That does not really translate

[00:10:51] Cinematically

[00:10:52] And they wrote and designed

[00:10:53] An entire movie around him

[00:10:55] And his first acting job ever

[00:10:57] Was the lead

[00:10:58] Was like a hero

[00:10:59] In a hero movie

[00:11:00] They were trying to sell him as a brand

[00:11:02] Before he had even shown

[00:11:03] That he could say a line of dialogue

[00:11:04] And the poster is just his face

[00:11:06] And he's holding a gun

[00:11:07] And it's like Steven Seagal

[00:11:08] Is above the law

[00:11:09] I mean the movie costs like

[00:11:10] Seven million dollars

[00:11:11] It wasn't like a huge deal

[00:11:13] Or whatever

[00:11:14] Yeah it was pretty small

[00:11:15] And it like

[00:11:16] You know they open it only on like

[00:11:17] 300 screens opening weekend

[00:11:18] And it kind of like expanded

[00:11:19] But it did well

[00:11:20] But it was like

[00:11:21] It was what's insane about it is

[00:11:23] And this is a thing that doesn't happen anymore

[00:11:25] It was part of a deliberate

[00:11:27] Like brand development thing

[00:11:29] Like they were like

[00:11:30] The first Seagal movies not going to be huge

[00:11:32] We have to make a couple movies

[00:11:33] To get him to sort of

[00:11:34] Get into the public consciousness

[00:11:35] So they sold him as if he was already

[00:11:37] A thing that people knew

[00:11:38] Just his head on the poster

[00:11:40] Just his name above the title

[00:11:41] And it was just like

[00:11:42] Steven Seagal

[00:11:43] Who's this guy

[00:11:44] So by the time the third movie came out

[00:11:45] It was like

[00:11:46] He was just sort of a given thing

[00:11:48] Yeah and also like

[00:11:49] It was very much that 80s model

[00:11:51] Of what's the poster

[00:11:52] Him

[00:11:53] That's it

[00:11:54] And then the title

[00:11:55] Just something very vague

[00:11:56] Above the law

[00:11:57] Like don't bet

[00:11:58] Don't do that

[00:11:59] I have a gun

[00:12:00] Yeah really

[00:12:01] And like

[00:12:02] Ovid's apparently

[00:12:03] Literally was like

[00:12:04] I bet you

[00:12:05] I can make anyone a movie star

[00:12:07] And he was true

[00:12:08] Like he could

[00:12:09] Like he had the formula

[00:12:10] I think that was part of the thing

[00:12:11] Was that he wanted to screw

[00:12:12] How powerful

[00:12:13] Andrew Davis is a decent director

[00:12:15] Did the fugitive right

[00:12:16] Yeah

[00:12:17] Yeah

[00:12:18] Good movie

[00:12:19] Who's nominated for best director

[00:12:20] No he wasn't

[00:12:21] He wasn't but the film was nominated

[00:12:22] For best director

[00:12:23] He knew he was a hack

[00:12:24] Yeah

[00:12:25] He made under siege

[00:12:26] Right

[00:12:27] Andrew Davis was like

[00:12:28] He made holes which is really fucking good

[00:12:29] He did

[00:12:30] And he made collateral damage

[00:12:32] Yeah

[00:12:33] Right

[00:12:34] Made chain reaction

[00:12:35] But you know he peaked with the fugitive

[00:12:36] Like he was in the 80s

[00:12:37] Yeah

[00:12:38] Like a good actor

[00:12:39] One of the guys

[00:12:40] But I think

[00:12:41] I think there are a couple things going on here

[00:12:42] One is definitely

[00:12:43] Like I can make anyone a star

[00:12:44] And he wanted to prove that

[00:12:45] Two is

[00:12:46] This was like the first time

[00:12:47] I think Hollywood successfully

[00:12:48] And this stopped being a thing

[00:12:50] In the same kind of way

[00:12:51] Because it gets to the point where

[00:12:52] Characters are more valuable than actors

[00:12:55] Where by and large now

[00:12:56] Are like biggest stars

[00:12:57] Are the marriage of a person in a role

[00:13:00] Rather than the person themselves

[00:13:02] Being bigger than the film

[00:13:03] Right

[00:13:04] You know

[00:13:05] It's like Bourne's value is tied to Damon

[00:13:08] And vice versa

[00:13:09] Right

[00:13:10] Like I mean Depp

[00:13:11] And Pirates of the Caribbean

[00:13:12] Obviously all the Marvel people

[00:13:13] You know Vin Diesel

[00:13:14] And like Fast and Furious

[00:13:15] And you watch these people

[00:13:16] Who are like the highest paid actors

[00:13:17] In Hollywood

[00:13:18] And are like

[00:13:19] You know constantly talked about

[00:13:20] But when they do their passion projects

[00:13:21] Off to the side

[00:13:22] People don't really follow them

[00:13:23] Down the weird corridors

[00:13:24] In the same way

[00:13:25] You know

[00:13:26] Which we

[00:13:27] You know we've been talking a lot

[00:13:28] About like sort of

[00:13:29] The modern state

[00:13:31] Of the American movie star

[00:13:32] I mean the Crow films

[00:13:33] Kind of are like

[00:13:34] Interesting prism to look through

[00:13:35] Like the difference between

[00:13:37] You know Tom Cruise, Darren McGuire

[00:13:38] Which is like peak movie star

[00:13:40] Sure

[00:13:41] And then where we are today

[00:13:42] But I think

[00:13:43] It's like Bradley Cooper

[00:13:44] Right

[00:13:45] No offense to Bradley Cooper

[00:13:46] But no one's running to see

[00:13:47] A movie because Bradley Cooper

[00:13:48] Is in there

[00:13:49] And the culture has changed

[00:13:50] It just doesn't

[00:13:51] That doesn't work the same way anymore

[00:13:52] He has to structure his career

[00:13:53] Very differently

[00:13:54] You know

[00:13:55] Like Tom Cruise wouldn't have played

[00:13:56] Rocket Raccoon in Gardens of the Galaxy

[00:13:58] Sure

[00:13:59] And I think

[00:14:00] Bradley Cooper's great in that movie

[00:14:01] Me too

[00:14:02] But I think he knew it was like

[00:14:03] I need to do like brand deposits

[00:14:05] In like certain types of things

[00:14:07] Like give me the cash aid

[00:14:08] To make American Sniper

[00:14:09] I mean

[00:14:10] And then American Sniper's a surprise hit

[00:14:11] I just want to go after

[00:14:12] Having just seen War Dogs

[00:14:14] Yeah

[00:14:15] And I saw War Dogs

[00:14:16] For your sins

[00:14:17] Everyone out there

[00:14:18] I saw War Dog

[00:14:19] And he's in it

[00:14:20] And he produced it

[00:14:21] And he produced

[00:14:22] And it really feels

[00:14:23] And he's in like

[00:14:24] You know

[00:14:25] He has like

[00:14:26] He's like the fourth lead

[00:14:27] Like he's kind of a very small character

[00:14:28] He's obviously

[00:14:29] And you know

[00:14:30] Think of the other movies

[00:14:31] He's trying to make it

[00:14:32] Like the 70s again

[00:14:33] He's like

[00:14:34] Come on

[00:14:35] Why can't you

[00:14:36] I tweeted that

[00:14:37] It's not really working

[00:14:38] It's not working

[00:14:39] But I appreciate it

[00:14:40] God bless him for trying

[00:14:41] Yeah, cause he's like

[00:14:42] Why can't I just like

[00:14:43] Pop up in some like

[00:14:44] Weird gun movie

[00:14:45] And be like

[00:14:46] Hey I'm crazy

[00:14:47] And you're like

[00:14:48] You're like

[00:14:49] Obviously calling him

[00:14:50] You know

[00:14:51] F*** your name

[00:14:52] Just I was like

[00:14:53] Fucking

[00:14:54] Fuck

[00:14:56] I'm not gonna

[00:14:57] Fuck

[00:14:58] Fuck

[00:14:59] I'll get out right here

[00:15:00] He's like

[00:15:01] I'm not gonna

[00:15:02] Fuck

[00:15:03] I'm not gonna

[00:15:04] Fuck

[00:15:05] I'm not gonna

[00:15:06] Fuck

[00:15:07] I'm just gonna

[00:15:08] Plead

[00:15:09] Fuck

[00:15:10] Why can't you

[00:15:11] Be 감 freezing

[00:15:12] I'm gonna

[00:15:13] Be a walker

[00:15:14] I'm just gonna

[00:15:15] Fuck

[00:15:16] Fuck

[00:15:17] It was like Gabbo on the Simpsons.

[00:15:19] It was like, you're supposed to know who Steven Seagal is.

[00:15:20] I want to ask Ben.

[00:15:21] Yeah.

[00:15:22] All right, so Ben, you like Steven Seagal?

[00:15:24] Hell yeah.

[00:15:25] So what introduced you to Steven Seagal, would you say?

[00:15:29] We were all kids in the 90s, you know?

[00:15:31] TV movies.

[00:15:32] Do you remember what the first one you watched was?

[00:15:33] Because he was like a big like TNT rotation guy.

[00:15:36] Movies on AMC or whatever.

[00:15:37] Yeah, it was definitely like TNT or USA.

[00:15:40] And it was my friend Garrett's older brother Travis

[00:15:43] was like super into karate and he was like,

[00:15:45] you got to watch these movies.

[00:15:47] And I don't remember specifically what it was.

[00:15:49] They sort of are all mashed together in my mind

[00:15:52] as the same movie.

[00:15:53] They're all basically the same.

[00:15:54] Here's Steven Seagal, he's a normal guy

[00:15:56] and he's going to fuck everybody up.

[00:15:58] Oh, he's not a normal guy.

[00:15:59] He's the greatest guy who's ever lived.

[00:16:01] Of course.

[00:16:02] The whole idea is that he's like this blue collar

[00:16:04] perfect man.

[00:16:05] Right.

[00:16:05] Like he's both like just one of the people

[00:16:07] and he's like capable of anything

[00:16:09] and everyone fucking knows who he is

[00:16:11] and bows down to him and all women want to inflate

[00:16:13] his dick.

[00:16:15] He's got like a little MacGyver.

[00:16:17] He's got the karate master thing, the Zen thing.

[00:16:20] And he doesn't want to fight.

[00:16:21] That's the other thing about Steven Seagal.

[00:16:23] I feel like every Seagal movie and I feel like this is not

[00:16:27] specious.

[00:16:27] This is true.

[00:16:28] Yeah.

[00:16:28] His character is always unflappable, barely raises his voice.

[00:16:32] Yeah.

[00:16:32] He has no emotional art.

[00:16:33] Has no emotions really at all.

[00:16:36] Never is any in any danger.

[00:16:38] Yeah.

[00:16:38] You know, other people might be in danger

[00:16:40] but you kind of like he's not really hurt.

[00:16:43] He doesn't like.

[00:16:43] He's invincible.

[00:16:44] There's not a lot of physical activity.

[00:16:46] Like some of you know he might have to pull himself up or something

[00:16:48] but like he like Schwarzenegger or whatever

[00:16:51] that guy is going to be like have cuts all over him

[00:16:53] and like be like throwing like.

[00:16:54] Yes.

[00:16:55] Something that's falling on him.

[00:16:56] He has to throw it out.

[00:16:57] You know, like there's a lot of strain.

[00:16:58] And Steven Seagal's not put under strain.

[00:17:00] Right.

[00:17:00] And even talking about like someone like Schwarzenegger

[00:17:03] who wasn't like a guy who was doing a lot of stunts

[00:17:05] but he was doing a lot of physical acting.

[00:17:07] Yeah.

[00:17:07] Yeah.

[00:17:07] You know?

[00:17:07] Yeah.

[00:17:08] Absolutely.

[00:17:08] Split the difference there.

[00:17:09] Seagal does no stunts.

[00:17:10] Seagal is like all wind up.

[00:17:12] Like I was watching her last night and I was like

[00:17:13] oh Seagal's whole thing is that he's really good at looking

[00:17:17] like he's about to do something bad.

[00:17:19] You know, he's really good at like looking around the corner

[00:17:22] with the gun.

[00:17:23] He's really good at like making you feel the anticipation of it.

[00:17:26] His eyes are always narrowed.

[00:17:28] Like I don't mean like his eyes are in that shape.

[00:17:31] He's just always kind of squinting it everyone.

[00:17:33] He's always got kind of a grimace.

[00:17:35] He's tight-lipped, you know?

[00:17:36] And he's really good at like that.

[00:17:38] But but he is kind of the perfect encapsulation

[00:17:42] of the difference between a movie star and an actor.

[00:17:45] And not that the two things cannot be one in the same.

[00:17:48] But he is not a good actor.

[00:17:49] He's an awful actor.

[00:17:50] Like there are some people like Sylvester Stallone or even Van

[00:17:53] Damme or like these guys who you've used,

[00:17:56] people have gotten good performances out of them.

[00:17:58] It's hit and miss.

[00:17:58] Right.

[00:17:58] Exactly.

[00:17:59] And Schwarzenegger for sure.

[00:18:00] And there's someone like Bradley Cooper who is both,

[00:18:01] who's a good actor and a good movie star, you know?

[00:18:03] Bradley Cooper, you know, inside the actor studio.

[00:18:05] Right.

[00:18:05] You know, he was he wanted to be an actor.

[00:18:07] Yeah.

[00:18:07] Seagal's not an actor.

[00:18:09] He's an awful actor.

[00:18:10] Right.

[00:18:10] But he's kind of a great movie star.

[00:18:12] Like he watched it.

[00:18:12] He's a movie star.

[00:18:13] He walks into that train car and you're like, uh-oh.

[00:18:15] He's got that look.

[00:18:16] He's got that sweet ponytail.

[00:18:18] I mean, he's iconic.

[00:18:19] Someone with a guy who is objectively husky and has a ponytail.

[00:18:25] He was never in good shape.

[00:18:26] Not really ever in great shape.

[00:18:27] And he was never aligned with the cultural standards of coolness.

[00:18:30] I was in an era when these guys were in ridiculous shape,

[00:18:33] which is no longer really required of these movie stars.

[00:18:36] But like in the 80s and 90s, like Van Damme,

[00:18:38] you know, we're in like absurd physical shape.

[00:18:41] But that was the whole thing was like Stallone in Schwarzenegger

[00:18:43] had this arms race where it was like, who can get more buff.

[00:18:46] Like every film they had more muscles,

[00:18:47] they had more shirtlessings, they were more oiled up.

[00:18:49] You know?

[00:18:50] Seagal's not like that at all.

[00:18:51] No.

[00:18:51] He's always in his like very dapper like black suits or whatever.

[00:18:55] He dresses like my dead grandma.

[00:18:56] Like he's like black t-shirt, black jacket over at black slacks.

[00:18:59] All of it's pretty loose fitting.

[00:19:01] He's got this weird fucking ponytail.

[00:19:03] Yeah.

[00:19:03] So his career was in 88, he was in Above the Law,

[00:19:07] which I think is sort of a cop movie.

[00:19:09] Yeah.

[00:19:09] Like a rogue cop movie.

[00:19:11] And Pam Grier's in it.

[00:19:12] Interesting.

[00:19:12] And then in 90 he's in Hard to Kill.

[00:19:14] I mean all the titles were three, three words.

[00:19:17] And that's Kelly the Brock?

[00:19:19] That's with Kelly the Brock who I believe he either married

[00:19:21] or had a long affair with.

[00:19:22] He married.

[00:19:23] That was his third wife.

[00:19:24] I went on to his Wikipedia page.

[00:19:25] I don't know the full backstory of this,

[00:19:26] but two of his marriages listed on Wikipedia

[00:19:28] overlap with each other.

[00:19:30] Not relationships, but it says like married to the first one

[00:19:33] from 19, like whatever to 1986.

[00:19:36] And then it says married from the second one from 1984 to 1995.

[00:19:40] Like it's something like that which is like Steven.

[00:19:43] Steven.

[00:19:44] Hard to kill.

[00:19:46] Hard to kill 90.

[00:19:47] In that one he plays a cop.

[00:19:49] But in that one is the cop woke up from a coma

[00:19:52] and like he has to avenge whatever put him in a coma.

[00:19:56] Then also in 90 he's in Mark for Death

[00:19:59] in which he plays a DEA agent who

[00:20:04] is avenging the death of his partner Chico.

[00:20:07] And then in 91 he's in Out for Justice.

[00:20:10] Hell yeah.

[00:20:11] Is that you like that one?

[00:20:11] I do.

[00:20:12] In that one he plays a cop who is out for justice.

[00:20:15] Right, right, right, right.

[00:20:16] I remember this now.

[00:20:17] Yeah.

[00:20:17] And then in 92 and I feel like this is all those movies

[00:20:21] do pretty well but like it's sort of a sl-

[00:20:23] In 92 he's in Under Siege.

[00:20:24] And it's huge.

[00:20:25] Which is like a big hit does really well.

[00:20:28] It's directed by Andrew Davis.

[00:20:30] Tommy Lee Jones and Gary Busey are in it.

[00:20:32] It's like nominated for Oscars, like sound Oscars.

[00:20:35] That's a sign that it was like noticed in the industry

[00:20:39] that it wasn't just some cheap trash that came out in March

[00:20:41] or whatever.

[00:20:42] Yeah.

[00:20:43] And so like now it's like and in that he plays

[00:20:46] a former Navy SEAL who is now a chef on a boat.

[00:20:50] Regular guy.

[00:20:51] And then some shit happens on the boat.

[00:20:53] He fucks people up.

[00:20:54] And I haven't seen Under Siege in a million years,

[00:20:59] if I've seen it at all.

[00:21:00] I have never seen it.

[00:21:00] I've never seen it.

[00:21:01] You've never seen it?

[00:21:05] I was gonna ask you if an Under Siege,

[00:21:07] because in Under Siege 2 his name is Casey Ryback.

[00:21:10] The character.

[00:21:11] When in some fucking secret military installation,

[00:21:15] when it's announced that Casey Ryback is on the train,

[00:21:18] everyone is like wait, what?

[00:21:20] Casey Ryback, like only the most deadly Navy SEAL to ever.

[00:21:24] So I'm wondering is he-

[00:21:25] Casey Ryback, the guy from Under Siege?

[00:21:26] Like the character is almost respond.

[00:21:29] Oh you mean the chef from the boat?

[00:21:30] Or are they like is he so famous

[00:21:32] that he was famous before he had Under Siege happen?

[00:21:35] Well I mean this, I think this plays into the seagull thing

[00:21:37] and that he's all about the wind-up.

[00:21:39] That as an actor it's about the anticipation of him

[00:21:41] looking like he's gonna do something badass.

[00:21:42] And the films because he himself is not

[00:21:45] that capable of being badass,

[00:21:47] the movies have to constantly have everyone

[00:21:49] explain how badass he is.

[00:21:50] So you like are able to load that on to him.

[00:21:53] So the idea that I think like he just has,

[00:21:56] cause I was talking to my buddy Hawken last night

[00:22:00] who has seen both Under Sieges, right?

[00:22:04] And he didn't remember that well but he said like,

[00:22:07] and he was like oh I always liked the Under Siege movies

[00:22:09] cause he's a chef.

[00:22:10] Like I always liked that thing.

[00:22:11] And I was like so is the idea that like Under Siege won

[00:22:14] cause they say this-

[00:22:15] He's just cooking on the boat.

[00:22:16] Right he's cooking on the boat.

[00:22:17] He's retired.

[00:22:18] Right, that's the thing.

[00:22:19] It's a shittier version of the John McLean thing.

[00:22:23] Where it's like-

[00:22:24] Much shittier.

[00:22:24] Right, John McLean was an average guy

[00:22:27] who's put into extraordinary circumstances

[00:22:28] and has to step up to the plate.

[00:22:29] But like we buy like John McLean can use a gun

[00:22:31] because and like you know,

[00:22:33] because he's a cop or whatever.

[00:22:34] But it's like he's wrong place, wrong time

[00:22:35] but he's not like the greatest cop in the world.

[00:22:37] He's not even necessarily a great cop.

[00:22:39] Obviously after Die Hard it gets a little ridiculous.

[00:22:42] But in Die Hard John McLean basically knows

[00:22:45] how to use a gun and that if you tape a bunch

[00:22:47] of explosives to a chair and throw it down

[00:22:49] an elevator shaft they'll probably blow up.

[00:22:51] Like it's not like complicated what he does.

[00:22:53] And I even think by the time you get to

[00:22:55] even I think Die Hard with a vengeance

[00:22:57] is where it starts to break a little bit.

[00:22:59] But on that movie they still are like

[00:23:01] let's bring in John McLean, he has experience with this.

[00:23:04] Not let's bring in John McLean, he's a famous badass.

[00:23:07] They were like he's done similar cases to this.

[00:23:09] We might wanna bring him in.

[00:23:11] This movie is like I think the idea is that

[00:23:14] like he was a Navy SEAL.

[00:23:16] He didn't wanna do it anymore.

[00:23:17] He chose food and then every time they force him

[00:23:20] to fucking get back and improve

[00:23:21] that he's the most powerful person in the world.

[00:23:24] He's the only man for the job.

[00:23:27] Right.

[00:23:28] Now, and he just happens to be in the right place

[00:23:30] right time for the conflict to ensue

[00:23:33] and for him to react and deal with it.

[00:23:35] And he doesn't wanna get into the conflict

[00:23:37] but there also is no refusal of the call in this movie.

[00:23:40] Like the second shit goes down he's like

[00:23:41] okay I guess I gotta do it.

[00:23:42] Like there's no inner battle of like

[00:23:44] I told myself I'd get away from this life.

[00:23:45] It's his young niece, he's gotta make sure

[00:23:47] that she's protected.

[00:23:48] Well so we'll get to under siege soon in a second

[00:23:49] but just his final piece is set up.

[00:23:51] So I feel like after under siege,

[00:23:53] Sigal is he's pretty big.

[00:23:54] Huge.

[00:23:55] Under siege two, under siege one,

[00:23:57] adjusted for inflation would make $200 million today

[00:23:59] which would be humongous.

[00:24:01] Wow.

[00:24:02] So then he's popping so he makes on deadly ground.

[00:24:06] Which he directs and is a passion project.

[00:24:08] Passion project about like environmental issues

[00:24:11] in the upper in the Northwest you know.

[00:24:13] Does he play someone of Native American heritage

[00:24:15] in that movie?

[00:24:16] I believe he plays it's like

[00:24:18] if he's not playing an Alaskan native

[00:24:20] it's certainly about the flight of Alaskan native.

[00:24:22] I think he's playing an Alaskan native.

[00:24:22] And like oil you know drillers

[00:24:25] and like Michael Cain and Billy Bob Thornton

[00:24:27] is that are in it like you know it's like

[00:24:29] and it's a flop because it's stupid.

[00:24:31] I think a lot of the clips you see of Sigal

[00:24:34] being a weird asshole come from that movie

[00:24:36] like where he like gives speeches and stuff

[00:24:39] about like you know I don't know it's dumb.

[00:24:41] Nobody likes it.

[00:24:42] And it's on his back heel.

[00:24:44] And the American public sort of says like

[00:24:46] we don't care what you have to say

[00:24:47] we don't like you because we think

[00:24:49] you have interesting thoughts.

[00:24:51] Just be Stephen Sigal.

[00:24:54] But exactly so he's on his back heel

[00:24:56] so it's like oh okay under siege too right?

[00:24:59] Why not make under siege too?

[00:25:01] So he makes under siege too.

[00:25:02] Under siege too is before Undeadly Ground.

[00:25:03] No it's after.

[00:25:04] Oh really?

[00:25:05] Yeah undeadly ground is 94 that's what I'm saying.

[00:25:07] Oh wow.

[00:25:08] Undersieged shoe is 95.

[00:25:09] Okay.

[00:25:09] Now so I don't know you know obviously

[00:25:11] that it's close enough in really states

[00:25:13] I'm not sure if this is a total risk

[00:25:14] but he's obviously like all right

[00:25:17] I made the passion.

[00:25:17] But this was safe.

[00:25:18] Yeah but this is the opposite of that.

[00:25:20] It does well but it does like half as well

[00:25:22] as the first one.

[00:25:23] There's like a big drop off.

[00:25:24] This one does okay.

[00:25:25] It makes 50 million.

[00:25:26] Right which would be 100 million today.

[00:25:28] Yeah.

[00:25:29] So under siege too and he picks Jeff Murphy.

[00:25:34] Dark territory.

[00:25:35] A dark territory yeah.

[00:25:36] Yeah.

[00:25:37] Jeff Murphy I mean I'll talk about him later

[00:25:40] because I don't want to get too deep into him now

[00:25:42] but he's a great director

[00:25:43] and I think he does an easy job.

[00:25:46] So under siege too.

[00:25:47] Ben would you like to take us through a tour

[00:25:49] of the plot of this film?

[00:25:50] I would love to.

[00:25:51] So we start fucking strong as hell

[00:25:54] with a rocket ship right.

[00:25:56] Yeah.

[00:25:57] And you're like space what.

[00:25:59] Yeah.

[00:26:00] Okay cool.

[00:26:01] I thought this movie took place on a train.

[00:26:02] Right.

[00:26:03] That was the whole ad campaign.

[00:26:03] All right well we're gonna be dealing with space

[00:26:06] and we're gonna be dealing with a lot of space.

[00:26:08] Yeah.

[00:26:09] So then you go to a control room right

[00:26:11] and so it's basically sets up

[00:26:12] that they're launching the satellite

[00:26:15] and this satellite is a weapons defense system

[00:26:17] essentially right.

[00:26:19] And we also meet Eric's dad

[00:26:22] and he's like kind of leading the way.

[00:26:24] You know Eric Foreman's dad.

[00:26:26] Kurt Witt-Smith.

[00:26:27] Sure.

[00:26:28] Also known as Clarence Boddiger.

[00:26:29] Also known as Red.

[00:26:30] And then there's also an introduction

[00:26:32] of a lot of sexism

[00:26:33] and that's gonna be a through line

[00:26:35] throughout this movie.

[00:26:36] Sure.

[00:26:37] Now we just we gotta acknowledge it.

[00:26:39] It's of the time.

[00:26:41] Oh yeah no I mean

[00:26:42] I didn't blink an eye put it that way.

[00:26:44] I didn't either but it's definitely kind of like wow

[00:26:47] we've at least made some progress.

[00:26:49] I don't know but

[00:26:51] Yeah.

[00:26:52] I don't know.

[00:26:52] I'm more subliminal now.

[00:26:53] Right and here's the thing.

[00:26:54] I kind of find that more insidious.

[00:26:56] Oh yeah.

[00:26:57] Like I was watching this

[00:26:58] and I was like Mike

[00:26:58] because we get boobs like 90 seconds into this movie.

[00:27:01] Right you have a space shuttle

[00:27:02] then they cut to mission control

[00:27:04] they're setting up the satellite

[00:27:06] and they're like let's give it a test

[00:27:07] let's see if we can spy on anybody

[00:27:09] and the first thing they see

[00:27:09] is a woman sunbathing

[00:27:10] and they're like zoom in.

[00:27:12] Yeah yeah yeah.

[00:27:13] Let's test to see if it works.

[00:27:14] Right right can you can you clear up the image

[00:27:16] and then they're just looking at tits

[00:27:17] and the one guy's like

[00:27:18] but I was like at least this movie is just candidly going

[00:27:21] like we're gross we're just looking at tits.

[00:27:23] 90 seconds was I would surprise

[00:27:26] I was fast.

[00:27:27] I was like how are they even really fast.

[00:27:30] And it's also not just like you're looking at tits

[00:27:31] but it's like the film is setting up

[00:27:33] that the government is spying on women

[00:27:36] so they can look at their tits

[00:27:37] and like Google them.

[00:27:38] But I'm gonna keep on relating

[00:27:40] this film the Suicide Squad

[00:27:41] just because it's like in my recent memory you know.

[00:27:44] I don't even remember Suicide Squad.

[00:27:46] I remember it too much it haunts me in my dreams

[00:27:48] but I would like my thought while watching this movie

[00:27:50] over and over again was like

[00:27:52] they don't make bad movies like this anymore

[00:27:55] like I miss this kind of bad

[00:27:57] and like I kind of find Suicide Squad more insidious

[00:28:01] because they're trying to simultaneously

[00:28:03] like argue that Harley is this like empowered

[00:28:07] feminist character when she's not at all

[00:28:09] and the film like Oogles are so much

[00:28:11] and there's so many shots of her ass.

[00:28:13] Where it's like both are shitty.

[00:28:15] I would like female characters to have agency in movies

[00:28:18] you know and have like a diversity of portrayals

[00:28:20] of women and different roles

[00:28:23] but I also feel like I kind of prefer the one

[00:28:26] where you're just like we're just showing you tits

[00:28:28] rather than being like Harley Quinn is like a role model.

[00:28:31] It's like lean into it or don't.

[00:28:33] Yeah, I'd rather you stand up and go like

[00:28:36] hey I'm a piece of shit

[00:28:37] then tell me like no I'm a good guy

[00:28:39] and then be a piece of shit.

[00:28:41] Right.

[00:28:42] I kind of want honesty in my filmmaking.

[00:28:44] I know what you mean.

[00:28:45] I mean it's honesty about being bad.

[00:28:46] It's an era also when things are just sectioned off

[00:28:49] where they're like oh this movie is not for women to watch

[00:28:52] would a woman wanna watch this?

[00:28:53] Like they'd be genuinely surprised.

[00:28:55] Like huh?

[00:28:56] Yeah.

[00:28:57] I mean which is gross in its own way

[00:28:59] but you know I mean it's when Hollywood pandered

[00:29:01] so exclusively where they're like

[00:29:03] oh no don't worry we'll have one for you guys

[00:29:05] like wait a second let's go get you know

[00:29:07] like some rom-com for you okay.

[00:29:08] You don't have to make four cauldren films

[00:29:09] and that was the thing.

[00:29:10] Rom-coms were so big and also you know

[00:29:13] you had these sort of programmer action movies

[00:29:15] that were really big and it was like

[00:29:16] that's the sectioning off

[00:29:17] and then you have a couple movies a year

[00:29:18] that like connect in our four quadrant

[00:29:21] like sort of cross you know broad appeal movie.

[00:29:24] Right.

[00:29:24] I mean we're gonna get to the box office game

[00:29:26] and I feel like it's very clear in the films

[00:29:30] that are out.

[00:29:31] The divide.

[00:29:32] But I just thought let's address it there

[00:29:33] because it's so early on

[00:29:35] and we can just move on.

[00:29:36] No you don't.

[00:29:37] Because it's throughout the movie it's gross.

[00:29:38] I'll mention the other times it happens.

[00:29:39] But yeah but this movie sees no value in women

[00:29:42] other than their parents.

[00:29:43] Tets!

[00:29:44] Yeah.

[00:29:45] Lot's hits in this one.

[00:29:46] Or as like innocence to be defended.

[00:29:48] Innocence.

[00:29:49] Right but it's like all those scenes are about people

[00:29:52] like even the scenes between her and Seagal

[00:29:54] it's all like everyone trying to fuck her.

[00:29:56] Yeah no no for sure.

[00:29:57] I mean yeah no that's right yeah.

[00:29:59] But uh.

[00:30:00] And they're trying to cut it both ways

[00:30:01] where it's like well it's like

[00:30:02] you have to put her in danger of being

[00:30:04] like sexually ruined quote unquote

[00:30:07] that Seagal has something to like defend.

[00:30:09] But also the film is like hey

[00:30:11] don't you want to watch a bunch of guys' skis on her?

[00:30:14] Yeah that's true.

[00:30:16] So anyway moving right along.

[00:30:17] Well they've launched a satellite.

[00:30:18] They launched a satellite to success okay.

[00:30:21] We go then to

[00:30:24] meeting

[00:30:26] Steven Seagal.

[00:30:27] Yeah LA Union Station.

[00:30:29] Right and he is showing up at his restaurant

[00:30:32] because his.

[00:30:33] Yeah we see him at the restaurant first.

[00:30:35] The head cook.

[00:30:35] Forgot about that.

[00:30:36] Basically establishing A he's cool as fuck.

[00:30:39] Yeah.

[00:30:40] Okay also he's setting up that his parents recently died

[00:30:43] in a plane crash.

[00:30:44] I'm not sure if that's in under siege the original.

[00:30:47] I don't think so.

[00:30:47] None of us know.

[00:30:48] It's really weird but they mentioned that

[00:30:50] that's why he's taking a train guys okay.

[00:30:52] Right.

[00:30:53] Because you wouldn't normally travel to LA on a train

[00:30:55] from where they in Colorado I believe.

[00:30:57] No they're going to Colorado.

[00:30:59] Oh okay.

[00:31:00] From LA.

[00:31:01] Okay.

[00:31:02] No but yeah in either way they're setting up

[00:31:03] why they need to get on a train which

[00:31:06] I don't need but okay.

[00:31:07] I know but it's funny because I'm like LA to Denver

[00:31:11] you're going to take like a 12 hour train

[00:31:14] or however long this fucking train must be like.

[00:31:16] I also love that the guy at the restaurant is like

[00:31:19] man why do you come around here morning.

[00:31:20] He's like you know I'm just not in a great space right now.

[00:31:22] And he's like yeah but man the only reason

[00:31:24] he's like the restaurant's still doing well right.

[00:31:26] People like it.

[00:31:26] He's like the only reason people like this restaurant

[00:31:28] is because of you.

[00:31:29] Right.

[00:31:30] Like he's the most important person

[00:31:31] in everyone's life.

[00:31:32] It looks like right.

[00:31:33] Right like the restaurant has no value

[00:31:35] if he's not there.

[00:31:36] Right.

[00:31:37] Yeah.

[00:31:38] They also set up in this short little scene

[00:31:40] that he's meeting with his niece

[00:31:42] who hasn't seen in many years.

[00:31:44] His niece who is played by Catherine Heigl.

[00:31:46] Yeah.

[00:31:47] A youngish Catherine Heigl what is she

[00:31:49] probably 14 or something.

[00:31:51] Yeah.

[00:31:52] You know somewhere.

[00:31:53] She's pretty much older than that yeah.

[00:31:54] Early teens probably who's playing Sarah Ryback

[00:31:58] his niece whose father was also a Navy hero

[00:32:03] and won the Navy Cross although the film

[00:32:04] later makes clear that Steven Seagal

[00:32:06] is character one two Navy crosses.

[00:32:09] He was more like yeah.

[00:32:09] Just in case you thought yeah her dead dad

[00:32:12] was a more of a hero than Steven Seagal.

[00:32:14] And their relationship makes no sense

[00:32:16] because he shows up he's like go see my niece.

[00:32:19] Yeah.

[00:32:20] And he goes to see her and immediately

[00:32:21] she's like fuck you.

[00:32:23] Like where are you why didn't you see me

[00:32:25] my brother.

[00:32:26] She's got a lot of to right.

[00:32:27] And it's like a rude to it feels like

[00:32:29] okay now he like left her at some point

[00:32:31] like he's abandoned her in some kind

[00:32:33] of way as an uncle.

[00:32:34] You know she feels wronged.

[00:32:35] How mad can she be he is just her uncle.

[00:32:38] Right.

[00:32:38] She could have swung by the mile high cafe

[00:32:41] just saying

[00:32:43] but they also never like explain like the scene

[00:32:46] which is like Denver Omelet.

[00:32:48] Right.

[00:32:48] Yeah.

[00:32:49] Yes he could have.

[00:32:50] Could have.

[00:32:50] Yes she could have a Denver Omelet.

[00:32:51] Yes she can.

[00:32:52] And she would have loved it

[00:32:53] because everyone loves his cooking

[00:32:55] Steven Seagal.

[00:32:55] That's right.

[00:32:56] But only when he's there in the restaurant

[00:32:57] right because if you eat the omelet

[00:32:58] and he's not there doesn't taste like

[00:33:00] dust.

[00:33:01] It tastes like dust.

[00:33:02] He's the secret sauce.

[00:33:03] I also think like in a in a

[00:33:07] more dramatically functional version

[00:33:09] of this movie and I actually think

[00:33:10] this film is decently scripted

[00:33:12] you know for what it's doing.

[00:33:13] I think it's like pretty tight in terms

[00:33:15] of set up payoff.

[00:33:16] It's pretty tight in terms of yeah

[00:33:19] keeping the narrative focused.

[00:33:20] I wouldn't say very cliched very by the book

[00:33:22] but it's incredibly cliche.

[00:33:23] I wouldn't say it's well written.

[00:33:25] I'd say it's very function.

[00:33:26] It's perfect.

[00:33:26] The lines unfortunately don't pop at all

[00:33:28] which is kind of what I want

[00:33:29] from one of these movies a little more

[00:33:31] is the line that Ben quoted was great.

[00:33:33] The line that Ben quoted is funny

[00:33:34] because especially because they repeat

[00:33:35] it and you're like OK.

[00:33:37] But I wish there was a little more of

[00:33:39] that you like you know you like a

[00:33:41] little crazy assumptions the mother

[00:33:42] of all fuck up.

[00:33:43] Yeah.

[00:33:44] But also but Stephen Seagal can't

[00:33:46] deliver one liner.

[00:33:47] So you have to get the lines to

[00:33:48] everyone else.

[00:33:49] But the other thing is like he's

[00:33:51] so clearly obsessed with being

[00:33:52] completely infallible in every way

[00:33:54] that like you have to imagine the

[00:33:56] first draft of the script.

[00:33:57] There was a way that he really

[00:34:00] betrayed abandoned or disappointed

[00:34:02] his niece so that there's like a

[00:34:04] moment that he has to like you know

[00:34:06] sort of repent for.

[00:34:07] And this film doesn't have that

[00:34:08] because they don't want to have him

[00:34:10] have done anything wrong in his life.

[00:34:12] So it's just like she's angry at

[00:34:14] him and then the second they get

[00:34:15] on the train she won't stop talking

[00:34:16] to everyone else about her uncle

[00:34:17] was the most important figure in

[00:34:19] her life.

[00:34:19] So there's like no moment where

[00:34:21] he fucked her over.

[00:34:22] No.

[00:34:22] But she's like I still wear the

[00:34:23] necklace that he gave me.

[00:34:24] He taught me how to do fucking

[00:34:26] judo.

[00:34:27] I think really the main

[00:34:28] hero conflict is more so that

[00:34:31] her father has recently passed

[00:34:33] and he wasn't there.

[00:34:33] And he wasn't around and they

[00:34:35] sort of had a falling out.

[00:34:36] Right.

[00:34:37] But it's never explained because

[00:34:38] they don't want him to have any

[00:34:39] responsibility for the one weird

[00:34:40] thing he does is he they sit down

[00:34:42] on the train.

[00:34:43] He's like I know you got teddy

[00:34:45] bears.

[00:34:45] So I got your teddy bear and he

[00:34:46] takes a very generic looking

[00:34:48] teddy bear out of a backpack.

[00:34:49] Right.

[00:34:49] And she's just like obviously

[00:34:51] she's like we're like she's

[00:34:52] going to say like what are you

[00:34:53] doing.

[00:34:54] I'm a teenager.

[00:34:55] I don't like immediately says

[00:34:56] that he's like I don't know

[00:34:57] if you're too old for teddy bears.

[00:35:01] And he doesn't even look at her.

[00:35:03] He's like looking straight ahead

[00:35:05] as he answered this.

[00:35:06] It's odd.

[00:35:07] Well and here's here's like the

[00:35:08] thing of like Steven Seagal

[00:35:10] being a great movie star and a

[00:35:11] terrible actor.

[00:35:12] He doesn't have a single moment

[00:35:14] that registers as like

[00:35:15] recognizable human behavior.

[00:35:16] No.

[00:35:16] Not it doesn't.

[00:35:17] Yes.

[00:35:18] That's accurate.

[00:35:18] But like the guy is so aware

[00:35:20] of how he plays on camera and

[00:35:21] his angles that he's like I'm

[00:35:23] going to look ahead and not

[00:35:24] make eye contact with the

[00:35:25] other actors in the scene

[00:35:25] because I look best head on.

[00:35:27] You know like he knows he

[00:35:29] does.

[00:35:29] You know if I turn you're going

[00:35:31] to see my double shit like I got

[00:35:32] do this head on.

[00:35:33] We should we should say the

[00:35:35] script written by Richard

[00:35:36] Haytham and Matt Reeves.

[00:35:38] Yes.

[00:35:38] He's one of my favorite director

[00:35:40] now a fun director.

[00:35:41] Made the last play of the movie

[00:35:43] in Cloverfield.

[00:35:44] Wow.

[00:35:44] Did let me in.

[00:35:45] Yeah.

[00:35:46] So and he's do I believe he's

[00:35:47] doing the next plan of the

[00:35:48] Apes.

[00:35:49] Yes.

[00:35:49] During war.

[00:35:49] Which I'm pumped for.

[00:35:51] Me too.

[00:35:51] Yeah.

[00:35:52] He wrote the guy.

[00:35:53] He's had an odd career Matt

[00:35:54] Reeves.

[00:35:54] Well he wrote and directed

[00:35:55] the Paul Bear.

[00:35:56] He wrote and directed the

[00:35:57] Paul Bear.

[00:35:58] He wrote co-wrote the Yards

[00:36:00] with James Gray.

[00:36:00] Right.

[00:36:01] And he created Felicity.

[00:36:03] Yeah.

[00:36:03] With J.J.

[00:36:04] Abrams which is yeah it's an

[00:36:05] odd career.

[00:36:06] Anyway he wrote this this was

[00:36:07] his first movie.

[00:36:10] Under siege to.

[00:36:11] Under siege to.

[00:36:12] Dark territory.

[00:36:13] All right so now let's let's

[00:36:15] move right along.

[00:36:15] Yes.

[00:36:16] They they get on the train.

[00:36:18] They do.

[00:36:18] They waste no time.

[00:36:19] They're on the train.

[00:36:19] A train bound for Denver.

[00:36:21] I would say they're on the

[00:36:22] train by minute five of this

[00:36:23] movie.

[00:36:23] But it's great.

[00:36:24] It's they fucking.

[00:36:25] I mean it's not that

[00:36:26] it's like they there's much

[00:36:27] set up or like that.

[00:36:29] They're they accomplish what

[00:36:30] they need to for this movie

[00:36:32] very quickly.

[00:36:32] Right.

[00:36:33] Yeah.

[00:36:33] Now you're on the fucking

[00:36:34] train.

[00:36:35] You got a nice train double

[00:36:36] deck or train.

[00:36:37] You got that fancy looking

[00:36:37] train right.

[00:36:38] The actor who I love from

[00:36:40] Boys in the Hood.

[00:36:41] Morris Chestnut as a porter.

[00:36:44] Yeah he's kind of hitting on

[00:36:46] Catherine Heigl.

[00:36:47] Right.

[00:36:47] And you are kind of like

[00:36:49] like what the fuck dude

[00:36:50] like you're you're young but

[00:36:51] you're not this young like

[00:36:52] this is a little much.

[00:36:53] Like.

[00:36:54] It seems like he's like 19 and

[00:36:56] she's like 14.

[00:36:57] If if that.

[00:36:59] And he's maybe 23 and she's

[00:37:01] 13 but yes.

[00:37:02] Yeah.

[00:37:03] But no but no he's just

[00:37:04] being cute.

[00:37:05] He's like let me take your bag

[00:37:06] please I need to take someone's

[00:37:07] bag like I got to work you know

[00:37:08] like I got to do something

[00:37:09] while I'm.

[00:37:10] You have that interaction

[00:37:11] play out then you cut to a

[00:37:12] couple fucking in a cabin.

[00:37:14] Right.

[00:37:15] Very very immediately.

[00:37:18] And the who are they trying

[00:37:19] to recognize and then you're

[00:37:21] like of like three scenes

[00:37:22] later you're like oh he was

[00:37:23] one of the guys at the

[00:37:24] satellite launch.

[00:37:25] Yeah.

[00:37:25] And they don't draw the line

[00:37:26] very clearly but not at all.

[00:37:28] She there too.

[00:37:29] I think she was there.

[00:37:30] Maybe she was there.

[00:37:30] I think they're both there

[00:37:31] they're both involved with

[00:37:32] the satellite.

[00:37:33] Yeah that's why I believe

[00:37:35] they're on the train like

[00:37:36] why the terrorists hijacked

[00:37:37] the train.

[00:37:38] Oh percent.

[00:37:39] Yes.

[00:37:39] But also because of dark

[00:37:40] territory.

[00:37:41] It's both.

[00:37:42] Yeah.

[00:37:42] They know that they'll be

[00:37:43] able to go into dark

[00:37:43] territory because it'll be a

[00:37:44] point where everyone knows

[00:37:45] the dark territory is right.

[00:37:46] Great we don't have to

[00:37:47] explain that right the

[00:37:48] movie doesn't.

[00:37:49] It doesn't explain it.

[00:37:50] It does use the phrase

[00:37:51] dark territory maybe 15 quite

[00:37:53] a lot.

[00:37:54] Yes.

[00:37:54] Where they're like are we in

[00:37:55] dark territory.

[00:37:56] Yeah.

[00:37:57] Anyway apparently that's when

[00:37:58] the train is not in

[00:38:00] communication with train

[00:38:01] operators on the ground.

[00:38:02] It's like on like sort of

[00:38:03] disused old railroads

[00:38:06] and there's no signals.

[00:38:07] I don't know.

[00:38:07] It doesn't matter.

[00:38:08] No it's just a good name.

[00:38:10] They obviously founded an

[00:38:11] encyclopedia and they were

[00:38:12] like great.

[00:38:13] Yeah.

[00:38:13] What's a cool thing that a

[00:38:14] train does and they're like

[00:38:15] well it goes into dark

[00:38:16] territory sometimes like

[00:38:17] perfect.

[00:38:18] I love it.

[00:38:18] But they're they're on the

[00:38:19] train.

[00:38:20] They like you know

[00:38:22] immediately start.

[00:38:23] Just yeah.

[00:38:24] Is the train even left the

[00:38:25] station when they start

[00:38:26] going.

[00:38:27] Because usually that's like

[00:38:27] the thing like you know

[00:38:28] that's fucking how North by

[00:38:29] Northwest ends is like a

[00:38:30] Karrig Grant even a St.

[00:38:32] Kiss and then they cut to

[00:38:33] the train going in the

[00:38:34] tunnel.

[00:38:34] That's always been like a

[00:38:35] classic of filmmaking.

[00:38:37] You know in an earlier sort

[00:38:38] of like a code era of

[00:38:40] Hollywood filmmaking where

[00:38:40] you couldn't show sex was

[00:38:42] like you have two characters

[00:38:43] kiss on train and then you

[00:38:44] cut to the train going

[00:38:45] through the tunnel and it's

[00:38:45] like the audience can put

[00:38:47] it together.

[00:38:47] Eisenstein montage.

[00:38:49] Yeah sure.

[00:38:49] It all makes sense you

[00:38:50] know.

[00:38:51] But this good reference to

[00:38:52] Eisenstein.

[00:38:52] Thank you.

[00:38:53] Which under each shoe is very

[00:38:54] intended to very

[00:38:55] very very this movie has them

[00:38:57] fucking before the train starts

[00:38:58] moving like they get on the

[00:39:00] train lock the door start

[00:39:01] fucking and then they're like

[00:39:02] oh they lock the gates.

[00:39:03] Oh they lock those gates.

[00:39:05] Yeah.

[00:39:06] Were you as thrown off as I

[00:39:08] was by like the amount of

[00:39:09] people using the term locked

[00:39:10] a gate.

[00:39:12] Lock lock the gate or whatever

[00:39:13] I'm locked.

[00:39:14] Yeah like this whole thing

[00:39:15] with him lying people are

[00:39:16] calling it Ryan like lock the

[00:39:17] gate.

[00:39:19] And just sounds like well now

[00:39:20] you're just doing like a

[00:39:20] bad like a racist impression

[00:39:22] of a Caribbean man.

[00:39:24] Doing Mark Merrin lock the

[00:39:26] gate.

[00:39:28] That's what I thought that's

[00:39:29] what I thought.

[00:39:31] Hold on let me just take a sip

[00:39:32] of this tea quickly.

[00:39:35] Oh I just pissed my underwear.

[00:39:39] No this is the blank check

[00:39:41] blend is a decaf tea.

[00:39:44] Look at it and look at the

[00:39:45] roots there is no.

[00:39:48] L.A. to Denver train.

[00:39:50] Oh really.

[00:39:51] No that's where you go to

[00:39:52] Denver train.

[00:39:53] David have you heard of Dark

[00:39:54] Territory.

[00:39:56] That is surprising because it

[00:39:57] feels like the rest of this

[00:39:57] movie checks out.

[00:40:00] Well OK so can we talk about

[00:40:01] what this satellite does.

[00:40:02] Yeah this US military

[00:40:04] approved satellite makes

[00:40:06] earthquakes.

[00:40:07] Yes.

[00:40:07] You pointed at a place.

[00:40:09] Yeah.

[00:40:09] Be it a person of an airplane

[00:40:12] heritage heritage California.

[00:40:15] Yeah and it'll make it

[00:40:17] territory.

[00:40:19] And like it like at some

[00:40:21] points it makes earthquakes

[00:40:22] that literally explode one

[00:40:24] little fighter jet.

[00:40:25] Yeah.

[00:40:25] And but then we're also told it

[00:40:27] could make an earthquake that

[00:40:27] would eliminate California.

[00:40:29] Right on the map.

[00:40:30] Right.

[00:40:31] We're showing a map with

[00:40:32] California and then they're

[00:40:33] like then they do this and

[00:40:34] then the map is there's no

[00:40:36] California like it's just

[00:40:37] ocean.

[00:40:38] Yeah.

[00:40:38] And by the way we should

[00:40:39] point out dope ass fucking

[00:40:42] technology.

[00:40:43] I was going to say.

[00:40:43] I mean this is a huge

[00:40:46] big.

[00:40:47] There's also a huge thing

[00:40:49] where the pager been.

[00:40:50] Yeah.

[00:40:51] Oh we're going to talk about

[00:40:52] Newton.

[00:40:53] Oh my God I know.

[00:40:54] It's a plot point in the movie

[00:40:55] is an apple Newton.

[00:40:57] The original tablet.

[00:40:58] Yes.

[00:40:59] Yes.

[00:41:00] No but it's like the opening

[00:41:01] scene they just launched the

[00:41:03] satellite.

[00:41:03] They prove that they can see

[00:41:04] a pair of titties and they're

[00:41:05] like great work everybody go

[00:41:06] home you two have fun fucking

[00:41:08] on that train.

[00:41:09] And it's like wait a second

[00:41:10] who approved an earthquake

[00:41:11] machine in the sky.

[00:41:13] What is this.

[00:41:13] And are they putting it up

[00:41:14] there for any reasons.

[00:41:15] It's just a fail.

[00:41:16] But like why the other

[00:41:18] thing I mean getting a little

[00:41:19] heavy stuff but when they

[00:41:20] activate the satellite.

[00:41:22] Like the satellite like has

[00:41:24] like five tendrils come out

[00:41:25] that turn into like claws

[00:41:27] that make it look like a fucking

[00:41:28] Sentinel from the matrix

[00:41:30] which don't seem to serve any

[00:41:32] purpose other than to make it

[00:41:34] look scary.

[00:41:34] Yeah looks cool in space

[00:41:36] which no one's going to see.

[00:41:37] I mean it could be a fucking

[00:41:38] black box who cares.

[00:41:39] Right.

[00:41:39] I mean you know it doesn't

[00:41:40] matter.

[00:41:41] It could be anything.

[00:41:41] It's also called the Grazer

[00:41:43] which I feel like has to be

[00:41:44] some sort of backhanded

[00:41:46] Grazer one to Brian Grazer

[00:41:48] you think he was such a

[00:41:49] power player at the time.

[00:41:50] I wouldn't be surprised if like

[00:41:52] like you know Steven Seagal had

[00:41:53] a bad interaction with Brian

[00:41:54] Grazer to party and was like

[00:41:55] we're going to call the evil

[00:41:56] machine crazy.

[00:41:58] It feels like something he

[00:41:59] would do.

[00:41:59] I it feels like this movie was

[00:42:01] made by a very petty man.

[00:42:03] I don't think that's

[00:42:03] coincidental but it shares the

[00:42:05] name of one of Hollywood's

[00:42:06] biggest producers at the time.

[00:42:08] Grazer one.

[00:42:09] Yeah.

[00:42:09] So Ben we're on the train.

[00:42:11] Right.

[00:42:11] All right so.

[00:42:11] People are boning.

[00:42:12] Fucking.

[00:42:12] Seagal's giving his teddy bear

[00:42:14] to Michael.

[00:42:14] Seagal hasn't seen his niece in

[00:42:15] a while.

[00:42:16] Right.

[00:42:16] So they've gotten their seat.

[00:42:18] He's got to go make her a

[00:42:19] cake.

[00:42:20] Right.

[00:42:20] So he just breaks off.

[00:42:21] She's giving him so much to

[00:42:23] by the way.

[00:42:23] There that's true.

[00:42:25] But he's going to go make her

[00:42:26] a cake because he's a cook

[00:42:27] and he wants to showcase his

[00:42:29] skills.

[00:42:30] So he sets up.

[00:42:31] He goes to like the kitchen

[00:42:32] car.

[00:42:33] Yeah.

[00:42:33] Yeah.

[00:42:33] And the real reason is

[00:42:34] because they need to get him

[00:42:35] away from everyone else when

[00:42:37] the terrorists show up.

[00:42:38] Yeah.

[00:42:39] Now I mean they do right

[00:42:41] away.

[00:42:41] Right.

[00:42:41] Yeah.

[00:42:41] And it's just like you see

[00:42:42] the nefarious guy outside

[00:42:44] of the train.

[00:42:44] You know he's the bad guy

[00:42:46] right.

[00:42:46] And he's talking on a walkie

[00:42:48] talkie.

[00:42:48] Helicopters fly in.

[00:42:50] There's some people planted on

[00:42:52] the train.

[00:42:52] Yeah.

[00:42:52] And they they take the train

[00:42:54] over.

[00:42:54] Yeah.

[00:42:54] And it happens really quickly.

[00:42:55] Right.

[00:42:56] And it's pretty like it's

[00:42:57] I mean it's a train.

[00:42:58] They're mercenaries.

[00:42:59] It's not hard.

[00:43:00] Yeah.

[00:43:00] Yeah.

[00:43:00] No.

[00:43:01] It's telling their mercenaries

[00:43:03] they have like a assault.

[00:43:04] You know they're they're

[00:43:05] trained private contractors

[00:43:08] for this right.

[00:43:09] And then we are

[00:43:11] introduced to the mad

[00:43:14] crazy scientist bad guy.

[00:43:16] Dane.

[00:43:16] Travis Dane.

[00:43:17] Yes.

[00:43:17] And they say in the earlier

[00:43:18] the satellite launch scene I

[00:43:20] think with the couple who

[00:43:21] are fucking later on the trains

[00:43:22] is something like it's too bad

[00:43:23] Dane couldn't be here to see

[00:43:24] this.

[00:43:24] Like does anyone right.

[00:43:25] You know like he's talked

[00:43:27] about briefly in hushed tones

[00:43:28] sure as like he was kind of

[00:43:30] the main architect of this

[00:43:31] and he's not around anymore.

[00:43:32] So we learn that Dane is

[00:43:34] made by Eric Bogosian.

[00:43:36] He's great.

[00:43:36] He's a real good bad guy

[00:43:38] famed hot wire monologist.

[00:43:41] Yep.

[00:43:41] And playwright Eric Bogosian.

[00:43:43] The first one Tommy Lee

[00:43:44] Jodes this time they got

[00:43:45] Eric Bogosian.

[00:43:46] I agree that he's pretty good.

[00:43:47] I mean it's like again in these

[00:43:49] kinds of movies the villain is

[00:43:50] either like a wiry little guy

[00:43:54] with like a button down shirt

[00:43:56] and a tie.

[00:43:57] Yeah.

[00:43:57] Who's crazy.

[00:43:58] Yeah.

[00:43:58] Or is like a big buff dude

[00:44:00] who's like a monster.

[00:44:01] OK but this was this golden age

[00:44:03] with the difference.

[00:44:03] Yes.

[00:44:03] And they do both.

[00:44:04] That's that's I think when

[00:44:05] it works best and like Die Hard

[00:44:06] does die hard does they have

[00:44:07] a car and go over right.

[00:44:09] But also a lethal weapon

[00:44:10] does that as well.

[00:44:11] Like that's it kind of

[00:44:12] works because you have one

[00:44:13] guy who's like a physical

[00:44:15] equal.

[00:44:15] I mean under siege one I assume

[00:44:17] we haven't seen it but you've

[00:44:18] got Tommy Lee Jones and Gary

[00:44:19] Busey.

[00:44:20] One assumes probably one role

[00:44:22] Busey's playing the other.

[00:44:23] Yeah.

[00:44:23] But I was I mean talk about

[00:44:24] they don't make bad movies

[00:44:25] like this anymore.

[00:44:26] Like you know we end up

[00:44:29] inevitably talking about the

[00:44:30] Marvel movies a lot right now

[00:44:31] because they sort of dominate

[00:44:31] the conversation.

[00:44:32] Everyone's trying to fall in

[00:44:33] their footsteps.

[00:44:34] But like I'd say one of the

[00:44:35] biggest problems with the

[00:44:36] Marvel movies recently is

[00:44:38] that like like what's the

[00:44:39] biggest issue with Guardians of

[00:44:40] the Galaxy.

[00:44:42] It's that like Ronan is

[00:44:43] like you know indistinguishable

[00:44:45] from like Curse and Malcath

[00:44:47] from Thor the Dark World.

[00:44:48] People are tough on Ronan.

[00:44:49] Yeah.

[00:44:50] I don't think he's bad.

[00:44:50] But it's just like I think

[00:44:52] he's fine.

[00:44:52] No no.

[00:44:53] But it is kind of like you have

[00:44:55] that movie has four villains

[00:44:56] and none of them really pop.

[00:44:58] And it's like you want to let

[00:44:59] one guy do the acting

[00:45:01] right.

[00:45:01] And like have all the fun

[00:45:03] scenery chewing and you want

[00:45:03] to let one person be the

[00:45:05] like physically brute.

[00:45:06] Right.

[00:45:07] And I think you get to like

[00:45:08] have your cake and eat it too

[00:45:09] if you do both.

[00:45:11] And this movie does that

[00:45:12] really well where it's like

[00:45:12] Bogosian can't hold his own

[00:45:13] in a fight.

[00:45:14] No we're never going to buy

[00:45:15] the Bogotians going to take on

[00:45:17] Seagal in a keto battle.

[00:45:19] Like I mean that's not going to

[00:45:20] happen.

[00:45:20] Right.

[00:45:21] Which even like you know I

[00:45:22] think he can monologue.

[00:45:23] One of Solace does that where

[00:45:24] you have like Matthew Amarique

[00:45:25] who's like a great fucking

[00:45:26] actor who is like the mastermind

[00:45:28] at the end of the film it comes

[00:45:29] down to a fist fight between

[00:45:30] him and Daniel Craig.

[00:45:32] And it's like well this fight

[00:45:32] ends in two seconds.

[00:45:33] Right.

[00:45:34] Like Matthew Amarique cannot

[00:45:35] hold his own.

[00:45:36] Yeah Amarique's an odd

[00:45:38] performance.

[00:45:39] I love him as an actor.

[00:45:40] I was so excited when they

[00:45:41] cast him and he doesn't

[00:45:42] really register.

[00:45:43] He really has one scene.

[00:45:44] Like Amarique has one scene when

[00:45:45] he freaks out and that's it.

[00:45:47] But then he's got a big fight

[00:45:48] scene at the end and like this

[00:45:49] fight would not go on this long.

[00:45:51] So dumb.

[00:45:51] Yeah.

[00:45:51] So all right we meet Bogosian

[00:45:54] right bad guy.

[00:45:55] He makes like some speech you

[00:45:57] know basically like letting all

[00:45:58] of the passengers know

[00:46:00] there they he's taken over the

[00:46:01] train.

[00:46:01] They're all forced to the back

[00:46:03] half of the train.

[00:46:04] They're entering dark territory.

[00:46:05] Right.

[00:46:05] They are entering dark territory.

[00:46:06] They are indeed entering

[00:46:08] the territory that is dark.

[00:46:09] Among the hijackers

[00:46:11] he got Peter Green who was

[00:46:13] like a bad guy in like every

[00:46:15] movie in the early night.

[00:46:16] He's in the mask.

[00:46:17] Yeah.

[00:46:17] What else is he in.

[00:46:18] He's in the usual suspects for

[00:46:20] a second.

[00:46:20] He's red foot.

[00:46:21] I don't know.

[00:46:21] He's a big 90s heavy.

[00:46:23] I looked him up.

[00:46:23] He doesn't even have his.

[00:46:24] He's credited as mercenary one.

[00:46:26] He's in a lot of scenes.

[00:46:28] You know who I was talking

[00:46:29] about.

[00:46:29] Yeah.

[00:46:29] No I know you're talking

[00:46:29] about and then we got

[00:46:32] Jonathan Banks is one of the

[00:46:33] guys who stops the train from

[00:46:34] breaking bad formerly of Wise

[00:46:36] Mike Ermentraut is one of

[00:46:38] the guys who stops the

[00:46:38] train.

[00:46:39] But looks basically the same

[00:46:40] minus some wrinkles.

[00:46:41] I mean he's like a bald guy

[00:46:42] with a white goatee.

[00:46:43] It's basically the same guy.

[00:46:45] And Everett McGill who plays

[00:46:47] like the main buff henchman.

[00:46:49] Yeah.

[00:46:49] Yeah.

[00:46:50] The guy with the white hair.

[00:46:51] Yeah.

[00:46:51] Yeah.

[00:46:52] Great henchmen.

[00:46:53] Great henchmen in this movie.

[00:46:54] Yeah I mean they're pros.

[00:46:56] And their job is just like

[00:46:58] surround Dane let him work

[00:46:59] the pooter.

[00:47:01] Right.

[00:47:01] And he I don't know he has

[00:47:03] that dumb monologue about CDs

[00:47:05] but I love it because come on

[00:47:06] CDs remember guys.

[00:47:07] Hot CD Rom.

[00:47:09] Is it the one where he's

[00:47:10] trying like winding up the

[00:47:12] tension of whether the CD has

[00:47:13] porn or like the ability to

[00:47:15] launch on the whistle.

[00:47:18] That's a great speech.

[00:47:18] Yeah.

[00:47:20] So it turns out the couple who

[00:47:21] are fucking.

[00:47:22] OK right.

[00:47:23] We should say when they the

[00:47:25] train is hijacked.

[00:47:26] Yeah.

[00:47:26] The guy goes what was that.

[00:47:27] And she's like it's called an

[00:47:28] orgasm.

[00:47:29] Yeah.

[00:47:29] Which is ludicrous.

[00:47:32] But that idea that he brought

[00:47:33] her orgasm I mean is not

[00:47:35] that man does not look

[00:47:37] attentive to a woman.

[00:47:39] That guy does not know how to

[00:47:40] listen to a body.

[00:47:40] I'll say that you know.

[00:47:42] But but also it's a ludicrous

[00:47:44] line of dialogue.

[00:47:44] But yeah it's also insane that

[00:47:46] that dialogue.

[00:47:47] Guy burst him with a gun.

[00:47:48] Yeah.

[00:47:49] But here's the crazier thing.

[00:47:50] And you know this is just

[00:47:51] true that like that two line

[00:47:53] dialogue exchange won a

[00:47:54] Pulitzer that year.

[00:47:55] It's crazy.

[00:47:56] That's crazy.

[00:47:58] But that was the time that

[00:47:59] was like Michael even sick.

[00:48:01] That was the 90s.

[00:48:02] And so you guys are right to

[00:48:03] get back to the plot that they

[00:48:04] do take these these two agents

[00:48:06] right.

[00:48:07] But I do want to just point

[00:48:09] out one little thing.

[00:48:10] And is that they've established

[00:48:11] that Segal was in the kitchen.

[00:48:13] Yeah.

[00:48:13] One of the mercenary mercenaries

[00:48:15] goes in there and just the

[00:48:17] cook start fighting him.

[00:48:18] And they do.

[00:48:19] And that's kind of cool because

[00:48:21] they're all tough.

[00:48:22] I was going to say I think

[00:48:23] Segal respects a cook.

[00:48:24] Doesn't Nicholas Cage want to

[00:48:25] play a cook.

[00:48:26] Didn't you have some.

[00:48:27] I interviewed Nicholas Cage

[00:48:28] with my friend Derek Simon.

[00:48:29] And we asked him this is one

[00:48:31] of the highlights of my entire

[00:48:32] life.

[00:48:32] OK.

[00:48:33] We did this is a good story.

[00:48:34] We did a phone interview with

[00:48:35] him and they said only one

[00:48:36] person could be on the phone

[00:48:37] speaking to him.

[00:48:38] So we wrote out the questions

[00:48:39] and I would hold up Q cards

[00:48:41] telling Derek what to say next.

[00:48:42] Right.

[00:48:42] Because if they said if there are

[00:48:43] two voices Nick is going to get

[00:48:45] confused.

[00:48:45] Sure.

[00:48:46] Sure.

[00:48:47] So we talked to him at like seven

[00:48:48] o'clock in the morning when he

[00:48:49] was promoting Ghost Rider 2

[00:48:50] Spirit of Engines.

[00:48:51] Not a bad movie.

[00:48:52] And not a good one.

[00:48:53] Yeah.

[00:48:53] And we worked really hard

[00:48:55] because we're big big fans

[00:48:57] to ask him questions.

[00:48:58] We felt like he wasn't being

[00:48:59] asked but also not just be

[00:49:01] like dumb me me whatever.

[00:49:02] We did one like ridiculous

[00:49:04] doesn't matter what was his

[00:49:05] question.

[00:49:06] So this question was

[00:49:08] you said when you were promoting

[00:49:10] the Sorcerer's Apprentice

[00:49:11] when someone asked you what drew

[00:49:13] you to the project.

[00:49:14] You said well I got the script

[00:49:16] and I went oh wow I've never

[00:49:17] played a wizard before.

[00:49:19] He's always wanted to be a

[00:49:20] sorcerer which is a thought that

[00:49:21] no actors had.

[00:49:22] That's weird I haven't played a

[00:49:23] wizard maybe Sam Jackson

[00:49:25] like maybe someone else who

[00:49:26] does so much literally

[00:49:27] everything.

[00:49:28] Yeah.

[00:49:28] But it's like you know if

[00:49:29] you're an actor of a certain

[00:49:30] statue you go like oh that's

[00:49:31] interesting I haven't played

[00:49:32] a mother before I'm me up

[00:49:34] I haven't played a cop

[00:49:34] before you know certain things

[00:49:36] that are just like archetypes

[00:49:37] but there are very few wizard

[00:49:38] movies.

[00:49:38] He was sure.

[00:49:38] Well that is one of the play

[00:49:39] a wizard and he was like I

[00:49:40] signed on because I never

[00:49:41] played a wizard before so we

[00:49:42] quote that back in for context

[00:49:44] right.

[00:49:44] And we're like is there any

[00:49:45] other profession

[00:49:47] like that that would cause

[00:49:49] you to sign on just to

[00:49:51] play that role regardless of

[00:49:53] what the project was.

[00:49:54] And we were so ready for him

[00:49:55] to couch his answer and like

[00:49:57] well you know it's always

[00:49:57] about the material and you're

[00:49:58] working with them like this

[00:49:59] and that but you know and

[00:50:00] he just we said is there

[00:50:01] any other job where if that

[00:50:03] was the title character held

[00:50:05] that job you would do the

[00:50:06] film immediately and he

[00:50:07] without a pause went

[00:50:09] chef submarine captain

[00:50:10] astronaut.

[00:50:12] Which I believe he still

[00:50:14] never checked those.

[00:50:15] He just did submarine captain

[00:50:16] he did a film about the USS

[00:50:18] Indianapolis which is the

[00:50:20] it's what the fucking

[00:50:23] Jaws is based off Quintz

[00:50:24] based off where they capsized

[00:50:25] and all got eaten by sharks

[00:50:28] Mario van Pables directed a

[00:50:29] movie I don't think it's

[00:50:30] come out yet.

[00:50:31] That sounds amazing.

[00:50:32] Called I think USS Indian

[00:50:33] apolis that's him and

[00:50:34] Thomas Jane I want to say

[00:50:35] give us a better like a shark

[00:50:37] submarine attack.

[00:50:38] Come on.

[00:50:39] Don't call it USS Indianapolis.

[00:50:40] Yeah.

[00:50:41] That sounds great.

[00:50:42] OK so he's checked one of the

[00:50:43] box.

[00:50:43] He's checked one of the

[00:50:44] box in a chef yet and he

[00:50:46] certainly hasn't been in space

[00:50:47] yet.

[00:50:47] Like I would watch burnt

[00:50:49] with Nicholas Cade.

[00:50:50] Yeah.

[00:50:50] I don't know if I want to

[00:50:51] watch it with Bradley Cooper

[00:50:52] no but with cage.

[00:50:54] Yeah.

[00:50:54] Burnt. Yes.

[00:50:55] I would also watch cage do

[00:50:56] almost anything.

[00:50:56] Well yeah.

[00:50:58] Anyway back to the cooks.

[00:50:59] Tucka tough cooks they all

[00:51:01] get shot but it's established

[00:51:02] Steven is now he's like

[00:51:04] the rogue man who's

[00:51:05] you know hasn't been like

[00:51:07] found yet and he's going to

[00:51:09] basically throughout the movie

[00:51:10] in a hard situation.

[00:51:11] He's going to take care of

[00:51:13] business right.

[00:51:13] I heard of the mercenaries

[00:51:15] and see this is up here where

[00:51:16] it was everyone was just

[00:51:18] die hard on a block.

[00:51:19] Yeah.

[00:51:20] It was guy who shouldn't be

[00:51:21] there that day but

[00:51:22] but watch out steps up to

[00:51:23] the plate in it in a contained

[00:51:25] space.

[00:51:26] And so then the two agents

[00:51:28] are captured.

[00:51:29] They're so tortured with like

[00:51:30] a I there's some dumb

[00:51:32] thing about poke them in the

[00:51:33] eye.

[00:51:33] Explode their eyeballs.

[00:51:35] Oh yeah well not to be

[00:51:36] backwards I just want to

[00:51:38] quickly ask because then I

[00:51:38] want to talk about the

[00:51:39] fucking eyeball thing.

[00:51:40] But do you think this movie is

[00:51:42] implying that all

[00:51:44] chefs and cooks are former

[00:51:45] Navy SEALs who gave up the

[00:51:46] life to just focus on

[00:51:47] something similar.

[00:51:48] Because the fighting skills

[00:51:50] come in so quickly and that

[00:51:51] one guy's fucking portly.

[00:51:53] Yeah no he's he's a big guy.

[00:51:54] So the eyeball thing they're

[00:51:55] threatening the woman from

[00:51:57] from the fuck couple

[00:51:59] and he's got this like

[00:52:00] laser needle that's

[00:52:02] like they're heating up and

[00:52:03] he's like the lens of your

[00:52:06] eye is going to like

[00:52:08] it's going to go right through

[00:52:09] the lens burn up and boil

[00:52:11] your cornea and you're just

[00:52:12] like just say you want to

[00:52:14] poke him in the eye like is

[00:52:15] this hard like they're not

[00:52:17] going to want a poke in the

[00:52:18] eye by a sharp object.

[00:52:19] The same thing with a knife

[00:52:20] right anything a finger

[00:52:22] but it's like a crazy device

[00:52:23] and he's just trying to get

[00:52:24] them to give him like the

[00:52:25] launch codes essentially

[00:52:26] right like the two of them

[00:52:27] have the launch codes each

[00:52:28] have one half of it.

[00:52:29] Yeah and they're like also

[00:52:31] then getting all complicated

[00:52:33] because they're like trying to

[00:52:34] explain how with the codes

[00:52:35] you still need other things

[00:52:37] right and it just gets

[00:52:38] all muddled and stupid

[00:52:39] but you're just basically

[00:52:40] they're going to give the codes

[00:52:41] away and they do.

[00:52:42] Yeah and then they throw

[00:52:44] them off a train.

[00:52:46] Yeah. Yeah off you go.

[00:52:47] Brutally that's brutal.

[00:52:49] Yeah.

[00:52:50] And so after that it's just

[00:52:52] Stephen fucking

[00:52:54] climbing around on top of

[00:52:55] trains under trains.

[00:52:57] It's paired down.

[00:52:58] Yes I mean that's it.

[00:52:59] That's it.

[00:53:00] It's just him fucking up.

[00:53:01] Dude bad guys are in a car.

[00:53:03] They have the earthquake machine

[00:53:05] right.

[00:53:06] Stephen's on the train.

[00:53:07] Yeah he's got to get him.

[00:53:09] And I remember I like looked

[00:53:10] at my like at the time left

[00:53:11] and I was like huh like how

[00:53:13] much how can they pad this

[00:53:14] really like he's just got

[00:53:15] to walk like three cars over

[00:53:18] so here a couple of things.

[00:53:19] I mean going back to this

[00:53:19] they don't make bad movies

[00:53:20] like the same more and

[00:53:21] comparison comparing it to

[00:53:22] Suicide Squad right.

[00:53:24] Yeah this movie on a scene

[00:53:25] to scene level so often

[00:53:27] I'm like I have no idea

[00:53:28] what the fuck is happening

[00:53:28] in the scene I don't know

[00:53:29] what they're talking about.

[00:53:30] But the movie is so simple

[00:53:32] where it's like even that

[00:53:33] first chunk where you're like

[00:53:34] why is he using this device

[00:53:35] why is it all this it's like

[00:53:37] OK Bogosian needs to get

[00:53:39] control of the satellite.

[00:53:41] Right and then once he gets

[00:53:42] the satellite it's like there

[00:53:43] are two arcs you're following

[00:53:44] Bogosian wants to use the

[00:53:45] satellite to blow everyone up.

[00:53:47] Stephen Sikol wants to stop

[00:53:48] him and that's all you need

[00:53:50] to fucking know from the two

[00:53:51] from the couple that he

[00:53:52] tortures we get that he

[00:53:54] invented the satellite

[00:53:55] right and is crazy.

[00:53:56] Yes and then he killed

[00:53:58] himself but it turns out

[00:53:59] it's like that.

[00:54:00] Yeah and we are cutting over

[00:54:01] to the US military base

[00:54:03] where they're like how's

[00:54:04] satellite doing they're like

[00:54:05] oh seems fine.

[00:54:06] Oh wait a second it just blew

[00:54:08] up a Chinese like weapons

[00:54:09] factory or something.

[00:54:10] Well he's got that great speech

[00:54:11] where he's like why you want

[00:54:13] to blow up a manure plant.

[00:54:14] Right and he's like well

[00:54:15] that manure plant is the

[00:54:16] cover for a like missile site.

[00:54:19] You know it and we know

[00:54:21] it and the Chinese know we

[00:54:22] know it and you know that

[00:54:23] we know that we know you

[00:54:25] know it keeps going like it

[00:54:27] because she's good.

[00:54:28] He's got a lot of this movie

[00:54:31] watching this movie I was like

[00:54:32] I really want to get to play

[00:54:33] a part like this.

[00:54:34] I want to get to play the

[00:54:35] weasel.

[00:54:36] He's so good shit like the

[00:54:38] Alan coming in gold.

[00:54:40] Golden eye.

[00:54:41] Yeah it's something about the

[00:54:42] hair.

[00:54:42] Yeah on a bad guy like a good

[00:54:44] me thick black big

[00:54:46] thick black curly hair.

[00:54:48] Yeah plus like a plaid shirt

[00:54:51] and like tie combo.

[00:54:52] I can't remember if it's

[00:54:53] probably like sort of colorful

[00:54:54] tie shirt combo where you're

[00:54:56] like imagining like he

[00:54:57] like picked that out this

[00:54:59] morning like before he went to

[00:55:00] like hijack a satellite like

[00:55:02] what are we going to wear today

[00:55:04] and because I was not this time

[00:55:05] for being this like you know he

[00:55:06] was alive wire he was sort of

[00:55:08] like incendiary and he was like

[00:55:10] filled with righteous anger.

[00:55:11] Yeah and he was always kind of

[00:55:12] on like the right side but

[00:55:14] you apply that to playing a

[00:55:15] lunatic and it's like this

[00:55:16] guy makes me uncomfortable

[00:55:18] right because he's going to

[00:55:19] pop at any moment.

[00:55:20] Yeah he I mean he was

[00:55:22] before this.

[00:55:24] Yeah I'm looking at his like

[00:55:25] he wasn't anything except for

[00:55:27] like talk radio.

[00:55:28] That was the one man show.

[00:55:29] He had done all shows and then

[00:55:30] Oliver Stone adapted talk radio

[00:55:31] and play the part.

[00:55:32] Yeah he hasn't yet

[00:55:35] because like later

[00:55:37] he's on law and order for a few

[00:55:38] years you know he becomes more

[00:55:39] of like a regular guy.

[00:55:42] He wasn't like in movies but

[00:55:43] he's kind of a big movie at

[00:55:45] that point but he was sort of

[00:55:46] I think a big figure.

[00:55:47] I think like culturally people

[00:55:48] were talking about him.

[00:55:50] He was he was kind of a burst

[00:55:51] on the scene.

[00:55:52] Good call for a sequel bad

[00:55:53] guy.

[00:55:54] I mean like it was kind of I

[00:55:55] give him credit.

[00:55:56] It's like it's a good call but

[00:55:57] it also like at the time was an

[00:55:59] outside the box choice.

[00:56:01] You know sure.

[00:56:02] I mean it's almost like if you

[00:56:03] hire I read last I don't know

[00:56:05] the critics were applauding

[00:56:06] like oh very good.

[00:56:09] But it still is like you know.

[00:56:12] OK so then just back to

[00:56:13] block is like otherwise I mean

[00:56:15] we'll I mean it's just a

[00:56:16] bunch of action scenes right.

[00:56:17] The states are so clear it's

[00:56:19] just like he's got to kill

[00:56:20] this guy in front of him.

[00:56:21] Yeah right.

[00:56:21] Dain is this isn't there

[00:56:22] in a fear and it's like it's

[00:56:23] two guys trying to do

[00:56:24] a high-goals in danger.

[00:56:26] Yeah.

[00:56:26] And you got Morris Chestnut.

[00:56:28] We shouldn't discount.

[00:56:29] Well that's a huge element of

[00:56:30] his body's acts.

[00:56:31] So all I want to just

[00:56:32] establish is it hits another

[00:56:34] 80s trope similar to how we

[00:56:36] just like kind of established

[00:56:37] the like gross sexism.

[00:56:39] Sure.

[00:56:39] Sure.

[00:56:40] You know it's the bad guys

[00:56:41] are our wealthy Muslims

[00:56:43] who want to destroy the

[00:56:44] Pentagon.

[00:56:45] Let's just move on.

[00:56:46] That's a fucking terrible part

[00:56:47] of whatever I'm not even

[00:56:49] worried about that period of

[00:56:49] time.

[00:56:50] That was just such a trope.

[00:56:52] I mean it's just that's

[00:56:53] what it is.

[00:56:54] They have offered

[00:56:54] Begotian a billion dollars

[00:56:56] to make an earthquake

[00:56:57] under the Pentagon which

[00:56:58] apparently has a nuclear

[00:57:00] power plant underneath it or

[00:57:01] something which is news to me

[00:57:02] but that's cool.

[00:57:04] So there you go.

[00:57:05] So that's what's happening.

[00:57:06] And they also.

[00:57:07] He blows up a Chinese

[00:57:08] power plant and he also

[00:57:10] blows up a plane

[00:57:12] using the same machine

[00:57:14] which really bothered me

[00:57:15] because it was so

[00:57:17] what are you doing Betty

[00:57:18] and he does that for

[00:57:21] a hundred million dollars

[00:57:22] because like some guy's

[00:57:23] cheating wife is on the plane

[00:57:24] or something like that.

[00:57:25] Right.

[00:57:25] Yeah you know it's a thing

[00:57:26] that always like

[00:57:27] this is all padding.

[00:57:28] Right.

[00:57:29] But that always takes me out

[00:57:30] in movies like this

[00:57:31] is when it's like why did you

[00:57:32] do this while they offer me

[00:57:33] a hundred million dollars.

[00:57:34] Where are you going to spend

[00:57:35] that money.

[00:57:36] Excuse me.

[00:57:37] Like what's your plan.

[00:57:38] You get off the train in

[00:57:39] Denver go where and get

[00:57:41] the money how and spend it

[00:57:43] on what like what is this.

[00:57:45] They know you're the guy

[00:57:46] you're the guy who blew up

[00:57:47] the Pentagon.

[00:57:48] Right.

[00:57:48] Arguably your only option

[00:57:49] is move to Baghdad.

[00:57:51] You know.

[00:57:51] It's like Mars.

[00:57:53] Like they're going to come get

[00:57:55] you.

[00:57:55] But that's always the thing

[00:57:56] it's not like oh you pull up a

[00:57:57] heist and then you make a lot

[00:57:58] of money.

[00:57:58] It's like if you like hijack

[00:58:00] a satellite and the government

[00:58:01] knows exactly who the fuck

[00:58:02] you are.

[00:58:03] And that's the thing at least

[00:58:05] in movies like GoldenEye

[00:58:06] which is another satellite

[00:58:07] movie 96 same basic

[00:58:10] there's like this sort of

[00:58:11] like they lay it out where

[00:58:13] it's like oh well everything

[00:58:14] is going to go down for seven

[00:58:15] minutes and the money is

[00:58:16] going to move and no one's

[00:58:17] going to know what happened

[00:58:17] you know they at least

[00:58:19] justify like they immediately

[00:58:21] he's like hey it's me that

[00:58:22] the satellite guy talk radio

[00:58:26] I like to think that this movie

[00:58:27] influence Aloha

[00:58:29] Oh it there is a space

[00:58:31] are you kidding me

[00:58:31] it's the same fucking plot.

[00:58:32] Yes and reckoning with your

[00:58:34] past.

[00:58:34] Oh man that's actually a really

[00:58:36] good point.

[00:58:36] It's really a little kind of a

[00:58:38] remake of under siege to

[00:58:39] dark.

[00:58:39] It actually is it actually

[00:58:41] is that is true.

[00:58:43] Oh my god.

[00:58:44] All right but there is that

[00:58:46] thing of like you just

[00:58:46] imagine the guy like a hundred

[00:58:47] million dollars that's my

[00:58:48] price and he gets it and it's

[00:58:49] like what do you do with the

[00:58:50] money.

[00:58:50] I've always just wanted to

[00:58:51] settle down get a nice house

[00:58:52] so I can relax have the

[00:58:53] government look for you

[00:58:54] forever.

[00:58:56] I just want to travel the

[00:58:57] world everyone will be

[00:58:58] watching you.

[00:58:59] You're Dane the man who

[00:59:01] hijacked us.

[00:59:01] Settling Pentagon.

[00:59:03] And the power plant underneath

[00:59:05] it's always want to build

[00:59:06] my own home theater and

[00:59:08] weird.

[00:59:08] Yeah that's so funny.

[00:59:10] Oh we got talking more chest

[00:59:11] not that's what you were

[00:59:12] winding up right.

[00:59:13] So chest.

[00:59:13] So we had just been in boys

[00:59:15] to the hood is in the

[00:59:17] boys in the hood sorry

[00:59:18] what did I say boys to

[00:59:19] the hood.

[00:59:19] Is that the sequel.

[00:59:21] Yeah they got to go back to

[00:59:22] the hood.

[00:59:22] God yeah boys to the hood

[00:59:24] which is ninety one.

[00:59:26] And so I guess he was just

[00:59:26] sort of floating around.

[00:59:27] He was in the last Boy Scout.

[00:59:29] He hadn't been in much yet but

[00:59:30] I guess he was just you know

[00:59:32] an up and coming actor.

[00:59:33] I do think they give this

[00:59:35] character more integrity

[00:59:36] and I wonder how much of it

[00:59:37] is just chest not performance

[00:59:39] is like he's a good act

[00:59:39] he's got a lot of integrity

[00:59:41] as a guy he just projects

[00:59:42] love integrity and they try

[00:59:43] to make him kind of like

[00:59:44] the like dumb like young

[00:59:46] dumb full of calm like

[00:59:47] wisecrack and dude.

[00:59:48] But he just has an innate

[00:59:49] intelligence and a trustworthy

[00:59:51] face.

[00:59:51] They mostly avoid he doesn't.

[00:59:53] I don't know I feel like the

[00:59:54] sort of like hip hop

[00:59:57] influenced sidekick is a thing

[00:59:59] in these movies.

[00:59:59] Yeah.

[01:00:00] And there's like a little of

[01:00:01] that where he's kind of like

[01:00:02] you know talking like it's

[01:00:04] just sort of like I don't know

[01:00:05] in like almost like a musical

[01:00:07] way about like I got me

[01:00:08] you know but they both

[01:00:09] they mostly avoid it.

[01:00:10] Yeah and it sort of becomes

[01:00:11] that like Seagal mentors

[01:00:13] say that anything is like

[01:00:14] pimped out or like he

[01:00:15] doesn't he doesn't do

[01:00:16] anything that's too

[01:00:17] egregious.

[01:00:17] Yeah and they make him pretty

[01:00:18] smart you know I mean they make

[01:00:20] him like I mean arguably

[01:00:21] he seems more capable than

[01:00:23] Seagal.

[01:00:23] Yeah.

[01:00:23] Even when Seagal is trying to

[01:00:24] teach him he projects a greater

[01:00:26] sense of like knowledge

[01:00:28] and confidence.

[01:00:29] Right.

[01:00:30] I also like that Seagal

[01:00:30] actually tries to teach him

[01:00:32] how to use a gun.

[01:00:32] Yeah.

[01:00:33] Whereas any of these movies

[01:00:35] as you know how to use a

[01:00:35] gun if they're like it's

[01:00:37] like just pull the trigger

[01:00:38] like just squeeze like what

[01:00:39] they don't actually give you

[01:00:40] any advice.

[01:00:41] Yeah.

[01:00:41] And he's like OK so what

[01:00:42] you're going to want to do is

[01:00:43] line up your side.

[01:00:44] I can't remember exactly but

[01:00:45] he like gives like a two

[01:00:46] hands like explains how to

[01:00:48] like position yourself.

[01:00:49] Right.

[01:00:50] But this is like I mean the

[01:00:51] movie spends I would argue

[01:00:52] Dane has more screen time on

[01:00:54] Seagal.

[01:00:55] They spend a lot of time with

[01:00:56] him.

[01:00:56] Seagal doesn't have much

[01:00:58] screen time.

[01:00:58] This is what I'm kind of

[01:00:59] getting to right.

[01:00:59] So not really.

[01:01:00] Right.

[01:01:01] No.

[01:01:01] Yeah Dane's definitely the

[01:01:02] main character.

[01:01:03] How many lines do you think

[01:01:04] Seagal has like 25.

[01:01:05] Yeah I was going to get

[01:01:06] something like that right.

[01:01:07] 25 yeah and it doesn't feel

[01:01:09] like oh that's a cool

[01:01:10] creative choice like I read

[01:01:11] that like you know Damon

[01:01:12] and Greengrass and they're

[01:01:13] doing the born movies

[01:01:13] try to think.

[01:01:14] They talked about it like

[01:01:15] because they're like he's

[01:01:15] a man a few words he speaks

[01:01:17] louder in actions.

[01:01:18] This is just like we have to

[01:01:19] know there's a cap to how many

[01:01:20] lines we can give him.

[01:01:21] Like the audience needs to get

[01:01:22] one line out of him every five

[01:01:23] minutes to remember that he's

[01:01:24] still in the movie.

[01:01:25] But the film establishes

[01:01:26] like a real ensemble and I'm

[01:01:28] like something like Die Hard

[01:01:29] where like it's not just

[01:01:30] ensemble so there's a

[01:01:31] kaleidoscopic effect and all

[01:01:32] those characters can pay off.

[01:01:33] This is like we need to

[01:01:34] take as much weight off of

[01:01:36] Seagal shoulders as possible.

[01:01:38] The ensemble in Die

[01:01:39] Hard is brilliant.

[01:01:40] Unbelievable.

[01:01:40] It's brilliant.

[01:01:41] I mean that's why that

[01:01:41] movie works on top of all

[01:01:43] the other reasons why it

[01:01:44] works.

[01:01:44] And it feels like the chest

[01:01:45] not character they're almost

[01:01:46] trying to make him a more

[01:01:47] weaponized version of Argyle.

[01:01:49] Sure.

[01:01:49] Which is like Argyle is like

[01:01:50] such a good fuck like this.

[01:01:51] All the little characters

[01:01:52] that die hard are so well

[01:01:54] written and like human.

[01:01:55] The reason it works in Die

[01:01:56] Hard is when you cut to Argyle

[01:01:58] or you cut to Reginald

[01:01:58] Bill Johnson or like you know

[01:02:00] you cut to the FBI guys

[01:02:02] who I think are brilliant.

[01:02:03] Like it's so funny how

[01:02:04] crazy they are.

[01:02:06] You're like Johnson.

[01:02:06] Yeah.

[01:02:07] You're like I want to

[01:02:08] know what's up with these

[01:02:09] guys.

[01:02:09] Good.

[01:02:09] Here's that guy.

[01:02:10] I mean I was interested in

[01:02:11] him whereas like in other

[01:02:12] movies you're like oh my God

[01:02:13] like can we get back to

[01:02:14] this movie they cast the

[01:02:15] supporting cast pretty well

[01:02:16] because I think this speaks to

[01:02:17] like I mean this movie being

[01:02:18] kind of well written and

[01:02:20] certainly well directed.

[01:02:21] Well directed.

[01:02:21] Well written is a straight.

[01:02:23] I think it's competently

[01:02:24] written.

[01:02:25] Sure.

[01:02:25] Yeah.

[01:02:25] Good job Matt.

[01:02:26] But here's yeah here's the

[01:02:27] thing like I mean well

[01:02:28] written I'm giving it the

[01:02:29] faintest praise in the

[01:02:30] world but like compared to

[01:02:31] Suicide Squad where I'm

[01:02:31] like I don't understand

[01:02:32] what's going on in this

[01:02:33] scene let alone what the

[01:02:35] overarching goal is you

[01:02:37] know or yeah or how this

[01:02:38] connects to the scene before

[01:02:39] or the scene follows.

[01:02:40] Any of that it's like all

[01:02:41] of this is like I don't

[01:02:42] understand what the fuck

[01:02:43] they're talking about but I

[01:02:44] know he's trying to stop the

[01:02:44] satellite and Bogotian is

[01:02:46] trying to launch the satellite

[01:02:47] like it's all you fucking

[01:02:48] need to know.

[01:02:48] The setup to this movie is

[01:02:49] dumb.

[01:02:50] Dumb but they do five

[01:02:52] minutes of it and you know

[01:02:53] exactly what's happening and

[01:02:54] you just get into it.

[01:02:56] Exactly.

[01:02:56] OK so now a new guy is

[01:02:57] coming with a knife.

[01:02:58] Seagal's got to beat him

[01:02:59] that's all you need to

[01:03:00] know.

[01:03:00] Right.

[01:03:00] And in like Suicide

[01:03:01] Squad you're like I don't

[01:03:02] know who they're fucking

[01:03:02] fighting I don't know what

[01:03:03] the ultimate goal is who

[01:03:04] they're supposed to trust.

[01:03:05] Do they like each other

[01:03:06] you know and I also think

[01:03:07] like this movie does such

[01:03:08] a good job of like doing

[01:03:10] the like let's set up that

[01:03:11] the bad guys are bad in

[01:03:13] this like very cliche.

[01:03:14] Yes.

[01:03:14] Stock like you know it's not

[01:03:16] artful or elegant but it's

[01:03:18] like they get on the train and

[01:03:19] immediately are like racist

[01:03:21] to Morris Chestnut.

[01:03:22] Right.

[01:03:22] They like Grop Catherine

[01:03:23] Heigl.

[01:03:24] Right.

[01:03:24] And it's like these guys are

[01:03:25] awful and Suicide Squad spent

[01:03:27] so much time like explaining

[01:03:29] why all of them are sweet

[01:03:30] hearts before they let them

[01:03:31] get bad that it's like well

[01:03:33] I know like the better

[01:03:35] version of that movie not to

[01:03:36] keep on fucking rewriting

[01:03:36] Suicide Squad but like let

[01:03:38] him be bad and then later

[01:03:39] in the movie reveal like oh

[01:03:40] he's got a heart.

[01:03:41] But this movie just like these

[01:03:42] guys are really bad like he

[01:03:44] fucking hate them which is

[01:03:45] what movies like this need

[01:03:46] because you want to see them

[01:03:47] taken down and then you roof

[01:03:49] for them to be like thrown

[01:03:50] off the train.

[01:03:51] Right.

[01:03:51] And then.

[01:03:52] Crush their neck snap.

[01:03:53] Oh the guy who's crushed

[01:03:54] under the train that's

[01:03:55] pretty good.

[01:03:56] I wanted I'll admit these

[01:03:57] movies make you a little

[01:03:58] blood thirsty.

[01:03:59] I almost wanted two seconds

[01:04:01] more of him being crushed

[01:04:02] by the train.

[01:04:02] Yeah.

[01:04:02] You know it cuts a little

[01:04:03] too fast for me but there's

[01:04:04] the thing where they like you

[01:04:05] know and just you know

[01:04:08] action movies like big like

[01:04:10] sort of like popcorn movies

[01:04:12] like this are all about like

[01:04:14] set up punchline right.

[01:04:15] Yeah.

[01:04:16] It's about like you set

[01:04:17] something off up you pay it

[01:04:18] off later.

[01:04:19] Right.

[01:04:20] And I was the group that I

[01:04:21] used to stand up with when I

[01:04:23] was a kid a couple of years

[01:04:23] ago I went back and like helped

[01:04:25] coach the kids and I was

[01:04:27] explaining it and this sort

[01:04:28] of like I was I hadn't put

[01:04:31] this into words before I

[01:04:32] said it because I was trying

[01:04:32] to find a way to explain it

[01:04:33] and I like now kind of use

[01:04:34] this as my like overarching

[01:04:36] philosophy for comedy but

[01:04:37] also just for like

[01:04:38] storytelling and filmmaking

[01:04:39] in general if you're

[01:04:39] trying to make like a

[01:04:40] functional like you know

[01:04:42] switch Swiss watch kind of

[01:04:44] like tight action movie

[01:04:46] it's like you got to think

[01:04:47] of it like juggling

[01:04:49] and you're like throwing

[01:04:50] the ball up in the air

[01:04:51] and asking the audience to

[01:04:53] keep track of that ball

[01:04:54] with the promise that you're

[01:04:55] going to catch it again.

[01:04:55] Right.

[01:04:56] And Suicide Squad throws

[01:04:57] like so many balls up

[01:04:58] in the air and then like

[01:05:00] then catches other balls

[01:05:02] that you didn't see them

[01:05:03] throw.

[01:05:04] Boomerang comes down.

[01:05:06] That shit but this movie

[01:05:07] it's like OK he gets

[01:05:08] on the train what's

[01:05:09] the name of what

[01:05:11] Ryback plus one

[01:05:12] and then you see them in big

[01:05:14] green letters type in plus

[01:05:16] one and you're like why are

[01:05:17] they making such a big point

[01:05:18] in the plus one because later

[01:05:19] in the movie when the guys get

[01:05:20] on the train they're like why

[01:05:21] is Ryback here.

[01:05:23] He must be on vacation.

[01:05:24] Who's he with.

[01:05:25] They look at the log they

[01:05:26] see plus one and they're

[01:05:27] like it's not his wife.

[01:05:29] You know it has to be a

[01:05:30] girlfriend.

[01:05:31] Sure.

[01:05:31] Or like he wouldn't take her

[01:05:32] on a train you know.

[01:05:33] So then and then they have

[01:05:34] to like go and they like

[01:05:35] interview everyone they

[01:05:36] cross reference the names they

[01:05:38] see the Navy Seal necklace

[01:05:39] like it's all set up

[01:05:41] and everything they ask you to

[01:05:42] keep track of in your mind.

[01:05:43] Which is not a ton but

[01:05:45] enough.

[01:05:45] But but it all pays off.

[01:05:47] Right.

[01:05:47] None of it like in a way

[01:05:48] that's impressive.

[01:05:49] No they set like three balls

[01:05:51] rolling.

[01:05:51] And then at the end there are

[01:05:52] three balls for you to catch

[01:05:53] but in this day and age that

[01:05:54] feels masterful.

[01:05:56] Although it's economic.

[01:05:57] I know what you're saying.

[01:05:58] Yeah it is.

[01:05:59] Do you know what I'm saying

[01:06:00] like this I know it's like

[01:06:01] this movie is bad

[01:06:02] but I look at it now and

[01:06:03] I'm like this is artful.

[01:06:05] It's like there's spatial

[01:06:06] geography.

[01:06:07] It's true.

[01:06:07] No it's true.

[01:06:08] What the characters are

[01:06:08] trying to do even

[01:06:09] if you don't understand why

[01:06:10] you understand what they're

[01:06:11] trying to do.

[01:06:12] And every plot point they set

[01:06:13] up like the jokes like pay off

[01:06:14] later you know the characters

[01:06:16] like are set up as a one

[01:06:17] dimensional thing but then

[01:06:18] they do the one thing they

[01:06:19] were set up to do.

[01:06:20] Like it all fucking like.

[01:06:22] I think that's all true.

[01:06:23] Yeah.

[01:06:24] But I think that we should

[01:06:25] also acknowledge that at

[01:06:26] one point a mercenary

[01:06:27] owns opens a door and looks

[01:06:29] at a pair of women's breasts

[01:06:31] and then Steven Segal kills

[01:06:32] him and says just to die

[01:06:33] for.

[01:06:34] Yeah I think this movie is

[01:06:35] not good but I think I

[01:06:37] this is the point I want to

[01:06:38] keep on reading.

[01:06:39] No he goes.

[01:06:41] This is the guy.

[01:06:42] He's like leaving the like

[01:06:44] he's already moving on before

[01:06:45] he says for.

[01:06:47] We were saying this to

[01:06:47] different.

[01:06:48] We're saying this before we

[01:06:49] started recording.

[01:06:50] He is the quietest movie

[01:06:51] star of all time.

[01:06:52] He's so quiet and it doesn't

[01:06:53] feel like an affectation

[01:06:54] that's cool where it makes

[01:06:54] you like lean in like

[01:06:55] Brando it just feels like

[01:06:57] he just doesn't know how to

[01:06:57] project.

[01:07:00] But but yeah I want to

[01:07:01] reiterate my like mantra for

[01:07:02] this movie is like they

[01:07:04] don't make bad movies

[01:07:05] like this anymore.

[01:07:06] No or at least.

[01:07:07] Not at all.

[01:07:08] Maybe once in a while.

[01:07:09] Maybe once in a while the

[01:07:10] state the movies.

[01:07:11] But I go see all those

[01:07:11] state the movies and they all

[01:07:12] feel a little too kinetic for

[01:07:14] me a little too like overly

[01:07:16] complicated.

[01:07:16] I think it's also because

[01:07:17] state them popped not in

[01:07:20] movies directed by Guy

[01:07:21] Ritchie and the Neville Dean

[01:07:22] and Taylor who are very

[01:07:24] like commercially I don't

[01:07:26] mean commercial in the box

[01:07:28] also your life movies look

[01:07:29] like commercials and you're

[01:07:30] like Olivier Megatons the

[01:07:31] like Europa Corp thing which

[01:07:33] like those movies are

[01:07:33] super fucking overly

[01:07:35] kinetic and whatever.

[01:07:36] I mean even you know what

[01:07:37] the Nissan movies actually

[01:07:38] come closest to this like

[01:07:39] nonstop feels like a Steven

[01:07:40] Stigall movie.

[01:07:41] I forgot about the Nissan

[01:07:42] movies the Nissan some of

[01:07:43] them are too much but like

[01:07:45] Oh totally but the Nissan

[01:07:46] movies are in their own

[01:07:47] odd because like Nissan was

[01:07:49] a serious so so it's like

[01:07:50] the Charles Bronson of his

[01:07:52] day or whatever right it's

[01:07:53] like this like former

[01:07:55] only like serious actor.

[01:07:57] Yeah who still will give a

[01:07:58] good performance in a movie

[01:07:59] once in a while but also is

[01:08:00] just a very happy to just

[01:08:02] phone in the gravitas just

[01:08:04] like get what do I where

[01:08:05] I've got a gun what am I

[01:08:06] on I'm on a plane great

[01:08:07] but like stop like fucking

[01:08:09] works nonstop work nonstop

[01:08:10] like the one where January

[01:08:12] Jones is that one sucks I

[01:08:13] know real bad yeah but you

[01:08:16] know what's in a while I've

[01:08:16] seen all of them I feel like

[01:08:17] the Nissan formula is also

[01:08:19] like they just spin the

[01:08:20] globe and they're like Baku

[01:08:22] great get him over there.

[01:08:24] Yeah he's in Baku how much

[01:08:25] do you give us Baku come

[01:08:26] on if we're gonna film

[01:08:27] the Lee and he said and

[01:08:28] they're like I don't know

[01:08:29] Timeline dollars and like

[01:08:30] great the Baku story it's

[01:08:32] it we're setting it up

[01:08:33] I have some story I don't

[01:08:34] know he's oh he's deadly

[01:08:36] well here's this other

[01:08:38] like thought I have okay

[01:08:39] I think like the 90s

[01:08:41] like give rise to like

[01:08:42] the real explosion of parody

[01:08:45] culture like suddenly

[01:08:46] parody start getting

[01:08:47] really big really big and

[01:08:49] a lot of different platforms

[01:08:50] right and also like

[01:08:52] people start parodying

[01:08:54] genre you know not

[01:08:57] just like oh we're doing a

[01:08:57] parody of Star Wars but

[01:08:58] it's like these are the

[01:08:59] tropes of this type of movie

[01:09:01] and especially the 90s

[01:09:02] action way becomes a thing

[01:09:03] that like everyone makes

[01:09:04] fun of you know

[01:09:06] and I think like especially

[01:09:07] now that we're in a climate

[01:09:08] where like studios are

[01:09:10] run by like people who used

[01:09:11] to fucking like be in charge

[01:09:13] of six flags who have no

[01:09:14] background in storytelling

[01:09:16] like it used to be studios

[01:09:17] were run by hacks who at

[01:09:18] least tried to study

[01:09:19] storytelling and understood

[01:09:20] like audiences like it when

[01:09:21] this happens and now

[01:09:23] they're like audiences

[01:09:24] like it when you have

[01:09:24] Tweety Bird let's put

[01:09:26] Tweety Bird on a T-shirt

[01:09:27] you know like they don't

[01:09:27] even understand the

[01:09:28] fundamentals of people like

[01:09:29] Ben Hur right that one

[01:09:30] like 11 Oscars

[01:09:32] let's make another one

[01:09:32] just look at the surface

[01:09:34] level like results but they

[01:09:35] don't even understand bad

[01:09:36] storytelling like clunky

[01:09:38] fucking crayon writ large

[01:09:39] story branding

[01:09:41] that's it understand

[01:09:42] franchising and they

[01:09:43] understand like yeah

[01:09:44] exactly right and but

[01:09:46] but oh boy movies are

[01:09:47] depressing are you in

[01:09:48] that industry I fucking

[01:09:50] am retiring I'm out

[01:09:52] I think under siege three

[01:09:54] I'll do under siege

[01:09:54] that great I'll play the

[01:09:56] bagoge role I'll play

[01:09:57] the son of Dane

[01:09:58] he'll be on a blimp

[01:09:59] this time yeah yeah what's

[01:10:01] a slower less helpful

[01:10:03] these motor trance

[01:10:05] there are a barge

[01:10:06] but the blimp goes above

[01:10:07] the satellite so they can't

[01:10:09] they go into darker

[01:10:09] territory or darkest territory

[01:10:11] yeah darkest territory

[01:10:13] I do I do think

[01:10:14] there's something where

[01:10:15] like 90s action movies

[01:10:16] got parodied so much

[01:10:18] that then there was this

[01:10:19] thing of like oh the

[01:10:20] audience recognizes all

[01:10:21] the tropes they recognize

[01:10:22] the yeah you get your

[01:10:24] your honest trailers

[01:10:26] have you guys watch last

[01:10:27] action hero recently

[01:10:28] yeah we're gonna

[01:10:29] work on it weird it's weird

[01:10:31] I remember being kid

[01:10:32] and being like I hate this

[01:10:34] move yeah it's no

[01:10:36] I mean it's bad but it's

[01:10:37] like it's it's a weird

[01:10:39] but it's also a movie that's

[01:10:40] kind of the movie where

[01:10:41] the bubble breaks because

[01:10:43] it's like you can't make

[01:10:43] the movie that's a parody

[01:10:44] directed by the people who

[01:10:45] did the thing that we're

[01:10:46] parodying it starring the

[01:10:47] guy right exactly like

[01:10:49] it's like the whole

[01:10:49] thing that's like these

[01:10:51] days like Andy Samberg

[01:10:52] would be in or whatever

[01:10:53] you know I don't know

[01:10:54] like it'd be a jack

[01:10:55] black role yeah yeah you

[01:10:56] know but but you get to

[01:10:58] this point where I think

[01:10:59] like Hollywood becomes

[01:11:02] so allergic to doing any

[01:11:04] of the things that they feel

[01:11:05] have already been parodied

[01:11:06] like they know our tricks

[01:11:07] we can't do that anymore

[01:11:08] so they start trying to

[01:11:09] like avoid all the cliches

[01:11:11] that have been recognized

[01:11:13] but those cliches are kind

[01:11:14] of like building blocks

[01:11:15] of story telling that you

[01:11:16] want to be on for these

[01:11:17] movies like for this kind

[01:11:18] of movie and you get to

[01:11:19] them now and you're like I

[01:11:20] don't even understand what

[01:11:21] the fuck is going on like

[01:11:22] I can't figure out what

[01:11:22] the objective is the

[01:11:24] characters are so

[01:11:25] complicated and contradictory

[01:11:26] and it's like just make

[01:11:27] it one guy who does

[01:11:28] one thing you know he's

[01:11:30] got this as a backstory

[01:11:31] this is what haunts him

[01:11:32] this is what he's trying to do

[01:11:33] and the bad guy has one goal

[01:11:35] and you want those fucking

[01:11:36] setups that pay off in like

[01:11:37] the one liners later

[01:11:39] you want the supporting

[01:11:39] characters who do the

[01:11:40] thing why why but goes

[01:11:41] you why does he have

[01:11:42] like why does he need revenge

[01:11:43] because he needs a

[01:11:44] different because he wants

[01:11:45] a hundred million dollars

[01:11:46] if I'm paying money

[01:11:47] to go see this movie

[01:11:48] that's what I want out of it

[01:11:50] right and I feel like

[01:11:50] too many of these movies

[01:11:51] there's like you know

[01:11:52] a very select group of

[01:11:53] people who like in the

[01:11:54] heyday were able to

[01:11:55] heighten this stuff into

[01:11:56] high art like John

[01:11:57] McTiernan right

[01:11:58] but by and large I like

[01:12:00] see a lot of like

[01:12:01] you know niece movies

[01:12:02] or stay at the movies

[01:12:02] where I'm like you're trying

[01:12:03] to be more respectable

[01:12:04] than you need to be

[01:12:05] just fucking lean into it

[01:12:07] know what you are

[01:12:08] fucking own it

[01:12:09] you know

[01:12:10] just like own this shit

[01:12:11] and suicide squad

[01:12:12] like man we're fucking

[01:12:13] fuck Marvel like this

[01:12:14] and that and it's like yeah

[01:12:15] but you're not

[01:12:16] you're not on the rails

[01:12:17] like you have to stay on

[01:12:17] the road like nothing's

[01:12:18] gonna fucking matter

[01:12:19] if you're swerving

[01:12:20] like this yeah don't understand

[01:12:21] where we're trying to go

[01:12:24] under siege to like

[01:12:25] sucks and roll so much

[01:12:26] simultaneously weird

[01:12:27] well hey let's

[01:12:29] can we are we

[01:12:30] I was gonna talk about the Newton

[01:12:32] Oh please talk about the

[01:12:33] new talk about the new cool

[01:12:34] so we're back in the

[01:12:36] we're back in the

[01:12:37] like a baggage

[01:12:38] car area

[01:12:40] and Stephen you know is

[01:12:42] basically like he's like

[01:12:43] figuring out his case

[01:12:45] he right back oh you're

[01:12:45] right right backs

[01:12:46] figuring out his approach

[01:12:47] what he's gonna do

[01:12:48] what does he reach into

[01:12:49] his bag and grab

[01:12:50] a mother fucking

[01:12:52] 1995 apple

[01:12:54] Apple product called

[01:12:56] the new and now kids

[01:12:57] out there you probably

[01:12:57] don't know this

[01:12:58] what this was is it was

[01:13:00] the first tablet device

[01:13:02] basically where you could

[01:13:04] write on like a little

[01:13:06] like a little touchpad

[01:13:07] little touchpad with a stylus

[01:13:09] right with a stylus

[01:13:10] and it would transfer

[01:13:11] your handwriting and turn it

[01:13:12] into to to typed out words

[01:13:15] it was this was cutting

[01:13:17] edge tech ordinarily efficient

[01:13:19] it was amazing

[01:13:21] I mean I think everybody

[01:13:22] our age might think of

[01:13:24] the Simpsons joke

[01:13:25] eat up Martha yeah right

[01:13:27] that's it right

[01:13:28] yeah like is there any other

[01:13:29] reference point for the Newton

[01:13:31] no no

[01:13:32] but Apple paid I'm sure a

[01:13:34] little bit of money to get

[01:13:35] some product placement in there

[01:13:37] this is the this is the

[01:13:38] middle of the Newton you know

[01:13:39] this is like when the Newton

[01:13:40] is as hottest it launched

[01:13:42] in like 93 or something

[01:13:44] I think this is Apple's

[01:13:45] like come on we got to

[01:13:46] make the Newton happen

[01:13:46] but if you have seen

[01:13:48] the Steve Jobs film you'll

[01:13:49] know that was actually

[01:13:50] a giant astrophobia

[01:13:52] it was the last thing

[01:13:53] that made them bring

[01:13:54] Steve Jobs back where they

[01:13:55] were like oh we're so

[01:13:56] broke that we were

[01:13:57] yeah right

[01:13:59] so he uses that to place

[01:14:00] a phone call

[01:14:02] it's not really important

[01:14:03] it's really just product

[01:14:04] placement but damn it I

[01:14:05] love it yeah

[01:14:07] so good

[01:14:08] otherwise though I don't know

[01:14:09] we don't really need to talk

[01:14:10] about the plot it's really

[01:14:11] just no bad guys

[01:14:13] is a fucking thing

[01:14:14] he fights the bad guys

[01:14:15] kills them one by one

[01:14:17] sometimes he'll snap

[01:14:18] their necks with his hands

[01:14:19] yeah other times he shoots

[01:14:20] them yeah he's completely

[01:14:22] unflaffable as we said

[01:14:23] oh this was the other

[01:14:24] thing I'm sorry that was

[01:14:25] trying to get to never

[01:14:26] scathe yes the movie

[01:14:27] very smartly talking about

[01:14:28] I think you know like

[01:14:30] not well written but well

[01:14:31] constructed I would say

[01:14:32] that's that's a differentiation

[01:14:34] it's not good script but it's

[01:14:34] well constructed sure and

[01:14:36] it's certainly well directed

[01:14:38] like it looks nice

[01:14:39] yeah this amazing director

[01:14:41] amazing fucking basil

[01:14:42] Polador score who's the guy

[01:14:44] who did the Robo cop score

[01:14:46] and it's like it's not

[01:14:47] trying to be cool it's not

[01:14:49] like a fucking like

[01:14:50] you know techno like

[01:14:50] breakdown thing

[01:14:52] or like fucking insane

[01:14:53] like guitar so it's like

[01:14:55] it's just like this heroic score

[01:14:56] that makes everything that

[01:14:57] happens in the movie feel

[01:14:58] really fucking important

[01:15:00] and makes Steven Seagal

[01:15:02] feel more cinematic

[01:15:04] because if he's just walking

[01:15:05] around a corner with a gun

[01:15:06] he's not really doing anything

[01:15:07] physically impressive but like

[01:15:08] the horn swell yeah you know

[01:15:10] it's like oh shit there's

[01:15:12] there's something to it

[01:15:13] there's something that's really

[01:15:16] arresting about him just

[01:15:17] walking into a train car

[01:15:19] compelling he really just

[01:15:20] her pending there

[01:15:22] and yeah I like it

[01:15:23] even though Mike Ovitz

[01:15:25] making him a movie star was

[01:15:26] totally like a horrible

[01:15:27] power hungry like you know

[01:15:29] mad move on his part

[01:15:31] you kind of understand how

[01:15:32] if you were in a class with him

[01:15:33] you'd be like this guy's got

[01:15:34] some presents yeah yeah he's

[01:15:37] not like necessarily charismatic

[01:15:39] but there's like some kind of

[01:15:40] vibe there that's kind of

[01:15:41] compelling I mean we're

[01:15:43] spending a lot of screen time

[01:15:45] just looking at Steven

[01:15:46] climb into compartments

[01:15:48] like be on top of the train

[01:15:50] like hiding underneath

[01:15:52] like not even just fighting

[01:15:53] bad guys just all that

[01:15:54] stuff it's a lot of looking

[01:15:56] but you're like excited

[01:15:57] really oh man but this movie

[01:15:58] also sets up a lot of satellite

[01:16:00] groups because I think they know

[01:16:01] he can't carry that much

[01:16:02] and I think under siege

[01:16:03] but the first one is a famous

[01:16:05] pre-Madonna right I mean like

[01:16:06] he's like difficult to work

[01:16:07] widely reported the worst

[01:16:08] person who ever hosted SNL

[01:16:11] like Lord Michaels who

[01:16:12] doesn't speak ill of people in

[01:16:13] public has spoken ill of him

[01:16:15] in public the story is I

[01:16:16] want to do anything the story

[01:16:17] is at the first pitch

[01:16:18] meeting they said you know

[01:16:20] they always go to the host

[01:16:21] like do you have any sketches

[01:16:23] that you do you have any ideas

[01:16:24] because yeah I got an idea for a sketch

[01:16:26] it's a woman who gets raped

[01:16:27] and then she goes into her therapist

[01:16:29] and is like talking about being raped

[01:16:30] and then the therapist rapes her

[01:16:32] as well and then he's like

[01:16:33] that'll be four hundred dollars

[01:16:35] oh my god are you serious

[01:16:38] it's in live from New York

[01:16:39] that's that's the sketchy pitches

[01:16:41] is it ends with a joke

[01:16:42] about therapists costing a lot of money

[01:16:43] oh my god but live from New York

[01:16:45] written by James Andrew Miller

[01:16:46] and Tom Schells and James Andrew

[01:16:47] Miller just wrote a new book

[01:16:49] about CAA which is about

[01:16:50] about which is apparently really

[01:16:52] good and I want to read it

[01:16:54] but this movie smartly like

[01:16:55] I think a they were like

[01:16:57] it's gonna be difficult to work

[01:16:58] with him so we should try to like

[01:16:59] well I think probably the

[01:17:01] Segal rules right he's gonna want

[01:17:02] to do two hours a day

[01:17:03] yeah if he's climbing through

[01:17:05] like some you know

[01:17:07] air shaft he's gonna want to do

[01:17:08] 30 minutes that day

[01:17:09] he can't do long take it's

[01:17:11] gotta be quick actions like

[01:17:12] just let's pad it with a lot of

[01:17:14] other things give him very little

[01:17:15] dialogue because even like

[01:17:17] that scene where he goes to the

[01:17:18] bar and he sees like

[01:17:19] Heigel sing there and he goes

[01:17:20] like what's that you want

[01:17:21] to drink in

[01:17:23] and she's like that girl there

[01:17:24] with the phony ID and the

[01:17:26] tonic and like line

[01:17:27] actually cute scene right

[01:17:28] yeah oh great

[01:17:30] but like the joke is that like

[01:17:31] I think it was that she tried to

[01:17:33] buy blues which is crazy

[01:17:35] when she was like 10 years

[01:17:36] younger than the illegal

[01:17:37] drinking right but I think the

[01:17:38] joke is also that when he's

[01:17:39] going to the bar it's gonna

[01:17:40] look like he's hitting on the

[01:17:41] woman offering to buy another

[01:17:42] drink and then it's like

[01:17:43] so like reversal sure

[01:17:45] he's the concerned uncle

[01:17:46] looking out for her and then

[01:17:47] he goes and sits down with

[01:17:48] her after they've done that

[01:17:49] sort of like twist like

[01:17:50] reversal thing and then just

[01:17:51] feels like he wants to fuck her

[01:17:52] face like the whole

[01:17:53] conversation has with her is so

[01:17:55] sexually charged it is weird

[01:17:57] yeah it's weird but

[01:17:58] but this movie very smartly is

[01:18:00] like let's set up as many

[01:18:02] satellite characters as we can

[01:18:03] so even though he's kind of

[01:18:05] training Morris Chesnut

[01:18:07] Morris Chesnut is functioning

[01:18:08] independently so low almost

[01:18:09] immediately so you'll like see

[01:18:11] the guy next to nation and then

[01:18:12] Morris Chesnut will go on his

[01:18:13] own mission take down a couple

[01:18:14] of guys and then at the end

[01:18:15] of that when he's like done

[01:18:16] the work then Seagal shows

[01:18:18] up and he's like good work

[01:18:19] and then the next scene

[01:18:20] Morris Chesnut's alone as well

[01:18:21] and then Seagal goes hey Morris

[01:18:23] good work you know it's like

[01:18:24] and then they set up Heigl Heigl

[01:18:26] got a whole business with a

[01:18:27] mace we got a lot of bad guys

[01:18:29] like Kurt Witt Smith back in the

[01:18:30] office there's the nerdy guy

[01:18:32] back at the office there is also

[01:18:33] wait do you remember his line

[01:18:35] yes what's the line about like

[01:18:37] he's like you know what they

[01:18:39] say about space it's got a lot

[01:18:40] of room remember that like

[01:18:42] really really long and it's

[01:18:44] like where he's like that's

[01:18:45] the other part I love to play

[01:18:46] where's the satellite and the

[01:18:48] guys are you space a lot of

[01:18:49] and he's like what did you just

[01:18:50] say yeah he's like oh well

[01:18:52] what I said was that's what I

[01:18:54] call it space because it has a

[01:18:56] lot of room yeah and everyone's

[01:18:57] like okay anyway like and you're

[01:18:59] like wait why was this included

[01:19:01] and at the end of the movie this

[01:19:02] guy who's had almost nothing to

[01:19:03] do they like give him the

[01:19:04] choice they're like you have

[01:19:06] to choose to the missiles got

[01:19:07] to go somewhere we either kill

[01:19:08] like this many people or this

[01:19:09] many people and they like make

[01:19:11] him like the moral center of

[01:19:13] the film but it is like

[01:19:14] they're just like okay let's

[01:19:15] let's like divide our stuff

[01:19:17] right there is a let's get

[01:19:18] other like real deal

[01:19:19] actors to carry it so go gets on

[01:19:21] top of the train a couple of

[01:19:22] times there's this brief

[01:19:24] interlude where he's not on

[01:19:25] the train yeah where he like

[01:19:27] drives a car yeah I wasn't

[01:19:29] paying a ton of attention as to

[01:19:30] why this all happened he's like

[01:19:31] thrown from the train I mean

[01:19:33] I think that's in a car gets

[01:19:34] back on the only thing we

[01:19:35] should really establish like

[01:19:37] otherwise plot for the plot is

[01:19:39] that the dark territory and

[01:19:40] really it is coming to us

[01:19:43] halfway in and really all it

[01:19:44] is is that the mercenaries

[01:19:46] have set this up that after

[01:19:48] they explode the Pentagon

[01:19:50] they're gonna board a helicopter

[01:19:53] yeah and they've rerouted

[01:19:55] the train into heading towards

[01:19:56] dark territory where it will

[01:19:58] collide with an oil trains

[01:20:00] and be they can't communicate

[01:20:02] with train dispatchers so

[01:20:04] that's why the collision will

[01:20:05] happen and the oil train has

[01:20:06] like 100 billion million tons

[01:20:09] of oil and so flammable

[01:20:11] like it's going to be like

[01:20:12] the biggest explosion you

[01:20:13] ever saw.

[01:20:15] It's good and then it does

[01:20:16] collide with us those two

[01:20:18] trains so do collide on top

[01:20:19] of a bridge.

[01:20:19] And it's a great practical

[01:20:21] like two models crashing

[01:20:22] and then you have like you

[01:20:24] have it's a little hard to

[01:20:26] tell how sick I'll rescue

[01:20:27] everyone but he does well

[01:20:29] he gets them on two cars

[01:20:31] and he like separates the

[01:20:32] cars somehow.

[01:20:33] Yeah he breaks the cars

[01:20:34] apart so that the the

[01:20:36] mercenaries are all just on

[01:20:37] the front half of the train

[01:20:38] and everyone captive is

[01:20:40] like you know saved and

[01:20:42] then him and Chestnut jump

[01:20:43] back on because they have to

[01:20:44] kill the rest of the bad

[01:20:45] guys which they do and

[01:20:47] they do.

[01:20:47] Yeah he's he has the big

[01:20:49] Akito fight with Everett

[01:20:50] McGill which is a lot of him

[01:20:52] going like swatting

[01:20:54] swirrying his arms around

[01:20:55] he's the only action star

[01:20:56] who works better in close ups

[01:20:58] than why it's because everyone

[01:20:59] else you want to see their

[01:21:00] body moving and so go you

[01:21:01] just want to see his hands

[01:21:01] close to his face is amazing

[01:21:03] when he's doing it like

[01:21:04] because you've just never

[01:21:05] seen anything like it's

[01:21:07] captivated it is even though

[01:21:08] it's it's so it's so

[01:21:10] unorthodox in terms of

[01:21:12] an action scene.

[01:21:13] It's like not only just

[01:21:14] from the stories I've heard

[01:21:16] about him right.

[01:21:17] And his behavior as a real

[01:21:18] person which is like problem.

[01:21:20] He's a problem.

[01:21:20] He's a real problematic

[01:21:22] human being who is notoriously

[01:21:24] a piece of shit in any way

[01:21:25] that someone could be a piece

[01:21:26] of shit.

[01:21:27] But watching this movie and

[01:21:29] in the character he's playing

[01:21:30] is the antithesis of what I

[01:21:32] like in movie care.

[01:21:33] Like I like vulnerability you

[01:21:34] know.

[01:21:35] I like emotional growth.

[01:21:36] I like someone with

[01:21:37] none of this.

[01:21:38] None of this happen.

[01:21:39] Can't stop watching this guy.

[01:21:40] I don't intellectually like

[01:21:42] him at all but it's like

[01:21:44] some reason I'm compelled.

[01:21:45] I don't really like

[01:21:46] Seagal either and I've never

[01:21:47] been a fan.

[01:21:47] And I haven't seen most of his

[01:21:48] movies and I enjoyed watching

[01:21:50] this.

[01:21:50] I don't know that I'm going to

[01:21:51] go watch a bunch of other

[01:21:52] Seagal movies.

[01:21:53] I definitely want to watch

[01:21:54] under siege one.

[01:21:55] Yeah I'd like to see that

[01:21:56] after watching this I want to

[01:21:57] see under siege.

[01:21:57] I guess I should see it too.

[01:21:59] Interesting that you never

[01:22:00] saw it.

[01:22:01] I guess like USA or whatever

[01:22:03] didn't own the rights to

[01:22:04] one.

[01:22:04] They just had two.

[01:22:05] How many times it was like

[01:22:06] US Marshals would be on TV

[01:22:07] all the time but

[01:22:08] like show me the future.

[01:22:10] I have to say I've probably

[01:22:11] seen this not as many as

[01:22:13] Fletch but like I feel like

[01:22:14] I remember definitely

[01:22:16] being at Friends House and

[01:22:18] bringing this and easily

[01:22:19] like 15 20 times.

[01:22:21] Yeah.

[01:22:22] So good.

[01:22:24] Yeah I don't know I mean I

[01:22:25] think it's just he saves the

[01:22:26] day man.

[01:22:26] Yeah.

[01:22:26] He fucking saves the day.

[01:22:27] But when he takes on Bogosian

[01:22:28] Bogosians like I got the

[01:22:29] thing there's no way you

[01:22:30] can stop me I'm going to

[01:22:31] set the thing off and then

[01:22:32] he's like she's got a laptop.

[01:22:34] We should also say that at

[01:22:35] one point he rigs up a bomb

[01:22:36] out of a pager.

[01:22:38] Oh he makes a bomb.

[01:22:39] And a cocktail shaker.

[01:22:40] He's the chef of Explos.

[01:22:42] Yeah.

[01:22:42] Yeah.

[01:22:43] And that's good.

[01:22:44] And the bomb essentially he

[01:22:46] does is a lot of time devoted

[01:22:48] to that and then he just like

[01:22:49] throws it at one guy and the

[01:22:50] guy is set on fire and it's

[01:22:51] one of those classic old

[01:22:53] stuntman things like the guys

[01:22:54] on fire and he like wanders

[01:22:55] into three different rooms on

[01:22:56] fire.

[01:22:57] It's great.

[01:22:58] I love it.

[01:22:58] He like falls down the

[01:22:59] stairs on fire.

[01:23:00] It's good.

[01:23:02] But they have Bogosians

[01:23:02] got the laptop

[01:23:04] and something else.

[01:23:07] Yeah.

[01:23:07] And he's like I can't remember.

[01:23:08] I'm going to like you know

[01:23:10] you can't stop me.

[01:23:11] Yeah.

[01:23:11] Like there's no way you

[01:23:12] can stop me and Steven Seagal

[01:23:13] shoots the laptop and him

[01:23:15] simultaneously.

[01:23:16] And he goes oh I didn't think

[01:23:17] of that.

[01:23:18] I was like that's very obvious.

[01:23:20] But anyway maybe you shouldn't

[01:23:21] be holding the laptop over

[01:23:22] your heart.

[01:23:24] But then Bogosian does come

[01:23:25] back climbs onto the

[01:23:26] helicopter.

[01:23:27] There's a great 90s like shot

[01:23:29] where it's like these model

[01:23:30] trains and a model bridge and

[01:23:31] then he's like super imposed

[01:23:33] over it but like school

[01:23:34] Mount CDI ways.

[01:23:36] It's great.

[01:23:37] Yeah.

[01:23:38] And then they get off

[01:23:40] the train.

[01:23:40] He like hugs Heigl

[01:23:42] and then they cut to

[01:23:45] Seagal's now wearing his

[01:23:47] like military uniform

[01:23:48] which I don't know how much he

[01:23:49] wears in the first movie.

[01:23:50] That's the poster image for the

[01:23:51] first it is the poster image

[01:23:52] and there is an under siege to

[01:23:54] poster that is essentially a

[01:23:56] ripoff of the first.

[01:23:57] That's like almost the exact

[01:23:58] same post except there's a

[01:23:59] train instead of a boat.

[01:24:01] Now the one poster I know

[01:24:02] which was the more is he's

[01:24:03] like hanging onto the train

[01:24:05] and he's got a gun.

[01:24:06] Yeah.

[01:24:08] And and yeah.

[01:24:09] And then they cut to this

[01:24:10] and they're at the

[01:24:11] cemetery and they look

[01:24:13] at the gravestone of

[01:24:15] his dead brother.

[01:24:16] Right.

[01:24:17] And they like to stand there

[01:24:18] and then the credit is like

[01:24:19] as they immediate out.

[01:24:21] But this song plays right.

[01:24:24] Do you know where I'm going

[01:24:25] with this.

[01:24:26] Do you know about this song.

[01:24:27] So I'm going to play some of

[01:24:28] this just so we can hear it.

[01:24:29] But if you could track in

[01:24:31] and post sure in post

[01:24:33] if you could add in the

[01:24:35] first like 15 seconds of the

[01:24:36] song OK.

[01:24:37] Because I need to talk about

[01:24:38] like so the image we're seeing

[01:24:40] on screen is Steven Segal

[01:24:43] having just fought a bunch of

[01:24:45] terrorists on a train

[01:24:47] at the gravestone of his

[01:24:49] brother. OK.

[01:24:51] OK. So she drops the flowers off

[01:24:53] at the grave.

[01:24:53] You see the gravestone.

[01:24:54] It's James a.

[01:24:55] Ryback.

[01:24:56] Yeah. Maybe.

[01:24:57] Yeah. They hug.

[01:24:59] The first lines Oh brother

[01:25:01] the song starts with Oh brother

[01:25:02] and very immediately becomes

[01:25:04] about a metaphorical train

[01:25:05] that has left the station.

[01:25:07] So I was like this is the

[01:25:08] most fucking on the nose song

[01:25:09] of using all the buzzwords from

[01:25:11] the film especially the last

[01:25:12] five minutes.

[01:25:13] Right.

[01:25:14] Where the fuck did they find

[01:25:15] this song.

[01:25:16] You know like did they reverse

[01:25:18] into the movie from the song.

[01:25:19] Did they get someone to write

[01:25:20] the original song.

[01:25:20] So I watched through the end

[01:25:21] credits because I'm like I got

[01:25:22] to figure out the backstory.

[01:25:23] The song is written

[01:25:25] and performed by Steven Segal.

[01:25:27] Are you kidding me.

[01:25:28] I am not.

[01:25:28] I did not know that.

[01:25:30] That's awesome.

[01:25:31] He's got a decent voice.

[01:25:32] Yeah.

[01:25:32] Credit records.

[01:25:33] It sounds a little bit like

[01:25:35] Bob's Segal.

[01:25:37] Yeah. Bob Segal.

[01:25:38] Segal.

[01:25:39] His singing voice is

[01:25:40] inarguably better than his

[01:25:41] speaking voice.

[01:25:42] What.

[01:25:43] Yeah.

[01:25:44] After the train is gone.

[01:25:45] Yeah.

[01:25:46] But he sings the song about

[01:25:48] his fucking brother going on

[01:25:49] the train to heaven.

[01:25:50] I wonder if Steven Segal has

[01:25:52] a real brother who went on

[01:25:53] the train to heaven.

[01:25:53] I wonder.

[01:25:54] I wonder if he has full albums.

[01:25:55] What if he was like he sat

[01:25:56] down with like 23 year old

[01:25:58] Matt Reeves and was like

[01:25:59] what's your right about my

[01:26:00] brother.

[01:26:01] He died.

[01:26:02] It's just like so

[01:26:03] emblematic of the culture

[01:26:04] of like fuck we got to

[01:26:05] let Stephen write a song.

[01:26:06] Stephen's only going to do the

[01:26:07] movie if we write a song.

[01:26:08] I mean as we said

[01:26:10] or maybe we didn't say it on

[01:26:11] Mike but you know this was the

[01:26:12] end of Steven Segal's

[01:26:15] Hollywood start.

[01:26:16] Yeah.

[01:26:16] He makes more movies

[01:26:18] and he has this brief resurgence

[01:26:19] with exit wounds and half past

[01:26:21] Ed where he's in movies that

[01:26:22] star like black leads

[01:26:24] like he's the only white lead

[01:26:26] like it was like surrounding

[01:26:27] him with hip hop.

[01:26:27] Urban or gritty like Joel

[01:26:29] Silver produced crime movies

[01:26:31] right which is a weird zone

[01:26:32] deployment.

[01:26:33] Odd zone deployment.

[01:26:33] But exit was did well half

[01:26:34] past Ed didn't and then he

[01:26:36] went back to home.

[01:26:37] Had the greatest title of all

[01:26:38] time unfortunately was terrible

[01:26:40] and and reteamed him with a

[01:26:41] chestnut.

[01:26:41] It did retain him with chestnut

[01:26:42] although chestnuts the villain

[01:26:44] in half past it.

[01:26:45] But yeah.

[01:26:46] So and then that's it.

[01:26:47] He does direct to DVD.

[01:26:49] He does a reality show about

[01:26:49] him being a cop.

[01:26:50] Yeah which got in trouble

[01:26:52] after he was like sued.

[01:26:53] But then I think the loss

[01:26:54] it was dropped.

[01:26:55] He's been sued many times

[01:26:57] for like sexual harassment

[01:26:58] and stuff like that.

[01:27:00] Even the big one right.

[01:27:02] Jorjus Jerk has he had.

[01:27:03] Yeah.

[01:27:03] I mean he's a bad dude.

[01:27:05] It seems.

[01:27:06] Yes.

[01:27:06] Allegedly.

[01:27:07] Yeah and he's like I think his

[01:27:09] ex-wives only have awful things

[01:27:10] about him.

[01:27:10] Many ex-wives including Kelly

[01:27:12] LeBrock.

[01:27:13] Yes.

[01:27:14] He had an energy drink called

[01:27:15] Steven Seagal's Lightning

[01:27:16] Vault.

[01:27:17] Yeah.

[01:27:17] And I remember that on the

[01:27:19] soup back in the day that would

[01:27:20] be a running joke is that

[01:27:22] when Joel McHale got stressed

[01:27:23] out it would it would float in

[01:27:25] on like a string and

[01:27:27] like some like you know

[01:27:29] cheesy quote unquote Asian music

[01:27:31] would play like a gong or