Speaker 1: Oh is bot.
Speaker 2: It's showtime.
Speaker 3: People say good money to see this movie. When they
Speaker 3: go out to a theater.
Speaker 4: They want cold sodas, hot popcorn, and no monsters in
Speaker 4: the protection booth.
Speaker 1: Everyone pretend podcasting isn't boring off.
Speaker 5: The Future's toughest cop is Katie Coltrane.
Speaker 1: I'm back now.
Speaker 5: She's getting a new partner. His name is Teddy.
Speaker 3: Its you two saw this case together?
Speaker 6: What what.
Speaker 5: Partner?
Speaker 1: Coltrane?
Speaker 5: He's got the style. I'm here for a new look.
Speaker 7: Stead right up, push the button. He's a cor You
Speaker 7: gotta make him look like a real car for my clue.
Speaker 1: That thing at the table just clacked at me. He's
Speaker 1: got horse for you.
Speaker 5: It's fair. He's got the charm.
Speaker 6: Your mind shut down and your glands have taken over.
Speaker 5: And he's got the appetite.
Speaker 7: You cannot eat.
Speaker 1: Our only suspect.
Speaker 5: To come out. Yes, it's odd time. I'm amazing new
Speaker 5: line Cinema presents.
Speaker 8: You think you're gonna get some about it?
Speaker 5: I be gold Berg.
Speaker 6: Can you just slide your button? Yeah, that's great, And
Speaker 6: introducing sweets.
Speaker 9: A customer, Theodore Repig.
Speaker 5: It's a tale you'll never forget.
Speaker 3: I love when he does that. Welcome to the Projection Booth.
Speaker 3: I'm your host. Mike White joined me this week as
Speaker 3: mister Brad Jones.
Speaker 1: Hey, how's it going? Thanks for having me back.
Speaker 3: Also back in the booth for the fourth time this
Speaker 3: month as we take this unusual journey is mister Kevin Lane.
Speaker 2: That's Taranosaurus Rex, girly boy, I'm Mike.
Speaker 3: We conclude whoop Brewery with the discussion of nineteen ninety
Speaker 3: five's buddy cop dinosaur movie Theodore Rex. Written and directed
Speaker 3: by Jonathan Beschel, the film stars Whoopee as Katie Coltrane,
Speaker 3: a souped up super cop reluctantly paired with a press
Speaker 3: agent who wants to be a cop in the worst way.
Speaker 3: The titular Theodore Rex, a snappy dresser who happens to
Speaker 3: be a dinosaur. We will be getting into all the
Speaker 3: dirty behind the scenes drama of this film the way
Speaker 3: it was dumped onto video, as well as possibly spoiling
Speaker 3: the film's twists and turns. Sure, so if you don't
Speaker 3: want anything ruined, go watch the film, or maybe read
Speaker 3: one of the many novelizations and come back after you've
Speaker 3: done your homework. We will still be here, so Bran,
Speaker 3: When was the first time you saw Theodore Rex and
Speaker 3: what did you think?
Speaker 1: The first time I saw it was last week.
Speaker 10: And when you send out the list towards the end
Speaker 10: of the year where you're like, here's the list of
Speaker 10: all the movies that are coming up that we're going
Speaker 10: to which one do you want to pick to be on.
Speaker 10: One of the movies that you had listed is a
Speaker 10: Jim Carrey movie, which is one of my favorite comedies
Speaker 10: of all time. But then I saw Theodore Rex there
Speaker 10: and was like, when am I ever going to watch
Speaker 10: Theodore Rex? This is an excuse to finally see this movie.
Speaker 10: And I have this weird Mandela effect with this film
Speaker 10: where I thought I remembered for sure that this played
Speaker 10: in our theaters for like a week, but I guess
Speaker 10: not like the later seeing it was dumped on video
Speaker 10: and then all the behind the scenes.
Speaker 1: Drama with it.
Speaker 10: You know. I kind of like that genre of partnered
Speaker 10: with a thing that talks things sort of like taquila
Speaker 10: and benetti with a dinosaur, and that era of ninety
Speaker 10: stuff where this is a stupid script, but we're given
Speaker 10: it fantastic set design and costuming and puppetry. So I'm like, yeah,
Speaker 10: I'll take a Tuesday afternoon and watch it. So I
Speaker 10: watched it. I watched it last Tuesday, and the biggest
Speaker 10: surprise was I didn't expect five minutes in to be
Speaker 10: like I'm lost.
Speaker 2: I'm glad you said.
Speaker 3: I don't know how you could be lost. But we'll
Speaker 3: talk about that, Kevin. How about yourself.
Speaker 2: The first time I'd seen this was just this week,
Speaker 2: and I've watched it twice since, and I think I
Speaker 2: know less about it no having seen it than I
Speaker 2: did before I even bother to look into this film.
Speaker 2: It's a trip. And I have to tell you, Mike,
Speaker 2: when it comes to nineties dinosaur films, this is no prehysteria.
Speaker 3: Yeah, this was a new one for me as well.
Speaker 3: I was telling Brad before we started recording, and I
Speaker 3: think I told you a little bit too, Kevin. As
Speaker 3: far as this last film, this last film was a
Speaker 3: tough one because you know, we talked about Jump a Jack,
Speaker 3: Flash Burglar, Fatal Beauty, all three films I had seen
Speaker 3: many times growing up and really enjoyed those, and I
Speaker 3: kept thinking, what's the fourth film going to be? Is
Speaker 3: it going to be The Telephone, which was the next
Speaker 3: film in that series is going to be the Associate,
Speaker 3: which I also really liked, or is it going to
Speaker 3: be something completely different? And I was looking at all
Speaker 3: the movies and kind of like you, Brad, I had
Speaker 3: never seen Theodore Rex and I said, oh, hey, maybe.
Speaker 3: And then when I saw that Jonathan Betchell had wrote
Speaker 3: and directed it, I said, okay, well, I know, mister Betchell.
Speaker 3: We talked about the last Starfighter. He's been on the
Speaker 3: show before, let me reach out, And as soon as
Speaker 3: he agreed to an interview, I said, okay, that's the
Speaker 3: fourth film. So I watched this before I talked with him,
Speaker 3: and then I watched it again a couple times this week,
Speaker 3: and yeah, wow, I love that this movie starts off
Speaker 3: with the old screenwriting trope. And I'm sure you know
Speaker 3: this very well, Kevin. You tell and you don't show,
Speaker 3: because we're gonna tell everything in an opening scroll. We're
Speaker 3: going to talk about what's happening tomorrow night. We're going
Speaker 3: to talk about what just happened.
Speaker 1: One hour ago.
Speaker 11: Two workers escaped from the New Eden compound and are
Speaker 11: racing to tell the police about Caine's master plan.
Speaker 3: We're gonna give the plans of the bad guy, like
Speaker 3: that whole Bondian trope where you're like, oh, well, mister Bond,
Speaker 3: now that you're going to die, I'm going to tell
Speaker 3: you my whole plan.
Speaker 11: At midnight tomorrow, billionaire Elizar Kine will launch his new
Speaker 11: Eden missile to bring on another ice age. After mankind
Speaker 11: is extinct, Cain will re make the pairs of all
Speaker 11: Earth's animals he keeps frozen in his arc.
Speaker 5: And create his vision of Paradise.
Speaker 3: No, no, right here in the opening scroll. After mankind
Speaker 3: is extinct, Kin will reanimate the pairs of all the
Speaker 3: Earth's animals he keeps frozen in his arc and create
Speaker 3: his vision of paradise. One hour ago, two workers escape
Speaker 3: from the new Eton compound and are racing to tell
Speaker 3: the police about Cain's master plan. And we start off,
Speaker 3: and there we go, and we even have more in
Speaker 3: that scroll, and it's just fucking crazy. I've never seen
Speaker 3: a movie start this way, And it's amazing to me
Speaker 3: that this was written. The first draft, or one of
Speaker 3: the first drafts, was written in nineteen ninety two. The
Speaker 3: movie comes out and I think it's ninety five, but
Speaker 3: isn't it technically ninety six? When it gets put into
Speaker 3: video stores, or is it ninety four and then ninety
Speaker 3: five it gets put into video stores. But this it's
Speaker 3: post Last Action Hero and Last Action Hero had very
Speaker 3: few jokes that I enjoyed. But the one I did
Speaker 3: enjoy was, here's your new partner, a cartoon cat.
Speaker 12: Redfless, you're pulling dirty with the animated cat I had.
Speaker 1: You're get in the fleaband later let me join me.
Speaker 7: You touched me again, Juliet, I can't prove this is
Speaker 7: a movie. There's cartoon cats.
Speaker 3: He's supposed to be back on duty. It was only
Speaker 3: suspended for a month. Shut up. And that kind of
Speaker 3: put the nail in the coffin for me. Of like
Speaker 3: all those pairings that you're talking about, I mean, every
Speaker 3: time there was a popular person, they said, oh, let's
Speaker 3: pair them with a dog in a movie. We'll have
Speaker 3: cane Ie Turner and hooch and what was the one,
Speaker 3: the Chuck Norris movie Top Dog. Yeah, so it's like
Speaker 3: we're gonna have that. We're gonna like pair up people
Speaker 3: with weird things around there. Alienshion, alien nation. Oh, there's
Speaker 3: so much alienation to me in this. An alienation was
Speaker 3: just so much better than this, or like that weird
Speaker 3: combination of a Hollywood actor and a the hard nosed
Speaker 3: cop with that.
Speaker 1: Oh I love the hard way.
Speaker 3: Yeah that's great, but this dinosaur cop mix up, Holy cow,
Speaker 3: and I think it could have maybe worked, but not
Speaker 3: in this form, not in this form.
Speaker 6: Like this, not like this.
Speaker 10: I was writing down like what could have made this work?
Speaker 10: And a couple of things won the voice. I like
Speaker 10: George Newbern and it was kind of funny that he
Speaker 10: was in this because he was Pouchinsky's partner.
Speaker 3: And a classic.
Speaker 12: Peter Boyle is a tough, ill mannered cop who was
Speaker 12: run down in Milne of duty. But that's not the
Speaker 12: end of his story. No, No, he's reincarnated surprise as
Speaker 12: a street wise bulldog in poo Chinski.
Speaker 1: What are you gonna do now?
Speaker 5: Well, first I'm going to try licking myself and then
Speaker 5: I'm going to catch my cot.
Speaker 12: The talking dog teams up with this astonished former partner
Speaker 12: to put the bite on crime.
Speaker 1: Yeah.
Speaker 10: This time he's the voice of the thing, but his
Speaker 10: voice paired with how Theodore looks and it feels more
Speaker 10: like he's playing like a sassy college student than a cop.
Speaker 10: And the way that they write him like this could
Speaker 10: make sense. I could go along with this if you
Speaker 10: had a Samuel Jackson voicing this or something like that,
Speaker 10: or if it was even believable that he's a cop,
Speaker 10: because it seems so inconvenient for him to be a cop.
Speaker 10: He walks so slow, is always knocking over things with
Speaker 10: his tail, He has to drive this ice cream truck
Speaker 10: that probably goes ten miles an hour. He doesn't carry
Speaker 10: a gun, and even when a bomb is about to
Speaker 10: go off, he can't run away from it.
Speaker 1: They have to inch away from it.
Speaker 2: I'm gonna stand up a bit for the premise of
Speaker 2: this bacure is. I could see this working if it
Speaker 2: was an animated film, if it was treated in a
Speaker 2: more exaggerated way. But it's unfortunate that the execution of
Speaker 2: it is so distracting. And as I said to you
Speaker 2: guys before we started recording, I was forgetting what was
Speaker 2: going on in the film as I was watching it,
Speaker 2: because I was just so completely dumbfounded by the awkward
Speaker 2: staging and execution of the story. It's so odd of
Speaker 2: a film. But yeah, in terms of writing, that's another thing,
Speaker 2: where not only do they have the plot explained to
Speaker 2: you before this story begins, which you know, why would
Speaker 2: you do that. It's like the Netflix model of explaining
Speaker 2: to you what's about to happen so you don't have
Speaker 2: to watch the screen. But they also narrated it as well,
Speaker 2: so if you're not if you're not even reading it,
Speaker 2: you're being explained it twice. But yeah, classic screenwriting structure,
Speaker 2: payoff and then set up.
Speaker 10: And also they condensed so much of the plot into
Speaker 10: fairly awkward exposition scenes, like you said, so that the
Speaker 10: rest of it can be padded out with a lot
Speaker 10: of farting, a lot of belching, a lot of dancing.
Speaker 10: And then Stephen mcaddy comes in like I've switched over
Speaker 10: to Highlander to the quickening.
Speaker 3: Literally wearing the colors that's his joker wears. At one
Speaker 3: point he's wearing a purple cloak and a green shirt
Speaker 3: and I'm just like okay, yeah, and that crazy wig
Speaker 3: he's got on, which is wild. The opening is black
Speaker 3: and white, slow motion, super stylized, and he's got that
Speaker 3: long hair and he's carrying a gun behind his back,
Speaker 3: which doesn't make any sense. While he's running through this
Speaker 3: four it's the old graveyard for an amusement park, which
Speaker 3: really other than seeing the one like statue and I'm like,
Speaker 3: is this a miniature golf course. It takes a while
Speaker 3: before they actually explain where he's at, and apparently all
Speaker 3: these dinosaurs are connected, but it doesn't really make sense
Speaker 3: because he wakes up like Theodore Rex with the introduction
Speaker 3: to him as him, like having that moment when he
Speaker 3: wakes up.
Speaker 2: I thought it was a dream sequence. I thought he
Speaker 2: woke up from a dream.
Speaker 3: Well, especially because the dinosaurs all kind of look alike,
Speaker 3: you know, not to sound dinosist or anything, but yeah,
Speaker 3: he looks exactly like Oliver Rex. So yeah, and they
Speaker 3: all have the same last name too, if you know
Speaker 3: what I mean, a very close family. So that's some
Speaker 3: of it is in their family.
Speaker 10: You did not learn the lesson from this movie. It's
Speaker 10: very anti dinosaur there.
Speaker 3: So yeah, he wakes up, But then he calls the
Speaker 3: police station and they're like, oh, yeah, we had this
Speaker 3: dinoside reported, so they've already had known about it for
Speaker 3: a while. So I'm like, oh, so he didn't wake
Speaker 3: up from the guy dying. He just woke up later,
Speaker 3: I guess. But that happens a few times in this
Speaker 3: movie where you're like the timeline just doesn't work at all.
Speaker 3: And I know that's very small potatoes compared to the
Speaker 3: overall thing that's happening in this movie.
Speaker 2: But you know what's tragic about that is if you
Speaker 2: read the first page of the script, it's so evocative
Speaker 2: and exciting, and I was in and I thought, wow,
Speaker 2: this is such a departure from what they actually end
Speaker 2: up making. Everything about this film was just so random
Speaker 2: where I was constantly being blindsided by latest sort of developments.
Speaker 2: So I thought, hang on a second, have I just
Speaker 2: not been paying attention of It's like, all of a sudden,
Speaker 2: the dinosaurs are telepathic, but then also you've got bionic cops,
Speaker 2: and then you have insects which are like sentient as well,
Speaker 2: and there's just so many hats on hats on hats
Speaker 2: added into the story. It's bonkers. It feels like they
Speaker 2: were just making up as they were going, But when
Speaker 2: you read the script, it's all in there.
Speaker 10: What I mean by you can't look away from the film,
Speaker 10: it's not that it's riveting, it's that if you look
Speaker 10: away for a second, you might miss a really important
Speaker 10: piece of plot. You mentioned the whole bionic cop thing.
Speaker 10: I must have looked away for five seconds and missed
Speaker 10: a setup of that. So later when a character is
Speaker 10: shot and you see all these elector things going around,
Speaker 10: I'm like, it's not that I felt lost necessarily. I
Speaker 10: figured in my head, like I just looked at my
Speaker 10: phone for like five seconds and missed this important thing
Speaker 10: about this character.
Speaker 2: No, the first mention of it, I think is when
Speaker 2: she goes to the autopsy of one of the guys
Speaker 2: who was killed, one of the gang members who was killed,
Speaker 2: and he says to her, you've had a new upgrade.
Speaker 2: You're not as angry as it used to be, or
Speaker 2: something like that. And that was the only setup I
Speaker 2: could track where I got to the end and I thought,
Speaker 2: hang on, she's a terminator. But yeah, Joe. The other
Speaker 2: thing that jumped out at me, it was like I
Speaker 2: was watching this and it suddenly dawned in me. I thought,
Speaker 2: this is Blade Runner. They've just remade Blade Runner.
Speaker 1: I can see that.
Speaker 3: Yeah, I guess I could see that too.
Speaker 2: Because it's a dinosaur meeting is Maker and he's going
Speaker 2: up against them, and there's racist undertones to it and stuff.
Speaker 10: But yeah, it's in the universe of the Super Mario
Speaker 10: Brothers movie. At least that movie when it's set up
Speaker 10: with the narration, it was simple enough.
Speaker 1: I could go along with it.
Speaker 10: That movie, you know, for lack of a better term,
Speaker 10: did the setup right, like where the gun narrator just
Speaker 10: came in and was like, yeah, look media landed on
Speaker 10: the Earth and wiped out the dinosaurs.
Speaker 1: But what if they just went to a parallel universe. Boom,
Speaker 1: there's your movie.
Speaker 3: I kept thinking of I robot through this whole thing,
Speaker 3: especially with the scientist creator guy. But I don't remember
Speaker 3: if Cochrane, Sorry Cochrane, No, no, the guy who played
Speaker 3: the main scientist, I don't know what. Sorry, yeah, I
Speaker 3: was calling them cochrane as and zephyrm Cochrane. Sorry, I
Speaker 3: don't know. I don't remember if Cromwell is. I think
Speaker 3: he's not evil. He just gets ganked and there's other
Speaker 3: evil stuff going on. But it's like, oh, these robots
Speaker 3: are going to turn evil. I kept waiting for Arman
Speaker 3: muller Stall, grandfatherly wonderful Arman muler Stall to do something
Speaker 3: where it's like, all these dinosaurs are going to turn
Speaker 3: on the humans, but don't worry, there are barely any dinosaurs.
Speaker 3: I think we see like maybe a dozen, and we
Speaker 3: just keep seeing the same dinosaurs over and over and
Speaker 3: over again. They show up at parties, they show up
Speaker 3: at funerals, they show up celebrations at the end, gay bars. Yeah,
Speaker 3: oh boy, Cata, the gay dinosaur thing was really getting me.
Speaker 3: I was like, Wow, that might be a bridge too far.
Speaker 3: In nineteen ninety five, I'm not sure.
Speaker 2: I was wondering what the Jim Henson Company thought of
Speaker 2: this film, because I thought for the longest time that
Speaker 2: it was the same crowd that worked on the same
Speaker 2: dinosaurs that did this, because the intellectual property, the creation
Speaker 2: of these things are almost identical to that TV show.
Speaker 2: It was like, did they just use the same puppets,
Speaker 2: But no, it's a totally different special effects company that
Speaker 2: made this.
Speaker 5: Annie I'm Home.
Speaker 3: Yeah, I thought that they were the same dinosaurs because
Speaker 3: they looked so freaking similar. I was like, oh, well,
Speaker 3: they just took all the dinosaurs from the TV show.
Speaker 3: They were in mothballs and they broke them out and
Speaker 3: they said, Okay, well here's this new thing. And I
Speaker 3: don't know the timeline when Dinosaurs the TV show was,
Speaker 3: It was.
Speaker 2: A couple of years before this sort of ended.
Speaker 3: I think so and I remember that one had like
Speaker 3: a crazy ending, right, like they actually get walked out.
Speaker 10: Yeah, but what if they all became cops in Brooklyn?
Speaker 3: And you're right as far as the ever changing narrative
Speaker 3: and just the introduction of all these different characters, there's
Speaker 3: like there's the woman that's with Teddy at the crime scene,
Speaker 3: and then there's a different woman who I think is
Speaker 3: wearing a similar headset when she's oh god, the outfit scene,
Speaker 3: the outfit montage with the yeah oh boy, when she does.
Speaker 2: A sexually undressing scene and he's like unable to contain himself.
Speaker 3: No, I was talking about, which is a good scene.
Speaker 3: I was talking about the scene where they say you
Speaker 3: need to look like a cop, so they put him
Speaker 3: in that machine that makes him look like a Mariachi singer.
Speaker 1: Okay, Hella, dress me up, now, make me look nice.
Speaker 8: Okay.
Speaker 3: I've got this very picky partner, besides being loud, not
Speaker 3: just very pushy. She's enjoyed to work with.
Speaker 13: Can put Ella. This is not undercover. Push the button, Ella, undercover,
Speaker 13: please undercover now, Mahala.
Speaker 6: He's a you gotta make him look like a real car.
Speaker 13: Ellen, I'm getting a wee bit of breeze in my
Speaker 13: Lowlands lassie with me will you?
Speaker 3: I think this will do fine, and then puts them
Speaker 3: in an outfit which, for the life of me, looks
Speaker 3: exactly the same as the outfit he was wearing. I
Speaker 3: really didn't see a difference.
Speaker 10: He just had better jogging shoes so he could tiptoe
Speaker 10: a little faster when he moves away from an explosion.
Speaker 3: This big three toad converse he was wearing, And Yeah, Kevin,
Speaker 3: this would work so much better than as a cartoon,
Speaker 3: especially because bud Court is playing a cartoon character he is.
Speaker 2: He feels like like a character from like James Bond
Speaker 2: Junior or something, or the Captain Planet cartoon. It's really exaggerated.
Speaker 2: Well have you put? There were so many unscenary characters
Speaker 2: that kept being introduced where I thought something's gonna happen
Speaker 2: with them, Like her partner at the beginning.
Speaker 3: Yeah, I thought for sure he was going to die.
Speaker 3: I was like, oh, yeah, this guy's dead. Me No,
Speaker 3: he just goes away.
Speaker 2: Which would have been an improvement that would have motivated
Speaker 2: her character a bit more. There are moments in the
Speaker 2: script where it just feels like did they not bother
Speaker 2: to write it or did they not just want to
Speaker 2: shoot it? But when she gets teamed up with him
Speaker 2: the first time, she says five times, he's a dinosaur.
Speaker 2: He's a dinosaur. He's a dinosaur.
Speaker 3: I'm like Teddy Rex meet Katie Coltrane. Hi, you two
Speaker 3: solve this case together? Whoa whoa? Whoa?
Speaker 6: What?
Speaker 3: What that is in public relations? But I'm feel promoting
Speaker 3: him temporarily.
Speaker 6: Is a dinosaur?
Speaker 12: Come on, Coltrane, he graduated from the academy just like
Speaker 12: You's a dinosaur.
Speaker 1: You know a SPECIs dore.
Speaker 8: You give me results by prime time tomorrow and I'll
Speaker 8: double your regular commissions.
Speaker 6: It's a dinosaur.
Speaker 2: Come on, a Coltrane, straighten up and fly right.
Speaker 5: It's your chance for a comeback.
Speaker 13: Don't blow It's a look up.
Speaker 1: As long as we're partners, why don't we make the
Speaker 1: best of it?
Speaker 6: Huh A dinosaur?
Speaker 2: Yes'm technically like you could write something else here to
Speaker 2: express why she doesn't want to work with him. She
Speaker 2: just keeps saying he's a dinosaur. He's a dinosaurs, Like,
Speaker 2: at least try a little bit.
Speaker 10: I liked moments like that because she is on such
Speaker 10: not give a crap mode and not to the point
Speaker 10: to where she's overacting. Quite the opposite, the kind of
Speaker 10: not give a crap where you are just getting the.
Speaker 1: Lines out and that's it.
Speaker 10: Like sure, later it talks about her being like this
Speaker 10: bionic cop or whatever, but that's not why she's monotone
Speaker 10: in this movie. It's because she wants to be anywhere
Speaker 10: else but this film. So when there were parts like
Speaker 10: the one you said where she's like, he's a dinosaur,
Speaker 10: He's a dinosaur, or those parts I could get kind
Speaker 10: of an ironic lap out of because there were moments
Speaker 10: like that that just felt like Whoopy Goldberg piecing into
Speaker 10: her head exactly what she's in. Like also that another
Speaker 10: part I was thinking of what that was when they
Speaker 10: were in the Star Wars CANTEENA but for dinosaurs, where
Speaker 10: she just cracks and just starts laughing.
Speaker 2: Laugh where the big grill dinosaurs like smiling at her
Speaker 2: and she's like, you're not getting any tonight. It's an
Speaker 2: awful lot of people walking into cavernous sets and just
Speaker 2: standing there stock still and exchanging dialogue and according to
Speaker 2: the next scene, oh yeah, they're just walking from set
Speaker 2: to set, really low energy, really disinterested, And I couldn't
Speaker 2: follow along what was going on or why it was happening.
Speaker 2: I was looking in the background and thinking, oh my god,
Speaker 2: that's a nice sliding set up there in the background,
Speaker 2: and not paying attention.
Speaker 3: The sets are gorgeous. I really like these. I mean
Speaker 3: that kind of open air bar where the little kid
Speaker 3: is working. It's like Neon is everywhere and he's got
Speaker 3: that little thing, and I guess you're right, this is
Speaker 3: kind of like the uh Blade Runner thing. Yeah, yeah,
Speaker 3: bullfish that's what my ex wife used to call me,
Speaker 3: Like yeah, and he's got even like the whole thing
Speaker 3: of their showing, like, oh, Kin is going to bring
Speaker 3: back raccoons next, and it's like, oh, okay, I guess
Speaker 3: all of these animals this is how we find out
Speaker 3: all these animals are extinct, Like bringing those back are
Speaker 3: just as well as like Tyrrell making a robot version
Speaker 3: of a replicant version of a raccoon. I suppose do
Speaker 3: you like our all? It's artificial?
Speaker 2: Of course, it is.
Speaker 3: Must be expensive.
Speaker 10: Very it's Blade Runner of mom accidentally rented Pluto Nash.
Speaker 3: We have Blade Runner at home.
Speaker 10: This was reminding me of stuff like that, where it
Speaker 10: is that era. It's a funny era where it was
Speaker 10: like Pluto Nash or Super Mario Brothers, where there is
Speaker 10: a lot spent on making the sets look good, making
Speaker 10: the lighting look good, making the costuming be fairly impressive for.
Speaker 1: A movie where it's like we need to pad this out.
Speaker 10: Let's have him fart on somebody's face for a while
Speaker 10: while he's strapped down, like they're simultaneously also a weird
Speaker 10: fetish film.
Speaker 2: There's two things that boys love playing as a kid,
Speaker 2: cops and robbers and dinosaurs. You team them up, it's
Speaker 2: like that's a no brainer. But then you introduce a
Speaker 2: dinosaur that doesn't eat anybody. He's not even a meat
Speaker 2: eater's regisaurs and only does this keep knocking people over
Speaker 2: with his tail. It's like you're not even doing the
Speaker 2: cool thing with a dinosa. You've got a t rex
Speaker 2: in this. Let amaul somebody or at least be intense
Speaker 2: in some of these action scenes, but no, he's He's
Speaker 2: like a clone that's just bobbling a boot the place Barreently,
Speaker 2: the dinosaur is more intimidating.
Speaker 3: It's so strange that this world has dinosaurs, but they
Speaker 3: don't seem to change anything. It's just our world with
Speaker 3: brighter colors.
Speaker 2: Same with the robots.
Speaker 3: Yeah, and I guess they call the robots guns because
Speaker 3: they say at one point the guns got us, and
Speaker 3: that was in the script. The script, I have to
Speaker 3: say way better, not great, but way better, and really
Speaker 3: has this whole thing of like, okay, we're we have
Speaker 3: these special cops and really like there's a twist at
Speaker 3: the end with these very specialized cops that are kind
Speaker 3: of bio enhanced and they've got you know, like they
Speaker 3: can download thing. It's very matrix, you know, like at
Speaker 3: one point she even says like download vehicles or download this,
Speaker 3: and she's gaining all the knowledge, you know. It's kind
Speaker 3: of like Trinity when she's like, oh, can I learn
Speaker 3: how to you know, fly this helicopter. There's a part
Speaker 3: in the in the script towards the end where they
Speaker 3: finally reveal why Coltrane, who's a white male in the
Speaker 3: script and we'll talk about the differences with you know, Gosh,
Speaker 3: we've talked about this so much, Kevin. This whole idea
Speaker 3: of it was written for this type of person, but
Speaker 3: will Be Goldenberg ended up playing it. But the cop
Speaker 3: basically died. The company came in it's a very robo cop.
Speaker 3: The company came in replaced all of his parts with
Speaker 3: these robot parts, and he has to work for them
Speaker 3: and always work for them. Had to give up his
Speaker 3: entire family, so like, his family's aware that he's alive
Speaker 3: and his family is around, but he cannot have anything
Speaker 3: to do with them otherwise the company will repossess the
Speaker 3: parts and basically leave him to die. So I'm like,
Speaker 3: oh wow, that's really fucking dark. And that's the whole
Speaker 3: thing about that script. Is it so much darker and
Speaker 3: so much more adult and somewhere in there, even though
Speaker 3: it's about a cop and a dinosaur, but somewhere in
Speaker 3: there they lost all of that and it became this
Speaker 3: living cartoon that we see.
Speaker 10: Yeah, in the actual movie, it feels like she's a
Speaker 10: bionic cop only so she can survive getting shot, right,
Speaker 10: you know you know what I mean?
Speaker 2: Or not change costumes. She was the same close for
Speaker 2: the entire film.
Speaker 3: Again though in the in the script, the plot is
Speaker 3: so like why are you doing this? Why do you
Speaker 3: want to create this new ice age? Like we never
Speaker 3: really get like why he wants to do this, Like
Speaker 3: there's more motivation for Vera Farmiga's character and that horrible
Speaker 3: Godzilla king in the Monstrous movie where she wants to
Speaker 3: like raise up all the Titans, all the Kaiju. Again,
Speaker 3: that makes no sense, But this makes even less sense.
Speaker 2: New Eden by bringing about another ice age.
Speaker 6: Humans have been the dominant species for thousands of years,
Speaker 6: and look what's happened overpopulation.
Speaker 2: Pollution or the.
Speaker 14: Mass extinction we feared has already begun, and we are
Speaker 14: the cause.
Speaker 7: We are the infection.
Speaker 2: I can kind of see, you know, where they're coming from.
Speaker 2: Where it's like the future of humanity with synthetic life
Speaker 2: for androids in the past, with dinosaurs and us coalescing
Speaker 2: in the middle. But it's too many ideas for one film,
Speaker 2: especially a kids film, to handle. Sometimes you can blame
Speaker 2: development for that stuff, but I feel like they started
Speaker 2: off on the wrong foot here and they needed to
Speaker 2: pair it back. But it need to be about just
Speaker 2: one thing, which is dinosaurs and cops working together.
Speaker 1: Have it have that.
Speaker 10: Dark edge like you were talking about, Because going back
Speaker 10: to something like Tequila and Benetti for a second, not
Speaker 10: that that's the most perfect show ever made, but what
Speaker 10: it seems like Theodore's apartment is Benetti's apartment from that show,
Speaker 10: Like I had to look. I'm like, they look exactly
Speaker 10: the same. I was wondering if it was even the
Speaker 10: same set. But that show you had like it was
Speaker 10: a cop Jack Scalia and he's partnered with a dog
Speaker 10: that talks, but the other people can't hear him talk.
Speaker 10: You're just kind of hearing his thoughts in his head.
Speaker 10: But that you had Jack Scalia playing that role as
Speaker 10: if he's on Hill Street Blues, as if this is
Speaker 10: a serious, gritty cop show, and even the cases on
Speaker 10: the show were is seriously dark, Like you would have
Speaker 10: an episode about like a serial rapist, you'd have one
Speaker 10: where there's just a naked body hanging from the ceiling
Speaker 10: and then it pans down and Tequila sees it and
Speaker 10: is just like, oh boy, Like at least that you
Speaker 10: can get one. You have the mixture of the other
Speaker 10: actors are treating it pretty dark and serious, but the
Speaker 10: total inconsistencies of it also like make it pretty entertaining,
Speaker 10: even if that's not maybe not the intent for it
Speaker 10: to be that, but still it makes it a fascinating watch,
Speaker 10: whereas here you mostly have a lot of them acting
Speaker 10: like they are in a wacky comedy. Either that or
Speaker 10: again will be Goldberg wanting to be anywhere else in
Speaker 10: this She's not acting like she's in a really dark
Speaker 10: movie where.
Speaker 1: She happens to be partnered with a dinosaur.
Speaker 10: So it was just a struggle to see it through
Speaker 10: because the world made less sense.
Speaker 2: The bore you watched it.
Speaker 10: You couldn't really even get a lot of unintentional laughs
Speaker 10: out of it. A mixture of the lead performance is
Speaker 10: not really bringing it or being miscast, and again just
Speaker 10: scratching my head, which I didn't think would happen in
Speaker 10: Theodore Rest.
Speaker 2: I had to look up what you were talking about though,
Speaker 2: Tequila and bunetti that did not travel.
Speaker 3: I wasn't aware of that show either, so I was
Speaker 3: glad to explain what it was because I'm like, what
Speaker 3: is he talking about?
Speaker 1: Oh, you guys would love it.
Speaker 10: Oh, early nineties, like very very post Turner and Huge. Bellisario,
Speaker 10: the creator of Quantum Lea. Basically the network were like,
Speaker 10: we want our own Turner and Huge, so he did this.
Speaker 1: It only lasted half a season.
Speaker 10: That was the kind of thing where its flaws made
Speaker 10: it a very very entertaining set and it even had
Speaker 10: some dramatic stuff that like it would work every now
Speaker 10: and then, whereas this, whatever you're feeling it is five
Speaker 10: minutes in is going to be your feeling through the
Speaker 10: entire thing.
Speaker 2: I was struggling even to find quotes, you know, any
Speaker 2: one liners to use. At the beginning of this episode,
Speaker 2: there was only a couple of lines which I thought, oh,
Speaker 2: that's kind of funny. Were Burt caught the hot end
Speaker 2: the guy says to him, you get a shot at redemption,
Speaker 2: and he says again, like another shot at redemption. That's
Speaker 2: kind of amusing. And the other one was when Teddy
Speaker 2: Rex goes, I better call my mom. I don't have
Speaker 2: a mom. What this is so strange, like the implications
Speaker 2: of that, like why would he even think to say
Speaker 2: that he doesn't have a motor tragic?
Speaker 10: So so sad I wrote down apart the line that
Speaker 10: made me laugh, and it was when a character said,
Speaker 10: I ain't cleaning this up. And here's the thing about
Speaker 10: this movie. I wrote that down because it was a
Speaker 10: line that made me laugh. But even that is forgettable
Speaker 10: because I'm looking at this going I wish I wrote
Speaker 10: down the context of this line, but I know that
Speaker 10: that line made me laugh. But it just like everything else,
Speaker 10: who went in one ear and out the other.
Speaker 3: They didn't have the clone character because, as I read
Speaker 3: in that opening scroll, two people escaped New Eden and
Speaker 3: were coming to warn the police, and it took me
Speaker 3: forever to figure out who the other one was. It
Speaker 3: was it was Oliver Rex, and it was this Adam
Speaker 3: guy who's a clone. And it's kind of like Jurassic
Speaker 3: Worlds or wherever they like introduced like, oh, yeah, and
Speaker 3: we can clone humans too. It's like, what, Oh, that's
Speaker 3: a surprise. Well that opens up a whole new can
Speaker 3: of worms as far as the implications of this stuff,
Speaker 3: so all right, like the little clone girl in the
Speaker 3: last movie, I don't think they really knew what the
Speaker 3: hell to do with her, and I don't think it
Speaker 3: made any sense to make her a clone in the
Speaker 3: first place. But in this it's like, oh, so he
Speaker 3: can clone humans, all right, Well, that seems very interesting.
Speaker 3: And there is god I kind of a mention of
Speaker 3: that in the screenplay which doesn't translate to this movie,
Speaker 3: which is all of those guys with the crazy masks
Speaker 3: that are just like giggling and running around all the
Speaker 3: bud courts, the jows yeah, the jawas yeah, which are
Speaker 3: called zapheads. I think those are all clones apparently in
Speaker 3: the script, but that doesn't translate to here at all
Speaker 3: because they never take off their masks.
Speaker 2: I had to google that and to give you an
Speaker 2: idea of the footprint of this film. There was no
Speaker 2: information online that could help me figure out what it
Speaker 2: was not getting from the film, So it just said
Speaker 2: zapids were gang Like, oh okay, because they look like
Speaker 2: robots to be or some sort of like cybernetic being what. Yeah,
Speaker 2: so not just clones, just people clones.
Speaker 3: Well with the name, you would think that they are
Speaker 3: on some sort of drug or that they power themselves
Speaker 3: on energy or something like that. And yeah, they've got
Speaker 3: that the masks that they wear and everything, but yeahs
Speaker 3: across that they're clones at all. Yeah, they're very cool.
Speaker 3: But I wonder how much of this movie was made
Speaker 3: in adr because they could have been menacing except that they're.
Speaker 5: Just like who.
Speaker 3: All the time. There's so many lines that they just
Speaker 3: add in where I'm like, oh wow, or sound effects
Speaker 3: like sound effects like crazy. I mean, of course we've
Speaker 3: talked about the farting already, but just and the bad
Speaker 3: breath is also there. But there are so many weird
Speaker 3: little things where it's just like ooing for like no reason,
Speaker 3: well boing noise.
Speaker 10: That's the going bananas motto of Like this joke might
Speaker 10: not land, but we put a spring sound in there,
Speaker 10: so we're going to get some asses and seats or
Speaker 10: on the couch.
Speaker 1: We're putting this direct to video.
Speaker 3: We need a machine that shoots Macadamian cookies at this
Speaker 3: guy's mouth. Let's do it.
Speaker 10: He sort of wanted to make his apartment like Pee
Speaker 10: Wee's from Pee Wee's Big Adventure, but just spent too
Speaker 10: spent all of his budget on the cookie machine and
Speaker 10: stopped there.
Speaker 3: When she finds a dog on the street, which I
Speaker 3: guess is supposed to show us that she has humanity
Speaker 3: and brings it to the little guy, the little kid,
Speaker 3: he looks the dog looks exactly the same as Theodorex's dog.
Speaker 3: In my mind anyway, I'm like, you couldn't find a
Speaker 3: different type of dog because these two things look the
Speaker 3: same to me.
Speaker 2: Yeah, I wrote down to save the dog rather than
Speaker 2: save the cat. A moment to show that she's likable,
Speaker 2: I guess, But she's really not likable, you know. WHOOPI
Speaker 2: Goldberg her super power is that she's so charming and charismatic,
Speaker 2: and in this she's just a sullen and nasty and
Speaker 2: she doesn't really redeem herself. It's a really sluggish performance.
Speaker 3: The scene when she and Juliet Landau are going back
Speaker 3: and forth and she's like, oh yes, insteads doing the voice,
Speaker 3: I'm like, I'm very uncomfortable right now.
Speaker 11: We're here to see Kane and you are culturing grid
Speaker 11: Police and you are.
Speaker 1: Doctor Shade, Kane's personal physician.
Speaker 7: Come tid it follow.
Speaker 2: Nothing's motivating it. It's just sort of like being dismissive
Speaker 2: and rude. But yeah, I was hoping that I would
Speaker 2: find it funny to see somebody struggle through to this
Speaker 2: film and try and give it the roll, and it
Speaker 2: would be unintentionally funny. But it was just kind of
Speaker 2: like a chure or real chure.
Speaker 10: Some actors can do that in a movie and they
Speaker 10: go so over the top that they make something of it.
Speaker 10: Like you know, if this movie had had a Nick
Speaker 10: Cage in it or something like that, where like he
Speaker 10: might be in something where he knows what it is.
Speaker 10: It's a pay he doesn't maybe doesn't necessarily want to
Speaker 10: be there, but we'll use that to go pretty over
Speaker 10: the top and still make something entertaining out of it,
Speaker 10: or going back to Highlander two, Sean Connery in that
Speaker 10: film where he's almost winking at the camera that he
Speaker 10: knows exactly the kind of movie he's in.
Speaker 1: Then there's other actors that don't really do that.
Speaker 10: It's kind of just there boring at it if they're
Speaker 10: sleepwalking through it. Bruce Willis, Yeah, or Eddie in Pluto
Speaker 10: Nash where they're really just kind of on autopilot, the
Speaker 10: bad form of autopilot, where it is I'm not going
Speaker 10: to emote, I'm not gonna make this character or anything
Speaker 10: more than it is on the page. I'm here nine,
Speaker 10: you got me from nine to five and I'm going home.
Speaker 2: You mentioned there at the beginning, Brad that the voice
Speaker 2: acting was at landing few, and I have to say
Speaker 2: I thought that all the voice acting was pretty unpleasant.
Speaker 2: And Carol Kane, for me, is one of the most
Speaker 2: enjoyable actresses, and even her character of Molly Rex, oh, like,
Speaker 2: this is awful. This is really rotten, And to see
Speaker 2: Molly and Teddy flirting with each other so uncomfortable, it
Speaker 2: just did not work.
Speaker 3: Well, especially that her husband just died. And in the
Speaker 3: script they go very far to say, listen, we hadn't
Speaker 3: been together and forever. There was no love going on there.
Speaker 3: There was a whole thing of like Oliver really bought
Speaker 3: into the company line and she didn't. There was tension
Speaker 3: between them. None of that is here, and said, You're
Speaker 3: just like, who is this floozy who's suddenly just going
Speaker 3: after Teddy big time basically on the night of her
Speaker 3: husband's funeral. And I'm like, well, she's a fom fatale
Speaker 3: then you know, she's a torch singer at a bar.
Speaker 3: She has to be some sort of fum fatale who's
Speaker 3: going to turn on him and trying to manipulate him
Speaker 3: in some way. No, and said, she's just like that
Speaker 3: little kid, their kidnap bait and that's all they are
Speaker 3: is kidnap bait. And I'm like, really, that's what we're
Speaker 3: doing here, Like now we have to kidnap the little
Speaker 3: kid for Whoopy's character Coltrane to be involved in, and
Speaker 3: now we have to kidnap Molly for Teddy's character to
Speaker 3: be involved in. And same thing with I think the
Speaker 3: Adam character was like, oh, well, Teddy's going to be
Speaker 3: interested in this dinocide, the first dinoside, and it really
Speaker 3: makes me wonder what the hell's going on in this
Speaker 3: world that this is the first dinocide. And then Whoopee
Speaker 3: is going after the human clone. So I'm like, okay,
Speaker 3: we have these parallel stories. When are they going to collide? Well,
Speaker 3: they collide really darn quick. Same thing with our bad guys.
Speaker 3: Within the first few minutes, we're like, oh, Macattie knows Budcourt.
Speaker 3: They know this guy at the big museum thing. And
Speaker 3: then he knows Arma Mula Stalls. So they're all in
Speaker 3: on it. And you know that by eighteen minutes into
Speaker 3: this film, there's no third act reveal of oh Arman
Speaker 3: Mula Stalls behind this whole thing. Yeah, we know that,
Speaker 3: and we've known that in the fucking crawl.
Speaker 2: Yeah, in the opening crawl, you know what they should
Speaker 2: have done. They should have kidnapped the dogs and then
Speaker 2: you have these two evolved people trying to save these
Speaker 2: lower life forms. It would have been a little bit more,
Speaker 2: I guess thematic, but yeah, it was just going through
Speaker 2: to motion. Everything felt like it was just plodding through plot.
Speaker 2: It was reading on some of the reactions that the
Speaker 2: producers had when they were seeing cuts of the film,
Speaker 2: and one of the guys, Stefano, one of the producer's
Speaker 2: exact producer, went to see Dragonhart, the Sean Connery film,
Speaker 2: and he walked out of it and said to the director,
Speaker 2: we are so fucked because that was obviously breaking ground
Speaker 2: with CG and they had these these I don't know
Speaker 2: what you'd call them, muppets to try and win the
Speaker 2: hearts of kids across America, but yeah, ugly scenes behind
Speaker 2: the scene.
Speaker 10: Should have taken them another premiere of Prehysteria instead.
Speaker 8: Coming this summer, attention plates the world premiere. I see
Speaker 8: nothing of an action filled family adventure.
Speaker 1: Behold, I did you pre start line.
Speaker 5: It's a story of two.
Speaker 15: Kids, one huge discovery, and a lovable bunch of re
Speaker 15: historic pats the.
Speaker 5: Biggest terrestrial carivory that ever lives.
Speaker 3: I guess we got the lungs of the leader who
Speaker 3: you were mentioning things that actually made you laugh. There's
Speaker 3: one thing that made me laugh pretty well, which was
Speaker 3: when they're talking about, Oh, Teddy, we've got your new
Speaker 3: partner here, and they're out in front of the museum
Speaker 3: and this guy, for whatever reason, he reminds me of
Speaker 3: William Zabka, but like an older williams Zabka, Like now's
Speaker 3: well not now it's williams Zabka. But anyway, this guy
Speaker 3: walks up and he's got a two bandoliers across his
Speaker 3: chest of shotgun shelves. He's carrying a gun across his shoulder,
Speaker 3: just this big musty guy and he's got black headband
Speaker 3: and stuff, and you're just like, oh, wow, okay, this
Speaker 3: is his partner. And then Woopy kind of comes up
Speaker 3: and pushes him out of the way, and I was like, oh, well,
Speaker 3: that was kind of funny. But again they called her
Speaker 3: and said come over to the museum, well before they
Speaker 3: just made the agreement that he's going to be her partners,
Speaker 3: Like what the fuck? Man, Like, get your fucking timeline straight.
Speaker 2: That joke doesn't work. It doesn't. That only works if
Speaker 2: you haven't introduced will Be yet. But it's like we
Speaker 2: even though her name, so it's like Coltrane was like,
Speaker 2: who's gonna fall for us? It's like, geg, I'm with you.
Speaker 10: I actually did get a little bit of a chuckle
Speaker 10: out of that, but you're right, because it was still
Speaker 10: sort of awkward in that, like this joke sure, I
Speaker 10: chuckled a little bit, but yeah, it could have done
Speaker 10: better because then it could have been done better because
Speaker 10: then it does raise.
Speaker 1: The question of who was that guy? Where did he
Speaker 1: really come from?
Speaker 3: Where'd he come from, and where'd he go? And could
Speaker 3: I follow him instead for a little bit?
Speaker 10: Yeah, yeah, and it is like, well, why isn't he
Speaker 10: her partner and what happened to her partner?
Speaker 1: You mentioned novelizations like plural.
Speaker 10: Were there a lot and were they more accurate to
Speaker 10: what script was?
Speaker 3: Well? I didn't look through everything, but there were three
Speaker 3: novelizations that were done, and they were done for different
Speaker 3: age groups. I mean, they were really going to town
Speaker 3: with this. So they had one which was basically a
Speaker 3: story book with pictures and a little bit of text,
Speaker 3: like maybe a paragraph at the bottom, that was maybe
Speaker 3: like twenty four pages. Then you got the more intermediate
Speaker 3: one where it's like, you know, Eddie flashed awake. I
Speaker 3: was reading the first pages of all these to make
Speaker 3: sure that they were different, and that one starts with
Speaker 3: him waking up, and then the next one is the
Speaker 3: older one, and that's like one hundred and twenty four pages,
Speaker 3: and that one starts with the murder. But it's played down,
Speaker 3: So I mean, really, we keep talking about how this
Speaker 3: is a kid's film, but I don't think it was
Speaker 3: supposed to be a kid's film. I think it just
Speaker 3: kind of turned into a kid's film because it's pretty
Speaker 3: adult in different parts of it.
Speaker 2: I want to compliment the writer as well, though, because
Speaker 2: the script is really well written. If I was reading,
Speaker 2: I'm like, this is evocative, and it's this is somebody
Speaker 2: who's got to grasp on what they're doing.
Speaker 6: It's not.
Speaker 2: It's not inept or clunky or poorly put across. And
Speaker 2: I did really like the Last Start Fighter as well.
Speaker 2: He's got chops. It's just that for whatever reason, and
Speaker 2: it seems like it was an absolute mindful of a
Speaker 2: production that he just he wasn't set up to succeed
Speaker 2: and directing his own material didn't really help him. He's
Speaker 2: a good writer, it's just I wouldn't class them as
Speaker 2: a good director based on this film.
Speaker 3: Well, I wonder how many how many sacrifices he had
Speaker 3: to make, Like.
Speaker 4: How many all the times did did he die and
Speaker 4: have to come back and try to make this into something,
Speaker 4: because yeah, it just it's really rough, And yeah, I agree,
Speaker 4: I liked that script, and I really wish that we.
Speaker 3: Had had that script as the film that we saw,
Speaker 3: because this film it's not good.
Speaker 2: Joe Dante would have had a field day with this.
Speaker 3: Oh yeah, used the same. Was it rab Boteam that
Speaker 3: did this better effects? For Explorers? Was that the one
Speaker 3: where it's like those creatures were amazing?
Speaker 10: In this one, it did always feel like it had
Speaker 10: the tone of a kid's movie the final product of it. Like,
Speaker 10: to me, it never felt like I was sitting there going,
Speaker 10: this is a kid's movie, because even when there is
Speaker 10: like a murder or something like that in it, it's
Speaker 10: always acted like it's a kid's movie. It never really
Speaker 10: feels like it switched tones that dark, Like even when
Speaker 10: a guy is being tortured for information, I mean, Theodore
Speaker 10: is just breathing nasty breath on him and belging in
Speaker 10: his face and stuff like that. Whereas I might have
Speaker 10: gotten some like unintentional laughs if if suddenly it was
Speaker 10: like a dark thriller, or again, if it was like
Speaker 10: the script and that was the tone of the of
Speaker 10: the whole thing, then yeah, that would that would make
Speaker 10: it far more fascinating.
Speaker 2: I not a genuine compliment they're gonna pay the film
Speaker 2: is I think. I thought the score was really well done,
Speaker 2: and it's Robert Folk, who did a sventchour before this,
Speaker 2: so it's not a shoddy sound the like kind of orchestration.
Speaker 2: It was actually you know, it started off and I thought, ought,
Speaker 2: I've put some f behind this. This is a real
Speaker 2: composer work here. That was good. Unfortunately, just didn't have
Speaker 2: the material to support the music, but I like to
Speaker 2: work there. I like the music well done.
Speaker 10: Theodore Rex did it ever have trailers play in movie theaters? Because,
Speaker 10: like I said at the beginning, I swear I saw
Speaker 10: a trailer.
Speaker 1: For this in the theater.
Speaker 3: That's a really good question. I imagined that they did
Speaker 3: at some point, because I think that dumping it on
Speaker 3: video was really a last minute decision. Well it was
Speaker 3: last minute, but then it took a few months. That's
Speaker 3: why I was talking about the was it ninety five
Speaker 3: to ninety six or ninety four to ninety five, because
Speaker 3: I think the film was done and ready to be
Speaker 3: released as a Christmas release and then it got delayed
Speaker 3: and dumped on video in February of the next year.
Speaker 3: And yeah, it was such a scandal that this big
Speaker 3: budget movie was getting dumped on video and that just
Speaker 3: wasn't done at the time.
Speaker 2: But no, no, that's just Netflix.
Speaker 3: Yeah, exactly how people are just like, okay, yeah whatever,
Speaker 3: you know, well, yeah, oh, you're not going to show
Speaker 3: that theatrically okay whatever.
Speaker 1: Did it make its money back?
Speaker 3: I don't think it did?
Speaker 2: Yeah?
Speaker 3: How could it look here?
Speaker 8: Yeah?
Speaker 3: I mean because it was thirty three point five million
Speaker 3: to make this thing?
Speaker 2: Did this even end up on DVD?
Speaker 3: I I want to say.
Speaker 2: Yes, how many copies do you have? For all of
Speaker 2: the reasons provided in my answer, which is incorporated herein
Speaker 2: in its entirety, I declined to answer the question.
Speaker 10: The whole thing's available for free on YouTube, and when
Speaker 10: you finish it, it does say if you liked this,
Speaker 10: check out prehysteria was prehysteria?
Speaker 3: Was that the same little shitty kid from h from
Speaker 3: Last Action Hero In?
Speaker 12: Ye?
Speaker 3: Okay, That's why I never watch it because he was
Speaker 3: on the cover and I was just like, fuck that kid,
Speaker 3: I fucking hate last night.
Speaker 6: We're not there.
Speaker 1: On an opening weekend of My Girl.
Speaker 6: Too, I was not.
Speaker 3: No, does he die from bees in that as well?
Speaker 3: Does she keep just going out with that have Oh wow,
Speaker 3: tell McCauley, I did this.
Speaker 2: It was me.
Speaker 10: You guys are actually making me want to see this
Speaker 10: movie now. I also wasn't there on opening weekend for
Speaker 10: My Girl too.
Speaker 3: There's that weird thing where it sounds like he's gonna
Speaker 3: spit a loogie and he's just like over the dead
Speaker 3: dinosaur and making all these horrific noises, and then he
Speaker 3: finally just reaches into the into the nostril and brings
Speaker 3: out the little piece of butterfly that's there. These butterfly
Speaker 3: bombs are kind of wild. And that whole scene of
Speaker 3: them going to what do they call them, the Toymaker.
Speaker 3: His name is like the Silver Samurai and in the script,
Speaker 3: but the toy Maker, And and that scene with the
Speaker 3: Kyoto brothers doing puppetry and voices, Holy shit, does that
Speaker 3: go on forever?
Speaker 2: That was so strange. It just it shifted into puppet Master,
Speaker 2: and I was like, what is going on now? This
Speaker 2: is bizarre. This felt like we're there were probably viewing
Speaker 2: dailies and thinking we've got to yuck it up here.
Speaker 2: This is just not fun enough. And you could just
Speaker 2: tell Woopy just didn't give a shit. She's sitting there
Speaker 2: looking at at a medical kit bag and talking to
Speaker 2: a puppet, and it's like, what a hat on a
Speaker 2: hat on a hat and a hat on a hat.
Speaker 2: It was.
Speaker 1: She got a raise for it, Yeah, didn't they pay.
Speaker 2: Her extra in order to convince them to do it?
Speaker 2: So you know the thing about this film is that
Speaker 2: the low behind the making of it is genuinely far
Speaker 2: more interesting than the film itself. That if you come
Speaker 2: to the film wanting to see what they made a
Speaker 2: result of, like all that tortured negotiations and stuff, it's
Speaker 2: such a letter and you're better off just reading up
Speaker 2: about the film and looking into the behind the scenes
Speaker 2: and documentaries. Film is just softunately dull, like really dull.
Speaker 1: My wife said that too.
Speaker 10: When my wife got home from work that day, I
Speaker 10: was like, oh, I had to watch Theodore Rix earlier.
Speaker 1: Her reaction was just you.
Speaker 10: And then she mentioned that she and her sister they
Speaker 10: also like watching bad movies like this all the time.
Speaker 10: Like I was with them once where we were all
Speaker 10: watching Gooby together, you know, that kind of bad movie.
Speaker 10: So this when she mentioned her and her sister tried
Speaker 10: watching this, I was like, yeah, that makes all the
Speaker 10: sense in the world. But She said they only made
Speaker 10: it like fifteen or twenty minutes in because they just
Speaker 10: weren't even getting any genuine or unintentional laughs out of it.
Speaker 1: They were just kind of bored.
Speaker 10: And I said to her, it's one of those bad
Speaker 10: movies where your opinion of it either way, is not
Speaker 10: going to change beyond ten minutes of the movie. Whatever
Speaker 10: you think of this movie at first, it's going to
Speaker 10: be that through the rest of it, and.
Speaker 2: You opening ten minutes best ten minutes of the whole film.
Speaker 2: I think explosions and kind of demolition man vobes on
Speaker 2: a budget, and then it's like the more that you're
Speaker 2: told what's going on, the less you care.
Speaker 3: This movie has such an opportunity to go to this
Speaker 3: extinct species club and have like a dance number or
Speaker 3: something like. I was like, where is Walk the Dinosaur?
Speaker 3: Where was not was in this movie and us doing
Speaker 3: a whole thing of Walk the Dinosaur? Come on, There's
Speaker 3: an opportunity right there, and nobody took it.
Speaker 2: Thank God.
Speaker 10: That's why Super Mario Brothers was the better movie. They
Speaker 10: played it on the soundtrack of.
Speaker 3: That exactly, which didn't make a lot of sense there
Speaker 3: because there is really only Yoshi in that one.
Speaker 2: Super Mario Boarders, though, is a film where you can
Speaker 2: get a lot of enjoyment out of it because it's
Speaker 2: so extravagant and somebody effects not our great, but this
Speaker 2: is just it's a Saturday morning kids film done for
Speaker 2: Canadian TV.
Speaker 3: Yeah, the fart jokes, there's the scene where he starts
Speaker 3: impersonating Jack Nicholson and Arnold Schwarzenegger. I'm just like, where
Speaker 3: is this coming from? This is very odd, the all
Speaker 3: of the little things where they're you know, because you're
Speaker 3: talking about alien nation, and the thing that I like
Speaker 3: about that is like this is a really thought out
Speaker 3: world and they really talk about like all right, look
Speaker 3: at you know the magazine covers on the at the
Speaker 3: news stand, have you know, the the visitors there, and
Speaker 3: like everything is kind of tailored and you see how
Speaker 3: they live in a ghetto and stuff, and it's just
Speaker 3: like you don't really get that. Like I said, you
Speaker 3: see dinosaurs in certain spaces where they're like Okay, here's
Speaker 3: the funeral, here's the ceremony, here's the bar, But otherwise
Speaker 3: you don't really see him walking around, you know, and
Speaker 3: it's not like, oh, there's two like when they go
Speaker 3: to that little kid's restaurant, and he's just like, oh,
Speaker 3: you got to come over tomorrow and my dad's going
Speaker 3: to be there and blah blah blah. But you don't
Speaker 3: see dinosaurs walking around on the street. It's just all
Speaker 3: extras just walking around. And then the crazy thing, and
Speaker 3: I don't get this whatsoever. The crazy thing is like
Speaker 3: this little kid is like, hey, whoop be Goldberg. My
Speaker 3: mom apparently is gone, so here's my I want to
Speaker 3: introduce you to my dad. You really need to get
Speaker 3: out more. I think you'd be really great if you
Speaker 3: dated my dad. And then at the very end of
Speaker 3: the movie, at the ceremony, his dad is there and
Speaker 3: the kid goes, that's my dad, but the audio goes.
Speaker 7: Hey, I'm so hid you, and it's not.
Speaker 3: That kid's voice whatsoever, but you see his mouth mouthing,
Speaker 3: Oh god, I'm.
Speaker 1: So brawdy, you're sweetie.
Speaker 2: They also make a really hard pivot just before the
Speaker 2: finale where they tried to tack on this anti gun
Speaker 2: message where she tells him op until he's just been
Speaker 2: knocking things over with his tail. But no, she's convincing him,
Speaker 2: use your mind to stop these guys getting away. In
Speaker 2: a cheap Give me your gun.
Speaker 1: I can't what I can't.
Speaker 5: Katie, Give me your gun.
Speaker 2: This is no time to play around.
Speaker 5: Give me it.
Speaker 6: You might have been right. It kills me to say
Speaker 6: this might have been right.
Speaker 1: Use something a little better than a gun.
Speaker 13: Oh Katie, Look, all this time you've been telling me
Speaker 13: a good cop uses a gun, right, So what are
Speaker 13: you telling me now?
Speaker 6: I was wrong?
Speaker 1: Your brain?
Speaker 6: Use your brain.
Speaker 2: All right, brain's over bullets.
Speaker 1: Yeah, let's do it. Oh, partner, Wait a minute, you said.
Speaker 5: The P word.
Speaker 6: Yeah I did. Good luck?
Speaker 2: Okay, yeah you.
Speaker 3: Too, partner?
Speaker 10: Oh yeah, is that worked so well? In side Hackers
Speaker 10: is like, no, dude, you need a gun. You can't run,
Speaker 10: you can't drive, you're always knocking over shit.
Speaker 2: Will be he's trying to stop the apocket. Let him
Speaker 2: shoot the guys for fuck's sake.
Speaker 3: Well, yeah, but this is a kid's movie, like you
Speaker 3: were saying, So we can't show that. We can show
Speaker 3: Stephen McCatty crashing his car and exploding floating. Yeah, the
Speaker 3: most explosive billboard ever. And then here's Arman Mueller stall
Speaker 3: strung up and in this jeep seat. And then we
Speaker 3: just fade to the next scene, like I had to
Speaker 3: rewind it three times last night. I was like, wait
Speaker 3: a second, what just happened? I looked, did I look
Speaker 3: down again?
Speaker 6: Like?
Speaker 3: What happened to armand Mueller stall? We never see We
Speaker 3: just never find that out.
Speaker 1: He got a call from his agent. He's in Shine.
Speaker 3: I'm about to wind to Oscar. Please leave me alone.
Speaker 2: I get the vibe as well. It was like that,
Speaker 2: not because they were cutting it to ribbons in the editing,
Speaker 2: but that I just didn't get the footage. That's the vibe.
Speaker 2: I yet, it was all masters pretty much. It was
Speaker 2: just everyone walking into white shot and standing there and
Speaker 2: exposing exposition. Okay, this is just get what you can
Speaker 2: and move on. I loved it.
Speaker 3: Yeah, I could tell that you love this movie. I
Speaker 3: could really tell that this is probably one for the
Speaker 3: ages for you.
Speaker 10: Yeah, like you didn't watch this movie twice because you
Speaker 10: had to.
Speaker 2: I was watching it. I was thinking to myself, I
Speaker 2: didn't expect to be empathizing and sympathizing with Whoopy Goldberg
Speaker 2: where she got into this mess because she said yes
Speaker 2: and then felt the deed to sue the producers to
Speaker 2: get out of it. I thought, yeah, you know, I
Speaker 2: got into this mess of watching this film by saying
Speaker 2: yes to Mike, and if I had the resources, I
Speaker 2: would sue him, but I can't, so.
Speaker 3: I don't even have an answering machine message to play
Speaker 3: back as proof.
Speaker 2: For the moment I hit play. It was the longest
Speaker 2: three and a half hours in my life.
Speaker 3: Any rate I think of behind the scenes of this
Speaker 3: would be wonderful to watch. I mean, you know, if
Speaker 3: those people that made that, you know, the making of
Speaker 3: the Godfather thing, if they want to start tackling Theodore Rex,
Speaker 3: I would definitely improve.
Speaker 2: But she doesn't even speak about it. Though she wouldn't
Speaker 2: even mention the film by name.
Speaker 10: I've seen her mention it she because that was one
Speaker 10: thing I looked up afterwards.
Speaker 1: She doesn't mention it.
Speaker 10: Often, but there is an episode of the View where
Speaker 10: she talked the subject came up of projects that they
Speaker 10: regret the most, and she mentioned this, and she talks
Speaker 10: about how there are people who mentioned that they like it.
Speaker 1: She mentions, like a producer.
Speaker 10: On the show is just like, oh, no, I love
Speaker 10: that movie or something like that, and Whoopy Goldberg was
Speaker 10: just kind of sitting there going, yeah, I'll see people
Speaker 10: say that to me. Sometimes and I don't get it.
Speaker 10: She's like that movie wasn't made for anybody.
Speaker 2: The production designer said that he is such an awful
Speaker 2: time working with her on this film that he can
Speaker 2: no longer stand to watch her in anything. He has
Speaker 2: to turn over the channel if she pops up in
Speaker 2: a film running.
Speaker 10: It was more than she just simply wanted to be there,
Speaker 10: which she actually like really hard to work with on
Speaker 10: the movie at times.
Speaker 2: Some people say that she was difficult, and others say
Speaker 2: that she she came around and that her co star,
Speaker 2: the guy that played the puppeteer guy who played Teddy Rex,
Speaker 2: so she was lovely, and that they bonded and she'd
Speaker 2: host his family and stuff like that. But she said
Speaker 2: that the crew that began the film, by the time
Speaker 2: they got to the end, it was an entirely different
Speaker 2: crew that had been so much turnover that it was
Speaker 2: like ninety nine percent of the people were no longer
Speaker 2: the same when they got to the end of it.
Speaker 2: It was really a troubled production, and she banned the
Speaker 2: producers off the set. She agreed to do the film
Speaker 2: as long as they never appeared, and one day one
Speaker 2: of the guys, Stefan turned up for some reason, and
Speaker 2: she walked past him and went like motherfucker. That was
Speaker 2: their only interaction.
Speaker 3: We've talked so many times on this series about what
Speaker 3: was supposed to be Bruce Willis, who was in this role.
Speaker 3: It was supposed to be this person I was in
Speaker 3: this role, and like so many times, we've had the
Speaker 3: race swap, the genders wop, you know, just so many things,
Speaker 3: and then this one again we do. I think the
Speaker 3: idea of casting an African American just period man or
Speaker 3: woman in this role it's really interesting and really not
Speaker 3: the right thing to do because so much of this
Speaker 3: is about systematic racism against dinosaurs in this world, and
Speaker 3: to have this African American actor actress in this role,
Speaker 3: like she should be much more empathetic to their plight,
Speaker 3: but instead it's just like, oh, yeah, fuck dinosaurs, I
Speaker 3: fucking hate dinosaurs.
Speaker 2: It should be an Irish American cop.
Speaker 3: Well, yeah, the what was it? A Coltrane? I can't
Speaker 3: remember the guy's name from the script, and he just
Speaker 3: reminded me of like, I don't know, axe cop or
Speaker 3: one of these guys with like the big mustache, you know,
Speaker 3: and I was just like, oh, okay, well I can
Speaker 3: see him being a racist piece of shit against dinosaurs,
Speaker 3: and then eventually throughout the movie he starts to change
Speaker 3: and it becomes a big deal. But at the end
Speaker 3: when he calls Teddy his partner, but instead it's just like, wait,
Speaker 3: what are you doing here, lady, Like you should be
Speaker 3: much more sympathetic to this guy who they won't let
Speaker 3: be a police officer, and when they do, it's a
Speaker 3: token police officer. I'm like, hello, Like at Deoi, Yeah,
Speaker 3: it's a Dei higher basically a Dino Dei source.
Speaker 2: Wasn't it meant to be Val Kilmore? That was the
Speaker 2: name that I saw floated.
Speaker 3: I saw Vlcomer and Kurt Russell at one point Kurt
Speaker 3: Russell I saw.
Speaker 1: Yeah. It's similar to like Happy.
Speaker 10: Time Murders in that regard where when you look at
Speaker 10: what the cast was, what the idea was beforehand, it
Speaker 10: made way more sense than who ended up being in it.
Speaker 10: I think Melissa McCarthy's better in that than what p
Speaker 10: Goldberg was here. But when you look at other names,
Speaker 10: it's like, yeah, that makes way more sense for this
Speaker 10: kind of hard ed cop character, Like like if Kurt
Speaker 10: Russell was in this film, or if.
Speaker 2: Bob Hoskins hadn't done quite similar in Who for a
Speaker 2: Bunch of Rabbits, you would have probably suited this, But
Speaker 2: I don't think you could. You could have saved this
Speaker 2: film by just changing the cast. I think this is
Speaker 2: the whole execution is just off, and it's too difficult
Speaker 2: to pull off this concept, you know, in live action.
Speaker 2: It had to be animation or or just don't do it.
Speaker 1: Animation would definitely work. I can for sure see that.
Speaker 3: I'm actually surprised that they didn't go ahead and do
Speaker 3: an animated sequel. At some point. I know that it
Speaker 3: probably made so little money that they're just like, no,
Speaker 3: this thing is dead. We're never going to do it again.
Speaker 3: But an animated sequel or even like a Saturday Morning
Speaker 3: cartoon show, for me, this that makes a lot more
Speaker 3: sense than something like Beetlejuice or Rambo or some of
Speaker 3: these other ones. Robo Cop, you know, like I said,
Speaker 3: there's some similarities here too with RoboCop.
Speaker 2: Yeah, Dinosaurs and Cops is a great concept for a
Speaker 2: boys cartoon. If you went more exaggerated with whatever this is,
Speaker 2: I guess it would be a good double feature with
Speaker 2: like Howard the Doc, although that is a masterpiece in
Speaker 2: comparison to this.
Speaker 3: All Right, we're going to take break and we'll be
Speaker 3: back with an interview with writer director Jonathan Betchel. Right
Speaker 3: after these brief messages.
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Speaker 3: We spoke a while ago about The Last Starfighter, and
Speaker 3: I'm so curious as far as how Theodore Rex came about.
Speaker 6: Well, it was a spec script that I wrote, and
Speaker 6: it was just sort of a fantasy that I thought, gee,
Speaker 6: you know, it would be kind of cool if we
Speaker 6: went against the grain of everything known in the genre
Speaker 6: at the time, mixing a dinosaur with the detective and
Speaker 6: for the science that was required you were automatically in
Speaker 6: the future and things like that. So I wrote this
Speaker 6: was back in the golden age of specs, you know,
Speaker 6: where every week there was another script out, and you
Speaker 6: know when writers justifiably so we're getting ungodly amounts of
Speaker 6: money before being tortured to death and thrown out the bus.
Speaker 6: You know. It went out, It got some good reads,
Speaker 6: and it went to a producer by the name of
Speaker 6: rich Abramson. He had raised some money before for other
Speaker 6: independent movies, and he said he could put it all together.
Speaker 6: He did. It took a lot longer, as they always
Speaker 6: do in these cases than you hope for pre production.
Speaker 6: We're about to go, We're about to go. We're about
Speaker 6: to go. Phase was about a year, and then came
Speaker 6: the point of the money was there, and then it
Speaker 6: was looking for a star, which is its own kind
Speaker 6: of adventure, to say the least. The investor by the
Speaker 6: name of Stefano Ferrari entered the picture. He was a
Speaker 6: brave soul. It was kind of trial by fire. The
Speaker 6: thing was with the picture, there was nothing off the
Speaker 6: shelf about it. Mike, you know, you couldn't really just
Speaker 6: say okay, exterior windmill et cetera, et cetera, and everyone
Speaker 6: knew what it was. It just sort of, by its
Speaker 6: very nature, needed intense design. So Bill Stout, a renowned illustrator,
Speaker 6: came aboard and started doing the production boards and illustrations
Speaker 6: in the beginning. And that process is a lot of fun, frankly,
Speaker 6: because no one is attaching a number to the fantasies
Speaker 6: on the production illustrations. Yet you kind of come down
Speaker 6: to earth when people say, well, yeah, kind of it
Speaker 6: looks good, but it's going to cost this, this and this,
Speaker 6: and suddenly your moves, everything you do is sort of
Speaker 6: cost it out by comparison. That's kind of a drag.
Speaker 6: We were out to actors during that period of time
Speaker 6: and got some interesting reads and responses.
Speaker 3: You know.
Speaker 6: It's kind of like, I guess these days would be
Speaker 6: going through Tinder saying who's going to fit, who likes you,
Speaker 6: and who you like and see hopefully that they wind
Speaker 6: up on the same page. But I met a guy
Speaker 6: named Larry Finch, who I believe was one of the
Speaker 6: producers on it on the end credits, and he said,
Speaker 6: we were looking at of all things, to invest in
Speaker 6: a restaurant together, and he said, what do you do,
Speaker 6: And I told him, and what kind of script you
Speaker 6: are you doing? Now? And I told him he said, hey,
Speaker 6: you know, I'm good friends with Whoopy Goldberg and I
Speaker 6: should show this to her. And you know, it's one
Speaker 6: of these things that you hear in town and you say, right,
Speaker 6: I'm good friends.
Speaker 3: With so and so, you know.
Speaker 6: So I told the producer that was in London at
Speaker 6: the time, I said, I got a call saying that
Speaker 6: Whoopy Goldberg is coming to the office on Monday. I said,
Speaker 6: do you want to try to get back? He said, now,
Speaker 6: you know I'll never make it back. And you know,
Speaker 6: don't believe everything a hear. So that Monday, wood Be
Speaker 6: walked in and I said, Whoopee, could you do you
Speaker 6: mind if we make a phone call please? So we
Speaker 6: called Abramston in London and I said, hey, Rich, you
Speaker 6: sitting down, I have someone wants to talk to you.
Speaker 6: And Whoopee got on the phone and excoriated him, said
Speaker 6: so wouldn't get on a plane for me?
Speaker 2: Huh well, and.
Speaker 6: That that's sort of how it all started.
Speaker 3: I read it a draft of the script in early
Speaker 3: one and it was from April of ninety two. You
Speaker 3: were talking about how long it takes to get a
Speaker 3: project to get that green light. That sounds like a
Speaker 3: long time because it was what three years before it
Speaker 3: actually comes out.
Speaker 6: Yeah, and you know, the scar tissue has really grown
Speaker 6: over Mike, you know, so I don't you know exactly
Speaker 6: it could be that, you know, but going out and
Speaker 6: raising money independently. I believe it was about thirty five
Speaker 6: million really for a picture that wasn't how can I
Speaker 6: say easy to typecast? Is it an action picture? Is
Speaker 6: it a drama or a romantic comedy? Well, you know,
Speaker 6: maybe it's a little of each, and it's about a
Speaker 6: talking dinosaur. It had an identity problem in that respect
Speaker 6: for the financial people, but we got over that step
Speaker 6: by step. And you know, I think the other thing
Speaker 6: at the time that might have indvertently helped was that
Speaker 6: Barney was such a big success. I don't know if
Speaker 6: it's financial hurt, instinct or what, but I remember thinking,
Speaker 6: purple dinosaur, What what am I talking about? I got
Speaker 6: a talking dinosaur that's a police, a policeman, you know,
Speaker 6: in retrospect. In some ways, technically speaking, the task was
Speaker 6: enormous to have a physical, nine foot tall animatronic dinosaur
Speaker 6: worked by puppeteers, all of whom were Henson graduates. In
Speaker 6: one way or another, was still an overwhelming task, especially
Speaker 6: since we live in the age of CG now. That
Speaker 6: would have really made life a bit easier, perhaps a
Speaker 6: little more expensive. But sometimes you make it up in
Speaker 6: other ways in terms of you're not going to wait
Speaker 6: for a couple of times the eyes were off, so
Speaker 6: the eyelights were not right, and you'd go when you
Speaker 6: look at the dinosaur, and when I was this way
Speaker 6: and when I was that way, you just at some
Speaker 6: points felt at the mercy of technology way. But yeah,
Speaker 6: it did take a while. And then new Line Bob Say,
Speaker 6: buccaneer and pioneer that he was, came in and said, well,
Speaker 6: we'll distribute it. That helped a lot. It was a
Speaker 6: medium sized shoot, sixty seventy days, and it's one of
Speaker 6: those things where it's sort of a growing experience and
Speaker 6: you kind of know how to do the movie after
Speaker 6: you've done it. When I remember looking over and there
Speaker 6: was Whoopee standing there alone, there was a dinosaur next
Speaker 6: to her, and twenty feet away with cords and cables
Speaker 6: were ten guys pulling levers and pulleys, and it just
Speaker 6: felt like wow, kind of like the Wright Brothers, you know,
Speaker 6: just is this going to get off the ground or what.
Speaker 6: But so it was fun, you know, and the idea
Speaker 6: was to make a little comic book kind of fantasy
Speaker 6: about the Dinosaur with a green themed bad guy, you
Speaker 6: know that thing. Arman Muller Stall was the bad guy.
Speaker 6: He was he was a blast. So, you know, it
Speaker 6: was just sort of one of these things where I think,
Speaker 6: and you've interviewed enough escaped mental patients in this business
Speaker 6: to know that you wonder a time how anything gets made,
Speaker 6: anything that gets clean lit, you know. And it's funny
Speaker 6: you referenced like the three years that it took putting
Speaker 6: it together. I think we all went home more nights
Speaker 6: than not thinking, oh my gosh, this is never going
Speaker 6: to come through, you know, because it becomes a balancing
Speaker 6: act the finances, the design, the timing and all that.
Speaker 6: Then you get a release date and you're you're up
Speaker 6: against a clock that's ticking. When you've got post production
Speaker 6: that's so involved with something like this, Because all the
Speaker 6: Dinosaur's lines had to be dubbed obviously, and Will we
Speaker 6: had previous commitments that had to be honored as well.
Speaker 6: So it's just sort of like a circus to say
Speaker 6: the least, you know, and that was that was that
Speaker 6: was it. I I kind of went from that wanting
Speaker 6: to do a nice small movie where you could say go,
Speaker 6: and it just happened. At the end of the day
Speaker 6: you had something that was a finished product in a way,
Speaker 6: you know. And the other thing is it's seductive because
Speaker 6: when you write a script, it's also easy on paper.
Speaker 6: You know, it's very manageable intellectually. But then suddenly you
Speaker 6: get up at four in the morning and you get
Speaker 6: there and it looks like the end of the world
Speaker 6: with all the preparation going on, you know, and to
Speaker 6: stay on target in terms of tone, shut out the
Speaker 6: rest of the world and focus just on what's in
Speaker 6: front of you takes a special kind of well, I
Speaker 6: guess focus, you know, to shut out the noise and
Speaker 6: just looking what in front of you. I really had
Speaker 6: to think long and hard about writing another science fiction
Speaker 6: picture after that. There was just so many ancillary considerations
Speaker 6: to it. The process was exhausting. The days were long
Speaker 6: because you could never project when you could finish because
Speaker 6: it was technologically so difficult. If you did it now,
Speaker 6: I'm coming back to that point, you would, you know,
Speaker 6: the rule is that usually we'll fix it and post.
Speaker 6: These days we'll make it and post, you know, because
Speaker 6: so much of it comes together. Now. I found co
Speaker 6: founded a visual effects company, Loom Pictures, and we've done
Speaker 6: a lot of big pictures and many times after the
Speaker 6: shooting it was still a blank slate, you know, it's
Speaker 6: just actors in front of green screens and things like that.
Speaker 3: Once what becomes a board. Do you have to do rewrites?
Speaker 3: Do you change it to meet her comedic style in
Speaker 3: a way?
Speaker 6: Yes, yes, for her delivery and to write towards her
Speaker 6: character and the way she would design it, and that
Speaker 6: that's kind of fun. I never usually write for actors,
Speaker 6: because you'll fall in love with actor that you love
Speaker 6: for the part, and invariably they are committed, don't respond
Speaker 6: or whatever, and then suddenly you know it's unrequited love.
Speaker 6: Once an actor comes on, it's very nice to have,
Speaker 6: which is what we had. Whoopy wanting to be as
Speaker 6: much a creator of her character as as as writing,
Speaker 6: and I, you know, I always kind of welcome that,
Speaker 6: you know, because it's nice to have the actors that
Speaker 6: breed life into the characters. Because I think writers sometimes
Speaker 6: sit down and do a screenplay, and as much as
Speaker 6: they think it's well rounded, it's the actors that breathe
Speaker 6: the life into it, you know, and studying techniques of
Speaker 6: directors and how they compose their characters. It's nice to
Speaker 6: hear when I mean, for instance, Jason Sudeikis on Ted
Speaker 6: Lasso was very much a part of making that character
Speaker 6: who he was and really making it sing on all levels.
Speaker 6: And whoopy did that?
Speaker 3: You know?
Speaker 6: Will Bee is kind of overwhelmingly talented in a way.
Speaker 6: She's very bright, and she doesn't like it. Just run
Speaker 6: for the hills, you know, just did and she always
Speaker 6: she's one of these people that knows the jobs of
Speaker 6: everybody on the set better than they do probably and
Speaker 6: she doesn't spare the horses when it comes to that.
Speaker 6: So yeah, she was a good collaborator and I think
Speaker 6: surprised about the movie in certain ways, you know, because
Speaker 6: again it's not something that jumps off the page. Just gee,
Speaker 6: I will do what was it the Nun picture? She did? First,
Speaker 6: it's her act and then this it's kind of a leap,
Speaker 6: but she has the range to do that. It's too
Speaker 6: bad she doesn't do more movies these days that sometimes
Speaker 6: you can tell pictures that are just flat. You know,
Speaker 6: it's others the actors are really bringing it all together.
Speaker 6: And someone once said that if you have a gifted actor,
Speaker 6: they bring you gifts. The trick is to don't pull
Speaker 6: so hard on the reins, let them go, to have
Speaker 6: a wisdom to know when to steer, and remind about guardrails,
Speaker 6: especially with writers. I think writers fall in love with
Speaker 6: their words, you know, because you've stared at a page
Speaker 6: for a year and a half and then now it's
Speaker 6: got to be no. I think there are many ways
Speaker 6: to say things, as long as certain key elements in
Speaker 6: dialogue that are certain plot points, like that black door
Speaker 6: has to open. I don't care how you say it.
Speaker 6: In fact, bring your own style to it. But let's
Speaker 6: talk about the black door in a way. In that sense,
Speaker 6: it's always fun to watch your own stuff come to life.
Speaker 6: Sometimes you have to stop yourself by it. This is
Speaker 6: the biggest set of electric trains I was ever given.
Speaker 6: I'm just the guy to fuck it up, and it's like,
Speaker 6: what's very mindful of the pitfalls. Over time I would
Speaker 6: get notes and emails from people, some of them well
Speaker 6: known people, that were very complementary saying, you know, I
Speaker 6: saw this movie just recently and I didn't see it.
Speaker 6: What the hell happened to it? What was it? This
Speaker 6: was great and this is what, you know, just fortunes
Speaker 6: of war.
Speaker 3: You know, you had been directing since my Science Project,
Speaker 3: if not before. Had you done directing before that?
Speaker 6: No, I hadn't. I hadn't. Just a Science Project came
Speaker 6: about on the strength of the specscript that went out
Speaker 6: for auction, I was able to say. And this was
Speaker 6: right after the Last Starfighter, which was very well received,
Speaker 6: and was able to get the opportunity through Science Project.
Speaker 6: When Starfighter came out, it was good reviews. Science Project
Speaker 6: came out and was set up almost within a week.
Speaker 6: It was amazing. One of those things that no, this
Speaker 6: is not really Yes, it happened. And then Kim Lamasters
Speaker 6: was running Disney at that time, and he gave gave
Speaker 6: me the opportunity to do it, you know, and that
Speaker 6: was an interesting time at Disney, just before Eisner and
Speaker 6: Katzenberg came in. It was the keepers of the flame
Speaker 6: were still there, you know, Woltzkys and things. So picture
Speaker 6: kind of got lost in the shuffle between the immutable
Speaker 6: forces of nature.
Speaker 3: You have directed things by other writers, if memory serves
Speaker 3: at least one episode of Freddy's Dead, Is that right.
Speaker 6: I have during Freddy's I directed other episodes with other writers.
Speaker 6: But on the whole I've been the guy that, in
Speaker 6: order it is set to sea, I've got to build
Speaker 6: my own ships. And it's an interesting dilemma because I
Speaker 6: went through a long period of time where I thought, Wow,
Speaker 6: I'm getting really tired of having to chop down the
Speaker 6: tree before I can make a toothpick, you know. And
Speaker 6: then so you know, every once in a while, say
Speaker 6: to the guys I was working with, let's see what's
Speaker 6: out there. And I would see what was out there,
Speaker 6: and that was a different layer of Dante's Inferno, you know,
Speaker 6: because you would get the script and they'd say, well,
Speaker 6: you're the first one that's seen this what in this
Speaker 6: zip code? And then suddenly you were dependent upon a
Speaker 6: submission process that you had no control over. You had
Speaker 6: no idea who else had seen it. But now you're
Speaker 6: thinking that the barista Starbucks has passed on it already
Speaker 6: too by the time you get to see it, So
Speaker 6: you're kind of like without a compass in that sense,
Speaker 6: and not that that matters, but you know, clearly things
Speaker 6: work on the the food chain sere concept and depending
Speaker 6: upon where you are, the club you want to belong
Speaker 6: to doesn't want you. Club you don't want to belong.
Speaker 2: To says hey, what are you doing next?
Speaker 12: One?
Speaker 6: You know? I mean, hell, I went back to writing
Speaker 6: scripts and I wrote another one that right after after
Speaker 6: Science Project. It was bought in Greenlit by Columbia again
Speaker 6: in a record amount of time, and I spent a
Speaker 6: year in pre production. It was called Tripwire and with
Speaker 6: Dan Melnick producing, and that was a growing experience. It
Speaker 6: was you know that Dan was brilliant, an old time
Speaker 6: Hollywood producer and fascinating to be around. But you cut
Speaker 6: yourself on the edges in a way, you know, and
Speaker 6: you know the process makes you like that to a degree.
Speaker 6: And about four days from started principal photography, the studio
Speaker 6: changed hands and David Putnam came in, so you know,
Speaker 6: Caligula is out and I don't know, Hitler's in who knows,
Speaker 6: you know, and where it was like, yeah, and what's
Speaker 6: going on here?
Speaker 5: You know?
Speaker 6: So that was sort of it. But yeah, on the
Speaker 6: whole I've been writing for myself so I figure there's
Speaker 6: there's a natural synergy between writing and directing. It's different
Speaker 6: types of megalomania. But if you're just a writer, you
Speaker 6: write the script and then everyone else gets to go
Speaker 6: out on the class trip and have fun on location,
Speaker 6: and you stay home, you know, and you wonder what
Speaker 6: are they doing? Are they are they going to the
Speaker 6: circus or what they what does it look like? You know,
Speaker 6: it's that a different kind of purgatory that was, you know,
Speaker 6: I went back to that process writing directing it. But
Speaker 6: the other thing is, I think you have to be
Speaker 6: a little aggressive more to be a director. Aggressive in
Speaker 6: the sense where you have to endure hearing yourself talk
Speaker 6: all the time, like having kids, and the kids don't
Speaker 6: listen to you, and maybe when they do the ears
Speaker 6: or cock eye they tail. You know, it's just like hey, yeah, yeah,
Speaker 6: you're yan.
Speaker 13: You know.
Speaker 6: So you say, you keep at it and you stay
Speaker 6: steady with it, and you know, then for a long
Speaker 6: period of time, I think I said before, I just
Speaker 6: wanted to do something that didn't and involve visual effects,
Speaker 6: And I wrote a small script about a little boy
Speaker 6: who builds himself a dog without thunderous waves of Because
Speaker 6: now it's CG cg's, especially having a CG company that
Speaker 6: I did for about twenty years, I understand that very
Speaker 6: well now, you know. And in any rate, we have
Speaker 6: offers out to editors for that script now. So scripts
Speaker 6: seem to have a life of their own in a way,
Speaker 6: you know. And it has nothing to do with the
Speaker 6: fact that you finish it. When you think that's over.
Speaker 6: You know, other people reader have other impressions, and you
Speaker 6: gradually get it filtered back to you and think either
Speaker 6: why I don't think, well, I'm an idiot, but it's cocktail time,
Speaker 6: or man, maybe we got some things right. It's funny,
Speaker 6: you know, when I talk to other writers now, having
Speaker 6: been at the game a bit, you can come up
Speaker 6: as you're writing with more more reasons not to write
Speaker 6: than to write, you know, because you're so aware of
Speaker 6: the pitfalls and what can go wrong in terms of
Speaker 6: perceptions of the script. And you say to you and
Speaker 6: I know a bunch of them they've been successful and
Speaker 6: they they don't want to go through it. It's just
Speaker 6: like and I always felt, hey, I don't care. I'll
Speaker 6: take notes from the cleaning lady, you know, and if
Speaker 6: those notes are articulate, and something I missed absolutely. But
Speaker 6: other people are kind of like, this is a script,
Speaker 6: the imperial script. This is I've given my lifeblood to this.
Speaker 6: It's an interesting process and I always loved it because
Speaker 6: it's sort of an art form that nobody sees except
Speaker 6: on the screen. And yet when you think about it,
Speaker 6: it's the emotional core of the entire production. That's where
Speaker 6: everything comes from. The performances, the camera moves, the music,
Speaker 6: all melds together to heighten the emotional exposure to an audience,
Speaker 6: and either it talks to them or it doesn't. When
Speaker 6: you think that the screenplay is that pebble that rolls
Speaker 6: down the snow bag and becomes something big, then again
Speaker 6: you're either paralyzed or you think, well, what the hell,
Speaker 6: let's go, let's try, you know. And I'm kind of
Speaker 6: the type of writer the writing that does like draft
Speaker 6: after draft after draft. The first draft is just the
Speaker 6: block of marble from which you fashioned the script. And
Speaker 6: I've always been amazed at writers that will gest state
Speaker 6: and gestate, and then they will sit down and write
Speaker 6: it and that's it. I've heard that Robert town was
Speaker 6: like that, you know, and it's just fascinating read an article.
Speaker 6: On an interview with god Neil Simon, he said, dating himself,
Speaker 6: he said, I'm not a writer, I'm a rewriter, you know.
Speaker 6: So I think in the end Teddy Rex probably had
Speaker 6: twenty or thirty rewrites, you know, and some were detours,
Speaker 6: others were I remember going on taking a couple of
Speaker 6: weeks off and producer on the show Who Shall Go
Speaker 6: Nameless at this point handed me a draft. When I
Speaker 6: got back and said, you know, my wife took a
Speaker 6: pass at the script and she worked out all the problems.
Speaker 6: I remember a person whose voice sounded a lot like
Speaker 6: mine saying, yes, I mind. But you know, when you're
Speaker 6: in the middle of the picture, as you know you've
Speaker 6: heard it thousands of times, you kind of roll with it,
Speaker 6: listen to it, and then figure out workarounds no matter
Speaker 6: what happens, because it just hits it from all sides.
Speaker 6: And then the other thing is that in pre production
Speaker 6: you make decisions that six months later, when you're exhausted
Speaker 6: and you've been up eighteen hours, you come face to
Speaker 6: face with and you think to yourself, oh my god,
Speaker 6: how could I have been so you know, and here
Speaker 6: it is the donkey has six legs when it shit,
Speaker 6: you know, well what am I doing? It's an amazing process.
Speaker 6: And got to really admire couple if we're going back
Speaker 6: at that age and really saying this is how I
Speaker 6: see it, and this is what I want, and I've
Speaker 6: got the money to make it happen. These guys are nice,
Speaker 6: pudgy guys who you know in all of our classes,
Speaker 6: used to run the audio visual department, you know. But
Speaker 6: they're tough. They're tough, they know what they want, they
Speaker 6: know how to get it, and they're charming. I remember
Speaker 6: reading once, I think it was Compley who said, you know,
Speaker 6: it's a team sport, but the day the camera shows up,
Speaker 6: it becomes a dictatorship because I'm the first one that
Speaker 6: gets executed.
Speaker 3: So you were talking about taking notes from people, even
Speaker 3: the cleaning laby, like you said, once the cameras are ruling.
Speaker 3: Are you allowing for improv? Are you precious about your screenplay?
Speaker 3: Are you open to suggestions then, or is it pretty much, hey,
Speaker 3: this is what we agreed to, this is what we're
Speaker 3: going with.
Speaker 6: It really depends upon the context. I'm not precious about words.
Speaker 6: I'm very fluid in that respect, and sometimes getting what's
Speaker 6: the point of the scene. You know where you have
Speaker 6: to wind up, you know, on your left foot or
Speaker 6: your right foot. And sometimes, as I said, actors give
Speaker 6: you gifts and they will take you around a circuitous
Speaker 6: route that is a lot of fun, you know, And
Speaker 6: that's what I always used to look for in audition
Speaker 6: and things like that. You know who's a collaborator and
Speaker 6: who is in you know you. The other thing is
Speaker 6: that before you begin shooting, you call other directors that
Speaker 6: have worked with the actors before, and through back channels
Speaker 6: you find out did you have to protect them? Was
Speaker 6: it do they wilt after the third take or do
Speaker 6: they get better on the fourth take? You know? And
Speaker 6: then in scenes where you've got actors that are good
Speaker 6: for one and two and fried by four and five,
Speaker 6: and you got the other actor that goes the opposite way,
Speaker 6: so you blend and balance that. So you know, it's
Speaker 6: so many things that go into those considerations. I think
Speaker 6: that was continues to be interesting.
Speaker 3: I think it was just so gutsy that you write
Speaker 3: a screenplay about a top and a dinosaur without probably
Speaker 3: knowing how you're going to do the dinosaur effects at
Speaker 3: that time. That must have just been like such a
Speaker 3: leap of faith.
Speaker 6: Yeah, you know, I think what kind of carried me
Speaker 6: through that in a way was naivete, you know, whereas
Speaker 6: today you've got so many tools in the toolbox. You
Speaker 6: know there are ways to do it, ways around it.
Speaker 6: But you know, when I would look at Sesame Street
Speaker 6: and the Jim Henson guys and what they could do,
Speaker 6: the the over abiding objective was to make it look
Speaker 6: as real as possible given the fact that it's a
Speaker 6: talking dinosaur. But it doesn't mean it can't look real
Speaker 6: in that context. And I wanted to design the world
Speaker 6: of a talking dinosaurs as much into a cartoon comic
Speaker 6: book that supported the look of the dinosaurs. So it
Speaker 6: was all sort of blended together to work like that.
Speaker 6: But it was, I would say, kind of an interesting,
Speaker 6: flashy idea, you know. I mean, it's not the one
Speaker 6: off the shelf like a Western like I said before that,
Speaker 6: or something that could be categorized an action picture or something,
Speaker 6: you know. But it was probably quite a balancing act,
Speaker 6: and in some ways I think it worked. In other ways,
Speaker 6: I would you know, you can't look at anything like
Speaker 6: that without saying, you know, I wish, I wish, I
Speaker 6: wish I'd had more time I wish done a different direction,
Speaker 6: such as such as the game as it is really
Speaker 6: you know, at the end, I think it's hard over hardware,
Speaker 6: like you know, I think that's what conveys that really
Speaker 6: talks to an audience. I can say with my Starfighter experiences,
Speaker 6: those scenes that have continued to talk to audiences are
Speaker 6: the scenes of the family. You know, a small town
Speaker 6: boy with a dream to leave a dusty trailer park
Speaker 6: and somehow or other, this silly talent that he has
Speaker 6: that means nothing here means a lot on far away worlds,
Speaker 6: you know. And coupled with the fact that the I
Speaker 6: believe it was the first use of CG in pictures
Speaker 6: look really rough, really bad. Producers were oversold on what
Speaker 6: the CG could do by digital productions and those guys
Speaker 6: who were sort of lords of the digital world at
Speaker 6: that time with the great computers, you know, and so
Speaker 6: compared to ten years ago. Sure, but the problem became,
Speaker 6: it doesn't look right. There's a release date coming, and
Speaker 6: everyone surrounding us, because I was with Nick the director
Speaker 6: throughout the whole process, and they were all saying, gee,
Speaker 6: it doesn't look great. And then you saying to yourself,
Speaker 6: really compared to what you know and so but I
Speaker 6: guess my point is that it's the heart that comes through.
Speaker 6: If the heart is crafted, it can work work, you know,
Speaker 6: on most pictures, and when you think of pictures moments,
Speaker 6: and there are moments of moments like that, enduring, relatable
Speaker 6: and warm.
Speaker 3: When you're talking about the ten people with the servos
Speaker 3: and all those things. Plus I'm you've got I imagine
Speaker 3: a person in the suit as well. So trying to
Speaker 3: shoot around that and make sure that you are able
Speaker 3: to capture your vision while maintaining that illusion must have
Speaker 3: been very difficult as well.
Speaker 6: It was balancing twelve disparate disciplines in your head each
Speaker 6: time that creature came on, because it was you know,
Speaker 6: these guys really knew what they were doing because they
Speaker 6: were doing with it hands and all the time, and
Speaker 6: they spoke a different language to one another, you know,
Speaker 6: and you're always looking at the ninos or moving its mouth, wondering, okay,
Speaker 6: now that going to work with so many things, you know,
Speaker 6: and so easy on things like that to get pulled
Speaker 6: away from performance and get buried in the technical aspects
Speaker 6: of it. And that's what I was always fighting because
Speaker 6: someone always tap you on the shoulder and say, wait,
Speaker 6: we have a broken servo. Okay, how long is it
Speaker 6: gonna take. It's gonna take an hour because we got
Speaker 6: to take it out of the suit and things like that.
Speaker 6: The line producer was a funny guy. He would never say,
Speaker 6: you know, we got to move on. Whenever I turned
Speaker 6: around and we were dragging a bit that day, he
Speaker 6: would take his wad of dollar bills and pad his forehead.
Speaker 6: You see, amen, But this has costed a lot of money.
Speaker 6: You've got to.
Speaker 3: Be sure of this. You know, did the movie change
Speaker 3: that much during the editing or was it pretty well
Speaker 3: what you shot?
Speaker 2: It was pretty.
Speaker 6: Much what was shot because Whoope's performance actually she was
Speaker 6: like amazing because you could get all kinds of tone,
Speaker 6: textures and reads from her. You'd want to keep going.
Speaker 6: But the diner wasn't. Dinosaur is going to deliver a
Speaker 6: certain way, certain nuance of movements, and you know, you
Speaker 6: have I remember learning that the human face has I
Speaker 6: think forty points of emotion. The motive muscles on it,
Speaker 6: like our eyebrows mean one thing looking to the left.
Speaker 6: So you learn that language pretty quick. So you're giving
Speaker 6: direction to the dinosaur. Okay, make his eyes go to
Speaker 6: his right, now roll them around that kind of or
Speaker 6: ripple his lips, because each of them conveys something, you know,
Speaker 6: and that was learning a lot.
Speaker 3: I didn't even think about that as far as directing
Speaker 3: a human performer versus directing a dinosaur, and you're really
Speaker 3: directing all the people around him.
Speaker 6: Yeah, I mean, think about just crinkling your nose, what
Speaker 6: that means, some smelling, snapping with your tip. All these
Speaker 6: things that we take for granted are visual cues that
Speaker 6: we respond to. The more I got into that, I thought,
Speaker 6: oh my god, and thank god whoopy knewer stuff cold
Speaker 6: because I was directing the dinosaur a lot too, and
Speaker 6: that was a chore onto itself. Truly.
Speaker 3: I hate to ask this, but I have to what
Speaker 3: happened with Whoopee during the production, because I've read so
Speaker 3: many things and I don't know what is true and
Speaker 3: what's not.
Speaker 6: Whoopee agreed to the picture to do the picture, and
Speaker 6: she then got two other pictures shortly thereafter the I'm
Speaker 6: told that the producers know this better than I do.
Speaker 6: That the deal she made on this picture was a
Speaker 6: vast amount of money for a small amount of time,
Speaker 6: which raised her price considerably for the next two pictures
Speaker 6: that they signed up for it like within the next
Speaker 6: couple of months. So the pre production period was long
Speaker 6: because the dinosaur had to be built. So in the
Speaker 6: meantime they came to Stefano Ferrari of the car family
Speaker 6: and said, do you mind if Woopy did a picture
Speaker 6: before we start up? And he said, no, no, not
Speaker 6: a problem. And because you know, in a picture, her
Speaker 6: involvement would be two months, maybe you know, sixty days
Speaker 6: or whatever. And we were putting the dinosaur together and
Speaker 6: getting everything organized. Then they came again and said, she's
Speaker 6: got another picture. Okay, it's Stefano very graciously said sure.
Speaker 6: Then we were getting ready to start and they came
Speaker 6: to us again and said she's got one more picture,
Speaker 6: and Stefano said, no. Now we have to we have
Speaker 6: to assert our our line in her schedule because it's
Speaker 6: costing money. Hold money, you know, if you have production
Speaker 6: money set aside, they they don't stop charging you if
Speaker 6: you don't, you know what, So it gets really expensive.
Speaker 6: And there were there was a meeting that came about
Speaker 6: and I don't know, Hollywood attitude was sort of put
Speaker 6: forward from her manager at the time. Keith Addis, who
Speaker 6: basically said, well, you know, we think that we're going
Speaker 6: to do this movie and if you don't like this,
Speaker 6: basically sue us. Not in so many words, but Stefano,
Speaker 6: who truly a gentleman that had never been through any
Speaker 6: anything like this, whereas Abram said, and myself, if the
Speaker 6: tarantula bid us, the tarantula dies, he said to Keith, Keith,
Speaker 6: that's not right. We gave you a fortune for this,
Speaker 6: you know, you just please honor. And they said no.
Speaker 6: I don't think they knew that that he was a
Speaker 6: guy of his word and he would take it to
Speaker 6: the end. And and he did, you know, And that's
Speaker 6: that's how nothing from our side was released about what
Speaker 6: was going on. But you know how the everyone talks,
Speaker 6: everyone knows, and your gardener comes in with credits. Hey,
Speaker 6: I work on Warren Batty's house or something.
Speaker 3: You know.
Speaker 6: Okay, Finn, you know that that was that was a
Speaker 6: rough ride through that. It doesn't help to get into
Speaker 6: a lawsuit with your star.
Speaker 3: Did that sour her relationship with you? No?
Speaker 6: No, he had the Frank and working meeting. After all,
Speaker 6: the smoke cleared. But it took a while. It took
Speaker 6: a while to loosen up a little. It was a
Speaker 6: lesson on so many levels. Mike, you know, I hope
Speaker 6: that answers your question about that.
Speaker 3: Do you think that the negative press that had been
Speaker 3: focused on Theodore Rex is that what help sink the picture?
Speaker 3: Or were people just not ready for a cop dinosaur
Speaker 3: partner movie.
Speaker 6: I don't think the press helped, because, you know, I
Speaker 6: think it became a curiosity for the wrong reasons in
Speaker 6: a way. You know, Oh, this was a troubled set
Speaker 6: and all that. You know, I think that was part
Speaker 6: of it. I don't know about audiences being ready for things.
Speaker 6: I think if something is done with humor, style and
Speaker 6: so many of the sort of lightning in a bottle
Speaker 6: aspects of putting a picture together and making it work,
Speaker 6: they're always receptive. They're always willing to go out when
Speaker 6: the lights go off, and believe you know, so I don't.
Speaker 6: You know, it's hard to figure and then you know,
Speaker 6: there's so many, so many moving parts, distribution, timing and
Speaker 6: all these things. It's not it's just like in Starfighter.
Speaker 6: Starfighter became the first movie that used see cg So
Speaker 6: in the inter views. That was a guiding light of
Speaker 6: a lot of questions and that it just changes the
Speaker 6: complexion of the conversations and.
Speaker 3: Way you mentioned the whole comic book ness of the movie,
Speaker 3: and I did find it interesting that there are so
Speaker 3: many bright colors throughout the entire palette of that film,
Speaker 3: but then Whoopee is all in black throughout. I think
Speaker 3: almost all of it was that kind of a purpose
Speaker 3: to here's the human and they're boring, and here's the
Speaker 3: dinosaurs and they live in this colorful world.
Speaker 6: Whoopy's idea was, if this is a cop. The concept
Speaker 6: was that law enforcement at that time is expedited, so
Speaker 6: you're calling a crime a cop with the assistance of
Speaker 6: an HAI unit implanted in them is judge, jury and
Speaker 6: executioner at the same time. And she felt, well, it
Speaker 6: would be appropriate for a black uniform, and I thought, yeah, yeah,
Speaker 6: that would be a logical thing. And I did want
Speaker 6: to keep the palette to primary colors otherwise, you know,
Speaker 6: so it wasn't so you know dystopian future bleak that
Speaker 6: we see all the time is how are you going
Speaker 6: to do that with the talking dinosaur anyway? You know
Speaker 6: that has a tweed jacket on, I can't do it.
Speaker 3: You mentioned the armand Mueler Stall a little bit earlier.
Speaker 3: How was he to work with?
Speaker 6: It was very nice, very courtly, very total professional and
Speaker 6: in the sense that I could do this way, this way,
Speaker 6: this though is that? What? What? What? What?
Speaker 12: What?
Speaker 6: Wait a second? It's just so versatile, you know, and
Speaker 6: then really puts your back on your game to think
Speaker 6: about it, you know, because you're just He had a
Speaker 6: great presence in a way, you know, and the stories
Speaker 6: he would tell. It's one of these people like with
Speaker 6: Robert Preston and Starfighter. He'd start talking and suddenly in
Speaker 6: a half hour would go by him when he'd start
Speaker 6: telling you worries about, you know, inadvertently not boastfully, about
Speaker 6: the movies you'd been on and the old Hollywood, and
Speaker 6: it was just fascinating.
Speaker 3: I thought the castling of Stall was very smart because
Speaker 3: he gives off that kind of friendly grandpa energy, So
Speaker 3: to have him play the villain I thought was very smart.
Speaker 6: The point was exactly that to have a very buncular,
Speaker 6: warm presence that wants to own the world. You know,
Speaker 6: there are you know, the crazy ones are really like that,
Speaker 6: you know they don't the crazy stupid ones come off
Speaker 6: like that if you know, first off, in the script,
Speaker 6: but gradually you get into the whoa Grandpap's out of
Speaker 6: his tree? It was? It was fun, oh and all
Speaker 6: it was fun. There were points at which felt like
Speaker 6: it took too long, and probably like every every movie
Speaker 6: has points at which you think, oh my god, why
Speaker 6: is this taking so long? You know, and I think,
Speaker 6: pay since it is a great virtue in this business.
Speaker 6: Nothing happens when you think it's going to happen. And
Speaker 6: if someone says they're going to get right back to you,
Speaker 6: that's a Hollywood get right back to you, that means
Speaker 6: three weeks, so you adjust accordingly.
Speaker 3: So what do you do immediately after Theodore Rex drink heavily?
Speaker 6: You just take a deep breath, you know, and you
Speaker 6: go over it all the time. What else?
Speaker 1: What?
Speaker 6: What? What's been missed? What's here? And you know that
Speaker 6: kind of thing, you know, because by then the boat
Speaker 6: is sailed, you know, as a movie gets close to completion,
Speaker 6: as you're on sets and locations, you know, before you
Speaker 6: move to another center, I've I've gotten everything I need
Speaker 6: here before we move on, because coming back is so
Speaker 6: ghastly expensive. That's why I had an editor that I
Speaker 6: always like to look at the editors that would stay
Speaker 6: up to camera, so they put rough assemblies together as
Speaker 6: you were shooting each scene, so they would know what
Speaker 6: fit what else, maybe gets something else before you move
Speaker 6: on that kind of thing. I think you go through
Speaker 6: a period where you're did I get everything? Is where
Speaker 6: you start second guessing yourself because you've been doing that
Speaker 6: for so long and the whole experience of shooting is
Speaker 6: not normal. You know, you get up and everyone's got
Speaker 6: walkie talkies and it's like you don't have one? What
Speaker 6: because I am the wrong line and everyone you know,
Speaker 6: So that takes getting used to, and afterwards takes getting
Speaker 6: used to not having that. It's nice, you know, but
Speaker 6: I think that I think everyone just kind of should
Speaker 6: be forced to with DGA rules to go watch three
Speaker 6: days of nothing but waves rolling into the beach.
Speaker 3: How soon after Theodore Rex do you co found the
Speaker 3: Special Efects Company?
Speaker 6: That was about two years later. I had written this
Speaker 6: script about a little boy who builds himself a dog,
Speaker 6: and it was very manageable, and I met my partner
Speaker 6: at the time. We had nice samples and not connections
Speaker 6: at studios, so I had sort of been through that.
Speaker 6: So we decided to see what we could do. That
Speaker 6: took a lot longer because that's a different tribe, different club.
Speaker 6: In order to get into that, you have to have
Speaker 6: had already samples. He didn't have those from working movies.
Speaker 6: My mind consisted of one CG movie, you know, So
Speaker 6: it took a lot longer for it to get off
Speaker 6: the ground. Then Wen dissipated, and then you put your
Speaker 6: efforts into getting it started. I think it took like
Speaker 6: almost five years before we saw any profits from now
Speaker 6: once again. You know, it's like, I think there should
Speaker 6: be a writer, effects producer, director. All three disciplines are
Speaker 6: so interwoven. Now, yeah, I think that the the directors
Speaker 6: that work with with effects houses usually they stay with
Speaker 6: one effects house from picture to picture, and it serves
Speaker 6: them well, you know, because so many effects houses. All right, well,
Speaker 6: that's an interview in itself.
Speaker 3: What are you working on these days?
Speaker 6: Working on the script about the little boy that builds
Speaker 6: himself a dog? We are out to actors now, and
Speaker 6: that's really what I'd like to do. And I am
Speaker 6: writing the sequel to The Last Starfighter. You know, it's
Speaker 6: been a long road on Starfire in the sense that
Speaker 6: for a long time I was considered the stumbling block
Speaker 6: to having a sequel made. But I didn't think I
Speaker 6: didn't have the rights. I discovered through a series of
Speaker 6: studio skullduggery moments that when Laura mar was bought by
Speaker 6: Warner Brothers, if you know these players, someone neglected to
Speaker 6: keep abreast of the fact that they had ten years
Speaker 6: to exploit the rights to the picture, or they reverted
Speaker 6: to me. That's however, that is like having a great
Speaker 6: white shark on the hook and being in a rowboats.
Speaker 6: I was told that no one would no one would
Speaker 6: work with me even if I did have the rights
Speaker 6: to the movie, because the studios would throw a shadow
Speaker 6: over it. And that was the case for a while
Speaker 6: until I started hiring attorneys. No law firm in LA
Speaker 6: would go against a studio. I hired a firm in
Speaker 6: New York that secured the rights, and I got the copyright.
Speaker 6: And it was a quiet victory, you know, and made
Speaker 6: much more satisfying by the fact that when you recapture
Speaker 6: a copyright, they let all the entities know that it
Speaker 6: is now yours. So one went to warners, One went
Speaker 6: to warners that has a distribution whits for the foreign
Speaker 6: I have it on everything else and lets everyone know
Speaker 6: that there's a new sheriff in town. But it's not
Speaker 6: like that, really. It's just that I had to defend
Speaker 6: the rights at every turn of the screw, and it
Speaker 6: was expensive and harrowing, and I didn't have any guarantee
Speaker 6: that I would be able to do something with it
Speaker 6: once I won if I did. But I'm told that
Speaker 6: Cameron got back the rights to Terminator in some way.
Speaker 6: Are you aware of that or no?
Speaker 3: I didn't know he ever lost him, and.
Speaker 6: I didn't need it. I didn't either, But the fact
Speaker 6: that he got them back when that's such a recognizable
Speaker 6: franchise's pretty amazing, you know, so that I think that
Speaker 6: helped somewhat so, but they're always a bumpy road, that
Speaker 6: kind of thing. I look forward to taking Starfighter to
Speaker 6: the next generation in a way, and it's going to
Speaker 6: be standalone film where you don't have to know about
Speaker 6: what came before. But hat tips to pass not get
Speaker 6: buried in it. I'm not here to defend that in
Speaker 6: any way. Just to move on. There's so many things,
Speaker 6: but it was interesting. I'm in the middle of the
Speaker 6: script now servicing quest characters that everyone knows, you know,
Speaker 6: and as well as adding new ones. So it's an
Speaker 6: interesting balancing a story. Wise, it's been great, It's gonna
Speaker 6: be a lot of fun. I'm looking forward this time
Speaker 6: to bringing the Aliens to Earth. I don't want to
Speaker 6: go big with hardware and everything, because we've seen it.
Speaker 6: Marvel does it beautifully time after time. But the premise
Speaker 6: is simple. What if the dad you had that you
Speaker 6: thought was a janitor in the trailer park fixing cesspools
Speaker 6: was in reality Luke Skywalker? And it's the recognition between
Speaker 6: a father and son and a student is about to
Speaker 6: become a minister. So that's what I'm up to these days.
Speaker 3: I love the Last Hour Fighter obviously, and I will
Speaker 3: probably be first in line to buy a ticket forward
Speaker 3: to that.
Speaker 6: You won't have to buy a ticket, man, We'll go
Speaker 6: ahead and get drunk beforehand, or go man.
Speaker 3: I promise that does mean to add to fly La.
Speaker 6: Come on, man here, you're probably here every other weekend,
Speaker 6: especially when it gets cold.
Speaker 5: Please a kung fu renegade cop. I don't want to
Speaker 5: hear a come fury.
Speaker 1: I've just pat its city Hall. You just destroyed an
Speaker 1: attire city block. For Christ's sake, I could.
Speaker 6: Now he must defeat the most evil kung fu master
Speaker 6: in the.
Speaker 12: World, Adolf Hitler aka Kung Fumer Hitler.
Speaker 2: He's the worst criminal of all time.
Speaker 4: When did he kill him?
Speaker 2: I can hack you back your time to Nazi Germany.
Speaker 5: Just look attention, Kung Fury. That's right.
Speaker 3: We were back and we were talking about Theodore Rex
Speaker 3: and the other thing I mentioned how this reminded me
Speaker 3: a little bit of I Robot. You guys mentioned Super
Speaker 3: Mario Brothers. The other thing that it kept reminding me
Speaker 3: of and I had to go back and rewatch it
Speaker 3: last night was Kung Fury because of Trisarah Copp, who
Speaker 3: it's the best damn partner Kung Fury could ever really want.
Speaker 3: But it takes a while for him to realize that
Speaker 3: because in that Kung Fury loses his partner after he
Speaker 3: sliced into by a ninja master and doesn't want to
Speaker 3: have another partner. When he gets partnered up with Trisarah Copp,
Speaker 3: gets very angry, goes out, tries to do stuff on
Speaker 3: his own, and then try Sarah Kopp is right there after,
Speaker 3: he travels through time to Nazi Germany to have a
Speaker 3: huge kung fu fight with Adolf Hitler. What a movie.
Speaker 3: Half an hour does so much more and really makes
Speaker 3: me feel for Trisarah.
Speaker 2: Copp The scene in that short film because I watched
Speaker 2: it again because you mentioned this, when Hitler guns down
Speaker 2: the police station through the phone.
Speaker 7: Oh, I love it.
Speaker 2: He shoots the phone and the bulletzman you know, And
Speaker 2: it's so wildly creative and I'm wacky and insane, but
Speaker 2: that is a mini masterpiece. It's incredible.
Speaker 3: Oh, it's so good. And I just love how awkward
Speaker 3: Kung Fury is. That he's always trying to come up
Speaker 3: with one liners and they all just suck like knack knack,
Speaker 3: who's there? Knockles. It plays into all those eighties tropes
Speaker 3: and stuff that just really work well, especially you know,
Speaker 3: fucking David Hasselhoff at the end. I love you half
Speaker 3: nine thousand.
Speaker 2: It's so well done. It's one of those things where
Speaker 2: you can tell they're not half asking it because even
Speaker 2: like the fight scenes are just incredible, Like the athleticism
Speaker 2: of the main fellow don't hear about that? Is when
Speaker 2: I was watching it again, if that came out today,
Speaker 2: I would think, Oh, it's ai. It's like it's created
Speaker 2: that way. So in fact, did they did it. When
Speaker 2: they did it, it stands to i'd watch a feature
Speaker 2: film with that.
Speaker 3: I was having a good time last night, like I
Speaker 3: don't tend to use AI image generators that much, but
Speaker 3: I went out to chat GTP and I was just like, Okay,
Speaker 3: give me an image of a Tyrannosaurus Rex who is
Speaker 3: a cop, and gave me a beautiful image. I'm like,
Speaker 3: all right, now the cop has a partner. Now the
Speaker 3: CoP's lost a partner. Now the cop is you know.
Speaker 3: Now it's a going out for a kill, crazy rampage.
Speaker 3: And just like did all these basically like storyboards, and
Speaker 3: I was like, this is such a better movie.
Speaker 2: I hope one of those images had the partner writing
Speaker 2: the dinosaur, because why would you not do that?
Speaker 3: You would think at some point what peg Goldberg would
Speaker 3: have been on Teddy's shoulders, you.
Speaker 2: Know, get on his back and ride him into battle.
Speaker 10: And she realized she could walk faster, she'd be using
Speaker 10: spurs on him.
Speaker 2: Come on, takes her to saddle.
Speaker 3: There's no raptor, that's for sure.
Speaker 2: I guess that would kind of defeat the purpose of
Speaker 2: them been equal partners and she's whipping them and writing
Speaker 2: them no back talk Teddy.
Speaker 3: Yeah, there's a couple of moments in the movies where
Speaker 3: the dinosaur's eye has left eye doesn't open all the way,
Speaker 3: and it just he looks so stupid.
Speaker 2: There's a few moments where his moat doesn't move. He's
Speaker 2: talking and his mot's not moving. They're shooting over the shoulders,
Speaker 2: and I guess they thought we don't need to Puppeteerihuim.
Speaker 2: But he's he's talking back to her, He's so verbal
Speaker 2: and he's not moving his motor and I was like, oh,
Speaker 2: that's the first mistake I've seen so far.
Speaker 10: And they dress him like they're sending him to go
Speaker 10: undercover at a school. His costume is literally the same
Speaker 10: thing as this as the stee bouchemi. How are you doing,
Speaker 10: my fellow students?
Speaker 1: Meme?
Speaker 12: I was part of a special task force of very
Speaker 12: young looking cops who infiltrated high schools.
Speaker 13: How do you do?
Speaker 5: Fellow kids?
Speaker 6: What?
Speaker 3: Sorry? Keep kicking this movie while it's down. I really
Speaker 3: wanted to like this movie. I really wanted to me too.
Speaker 2: There's another thing as well that I hoped for with
Speaker 2: the film, as that Whoopy did end up like myself.
Speaker 2: Whoopy were both fellow Razzie nominees, and I thought it'd
Speaker 2: be lovely if she did actually win the Razzie because
Speaker 2: she would have been the first person in history to
Speaker 2: be a recot winner.
Speaker 1: Oh yeah, nah, who were you up for a Razzie for?
Speaker 2: I was one of nine writers on a Parkour Aliver
Speaker 2: Twist film, the last film of Michael Kaine's career. Unfortunately.
Speaker 2: I think he retired because of that film called Twist. Yeah,
Speaker 2: I'm very proud of that fact. But none of the
Speaker 2: other writers who involved, and none of us worked with
Speaker 2: each other. We were all like replacing one another. My
Speaker 2: draft was eleven years before the film got made, but
Speaker 2: I was rooting for us to win. I just wanted
Speaker 2: that Razzie. It would have been been my Demi Moore
Speaker 2: moment by first time winning something for writing. I fucking
Speaker 2: love it. I'd dine out on that. It would be
Speaker 2: in my bio and everything. But no, we lost to
Speaker 2: some Diana Princess Diana movie.
Speaker 1: Oh I know which one you mean?
Speaker 2: Yeah?
Speaker 1: The pool? Who was who played her? Was it?
Speaker 13: Yeah?
Speaker 2: I think it might have been I think it might
Speaker 2: have been Watts. Yeah yeah, oh well foiled again, fucking
Speaker 2: royal family.
Speaker 3: Yeah, I was really helping for like some more actual
Speaker 3: tropes in this movie, like when they have and I
Speaker 3: don't understand, like Teddy, you're almost crashing this fucking airplane,
Speaker 3: but when they're suddenly flying in an airplane or a
Speaker 3: gyrocopter and it's uh bud Court flying and I was like, Oh,
Speaker 3: is he gonna now suddenly become a good guy because
Speaker 3: he definitely does not like Stephen mccatty's character. But no,
Speaker 3: if anything, I think he dies in the crash.
Speaker 2: The strange thing about this film, though, is that, aside
Speaker 2: from Whoopy's character, Teddy, Molly and the Boy, every other
Speaker 2: character is a bad guy. It's a huge conspiracy with
Speaker 2: all these bad guys.
Speaker 3: Yeah, way too many. I mean, Richard Rowntree is pretty decent,
Speaker 3: but even then he's like, oh, I don't know if
Speaker 3: we're gonna let this cop this dinosaur be a cop.
Speaker 3: And then it takes the other bad guy what's his
Speaker 3: name Simmons to convince.
Speaker 2: Not Tim Robbins right, Oh god.
Speaker 10: Yes, yes the whole time dude. Seriously, I was like,
Speaker 10: it's Tim Robbins.
Speaker 2: Right again, casting like Shaft to be a borderline racist
Speaker 2: mayor is he mayor commissioner. It feels like you're you're
Speaker 2: crossing the streams of the LEO.
Speaker 3: Yeah. First I thought Jack Riley was going to be
Speaker 3: the police captain the way he shows up in that
Speaker 3: like hologram. But no, I guess he's just like the
Speaker 3: tech guy. Maybe I don't know. I guess that's why
Speaker 3: he's friends with Whoopee since she's part robot.
Speaker 1: God Jesus sad roundtree right there. Why isn't he playing
Speaker 1: the main cop. You could have had Shaft partnered with
Speaker 1: a dinosaur.
Speaker 2: That would have been fun. That would have been really fun. Oh,
Speaker 2: you just ruined the film for me.
Speaker 3: Yeah, because before, like I said, you were in love
Speaker 3: with that going out on a high. We did an
Speaker 3: episode on Super Mario Brothers and just all of the writers.
Speaker 3: I mean I think there were what eight or more writers,
Speaker 3: and then like some writers came back. It's just amazing
Speaker 3: to me that this was one writer director. I mean,
Speaker 3: I can't even imagine how Betchel just suffered seeing what
Speaker 3: he created turning into this throughout a three year period
Speaker 3: of time.
Speaker 2: I hope he got paid well for us.
Speaker 3: I hope so too.
Speaker 1: It went to Whoopee's race, which is weird.
Speaker 3: Because she made what five million for this something like that?
Speaker 3: Seven million? Okay, And this is when did Jim Carrey
Speaker 3: start making twenty milifilm was that post as Ventura?
Speaker 10: It went up to seven on Dumb and Dumber, and
Speaker 10: then I think he got around twenty for Cable Guy,
Speaker 10: which is ninety five. I think ninety five ninety six.
Speaker 3: Looks like I was wrong about the release date. It
Speaker 3: looks like this came out July second, nineteen ninety six.
Speaker 1: So summer movie.
Speaker 3: Oh yeah, well dumped right to video though, So yeah,
Speaker 3: summer video release. If I can believe Wikipedia, I don't
Speaker 3: know if I can or not.
Speaker 2: Wikipedia get rid of it Wkipedia? Yes, yeah, those two
Speaker 2: so no longer funny anymore. We're living in a dystopia.
Speaker 3: I want to know, too, what did that chimpanzee do
Speaker 3: to get it thrown into jail.
Speaker 2: I've seen the film twice, Mike, and I can't remember
Speaker 2: a chimpanzee.
Speaker 3: I know.
Speaker 1: Same here.
Speaker 10: I'm like, oh, I hope you got my back on
Speaker 10: this one. I don't remember the chimpanzee.
Speaker 3: They throw the little kid into jail and there's a
Speaker 3: chimp in there, and then when they rescue him, he's
Speaker 3: carrying the chimp and he goes, can I keep them? Yeah?
Speaker 2: But wasn't he really rude to the chimp when he
Speaker 2: first went into the jails. It wasn't he like what
Speaker 2: are you looking at? Or something like this? I thought,
Speaker 2: why it's wrong with everybody?
Speaker 10: Because that was another adr thing where they're walking away
Speaker 10: and she doesn't really even answer them. She's just kind
Speaker 10: of like no, like she just kind of gives a
Speaker 10: non answer she's walking away, or it's like clearly neither
Speaker 10: was saying anything in that shot.
Speaker 2: I like it the very very end, the last shot
Speaker 2: after he gets the commendation or he gets promoted, I think,
Speaker 2: to being an actual legitimate detective, going from a mascot
Speaker 2: or a pr Hoyer to a detective. Everybody just keeps
Speaker 2: applauding the entire time, the whole time as they're talking
Speaker 2: and walking away, just clapping and clapping and clapping, and
Speaker 2: it's like, why are they clapping? The speech is over.
Speaker 3: The bizarre wipe that they're doing as Teddy's walking and
Speaker 3: the screen starts getting black because, like you said, Brad,
Speaker 3: he barely moves and the screen just is like following him.
Speaker 3: And that real rough Matt line around him as he moves,
Speaker 3: and then the last title card that says see ya,
Speaker 3: and I'm like, oh my god, I want to die.
Speaker 6: Man.
Speaker 10: That shot of the cropped in black on there with
Speaker 10: like the line around him where the pixelation around him too,
Speaker 10: that looked like it would be like the final shot
Speaker 10: on like an HBO first look about the movie where
Speaker 10: then it cuts to the credits of the feature atte
Speaker 10: But you know what, I.
Speaker 2: Can forgive it because there was intention behind this, whereas
Speaker 2: everything else just felt like it was this will do
Speaker 2: this still to keep going.
Speaker 3: I really wanted to end on a higher note than this.
Speaker 3: But at least now, Kevin, you've got a new favorite
Speaker 3: film that you can enjoy for the rest of your life.
Speaker 3: We're gonna take another break and play a preview for
Speaker 3: next week's show right after these brief messages.
Speaker 11: Can assume the first you will tell you excel, so's
Speaker 11: there who give.
Speaker 5: Pro contracts? First?
Speaker 3: Simple paras the phone post says, are you could stay this.
Speaker 6: Or the lads Jacob a.
Speaker 5: I've got on.
Speaker 3: Saba ala rendi dRIT. That's right. We'll be back next
Speaker 3: week with they look at the Cuban film Death of
Speaker 3: a bureaucrat a little bit different than this one. Until then,
Speaker 3: I want to thank my co host Brad and Kevin.
Speaker 3: So Brad, what's the latest with you, sir?
Speaker 10: My latest book, Bat Pussy is available over on Amazon.
Speaker 10: The last time I did your show, I think I
Speaker 10: was in the middle of writing it and we were
Speaker 10: talking about that movie for a little bit.
Speaker 2: So what's it abotion.
Speaker 10: It's based on this movie from nineteen seventy that is
Speaker 10: notoriously called the worst porno ever made, but it is
Speaker 10: also arguably the first porn parody ever made as well.
Speaker 10: And there's no credits to the movie, so no one
Speaker 10: knows who made it or who these actors are in it.
Speaker 10: So I wrote this book that's a fictitious making of
Speaker 10: the movie, like all the events that lead up to
Speaker 10: the making of it. It's in nineteen seventy. It's about
Speaker 10: this former b director who comes back from shooting some
Speaker 10: footage in Vietnam, gets involved in this crooked theater company.
Speaker 10: Things happen and he makes bat Pussy along with a
Speaker 10: method actress Hooker.
Speaker 2: Really great, that's a great idea.
Speaker 5: It was a thank you.
Speaker 10: It was a lot of fun to write, and like
Speaker 10: the reviews, of it. Of it have been really good,
Speaker 10: so I'm super excited about it, and it's available now
Speaker 10: over on Amazon instant purchase.
Speaker 3: Sounds like a perfect gift for you and all of
Speaker 3: your loved ones exactly.
Speaker 1: My mom did order a copy, and.
Speaker 3: Kevin, for those foolish souls who haven't been with us
Speaker 3: every week during this whoop wary journey, what is the
Speaker 3: latest with you?
Speaker 2: I'm over on the Best Bits. When this comes out,
Speaker 2: we'll actually be releasing our final episode. Been podcasting for
Speaker 2: four years, so best End is our last episode. Doesn't
Speaker 2: mean we're going to stop podcasting me and my podcasting
Speaker 2: partner Will, but we're coming to a close on that project,
Speaker 2: which was jumping about watching and picking our favorite film
Speaker 2: scenes based on randomly selected themes. And yeah, so if
Speaker 2: you want to jump over, you'll get the last episode
Speaker 2: for myself from Will on The Best Bits. And I'm
Speaker 2: also writing nothing as exciting as bart Pussy. Maybe I
Speaker 2: can adapt it well.
Speaker 3: Thank you so much guys for being on the show.
Speaker 3: Thanks to everybody for listening. If you want to hear
Speaker 3: more of me shooting off my mouth, check out some
Speaker 3: of the other shows that I work on. They're all
Speaker 3: available at weirdingwaymedia dot com. Thanks especially to our Patreon community.
Speaker 3: If you want to join the community, visit patreon dot
Speaker 3: com slash Projection Booth. Every donation we get helps the
Speaker 3: Projection Booth send the world into a new Ice Age
Speaker 3: where we're going to bring back all of the animals
Speaker 3: two by two because that really doesn't work, but anyway,
Speaker 3: we'll try it anyway, So enjoy that.
Speaker 7: St Hey, I'm so proud of you.