1
00:00:14,839 --> 00:00:17,519
Speaker 1: And so that's how I found out there was no

2
00:00:17,600 --> 00:00:18,239
Santa Claus.

3
00:00:20,199 --> 00:00:23,600
Speaker 2: That is terrible. But can we just do the podcast?

4
00:00:23,679 --> 00:00:24,000
Speaker 3: Please?

5
00:00:24,120 --> 00:00:27,079
Speaker 1: Oh yeah, Oh, I'm sorry, I'm sorry. Welcome back everybody

6
00:00:27,160 --> 00:00:30,519
to the Surely you Can't Be Serious Podcast. We're here

7
00:00:30,519 --> 00:00:33,880
for part two of our Gremlins Versus Ghostbuster episode in

8
00:00:33,920 --> 00:00:37,840
our series of nineteen eighty four, and we're ready to

9
00:00:37,960 --> 00:00:39,600
jump back into these two movies.

10
00:00:39,719 --> 00:00:42,600
Speaker 2: That's fantastic, let's dive in. I want to talk about

11
00:00:42,640 --> 00:00:46,280
a couple of the problems that these two movies pose. Okay, okay,

12
00:00:46,759 --> 00:00:50,200
So let's talk about Gremlins and the rules.

13
00:00:50,320 --> 00:00:51,079
Speaker 3: Okay, okay.

14
00:00:51,759 --> 00:00:53,960
Speaker 2: So, for those of you are familiar with the movie

15
00:00:53,960 --> 00:00:56,159
of Gremlins, there's three rules that you can't break when

16
00:00:56,200 --> 00:00:58,719
it comes to Grimlins, right right. Number one, they hate

17
00:00:58,799 --> 00:00:59,320
right life.

18
00:00:59,600 --> 00:01:01,520
Speaker 1: Right number two, don't.

19
00:01:01,280 --> 00:01:03,399
Speaker 2: Get them wet, can't give them any water, don't even

20
00:01:03,439 --> 00:01:06,840
let them drink water. And number three, never ever let

21
00:01:06,920 --> 00:01:08,519
them eat after midnight?

22
00:01:08,760 --> 00:01:09,480
Speaker 3: Right okay?

23
00:01:10,239 --> 00:01:14,000
Speaker 1: So the darkness thing, the bright light thing actually was

24
00:01:14,079 --> 00:01:19,200
kind of a technical thing, and you have practical special effects.

25
00:01:19,760 --> 00:01:22,879
You have to hide the wires and the pumps and

26
00:01:22,920 --> 00:01:25,680
the guys who are operating the puppetree and stuff like that.

27
00:01:26,000 --> 00:01:28,079
So if you keep things in the dark, it makes

28
00:01:28,079 --> 00:01:31,000
it much easier to hide those things, and it also

29
00:01:31,079 --> 00:01:33,000
creates pretty cool ending to the movie.

30
00:01:33,079 --> 00:01:33,480
Speaker 3: It does.

31
00:01:33,680 --> 00:01:33,959
Speaker 1: It does.

32
00:01:34,040 --> 00:01:35,920
Speaker 2: It's very similar to the end of Bright Night, the

33
00:01:35,920 --> 00:01:37,159
movie that we've already talked about.

34
00:01:37,239 --> 00:01:38,159
Speaker 1: Yeah for sure.

35
00:01:38,319 --> 00:01:40,920
Speaker 2: Okay, so the bright light thing, we get that, hiding

36
00:01:40,920 --> 00:01:43,239
the effects, hiding the wires, hiding the puppet tree, all

37
00:01:43,239 --> 00:01:46,319
that stuff. Right, Okay, let's talk about water. Can't get

38
00:01:46,359 --> 00:01:50,040
them wet? Yeah, okay, Now, the Magua when they're you know,

39
00:01:50,280 --> 00:01:54,599
wild and on the prairie and Africa or whatever when

40
00:01:54,640 --> 00:01:58,640
it rains. I don't know, there's something. Maybe they're from

41
00:01:58,680 --> 00:01:59,319
outer space.

42
00:02:00,120 --> 00:02:01,879
Speaker 1: That was like there was a book that was done

43
00:02:01,959 --> 00:02:04,519
that said that was said they were from outer space.

44
00:02:04,560 --> 00:02:06,760
But I think Joe Dante said, no, that's not canon

45
00:02:06,920 --> 00:02:08,120
or not. No, I don't like that.

46
00:02:08,240 --> 00:02:11,639
Speaker 2: They're not tribles, No.

47
00:02:11,680 --> 00:02:13,280
Speaker 1: James T. Kirk, they are not tribles.

48
00:02:13,439 --> 00:02:17,000
Speaker 2: Okay, so the water thing is a little bit weird.

49
00:02:17,039 --> 00:02:19,039
But if you get them w they multiply right, like

50
00:02:19,319 --> 00:02:21,400
exponentially multiply right.

51
00:02:21,800 --> 00:02:23,639
Speaker 1: Somehow they drink they drink beer.

52
00:02:24,080 --> 00:02:27,120
Speaker 2: Yeah, and uh, there's no water in beer.

53
00:02:27,360 --> 00:02:28,719
Speaker 1: No, there's a lot of water in beer.

54
00:02:28,800 --> 00:02:32,639
Speaker 2: Maybe alcohol counteracts the effects of the water.

55
00:02:32,960 --> 00:02:34,960
Speaker 1: Yeah, I don't know, man, I don't know. It's weird.

56
00:02:35,039 --> 00:02:40,960
Speaker 2: Yeah, the rules are problematic, don't overthink okay. Rule number three, yes,

57
00:02:41,240 --> 00:02:43,520
is the most problematic though, right, Okay, because.

58
00:02:43,319 --> 00:02:45,639
Speaker 1: It's always five o'clock, I mean midnight somewhere.

59
00:02:45,719 --> 00:02:48,400
Speaker 2: That's right, it is, so what are we doing here

60
00:02:48,479 --> 00:02:49,919
this night?

61
00:02:50,000 --> 00:02:52,840
Speaker 1: I mean right, So Zach Gallaghan was one of the

62
00:02:52,840 --> 00:02:54,360
first ones to point out. He's like, well, yeah, but

63
00:02:54,520 --> 00:02:56,719
I mean it's always midnight somewhere, I mean, what does that?

64
00:02:56,719 --> 00:02:58,439
How does that even make sense? And so then in

65
00:02:58,479 --> 00:03:02,120
Grimlins two, they totally used that line and that becomes

66
00:03:02,280 --> 00:03:04,360
a kind of a sticking point. It is kind of

67
00:03:04,400 --> 00:03:06,039
making fun of itself the whole time.

68
00:03:06,319 --> 00:03:09,719
Speaker 2: Right, this is what kills me about Gremlins. And first

69
00:03:09,759 --> 00:03:11,319
of all, Grimlins is a fun movie.

70
00:03:11,400 --> 00:03:13,039
Speaker 3: I enjoy it all that stuff.

71
00:03:13,080 --> 00:03:15,960
Speaker 2: But the dad, first of all, he obtains the magua

72
00:03:16,159 --> 00:03:21,280
and kind of illegal means, right, it's the grandson sells

73
00:03:21,280 --> 00:03:21,879
it from.

74
00:03:21,800 --> 00:03:24,639
Speaker 1: Out literally a back alley of a back alley deal.

75
00:03:26,240 --> 00:03:28,919
Speaker 2: And they just kind of brushed through the rules and

76
00:03:29,080 --> 00:03:33,199
thankfully hoy Accidon's character takes the rules seriously. Most dads

77
00:03:33,199 --> 00:03:35,400
in America be like, oh crap, I can't.

78
00:03:35,199 --> 00:03:36,240
Speaker 3: Even remember what they told me.

79
00:03:37,360 --> 00:03:41,800
Speaker 2: Don't feed him water, they can't eat pizza. But he

80
00:03:41,840 --> 00:03:44,479
takes it home, gives it to Billy, and Billy promptly

81
00:03:44,639 --> 00:03:47,319
breaks all three of the rules in like ten minutes.

82
00:03:47,400 --> 00:03:50,639
I mean, like instantly. Somebody bug the clock, you know,

83
00:03:51,000 --> 00:03:54,680
no matter how much they cry, don't feed him after midnight.

84
00:03:54,800 --> 00:03:56,680
Speaker 1: Yeah, well it sounds like my kids.

85
00:03:56,360 --> 00:04:00,400
Speaker 2: And he's like, it's eleven thirty five. It's it's not

86
00:04:00,479 --> 00:04:01,560
technically midnight.

87
00:04:01,759 --> 00:04:05,680
Speaker 1: So yeah, okay, So here's some interesting things, right right,

88
00:04:05,759 --> 00:04:08,599
this is the first movie that had the Ambulance Entertainment

89
00:04:08,639 --> 00:04:12,319
logo on the on screen appearance. Okay, right, they had

90
00:04:12,360 --> 00:04:14,919
originally you had mentioned this last episode. They planned to

91
00:04:14,919 --> 00:04:19,000
have this release in December because it was a Christmas movie,

92
00:04:19,120 --> 00:04:23,439
right right? Questionable? Is it a Christmas movie? Oh yeah? Okay,

93
00:04:23,720 --> 00:04:27,079
So moved the release up because they didn't have anything

94
00:04:27,120 --> 00:04:29,560
to compete with Ghostbusters or Temple of Doom, and so

95
00:04:29,639 --> 00:04:31,680
it got moved up to June. Now when they filmed

96
00:04:31,720 --> 00:04:36,920
this thing, they filmed it in August in Burbank, California.

97
00:04:37,160 --> 00:04:41,839
Really so Billy's out there in like a sweater and

98
00:04:41,839 --> 00:04:46,240
a winter coat in one hundred degree heat. That's fascinating. Yeah,

99
00:04:46,240 --> 00:04:48,800
so all of the snow on the ground is just salt.

100
00:04:50,000 --> 00:04:51,639
It's all Hollywood magic. Wow.

101
00:04:51,759 --> 00:04:52,480
Speaker 2: That is cool.

102
00:04:52,560 --> 00:04:55,000
Speaker 1: Yeah, that is cool. Chris Wallace is the one who

103
00:04:55,120 --> 00:04:57,800
did the special effects, which we'll talk about more here

104
00:04:57,839 --> 00:05:01,399
in a bit, but he was the one said let's

105
00:05:01,800 --> 00:05:04,800
do puppets instead of stop animation, like they were going

106
00:05:04,839 --> 00:05:09,639
to do stop animation, right, okay, and so Joe Dante says,

107
00:05:10,279 --> 00:05:13,319
how about instead of that, we use spider monkeys.

108
00:05:14,879 --> 00:05:16,439
Speaker 2: Great idea, right, let's do it.

109
00:05:16,480 --> 00:05:17,160
Speaker 1: So what happens.

110
00:05:17,279 --> 00:05:19,959
Speaker 2: So they put the spider monkey in a Grimlin outfit,

111
00:05:20,680 --> 00:05:24,639
and the monkey panics and is like running around destroying

112
00:05:24,680 --> 00:05:27,279
the set and crapping everywhere.

113
00:05:26,920 --> 00:05:30,600
Speaker 1: Right and so and so they like yell at the trainer,

114
00:05:30,680 --> 00:05:32,120
like get it out of here, get it out of here.

115
00:05:33,079 --> 00:05:34,959
Finally get the monkey out of there, and Joe Dante

116
00:05:35,040 --> 00:05:38,120
turns to Chris Wallis and goes, so, puppets.

117
00:05:41,160 --> 00:05:43,839
Speaker 2: Oh my gosh, that's so funny. So this is way

118
00:05:43,879 --> 00:05:47,680
before CGI. So each one, this is all practical effects.

119
00:05:47,720 --> 00:05:50,680
So each one of those gremlins costume or Gremlins puppet

120
00:05:50,879 --> 00:05:54,319
slashed things. Yes, is like thirty thousand bucks.

121
00:05:54,399 --> 00:05:57,199
Speaker 1: Yeah. Security had to check people's cars at the end

122
00:05:57,279 --> 00:05:59,959
of shooting every day, make sure that nobody was stealing

123
00:06:00,040 --> 00:06:02,319
one of the cute or ugly little Grimlin guys.

124
00:06:02,399 --> 00:06:04,680
Speaker 2: Okay, so you and I talked about this. For me,

125
00:06:05,120 --> 00:06:09,720
this movie was a horror movie, okay. And it's super creepy.

126
00:06:10,079 --> 00:06:12,560
When they make the little cocoon, yeah.

127
00:06:12,439 --> 00:06:17,079
Speaker 1: It's very It's like a or invasion of the body Snatchers.

128
00:06:17,160 --> 00:06:20,680
Speaker 2: Okay, and they they hatch and they're kind of dark

129
00:06:20,720 --> 00:06:22,759
and you hear them kind of giggling. They're off screen,

130
00:06:23,399 --> 00:06:26,240
and it's scary. Right when they attack the mother in

131
00:06:26,279 --> 00:06:28,519
the kitchen, man, I'm like, whoa, she's really in danger.

132
00:06:28,600 --> 00:06:31,879
These things are dangerous, going crazy. And then the whole

133
00:06:31,920 --> 00:06:34,000
movie makes a right turn into the Muppet Show.

134
00:06:35,800 --> 00:06:39,920
Speaker 1: The guys, the Grillins themselves go from just being monsters

135
00:06:40,120 --> 00:06:43,959
to being parodies of people, like they're the worst parts

136
00:06:43,959 --> 00:06:46,959
of people. And Chris Wallace said that was when he

137
00:06:47,120 --> 00:06:50,839
and his crew finally got it that this is a

138
00:06:50,879 --> 00:06:54,519
parody of people. Okay, which is kind of funny because

139
00:06:54,720 --> 00:06:57,560
apparently after they filmed the movie, they got a note

140
00:06:57,639 --> 00:07:00,600
from the studio that said, I think there's too many Grimlins,

141
00:07:01,199 --> 00:07:03,879
and so Spielberg sent a note back and said, maybe

142
00:07:03,879 --> 00:07:05,480
we'll just take them all out and just call it people.

143
00:07:09,120 --> 00:07:11,800
Speaker 2: The scene where the Christmas caroling and they've got little

144
00:07:11,800 --> 00:07:16,040
miniature stockings and mini scarfs and then miniature carol books

145
00:07:16,120 --> 00:07:19,600
and then they're breakdancing. Yeah, all that stuff is really

146
00:07:19,639 --> 00:07:20,199
crazy to me.

147
00:07:20,399 --> 00:07:23,240
Speaker 1: Let's talk about the special effects. Since we're here anyway,

148
00:07:23,319 --> 00:07:26,800
let's talk about the special effects. Okay, So the creatures

149
00:07:27,160 --> 00:07:30,600
were originally they were based on drawings that Chris Columbus

150
00:07:30,600 --> 00:07:33,759
had done, Okay, because I mentioned before, he and Jo

151
00:07:34,000 --> 00:07:36,839
Hartis wanted to be cartoonists, so he had drawn what

152
00:07:36,920 --> 00:07:40,480
he wanted the creatures to look like. Gizmo ends up

153
00:07:40,480 --> 00:07:44,600
being colored after Steven Spielberg's dog. It was a King

154
00:07:44,720 --> 00:07:49,040
Charles Cavalier spaniel, and so the coloring of Gizmo is

155
00:07:49,120 --> 00:07:52,959
based upon Spielberg's dog. And apparently he was driving Wallace

156
00:07:53,040 --> 00:07:56,319
crazy because he kept changing how he wanted. I wanted

157
00:07:56,360 --> 00:07:58,439
Gizmo to look, you know, like, oh, he's gonna be

158
00:07:58,480 --> 00:08:00,519
all brown. Oh no, no, I wanted to the colors

159
00:08:00,519 --> 00:08:02,800
of my dog. Oh, his ears. He need to have

160
00:08:02,839 --> 00:08:05,439
no hair on them, you know, And so that was

161
00:08:05,480 --> 00:08:09,560
pretty frustrating. But Chris Wallace is the special effects guy

162
00:08:09,560 --> 00:08:12,079
who ends up creating all this. He had worked with

163
00:08:12,160 --> 00:08:15,040
Joe Dante on Pirana. He had also worked on Airplane

164
00:08:15,240 --> 00:08:19,399
with Mike Fanell. And so here's an interesting fact about

165
00:08:19,480 --> 00:08:21,560
Chris Wallace. You ready for this one, yes, get it?

166
00:08:21,600 --> 00:08:26,079
Ready for your mind to be blowd I'm ready. He

167
00:08:26,319 --> 00:08:31,079
was the guy who made the melting heads in Raiders

168
00:08:31,079 --> 00:08:35,159
of the Lost Art Oh nice, Yeah, the Nazi all

169
00:08:35,200 --> 00:08:38,799
of that had exploding stuff with Ronald Lacy, wolf Collar

170
00:08:38,919 --> 00:08:41,399
and Paul Freeman. He was the guy who had done that.

171
00:08:41,759 --> 00:08:45,039
And both he and Richard Edlund, who was doing the

172
00:08:45,080 --> 00:08:48,559
effects for Ghostbusters at this time, had worked on both

173
00:08:48,639 --> 00:08:50,240
Raiders and Return of the Jedi.

174
00:08:50,360 --> 00:08:53,240
Speaker 2: That's awesome. And the end of the movie when Stripe

175
00:08:53,360 --> 00:08:56,519
falls into the fountain and he's getting ready, he's bubbling up,

176
00:08:56,519 --> 00:08:59,480
he's getting ready to start duplicating, and then Gizmo opens

177
00:08:59,519 --> 00:09:02,320
the window, the sunlight pours in and he melts into

178
00:09:02,360 --> 00:09:04,879
that skeleton thing and you get that jump scared at

179
00:09:04,879 --> 00:09:08,200
the end. Oh, that's scary. So there's that pocket in

180
00:09:08,240 --> 00:09:11,039
the middle where it turns into looney tuns, but it's

181
00:09:11,080 --> 00:09:13,480
still you know, there's a good scene at the very end,

182
00:09:13,480 --> 00:09:14,360
and the effects are great.

183
00:09:14,480 --> 00:09:17,080
Speaker 1: Yeah. So the some of the scenes they just came

184
00:09:17,159 --> 00:09:20,039
up with at the time, Like they had actually gotten

185
00:09:20,080 --> 00:09:22,000
all of the stuff for a department store. When they

186
00:09:22,039 --> 00:09:25,159
go to the department store and Zach Gallaghan sees some

187
00:09:25,399 --> 00:09:28,279
chainsaws over there, he starts talking to the props guy

188
00:09:28,360 --> 00:09:30,919
the special effects guys, and he's like, wouldn't be great

189
00:09:30,919 --> 00:09:33,080
if they like they had a chainsaw and I had

190
00:09:33,080 --> 00:09:35,200
a bat and we were like fighting with it. Now

191
00:09:35,240 --> 00:09:37,840
the scene is in the movie, it's scary. Now here's

192
00:09:37,840 --> 00:09:40,759
a scene that was not in the movie that they filmed. Yes,

193
00:09:41,159 --> 00:09:44,240
the end where Dismo comes and pulls the shade and

194
00:09:44,279 --> 00:09:47,519
the light comes in. They shot it where Billy is

195
00:09:47,519 --> 00:09:49,399
the one that saves the day. Like he it's the

196
00:09:49,480 --> 00:09:52,360
diehard ending where he comes in and does that big jump.

197
00:09:52,360 --> 00:09:55,879
And he had no idea that they changed it until

198
00:09:56,240 --> 00:09:59,440
he watched the movie for the first all and he's

199
00:09:59,519 --> 00:10:02,960
with Dante and he's like, obviously it's shocked. His feelings

200
00:10:03,000 --> 00:10:05,360
are hurt a little bit, and he's like, uh, I

201
00:10:05,600 --> 00:10:07,320
thought I was supposed to be the hero at the

202
00:10:07,399 --> 00:10:09,440
end of this movie, and Joe Dante just goes the

203
00:10:09,480 --> 00:10:11,240
movie is called Grimlins.

204
00:10:11,559 --> 00:10:14,720
Speaker 2: Yeah, sorry, we wanted to you walk to win it.

205
00:10:14,799 --> 00:10:19,759
Speaker 1: Then, Okay, I already quoted it. Let's talk about the

206
00:10:19,799 --> 00:10:20,440
same story.

207
00:10:20,600 --> 00:10:21,039
Speaker 3: Okay.

208
00:10:21,159 --> 00:10:24,039
Speaker 2: This is probably the most controversial part of the whole movie.

209
00:10:24,360 --> 00:10:26,279
Speaker 1: I was young when I saw it, and that was

210
00:10:26,320 --> 00:10:27,559
a shocking scene to me.

211
00:10:27,639 --> 00:10:31,480
Speaker 2: I was just like, oh wow, I had forgotten about this.

212
00:10:31,879 --> 00:10:34,559
I had to stop the movie and rewind it, Like,

213
00:10:35,039 --> 00:10:37,279
did she really just say what I thought she said?

214
00:10:37,440 --> 00:10:40,519
Speaker 1: Right? Yeah. I was talking to Arlin on this and

215
00:10:40,559 --> 00:10:42,559
I was telling him we're doing Grimlins and he's got

216
00:10:42,559 --> 00:10:45,000
his ten year old in the back and he's like

217
00:10:45,559 --> 00:10:48,879
and he's like and he's like, so you can see

218
00:10:48,919 --> 00:10:52,440
we let our kids watch totally inappropriate movie and we're talking.

219
00:10:52,519 --> 00:10:54,240
All of a sudden, he's like taking it off speakerphone

220
00:10:54,279 --> 00:10:58,080
real quick. Yeah, we haven't let him watched the Santa

221
00:10:58,159 --> 00:11:01,879
Claus speech because he may still believe in Santa Claus.

222
00:11:01,879 --> 00:11:03,720
I was like, oh, I almost said the line, So

223
00:11:03,759 --> 00:11:04,960
I'm really glad you said something.

224
00:11:05,480 --> 00:11:09,200
Speaker 2: That speech is crazy Number one because parents were super

225
00:11:09,240 --> 00:11:12,759
pissed that they gave away the Santa Claus secret, right,

226
00:11:13,399 --> 00:11:16,559
and you have this horrible death. Phoebe Kates talks about

227
00:11:16,559 --> 00:11:19,120
how Christmas is a terrible time of year because while

228
00:11:19,159 --> 00:11:21,519
some people are opening presents, of other people are opening

229
00:11:21,559 --> 00:11:22,200
their risks.

230
00:11:22,440 --> 00:11:27,159
Speaker 1: Yes, yeah, it's it's the yeah, that whole bit. So,

231
00:11:27,240 --> 00:11:31,159
but here's what's interesting, right, this is a horror comedy

232
00:11:31,279 --> 00:11:34,720
which doesn't go together, right, that doesn't really go together

233
00:11:35,519 --> 00:11:38,200
until they start doing these two movies that we're talking about.

234
00:11:38,799 --> 00:11:42,000
And Joe Dante was really playing off that kind of

235
00:11:42,480 --> 00:11:44,440
you listen to this thing. If you were to read this,

236
00:11:44,519 --> 00:11:46,080
if you were to read this on a piece of paper,

237
00:11:46,120 --> 00:11:48,919
you go, this is ridiculous. What is it about? This

238
00:11:48,960 --> 00:11:53,200
is ridiculous. But then when Phoebe Kates delivers it, it's real.

239
00:11:53,360 --> 00:11:56,120
I mean she sells it as a true event that

240
00:11:56,159 --> 00:11:58,720
happened in her life, and you're like, am I watching

241
00:11:58,799 --> 00:12:01,639
a comedy or a horle movie or what is this?

242
00:12:01,759 --> 00:12:05,360
And that was that confusion, that weirdness of these two

243
00:12:05,440 --> 00:12:07,840
things rubbing against each other that he wanted to capture

244
00:12:07,919 --> 00:12:11,240
that speech. So even though the studio said take it out,

245
00:12:11,320 --> 00:12:14,399
even though Spielberg said take it out, Joe Dante said,

246
00:12:14,519 --> 00:12:15,480
it's staying in the movie.

247
00:12:15,519 --> 00:12:17,679
Speaker 2: All right, if you got kids in the car listening,

248
00:12:17,879 --> 00:12:20,600
you might want to fast forward plast this apart just

249
00:12:20,639 --> 00:12:22,960
a little bit, especially if they're in the Christmas Santa

250
00:12:22,960 --> 00:12:27,840
Claus era. But Phoebe Kats talks about how her dad

251
00:12:27,879 --> 00:12:31,399
goes missing, they can't find him. Pretty soon they start

252
00:12:31,480 --> 00:12:32,320
to smell.

253
00:12:32,000 --> 00:12:33,799
Speaker 1: Something, notices this smell.

254
00:12:34,039 --> 00:12:37,279
Speaker 2: Thetys start to smell something, and they find out later

255
00:12:37,440 --> 00:12:40,679
that her dad was going to do this Santa Claus

256
00:12:40,759 --> 00:12:43,120
thing where he came down the chimney and he got

257
00:12:43,200 --> 00:12:45,480
stuck and he died in their chimney.

258
00:12:46,399 --> 00:12:50,360
Speaker 1: What right, it's absurd. That's why it's absurd, right, I mean,

259
00:12:50,679 --> 00:12:52,120
chimneys are not made for people.

260
00:12:52,159 --> 00:12:55,919
Speaker 2: We all know this, Oh my gosh, and the studios

261
00:12:55,919 --> 00:12:58,919
like take it out. Joe Dante's like nope, Spielberg's like,

262
00:12:59,039 --> 00:13:01,279
I don't really like this, but if you want to

263
00:13:01,320 --> 00:13:02,919
leave it in, I guess you can leave it in.

264
00:13:03,279 --> 00:13:04,120
So it's in there.

265
00:13:04,240 --> 00:13:07,159
Speaker 1: Most one of the most memorable parts of the whole movie, though,

266
00:13:07,320 --> 00:13:12,200
it is, right, yes, yeah, I mean, if we're going

267
00:13:12,240 --> 00:13:15,960
to talk about memorable lines, Ghostbusters have more, but have

268
00:13:16,039 --> 00:13:19,360
the memorable lines in this movie. And so that's how

269
00:13:19,399 --> 00:13:22,080
I found out there's no Santa Claus top of the list.

270
00:13:22,679 --> 00:13:26,639
Speaker 2: If I'm a parent in eighty four, I'm upset. Yeah, Okay,

271
00:13:26,759 --> 00:13:29,039
continuing on with special effects, right.

272
00:13:28,919 --> 00:13:31,879
Speaker 1: Sure, Billy had to wear wires up his pant legs

273
00:13:32,080 --> 00:13:34,639
when he was holding on to gizmo because it's in

274
00:13:34,720 --> 00:13:38,600
his hands, right, so they've got to be able to

275
00:13:38,639 --> 00:13:42,039
control it while he's holding it, and so these wires

276
00:13:42,080 --> 00:13:44,039
would be running up his pant leg he wouldn't be

277
00:13:44,080 --> 00:13:46,720
able to move around on the set and he'd be

278
00:13:46,799 --> 00:13:50,000
holding it and then they'd switch it out like you'll

279
00:13:50,039 --> 00:13:52,200
notice this as you watch the movie. He'll set it down.

280
00:13:52,320 --> 00:13:55,480
When he sets Gizmo down, he sets him down off screen,

281
00:13:56,000 --> 00:13:58,679
and then the camera pans over and gizmos sitting on

282
00:13:58,679 --> 00:14:01,399
the table. Well, that's an entirely different gizmo.

283
00:14:01,639 --> 00:14:01,919
Speaker 2: Nice.

284
00:14:02,200 --> 00:14:04,200
Speaker 1: Oh and here's another thing. They had to have several

285
00:14:04,279 --> 00:14:08,519
gizmos and the faces would come off, like because the

286
00:14:08,559 --> 00:14:11,240
happy gizmo had a different face than the sad or

287
00:14:11,240 --> 00:14:14,120
the scared gizmo, so they had to peel the face

288
00:14:14,240 --> 00:14:16,000
off of gizmo as the movie went through.

289
00:14:16,480 --> 00:14:19,879
Speaker 2: That's that's fantastic, that's amazing. Did you know that gizmo

290
00:14:20,039 --> 00:14:21,879
was the inspiration for the Ferbie.

291
00:14:21,960 --> 00:14:24,399
Speaker 1: Oh yeah, I can totally see yeah right, yeah for sure.

292
00:14:24,600 --> 00:14:27,559
Speaker 2: Okay, so let's flip back to Ghostbusters. Let's talk about

293
00:14:27,559 --> 00:14:29,879
some of the special effects and the production of Ghostbusters.

294
00:14:29,919 --> 00:14:41,919
Speaker 4: I collect spores, molds, and fungus.

295
00:14:41,960 --> 00:14:45,159
Speaker 1: Well. As we mentioned before, Richard Edlin was the guy

296
00:14:45,240 --> 00:14:48,159
who had come over from il M had started their

297
00:14:48,200 --> 00:14:51,879
own special effects company called Boss Films. Later would go

298
00:14:51,919 --> 00:14:55,120
on to do Fright Night. But one of the guys

299
00:14:55,159 --> 00:14:58,679
that came along with them from il M was Steve Johnson,

300
00:14:58,679 --> 00:15:02,159
who we talked about in the Night Night episode. Right,

301
00:15:02,360 --> 00:15:04,200
He's the guy who was happy that they had all

302
00:15:04,240 --> 00:15:06,519
the cocaine. He was the guy who caught his tennis

303
00:15:06,559 --> 00:15:09,440
shoes on fire when he melted the big scary bat

304
00:15:09,559 --> 00:15:11,919
at the end. But he was the guy who was

305
00:15:11,960 --> 00:15:15,960
responsible for Slimer, who didn't have the name Slimmer at

306
00:15:16,000 --> 00:15:17,480
the time, but we know who that is, right.

307
00:15:17,360 --> 00:15:18,399
Speaker 2: They called an onion head.

308
00:15:18,519 --> 00:15:21,240
Speaker 1: Yeah, onion head, right, and so he was the guy

309
00:15:21,399 --> 00:15:24,320
who was responsible for making Slider onion head.

310
00:15:24,440 --> 00:15:27,200
Speaker 2: Yes, this is one of the things. So watching the

311
00:15:27,279 --> 00:15:30,600
behind the scenes stuff, I never realized when you see

312
00:15:30,639 --> 00:15:32,399
Slimer's back he has butt.

313
00:15:32,279 --> 00:15:35,600
Speaker 1: Cheeks, he's got a giant booty. I didn't even know

314
00:15:35,679 --> 00:15:37,440
that I had a bootylicious booty.

315
00:15:37,480 --> 00:15:39,799
Speaker 2: I never really get a good look at Slimmer's butt

316
00:15:39,799 --> 00:15:42,440
in the movie. But they did a lot of practical

317
00:15:42,480 --> 00:15:45,240
effects for Ghostbusters as well. I thought this was cool,

318
00:15:45,320 --> 00:15:47,960
the scene with the librarian, where the was it the

319
00:15:48,399 --> 00:15:52,320
Dewey decimal cards open and start flying out. Yeah, there's

320
00:15:52,360 --> 00:15:55,840
guys hiding behind the wall shooting like air, like through

321
00:15:55,879 --> 00:15:58,919
a straw to make the cards fly out. Right, And

322
00:15:59,000 --> 00:16:00,919
the books that are flowed in the library, those are

323
00:16:00,919 --> 00:16:01,879
all done by wires.

324
00:16:01,960 --> 00:16:03,120
Speaker 1: What about the stack books?

325
00:16:03,519 --> 00:16:08,360
Speaker 2: You're right, no human being stack books like this. But

326
00:16:08,600 --> 00:16:11,600
during production, one of the things that made Ivan Rightman

327
00:16:11,879 --> 00:16:15,679
the most uncomfortable, like the biggest chance of the entire movie,

328
00:16:15,840 --> 00:16:25,120
the state off marshmallow Man. He was not convinced that that.

329
00:16:25,039 --> 00:16:26,039
Speaker 1: Would work well.

330
00:16:27,039 --> 00:16:28,759
Speaker 2: So when they put it together, I thought this was

331
00:16:28,799 --> 00:16:31,519
so interesting. So but when they had finally put together

332
00:16:31,600 --> 00:16:34,240
kind of the basic outline of the movie, they showed

333
00:16:34,240 --> 00:16:36,519
it to a test audience in March of eighty four,

334
00:16:40,399 --> 00:16:40,879
I hate this.

335
00:16:43,039 --> 00:16:43,919
Speaker 1: I like the torture.

336
00:16:44,679 --> 00:16:48,679
Speaker 2: That's right, boys, it's doctor Frankman. They showed the scene

337
00:16:48,720 --> 00:16:51,639
when Dana goes to a refrigerator and she opens it

338
00:16:51,720 --> 00:16:55,320
up and there's zeel, right, but that effect wasn't ready yet.

339
00:16:55,360 --> 00:16:57,759
It just had this big blank screen that said special

340
00:16:57,759 --> 00:17:02,639
effect insert and of course Scorny Weaver screams and slams

341
00:17:02,679 --> 00:17:05,519
and door shut. He said. The audience screamed, the can

342
00:17:05,599 --> 00:17:08,839
see there's just a stupid panel up there. But he's like, man,

343
00:17:08,839 --> 00:17:11,119
they're really going for this, and there's the effects aren't

344
00:17:11,119 --> 00:17:14,440
even in yet. But the biggest leap in reality, the

345
00:17:14,440 --> 00:17:17,000
thing that worried him the most was a Staypuff marshmallow Man.

346
00:17:17,680 --> 00:17:20,480
And when they tested it to the audience, when you

347
00:17:20,559 --> 00:17:23,880
see the big Staypuff guy, there's one little effect where

348
00:17:23,920 --> 00:17:27,960
you see his head passing between buildings that was ready,

349
00:17:28,160 --> 00:17:30,799
and so that was in that cut. Everything else was out.

350
00:17:31,359 --> 00:17:35,440
He said. The audience went bananas over that scene. That's awesome,

351
00:17:35,759 --> 00:17:38,440
and he was like, this is the best screening because

352
00:17:38,440 --> 00:17:40,440
it put him at ease and he knew they.

353
00:17:40,319 --> 00:17:40,759
Speaker 3: Had a hit.

354
00:17:40,960 --> 00:17:45,759
Speaker 1: Yeah. So the Staypuff marshmallow Man is a combination between

355
00:17:45,880 --> 00:17:49,160
the michel Entire Guy Yes, the Phillisbury dough Boy Yes,

356
00:17:49,359 --> 00:17:53,119
and some Canadian marshmallow sailor guy that Dan Akhroad grew up.

357
00:17:53,920 --> 00:17:54,559
Speaker 2: That's awesome.

358
00:17:54,920 --> 00:17:55,920
Speaker 1: I thought this was funny.

359
00:17:56,039 --> 00:17:59,000
Speaker 2: When they were filming the earthquake scene out in front

360
00:17:59,000 --> 00:18:01,240
of Dana's apartment building and it's right there by Central Park.

361
00:18:01,319 --> 00:18:03,279
Speaker 1: Yeah, so you had to tear up the street.

362
00:18:03,680 --> 00:18:07,079
Speaker 2: They estimated that it it jacked up sixty percent of

363
00:18:07,160 --> 00:18:09,359
traffic in Manhattan.

364
00:18:09,000 --> 00:18:11,519
Speaker 1: Since you hit this subject. These movies were released on

365
00:18:11,559 --> 00:18:17,000
the same day. Yes, Ghostbusters did overall better than Grimlins did,

366
00:18:17,200 --> 00:18:21,160
except in New York City because the whole city was

367
00:18:21,359 --> 00:18:26,119
pissed off at Ghostbusters for locking up traffic for months

368
00:18:26,119 --> 00:18:29,319
on and filming all the stuffy listen.

369
00:18:29,440 --> 00:18:32,799
Speaker 2: Isaac Asimov lived around that area and he came out

370
00:18:32,839 --> 00:18:34,640
and Dan Akro was like a huge fan. He's like

371
00:18:34,720 --> 00:18:37,759
Isaac Asimov, Oh my gosh. And Isaac Asimov was like,

372
00:18:37,799 --> 00:18:40,599
are you the reason why this is all Jack and

373
00:18:40,960 --> 00:18:46,599
was like yes, sir. He's like it's disgusting. Okay, So

374
00:18:46,880 --> 00:18:51,279
you mentioned fright night the librarian, like the scary library,

375
00:18:51,279 --> 00:18:53,240
and you know the scene where he's like okay, read

376
00:18:53,400 --> 00:18:56,519
get her and she's like get her.

377
00:18:57,000 --> 00:18:57,839
Speaker 1: That's your old plan.

378
00:19:00,440 --> 00:19:04,200
Speaker 2: They had to tone down the original effect because that's

379
00:19:04,279 --> 00:19:07,880
the scary librarian was too scary, and so they took

380
00:19:07,920 --> 00:19:12,240
the scary librarian and it became the vampire from Fright Night.

381
00:19:12,319 --> 00:19:14,240
Speaker 3: Later on Yep, we talked about that in a Friday

382
00:19:14,279 --> 00:19:14,799
Night episode.

383
00:19:14,880 --> 00:19:18,599
Speaker 1: Yeah cool. So a big part of the special effects

384
00:19:18,680 --> 00:19:23,359
on this thing come from the set design right this movie.

385
00:19:23,599 --> 00:19:27,680
The set designer was John de Kerk. We mentioned last

386
00:19:27,720 --> 00:19:29,960
episode that we were one of the number one film

387
00:19:29,960 --> 00:19:34,079
podcasts Inni Burney, Yes, we're in the charts in other places.

388
00:19:34,119 --> 00:19:37,160
One of the other podcasts in the charts repeatedly is

389
00:19:37,160 --> 00:19:40,440
a podcast called Based on a True Story. Yeah. As

390
00:19:40,440 --> 00:19:43,799
it turns out, Dan Lefeb literally lives down the street

391
00:19:43,839 --> 00:19:46,160
from us. I looked it up and I'm like, oh

392
00:19:46,200 --> 00:19:49,079
my gosh, this guy who's also doing a charting film

393
00:19:49,119 --> 00:19:51,680
podcast is next door neighbors with us, and so we

394
00:19:51,720 --> 00:19:53,839
got to talk to him, and he had interviewed the

395
00:19:53,880 --> 00:19:56,799
guy on Cleopatra because Cleo Patrick's like based on a

396
00:19:56,799 --> 00:19:59,440
true story, right, right, right, And so we were talking

397
00:19:59,480 --> 00:20:03,720
about that. Well. John de Kerr was the set designer

398
00:20:03,759 --> 00:20:06,160
on Cleopatra, the set designer on The King, and I

399
00:20:06,480 --> 00:20:08,720
the set designer on Hello Dolly, all of which she

400
00:20:08,839 --> 00:20:13,279
won an Oscar for and he's the set designer on Ghostbusters. Okay,

401
00:20:13,319 --> 00:20:15,920
And so that scene that you see where she opens

402
00:20:16,000 --> 00:20:18,680
the door and it's that's the only thing that's cool

403
00:20:18,680 --> 00:20:20,240
there is that set design. I mean, it's not like

404
00:20:20,279 --> 00:20:23,400
there's a monster there right right. It's the big doorway

405
00:20:23,480 --> 00:20:25,599
that you ultimately see at the end of the movie. Well,

406
00:20:25,599 --> 00:20:30,279
that's all John Dwyer. They changed the storyline based upon

407
00:20:30,359 --> 00:20:35,119
these mammoth awesome Cleopatra big sets that he was designing.

408
00:20:35,160 --> 00:20:37,440
And of course he's got the big doorway. They added

409
00:20:37,480 --> 00:20:40,039
two stories to that building in New York City to

410
00:20:40,160 --> 00:20:44,839
accommodate for the big doorway into the other dimension. That's incredible.

411
00:20:45,200 --> 00:20:48,960
Great when someone asks you if you're a god, you

412
00:20:49,119 --> 00:20:50,160
see yes.

413
00:20:51,200 --> 00:20:52,880
Speaker 2: Okay. So there's a scene I want to talk about

414
00:20:52,880 --> 00:20:53,319
really quick.

415
00:20:53,359 --> 00:20:53,680
Speaker 1: Okay.

416
00:20:54,119 --> 00:20:58,559
Speaker 2: So there's this weird scene where there's like this woman

417
00:20:58,640 --> 00:21:01,440
apparition that's hovering over Dan Ackroyd.

418
00:21:01,880 --> 00:21:03,880
Speaker 1: You know, seeing what I'm talking about.

419
00:21:05,240 --> 00:21:13,559
Speaker 2: Yes, yes, yes, exactly, Sorry, yes, okay. So that's in

420
00:21:13,599 --> 00:21:16,440
this sort of montage where they're running around the city

421
00:21:16,680 --> 00:21:19,559
where where they're running around the city and they're they're

422
00:21:19,680 --> 00:21:21,839
capturing ghosts, and you can tell that their business is

423
00:21:21,839 --> 00:21:24,359
really taken off. Well that scene they were supposed to

424
00:21:24,400 --> 00:21:27,880
be taking place at this haunted fort, and so that

425
00:21:28,000 --> 00:21:30,319
was actually this whole big thing. And so that's why

426
00:21:30,759 --> 00:21:35,160
dan Ackroyd's wearing this like Civil War general costumes.

427
00:21:35,200 --> 00:21:37,319
Speaker 1: I just thought it was like, I'm in a dream,

428
00:21:37,400 --> 00:21:41,160
so I'm going to be addressed, right, going to be

429
00:21:41,160 --> 00:21:42,319
a sailor in this dream.

430
00:21:43,200 --> 00:21:45,960
Speaker 2: So there's a funny story about the woman ghost Okay, okay,

431
00:21:46,039 --> 00:21:50,079
her name is Kimberly Herron. She's a playboy playmate Google search.

432
00:21:52,079 --> 00:21:54,599
So they had to create a foam lay text some

433
00:21:54,640 --> 00:21:57,200
sort of costume for her, and so the special effects

434
00:21:57,240 --> 00:22:00,319
guy had to rub her down with vasilin we too,

435
00:22:00,359 --> 00:22:03,359
oil boys, decrease us up before we do our special effect.

436
00:22:03,680 --> 00:22:06,440
But anyway, he was hesitant when he got to her chest,

437
00:22:06,519 --> 00:22:08,440
and she she just took both of his hands and

438
00:22:08,480 --> 00:22:10,920
put right on our boobs and said, will you just

439
00:22:10,960 --> 00:22:11,680
get on with it?

440
00:22:13,319 --> 00:22:15,400
Speaker 1: Okay, So that makes me think. You know the scene

441
00:22:15,480 --> 00:22:20,680
where Dana is being attacked in her chair, Yes, the kitchens,

442
00:22:20,960 --> 00:22:23,400
and you've got the gloved hand coming up out it.

443
00:22:23,440 --> 00:22:24,839
I'm saying, Cliff Hand, he's supposed to.

444
00:22:24,839 --> 00:22:27,559
Speaker 2: Be like the master hand, right, But there's a guy.

445
00:22:27,400 --> 00:22:30,039
Speaker 1: Whose hand is inside there, who's taking full.

446
00:22:29,880 --> 00:22:31,880
Speaker 2: Of the opportunity.

447
00:22:32,799 --> 00:22:35,039
Speaker 1: Did somebody say, oh, put it right on her boob?

448
00:22:35,640 --> 00:22:38,119
Speaker 2: It really is. I'm like, I mean, he's going for it.

449
00:22:38,920 --> 00:22:41,960
Speaker 1: He's not, he is not holding back. Hey.

450
00:22:42,039 --> 00:22:44,839
Speaker 2: By the way, Kimberly heron just in case you may

451
00:22:45,000 --> 00:22:49,839
recognize that ghost, she's the girl in Zzi Toop's Legs video. Wow.

452
00:22:50,039 --> 00:22:52,799
Speaker 3: Nice another summer ready for for minutes.

453
00:22:53,000 --> 00:22:55,920
Speaker 1: Oh that's right, yeah, okay, eliminating awesome.

454
00:22:56,119 --> 00:22:57,920
Speaker 2: Okay. Hey, one of the things I forgot to mention

455
00:22:57,920 --> 00:23:00,240
when we were talking about production of Gremlins, so well,

456
00:23:00,319 --> 00:23:04,599
the big scene at the end, all of the Grimlins

457
00:23:04,640 --> 00:23:06,759
go into a movie theater and they're going to watch

458
00:23:06,799 --> 00:23:09,240
snow White. Yeah, okay, it's kind of the big climacting

459
00:23:09,279 --> 00:23:11,480
scene at the end. And one of the reasons why

460
00:23:11,480 --> 00:23:14,680
they're watching snow White is because snow White was released

461
00:23:14,839 --> 00:23:17,920
in nineteen thirty seven, right at Christmas time. Ok So

462
00:23:17,960 --> 00:23:19,839
it's kind of a throwback.

463
00:23:19,480 --> 00:23:20,839
Speaker 3: For old Christmas movie.

464
00:23:20,839 --> 00:23:24,920
Speaker 2: Okay, right now, Billy and Phoebe Kate's trapped them all

465
00:23:24,960 --> 00:23:27,839
in the movie theater and they blow it up, right okay,

466
00:23:28,039 --> 00:23:29,960
And it's the big scene at the end Stripe is

467
00:23:30,000 --> 00:23:32,960
across the street getting candy. He's got a sweet tooth

468
00:23:33,039 --> 00:23:33,480
or whatever.

469
00:23:33,680 --> 00:23:36,200
Speaker 1: He didn't want to have to pay the movie prices.

470
00:23:36,440 --> 00:23:39,440
That's right, he sneaking in his US.

471
00:23:39,960 --> 00:23:42,920
Speaker 2: I know this is funny though. So Phoebe Kates asked

472
00:23:42,920 --> 00:23:45,480
the explosive guy. She's like, you know, how big is

473
00:23:45,519 --> 00:23:49,200
this explosion going to be? And he said, well, we

474
00:23:49,200 --> 00:23:50,440
we've packed it pretty good.

475
00:23:50,599 --> 00:23:53,839
Speaker 3: Uh huh, And she's like, what the hell does that mean?

476
00:23:54,000 --> 00:23:56,839
Speaker 2: She said it was deafening. The heat was so intense

477
00:23:56,880 --> 00:23:59,559
I thought I singed my eyebrows. It blew the doors

478
00:23:59,559 --> 00:24:02,000
off the feat and as you see in the film,

479
00:24:02,039 --> 00:24:05,640
it shattered windows on a building at Universal a mile away.

480
00:24:05,759 --> 00:24:09,200
Speaker 1: Wow, we pecked it pretty good. We've packed it pretty good.

481
00:24:10,160 --> 00:24:17,359
You should see their first movie, Caddy Check. As long

482
00:24:17,359 --> 00:24:19,839
as we're throwing in extra bits on Grimlin's I'm going

483
00:24:19,920 --> 00:24:21,559
to say this. Do you remember at the beginning the

484
00:24:21,599 --> 00:24:25,599
first scene with what accident is he's in Chinatown. There's

485
00:24:25,640 --> 00:24:28,200
a car, like an old timey car that's got like

486
00:24:28,240 --> 00:24:30,599
its hood up and it's broken down kind of car.

487
00:24:30,640 --> 00:24:33,359
Speaker 3: It is nice time.

488
00:24:33,240 --> 00:24:34,440
Speaker 1: To talk about soundtracks.

489
00:24:34,480 --> 00:24:58,720
Speaker 5: We have to talk about the soundtrack in this movie.

490
00:25:01,799 --> 00:25:04,599
Speaker 1: Okay, so let's go back to Grimlins. Okay, all right,

491
00:25:04,680 --> 00:25:10,200
So soundtrack for Grimlins we have mister Jerry Goldsmith. Yeah,

492
00:25:10,240 --> 00:25:14,400
so throw back to our Superman episode. Jerry Goldsmith was

493
00:25:14,720 --> 00:25:19,440
like Jerry Goldsmith is to Richard Donner as John Williams

494
00:25:19,559 --> 00:25:24,359
is to Steven Spielberg, right right. And so Jerry Goldsmith

495
00:25:24,400 --> 00:25:26,480
had done the soundtrack to the All Money. He's done

496
00:25:26,480 --> 00:25:30,000
a ton, I mean, just the the list of movies

497
00:25:30,160 --> 00:25:33,359
is gigantic, but he's the one who did the soundtrack

498
00:25:33,519 --> 00:25:34,680
for Grimlins.

499
00:25:34,720 --> 00:25:35,000
Speaker 2: Okay.

500
00:25:35,400 --> 00:25:38,799
Speaker 1: Of the two soundtracks, as far as like thematic music

501
00:25:38,880 --> 00:25:41,960
is concerned, score score is concerned, I gotta say that

502
00:25:42,000 --> 00:25:45,319
Grimlins is the more effective, more memorable.

503
00:25:45,599 --> 00:25:51,599
Speaker 2: It's got that d d N. It's like an Yeah,

504
00:25:51,640 --> 00:25:54,799
it's catchy and yet scary and kind of a nightmare thing.

505
00:25:54,759 --> 00:25:58,359
Speaker 1: And you absolutely it's it's got it's got elements of

506
00:25:58,720 --> 00:26:02,559
Psycho and it's elements of Jaws in it and still

507
00:26:02,599 --> 00:26:07,079
manages to tie in the kind of newer sounding synthesizer music.

508
00:26:07,319 --> 00:26:11,960
And yeah, great, great. He also had done Poldergeist, The

509
00:26:12,039 --> 00:26:17,759
Secreted Nim, First Blood, Twilight Zone, Mister Mom and then

510
00:26:17,960 --> 00:26:20,559
that leads him all the way up to Grimlin's. That's

511
00:26:20,640 --> 00:26:22,519
just before he does a few episodes of night Writer.

512
00:26:22,640 --> 00:26:28,119
Speaker 2: And by the way, nice, whoa nice? Okay, So who

513
00:26:28,119 --> 00:26:30,160
does the score for Ghostbusters.

514
00:26:34,240 --> 00:26:38,480
Speaker 1: Score for Ghostbusters is our old friend, mister Elmer Bernstein. Yeah,

515
00:26:38,519 --> 00:26:43,200
so Elmer Bernstein has this, He has this fascination at

516
00:26:43,200 --> 00:26:49,920
this time with these old nineteenth century instruments called the

517
00:26:49,920 --> 00:26:53,279
otis Martino. And that is that weird. It sounds kind

518
00:26:53,279 --> 00:26:55,359
of like, you know, when somebody plays the crystal like

519
00:26:55,400 --> 00:26:58,519
the glasses, the wine glasses. Okay, they remember at the beginning,

520
00:26:58,599 --> 00:27:02,200
the very beginning of the movie that, yeah, yeah, that's

521
00:27:02,319 --> 00:27:05,359
all it's it's this instrument which has that almost like

522
00:27:05,400 --> 00:27:08,000
a synthesize of your sound, but it's from the eighteen

523
00:27:08,079 --> 00:27:11,119
hundreds and it's but it's played on a keyboard. Okay,

524
00:27:11,279 --> 00:27:15,039
It's kind of like there amid nice sylintonta nice.

525
00:27:15,119 --> 00:27:19,559
Speaker 2: I think that the theme for the Ghostbusters is very good, right,

526
00:27:19,839 --> 00:27:23,160
it's memorable, right, and it's playful and kind of goofy

527
00:27:23,200 --> 00:27:24,079
and fun.

528
00:27:24,640 --> 00:27:28,279
Speaker 1: Now, on the subject of soundtracks, though, we can't just

529
00:27:28,319 --> 00:27:59,079
talk about the score. We have to talk that's strange.

530
00:28:00,680 --> 00:28:03,160
Who are you gonna call? Well, maybe you call Huey

531
00:28:03,200 --> 00:28:04,559
Lewis and ask permission next time.

532
00:28:06,319 --> 00:28:09,000
Speaker 2: We've kind of talked about this in our Huey Lewis episode.

533
00:28:09,200 --> 00:28:11,440
But they wanted Huey Lewis to do some of the

534
00:28:11,480 --> 00:28:12,359
songs for the soundtrack.

535
00:28:12,799 --> 00:28:14,039
Speaker 1: I don't want to write a sound called Chris.

536
00:28:14,640 --> 00:28:17,799
Speaker 2: He's like, nope, I'm out right right. Uh So they

537
00:28:17,839 --> 00:28:20,640
end up with Ray Parker Jr. And they say, hey,

538
00:28:20,640 --> 00:28:22,559
can you come up with something? He says, okay, I'll

539
00:28:22,599 --> 00:28:24,559
get to work on it. He said the music came

540
00:28:24,599 --> 00:28:30,519
pretty quick. He's like, but lyrically he could not fit Ghostbusters.

541
00:28:29,839 --> 00:28:30,880
Speaker 1: Into the song right.

542
00:28:31,440 --> 00:28:32,680
Speaker 3: And he's up late one night.

543
00:28:32,720 --> 00:28:35,079
Speaker 2: He's stress and he's spreading and he's like, they need it.

544
00:28:35,279 --> 00:28:36,680
We're on this tight deadline, you know.

545
00:28:36,680 --> 00:28:37,119
Speaker 3: June eighth.

546
00:28:37,160 --> 00:28:39,759
Speaker 2: This comment, oh my gosh. And and he says, is

547
00:28:39,880 --> 00:28:42,200
up late and it was like a like a bug commercial,

548
00:28:42,240 --> 00:28:44,680
like a bug exterminy and they're like, you know, if

549
00:28:44,680 --> 00:28:46,119
you have bugs, you need to give us a call,

550
00:28:46,200 --> 00:28:47,559
give us a call this number right here.

551
00:28:47,599 --> 00:28:49,920
Speaker 1: What are a hundred bug killers or whatever? And he's like,

552
00:28:50,279 --> 00:28:53,920
that's it. Who are you gonna call? Ghostbusters?

553
00:28:53,920 --> 00:28:54,519
Speaker 2: Fantastic?

554
00:28:54,599 --> 00:28:56,559
Speaker 1: Yeah, And then you get this great video with all

555
00:28:56,599 --> 00:28:58,680
like these TV stars.

556
00:28:58,880 --> 00:29:01,279
Speaker 2: Oh my gosh, I mean, let's I mean, think about

557
00:29:01,319 --> 00:29:03,880
the list of people that are in video. Yeah, the

558
00:29:04,000 --> 00:29:07,599
video and the song Ghostbusters were nearly as big as

559
00:29:07,640 --> 00:29:09,160
the movie was the summer of eighty four.

560
00:29:09,240 --> 00:29:10,359
Speaker 1: Oh yeah, absolutely.

561
00:29:10,359 --> 00:29:15,599
Speaker 2: So you have cameos of Chevy Chase, Irene Kia, John Candy,

562
00:29:15,720 --> 00:29:20,759
Melissa Gilbert, Jeffrey Tambore, George wint Al, Franken, Danny DeVito,

563
00:29:21,039 --> 00:29:26,440
Norman Carly Simon, Peter Falk, Terry Garr. Not to mention,

564
00:29:27,359 --> 00:29:31,400
you have Bill Murray, dan Aykroyd, Harold Ramis, and Ernie

565
00:29:31,480 --> 00:29:34,319
Hudson and Ernie Hudson along with Ray Parker Jr.

566
00:29:34,839 --> 00:29:45,279
Speaker 1: Singing Ghostbusters louder I can't hear you. Okay, so let's

567
00:29:45,279 --> 00:29:48,599
talk about what happens with these movies after they come out. Okay, Well,

568
00:29:48,599 --> 00:29:53,160
they're both gigantic successes, massive hits, massive hits. They create

569
00:29:53,240 --> 00:29:57,680
the careers of multiple people. Joe Dante after this movie

570
00:29:57,759 --> 00:30:01,160
goes on to do Explorers, which is the film debut

571
00:30:01,400 --> 00:30:05,519
of River Phoenix, and Ethan Hawk does Innerspace. We're gonna have.

572
00:30:05,480 --> 00:30:05,799
Speaker 2: To do this.

573
00:30:06,200 --> 00:30:09,119
Speaker 1: It keeps coming up, I know, right, And then he

574
00:30:09,200 --> 00:30:11,880
does Grimlins to the New Match.

575
00:30:12,200 --> 00:30:15,000
Speaker 2: All right, let's talk about sequels, Okay, which is the

576
00:30:15,039 --> 00:30:17,599
worst sequel, Ghostbusters two or Grimlins two.

577
00:30:17,839 --> 00:30:22,319
Speaker 1: I actually liked Ghostbusters two sequel. It wasn't as good

578
00:30:22,319 --> 00:30:24,720
as Ghostbusters by any means, but I kind of like it.

579
00:30:24,759 --> 00:30:27,640
But it's also been about fifteen years since I've seen it.

580
00:30:27,680 --> 00:30:29,759
I feel like if I went and watched it again,

581
00:30:29,839 --> 00:30:33,079
I would not like it as much. But bad guy

582
00:30:33,200 --> 00:30:36,119
in Ghostbusters two, like the guy in the painting, was

583
00:30:36,160 --> 00:30:39,519
one of the terrorists on Diehard. Yeah, and then his

584
00:30:39,599 --> 00:30:41,720
little Tody helper guy is one of the main guys

585
00:30:41,720 --> 00:30:44,599
on alimcbeale who was also in Dragon's Layer.

586
00:30:44,759 --> 00:30:46,960
Speaker 2: Yes, that guy's pretty funny.

587
00:30:47,000 --> 00:30:49,400
Speaker 1: Yeah. The Ghostbusters two Yeah, I can't think of his

588
00:30:49,480 --> 00:30:51,119
name off the top of my head, but he's.

589
00:30:51,079 --> 00:30:56,079
Speaker 2: Lama all the coverage with goof the best part about

590
00:30:56,079 --> 00:30:59,000
Ghostbusters two is I need to put Oscar down.

591
00:30:59,200 --> 00:31:02,039
Speaker 1: And then Bill Marie is like, or Peter Rinkman is like, oh,

592
00:31:02,160 --> 00:31:05,599
I can I do it please? You're short, you're fat,

593
00:31:05,599 --> 00:31:07,880
and your mama addresses you're funny.

594
00:31:09,119 --> 00:31:10,960
Speaker 2: I agree with you. I think ghost Wisters two is

595
00:31:10,960 --> 00:31:12,920
the more enjoyable sequel of these two movies.

596
00:31:13,000 --> 00:31:16,200
Speaker 1: Yeah, there is a great key and peel sketch that

597
00:31:16,279 --> 00:31:19,400
you can check out on YouTube on the brainstorming meeting

598
00:31:19,440 --> 00:31:23,920
for Grimlins two. That is really really funny. I don't

599
00:31:23,920 --> 00:31:25,480
want to. I don't know a butcher, but yeah, just

600
00:31:25,519 --> 00:31:28,480
go check that out. Okay, but you get you get

601
00:31:28,519 --> 00:31:31,279
a movie that's making fun of itself. But I've read

602
00:31:31,319 --> 00:31:33,400
I haven't heard the man say it, but I've read

603
00:31:33,720 --> 00:31:38,519
that Joe Dante actually prefers Grimlins two to Grimlins one.

604
00:31:38,720 --> 00:31:39,839
I don't know how this is possible.

605
00:31:39,880 --> 00:31:42,880
Speaker 2: I heard him say that he doesn't understand at all

606
00:31:42,920 --> 00:31:46,480
why Gremlins one works. He's like, why do people like it?

607
00:31:46,599 --> 00:31:49,640
I don't know, h It's weird. So they are both

608
00:31:49,759 --> 00:31:51,759
huge successes that made tons of money. They are huge

609
00:31:51,839 --> 00:31:54,640
hits in nineteen eighty four. They become icons that last

610
00:31:54,759 --> 00:31:58,079
for decades. I mean, you you see stuff still today?

611
00:31:58,559 --> 00:31:59,240
You was it?

612
00:31:59,319 --> 00:32:02,359
Speaker 1: Sprite seven is Mountain Dew. Mountain Dew, that's it. Mountain

613
00:32:02,359 --> 00:32:06,119
Dew commercial has Billy and Gizmo in it. They're still

614
00:32:06,119 --> 00:32:09,960
talking about I mean, I say, they like Chris Columbus,

615
00:32:10,359 --> 00:32:15,799
Joe Dante. They're talking about Grimlins three. But they've been

616
00:32:15,799 --> 00:32:19,079
talking about it for seven or eight years now. One

617
00:32:19,119 --> 00:32:22,400
thing that they are all confident and steadfast on though,

618
00:32:22,599 --> 00:32:26,960
is practical Grimlins like not going to do CGI unless

619
00:32:27,039 --> 00:32:30,359
absolutely necessary, which is great. We know that that works

620
00:32:30,400 --> 00:32:33,160
from Mandalorian right. Give us the practical.

621
00:32:32,720 --> 00:32:34,680
Speaker 2: Puppet absolutely one hundred percent.

622
00:32:34,880 --> 00:32:36,799
Speaker 3: Yeah, forget the stupid cg SO.

623
00:32:37,400 --> 00:32:40,119
Speaker 1: On the subject of Ghostbuster sequels, though, we get the

624
00:32:40,319 --> 00:32:45,000
women Ghostbusters of the twenty seventeen Yeah. Even my daughter,

625
00:32:45,160 --> 00:32:49,000
my daughter who loves girl movies, is like, when I said, hey,

626
00:32:49,039 --> 00:32:51,079
you want to watch Ghostbuster, she goes the boy win

627
00:32:51,200 --> 00:32:53,440
or the girl winner. The boy when she's like, oh, yeah,

628
00:32:53,440 --> 00:32:54,839
I'll watch that one with you. I don't like the

629
00:32:54,880 --> 00:32:57,680
girl when I was like, okay, it wasn't like the

630
00:32:57,720 --> 00:33:01,359
worst movie ever, but it wasn't great. I'm still waiting

631
00:33:01,759 --> 00:33:05,920
to see Ivan Rightman's sons new Ghostbusters movie. I can't

632
00:33:05,920 --> 00:33:06,920
wait till that comes out.

633
00:33:07,079 --> 00:33:08,480
Speaker 3: Was that due in twenty twenty one.

634
00:33:08,920 --> 00:33:11,039
Speaker 1: It was due in twenty twenty and they've pushed it

635
00:33:11,079 --> 00:33:15,599
because of COVID so. Ghostbusters Afterlife was supposed to come

636
00:33:15,640 --> 00:33:18,480
out last year. It's due out now in November of

637
00:33:18,519 --> 00:33:20,960
this year. November eleventh is when it's supposed to come out.

638
00:33:21,119 --> 00:33:25,079
It's directed by Jason Rightman, who is Ivan Rightman's son.

639
00:33:25,519 --> 00:33:29,279
He was also the kid in Ghostbusters two that tells

640
00:33:29,599 --> 00:33:34,079
Ray my dad says Ghostbusters are full of crap. So

641
00:33:34,720 --> 00:33:38,000
that's a nice little cameo. It's got the kid Finn

642
00:33:38,079 --> 00:33:41,480
wolf Hard who's in Stranger Things, who's been doing He's

643
00:33:41,680 --> 00:33:44,519
very popular right now. I like Stranger Things. I thought

644
00:33:44,519 --> 00:33:46,119
he did a good job in that one. But it

645
00:33:46,160 --> 00:33:49,599
also has all of our key players, Sigourney Weaver, Bill Murray,

646
00:33:49,680 --> 00:33:52,720
Dana k royd Ernie Hudson all are in the movie.

647
00:33:52,799 --> 00:33:55,839
Speaker 3: And Annie Pott's Oh nice Ghostbusters.

648
00:33:55,880 --> 00:33:58,319
Speaker 2: What do you want Hey, I'll tell you what though,

649
00:33:58,319 --> 00:34:01,759
we didn't even mention that Harold Ramis passed way sadly.

650
00:34:01,599 --> 00:34:03,279
Speaker 1: And twenty fourteen.

651
00:34:03,440 --> 00:34:04,519
Speaker 3: I think I believe that's right.

652
00:34:04,640 --> 00:34:07,559
Speaker 1: Yeah, And we didn't even talk about this, like. He

653
00:34:07,640 --> 00:34:09,840
and Bill Murray went on to do several movies together,

654
00:34:10,159 --> 00:34:15,639
and then something happened in the making of groundhog Day

655
00:34:16,159 --> 00:34:18,800
that led to them not being friends anymore, and I

656
00:34:18,840 --> 00:34:20,639
don't know what it was, And obviously they ended up

657
00:34:20,639 --> 00:34:23,159
with a fantastic movie. Groundhog Day is one of my

658
00:34:23,159 --> 00:34:24,199
favorite movies of all time.

659
00:34:24,280 --> 00:34:25,119
Speaker 3: Yeah, it's funny.

660
00:34:25,199 --> 00:34:29,400
Speaker 1: But apparently when Harold Ramis was didn't have much time left,

661
00:34:29,719 --> 00:34:32,400
his daughter gave Bill a call and Bill came and

662
00:34:32,440 --> 00:34:36,880
they sat together with hours mended, cried together, laughed together,

663
00:34:37,639 --> 00:34:40,719
and so it's really fortunate that they had that they

664
00:34:40,719 --> 00:34:43,280
had the opportunity to do that. Yep, yep, yep.

665
00:34:43,360 --> 00:34:44,880
Speaker 2: Okay, it's time for final judgment.

666
00:34:45,039 --> 00:34:46,559
Speaker 1: Okay, where are you?

667
00:34:46,559 --> 00:34:50,119
Speaker 2: Ghostbusters Gremlins to the Biggest of nineteen eighty four? What

668
00:34:50,159 --> 00:34:50,559
do you got?

669
00:34:50,719 --> 00:34:55,039
Speaker 1: Okay? So I watched Ghostbusters in the theater. I grew

670
00:34:55,119 --> 00:34:59,239
up drawing mooglely, you know, the ghost with the slash

671
00:34:59,239 --> 00:35:01,880
through it. I drew it all the time. I've probably

672
00:35:01,960 --> 00:35:07,239
watched it at least twenty times. It's iconic. The lines

673
00:35:07,480 --> 00:35:11,159
are amazing. I mean, there's so many mineral lines. And

674
00:35:11,280 --> 00:35:15,920
Grimlins is good, But like Joe Dante, when I watch it,

675
00:35:16,000 --> 00:35:18,320
I'm not really sure how it was the success that

676
00:35:18,360 --> 00:35:21,440
it was other than Steven Spielberg's name appears on the

677
00:35:21,480 --> 00:35:26,320
script and you have some fun with these little monsters.

678
00:35:26,480 --> 00:35:30,199
But the effects in Grimlins are they don't hold up

679
00:35:30,239 --> 00:35:33,519
to me. Like watching it now, I'm like, eh, I

680
00:35:33,599 --> 00:35:36,000
like the practical effects better than the CGI, but I mean,

681
00:35:36,039 --> 00:35:37,480
you can almost see the wires and a lot of

682
00:35:37,480 --> 00:35:41,239
this stuff, and so I've got to go Ghostbusters like

683
00:35:41,440 --> 00:35:45,559
as a pretty much landslide on this one. Grimlins is fun.

684
00:35:45,679 --> 00:35:47,719
It was cool to watch it with the kid, But

685
00:35:48,760 --> 00:35:51,239
Ghostbusters every day, all day, no question.

686
00:35:51,360 --> 00:35:54,559
Speaker 2: Okay, all right, all right, sounds good. Well, so I

687
00:35:54,639 --> 00:35:57,199
think I told you for me. Grimlin starts off as

688
00:35:57,239 --> 00:36:00,719
a horror movie, and it's super captivating. I'm super creeped out.

689
00:36:01,239 --> 00:36:04,599
And oh my gosh, they ate and they sabotaged the

690
00:36:04,639 --> 00:36:07,360
clock and so oh they ate after midnight and now

691
00:36:07,360 --> 00:36:11,320
they make these weird, greasy, disgusting cocoons and what's gonna

692
00:36:11,320 --> 00:36:13,119
come out of them? And then when they emerge, they're

693
00:36:13,159 --> 00:36:15,239
running around. I can hear them, but I can't see them,

694
00:36:15,320 --> 00:36:18,079
and it goes from a horror movie and then takes

695
00:36:18,079 --> 00:36:21,039
this right turn into what to me seems like the

696
00:36:21,119 --> 00:36:25,880
Muppet Show, right, and you have gremlins with miniature guns

697
00:36:25,920 --> 00:36:29,360
and they're break dancing and they're doing all these silly things.

698
00:36:29,880 --> 00:36:32,119
And then at the end you have the super satisfying

699
00:36:32,519 --> 00:36:35,519
they've captured them all they blow them up. I remember

700
00:36:35,559 --> 00:36:37,920
in the movie Theater when stripe jumped into the pool.

701
00:36:38,159 --> 00:36:41,840
I was like, oh, no, oh, what are they gonna do?

702
00:36:42,039 --> 00:36:44,320
Speaker 1: Best special effect of the whole movie, by the way,

703
00:36:44,599 --> 00:36:47,159
just the music and we're talking about dry ice in

704
00:36:47,199 --> 00:36:50,280
a swimming pool and some lights, right, some Christmas lights,

705
00:36:50,280 --> 00:36:54,559
But that scene is intense. Best special effect in the movie. Yes.

706
00:36:54,880 --> 00:36:58,119
Speaker 2: So as a whole the movie I thought was very enjoyable.

707
00:36:58,440 --> 00:37:00,760
There's a middle part where I thought, man, this is

708
00:37:00,800 --> 00:37:04,800
really stupid, and so I like Gremlins, I thought it

709
00:37:04,840 --> 00:37:05,760
was very enjoyable.

710
00:37:05,800 --> 00:37:07,159
Speaker 1: Okay, now flip.

711
00:37:06,920 --> 00:37:10,559
Speaker 2: Over the Ghostbusters. Ghostbusters literally is one of the greatest

712
00:37:10,599 --> 00:37:13,760
comedies of all time, and it may be one of

713
00:37:13,800 --> 00:37:16,400
the best movies in the nineteen eighties. I mean, it's

714
00:37:16,760 --> 00:37:20,320
in the it's in the discussion of the most enjoyable

715
00:37:20,519 --> 00:37:23,960
comedic fun movies in the nineteen eighties. So for me,

716
00:37:24,239 --> 00:37:29,400
it's Ghostbusters by a landslide. And that's not taking anything

717
00:37:29,400 --> 00:37:33,440
away from Gremlins. It's just I mean, Ghostbusters is this iconic,

718
00:37:33,960 --> 00:37:37,840
unbelievably funny movie, and for me, it's just all Ghostbusters.

719
00:37:38,039 --> 00:37:42,039
Speaker 1: Yep. Well, once again we keep laying on the same page. Man,

720
00:37:42,559 --> 00:37:44,280
what's happening to us? I don't know.

721
00:37:44,480 --> 00:37:44,840
Speaker 3: I don't know.

722
00:37:45,000 --> 00:37:47,159
Speaker 2: We'll have to see what happens next week when we

723
00:37:47,239 --> 00:37:49,800
dive into Footloose and Purple Rain.

724
00:37:53,920 --> 00:37:57,119
Speaker 1: So you've got the podcast on, look at your phone,

725
00:37:57,719 --> 00:38:00,159
hit the little follow button, hit the little subscribe, and

726
00:38:00,239 --> 00:38:04,199
so that you are sure not to miss next week's episode.

727
00:38:04,599 --> 00:38:08,039
Hit us up on Facebook at shirleypodcast dot com, Hit

728
00:38:08,119 --> 00:38:11,639
us up on Twitter at shirleypodcast dot com. And thank

729
00:38:11,679 --> 00:38:14,480
you all for our fans who studs can communicate. It

730
00:38:14,559 --> 00:38:17,000
is great. I've been ran into it. I started talking

731
00:38:17,039 --> 00:38:19,639
to another guy on Facebook that it turned into a

732
00:38:19,719 --> 00:38:22,559
great relationship in the matter of ten minutes of just

733
00:38:22,599 --> 00:38:24,639
talking doing what we do, talking about the stuff that

734
00:38:24,679 --> 00:38:27,760
we love. So shout out to all of our fans

735
00:38:27,840 --> 00:38:31,280
on Facebook, Shout out to our patreons, shout out to

736
00:38:31,559 --> 00:38:34,639
our followers on Twitter, Thank you very much. We love

737
00:38:34,840 --> 00:38:36,400
talking to you guys as part of what we do.

738
00:38:37,440 --> 00:38:40,440
See you next week, see you next week, love me,

739
00:38:42,840 --> 00:38:51,960
Tell me good now yet A nine time