Speaker 1: Hey, it's Brett and Harley from the Only Okase Show.
Speaker 2: And when I'm not gleaming the cube or justing my swatchwatch,
we're listening to this Syearly you Can't Be Serious Podcast.
Welcome back to the Shurley you Can't Be Serious Podcast.
We have a special song for you that we will
play at the end of the episode that by the
Surely you Can't Be Serious band, little bluesy lethal weapon
sounding number that incorporates a little lethal weapon one and
a lot of lethal weapon two. Because today, boys and girls,
ladies and gentlemen, we are here to talk about the
two best sequels from nineteen eighty nine, Indiana Jones in
the Last Crusade versus Lethal Weapon Twodee.
Speaker 1: I've been waiting to talk about the sequels from nineteen
eighty nine with you for over a year. We've been
talking about this matchup for a long time, long time.
Speaker 2: We're finally here, Yes, and.
Speaker 1: I'm just here to remind you only a penitent man
will pass an ex never.
Speaker 2: Ever marks the spot. So you're ready to go.
Speaker 1: My soul is prepared. How's yours?
Speaker 2: Very good? Very good? Yes, my soul is prepared as
well as are my notes. This was a fun one
to dive into. It's crazy because I mentioned in our
last episode, Hey, I know the tie in between these
two movies, these two incredible sequels from nineteen eighty nine,
and you you called them that. I remember you saying that,
you know, two best sequels of nineteen eighty nine, And
the thought that went through my head was, well, yeah,
but this is the third Indiana Jones. That's right movie.
But then I remembered the second Indiana Jones movie is
not a sequel.
Speaker 1: You are correct, And when you told me that, I
was like, oh man, that's awesome.
Speaker 2: It's a prequel. Indiana Jones and the Temple of Doom
takes place before the events in Raiders of the Lost.
It is a prequel, And so Indiana Jones and the
Last Crusade is technically the first Indie sequel before we
get out of the gate.
Speaker 1: Is Indiana Jones and the Last Crusade the best name
they could come up with for this.
Speaker 2: Movie, well, given that they probably thought it was the
last one. It's kind of like you know Ozzy Osbourne's
No More Tours tour, right, which I mean how many
tours ago was that? I mean he spent ting a
bunch of them since then. I think that, you know,
Harrison was probably pretty emphatic that this was going to
be his last movie. But I can also tell you,
going back to what I was saying, the connective tissue
between these two they're both written by the same guy.
Jeffrey Boham wrote both of these just before nineteen eighty nine,
obviously so that they had time to make the movies.
But he even said in nineteen ninety six, saw an
interview he did in nineteen ninety six. At that time
he was working on another Indiana Jones movie script and
he said, Spielberg's for it, Lucas is for it. Our
only hang up is whether Harrison Ford's going to do
it or That was in ninety six.
Speaker 1: I heard about one that Frank Dearbond worked on in
the late nineties that could have been awesome. The stories
that we got before this, like the scripts that were
submitted and stuff, are fascinating. Yeah, you know, Spielberg's Jewish,
so doing a movie on the Holy Grail, I don't
know if it is necessarily super comfortable for him. And
there are other continents and places we could have gone.
And obviously we went off the rails after the last Crusade.
But it's super interesting to think about the what ifs
with the Indiana Jones franchise.
Speaker 2: Absolutely one percent. I was struggling on this one. We've
talked about Jeffrey Bohm before, right, As a matter of fact,
we've talked about him several times before because we know
that he did Lost Boys, we know that he did
The Dead Zone. He was actually an uncredited script writer
on Lethal Weapon one, which we did in the first
season as well versus Diehard. Yeah, he was called in
to work on Shane Black script because he was a
guy who was a studio guy who they would go
to to change things up on the fly, and so
he did actually work on Lethal Weapon one. So technically
this is the fourth and fifth movies that we've talked
about that are Jeffrey Boem scripts.
Speaker 1: That's crazy. I wouldn't have thought about.
Speaker 2: That, right, And then you and I were talking and
I was like, his you know, his abilities were incredible,
and You're like, yeah, but he really kind of fell
off the world like two thousand or something. What happened
to him? And I was like, well, he died.
Speaker 1: Like I was wonder why his IMDb page wasn't full
of stuff. I did not know that he died.
Speaker 2: My gosh, he died at fifty three. Yeah, died very
young man, fifty three years old. It had a lung condition.
I guess that led to a heart failure just suddenly.
So tragic loss. Because obviously he's a very skilled guy.
And I am excited to talk about his history because
even though we've talked talked about the fifth movie that
he's done, but we haven't really talked about him that much,
and so I'm kind of excited to talk about his history.
But before I get there, Yeah, I got to ask
you a question, all right, Yes, yes, So we got
two kind of concepts in these movies that I haven't
really delved into before. Okay, and this is these are
the rabbit holes that I went down. All right, So
which do you think is the older reference? Okay, diplomatic
immunity or the Holy Grail. Well, it's got to be
the Holy Grail, right You would think that, wouldn't you.
Speaker 1: Yes? Interesting, Yeah, So let's just let's start.
Speaker 2: Let's start talking about it. Okay, diplomatic community. Diplomatic immunity
can be traced back as far as the rama Gyana,
which is an Indian like a holy book that has
a lot of history from Ramayana, rama Yana, Ramayana. This
is an important work in Indian history, right okay, and
it's now. The thing is is that it's had a
lot of different variations over several centuries, but it dates
back to as early as the seventh century, that's the
six hundred's BC. The Ramayana dates back as early as
six hundred years before Christ. And within it is the
concept of diplomatic immunity. Wow, so well before Christ. But
we're going to get into that in a second. If
even that's the earliest reference to the Grail, but we'll
talk about that in a minute. So in the Ramayana,
there is a part where one of the demon kings
is ordering the killing of this this prince, and his
younger brother says, hey, no messengers and diplomats should not
be killed per ancient practices. So it was even an
ancient practice six hundred years before Christ. Wow, diplomatic community.
I would have had no idea. But if you just
give it a little thought, think about the movie three hundred.
Remember when he comes to He's come to give them
a message, right, yeah, yeah, and he and then all
of a sudden they're like surrounding the messengers around that
big old well. Everybody remembers this part right, right, and
he's like this is crazy, and he's like, this is
a sparta, right because he kills the messenger, which was
against custom. You weren't supposed to kill the messenger unless
in some circumstances they made obscenely high demands, which I
guess was the excuse in this one. But also you
think about Brave Heart. Even in Brave Heart, they before
they have the battle, the lords walk, they ride their
horses out to the middle of the battlefield and they
talk with each other, they flip the coin and yeah yeah,
and then and then Braveheart, then mel Gibson's riding around
him in a circle, like causing trouble. And it's all
this idea that in order to have a good relationship
with somebody that you might be at war with, in
order to endeavor to engage in peace, you have to
give those diplomats, those messengers, if you will, immunity. And
what's crazy is it's still exists today.
Speaker 1: Our buddy James Buckley spent one day at work on
the Louisiana State payroll writing up specific notes for us
on this very topic under the bus after he helped you,
I am no I scratch that. I'm super thankful that
he did that, but he came up with some interesting stuff.
I'm gonna throw this at you real quickly. So obviously,
diplomatic community still applies in the United States today or
and around the world. So listen to this. In nineteen
ninety seven, this is just one example. There was a
ambassador from the Republic of Georgia who killed a teenage
girl while driving drunk. Georgia, his home country, waived his immunity.
So like the US said, hey, Georgia, this guy drunk driving.
What are we gonna do with him. They're like, no,
he'd wave his immunity. So he was tried and did
time over here. But another example, there was one diplomat's
son who was accused of raping on fifteen separate rape
charges Holy and when they were like, dude, you're going
to jail, they were like, diplomatic community, man, we're not
doing anything.
Speaker 2: Huh.
Speaker 1: So they what country it doesn't say, oh, doesn't say,
but they kicked him out of the country.
Speaker 2: But they didn't prosecute him.
Speaker 1: They didn't arrest him, no, but he tried to pull
the diplomatic community thing like, my son, this is not
US soil, right, your laws don't a play here.
Speaker 2: And that's that's the accurate reading of the statute. Yeah,
I mean, this is it. We're talking about international law.
This is something that varies from country to country, but
is basically Geneva Convention and well before it. Obviously thousands
of years of this practice. It has been the practice
that the diplomats to a foreign country are not bound
by the laws of that country. Now, as you mentioned
with the drunk driving guy, the home country can say
they do as they call them home, but basically that's
making them a person non grata, which means, hey, you
can do with it what you want to do with them, right.
But obviously there are other situations where the home country
is like, nope, we'll just bring them back here.
Speaker 1: Apparently, parking tickets in and around New York City.
Speaker 2: It's a big problem.
Speaker 1: It's reported that New York City has said that they
are owed sixteen million dollars in unpaid parking tickets from
diplomat sixteen sixteen million dollars ho cow how about that.
I mean, how much is a parking ticket in fifty
bucks or right?
Speaker 2: So sixteen million dollars of fifty dollars parking tickets. How
many diplomats are there?
Speaker 1: Diplomatic community? Oh my gosh, take this parking ticket and
shove it.
Speaker 2: I like, guys, quit patrol on the un parking lot please,
it's a waste of time all right.
Speaker 1: By the way, According to the Bayou barrister, mister James Buckley, yeah,
he said that. According to him, the end of lethal
weapon two Arjin Rudd should have been arrested and tried,
and that MYRTA probably would have been arrested as well.
You don't just get to shoot diplomats.
Speaker 2: You don't get to revoke their immunity.
Speaker 1: No, but it was really boked, really satisfying to watching
shoot it.
Speaker 3: It's Jeff been revoked.
Speaker 2: But I mean, what a great plan, like if you
think about it from the point of view of the
South African diplomats, like, hey, we can engage in this
drug trade, yeah, and we can claim diplomatic community.
Speaker 1: By the way, I had a thought the other day
and I sent you a picture. I text you a
picture at the very beginning which this Lethal Weapon two
starts off with a bang. You get the little Looney
Tunes theme.
Speaker 2: Yeah, yes, you do. Right as the WB comes up.
You get just a little taste of Looney Tunes, which
is appropriate for rigs.
Speaker 1: On I'm totally fine with. Yeah, and you dive right
into a car chase. That's mid chase.
Speaker 2: Mid chase. And I watched this one with Rock and
he was like, I kind of fell asleep and we
watched the first one. Do I really need to know stuff?
I'm like, no, I mean, as long as you know
the relationship exists and that he was crazy and suicidal
before and at the end they're friends and he's not
suicidal anymore, that's all the matter. And we start in
the middle of the car chase and he's like, so,
is this the end of Lethal Weapon? I'm like, no, no, no,
this is like a completely separate story. You don't have
to know the first story to understand the second story
at all. He's like, okay, and then he fell asleep.
Speaker 1: Oh man, Well, I love how it starts off with
a bang. You know, Indiana Jones wastes no time to
get started either. You're right in the middle of a
buddying adventure at right beginning right but Letho Weapon two,
you're right in the middle of a car chase and
it's super funn You get the humor right off the
bat where Riggs takes over pushes Murta to the side
and it's like it's a brand new car and he's
gonnase He's gonna try and get up and around and
he's like, there's not enough room, Riggs.
Speaker 2: No, you know, I love the eighties, the eighties time
capsule where he's like, oh, yeah, you're already going sixty
five And he's like, oh my gosh, I know right,
my wife's dnew corn. I'm not going any faster.
Speaker 3: You're doing sixty five now set the.
Speaker 4: Yeah yeah, where.
Speaker 1: He's about what that's back when it was illegal to
go over fifty five miles per hour anywhere. Yeah, But
they chase this guy. They're talking South Africa. Helicopters show up,
machine guns. The LA police realize, holy crap, this is
more than just your standard drug bust. The car flip's
over and they hear something kind of shuffle in the back.
When Riggs karate kicks open the trunk, all these gold
coins fall out. Well, those are South African krue grants kruegerrands.
And I'm watching this as an older man now, when
I was sixteen and nothing, I'm like, krue grands. I
don't know what that is. So those were currency from
South Africa which was illegal to use in the United
States because we had this complicated relationship with South Africa
due to apartheid.
Speaker 2: Right that suckers worth.
Speaker 1: Twenty five hundred dollars wow per one kruwe grant.
Speaker 2: Wow.
Speaker 1: So you think about how many fell out of the
trunk there in nineteen eighty nine dollars.
Speaker 2: Yeah, Oh that's fantastic. Here you go. Okay, So I
told you how old the diplomatic community is. Yes, now
we got to talk about the Holy the question for
the Grail, there's no archeology. It's a race against evil.
If it is captured by.
Speaker 5: The Nazis, the armies of darkness will march all over
the face of the earth.
Speaker 2: Do you understand me?
Speaker 1: I think it's funny, by the way, when you're like,
it's six hundred years before Christ, Well, lucky for us,
we're talking about the Cup of Christ. So we know
exactly how long it is before the Holy Grail.
Speaker 2: Right, except not really, because we did a little Bible
research beforehand, right, yeah. And him talking about drinking out
of a cup at the Last Supper, it do it
mentions a cup, and he talks about sharing the cup.
I mean, in Matthew and Mark and Luke, every single
gospel for the first three mentions this. Hey, I'm gonna
drink out of this cup and I'm gonna pass it
to you. But nowhere in there is there anything about
it giving you everlasting life. Nowhere in there is there
anything about Joseph of Arimathea using this same cup to
catch his blood when he's on the cross us right, No, Alexandrada,
Alex right. I mean, now there's there. When I asked
you about it, you were like, well, there's this part
where he's talking about the if you drink from drink
from the well, that gives you eternal life. But I'm like,
where's that? And you said John four, and I'm like,
that's way too early for this supper. That's true, that's
the lady at the well. Right, let me read you.
Speaker 1: John four to fourteen.
Speaker 2: Reallyeah, they do it.
Speaker 1: But whoever drinks the water I give them will never thirst. Indeed,
the water I give them, will become in them a
spring of water welling up to eternal life.
Speaker 2: Huh.
Speaker 1: Now that's the woman.
Speaker 2: At the well. That's that's symbolism talk boys and girls.
That's a parable that is not He is not talking
about a cup that is the fountain of youth or
that gives you eternal life.
Speaker 1: Doesn't wash away bullet holes, and it certainly is not
something that you. I mean for you to get immortality,
but you got to stay within a fifty foot radius
of the not.
Speaker 2: Very worth while, not very good.
Speaker 1: I've like that night stay for nine hundred years.
Speaker 2: I texted you a picture. There's the scene at the
end where the earthquake is happening and the night is
just standing there with a look on his face watching
everything crumble. And I'm like, I have been in that
guy's shoes before. Were you like you do all of
this stuff for your kids? You're like, you've built all
of this stuff, and they just zoom in and immediately
destroy everything, and You're just like, well that was worth
six hundred's in a cave by myself.
Speaker 1: Waiting here for you guys to come along and screw
everything up in fifteen minutes.
Speaker 2: Yeah, yeah, at least I get to die now, Okay,
so Holy Grail. Yes, I'm gonna butcher this name, but
I'm gonna try anyway, because it's a French name. Chritian
de Torres is the author of the Arthurian Legends from
the mid eleven hundreds to eleven ninety and eleven ninety
he wrote Perceval and the Grail, which, if if you
are a ready player one fan, you remember that's why
he gave his avatar that name of Percival is because
Perceval is related to the Holy Grail. Right. But the
thing was is that Troyes didn't finish it. He died. Okay,
So this is an unfinished poem, so many authors since
then have added to it. This is a thousand years
after Christ when this idea of the Grail, not the
Holy Grail, but the Grail comes up because it's only
just a grail. This is like a thousand years after Christ,
a thousand years after Christ talking about the legend of
King Arthur and his knights.
Speaker 1: And very nearly a thousand years before Monty Python.
Speaker 2: Yes okay, right, yes, So in the eleven nineties, not
too long after the story is written, a guy named
Robert de Baron writes something called Joseph d Arimathea, and
in that one, the grail is portrayed as Jesus's vessel
from the Last Supper, which then Joseph of Arimathea uses
to catch Christ blood at the crucifixion.
Speaker 3: OK.
Speaker 2: So this idea of the holy Grail, you know, a
lot of people will say in Christian tradition, well, yes,
Christian tradition, that is a thousand years after the fact, right,
it's after that that the grail becomes holy and it
becomes interwoven with this idea of a holy chalice that
he used at the Last Supper, and it gets continued
in the Lancelot grail cycle, and then later much later
in the fifteenth century La Morte de author where we
get most of our King Arthur stories. Now there's just
some interesting facts, right. The grail is supposed to be
guarded by the Fisher King. You've heard of the Fisher
King before. I had no idea that it was related
to the grail. The King Arthur buffs out there will
be like really, yeah, no, I'm sorry, not a King
Arthur buff But he was the last in a long
line of kings that guards the grail. He is both
the protector and physical embodiment of his lands. But he's
got this wound which renders him impotent, and his kingdom's barren,
and so he's unable to walk, he's unable to ride
a horse, and he just.
Speaker 1: Not able to do right.
Speaker 2: Yes, the queens didn't stick around to see what happened
with the grail, right because there was nothing to stick
around for. So it portrays him as spending his time fishing.
The fisher king. He spends his time fishing while he's
awaiting a chosen one who can heal him of his wound,
and the healing of the wounds are always dependent upon
the completion of a hero's knights quest. Interesting see how
this is all fitting together? Right? Yep, here's another thing.
Most of the versions of the story have both the
Holy Grail and this thing called the Lance of Loginous.
You know, the Lance of Logenus is no nw discovery
for me. This is the holy Lance. It's called the
Lance of Logyenus because it was named after Saint Loginus.
This is the spear of Destiny, or the holy spear
that is alleged to be the one that pierced Jesus's
side as he hung on the cross during the crucifixion. Okay,
there's a mcguffin that's just waiting for a story to
get written about it, right.
Speaker 1: Yes, absolutely, Spear of Destiny, yes, yes, I'm on board.
Speaker 2: Yes, not the Dial of Destiny. Not the Dial of Destiny,
the Spear of Destiny. Yes. So there you go. That
is the Grail story. And that story is about one
five hundred years after diplomatic community.
Speaker 1: That's incredible. Yeah, that's incredible.
Speaker 2: You gotta love that. Jeffrey Boehm, at basically the same
time is writing a story about both of these ideas, right, Yeah,
it's great. So what was it our second episode that
we did, Raiders of the Lost Ark Verses back to
the Future.
Speaker 1: Yeah, it was.
Speaker 2: So we've been talking about this movie for a long time.
Everybody probably knows the story of Steven Spielberg and George
Lucas being on the beach building sand cast Steven Spielberg
saying I think I'm going to try to direct a
James Bond movie. Yes, right, and then George Lucas saying, no,
I got a better idea, and his whole thing is
Indiana Smith, and he has a bull whip and a hat.
Speaker 1: That's right, And he talks about the old serials that
used to watch, you know, the Saturday serials.
Speaker 2: And Spielberg's like, yes, I'm in let's do it now.
Spielberg says that at that time George told them, hey,
I've got three different stories. You just have to agree
to a direct to direct all three. Well. He then
also says that was a complete lie. He only had
one story and it was a little bit of a story, right,
I mean. And Lawrence Casden later on to write the
fully fleshed out version, but he didn't have any other stories.
They had to come up with those afterwards once Raiders
was successful.
Speaker 1: Didn't George Lucas get the arc story from his dentist?
Speaker 2: Gosh, I can't remember who it was. Some other person
gave him the arc of the Covenant as the mcguffin
after the idea of Indiana Smith had come about. Yeah,
by the way, Spielberg says, he was the one that
said we can't do Smith.
Speaker 1: We have to do John, thank you, thank you.
Speaker 2: Yeah, good job, yeah, good job.
Speaker 1: Too close to Nevada Smith.
Speaker 2: Steve McQueen, Oh okay, yeah, all right, So the next
story that he wants, that George wants to do is
the story of this haunted castle and something called the
Sun King.
Speaker 1: The Sun King like the first song off of Coulton
Sonic Temple.
Speaker 2: Yet, no, no, that's a different thing. Okay, I said
it wrong, Okay, it is. It is the Monkey King
or Sunday Kong or something like that, which is this
Buddhist character. It is a superhero monkey in Buddhist's literature
from like the sixteenth century that can like talk and
intelligent and and all I can think is, well, thank goodness.
Spielberg said, that's a terrible idea. Let's do something else.
And so what they end up with is Temple of Doom.
Temple of Doom written by Willard Hyuk and Gloria Katz,
and they make it a prequel then once Temple of
Doom's done. So he's got this idea of this character
from Buddhist culture and this haunted castle. But Spielberg has
just finished up with doing Poltergeist, which we've talked about before.
Although it does say it's directed by Toby Hooper, it
was probably Spielberg who.
Speaker 1: Really directed to cut his hands all over that one.
Speaker 2: Yeah, right, and so he didn't want to do another
haunted mansion, haunted castle thing, and so that's how they
ended up with Temple of Doom. But after Temple of
Doom again the Monkey King and the haunted thing comes
up again, and Spielberg's like, now, I don't want to
do that.
Speaker 1: So after Temple of Doom, Remember, Temple of Doom was
really dark. Spielberg has even apologized for how dark it is.
They both were going through divorces, they both had this
sort of bad attitude about life, and so that's why
Temple of Doom when you watch it, there's not a
lot of joy in it. Now, there's some cool action
scenes that it has its moments, but overall you don't
feel real great when you're watching Temple of Doom. So
as early as nineteen eighty four, or Lucas is trying
to convince Spielberg that the third story should be about
the Holy Grail, and Spielberg's like, he didn't think that
mcguffin was strong enough.
Speaker 2: At that time, Monty Python had already done it, right.
Speaker 1: They had right, right. So Lucas is like, well, okay,
let's flesh out this haunted house thing and that's when
you know Spielberg had just done pulled your guys to whatever.
But Diane Thomas actually wrote a screenplay that contained the
Haunted House story. Now Diane Thomas, if you remember she
wrote Romancing the Stone.
Speaker 2: Oh yeah, yeah, she.
Speaker 1: Was a waitress. She met Michael Douglass somehow she got
him the script. He loved it. He goes on and
makes Romancing the Stone. That makes her kind of this
screenplay superstar. Well, she's killed from a drunk driving accident.
But because of her death and the fact that they
didn't really like the Haunted House story, they kind of
moved on from that. Then they get Chris Columbus to
write a screenplay. Now, Chris Columbus, he had worked with
Spilberg on Gremlins essentially, Yeah, we talked all about that
in our Gremlins episode.
Speaker 2: Yeah.
Speaker 1: He writes the story Indiana Jones and then lost City
of these Sun Kung powd King or whatever it is
right there you go, right, which that contains a lot
of like evil spirits and demons and you know, spiritual stuff.
Speaker 2: Right.
Speaker 1: Well, they didn't really like it, so they rejected Chris
Columbus's script. So then they go back and then that's
when they come up with Indiana Jones and the Monkey King. Okay,
So in my research for that, the only thing I
could really pull out of it other than this weird
thing of superhero monkeys is that there's like Indian Jones
has to play chess and every time he makes a
move that eliminates a character, like somebody evaporates, like a
person dies. Okay, So Spielberg's like, just not, I just
don't really like that, and so Lucas is like, well,
then we're back to the Holy Grail, right, And so
at that point, Spielberg's like, Okay, let's see if we
can make the Holy Grail thing work. But I want
to explore this idea of who could be Indiana Jones's father,
And so Lucas is like, yeah, but we're going for
the Grail, and spill Work's like, yeah, but the hunt
for the Grail is the search for the father. It's
a father and son's story.
Speaker 2: You got to love how this is so beat by
beat Raiders of the Lost Ark, Right, Yeah, You've got
Indy on a big quest, then you have Indy teaching
a class, then you have a new assignment, and Brody
is in Indy's house, trying to convince him to take
the assignment right beat by beat for Raiders, Right, sure,
But then they're talking about the Grail and he says,
Indy says, do you believe? And then there's this nice,
pregnant pause, do you believe the Grail actually exists? And
Brody says, the search for the Cup of Christ is
the search for the divine in all of us. But
if you want fact, Cindy, I have none to give you.
At my age, I'm prepared to take a few things
on faith. I said to you, Okay, the mcguffin in
this thing is not actually the whole The mcguffin is
the diary.
Speaker 1: Right, Sure, we chase it around the whole movie.
Speaker 2: We do. It goes from good guy to bad guy,
to good guy to bad guy and all over the place.
Speaker 1: Right, But I should have mailed it to the Marx Brothers.
Speaker 2: For the first half of the movie before the diary
is the mcguffin. The father is the mcguffin. It's him
that they're trying to find. It's him that's leading all
of the action to where it's going, and it's they're
just using his diary to help find him again.
Speaker 1: Very similar to Raiders in the fact that they have
to find the headpiece to the staff of Raw, then
they got to find the map room, and then they
gotta find the arc.
Speaker 2: You know, so an X never ever marks the spot.
I love it, love it.
Speaker 1: So, Spielberg says, I know this guy named Jeffrey Boham,
he worked with me on Innerspace. Let's give him a
shot at this thing.
Speaker 2: Okay. So, like I said before, we haven't talked about
Jeffrey Boham's history before, but I feel like I got
to give I mean, the guy did some incredible stuff,
including these two movies coming out in the same year.
So he grew up in He grew up in New
Jersey and eventually moved out to California. Was inspired. He
can remember being inspired by the movie Tom Jones Albert
Fenny movie from sixty four, and he was so impressed
by it, Like he was like, this is nineteen sixty four.
You couldn't just go to scriptorama dot com. Right. He
actually sent away as a kid, sent away to have
the script given to him. Wow. And when he got it,
he was like, I couldn't believe it. How empty the
pages were. Like he was expecting to be just packed
full of words and it's all this empty space. So
that was a big lesson for him. But he was
an artist, like he was. He was a good artist,
and so he thought, well, I'll get into film and
I'll do stuff like set design and artistic design. But
then he started thinking about it and he's like, I
don't really want to be the guy in the background
doing all this stuff. And he learned about the film
program at UCLA and he's like, I'll go in and
I'll study directing, and that was what he wanted to do.
He's like, I'm going to be a director, and so
he goes graduate program at UCLA. He has a teacher
who's a mentor for him over there that he only
ends up with because he can't afford to produce his
own movie. Apparently, even in the in film school, you
have to fund your own student film project.
Speaker 1: Right, And so he's like, well, crap, I don't have
the money to do that.
Speaker 2: I'll take a script writing class and I'll just write
a script and see how that does. Right. Well, the
teacher tells him on his first few projects, you suck,
and he's and his reaction is not like, well, I
picked the wrong field. His reaction is, well, I'm going
to keep doing this until I get good, and he
basically bugged the teacher into becoming a mentor for him. Well,
then he graduates and his teacher gives him a call
and he says, hey, I know a producer who is
looking for some scripts, and I think he might be
interested in a couple that you've given me. Is it
okay if I give him your scripts? And he's like, well,
of course, heck yeah. The producer calls him and he says, well, well,
these aren't really what I want to do, but I
can tell that you've really got some talent. And he says,
my girlfriend just becoming an agent and she's looking for clients.
Would you want her to be your agent? And he's like, well,
heck yeah, I would love to have an agent. Sure,
And so she is his first agent and he is
her first client. Huh. But she's also I think they're
ultimately married. She's married to this producer and so she
has some connections and he immediately starts getting work. So
he has never been a spec script guy. He's never
been the guy like Chris Columbus that's writing in his
rat invested basement apartment, sending scripts off hoping that somebody
will read them. It was he just started immediately getting
work working on other people's stuff. Good for him. Yeah,
So he's always been a working writer. So one of
his first big assignments that he got we talked about
in her Halloween episodes last year is the Dead Zone. Right.
Remember we said Stephen King but had a bunch of
people trying to write a script for the sing including
Stephen King.
Speaker 1: That's right.
Speaker 2: Like they were like, Steven, why don't you try it
because nobody else can do it, And they got Stephen
Kings and they're like, well this sucks too.
Speaker 1: Yeah.
Speaker 2: Yeah, So he had he had worked with Stanley donnon.
You remember Stanley Donnan. He had, he had done like
Singing in the Rain, like he was the original director
attached the Singing in the Rain director was the original
director attached to the Dead Zone. Wow, And so that's
who Jeffrey Broehm wrote the script for. Well, then director's change.
He goes on with his life and later when David
Cronenberg gets attached, he called Jeffrey Bohm back up and
he's like, hey, I like your script. That's right.
Speaker 1: Was he went like reverted back to him.
Speaker 2: Yes, one of the original scripts. He goes back and
which is It's interesting because Cronenberg had written all of
the other stuff that he had directed, but this one
he liked Jeffrey Boum's stuff enough that he was like,
I'm keeping what you had. That was eighty three ish,
right yep. In eighty seven he gets inter Space and
the Lost Boys, right, which the Lost Boys another big
complete change. Remember the Lost Boys was supposed to be
like Cooney's and Peter Paan, right yep, And they completely
changed that to make it rock and roll and cool.
That was Joel Schumacher's idea. But he's like, Jeffrey Boehm
can take this this script and make it a completely
different script. And that's how we get the Lost Boys.
Speaker 1: You remember who was in charge of the Lost Boys.
That was a Richard Donner property.
Speaker 2: Yes, yeah, that's right.
Speaker 1: Yes, Richard Donner is over the Lethal Weapon movies.
Speaker 2: So there you go. So then you get a successive Interspace,
you get a success of the Lost Boys, and Richard
Donner has a Lethal Weapon two script that Shane Black
has written. We talked about that one in our Lethal
Weapon one episode about it being a much darker the
way sequels go with writers, a much darker take, and
Riggs ends up dead at the end, and we even
we pull the script and the opening scene is an
action scene, but it's an action on an airplane. It's
not a car chase, so very little. I think Shane
Black still gets a story credit on this, but I
think it was a major overhaul by Jeffrey Ball, right,
So Shane Black, I mean his version, Like you said,
it's called play dirty.
Speaker 1: That was the name of the script. So Leith Weapon,
play dirty, much darker. I told you there's an action
scene where an airplane carrying a bunch of cocaine over
Los Angeles explodes and there's like a thin layer of
cocaine over the entire.
Speaker 2: City in the nineteen eighties, that's right.
Speaker 1: And then like you said, at the end of it,
Riggs sacrifices himself for Merta. He gets killed. If you
even go back to the original Lethal Weapons story, they
even filmed this scene.
Speaker 2: Riggs leaves, he gets the heck out.
Speaker 1: Riggs is like, We're out of here. This that was
fun and good to see it.
Speaker 2: I'm out here, not going to be a cop anymore, right,
not a cop tonight, Roger.
Speaker 1: This is personal, that's right, and so thank goodness they
decided not to take that road, but so you go back.
They film that scene. They also filmed a scene for
Leath Weapon two where Riggs actually is killed and they
had had some alternatives, right right. They filmed a scene
where they're celebrating Thanksgiving dinner and Patsy Kinsey's character Rikavan
hagendas Brian hagandas yep.
Speaker 4: No Vanden has it's Dutch.
Speaker 2: Is they're eating Thanksgiving, eating Thanksgiving to floating with her
lifeless eyes in the bottom of the lake.
Speaker 1: Huh, that's right? Which that man that from theater? Oh,
stunning and from heartbreaking.
Speaker 2: Yeah. So when he was doing when Jeffrey Bohm was
doing Leath a Weapon, he's what he said. He says,
you do a lot of changes on the Lethal Weapon
movies because Donner is very spontaneous and he always wants
something new the day he shoots the scene. So he
would call him up around seven in the morning and go,
we're about to shoot the scene. I have an idea.
What you think can you fax it to me? And
so it was like he was the guy who could
do stuff quick on the fly and was available to
do it.
Speaker 1: And so, by the way, something on the Shane Black script. Yeah,
Shane Black has said that that Leath the Weapon two
script is the best thing he's ever written.
Speaker 2: Yeah.
Speaker 1: He was so upset that they rejected it that he
offered to give the money back and they were like, no, dude,
you did the work. And then he's like, yeah, I
screw you, guys, I'm taking the money. But I mean
just really hurt his feelings that they didn't like it
enough for him to do it right. When they eventually
offered it to Jeffrey Boham, he wrote two different versions
of it. One was more action, one was more comedy,
and Donner said, combine them and that's what we get
at least the web and two it's super funny.
Speaker 2: Yeah, and it's loaded with action. It's it's great. And
that's and going back to Indiana Jones, that third movie
becomes more light hearted. They had gone dark with Temple
of Doom, and it becomes more lighthearted, more fun, more comedy,
more action. And I said this, I sent this to you.
I was like, okay, I've just blown my own mind.
I said, are are you ready for this? Movie? One?
An action adventure quest introducing the hero. Movie two, darker,
more ominous hero discovers the darkness within himself. Movie three
much more light hearted Ensure, where the hero is reconciled
with his estranged father. Did I just describe the Indiana
Jones trilogy or Star Wars?
Speaker 1: You nailed it. I mean there's a formula.
Speaker 2: It's the same deal, right, It's the same.
Speaker 1: By the way, our man, Robert Mark Cayman, actually also
worked on Lethal Weapon two. Remember him from the Karate
Kid episode? Yes, did some work on leth a Weapon two.
Speaker 2: Trying to think what he would have done.
Speaker 1: I don't know exactly, rights, yeah, okay, dialogue maybe.
Speaker 2: So after after he's done with Lethal Weapon two, he
gets a call from Steven Spielberg and he says, hey, oh,
we're going to do a movie. Actually, actually what he
says is he says something like, you want to get
real rich?
Speaker 1: You want to get really rich?
Speaker 2: And I was like, yeah, why, yes, please? Then Spielberg says,
I think you should do the next Indiana Jones movie.
It's something to do with the Holy Grail. He said
he had to talk to George because George didn't know
who Jeffrey Bohm was, right, And so a long time
goes by and he just kind of forgot about it.
And then Spielberg calls him again after something for some
other reason, and he goes by the way, anything going
to go on for that Indiana Jones idea, and he said,
I think George is going to call you soon. Got
a call from George. He wanted to meet at Amblin.
They went over there, they got a long next step
was spending about two weeks with George working on the story.
George already had the ideas for the Vienna scenes and
the boats and the propellers and all of that stuff.
And I'm going to throw back to our Phantom Menace episode.
We've talked several things now about where George is like, Hey,
I want to do this, and somebody was like, I
don't think that's a good idea, right, terrible idea, George. Yeah,
And that is why when you had the Phantom Menace,
where George is writer, director, and producer and financier, there's
nobody there to go George, I don't think that's a
good idea. All right, you're fined. Yeah. Yeah, So fortunately
in this situation, people were still able to tell George, eh,
maybe not the Monkey King.
Speaker 1: You know, we talked about that's a great, great point.
When George is strictly in charge, you run into problems,
but you've got Lawrence Casten to push back, or you've
got Marcia Lucas to push back. You know, he needs
somebody to keep him in check.
Speaker 2: Filmmaking is a collaborative process. You cannot have a dictator
in the mix.
Speaker 1: I've got something interesting for you on Spielberg during this time. Okay,
So Spielberg, you think about it. He had kind of
gone dark a little bit after Et, you know. So
he does Poldergeist, he does Empire the Sun's He's wandering
in the wilderness just a little bit. So Spielberg said
that nineteen eighty eight was one of the worst years
in cinematic history.
Speaker 2: Okay, And he said, I'm watching.
Speaker 1: These movies that were not what they could have been,
and a lot of them were done by my friends.
Speaker 2: Ouch. Yeah, because he's.
Speaker 1: Involved in Indiana Jones in the Last Crusade, he turns down.
Speaker 2: Big and rain Man. Yeah, and I'm wondering if.
Speaker 1: That's a little bit accusatory of those two movies.
Speaker 2: I mean, I don't know, because we talked. We talked
about Big and his reasons for not being involved with
that because his sister's involved with that, right, Yeah, she
wrote the script, she did, right, Yeah. And Penny Marshall,
I mean, obviously she took that one and sailed with it.
But I see other reasons on Big and then rain Man.
I don't know how you're not going to say that's
a great script, but it's it's not big and flashy
like all of Spielberg's other stuff is either.
Speaker 1: So he did make a comment about rain Man how
he thought he could have pulled more emotion out of it.
Speaker 2: Huh.
Speaker 1: So I wonder if that's the one he's got pegged.
Speaker 2: I wonder. Okay, all right, so there we go. We've
we've got the history, we've got the stories behind the scripts.
Let's talk about casting.
Speaker 1: Yes, all right, let's fly back to leath a weapon too.
Speaker 2: Yeah. I'm surprised you haven't heard about me. You know,
I got a bad reputation, and sometimes I just go
on nuts, like.
Speaker 1: Now, okay, so number one, you've got mel Gibson movie
star extraordinari at this time, Yeah, we had just seen
him in Lethal Weapon one in nineteen eighty seven. You
and I both agreed. Man, this guy's awesome. He got
his start in Australia and became a star in the
mad Max movies.
Speaker 2: Yep.
Speaker 1: Riggs is when he starts to take hold of the
American audience.
Speaker 2: Yep. Okay.
Speaker 1: So he's thirty three at the time of filming Lethal
Weapon two.
Speaker 2: Okay, He's on the.
Speaker 1: Cover of People magazine. He's the heart throb of America,
sexiest man in America. It was all about that butt
scene in Legal Lethal Weapon too, right. It didn't hurt,
that's for sure. But this is way before any of
his crazy antics that happened later on in his life.
Speaker 2: Yeah. I mean, as you pointed out, every girl wanted
to be with him and every guy wanted to be him.
Speaker 1: It's true. Yeah, you know, we talked about how in
Lethal Weapon he was drinking two pints of beer every
morning for breakfast and still showing up on time. You
got a hydrate and then you got Danny Glover back.
Speaker 4: I'm black.
Speaker 3: That's why I want to go to South Africa to
join up with my oppressed brothers, to take up the
struggle against the tyranny of the racist, fascist, white minority regime,
fascist white regime. One man, one vote, one man, one vote,
Free South Africa. You're dumb son of a bitch.
Speaker 1: Your dumb son of a bitch. I've just about as
much as I want. Yeah, we talked about how he
was hired from his role in The Color Purple Right,
which is a Spielberg movie.
Speaker 2: Yep, got a little bit of.
Speaker 1: A connection there. These guys have such great chemistry on screen.
Speaker 2: I think they're really great friends too. Even off screen,
I think that they they just got along very well.
Speaker 1: I don't want to overstate this, but as far as
on screen chemistry, these two characters work incredibly well together.
Speaker 2: Absolutely.
Speaker 1: You believe that Riggs has been adopted by this family.
Speaker 2: The thing is is that what you have from lethal
weapon one to lethal weapon two is a completely different dynamic, right,
because lethal weapon one, they're at odds, like Martas just
trying to get through is last year being a police.
He just wants to retire. He's just too old for this,
you know, years old, and he wants to be done
and cool and quiet. And he gets partnered up with
this rogue cop who is suicidal and doesn't seem to
have any concern for his own life for the lives
of people around him. Right, So it's the perfect oppositional story.
But what you have by the end of the movie
is the crazy cop has become saying and is no
longer suicidal, and the enemies have become friends. So what
do you do for part two? Right? Because are they
going to fight about something again? Because what the point
that you made was these guys work together so well. Well,
they work together as guys who are fighting with each other,
and if you look at Lethal Weapon two, they work
together as best friends because that's what they are in
Lethal Weapon. Do they don't give us these guys fighting again.
They're a different relationship where their best buds looking out
for each other, have each other back, you know, finishing
each other's sandwiches. You know, it's it's that that relationship
that these two actors must have. Really, it's them worked
well together regardless of what the character's relationships are.
Speaker 1: Absolutely one hundred percent. You know, I heard Mel Gibson
talking about how they as actors, they creatively came up
with the idea they would spoon the spaghetti out of
the same dish without getting plates, because that's who they
are right.
Speaker 2: And Joe Peshi is just like, what what you know?
I don't don't have any plates.
Speaker 1: Now listen, you drop in Joe Peshi. We need to
have a conversation about who adds more to the franchise.
Is it Sean Conry is doctor Henry John Senior? Or
is it Joe Peshi? As Leo gets because they both,
I think when you drop them in, it levels up.
Speaker 2: Yes, Okay, okay, okay, bed cop bed cock.
Speaker 3: I got it.
Speaker 5: I know all those.
Speaker 2: Routine Leo gets. Yes, sir, you said, it's me.
Speaker 1: Leo gets whatever you need. Leo gets, you get it.
I use that all the time to break the ice
when I meet people.
Speaker 2: You know, it's good.
Speaker 1: So Riggs and MYRTA are standing side by side, and
now they're new they're joint pain in.
Speaker 2: The butt is Leo gets Yeah?
Speaker 1: But I think he's like us, like we get to
ride along in the cop car with Riggs and MYRTA.
He is the audience representation. Oh my gosh, what kind
of gun do you have? Because it's awesome you get
to shoot people right right? Can I turn on the siriren?
Speaker 2: You know one of the texts I sent during the
movie was like Riggs worst witness protection cop ever. Like
what you immediately take him on an assignment where there's
gun play and as it turns out, gun play with
the people he's supposed to be protected from.
Speaker 1: And he gets him kidnapped and beaten up.
Speaker 2: Little little convenient, little plot point there.
Speaker 1: I told you stop being a killjoy, but listen to this.
So I have found this really fascinating. So Joe Peshi
is the third guy. Leo gets whatever.
Speaker 2: You want Leo gets.
Speaker 1: He had been in Raging Bowl with de Niro. He
had a really good, strong start to his career. He
does Easy Money with Rodney Dangerfield in eighty.
Speaker 2: Three Needle Scratch. That movie is terrible.
Speaker 1: Yeah, and then he kind of goes through a dry
spell where he does not a lot of anything. He
does Lethal Weapon two, which gives him rocket fuel. But
then listen to what he does over the next six years. Okay,
Betsy's wedding, good Fellas, Home Alone, JFK, my cousin, Vinnie Leith,
A Weapon three, Casino.
Speaker 2: I don't know what Betsy's wedding is, but the rest
of those are definitely all major, major movies, right.
Speaker 1: Yeah, and he's so funny and you believe him as
the Pip squeak, but he's having the time of his life.
Speaker 2: Yeah.
Speaker 1: I love it when he says they're talking to the
captain's chewing him out or whatever, and he's like, yes, sir,
you know they're like, He's like, these guys are good cops.
They usually make me stay in the car.
Speaker 2: He's like, usually usually doesn't matter if he's dirty, rigs.
Speaker 3: He's a diplomat, he's got immunity, he's beyond the law.
Speaker 1: We can't touch him, arrest him, prosecute him.
Speaker 3: Is that clear?
Speaker 2: Does that spell it out for you? Yes, sir? Okay,
the hell is this guy?
Speaker 1: Leo gets nice to meet you, sir? Gets jeez, you
took a civilian on a bust, a civilian.
Speaker 2: You're supposed to be protectedly alive.
Speaker 1: It's okay, it's okay. I signed to wait.
Speaker 5: Besides, I usually wait.
Speaker 1: In the car usually usually that's right. Hey, they're very
adamant about that.
Speaker 2: So obviously we've seen him in some pretty scary characters, right, Like,
I mean.
Speaker 1: They're just horrifying and good Fellas and Casino both.
Speaker 2: For sure, right, But he's so lovable in this, like
he's a lovable teddy bear in this like ewok yeah,
So I saw him talking about how he came up
with the character and he's like, okay, so we're gonna
dress him like Joel Silver. Yes, Joel Silver is the
producer of Lethal Weapon and of Diehard. I mean he
and Predator and a bajillion other things in the eighties,
right right right, But he's a very flamboyant guy. By
the way, side note, go check out our who for
Roger Rabbit episode with the Docking Bay seventy seven podcast
with Dayton Johnson because we talk about how that's an
acting moment for Joel Silver. He's the director of the
opening cartoon. God yeah, Roger, Yeah, that's it. That's droll Silver. Anyway,
they take his clothes because he's got this big, flamboyant
style of dressing. And then he says he takes the
he takes his inspiration from the people who work at Disneyland,
and he's like, you'll go you'll go into Disneyland and
be like, excuse me, can you tell me where the
Magic Kingdom is? And they'll be like okay, okay, okay,
so the Magic Kingdom, I wait, yes, okay, so okay,
the Magic Kingdom is this way, and they're always just
bubbly and full of smiles. And so that was how
he creates the character of Leo Getz. I love it, man,
that's great. I love it. It is great. Okay.
Speaker 1: So let's talk briefly about Joss Auckland. He plays Argent Rudd. Okay,
he's the bad guy.
Speaker 2: The bad guy, diplomatic immunity.
Speaker 1: That guy had a community, my dear officer who could
not even give me a bucking ticket. He plays the
bad guy the next year in the Hunt for October.
Speaker 2: Oh, that's right.
Speaker 1: He's the bad guy in Bill and Ted's bogus journey
that we covered in season one, I believe. Okay, but
he had had some roles. He had been in the
Three Musketeers movies, and I mean he was a you know,
stage actor. This guy's a big British.
Speaker 2: British guy, rischh guy. Yeah. None of these guys were
actually South.
Speaker 1: African South African. No, No, they were British. Okay. Now
I want to talk about the lovely Patsy Kinsett. You know,
she's got a interesting surely you can't be serious connection
that I want to drop on you.
Speaker 2: Okay, Okay, we're talking. We're talking about Missus hogandhass.
Speaker 1: Rika venden Huss Yes, yeah, which I'm curious. She was
twenty one when she did Luth the Weapon two. Alison
Duty was twenty one when she did Indiana Jones in
the Last Crusade.
Speaker 2: She was twenty one and she auditioned for it. I
think she's about twenty three when they actually shut them.
Speaker 1: Okay, your early twenties. Yeah, who you taking in nineteen
eighty nine.
Speaker 2: I don't care. Blindfold me and send me in with
something to pin the tail on, and I'm good to go.
Speaker 1: No.
Speaker 2: They're both phenomenally beautiful.
Speaker 1: Matris incredibly beautiful women. Okay, all right, So here's the
interesting thing about patsy Kins. There's an interesting connection to.
Speaker 2: Interest in case pat patsy Kins that is listening to
this episode and you're like, oh, you had a chance,
but then you said that forget it, Patsy, I'll smoke here.
Speaker 1: Okay. She plays a young girl in the movie Hanover Street,
which I've never seen. I've always wanted to see. Okay,
I'm not sure how she's related to the main character.
I think maybe a step daughter or something.
Speaker 2: Like that. Okay.
Speaker 1: The starring role in that one goes to mister Harrison
Ford Hanover Street. Interesting, and she's a little girl in that.
Speaker 2: So this is missus Hogendas. Okay, because the reason that
River Phoenix got picked to be the young Indie was
because he had been in a movie Mosquito Coast with
Harrison Ford. Harrison was the one that suggested him, and
he fantastic he was. He had watched Harrison and his
behaviors and knew how to do it good Harrison impression
when he wasn't looking.
Speaker 1: Let's say that for the Indiana Jones cast. Okay, all right,
all right, but here's the interesting surely you can't be
serious podcast connection to Patsy Kinset Okay. Her first husband's
name is Dan Donovan. Okay. He was in the band
Big Audio Dynamite. Okay, famous song called the Globe from
nineteen ninety one.
Speaker 2: You would know it here. It is right here.
Speaker 1: Oh bless you, bless you well, go away beauty.
Speaker 2: Okay.
Speaker 1: Okay, that's her first husband.
Speaker 2: Okay.
Speaker 1: So apparently she's really easy to marry to have to
stay married too, because she's been divorced four times. But
her second husband is Jim Kerr. Does that name Ring
a Bell to you like Kerr McGee Kerr? Yeah, Jim Kerr.
Speaker 2: Okay, is he related to Kermagee? Nope, okay, no, I
got I got nothing with Jim Kerr.
Speaker 1: Jim Kerr sings this song.
Speaker 2: Jim Kerr from Simple Minds.
Speaker 1: Yes, you're exactly right.
Speaker 2: Oh wow, okay, good job Jim Kerr.
Speaker 1: Now get this.
Speaker 2: Yeah.
Speaker 1: Her third husband sings this song.
Speaker 5: And all the Roads we have to walk co winding.
Speaker 6: And all the lights and that a blinding Oasis loves
Jim Gallagher Gallagher, Yeah, what so she's.
Speaker 1: Into the musicians well, and she's a musician herself. She
actually sings this song the Ring a Bell for You.
Speaker 2: No, it is not.
Speaker 1: What is that that's called I'm Not Scared?
Speaker 2: Oh? From Eighth Wonder.
Speaker 1: Yeah, you're exactly right, see that I had that album.
Speaker 2: She looks beautiful in that viga she does I don't
know why you're giving up on her post eighty nine.
I have a guitar. I haven't given up on you. Like,
there you go, Okay.
Speaker 1: Then rounding out the cast, you've got Darlene Love, who
played Trish from the first one. She's in all four.
She's fantastic. Okay, you've got Tracy Wolf who plays Rhianne,
which in the theater when she does that condums commercial.
The theater that I watched it in was belly laughing.
It's such a funny moment in the movie because rig
sets it up. Hey, everybody, guess what tonight, the lovely
rhei Enn Mertad Channel eight or whatever at eight o'clock
is gonna make your you and a commercial. And of
course the entire praseinct watches her do a condom commercial,
and Roger is mortified, that's wrong.
Speaker 2: I love that commercial. She makes me one of my rubbers.
Speaker 1: Will you look at the body on this girl. I'm
gonna pretend I didn't hear you say that.
Speaker 5: Now.
Speaker 1: I got a couple of names I want to drop
on you real quick. Mark Ralston plays Hans and Jeanette
Goldstein plays Shapiro.
Speaker 2: Yes, sir, two, we're.
Speaker 1: In a movie together.
Speaker 2: I know it. Yeah, what is it? It is? Aliens?
Speaker 1: Yeah, you Haveasquez, Basquez and Drake one of my favorite
lines because they're kind of buddy buddy in that movie too. Yeah,
they got a little something happening.
Speaker 2: Yeah, I mean so, but they they share no screen
time together in this movie. He is the guy they're
chasing at the beginning. If you don't know who I'm
talking about, he's the he is in Shoshank Redemption, he's the.
Speaker 1: He's one of the sisters.
Speaker 2: Yeah, he's the sister, Like he's the guy. What's guy?
The guy's name Boggs. Boggs. He's Bogs and shoshannk Redemption.
So that I mean, you don't know by that. Listen,
you need to get together and watch them. Surely you
can't be serious podcast movies, guys, okay, because you're missing
out anyway. He is like buddy buddy with her in Aliens.
They're both a part of the crew along with Bill Paxton,
who were there to kill some bugs. And I mean, god,
Janette Goldstein could not look any more different.
Speaker 1: She looks totally different, and you never really got a
good look at her. I mean, she doesn't really do.
Speaker 2: Much except when she's peeking around the corner trying to
catch a glimpse of Murtaz. He sits on a toilet.
Get out of here.
Speaker 1: So that rounds out the cast pretty much for Leith
a weapon too. Other than the people that you have
from the first movie.
Speaker 2: Well, you got Richard Donner's cousin who's in all of
his movies, including Scrooge as the police chief who was
also a policeman in Superman one.
Speaker 1: Right, remember that's done by Richard Donner.
Speaker 2: Yes. Yeah, we talked before about how John Lovetz was
not the first choice for Leo Getz. Yeah, you had
some name for me on this.
Speaker 1: I do I know that one of them is John Lovetz.
John Levitz was talked about. So Joe Pantaliano was the
other guy they were looking at.
Speaker 2: Okay, so Joe Pantaliano, Yes, is the guy who's in Goonies.
He's one of the two brothers, not the one who
sings op Agent Johnson with the two pay Yeah, that guy, right, Francis.
And he's the he's the main bad guy, not the
main bad guy, like he's not Agent Johnson, but he's
the main like spy conspirator bad guy in the Matrix.
I told this to you earlier and you're like, yeah,
if you say so, And I'm like, what what do
you mean if you say so? I just mentioned two
gigantic movies there, and you're like, well, I like the Goonies.
I'm like you didn't like the Matrix.
Speaker 1: It's one of my Yeah, it's one of my cinematic sins.
I'm not a big fan of the Matrix.
Speaker 2: Yeah, we got to revisit that one. Brother, I don't
I don't understand.
Speaker 1: I've only seen it once.
Speaker 2: That's a problem.
Speaker 1: I may have had a bad day. I'm not sure.
Speaker 2: Oh my gosh. All right, yeah, we definitely need to
need to go rev Is it that one? Cool? Okay, Okay, guys,
that'll have to do it for part one. Please come
back and join us for part two of Indiana Jones
and the Last Crusade versus Lethal Weapon two. And here
is a little song that I wrote just for you, guys.
I hope you enjoy it.
Speaker 4: We're back, We're bad, You're back, salthak eighty man to me.
Speaker 5: The sually at the drive roof diplomatic immunity. I'm not
a cop, tonight, Roge, this is personal. This was a
new Carris Well, it's stealing? Is it? Steal? Is south
Side and eighties? Man to me, I'm Leo, guess and
whatever you want Leo kids, I'm getting to oh for
this shore. Why do you do this to yourself? Well?
Who else am I supposed to do it too. Any
meeting night, hay more South king a hand to me,
diplomatic cutity, guys, a cute don't die all the toilet.
I'm getting too old for this. Surely South is surely
bad to me. South like the surely bad South, Like
the surely band that's.
Speaker 2: So awesome, the Rama Yama. Okay,