WEBVTT 1 00:00:34.479 --> 00:00:34.679 HP. 2 00:00:35.000 --> 00:00:37.759 What does November the eighth mean to you? Specifically November 3 00:00:37.759 --> 00:00:40.079 the eighth, nineteen seventy two, Where were you on that day? 4 00:00:40.320 --> 00:00:42.399 I wasn't even born yet, father alone. 5 00:00:42.479 --> 00:00:45.840 And yet the day was a momentous one. That was 6 00:00:45.880 --> 00:00:48.399 the day the New York Rangers faced the Vancouver Canucks. 7 00:00:48.920 --> 00:00:52.439 More perspecting that more importantly, it was the day that 8 00:00:52.600 --> 00:00:57.280 Home Box Office debuted its very first programming, which was 9 00:00:57.359 --> 00:01:02.200 that NHL game Home Box Office, premiering very locally in 10 00:01:02.320 --> 00:01:06.879 Wilkes Barre, Pennsylvania, before spreading like a virus across the globe. 11 00:01:06.879 --> 00:01:09.599 Now there are twenty three HBO stations. Is it even 12 00:01:09.719 --> 00:01:12.359 HBO anymore? We call it Max these days. Point B 13 00:01:14.480 --> 00:01:18.599 special appearance by miss Ripley Jean Hey, she's always been 14 00:01:18.599 --> 00:01:22.840 a Cinemax fan. HBO the very first paid cable service, 15 00:01:22.959 --> 00:01:26.439 just to start servicing the entire United States, offering programming 16 00:01:26.799 --> 00:01:34.400 uninterrupted by advertising, uninterrupted by meddling, television sensors, unedited programming. 17 00:01:34.480 --> 00:01:37.560 Now they could offer concerts, they could offer a stand 18 00:01:37.640 --> 00:01:42.719 up comedy, and on occasion, they could offer theatrical productions. 19 00:01:42.760 --> 00:01:45.920 And that's what cable box theater is all about. Welcome 20 00:01:46.000 --> 00:01:51.079 patrons and new listeners all alike. This is Cable Box 21 00:01:51.120 --> 00:01:54.760 Theater with me in here in this inaugural episode HP, 22 00:01:55.359 --> 00:01:58.959 host of Night, mister Walters and composer of Everything Great 23 00:01:58.959 --> 00:02:00.400 from the weirding Way Media Network. 24 00:02:01.359 --> 00:02:04.640 Oh. Thanks, it is such a pleasure to be here, 25 00:02:04.680 --> 00:02:07.000 Father Malone. I'm so excited that this is such a 26 00:02:07.079 --> 00:02:11.159 part of our shared experiences growing up watching these things 27 00:02:11.159 --> 00:02:13.439 on cable. So I'm really excited to talk about this. 28 00:02:14.199 --> 00:02:16.560 And for our inaugural episode, we're gonna be We're gonna 29 00:02:16.560 --> 00:02:21.000 be talking about a theatrical production from nineteen eighty three. 30 00:02:21.319 --> 00:02:25.439 It is Wait Until Dark, the Frederick not penned stage 31 00:02:25.479 --> 00:02:28.879 play that actually premiered in nineteen sixty six at the 32 00:02:28.879 --> 00:02:33.039 ethel Merriman Theater. Within a year, it had been transformed 33 00:02:33.120 --> 00:02:36.400 into its first adaptations, first separate adaptation. That was a 34 00:02:36.439 --> 00:02:41.080 film adaptation directed by Terrence Young, starring Audrey Hepburn and 35 00:02:41.199 --> 00:02:43.719 mister Allan Arkin. And there are some other people in there. 36 00:02:43.719 --> 00:02:46.240 But really this is a two hander. It's a two 37 00:02:46.280 --> 00:02:49.240 hander with a bunch of peripheral characters. HP. Had you 38 00:02:49.360 --> 00:02:53.560 seen the film of Wait Until Dark prior to the 39 00:02:53.599 --> 00:02:55.039 production we're discussing today. 40 00:02:55.479 --> 00:02:58.280 I did not. I saw Wait Until Dark the movie 41 00:02:58.560 --> 00:03:00.800 much much later. I want to say I probably saw 42 00:03:00.800 --> 00:03:04.840 it within the last fifteen years, not which is a 43 00:03:04.879 --> 00:03:08.719 long time, but relatively speaking, that we're talking nineteen eighty 44 00:03:08.719 --> 00:03:13.199 two was when the HBO taped version of it was, so, yeah, 45 00:03:13.199 --> 00:03:15.000 it was quite a bit after it. How about yourself. 46 00:03:15.199 --> 00:03:18.439 Yeah, my introduction to Wait Until Dark was the theatrical 47 00:03:18.439 --> 00:03:21.159 production we're discussing today. Before we go any further, I 48 00:03:21.159 --> 00:03:23.360 want to mention that everything we're going to be discussing 49 00:03:23.360 --> 00:03:27.000 here on cable box theater will be available for free 50 00:03:27.120 --> 00:03:30.159 to the public in one form or another. In this case, 51 00:03:30.319 --> 00:03:32.280 you're going to want to head to YouTube. You're going 52 00:03:32.280 --> 00:03:35.240 to want to type in Wait until Dark Stacy Keach 53 00:03:35.280 --> 00:03:39.520 After that that'll do. That'll bring you to this particular production. HP. 54 00:03:39.639 --> 00:03:42.159 If you had to summarize the plot of Wait Until Dark, 55 00:03:42.199 --> 00:03:42.840 how would you do that? 56 00:03:43.240 --> 00:03:46.599 So it's pretty easy to summarize. We have the protagonist 57 00:03:46.599 --> 00:03:49.199 as a blind woman, the newly blind. I don't think 58 00:03:49.240 --> 00:03:53.520 she was had an accident that rendered her blind. She 59 00:03:53.560 --> 00:03:55.840 has a husband who came back from a business trip 60 00:03:55.879 --> 00:03:59.800 with a doll that was given to him under mysterious circumstances. 61 00:03:59.840 --> 00:04:04.360 This doll is filled with drugs heroin, and the people 62 00:04:04.400 --> 00:04:07.439 who want it back devise a plan by which they're 63 00:04:07.439 --> 00:04:12.439 gonna use khanmen to try and convince her that her 64 00:04:12.520 --> 00:04:15.199 husband is involved in some shady dealings. This is all 65 00:04:15.240 --> 00:04:18.120 in an effort, a plot to convince her to give 66 00:04:18.199 --> 00:04:21.160 them the doll before the husband is aware of what's happened. 67 00:04:21.439 --> 00:04:24.639 And this is she's not nearly as helpless as they 68 00:04:24.639 --> 00:04:27.199 think she is, and that's where the story goes. 69 00:04:27.399 --> 00:04:29.439 You can go ahead and spoil it listen. Actually, speaking 70 00:04:29.480 --> 00:04:31.120 of spoilers, and I did mention where you can see 71 00:04:31.160 --> 00:04:32.680 these things, but we are going to be spoiling the 72 00:04:32.720 --> 00:04:36.040 fuck out of everything we're talking about here. In a 73 00:04:36.079 --> 00:04:39.759 case like this, which is all predicated on mystery. This 74 00:04:39.839 --> 00:04:42.839 is a mystery thriller. You're gonna want to seek it 75 00:04:42.879 --> 00:04:46.040 out if spoiling is a problem for you, because because 76 00:04:46.079 --> 00:04:46.560 here we go. 77 00:04:47.600 --> 00:04:50.240 Yeah, this is your last chance to see it. If 78 00:04:50.240 --> 00:04:53.399 you want, pause the podcast right now, go to YouTube, 79 00:04:53.439 --> 00:04:56.279 watch it, then come back and listen to us chop 80 00:04:56.319 --> 00:04:59.399 it up. Okay, so this is your last chance. Go Okay, 81 00:04:59.600 --> 00:05:01.839 we're back. Let's talk about this. Spot them alone, Let's go 82 00:05:01.920 --> 00:05:02.199 for it. 83 00:05:02.279 --> 00:05:06.680 Oh, let's go for it. Okay, So okay, Now I 84 00:05:06.720 --> 00:05:10.079 had seen this stage production on television like you did. 85 00:05:10.160 --> 00:05:11.600 I'm sure it was on a lot. 86 00:05:11.759 --> 00:05:16.000 I think part of the charm of these televised plays is, 87 00:05:16.560 --> 00:05:19.319 and I believe you made this point on one of 88 00:05:19.360 --> 00:05:22.959 your weekly roundups, which is there wasn't a lot. There 89 00:05:23.040 --> 00:05:25.680 was a lot of air time to fill on these 90 00:05:25.759 --> 00:05:29.000 cable networks and not a lot of content fill it. 91 00:05:29.120 --> 00:05:32.079 So this was one of those things. It was an 92 00:05:32.160 --> 00:05:35.879 easy way to fill time in a given day, right, 93 00:05:36.480 --> 00:05:40.680 just videotape a performance of a play and just there 94 00:05:40.759 --> 00:05:42.560 you go, you slap it up there. So it was 95 00:05:42.600 --> 00:05:45.279 on a lot, But I can't say that as a 96 00:05:45.360 --> 00:05:47.560 nine year old, I actually sat there and watched it 97 00:05:47.600 --> 00:05:50.360 from start to finish. I would usually turn on HBO. 98 00:05:50.959 --> 00:05:54.879 There's Stacy Keach doing his thing, there's Catherine Ross. I 99 00:05:54.879 --> 00:05:57.079 didn't have a lot of context, but I just remember 100 00:05:57.360 --> 00:06:00.600 the look of it, the stage set with the stairs. 101 00:06:00.639 --> 00:06:04.439 It's iconic. But I honestly don't think I really followed 102 00:06:04.439 --> 00:06:06.480 the plot much as a nine year old. Did you? 103 00:06:06.920 --> 00:06:09.920 I would assume you, being much more refined in your 104 00:06:09.959 --> 00:06:11.879 viewing habits, did you watch it all the way through 105 00:06:11.920 --> 00:06:12.399 as a kid. 106 00:06:12.519 --> 00:06:15.240 Oh yeah, multiple times, over and over and over again. 107 00:06:15.439 --> 00:06:18.439 This felt like a suppressed memory when I re encountered it. 108 00:06:18.839 --> 00:06:22.160 The image of Stacy Keach in an all white suit 109 00:06:22.800 --> 00:06:25.759 during a dark out sequence which the last act of 110 00:06:25.759 --> 00:06:28.920 this play, part of it takes place in total darkness, 111 00:06:28.920 --> 00:06:32.439 and although not obviously total darkness on stage, just a 112 00:06:32.519 --> 00:06:35.879 hint of light, but certainly he shines through the darkness 113 00:06:35.920 --> 00:06:38.079 in his white suits. I certainly remembered that there were 114 00:06:38.120 --> 00:06:40.920 aspects of his performance that I had not remembered, and 115 00:06:40.959 --> 00:06:43.240 we're certainly either we're certainly going to get to that 116 00:06:43.600 --> 00:06:51.399 interesting choices. I remember really enjoying this production as a child. 117 00:06:51.800 --> 00:06:55.480 I felt like it was like, somehow a version of 118 00:06:55.560 --> 00:06:59.000 Hitchcock that was available to young me. I felt like 119 00:06:59.040 --> 00:07:01.800 it was because all you kept ever hearing about thrillers 120 00:07:01.800 --> 00:07:04.160 and mysteries was fucking Hitchcock and how he had done 121 00:07:04.199 --> 00:07:05.920 it all, and it was already done. But here was 122 00:07:05.959 --> 00:07:08.800 this thing that was live and breathing on the television 123 00:07:08.879 --> 00:07:11.079 in our home that was new. I didn't know there 124 00:07:11.120 --> 00:07:15.000 was a history with it being a readaptation of a film, 125 00:07:15.000 --> 00:07:18.639 but I certainly really liked the production a lot. Upon 126 00:07:18.759 --> 00:07:22.319 rewatch of both of the film and this adaptation, I 127 00:07:22.360 --> 00:07:25.160 have come to a conclusion, which is I don't really 128 00:07:25.240 --> 00:07:25.920 like way it until. 129 00:07:26.959 --> 00:07:30.800 Well, it's interesting that you say that, because I still 130 00:07:30.839 --> 00:07:33.399 really enjoy it. I watched the movie again and I 131 00:07:33.439 --> 00:07:36.879 watched this production to prepare, and I will say I 132 00:07:37.000 --> 00:07:39.759 enjoyed it. But and maybe this is what you're getting at. 133 00:07:40.160 --> 00:07:43.560 There's a lot of suspension of this belief required to 134 00:07:43.680 --> 00:07:48.120 watch this. It's not necessarily the most believable scenario. If 135 00:07:48.120 --> 00:07:51.360 I am these nefarious characters and I want to get 136 00:07:51.399 --> 00:07:54.720 this doll back from a blind woman, there's a lot 137 00:07:54.839 --> 00:07:58.639 easier ways to do it than concocting this convoluted scheme 138 00:07:58.800 --> 00:08:04.120 with multiple characters, people playing different characters, walking in, coming out. 139 00:08:04.519 --> 00:08:07.839 It's I decided very early on that that's the mode 140 00:08:07.920 --> 00:08:09.480 you have to be in to watch this. And once 141 00:08:09.519 --> 00:08:12.680 I decided to do that, I had a great time. 142 00:08:12.680 --> 00:08:14.079 I was on the edge of my seat. I thought 143 00:08:14.079 --> 00:08:16.680 it was really entertaining. But you just have to accept 144 00:08:16.720 --> 00:08:20.120 the fact that they're going they're taking the long way home. Right. 145 00:08:20.519 --> 00:08:23.879 Knowing what we know about criminal element, particularly with the 146 00:08:23.959 --> 00:08:28.360 character we're given here, Harry wrote, if this play film 147 00:08:28.720 --> 00:08:32.240 any iteration of it has produced anything. It's the fantastic 148 00:08:32.320 --> 00:08:35.879 character of Harry wrote who in the film version, portrayed 149 00:08:35.879 --> 00:08:39.759 by Alan Arkin, portrayed as a psychotic beatnik, a very 150 00:08:39.799 --> 00:08:44.519 subdued psychotic beatnik, very low talking, very measured performance. 151 00:08:44.879 --> 00:08:48.840 He's menace personified for me in the movie. It's because 152 00:08:49.080 --> 00:08:52.759 maybe younger listeners to this podcast might know him. He's 153 00:08:52.840 --> 00:08:55.679 not necessarily known for his bad guy roles. 154 00:08:56.000 --> 00:09:00.039 Right, He was primarily known for comedies Yeah right. 155 00:09:00.159 --> 00:09:04.519 Miss Sunshine. More recently The in Laws. I think he 156 00:09:04.600 --> 00:09:07.679 was in with Peter falk Right, of course, the Return 157 00:09:07.720 --> 00:09:10.840 of Captain Invincible, which is one of our personal favorites. 158 00:09:11.320 --> 00:09:14.480 To see him in such he really is scary in 159 00:09:14.519 --> 00:09:17.519 this role. To see him in such an nefarious evil 160 00:09:17.639 --> 00:09:22.080 role is a revelation for me even now rewatching it, 161 00:09:22.120 --> 00:09:24.080 I said, why I forgot how really good he is? 162 00:09:24.159 --> 00:09:27.879 You know, Yeah, I've always been a mind of that. 163 00:09:28.039 --> 00:09:33.279 The quiet villain is the scariest villain, and so his 164 00:09:33.440 --> 00:09:37.080 choices all through that performance are fucking great because he 165 00:09:37.159 --> 00:09:39.559 never really he loses it at the end because it's 166 00:09:39.600 --> 00:09:42.440 necessary to lose it by the end, but he maintains 167 00:09:42.480 --> 00:09:46.200 control until that last moment. He is wearing his sunglasses 168 00:09:46.279 --> 00:09:50.159 until he's doused in chemicals in the dark. He's a 169 00:09:50.159 --> 00:09:53.039 cool cucumber. Now to your point about the stuff that 170 00:09:53.080 --> 00:09:57.240 you have to suspend disbelief on the point I was 171 00:09:57.279 --> 00:10:00.960 making is that given a character like Harry, he would 172 00:10:01.159 --> 00:10:05.120 immediately go into that house and knock her out or 173 00:10:05.279 --> 00:10:07.639 stab her to death and then ransack the place and 174 00:10:07.679 --> 00:10:09.799 find the down leave. That's what would have happened. 175 00:10:10.360 --> 00:10:13.440 The only hole in that theory is that they don't 176 00:10:13.480 --> 00:10:15.639 know where the doll is. She doesn't know where the 177 00:10:15.679 --> 00:10:18.600 doll is. No one knows where it is until about 178 00:10:18.759 --> 00:10:22.440 three quarters of the way through the play. So I 179 00:10:22.480 --> 00:10:26.919 could see him breaking in, killing her whatever, disabling her 180 00:10:26.919 --> 00:10:28.600 in some way, but he's still not going to be 181 00:10:28.639 --> 00:10:30.399 able to find the doll. And that's I guess that's 182 00:10:30.440 --> 00:10:31.600 where the scheme comes in. 183 00:10:31.840 --> 00:10:33.720 Yeah, it just seems a lot of machinations and it 184 00:10:33.720 --> 00:10:36.960 seems a lot of costumes in order to convince a 185 00:10:37.000 --> 00:10:38.399 blind woman you're somebody else. 186 00:10:38.639 --> 00:10:42.720 There is because he portrays a man aggrieved by his 187 00:10:42.799 --> 00:10:46.600 wife who they portray as cheating on her husband with 188 00:10:47.080 --> 00:10:51.799 and then he also plays that gentleman's father who comes 189 00:10:51.840 --> 00:10:55.279 in and up ends the whole place. But to me, 190 00:10:55.399 --> 00:10:57.799 that's a delight. In this case, we'll get to the 191 00:10:57.879 --> 00:11:00.480 eighty two production, But in terms of the movie, it's 192 00:11:00.519 --> 00:11:03.399 a delight for me because Alan Arkin is just so 193 00:11:03.519 --> 00:11:06.519 good in every iteration of Harry wrote we get to 194 00:11:06.559 --> 00:11:09.159 see because they're throwing everything but the kitchen sink at 195 00:11:09.159 --> 00:11:11.639 this blind woman, trying to convince her of this thing 196 00:11:11.679 --> 00:11:15.279 going down and keech, I shouldn't short change Stacy Heach 197 00:11:15.399 --> 00:11:18.879 because he's great in a similar way that he has 198 00:11:18.919 --> 00:11:21.480 to do the same things. He has to pretend to 199 00:11:21.480 --> 00:11:24.200 be different characters. He's got to try and convince this 200 00:11:24.279 --> 00:11:29.840 woman of the veracity of his story. But again it's hard. 201 00:11:30.279 --> 00:11:33.399 He's very much in Alan Arkin's shadow through the whole production. 202 00:11:33.519 --> 00:11:35.519 I think, I think if you didn't have Alan Arkin 203 00:11:35.600 --> 00:11:37.960 in that movie, it wouldn't be much of a movie 204 00:11:37.960 --> 00:11:40.720 on it. Agreed, and God bless them. We all love 205 00:11:40.879 --> 00:11:43.960 Andrey Hepburn, but she's a little too austere for playing 206 00:11:44.000 --> 00:11:48.559 the mousey, newly blinded housewife of a struggling photographer in 207 00:11:48.639 --> 00:11:50.399 a Greenwich Village basement apartment. 208 00:11:50.759 --> 00:11:52.720 I didn't mind that as much because it gave me 209 00:11:52.759 --> 00:11:57.159 more sympathy because I felt like she because she seemed 210 00:11:57.200 --> 00:12:00.399 worldly and refined that it was much more of a 211 00:12:00.440 --> 00:12:02.919 loss for her to lose her sight. The issue that 212 00:12:02.960 --> 00:12:06.120 I had with her performance might have just been the 213 00:12:06.240 --> 00:12:08.559 tenor of acting at that time. I just found her 214 00:12:08.879 --> 00:12:14.519 at times overly hysterical and overly you know, just laying 215 00:12:14.519 --> 00:12:17.720 it out there, you know, a little more reservation I 216 00:12:17.720 --> 00:12:20.600 think might might have improved it a little bit. But again, 217 00:12:21.120 --> 00:12:25.320 you know, acting means and modes change with the decades, 218 00:12:25.360 --> 00:12:27.600 and I think that was just more appropriate for that 219 00:12:27.720 --> 00:12:28.679 movie at that time. 220 00:12:29.039 --> 00:12:31.399 Would you say that she was better or worse than 221 00:12:31.480 --> 00:12:33.440 Catherine Ross in the same role. 222 00:12:33.519 --> 00:12:36.639 I would say I liked I enjoyed her performance better. 223 00:12:36.840 --> 00:12:39.919 I somehow I found her more believable. My issue with 224 00:12:40.159 --> 00:12:42.679 excuse me, my issue with Catherine Ross was it was 225 00:12:42.720 --> 00:12:47.559 a decent performance, but it was almost too measured in 226 00:12:48.240 --> 00:12:51.080 in how she conveyed the character A little bit. I 227 00:12:51.120 --> 00:12:54.759 wanted a little bit more. Maybe a little more hysterics 228 00:12:54.919 --> 00:12:57.519 might have been more interesting to me, because she is 229 00:12:57.559 --> 00:13:01.480 in a very scary situation and eventually she finds herself 230 00:13:01.519 --> 00:13:04.200 in but it was a little too guarded, I think. 231 00:13:04.279 --> 00:13:06.759 So what is the middle ground between Audrey Hepburn and 232 00:13:06.799 --> 00:13:09.399 Catherine Ross where one is too hysterical and one is 233 00:13:09.440 --> 00:13:10.480 not hysterical enough. 234 00:13:11.519 --> 00:13:13.679 I don't know. What do you you mean an actress 235 00:13:13.679 --> 00:13:14.960 who might have bridged the gas? 236 00:13:15.039 --> 00:13:21.879 Yes, hmmm, Angie Dickinson. Angie Dickinson, she could have done it. 237 00:13:22.360 --> 00:13:23.919 She could have done it. I don't know. 238 00:13:24.399 --> 00:13:28.000 You know it's Angie Dickinson circa nineteen sixty six, like 239 00:13:28.120 --> 00:13:30.799 when they made the original movie instead of Audrey Hepburn stick, 240 00:13:30.799 --> 00:13:32.159 Angie Dickinson in that role. 241 00:13:32.360 --> 00:13:34.639 Could have been interesting, could I don't know. Does she 242 00:13:34.759 --> 00:13:36.720 have the chops of an Audrey. 243 00:13:36.440 --> 00:13:39.279 Hepber dare you? Does she have the chops of an 244 00:13:39.320 --> 00:13:41.919 Audrey Hepburn. She has just as many chops. They go 245 00:13:41.960 --> 00:13:42.960 to the same chop shop. 246 00:13:43.320 --> 00:13:46.120 It's hard to She was policewoman, right, Yeah, it wasn't 247 00:13:46.159 --> 00:13:48.440 exactly taxing her acting ability. 248 00:13:48.559 --> 00:13:49.840 She's a big bad mama. 249 00:13:50.080 --> 00:13:52.639 Yeah, you're only supporting my point. 250 00:13:52.720 --> 00:13:55.240 I am not. How dare you I'm saying she shines 251 00:13:55.399 --> 00:13:56.279 in garbage? 252 00:13:56.639 --> 00:13:59.279 Oh okay, Well, I guess you raise a good point there. 253 00:13:59.480 --> 00:14:02.360 I guess probably as good of a choice of an 254 00:14:02.360 --> 00:14:04.039 actress as one that I can think of right off 255 00:14:04.039 --> 00:14:04.759 the top of my head. 256 00:14:05.039 --> 00:14:07.240 Okay, let's agree the only good thing about that movie 257 00:14:07.519 --> 00:14:09.279 is alan Ark and we'll move on. 258 00:14:09.720 --> 00:14:14.639 No, that's not true. I will reject that to that assertion. 259 00:14:15.200 --> 00:14:18.120 The thing the other thing that well, I won't boil 260 00:14:18.159 --> 00:14:20.440 it down to only these things, but I would say 261 00:14:20.440 --> 00:14:24.120 another thing that it has over the eighty two production 262 00:14:24.639 --> 00:14:25.279 is the music. 263 00:14:25.679 --> 00:14:28.120 Oh well, yeah, music by. 264 00:14:28.039 --> 00:14:31.039 Henry Mancini is superior. 265 00:14:30.519 --> 00:14:48.879 In the movie. 266 00:14:49.840 --> 00:14:52.200 You think that's better than Lalo Schiffrin's attempt in the 267 00:14:52.240 --> 00:15:19.039 stage production, I do, because versus Shiffrin, I didn't see 268 00:15:19.039 --> 00:15:19.519 this coming. 269 00:15:20.039 --> 00:15:23.279 Yeah, I thought Henry Mancini's score was much more innovative. 270 00:15:23.279 --> 00:15:27.960 He used two pianos, but what was interesting was one 271 00:15:28.120 --> 00:15:31.120 was tuned four steps below the other. So it creates 272 00:15:31.159 --> 00:15:35.879 this weird dissonance, this uneasy feeling through the whole picture, 273 00:15:36.440 --> 00:15:40.000 especially towards the end. And I think that atmosphere was 274 00:15:40.360 --> 00:15:46.039 brilliantly captured. Not to say that Lalo Schiffrin's score was 275 00:15:46.679 --> 00:15:48.879 something to sneeze at it. It was fine, it was great, 276 00:15:49.279 --> 00:15:52.279 but in my opinion, it doesn't compare with the sixty 277 00:15:52.320 --> 00:15:53.840 seven soundtrack. 278 00:15:54.399 --> 00:15:56.600 I will just say that they're both pretty great. I 279 00:15:56.639 --> 00:15:59.320 was not expecting a score for the stage production at all. 280 00:15:59.399 --> 00:16:00.720 So the fact that we got a good one and 281 00:16:00.759 --> 00:16:03.399 the fact that it was different made that one special. 282 00:16:03.440 --> 00:16:06.279 But I completely agree with you about the Mancini scory. 283 00:16:06.279 --> 00:16:10.799 It is superior and those discordant kind of notes that 284 00:16:11.039 --> 00:16:15.600 they're jangling on out during the opening sequence. Even I 285 00:16:15.960 --> 00:16:18.360 had the movie on a couple of times, so at 286 00:16:18.360 --> 00:16:19.919 one point just had it on in the background and 287 00:16:19.960 --> 00:16:22.080 I could not focus on what I was doing because 288 00:16:22.360 --> 00:16:24.639 there was something just stabbing me in the fucking neck. 289 00:16:24.679 --> 00:16:25.960 It was Henry Mancini. 290 00:16:53.840 --> 00:16:57.080 Yeah, it's like this. It was like ASMR before there 291 00:16:57.159 --> 00:16:59.759 was such a thing as ASMRI. It kickles this thing 292 00:16:59.759 --> 00:17:02.639 in your brain that makes you uneasy. By the way, 293 00:17:02.679 --> 00:17:05.200 did you know that Henry Mancini wrote the theme to 294 00:17:05.279 --> 00:17:06.920 What's Happening? Do you know that? 295 00:17:07.160 --> 00:17:15.400 No? 296 00:17:18.880 --> 00:17:21.480 I didn't know that either. I just found out. How 297 00:17:21.519 --> 00:17:22.079 cool is that? 298 00:17:22.119 --> 00:17:22.799 It's absurd? 299 00:17:23.279 --> 00:17:26.000 It's absurd. Anyway, we can move on. So, yeah, I 300 00:17:26.440 --> 00:17:29.400 thought the music was superior. In the sixty seven version. 301 00:17:29.599 --> 00:17:30.759 We talked about Alan Arkin. 302 00:17:31.720 --> 00:17:35.039 I'll say this about the movie. The movie is seems 303 00:17:35.160 --> 00:17:38.720 more sent bound than the stage production filmed on videotype. 304 00:17:39.039 --> 00:17:41.559 That's exactly what I was about to say Botom alone, 305 00:17:41.880 --> 00:17:44.440 it was much it was if by that you mean 306 00:17:44.839 --> 00:17:48.200 it was more claustrophobic and more, you know, more you 307 00:17:48.279 --> 00:17:50.839 felt more closed in. I think the movie did a 308 00:17:50.839 --> 00:17:52.880 better job than that, but it's only it only makes 309 00:17:52.920 --> 00:17:56.640 sense because you have the ability to have, you know, 310 00:17:57.279 --> 00:18:00.960 different lenses to focus in on framing of cast and 311 00:18:01.559 --> 00:18:05.279 everything like that. It's harder to do that. I'll get 312 00:18:05.279 --> 00:18:08.000 that with a stage production. And also given the fact 313 00:18:08.039 --> 00:18:10.519 that the stage production is the original, we can't forget 314 00:18:10.519 --> 00:18:13.799 that this movie was an adaptation. Like you said, so, 315 00:18:14.480 --> 00:18:17.079 yeah it was. I found it a little more effective 316 00:18:17.400 --> 00:18:20.400 in that sense. But the set is the set. It's iconic. 317 00:18:20.839 --> 00:18:23.079 When you see that the curtain come up on that 318 00:18:23.119 --> 00:18:26.759 eighty two production, it's you know where everything is because 319 00:18:26.799 --> 00:18:29.319 that's it. I'm sure it's clearly written in the stage 320 00:18:29.319 --> 00:18:32.119 directions and everything where everything needs to be. But that 321 00:18:32.200 --> 00:18:35.200 staircase coming down the middle, the windows off to the 322 00:18:35.359 --> 00:18:39.039 to stage right, that's all brilliant that it's wonderfully captured 323 00:18:39.039 --> 00:18:39.799 in both cases. 324 00:18:40.400 --> 00:18:43.039 Oh, I agree with all of that, But by set bound, 325 00:18:43.079 --> 00:18:45.519 I meant that the film production looks like they filmed 326 00:18:45.559 --> 00:18:47.960 it on a fucking set. It seems like they're they're 327 00:18:48.000 --> 00:18:49.359 in a studio somewhere. 328 00:18:49.759 --> 00:18:53.039 I could see that it is a little bit artificial. 329 00:18:53.200 --> 00:18:55.400 They got a couple of hiccup shots that may or 330 00:18:55.440 --> 00:18:57.960 may not be on the streets of New York. There's 331 00:18:58.000 --> 00:19:00.640 an Amsterdam thing and an airport thing at the beginning, 332 00:19:01.079 --> 00:19:05.079 or rather a Montreal or some Canadian location. But once, 333 00:19:05.279 --> 00:19:08.359 once we get to that set, it's just a fucking set. 334 00:19:08.400 --> 00:19:10.079 It feels like a set, and then they go out 335 00:19:10.119 --> 00:19:10.920 onto the back lot. 336 00:19:11.200 --> 00:19:13.400 Yeah, but that's but to me, that's almost like a 337 00:19:13.480 --> 00:19:16.920 nod to the stage origins of the original play. 338 00:19:17.119 --> 00:19:20.359 Absolutely not. Fuck. You go to the Lower East Side 339 00:19:20.880 --> 00:19:23.240 fucking film this in a basement apartment. You have the 340 00:19:23.279 --> 00:19:25.720 ability to do that. It's nineteen sixty six. This is 341 00:19:25.759 --> 00:19:26.559 the way to do it. 342 00:19:26.880 --> 00:19:28.640 I didn't mind it. I didn't mind it, but I 343 00:19:28.680 --> 00:19:30.880 see your point. I just didn't mind it as much 344 00:19:30.880 --> 00:19:33.480 as you. I didn't mind the artifice of being on 345 00:19:33.519 --> 00:19:34.680 a set, all right. 346 00:19:34.759 --> 00:19:39.160 So we're talking about the stage production of Wait Until Dark. Now, 347 00:19:39.279 --> 00:19:42.559 the stage productions, and we've mentioned Catherine ross is playing 348 00:19:42.599 --> 00:19:46.000 Susie in this one. Stacy keach Is wrote, and then 349 00:19:46.039 --> 00:19:48.599 a whole bunch of other people, including David Leisure, who 350 00:19:49.039 --> 00:19:50.839 is one of the policemen who rushes at the end. 351 00:19:50.839 --> 00:19:52.759 That he was, of course, Joeysuzu. 352 00:19:53.079 --> 00:19:55.240 Joe is Suzu. And he was also in that at 353 00:19:55.240 --> 00:19:57.319 sitcom Empty Nest with Richard Mulligan. 354 00:19:57.480 --> 00:19:59.359 That's right, and he's one of the Harry Christian is 355 00:19:59.400 --> 00:20:00.000 an airplane. 356 00:20:00.400 --> 00:20:05.400 That was see. That was his debut movie role and 357 00:20:05.440 --> 00:20:08.519 this was his second big role, was Cop number two 358 00:20:08.799 --> 00:20:10.079 in Wait Until Dark. 359 00:20:10.240 --> 00:20:14.039 My God, Robin Gamble. He's one of the cops in it. 360 00:20:14.119 --> 00:20:16.960 He's a recognizable face. He's terrible in this. He's the 361 00:20:17.000 --> 00:20:18.000 Sergeant Carlino. 362 00:20:18.480 --> 00:20:21.000 Oh yeah, but he lives in the shadow. Let's face 363 00:20:21.039 --> 00:20:24.920 it is it. Jack Weston played the Carlino And of 364 00:20:24.920 --> 00:20:28.240 course what do we know Jack Weston from Father Malone, 365 00:20:28.519 --> 00:20:29.440 The Four Seasons. 366 00:20:29.680 --> 00:20:31.599 Don't eat in the Mercedes. That's all I have to 367 00:20:31.599 --> 00:20:32.759 say about Jack Weston. 368 00:20:34.079 --> 00:20:36.480 Maybe we'll get to that someday, because that's also very 369 00:20:36.480 --> 00:20:37.200 stage bound. 370 00:20:37.319 --> 00:20:40.000 Oh, we're definitely getting to that because they've got a 371 00:20:40.000 --> 00:20:41.440 television series on the way. 372 00:20:41.720 --> 00:20:44.920 The rest of the cast of the eighty two production, 373 00:20:45.480 --> 00:20:47.839 I couldn't pick him out of a lineup, but certainly 374 00:20:47.920 --> 00:20:52.480 it's the It's Stacy Keach. It's Catherine Ross and the 375 00:20:52.559 --> 00:20:55.319 fellow who played mister Hendrix. His name escapes me, but 376 00:20:55.359 --> 00:20:57.319 I've seen him in other things. I can't think of 377 00:20:57.319 --> 00:20:57.839 his name, though. 378 00:20:57.960 --> 00:21:00.640 He's the senator in Porky's two. The next stays trying 379 00:21:00.640 --> 00:21:01.480 to get re elected. 380 00:21:02.480 --> 00:21:06.039 That's right, Edward Winter. You're right, But like you were saying, 381 00:21:06.279 --> 00:21:09.519 much like sixty seven, this is all about Stacy Keach 382 00:21:10.000 --> 00:21:12.680 and Katherine Ross. The other the guy who the other 383 00:21:12.720 --> 00:21:17.119 two confidence men, Mike Tallman and Sergeant carlino Are. I 384 00:21:17.119 --> 00:21:19.119 couldn't pick them out of a lineup. But it's all 385 00:21:19.119 --> 00:21:20.880 about Stacy Keach and Catherine Ross. 386 00:21:21.160 --> 00:21:23.799 Okay, we've already talked about Katherine Ross. I think she's fine. 387 00:21:24.079 --> 00:21:26.599 I think she's giving a different performance. I think she's 388 00:21:26.640 --> 00:21:30.160 giving a as you said, a more It's odd because 389 00:21:30.680 --> 00:21:34.559 in the film version, Audrey Hepburn is over the top 390 00:21:34.799 --> 00:21:37.839 and Alan Arkin is completely underplaying it, and here in 391 00:21:37.880 --> 00:21:41.599 the stage production, Katherine Ross is underplaying it and Stacy 392 00:21:41.680 --> 00:21:43.279 Keach is going way the fuck over the top. 393 00:21:43.720 --> 00:21:45.359 It's interesting that you put it that way, but you're 394 00:21:45.359 --> 00:21:50.440 one hundred percent correct, Stacy Keach in this is it's 395 00:21:50.519 --> 00:21:53.559 much more like my impression initially was he's much more 396 00:21:53.559 --> 00:21:57.680 of almost like a haughty super villain take on the character. 397 00:21:57.799 --> 00:22:03.319 He just he's laughing Minigah and just seems so unhappy. 398 00:22:03.960 --> 00:22:09.720 It's worthy. He seems so what's the words. Yeah, he's 399 00:22:09.839 --> 00:22:13.400 just over the top, laughing and menacing in a different 400 00:22:13.440 --> 00:22:15.759 way than Alan Arkin never was. 401 00:22:16.240 --> 00:22:19.799