Speaker 1: Welcome friends. It's podcasts. Podcast is Dome Sho Jackie and Bryan.
Speaker 2: They're talking brubys Moming now back.
Speaker 1: Adam and Barbara are ghosts. What's the good of being
Speaker 1: a ghost if you can't fight people away? So they're
Speaker 1: calling on Beetlejuice. Beetle Beetle just gets show down. He's
Speaker 1: guaranteed to put some life.
Speaker 2: Attention Cared Shoppers.
Speaker 1: In your afterlife. Michael Keaton is Beetlejuice and the Ghost
Speaker 1: with Ghost Bade. Welcome to a movie film commentary track.
Speaker 1: My name is Zachie Hasn I'm here with Brian Hall. Hey.
Speaker 1: How's it going, Zachi. Hey, I'm really excited to talk
Speaker 1: through today's selection. Me too, Me too? This is We
Speaker 1: don't cover Tim Burton a ton on here. I mean,
Speaker 1: you know, the Batman films and everything, but uh yeah,
Speaker 1: this is like such a unique movie, such a classic,
Speaker 1: and I feel like we don't wander this corner very often.
Speaker 1: So I'm like super even just you and I like,
Speaker 1: we don't talk about Beetlejuice in these older Tim Burton
Speaker 1: films much. So I'm really excited to dig into this
Speaker 1: with you. It is.
Speaker 2: It's one of those films that has just always kind
Speaker 2: of been there, like in the background of I don't know,
Speaker 2: our film dumb. You know, it's we mutually acknowledge, we
Speaker 2: enjoy it.
Speaker 1: And yeah, that's it. Yeah, It's just one of those things,
Speaker 1: like it's a good way of putting it. Honestly, it
Speaker 1: just kind of feels like it's always been there. Yeah,
Speaker 1: you know. So it's kind of fun now with the
Speaker 1: sequel coming out to I don't know, like queue this
Speaker 1: one up and really give it an examination again, rather
Speaker 1: than just be something that you know, you're flipping channels
Speaker 1: and you're like, oh, hey, yeah, I like this part,
Speaker 1: and you stay on it, you know what I mean.
Speaker 1: Watching it top to bottom again was a lot of fun.
Speaker 2: It's a fun one to revisit, and certainly I had
Speaker 2: I mean, I've seen it handful of times over the
Speaker 2: last few decades, but I was so appreciative of just
Speaker 2: the sort of the tactile nature of everything we were
Speaker 2: seeing and appreciating the craft of how they pulled some
Speaker 2: of this stuff off.
Speaker 1: That and just seeing i mean, like filmmakers, you know,
Speaker 1: Danny Elfman, Tim Burton, the actors, like just making something
Speaker 1: wholly unique that is so specific to them. It's just
Speaker 1: a really all these years later, it's still an exciting
Speaker 1: thing to see. You know.
Speaker 2: Well, I'm excited to dive in and watch nineteen eighty
Speaker 2: eight's Beetlejuice. I'm assuming that those of you listening have
Speaker 2: some degree of interest, and hey, if you want to
Speaker 2: queue it up and watch along with us, we can
Speaker 2: give you a chance to do that while we take a.
Speaker 1: Short break and we're back and queue up.
Speaker 2: I'm ready, Brian, Are you ready?
Speaker 1: I'm ready? All right, we are watching Beetle Juice. There's
Speaker 1: only one cut.
Speaker 2: It's the nineteen eighty eight theatrical release, and we were
Speaker 2: gonna hit play on three. I'm not gonna say three
Speaker 2: times because because that could cause some trouble, but we
Speaker 2: will do the usual things at one, two three play,
Speaker 2: and here we go one two three play.
Speaker 1: H the Geffen logo. Here, let's going old school. Yeah, yeah,
Speaker 1: it makes me think of like my old Nirvana city
Speaker 1: or something. He'd eventually team up with Spielberg and Katzenburg.
Speaker 2: Yeah, for they their their failed attempt to rival the
Speaker 2: big studios.
Speaker 1: Yeah, DreamWorks SKG.
Speaker 2: We're like broken dream as.
Speaker 1: The boy fell out of the Moon.
Speaker 2: Dream doesn't work works, that's the lesson. Well, first off,
Speaker 2: right up top, how great is Danny Elfman's music here?
Speaker 1: He is just on fire like. That's the thing too.
Speaker 1: He came out of the gate as a film composer
Speaker 1: on fire like.
Speaker 2: I mean, right, this score in particular is the most
Speaker 2: Danny Elfman score that Danny Elfman ever, Danny Elfman.
Speaker 1: It is because even Batman, which is so Elfman is
Speaker 1: adhering to a gothic sort of tone and the superhero
Speaker 1: triumphant sort of nature of the story and character and whatever.
Speaker 1: But this is him like unleashed, you know, like his
Speaker 1: sort of gothic, scary circus sounding thing.
Speaker 2: I mean, just to put this in perspective, I watched
Speaker 2: this movie a few weeks ago, excuse me, a few
Speaker 2: days ago in prep for this with my thirteen year old,
Speaker 2: and literally the music starts and he goes, Danny Elfman.
Speaker 1: Huh yeah, I do.
Speaker 2: By the way, worth mentioning this music is itself so
Speaker 2: interesting because because when Elfman got the script initially he
Speaker 2: sort of had a different idea in his mind. He
Speaker 2: thought it was gonna be a little grimmer, and so
Speaker 2: he started writing the music and then he starts seeing
Speaker 2: the rushes and he's like, oh, oh oops, I didn't
Speaker 2: write music for that, and so he kinda he kind
Speaker 2: of elfmanded it up. And it's really interesting because because
Speaker 2: the movie itself, I mean what, it's like a good
Speaker 2: half hour plus before we even see Beatle Juice, right
Speaker 2: mm hmmm. And and it's fair like the tone doesn't
Speaker 2: really kick in until Keaton shows up, and so very smartly,
Speaker 2: this music right up top clues the audience and oh,
Speaker 2: this is this is a this is a lark, this
Speaker 2: movie it's a yeah, you.
Speaker 1: Know, yeah, I just put you know. I mean, he
Speaker 1: of course, you know, headed up Oengle Boinco in the
Speaker 1: eighties and then he's his first film score was Pee's
Speaker 1: Big Adventure, which is incredible. But I just I'm amazed
Speaker 1: that in a different sort of style of music composition
Speaker 1: like film scores, he came out right out of the
Speaker 1: gate seemingly fully formed, like knowing what he sounded like
Speaker 1: with an orchestra, and it was so uniquely him. You
Speaker 1: know that your son can hear it and go, oh,
Speaker 1: Danny Elfman, you know.
Speaker 2: Isn't that extraordinary? I mean, especially at that moment when
Speaker 2: he emerged I mean he was doing something wholly unique.
Speaker 1: Totally yeah, totally love it, love it. This is a yeah,
Speaker 1: fantastic score. And then had you heard that story too,
Speaker 1: where I guess Lionel Newman was hired to conduct the
Speaker 1: score really when they were recording it, but on the
Speaker 1: first day he kept making changes to the score because
Speaker 1: I think some of the weird time signatures and why
Speaker 1: would you put a note there that's weird, you know
Speaker 1: kind of stuff. You know. He was trying to clean
Speaker 1: it up or whatever, make it sound a little bit
Speaker 1: more I don't know, mainstream or something, And so eventually
Speaker 1: he was let go and he was replaced. Wow, I
Speaker 1: had not heard that. Yeah, doesn't this just feel like
Speaker 1: a different Alec Baldwin.
Speaker 2: I was about to say this guy.
Speaker 1: Yeah, I mean there is like a pre I don't
Speaker 1: know what the year is because this is to me
Speaker 1: hunt for ad October Alec Baldwin also, sure, sure, But
Speaker 1: then there's like a certain moment where he kind of
Speaker 1: switched into a different Alec Baldon, a different build, a
Speaker 1: different face, different.
Speaker 2: I mean, by the time we got to the Shadow,
Speaker 2: he was like proto Jack Donneghee.
Speaker 1: Yeah, yeah, yeah, exactly. Yeah. So yeah, this is this.
Speaker 2: I mean, this is eighty eight, so just a couple
Speaker 2: of years before.
Speaker 1: Before Hunt for Ad October.
Speaker 2: But this is for sure the first time I saw
Speaker 2: Alec Baldin and and I definitely remember seeing him later
Speaker 2: and not realizing he was the guy from Beetlejeos.
Speaker 1: That makes total sense. Yeah, and apparently he wasn't very
Speaker 1: high on this movie. Baldwin wasn't very high on this
Speaker 1: movie for a while, and he felt like he didn't
Speaker 1: do it right, like he didn't perform in a way
Speaker 1: that he thought was very good, or he was saying
Speaker 1: when he was making the movie he didn't quite understand it.
Speaker 1: And then watching it later it was like, oh, which
Speaker 1: is kind of interesting actually to your what you just
Speaker 1: said about Danny Elfman. I mean it's I mean, now
Speaker 1: we watch him, we're like, oh, yeah, Burton, you know
Speaker 1: what I mean. But like they did not have that
Speaker 1: benefit then to know, and that's what's so interesting watching this.
Speaker 1: Sorry I hope I didn't cut off, but like all
Speaker 1: I think, watching this, it made me really appreciate that
Speaker 1: Burton when he's doing full Burton, which he hasn't done
Speaker 1: in a long time. He's very dark, but he doesn't
Speaker 1: cross a line like you're still sort of a campiness
Speaker 1: to his dark you know, he's not like Grizzly right,
Speaker 1: like he he goes there a little bit with the
Speaker 1: scary faces, that her ripping her face off and stuff,
Speaker 1: but it still feels almost like fun, campy, spooky carnival
Speaker 1: hunted house. I agree with that.
Speaker 2: I agree with that, which makes him, by the way, interesting.
Speaker 2: I wanted to mention real quick. I like the subtle
Speaker 2: touch of the fact that they're listening to Harry Belevante, yes,
Speaker 2: and that just like so it doesn't come out of nowhere.
Speaker 2: When we get a couple of Harry Belafonte musical numbers later,
Speaker 2: it's like, oh, they're just fans of his.
Speaker 1: There's a lot more seeding in this movie than I
Speaker 1: realized when we watched this closely recently, maybe with the
Speaker 1: Dog for example, you know here in the yeah yeah,
Speaker 1: which is kind of funny too. I mean, I know
Speaker 1: that's Calypso music, but it made me think of like
Speaker 1: mambo music kind of where I remember in The Simpsons
Speaker 1: and Season one, Homer and Marge were into mambo music,
Speaker 1: and it seemed like for a certain generation that was
Speaker 1: thought of as like dorky parents stuff. And this is
Speaker 1: like right around when The Simpsons debuted, So I wondered
Speaker 1: if that was like a part of that. You know.
Speaker 1: It's like, oh, yeah, they're kind of like these dorky adults.
Speaker 1: They like this kind of music. That's funny. This is
Speaker 1: such a funny joke, this barber yep.
Speaker 2: Yeah, there was an alternate ending where the barber is
Speaker 2: in the waiting room next to Beetlejuice.
Speaker 1: Oh really yeah.
Speaker 2: And so Beetlejuice is having to listen to the barber
Speaker 2: stories in the in the afterlife.
Speaker 1: Wait, so that was something that was cut. Yes, Oh
Speaker 1: that's funny.
Speaker 2: Maybe it's too sad, Yeah, I think so, that's probably yeah,
Speaker 2: but I really that's a funny joke.
Speaker 1: Yeah.
Speaker 2: So as written originally, so so the the initial this
Speaker 2: is you know, you think this is something that originated
Speaker 2: in Tim Burton's brain, right, Like that's the funniest thing
Speaker 2: to me is that he was like a hired gun basically,
Speaker 2: you know, and yet it's so inextricably tied to his
Speaker 2: specific visual signature. But as written it was much darker,
Speaker 2: and specifically this sequence here, uh, this is in the
Speaker 2: the the McDonald draft excuse me, Mike McDowell. Sorry, Like
Speaker 2: the way in which the maitlands die. You see it,
Speaker 2: and you see Barbara's arm gets crushed, and it's like
Speaker 2: really kind of kind of horrific, right, And there's an
Speaker 2: allusion to it, like like when they when they come
Speaker 2: back to house, she's like, oh, you know, my arm
Speaker 2: feels cold or something like that. But it's interesting the
Speaker 2: choices that were made, that's my point, right, Like this
Speaker 2: is the script lands on Burton's desk. Burton just did
Speaker 2: Pee Wee's Big Adventure and he's getting a bunch of
Speaker 2: scripts like that.
Speaker 1: Sure.
Speaker 2: I read that one of the scripts he got was
Speaker 2: a movie called.
Speaker 1: Hot to Trot. Yeah, I heard that.
Speaker 2: It's like the the Bobcat Gold Plate and a Talking Horse,
Speaker 2: which did end up getting made, by the way. Yeah yeah,
Speaker 2: But he at the time, so he was in the
Speaker 2: mix for Batman already.
Speaker 1: So it wasn't like this movie.
Speaker 2: Got him the Batman gig. It was he was already
Speaker 2: in the mix for Batman. But while Warner Brothers was dithering,
Speaker 2: he was like, well, I'm just going to do this.
Speaker 2: And because people you know, like, oh oh he wanted
Speaker 2: Keaton because he just worked with him on on Beetle Juice.
Speaker 2: It wasn't exactly like that. It was more intertwined than
Speaker 2: we'd think.
Speaker 1: Hmm. I think this helped.
Speaker 2: I mean this basically got you know, gave him probably
Speaker 2: some a boost of confidence by the studio. But I
Speaker 2: mean this is eighty eight. Batman was eighty nine, so
Speaker 2: Batman would have already been in the midst of production
Speaker 2: or a pre production man or something.
Speaker 1: Yeah. Yeah, yeah, he's he's interesting. I mean, just to
Speaker 1: go back a little bit up to what you were
Speaker 1: talking about it, I mean, he began as a Disney animator,
Speaker 1: you know, worked on Fox and the Hound, and used
Speaker 1: his time at Disney to leverage making some short films. Right,
Speaker 1: So he made a movie called Vincent about a boy
Speaker 1: fantasizing that he's Vincent Price, which is hilariously on Brand's right, right,
Speaker 1: And he did this was fascinating. He did a Hansel
Speaker 1: and Gretel thirty minute I don't know what you'd call it,
Speaker 1: short film. I guess that aired only once on Disney
Speaker 1: Channel at ten thirty PM in nineteen eighty three on Halloween.
Speaker 1: And it only aired once because so many people apparently
Speaker 1: complained about it. I think it was too weird and scary,
Speaker 1: and it ends with Hansel and Gretel and the Witch
Speaker 1: having a kung fu fight, and I think it like
Speaker 1: recently was I don't know, discovered or you know, digitized
Speaker 1: or something, and so now you can look it up.
Speaker 1: But it's but he then went on to make franken Weenie,
Speaker 1: and apparently something I read was that that eventually got
Speaker 1: him fired because he was using Disney funds to make
Speaker 1: these dark little films that they couldn't do anything with.
Speaker 1: And Paul Rubins wants to make his Peewee movie, is
Speaker 1: looking for directors, and Warner Brothers likes this Tim Burton guy,
Speaker 1: but doesn't know what to do with him because Burton
Speaker 1: doesn't want to make any of the movies they want
Speaker 1: to give him. Rubens can't find any filmmakers. We'll understand,
Speaker 1: pee wee. He watches franken Weenie and goes, that's my guy,
Speaker 1: and then there you go. I mean, you get Paul Rubens,
Speaker 1: you get Tim Burton, you get Danny Elfman, and boom.
Speaker 2: It's extraordinary, isn't it. I mean it's it's it's amazing,
Speaker 2: Like we look at we look at Tim Burton now
Speaker 2: as inevitable.
Speaker 1: Uh huh.
Speaker 2: You know, if Tim Burton didn't exist, we would have
Speaker 2: had to invent him.
Speaker 1: Yeah. Sure.
Speaker 2: And and yet there was this this path comprised of
Speaker 2: just lucky breaks that led to his career, you know,
Speaker 2: m h And I mean, just to just to circle
Speaker 2: the square on the point you're making about Disney, I
Speaker 2: think it's the fact that he came back and he
Speaker 2: did well, most recently Dumbo for Disney, and he's like,
Speaker 2: I'm not working for Disney ever again, you know, And
Speaker 2: I'm like, yeah, you know, this is where you were
Speaker 2: headed anyway.
Speaker 1: You know, yeah, yeah, But I don't know. It's funny
Speaker 1: you say that that he feels inevitable because he does
Speaker 1: in our world, ye right, but he don't. You just
Speaker 1: think this guy who at Disney, They're like, what are
Speaker 1: we gonna do with this guy? Like, you know, he's
Speaker 1: just doing all this stuff. It's so not our brand.
Speaker 1: And and but he persisted with his vision, and his
Speaker 1: vision has now become somewhat of a genre to us,
Speaker 1: you know, all these years later, and I just admire
Speaker 1: that so much. Where people didn't shave their edges, you know,
Speaker 1: they stuck to their guns and their visions. And like
Speaker 1: and like you said, now it just feels inevitable.
Speaker 2: I mean think about it, right, like and obviously summer
Speaker 2: of eighty nine, because it was summer of eighty nine,
Speaker 2: but but in summer of eighty nine, for you and
Speaker 2: me and most people like us, Tim Burton was a
Speaker 2: name we knew. And how many directors did we know
Speaker 2: by name at that age?
Speaker 1: Sure?
Speaker 2: Yeah, right, you know, I mean he was. He was
Speaker 2: a household name. And the truth of it is, thirty
Speaker 2: plus years later, nearly forty years later, he remains a
Speaker 2: household name as insofar as directors are concerned. You know,
Speaker 2: maybe he isn't flying quite as high as he was
Speaker 2: at his peak, but he's still Tim effing Burton.
Speaker 1: And he's one of those people that you can make
Speaker 1: your internet video and go, what if you know Rocky
Speaker 1: but made by Wes Anderson and they had you know,
Speaker 1: there's all these super specific visual signatures that you're like,
Speaker 1: of course that's Wes Anderson. And he's one of those
Speaker 1: guys too, what if you know this Tim Burton? And
Speaker 1: then it's like he just has you know, It's it
Speaker 1: happens inevitably after a certain amount of time where you
Speaker 1: get familiar with the person's vocabulary, but like you almost
Speaker 1: take for granted that it's like, well, the those are
Speaker 1: really kind of that's pretty awesome. Yeah, there's someone who
Speaker 1: has that much of a signature style like that. Yeah, yeah, absolutely, Yeah,
Speaker 1: kats Nahara, she's so good. She's just amazing, period.
Speaker 2: And she I mean, between this and Home alone, she
Speaker 2: has a place of reverence for people of our generation.
Speaker 2: I feel like, you know, absolutely yep.
Speaker 1: Well, and then she continues, isn't it amazing? I mean
Speaker 1: with Shit's Creek most recently, Yeah, you know, it's just
Speaker 1: so cool. And then of course the Christopher guest films
Speaker 1: in there and dozens.
Speaker 2: She looks so young here, by the way, my goodness.
Speaker 1: I know, I think I looked it up. She's like
Speaker 1: thirty three or four here. Wow, Yeah, it's crazy. Why
Speaker 1: not a rioder fifteen years old? Here she's fifteen.
Speaker 2: Yep, my goodness, I would not have believed she was fifteen.
Speaker 1: She's one of those people too. It's so funny, like
Speaker 1: I wasn't gonna stick this in time, but I have
Speaker 1: COVID at the moment while we were recording, and so
Speaker 1: my wife and I were gonna rewatch this together, but
Speaker 1: I had to be in one room. She was in
Speaker 1: another room, and I was like, man, I not a writer.
Speaker 1: She's just like so singular and even like she's so
Speaker 1: perfect for this role. And it's funny because from the
Speaker 1: other room I was thinking that the other room, Frederica,
Speaker 1: my wife, was like, why not a writer. It's like
Speaker 1: you just sometimes you discover these people and they're just
Speaker 1: a personality of their own, you know, and it's just
Speaker 1: they're perfect for a role, and then you're just they're
Speaker 1: just destined to be.
Speaker 2: Well, especially when you look at the list of people
Speaker 2: who audition to play Lydia. You got Sarah Jessica Parker Brookshields,
Speaker 2: Lori Laughlin, Diane Lane, Justine Bateman, Molly Ringwalld, Juliette Lewis,
Speaker 2: Jennifer Connelly, and Alyssa Milano. Wow, that is casting a
Speaker 2: very wide nt.
Speaker 1: Yeah. Yeah, yeah, yeah, it's a good point.
Speaker 2: You know, they landed on the right person. It's the
Speaker 2: the I don't know if you ever watched the Saturday
Speaker 2: Morning Animated show.
Speaker 1: Yeah, oh, definitely that.
Speaker 2: I saw that first before I saw the movie.
Speaker 1: I don't remember, if I'm being.
Speaker 2: Honest, Yeah, I for sure, because because the show was
Speaker 2: like eighty nine to ninety one, ninety something like that.
Speaker 2: And I definitely because I I became familiar with Beetlejuice
Speaker 2: post facto with regards to Batman. It's like, oh, the
Speaker 2: guy who did Batman also did a movie called Beetle Juice,
Speaker 2: which also starred Michael Keaton. That was in my frame
Speaker 2: of reference. Then I saw the cartoon and in the
Speaker 2: cartoon show which is I gotta say, it's a lot
Speaker 2: of fun.
Speaker 1: I memory. Yeah, it's a lot of fun. You know.
Speaker 2: It's it's Lydy hanging out with her crazy buddy Beetlejuice MM,
Speaker 2: which is very much not the movie. Yeah, oh that's
Speaker 2: so interesting. I mean it makes sense. She goes off
Speaker 2: and has wacky adventures. He's like, you know, the real
Speaker 2: world is boring. Beetle Juice, beetle Juice, Beetlejuice, and then
Speaker 2: she goes and has a crazy.
Speaker 1: You know that's funny, you know, you know, yeah, I
Speaker 1: mean he's such like a perv in this movie. It's
Speaker 1: like you almost forget. Wait, I have to point this
Speaker 1: out where she takes her face off here Geena Davis
Speaker 1: nice that I will never forget. I think the first
Speaker 1: time I ever saw this movie was when it aired
Speaker 1: on television, okay, and it was exciting because it's like, yeah,
Speaker 1: kids talked about this movie. I knew it was like
Speaker 1: a thing and I wanted to see it. And so
Speaker 1: I'm watching it on like CBS, you know, which is
Speaker 1: like edited for television, it's all safe and whatever, and
Speaker 1: that was shown exactly as is, and I was like, ah,
Speaker 1: as like an eight year old or something like that.
Speaker 1: Nine year old. I'll never forget that.
Speaker 2: That's so funny.
Speaker 1: See.
Speaker 2: I remember watching this movie on cable, and again I
Speaker 2: came at it having watched the cartoon first, and I
Speaker 2: was like, hey, Lydia, she's in the cartoon. I know her,
Speaker 2: you know. And then and then Beetlejuice is like, hey,
Speaker 2: I want to I want.
Speaker 1: To marry the girl, you know. I was like, oh
Speaker 1: my god, yes, yes, yeah. But that's kind of what
Speaker 1: they did in the eighties, right, like they would make
Speaker 1: Rambo cartoons and shave off the edges of all these
Speaker 1: like harder edged characters get appropriate. How many people were
Speaker 1: I mean, I don't remember. The animated show was the
Speaker 1: family in it?
Speaker 2: The family, wasn't it? The Maitlands were not Okay, I see, Yeah,
Speaker 2: but but Delia and Charles are in it, and.
Speaker 1: I mean the show.
Speaker 2: I give it credit because Burton was involved, you know,
Speaker 2: maybe in just a cursory way, but it certainly preserves
Speaker 2: his sort of Bonker's aesthetic. Yeah, if I recall, the
Speaker 2: biggest change I remember is that the Afterlife. Instead of
Speaker 2: calling it the Afterlife, they call it the neither World.
Speaker 1: Oh that's funny, which.
Speaker 2: Kind of makes sense, I guess because they don't want
Speaker 2: kids thinking about death while they're watching, while they're having
Speaker 2: their their fruit loops or whatever, you.
Speaker 1: Know, right, neither this world or that world, I guess. Yeah,
Speaker 1: there was.
Speaker 2: There was also a line of Kenner action figures which
Speaker 2: was based on the movie, So.
Speaker 1: I kind of remember those da I.
Speaker 2: Remember, so you had a whole bunch of different beetle
Speaker 2: juices which were all they look like eaton. You had
Speaker 2: to adam Maitland figure with like a removable head and stuff,
Speaker 2: you know, so.
Speaker 1: Weird, a dorky Dad action figure.
Speaker 2: I know that funny. He had like a swappable head
Speaker 2: that looked like that weird.
Speaker 1: Beak thing that he does, you know. Yeah, yeah, yeah, yeah,
Speaker 1: that's funny.
Speaker 2: I don't know how well those toys sold. But I
Speaker 2: do that was back when Kenner was just turning everything
Speaker 2: into a toy line.
Speaker 1: You know. Yeah, I love all this stuff too. By
Speaker 1: the way, the awkward like I don't know what you'd call,
Speaker 1: like dummy, puppet whatever, headless. So it's great, it's just
Speaker 1: so it's I mean, what I fun, it's like this
Speaker 1: perfect sallece. Yeah. Well that's the thing.
Speaker 2: I think it goes to what you were saying before,
Speaker 2: where there's still something weirdly sweet about Tim Burton's sensibilities
Speaker 2: even though it's you know, dips into gore and whatnot.
Speaker 2: You know, it's you know, I mean, when you think
Speaker 2: about it, this is on the same spectrum that includes
Speaker 2: movies like Ghostbusters and The Frighteners. It it's doing something different,
Speaker 2: but it's part of that continuum.
Speaker 1: Yeah, yeah, you know, no, that's a those are good. Yeah,
Speaker 1: I still love how I wonder if this was always
Speaker 1: in the script too, or if it's a burtany thing
Speaker 1: like this. It's so weird that if they try to
Speaker 1: leave the house, like they're condemned to be stuck in
Speaker 1: the house, and if they don't, they end up on
Speaker 1: like one of the moons of Saturn, you know, with
Speaker 1: like sandworms and they're on a racus that's there. Yeah,
Speaker 1: and then obvious see this is the thing too that
Speaker 1: I really admire. And sometimes when I watch Family Guy
Speaker 1: or something like that, and they'll do a joke that,
Speaker 1: you know, only two hundred people understand, you know what
Speaker 1: I mean out of millions, I'm like, how does he
Speaker 1: get allowed to do that? Now? Of course, because it's
Speaker 1: so hugely popular, But you look at this and you're
Speaker 1: making a big studio movie for Warner Brothers, and first
Speaker 1: of all, you get to have sand worms on some
Speaker 1: moon on Saturn. But then they look like these really
Speaker 1: awkward handmade you know, stop motion puppets that look like
Speaker 1: a child drew them. Yeah, and then you know, Warner
Speaker 1: Brothers not saying we need to clean that up, we
Speaker 1: need to make it like a little more polished and cool,
Speaker 1: something a kid would want to play with. I mean,
Speaker 1: it looks literally like a Tim Burton drawing, because it
Speaker 1: probably literally is. But I just it's so cool that
Speaker 1: he got to do his thing and then his thing
Speaker 1: became a thing. You know.
Speaker 2: Well that's yeah, so you just nailed it right there.
Speaker 2: That's the beauty of it. Because this movie wasn't made
Speaker 2: with the multimedia franchise in mind. I mean, who could
Speaker 2: possibly imagine this is becoming a multimedia franchise.
Speaker 1: That's a good point, you know what, Yeah, that's a
Speaker 1: good point they must have thought. I mean, I saw
Speaker 1: it cost fifteen million to make, and so they're like, okay, cool,
Speaker 1: Like we get to make this funky little thing that
Speaker 1: maybe becomes some sort of makes its money back and
Speaker 1: become some sort of cult hit or something, you know,
Speaker 1: or you know what I mean, like thing down the
Speaker 1: line for us that people revisit on Halloween, right, but
Speaker 1: they didn't realize they were launching a brand that's exactly it. Yeah,
Speaker 1: you know what else I love? I mean, what a concept,
Speaker 1: What a concept. I know, it's almost infuriating people don't
Speaker 1: get an antiquated way of thinking. Sorry you were saying. No.
Speaker 1: I also wanted to point out just that crazy shot
Speaker 1: of the house there, that it just looks so surreal
Speaker 1: but real at the same time. I think I've brought
Speaker 1: this up before, but I don't think Tim Burton gets
Speaker 1: enough credit. You know, everyone is like, oh, his style,
Speaker 1: his spirals, his you know, those sorts of drawings come
Speaker 1: to life. Right, But his framing is so great, Like
Speaker 1: he doesn't move the camera a lot compared to other directors,
Speaker 1: but he has really evocative framing and use of lenses
Speaker 1: and of course everything that's going on within the frame
Speaker 1: that just conveys so much without a whole ton of movement.
Speaker 1: And I notice it in all his films and I
Speaker 1: freaking love it. Such a great point. I mean even
Speaker 1: just like look at that, like the low angle and
Speaker 1: some sort of weird lens that makes that look slightly surreal. Yeah,
Speaker 1: setting up that part of the house, this reminded me
Speaker 1: of something from another movie that I cannot place. The
Speaker 1: thing coming through the window unexpectedly like a piece. Yeah,
Speaker 1: that does seem like something. Oh, I know what I'm
Speaker 1: thinking of Christmas vacation when they're yes sitting at dinner
Speaker 1: and they're talking about, oh, should we have gotten a tree?
Speaker 1: And then the tree just right through the window.
Speaker 2: So in the in the original draft as written, there
Speaker 2: were two daughters, so there was there was Lydia, and
Speaker 2: then there's a younger daughter who's who's like eight or nine,
Speaker 2: and and the younger daughter is the one who can
Speaker 2: see the maitland's interesting and as they're making the drafts,
Speaker 2: and this is just like the normal process where it's like, well,
Speaker 2: why do we need two characters?
Speaker 1: What?
Speaker 2: You know, like we can, we can, we can compress this,
Speaker 2: you know, that's fat.
Speaker 1: I mean, that's like it makes me think of Fair's
Speaker 1: Bueller's Day Off, where they literally shot the movie. There
Speaker 1: was two more siblings, so there were four Bueler siblings
Speaker 1: versus the two and I had no idea. Yeah, and
Speaker 1: if you watched the trailer, the original trailer, they're in
Speaker 1: it funny. This woman feels like a very Burtany character,
Speaker 1: or I should say it reminds me of in Edward Scissorhands,
Speaker 1: sort of the you know, the neighbors who go around
Speaker 1: and sort of I don't know, I keep thinking of
Speaker 1: like a ned Flanders word like Biddy's.
Speaker 2: Old biddy and Landers is an old biddy.
Speaker 1: Yeah. I don't even know if I'm using that correctly,
Speaker 1: but I mean, like famously, you know, Tim Burton grew
Speaker 1: up in Burbank and found that completely nice, normal suburb
Speaker 1: horrifying in a shape who he became here we go?
Speaker 1: I mean, I guess somewhat famously. Beetlejuice, the character is
Speaker 1: only in this movie I've seen two different times, but
Speaker 1: I've seen fourteen and a half minutes and I've seen
Speaker 1: seventeen minutes.
Speaker 2: But yeah, right around fifteen ish, as it sounds right, yep,
Speaker 2: but certainly he he he imbuse every frame with his presence,
Speaker 2: which is, you know, the ultimate measure of Michael Eaton's
Speaker 2: success in the film.
Speaker 1: Yep, they originally.
Speaker 2: Wanted Sammy Davis Junior, Tim Burton did we feared for Beetlejuice.
Speaker 1: I can kind of picture it, you know what I mean.
Speaker 1: It's so bonkers. Yeah, put like some like you know,
Speaker 1: like a moldy old suit on him and some cobwebs
Speaker 1: and him being like, hey man, you know, like I
Speaker 1: don't know, like I can I can see what Tim
Speaker 1: Burton was seeing. Yeah, obviously I like what we ended
Speaker 1: up with. But I mean, Keaton.
Speaker 2: Was suggested to Burton, but he turned it down initially,
Speaker 2: and he said it was partly because because Burton is
Speaker 2: so kind of like in his own head that Keaton couldn't,
Speaker 2: like see, he couldn't catch the rhythm of what he
Speaker 2: was saying. Sure, but eventually he came around to it,
Speaker 2: and you realize, like, what a fruitful partnership this has
Speaker 2: been Oh yeah, for the two of them. You know,
Speaker 2: obviously decades later they're still working together. But like that,
Speaker 2: that itself is interesting where you think about like these.
Speaker 2: I have to imagine that Michael Keaton is grateful for
Speaker 2: the mark that Tim Burton left on his career and
Speaker 2: but for him taking a chance on Beetlejuice it happened.
Speaker 1: Yeah, definitely, you know, put more tools in his belt.
Speaker 2: Yeah, I mean I said this in a different commentary.
Speaker 2: But you know when when Keaton when he did Batman
Speaker 2: Re Turns and he was talking about the film and
Speaker 2: they said to him, oh, you know, would you come
Speaker 2: back and do a third one? And he said, if
Speaker 2: Tim is doing it, I'll do it, you know. And
Speaker 2: that shows how I mean, you know when it comes
Speaker 2: to Batman. I mean, they backed up the Brinks truck
Speaker 2: and he said, no, mm hmm. It's amazing when you
Speaker 2: think about it.
Speaker 1: Yeah, it really is. But it's interesting too. I read
Speaker 1: a story with Alec Baldwin, I guess where he went
Speaker 1: up to Tim Burton seeking some advice or direction, and
Speaker 1: he said that Burton was drawing and wouldn't even look
Speaker 1: up to talk to him. He was so in his head.
Speaker 1: You know, doing whatever he was doing. And it's funny
Speaker 1: because with someone like that, you can imagine, obviously it'd
Speaker 1: be difficult to communicate with that person and what you
Speaker 1: were saying earlier. You know, when you're Michael Keaton and
Speaker 1: you're reading the script and you need this thing brought
Speaker 1: to life in your mind, he might not be the
Speaker 1: best person to do that. But then when he is able,
Speaker 1: he's given the chance to make the thing and present
Speaker 1: the thing, this suddenly becomes a calling card where you're like, oh,
Speaker 1: that's what this guy's doing. Yeah, you know, he's lucky
Speaker 1: enough that he got to make his calling card, right.
Speaker 2: I mean it certainly pee Wee was not yet that
Speaker 2: calling card type movie, you.
Speaker 1: Know, right right, Yeah, I mean it's it's certainly specific.
Speaker 2: It has his sensibilities, but it's it's you know, I mean,
Speaker 2: it's he's not it's just yeah, right, I mean it's
Speaker 2: his first movie out the shoot, so obviously he's gonna
Speaker 2: be a little bit restrained. Like I think this is
Speaker 2: me personally. I think by the time you get to
Speaker 2: Edward Scissorhands, this is like Tim Burton in his purest form.
Speaker 1: I agree, Yes, unprocessed Burton you know, yes, totally, you know, yeah,
Speaker 1: I mean, should we talk about Jeffrey Jones. I guess
Speaker 1: we need to write I mean, we don't have to
Speaker 1: get two into it, but I guess we should say
Speaker 1: the disgrace Jeffrey Jones, you know, found uh guilty of
Speaker 1: some heinous uh sexual things. Yeah, and uh has not
Speaker 1: been working since and uh not in the sequel, not
Speaker 1: in the sequel.
Speaker 2: Yeah, I mean he he had a quite lengthy career, ah,
Speaker 2: you know, through throughout the eighties and nineties, you know.
Speaker 1: Yeah, I mean I'd forgotten he was an Amadeis.
Speaker 2: He's an Amadas. I was going to bring that up exactly.
Speaker 1: Probably most famously the principal and Faris Bueller's Day Off.
Speaker 2: Yeah, and he did, you know, voiceover work. He was
Speaker 2: in a movie called Ravenous about Cannibal's Yeah, with Guy
Speaker 2: Pearce and and.
Speaker 1: Yeah, I mean, uh yeah, it's weird.
Speaker 2: Yeah, it's it's apparently the what ended up surfacing with
Speaker 2: regards to Jeffrey Jones started with an investigation of.
Speaker 1: Paul Rubins mm hm, oh wow.
Speaker 2: And it ended up pointing towards Jeffrey Jones.
Speaker 1: Wow.
Speaker 2: So that I found that kind of interesting you know.
Speaker 1: Yeah, weird. It's away was weird. You know. It's like
Speaker 1: you have to some of these movies that become classics,
Speaker 1: and then you have these people, you have these revelations
Speaker 1: about them later, and it's just like you have to
Speaker 1: sort of you have to build a barrier in your
Speaker 1: mind a little bit exactly, and just look at the character.
Speaker 1: I love this vision of the afterlife waiting room. It's
Speaker 1: like I said, it's this perfectly weirdly burtny thing, Like
Speaker 1: you can imagine giving it to you know, fifty other
Speaker 1: directors and they might lean into the gore of it
Speaker 1: or too much of the silliness of it or whatever,
Speaker 1: but he strikes this weird specific balance where it is dark, yeah,
Speaker 1: but it's camp being fun at the same time. Like
Speaker 1: the guy with the shark on his leg, or the
Speaker 1: you know, the chicken bone stuck in his neck.
Speaker 2: Or that football team that we see.
Speaker 1: Yeah, that one always kind of makes me sad. To
Speaker 1: the line where the one guy's like, oh we didn't
Speaker 1: survive that crash, did we. It's ah. Of course, you
Speaker 1: get the moment where they're dancing at the end, You're like, okay, okay, okay.
Speaker 2: Yeah, they see they're they're they're fine, they've they've come
Speaker 2: to terms with it.
Speaker 1: Yeah, but I don't know, just all this stuff like
Speaker 1: you just that's what I love about it. Again, Give
Speaker 1: this scene and say like, yeah, a guy who's like
Speaker 1: burnt to a Chris smoking a cigarette in this one
Speaker 1: waiting room. Give it to fifty other directors and you're
Speaker 1: gonna get something. And it's too much of this, too
Speaker 1: much that whatever, and it might work in its own way,
Speaker 1: but she only one guy is going to give you.
Speaker 2: This well, and that's I'm I can't help but wonder
Speaker 2: what's going through Alec Baldwin and Geena Davis on Mars
Speaker 2: there as they're sitting here going through this, you know,
Speaker 2: because you're really relying on on your director to see
Speaker 2: you through, you know, as it is a leap of faith,
Speaker 2: you know.
Speaker 1: Yep, yeh.
Speaker 2: See that one right there where she's like, I wouldn't
Speaker 2: have had my little accident. She holds up and I'm like,
Speaker 2: did she slit her wrists?
Speaker 1: Like? What happened there? That's what I think. That's what
Speaker 1: I took it as.
Speaker 2: But that's not an accident, I know.
Speaker 1: Yeah, she doesn't like wink wink when she says it. Yeah,
Speaker 1: but I don't I don't know. This guy is just
Speaker 1: so I mean just this whole walk through this room
Speaker 1: with this guy flattened pancake and these yeah, oh man,
Speaker 1: I love this. Even the lighting, the green and the
Speaker 1: blues and the that's it.
Speaker 2: I mean, it's easy to sort of take for granted
Speaker 2: now because of you know, the the Burton filmography and
Speaker 2: you know, but like this, this had to have been
Speaker 2: something so out there back then. But then it makes
Speaker 2: me think, like, you know, there was a time when
Speaker 2: we would see stuff like this where it was it
Speaker 2: was kind of you know, it was it was skirting
Speaker 2: the edge in terms of is.
Speaker 1: It aimed at families is it not?
Speaker 2: But you could you could have stuff like this that
Speaker 2: did attempt to to sort of balance between genres.
Speaker 1: You know. Is that incredible? I mean you could say, hey,
Speaker 1: this director's got a vision. Yes, let's put it out
Speaker 1: there and see what people think. And then this ended
Speaker 1: up being the number ten highest grossing movie of nineteen
Speaker 1: eighty eight. Yeah, there was room for it, or there
Speaker 1: was nothing like this yet, and people embraced that.
Speaker 2: I mean, that's the unfortunate thing about where we're at now,
Speaker 2: where I'm like, where is the beetle juice now? And
Speaker 2: I don't mean beetle juice, beetle juice.
Speaker 1: Yeah, yeah, you know, I know what you mean.
Speaker 2: Right, Like, where's the thing that's kind of finding its
Speaker 2: own little niche? I don't know, you know, I just
Speaker 2: don't think there's a market for it unless there's some
Speaker 2: kind of a franchise or an ip attached to it.
Speaker 1: By the way, I should point out the guy who
Speaker 1: explains the exorcisms are deadly for the dead. That's the
Speaker 1: guy from Peebe's Big Adventure, who's like the worst accident
Speaker 1: I ever seen. Wow. Okay, Burton has his sort of
Speaker 1: unique stable. Yeah, of actors.
Speaker 2: I mean, that's one thing you gotta say. You know,
Speaker 2: people who work with him, they tend to want to
Speaker 2: come back and work with them again. So that's something.
Speaker 1: Yeah, that is great too. I don't know her name offhand.
Speaker 2: Sylvia Sidney, who plays Juno.
Speaker 1: Yeah, yeah, yeah, yeah, she's so good and you get
Speaker 1: it's just sort of gruesomeness of her. You know, the
Speaker 1: slice across her throat, but she's smoking, so you see
Speaker 1: the smoke come out of it.
Speaker 2: She was also in Mars Attacks.
Speaker 1: Oh, she's the grandmother, the grandmother, that's right.
Speaker 2: So wowow, what about about ten years after this you
Speaker 2: were taken.
Speaker 1: I haven't watched that in a really long time.
Speaker 2: Yeah, I've only seen it a couple times back in
Speaker 2: the nineties.
Speaker 1: So it's making me want to do a rewatch, you know,
Speaker 1: like I haven't gone through these older Burton films. That's
Speaker 1: the thing. I mean, his his career has been so
Speaker 1: interesting where he was making these things, these Edward scissorhands
Speaker 1: and that kind of stuff, right, but then he kind
Speaker 1: of got pulled into that Well, what if we applied
Speaker 1: the Burton esthetic to Allas in Wonderland? You know? And
Speaker 1: I admit, I mean at the time it was like,
Speaker 1: I don't know, what does that look like? That could
Speaker 1: be interesting, and it kind of felt a little more
Speaker 1: homogenized and watered down and whatever. Then I think, well,
Speaker 1: to be fair, that movie made a billion dollars, but
Speaker 1: you know, it actually probably brought some younger people into
Speaker 1: the Burton fold. But then you end up with Dumbo eventually,
Speaker 1: which just didn't work at all. And so I kept saying, like, man,
Speaker 1: I want Burton again. I want Burton to make something
Speaker 1: from his brain. I want to see that again. And
Speaker 1: then that's you know, in a week we're getting the
Speaker 1: sequel Beal Juice Meal Juice. So that's that's what I
Speaker 1: asked for making his stuff again.
Speaker 2: I I think, you know, Burton is very much an
Speaker 2: acquired taste. And I've said before, you know, I think
Speaker 2: I think he's somebody who has to be matched with
Speaker 2: the right subject matter. And you know, to me, the
Speaker 2: naar of just trying to plug him, plug him into
Speaker 2: anything and just sort of you know, letting it happen
Speaker 2: is is Planet of the Apes. You know, because I've
Speaker 2: said it plenty of times, you talk about, uh, the
Speaker 2: absolute wrong person for that material. I think that's that's
Speaker 2: that's his Planet of the Apes.
Speaker 1: And and I'm I'm I'm sure Tim Burton would agree
Speaker 1: with me.
Speaker 2: Uh huh, yeah, you know, because it's not like he
Speaker 2: has a lot of fun things to fond memories of
Speaker 2: having worked on that movie, you know.
Speaker 1: I know, but you can imagine at the time the
Speaker 1: tantalizing prospect. Yeah what if Tim Burton remade Planet of
Speaker 1: the Apes? Yeah, what does that look like? Yeah? Yeah, exactly.
Speaker 1: But he he just works best when he's able to
Speaker 1: let his freak flag fly and do the thing is
Speaker 1: it tickle his fancy, you know, like Mars attacks.
Speaker 2: And it's interesting because because like you have a movie
Speaker 2: like Big Fish for example, Mmm, right, and very very
Speaker 2: very much a Burton joint. Uh and and yet it
Speaker 2: it's doing something a little different. I think it stands
Speaker 2: out in his in his repertoire, you know. And so
Speaker 2: I think that's sort of the right approach when when
Speaker 2: it comes to how to finesse what he brings to
Speaker 2: a story. You know, I think just plugging him into
Speaker 2: an ip it rarely, it has rarely worked. I mean
Speaker 2: just at a glance. Dumbo the Planet of the Apes
Speaker 2: and Dark Shadows.
Speaker 1: Oh yeah, yeah, I forgot about that, remember Dark Shadows? Yeah?
Speaker 1: I mean no. Yeah. By the way, when he kills
Speaker 1: that fly and the whole helped me, hm, I was like,
Speaker 1: you know, that was like a reference with we were kids.
Speaker 1: Isn't that funny? Yeah, it'd be on the Simpsons and
Speaker 1: all sorts of things. But that's not a reference that
Speaker 1: I think your kids would understand today. No, no, not
Speaker 1: at all. It's funny. They have their window, I guess
Speaker 1: that well.
Speaker 2: And we've talked about it before. How like our exposure
Speaker 2: to syndicated reruns and things like that sort of extended
Speaker 2: the half life of these pop culture references. Yea, in
Speaker 2: hindsight to an abnormal degree. It was lengthened.
Speaker 1: You know. Yeah, that's a good point. Things that should
Speaker 1: not have the window shouldn't have been as big as
Speaker 1: that it was for us that it was.
Speaker 2: That's what it is.
Speaker 1: Yeah, it's funny, you know, Gooley Ghouley.
Speaker 2: I was just to do that.
Speaker 1: When when he said putts, I like, I said, I
Speaker 1: was watching in the other room as Frederica. I I
Speaker 1: sent her that gift where from The Simpsons where he's
Speaker 1: like Vera said that it's funny.
Speaker 2: Is so just by chance we had watched the Casino
Speaker 2: episode of The Simpsons like a week earlier.
Speaker 1: Oh wow. Yeah. So as he comes up, I was like,
Speaker 1: you're a manager said for you to shut up.
Speaker 2: You said that, and I was like that's the guy,
Speaker 2: and they're like, oh, you.
Speaker 1: Know right, yeah, it's funny. I mean, yeah, I know,
Speaker 1: I'm less first music and more for being the villain
Speaker 1: and naked gun too, right, totally. Yeah, And of course
Speaker 1: Will Farrel's amazing impersonation of him. That's right. This is
Speaker 1: kind of a cute idea, you know, these sort of
Speaker 1: doorkey people, their idea of what haunting is supposed to be, Like, right,
Speaker 1: it's wearing these bed sheets.
Speaker 2: See, it's interesting that the story like that the Maitlands
Speaker 2: are our focus, but the struggle is that Beetlejuice is
Speaker 2: the most interesting element. So like you have to balance
Speaker 2: how much of him?
Speaker 1: Like is it?
Speaker 2: You know, I'm sure those are the things they have
Speaker 2: to think about, like, well, how much of Beetlejuice do
Speaker 2: we want in this story? How much do we wanted
Speaker 2: to you know, like how do we split our focus?
Speaker 2: And apparently the answer is about fifteen minutes worth. That's
Speaker 2: the that's the magic number.
Speaker 1: But it's like what you said, I mean you feel
Speaker 1: him through the whole movie, which is yeah, them sticking
Speaker 1: the landing.
Speaker 2: In a way, I think it's interesting in terms of
Speaker 2: how the credits are listed at the very start, where
Speaker 2: we have Alec Walden getting top billing and Michael Keaton
Speaker 2: is the end. M yeah, sure right, And yeah, I
Speaker 2: was talking to my thirteen year old He's like, what,
Speaker 2: Michael Keaton wasn't even a big enough start to get
Speaker 2: top billing? And I said, uh uh uh, he's the
Speaker 2: and I was explaining like crank replacement and negotiations. I
Speaker 2: was like, no, your agent gets you the end if
Speaker 2: you don't get the top billing, because that's just you know.
Speaker 1: He's like, that's so funny. I can see him at
Speaker 1: the cafeteria table, you know, a lunch on Monday, explaining
Speaker 1: as they're eating. You know, they're like, it's.
Speaker 2: Like you're the and that's a big deal.
Speaker 1: Oh yeah, all the kids. Yeah, it is kind of
Speaker 1: a cute idea too. You know, this kid with a
Speaker 1: special ability, you know what I mean, like is able
Speaker 1: to see the dead and read the book and you.
Speaker 2: You you know who who Tim Burton plugged into when
Speaker 2: he got this right Lydia is clearly the surrogate for
Speaker 2: him in a.
Speaker 1: Yeah, everyone reads the book. But then like she, you
Speaker 1: know what I mean, like she knows the real this
Speaker 1: whole thing with a model too. It's like a not
Speaker 1: just a clever narrative sort of conceit so you can
Speaker 1: plug this ghost being in and you can shrink down.
Speaker 1: But it's like, yeah, but he's in the model right now,
Speaker 1: and you know what I mean, that's just a very
Speaker 1: clever idea.
Speaker 2: I think, you know, as written Originally, there was no
Speaker 2: saying his three names, his name three times to get
Speaker 2: him out. It was just once he's out, he's out.
Speaker 1: Oh so he is able to freely do that. Yeah.
Speaker 2: So in other words, like I think that was the
Speaker 2: they realized, like, we need to put some limitations now,
Speaker 2: I mean, as written originally as much darker as we
Speaker 2: talked about. And Beetlejuice in his true form is like.
Speaker 1: A winged demon, right, and.
Speaker 2: He wants to murder the Deetzes. He doesn't want to
Speaker 2: scare them. He wants to have sex with Lydia. It
Speaker 2: is on a marry here, like all these weird like
Speaker 2: you look at it now, you're like, oh, oh no, yeah,
Speaker 2: but that was the you know, that was the the
Speaker 2: initial that's that was the germ of an idea, right,
Speaker 2: And so so the comedic aspects came in with Warren Scarin,
Speaker 2: who who of course also also co wrote Batman by
Speaker 2: the Way, M and and like as as as originally conceived,
Speaker 2: Beetlejuice in his human form is kind of this diminutive
Speaker 2: Middle Eastern guy M And I'm like, well, don't.
Speaker 1: Do that right, right right.
Speaker 2: I'm like, hey, now come on. So it's weird again,
Speaker 2: this like it has to start somewhere, right, Like we
Speaker 2: can be like, well that's stupid. It's like you know,
Speaker 2: but look, you gotta start. You put it out there
Speaker 2: and you prune it and it gets to something. But
Speaker 2: that's that's the process.
Speaker 1: Yeah, you know, don't be afraid of the process. That's
Speaker 1: I mean, I think that's fantastic advice. I was reading
Speaker 1: about Michael McDowell, who originated the idea. Yeah, and he
Speaker 1: was just a person who was kind of intrigued by death,
Speaker 1: you know, and it's just I mean, you could see
Speaker 1: where the Lydia character comes from. And so anyway, he
Speaker 1: writes the first version of this script and he was
Speaker 1: working I want to say it like Walter Hill's company
Speaker 1: or something, that's right. He was like an exec yeah,
Speaker 1: and then I guess he turned it in like what
Speaker 1: do you guys think of this? I don't remember who
Speaker 1: said it wasn't I don't know if it was Walter
Speaker 1: Hill or another executive, but they called him into a
Speaker 1: meeting and he thought, oh, this is gonna go well,
Speaker 1: and they were basically like, so this is what you
Speaker 1: want to put out there with your name on it?
Speaker 1: The kind of thing and it's like, you know what,
Speaker 1: who knows, who knows what that first draft was, but
Speaker 1: like you said, it starts somewhere, and this became something
Speaker 1: that we're talking about thirty years later. So I don't know, man,
Speaker 1: sometimes you just need to not be afraid of your ideas.
Speaker 2: I mean, that really is the takeaway, right, and especially
Speaker 2: because it seemed like he was like he was fine
Speaker 2: with the way the idea changed, you know, if anything.
Speaker 2: You know, he he died twenty five years ago, and
Speaker 2: it makes me sad that he didn't live to see it.
Speaker 2: Just this remarkable afterlife that the movies had. I mean,
Speaker 2: he got to see it become like a franchise, but
Speaker 2: like he didn't live to see now like thirty five
Speaker 2: years thirty six years later, and it's you know what
Speaker 2: I mean, Yep, that's a real shame.
Speaker 1: Yep. I mean we're at the cusp now of the
Speaker 1: real digging in and having a moment with Beetlejuice for
Speaker 1: the first time. And what are we at.
Speaker 2: Forty five almost fifty minutes at this point?
Speaker 1: Yeah, crazy, Yeah, I love this so again going back
Speaker 1: to the model, like you know, the model grass and
Speaker 1: the Yep, I love the hard boar and stuff. That's cool. Specificity,
Speaker 1: I love it interesting too. By the way, his spell
Speaker 1: the spelling of his name Beetlejuice within the film is
Speaker 1: like the star Beetlestars, that's right, And so I mean
Speaker 1: you have to imagine that was some sort of marketing
Speaker 1: thing for the poster, you know, or like na, no
Speaker 1: one's gonna be able to say the juice part. It's
Speaker 1: like with G E U S E. But isn't that funny.
Speaker 1: I mean that's the only place that it's spelled that way, right,
Speaker 1: is on like marketing materials, that's right. Otherwise within this universe,
Speaker 1: that's not how it's spelled at all. That's true. I
Speaker 1: mean this is just so it's like card. It's like
Speaker 1: you want to watch it, like you don't want to
Speaker 1: talk through it. But yeah, I mean energy it.
Speaker 2: That's the thing, right, is is Michael Keaton you talk
Speaker 2: about a chameleon of an actor?
Speaker 1: Yeah?
Speaker 2: Right, I'm like, we got Beetlejuice, Batman, Birdman, clean and sober.
Speaker 2: You know, you know Robbie Robinson in Spotlight. You know,
Speaker 2: I mean what a what a career?
Speaker 1: Like?
Speaker 2: Talk about living a character actor's life?
Speaker 1: H right?
Speaker 2: Yeah, like truly one of our great living actors, definitely,
Speaker 2: you know.
Speaker 1: And it's funny too. I mean seeing him because I
Speaker 1: know him through his characters first and foremost, but when
Speaker 1: you see him interviewed, he is kind of like a
Speaker 1: I don't like it does feel like there's a little
Speaker 1: charge running through him at all times. He's a little jit, right,
Speaker 1: you know what I mean. And so it's it's funny
Speaker 1: seeing how he takes that genuine spark inside of him
Speaker 1: and he channels it through all these different characters, you
Speaker 1: know what I mean, like like a weird little live
Speaker 1: wire energy or something. It's one thing that is beel Juice.
Speaker 1: It's another thing is Bruce Wayne. It's not you know
Speaker 1: what I mean? Ye yep.
Speaker 2: Well, I I think like just just a as a
Speaker 2: as a compared and contrast. You know, you put you
Speaker 2: put Beetlejuice next to next to Bruce Wayne, and it's like,
Speaker 2: here's an actor who knows when to go I was
Speaker 2: gonna say it went to go nuts, but like he
Speaker 2: you know, Like for me, what makes his Bruce Wayne
Speaker 2: work is how the quiet moments and it's just his
Speaker 2: face and you're just watching his face. I think I've
Speaker 2: said to you before. One of my favorite scenes in
Speaker 2: either of his movies is when he goes to crime
Speaker 2: Alley and he just puts the flower down right.
Speaker 1: And it's just his face. He didn't say anything, you know, yep, and.
Speaker 2: Then you see just the manic energy here, like I mean,
Speaker 2: this is you know, I'm an unabashed Michael Keaton fan,
Speaker 2: you know. Oh yeah, So we were talking about the title.
Speaker 1: You know, Warner Brothers.
Speaker 2: Did not like that it was called Beetlejuice, right, and
Speaker 2: so they they wanted to call it House Ghosts. Yeah, which, like,
Speaker 2: can you that sounds like it's like a Disney you know,
Speaker 2: made for TV Sunday Evening.
Speaker 1: Right, like right, right, that's what it sounds like.
Speaker 2: Tim Burton suggested scared sheetless, right, hilarious. I think the
Speaker 2: studio was like hm, and he's like no, no, no, no,
Speaker 2: I'm joking gods sake exactly.
Speaker 1: So then of course, well let's call it Beetlejuice. But
Speaker 1: then it's spelled super weird and you can imagine them
Speaker 1: being like sort of like the Sean Fanning lose the thuh,
Speaker 1: it's cleaner. It's like if we spelled like the actual
Speaker 1: beetle and juice it's cleaner. So I guess this was
Speaker 1: an actual sort of like outtake that they kept in
Speaker 1: because the tree wasn't supposed to fall over. Is that right?
Speaker 1: That's so funny and him being like nice effing model,
Speaker 1: like that's just him in the moment, and that's their
Speaker 1: PG thirteen, which is funny because it's not rated. PG thirteen.
Speaker 1: This is one of those rare eighties PG F word movies. Wow.
Speaker 2: I didn't even realize that.
Speaker 1: Yeah, we Spaceball's Big and Beetlejuice.
Speaker 2: Yeah, because at that point my son, my oldest, he
Speaker 2: was like, hey is PG thirteen? I said, I guess,
Speaker 2: like this is my kids?
Speaker 1: Is that funny? That's hilarious?
Speaker 2: Oh there's an F word? So PG thirteen, huh yeah.
Speaker 2: So Glenn Shaddocks here, he also passed away. He was
Speaker 2: also he you know, he was in a whole bunch
Speaker 2: of different movies, Like we used to see him a
Speaker 2: lot back in the day.
Speaker 1: He was in Demolition Man. Have you seen that? Oh yeah,
Speaker 1: oh yeah, yeah, he's in that.
Speaker 2: He's also in He's actually in Planet of the Apes.
Speaker 2: He's in the he's the during the dinner scene. He's
Speaker 2: the heavy set range tang I.
Speaker 1: Think that's right. I can picture that now Lisa Marie
Speaker 1: plays his girlfriend, right, Burton always getting his girlfriends in
Speaker 1: the movies.
Speaker 2: Well, I was I was looking for Lisa Marie in this,
Speaker 2: but I guess he hadn't met her yet.
Speaker 1: I read in the trivia who knows that this is
Speaker 1: true or not? But his girlfriend is the pair of
Speaker 1: legs with the sod and half girl. Ah okay, I
Speaker 1: had read for the Otho character. They had also looked
Speaker 1: at John Candy. Oh, you can totally see that one
Speaker 1: hundred percent. I was, you know, I like where they went. Yeah,
Speaker 1: because Shaddox gives this really obviously very specific energy. I
Speaker 1: think it's perfect for this movie, but you can picture
Speaker 1: it completely.
Speaker 2: I think the problem is Candy would kind of overpower it. Yeah, yeah,
Speaker 2: because he's John Candy.
Speaker 1: Yeah. I like the like the sort of sass of
Speaker 1: this version right where you can sort of picture the
Speaker 1: John Candy his kind of chuckle at the end of
Speaker 1: his sentences, right, which we love in other characters. But
Speaker 1: for this character, I like him being, you know, sort
Speaker 1: of a the opposite for for Lydia. You know. Yeah,
Speaker 1: well with the mother that's like.
Speaker 2: I think the artist absolutely, but Dick Caviot. How random?
Speaker 1: So random? I know, is that Dick Caviot? I know?
Speaker 1: And indeed it is not not playing Dick Caviot. No, yeah,
Speaker 1: so random. You can clearly see this is like a
Speaker 1: lot of this stuff is like Tim Burton the old
Speaker 1: movies and TV he used to watch, yeah, you know,
Speaker 1: and wanting to hire those actors and personalities.
Speaker 2: So the great thing about this sequence here, this is
Speaker 2: the deoh sequence, is you like the actors Jeffrey Jones,
Speaker 2: Catherine O'Hara, Glenn Shaddocks, all of them. They make you
Speaker 2: believe they are being forced to do this, like that's
Speaker 2: how good they are acting.
Speaker 1: Yep, you know what I mean? Yep, yep, yeah, like
Speaker 1: they're not being pulled by anything or pushed or whatever.
Speaker 1: Like the actors are portraying doing this kind of funny
Speaker 1: thing but against their will.
Speaker 2: So well right, it's not you're not just dancing. You
Speaker 2: have to play it like you're you're unwillingly dancing.
Speaker 1: It's so funny. This scene is so weird, but it's
Speaker 1: so iconic. It is.
Speaker 2: Yeah, you know, I like this song is in my
Speaker 2: shuttle shuffle. Yeah, and it's because of this movie.
Speaker 1: Sure, totally you know, yeah, kind of like jump in
Speaker 1: the line at the the end of it, like we yep,
Speaker 1: after it was playing, like yeah, Frederick could put it
Speaker 1: on and we were like bopp into it. It's such
Speaker 1: an amazing song.
Speaker 2: Harry Belafonte rip just just died recently.
Speaker 1: Yeah. See. But then we get the horror, like what
Speaker 1: a weird, weird, weird scene. It's so funny and weird
Speaker 1: and goofy in sixties campy almost, and then that's horrifying,
Speaker 1: like these hand shrimp things coming out at the end. Yep.
Speaker 2: It's so perfect, you know, just calling back to what
Speaker 2: we were talking about earlier. You know, I look at
Speaker 2: like the Frighteners mm hmm, yeah, so similar because it's
Speaker 2: Peter Jackson's sensibility. Like pre Lord of the Rings, Peter
Speaker 2: Jackson was kind of a different beast.
Speaker 1: Right, oh yeah, very much, you know, and really he.
Speaker 2: Had these quirky comedy slash horror sensibilities, which like, to me,
Speaker 2: I draw a line between Beetlejuice and the Frighteners. They're
Speaker 2: very similar to me.
Speaker 1: You know, It's funny. I never thought of that, but
Speaker 1: I completely see it, and I think that's why I
Speaker 1: like the Frighteners Yeah, I like that balance. Yeah, that's good,
Speaker 1: by the way, I mean, if people have missed that movie.
Speaker 1: I had missed it for a long time, and then
Speaker 1: I know Sean was a big fan of it, our
Speaker 1: our mutual friend, and he had it on his shelf
Speaker 1: when we were roommates. So one day I just popped
Speaker 1: it in and I was like, whoa, how did I
Speaker 1: It's this Oh what a what a gem? Right, total gem.
Speaker 1: You get this awesome Michael J. Fox movie that you
Speaker 1: may not have seen. That's this awesome horror.
Speaker 2: Comedy and it and it balanced. It's like horror, comedy
Speaker 2: and heart. It gets all three, and that's that's not
Speaker 2: easy to do.
Speaker 1: Yeah, I've had that happen. You know. I can count
Speaker 1: on one hand where I was like, where's this movie been?
Speaker 1: This movie's been missing from my life. Contact was one
Speaker 1: of them. That was a mecha's movie I didn't see
Speaker 1: until way later, and I was like, this is so
Speaker 1: me How did I miss this all these years? And
Speaker 1: it's these back to the future connections you've somehow missed. Yeah,
Speaker 1: that's funny. Yeah, just surprising. You think I would hunt
Speaker 1: all those down?
Speaker 2: Yeah, I mean Frighteners is like the final time, Michael J.
Speaker 2: Fox was like the above the line star you know,
Speaker 2: of a of a movie anyway.
Speaker 1: And there's that famous outtake right where he's like yelling
Speaker 1: a lot and he just goes doc And so I
Speaker 1: think Jackson has to be like you just said doc.
Speaker 1: He's like, oh, oops, just in his brain somewhere, you know.
Speaker 1: It's so funny. See.
Speaker 2: I think the interesting dilemma that the script has is
Speaker 2: that we are on the side of the maitlands, but
Speaker 2: we can't dislike the deepses either. M right, Like that's
Speaker 2: the weird thing, right, It's like we're not like, oh,
Speaker 2: get them out of there. We're kind of like, just like,
Speaker 2: come on, coexist, you know, that's really what we want.
Speaker 1: I think that's what's nice about it because you could
Speaker 1: imagine a version where they're ugly people.
Speaker 2: Right exactly, they're rude or mean or.
Speaker 1: Hateful or something. But by the end of the film,
Speaker 1: I love that it culminates in well, let's all live
Speaker 1: together in harmony, like we find the balance. Yeah.
Speaker 2: I was reading about how one of the initial drafts
Speaker 2: has the deets is well, Charles and Delia they leave,
Speaker 2: they go back to New York, and they leave Lydia
Speaker 2: to be raised by the Maitlands.
Speaker 1: Which is kind of weird. Yeah, I was like, I'm
Speaker 1: not sure I like that.
Speaker 2: I like it better the way it ended up, you know, Yeah, I.
Speaker 1: Don't know, it's fine. I mean it's funny because now
Speaker 1: my mind is spinning a little bit, like you could
Speaker 1: sort of do a version where they're terrible, right, and
Speaker 1: maybe they're like sort of like Matilda type, yes, printal types,
Speaker 1: you know, or like Harry Potter's Yeah exactly, Yeah, yeah,
Speaker 1: but that's I like this better.
Speaker 2: They're just kind of clueless, which is I think works
Speaker 2: better for the story that they're telling.
Speaker 1: Yeah, they're tacky, yeah, exactly, you know what I mean.
Speaker 2: Well, I mean really, when you think about it, this
Speaker 2: despite Burton's protestations about about the you know, the mundanity
Speaker 2: of suburbia, this is sort of a peon to suburbia, right,
Speaker 2: because the Maitland's are are our entry point characters and
Speaker 2: and we're looking askance at these big city folks. Right.
Speaker 1: Yeah, that's funny. You can see why.
Speaker 2: By the way, uh, you know, when it was announced
Speaker 2: that Michael Keaton was playing Batman, why the fans had
Speaker 2: such such a series of ship fits over it.
Speaker 1: I mean, what do you have before this, right? You
Speaker 1: have like gung ho mister mom and this it's yeah, yeah,
Speaker 1: it's hard to imagine, you know, like a square jot right,
Speaker 1: like sort of hero and a cape. Yeah.
Speaker 2: I mean again, I had the benefit of not knowing
Speaker 2: who Michael Keaton was, so my first exposure to before
Speaker 2: I even knew his name, I saw him in the
Speaker 2: suit and I was like, done, deal, sign me up.
Speaker 2: Yeah you know, but yeah, you see this and you're like,
Speaker 2: he's Batman.
Speaker 1: Yeah, So I mean you really kind of didn't have
Speaker 1: to get some credit to Tim Burton also for his casting. Yeah.
Speaker 2: Yeah, though well and and Keaton said that he thought
Speaker 2: it wasn't so much that he'd worked with him on this,
Speaker 2: it was that he had seen clean and sober hmm.
Speaker 2: And based on that he that that that's Keaton's assumption.
Speaker 2: H Also interesting here as far as the snake. First
Speaker 2: of all, I love the stop motion. Yeah. They were
Speaker 2: originally going to do kind of like go motion like
Speaker 2: the like the ED two o nine and Rubber Cup,
Speaker 2: but it was too expensive, so they did it the
Speaker 2: old fashion way. But originally the snake was supposed to
Speaker 2: just look like a snake. Oh interesting, And and the
Speaker 2: studio people were like, he should have Beetlejuice's head because
Speaker 2: otherwise it'll just we won't know it's Beatle just we'll
Speaker 2: just think it's like a creature that people just sent.
Speaker 2: And this is where I say, you know, we can't
Speaker 2: dismiss studio notes out of hand.
Speaker 1: Yeah, yeah, sometimes they're good notes, totally. I know. It's
Speaker 1: like it's funny studio executives get a lot of crap,
Speaker 1: and for very good reason a lot of the times.
Speaker 1: But I was actually just talking to a friend of
Speaker 1: mine new works at a studio, and he was working
Speaker 1: closely on a movie that did very well this summer,
Speaker 1: and he was saying that the executive who's tied to
Speaker 1: that movie really cares, like, is really invested in it.
Speaker 1: Loves movies. You know. Some of these people just want
Speaker 1: to become heads of studios someday and you know, want
Speaker 1: the title or whatever. And some people just freaking love
Speaker 1: movies and want to make them the best they can.
Speaker 1: And so it's it's really cool when those people get
Speaker 1: to help plus movies.
Speaker 2: That's the that's the thing, right, because because it has
Speaker 2: become such an industry cliche, about the role executives play
Speaker 2: and just shaving away any authenticity and and you know, personality.
Speaker 2: You know, like Kevin Smith has made a whole career
Speaker 2: out of dunking on John Peters and what he did
Speaker 2: with Superman.
Speaker 1: You know.
Speaker 2: Sure, and that's sort of like the worst case example,
Speaker 2: but yeah, there's plenty of times where ideally, if it's
Speaker 2: a if it's a truly collaborative creative process, then you
Speaker 2: have little things and big things. I mean, I mean
Speaker 2: big picture. Does the putting Beetlejuice's head on the snake
Speaker 2: matter that much? Maybe not, But that's an example of well,
Speaker 2: that's a smart choice that the filmmakers didn't think about,
Speaker 2: but it ends up having a positive impact on the film,
Speaker 2: you know.
Speaker 1: Totally. Speaking of Kevin Smith, we may as well. He's
Speaker 1: quite famous for talking about yes, uh, almost being attached
Speaker 1: to a Beetlejuice sequel, the what is it beal Juice
Speaker 1: Goes Hawaiian? That was the initial title. Yeah, yeah, they
Speaker 1: presented that to Kevin Smith to possibly have a stab
Speaker 1: at Kevin Smith's famous line is must we go tropical? Now?
Speaker 2: What's interesting to me is that at that stage, I
Speaker 2: don't even believe the intention was for Tim Burton to helmet.
Speaker 1: Mmm, do you imagine you know?
Speaker 2: And that's right, Like that's I'm like, why even bother?
Speaker 1: Yeah, very curious what that would have then?
Speaker 2: Uh? Well, the this is via Wikipedia says the story
Speaker 2: followed the Deep's family moving to Hawaii, where Charles is
Speaker 2: developing a resort. They soon discovered that his company is
Speaker 2: building on the burial ground of an ancient Egyptian excuse me,
Speaker 2: ancient Hawaiian kahuna. His spirit comes back from the afterlife
Speaker 2: to cause trouble, and Beetlejuice becomes a hero by winning
Speaker 2: a serve contest with magic. It says here Michael Keaton
Speaker 2: and Won, a writer, agreed to do the film on
Speaker 2: the condition that Burton directed, but both he and Keaton
Speaker 2: became occupied with Batman.
Speaker 1: Returns Hmm, okay, who knows, who knows?
Speaker 2: Yeah?
Speaker 1: I love this. By the way that the people in
Speaker 1: the background, sorry, behind the maitland's you know what I'm
Speaker 1: talking about. To see that window for someone eating popcorn
Speaker 1: watching them, it's very unsettling, it is, right, I don't
Speaker 1: even know what I'm looking at, but I just I
Speaker 1: love it because it unsettles me. Sorry, sorry, you were saying,
Speaker 1: Kevin Smith.
Speaker 2: No, no, it's it says the Beatle just goes. A
Speaker 2: Liion script is still owned by the Geffen Company and
Speaker 2: will likely never get made. So I guess so cooler
Speaker 2: heads have prevailed.
Speaker 1: Yeah, don't you wish sometimes these unproduced, famous, unproduced scripts
Speaker 1: would be in some sort of I don't know, like
Speaker 1: library somewhere or collection that you could read. Man, you're
Speaker 1: not kidding.
Speaker 2: I just saw somebody on in one of my social
Speaker 2: media feeds yesterday posted, literally yesterday posted a copy of
Speaker 2: the script for Superman the New Movie. And this was
Speaker 2: the planned fifth Christopher Reeve movie that was going to
Speaker 2: be produced by the sal Kinds. Oh and and I
Speaker 2: don't know how this person got ahold of it, but boy,
Speaker 2: howdy do I want to read that?
Speaker 1: Yeah? You know right? Yeah? I mean yeah, I guess occasionally,
Speaker 1: often even some of these things do turn up, like
Speaker 1: the Frank Darboht Indiana Jones script. Yes, I remember, I'd
Speaker 1: give anything to read that, And then like a couple
Speaker 1: weeks later popped up.
Speaker 2: I was like, well, yep, or the Colin Trevarro Star
Speaker 2: Wars episode.
Speaker 1: Nine, Yeah, yeah, exactly. So every now and then.
Speaker 2: This feels like, how many girls that you went to
Speaker 2: ice with were like full on Tim Burton fase, like
Speaker 2: dressing like Tim Burton characters and they were like because
Speaker 2: that was like definitely a thing when I was in
Speaker 2: high school.
Speaker 1: You know, not as many as you would think. To
Speaker 1: my memory, I feel.
Speaker 2: Like every class I was in had at least one
Speaker 2: like really hardcore Tim Burton fan.
Speaker 1: I could just be forgetting because I'm trying to think.
Speaker 1: It's probably most likely people who are in my art
Speaker 1: classes and things.
Speaker 2: M h.
Speaker 1: I remember the crow being huge. Oh the crow was huge.
Speaker 1: Oh my gosh. Yeah, yeah, especially big time crowd mm hm.
Speaker 2: I kind of think this right here. That was the
Speaker 2: action figure. That was the Adam Maitland action figure with
Speaker 2: weird freaking nightmare face.
Speaker 1: It is a very face from your nightmares. Yeah you
Speaker 1: know what I mean, but still sort of weirdly amusing. See,
Speaker 1: but what's funny now?
Speaker 2: Bear in mind I saw the toys before I saw
Speaker 2: the movie, so I just see it's like Adam with
Speaker 2: like his Alec bald.
Speaker 1: Okay, this right there, look at that. That's I was
Speaker 1: watching this with my daughter and I was like, oh boy,
Speaker 1: hopefully I don't have to see it.
Speaker 2: Yeah, but I saw the toys first and it has
Speaker 2: like again regular Adam face and then there's like a
Speaker 2: swappable beak face. I'm like, that's weird. I had no context.
Speaker 2: You see it in the movie. I'm like, that's an
Speaker 2: odd thing to turn into a toy.
Speaker 1: I see. You know what I think my memory of
Speaker 1: those images is I probably saw this poster. Oh wait,
Speaker 1: this is the scene.
Speaker 2: I don't think this is where Brian gets sad.
Speaker 1: I was like, oh damn, these these kids, like yeah,
Speaker 1: I mean, they don't look like kids, they are like
Speaker 1: thirty five year old men. But I think it was
Speaker 1: like a comic book. I had had the poster for
Speaker 1: Beetlejuice okay, and those weird versions of the Maitlands was
Speaker 1: on it, and I was like, what the hell am
Speaker 1: I looking at? This is one of those things too.
Speaker 1: I remember like from all the commercials and trailers, I'm
Speaker 1: the ghosts with the most babe. Yeah.
Speaker 2: I had a Beetlejuice T shirt that said that oh
Speaker 2: really yeah, but it was Beetlejuice from the cartoon m.
Speaker 1: Yeah. You know it's funny too. And maybe I'm wrong.
Speaker 1: I've only seen this a handful of times. I haven't
Speaker 1: seen it like a ton, but it does seem to
Speaker 1: sort of introduce rules as the movie goes along, where
Speaker 1: it's like, if we get married, I'll be free and
Speaker 1: even like free to do what. I don't know.
Speaker 2: But it's just one of those movies that is so
Speaker 2: convinced of itself that you're like, oh, well shit.
Speaker 1: I don't want that. Yeah, like you just buy it all.
Speaker 1: You're like, oh, if you say so, yeah, you know
Speaker 1: what I mean. I don't know. It just kind of works.
Speaker 2: Yeah, I just sent you a link to the adam
Speaker 2: Maitland action figure.
Speaker 1: You can take a look at that. Let me see.
Speaker 1: It's kind of funny too. I'm waiting for this thing
Speaker 1: to arrivee Federica yelled through the wall. Again. We were
Speaker 1: in opposite rooms watching this, just to be clear, but
Speaker 1: she was like, how old is why own a writer?
Speaker 1: Because like the whole hymn wanting to marry her thing right,
Speaker 1: And I feel like the movie takes the steps to
Speaker 1: be like this is so I can be free. I
Speaker 1: need like a legally binding marriage so I can be free.
Speaker 1: And it's not that he's in love with her or anything.
Speaker 2: Right, man, I'm just I'm scrolling down and just looking
Speaker 2: at all these action figures. I'm like, man, what a
Speaker 2: what a bygone era?
Speaker 1: Wait? Did you email it or text it?
Speaker 2: I sent it to you in the zencaster thing.
Speaker 1: Oh oh oh, I was looking the wrong place. Let's
Speaker 1: kind of I love how people are getting it behind
Speaker 1: the scenes.
Speaker 2: Look at it.
Speaker 1: This is the stuff that usually gets cut out. Yah
Speaker 1: h wow.
Speaker 2: That's a weird. That's a weird toy, like like what
Speaker 2: kid wants that.
Speaker 1: You know, it's weird because it looks like he's wearing
Speaker 1: a fez it does.
Speaker 2: I think it's supposed to be a baseball cap.
Speaker 1: I think like a backwards baseball cap or something.
Speaker 2: Yeah, because because you can, you can you can like
Speaker 2: take his head off. His head comes off, so there's
Speaker 2: some kind of a mechanism inside the head.
Speaker 1: I do. Like the one with the bat ears and
Speaker 1: the sort of circus Yeah, the circus one. Yeah, I
Speaker 1: had the Yeah.
Speaker 2: I had exploding beetlejuice.
Speaker 1: I see it. Yeah, his chest burst oven. Yeah.
Speaker 2: Wow, there's like a little gizmo. Uh he would break
Speaker 2: apart and his head is attached to like a bug body.
Speaker 1: Were fine? The one with the purple suit, I guess
Speaker 1: the spinning Head. That's actually a really great looking action figure. Yeah,
Speaker 1: that's the one I should have got, or I just
Speaker 1: mean it looks like you know, you want to get
Speaker 1: the thing that looks like the thing from the movie,
Speaker 1: and it rarely does. Yeah, it actually looks like him
Speaker 1: from the movie.
Speaker 2: Yeah, that's right, that's what he wears later. Yeah. Yeah,
Speaker 2: I'm getting nostalgic looking at these toys.
Speaker 1: Yeah, these are kind of fun. I love that. Of
Speaker 1: course he has to have a vehicle, the creepy Yeah. Anyway,
Speaker 1: you can kind of imagine, you know, Alec Baldwin not
Speaker 1: being sure what to make of what they're making. You know,
Speaker 1: you have this heartfelt scene with Geena Davis.
Speaker 2: So I was actually wondering if that was even Alec
Speaker 2: Baldwin under all that.
Speaker 1: That's a good point. Maybe not, but him being like,
Speaker 1: what what are we doing here? Well, even with this
Speaker 1: big schnas right there. Yeah, but yeah, that's a little
Speaker 1: bit of darkness you can imagine in a movie these days,
Speaker 1: you might not have this teenage girl writing her suicide note, right,
Speaker 1: I was thinking that. Yeah, watching that, I think I
Speaker 1: read somewhere too that that was an alternate ending where
Speaker 1: she was going to be dead in with them, Oh
Speaker 1: my god, and they were saying, what was it. According
Speaker 1: to producer Larry Wilson, the original ending the film would
Speaker 1: have ended with Lydia dying in a fire and joining
Speaker 1: her friends in the afterlife. They changed it considering the
Speaker 1: message it would send to young people that death would
Speaker 1: be a happy ending. Yeah right, yeah, and it's you know,
Speaker 1: it's kind of funny. How do you even get there? Well,
Speaker 1: I mean I could see, you know, if you're writing
Speaker 1: some sort of dark movie, like you said, it's an idea,
Speaker 1: and then you go, that's a bad idea and you
Speaker 1: tweak it. No, I take back everything I said, Brian,
Speaker 1: I was I was wrong. I was gonna say it
Speaker 1: immediately reminds me of Heathers, because that was going to
Speaker 1: be the original ending where they were going to blow
Speaker 1: up the school and all the kids were going to
Speaker 1: be dead and it was going to be a prom
Speaker 1: in heaven. And then they were like, no, that's insane.
Speaker 1: And so then you know, it ends with her literally
Speaker 1: almost like a wily coyote character. Do you remember she
Speaker 1: walks out and she's got like black set all over
Speaker 1: her face, smoking a cigarette. Yea like all the kids
Speaker 1: survived the bomb.
Speaker 2: Weird how that was just like a trend briefly, like yeah,
Speaker 2: and then and then you die and you're in heaven
Speaker 2: and you're happy. It's like that that Christopher Reeve movie.
Speaker 2: Oh damn it so much Somewhere in Time. Oh okay
Speaker 2: with Jane Seymour.
Speaker 1: You know I've never seen that.
Speaker 2: Well, sorry, I just spoiled the ending, but.
Speaker 1: Na, I'm still.
Speaker 2: It's that's a very beloved, like a cult movie, and
Speaker 2: I don't like it at all because I think the
Speaker 2: ending is is terrible interesting. Okay, Yeah, that's me. That's
Speaker 2: how I roll.
Speaker 1: That's how I roll. Okay, wall I have to mention
Speaker 1: this real quick because I'm looking at Katherine O'Hara and
Speaker 1: I'm looking at all the set design. So apparently there's
Speaker 1: a story that I really love with the production designer
Speaker 1: bo Welch m h. I had a crush on Katherine
Speaker 1: O'Hara while they're making the movie, and so he went
Speaker 1: to Tim Burton and was like, I don't know, like
Speaker 1: I kind of, you know, Catherine's kind of cute and
Speaker 1: I think I might kind of like her, and Tim
Speaker 1: Burton's basically like we'll go ask her out, and bo
Speaker 1: Welch was like, oh, we can do that, Like I can.
Speaker 1: I can talk to the actress and actually ask her out.
Speaker 1: I love that. Burton like, we'll go ask her out.
Speaker 1: Cod's stupid, I know. And so he did and they're
Speaker 1: married to this.
Speaker 2: Day, to this day. Isn't that a nice story?
Speaker 1: It is? I love it. I mean, what if he
Speaker 1: hadn't asked.
Speaker 2: Nothing ventured, nothing gained. I think that's the that's the lesson.
Speaker 1: Right, Yeah. And then bo Welch went on to be
Speaker 1: production designer on Edwards Scissorhands, Men in Black, Batman Returns.
Speaker 1: He's done, al right, he's done, alright. He directed the
Speaker 1: series of Unfortunate Events, the series version the series.
Speaker 2: That's right, I forgot about that.
Speaker 1: Yeah.
Speaker 2: Also interesting you talk about quirks of fate. Burton wanted
Speaker 2: Anton First to be the production designer on this, Yeah,
Speaker 2: and just he was unavailable. So that's why he got
Speaker 2: bou Welch. And so when you think of it again,
Speaker 2: bo Welch may never have met his future wife.
Speaker 1: Yeah, that's good.
Speaker 2: If Anton First had been available, you know, mm hmm.
Speaker 1: Yeah, and then he I don't know, he's just how
Speaker 1: different would this movie have been also, you know, and
Speaker 1: then you think of Batman. What if Anton first had
Speaker 1: done Batman? How different would that movie be? And it's man, Yeah,
Speaker 1: quote John Connor messes with your head. So this whole
Speaker 1: seance slash accidental exorcism, this is just one of those
Speaker 1: things too where you look at the tone of it
Speaker 1: and you're like, he just gets it just right, Like.
Speaker 2: That's the right, Yeah, it's it's you really have to
Speaker 2: feel it here.
Speaker 1: I love the look on.
Speaker 2: Geena Davis's face right there as she reaches out to
Speaker 2: win on a rider mm hm, because because you have to.
Speaker 2: It's weird, right, because we're watching them die and we
Speaker 2: have to really feel the horror of that. But it
Speaker 2: can't be too horrific, you know, it's like real, It's
Speaker 2: it's a it's a delicate balance.
Speaker 1: Yeah, That's what I love about it is it's like
Speaker 1: it's really freaking scary, like her, you know, her deteriorating
Speaker 1: and the tone of it and everything, but it's also
Speaker 1: it's just scary enough. Yes, it stays within the tone
Speaker 1: of the film that we we've had so far, right,
Speaker 1: and it's sad that's right.
Speaker 2: Well, I mean the you know, like that that right.
Speaker 2: I mean, you know, her face looks like almost like
Speaker 2: a it looks like a Tim Burton drawing, you know, yeah, right,
Speaker 2: but there's something sweet about he's reaching, how he's reaching
Speaker 2: for her and stuff.
Speaker 1: Yeah. Yeah. And then of course when Beetlejuice is unleashed,
Speaker 1: we get into the sort of can't be fun haunted
Speaker 1: carnival vibe, you know, and it's just it turns into
Speaker 1: like a like creepy Looney Tunes cartoon or something, you know,
Speaker 1: where he's got inflatable hammer hands and right, I don't know,
Speaker 1: I just I don't know this is you know. I
Speaker 1: used to say that I felt like this movie. When
Speaker 1: people say like, do you like Beetlejuice, I'm like, you know,
Speaker 1: I do, But to me, it almost feels more like
Speaker 1: an awesome video installation than like a movie, which sounds
Speaker 1: kind of harsh, but like, I think that's kind of
Speaker 1: how I felt about it for a long time. But
Speaker 1: then I rewatched it on an airplane, you know, not
Speaker 1: terribly long ago, and I was like, wait, this movie
Speaker 1: is like amazing, Like how did I kind of sleep
Speaker 1: on this for so long? And I think the reason
Speaker 1: was is I was just so used to seeing it
Speaker 1: on TV and bits how fun, you know what I mean?
Speaker 1: And I'm like, yeah, no, it's kind of cool, but
Speaker 1: I don't see how this all goes together. But when
Speaker 1: you do watch it together, this movie has a really
Speaker 1: weird rhythm and like energy and that's totally strength, right, Like,
Speaker 1: when you see it all together, that's what makes this
Speaker 1: movie this weird little piece of magic. And so I
Speaker 1: was kind of glad that I watch it again and
Speaker 1: you know, kind of reappreciated it.
Speaker 2: Well, it's like when we reached this point in the story,
Speaker 2: like this is the trick, right, Like Beetlejuice as a character,
Speaker 2: we don't know how we feel about him, but we
Speaker 2: we have to be we and the audience have to
Speaker 2: be like yes, release Beetlejuice, right yep. So that's it's
Speaker 2: like everything before this moment with regards to the character
Speaker 2: has to tread that line of like we like him,
Speaker 2: we're not sure what we think of him, we don't
Speaker 2: hate him, how do we feel? But this has to
Speaker 2: be kind of a triumphant moment, you know.
Speaker 1: To save our heroes. Yeah, yeah, you know, but then
Speaker 1: he's this chaotic sort of thing, you know, where it's
Speaker 1: like all right, now that he has unleashed, he's dangerous
Speaker 1: but funny. Exactly right, right, exactly, like I love this
Speaker 1: whole idea, you know, just yeah, putting them on, I
Speaker 1: don't know what you call those things, or use a
Speaker 1: hammer to hit a thing and a thing rises up.
Speaker 2: Doesn't this feel like something out of Batman Returns or something.
Speaker 1: Yeah, that's a good point. I didn't think of that.
Speaker 1: Well bow Welch, I guess. So yeah, yeah, I'm just
Speaker 1: looking at it, like the everything in the frame, the light,
Speaker 1: the colors, the little criss crossing shadows in the background.
Speaker 1: It's just I don't know. I mean, you just don't
Speaker 1: get that a lot from a lot of filmmakers these days.
Speaker 1: I feel like they sort of, you know, they put
Speaker 1: the thought that they put into it, and then they
Speaker 1: just kind of capture stuff and cut it together. And
Speaker 1: that's a style too, But like, so much thoughtfulness in
Speaker 1: every frame here. So here's my question.
Speaker 2: Did beetlejuice because they couldn't stop the exorcism? So did beetlejuice?
Speaker 2: Because I don't think the movie clarifies That was.
Speaker 1: Actually a question for me too.
Speaker 2: Yeah, because next time we see them, they're normal.
Speaker 1: Yes, yeah, I mean, yeah, you know, I mean I
Speaker 1: don't know.
Speaker 2: I mean by implication, he probably did something, but I
Speaker 2: just wanted to make sure. I don't think the movie
Speaker 2: clarifies that he undid it or something.
Speaker 1: I mean you're saying with what Otho was doing was
Speaker 1: Beetlejuice intervening a little bit and making it go south
Speaker 1: so he could be released.
Speaker 2: That's you can read it both ways, right, It's like
Speaker 2: Otho either doesn't know what he's doing or Beetlejuice is.
Speaker 2: But regardless, the Maitlands get back to normal. So how
Speaker 2: does that happen? Right? Unless there was some That's why
Speaker 2: I'm like, well, maybe Beetlejuice was kind of like putting
Speaker 2: his thumb on the scale and then once he like
Speaker 2: it was easy for him to undo it. Does that
Speaker 2: make sense?
Speaker 1: Yeah? Yeah, yeah, I honestly I'm not clear. Yeah, it
Speaker 1: is funny though, I mean it's you think, like now
Speaker 1: in a world where you can do anything with computers
Speaker 1: and I don't mean to turn on.
Speaker 2: Real quick, sorry, Brian. Yeah, if you look, the Maitlands
Speaker 2: are like healing, like getting their youthifying. Yeah, how does
Speaker 2: that happen? See?
Speaker 1: Yeah, I don't know, like why is the exorcism being undone?
Speaker 2: Did did Beatle just do that?
Speaker 1: That was my question? Sorry, no, no, I'm not sure.
Speaker 1: I'm not sure now. I was just gonna say, like you,
Speaker 1: you don't have the tools that we have now. But
Speaker 1: watching this with the sound off, this still feels as
Speaker 1: sort of weirdly small scale as it is. It still
Speaker 1: feels big and chaotic. I can feel the energy screen.
Speaker 2: I love that, you know what I mean?
Speaker 1: Yeah, even though it's there's not like crazy things flying
Speaker 1: around in the air or anything like that. You know.
Speaker 2: And there he is in that purple suit. That's the
Speaker 2: forced wedding action figure exactly. You can stage, you can
Speaker 2: restage this sequence.
Speaker 1: That's really funny. Now you bring up a good point, though,
Speaker 1: now that I think about it, I've just swept up
Speaker 1: in the feeling of everything that's going on that I
Speaker 1: didn't think about what's happening with the Maitlands. Yeah, it's
Speaker 1: kind of funny. You get these chompy teeth, yeah, skirting around.
Speaker 1: It's kind of like Batman when the Joker spits them
Speaker 1: out there you go.
Speaker 2: That's if he would have put him into more of
Speaker 2: his movies, we would have found like a recurring Tim
Speaker 2: Burton motif.
Speaker 1: Yeah, like Spielberg and Divorced Dads.
Speaker 2: And yeah, Tim Burton and Chompy Teeth, Chompy Teeth. See,
Speaker 2: that's my question is how did they get rejuvenated?
Speaker 1: Yeah, I don't know.
Speaker 2: Again, I'm assuming Beetlejuice at the at the very least
Speaker 2: he stopped the exorcism in some way. But I feel
Speaker 2: like that's something that the movie should have kind of clarified.
Speaker 1: Yeah, and maybe some of those things you sort of
Speaker 1: learn where they did they filmed it or whatever. But
Speaker 1: it's like people wanted to stick with the forward motion
Speaker 1: that was happening and they weren't missing it.
Speaker 2: I think that's probably likely. See again, watching you know,
Speaker 2: as Beetlejuice tries to force Lydia to marry him, I
Speaker 2: just and then thinking of the animated show where she
Speaker 2: and Beetlejuice go off and have these adventures. I'm like, man,
Speaker 2: that must have been a really awkward conversation. Yeah, it's
Speaker 2: a little bit like Biff at the end of Back
Speaker 2: to the Future, where it's like, oh, Biff, that guy
Speaker 2: and it's like, oh, yeah, some really awful things.
Speaker 1: You know. That's very true. That's very true. Yeah, I
Speaker 1: wouldn't let him into my house. Yeah. Yeah, I'm just
Speaker 1: kind of like marveling everything that's happening here. Yeah, Geena
Speaker 1: Davis like riding on the back of a sandworm and
Speaker 1: lisan O Gabe.
Speaker 2: Yeah, yeah, that's what's missing in this.
Speaker 1: It is like a really thrilling ending. I just never
Speaker 1: thought about it. I've just seen it so many times,
Speaker 1: you know what I mean. But you're really staring at it.
Speaker 1: It's sweet. Now they can see the ghosts the deets
Speaker 1: is So why is that because it feels nice? I
Speaker 1: don't know. That's good. It's a good question. I don't know.
Speaker 1: They don't get it. I mean you can imagine a
Speaker 1: movie being like when high emotions are involved, sometimes ghosts
Speaker 1: can be visible or something. But I don't think we
Speaker 1: get anything like that.
Speaker 2: I mean, here's the thought. Maybe are they even dead anymore?
Speaker 1: Like were they given a chance to come back? Yeah?
Speaker 2: I mean maybe that's there's nothing to say that they're
Speaker 2: dead here.
Speaker 1: I mean, he does have like a little supernatural act
Speaker 1: where he starts the music. Sure, so they're like, well,
Speaker 1: they're a levitations. I mean, I'm I'm I'm playing devil's
Speaker 1: advocate here. But that's true. I don't know, I don't know.
Speaker 1: I mean, I take it as they're dead here.
Speaker 2: Yeah, I'm I mean, I'm assuming I agree with you.
Speaker 1: But this is really sweet though. They get to be
Speaker 1: the parents they wanted to be. She gets to kind
Speaker 1: of have the parents she relates to a little bit more.
Speaker 1: But you know, it's not like, yeah, well it's gonna say.
Speaker 1: It's not like at the same time, if they had
Speaker 1: moved back to the city, it'd be like, you know,
Speaker 1: like it'd be terrible people. But it's like, I don't know,
Speaker 1: they've all found a way to coexist in this point
Speaker 1: right together, which seems to be a happy situation. I
Speaker 1: like it. What did he say? It reads like a what.
Speaker 2: Oh I missed that?
Speaker 1: Yeah, And I mean, come on, like this is like
Speaker 1: one of the greatest numbers, like going a movie ending
Speaker 1: on a number to like make you dancing as you
Speaker 1: walk out of the theater, jump in the line come on,
Speaker 1: you know what I mean?
Speaker 2: Yeah he said, it reads like stereo instructions.
Speaker 1: By the way, Oh I see, Oh thanks, yeah, you know,
Speaker 1: I don't know. It just puts you in like the
Speaker 1: perfect mood, like seeing this teenager who's like formally depressed,
Speaker 1: levitating with her ghost friends dancing to this number the
Speaker 1: ghost football players on the staircase. Yeah, it just really
Speaker 1: like encapsulates what this movie is, you know what I mean.
Speaker 2: Yeah, Well, it's it has this unique sensibility and it
Speaker 2: it just it makes me happy that that sensibility was
Speaker 2: allowed to come through, you know, and for a variety
Speaker 2: of reasons. I think the fact that it was relatively
Speaker 2: low budget, and and the fact that it wasn't something
Speaker 2: that was ignored and then found an audience later. No,
Speaker 2: it was embraced when it came out. Yeah right, it
Speaker 2: made it made seventy five million against a fifteen minute
Speaker 2: dollar budget, which is that's just all upside crazy.
Speaker 1: I love that way, go ahead now. It makes me
Speaker 1: laugh whenever he swaps the number the waiting in line
Speaker 1: that he doesn't even do it well, like he he
Speaker 1: throws it anyway. Sorry what we're saying.
Speaker 2: Uh No, I mean, you know it, it's it's a
Speaker 2: movie that's really had a strong and I promise I'm
Speaker 2: not trying to make a pun, but is that a
Speaker 2: strong afterlife? Uh? And you know, here we are this
Speaker 2: many decade decades later, and a sequels actually happened.
Speaker 1: It's amazing, incredible, and there was a whole Broadway musical hmm,
Speaker 1: which I hadn't reached so much merch, so much merch.
Speaker 1: I mean, I bet with this movie coming out now,
Speaker 1: you know, I don't know, I could imagine there's gonna
Speaker 1: be a ton of ton.
Speaker 2: Of stuff, but well there we go, you know, be Beetlejuice.
Speaker 1: Man. I I'm really happy. I've always found it like
Speaker 1: fun and amusing when I, like I say, I've happened
Speaker 1: upon it on TV. But I'm really glad that I've
Speaker 1: sort of really really looked at it again and come
Speaker 1: around on really appreciating how amazing it is.
Speaker 2: I'm glad too, Brian, because honestly, this has been a
Speaker 2: conversation I wanted to have with you for a long time.
Speaker 2: I was really disappointed in your lack of affinity for Beetlejuice.
Speaker 2: It was, it was, it was honestly, it was a
Speaker 2: barrier in our friendship.
Speaker 1: Well I'm so glad those walls have come down. Yeah,
Speaker 1: that's right.
Speaker 2: This is just just one one more, one more point
Speaker 2: of agreement.
Speaker 1: Yeah.
Speaker 2: No, the truth is this is this is not a
Speaker 2: film I revisited a ton after it came out, but
Speaker 2: it was something that started getting repeat rings for me
Speaker 2: with each of my kids, and I think that's that's
Speaker 2: why for me, I've always viewed it as a family movie.
Speaker 1: And even the.
Speaker 2: The kind of the scarier elements, like like Geena Davis
Speaker 2: pulling her face off and stuff, I found it, you know, quirky,
Speaker 2: you know, in the most sort of charming way. And
Speaker 2: and again going back to what I was saying before,
Speaker 2: it's just I miss when movies like this were more
Speaker 2: common and there were these kind of wild swings and
Speaker 2: the budgets allowed for those wild swings, you know that.
Speaker 1: And also, you know, we were talking about how this
Speaker 1: movie's PG. I kind of miss eighties PG movies, yeah, man,
Speaker 1: which is not the same as like a PG movie today.
Speaker 1: Like they were just like Monster Squad and goonies and stuff.
Speaker 1: Yeah yeah, and back to the Future and like they
Speaker 1: I don't know, there was just this interesting tone that
Speaker 1: they had that's really special. And a lot of those
Speaker 1: movies have lived on all these years later because there's
Speaker 1: just something to them and I don't quite know how
Speaker 1: to sum it up, but this is included among them. Like,
Speaker 1: like you said, calling this crazy movie a Family movie
Speaker 1: is nuts, but I agree with you, you know, like
Speaker 1: it just struck this perfect chord and I love it.
Speaker 1: I love it.
Speaker 2: Well, there we go. That wraps up our conversation about Beetlejuice.
Speaker 2: Hopefully we've had something worthwhile to say. But hey, let
Speaker 2: us know, let us know your thoughts on Beetlejuice. You
Speaker 2: can email us at moviefilm podcast at gmail dot com.
Speaker 2: You can also hit like on our Facebook page Facebook
Speaker 2: dot com, slash moviefilm podcast, or message us there. As always,
Speaker 2: please go to Apple Podcasts and leave review, leave a
Speaker 2: star rating. If you like what we're doing, please let
Speaker 2: people know. And with that on behalf of my partner
Speaker 2: Brian Home. My name is Zachie As.
Speaker 1: This has been our commentary track with you the Juice.
Speaker 2: Thanks everybody for listening.
Speaker 1: We'll catch you next time. Uh well