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<v Speaker 1>Welcome friends. It's podcasts. Podcast is Dome Sho Jackie and Bryan.

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<v Speaker 2>They're talking brubys Moming now back.

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<v Speaker 1>Adam and Barbara are ghosts. What's the good of being

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<v Speaker 1>a ghost if you can't fight people away? So they're

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<v Speaker 1>calling on Beetlejuice. Beetle Beetle just gets show down. He's

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<v Speaker 1>guaranteed to put some life.

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<v Speaker 2>Attention Cared Shoppers.

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<v Speaker 1>In your afterlife. Michael Keaton is Beetlejuice and the Ghost

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<v Speaker 1>with Ghost Bade. Welcome to a movie film commentary track.

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<v Speaker 1>My name is Zachie Hasn I'm here with Brian Hall. Hey.

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<v Speaker 1>How's it going, Zachi. Hey, I'm really excited to talk

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<v Speaker 1>through today's selection. Me too, Me too? This is We

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<v Speaker 1>don't cover Tim Burton a ton on here. I mean,

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<v Speaker 1>you know, the Batman films and everything, but uh yeah,

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<v Speaker 1>this is like such a unique movie, such a classic,

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<v Speaker 1>and I feel like we don't wander this corner very often.

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<v Speaker 1>So I'm like super even just you and I like,

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<v Speaker 1>we don't talk about Beetlejuice in these older Tim Burton

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<v Speaker 1>films much. So I'm really excited to dig into this

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<v Speaker 1>with you. It is.

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<v Speaker 2>It's one of those films that has just always kind

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<v Speaker 2>of been there, like in the background of I don't know,

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<v Speaker 2>our film dumb. You know, it's we mutually acknowledge, we

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<v Speaker 2>enjoy it.

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<v Speaker 1>And yeah, that's it. Yeah, It's just one of those things,

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<v Speaker 1>like it's a good way of putting it. Honestly, it

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<v Speaker 1>just kind of feels like it's always been there. Yeah,

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<v Speaker 1>you know. So it's kind of fun now with the

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<v Speaker 1>sequel coming out to I don't know, like queue this

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<v Speaker 1>one up and really give it an examination again, rather

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<v Speaker 1>than just be something that you know, you're flipping channels

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<v Speaker 1>and you're like, oh, hey, yeah, I like this part,

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<v Speaker 1>and you stay on it, you know what I mean.

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<v Speaker 1>Watching it top to bottom again was a lot of fun.

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<v Speaker 2>It's a fun one to revisit, and certainly I had

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<v Speaker 2>I mean, I've seen it handful of times over the

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<v Speaker 2>last few decades, but I was so appreciative of just

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<v Speaker 2>the sort of the tactile nature of everything we were

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<v Speaker 2>seeing and appreciating the craft of how they pulled some

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<v Speaker 2>of this stuff off.

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<v Speaker 1>That and just seeing i mean, like filmmakers, you know,

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<v Speaker 1>Danny Elfman, Tim Burton, the actors, like just making something

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<v Speaker 1>wholly unique that is so specific to them. It's just

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<v Speaker 1>a really all these years later, it's still an exciting

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<v Speaker 1>thing to see. You know.

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<v Speaker 2>Well, I'm excited to dive in and watch nineteen eighty

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<v Speaker 2>eight's Beetlejuice. I'm assuming that those of you listening have

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<v Speaker 2>some degree of interest, and hey, if you want to

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<v Speaker 2>queue it up and watch along with us, we can

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<v Speaker 2>give you a chance to do that while we take a.

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<v Speaker 1>Short break and we're back and queue up.

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<v Speaker 2>I'm ready, Brian, Are you ready?

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<v Speaker 1>I'm ready? All right, we are watching Beetle Juice. There's

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<v Speaker 1>only one cut.

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<v Speaker 2>It's the nineteen eighty eight theatrical release, and we were

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<v Speaker 2>gonna hit play on three. I'm not gonna say three

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<v Speaker 2>times because because that could cause some trouble, but we

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<v Speaker 2>will do the usual things at one, two three play,

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<v Speaker 2>and here we go one two three play.

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<v Speaker 1>H the Geffen logo. Here, let's going old school. Yeah, yeah,

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<v Speaker 1>it makes me think of like my old Nirvana city

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<v Speaker 1>or something. He'd eventually team up with Spielberg and Katzenburg.

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<v Speaker 2>Yeah, for they their their failed attempt to rival the

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<v Speaker 2>big studios.

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<v Speaker 1>Yeah, DreamWorks SKG.

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<v Speaker 2>We're like broken dream as.

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<v Speaker 1>The boy fell out of the Moon.

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<v Speaker 2>Dream doesn't work works, that's the lesson. Well, first off,

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<v Speaker 2>right up top, how great is Danny Elfman's music here?

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<v Speaker 1>He is just on fire like. That's the thing too.

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<v Speaker 1>He came out of the gate as a film composer

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<v Speaker 1>on fire like.

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<v Speaker 2>I mean, right, this score in particular is the most

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<v Speaker 2>Danny Elfman score that Danny Elfman ever, Danny Elfman.

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<v Speaker 1>It is because even Batman, which is so Elfman is

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<v Speaker 1>adhering to a gothic sort of tone and the superhero

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<v Speaker 1>triumphant sort of nature of the story and character and whatever.

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<v Speaker 1>But this is him like unleashed, you know, like his

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<v Speaker 1>sort of gothic, scary circus sounding thing.

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<v Speaker 2>I mean, just to put this in perspective, I watched

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<v Speaker 2>this movie a few weeks ago, excuse me, a few

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<v Speaker 2>days ago in prep for this with my thirteen year old,

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<v Speaker 2>and literally the music starts and he goes, Danny Elfman.

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<v Speaker 1>Huh yeah, I do.

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<v Speaker 2>By the way, worth mentioning this music is itself so

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<v Speaker 2>interesting because because when Elfman got the script initially he

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<v Speaker 2>sort of had a different idea in his mind. He

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<v Speaker 2>thought it was gonna be a little grimmer, and so

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<v Speaker 2>he started writing the music and then he starts seeing

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<v Speaker 2>the rushes and he's like, oh, oh oops, I didn't

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<v Speaker 2>write music for that, and so he kinda he kind

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<v Speaker 2>of elfmanded it up. And it's really interesting because because

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<v Speaker 2>the movie itself, I mean what, it's like a good

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<v Speaker 2>half hour plus before we even see Beatle Juice, right

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<v Speaker 2>mm hmmm. And and it's fair like the tone doesn't

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<v Speaker 2>really kick in until Keaton shows up, and so very smartly,

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<v Speaker 2>this music right up top clues the audience and oh,

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<v Speaker 2>this is this is a this is a lark, this

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<v Speaker 2>movie it's a yeah, you.

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<v Speaker 1>Know, yeah, I just put you know. I mean, he

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<v Speaker 1>of course, you know, headed up Oengle Boinco in the

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<v Speaker 1>eighties and then he's his first film score was Pee's

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<v Speaker 1>Big Adventure, which is incredible. But I just I'm amazed

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<v Speaker 1>that in a different sort of style of music composition

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<v Speaker 1>like film scores, he came out right out of the

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<v Speaker 1>gate seemingly fully formed, like knowing what he sounded like

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<v Speaker 1>with an orchestra, and it was so uniquely him. You

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<v Speaker 1>know that your son can hear it and go, oh,

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<v Speaker 1>Danny Elfman, you know.

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<v Speaker 2>Isn't that extraordinary? I mean, especially at that moment when

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<v Speaker 2>he emerged I mean he was doing something wholly unique.

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<v Speaker 1>Totally yeah, totally love it, love it. This is a yeah,

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<v Speaker 1>fantastic score. And then had you heard that story too,

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<v Speaker 1>where I guess Lionel Newman was hired to conduct the

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<v Speaker 1>score really when they were recording it, but on the

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<v Speaker 1>first day he kept making changes to the score because

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<v Speaker 1>I think some of the weird time signatures and why

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<v Speaker 1>would you put a note there that's weird, you know

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<v Speaker 1>kind of stuff. You know. He was trying to clean

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<v Speaker 1>it up or whatever, make it sound a little bit

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<v Speaker 1>more I don't know, mainstream or something, And so eventually

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<v Speaker 1>he was let go and he was replaced. Wow, I

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<v Speaker 1>had not heard that. Yeah, doesn't this just feel like

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<v Speaker 1>a different Alec Baldwin.

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<v Speaker 2>I was about to say this guy.

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<v Speaker 1>Yeah, I mean there is like a pre I don't

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<v Speaker 1>know what the year is because this is to me

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<v Speaker 1>hunt for ad October Alec Baldwin also, sure, sure, But

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<v Speaker 1>then there's like a certain moment where he kind of

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<v Speaker 1>switched into a different Alec Baldon, a different build, a

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<v Speaker 1>different face, different.

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<v Speaker 2>I mean, by the time we got to the Shadow,

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<v Speaker 2>he was like proto Jack Donneghee.

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<v Speaker 1>Yeah, yeah, yeah, exactly. Yeah. So yeah, this is this.

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<v Speaker 2>I mean, this is eighty eight, so just a couple

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<v Speaker 2>of years before.

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<v Speaker 1>Before Hunt for Ad October.

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<v Speaker 2>But this is for sure the first time I saw

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<v Speaker 2>Alec Baldin and and I definitely remember seeing him later

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<v Speaker 2>and not realizing he was the guy from Beetlejeos.

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<v Speaker 1>That makes total sense. Yeah, and apparently he wasn't very

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<v Speaker 1>high on this movie. Baldwin wasn't very high on this

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<v Speaker 1>movie for a while, and he felt like he didn't

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<v Speaker 1>do it right, like he didn't perform in a way

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<v Speaker 1>that he thought was very good, or he was saying

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<v Speaker 1>when he was making the movie he didn't quite understand it.

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<v Speaker 1>And then watching it later it was like, oh, which

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<v Speaker 1>is kind of interesting actually to your what you just

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<v Speaker 1>said about Danny Elfman. I mean it's I mean, now

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<v Speaker 1>we watch him, we're like, oh, yeah, Burton, you know

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<v Speaker 1>what I mean. But like they did not have that

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<v Speaker 1>benefit then to know, and that's what's so interesting watching this.

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<v Speaker 1>Sorry I hope I didn't cut off, but like all

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<v Speaker 1>I think, watching this, it made me really appreciate that

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<v Speaker 1>Burton when he's doing full Burton, which he hasn't done

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<v Speaker 1>in a long time. He's very dark, but he doesn't

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<v Speaker 1>cross a line like you're still sort of a campiness

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<v Speaker 1>to his dark you know, he's not like Grizzly right,

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<v Speaker 1>like he he goes there a little bit with the

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<v Speaker 1>scary faces, that her ripping her face off and stuff,

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<v Speaker 1>but it still feels almost like fun, campy, spooky carnival

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<v Speaker 1>hunted house. I agree with that.

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<v Speaker 2>I agree with that, which makes him, by the way, interesting.

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<v Speaker 2>I wanted to mention real quick. I like the subtle

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<v Speaker 2>touch of the fact that they're listening to Harry Belevante, yes,

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<v Speaker 2>and that just like so it doesn't come out of nowhere.

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<v Speaker 2>When we get a couple of Harry Belafonte musical numbers later,

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<v Speaker 2>it's like, oh, they're just fans of his.

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<v Speaker 1>There's a lot more seeding in this movie than I

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<v Speaker 1>realized when we watched this closely recently, maybe with the

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<v Speaker 1>Dog for example, you know here in the yeah yeah,

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<v Speaker 1>which is kind of funny too. I mean, I know

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<v Speaker 1>that's Calypso music, but it made me think of like

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<v Speaker 1>mambo music kind of where I remember in The Simpsons

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<v Speaker 1>and Season one, Homer and Marge were into mambo music,

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<v Speaker 1>and it seemed like for a certain generation that was

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<v Speaker 1>thought of as like dorky parents stuff. And this is

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<v Speaker 1>like right around when The Simpsons debuted, So I wondered

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<v Speaker 1>if that was like a part of that. You know.

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<v Speaker 1>It's like, oh, yeah, they're kind of like these dorky adults.

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<v Speaker 1>They like this kind of music. That's funny. This is

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<v Speaker 1>such a funny joke, this barber yep.

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<v Speaker 2>Yeah, there was an alternate ending where the barber is

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<v Speaker 2>in the waiting room next to Beetlejuice.

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<v Speaker 1>Oh really yeah.

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<v Speaker 2>And so Beetlejuice is having to listen to the barber

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<v Speaker 2>stories in the in the afterlife.

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<v Speaker 1>Wait, so that was something that was cut. Yes, Oh

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<v Speaker 1>that's funny.

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<v Speaker 2>Maybe it's too sad, Yeah, I think so, that's probably yeah,

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<v Speaker 2>but I really that's a funny joke.

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<v Speaker 1>Yeah.

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<v Speaker 2>So as written originally, so so the the initial this

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<v Speaker 2>is you know, you think this is something that originated

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<v Speaker 2>in Tim Burton's brain, right, Like that's the funniest thing

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<v Speaker 2>to me is that he was like a hired gun basically,

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<v Speaker 2>you know, and yet it's so inextricably tied to his

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<v Speaker 2>specific visual signature. But as written it was much darker,

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<v Speaker 2>and specifically this sequence here, uh, this is in the

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<v Speaker 2>the the McDonald draft excuse me, Mike McDowell. Sorry, Like

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<v Speaker 2>the way in which the maitlands die. You see it,

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<v Speaker 2>and you see Barbara's arm gets crushed, and it's like

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<v Speaker 2>really kind of kind of horrific, right, And there's an

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<v Speaker 2>allusion to it, like like when they when they come

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<v Speaker 2>back to house, she's like, oh, you know, my arm

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<v Speaker 2>feels cold or something like that. But it's interesting the

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<v Speaker 2>choices that were made, that's my point, right, Like this

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<v Speaker 2>is the script lands on Burton's desk. Burton just did

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<v Speaker 2>Pee Wee's Big Adventure and he's getting a bunch of

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<v Speaker 2>scripts like that.

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<v Speaker 1>Sure.

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<v Speaker 2>I read that one of the scripts he got was

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<v Speaker 2>a movie called.

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<v Speaker 1>Hot to Trot. Yeah, I heard that.

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<v Speaker 2>It's like the the Bobcat Gold Plate and a Talking Horse,

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<v Speaker 2>which did end up getting made, by the way. Yeah yeah,

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<v Speaker 2>But he at the time, so he was in the

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<v Speaker 2>mix for Batman already.

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<v Speaker 1>So it wasn't like this movie.

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<v Speaker 2>Got him the Batman gig. It was he was already

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<v Speaker 2>in the mix for Batman. But while Warner Brothers was dithering,

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<v Speaker 2>he was like, well, I'm just going to do this.

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<v Speaker 2>And because people you know, like, oh oh he wanted

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<v Speaker 2>Keaton because he just worked with him on on Beetle Juice.

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<v Speaker 2>It wasn't exactly like that. It was more intertwined than

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<v Speaker 2>we'd think.

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<v Speaker 1>Hmm. I think this helped.

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<v Speaker 2>I mean this basically got you know, gave him probably

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<v Speaker 2>some a boost of confidence by the studio. But I

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<v Speaker 2>mean this is eighty eight. Batman was eighty nine, so

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<v Speaker 2>Batman would have already been in the midst of production

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<v Speaker 2>or a pre production man or something.

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<v Speaker 1>Yeah. Yeah, yeah, he's he's interesting. I mean, just to

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<v Speaker 1>go back a little bit up to what you were

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<v Speaker 1>talking about it, I mean, he began as a Disney animator,

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<v Speaker 1>you know, worked on Fox and the Hound, and used

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<v Speaker 1>his time at Disney to leverage making some short films. Right,

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<v Speaker 1>So he made a movie called Vincent about a boy

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<v Speaker 1>fantasizing that he's Vincent Price, which is hilariously on Brand's right, right,

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<v Speaker 1>And he did this was fascinating. He did a Hansel

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<v Speaker 1>and Gretel thirty minute I don't know what you'd call it,

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<v Speaker 1>short film. I guess that aired only once on Disney

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<v Speaker 1>Channel at ten thirty PM in nineteen eighty three on Halloween.

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<v Speaker 1>And it only aired once because so many people apparently

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<v Speaker 1>complained about it. I think it was too weird and scary,

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<v Speaker 1>and it ends with Hansel and Gretel and the Witch

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<v Speaker 1>having a kung fu fight, and I think it like

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<v Speaker 1>recently was I don't know, discovered or you know, digitized

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<v Speaker 1>or something, and so now you can look it up.

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<v Speaker 1>But it's but he then went on to make franken Weenie,

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<v Speaker 1>and apparently something I read was that that eventually got

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<v Speaker 1>him fired because he was using Disney funds to make

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<v Speaker 1>these dark little films that they couldn't do anything with.

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<v Speaker 1>And Paul Rubins wants to make his Peewee movie, is

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<v Speaker 1>looking for directors, and Warner Brothers likes this Tim Burton guy,

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<v Speaker 1>but doesn't know what to do with him because Burton

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<v Speaker 1>doesn't want to make any of the movies they want

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<v Speaker 1>to give him. Rubens can't find any filmmakers. We'll understand,

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<v Speaker 1>pee wee. He watches franken Weenie and goes, that's my guy,

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<v Speaker 1>and then there you go. I mean, you get Paul Rubens,

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<v Speaker 1>you get Tim Burton, you get Danny Elfman, and boom.

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<v Speaker 2>It's extraordinary, isn't it. I mean it's it's it's amazing,

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<v Speaker 2>Like we look at we look at Tim Burton now

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<v Speaker 2>as inevitable.

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<v Speaker 1>Uh huh.

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<v Speaker 2>You know, if Tim Burton didn't exist, we would have

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<v Speaker 2>had to invent him.

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<v Speaker 1>Yeah. Sure.

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<v Speaker 2>And and yet there was this this path comprised of

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<v Speaker 2>just lucky breaks that led to his career, you know,

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<v Speaker 2>m h And I mean, just to just to circle

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<v Speaker 2>the square on the point you're making about Disney, I

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<v Speaker 2>think it's the fact that he came back and he

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<v Speaker 2>did well, most recently Dumbo for Disney, and he's like,

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<v Speaker 2>I'm not working for Disney ever again, you know, And

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<v Speaker 2>I'm like, yeah, you know, this is where you were

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<v Speaker 2>headed anyway.

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<v Speaker 1>You know, yeah, yeah, But I don't know. It's funny

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<v Speaker 1>you say that that he feels inevitable because he does

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<v Speaker 1>in our world, ye right, but he don't. You just

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<v Speaker 1>think this guy who at Disney, They're like, what are

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<v Speaker 1>we gonna do with this guy? Like, you know, he's

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<v Speaker 1>just doing all this stuff. It's so not our brand.

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<v Speaker 1>And and but he persisted with his vision, and his

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<v Speaker 1>vision has now become somewhat of a genre to us,

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<v Speaker 1>you know, all these years later, and I just admire

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<v Speaker 1>that so much. Where people didn't shave their edges, you know,

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<v Speaker 1>they stuck to their guns and their visions. And like

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<v Speaker 1>and like you said, now it just feels inevitable.

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<v Speaker 2>I mean think about it, right, like and obviously summer

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<v Speaker 2>of eighty nine, because it was summer of eighty nine,

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<v Speaker 2>but but in summer of eighty nine, for you and

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<v Speaker 2>me and most people like us, Tim Burton was a

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<v Speaker 2>name we knew. And how many directors did we know

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<v Speaker 2>by name at that age?

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<v Speaker 1>Sure?

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<v Speaker 2>Yeah, right, you know, I mean he was. He was

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<v Speaker 2>a household name. And the truth of it is, thirty

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<v Speaker 2>plus years later, nearly forty years later, he remains a

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<v Speaker 2>household name as insofar as directors are concerned. You know,

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<v Speaker 2>maybe he isn't flying quite as high as he was

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<v Speaker 2>at his peak, but he's still Tim effing Burton.

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<v Speaker 1>And he's one of those people that you can make

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<v Speaker 1>your internet video and go, what if you know Rocky

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00:16:36.320 --> 00:16:38.919
<v Speaker 1>but made by Wes Anderson and they had you know,

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<v Speaker 1>there's all these super specific visual signatures that you're like,

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<v Speaker 1>of course that's Wes Anderson. And he's one of those

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<v Speaker 1>guys too, what if you know this Tim Burton? And

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<v Speaker 1>then it's like he just has you know, It's it

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<v Speaker 1>happens inevitably after a certain amount of time where you

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<v Speaker 1>get familiar with the person's vocabulary, but like you almost

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<v Speaker 1>take for granted that it's like, well, the those are

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<v Speaker 1>really kind of that's pretty awesome. Yeah, there's someone who

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<v Speaker 1>has that much of a signature style like that. Yeah, yeah, absolutely, Yeah,

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<v Speaker 1>kats Nahara, she's so good. She's just amazing, period.

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<v Speaker 2>And she I mean, between this and Home alone, she

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<v Speaker 2>has a place of reverence for people of our generation.

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<v Speaker 2>I feel like, you know, absolutely yep.

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<v Speaker 1>Well, and then she continues, isn't it amazing? I mean

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<v Speaker 1>with Shit's Creek most recently, Yeah, you know, it's just

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<v Speaker 1>so cool. And then of course the Christopher guest films

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<v Speaker 1>in there and dozens.

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<v Speaker 2>She looks so young here, by the way, my goodness.

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<v Speaker 1>I know, I think I looked it up. She's like

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<v Speaker 1>thirty three or four here. Wow, Yeah, it's crazy. Why

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<v Speaker 1>not a rioder fifteen years old? Here she's fifteen.

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<v Speaker 2>Yep, my goodness, I would not have believed she was fifteen.

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<v Speaker 1>She's one of those people too. It's so funny, like

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<v Speaker 1>I wasn't gonna stick this in time, but I have

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<v Speaker 1>COVID at the moment while we were recording, and so

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<v Speaker 1>my wife and I were gonna rewatch this together, but

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<v Speaker 1>I had to be in one room. She was in

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<v Speaker 1>another room, and I was like, man, I not a writer.

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<v Speaker 1>She's just like so singular and even like she's so

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<v Speaker 1>perfect for this role. And it's funny because from the

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00:18:20.039 --> 00:18:22.839
<v Speaker 1>other room I was thinking that the other room, Frederica,

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00:18:22.960 --> 00:18:26.920
<v Speaker 1>my wife, was like, why not a writer. It's like

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<v Speaker 1>you just sometimes you discover these people and they're just

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00:18:31.240 --> 00:18:33.559
<v Speaker 1>a personality of their own, you know, and it's just

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00:18:33.640 --> 00:18:35.799
<v Speaker 1>they're perfect for a role, and then you're just they're

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<v Speaker 1>just destined to be.

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<v Speaker 2>Well, especially when you look at the list of people

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<v Speaker 2>who audition to play Lydia. You got Sarah Jessica Parker Brookshields,

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<v Speaker 2>Lori Laughlin, Diane Lane, Justine Bateman, Molly Ringwalld, Juliette Lewis,

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00:18:49.400 --> 00:18:54.319
<v Speaker 2>Jennifer Connelly, and Alyssa Milano. Wow, that is casting a

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<v Speaker 2>very wide nt.

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<v Speaker 1>Yeah. Yeah, yeah, yeah, it's a good point.

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<v Speaker 2>You know, they landed on the right person. It's the

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<v Speaker 2>the I don't know if you ever watched the Saturday

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<v Speaker 2>Morning Animated show.

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<v Speaker 1>Yeah, oh, definitely that.

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<v Speaker 2>I saw that first before I saw the movie.

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<v Speaker 1>I don't remember, if I'm being.

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<v Speaker 2>Honest, Yeah, I for sure, because because the show was

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<v Speaker 2>like eighty nine to ninety one, ninety something like that.

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<v Speaker 2>And I definitely because I I became familiar with Beetlejuice

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<v Speaker 2>post facto with regards to Batman. It's like, oh, the

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<v Speaker 2>guy who did Batman also did a movie called Beetle Juice,

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<v Speaker 2>which also starred Michael Keaton. That was in my frame

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<v Speaker 2>of reference. Then I saw the cartoon and in the

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<v Speaker 2>cartoon show which is I gotta say, it's a lot

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<v Speaker 2>of fun.

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<v Speaker 1>I memory. Yeah, it's a lot of fun. You know.

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00:19:45.240 --> 00:19:50.319
<v Speaker 2>It's it's Lydy hanging out with her crazy buddy Beetlejuice MM,

365
00:19:51.559 --> 00:19:55.119
<v Speaker 2>which is very much not the movie. Yeah, oh that's

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<v Speaker 2>so interesting. I mean it makes sense. She goes off

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<v Speaker 2>and has wacky adventures. He's like, you know, the real

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<v Speaker 2>world is boring. Beetle Juice, beetle Juice, Beetlejuice, and then

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<v Speaker 2>she goes and has a crazy.

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<v Speaker 1>You know that's funny, you know, you know, yeah, I

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<v Speaker 1>mean he's such like a perv in this movie. It's

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<v Speaker 1>like you almost forget. Wait, I have to point this

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<v Speaker 1>out where she takes her face off here Geena Davis

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<v Speaker 1>nice that I will never forget. I think the first

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<v Speaker 1>time I ever saw this movie was when it aired

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<v Speaker 1>on television, okay, and it was exciting because it's like, yeah,

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00:20:29.279 --> 00:20:31.599
<v Speaker 1>kids talked about this movie. I knew it was like

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<v Speaker 1>a thing and I wanted to see it. And so

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<v Speaker 1>I'm watching it on like CBS, you know, which is

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<v Speaker 1>like edited for television, it's all safe and whatever, and

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00:20:40.200 --> 00:20:44.720
<v Speaker 1>that was shown exactly as is, and I was like, ah,

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<v Speaker 1>as like an eight year old or something like that.

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<v Speaker 1>Nine year old. I'll never forget that.

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<v Speaker 2>That's so funny.

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<v Speaker 1>See.

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<v Speaker 2>I remember watching this movie on cable, and again I

387
00:20:54.960 --> 00:20:57.119
<v Speaker 2>came at it having watched the cartoon first, and I

388
00:20:57.160 --> 00:20:59.359
<v Speaker 2>was like, hey, Lydia, she's in the cartoon. I know her,

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00:20:59.440 --> 00:21:02.279
<v Speaker 2>you know. And then and then Beetlejuice is like, hey,

390
00:21:02.519 --> 00:21:03.720
<v Speaker 2>I want to I want.

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00:21:03.519 --> 00:21:04.960
<v Speaker 1>To marry the girl, you know. I was like, oh

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00:21:05.279 --> 00:21:08.799
<v Speaker 1>my god, yes, yes, yeah. But that's kind of what

393
00:21:08.839 --> 00:21:11.400
<v Speaker 1>they did in the eighties, right, like they would make

394
00:21:11.519 --> 00:21:14.319
<v Speaker 1>Rambo cartoons and shave off the edges of all these

395
00:21:14.359 --> 00:21:23.759
<v Speaker 1>like harder edged characters get appropriate. How many people were

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00:21:24.319 --> 00:21:26.079
<v Speaker 1>I mean, I don't remember. The animated show was the

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<v Speaker 1>family in it?

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00:21:27.559 --> 00:21:32.039
<v Speaker 2>The family, wasn't it? The Maitlands were not Okay, I see, Yeah,

399
00:21:32.079 --> 00:21:35.400
<v Speaker 2>but but Delia and Charles are in it, and.

400
00:21:36.880 --> 00:21:38.000
<v Speaker 1>I mean the show.

401
00:21:38.079 --> 00:21:41.680
<v Speaker 2>I give it credit because Burton was involved, you know,

402
00:21:41.680 --> 00:21:44.680
<v Speaker 2>maybe in just a cursory way, but it certainly preserves

403
00:21:45.039 --> 00:21:49.799
<v Speaker 2>his sort of Bonker's aesthetic. Yeah, if I recall, the

404
00:21:50.400 --> 00:21:54.319
<v Speaker 2>biggest change I remember is that the Afterlife. Instead of

405
00:21:54.359 --> 00:21:57.240
<v Speaker 2>calling it the Afterlife, they call it the neither World.

406
00:21:58.440 --> 00:22:00.200
<v Speaker 1>Oh that's funny, which.

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00:22:00.160 --> 00:22:01.680
<v Speaker 2>Kind of makes sense, I guess because they don't want

408
00:22:01.759 --> 00:22:04.319
<v Speaker 2>kids thinking about death while they're watching, while they're having

409
00:22:04.319 --> 00:22:06.079
<v Speaker 2>their their fruit loops or whatever, you.

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00:22:06.039 --> 00:22:09.720
<v Speaker 1>Know, right, neither this world or that world, I guess. Yeah,

411
00:22:09.759 --> 00:22:10.000
<v Speaker 1>there was.

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00:22:10.119 --> 00:22:13.079
<v Speaker 2>There was also a line of Kenner action figures which

413
00:22:13.119 --> 00:22:16.319
<v Speaker 2>was based on the movie, So.

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00:22:16.599 --> 00:22:18.400
<v Speaker 1>I kind of remember those da I.

415
00:22:18.400 --> 00:22:20.079
<v Speaker 2>Remember, so you had a whole bunch of different beetle

416
00:22:20.160 --> 00:22:22.200
<v Speaker 2>juices which were all they look like eaton. You had

417
00:22:22.200 --> 00:22:28.279
<v Speaker 2>to adam Maitland figure with like a removable head and stuff,

418
00:22:28.319 --> 00:22:28.880
<v Speaker 2>you know, so.

419
00:22:28.920 --> 00:22:30.799
<v Speaker 1>Weird, a dorky Dad action figure.

420
00:22:31.240 --> 00:22:34.880
<v Speaker 2>I know that funny. He had like a swappable head

421
00:22:34.920 --> 00:22:36.200
<v Speaker 2>that looked like that weird.

422
00:22:35.920 --> 00:22:40.440
<v Speaker 1>Beak thing that he does, you know. Yeah, yeah, yeah, yeah,

423
00:22:41.200 --> 00:22:42.200
<v Speaker 1>that's funny.

424
00:22:42.480 --> 00:22:44.440
<v Speaker 2>I don't know how well those toys sold. But I

425
00:22:44.440 --> 00:22:46.839
<v Speaker 2>do that was back when Kenner was just turning everything

426
00:22:46.839 --> 00:22:47.920
<v Speaker 2>into a toy line.

427
00:22:47.720 --> 00:22:50.599
<v Speaker 1>You know. Yeah, I love all this stuff too. By

428
00:22:50.640 --> 00:22:52.519
<v Speaker 1>the way, the awkward like I don't know what you'd call,

429
00:22:52.519 --> 00:22:56.559
<v Speaker 1>like dummy, puppet whatever, headless. So it's great, it's just

430
00:22:56.599 --> 00:23:01.559
<v Speaker 1>so it's I mean, what I fun, it's like this

431
00:23:01.680 --> 00:23:04.480
<v Speaker 1>perfect sallece. Yeah. Well that's the thing.

432
00:23:04.519 --> 00:23:06.160
<v Speaker 2>I think it goes to what you were saying before,

433
00:23:06.400 --> 00:23:11.960
<v Speaker 2>where there's still something weirdly sweet about Tim Burton's sensibilities

434
00:23:12.000 --> 00:23:16.319
<v Speaker 2>even though it's you know, dips into gore and whatnot.

435
00:23:17.640 --> 00:23:21.599
<v Speaker 2>You know, it's you know, I mean, when you think

436
00:23:21.640 --> 00:23:24.440
<v Speaker 2>about it, this is on the same spectrum that includes

437
00:23:24.480 --> 00:23:33.279
<v Speaker 2>movies like Ghostbusters and The Frighteners. It it's doing something different,

438
00:23:33.319 --> 00:23:35.000
<v Speaker 2>but it's part of that continuum.

439
00:23:35.359 --> 00:23:40.240
<v Speaker 1>Yeah, yeah, you know, no, that's a those are good. Yeah,

440
00:23:40.400 --> 00:23:41.960
<v Speaker 1>I still love how I wonder if this was always

441
00:23:41.960 --> 00:23:43.720
<v Speaker 1>in the script too, or if it's a burtany thing

442
00:23:43.839 --> 00:23:45.680
<v Speaker 1>like this. It's so weird that if they try to

443
00:23:45.759 --> 00:23:48.319
<v Speaker 1>leave the house, like they're condemned to be stuck in

444
00:23:48.319 --> 00:23:50.279
<v Speaker 1>the house, and if they don't, they end up on

445
00:23:50.279 --> 00:23:53.160
<v Speaker 1>like one of the moons of Saturn, you know, with

446
00:23:53.319 --> 00:23:59.000
<v Speaker 1>like sandworms and they're on a racus that's there. Yeah,

447
00:23:59.359 --> 00:24:01.599
<v Speaker 1>and then obvious see this is the thing too that

448
00:24:01.640 --> 00:24:03.799
<v Speaker 1>I really admire. And sometimes when I watch Family Guy

449
00:24:03.880 --> 00:24:06.359
<v Speaker 1>or something like that, and they'll do a joke that,

450
00:24:06.440 --> 00:24:09.960
<v Speaker 1>you know, only two hundred people understand, you know what

451
00:24:10.000 --> 00:24:13.599
<v Speaker 1>I mean out of millions, I'm like, how does he

452
00:24:13.680 --> 00:24:16.119
<v Speaker 1>get allowed to do that? Now? Of course, because it's

453
00:24:16.119 --> 00:24:21.039
<v Speaker 1>so hugely popular, But you look at this and you're

454
00:24:21.079 --> 00:24:24.279
<v Speaker 1>making a big studio movie for Warner Brothers, and first

455
00:24:24.279 --> 00:24:26.039
<v Speaker 1>of all, you get to have sand worms on some

456
00:24:26.200 --> 00:24:28.920
<v Speaker 1>moon on Saturn. But then they look like these really

457
00:24:29.240 --> 00:24:34.279
<v Speaker 1>awkward handmade you know, stop motion puppets that look like

458
00:24:34.319 --> 00:24:38.079
<v Speaker 1>a child drew them. Yeah, and then you know, Warner

459
00:24:38.160 --> 00:24:40.119
<v Speaker 1>Brothers not saying we need to clean that up, we

460
00:24:40.200 --> 00:24:43.319
<v Speaker 1>need to make it like a little more polished and cool,

461
00:24:43.480 --> 00:24:45.160
<v Speaker 1>something a kid would want to play with. I mean,

462
00:24:45.200 --> 00:24:47.359
<v Speaker 1>it looks literally like a Tim Burton drawing, because it

463
00:24:47.400 --> 00:24:50.279
<v Speaker 1>probably literally is. But I just it's so cool that

464
00:24:50.319 --> 00:24:53.680
<v Speaker 1>he got to do his thing and then his thing

465
00:24:53.720 --> 00:24:55.519
<v Speaker 1>became a thing. You know.

466
00:24:56.720 --> 00:24:59.039
<v Speaker 2>Well that's yeah, so you just nailed it right there.

467
00:24:59.079 --> 00:25:01.640
<v Speaker 2>That's the beauty of it. Because this movie wasn't made

468
00:25:01.720 --> 00:25:06.680
<v Speaker 2>with the multimedia franchise in mind. I mean, who could

469
00:25:06.680 --> 00:25:10.400
<v Speaker 2>possibly imagine this is becoming a multimedia franchise.

470
00:25:10.880 --> 00:25:13.319
<v Speaker 1>That's a good point, you know what, Yeah, that's a

471
00:25:13.319 --> 00:25:15.200
<v Speaker 1>good point they must have thought. I mean, I saw

472
00:25:15.240 --> 00:25:19.039
<v Speaker 1>it cost fifteen million to make, and so they're like, okay, cool,

473
00:25:19.079 --> 00:25:20.839
<v Speaker 1>Like we get to make this funky little thing that

474
00:25:20.880 --> 00:25:23.400
<v Speaker 1>maybe becomes some sort of makes its money back and

475
00:25:23.400 --> 00:25:26.000
<v Speaker 1>become some sort of cult hit or something, you know,

476
00:25:26.119 --> 00:25:27.519
<v Speaker 1>or you know what I mean, like thing down the

477
00:25:27.559 --> 00:25:30.559
<v Speaker 1>line for us that people revisit on Halloween, right, but

478
00:25:30.599 --> 00:25:39.960
<v Speaker 1>they didn't realize they were launching a brand that's exactly it. Yeah,

479
00:25:40.400 --> 00:25:42.839
<v Speaker 1>you know what else I love? I mean, what a concept,

480
00:25:42.960 --> 00:25:49.000
<v Speaker 1>What a concept. I know, it's almost infuriating people don't

481
00:25:49.000 --> 00:25:52.680
<v Speaker 1>get an antiquated way of thinking. Sorry you were saying. No.

482
00:25:52.799 --> 00:25:56.640
<v Speaker 1>I also wanted to point out just that crazy shot

483
00:25:56.680 --> 00:26:01.000
<v Speaker 1>of the house there, that it just looks so surreal

484
00:26:01.160 --> 00:26:03.920
<v Speaker 1>but real at the same time. I think I've brought

485
00:26:03.920 --> 00:26:05.720
<v Speaker 1>this up before, but I don't think Tim Burton gets

486
00:26:05.759 --> 00:26:08.240
<v Speaker 1>enough credit. You know, everyone is like, oh, his style,

487
00:26:08.359 --> 00:26:11.519
<v Speaker 1>his spirals, his you know, those sorts of drawings come

488
00:26:11.559 --> 00:26:16.400
<v Speaker 1>to life. Right, But his framing is so great, Like

489
00:26:16.440 --> 00:26:20.359
<v Speaker 1>he doesn't move the camera a lot compared to other directors,

490
00:26:20.720 --> 00:26:24.680
<v Speaker 1>but he has really evocative framing and use of lenses

491
00:26:24.839 --> 00:26:27.200
<v Speaker 1>and of course everything that's going on within the frame

492
00:26:27.720 --> 00:26:31.480
<v Speaker 1>that just conveys so much without a whole ton of movement.

493
00:26:32.200 --> 00:26:34.079
<v Speaker 1>And I notice it in all his films and I

494
00:26:34.160 --> 00:26:39.480
<v Speaker 1>freaking love it. Such a great point. I mean even

495
00:26:39.519 --> 00:26:41.240
<v Speaker 1>just like look at that, like the low angle and

496
00:26:41.279 --> 00:26:45.640
<v Speaker 1>some sort of weird lens that makes that look slightly surreal. Yeah,

497
00:26:45.880 --> 00:26:53.519
<v Speaker 1>setting up that part of the house, this reminded me

498
00:26:53.599 --> 00:26:56.200
<v Speaker 1>of something from another movie that I cannot place. The

499
00:26:56.279 --> 00:27:00.200
<v Speaker 1>thing coming through the window unexpectedly like a piece. Yeah,

500
00:27:00.519 --> 00:27:02.720
<v Speaker 1>that does seem like something. Oh, I know what I'm

501
00:27:02.759 --> 00:27:09.599
<v Speaker 1>thinking of Christmas vacation when they're yes sitting at dinner

502
00:27:09.599 --> 00:27:12.000
<v Speaker 1>and they're talking about, oh, should we have gotten a tree?

503
00:27:12.039 --> 00:27:14.480
<v Speaker 1>And then the tree just right through the window.

504
00:27:18.759 --> 00:27:22.240
<v Speaker 2>So in the in the original draft as written, there

505
00:27:22.240 --> 00:27:26.119
<v Speaker 2>were two daughters, so there was there was Lydia, and

506
00:27:26.160 --> 00:27:29.000
<v Speaker 2>then there's a younger daughter who's who's like eight or nine,

507
00:27:29.839 --> 00:27:32.079
<v Speaker 2>and and the younger daughter is the one who can

508
00:27:32.119 --> 00:27:37.119
<v Speaker 2>see the maitland's interesting and as they're making the drafts,

509
00:27:37.119 --> 00:27:39.759
<v Speaker 2>and this is just like the normal process where it's like, well,

510
00:27:40.480 --> 00:27:41.759
<v Speaker 2>why do we need two characters?

511
00:27:41.839 --> 00:27:41.960
<v Speaker 1>What?

512
00:27:42.119 --> 00:27:45.440
<v Speaker 2>You know, like we can, we can, we can compress this,

513
00:27:45.640 --> 00:27:46.880
<v Speaker 2>you know, that's fat.

514
00:27:46.920 --> 00:27:49.200
<v Speaker 1>I mean, that's like it makes me think of Fair's

515
00:27:49.200 --> 00:27:53.640
<v Speaker 1>Bueller's Day Off, where they literally shot the movie. There

516
00:27:53.680 --> 00:27:56.440
<v Speaker 1>was two more siblings, so there were four Bueler siblings

517
00:27:56.519 --> 00:27:59.559
<v Speaker 1>versus the two and I had no idea. Yeah, and

518
00:27:59.599 --> 00:28:03.000
<v Speaker 1>if you watched the trailer, the original trailer, they're in

519
00:28:03.079 --> 00:28:10.440
<v Speaker 1>it funny. This woman feels like a very Burtany character,

520
00:28:10.680 --> 00:28:14.920
<v Speaker 1>or I should say it reminds me of in Edward Scissorhands,

521
00:28:15.240 --> 00:28:21.079
<v Speaker 1>sort of the you know, the neighbors who go around

522
00:28:21.119 --> 00:28:24.359
<v Speaker 1>and sort of I don't know, I keep thinking of

523
00:28:24.359 --> 00:28:26.400
<v Speaker 1>like a ned Flanders word like Biddy's.

524
00:28:27.920 --> 00:28:30.799
<v Speaker 2>Old biddy and Landers is an old biddy.

525
00:28:31.880 --> 00:28:33.680
<v Speaker 1>Yeah. I don't even know if I'm using that correctly,

526
00:28:34.119 --> 00:28:37.279
<v Speaker 1>but I mean, like famously, you know, Tim Burton grew

527
00:28:37.359 --> 00:28:42.720
<v Speaker 1>up in Burbank and found that completely nice, normal suburb

528
00:28:42.839 --> 00:28:51.039
<v Speaker 1>horrifying in a shape who he became here we go?

529
00:28:52.960 --> 00:28:55.680
<v Speaker 1>I mean, I guess somewhat famously. Beetlejuice, the character is

530
00:28:55.720 --> 00:28:58.680
<v Speaker 1>only in this movie I've seen two different times, but

531
00:28:58.720 --> 00:29:00.680
<v Speaker 1>I've seen fourteen and a half minutes and I've seen

532
00:29:00.680 --> 00:29:01.480
<v Speaker 1>seventeen minutes.

533
00:29:02.400 --> 00:29:07.000
<v Speaker 2>But yeah, right around fifteen ish, as it sounds right, yep,

534
00:29:07.640 --> 00:29:12.880
<v Speaker 2>but certainly he he he imbuse every frame with his presence,

535
00:29:12.920 --> 00:29:17.599
<v Speaker 2>which is, you know, the ultimate measure of Michael Eaton's

536
00:29:17.599 --> 00:29:18.720
<v Speaker 2>success in the film.

537
00:29:18.920 --> 00:29:21.359
<v Speaker 1>Yep, they originally.

538
00:29:20.839 --> 00:29:26.920
<v Speaker 2>Wanted Sammy Davis Junior, Tim Burton did we feared for Beetlejuice.

539
00:29:27.200 --> 00:29:30.480
<v Speaker 1>I can kind of picture it, you know what I mean.

540
00:29:30.799 --> 00:29:34.319
<v Speaker 1>It's so bonkers. Yeah, put like some like you know,

541
00:29:34.359 --> 00:29:37.319
<v Speaker 1>like a moldy old suit on him and some cobwebs

542
00:29:37.400 --> 00:29:39.839
<v Speaker 1>and him being like, hey man, you know, like I

543
00:29:39.839 --> 00:29:41.880
<v Speaker 1>don't know, like I can I can see what Tim

544
00:29:41.880 --> 00:29:44.920
<v Speaker 1>Burton was seeing. Yeah, obviously I like what we ended

545
00:29:45.000 --> 00:29:47.880
<v Speaker 1>up with. But I mean, Keaton.

546
00:29:48.880 --> 00:29:55.880
<v Speaker 2>Was suggested to Burton, but he turned it down initially,

547
00:29:57.000 --> 00:29:59.559
<v Speaker 2>and he said it was partly because because Burton is

548
00:29:59.559 --> 00:30:03.480
<v Speaker 2>so kind of like in his own head that Keaton couldn't,

549
00:30:03.759 --> 00:30:06.799
<v Speaker 2>like see, he couldn't catch the rhythm of what he

550
00:30:06.839 --> 00:30:10.960
<v Speaker 2>was saying. Sure, but eventually he came around to it,

551
00:30:10.920 --> 00:30:13.440
<v Speaker 2>and you realize, like, what a fruitful partnership this has

552
00:30:13.480 --> 00:30:16.720
<v Speaker 2>been Oh yeah, for the two of them. You know,

553
00:30:16.920 --> 00:30:20.880
<v Speaker 2>obviously decades later they're still working together. But like that,

554
00:30:21.119 --> 00:30:24.240
<v Speaker 2>that itself is interesting where you think about like these.

555
00:30:24.799 --> 00:30:29.279
<v Speaker 2>I have to imagine that Michael Keaton is grateful for

556
00:30:29.319 --> 00:30:31.599
<v Speaker 2>the mark that Tim Burton left on his career and

557
00:30:32.160 --> 00:30:36.079
<v Speaker 2>but for him taking a chance on Beetlejuice it happened.

558
00:30:36.519 --> 00:30:40.559
<v Speaker 1>Yeah, definitely, you know, put more tools in his belt.

559
00:30:41.440 --> 00:30:46.039
<v Speaker 2>Yeah, I mean I said this in a different commentary.

560
00:30:46.079 --> 00:30:49.200
<v Speaker 2>But you know when when Keaton when he did Batman

561
00:30:49.240 --> 00:30:51.319
<v Speaker 2>Re Turns and he was talking about the film and

562
00:30:51.359 --> 00:30:52.839
<v Speaker 2>they said to him, oh, you know, would you come

563
00:30:52.839 --> 00:30:54.359
<v Speaker 2>back and do a third one? And he said, if

564
00:30:54.400 --> 00:30:57.920
<v Speaker 2>Tim is doing it, I'll do it, you know. And

565
00:30:57.960 --> 00:31:00.720
<v Speaker 2>that shows how I mean, you know when it comes

566
00:31:00.759 --> 00:31:03.000
<v Speaker 2>to Batman. I mean, they backed up the Brinks truck

567
00:31:03.079 --> 00:31:05.640
<v Speaker 2>and he said, no, mm hmm. It's amazing when you

568
00:31:05.680 --> 00:31:06.279
<v Speaker 2>think about it.

569
00:31:06.440 --> 00:31:11.000
<v Speaker 1>Yeah, it really is. But it's interesting too. I read

570
00:31:11.000 --> 00:31:13.000
<v Speaker 1>a story with Alec Baldwin, I guess where he went

571
00:31:13.079 --> 00:31:17.960
<v Speaker 1>up to Tim Burton seeking some advice or direction, and

572
00:31:18.000 --> 00:31:21.039
<v Speaker 1>he said that Burton was drawing and wouldn't even look

573
00:31:21.119 --> 00:31:24.039
<v Speaker 1>up to talk to him. He was so in his head.

574
00:31:25.440 --> 00:31:27.759
<v Speaker 1>You know, doing whatever he was doing. And it's funny

575
00:31:27.759 --> 00:31:31.680
<v Speaker 1>because with someone like that, you can imagine, obviously it'd

576
00:31:31.680 --> 00:31:34.960
<v Speaker 1>be difficult to communicate with that person and what you

577
00:31:35.000 --> 00:31:36.799
<v Speaker 1>were saying earlier. You know, when you're Michael Keaton and

578
00:31:36.799 --> 00:31:38.960
<v Speaker 1>you're reading the script and you need this thing brought

579
00:31:38.960 --> 00:31:41.359
<v Speaker 1>to life in your mind, he might not be the

580
00:31:41.359 --> 00:31:43.599
<v Speaker 1>best person to do that. But then when he is able,

581
00:31:44.039 --> 00:31:46.400
<v Speaker 1>he's given the chance to make the thing and present

582
00:31:46.480 --> 00:31:49.680
<v Speaker 1>the thing, this suddenly becomes a calling card where you're like, oh,

583
00:31:49.759 --> 00:31:52.680
<v Speaker 1>that's what this guy's doing. Yeah, you know, he's lucky

584
00:31:52.759 --> 00:31:56.160
<v Speaker 1>enough that he got to make his calling card, right.

585
00:31:56.039 --> 00:32:00.519
<v Speaker 2>I mean it certainly pee Wee was not yet that

586
00:32:00.599 --> 00:32:02.079
<v Speaker 2>calling card type movie, you.

587
00:32:02.039 --> 00:32:08.359
<v Speaker 1>Know, right right, Yeah, I mean it's it's certainly specific.

588
00:32:08.720 --> 00:32:11.799
<v Speaker 2>It has his sensibilities, but it's it's you know, I mean,

589
00:32:11.839 --> 00:32:14.519
<v Speaker 2>it's he's not it's just yeah, right, I mean it's

590
00:32:14.519 --> 00:32:17.000
<v Speaker 2>his first movie out the shoot, so obviously he's gonna

591
00:32:17.000 --> 00:32:19.160
<v Speaker 2>be a little bit restrained. Like I think this is

592
00:32:19.200 --> 00:32:20.880
<v Speaker 2>me personally. I think by the time you get to

593
00:32:21.000 --> 00:32:24.000
<v Speaker 2>Edward Scissorhands, this is like Tim Burton in his purest form.

594
00:32:24.519 --> 00:32:34.359
<v Speaker 1>I agree, Yes, unprocessed Burton you know, yes, totally, you know, yeah,

595
00:32:34.759 --> 00:32:38.720
<v Speaker 1>I mean, should we talk about Jeffrey Jones. I guess

596
00:32:38.799 --> 00:32:40.319
<v Speaker 1>we need to write I mean, we don't have to

597
00:32:40.319 --> 00:32:42.559
<v Speaker 1>get two into it, but I guess we should say

598
00:32:42.559 --> 00:32:47.960
<v Speaker 1>the disgrace Jeffrey Jones, you know, found uh guilty of

599
00:32:48.000 --> 00:32:53.160
<v Speaker 1>some heinous uh sexual things. Yeah, and uh has not

600
00:32:53.279 --> 00:32:57.680
<v Speaker 1>been working since and uh not in the sequel, not

601
00:32:57.720 --> 00:32:58.240
<v Speaker 1>in the sequel.

602
00:32:58.319 --> 00:33:03.680
<v Speaker 2>Yeah, I mean he he had a quite lengthy career, ah,

603
00:33:04.359 --> 00:33:07.599
<v Speaker 2>you know, through throughout the eighties and nineties, you know.

604
00:33:07.839 --> 00:33:09.680
<v Speaker 1>Yeah, I mean I'd forgotten he was an Amadeis.

605
00:33:09.759 --> 00:33:12.039
<v Speaker 2>He's an Amadas. I was going to bring that up exactly.

606
00:33:11.880 --> 00:33:14.799
<v Speaker 1>Probably most famously the principal and Faris Bueller's Day Off.

607
00:33:15.240 --> 00:33:18.480
<v Speaker 2>Yeah, and he did, you know, voiceover work. He was

608
00:33:18.519 --> 00:33:23.680
<v Speaker 2>in a movie called Ravenous about Cannibal's Yeah, with Guy

609
00:33:23.759 --> 00:33:24.960
<v Speaker 2>Pearce and and.

610
00:33:26.720 --> 00:33:29.759
<v Speaker 1>Yeah, I mean, uh yeah, it's weird.

611
00:33:32.359 --> 00:33:38.880
<v Speaker 2>Yeah, it's it's apparently the what ended up surfacing with

612
00:33:38.920 --> 00:33:45.680
<v Speaker 2>regards to Jeffrey Jones started with an investigation of.

613
00:33:45.640 --> 00:33:48.440
<v Speaker 1>Paul Rubins mm hm, oh wow.

614
00:33:48.480 --> 00:33:52.160
<v Speaker 2>And it ended up pointing towards Jeffrey Jones.

615
00:33:53.039 --> 00:33:53.359
<v Speaker 1>Wow.

616
00:33:53.440 --> 00:33:57.359
<v Speaker 2>So that I found that kind of interesting you know.

617
00:33:57.559 --> 00:34:01.160
<v Speaker 1>Yeah, weird. It's away was weird. You know. It's like

618
00:34:01.200 --> 00:34:03.799
<v Speaker 1>you have to some of these movies that become classics,

619
00:34:03.839 --> 00:34:06.640
<v Speaker 1>and then you have these people, you have these revelations

620
00:34:06.680 --> 00:34:08.920
<v Speaker 1>about them later, and it's just like you have to

621
00:34:09.039 --> 00:34:12.280
<v Speaker 1>sort of you have to build a barrier in your

622
00:34:12.280 --> 00:34:14.960
<v Speaker 1>mind a little bit exactly, and just look at the character.

623
00:34:17.079 --> 00:34:21.079
<v Speaker 1>I love this vision of the afterlife waiting room. It's

624
00:34:21.119 --> 00:34:24.239
<v Speaker 1>like I said, it's this perfectly weirdly burtny thing, Like

625
00:34:24.280 --> 00:34:27.400
<v Speaker 1>you can imagine giving it to you know, fifty other

626
00:34:27.480 --> 00:34:31.159
<v Speaker 1>directors and they might lean into the gore of it

627
00:34:31.480 --> 00:34:33.880
<v Speaker 1>or too much of the silliness of it or whatever,

628
00:34:34.079 --> 00:34:39.840
<v Speaker 1>but he strikes this weird specific balance where it is dark, yeah,

629
00:34:39.840 --> 00:34:43.199
<v Speaker 1>but it's camp being fun at the same time. Like

630
00:34:43.280 --> 00:34:46.320
<v Speaker 1>the guy with the shark on his leg, or the

631
00:34:46.360 --> 00:34:48.199
<v Speaker 1>you know, the chicken bone stuck in his neck.

632
00:34:48.840 --> 00:34:50.960
<v Speaker 2>Or that football team that we see.

633
00:34:51.639 --> 00:34:53.840
<v Speaker 1>Yeah, that one always kind of makes me sad. To

634
00:34:55.960 --> 00:34:58.480
<v Speaker 1>the line where the one guy's like, oh we didn't

635
00:34:58.480 --> 00:35:05.480
<v Speaker 1>survive that crash, did we. It's ah. Of course, you

636
00:35:05.719 --> 00:35:08.679
<v Speaker 1>get the moment where they're dancing at the end, You're like, okay, okay, okay.

637
00:35:08.639 --> 00:35:10.599
<v Speaker 2>Yeah, they see they're they're they're fine, they've they've come

638
00:35:10.599 --> 00:35:11.239
<v Speaker 2>to terms with it.

639
00:35:11.519 --> 00:35:15.239
<v Speaker 1>Yeah, but I don't know, just all this stuff like

640
00:35:15.280 --> 00:35:17.559
<v Speaker 1>you just that's what I love about it. Again, Give

641
00:35:17.599 --> 00:35:20.079
<v Speaker 1>this scene and say like, yeah, a guy who's like

642
00:35:20.119 --> 00:35:22.360
<v Speaker 1>burnt to a Chris smoking a cigarette in this one

643
00:35:22.599 --> 00:35:24.800
<v Speaker 1>waiting room. Give it to fifty other directors and you're

644
00:35:24.800 --> 00:35:26.280
<v Speaker 1>gonna get something. And it's too much of this, too

645
00:35:26.320 --> 00:35:29.800
<v Speaker 1>much that whatever, and it might work in its own way,

646
00:35:29.840 --> 00:35:32.039
<v Speaker 1>but she only one guy is going to give you.

647
00:35:31.960 --> 00:35:35.800
<v Speaker 2>This well, and that's I'm I can't help but wonder

648
00:35:35.920 --> 00:35:38.800
<v Speaker 2>what's going through Alec Baldwin and Geena Davis on Mars

649
00:35:38.960 --> 00:35:41.480
<v Speaker 2>there as they're sitting here going through this, you know,

650
00:35:41.519 --> 00:35:45.480
<v Speaker 2>because you're really relying on on your director to see

651
00:35:45.480 --> 00:35:50.199
<v Speaker 2>you through, you know, as it is a leap of faith,

652
00:35:50.239 --> 00:35:50.440
<v Speaker 2>you know.

653
00:35:51.320 --> 00:35:53.840
<v Speaker 1>Yep, yeh.

654
00:35:55.199 --> 00:35:57.039
<v Speaker 2>See that one right there where she's like, I wouldn't

655
00:35:57.039 --> 00:35:58.760
<v Speaker 2>have had my little accident. She holds up and I'm like,

656
00:35:58.760 --> 00:36:01.039
<v Speaker 2>did she slit her wrists?

657
00:36:01.079 --> 00:36:03.559
<v Speaker 1>Like? What happened there? That's what I think. That's what

658
00:36:03.599 --> 00:36:04.239
<v Speaker 1>I took it as.

659
00:36:04.519 --> 00:36:07.199
<v Speaker 2>But that's not an accident, I know.

660
00:36:07.519 --> 00:36:11.679
<v Speaker 1>Yeah, she doesn't like wink wink when she says it. Yeah,

661
00:36:11.719 --> 00:36:15.480
<v Speaker 1>but I don't I don't know. This guy is just

662
00:36:15.519 --> 00:36:17.880
<v Speaker 1>so I mean just this whole walk through this room

663
00:36:18.360 --> 00:36:22.840
<v Speaker 1>with this guy flattened pancake and these yeah, oh man,

664
00:36:22.840 --> 00:36:25.519
<v Speaker 1>I love this. Even the lighting, the green and the

665
00:36:25.519 --> 00:36:27.679
<v Speaker 1>blues and the that's it.

666
00:36:27.760 --> 00:36:30.679
<v Speaker 2>I mean, it's easy to sort of take for granted

667
00:36:30.760 --> 00:36:36.320
<v Speaker 2>now because of you know, the the Burton filmography and

668
00:36:36.599 --> 00:36:38.599
<v Speaker 2>you know, but like this, this had to have been

669
00:36:39.159 --> 00:36:43.960
<v Speaker 2>something so out there back then. But then it makes

670
00:36:44.000 --> 00:36:46.119
<v Speaker 2>me think, like, you know, there was a time when

671
00:36:46.199 --> 00:36:48.519
<v Speaker 2>we would see stuff like this where it was it

672
00:36:48.559 --> 00:36:51.840
<v Speaker 2>was kind of you know, it was it was skirting

673
00:36:51.880 --> 00:36:53.559
<v Speaker 2>the edge in terms of is.

674
00:36:53.519 --> 00:36:55.119
<v Speaker 1>It aimed at families is it not?

675
00:36:55.239 --> 00:36:57.719
<v Speaker 2>But you could you could have stuff like this that

676
00:36:57.920 --> 00:37:03.519
<v Speaker 2>did attempt to to sort of balance between genres.

677
00:37:03.559 --> 00:37:07.119
<v Speaker 1>You know. Is that incredible? I mean you could say, hey,

678
00:37:07.159 --> 00:37:11.079
<v Speaker 1>this director's got a vision. Yes, let's put it out

679
00:37:11.079 --> 00:37:13.679
<v Speaker 1>there and see what people think. And then this ended

680
00:37:13.760 --> 00:37:16.119
<v Speaker 1>up being the number ten highest grossing movie of nineteen

681
00:37:16.159 --> 00:37:19.400
<v Speaker 1>eighty eight. Yeah, there was room for it, or there

682
00:37:19.400 --> 00:37:22.519
<v Speaker 1>was nothing like this yet, and people embraced that.

683
00:37:23.199 --> 00:37:26.599
<v Speaker 2>I mean, that's the unfortunate thing about where we're at now,

684
00:37:26.760 --> 00:37:31.599
<v Speaker 2>where I'm like, where is the beetle juice now? And

685
00:37:31.639 --> 00:37:33.360
<v Speaker 2>I don't mean beetle juice, beetle juice.

686
00:37:33.519 --> 00:37:35.159
<v Speaker 1>Yeah, yeah, you know, I know what you mean.

687
00:37:35.440 --> 00:37:40.400
<v Speaker 2>Right, Like, where's the thing that's kind of finding its

688
00:37:40.440 --> 00:37:43.960
<v Speaker 2>own little niche? I don't know, you know, I just

689
00:37:44.000 --> 00:37:46.280
<v Speaker 2>don't think there's a market for it unless there's some

690
00:37:46.360 --> 00:37:48.400
<v Speaker 2>kind of a franchise or an ip attached to it.

691
00:37:51.639 --> 00:37:53.519
<v Speaker 1>By the way, I should point out the guy who

692
00:37:53.639 --> 00:37:57.639
<v Speaker 1>explains the exorcisms are deadly for the dead. That's the

693
00:37:57.639 --> 00:38:02.000
<v Speaker 1>guy from Peebe's Big Adventure, who's like the worst accident

694
00:38:02.519 --> 00:38:09.519
<v Speaker 1>I ever seen. Wow. Okay, Burton has his sort of

695
00:38:09.639 --> 00:38:13.000
<v Speaker 1>unique stable. Yeah, of actors.

696
00:38:13.440 --> 00:38:15.119
<v Speaker 2>I mean, that's one thing you gotta say. You know,

697
00:38:15.199 --> 00:38:18.039
<v Speaker 2>people who work with him, they tend to want to

698
00:38:18.039 --> 00:38:20.119
<v Speaker 2>come back and work with them again. So that's something.

699
00:38:20.559 --> 00:38:28.280
<v Speaker 1>Yeah, that is great too. I don't know her name offhand.

700
00:38:28.639 --> 00:38:30.159
<v Speaker 2>Sylvia Sidney, who plays Juno.

701
00:38:30.440 --> 00:38:34.000
<v Speaker 1>Yeah, yeah, yeah, yeah, she's so good and you get

702
00:38:34.199 --> 00:38:36.960
<v Speaker 1>it's just sort of gruesomeness of her. You know, the

703
00:38:37.000 --> 00:38:39.360
<v Speaker 1>slice across her throat, but she's smoking, so you see

704
00:38:39.360 --> 00:38:40.199
<v Speaker 1>the smoke come out of it.

705
00:38:41.559 --> 00:38:45.800
<v Speaker 2>She was also in Mars Attacks.

706
00:38:46.679 --> 00:38:49.840
<v Speaker 1>Oh, she's the grandmother, the grandmother, that's right.

707
00:38:50.039 --> 00:38:53.880
<v Speaker 2>So wowow, what about about ten years after this you

708
00:38:54.000 --> 00:38:54.360
<v Speaker 2>were taken.

709
00:38:55.199 --> 00:38:57.079
<v Speaker 1>I haven't watched that in a really long time.

710
00:38:58.119 --> 00:39:02.519
<v Speaker 2>Yeah, I've only seen it a couple times back in

711
00:39:02.559 --> 00:39:03.239
<v Speaker 2>the nineties.

712
00:39:03.320 --> 00:39:07.159
<v Speaker 1>So it's making me want to do a rewatch, you know,

713
00:39:07.360 --> 00:39:09.760
<v Speaker 1>like I haven't gone through these older Burton films. That's

714
00:39:09.760 --> 00:39:11.280
<v Speaker 1>the thing. I mean, his his career has been so

715
00:39:11.360 --> 00:39:14.320
<v Speaker 1>interesting where he was making these things, these Edward scissorhands

716
00:39:14.480 --> 00:39:17.199
<v Speaker 1>and that kind of stuff, right, but then he kind

717
00:39:17.199 --> 00:39:19.119
<v Speaker 1>of got pulled into that Well, what if we applied

718
00:39:19.119 --> 00:39:23.360
<v Speaker 1>the Burton esthetic to Allas in Wonderland? You know? And

719
00:39:23.559 --> 00:39:25.519
<v Speaker 1>I admit, I mean at the time it was like,

720
00:39:25.599 --> 00:39:27.079
<v Speaker 1>I don't know, what does that look like? That could

721
00:39:27.079 --> 00:39:31.280
<v Speaker 1>be interesting, and it kind of felt a little more

722
00:39:31.440 --> 00:39:36.239
<v Speaker 1>homogenized and watered down and whatever. Then I think, well,

723
00:39:36.320 --> 00:39:38.639
<v Speaker 1>to be fair, that movie made a billion dollars, but

724
00:39:39.719 --> 00:39:42.199
<v Speaker 1>you know, it actually probably brought some younger people into

725
00:39:42.239 --> 00:39:46.719
<v Speaker 1>the Burton fold. But then you end up with Dumbo eventually,

726
00:39:46.880 --> 00:39:51.199
<v Speaker 1>which just didn't work at all. And so I kept saying, like, man,

727
00:39:51.239 --> 00:39:53.320
<v Speaker 1>I want Burton again. I want Burton to make something

728
00:39:53.360 --> 00:39:55.920
<v Speaker 1>from his brain. I want to see that again. And

729
00:39:55.960 --> 00:39:58.000
<v Speaker 1>then that's you know, in a week we're getting the

730
00:39:58.000 --> 00:40:01.400
<v Speaker 1>sequel Beal Juice Meal Juice. So that's that's what I

731
00:40:01.440 --> 00:40:04.440
<v Speaker 1>asked for making his stuff again.

732
00:40:05.360 --> 00:40:07.599
<v Speaker 2>I I think, you know, Burton is very much an

733
00:40:07.599 --> 00:40:09.960
<v Speaker 2>acquired taste. And I've said before, you know, I think

734
00:40:10.000 --> 00:40:12.559
<v Speaker 2>I think he's somebody who has to be matched with

735
00:40:12.639 --> 00:40:14.840
<v Speaker 2>the right subject matter. And you know, to me, the

736
00:40:15.000 --> 00:40:18.480
<v Speaker 2>naar of just trying to plug him, plug him into

737
00:40:18.559 --> 00:40:22.440
<v Speaker 2>anything and just sort of you know, letting it happen

738
00:40:22.639 --> 00:40:26.320
<v Speaker 2>is is Planet of the Apes. You know, because I've

739
00:40:26.400 --> 00:40:29.480
<v Speaker 2>said it plenty of times, you talk about, uh, the

740
00:40:29.719 --> 00:40:33.559
<v Speaker 2>absolute wrong person for that material. I think that's that's

741
00:40:33.679 --> 00:40:34.920
<v Speaker 2>that's his Planet of the Apes.

742
00:40:35.079 --> 00:40:37.960
<v Speaker 1>And and I'm I'm I'm sure Tim Burton would agree

743
00:40:38.000 --> 00:40:38.199
<v Speaker 1>with me.

744
00:40:38.519 --> 00:40:40.840
<v Speaker 2>Uh huh, yeah, you know, because it's not like he

745
00:40:40.880 --> 00:40:42.679
<v Speaker 2>has a lot of fun things to fond memories of

746
00:40:42.920 --> 00:40:44.239
<v Speaker 2>having worked on that movie, you know.

747
00:40:44.760 --> 00:40:46.400
<v Speaker 1>I know, but you can imagine at the time the

748
00:40:46.760 --> 00:40:50.920
<v Speaker 1>tantalizing prospect. Yeah what if Tim Burton remade Planet of

749
00:40:50.920 --> 00:40:53.880
<v Speaker 1>the Apes? Yeah, what does that look like? Yeah? Yeah, exactly.

750
00:40:54.480 --> 00:40:56.760
<v Speaker 1>But he he just works best when he's able to

751
00:40:57.039 --> 00:41:00.159
<v Speaker 1>let his freak flag fly and do the thing is

752
00:41:00.199 --> 00:41:02.760
<v Speaker 1>it tickle his fancy, you know, like Mars attacks.

753
00:41:02.800 --> 00:41:05.760
<v Speaker 2>And it's interesting because because like you have a movie

754
00:41:05.800 --> 00:41:10.159
<v Speaker 2>like Big Fish for example, Mmm, right, and very very

755
00:41:10.400 --> 00:41:15.119
<v Speaker 2>very much a Burton joint. Uh and and yet it

756
00:41:15.119 --> 00:41:17.320
<v Speaker 2>it's doing something a little different. I think it stands

757
00:41:17.320 --> 00:41:21.360
<v Speaker 2>out in his in his repertoire, you know. And so

758
00:41:21.440 --> 00:41:23.880
<v Speaker 2>I think that's sort of the right approach when when

759
00:41:23.960 --> 00:41:28.480
<v Speaker 2>it comes to how to finesse what he brings to

760
00:41:28.519 --> 00:41:30.480
<v Speaker 2>a story. You know, I think just plugging him into

761
00:41:30.480 --> 00:41:33.920
<v Speaker 2>an ip it rarely, it has rarely worked. I mean

762
00:41:33.960 --> 00:41:40.639
<v Speaker 2>just at a glance. Dumbo the Planet of the Apes

763
00:41:40.920 --> 00:41:42.440
<v Speaker 2>and Dark Shadows.

764
00:41:43.079 --> 00:41:46.639
<v Speaker 1>Oh yeah, yeah, I forgot about that, remember Dark Shadows? Yeah?

765
00:41:46.679 --> 00:41:54.360
<v Speaker 1>I mean no. Yeah. By the way, when he kills

766
00:41:54.360 --> 00:41:58.280
<v Speaker 1>that fly and the whole helped me, hm, I was like,

767
00:41:58.320 --> 00:42:00.760
<v Speaker 1>you know, that was like a reference with we were kids.

768
00:42:01.000 --> 00:42:03.679
<v Speaker 1>Isn't that funny? Yeah, it'd be on the Simpsons and

769
00:42:03.719 --> 00:42:05.559
<v Speaker 1>all sorts of things. But that's not a reference that

770
00:42:05.679 --> 00:42:08.440
<v Speaker 1>I think your kids would understand today. No, no, not

771
00:42:08.480 --> 00:42:13.559
<v Speaker 1>at all. It's funny. They have their window, I guess

772
00:42:14.760 --> 00:42:15.320
<v Speaker 1>that well.

773
00:42:15.360 --> 00:42:19.320
<v Speaker 2>And we've talked about it before. How like our exposure

774
00:42:19.480 --> 00:42:23.719
<v Speaker 2>to syndicated reruns and things like that sort of extended

775
00:42:23.760 --> 00:42:27.360
<v Speaker 2>the half life of these pop culture references. Yea, in

776
00:42:27.480 --> 00:42:30.440
<v Speaker 2>hindsight to an abnormal degree. It was lengthened.

777
00:42:30.559 --> 00:42:34.280
<v Speaker 1>You know. Yeah, that's a good point. Things that should

778
00:42:34.320 --> 00:42:36.280
<v Speaker 1>not have the window shouldn't have been as big as

779
00:42:36.280 --> 00:42:37.719
<v Speaker 1>that it was for us that it was.

780
00:42:37.800 --> 00:42:38.480
<v Speaker 2>That's what it is.

781
00:42:38.719 --> 00:42:44.559
<v Speaker 1>Yeah, it's funny, you know, Gooley Ghouley.

782
00:42:44.679 --> 00:42:45.880
<v Speaker 2>I was just to do that.

783
00:42:49.559 --> 00:42:52.480
<v Speaker 1>When when he said putts, I like, I said, I

784
00:42:52.519 --> 00:42:55.480
<v Speaker 1>was watching in the other room as Frederica. I I

785
00:42:55.519 --> 00:42:57.840
<v Speaker 1>sent her that gift where from The Simpsons where he's

786
00:42:57.840 --> 00:43:00.559
<v Speaker 1>like Vera said that it's funny.

787
00:43:01.039 --> 00:43:04.519
<v Speaker 2>Is so just by chance we had watched the Casino

788
00:43:04.559 --> 00:43:06.360
<v Speaker 2>episode of The Simpsons like a week earlier.

789
00:43:06.519 --> 00:43:11.360
<v Speaker 1>Oh wow. Yeah. So as he comes up, I was like,

790
00:43:11.800 --> 00:43:14.159
<v Speaker 1>you're a manager said for you to shut up.

791
00:43:14.480 --> 00:43:17.239
<v Speaker 2>You said that, and I was like that's the guy,

792
00:43:17.320 --> 00:43:18.960
<v Speaker 2>and they're like, oh, you.

793
00:43:18.880 --> 00:43:26.280
<v Speaker 1>Know right, yeah, it's funny. I mean, yeah, I know,

794
00:43:26.280 --> 00:43:28.519
<v Speaker 1>I'm less first music and more for being the villain

795
00:43:28.519 --> 00:43:33.039
<v Speaker 1>and naked gun too, right, totally. Yeah, And of course

796
00:43:33.039 --> 00:43:40.639
<v Speaker 1>Will Farrel's amazing impersonation of him. That's right. This is

797
00:43:40.679 --> 00:43:43.079
<v Speaker 1>kind of a cute idea, you know, these sort of

798
00:43:43.159 --> 00:43:47.480
<v Speaker 1>doorkey people, their idea of what haunting is supposed to be, Like, right,

799
00:43:47.639 --> 00:43:48.880
<v Speaker 1>it's wearing these bed sheets.

800
00:43:52.599 --> 00:43:57.960
<v Speaker 2>See, it's interesting that the story like that the Maitlands

801
00:43:58.239 --> 00:44:05.199
<v Speaker 2>are our focus, but the struggle is that Beetlejuice is

802
00:44:05.199 --> 00:44:09.760
<v Speaker 2>the most interesting element. So like you have to balance

803
00:44:10.199 --> 00:44:11.159
<v Speaker 2>how much of him?

804
00:44:11.239 --> 00:44:11.719
<v Speaker 1>Like is it?

805
00:44:11.760 --> 00:44:13.280
<v Speaker 2>You know, I'm sure those are the things they have

806
00:44:13.320 --> 00:44:17.960
<v Speaker 2>to think about, like, well, how much of Beetlejuice do

807
00:44:18.039 --> 00:44:19.599
<v Speaker 2>we want in this story? How much do we wanted

808
00:44:19.639 --> 00:44:22.920
<v Speaker 2>to you know, like how do we split our focus?

809
00:44:27.199 --> 00:44:29.800
<v Speaker 2>And apparently the answer is about fifteen minutes worth. That's

810
00:44:29.880 --> 00:44:31.239
<v Speaker 2>the that's the magic number.

811
00:44:31.480 --> 00:44:33.960
<v Speaker 1>But it's like what you said, I mean you feel

812
00:44:34.039 --> 00:44:38.480
<v Speaker 1>him through the whole movie, which is yeah, them sticking

813
00:44:38.480 --> 00:44:38.960
<v Speaker 1>the landing.

814
00:44:38.960 --> 00:44:44.480
<v Speaker 2>In a way, I think it's interesting in terms of

815
00:44:44.519 --> 00:44:46.880
<v Speaker 2>how the credits are listed at the very start, where

816
00:44:46.880 --> 00:44:49.840
<v Speaker 2>we have Alec Walden getting top billing and Michael Keaton

817
00:44:49.920 --> 00:44:54.400
<v Speaker 2>is the end. M yeah, sure right, And yeah, I

818
00:44:54.440 --> 00:44:56.159
<v Speaker 2>was talking to my thirteen year old He's like, what,

819
00:44:56.199 --> 00:44:58.079
<v Speaker 2>Michael Keaton wasn't even a big enough start to get

820
00:44:58.119 --> 00:45:00.880
<v Speaker 2>top billing? And I said, uh uh uh, he's the

821
00:45:00.920 --> 00:45:07.440
<v Speaker 2>and I was explaining like crank replacement and negotiations. I

822
00:45:07.440 --> 00:45:09.519
<v Speaker 2>was like, no, your agent gets you the end if

823
00:45:09.559 --> 00:45:11.639
<v Speaker 2>you don't get the top billing, because that's just you know.

824
00:45:11.960 --> 00:45:16.320
<v Speaker 1>He's like, that's so funny. I can see him at

825
00:45:16.360 --> 00:45:21.119
<v Speaker 1>the cafeteria table, you know, a lunch on Monday, explaining

826
00:45:21.320 --> 00:45:24.400
<v Speaker 1>as they're eating. You know, they're like, it's.

827
00:45:24.239 --> 00:45:26.639
<v Speaker 2>Like you're the and that's a big deal.

828
00:45:27.320 --> 00:45:34.519
<v Speaker 1>Oh yeah, all the kids. Yeah, it is kind of

829
00:45:34.559 --> 00:45:37.440
<v Speaker 1>a cute idea too. You know, this kid with a

830
00:45:37.440 --> 00:45:41.480
<v Speaker 1>special ability, you know what I mean, like is able

831
00:45:41.519 --> 00:45:47.079
<v Speaker 1>to see the dead and read the book and you.

832
00:45:47.320 --> 00:45:50.599
<v Speaker 2>You you know who who Tim Burton plugged into when

833
00:45:50.639 --> 00:45:54.480
<v Speaker 2>he got this right Lydia is clearly the surrogate for

834
00:45:54.599 --> 00:45:55.280
<v Speaker 2>him in a.

835
00:45:58.119 --> 00:46:02.000
<v Speaker 1>Yeah, everyone reads the book. But then like she, you

836
00:46:02.079 --> 00:46:10.760
<v Speaker 1>know what I mean, like she knows the real this

837
00:46:10.800 --> 00:46:13.119
<v Speaker 1>whole thing with a model too. It's like a not

838
00:46:13.280 --> 00:46:16.440
<v Speaker 1>just a clever narrative sort of conceit so you can

839
00:46:16.519 --> 00:46:19.400
<v Speaker 1>plug this ghost being in and you can shrink down.

840
00:46:19.440 --> 00:46:21.119
<v Speaker 1>But it's like, yeah, but he's in the model right now,

841
00:46:21.159 --> 00:46:24.280
<v Speaker 1>and you know what I mean, that's just a very

842
00:46:24.280 --> 00:46:24.880
<v Speaker 1>clever idea.

843
00:46:25.360 --> 00:46:28.000
<v Speaker 2>I think, you know, as written Originally, there was no

844
00:46:28.320 --> 00:46:32.480
<v Speaker 2>saying his three names, his name three times to get

845
00:46:32.880 --> 00:46:35.639
<v Speaker 2>him out. It was just once he's out, he's out.

846
00:46:36.280 --> 00:46:40.519
<v Speaker 1>Oh so he is able to freely do that. Yeah.

847
00:46:40.599 --> 00:46:43.599
<v Speaker 2>So in other words, like I think that was the

848
00:46:43.599 --> 00:46:47.639
<v Speaker 2>they realized, like, we need to put some limitations now,

849
00:46:47.719 --> 00:46:49.880
<v Speaker 2>I mean, as written originally as much darker as we

850
00:46:49.920 --> 00:46:52.960
<v Speaker 2>talked about. And Beetlejuice in his true form is like.

851
00:46:52.920 --> 00:46:56.079
<v Speaker 1>A winged demon, right, and.

852
00:46:56.159 --> 00:46:58.519
<v Speaker 2>He wants to murder the Deetzes. He doesn't want to

853
00:46:58.679 --> 00:47:02.159
<v Speaker 2>scare them. He wants to have sex with Lydia. It

854
00:47:02.280 --> 00:47:03.800
<v Speaker 2>is on a marry here, like all these weird like

855
00:47:03.800 --> 00:47:06.280
<v Speaker 2>you look at it now, you're like, oh, oh no, yeah,

856
00:47:07.840 --> 00:47:10.159
<v Speaker 2>but that was the you know, that was the the

857
00:47:10.159 --> 00:47:13.360
<v Speaker 2>initial that's that was the germ of an idea, right,

858
00:47:13.400 --> 00:47:16.920
<v Speaker 2>And so so the comedic aspects came in with Warren Scarin,

859
00:47:17.559 --> 00:47:20.760
<v Speaker 2>who who of course also also co wrote Batman by

860
00:47:20.760 --> 00:47:27.239
<v Speaker 2>the Way, M and and like as as as originally conceived,

861
00:47:27.480 --> 00:47:30.639
<v Speaker 2>Beetlejuice in his human form is kind of this diminutive

862
00:47:30.679 --> 00:47:34.840
<v Speaker 2>Middle Eastern guy M And I'm like, well, don't.

863
00:47:34.559 --> 00:47:36.719
<v Speaker 1>Do that right, right right.

864
00:47:37.760 --> 00:47:41.760
<v Speaker 2>I'm like, hey, now come on. So it's weird again,

865
00:47:41.800 --> 00:47:44.760
<v Speaker 2>this like it has to start somewhere, right, Like we

866
00:47:44.800 --> 00:47:46.760
<v Speaker 2>can be like, well that's stupid. It's like you know,

867
00:47:46.920 --> 00:47:49.840
<v Speaker 2>but look, you gotta start. You put it out there

868
00:47:50.519 --> 00:47:53.480
<v Speaker 2>and you prune it and it gets to something. But

869
00:47:53.519 --> 00:47:54.679
<v Speaker 2>that's that's the process.

870
00:47:55.679 --> 00:47:59.400
<v Speaker 1>Yeah, you know, don't be afraid of the process. That's

871
00:47:59.480 --> 00:48:01.760
<v Speaker 1>I mean, I think that's fantastic advice. I was reading

872
00:48:01.800 --> 00:48:06.199
<v Speaker 1>about Michael McDowell, who originated the idea. Yeah, and he

873
00:48:07.920 --> 00:48:10.159
<v Speaker 1>was just a person who was kind of intrigued by death,

874
00:48:10.519 --> 00:48:12.519
<v Speaker 1>you know, and it's just I mean, you could see

875
00:48:12.519 --> 00:48:15.000
<v Speaker 1>where the Lydia character comes from. And so anyway, he

876
00:48:15.039 --> 00:48:17.440
<v Speaker 1>writes the first version of this script and he was

877
00:48:17.440 --> 00:48:19.400
<v Speaker 1>working I want to say it like Walter Hill's company

878
00:48:19.440 --> 00:48:22.280
<v Speaker 1>or something, that's right. He was like an exec yeah,

879
00:48:22.280 --> 00:48:24.159
<v Speaker 1>and then I guess he turned it in like what

880
00:48:24.199 --> 00:48:25.760
<v Speaker 1>do you guys think of this? I don't remember who

881
00:48:25.760 --> 00:48:27.039
<v Speaker 1>said it wasn't I don't know if it was Walter

882
00:48:27.119 --> 00:48:30.039
<v Speaker 1>Hill or another executive, but they called him into a

883
00:48:30.079 --> 00:48:31.800
<v Speaker 1>meeting and he thought, oh, this is gonna go well,

884
00:48:32.840 --> 00:48:36.000
<v Speaker 1>and they were basically like, so this is what you

885
00:48:36.039 --> 00:48:37.519
<v Speaker 1>want to put out there with your name on it?

886
00:48:38.360 --> 00:48:40.320
<v Speaker 1>The kind of thing and it's like, you know what,

887
00:48:40.519 --> 00:48:42.400
<v Speaker 1>who knows, who knows what that first draft was, but

888
00:48:42.480 --> 00:48:45.559
<v Speaker 1>like you said, it starts somewhere, and this became something

889
00:48:45.559 --> 00:48:49.679
<v Speaker 1>that we're talking about thirty years later. So I don't know, man,

890
00:48:50.679 --> 00:48:54.519
<v Speaker 1>sometimes you just need to not be afraid of your ideas.

891
00:48:55.199 --> 00:48:58.519
<v Speaker 2>I mean, that really is the takeaway, right, and especially

892
00:48:58.639 --> 00:49:02.960
<v Speaker 2>because it seemed like he was like he was fine

893
00:49:03.039 --> 00:49:06.920
<v Speaker 2>with the way the idea changed, you know, if anything.

894
00:49:06.960 --> 00:49:11.320
<v Speaker 2>You know, he he died twenty five years ago, and

895
00:49:12.039 --> 00:49:14.199
<v Speaker 2>it makes me sad that he didn't live to see it.

896
00:49:14.320 --> 00:49:17.159
<v Speaker 2>Just this remarkable afterlife that the movies had. I mean,

897
00:49:17.199 --> 00:49:20.119
<v Speaker 2>he got to see it become like a franchise, but

898
00:49:20.320 --> 00:49:22.880
<v Speaker 2>like he didn't live to see now like thirty five

899
00:49:22.960 --> 00:49:24.960
<v Speaker 2>years thirty six years later, and it's you know what

900
00:49:25.000 --> 00:49:27.599
<v Speaker 2>I mean, Yep, that's a real shame.

901
00:49:28.119 --> 00:49:35.159
<v Speaker 1>Yep. I mean we're at the cusp now of the

902
00:49:35.199 --> 00:49:39.360
<v Speaker 1>real digging in and having a moment with Beetlejuice for

903
00:49:39.400 --> 00:49:41.800
<v Speaker 1>the first time. And what are we at.

904
00:49:41.480 --> 00:49:43.800
<v Speaker 2>Forty five almost fifty minutes at this point?

905
00:49:43.880 --> 00:49:47.760
<v Speaker 1>Yeah, crazy, Yeah, I love this so again going back

906
00:49:47.800 --> 00:49:50.280
<v Speaker 1>to the model, like you know, the model grass and

907
00:49:50.320 --> 00:49:54.920
<v Speaker 1>the Yep, I love the hard boar and stuff. That's cool. Specificity,

908
00:49:54.960 --> 00:49:59.920
<v Speaker 1>I love it interesting too. By the way, his spell

909
00:50:00.239 --> 00:50:03.800
<v Speaker 1>the spelling of his name Beetlejuice within the film is

910
00:50:04.000 --> 00:50:08.159
<v Speaker 1>like the star Beetlestars, that's right, And so I mean

911
00:50:08.159 --> 00:50:10.280
<v Speaker 1>you have to imagine that was some sort of marketing

912
00:50:10.360 --> 00:50:14.280
<v Speaker 1>thing for the poster, you know, or like na, no

913
00:50:14.280 --> 00:50:15.920
<v Speaker 1>one's gonna be able to say the juice part. It's

914
00:50:15.960 --> 00:50:22.039
<v Speaker 1>like with G E U S E. But isn't that funny.

915
00:50:22.079 --> 00:50:24.719
<v Speaker 1>I mean that's the only place that it's spelled that way, right,

916
00:50:24.800 --> 00:50:30.440
<v Speaker 1>is on like marketing materials, that's right. Otherwise within this universe,

917
00:50:30.480 --> 00:50:36.800
<v Speaker 1>that's not how it's spelled at all. That's true. I

918
00:50:36.800 --> 00:50:42.639
<v Speaker 1>mean this is just so it's like card. It's like

919
00:50:42.719 --> 00:50:44.280
<v Speaker 1>you want to watch it, like you don't want to

920
00:50:44.280 --> 00:50:46.880
<v Speaker 1>talk through it. But yeah, I mean energy it.

921
00:50:47.039 --> 00:50:49.639
<v Speaker 2>That's the thing, right, is is Michael Keaton you talk

922
00:50:49.679 --> 00:50:51.239
<v Speaker 2>about a chameleon of an actor?

923
00:50:52.280 --> 00:50:52.519
<v Speaker 1>Yeah?

924
00:50:52.599 --> 00:51:00.559
<v Speaker 2>Right, I'm like, we got Beetlejuice, Batman, Birdman, clean and sober.

925
00:51:01.119 --> 00:51:06.360
<v Speaker 2>You know, you know Robbie Robinson in Spotlight. You know,

926
00:51:06.559 --> 00:51:09.119
<v Speaker 2>I mean what a what a career?

927
00:51:09.320 --> 00:51:09.440
<v Speaker 1>Like?

928
00:51:09.480 --> 00:51:11.719
<v Speaker 2>Talk about living a character actor's life?

929
00:51:12.199 --> 00:51:13.400
<v Speaker 1>H right?

930
00:51:13.960 --> 00:51:19.599
<v Speaker 2>Yeah, like truly one of our great living actors, definitely,

931
00:51:20.119 --> 00:51:20.360
<v Speaker 2>you know.

932
00:51:22.400 --> 00:51:24.679
<v Speaker 1>And it's funny too. I mean seeing him because I

933
00:51:24.719 --> 00:51:27.159
<v Speaker 1>know him through his characters first and foremost, but when

934
00:51:27.159 --> 00:51:30.199
<v Speaker 1>you see him interviewed, he is kind of like a

935
00:51:31.599 --> 00:51:33.480
<v Speaker 1>I don't like it does feel like there's a little

936
00:51:33.559 --> 00:51:36.000
<v Speaker 1>charge running through him at all times. He's a little jit, right,

937
00:51:36.360 --> 00:51:37.960
<v Speaker 1>you know what I mean. And so it's it's funny

938
00:51:37.960 --> 00:51:42.719
<v Speaker 1>seeing how he takes that genuine spark inside of him

939
00:51:42.760 --> 00:51:47.000
<v Speaker 1>and he channels it through all these different characters, you

940
00:51:47.039 --> 00:51:49.199
<v Speaker 1>know what I mean, like like a weird little live

941
00:51:49.239 --> 00:51:52.960
<v Speaker 1>wire energy or something. It's one thing that is beel Juice.

942
00:51:52.960 --> 00:51:55.119
<v Speaker 1>It's another thing is Bruce Wayne. It's not you know

943
00:51:55.159 --> 00:51:56.400
<v Speaker 1>what I mean? Ye yep.

944
00:51:59.320 --> 00:52:03.000
<v Speaker 2>Well, I I think like just just a as a

945
00:52:03.000 --> 00:52:05.039
<v Speaker 2>as a compared and contrast. You know, you put you

946
00:52:05.119 --> 00:52:08.559
<v Speaker 2>put Beetlejuice next to next to Bruce Wayne, and it's like,

947
00:52:08.639 --> 00:52:12.639
<v Speaker 2>here's an actor who knows when to go I was

948
00:52:12.679 --> 00:52:16.480
<v Speaker 2>gonna say it went to go nuts, but like he

949
00:52:17.039 --> 00:52:19.559
<v Speaker 2>you know, Like for me, what makes his Bruce Wayne

950
00:52:19.639 --> 00:52:22.880
<v Speaker 2>work is how the quiet moments and it's just his

951
00:52:23.039 --> 00:52:24.719
<v Speaker 2>face and you're just watching his face. I think I've

952
00:52:24.719 --> 00:52:26.920
<v Speaker 2>said to you before. One of my favorite scenes in

953
00:52:27.400 --> 00:52:29.320
<v Speaker 2>either of his movies is when he goes to crime

954
00:52:29.360 --> 00:52:32.559
<v Speaker 2>Alley and he just puts the flower down right.

955
00:52:32.480 --> 00:52:35.679
<v Speaker 1>And it's just his face. He didn't say anything, you know, yep, and.

956
00:52:35.639 --> 00:52:38.400
<v Speaker 2>Then you see just the manic energy here, like I mean,

957
00:52:38.440 --> 00:52:42.360
<v Speaker 2>this is you know, I'm an unabashed Michael Keaton fan,

958
00:52:42.519 --> 00:52:45.800
<v Speaker 2>you know. Oh yeah, So we were talking about the title.

959
00:52:46.039 --> 00:52:47.599
<v Speaker 1>You know, Warner Brothers.

960
00:52:47.480 --> 00:52:50.960
<v Speaker 2>Did not like that it was called Beetlejuice, right, and

961
00:52:51.000 --> 00:52:56.760
<v Speaker 2>so they they wanted to call it House Ghosts. Yeah, which, like,

962
00:52:56.800 --> 00:53:01.000
<v Speaker 2>can you that sounds like it's like a Disney you know,

963
00:53:01.360 --> 00:53:04.159
<v Speaker 2>made for TV Sunday Evening.

964
00:53:04.239 --> 00:53:06.360
<v Speaker 1>Right, like right, right, that's what it sounds like.

965
00:53:09.159 --> 00:53:16.320
<v Speaker 2>Tim Burton suggested scared sheetless, right, hilarious. I think the

966
00:53:16.320 --> 00:53:18.239
<v Speaker 2>studio was like hm, and he's like no, no, no, no,

967
00:53:18.280 --> 00:53:21.119
<v Speaker 2>I'm joking gods sake exactly.

968
00:53:21.960 --> 00:53:24.320
<v Speaker 1>So then of course, well let's call it Beetlejuice. But

969
00:53:24.360 --> 00:53:26.599
<v Speaker 1>then it's spelled super weird and you can imagine them

970
00:53:26.639 --> 00:53:30.320
<v Speaker 1>being like sort of like the Sean Fanning lose the thuh,

971
00:53:30.400 --> 00:53:33.760
<v Speaker 1>it's cleaner. It's like if we spelled like the actual

972
00:53:33.800 --> 00:53:44.840
<v Speaker 1>beetle and juice it's cleaner. So I guess this was

973
00:53:45.599 --> 00:53:47.599
<v Speaker 1>an actual sort of like outtake that they kept in

974
00:53:47.800 --> 00:53:51.719
<v Speaker 1>because the tree wasn't supposed to fall over. Is that right?

975
00:53:51.760 --> 00:53:54.239
<v Speaker 1>That's so funny and him being like nice effing model,

976
00:53:54.719 --> 00:53:58.000
<v Speaker 1>like that's just him in the moment, and that's their

977
00:53:58.000 --> 00:54:01.480
<v Speaker 1>PG thirteen, which is funny because it's not rated. PG thirteen.

978
00:54:02.440 --> 00:54:06.400
<v Speaker 1>This is one of those rare eighties PG F word movies. Wow.

979
00:54:06.719 --> 00:54:08.320
<v Speaker 2>I didn't even realize that.

980
00:54:08.679 --> 00:54:11.880
<v Speaker 1>Yeah, we Spaceball's Big and Beetlejuice.

981
00:54:12.239 --> 00:54:16.000
<v Speaker 2>Yeah, because at that point my son, my oldest, he

982
00:54:16.079 --> 00:54:18.440
<v Speaker 2>was like, hey is PG thirteen? I said, I guess,

983
00:54:18.480 --> 00:54:19.280
<v Speaker 2>like this is my kids?

984
00:54:21.679 --> 00:54:23.639
<v Speaker 1>Is that funny? That's hilarious?

985
00:54:24.239 --> 00:54:26.400
<v Speaker 2>Oh there's an F word? So PG thirteen, huh yeah.

986
00:54:33.079 --> 00:54:36.519
<v Speaker 2>So Glenn Shaddocks here, he also passed away. He was

987
00:54:36.559 --> 00:54:38.719
<v Speaker 2>also he you know, he was in a whole bunch

988
00:54:38.719 --> 00:54:42.159
<v Speaker 2>of different movies, Like we used to see him a

989
00:54:42.159 --> 00:54:43.519
<v Speaker 2>lot back in the day.

990
00:54:44.159 --> 00:54:46.639
<v Speaker 1>He was in Demolition Man. Have you seen that? Oh yeah,

991
00:54:46.719 --> 00:54:48.159
<v Speaker 1>oh yeah, yeah, he's in that.

992
00:54:48.239 --> 00:54:50.719
<v Speaker 2>He's also in He's actually in Planet of the Apes.

993
00:54:50.760 --> 00:54:53.400
<v Speaker 2>He's in the he's the during the dinner scene. He's

994
00:54:53.440 --> 00:54:55.920
<v Speaker 2>the heavy set range tang I.

995
00:54:55.840 --> 00:54:59.079
<v Speaker 1>Think that's right. I can picture that now Lisa Marie

996
00:54:59.159 --> 00:55:04.480
<v Speaker 1>plays his girlfriend, right, Burton always getting his girlfriends in

997
00:55:04.519 --> 00:55:04.920
<v Speaker 1>the movies.

998
00:55:05.559 --> 00:55:07.719
<v Speaker 2>Well, I was I was looking for Lisa Marie in this,

999
00:55:07.840 --> 00:55:09.119
<v Speaker 2>but I guess he hadn't met her yet.

1000
00:55:09.280 --> 00:55:11.039
<v Speaker 1>I read in the trivia who knows that this is

1001
00:55:11.039 --> 00:55:13.599
<v Speaker 1>true or not? But his girlfriend is the pair of

1002
00:55:13.679 --> 00:55:21.280
<v Speaker 1>legs with the sod and half girl. Ah okay, I

1003
00:55:21.320 --> 00:55:23.199
<v Speaker 1>had read for the Otho character. They had also looked

1004
00:55:23.199 --> 00:55:26.800
<v Speaker 1>at John Candy. Oh, you can totally see that one

1005
00:55:26.920 --> 00:55:30.360
<v Speaker 1>hundred percent. I was, you know, I like where they went. Yeah,

1006
00:55:30.400 --> 00:55:33.840
<v Speaker 1>because Shaddox gives this really obviously very specific energy. I

1007
00:55:33.840 --> 00:55:36.159
<v Speaker 1>think it's perfect for this movie, but you can picture

1008
00:55:36.199 --> 00:55:37.159
<v Speaker 1>it completely.

1009
00:55:38.400 --> 00:55:43.519
<v Speaker 2>I think the problem is Candy would kind of overpower it. Yeah, yeah,

1010
00:55:43.800 --> 00:55:44.960
<v Speaker 2>because he's John Candy.

1011
00:55:45.960 --> 00:55:48.199
<v Speaker 1>Yeah. I like the like the sort of sass of

1012
00:55:48.239 --> 00:55:51.119
<v Speaker 1>this version right where you can sort of picture the

1013
00:55:51.199 --> 00:55:53.480
<v Speaker 1>John Candy his kind of chuckle at the end of

1014
00:55:53.719 --> 00:55:56.880
<v Speaker 1>his sentences, right, which we love in other characters. But

1015
00:55:56.960 --> 00:55:59.719
<v Speaker 1>for this character, I like him being, you know, sort

1016
00:55:59.760 --> 00:56:04.480
<v Speaker 1>of a the opposite for for Lydia. You know. Yeah,

1017
00:56:04.960 --> 00:56:06.199
<v Speaker 1>well with the mother that's like.

1018
00:56:06.159 --> 00:56:10.360
<v Speaker 2>I think the artist absolutely, but Dick Caviot. How random?

1019
00:56:10.719 --> 00:56:15.199
<v Speaker 1>So random? I know, is that Dick Caviot? I know?

1020
00:56:16.039 --> 00:56:21.199
<v Speaker 1>And indeed it is not not playing Dick Caviot. No, yeah,

1021
00:56:21.480 --> 00:56:24.159
<v Speaker 1>so random. You can clearly see this is like a

1022
00:56:24.159 --> 00:56:26.599
<v Speaker 1>lot of this stuff is like Tim Burton the old

1023
00:56:26.639 --> 00:56:29.519
<v Speaker 1>movies and TV he used to watch, yeah, you know,

1024
00:56:29.519 --> 00:56:32.000
<v Speaker 1>and wanting to hire those actors and personalities.

1025
00:56:33.199 --> 00:56:36.480
<v Speaker 2>So the great thing about this sequence here, this is

1026
00:56:36.519 --> 00:56:43.159
<v Speaker 2>the deoh sequence, is you like the actors Jeffrey Jones,

1027
00:56:43.239 --> 00:56:46.599
<v Speaker 2>Catherine O'Hara, Glenn Shaddocks, all of them. They make you

1028
00:56:46.840 --> 00:56:50.559
<v Speaker 2>believe they are being forced to do this, like that's

1029
00:56:50.599 --> 00:56:51.920
<v Speaker 2>how good they are acting.

1030
00:56:52.320 --> 00:56:57.880
<v Speaker 1>Yep, you know what I mean? Yep, yep, yeah, like

1031
00:56:57.880 --> 00:57:00.599
<v Speaker 1>they're not being pulled by anything or pushed or whatever.

1032
00:57:00.719 --> 00:57:05.159
<v Speaker 1>Like the actors are portraying doing this kind of funny

1033
00:57:05.159 --> 00:57:06.320
<v Speaker 1>thing but against their will.

1034
00:57:06.480 --> 00:57:09.679
<v Speaker 2>So well right, it's not you're not just dancing. You

1035
00:57:09.760 --> 00:57:13.760
<v Speaker 2>have to play it like you're you're unwillingly dancing.

1036
00:57:16.199 --> 00:57:18.039
<v Speaker 1>It's so funny. This scene is so weird, but it's

1037
00:57:18.079 --> 00:57:19.679
<v Speaker 1>so iconic. It is.

1038
00:57:19.840 --> 00:57:24.119
<v Speaker 2>Yeah, you know, I like this song is in my

1039
00:57:24.360 --> 00:57:27.599
<v Speaker 2>shuttle shuffle. Yeah, and it's because of this movie.

1040
00:57:27.840 --> 00:57:34.280
<v Speaker 1>Sure, totally you know, yeah, kind of like jump in

1041
00:57:34.280 --> 00:57:36.800
<v Speaker 1>the line at the the end of it, like we yep,

1042
00:57:37.000 --> 00:57:39.199
<v Speaker 1>after it was playing, like yeah, Frederick could put it

1043
00:57:39.239 --> 00:57:41.639
<v Speaker 1>on and we were like bopp into it. It's such

1044
00:57:41.639 --> 00:57:42.400
<v Speaker 1>an amazing song.

1045
00:57:43.519 --> 00:57:46.400
<v Speaker 2>Harry Belafonte rip just just died recently.

1046
00:57:46.719 --> 00:57:50.880
<v Speaker 1>Yeah. See. But then we get the horror, like what

1047
00:57:50.960 --> 00:57:54.760
<v Speaker 1>a weird, weird, weird scene. It's so funny and weird

1048
00:57:54.800 --> 00:57:59.320
<v Speaker 1>and goofy in sixties campy almost, and then that's horrifying,

1049
00:57:59.440 --> 00:58:02.599
<v Speaker 1>like these hand shrimp things coming out at the end. Yep.

1050
00:58:03.039 --> 00:58:06.840
<v Speaker 2>It's so perfect, you know, just calling back to what

1051
00:58:07.119 --> 00:58:09.239
<v Speaker 2>we were talking about earlier. You know, I look at

1052
00:58:09.440 --> 00:58:13.880
<v Speaker 2>like the Frighteners mm hmm, yeah, so similar because it's

1053
00:58:13.880 --> 00:58:17.000
<v Speaker 2>Peter Jackson's sensibility. Like pre Lord of the Rings, Peter

1054
00:58:17.119 --> 00:58:20.440
<v Speaker 2>Jackson was kind of a different beast.

1055
00:58:20.199 --> 00:58:23.239
<v Speaker 1>Right, oh yeah, very much, you know, and really he.

1056
00:58:23.239 --> 00:58:28.719
<v Speaker 2>Had these quirky comedy slash horror sensibilities, which like, to me,

1057
00:58:29.239 --> 00:58:33.599
<v Speaker 2>I draw a line between Beetlejuice and the Frighteners. They're

1058
00:58:33.679 --> 00:58:34.400
<v Speaker 2>very similar to me.

1059
00:58:35.639 --> 00:58:38.440
<v Speaker 1>You know, It's funny. I never thought of that, but

1060
00:58:38.559 --> 00:58:40.320
<v Speaker 1>I completely see it, and I think that's why I

1061
00:58:40.360 --> 00:58:46.840
<v Speaker 1>like the Frighteners Yeah, I like that balance. Yeah, that's good,

1062
00:58:46.880 --> 00:58:48.960
<v Speaker 1>by the way, I mean, if people have missed that movie.

1063
00:58:49.000 --> 00:58:51.119
<v Speaker 1>I had missed it for a long time, and then

1064
00:58:51.199 --> 00:58:53.119
<v Speaker 1>I know Sean was a big fan of it, our

1065
00:58:53.199 --> 00:58:56.280
<v Speaker 1>our mutual friend, and he had it on his shelf

1066
00:58:56.760 --> 00:58:58.519
<v Speaker 1>when we were roommates. So one day I just popped

1067
00:58:58.559 --> 00:58:59.920
<v Speaker 1>it in and I was like, whoa, how did I

1068
00:59:00.039 --> 00:59:03.320
<v Speaker 1>It's this Oh what a what a gem? Right, total gem.

1069
00:59:03.440 --> 00:59:06.599
<v Speaker 1>You get this awesome Michael J. Fox movie that you

1070
00:59:06.639 --> 00:59:10.199
<v Speaker 1>may not have seen. That's this awesome horror.

1071
00:59:09.800 --> 00:59:14.199
<v Speaker 2>Comedy and it and it balanced. It's like horror, comedy

1072
00:59:14.239 --> 00:59:18.480
<v Speaker 2>and heart. It gets all three, and that's that's not

1073
00:59:18.559 --> 00:59:19.159
<v Speaker 2>easy to do.

1074
00:59:19.519 --> 00:59:22.360
<v Speaker 1>Yeah, I've had that happen. You know. I can count

1075
00:59:22.400 --> 00:59:24.760
<v Speaker 1>on one hand where I was like, where's this movie been?

1076
00:59:24.840 --> 00:59:28.000
<v Speaker 1>This movie's been missing from my life. Contact was one

1077
00:59:28.000 --> 00:59:30.239
<v Speaker 1>of them. That was a mecha's movie I didn't see

1078
00:59:30.280 --> 00:59:31.719
<v Speaker 1>until way later, and I was like, this is so

1079
00:59:31.920 --> 00:59:34.039
<v Speaker 1>me How did I miss this all these years? And

1080
00:59:34.800 --> 00:59:38.039
<v Speaker 1>it's these back to the future connections you've somehow missed. Yeah,

1081
00:59:38.199 --> 00:59:41.519
<v Speaker 1>that's funny. Yeah, just surprising. You think I would hunt

1082
00:59:41.519 --> 00:59:42.119
<v Speaker 1>all those down?

1083
00:59:44.000 --> 00:59:47.920
<v Speaker 2>Yeah, I mean Frighteners is like the final time, Michael J.

1084
00:59:48.039 --> 00:59:51.079
<v Speaker 2>Fox was like the above the line star you know,

1085
00:59:52.559 --> 00:59:54.079
<v Speaker 2>of a of a movie anyway.

1086
00:59:55.039 --> 00:59:58.039
<v Speaker 1>And there's that famous outtake right where he's like yelling

1087
00:59:58.079 --> 01:00:01.960
<v Speaker 1>a lot and he just goes doc And so I

1088
01:00:01.960 --> 01:00:03.920
<v Speaker 1>think Jackson has to be like you just said doc.

1089
01:00:05.880 --> 01:00:10.639
<v Speaker 1>He's like, oh, oops, just in his brain somewhere, you know.

1090
01:00:12.199 --> 01:00:18.119
<v Speaker 1>It's so funny. See.

1091
01:00:18.159 --> 01:00:22.840
<v Speaker 2>I think the interesting dilemma that the script has is

1092
01:00:22.880 --> 01:00:27.599
<v Speaker 2>that we are on the side of the maitlands, but

1093
01:00:27.719 --> 01:00:33.320
<v Speaker 2>we can't dislike the deepses either. M right, Like that's

1094
01:00:33.360 --> 01:00:35.880
<v Speaker 2>the weird thing, right, It's like we're not like, oh,

1095
01:00:36.159 --> 01:00:38.599
<v Speaker 2>get them out of there. We're kind of like, just like,

1096
01:00:38.840 --> 01:00:42.159
<v Speaker 2>come on, coexist, you know, that's really what we want.

1097
01:00:42.599 --> 01:00:44.559
<v Speaker 1>I think that's what's nice about it because you could

1098
01:00:44.639 --> 01:00:47.360
<v Speaker 1>imagine a version where they're ugly people.

1099
01:00:47.679 --> 01:00:50.320
<v Speaker 2>Right exactly, they're rude or mean or.

1100
01:00:50.440 --> 01:00:52.679
<v Speaker 1>Hateful or something. But by the end of the film,

1101
01:00:52.719 --> 01:00:55.760
<v Speaker 1>I love that it culminates in well, let's all live

1102
01:00:55.800 --> 01:01:00.519
<v Speaker 1>together in harmony, like we find the balance. Yeah.

1103
01:01:00.559 --> 01:01:04.280
<v Speaker 2>I was reading about how one of the initial drafts

1104
01:01:04.400 --> 01:01:09.920
<v Speaker 2>has the deets is well, Charles and Delia they leave,

1105
01:01:09.960 --> 01:01:12.239
<v Speaker 2>they go back to New York, and they leave Lydia

1106
01:01:12.920 --> 01:01:15.079
<v Speaker 2>to be raised by the Maitlands.

1107
01:01:15.519 --> 01:01:18.039
<v Speaker 1>Which is kind of weird. Yeah, I was like, I'm

1108
01:01:18.079 --> 01:01:18.880
<v Speaker 1>not sure I like that.

1109
01:01:19.039 --> 01:01:26.480
<v Speaker 2>I like it better the way it ended up, you know, Yeah, I.

1110
01:01:26.480 --> 01:01:28.480
<v Speaker 1>Don't know, it's fine. I mean it's funny because now

1111
01:01:28.480 --> 01:01:30.159
<v Speaker 1>my mind is spinning a little bit, like you could

1112
01:01:30.559 --> 01:01:33.559
<v Speaker 1>sort of do a version where they're terrible, right, and

1113
01:01:33.639 --> 01:01:38.440
<v Speaker 1>maybe they're like sort of like Matilda type, yes, printal types,

1114
01:01:38.480 --> 01:01:44.480
<v Speaker 1>you know, or like Harry Potter's Yeah exactly, Yeah, yeah,

1115
01:01:45.480 --> 01:01:46.880
<v Speaker 1>but that's I like this better.

1116
01:01:47.760 --> 01:01:50.679
<v Speaker 2>They're just kind of clueless, which is I think works

1117
01:01:50.719 --> 01:01:52.239
<v Speaker 2>better for the story that they're telling.

1118
01:01:52.679 --> 01:01:56.639
<v Speaker 1>Yeah, they're tacky, yeah, exactly, you know what I mean.

1119
01:01:58.400 --> 01:02:01.119
<v Speaker 2>Well, I mean really, when you think about it, this

1120
01:02:01.440 --> 01:02:07.920
<v Speaker 2>despite Burton's protestations about about the you know, the mundanity

1121
01:02:08.159 --> 01:02:11.599
<v Speaker 2>of suburbia, this is sort of a peon to suburbia, right,

1122
01:02:11.639 --> 01:02:16.480
<v Speaker 2>because the Maitland's are are our entry point characters and

1123
01:02:16.480 --> 01:02:20.800
<v Speaker 2>and we're looking askance at these big city folks. Right.

1124
01:02:21.199 --> 01:02:31.800
<v Speaker 1>Yeah, that's funny. You can see why.

1125
01:02:31.840 --> 01:02:34.559
<v Speaker 2>By the way, uh, you know, when it was announced

1126
01:02:34.679 --> 01:02:39.639
<v Speaker 2>that Michael Keaton was playing Batman, why the fans had

1127
01:02:39.679 --> 01:02:42.000
<v Speaker 2>such such a series of ship fits over it.

1128
01:02:42.599 --> 01:02:44.280
<v Speaker 1>I mean, what do you have before this, right? You

1129
01:02:44.280 --> 01:02:49.519
<v Speaker 1>have like gung ho mister mom and this it's yeah, yeah,

1130
01:02:49.559 --> 01:02:54.559
<v Speaker 1>it's hard to imagine, you know, like a square jot right,

1131
01:02:54.880 --> 01:02:58.280
<v Speaker 1>like sort of hero and a cape. Yeah.

1132
01:02:58.320 --> 01:03:00.960
<v Speaker 2>I mean again, I had the benefit of not knowing

1133
01:03:00.960 --> 01:03:04.280
<v Speaker 2>who Michael Keaton was, so my first exposure to before

1134
01:03:04.320 --> 01:03:06.000
<v Speaker 2>I even knew his name, I saw him in the

1135
01:03:06.039 --> 01:03:08.400
<v Speaker 2>suit and I was like, done, deal, sign me up.

1136
01:03:08.840 --> 01:03:12.000
<v Speaker 2>Yeah you know, but yeah, you see this and you're like,

1137
01:03:12.199 --> 01:03:12.960
<v Speaker 2>he's Batman.

1138
01:03:14.239 --> 01:03:16.079
<v Speaker 1>Yeah, So I mean you really kind of didn't have

1139
01:03:16.119 --> 01:03:20.320
<v Speaker 1>to get some credit to Tim Burton also for his casting. Yeah.

1140
01:03:20.400 --> 01:03:25.079
<v Speaker 2>Yeah, though well and and Keaton said that he thought

1141
01:03:25.119 --> 01:03:28.079
<v Speaker 2>it wasn't so much that he'd worked with him on this,

1142
01:03:28.239 --> 01:03:31.199
<v Speaker 2>it was that he had seen clean and sober hmm.

1143
01:03:32.239 --> 01:03:36.239
<v Speaker 2>And based on that he that that that's Keaton's assumption.

1144
01:03:36.719 --> 01:03:40.039
<v Speaker 2>H Also interesting here as far as the snake. First

1145
01:03:40.039 --> 01:03:43.480
<v Speaker 2>of all, I love the stop motion. Yeah. They were

1146
01:03:43.480 --> 01:03:45.840
<v Speaker 2>originally going to do kind of like go motion like

1147
01:03:45.920 --> 01:03:47.760
<v Speaker 2>the like the ED two o nine and Rubber Cup,

1148
01:03:47.800 --> 01:03:49.159
<v Speaker 2>but it was too expensive, so they did it the

1149
01:03:49.199 --> 01:03:52.880
<v Speaker 2>old fashion way. But originally the snake was supposed to

1150
01:03:52.920 --> 01:03:56.480
<v Speaker 2>just look like a snake. Oh interesting, And and the

1151
01:03:56.519 --> 01:04:00.000
<v Speaker 2>studio people were like, he should have Beetlejuice's head because

1152
01:04:00.280 --> 01:04:02.840
<v Speaker 2>otherwise it'll just we won't know it's Beatle just we'll

1153
01:04:02.840 --> 01:04:04.599
<v Speaker 2>just think it's like a creature that people just sent.

1154
01:04:06.280 --> 01:04:09.039
<v Speaker 2>And this is where I say, you know, we can't

1155
01:04:09.079 --> 01:04:10.880
<v Speaker 2>dismiss studio notes out of hand.

1156
01:04:11.119 --> 01:04:15.719
<v Speaker 1>Yeah, yeah, sometimes they're good notes, totally. I know. It's

1157
01:04:15.719 --> 01:04:17.840
<v Speaker 1>like it's funny studio executives get a lot of crap,

1158
01:04:17.880 --> 01:04:20.039
<v Speaker 1>and for very good reason a lot of the times.

1159
01:04:20.199 --> 01:04:21.440
<v Speaker 1>But I was actually just talking to a friend of

1160
01:04:21.440 --> 01:04:23.519
<v Speaker 1>mine new works at a studio, and he was working

1161
01:04:23.559 --> 01:04:25.559
<v Speaker 1>closely on a movie that did very well this summer,

1162
01:04:26.039 --> 01:04:29.199
<v Speaker 1>and he was saying that the executive who's tied to

1163
01:04:29.239 --> 01:04:33.400
<v Speaker 1>that movie really cares, like, is really invested in it.

1164
01:04:33.440 --> 01:04:36.360
<v Speaker 1>Loves movies. You know. Some of these people just want

1165
01:04:36.360 --> 01:04:39.559
<v Speaker 1>to become heads of studios someday and you know, want

1166
01:04:39.599 --> 01:04:41.960
<v Speaker 1>the title or whatever. And some people just freaking love

1167
01:04:42.000 --> 01:04:44.320
<v Speaker 1>movies and want to make them the best they can.

1168
01:04:44.360 --> 01:04:47.360
<v Speaker 1>And so it's it's really cool when those people get

1169
01:04:47.360 --> 01:04:48.360
<v Speaker 1>to help plus movies.

1170
01:04:49.440 --> 01:04:53.239
<v Speaker 2>That's the that's the thing, right, because because it has

1171
01:04:53.400 --> 01:04:58.239
<v Speaker 2>become such an industry cliche, about the role executives play

1172
01:04:58.400 --> 01:05:05.000
<v Speaker 2>and just shaving away any authenticity and and you know, personality.

1173
01:05:05.119 --> 01:05:07.239
<v Speaker 2>You know, like Kevin Smith has made a whole career

1174
01:05:07.559 --> 01:05:10.119
<v Speaker 2>out of dunking on John Peters and what he did

1175
01:05:10.159 --> 01:05:10.719
<v Speaker 2>with Superman.

1176
01:05:10.840 --> 01:05:11.000
<v Speaker 1>You know.

1177
01:05:11.320 --> 01:05:14.559
<v Speaker 2>Sure, and that's sort of like the worst case example,

1178
01:05:14.599 --> 01:05:18.480
<v Speaker 2>but yeah, there's plenty of times where ideally, if it's

1179
01:05:18.519 --> 01:05:21.440
<v Speaker 2>a if it's a truly collaborative creative process, then you

1180
01:05:21.519 --> 01:05:23.559
<v Speaker 2>have little things and big things. I mean, I mean

1181
01:05:23.599 --> 01:05:26.400
<v Speaker 2>big picture. Does the putting Beetlejuice's head on the snake

1182
01:05:26.440 --> 01:05:29.360
<v Speaker 2>matter that much? Maybe not, But that's an example of well,

1183
01:05:29.360 --> 01:05:31.760
<v Speaker 2>that's a smart choice that the filmmakers didn't think about,

1184
01:05:33.119 --> 01:05:36.440
<v Speaker 2>but it ends up having a positive impact on the film,

1185
01:05:36.480 --> 01:05:36.679
<v Speaker 2>you know.

1186
01:05:37.079 --> 01:05:42.079
<v Speaker 1>Totally. Speaking of Kevin Smith, we may as well. He's

1187
01:05:42.159 --> 01:05:48.199
<v Speaker 1>quite famous for talking about yes, uh, almost being attached

1188
01:05:48.199 --> 01:05:51.320
<v Speaker 1>to a Beetlejuice sequel, the what is it beal Juice

1189
01:05:51.320 --> 01:05:54.960
<v Speaker 1>Goes Hawaiian? That was the initial title. Yeah, yeah, they

1190
01:05:55.400 --> 01:05:59.440
<v Speaker 1>presented that to Kevin Smith to possibly have a stab

1191
01:05:59.480 --> 01:06:08.280
<v Speaker 1>at Kevin Smith's famous line is must we go tropical? Now?

1192
01:06:08.519 --> 01:06:12.119
<v Speaker 2>What's interesting to me is that at that stage, I

1193
01:06:12.159 --> 01:06:16.800
<v Speaker 2>don't even believe the intention was for Tim Burton to helmet.

1194
01:06:17.519 --> 01:06:20.360
<v Speaker 1>Mmm, do you imagine you know?

1195
01:06:20.480 --> 01:06:24.960
<v Speaker 2>And that's right, Like that's I'm like, why even bother?

1196
01:06:25.559 --> 01:06:29.599
<v Speaker 1>Yeah, very curious what that would have then?

1197
01:06:32.800 --> 01:06:37.079
<v Speaker 2>Uh? Well, the this is via Wikipedia says the story

1198
01:06:37.079 --> 01:06:39.880
<v Speaker 2>followed the Deep's family moving to Hawaii, where Charles is

1199
01:06:39.920 --> 01:06:42.440
<v Speaker 2>developing a resort. They soon discovered that his company is

1200
01:06:42.440 --> 01:06:45.920
<v Speaker 2>building on the burial ground of an ancient Egyptian excuse me,

1201
01:06:45.960 --> 01:06:49.119
<v Speaker 2>ancient Hawaiian kahuna. His spirit comes back from the afterlife

1202
01:06:49.119 --> 01:06:51.519
<v Speaker 2>to cause trouble, and Beetlejuice becomes a hero by winning

1203
01:06:51.519 --> 01:06:55.920
<v Speaker 2>a serve contest with magic. It says here Michael Keaton

1204
01:06:55.960 --> 01:06:57.920
<v Speaker 2>and Won, a writer, agreed to do the film on

1205
01:06:57.960 --> 01:07:01.639
<v Speaker 2>the condition that Burton directed, but both he and Keaton

1206
01:07:01.679 --> 01:07:03.159
<v Speaker 2>became occupied with Batman.

1207
01:07:02.880 --> 01:07:09.159
<v Speaker 1>Returns Hmm, okay, who knows, who knows?

1208
01:07:09.840 --> 01:07:11.239
<v Speaker 2>Yeah?

1209
01:07:11.360 --> 01:07:13.639
<v Speaker 1>I love this. By the way that the people in

1210
01:07:13.679 --> 01:07:18.800
<v Speaker 1>the background, sorry, behind the maitland's you know what I'm

1211
01:07:18.800 --> 01:07:21.800
<v Speaker 1>talking about. To see that window for someone eating popcorn

1212
01:07:21.840 --> 01:07:27.079
<v Speaker 1>watching them, it's very unsettling, it is, right, I don't

1213
01:07:27.079 --> 01:07:30.559
<v Speaker 1>even know what I'm looking at, but I just I

1214
01:07:30.599 --> 01:07:35.519
<v Speaker 1>love it because it unsettles me. Sorry, sorry, you were saying,

1215
01:07:35.840 --> 01:07:36.400
<v Speaker 1>Kevin Smith.

1216
01:07:36.480 --> 01:07:38.679
<v Speaker 2>No, no, it's it says the Beatle just goes. A

1217
01:07:38.719 --> 01:07:40.760
<v Speaker 2>Liion script is still owned by the Geffen Company and

1218
01:07:40.760 --> 01:07:44.079
<v Speaker 2>will likely never get made. So I guess so cooler

1219
01:07:44.119 --> 01:07:44.960
<v Speaker 2>heads have prevailed.

1220
01:07:45.480 --> 01:07:49.800
<v Speaker 1>Yeah, don't you wish sometimes these unproduced, famous, unproduced scripts

1221
01:07:49.800 --> 01:07:52.119
<v Speaker 1>would be in some sort of I don't know, like

1222
01:07:52.239 --> 01:07:57.480
<v Speaker 1>library somewhere or collection that you could read. Man, you're

1223
01:07:57.480 --> 01:07:57.960
<v Speaker 1>not kidding.

1224
01:07:57.960 --> 01:08:00.880
<v Speaker 2>I just saw somebody on in one of my social

1225
01:08:00.960 --> 01:08:05.559
<v Speaker 2>media feeds yesterday posted, literally yesterday posted a copy of

1226
01:08:05.599 --> 01:08:10.880
<v Speaker 2>the script for Superman the New Movie. And this was

1227
01:08:10.960 --> 01:08:15.239
<v Speaker 2>the planned fifth Christopher Reeve movie that was going to

1228
01:08:15.320 --> 01:08:19.239
<v Speaker 2>be produced by the sal Kinds. Oh and and I

1229
01:08:19.279 --> 01:08:21.560
<v Speaker 2>don't know how this person got ahold of it, but boy,

1230
01:08:21.640 --> 01:08:22.880
<v Speaker 2>howdy do I want to read that?

1231
01:08:23.359 --> 01:08:30.680
<v Speaker 1>Yeah? You know right? Yeah? I mean yeah, I guess occasionally,

1232
01:08:31.079 --> 01:08:34.640
<v Speaker 1>often even some of these things do turn up, like

1233
01:08:34.680 --> 01:08:39.039
<v Speaker 1>the Frank Darboht Indiana Jones script. Yes, I remember, I'd

1234
01:08:39.079 --> 01:08:41.840
<v Speaker 1>give anything to read that, And then like a couple

1235
01:08:41.920 --> 01:08:42.920
<v Speaker 1>weeks later popped up.

1236
01:08:42.920 --> 01:08:47.880
<v Speaker 2>I was like, well, yep, or the Colin Trevarro Star

1237
01:08:47.880 --> 01:08:48.880
<v Speaker 2>Wars episode.

1238
01:08:48.600 --> 01:08:51.239
<v Speaker 1>Nine, Yeah, yeah, exactly. So every now and then.

1239
01:08:56.800 --> 01:08:59.720
<v Speaker 2>This feels like, how many girls that you went to

1240
01:08:59.760 --> 01:09:04.960
<v Speaker 2>ice with were like full on Tim Burton fase, like

1241
01:09:06.359 --> 01:09:08.720
<v Speaker 2>dressing like Tim Burton characters and they were like because

1242
01:09:08.720 --> 01:09:10.680
<v Speaker 2>that was like definitely a thing when I was in

1243
01:09:10.760 --> 01:09:11.560
<v Speaker 2>high school.

1244
01:09:12.479 --> 01:09:15.800
<v Speaker 1>You know, not as many as you would think. To

1245
01:09:15.880 --> 01:09:18.000
<v Speaker 1>my memory, I feel.

1246
01:09:17.840 --> 01:09:21.520
<v Speaker 2>Like every class I was in had at least one

1247
01:09:22.640 --> 01:09:25.279
<v Speaker 2>like really hardcore Tim Burton fan.

1248
01:09:25.920 --> 01:09:28.199
<v Speaker 1>I could just be forgetting because I'm trying to think.

1249
01:09:28.239 --> 01:09:30.720
<v Speaker 1>It's probably most likely people who are in my art

1250
01:09:30.760 --> 01:09:31.640
<v Speaker 1>classes and things.

1251
01:09:31.760 --> 01:09:32.000
<v Speaker 2>M h.

1252
01:09:33.119 --> 01:09:36.520
<v Speaker 1>I remember the crow being huge. Oh the crow was huge.

1253
01:09:36.600 --> 01:09:41.359
<v Speaker 1>Oh my gosh. Yeah, yeah, especially big time crowd mm hm.

1254
01:09:42.800 --> 01:09:44.239
<v Speaker 2>I kind of think this right here. That was the

1255
01:09:44.319 --> 01:09:47.720
<v Speaker 2>action figure. That was the Adam Maitland action figure with

1256
01:09:47.960 --> 01:09:49.880
<v Speaker 2>weird freaking nightmare face.

1257
01:09:50.239 --> 01:09:54.000
<v Speaker 1>It is a very face from your nightmares. Yeah you

1258
01:09:54.079 --> 01:09:58.560
<v Speaker 1>know what I mean, but still sort of weirdly amusing. See,

1259
01:09:58.600 --> 01:09:59.439
<v Speaker 1>but what's funny now?

1260
01:09:59.439 --> 01:10:01.520
<v Speaker 2>Bear in mind I saw the toys before I saw

1261
01:10:01.560 --> 01:10:03.640
<v Speaker 2>the movie, so I just see it's like Adam with

1262
01:10:03.680 --> 01:10:04.960
<v Speaker 2>like his Alec bald.

1263
01:10:05.000 --> 01:10:07.560
<v Speaker 1>Okay, this right there, look at that. That's I was

1264
01:10:07.600 --> 01:10:09.520
<v Speaker 1>watching this with my daughter and I was like, oh boy,

1265
01:10:09.520 --> 01:10:10.720
<v Speaker 1>hopefully I don't have to see it.

1266
01:10:11.720 --> 01:10:14.640
<v Speaker 2>Yeah, but I saw the toys first and it has

1267
01:10:14.760 --> 01:10:16.920
<v Speaker 2>like again regular Adam face and then there's like a

1268
01:10:16.920 --> 01:10:20.439
<v Speaker 2>swappable beak face. I'm like, that's weird. I had no context.

1269
01:10:20.840 --> 01:10:22.560
<v Speaker 2>You see it in the movie. I'm like, that's an

1270
01:10:22.600 --> 01:10:24.000
<v Speaker 2>odd thing to turn into a toy.

1271
01:10:25.760 --> 01:10:28.600
<v Speaker 1>I see. You know what I think my memory of

1272
01:10:28.680 --> 01:10:33.399
<v Speaker 1>those images is I probably saw this poster. Oh wait,

1273
01:10:33.439 --> 01:10:34.079
<v Speaker 1>this is the scene.

1274
01:10:35.960 --> 01:10:38.199
<v Speaker 2>I don't think this is where Brian gets sad.

1275
01:10:38.560 --> 01:10:43.319
<v Speaker 1>I was like, oh damn, these these kids, like yeah,

1276
01:10:43.399 --> 01:10:44.640
<v Speaker 1>I mean, they don't look like kids, they are like

1277
01:10:44.680 --> 01:10:49.000
<v Speaker 1>thirty five year old men. But I think it was

1278
01:10:49.039 --> 01:10:51.399
<v Speaker 1>like a comic book. I had had the poster for

1279
01:10:51.439 --> 01:10:55.920
<v Speaker 1>Beetlejuice okay, and those weird versions of the Maitlands was

1280
01:10:55.960 --> 01:10:57.479
<v Speaker 1>on it, and I was like, what the hell am

1281
01:10:57.520 --> 01:11:05.359
<v Speaker 1>I looking at? This is one of those things too.

1282
01:11:05.399 --> 01:11:09.039
<v Speaker 1>I remember like from all the commercials and trailers, I'm

1283
01:11:09.039 --> 01:11:11.680
<v Speaker 1>the ghosts with the most babe. Yeah.

1284
01:11:11.680 --> 01:11:14.079
<v Speaker 2>I had a Beetlejuice T shirt that said that oh

1285
01:11:14.119 --> 01:11:17.079
<v Speaker 2>really yeah, but it was Beetlejuice from the cartoon m.

1286
01:11:19.680 --> 01:11:23.560
<v Speaker 1>Yeah. You know it's funny too. And maybe I'm wrong.

1287
01:11:23.680 --> 01:11:25.720
<v Speaker 1>I've only seen this a handful of times. I haven't

1288
01:11:25.720 --> 01:11:29.279
<v Speaker 1>seen it like a ton, but it does seem to

1289
01:11:29.319 --> 01:11:32.640
<v Speaker 1>sort of introduce rules as the movie goes along, where

1290
01:11:32.640 --> 01:11:36.279
<v Speaker 1>it's like, if we get married, I'll be free and

1291
01:11:36.319 --> 01:11:38.199
<v Speaker 1>even like free to do what. I don't know.

1292
01:11:39.319 --> 01:11:41.119
<v Speaker 2>But it's just one of those movies that is so

1293
01:11:42.760 --> 01:11:45.279
<v Speaker 2>convinced of itself that you're like, oh, well shit.

1294
01:11:45.079 --> 01:11:48.119
<v Speaker 1>I don't want that. Yeah, like you just buy it all.

1295
01:11:48.199 --> 01:11:50.479
<v Speaker 1>You're like, oh, if you say so, yeah, you know

1296
01:11:50.479 --> 01:11:53.399
<v Speaker 1>what I mean. I don't know. It just kind of works.

1297
01:11:55.399 --> 01:11:57.840
<v Speaker 2>Yeah, I just sent you a link to the adam

1298
01:11:57.880 --> 01:11:59.159
<v Speaker 2>Maitland action figure.

1299
01:11:59.239 --> 01:12:03.279
<v Speaker 1>You can take a look at that. Let me see.

1300
01:12:06.439 --> 01:12:08.319
<v Speaker 1>It's kind of funny too. I'm waiting for this thing

1301
01:12:08.359 --> 01:12:12.239
<v Speaker 1>to arrivee Federica yelled through the wall. Again. We were

1302
01:12:12.239 --> 01:12:17.239
<v Speaker 1>in opposite rooms watching this, just to be clear, but

1303
01:12:17.319 --> 01:12:20.359
<v Speaker 1>she was like, how old is why own a writer?

1304
01:12:21.479 --> 01:12:24.600
<v Speaker 1>Because like the whole hymn wanting to marry her thing right,

1305
01:12:24.720 --> 01:12:28.199
<v Speaker 1>And I feel like the movie takes the steps to

1306
01:12:28.239 --> 01:12:30.399
<v Speaker 1>be like this is so I can be free. I

1307
01:12:30.439 --> 01:12:32.920
<v Speaker 1>need like a legally binding marriage so I can be free.

1308
01:12:32.920 --> 01:12:35.720
<v Speaker 1>And it's not that he's in love with her or anything.

1309
01:12:35.960 --> 01:12:41.119
<v Speaker 2>Right, man, I'm just I'm scrolling down and just looking

1310
01:12:41.159 --> 01:12:43.720
<v Speaker 2>at all these action figures. I'm like, man, what a

1311
01:12:43.880 --> 01:12:44.960
<v Speaker 2>what a bygone era?

1312
01:12:45.800 --> 01:12:47.439
<v Speaker 1>Wait? Did you email it or text it?

1313
01:12:48.079 --> 01:12:51.159
<v Speaker 2>I sent it to you in the zencaster thing.

1314
01:12:51.399 --> 01:12:55.159
<v Speaker 1>Oh oh oh, I was looking the wrong place. Let's

1315
01:12:55.239 --> 01:12:56.680
<v Speaker 1>kind of I love how people are getting it behind

1316
01:12:56.720 --> 01:12:57.079
<v Speaker 1>the scenes.

1317
01:12:57.119 --> 01:12:57.479
<v Speaker 2>Look at it.

1318
01:12:58.199 --> 01:13:00.279
<v Speaker 1>This is the stuff that usually gets cut out. Yah

1319
01:13:03.199 --> 01:13:06.479
<v Speaker 1>h wow.

1320
01:13:06.800 --> 01:13:09.399
<v Speaker 2>That's a weird. That's a weird toy, like like what

1321
01:13:09.560 --> 01:13:10.399
<v Speaker 2>kid wants that.

1322
01:13:10.600 --> 01:13:13.359
<v Speaker 1>You know, it's weird because it looks like he's wearing

1323
01:13:13.399 --> 01:13:15.039
<v Speaker 1>a fez it does.

1324
01:13:15.279 --> 01:13:17.000
<v Speaker 2>I think it's supposed to be a baseball cap.

1325
01:13:17.039 --> 01:13:19.119
<v Speaker 1>I think like a backwards baseball cap or something.

1326
01:13:19.199 --> 01:13:23.640
<v Speaker 2>Yeah, because because you can, you can you can like

1327
01:13:23.920 --> 01:13:27.920
<v Speaker 2>take his head off. His head comes off, so there's

1328
01:13:27.920 --> 01:13:29.680
<v Speaker 2>some kind of a mechanism inside the head.

1329
01:13:30.439 --> 01:13:33.119
<v Speaker 1>I do. Like the one with the bat ears and

1330
01:13:33.159 --> 01:13:38.359
<v Speaker 1>the sort of circus Yeah, the circus one. Yeah, I

1331
01:13:38.399 --> 01:13:40.000
<v Speaker 1>had the Yeah.

1332
01:13:39.880 --> 01:13:41.960
<v Speaker 2>I had exploding beetlejuice.

1333
01:13:42.560 --> 01:13:47.319
<v Speaker 1>I see it. Yeah, his chest burst oven. Yeah.

1334
01:13:47.359 --> 01:13:52.239
<v Speaker 2>Wow, there's like a little gizmo. Uh he would break

1335
01:13:52.239 --> 01:13:55.000
<v Speaker 2>apart and his head is attached to like a bug body.

1336
01:13:56.680 --> 01:14:01.960
<v Speaker 1>Were fine? The one with the purple suit, I guess

1337
01:14:01.960 --> 01:14:07.119
<v Speaker 1>the spinning Head. That's actually a really great looking action figure. Yeah,

1338
01:14:07.119 --> 01:14:08.760
<v Speaker 1>that's the one I should have got, or I just

1339
01:14:08.800 --> 01:14:10.520
<v Speaker 1>mean it looks like you know, you want to get

1340
01:14:10.520 --> 01:14:12.279
<v Speaker 1>the thing that looks like the thing from the movie,

1341
01:14:12.279 --> 01:14:15.119
<v Speaker 1>and it rarely does. Yeah, it actually looks like him

1342
01:14:15.119 --> 01:14:15.720
<v Speaker 1>from the movie.

1343
01:14:16.920 --> 01:14:21.680
<v Speaker 2>Yeah, that's right, that's what he wears later. Yeah. Yeah,

1344
01:14:21.720 --> 01:14:23.640
<v Speaker 2>I'm getting nostalgic looking at these toys.

1345
01:14:23.720 --> 01:14:26.880
<v Speaker 1>Yeah, these are kind of fun. I love that. Of

1346
01:14:26.880 --> 01:14:38.000
<v Speaker 1>course he has to have a vehicle, the creepy Yeah. Anyway,

1347
01:14:40.800 --> 01:14:43.840
<v Speaker 1>you can kind of imagine, you know, Alec Baldwin not

1348
01:14:43.960 --> 01:14:47.159
<v Speaker 1>being sure what to make of what they're making. You know,

1349
01:14:47.199 --> 01:14:49.279
<v Speaker 1>you have this heartfelt scene with Geena Davis.

1350
01:14:49.680 --> 01:14:52.279
<v Speaker 2>So I was actually wondering if that was even Alec

1351
01:14:52.319 --> 01:14:55.319
<v Speaker 2>Baldwin under all that.

1352
01:14:54.239 --> 01:14:57.920
<v Speaker 1>That's a good point. Maybe not, but him being like,

1353
01:14:57.960 --> 01:15:02.079
<v Speaker 1>what what are we doing here? Well, even with this

1354
01:15:02.119 --> 01:15:13.239
<v Speaker 1>big schnas right there. Yeah, but yeah, that's a little

1355
01:15:13.239 --> 01:15:15.880
<v Speaker 1>bit of darkness you can imagine in a movie these days,

1356
01:15:15.880 --> 01:15:20.520
<v Speaker 1>you might not have this teenage girl writing her suicide note, right,

1357
01:15:20.640 --> 01:15:26.800
<v Speaker 1>I was thinking that. Yeah, watching that, I think I

1358
01:15:26.920 --> 01:15:30.520
<v Speaker 1>read somewhere too that that was an alternate ending where

1359
01:15:30.560 --> 01:15:33.039
<v Speaker 1>she was going to be dead in with them, Oh

1360
01:15:33.079 --> 01:15:37.439
<v Speaker 1>my god, and they were saying, what was it. According

1361
01:15:37.479 --> 01:15:40.800
<v Speaker 1>to producer Larry Wilson, the original ending the film would

1362
01:15:40.800 --> 01:15:43.239
<v Speaker 1>have ended with Lydia dying in a fire and joining

1363
01:15:43.239 --> 01:15:47.359
<v Speaker 1>her friends in the afterlife. They changed it considering the

1364
01:15:47.399 --> 01:15:49.239
<v Speaker 1>message it would send to young people that death would

1365
01:15:49.239 --> 01:15:53.319
<v Speaker 1>be a happy ending. Yeah right, yeah, and it's you know,

1366
01:15:53.359 --> 01:15:57.159
<v Speaker 1>it's kind of funny. How do you even get there? Well,

1367
01:15:57.600 --> 01:15:59.680
<v Speaker 1>I mean I could see, you know, if you're writing

1368
01:15:59.760 --> 01:16:02.840
<v Speaker 1>some sort of dark movie, like you said, it's an idea,

1369
01:16:02.960 --> 01:16:04.520
<v Speaker 1>and then you go, that's a bad idea and you

1370
01:16:05.359 --> 01:16:07.760
<v Speaker 1>tweak it. No, I take back everything I said, Brian,

1371
01:16:08.479 --> 01:16:11.399
<v Speaker 1>I was I was wrong. I was gonna say it

1372
01:16:11.399 --> 01:16:15.399
<v Speaker 1>immediately reminds me of Heathers, because that was going to

1373
01:16:15.439 --> 01:16:18.319
<v Speaker 1>be the original ending where they were going to blow

1374
01:16:18.359 --> 01:16:20.199
<v Speaker 1>up the school and all the kids were going to

1375
01:16:20.239 --> 01:16:21.720
<v Speaker 1>be dead and it was going to be a prom

1376
01:16:21.760 --> 01:16:26.000
<v Speaker 1>in heaven. And then they were like, no, that's insane.

1377
01:16:26.520 --> 01:16:28.720
<v Speaker 1>And so then you know, it ends with her literally

1378
01:16:28.760 --> 01:16:31.039
<v Speaker 1>almost like a wily coyote character. Do you remember she

1379
01:16:31.079 --> 01:16:32.720
<v Speaker 1>walks out and she's got like black set all over

1380
01:16:32.720 --> 01:16:34.920
<v Speaker 1>her face, smoking a cigarette. Yea like all the kids

1381
01:16:34.920 --> 01:16:35.720
<v Speaker 1>survived the bomb.

1382
01:16:39.800 --> 01:16:42.560
<v Speaker 2>Weird how that was just like a trend briefly, like yeah,

1383
01:16:42.600 --> 01:16:44.479
<v Speaker 2>and then and then you die and you're in heaven

1384
01:16:44.520 --> 01:16:47.640
<v Speaker 2>and you're happy. It's like that that Christopher Reeve movie.

1385
01:16:49.399 --> 01:16:52.920
<v Speaker 2>Oh damn it so much Somewhere in Time. Oh okay

1386
01:16:53.560 --> 01:16:54.439
<v Speaker 2>with Jane Seymour.

1387
01:16:54.560 --> 01:16:55.479
<v Speaker 1>You know I've never seen that.

1388
01:16:56.319 --> 01:16:58.239
<v Speaker 2>Well, sorry, I just spoiled the ending, but.

1389
01:16:58.359 --> 01:16:59.439
<v Speaker 1>Na, I'm still.

1390
01:17:01.920 --> 01:17:06.560
<v Speaker 2>It's that's a very beloved, like a cult movie, and

1391
01:17:06.680 --> 01:17:08.199
<v Speaker 2>I don't like it at all because I think the

1392
01:17:08.319 --> 01:17:14.520
<v Speaker 2>ending is is terrible interesting. Okay, Yeah, that's me. That's

1393
01:17:14.560 --> 01:17:15.119
<v Speaker 2>how I roll.

1394
01:17:15.359 --> 01:17:17.560
<v Speaker 1>That's how I roll. Okay, wall I have to mention

1395
01:17:17.600 --> 01:17:19.279
<v Speaker 1>this real quick because I'm looking at Katherine O'Hara and

1396
01:17:19.279 --> 01:17:21.520
<v Speaker 1>I'm looking at all the set design. So apparently there's

1397
01:17:21.560 --> 01:17:23.640
<v Speaker 1>a story that I really love with the production designer

1398
01:17:23.680 --> 01:17:27.520
<v Speaker 1>bo Welch m h. I had a crush on Katherine

1399
01:17:27.520 --> 01:17:29.319
<v Speaker 1>O'Hara while they're making the movie, and so he went

1400
01:17:29.359 --> 01:17:31.920
<v Speaker 1>to Tim Burton and was like, I don't know, like

1401
01:17:32.800 --> 01:17:34.680
<v Speaker 1>I kind of, you know, Catherine's kind of cute and

1402
01:17:34.720 --> 01:17:36.439
<v Speaker 1>I think I might kind of like her, and Tim

1403
01:17:36.439 --> 01:17:40.239
<v Speaker 1>Burton's basically like we'll go ask her out, and bo

1404
01:17:40.359 --> 01:17:43.159
<v Speaker 1>Welch was like, oh, we can do that, Like I can.

1405
01:17:43.520 --> 01:17:47.079
<v Speaker 1>I can talk to the actress and actually ask her out.

1406
01:17:47.159 --> 01:17:49.000
<v Speaker 1>I love that. Burton like, we'll go ask her out.

1407
01:17:49.760 --> 01:17:52.800
<v Speaker 1>Cod's stupid, I know. And so he did and they're

1408
01:17:52.840 --> 01:17:53.439
<v Speaker 1>married to this.

1409
01:17:53.479 --> 01:17:55.960
<v Speaker 2>Day, to this day. Isn't that a nice story?

1410
01:17:56.119 --> 01:17:57.680
<v Speaker 1>It is? I love it. I mean, what if he

1411
01:17:57.720 --> 01:17:58.560
<v Speaker 1>hadn't asked.

1412
01:18:00.439 --> 01:18:03.399
<v Speaker 2>Nothing ventured, nothing gained. I think that's the that's the lesson.

1413
01:18:03.159 --> 01:18:05.039
<v Speaker 1>Right, Yeah. And then bo Welch went on to be

1414
01:18:05.119 --> 01:18:08.560
<v Speaker 1>production designer on Edwards Scissorhands, Men in Black, Batman Returns.

1415
01:18:09.479 --> 01:18:11.640
<v Speaker 1>He's done, al right, he's done, alright. He directed the

1416
01:18:12.159 --> 01:18:16.600
<v Speaker 1>series of Unfortunate Events, the series version the series.

1417
01:18:16.640 --> 01:18:17.760
<v Speaker 2>That's right, I forgot about that.

1418
01:18:18.079 --> 01:18:18.279
<v Speaker 1>Yeah.

1419
01:18:19.079 --> 01:18:25.159
<v Speaker 2>Also interesting you talk about quirks of fate. Burton wanted

1420
01:18:25.680 --> 01:18:28.680
<v Speaker 2>Anton First to be the production designer on this, Yeah,

1421
01:18:29.359 --> 01:18:32.119
<v Speaker 2>and just he was unavailable. So that's why he got

1422
01:18:32.119 --> 01:18:34.000
<v Speaker 2>bou Welch. And so when you think of it again,

1423
01:18:35.159 --> 01:18:37.399
<v Speaker 2>bo Welch may never have met his future wife.

1424
01:18:37.760 --> 01:18:39.439
<v Speaker 1>Yeah, that's good.

1425
01:18:39.680 --> 01:18:42.520
<v Speaker 2>If Anton First had been available, you know, mm hmm.

1426
01:18:44.600 --> 01:18:47.680
<v Speaker 1>Yeah, and then he I don't know, he's just how

1427
01:18:47.720 --> 01:18:49.680
<v Speaker 1>different would this movie have been also, you know, and

1428
01:18:49.680 --> 01:18:51.680
<v Speaker 1>then you think of Batman. What if Anton first had

1429
01:18:51.800 --> 01:18:55.920
<v Speaker 1>done Batman? How different would that movie be? And it's man, Yeah,

1430
01:18:56.880 --> 01:19:04.479
<v Speaker 1>quote John Connor messes with your head. So this whole

1431
01:19:04.600 --> 01:19:09.239
<v Speaker 1>seance slash accidental exorcism, this is just one of those

1432
01:19:09.239 --> 01:19:10.760
<v Speaker 1>things too where you look at the tone of it

1433
01:19:10.800 --> 01:19:14.600
<v Speaker 1>and you're like, he just gets it just right, Like.

1434
01:19:14.520 --> 01:19:18.880
<v Speaker 2>That's the right, Yeah, it's it's you really have to

1435
01:19:18.960 --> 01:19:19.600
<v Speaker 2>feel it here.

1436
01:19:19.640 --> 01:19:21.439
<v Speaker 1>I love the look on.

1437
01:19:23.000 --> 01:19:25.680
<v Speaker 2>Geena Davis's face right there as she reaches out to

1438
01:19:26.479 --> 01:19:30.720
<v Speaker 2>win on a rider mm hm, because because you have to.

1439
01:19:31.159 --> 01:19:34.800
<v Speaker 2>It's weird, right, because we're watching them die and we

1440
01:19:34.880 --> 01:19:37.359
<v Speaker 2>have to really feel the horror of that. But it

1441
01:19:37.399 --> 01:19:41.840
<v Speaker 2>can't be too horrific, you know, it's like real, It's

1442
01:19:41.960 --> 01:19:43.600
<v Speaker 2>it's a it's a delicate balance.

1443
01:19:44.279 --> 01:19:46.079
<v Speaker 1>Yeah, That's what I love about it is it's like

1444
01:19:47.039 --> 01:19:51.399
<v Speaker 1>it's really freaking scary, like her, you know, her deteriorating

1445
01:19:51.560 --> 01:19:53.800
<v Speaker 1>and the tone of it and everything, but it's also

1446
01:19:56.159 --> 01:20:00.159
<v Speaker 1>it's just scary enough. Yes, it stays within the tone

1447
01:20:00.279 --> 01:20:03.640
<v Speaker 1>of the film that we we've had so far, right,

1448
01:20:03.680 --> 01:20:06.279
<v Speaker 1>and it's sad that's right.

1449
01:20:06.680 --> 01:20:10.119
<v Speaker 2>Well, I mean the you know, like that that right.

1450
01:20:10.239 --> 01:20:13.119
<v Speaker 2>I mean, you know, her face looks like almost like

1451
01:20:13.119 --> 01:20:17.159
<v Speaker 2>a it looks like a Tim Burton drawing, you know, yeah, right,

1452
01:20:17.560 --> 01:20:21.079
<v Speaker 2>but there's something sweet about he's reaching, how he's reaching

1453
01:20:21.159 --> 01:20:22.520
<v Speaker 2>for her and stuff.

1454
01:20:23.560 --> 01:20:26.399
<v Speaker 1>Yeah. Yeah. And then of course when Beetlejuice is unleashed,

1455
01:20:26.399 --> 01:20:29.520
<v Speaker 1>we get into the sort of can't be fun haunted

1456
01:20:29.520 --> 01:20:32.520
<v Speaker 1>carnival vibe, you know, and it's just it turns into

1457
01:20:32.560 --> 01:20:37.680
<v Speaker 1>like a like creepy Looney Tunes cartoon or something, you know,

1458
01:20:37.680 --> 01:20:42.039
<v Speaker 1>where he's got inflatable hammer hands and right, I don't know,

1459
01:20:42.159 --> 01:20:44.079
<v Speaker 1>I just I don't know this is you know. I

1460
01:20:44.199 --> 01:20:47.720
<v Speaker 1>used to say that I felt like this movie. When

1461
01:20:47.720 --> 01:20:49.399
<v Speaker 1>people say like, do you like Beetlejuice, I'm like, you know,

1462
01:20:49.479 --> 01:20:52.560
<v Speaker 1>I do, But to me, it almost feels more like

1463
01:20:52.600 --> 01:20:57.000
<v Speaker 1>an awesome video installation than like a movie, which sounds

1464
01:20:57.079 --> 01:21:00.439
<v Speaker 1>kind of harsh, but like, I think that's kind of

1465
01:21:00.439 --> 01:21:01.960
<v Speaker 1>how I felt about it for a long time. But

1466
01:21:02.000 --> 01:21:05.039
<v Speaker 1>then I rewatched it on an airplane, you know, not

1467
01:21:05.800 --> 01:21:09.119
<v Speaker 1>terribly long ago, and I was like, wait, this movie

1468
01:21:09.159 --> 01:21:11.680
<v Speaker 1>is like amazing, Like how did I kind of sleep

1469
01:21:11.720 --> 01:21:13.359
<v Speaker 1>on this for so long? And I think the reason

1470
01:21:13.600 --> 01:21:15.000
<v Speaker 1>was is I was just so used to seeing it

1471
01:21:15.039 --> 01:21:18.600
<v Speaker 1>on TV and bits how fun, you know what I mean?

1472
01:21:18.600 --> 01:21:20.000
<v Speaker 1>And I'm like, yeah, no, it's kind of cool, but

1473
01:21:20.039 --> 01:21:22.439
<v Speaker 1>I don't see how this all goes together. But when

1474
01:21:22.439 --> 01:21:24.680
<v Speaker 1>you do watch it together, this movie has a really

1475
01:21:24.840 --> 01:21:31.039
<v Speaker 1>weird rhythm and like energy and that's totally strength, right, Like,

1476
01:21:31.039 --> 01:21:32.920
<v Speaker 1>when you see it all together, that's what makes this

1477
01:21:33.000 --> 01:21:35.760
<v Speaker 1>movie this weird little piece of magic. And so I

1478
01:21:35.800 --> 01:21:38.199
<v Speaker 1>was kind of glad that I watch it again and

1479
01:21:39.000 --> 01:21:40.720
<v Speaker 1>you know, kind of reappreciated it.

1480
01:21:41.600 --> 01:21:45.520
<v Speaker 2>Well, it's like when we reached this point in the story,

1481
01:21:45.560 --> 01:21:48.479
<v Speaker 2>like this is the trick, right, Like Beetlejuice as a character,

1482
01:21:49.840 --> 01:21:51.920
<v Speaker 2>we don't know how we feel about him, but we

1483
01:21:51.920 --> 01:21:54.399
<v Speaker 2>we have to be we and the audience have to

1484
01:21:54.399 --> 01:22:01.000
<v Speaker 2>be like yes, release Beetlejuice, right yep. So that's it's

1485
01:22:01.039 --> 01:22:05.640
<v Speaker 2>like everything before this moment with regards to the character

1486
01:22:05.960 --> 01:22:10.680
<v Speaker 2>has to tread that line of like we like him,

1487
01:22:10.760 --> 01:22:12.319
<v Speaker 2>we're not sure what we think of him, we don't

1488
01:22:12.359 --> 01:22:15.079
<v Speaker 2>hate him, how do we feel? But this has to

1489
01:22:15.119 --> 01:22:18.680
<v Speaker 2>be kind of a triumphant moment, you know.

1490
01:22:18.920 --> 01:22:25.359
<v Speaker 1>To save our heroes. Yeah, yeah, you know, but then

1491
01:22:25.399 --> 01:22:28.880
<v Speaker 1>he's this chaotic sort of thing, you know, where it's

1492
01:22:28.880 --> 01:22:31.359
<v Speaker 1>like all right, now that he has unleashed, he's dangerous

1493
01:22:31.840 --> 01:22:35.359
<v Speaker 1>but funny. Exactly right, right, exactly, like I love this

1494
01:22:35.399 --> 01:22:37.359
<v Speaker 1>whole idea, you know, just yeah, putting them on, I

1495
01:22:37.399 --> 01:22:40.399
<v Speaker 1>don't know what you call those things, or use a

1496
01:22:40.399 --> 01:22:43.000
<v Speaker 1>hammer to hit a thing and a thing rises up.

1497
01:22:44.560 --> 01:22:46.880
<v Speaker 2>Doesn't this feel like something out of Batman Returns or something.

1498
01:22:47.399 --> 01:22:49.159
<v Speaker 1>Yeah, that's a good point. I didn't think of that.

1499
01:22:49.239 --> 01:22:56.880
<v Speaker 1>Well bow Welch, I guess. So yeah, yeah, I'm just

1500
01:22:56.920 --> 01:23:00.640
<v Speaker 1>looking at it, like the everything in the frame, the light,

1501
01:23:00.760 --> 01:23:04.399
<v Speaker 1>the colors, the little criss crossing shadows in the background.

1502
01:23:04.479 --> 01:23:07.079
<v Speaker 1>It's just I don't know. I mean, you just don't

1503
01:23:07.079 --> 01:23:09.760
<v Speaker 1>get that a lot from a lot of filmmakers these days.

1504
01:23:09.800 --> 01:23:12.119
<v Speaker 1>I feel like they sort of, you know, they put

1505
01:23:12.159 --> 01:23:13.520
<v Speaker 1>the thought that they put into it, and then they

1506
01:23:13.560 --> 01:23:15.920
<v Speaker 1>just kind of capture stuff and cut it together. And

1507
01:23:16.279 --> 01:23:19.479
<v Speaker 1>that's a style too, But like, so much thoughtfulness in

1508
01:23:19.600 --> 01:23:27.199
<v Speaker 1>every frame here. So here's my question.

1509
01:23:27.920 --> 01:23:35.039
<v Speaker 2>Did beetlejuice because they couldn't stop the exorcism? So did beetlejuice?

1510
01:23:35.119 --> 01:23:38.279
<v Speaker 2>Because I don't think the movie clarifies That was.

1511
01:23:38.279 --> 01:23:40.159
<v Speaker 1>Actually a question for me too.

1512
01:23:41.039 --> 01:23:44.600
<v Speaker 2>Yeah, because next time we see them, they're normal.

1513
01:23:44.680 --> 01:23:49.880
<v Speaker 1>Yes, yeah, I mean, yeah, you know, I mean I

1514
01:23:49.920 --> 01:23:50.279
<v Speaker 1>don't know.

1515
01:23:51.039 --> 01:23:54.760
<v Speaker 2>I mean by implication, he probably did something, but I

1516
01:23:54.760 --> 01:23:56.680
<v Speaker 2>just wanted to make sure. I don't think the movie

1517
01:23:56.760 --> 01:23:59.439
<v Speaker 2>clarifies that he undid it or something.

1518
01:24:02.079 --> 01:24:04.600
<v Speaker 1>I mean you're saying with what Otho was doing was

1519
01:24:05.079 --> 01:24:08.319
<v Speaker 1>Beetlejuice intervening a little bit and making it go south

1520
01:24:08.399 --> 01:24:09.399
<v Speaker 1>so he could be released.

1521
01:24:10.840 --> 01:24:15.439
<v Speaker 2>That's you can read it both ways, right, It's like

1522
01:24:16.239 --> 01:24:19.119
<v Speaker 2>Otho either doesn't know what he's doing or Beetlejuice is.

1523
01:24:19.520 --> 01:24:25.039
<v Speaker 2>But regardless, the Maitlands get back to normal. So how

1524
01:24:25.119 --> 01:24:29.079
<v Speaker 2>does that happen? Right? Unless there was some That's why

1525
01:24:29.119 --> 01:24:32.079
<v Speaker 2>I'm like, well, maybe Beetlejuice was kind of like putting

1526
01:24:32.119 --> 01:24:36.439
<v Speaker 2>his thumb on the scale and then once he like

1527
01:24:36.520 --> 01:24:39.000
<v Speaker 2>it was easy for him to undo it. Does that

1528
01:24:39.039 --> 01:24:39.439
<v Speaker 2>make sense?

1529
01:24:39.520 --> 01:24:46.720
<v Speaker 1>Yeah? Yeah, yeah, I honestly I'm not clear. Yeah, it

1530
01:24:46.800 --> 01:24:51.840
<v Speaker 1>is funny though, I mean it's you think, like now

1531
01:24:52.359 --> 01:24:54.960
<v Speaker 1>in a world where you can do anything with computers

1532
01:24:55.079 --> 01:24:56.039
<v Speaker 1>and I don't mean to turn on.

1533
01:24:56.399 --> 01:24:59.359
<v Speaker 2>Real quick, sorry, Brian. Yeah, if you look, the Maitlands

1534
01:24:59.399 --> 01:25:04.840
<v Speaker 2>are like healing, like getting their youthifying. Yeah, how does

1535
01:25:04.880 --> 01:25:07.239
<v Speaker 2>that happen? See?

1536
01:25:07.520 --> 01:25:11.159
<v Speaker 1>Yeah, I don't know, like why is the exorcism being undone?

1537
01:25:11.439 --> 01:25:12.760
<v Speaker 2>Did did Beatle just do that?

1538
01:25:12.760 --> 01:25:15.359
<v Speaker 1>That was my question? Sorry, no, no, I'm not sure.

1539
01:25:15.399 --> 01:25:18.359
<v Speaker 1>I'm not sure now. I was just gonna say, like you,

1540
01:25:18.359 --> 01:25:20.560
<v Speaker 1>you don't have the tools that we have now. But

1541
01:25:20.880 --> 01:25:25.039
<v Speaker 1>watching this with the sound off, this still feels as

1542
01:25:25.640 --> 01:25:27.600
<v Speaker 1>sort of weirdly small scale as it is. It still

1543
01:25:27.600 --> 01:25:31.199
<v Speaker 1>feels big and chaotic. I can feel the energy screen.

1544
01:25:31.880 --> 01:25:33.279
<v Speaker 2>I love that, you know what I mean?

1545
01:25:33.399 --> 01:25:36.079
<v Speaker 1>Yeah, even though it's there's not like crazy things flying

1546
01:25:36.079 --> 01:25:39.680
<v Speaker 1>around in the air or anything like that. You know.

1547
01:25:43.319 --> 01:25:45.000
<v Speaker 2>And there he is in that purple suit. That's the

1548
01:25:45.560 --> 01:25:51.960
<v Speaker 2>forced wedding action figure exactly. You can stage, you can

1549
01:25:52.039 --> 01:25:53.399
<v Speaker 2>restage this sequence.

1550
01:25:55.319 --> 01:25:57.560
<v Speaker 1>That's really funny. Now you bring up a good point, though,

1551
01:25:57.640 --> 01:25:59.640
<v Speaker 1>now that I think about it, I've just swept up

1552
01:25:59.680 --> 01:26:01.640
<v Speaker 1>in the feeling of everything that's going on that I

1553
01:26:01.640 --> 01:26:09.079
<v Speaker 1>didn't think about what's happening with the Maitlands. Yeah, it's

1554
01:26:09.159 --> 01:26:13.920
<v Speaker 1>kind of funny. You get these chompy teeth, yeah, skirting around.

1555
01:26:13.960 --> 01:26:15.880
<v Speaker 1>It's kind of like Batman when the Joker spits them

1556
01:26:15.880 --> 01:26:18.600
<v Speaker 1>out there you go.

1557
01:26:18.680 --> 01:26:20.920
<v Speaker 2>That's if he would have put him into more of

1558
01:26:20.960 --> 01:26:23.920
<v Speaker 2>his movies, we would have found like a recurring Tim

1559
01:26:23.960 --> 01:26:24.720
<v Speaker 2>Burton motif.

1560
01:26:25.039 --> 01:26:28.079
<v Speaker 1>Yeah, like Spielberg and Divorced Dads.

1561
01:26:27.800 --> 01:26:36.279
<v Speaker 2>And yeah, Tim Burton and Chompy Teeth, Chompy Teeth. See,

1562
01:26:36.279 --> 01:26:40.079
<v Speaker 2>that's my question is how did they get rejuvenated?

1563
01:26:41.199 --> 01:26:43.359
<v Speaker 1>Yeah, I don't know.

1564
01:26:45.119 --> 01:26:50.720
<v Speaker 2>Again, I'm assuming Beetlejuice at the at the very least

1565
01:26:50.760 --> 01:26:53.359
<v Speaker 2>he stopped the exorcism in some way. But I feel

1566
01:26:53.399 --> 01:26:56.039
<v Speaker 2>like that's something that the movie should have kind of clarified.

1567
01:26:56.319 --> 01:27:01.039
<v Speaker 1>Yeah, and maybe some of those things you sort of

1568
01:27:01.119 --> 01:27:03.279
<v Speaker 1>learn where they did they filmed it or whatever. But

1569
01:27:03.359 --> 01:27:07.520
<v Speaker 1>it's like people wanted to stick with the forward motion

1570
01:27:07.600 --> 01:27:09.319
<v Speaker 1>that was happening and they weren't missing it.

1571
01:27:10.479 --> 01:27:15.960
<v Speaker 2>I think that's probably likely. See again, watching you know,

1572
01:27:16.000 --> 01:27:18.800
<v Speaker 2>as Beetlejuice tries to force Lydia to marry him, I

1573
01:27:18.880 --> 01:27:22.479
<v Speaker 2>just and then thinking of the animated show where she

1574
01:27:22.520 --> 01:27:25.039
<v Speaker 2>and Beetlejuice go off and have these adventures. I'm like, man,

1575
01:27:25.079 --> 01:27:30.119
<v Speaker 2>that must have been a really awkward conversation. Yeah, it's

1576
01:27:30.159 --> 01:27:31.800
<v Speaker 2>a little bit like Biff at the end of Back

1577
01:27:31.840 --> 01:27:33.800
<v Speaker 2>to the Future, where it's like, oh, Biff, that guy

1578
01:27:33.880 --> 01:27:36.359
<v Speaker 2>and it's like, oh, yeah, some really awful things.

1579
01:27:36.439 --> 01:27:40.560
<v Speaker 1>You know. That's very true. That's very true. Yeah, I

1580
01:27:40.560 --> 01:27:48.439
<v Speaker 1>wouldn't let him into my house. Yeah. Yeah, I'm just

1581
01:27:48.479 --> 01:27:51.680
<v Speaker 1>kind of like marveling everything that's happening here. Yeah, Geena

1582
01:27:51.760 --> 01:27:54.399
<v Speaker 1>Davis like riding on the back of a sandworm and

1583
01:27:56.319 --> 01:27:57.399
<v Speaker 1>lisan O Gabe.

1584
01:27:57.880 --> 01:28:01.439
<v Speaker 2>Yeah, yeah, that's what's missing in this.

1585
01:28:02.279 --> 01:28:04.720
<v Speaker 1>It is like a really thrilling ending. I just never

1586
01:28:04.760 --> 01:28:06.439
<v Speaker 1>thought about it. I've just seen it so many times,

1587
01:28:06.479 --> 01:28:12.159
<v Speaker 1>you know what I mean. But you're really staring at it.

1588
01:28:12.159 --> 01:28:17.359
<v Speaker 1>It's sweet. Now they can see the ghosts the deets

1589
01:28:17.479 --> 01:28:25.600
<v Speaker 1>is So why is that because it feels nice? I

1590
01:28:25.640 --> 01:28:33.640
<v Speaker 1>don't know. That's good. It's a good question. I don't know.

1591
01:28:33.680 --> 01:28:35.279
<v Speaker 1>They don't get it. I mean you can imagine a

1592
01:28:35.279 --> 01:28:39.079
<v Speaker 1>movie being like when high emotions are involved, sometimes ghosts

1593
01:28:39.119 --> 01:28:43.800
<v Speaker 1>can be visible or something. But I don't think we

1594
01:28:43.840 --> 01:28:44.640
<v Speaker 1>get anything like that.

1595
01:28:45.800 --> 01:28:50.720
<v Speaker 2>I mean, here's the thought. Maybe are they even dead anymore?

1596
01:28:53.439 --> 01:28:55.960
<v Speaker 1>Like were they given a chance to come back? Yeah?

1597
01:28:56.000 --> 01:28:58.960
<v Speaker 2>I mean maybe that's there's nothing to say that they're

1598
01:28:59.000 --> 01:28:59.439
<v Speaker 2>dead here.

1599
01:29:00.079 --> 01:29:02.640
<v Speaker 1>I mean, he does have like a little supernatural act

1600
01:29:02.680 --> 01:29:06.239
<v Speaker 1>where he starts the music. Sure, so they're like, well,

1601
01:29:06.279 --> 01:29:08.960
<v Speaker 1>they're a levitations. I mean, I'm I'm I'm playing devil's

1602
01:29:08.960 --> 01:29:15.640
<v Speaker 1>advocate here. But that's true. I don't know, I don't know.

1603
01:29:15.800 --> 01:29:17.359
<v Speaker 1>I mean, I take it as they're dead here.

1604
01:29:18.399 --> 01:29:21.399
<v Speaker 2>Yeah, I'm I mean, I'm assuming I agree with you.

1605
01:29:21.520 --> 01:29:27.399
<v Speaker 1>But this is really sweet though. They get to be

1606
01:29:27.439 --> 01:29:29.359
<v Speaker 1>the parents they wanted to be. She gets to kind

1607
01:29:29.359 --> 01:29:32.039
<v Speaker 1>of have the parents she relates to a little bit more.

1608
01:29:32.079 --> 01:29:36.399
<v Speaker 1>But you know, it's not like, yeah, well it's gonna say.

1609
01:29:36.600 --> 01:29:38.920
<v Speaker 1>It's not like at the same time, if they had

1610
01:29:38.920 --> 01:29:41.079
<v Speaker 1>moved back to the city, it'd be like, you know,

1611
01:29:41.279 --> 01:29:43.640
<v Speaker 1>like it'd be terrible people. But it's like, I don't know,

1612
01:29:43.640 --> 01:29:45.960
<v Speaker 1>they've all found a way to coexist in this point

1613
01:29:46.000 --> 01:29:50.079
<v Speaker 1>right together, which seems to be a happy situation. I

1614
01:29:50.199 --> 01:29:57.000
<v Speaker 1>like it. What did he say? It reads like a what.

1615
01:29:58.600 --> 01:29:59.279
<v Speaker 2>Oh I missed that?

1616
01:30:01.880 --> 01:30:04.119
<v Speaker 1>Yeah, And I mean, come on, like this is like

1617
01:30:04.159 --> 01:30:07.760
<v Speaker 1>one of the greatest numbers, like going a movie ending

1618
01:30:07.800 --> 01:30:10.359
<v Speaker 1>on a number to like make you dancing as you

1619
01:30:10.359 --> 01:30:13.159
<v Speaker 1>walk out of the theater, jump in the line come on,

1620
01:30:14.520 --> 01:30:15.119
<v Speaker 1>you know what I mean?

1621
01:30:15.760 --> 01:30:19.640
<v Speaker 2>Yeah he said, it reads like stereo instructions.

1622
01:30:19.640 --> 01:30:22.720
<v Speaker 1>By the way, Oh I see, Oh thanks, yeah, you know,

1623
01:30:23.039 --> 01:30:24.399
<v Speaker 1>I don't know. It just puts you in like the

1624
01:30:24.439 --> 01:30:29.600
<v Speaker 1>perfect mood, like seeing this teenager who's like formally depressed,

1625
01:30:30.079 --> 01:30:33.680
<v Speaker 1>levitating with her ghost friends dancing to this number the

1626
01:30:33.680 --> 01:30:37.600
<v Speaker 1>ghost football players on the staircase. Yeah, it just really

1627
01:30:37.800 --> 01:30:42.239
<v Speaker 1>like encapsulates what this movie is, you know what I mean.

1628
01:30:43.560 --> 01:30:48.000
<v Speaker 2>Yeah, Well, it's it has this unique sensibility and it

1629
01:30:48.000 --> 01:30:52.600
<v Speaker 2>it just it makes me happy that that sensibility was

1630
01:30:52.640 --> 01:30:54.720
<v Speaker 2>allowed to come through, you know, and for a variety

1631
01:30:54.760 --> 01:30:57.000
<v Speaker 2>of reasons. I think the fact that it was relatively

1632
01:30:57.000 --> 01:31:01.920
<v Speaker 2>low budget, and and the fact that it wasn't something

1633
01:31:02.039 --> 01:31:05.479
<v Speaker 2>that was ignored and then found an audience later. No,

1634
01:31:05.600 --> 01:31:09.199
<v Speaker 2>it was embraced when it came out. Yeah right, it

1635
01:31:09.239 --> 01:31:12.600
<v Speaker 2>made it made seventy five million against a fifteen minute

1636
01:31:12.640 --> 01:31:15.520
<v Speaker 2>dollar budget, which is that's just all upside crazy.

1637
01:31:17.279 --> 01:31:21.000
<v Speaker 1>I love that way, go ahead now. It makes me

1638
01:31:21.079 --> 01:31:23.439
<v Speaker 1>laugh whenever he swaps the number the waiting in line

1639
01:31:23.840 --> 01:31:27.399
<v Speaker 1>that he doesn't even do it well, like he he

1640
01:31:27.520 --> 01:31:33.840
<v Speaker 1>throws it anyway. Sorry what we're saying.

1641
01:31:34.600 --> 01:31:37.239
<v Speaker 2>Uh No, I mean, you know it, it's it's a

1642
01:31:37.279 --> 01:31:41.239
<v Speaker 2>movie that's really had a strong and I promise I'm

1643
01:31:41.239 --> 01:31:42.560
<v Speaker 2>not trying to make a pun, but is that a

1644
01:31:42.600 --> 01:31:47.560
<v Speaker 2>strong afterlife? Uh? And you know, here we are this

1645
01:31:47.680 --> 01:31:51.479
<v Speaker 2>many decade decades later, and a sequels actually happened.

1646
01:31:51.520 --> 01:31:56.359
<v Speaker 1>It's amazing, incredible, and there was a whole Broadway musical hmm,

1647
01:31:58.239 --> 01:32:01.319
<v Speaker 1>which I hadn't reached so much merch, so much merch.

1648
01:32:01.479 --> 01:32:03.920
<v Speaker 1>I mean, I bet with this movie coming out now,

1649
01:32:05.560 --> 01:32:07.960
<v Speaker 1>you know, I don't know, I could imagine there's gonna

1650
01:32:07.960 --> 01:32:09.159
<v Speaker 1>be a ton of ton.

1651
01:32:08.960 --> 01:32:15.760
<v Speaker 2>Of stuff, but well there we go, you know, be Beetlejuice.

1652
01:32:15.800 --> 01:32:19.319
<v Speaker 1>Man. I I'm really happy. I've always found it like

1653
01:32:20.479 --> 01:32:22.520
<v Speaker 1>fun and amusing when I, like I say, I've happened

1654
01:32:22.560 --> 01:32:24.640
<v Speaker 1>upon it on TV. But I'm really glad that I've

1655
01:32:24.680 --> 01:32:28.920
<v Speaker 1>sort of really really looked at it again and come

1656
01:32:28.960 --> 01:32:31.439
<v Speaker 1>around on really appreciating how amazing it is.

1657
01:32:32.239 --> 01:32:34.399
<v Speaker 2>I'm glad too, Brian, because honestly, this has been a

1658
01:32:34.399 --> 01:32:36.159
<v Speaker 2>conversation I wanted to have with you for a long time.

1659
01:32:36.199 --> 01:32:40.800
<v Speaker 2>I was really disappointed in your lack of affinity for Beetlejuice.

1660
01:32:42.279 --> 01:32:44.159
<v Speaker 2>It was, it was, it was honestly, it was a

1661
01:32:44.159 --> 01:32:45.439
<v Speaker 2>barrier in our friendship.

1662
01:32:46.239 --> 01:32:48.680
<v Speaker 1>Well I'm so glad those walls have come down. Yeah,

1663
01:32:48.720 --> 01:32:49.039
<v Speaker 1>that's right.

1664
01:32:49.159 --> 01:32:52.840
<v Speaker 2>This is just just one one more, one more point

1665
01:32:52.920 --> 01:32:53.840
<v Speaker 2>of agreement.

1666
01:32:54.399 --> 01:32:54.600
<v Speaker 1>Yeah.

1667
01:32:54.800 --> 01:32:56.800
<v Speaker 2>No, the truth is this is this is not a

1668
01:32:56.800 --> 01:32:59.880
<v Speaker 2>film I revisited a ton after it came out, but

1669
01:33:00.039 --> 01:33:03.720
<v Speaker 2>it was something that started getting repeat rings for me

1670
01:33:04.039 --> 01:33:08.399
<v Speaker 2>with each of my kids, and I think that's that's

1671
01:33:08.399 --> 01:33:11.199
<v Speaker 2>why for me, I've always viewed it as a family movie.

1672
01:33:11.239 --> 01:33:13.399
<v Speaker 1>And even the.

1673
01:33:12.520 --> 01:33:16.479
<v Speaker 2>The kind of the scarier elements, like like Geena Davis

1674
01:33:16.479 --> 01:33:20.600
<v Speaker 2>pulling her face off and stuff, I found it, you know, quirky,

1675
01:33:20.800 --> 01:33:24.600
<v Speaker 2>you know, in the most sort of charming way. And

1676
01:33:24.840 --> 01:33:27.520
<v Speaker 2>and again going back to what I was saying before,

1677
01:33:27.560 --> 01:33:31.000
<v Speaker 2>it's just I miss when movies like this were more

1678
01:33:31.039 --> 01:33:35.600
<v Speaker 2>common and there were these kind of wild swings and

1679
01:33:35.680 --> 01:33:39.039
<v Speaker 2>the budgets allowed for those wild swings, you know that.

1680
01:33:39.960 --> 01:33:42.760
<v Speaker 1>And also, you know, we were talking about how this

1681
01:33:42.800 --> 01:33:46.880
<v Speaker 1>movie's PG. I kind of miss eighties PG movies, yeah, man,

1682
01:33:47.079 --> 01:33:49.880
<v Speaker 1>which is not the same as like a PG movie today.

1683
01:33:49.880 --> 01:33:54.039
<v Speaker 1>Like they were just like Monster Squad and goonies and stuff.

1684
01:33:54.279 --> 01:33:56.760
<v Speaker 1>Yeah yeah, and back to the Future and like they

1685
01:33:56.960 --> 01:34:00.960
<v Speaker 1>I don't know, there was just this interesting tone that

1686
01:34:01.039 --> 01:34:02.960
<v Speaker 1>they had that's really special. And a lot of those

1687
01:34:02.960 --> 01:34:05.159
<v Speaker 1>movies have lived on all these years later because there's

1688
01:34:05.199 --> 01:34:07.399
<v Speaker 1>just something to them and I don't quite know how

1689
01:34:07.439 --> 01:34:10.359
<v Speaker 1>to sum it up, but this is included among them. Like,

1690
01:34:10.359 --> 01:34:13.359
<v Speaker 1>like you said, calling this crazy movie a Family movie

1691
01:34:13.960 --> 01:34:16.880
<v Speaker 1>is nuts, but I agree with you, you know, like

1692
01:34:16.920 --> 01:34:21.560
<v Speaker 1>it just struck this perfect chord and I love it.

1693
01:34:21.800 --> 01:34:22.279
<v Speaker 1>I love it.

1694
01:34:22.880 --> 01:34:26.560
<v Speaker 2>Well, there we go. That wraps up our conversation about Beetlejuice.

1695
01:34:26.560 --> 01:34:31.359
<v Speaker 2>Hopefully we've had something worthwhile to say. But hey, let

1696
01:34:31.399 --> 01:34:33.279
<v Speaker 2>us know, let us know your thoughts on Beetlejuice. You

1697
01:34:33.279 --> 01:34:35.600
<v Speaker 2>can email us at moviefilm podcast at gmail dot com.

1698
01:34:35.680 --> 01:34:37.840
<v Speaker 2>You can also hit like on our Facebook page Facebook

1699
01:34:37.840 --> 01:34:41.199
<v Speaker 2>dot com, slash moviefilm podcast, or message us there. As always,

1700
01:34:41.239 --> 01:34:43.760
<v Speaker 2>please go to Apple Podcasts and leave review, leave a

1701
01:34:43.840 --> 01:34:46.399
<v Speaker 2>star rating. If you like what we're doing, please let

1702
01:34:46.399 --> 01:34:50.560
<v Speaker 2>people know. And with that on behalf of my partner

1703
01:34:50.560 --> 01:34:52.000
<v Speaker 2>Brian Home. My name is Zachie As.

1704
01:34:52.279 --> 01:34:54.359
<v Speaker 1>This has been our commentary track with you the Juice.

1705
01:34:54.359 --> 01:34:55.319
<v Speaker 2>Thanks everybody for listening.

1706
01:34:55.359 --> 01:35:00.760
<v Speaker 1>We'll catch you next time. Uh well