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Speaker 1: All right, everybody, welcome back to the Shuley Can't Be

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Serious podcast. This is episode two of our Tulsa duo

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that we're doing right here. We're doing The Outsiders from

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nineteen eighty three versus Rumblefish from nineteen eighty three. Both

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of these Francis fort Coppola, of course, both have Matt

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Dillon and them. Yeah, I got a question for you. Yeah,

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I'd like to play a fifty two pickup. No, don'll

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be wise.

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Speaker 2: He was such a jerk.

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Speaker 1: He was a jerk.

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Speaker 2: They said it off at the beginning. It was the

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little kids. Yeah, it was the opposite idea of saving

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the cat. It was like, what can we make this

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guy do that? Everybody's going to hate him right off

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of the bat, right, and it's be a jerk to

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these little kid Not only does he flip the cards

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at him, but then he chases them. You just were

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you ever a little kid and you had this like

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jerk sure head guy who chased you and was rude

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to you. Did you hate his guts?

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Speaker 1: I wanted to die, still do.

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Speaker 2: And that's what we got. Like that was my that

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was my neighbor. That freaking greaser shot my dog. I

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mean I hated the dude like that. Yeah, and he

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was he was such a greaser. He was always working

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on his Camaro.

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Speaker 1: We were talking. I was talking to Kayleb before we

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started tonight, and he was like, man, I was so

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bummed when Dolly got shot at the end, and I'm like,

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he's held up a convenience store.

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Speaker 2: Yeah, he didn't. Also, he didn't see the beginning. But

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somehow this is great. This is great stuff because you

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start off hating this guy. I mean you you genuinely hate.

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Speaker 1: Him, right, he's a turn to Cherry Valance.

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Speaker 2: And after you see what he does, I mean, that's

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another reason to hate him, honestly, Like you see him

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be such a jerk to Cherry. And then the last

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thing she says is I'll probably end up falling in

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love with him, and you know she freaking likes him,

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you know, like I'm in the position of phony boar,

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where like I'm that guy, I'm the guy who like

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she's being so nice to be and I'm totally in

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love with her, and she's in love with the guy

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who is an absolute jerk to her.

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Speaker 1: Right, it's inevitable, right.

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Speaker 2: But then slowly throughout the movie, he keeps doing these

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little things to take care of these guys. Right.

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Speaker 1: He takes care of Johnny and Pony.

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Speaker 2: I mean when they are in their crisis stage, he

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is the one who does not hesitate. He gives them

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what they need. He gives I mean, fifty bucks for

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a kid in the sixties was huge, gives it to

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him immediately, gives him a gun, immediately tells them exactly

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where to go and what not to do and what

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to do, and I mean he lays it out.

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Speaker 1: He's kind of their hero at that moment.

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Speaker 2: Absolutely, he saves He saves them and then comes to

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see them and saves them again. I mean, he's taking

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care of them. He's doing everything he can to protect

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them for what he sees to be the bad guy,

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so that by the time the end is there and

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you see him stick the gun in that guy's face.

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I don't remember if they touched on this, but I

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think in the book it talks about he always carried

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an unloaded gun. Okay, so he's sticking the gun in

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the clerk's face, but we know it's unloaded. But then

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the clerk's gun is loaded, right, So he's bleeding out

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and he decides I'm going to go all the way

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and commits suicide.

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Speaker 1: Do it for Johnny Man, do it for Johnny.

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Speaker 2: Yep.

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Speaker 1: By the way, I told you this yesterday.

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Speaker 2: Yeah.

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Speaker 1: I had a great time going around Tulsa finding all

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these spots. And some of them you can find on Google.

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Some of them you can't. Some of them if you

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kind of look around, you might be able to figure

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it out. The spot where the fountain is is very recognizable.

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You can see that the girls brother's house, it's a landmark.

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You can find that easily. But the place where Dally

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gets shot and killed, I walked around and I started

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to look at my phone try to figure out. Okay,

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that tree is there, and that thing's there. Okay, there's

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that fence right there. And I figured it out, and

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I was standing in the spot. I'm like, go there,

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it is right there. And Dolly was shot and killed right.

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Speaker 2: That you showed me that picture. I'm like, this is

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what the guys see as they're running screaming now towards him. Right,

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and he goes rolling down the hill.

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Speaker 1: Crutchfield Park tells, Okloma.

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Speaker 2: Yeah, all right, you're ready to move on to Rumblefish. Yes,

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now we get a lot of crossover here, a lot

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of crossing. We obviously have Diane Lane still in it.

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We've obviously got Matt Dillon still in it. I mentioned

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already that Glenn Withrow is both you know, he slash

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Mont Dyer's Tim Shepherd or whatever his name is, right,

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and is also Biff in the rumble scene and Rumblefish.

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But we've got some new people. We got mister Mickey

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Rourke who you mentioned audition for The Outsiders didn't get apart,

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but Francis was taken with his audition. Okay, let's just

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take a step back and think about our origin story here. Yes,

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he decides to shoot Rumblefish while he's shooting the Outsiders,

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like he was unfamiliar, right, And he literally like gets

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the recommendation from Matt Dillon and s he Hinton. He

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reads the book and it captivates him so much that

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he literally the words fly off the page as he

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sits down to write the script for this thing. And

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just a few weeks after they are finished filming The Outsiders,

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they start filming Rumblefish, and they've got to go through

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all of the casting process. But he said, at this time,

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with these young actors, he felt like one of the

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old directors who had just like their arsenal of actors

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that always were willing to work with him. And he

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said it was this really great moment where he was

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just like he didn't have to go call the casting

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director and this person in the studio and that person

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and the agents and all this other stuff. He just

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called these guys back up and was like, Hey, I

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got this other movie. I'd love you to be in it.

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Would you like to come? And because he's Francis Ford Coppola,

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they were like, yes, yes. And so you've got Mickey

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Rourke who had auditioned. You've got Matt Dylan and Diane Lane,

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and then you got Dennis Hopper who was in Apocalypse Now.

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I mean, he was an icon at the time. He

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was very into his intoxication at the time as well,

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h which was also a problem with Apocalypse Now. And

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Francis Ford Coppolo would be like he He's like, I

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love him. I loved Dennis Hoprat's why I want him

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in this movie. But his indulgence at the time was

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extreme and it would be difficult. And so what I

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did to deal with that is that whenever it was

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time for him to shoot his scenes, I would go

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to my trailer and watch it from a video screen

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and I would not be in the same place as him,

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and he would get mad and he would come pound

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on my door. But that was how I dealt with

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him being intoxicated all of the time.

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Speaker 1: Wow, you know he originally wanted for that role to

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Jack Nicholson.

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Speaker 2: Well, there you go, and the other guy from Easy Writer, right.

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Speaker 1: Yep, there you go.

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Speaker 2: Yep.

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Speaker 1: By the way, Mickey Rourke. Yeah, when you watch Rumblefish,

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he's so quiet and like reserved.

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Speaker 2: Yeah, he doesn't.

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Speaker 1: Raise his voice at all. And he's supposed to be

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like the coolest guy alive, right, right, he's supposed to

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be James Dean on steroids.

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Speaker 2: Right.

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Speaker 1: Well, the guys who were in charge of like the

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sound kept asking him to speak up, dude, speak up,

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and so their nickname for this movie Mumblefish.

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Speaker 2: Well, they had this idea that he was kind of

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the philosopher king, and so they changed his hair. They

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wanted to make him look like a French philosopher, so

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they picked Camu as their French philosopher to go with. Okay,

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and so his haircut and his cigarette, the way he

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held a cigarette and all that stuff. That was all

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this idea of him being philosophical and intelligent, kind of

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the opposite of Rusty James.

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Speaker 1: By the way, Mickey Rourke decided, I'm going to play

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this role as if I'm an actor who no longer

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finds my work interesting.

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Speaker 2: Yeah, okay, it's interesting. So here here was his acting technique, right, Yeah,

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a couple of talks about this. He's like, so every

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day he would show up to set, to the set

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and he would have a new little talisman, a new

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little fidget spinner, nick knack, whatever you want to know, Okay,

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some sort of something right, something new right. And he said,

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what Mickey would do is he would take this thing,

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he would look at it at the beginning of the day,

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he would look at it, and then he would stick

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it in his pocket and for the entire scene, every

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time he was in a scene, he would spend the

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entire scene thinking only about that talisman. And so that's

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how you get this kind of distracted thousand yard stare,

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I'm pondering the mysteries of the universe. It was he

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gave himself something to think about other than what was

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going on in the scene. And it really created. I mean,

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I love this performance in this I mean you can

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call him mumblefish or you can you can call it

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whatever you want, but I love it. I mean, he's

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he is perfect as the guy who has led the brigade,

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only to realize I've got nowhere to go. Yeah, and

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that's where he is.

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Speaker 1: That's the whole point of the movie, right, right, I'm leading,

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I'm leading the pied Piper and where am I going?

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Everybody's following me, but where am I going?

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Speaker 2: Right? And he doesn't know the answer to that.

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Speaker 1: Right, Okay, by the way, Yeah, Mickey Rourke goes on

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to do Nine and a half Weeks. He does a

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great movie speaking about Man exactly right, Vicki Vale. He

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does a very controversial movie in eighty seven with Lisa

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Bonet called Angel Heart. Remember that right, got her fired

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from the Cosby Show.

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Speaker 2: Cosby girls do not show their nipples.

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Speaker 1: That's true. And then later on don't forget In Iron

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Man two, he plays whiplash.

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Speaker 2: And if you want to talk about it, I mean

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he's still quiet and contemplative and smoking his cigarettes, but

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he doesn't talk like this anymore. I'm like, whoa, how

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is that that same voice? What happened. Too many cigarettes.

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CHEMU what are you doing here?

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Speaker 1: That's right by the way. Francis Ford Coppola invited Tom

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Cruise to be involved in Rumblefish as well. Okay, and

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Tom Cruise was like, listen, I know I told you

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that whatever you said, I was there. He goes, but

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I'm doing this thing called risky business and I can't

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get out of it.

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Speaker 2: We're gonna be covering that movie soon.

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Speaker 1: Good call.

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Speaker 2: Yeah, yeah, that was a great movie. Yeah, maybe the

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eighty three trio. I love it. Okay. We've talked about

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Nicholas Cage in this yep, now interesting part in this movie.

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There are a lot of kind of key ingredients that

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you don't even realize how important a character he's going

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to be in this movie until the end, right, And

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there's a lot of key ingredients to what happens that

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we're all Nick Cage's ideas. So I'm excited to tell

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you about that. Come back there. And then we haven't

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talked about pre Footloose mister Chris Pinn.

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Speaker 1: Oh yeah, I forgot Chris Pinn.

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Speaker 2: Yeah yeah, So Chris Pin Sean Pinn's brother who's in

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Reservoir Dogs, who's in footloose pale rider.

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Speaker 1: Yeah.

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Speaker 2: Yeah, he is this over the top and again one

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of is very maybe his first this may be his

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first movie, I don't remember, but he's this over the

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top member of Rusty James's gang. He's entertaining in this.

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I don't know how to describe him other than that

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she does he plays the part that he needs to

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play perfectly well.

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Speaker 1: He does a great job.

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Speaker 2: And then we get another guy that we've seen before

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in Apocalypse Now, mister Larry Lawrence Fishburn.

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Speaker 1: Lawrence Fishburn.

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Speaker 2: Yeah, Larry Fishburn is his credit in this particular movie.

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He wasn't in the script. This again was just one

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of those Hey, I really like working with Larry. Let

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me give him a call and see what he's got

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going on. And he's he calls him up, and the

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character's name is Midget, and he's kind of just this

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apparitional angel. I mean, he's he's real, but he just floats.

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Speaker 1: Around like he's always around. Yeah, before you leave, Larry Fishburn, Yeah,

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go ahead.

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Speaker 2: Yeah.

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Speaker 1: He goes on to do the Matrix. When Francis Pooracoppola

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called him, he said, listen, it's just a small part,

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but we'll figure out something cool for you to do.

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Just come out, come out to Tulsa, and you can

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make it your own and we'll find something creative to

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do with it. And he said he was like a

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son to me, so I wanted him around.

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Speaker 2: Yeah.

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Speaker 1: I love the kind of familiar atmosphere that he's got,

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so sure for sure.

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Speaker 2: So we got another carry over from the Outsiders, mister

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William Smith, who you and I were talking about him.

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I was like, man, I saw the cop in Rumblefish,

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and I was like, I think that's the same guy

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as store clerk and the Outsiders, And I was like,

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I know that guy's face. Where do I know that

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guy's face? I had to look him up, and he

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was Filo Betto's friend but competitor in any which way

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you can.

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Speaker 1: That's exactly right.

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Speaker 2: Oh my gosh, it's been too long since I've seen

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that movie.

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Speaker 1: I love those movies. Yeah, I would love to talk

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about those movies someway too.

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Speaker 3: Right.

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Speaker 2: That was like my dad's favorite actor growing up was

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always Clint Eastwood, so I'm very familiar with Left Turn Clyde.

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I haven't seen those movies in decades, and I would

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love to go revisit them. We need to do every

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which wave but loose any which way you can, and

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maybe we'll compare them to Dirty Harry. I don't know.

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Speaker 1: Oh that'd be so much fun. Yeah, one other little

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side note, I just want to toss in here. Yeah, you

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know they say Rusty James over fifty times in.

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Speaker 2: It was noticeable. It was noticeable. I was like, it's

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a little excessive here.

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Speaker 1: I don't call you James D every four seconds.

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Speaker 2: Right right? Well, yeah, yeah, there are some people like that.

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A lot of people do call me d Grapes. They

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do give me the full name. I don't know why

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it is. He's don't know if you got to give

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me a full name. Let's go with the Graves. So

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we as you mentioned, Tom Waits is also in this movie.

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He was he was the kind of the club owner

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and the outsiders and he is the pool room owner

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and rumblefish. And then there's a small part the Blackpool

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player who was like, you will never be the motorcycle

294
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boy talking to Rusty James, Right, you'll never be him.

295
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You just it's just not ever gonna happen. That's an

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actor named Herb Bryce. He was also an Apocalypse Now

297
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also one of those guys that Francis Coppola just called

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up and said, Hey, we're doing this movie. Come over,

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let's figure out something to do with you. Just loved him,

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wanted me to be there.

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Speaker 1: That's fantastic.

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Speaker 2: Yeah.

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Speaker 1: By the way, we talked about it before. And I

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don't know his name, but Bob from Batman is one

305
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of the thugs in Rubblefish.

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Speaker 2: That's right, That is right, Bob from Batman.

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Speaker 1: He's uh, what's his name? In City Slickers in he's

308
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one of those that guy, you know, he's just kind

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of that guy in a lot of.

310
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Speaker 2: Movies kind of Yeah, he is kind of that, Yeah,

311
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that guy who's always the cookie, the.

312
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Speaker 1: Chef, Cookie, the chef. That's exactly right. I'd love to

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talk about City Slickers one of these days.

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Speaker 2: Oh and by the way, one one other person that's

315
00:14:28,080 --> 00:14:30,679
in both movies that we didn't mention, is he hitting Yeah,

316
00:14:30,720 --> 00:14:32,840
that's right. So the author of the book, you know,

317
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she's very involved with production of the movies. In The Outsider,

318
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she is the nurse who is trying to help Dally

319
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as he's just being a.

320
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Speaker 1: Total jerk turd to her.

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Speaker 2: Yeah, yeah, absolute turd. And then in Rumblefish, she's the hooker.

322
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Speaker 1: She's the prostitute.

323
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Speaker 2: She is the hooker, and she is flirting with Matt

324
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Dillon and she is flirting with Steve, who's played by

325
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Vincent Spano.

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Speaker 1: Yeah, that's right.

327
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Speaker 2: Vincent Spano was in a lot. He's been in a

328
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ton of stuff. But Nick Cage at the time was blonde.

329
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Had to dye his hair black. Vincent Spano has black hair.

330
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He had to dye his hair blonde. And then one

331
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other person who just has kind of a unique part,

332
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the heroin Addict, former girlfriend of Motorcycle Boy is oh

333
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a girl named Diane Scarwood and her character's name is Cassandra.

334
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And I'm just gonna say that, I'll throw this out

335
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there because it's you know, why not be why not

336
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be that guy? So there's this scene where Dennis Hopper,

337
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Mickey Rourke, Matt Dillon are all in the apartment and

338
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they're goofing and stealing liquor bottles and horse around with

339
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each other. This was all improv like Francis Pourcoppola encouraged

340
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them to try to get familiar with each other in

341
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this way. And this scene, Matt Dylon Rusty James starts

342
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talking about this girl Cassandra and he's like, ah, she

343
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says she's not hooked, but I think she's hooked. And

344
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Dennis Hopper, being the genius that he is, Greek's got him.

345
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And he's Russey James like what and he says, he's like,

346
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the Greek's got him. Yeah. Cassandra is a key character

347
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in Greek mythology. She was a trojan Trojan princess who

348
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Apollo fell in love with. This is I've got to

349
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give this to you because I these are the holes

350
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that I go down. Right. Apollo falls in love with

351
00:16:23,759 --> 00:16:27,720
his Trojan princess, you know, sister to Paris and Hector

352
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and all those folks anyway, and promises her divinity if

353
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she does some you know, favors some things, some things sure,

354
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and she's like, yeah, okay, I'll do that. And so

355
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he gives her divinity and then she says, Okay, I'm

356
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not really going to do that. And so her curse

357
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that he gives her because he couldn't take her divinity

358
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away was that she would always be able to predict

359
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the future, but no one would ever believe her. Uh.

360
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Speaker 1: Interesting.

361
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Speaker 2: So just something to kind of swim around in your

362
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head as you're thinking about how that Rumblefish plays out,

363
00:16:58,559 --> 00:17:01,919
because I feel like it's connected and maybe it's just

364
00:17:02,039 --> 00:17:04,799
Dennis Hoopper being Dennis Hopper and being awesome, But Mickey

365
00:17:04,880 --> 00:17:06,799
Rourke was right on it and knew what was going on.

366
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Speaker 1: There's so many layers rumblfish. I would not put that

367
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past anyone.

368
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Speaker 2: Yeah, so how much does this movie, like did you

369
00:17:13,960 --> 00:17:17,079
identify with, Like, did you think the outsiders? Yeah, like,

370
00:17:17,160 --> 00:17:21,759
I know guys like this. I was in this group.

371
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I was in this group. I was watching these groups

372
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from outside.

373
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Speaker 1: Well identified a lot.

374
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Speaker 2: Yeah.

375
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Speaker 1: The group that I'm most involved with is the south

376
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Side socials.

377
00:17:31,880 --> 00:17:32,319
Speaker 2: Yeah.

378
00:17:32,400 --> 00:17:34,200
Speaker 1: So I did go to a south Side high school.

379
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Speaker 2: Uh huh.

380
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Speaker 1: That's you know, very affluent, right and preppy even yeah,

381
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with money and so my running crowd were the Socials

382
00:17:42,680 --> 00:17:43,079
for sure.

383
00:17:43,200 --> 00:17:46,880
Speaker 2: So jinks, jinks. I went to a smaller school, like

384
00:17:47,240 --> 00:17:51,559
and so it was it was basically saysus and cowboys basically,

385
00:17:52,519 --> 00:17:57,200
but the bigger schools in the town were north Side

386
00:17:57,440 --> 00:18:00,759
and south Side, and it was south Side again that

387
00:18:01,079 --> 00:18:04,799
was more affluent than the north Side. Uh huh. Yeah.

388
00:18:05,480 --> 00:18:07,400
Speaker 1: You know the interesting thing about my school and I

389
00:18:07,440 --> 00:18:09,799
don't I don't want to get into my personal stuff

390
00:18:09,839 --> 00:18:14,000
too much. But Jinks is split by the Arkansas River.

391
00:18:14,920 --> 00:18:17,759
But that's the river that Rusty James is trying to

392
00:18:17,759 --> 00:18:21,240
get those fish into, right, is that's the Arkansas River, Right.

393
00:18:21,400 --> 00:18:23,599
I crossed that river every single day. I went high

394
00:18:23,599 --> 00:18:24,519
school there and back.

395
00:18:24,720 --> 00:18:27,519
Speaker 2: Yep, so I live. I live next to the Arkansas

396
00:18:27,599 --> 00:18:31,279
River in an entirely different place. I was in Fort Smith. Yeah, yeah,

397
00:18:31,279 --> 00:18:34,480
it says, yeah river, Arkansas River flowed right by the town,

398
00:18:34,559 --> 00:18:37,480
right in between you know, us and Oklahoma. Really there

399
00:18:37,519 --> 00:18:40,480
you go. So was there anything about Rumblefish that you

400
00:18:40,519 --> 00:18:44,319
were like, oh yeah, okay, yeah, I remember something like

401
00:18:44,359 --> 00:18:47,160
that as a kid, not as much, not as much

402
00:18:47,880 --> 00:18:51,400
both teen movies, right, sure, but you definitely have what

403
00:18:51,519 --> 00:18:53,839
was kind of the t were the tropes of teen

404
00:18:54,400 --> 00:18:58,480
movies back in the eighties, especially right, but with Rumblefish

405
00:18:58,559 --> 00:19:02,480
you still had some stuff that for me, as you know,

406
00:19:02,559 --> 00:19:05,759
a small town kid, I was like, oh, yeah, there's

407
00:19:05,799 --> 00:19:08,559
the pool room. Like everybody always went and played pool

408
00:19:08,559 --> 00:19:10,640
at the pool room. That was where we hung out

409
00:19:10,839 --> 00:19:13,599
right right. You know, somebody would be playing music on

410
00:19:13,640 --> 00:19:16,519
the jukebox, we'd be talking very much like daised and

411
00:19:16,519 --> 00:19:21,519
confused pool video games foosball. That's what we did. And

412
00:19:21,559 --> 00:19:23,839
then there was a part and Koppla talked about this

413
00:19:23,920 --> 00:19:27,319
as well, where they're under the bridge. It's after they've

414
00:19:27,319 --> 00:19:29,640
been mugged by Bob and the guy with the pro

415
00:19:29,759 --> 00:19:32,799
bar or whatever, right right, and they're under the bridge.

416
00:19:32,839 --> 00:19:35,559
And he talked about how when you're a kid, you

417
00:19:35,720 --> 00:19:38,079
just try to kind of find places to go that

418
00:19:38,160 --> 00:19:40,960
are your places and are secret and mysterious, and he

419
00:19:40,960 --> 00:19:43,359
says a lot of times for a kid that is

420
00:19:43,480 --> 00:19:47,200
a bridge sure totally hit home for me. It was

421
00:19:47,200 --> 00:19:51,519
the bridge that went over the Arkansas River. Like there's

422
00:19:50,519 --> 00:19:55,559
a huge bridge that goes that crosses the border between

423
00:19:55,839 --> 00:20:00,039
Arkansas and Oklahoma. And when I was a teenager and

424
00:20:00,039 --> 00:20:03,599
and running around and getting into mischief, at some point

425
00:20:03,720 --> 00:20:05,720
I was under the bridge and I looked up and

426
00:20:05,759 --> 00:20:08,720
I'm like, there's a ladder, and I realized that the

427
00:20:08,799 --> 00:20:12,960
ladder went up to this crawl space that was literally

428
00:20:13,119 --> 00:20:16,759
under the bridge. And I realized I can crawl all

429
00:20:16,839 --> 00:20:20,039
the way from Arkansas to Oklahoma on my hands and

430
00:20:20,119 --> 00:20:23,440
knees going underneath this bridge. And that's exactly what I did.

431
00:20:23,519 --> 00:20:25,240
And then I started bringing friends there. I'm like, guys,

432
00:20:25,240 --> 00:20:25,960
you got to see.

433
00:20:25,759 --> 00:20:28,279
Speaker 1: This, So that's awesome.

434
00:20:28,359 --> 00:20:31,640
Speaker 2: Yeah, that is the beauty about these two movies. As

435
00:20:31,720 --> 00:20:35,160
polar opposites, you still look at them and you go, yeah,

436
00:20:35,279 --> 00:20:38,000
that's like it was sure I was a kid, right, sure,

437
00:20:38,119 --> 00:20:41,240
or if you're a kid, yeah that is me that

438
00:20:41,680 --> 00:20:44,279
And I think that's why all of those kids had

439
00:20:44,279 --> 00:20:47,599
such a strong identification with the outsiders, so much so

440
00:20:47,839 --> 00:20:50,920
that they were like, hey, mister Koppla, will you please

441
00:20:50,920 --> 00:20:52,000
make this into a movie?

442
00:20:52,160 --> 00:20:55,880
Speaker 1: Sure? Yeah, I got one last Arkansas River story for you. Okay,

443
00:20:56,200 --> 00:21:00,559
last day of seventh grade. Okay, nineteen eighty six. I

444
00:21:00,599 --> 00:21:03,000
still remember I had Van Halen fifty one fifty in

445
00:21:03,000 --> 00:21:06,720
my walkman. Okay, we're crossing the river on my you know,

446
00:21:06,920 --> 00:21:09,640
the yellow school bus. Yeah, not the short one, the

447
00:21:09,720 --> 00:21:13,559
long one. And we decide that the funniest thing ever

448
00:21:13,599 --> 00:21:15,559
would be if we all threw all of our papers

449
00:21:15,599 --> 00:21:18,039
out of the window at the same time and like

450
00:21:18,319 --> 00:21:21,200
the entire school and it just caught fire like that bus.

451
00:21:21,240 --> 00:21:22,839
We saw that bus doing it, so we did it

452
00:21:22,880 --> 00:21:25,960
the next bus. We dumped so much paper into the

453
00:21:26,039 --> 00:21:27,039
Arkansas River.

454
00:21:29,160 --> 00:21:32,559
Speaker 2: Now, the other thing, the other thing that hit home

455
00:21:32,599 --> 00:21:34,839
for me, would not have hit home for me as

456
00:21:34,880 --> 00:21:38,359
a teenager but as a now in my forties year

457
00:21:38,400 --> 00:21:42,039
old man. Was the speech that Tom Waits gives as

458
00:21:42,079 --> 00:21:45,960
Benny in Rumblefish Okay, where he's talking, he's cleaning up glasses,

459
00:21:46,000 --> 00:21:48,599
he's cleaning up the bar, and Bennie's billiards right right,

460
00:21:48,720 --> 00:21:52,079
And it's this kind of weird angled shot from the

461
00:21:52,119 --> 00:21:55,160
ceiling where you, as he's talking, you're looking kind of

462
00:21:55,200 --> 00:21:58,599
down over the top of his head and you have

463
00:21:58,680 --> 00:22:01,640
a very big space and the picture that's taken up

464
00:22:01,680 --> 00:22:04,640
by this clock where it's got this scrolling kind of

465
00:22:04,759 --> 00:22:09,039
menu and specials thing. And he's talking about how when

466
00:22:09,039 --> 00:22:12,240
you're young, you can lose a year or two and

467
00:22:12,319 --> 00:22:14,680
it doesn't make any difference. But at some point, and

468
00:22:14,839 --> 00:22:17,160
he says the line, he's like, at some point you

469
00:22:17,240 --> 00:22:19,559
realize you've only got thirty five summers left.

470
00:22:19,680 --> 00:22:21,119
Speaker 1: Yeah, imagine that.

471
00:22:21,079 --> 00:22:23,720
Speaker 2: Thirty five summers. And I thought about it for a second.

472
00:22:23,759 --> 00:22:26,119
I'm like, I don't think I have thirty five summers.

473
00:22:27,200 --> 00:22:30,119
And that's the key kind of clincher for this teen

474
00:22:30,240 --> 00:22:33,319
movie is it's all about time, right, And so if

475
00:22:33,400 --> 00:22:35,920
you if you watch with that in mind, you will

476
00:22:35,920 --> 00:22:40,359
see clocks everywhere. They are everywhere all over the place.

477
00:22:40,680 --> 00:22:43,680
And what's looming, right, I haven't. I'm giving you my

478
00:22:43,680 --> 00:22:46,799
own interpretation of this. But what's looming in this movie

479
00:22:47,000 --> 00:22:50,160
is that cop. Right, the cop has it out for

480
00:22:50,799 --> 00:22:53,680
Motorcycle Boy, he writes, and we know how the movie ends,

481
00:22:53,839 --> 00:22:56,680
so we know it's coming. And it's as though Rusty

482
00:22:56,799 --> 00:22:59,799
James knows that that's what's coming as well. And he's

483
00:22:59,880 --> 00:23:02,119
the little brother who got left alone, which is as

484
00:23:02,160 --> 00:23:04,480
a little brother, that's the terrifying thing.

485
00:23:04,599 --> 00:23:04,839
Speaker 4: You know.

486
00:23:05,359 --> 00:23:08,400
Speaker 2: I felt like Francis Ford Copla did about his older brother.

487
00:23:08,440 --> 00:23:10,559
I feel that way about my brother, like he was

488
00:23:10,799 --> 00:23:13,440
the first and best teacher I had, right, and when

489
00:23:13,440 --> 00:23:16,440
he's gone, when he's missing, that's troubling to me. And

490
00:23:16,480 --> 00:23:20,240
so you've got this scene where the cop walks up

491
00:23:20,680 --> 00:23:25,160
to Motorcycle Boy and Rusty James inserts himself in between

492
00:23:25,200 --> 00:23:29,759
those two, protecting his brother from death. The cop has

493
00:23:29,799 --> 00:23:32,599
got to be death right right. They are standing in

494
00:23:32,640 --> 00:23:34,519
front of a gigantic cluck.

495
00:23:34,640 --> 00:23:36,480
Speaker 1: It's a huge clock with.

496
00:23:36,440 --> 00:23:40,759
Speaker 2: No hands on it. It is fantastic. I mean, Francis

497
00:23:40,759 --> 00:23:44,920
Ford Coppola in this movie, and Rumblefish is definitely tapping

498
00:23:44,960 --> 00:23:48,799
into the art film, into the existentialist style of the

499
00:23:48,880 --> 00:23:51,839
Germans that he loved, you know ing bar Bergmann and

500
00:23:51,880 --> 00:23:53,680
all these other You have these, you have the time

501
00:23:53,720 --> 00:23:56,400
last photography. You have the black and white. He even

502
00:23:56,440 --> 00:23:59,039
painted shadows on things to give it the right feel.

503
00:23:59,240 --> 00:24:01,559
And the only things that you have in color are

504
00:24:01,599 --> 00:24:02,920
the fish, the rumblefish.

505
00:24:03,000 --> 00:24:05,720
Speaker 1: Right, Okay, I'm dying to talk about that. Yeah, this

506
00:24:05,839 --> 00:24:06,640
is a black.

507
00:24:06,400 --> 00:24:07,359
Speaker 2: And white movie.

508
00:24:07,559 --> 00:24:10,640
Speaker 1: And keep in mind this is nineteen eighty three. You

509
00:24:10,720 --> 00:24:15,640
can't computer color stuff. The only thing in color are

510
00:24:15,640 --> 00:24:16,160
the fish.

511
00:24:16,400 --> 00:24:16,640
Speaker 2: Right.

512
00:24:16,759 --> 00:24:20,799
Speaker 1: That was a stunning visual for me. Right, it's like

513
00:24:21,119 --> 00:24:23,240
have you ever seen the movie Pleasant Bill? Yeah, it's

514
00:24:23,319 --> 00:24:24,680
sort of similar type of feels.

515
00:24:24,759 --> 00:24:26,960
Speaker 2: Yeah, well, it's not done with the computer at that time.

516
00:24:27,319 --> 00:24:29,920
They just filmed it in color and then did an

517
00:24:29,960 --> 00:24:32,759
overlay so that only the fish would be in color.

518
00:24:33,079 --> 00:24:36,279
One other part is when Russey James realizes he will

519
00:24:36,279 --> 00:24:38,839
never achieve his dream, which is to be his older brother,

520
00:24:38,920 --> 00:24:41,799
to become his older brother. He will never achieve it.

521
00:24:42,160 --> 00:24:46,279
He just watched him die. He does this last ditch

522
00:24:46,359 --> 00:24:49,559
effort to kind of finish his mission of putting the

523
00:24:49,640 --> 00:24:53,559
rumblefish in the river. So kill each other, right, maybe

524
00:24:53,559 --> 00:24:55,880
they won't kill each other, and then he gets arrested.

525
00:24:55,920 --> 00:24:58,759
And when you see him getting arrested, you see him

526
00:24:58,799 --> 00:25:02,680
look at himself in the reflection of the cop car

527
00:25:02,880 --> 00:25:04,480
window and he's in color.

528
00:25:04,640 --> 00:25:07,440
Speaker 1: It's awesome. It's awesome.

529
00:25:07,680 --> 00:25:10,359
Speaker 2: There's a lot going on, and I'm really disappointed that

530
00:25:10,440 --> 00:25:12,960
Rumblefish wasn't better received than it was.

531
00:25:13,279 --> 00:25:15,720
Speaker 1: You know, and Copla when he's doing his commentary, he

532
00:25:15,759 --> 00:25:18,680
can't really understand it because he's like, I just don't

533
00:25:18,720 --> 00:25:22,759
really get it. And I saw a guy. You know,

534
00:25:23,319 --> 00:25:27,279
Copola is a wonderful artist, but this guy said he

535
00:25:27,319 --> 00:25:32,359
had the financial sense of a newt Right. But this

536
00:25:33,079 --> 00:25:36,240
movie is so interesting. If you haven't seen it recently,

537
00:25:36,279 --> 00:25:38,279
you really owe it to yourself to give it a rewatch.

538
00:25:38,359 --> 00:25:40,480
Speaker 2: Yeah, and I don't think I've mentioned this yet, but

539
00:25:40,799 --> 00:25:42,640
this is one of those movies that I'm like, well,

540
00:25:42,720 --> 00:25:44,680
actually I haven't seen that movie. And he's like, watch,

541
00:25:44,759 --> 00:25:47,839
you haven't seen The Outsiders, right, Yeah. Before we did this,

542
00:25:48,039 --> 00:25:51,480
I had not seen The Outsiders. I had not seen Rumblefish.

543
00:25:51,559 --> 00:25:55,319
So I literally got to watch these movies back to back,

544
00:25:55,599 --> 00:25:58,480
back to back a few days apart, and they are

545
00:25:59,119 --> 00:26:03,839
so very different experience, and I don't know as a

546
00:26:03,920 --> 00:26:06,279
teenager in the eighties, I probably would have been like

547
00:26:06,319 --> 00:26:10,079
everybody else. I been like Outsiders is great. Rumblefish weird

548
00:26:10,799 --> 00:26:14,400
right now as a man who's watched a bunch of

549
00:26:14,480 --> 00:26:17,880
movies and has some more mature taste, I don't want

550
00:26:17,880 --> 00:26:20,160
to tip my hand here, but Rumblefish is definitely a

551
00:26:20,200 --> 00:26:22,880
movie that you, guys, if you haven't seen it, please

552
00:26:22,920 --> 00:26:23,359
go watch.

553
00:26:24,279 --> 00:26:28,880
Speaker 1: I could call that, by the way, I haven't said yet. Hey,

554
00:26:28,920 --> 00:26:30,920
by the way that Okay, there's one thing I really

555
00:26:30,920 --> 00:26:34,839
want to talk about with you in pertaining to Rumblefish,

556
00:26:35,039 --> 00:26:38,960
the out of body experience that Rusty James has. Okay,

557
00:26:39,039 --> 00:26:42,079
I know that practically speaking, they had to make a

558
00:26:42,079 --> 00:26:44,079
body mold for Matt Dillon and it was kind of

559
00:26:44,160 --> 00:26:48,160
uncomfortably couldn't move around, and they actually had to use

560
00:26:48,200 --> 00:26:50,640
a crane to kind of move him around. And it

561
00:26:50,680 --> 00:26:54,880
looks really cool, and I think Bram Stoker's Dracula again,

562
00:26:54,960 --> 00:26:58,839
Francis Farcoppola, right, it's a practical effect and he's moving

563
00:26:58,920 --> 00:27:05,720
around hovery and sort of out of body experience. Yeah,

564
00:27:05,759 --> 00:27:07,640
what did you think about that scene?

565
00:27:07,759 --> 00:27:13,400
Speaker 2: Well, what I thought was he is envisioning his death,

566
00:27:13,519 --> 00:27:16,759
like everyone wants their death. To be. When he goes

567
00:27:16,880 --> 00:27:20,880
by the house that his girlfriend and her little sister,

568
00:27:21,200 --> 00:27:24,599
they're balling their eyes out right, they're hysterical with grief

569
00:27:24,920 --> 00:27:27,680
right when he goes and he and he goes past

570
00:27:28,200 --> 00:27:30,920
the pool and by the way side note he also

571
00:27:31,000 --> 00:27:33,720
continues to lie to her at that point. He did

572
00:27:33,759 --> 00:27:37,400
not screw around with the other girl and smokes a cigarette.

573
00:27:37,640 --> 00:27:39,920
That's some funny stuff right there. But anyway, and then

574
00:27:39,920 --> 00:27:43,559
he goes to the pool room and all of his friends,

575
00:27:43,599 --> 00:27:47,559
all of his friends are like raising a toast, you know,

576
00:27:47,640 --> 00:27:50,519
it was an honor to know you. Kind of situation.

577
00:27:50,960 --> 00:27:54,440
Did I think he was dead? Yeah? But I started going,

578
00:27:55,920 --> 00:27:58,279
is this is just his dream of what death would

579
00:27:58,319 --> 00:27:59,720
be like? This isn't actually it?

580
00:28:00,240 --> 00:28:02,759
Speaker 1: So I read some stuff. A lot of people had

581
00:28:02,880 --> 00:28:06,119
trouble with that particular scene, and for me, it works.

582
00:28:06,599 --> 00:28:09,880
It works in the movie. The movie is just weird

583
00:28:10,000 --> 00:28:13,079
enough that it pulls off all these things. But it's

584
00:28:13,119 --> 00:28:16,599
consistent because when he's in his high school shop class,

585
00:28:16,839 --> 00:28:21,759
he's daydreaming about his girlfriend and she's in lingerie on

586
00:28:21,880 --> 00:28:23,880
top of the bookshelves.

587
00:28:23,200 --> 00:28:25,279
Speaker 2: With a clock behind her, by the way, with the clock.

588
00:28:25,079 --> 00:28:28,279
Speaker 1: Behind her, and so there are some sort of in

589
00:28:28,359 --> 00:28:30,359
and out imaginary things that happen.

590
00:28:30,720 --> 00:28:33,039
Speaker 2: It's interesting because they don't give you a clear transition,

591
00:28:33,720 --> 00:28:37,319
Like you are watching stuff where he's in class and

592
00:28:37,480 --> 00:28:39,480
is looking at her, and so you're like, you know,

593
00:28:39,599 --> 00:28:41,559
this is a dream. She's not going to really be

594
00:28:41,640 --> 00:28:45,359
in a bikini or in lingerie on the top shelf

595
00:28:45,400 --> 00:28:47,640
in the classroom, right, And then he goes back to

596
00:28:47,720 --> 00:28:50,480
him as he's kind of in this fever from being slashed,

597
00:28:50,960 --> 00:28:53,240
and then he goes back again. He's in shop class

598
00:28:53,279 --> 00:28:55,599
and you see her in the clock is spinning, and

599
00:28:55,640 --> 00:28:59,240
then all of a sudden he's talking to her outside

600
00:28:59,240 --> 00:29:01,599
of her house, helping with the groceries out of the trunk,

601
00:29:01,640 --> 00:29:05,720
and you're like, is this another dream? Right? Oh wait, no,

602
00:29:05,880 --> 00:29:08,920
this is it And there's no clear cut Hey, okay,

603
00:29:08,960 --> 00:29:11,880
we're back to reality now. It's just they kind of

604
00:29:11,880 --> 00:29:14,519
mix it in and I'm like, okay, I guess we

605
00:29:14,680 --> 00:29:17,359
just got better. And that's it. You don't really have

606
00:29:17,400 --> 00:29:19,200
any more on it. Hi.

607
00:29:19,319 --> 00:29:22,039
Speaker 4: I'm Daton, the host of the docum based seventy seven podcast.

608
00:29:22,279 --> 00:29:25,799
We talk about everything from Anthrax to the Muppets to

609
00:29:26,160 --> 00:29:27,039
West Side Story.

610
00:29:28,079 --> 00:29:30,400
Speaker 1: All right, boys, buckle up, because we have hit the

611
00:29:30,440 --> 00:29:34,960
bottom of the barrel because he slaughters all the Tusken Raiders.

612
00:29:35,400 --> 00:29:37,559
The fact that she stays by his side, that that

613
00:29:37,599 --> 00:29:39,119
tells me everything I need to do about these women

614
00:29:39,160 --> 00:29:41,000
that write letters to serial killers in prison.

615
00:29:41,160 --> 00:29:43,240
Speaker 2: You know, it makes it made sense.

616
00:29:43,480 --> 00:29:48,319
Speaker 1: You know, MOPy Young Sad always dumped Tim.

617
00:29:48,599 --> 00:29:49,720
Speaker 2: That was the theme song.

618
00:29:49,839 --> 00:29:50,160
Speaker 3: You know.

619
00:29:52,319 --> 00:29:54,359
Speaker 2: When you listen, Tim, did you have the volume on?

620
00:29:58,279 --> 00:30:00,920
The witches are definitely much more nightmare fuel. But the

621
00:30:00,920 --> 00:30:05,640
fact that they look like the Texas Chainsaw centerfolds.

622
00:30:06,319 --> 00:30:09,000
Speaker 4: If Jango fet is so awesome, he's hired to be cloned,

623
00:30:09,039 --> 00:30:11,680
Why the hell isn't he doing the job? You like,

624
00:30:12,000 --> 00:30:14,599
Mike Client's getting impatient, Well, then what your slack ass mother?

625
00:30:14,640 --> 00:30:15,400
Speaker 1: Why don't you do it?

626
00:30:15,440 --> 00:30:19,039
Speaker 4: You know you just check us out on Apple podcast,

627
00:30:19,279 --> 00:30:23,119
good Pods, pod Beam, or wherever you get your podcasts.

628
00:30:24,839 --> 00:30:28,119
Speaker 2: One other thing we've talked several times now about the

629
00:30:28,119 --> 00:30:31,240
fact that you have gone to these different places, both

630
00:30:31,240 --> 00:30:35,079
in Rumblefish and in The Outsiders. There was a place

631
00:30:35,400 --> 00:30:39,079
that was very cool looking in Rumblefish, okay that you

632
00:30:39,119 --> 00:30:42,079
will not be able to find okay because they completely

633
00:30:42,119 --> 00:30:44,960
created it. But it was still in Tulsa. Yeah, it's

634
00:30:45,000 --> 00:30:47,839
the fair. Yeah. So when they go to the black

635
00:30:47,880 --> 00:30:52,000
neighborhood where everybody is having a fantastic time, I mean,

636
00:30:52,079 --> 00:30:54,079
it looks awesome. It looks great, Like I want to

637
00:30:54,119 --> 00:30:56,880
go hang out there and listen to Queen Eye to

638
00:30:56,960 --> 00:31:00,799
sing the blues and drink beer and playpool, listen to

639
00:31:01,160 --> 00:31:05,240
you know, guys playing guitar, and it was awesome. It

640
00:31:05,400 --> 00:31:10,720
was completely created for the movie at an abandoned alleyway

641
00:31:10,920 --> 00:31:16,039
and area of Tulsa, Oklahoma. Yeah, video arcade, right, he's

642
00:31:16,039 --> 00:31:18,079
playing the video arcade. That's the other thing about this,

643
00:31:18,480 --> 00:31:21,720
Like The Outsiders, it it takes place in the sixties

644
00:31:21,799 --> 00:31:24,759
and looks like it could be very well in the eighties.

645
00:31:25,200 --> 00:31:28,279
And this movie looks like it's taking place in the sixties.

646
00:31:28,400 --> 00:31:33,920
But video games, magazines, cars all giveaway this is the eighties. Yep.

647
00:31:33,960 --> 00:31:35,799
Speaker 1: Hey, one of the things I wanted to talk to

648
00:31:35,920 --> 00:31:38,279
you about this is a conversation I had with our

649
00:31:38,279 --> 00:31:42,480
buddy Jeff Johnson. Okay, the score and music for both

650
00:31:42,519 --> 00:31:45,200
of these Now for me, you have that the Stevie

651
00:31:45,240 --> 00:31:48,119
Wonder song at the beginning of Outsiders, yep, which is

652
00:31:48,559 --> 00:31:50,400
very after school special.

653
00:31:50,720 --> 00:31:51,200
Speaker 2: Yeah.

654
00:31:51,440 --> 00:31:54,960
Speaker 1: I'm not a fan at all of that right, And

655
00:31:55,079 --> 00:31:57,599
I know you and I talked. I said, you know,

656
00:31:57,759 --> 00:32:00,640
there's this sort of over the top score. It really

657
00:32:00,680 --> 00:32:02,440
adds a lot of cheese to it.

658
00:32:02,559 --> 00:32:03,160
Speaker 2: It's wrong.

659
00:32:03,279 --> 00:32:04,279
Speaker 1: We didn't like it at all.

660
00:32:04,599 --> 00:32:06,480
Speaker 2: Carmine Coppola, Yes.

661
00:32:06,440 --> 00:32:08,000
Speaker 1: His dad did the music for it.

662
00:32:08,119 --> 00:32:10,759
Speaker 2: So now this guy, I mean, he was a very

663
00:32:10,799 --> 00:32:13,839
well known composer, had done a ton of work before this,

664
00:32:14,440 --> 00:32:17,880
Francis Ford coupla. Once he had it and had heard

665
00:32:17,920 --> 00:32:21,240
the score, he was like, I don't really think this

666
00:32:21,400 --> 00:32:23,880
is right for this movie, but I don't have the

667
00:32:23,920 --> 00:32:26,240
courage to tell my dad that. So he just went

668
00:32:26,279 --> 00:32:28,000
with He just went with it. And so when they

669
00:32:28,039 --> 00:32:31,359
did the DVD re release where they added scenes that

670
00:32:31,400 --> 00:32:34,960
had been cut, added the trial scene that we talked about, he,

671
00:32:35,400 --> 00:32:37,279
I mean, his dad had passed away at that point.

672
00:32:37,359 --> 00:32:39,599
He's like, well, I'm a little free now to do

673
00:32:39,680 --> 00:32:41,759
more of what I want. And so, as I understand,

674
00:32:41,839 --> 00:32:43,640
I haven't seen it, but they like they put more

675
00:32:43,680 --> 00:32:46,319
sixties songs in there and made it more of a

676
00:32:47,039 --> 00:32:48,839
sixties feel popular.

677
00:32:48,880 --> 00:32:50,400
Speaker 1: Okay, sound so listen to this.

678
00:32:50,519 --> 00:32:50,920
Speaker 2: Yeah.

679
00:32:50,960 --> 00:32:53,160
Speaker 1: So you and I had a conversation a couple of

680
00:32:53,240 --> 00:32:56,559
days ago, and we're like, the score it's it's way

681
00:32:56,599 --> 00:33:00,880
too much after school special. It's too much. Copla didn't

682
00:33:00,960 --> 00:33:03,039
like it. His dad did it. He was in a pinch.

683
00:33:03,119 --> 00:33:05,880
We get it, okay, But you and I had talked

684
00:33:05,960 --> 00:33:08,640
him basically agreed that if they had dropped that and

685
00:33:08,880 --> 00:33:12,160
plugged in some rock and roll, sixties era rock and roll,

686
00:33:12,559 --> 00:33:16,079
it really jazzed up and make it feel better. So

687
00:33:16,119 --> 00:33:18,720
I talked to Jeff Johnson and I called him up,

688
00:33:18,720 --> 00:33:21,720
and he loves The Outsiders, and he asked me, he said,

689
00:33:21,720 --> 00:33:25,640
have you seen the complete novel version of The Outsiders?

690
00:33:26,279 --> 00:33:28,240
And I said, well, no, I'm watching the one on

691
00:33:28,359 --> 00:33:32,480
HBO Max. And he's like, whatever you do, don't waste

692
00:33:32,519 --> 00:33:36,839
your time with the new complete volume. Really, and his

693
00:33:36,920 --> 00:33:40,519
complaint was the music, really, And I said, what are

694
00:33:40,519 --> 00:33:43,359
you talking about. He's like, they took out that score

695
00:33:43,559 --> 00:33:46,920
and they like ram rock and roll down your throat,

696
00:33:47,200 --> 00:33:49,920
like sixties era rock, and I'm like, are you kidding?

697
00:33:50,319 --> 00:33:55,440
So anyway, he was very, very firm that Copola's score

698
00:33:55,720 --> 00:33:59,279
was better than the rock that they added. So I

699
00:33:59,359 --> 00:34:02,519
think that's interesting because we had said that's how to

700
00:34:02,519 --> 00:34:03,079
make it better.

701
00:34:03,319 --> 00:34:05,160
Speaker 2: Yeah, that's crazy interesting.

702
00:34:05,680 --> 00:34:09,119
Speaker 1: By the way. One more thing, yeah, the music for Rumblefish.

703
00:34:09,239 --> 00:34:10,800
Speaker 2: Yeah, this is good is.

704
00:34:10,719 --> 00:34:14,760
Speaker 1: Done by our main man, Stuart Copeland of the Police.

705
00:34:15,079 --> 00:34:18,440
Speaker 2: Yeah, so here's the thing. We get to Rumblefish and

706
00:34:18,480 --> 00:34:21,119
he's like, Dad's not going to score this one. He

707
00:34:21,239 --> 00:34:23,800
was actually going to try to score it himself. He

708
00:34:23,880 --> 00:34:27,239
had gotten together and he again the key, like the

709
00:34:27,239 --> 00:34:30,320
theme word for this is time. So what else are

710
00:34:30,320 --> 00:34:32,159
you going to do? But you're gonna have a metronome

711
00:34:32,400 --> 00:34:35,800
beaten out of very clear time signature, right, And they

712
00:34:35,880 --> 00:34:39,400
based their rhythm around a clock. And so he's kind

713
00:34:39,400 --> 00:34:42,880
of got this idea. He knew of Stuart Copeland with

714
00:34:42,920 --> 00:34:45,239
his work with the Police, and he said he was

715
00:34:45,400 --> 00:34:50,360
so precise, he was so mathematically precise with his rhythm.

716
00:34:50,639 --> 00:34:54,079
He asked him to do the drums for this movie.

717
00:34:54,480 --> 00:34:57,280
And so he gives them this music that he's kind

718
00:34:57,280 --> 00:34:59,960
of worked up and Stuart Copeland starts playing with it,

719
00:35:00,039 --> 00:35:02,320
and then Stuart Copeland comes to him and says, how

720
00:35:02,320 --> 00:35:04,400
would you feel if I did the whole score? And

721
00:35:04,519 --> 00:35:07,960
so he said it wasn't strikingly different from what he

722
00:35:08,000 --> 00:35:10,079
had come up with. It was still very similar, but

723
00:35:10,159 --> 00:35:13,880
it was better for sure what Stuart Copeland had done.

724
00:35:13,960 --> 00:35:16,239
And this is a big deal because at that point

725
00:35:16,320 --> 00:35:19,119
he's just the drummer for the police, which is not insignificant,

726
00:35:19,320 --> 00:35:23,199
but he goes on to become a substantial film composer

727
00:35:23,239 --> 00:35:23,599
after this.

728
00:35:23,960 --> 00:35:26,639
Speaker 1: Yeah, so besides putting Sting in a headlock, he can

729
00:35:26,679 --> 00:35:29,519
actually compose the stuff for movies.

730
00:35:29,679 --> 00:35:35,320
Speaker 2: Right. One other thing on the sound note is sound designer,

731
00:35:35,599 --> 00:35:38,679
and this is an interesting story as well. So Richard

732
00:35:38,920 --> 00:35:43,559
Beggs is the sound designer for Rumblefishka And there was

733
00:35:43,599 --> 00:35:47,199
something going on with the union with the sound editors union.

734
00:35:47,559 --> 00:35:50,960
Speaker 1: And they the sound editors have a union, yes, sound editors.

735
00:35:51,199 --> 00:35:54,239
Speaker 2: So there's the sound editors have a union and they

736
00:35:54,760 --> 00:35:58,639
for some reason they couldn't they wouldn't let Richard Baggs

737
00:35:58,679 --> 00:36:02,440
be a sound editor on this movie, okay. And they're like, well,

738
00:36:02,559 --> 00:36:04,480
you know, we really need him, we really want him.

739
00:36:04,480 --> 00:36:07,079
What can we do? And they're like, listen, you can

740
00:36:07,199 --> 00:36:10,639
use him, but you just you can't use editor in

741
00:36:10,679 --> 00:36:13,400
the title. You can use him for something else, but

742
00:36:13,440 --> 00:36:16,639
you just can't call him an editor, okay. And so

743
00:36:16,679 --> 00:36:19,360
they're like, so could we call him a designer? And

744
00:36:19,920 --> 00:36:22,559
at this stage in history, we've heard sound designer a

745
00:36:22,679 --> 00:36:26,880
million times. This is where it started. They couldn't call

746
00:36:27,400 --> 00:36:30,119
Richard Beggs a sound editor, so they came up with

747
00:36:30,159 --> 00:36:33,559
the term sound designer. And now that is what you

748
00:36:33,719 --> 00:36:36,199
aspire to if you are a sound editor, now to

749
00:36:36,239 --> 00:36:40,519
be a sound designer. But on that note, Fristopher Coppola

750
00:36:40,559 --> 00:36:45,000
had bought this really expensive projector, and so the scene

751
00:36:45,000 --> 00:36:48,119
with Bob and the guy with the crowbar, there's this

752
00:36:48,159 --> 00:36:50,199
moment where the guy with the crowbar comes up and

753
00:36:50,400 --> 00:36:54,320
wax Rusty James wax Matt Dillon in the head. And

754
00:36:54,360 --> 00:36:58,440
so when he was doing the scene, he had this projector,

755
00:36:58,480 --> 00:37:02,039
this very very expensive projector that he had gotten, showing

756
00:37:02,440 --> 00:37:07,119
the scene as it was being shot. And like he said,

757
00:37:07,239 --> 00:37:10,239
they're out in the city and all these bums and

758
00:37:10,840 --> 00:37:15,039
criminals are wandering over and they're watching this big projector

759
00:37:15,159 --> 00:37:17,000
of him getting hit in the head with a crowbar,

760
00:37:17,480 --> 00:37:22,559
and after each take they'd be like no, no, not

761
00:37:22,679 --> 00:37:27,199
real no no, and so he's like, really, it's like okay.

762
00:37:27,239 --> 00:37:30,119
So it goes back and they do like nineteen takes

763
00:37:30,159 --> 00:37:32,719
and every single time these guys are like, no, not realistic,

764
00:37:32,880 --> 00:37:36,960
no no. And so then he realizes He's like, there's

765
00:37:37,000 --> 00:37:40,360
no sound. You don't have the sound of the crowbar

766
00:37:40,440 --> 00:37:42,920
hitting because he's not really hitting him with his head sure,

767
00:37:42,960 --> 00:37:46,480
and he's like, so he has bags throw the sound

768
00:37:46,519 --> 00:37:48,239
in and they're like, yep, that's it.

769
00:37:47,920 --> 00:37:48,199
Speaker 1: That's it.

770
00:37:48,920 --> 00:37:51,639
Speaker 2: He ends up using his third take, after nineteen takes

771
00:37:51,679 --> 00:37:53,440
of hitting Matt Dillan over the head of the crowbar.

772
00:37:54,119 --> 00:37:55,320
He uses the third take.

773
00:37:55,599 --> 00:38:00,320
Speaker 1: Nice that is locationally deep in downtown Tulsa. Yeah, between

774
00:38:00,639 --> 00:38:01,320
big buildings.

775
00:38:01,360 --> 00:38:03,159
Speaker 2: I'm glad I get to experience that in a Dinify.

776
00:38:03,239 --> 00:38:05,360
Speaker 1: That was a fun conversation we had. Yes, I got

777
00:38:05,400 --> 00:38:09,079
something for you on this. Okay. During The Outsiders, Francis

778
00:38:09,119 --> 00:38:13,440
port Coppola did want to set up some animosity between

779
00:38:13,440 --> 00:38:16,320
the group of actors who were the Sosias and the

780
00:38:16,360 --> 00:38:19,079
group of actors who were Greasers, and he did it

781
00:38:19,199 --> 00:38:22,920
several different ways. Okay, for the Sosias, they got a

782
00:38:23,559 --> 00:38:27,280
like a leather bound, really nice copy of the script,

783
00:38:27,480 --> 00:38:31,119
and the Greasers got like punch holed, laminated, you know,

784
00:38:31,280 --> 00:38:32,679
crappy version of the script.

785
00:38:32,800 --> 00:38:33,719
Speaker 2: Uh huh. See.

786
00:38:33,760 --> 00:38:37,079
Speaker 1: Thomas hal talks about how one day they decided, okay, guys,

787
00:38:37,079 --> 00:38:40,239
we're all gonna go play football. Here's your sweatpants and

788
00:38:40,559 --> 00:38:43,159
a black T shirt that says greasers across the front

789
00:38:43,159 --> 00:38:46,440
of it, and then he gave like a matching high

790
00:38:46,519 --> 00:38:51,199
dollar jumpsuit and really nice shoes to the Sosias. And

791
00:38:51,239 --> 00:38:54,199
when the Greasers and Soshas squared out on this little

792
00:38:54,400 --> 00:38:57,280
game of football, see Thomas, How's like, we were intent

793
00:38:57,360 --> 00:39:00,320
on kicking the crap out of them, and he's on

794
00:39:00,360 --> 00:39:04,679
that day we lit them up nice. Rob Loo said

795
00:39:04,679 --> 00:39:08,199
that one night Francis fot Coppola came to him and said, hey,

796
00:39:08,280 --> 00:39:11,119
how about you and Cruz go sleeping over at a

797
00:39:11,159 --> 00:39:14,280
greaser's house. And they're like, what what do you what

798
00:39:14,760 --> 00:39:16,559
are you talking about? And he's like, yeah, there's this

799
00:39:16,599 --> 00:39:20,920
guy who was a greaser. Go spend the night at

800
00:39:20,920 --> 00:39:23,880
his house. And so Roblo and Tom Cruise went over

801
00:39:23,960 --> 00:39:26,159
this guy's house. They ended up sleeping in the basement.

802
00:39:26,400 --> 00:39:28,400
But they're just young kids and they're down there like,

803
00:39:28,480 --> 00:39:31,039
we don't we don't know these people, what are we

804
00:39:31,159 --> 00:39:34,719
doing here? So Copla did all kinds of stuff like

805
00:39:34,760 --> 00:39:37,239
that to them. I also heard the actress talk one

806
00:39:37,239 --> 00:39:40,480
of the benefits for being cast in this movie. Yeah,

807
00:39:40,519 --> 00:39:41,639
all the beer they could drink.

808
00:39:42,079 --> 00:39:43,719
Speaker 2: Oh nice, it's teenager.

809
00:39:43,800 --> 00:39:46,599
Speaker 1: They just kind of kept the beer flowing for teenage boys.

810
00:39:48,280 --> 00:39:50,880
Speaker 2: Well that's all right, yeah, that's I mean. Yeah, my

811
00:39:50,960 --> 00:39:53,039
sister in love mentioned there was a lot of barbecue

812
00:39:53,079 --> 00:39:54,119
and a lot of partying going on.

813
00:39:54,400 --> 00:39:58,159
Speaker 1: Yeah. Tom Cruise came back through Tulsa several years later,

814
00:39:58,239 --> 00:40:01,639
like this is in the nine or something. Yeah, and

815
00:40:01,679 --> 00:40:03,880
he ran into one of the girls who said, I

816
00:40:03,960 --> 00:40:06,119
worked at the hotel when you guys stayed here for

817
00:40:06,159 --> 00:40:08,760
the Outsiders. The first words he said to her was,

818
00:40:09,039 --> 00:40:14,840
I am sorry. Yeah, yeah, because they did all kinds

819
00:40:14,840 --> 00:40:18,559
of I mean shenanigans in the hotel teenage boys.

820
00:40:18,760 --> 00:40:21,760
Speaker 2: Yeah, I've got three of them right now. I know

821
00:40:21,800 --> 00:40:22,960
how shenanigans can go.

822
00:40:23,239 --> 00:40:26,239
Speaker 1: Apparently in the hotel lobby there was a fountain where

823
00:40:26,280 --> 00:40:28,480
they re enacted the drowning scene.

824
00:40:28,599 --> 00:40:34,079
Speaker 2: Yeah. Yeah, that's hysterical. Okay, So one last thing talking

825
00:40:34,119 --> 00:40:36,800
about the end of Rumblefish, and I mentioned in our

826
00:40:36,880 --> 00:40:41,280
last episode that Nick Cage in his debut role that

827
00:40:41,599 --> 00:40:44,199
you know, you think he's a sideman until the very end,

828
00:40:44,840 --> 00:40:49,199
when you know Patty and Rusty James have broken up, right,

829
00:40:49,400 --> 00:40:52,000
and then Rusty James of course he's back in the

830
00:40:52,039 --> 00:40:56,840
pool hall. He's playing pool and Patty shows up. Oh

831
00:40:56,920 --> 00:41:00,920
my holy did she look good?

832
00:41:01,639 --> 00:41:03,960
Speaker 1: Hey, Diane Lane is a beautiful woman.

833
00:41:04,199 --> 00:41:08,079
Speaker 2: Yeah, And he thinks she's there to see him, and

834
00:41:08,159 --> 00:41:12,599
she's not. She's there to see Nick Cage. Yep, the

835
00:41:12,599 --> 00:41:16,679
wild deuce is the heir apparent. Now we know that,

836
00:41:17,440 --> 00:41:19,760
we know that Rusty James is not going to be

837
00:41:19,800 --> 00:41:23,880
the one that takes over for his brother, and so

838
00:41:23,880 --> 00:41:26,519
so Nick Cage sits down and he starts flirting with her,

839
00:41:26,559 --> 00:41:30,559
and they've obviously developed this relationship. And you realize Nick

840
00:41:30,559 --> 00:41:32,760
Cage's character is the one who set.

841
00:41:32,639 --> 00:41:35,280
Speaker 1: Him up, and you've fractured the party.

842
00:41:35,119 --> 00:41:38,639
Speaker 2: Right, manufactured the party where Russy James has the affair

843
00:41:39,280 --> 00:41:42,159
and then tells her about it or gets word to

844
00:41:42,199 --> 00:41:43,920
her about it, so that she's got a reason to

845
00:41:44,000 --> 00:41:46,440
leave him, and then he can slip in, just like

846
00:41:46,519 --> 00:41:50,280
Machiavelli here, slip into the king's throne.

847
00:41:50,400 --> 00:41:51,320
Speaker 1: Right, sure enough.

848
00:41:51,639 --> 00:41:53,880
Speaker 2: So he's doing these little flirtatious things and like giving

849
00:41:54,000 --> 00:41:56,000
he's like giving her a locket with a picture of

850
00:41:56,079 --> 00:41:59,519
him as a baby in it. That's Nick Cage's idea, right,

851
00:42:00,159 --> 00:42:02,159
Like all of these little flirty things that he's doing

852
00:42:02,239 --> 00:42:06,800
all Nick Cage's idea. And then Coppola has this moment

853
00:42:06,840 --> 00:42:10,679
that he was excited about, right where Russy James keeps

854
00:42:10,719 --> 00:42:12,800
asking him to step outside, step outside, and you think

855
00:42:12,800 --> 00:42:15,000
it's going to be a fight. And then they go

856
00:42:15,039 --> 00:42:18,039
out and discuss and Russy James realizes that he's been

857
00:42:18,079 --> 00:42:22,679
set up, but is like, admires the tenacity and the

858
00:42:22,800 --> 00:42:25,840
gumption of this guy. And so there's this moment where

859
00:42:25,920 --> 00:42:29,679
he hands over the pool cue as though he's handing

860
00:42:29,800 --> 00:42:33,599
over the throne to this new guy, right, and then

861
00:42:33,679 --> 00:42:36,880
Nick Cage decides to drop it, and that's why it

862
00:42:36,880 --> 00:42:39,559
gets dropped. It was it was like, I don't need

863
00:42:39,599 --> 00:42:42,280
your pool queue. I did this on my own. You're

864
00:42:42,320 --> 00:42:44,760
not giving me something. I took it from you. So

865
00:42:44,840 --> 00:42:48,800
he took Coupla's idea and took it a level up.

866
00:42:48,960 --> 00:42:51,360
Speaker 1: That's cool. I like that, yeah, yeah.

867
00:42:51,400 --> 00:42:53,119
Speaker 2: And then one last hipbit, This is the last tibbit

868
00:42:53,199 --> 00:42:56,239
I have. Also, Richard Beggs was trying to find this

869
00:42:56,480 --> 00:42:59,159
perfect sound for the fan that's going on in the

870
00:42:59,159 --> 00:43:01,800
pool room, and they you know, they're going through different

871
00:43:01,800 --> 00:43:03,480
fans and finally he's got the fan that he thinks

872
00:43:03,599 --> 00:43:06,719
is the right fan sound for an old, dusty pool room,

873
00:43:07,119 --> 00:43:11,000
and couples there and he's like, it doesn't sound gritty enough.

874
00:43:11,360 --> 00:43:14,239
And he's like, what does that mean. He's like, it

875
00:43:14,320 --> 00:43:17,320
just doesn't like, I don't think it sounds right for

876
00:43:17,679 --> 00:43:20,440
a downtown pool. It doesn't sound gritty enough. He's like,

877
00:43:20,480 --> 00:43:23,920
I don't even know. And couple goes, picks up the fan,

878
00:43:24,480 --> 00:43:28,079
slams it against the floor, picks it back up, turns

879
00:43:28,119 --> 00:43:30,679
it on. He's like, yeah, no, that's good.

880
00:43:31,360 --> 00:43:34,119
Speaker 1: That's good. By the way, I did try to go

881
00:43:34,199 --> 00:43:38,760
to the location of the pet store in Rumblefish. That

882
00:43:38,840 --> 00:43:42,559
building no longer exists, So there you go.

883
00:43:43,440 --> 00:43:44,199
Speaker 2: Pets are free.

884
00:43:45,320 --> 00:43:48,039
Speaker 1: Are we ready for final judgment?

885
00:43:48,159 --> 00:43:48,920
Speaker 2: The time is now?

886
00:43:49,119 --> 00:43:54,559
Speaker 1: That was then, this is now, right, let's do it.

887
00:43:54,639 --> 00:43:55,480
Speaker 2: Okay, you first?

888
00:43:55,840 --> 00:43:59,599
Speaker 1: Okay. So I did grow up having a relationship with

889
00:43:59,599 --> 00:44:04,280
the outs The cast is absolutely undeniable. I read the

890
00:44:04,320 --> 00:44:09,199
book growing up, so Outsiders had a way head start

891
00:44:09,280 --> 00:44:11,559
in my mind with these two movies. Now, I love

892
00:44:11,639 --> 00:44:17,840
both because I love my hometown. Rumblefish is different. It's odd,

893
00:44:18,639 --> 00:44:21,840
it's artistic, but man, I can't take my eyes off

894
00:44:21,840 --> 00:44:24,760
of it. Right, And they really are two sides to

895
00:44:24,880 --> 00:44:28,480
the same coin. I enjoyed the darkness and sort of

896
00:44:28,519 --> 00:44:32,480
the r ratedness of Rumblefish, but I just can't leave

897
00:44:32,599 --> 00:44:37,199
my first love. I have to stick with the outsiders.

898
00:44:38,199 --> 00:44:40,880
Speaker 2: Okay, So I didn't grow up with the outsiders. I

899
00:44:40,880 --> 00:44:42,800
mean I was familiar with it. I was not familiar

900
00:44:42,800 --> 00:44:45,400
with Rumblefish at all. I'd probably heard the name, but

901
00:44:45,440 --> 00:44:47,000
I couldn't have told you who was an it, or

902
00:44:47,320 --> 00:44:49,679
right that it came out the same year, that it

903
00:44:49,800 --> 00:44:53,280
was the same director, same writer, all of that stuff, right,

904
00:44:53,559 --> 00:44:57,400
And obviously I grew up with those guys, right Rob

905
00:44:57,440 --> 00:45:01,079
Love who did its swayzy? Right? When I saw it,

906
00:45:01,960 --> 00:45:05,840
I was surprised and I couldn't put the words to

907
00:45:05,880 --> 00:45:08,239
it of why, And I don't want to say it

908
00:45:08,280 --> 00:45:10,360
was disappointed, but I was just like, I was like,

909
00:45:10,719 --> 00:45:13,960
this is not what I expected. And then it was

910
00:45:14,039 --> 00:45:17,119
the soundtrack and I was like, why am I listening

911
00:45:17,159 --> 00:45:20,960
to this music with this It just doesn't They weren't.

912
00:45:21,480 --> 00:45:23,320
They didn't go together for me. So it made me

913
00:45:23,360 --> 00:45:26,000
feel good that when I read later on the phrases

914
00:45:26,320 --> 00:45:29,360
couple didn't like it either, right, and you told me, oh,

915
00:45:29,400 --> 00:45:32,159
it's his dad, but the words that you use where

916
00:45:32,199 --> 00:45:34,519
it's got this kind of after school special feel about it,

917
00:45:34,639 --> 00:45:37,199
and that's absolutely right, Like I was sitting there going,

918
00:45:37,480 --> 00:45:39,559
why does this feel like something I would watch on

919
00:45:39,679 --> 00:45:43,119
TV as opposed to a great movie by a great

920
00:45:43,119 --> 00:45:47,159
director of one of the most famous stories of all time.

921
00:45:47,400 --> 00:45:51,199
And then I watched Rumblefish. And with Rumblefish, I was

922
00:45:51,239 --> 00:45:53,360
still like I wasn't. I did not have the same

923
00:45:53,400 --> 00:45:57,360
feeling at all. But it's like you said, it's opposite

924
00:45:57,400 --> 00:46:01,320
sides of the same coin. Had you live tails? You right?

925
00:46:01,440 --> 00:46:03,719
I mean, we've got death in both of them, but

926
00:46:03,760 --> 00:46:07,320
one is inspirational and the other one is right. And

927
00:46:07,480 --> 00:46:11,920
so I don't know that I actually liked Rumblefish better,

928
00:46:12,039 --> 00:46:14,679
but I want to go watch it again. Yeah. I'm

929
00:46:14,719 --> 00:46:17,320
not a big I mean, I like more artistic films

930
00:46:17,360 --> 00:46:20,119
than a lot of people, but this was a very

931
00:46:20,679 --> 00:46:23,880
art film, kind of art film. I'm not big into

932
00:46:23,920 --> 00:46:29,719
the existentialist feel, okay, but what was going on made

933
00:46:29,760 --> 00:46:33,719
me think so much and made me go, what does

934
00:46:33,760 --> 00:46:36,000
this mean? What are they talking about? What's going on

935
00:46:36,320 --> 00:46:37,960
that I want to go back and watch it again?

936
00:46:38,519 --> 00:46:41,599
The Outsiders? Yeah, okay, I'll watch it with somebody again.

937
00:46:41,599 --> 00:46:43,440
I'll watch it with a kid again, because it's a

938
00:46:43,519 --> 00:46:44,079
kid movie.

939
00:46:44,920 --> 00:46:45,719
Speaker 1: It is a kid movie.

940
00:46:45,760 --> 00:46:47,840
Speaker 2: It's a kid movie. And so when I was watching

941
00:46:47,920 --> 00:46:50,119
it with Caleb and we get to the scene where

942
00:46:50,159 --> 00:46:53,360
pony Boy is crying and is upset and devastated at things,

943
00:46:53,599 --> 00:46:56,800
he was like, who is that actor? And I was like, oh,

944
00:46:56,880 --> 00:46:59,880
let's see Thomas Howell. He's like, well, what happened to him?

945
00:47:00,239 --> 00:47:05,599
He's fantastic, And I was like, well, of all of them,

946
00:47:05,760 --> 00:47:08,159
he's the guy who probably did the least well honestly.

947
00:47:08,320 --> 00:47:08,960
Speaker 1: Yeah.

948
00:47:09,000 --> 00:47:11,119
Speaker 2: So all that to say, if I'm going to watch

949
00:47:11,159 --> 00:47:13,440
a movie again, it's gonna be Rumblefish unless it's with

950
00:47:13,480 --> 00:47:15,239
my kids, and then it's going to be the Outsiders.

951
00:47:15,519 --> 00:47:20,840
I think as far as quality of acting goes, I

952
00:47:20,880 --> 00:47:26,960
pick the Outsiders. Okay, I think as far as interesting

953
00:47:27,119 --> 00:47:33,119
topic and ideas and themes and ideas of shots and

954
00:47:33,639 --> 00:47:36,519
film as a whole, I go Rumblefish.

955
00:47:36,679 --> 00:47:37,159
Speaker 1: Yeah.

956
00:47:37,199 --> 00:47:40,199
Speaker 2: So this is really a hard choice for me. Yeah,

957
00:47:40,760 --> 00:47:44,239
but you're right in the end, I'm picking Rumblefish over

958
00:47:44,280 --> 00:47:46,639
the Outsiders. If I got to walk out the door

959
00:47:46,679 --> 00:47:50,880
and grab a DVD just for myself, sure, just for myself.

960
00:47:50,920 --> 00:47:53,760
Speaker 1: Well, and like you said, you didn't see it way

961
00:47:53,800 --> 00:47:56,760
back when they're two different styles and I love both.

962
00:47:57,039 --> 00:48:01,159
Speaker 2: Yeah, I will tell you this Listening to Francis Ford

963
00:48:01,199 --> 00:48:05,599
Coppola talk about his love for Rumblefish is also something

964
00:48:05,960 --> 00:48:09,199
incredibly great to listen to. It is, it really is.

965
00:48:09,239 --> 00:48:13,239
He's got this really fantastic moment where he's talking about

966
00:48:13,239 --> 00:48:17,239
the great directors of the past, and he was talking

967
00:48:17,239 --> 00:48:19,159
about how when he was young he felt like he

968
00:48:19,199 --> 00:48:21,559
could do anything in any kind of movie, and that's

969
00:48:21,559 --> 00:48:23,440
why he did a musical right before he did these

970
00:48:23,440 --> 00:48:27,320
two movies. And he's like, and you know, theater is

971
00:48:27,360 --> 00:48:29,599
not that old. Like in the rules that we have

972
00:48:29,840 --> 00:48:34,239
in movies these days are all set by guys who

973
00:48:34,400 --> 00:48:36,360
had never done it before. It was just happening. I mean,

974
00:48:36,440 --> 00:48:39,159
it hasn't been around that long. So you should do

975
00:48:39,320 --> 00:48:41,679
artistic things, and you should experiment, and you should make

976
00:48:41,719 --> 00:48:44,679
your own rules. And then he's like, of course, that's

977
00:48:44,719 --> 00:48:46,039
what I did with this movie, and it was an

978
00:48:46,079 --> 00:48:49,360
absolute failure. It taut me to declare bankruptcy. So forget

979
00:48:49,440 --> 00:48:52,960
everything that I've said, forget that. Just pretend like you

980
00:48:53,039 --> 00:48:54,840
just you just skip this part the next time you

981
00:48:54,880 --> 00:48:55,719
watch the commentary.

982
00:48:56,639 --> 00:48:59,119
Speaker 1: Well, we hope you guys enjoyed this episode of The

983
00:48:59,159 --> 00:49:02,239
Outsiders Versus Rumblefish number one. We hope you'll go watch

984
00:49:02,360 --> 00:49:06,000
Rumblefish and sort of rediscover that classic. Well, d I'm

985
00:49:06,039 --> 00:49:11,280
excited about what we've got coming next week tell me so.

986
00:49:11,480 --> 00:49:14,079
Hopefully we'll have maybe a bonus episode or maybe let's

987
00:49:14,119 --> 00:49:16,840
sprinkling with Danny Boy O'Connor. That's gonna be really cool.

988
00:49:17,280 --> 00:49:19,800
But the music matchup that we've got coming down the

989
00:49:19,840 --> 00:49:24,320
pipe is from nineteen eighty three. We have Lionel Ritchie

990
00:49:24,599 --> 00:49:35,400
and his album Can't Slow Down.

991
00:49:30,880 --> 00:49:41,039
Speaker 3: That's a nuclear that's a big hitter.

992
00:49:41,239 --> 00:49:46,159
Speaker 1: Yeah, twenty million copies against Billy Joels An Innocent Man,

993
00:49:46,239 --> 00:49:47,519
also from eighty three.

994
00:49:47,599 --> 00:49:48,639
Speaker 2: That's too hard.

995
00:49:48,719 --> 00:49:52,079
Speaker 1: Those are some incredible albums from nineteen eighty three. Ball

996
00:49:52,199 --> 00:49:54,079
turning forty years old.

997
00:49:54,280 --> 00:49:56,480
Speaker 2: I feel like you chose this and threw this at me,

998
00:49:56,519 --> 00:49:58,679
and now I've got to pick between these two monsters.

999
00:49:58,840 --> 00:50:01,400
Speaker 1: Hey, it's gonna be a lo of fun to dive in.

1000
00:50:01,480 --> 00:50:03,679
Speaker 2: Well, at least be fun to listen to music. I'm excited.

1001
00:50:03,800 --> 00:50:05,440
Speaker 1: Let's do it. Stay gold, everybody,