Speaker 1: Hello everybody, and welcome to the Surely Can't Be Serious Podcast,
discussing and debating the iconic and the forgotten of eighties
and nineties pop culture.
Speaker 2: With your co hosts James D.
Speaker 1: Graves and Jason Colbn.
Speaker 3: Hey everybody, welcome back to the Surely You Can't Be
Serious Podcast.
Speaker 2: This is episode four.
Speaker 3: We are here to get our final thoughts on Back
to the Future versus Raiders of the Lost arc.
Speaker 4: Thanks for sticking around this whole time. Get at your
fedora and your bowlweb one last time.
Speaker 2: Episode four. Yeah, time to go back in time?
Speaker 4: Okay, to go back to Marty.
Speaker 3: I'm so Marty is his biggest fear of being erased
from existence? Kind of right? I Mean, what he's dealing
with is this idea of rejection and that he wants
to be somebody. But he's afraid of the rejection. But
there's still this idea that he wants to be a star.
He wants to be something more than the mcflies of
the past who never amounted to anything, right, And so
his big fear is being erased from existence. So what
does he do? How does he save himself? He doesn't,
And that's the beauty of this movie, and it's also
the beauty of Raiders of the Lost Arc, which we'll
talk about later. But in this movie, we have the
dad who's been the biggest dork for the entire time
who comes in and saves the day. And he doesn't
save Marty, he saves Lorraine. But in saving Lorraine, he
saves Marty.
Speaker 4: That's right, and that's what's that You're exactly right, and
that is that is so great? Yeah, because Lorraine's affections
have then turned from Marty to George.
Speaker 3: Right, which in the original course of history they were
with George. But why were they with George? She felt
sorry for him, She felt sorry for him. He was
a victim that she had the Florence Nightingale syndrome for right,
But now that changes. So this goes to another big
idea in the movie, destiny and transformation. What seemingly insignificant
events in our life have shaped the course of everything
that's happened to us.
Speaker 5: That was so stupid Grandpa hit him with the car.
Speaker 3: It was meant to be. And see, it's interesting that
she still falls for George, demonstrating that there is this
certain kind of destiny, but she falls in love with
him for a different reason. Now, it's not out of sympathy,
but because he has been her saving hero. I think
a man should be strong so he can stand up
fro himself and protect the.
Speaker 4: Woman he loves. He's heard density I mean is destiny. Okay,
So here's a couple of things that I want to
mention to you. Okay, Indy, this is back to the
moral ambiguity of Indiana Jones. He chooses the arc over
Marion at least twice in this movie Huge. Right before
he goes to the Will of Souls, he finds Marion alive.
She didn't blow up in the truck, all right. She's
tied up in a tent. When he finds her, she's
happy to see him. It's suck. I know where the
arc is. Marian looks here. Well, I'm coming with you, Jones.
Speaker 2: Get me out of here, coming here.
Speaker 3: I'll get you out of here. Now I'll start calling.
Speaker 4: The place for us. She could get me out of here,
come true, are right?
Speaker 3: I'm hate to do this.
Speaker 4: Still, that's going to be shot, leaving her in danger? Right,
going to get the arc?
Speaker 3: How bad is that? Really? If you just take a
little bit of time to think about what could have
happened as opposed to what does happen? I mean, Tote
shows up again. I mean talk about a guy who
kills every drinking game there is.
Speaker 4: He kills every conversation.
Speaker 3: I mean, gee, I'm always worried if I take a shot.
Is this crazy nazeing a show behind me? What's gonna
happen here?
Speaker 4: What shall we talk about it? We are not thirsty?
That guy was so good, Oh, he was so good.
Speaker 3: And it's here's another. Here's another another factor of the
of the Raiders movie that isn't on the perfection level.
He's balls right, but he's got a five o'clock shadow
on his head. How did that happen? I mean, just
you know, either put on a put on a prosthetic
or something, but just shaven. It's not gonna work out.
Speaker 4: When he was sweat off his head, You're like, dude,
just not shake your head anymore. So that's one part.
When Indy chooses the ark over Marion. Yes, later on,
it half happens after Andy chases down Marion on the submarine. Yes,
he lashes himself to the submarine with his whip to
the periscope.
Speaker 3: It's the only possible way that he could have done.
Speaker 4: It, which is not really seen in the movies.
Speaker 3: But it's not seen at all. Well I know, but.
Speaker 4: There's you can YouTube it. See Harrison Ford tied to
the periscope with his whip. They arrive at the island
where they're going to do the Jewish ceremony, that thing
Germans are uncomfortable with and open the arc. Right, So
they're walking through this canyon to the place where they're
going to do this, which is actually the same canyon
that Star Wars where the jahwas. Show up and look,
same canyon and Andy shows up there with a bazookah. Hello, right,
I'm gonna blow up the arc. But Bellock again is
one step ahead of him. He calls his bluff.
Speaker 3: Huh.
Speaker 4: He's all right, fine, you win. Blow it back to
God Indiana. We are simply passing through history. This this
is is three and it's impactful because why because archaeology
is the religion and Andy can't do it right. All
he wants is the.
Speaker 3: Girl, right, He says he doesn't care, he doesn't care
about the ark. He wants the girl. He's finally picking
the girl.
Speaker 4: Yep. But they say, well, yeah, go for it, go
for it. He says, I can't do it, so he
chooses the arc twice.
Speaker 3: Well, I'm going to say at that scene he really
had his I mean, he had his heart in the
right place, because I think if they would have let
Marian go that he would have walked away. I don't
think that he would continue to pursue the arc, although
that might have been an interesting way to take things
and see how they went.
Speaker 4: Sure what his escape plan was.
Speaker 3: Yeah, that begs the question on how the heck did
they get after the end of the movie back to
the United States.
Speaker 4: But anyway, that's right. Another improvection that we've talked about.
Speaker 3: I think that if they'd released her and he'd have
found a way to get out of there with her
and not the arc, that he would have left the
arc and let it go. But if he blows up
the arc, he kills her too, right, I mean, and
then he's alone, he's destroyed the arc and the girl.
Speaker 4: He gets nothing.
Speaker 3: That's no good. That's a terrible plan.
Speaker 4: Yeah, it really wasn't a good plan to begin not
a good plan at all, not to start off with. No,
when they're in the Will of the Souls, Bellock sees them,
they show up retake the arc. Yeah, toss Marian down
into the Will of Souls.
Speaker 3: Right, so he has it and then he loses it
again doctor Jones.
Speaker 4: Again we see that it's nothing you'll come possess, which
I kind of take away. So he and Marion figure
away to wiggle out of the Will of the Souls
that they've been looking for for three thousand years. But
it's parked right next to an airplane.
Speaker 3: Yeah, that's the most absurd, ridigulous scene ever.
Speaker 4: Like it's not even covered up.
Speaker 3: Well, he just pushes the rock out, right. I mean
it's literally like you didn't have to do all that digging.
You could have just moved a rock and gone through
some bad bodies. Yeah, yeah, what I mean, it's obviously
something important enough to have a guard guarding it.
Speaker 4: Let's talk about that for a sec ago. That is
a cutout fight scene. Indy escapes, pushes the rock out
of the Wall of the Souls, climbs out right.
Speaker 3: If you look, he was reborn, by the way, this
is that's his rebirth and it, boy, isn't it just
just look like a birth to see him squeeze out
of that little hole.
Speaker 4: He pops out of the hole and if you watch
the movie, there is no fight there, but there's a
guard who's down. As they run away, you can see
him knock down in the corner.
Speaker 3: So he's achieved what we thought was the ultimate goal
of the whole movie. They've found the arc, right, and
then the arc gets replaced with the girl. And it's
that big question again of which is more important to you, Andy,
is it the girl or the arc? And he goes
through everything, saves Mary and they get out. She saves him,
and does he just say Okay, I've got the girl
and move on and go home. No, he decides he's
still got to go chase after the arc. And, by golly,
as a viewer of this movie, thank you for doing that.
Because that scene, that action adventure scene that happens, Oh
my gosh, maybe best adventure scene ever, so good. The
scene where he slips falls behind the truck being dragged,
but not only holds on but climbs back up. I
mean I again, I'm gonna say arc gave him some
supernatural powers for a little while here, right, because there's
no way that any real human could have lived through
all of that. That's right, that's right. But he's got
this constant struggle of do I want the arc do
I want the girl? And I'm starting to believe that
maybe the arc has power of No, that's stilly religious
folklore stuff that messes everybody up. I'm not going to
believe that.
Speaker 4: During the truck scene. During the truck scene, yeah, which
you do have this big stunt thing where he goes
out the front window under or around the front of
the car, underneath the car, uses his whip, pulls back in,
retakes the truck. Before he retakes the truck, he gets
shot in the arm. Yes, And Harsonford does a great
job of selling this as pain, like serious pain, uh huh,
like one of the things that I love the movie
Beverly Hills Cop. Yeah, axle fully gets shot with the
three fifty seven five feet away, and he does feels
no pain the rest of the entire and he's making jokes.
And Indy gets shot and it grazes his arm and
it hurts right, all right, that's and I love that
about it.
Speaker 3: Yeah. So again, much like Indy, Marty has the same
experience where he thinks he's achieved his goal, but it
turns out it's not quite there. He's not quit there,
it's not quite there. So his dad has finally stood
up to the bully, right.
Speaker 5: I didn't know if he had an enemy's episode of
his life.
Speaker 4: Never?
Speaker 3: Okay, So his dad has got the rocks to stand
up to the bully. But will he let another bully
steal his dance? I mean, what's going on here? I'm
starting to get weak. I can't play the guitar anymore.
A hand that sort of looks like my hand is
disappearing in front of my face. That, by the way,
is one of the bad effects of this movie, is
maybe the only one. But as I found out later on,
it was because they wanted to release the movie earlier
than they had planned to release it. Like there are
some special effects that Bob Zemcha specifically said, I would
have much rather had a better effect here, but we
were so pressed for time we couldn't. And so you've
got this really bad disappearing hand that happened.
Speaker 4: Would you rather have, Eric Stoltz, would you rather have
a bad effect. I'll take the bad effect me too,
for sure. And this is you know, there's this classic
thing that used to happen in the very first theater
in the Greek theater that they called God from the machine.
And in Marty's case, the God from the machine is
his dad. It isn't him that saves the day. It's
his dad that saves the day by knocking out Biff.
And it's his dad that saves the day by throwing
the new Bully to the ground. So Dad again comes in,
saves the day, kisses the girl, and yes, this is it.
Well of the music swell. So this is again goes.
Speaker 3: To Alan Silvestri's amazing use of the theme music of
the movie and the actual music that you're listening to
that the characters can hear. You know, they're singing Earth Angel,
and you've got a four or five piece band doing
this Earth Angel. And then suddenly when that kiss happens,
it's an entire orchestra.
Speaker 4: Marty stands to attention and strum's or Earth Angel, and
here we go, My I have.
Speaker 3: Everything's okay, and everybody appears back on the picture and
it's beautiful again.
Speaker 4: Just now thinking about it.
Speaker 3: This moment, this is where we have the answer to
that question of are we destined to repeat our failures
or our successes of our parents? When he says, Jesus,
I sound just like my dad. It's his fear of rejection, right,
And so he sees his dad finally stand up to bith.
He sees his dad finally stand up to some other
bully and make this kiss happen. And you know what,
I am going to put myself out there, even though
I know I need to be at a time machine
and just a little bit of amount of time, I'm
gonna go ahead and play a song for these kids.
Speaker 5: All right, guys, I listening to blues Riff and Bee
watch me for the changes and try and keepop okay.
Speaker 3: But gosh, I'm so glad you did. Once again. I
am glad that you decided to press your time and
play that song, because at that moment, I was like,
this is the best movie I've ever seen.
Speaker 4: And Marty goes all the way too, Yeah, he goes
all the way. And then he goes.
Speaker 3: Full Eddie van Halen all the way in that song.
Who huh with the smashing of the guitars. Yes, he
does it all without fear of rejection, which is good
because that's exactly what he gets.
Speaker 4: That's right.
Speaker 3: But everybody's standing there looking at him and they're like,
what is going on here? But he takes it in
stride and keeps on yelling that's right.
Speaker 5: I can't guess you guys aren't ready for that yet,
but your kids are gonna love him.
Speaker 3: He is a changed man because of what he's seen
his dad do.
Speaker 4: Let's talk a little bit about Johnny be Good for
a second. Okay, were you familiar with the song before
you saw this movie?
Speaker 3: I could say I probably heard it, but wasn't impactful.
Speaker 4: Okay I wasn't either. But Chuck Berry was the one
who came up with Johnny be Good. Okay, Yes, Marvin
Barry is the leader of the band singing the High
School Earth Angel. Your cousin, Your cousin, Marvin Berry. So
that's a neat little thing right there. And I guess
I heard that the Chuck Berry at the last second
sort of had me convinced.
Speaker 3: Yeah, well he had to be paid. It was like, no,
you can't use me song. You know you can't use
me song? How about fifty thousand dollars? All right, you
can use myself. Okay, So let's come back to Indy
real quick.
Speaker 2: Okay.
Speaker 3: He's got this struggle that he's going through of do
I want the arc? Do I want the girl. But
the thing that kind of arcs the whole movie is
his doubt and unbelief, and Indy clings to his unbelief
even though we see the uncertainty behind his eyes. We
know that he was raised in church because he's like,
didn't you guys go to Sunday School? But then you
know and.
Speaker 4: We know doctor Jones later on in part.
Speaker 3: Three, right, and Bellock says, archaeology is our religion. Right,
And so Brody is trying to warn him and his
respect is, what are you trying to do? Scare me?
I don't believe in magic, a lot of superstitious hocus focus.
I'm going after a find of incredible historical significance, and
you're talking about the Boogeyman. That's what his struggle is
throughout the whole movie. But we see the power of
the arc. He doesn't even see it. He doesn't see
the Nazi symbol being burned on the box by the
power of the arc. But bit by bit we can
see that he's becoming aware of the power beyond its
mere historical importance.
Speaker 4: Yes, so let's talk about when they open the arc. Okay,
So Marion and Indy are captured after the Bozukah stand off.
Speaker 2: Right.
Speaker 4: Yes, they're taken to this place. They perform this giant ceremony.
They have German soldiers there, they have cameras there.
Speaker 3: Let's film this again. I'm gonna ask this question. Yes,
what does Indy do to save the day? Nothing, exactly,
It's exactly the same. You have God from the machine again,
and in this situation you've got actual God from the machine.
Speaker 4: I mean that's what it is.
Speaker 3: The Arc I mean is the machine and the power
of God then annihilates the enemy.
Speaker 4: This scene is so cool. This scene terrified me as
a kid. I know you and I have talked a
little bit about this. Yeah, it was. It scared me
to death. The music from John Williams makes it amazing. Yes,
but it's a slow burn too. First, because they take
the lid off the arc. They reach in, they pull
out and out of the sand, right, and it's sort
of this.
Speaker 3: And then laughing and they're laughing at God.
Speaker 4: Right.
Speaker 3: You know where that gets you?
Speaker 4: Oh yeah, so it's about to find out what happened
sand And then all of a sudden boom, there's like
clouds right, and then light righting from inside the arc
and it's like, oh my gosh, here we go. What's
going on?
Speaker 3: There's some beauty. Oh and we see beauty.
Speaker 4: When the spirits come out, they're beautiful, right, these angels
Angels slash Demons.
Speaker 3: Turns into Poltergeist all of a sudden, they're flying around
and it's still this slow burn.
Speaker 4: It's this majestic music, and they're kind of, you know,
creeping on these German soldiers and they're like, oh, what's
going on here? And then their face turns into like
a tiger, right, this monster ra it's like a skeleton
to me. Yeah, I mean horrific. It changes from a
beautiful woman to a.
Speaker 3: Monster, right, And their only response is to start screaming.
Speaker 4: And they and Tote is screaming his head off, and
Bellock is screaming his head off. And this is actually
where it almost got its r rating, when Bellock's head
actually explodes. The fire from the arc shoots and it's
sort of projecting out from his from his head, which
I want to mention for a second. He he is
Bellock is dressed as a high priest, right, a Jewish
hy Jewish high priest, which as a kid, I'm like, well,
he's kind of wearing some weird clothes. What's the wheel here?
He is dressed appropriately as a Jewish.
Speaker 3: High priest, and boy, that comes back to him for.
Speaker 4: Sure, that's exactly right. But right before that all happens
and he tells Marion, shut your eyes, Marion, don't look
at it, because he knows shut.
Speaker 3: The uncertainty that you've seen in his eyes is his unbelief,
you know, the hocus Pocus, the folklore when it gets
down to brass tacks and he says, close your eyes, Marian,
don't look because he knows what's coming.
Speaker 4: That's right. I think it's interesting. Did God spare Indian
Marian because they didn't look or because they weren't German?
Speaker 3: I'm going to say he spared them because they gave
him the respect that was due. Okay, the only two
who were saved were the two who dared not look
upon the glory of God. So my question on this,
and this is final big idea of Raiders is exploration
and the journey. So is it the goal? Is it
the arc or is it the journey that gives our
soul life? Because without the journey, Andy can't believe right
if he'd gotten the arc, right, after talking to Brody
right after leaving on the plane, he'd have been trying
to put it in a museum. But we go through
the journey that he has with Marian and has love
for her and the struggle with the ark and the
power that he starts to see and it's not in
his love for Marian, it's not in God. But why
does he believe he goes on this quest? He starts
off because it's for the history, right or maybe the money,
fortune and glory, fortune, glory. Yeah, the museum will pay
as usual, no questions asked. But there's something more to it. Yeah,
through this journey there is something more to it, and we.
Speaker 5: Trust you found the settlement satisfactory.
Speaker 4: Well, the money's fine, the situation is totally unaccepted. Well, gentlemen,
I guess that just about wraps it up.
Speaker 3: Where is the arc in the hands of top men?
Speaker 4: Who?
Speaker 3: Who top men? So it is to be hidden?
Speaker 4: We do actually see the arc again in Crystal Skull.
Speaker 3: I said that movie doesn't exist. I have not watched it.
Speaker 2: I refuse to watch it.
Speaker 3: That doesn't count.
Speaker 4: That's the only cool thing in Crystal Skull. When they
go to Area fifty one and they somebody smashes into
a box and you see the corner piece of the arc.
That's it. That's all the only redeeming value of Crystal Skull.
Speaker 3: Okay, as long as you've touched on it, I'm going
to throw this out. So we've talked about the mcguffin
for Raiders of the Lost Arc. Obviously is the arc, right, yes,
And then the mcguffin for Back to the Future is
the time Machine, which is made out of a DeLorean, right,
but it wasn't originally supposed to be a DeLorean.
Speaker 4: That is exactly what I was getting ready to say.
Speaker 3: The first idea that they have for it is it's
going to be a refrifrigerator, right, which is stupid. Of
course it's stupid. I mean, how if I learned anything
from Gi Joe, it is that you don't get into refrigerators, right, I.
Speaker 4: Mean, that's right, Thank you Gi Joe for PSA and
knowing is half the battle. But they wisely realized if
we put it in a refrigerator, how is he going
to get around?
Speaker 2: I mean, you have to have.
Speaker 3: Wheels, right, Well, Steven Spielberg is the one who said,
don't use a refrigerator. That's going to cause problems. We'll
have kids getting the refrigerators and be blamed. Then he
uses it in Crystal Skull, which again is a reason
that this movie doesn't exist for me.
Speaker 4: The nuclear blast and he's inside of a refrigerator and
he gets blown four miles and it doesn't hurt nearly
as bad as the time Marian punched him.
Speaker 3: Oh oh, or hit it with the mirror. My gosh,
that moment the huge did you say something that always
makes me laugh? Okay, So Indy has completed his journey
and we can see that there's some sort of redemption
because the final thing that he says is they don't
know what they've got there.
Speaker 4: But I know what I've got here.
Speaker 6: Right.
Speaker 4: And actually that scene with Indy and Marian walking out
and sort of walking down the steps, yes, that was
a last minute throw in, I think by George Lucas's wife.
So you have this the conclusion Indy and Marian chains
are burned off and they're released. God spared them. But anyway,
there was no conclusion with Marian, and so George Lucas's
wife was like, well, what happens to Marion when they're
the closing scene with Marion and they threw in that.
Speaker 3: Well that was good because it needed to be there.
Without that closing scene, you would have felt like you
didn't have closure right right, And then you have the
very unpleasant, you know, hiding of the arc again.
Speaker 4: Going in the giant warehouse with four billion boxes of
who knows what? Right which for me as a kid,
it stirred my imagination. Yeah, like what's in this place?
Speaker 2: Right right?
Speaker 4: What do they have?
Speaker 3: So back to the original idea, the way, hey refrigerator
is a time machine is a bad idea. We need
to do something else. Should we do a phone booth? Now,
let's leave that for Bill and Ted or doctor who
or whatever? And so how about we do a car?
And so they pick the car that is just this
cool car.
Speaker 4: Now, I'd love to own one one day. I would
love to pull up with my flex capacity or flexing.
Speaker 3: That would definitely have to have that and a mister.
Speaker 4: Fusion and definitely have to have the yes.
Speaker 3: So that is where we come back with Marty. Right,
Marty is on the road back. He's like, oh shoot,
I'm late for that one and only half second shot
to make it back home. Maybe I should have ended
that shredding a bit sooner, okay, And then we have
oh no, the cable broke and oh no, the car
won't start, and oh no, the cable broke again, and
oh no. Doc is stuck at the top of the
building and the boy, can you build some tension on
this thing?
Speaker 4: And this is my problem? So the tension level great, Yeah, drama,
great writing spectacular. I understand all that. Yeah, but Doc
makes it clear. Yeah, when that bell goes off, you
better hit the gas. You're not gonna We're talking about
a lightning strike, right, It's not like it hangs around right,
well for two and a half minutes, Marty's farting around
with the car, can't get the car started.
Speaker 3: Well at least thirty seconds anyway, right, right. So, but
here's the thing. There's a full sixty seconds in a minute.
I mean, you're looking at a giant minute hand on.
Speaker 2: A clock tower.
Speaker 3: How do you know whether it's it's it's you know,
ten oh four and ten seconds or ten oh four
and forty five seconds.
Speaker 4: Because Doc says it precisely ten oh four PM, right,
whatever it was.
Speaker 3: Yeah, there's no way that he could have possibly known
that from looking at a piece of paper that was
printed on an old nineteen eighties printer's.
Speaker 4: No way maybe true.
Speaker 3: And then of course you also have the tension of
the fact that he's just trying to tell Doc, just
trying to warn him about the future, and he can't
do it.
Speaker 1: Huh.
Speaker 3: I'm in a time machine, of course, ten minutes? How
to do it?
Speaker 4: Stupid?
Speaker 3: So I can remember thinking after I saw the movie,
why in the world would he only have put ten minutes?
But now having teenagers of my own, that's right, that
is exactly something that they would do.
Speaker 4: I don't need ten minutes, I only need nine minutes
and fifty nine seconds, right.
Speaker 3: I mean, why give yourself any wiggle room at all?
Why why not go? Well, it'll you know, even if
I had to crawl on my hands and knees because
I wrecked the car, I could make it there in
two hours.
Speaker 4: See, your front of love is fully developed. Seventeen year
olds think like this, right, and so of course it works.
Speaker 3: Lightning strikes at the exact right time, and he's back
in nineteen eighty five. But again, let's build that tension.
The car dies again, and just to touch this on
another setup that you don't even know as a setup. Okay,
the bomb, Yes, do you know who he is?
Speaker 6: You told me this and I've read Thomas reelect mayor
read Thomas. Oh my gosh, the bomb was the mayor
back in the fact that this was his middle name.
Speaker 7: So Marty busts it back to nineteen eighty five, right,
and then we have our resurrection again, right, Doc lives
and how how I figured what the heck?
Speaker 4: Which one thing? Obviously, George McFly looks very good compared
to his former nineteen eighty five itself.
Speaker 3: Yeah, Biff, you.
Speaker 4: Know he's wearing that weird leisure suit. He doesn't look
good and that's fine, right Lorraine. Yes, the nineteen eighty
five Lorraine is much dinner. Yes, but I gotta tell
you the twenty.
Speaker 3: Nineteen Lea Thompson.
Speaker 4: Lea Thompson looks amazing. Way, she's way better looking though,
future of Lorraine.
Speaker 3: Yeah, so good job, Lea Thompson. Props to you. So
if you put your mind to it, you can accomplish anything.
And again we have to say is it the journey
or is.
Speaker 2: It the goal?
Speaker 3: Right, because without going on this journey, Marty cannot have
overcome his fear of rejection that has been ingrained in
him by his father, and he can't believe in his
dad until he goes through this experience. His dad starts
with I'm just not very good at confrontations, and then
it's he never stood up to Biff in his life.
So this journey allows Marty to see things that had
shaped his father's life and perspective. And it's only through
that journey that he can see how similar that they
are and that his dad's change can inspire him to
be something more than he thought he could be too.
Speaker 4: So are we ready to do our final results?
Speaker 3: Yeah?
Speaker 4: Okay, So for me, let's just start it out. I
love both of these movies, Starr, Starry Night, Mona Lisa.
Exactly which do you prefer? They're both amazing. In my opinion,
there's three perfect movies from the eighties, and when I
say perfect, what I mean are ten out of ten?
I don't mean perfect. Raiders of Lost Ark is one yes,
Back to the Future is one yes, and for me,
Diehard is one. I agree with all three of those. Okay,
So when we compare Raiders to Back to the Future, yes,
we are comparing the Mona Lisa to his story Night Right,
But for myself. The movie that I'm going to choose
to sit down and watch the most his Raiders. And
I know that you based on what we've kind of
talked about, I know that you're about to the future guy.
Speaker 3: Are you going to give away my answer already?
Speaker 4: No?
Speaker 3: I mean, I don't think anybody's gonna be surprised. I
don't think anybody's gonna be surprised about this, right, I agree.
Three greatest movies are the three that you have mentioned,
And in any moment, it would be a difficult decision
to pick which one I would want to watch at
any particular time. But here's my perspective on Raiders versus
Back to the Future. Raiders gave me something like James Bond,
but much much better. Yes, but it was something that
was like Superman. He was in a place that I
could never be. I could never be Indiana Jones. And
as much as we identify him with Indy because he's
this imperfect guy and he feels pain and he makes mistakes,
he's still a guy who could get dragged behind a
car and make it out and win. He's still a
guy who can defeat all of the weird booby traps
with his incredible intellect. It's not reality to me. I
love it, I love it, love it, love it, but
it's just not real enough to be real to me.
Plus it takes place in a time that I didn't
exist him. Thirty six with Back to the Future, I
got all of that and a guy that I could
totally see myself being. I had a skateboard at the
time that I saw him skateboarding behind the cars, and
I wondered to myself, I was like, can I do that?
I wonder if regret that now? I lived eight miles
away from my school, so that was really an option
for me. But the skateboarding the slacker part of things.
And I wasn't particularly a slacker, but I was kind
of a guy who had disdained for authority, and so
he was just he was so much more personable and
identifiable in somebody who I could say that could be me,
and if I went back in time, that could be me.
Speaker 4: Yeah, for sure.
Speaker 3: And so I think that the ages that we were
given that you're just a few years older than me.
Raiders came out in eighty one, Yep, this came out
eighty five, so we've got four year difference there. So
you're at a pivotal time in your life, you see Raiders.
I'm still pretty young. I'm in a pitiful pivotal time
in my life. It was a little pitiful too, but
I went out and bought a jeans jacket.
Speaker 4: You know.
Speaker 3: I became kind of obsessed with the idea of playing guitar,
and it took three years before I started actually plucking
at the strings. But I was still fascinated by being
a guy up on stage playing music. So Back of
the Future will always be the most impactful movie for me,
And therefore the movie that.
Speaker 4: I go back to fault you for any of that,
I can't fault you for anything. Michael J. Fox is
so good as Marty and Harrison Ford is so good
as Indiana Jones. You can't imagine them anybody else. Right now,
Tom Selleck would have been wrong. Eric Stoltz would have
been wrong. Eric Stoltz, in my opinion, is more wrong
than Tom Selleck would have been wrong. But I'm with you,
But both movies are just so good. I don't know,
I love them both. It's it's hard for me to say.
But for me, Raiders, the action, the adventure, I think
it does such a good job of each scene topping
the other one without it being overkill, and it just
keeps pushing the envelope. Oh my gosh, you got away,
but now this thing is gonna and now you gotta
do this, I guess. But back to the future, same
same deal. Right, they knocked out Biff, but now I
got to go play the solo because if I don't,
they don't kiss, and they don't dance, then I'm history.
Speaker 3: Right these if you wanted to have a class on
how to write a good story that is a movie,
and how to create obstacles in a scene that create tension,
and how to have a character that goes through the
hero's journey and comes out the other side better than
he was at the beginning, both of these movies would
teach your whole classes.
Speaker 4: That's right, that's right.
Speaker 3: So for all of you who have made it this far,
thank you for listening to us. Don't forget to send
us a rating. We would love that it helps us
out with our stuff. Check us out on Twitter.
Speaker 4: At Shirley Podcast and on Facebook at Shirley Podcast. Yeah,
we'd love to hear from you. Please lead comments. Obviously,
D and I both love these movies. But if you
think one is better than the other, please let us know.
We'd love to hear from you.
Speaker 3: Right Or maybe you're going to argue that die Hard
is better than both of them. We'd be hard pressed
to make an argument against that, Honestly, it's a really
great movie. Or maybe you've got some other movie from
the eighties. If you've got some movie from the eighties
that you can say this movie was better than die Hard,
better than Raiders, and better than Back to the Future.
I want to hear it, no doubt.
Speaker 4: Now, if you are one of these people who believe
that Crystal Skull is the best Indian and Jones movie,
don't call in. We do not want to hear from you.
That's for sure.
Speaker 3: Your opinion no longer matter. Well, thank you very much,
Thank you Jason for coming here and doing this week,
and I love it.
Speaker 4: I can't believe I finally got to talk in depth
dork out. Thank you guys for listening to us. Thanks d.
Speaker 2: All Right, that's it for episode four. Please join us
next week.
Speaker 4: We're going to tackle two of my favorite albums of
all time, def Lebert's Pyramaniam versus def Leopards hysteria.
Speaker 2: Yes, tune in for that one. Can't wait to see
you guys.
Speaker 3: Don't forget to subscribe, and if you've got a chance
to throw us a five star review, we'd love that too.
Speaker 2: See you guys next week. Thanks. Hey, everybody, welcome back.
Speaker 3: We are here for the final episode of The Raiders
versus Back to the Future. My kid, yep, all right
and take two. All music, images and movie clips are
used for the purposes of commentary and education in conjunction
with the fair Use agreement under the US copyright law.