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Speaker 1: Hey, everybody, welcome back to the show that You Can't

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Be Serious Podcast D. Today we are talking about a

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movie about clones.

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Speaker 2: Yeah, Life finds a Way.

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Speaker 1: No, not Jurassic Park.

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Speaker 2: Oh, why do I get the feeling You're going to

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be the death of me?

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Speaker 1: Good Lord? Not Attack of the Clones either.

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Speaker 2: Oh, everybody dies, Sally the thing is.

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Speaker 1: To die well, not oblivion either.

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Speaker 2: Okay, what clone movie are we talking about?

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Speaker 1: We are talking about Multiplicity versus groundhog Day. Hey, listen.

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We talked about this earlier today. Yeah, okay, so the

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funny version is Groundhog Day, where somebody's stuck in a

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time loopp versus Multiplicity about a guy who clones himself,

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and we talked about how the serious version of that

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really is the Edge of Tomorrow, where Tom Cruise is

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stuck in a time loop lived I repeat, versus oblivion. Yeah,

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where he is he encounters a clone of.

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Speaker 2: Himself, right exactly. It's kind of crazy two sci fi

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movies that take these two harold for bramous comedies and

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do it in a whole new way with Tom Cruise.

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Speaker 1: Hey, I'm telling you those movies are awesome. I would

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not be opposed to that matchup.

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Speaker 2: Right there. No, absolutely not. Now. We talked about Oblivion before.

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Whenever we talked about our Top Gun Maverick episode. Fantastic

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movie that you encouraged me to watch. I finally got

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to get Caleb to watch it. When I watched Multiplicity.

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I mentioned in our last episode this was the first

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time I'd ever seen it. Although today I asked Casey,

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I'm like, have you seen the movie Multiplicity. She's like, yeah,

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we watched it together. I'm like, no, it didn't because

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I saw it like two days ago when you weren't there,

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and she's like no, like when we were dating. I'm

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like nope. She's like, I wouldn't have seen it with

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anybody else. I'm like, I'm just telling you, honey, I'm

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one hundred percent sure I've never seen this movie before.

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But then I started thinking, could I have forgotten this movie? Well, yeah,

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I think I could have.

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Speaker 1: Yeah.

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Speaker 2: Now there are some folks out there who love it.

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They'll go back to it again and again and again,

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and they saw it when it first came out. But

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there's something that happened in between Groundhog Day and Multiplicity

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that changed things. Whereas Groundhog Day was this amazing nuclear

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bomb success, and Multiplicity didn't even earn half of its budget.

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Speaker 1: I still cannot put my head around what happened.

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Speaker 2: Well, here's the thing, I'm going to propose this theory now.

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So we did an episode just a few episodes ago,

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where we interviewed the creator of The green Light Project,

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Alex Collegiate, and we started talking about our favorite eighties movies,

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and he kind of got onto this idea that eighties

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movies didn't really start until nineteen eighty four, right like

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before that, those were seventies movies, like they had a style,

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and that the style changed in eighty four. And I

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think it could be wrong, but I think he said,

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and that blasted to ninety three, and then in ninety

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four the style changed. Keep in mind ninety four, we've

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got Natural Born Killers, we've got pulp fiction, we've got

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Shawshank Redemption. I mean all of these incredible, serious, not

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remotely eighties style movies. Right now, the two movies that

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we're talking about, one came out in ninety three, and

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that's Groundhog Day, and it was a very eighties movie style,

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like you've got the intro in the clouds and it's

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the credits and it's this kind of cheesy, kind of

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bad Newman sounding song to go with it. It's his name,

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Randy Newman? Is it Randy Newman?

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Speaker 1: Yes?

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Speaker 2: Yeah, Harold Ramis wrote that Weatherman song, by the way,

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he was he was one of the writers on that song.

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It's so dumb, it is so bad, like and I

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just and and multiplicity starts the exact same way. It's

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the credits. We have this fun little hey, let's show

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Andy McDowell's name several times, and let's show Michael Keaton's

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name several times. Just the multiplicity idea. But it's still

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credits in the clouds. But from nineteen ninety three to

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nineteen ninety six there had been a paradigm shift, and

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Multiplicity did not get on the bus.

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Speaker 1: Yeah, I think we talked about that. For me, I

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think there's a case to be made that Jurassic Park

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is the last of the eighties movies, and then you

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have pull fiction and all that, and there is that shift.

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That comedy seemed a little bit outdated.

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Speaker 2: It did, it did. Harold Ramis was a master of

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a particular style, and unfortunately, around nineteen ninety four that

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style fell out of favor. Like hair metal in ninety two.

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Speaker 1: Do you know what the next movie after Groundhog Day

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that Harold Ramis did was No, Stuart saves his family.

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Speaker 2: I don't even know what that is.

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Speaker 1: You remember the Stuart from Saturday Night Live, the guy

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that's I'm good enough, I'm smart enough, and.

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Speaker 2: Oh that steaming pile of burning tired.

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Speaker 1: You have maybe one of the greatest comedies ever and

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then you fall off the cliff. Yeah it's crazy, right,

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yeah GiMA. By the way, ninety three is known as

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year for the family movie. Did you know this? No?

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I didn't, so listen to this. You got so you

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have Jurassic Park, which can be considered a family movie, right,

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You've got Missus Doubtfire. Yeah, You've got The Nightmary Before Christmas,

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and you've got Free Willie. You've got some big, heavy

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hitting family movies.

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Speaker 2: I can't believe you said Free Willy and all of that,

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but keep going.

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Speaker 1: Hey, Free Willy was a box office smash.

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Speaker 2: It was.

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Speaker 1: It's true, no stupid movie. But so ninety three is

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known as the year of the family movie, right, not

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ninety six we talked about in our last episode. The

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movies that came out in ninety six. Ninety six is

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not a good year for movies.

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Speaker 2: It's not a good year for movies, but it was that.

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I think Hollywood was scrambling at that moment trying to

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figure out what was the new end thing to do,

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because you had all these independent directors who had come

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out and given us a whole new idea about what

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movies could be. And this I mean someday we will

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have this debate because you maintain that the eighties is

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the best decade for movies, and I maintained that it

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was the nineties. But this would be an interesting if

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we decided to do that episode. Do we draw our

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dividing lines up on eighty and ninety or do we

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divide it up on eighty four and ninety four?

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Speaker 1: That complicates things?

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Speaker 2: It does, Yes, Okay, so let's jump into these movies.

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Talk a little bit about the production of Groundhog Day.

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Speaker 1: Then put y'all in little hand in line. There in

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no ill mountains.

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Speaker 2: We can't find. Okay, Shirley fans, rise and shine and

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don't forget your booties because it's cool.

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Speaker 1: It's cold out there every day. What is this Miami beach?

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Speaker 2: Jason? Do you have daja voo?

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Speaker 1: I don't know, but I can check in the kitchen.

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Speaker 2: Do you think Phil is gonna come out and see

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his shadow todays Donny Phil? That's right, Wood, Chuck, chuckers,

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it's ground on day now. One of the key questions

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for this movie is how long is he in the

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time loop? Right? Right now? Harold Ramis has answered this question. Okay, Okay,

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here's the problem. Yeah, he's answered it at least two

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different ways.

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Speaker 1: Okay.

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Speaker 2: At some point he said about ten years. Yeah, at

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some point he was like, I think it's more like

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thirty or forty years, which is a huge distinction. Right.

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When Danny Rubin first wrote the script, his idea was

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that it was ten thousand years, right, ten thousand years,

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And the question was how could he possibly keep track

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of how long it was? Right? How do you if

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you can't mark a calendar and it's going to be

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there the next day, how do you keep track? So

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here's how we answered that question. Right, there is a

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library in the bed and Breakfast that he's at a

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whole bookshelf full of books, right, And so what he

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does he goes to the top left book on the

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bookshelf and reads one page, and then the next day

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reads the next page. And so that way he can

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keep track of how many days have passed. And there's

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this very poignant moment in the script where he reaches

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the final page of the final book in the bookcase

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and he walks over, picks up the first book again,

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starts again, Wow. So I think ten thousand years is

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definitely too long. But when they were talking about it,

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the studio executives wanted to know. They're like, hey, there's

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no way we're going to let you go with ten

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thousand years. That's just absurd that nobody's going to believe that, right.

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So you know, Harold Ramis, being the psych ward let's

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see where you're coming from kind of guy, was like, well,

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what do you guys think? And they're like two weeks

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and they're like, come on, right, I mean that's nothing,

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that's meaningless.

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Speaker 1: Commit suicide after two weeks you got problems.

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Speaker 2: With right exactly. I mean you miss out on all

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of the stages of grief if you try to if

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you try to cram all right, right, right, right, it's

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not believable not to mention the fact that he becomes

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a proficient piano player, right, I mean, it just falls apart.

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And so Harold Ramis just kind of uses his politico

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power and just says, how about we just don't answer

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that question. How about we just let the audience gets

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at it, and that's what they end up with.

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Speaker 1: So I've got a theory on this. So you're right.

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He does things like he goes from a complete can't

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play the piano to like jazz, you know, leading the

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charge in the in the dance hall. Right, and his

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piano teacher is like, oh, I'm so proud of him, right, yeah,

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which is funny because why would you be proud of

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your student after one day? Right? So he does things

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he knows everybody in the diner, and that takes time. Okay,

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so somewhere between ten years and ten thousand years is

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probably your answer. But on screen, you see I think

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they said it's exactly forty two.

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Speaker 2: Days, okay on screen on screen?

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Speaker 1: Okay, so he slapped you know a certain amount of times,

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and he does this or that, you know, and you

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see this suicide attempt and that death, and that adds

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up to on screen we see forty two different days. Yeah,

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to actually see we as the audience.

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Speaker 2: Side note, sweet vermouth with a twist of lemon sounds

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like the worst drink I've ever heard of my life.

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Please continue.

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Speaker 1: That is exactly six weeks. Okay, six weeks of winter.

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Speaker 2: Well, that's interesting, but there's no way it can be

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only six weeks. So it's interesting, but we see six

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weeks worth of days. Yeah, but there's there is there

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are changes that occur and let me just let me

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jump into this with both feet. Now, we said that

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this is based on the five stages of grief, right, Okay, Now,

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the first stage of grief is denial. So if you

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think about the movie, there's Bill Murray and he's in

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his first repeat day and he's like he's confused. He's like, yesterday, yeaheah, yeah,

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what day is it? It's Groundhog Day? Will you be

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checking out today, mister Connors, I'd say the chance of

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departure is eighty percent. Only do that once a year, right,

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And when she asks him, you know, are you going

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to be checking out the day? Chances are eighty percent,

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which has gone down twenty Like he's yeah, he's identified

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that there's a problem because it was one hundred percent

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the first day, right, And so he's in denial. Then

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that night he breaks the pencil to test it yes,

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wakes up the next day, the pencil is back in

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the drawer and full, and he's he's jumping for joy, right, yeah,

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he because he's like, hey, I'm in a magical world.

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But it takes very little time in that magical world

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before he is off drinking with the guy, saying I'm

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mad about the way that life has treated me and

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I'm not going to play by their rules anymore. And

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so that is stage two anger.

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Speaker 1: Phil, Phil, Hey Phil Connor?

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Speaker 2: Ned right?

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Speaker 1: Right?

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Speaker 2: How is it going to be? Right?

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Speaker 1: So then the next stage is bargaining.

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Speaker 2: Right, So this one, this one kind of is bookended

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with punching ned right, Like, if there are no consequences,

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is what you do? Why wouldn't you punch the d

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bag that keeps bothering you every day?

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Speaker 1: Right?

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Speaker 2: Why not? Why not go to jail? Why not steal

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a bag of money or whatever?

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Speaker 1: I love that scene. I love that that's such a

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fantasy because he's sitting there one car, yep, dog bark, two,

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drop the coins bag and they turn around and he's

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got money. You know, It's it's kind of fun.

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Speaker 2: And so the third stage is the bargaining stage, and

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that's where he starts trying to manipulate things. Right, He's

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after Rita. He realizes he's you know, he gets involved

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with this woman who he knows won't know who he

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is tomorrow. But then is there in their makeout session,

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he's calling a Rita because hey, I realize that I've

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got the houtse reata. So he just decides, I'm going

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to try to manipulate her. Right, He's got a goal.

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He's going to use this repeat day thing to figure

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her out, figure out what her favorite drink is, figure

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out that she likes French poetry, figure out and it's

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all manipulation. And on that final you know, he goes

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through and finally has the perfect day with her, and

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then at the end you see him making notes to

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himself and she's like, what are you doing it? It ends

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up with a slap. Yeah. It's after that that he

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realizes he can't do it. He can't seduce her with

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these tricks, and that's when he falls into the fourth stage,

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which is depressional, right, and you get the infamous kidnapping

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of Punksatani.

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Speaker 1: Film Don't Drive Angry.

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Speaker 2: This is a classic moment. Is a classic moment where

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they're driving in this old red Ford pickup. I don't

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know why they picked that truck of all trucks, but

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is the perfect truck for this scene. And they get

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to the strip minds or whatever it is where Yeah, yeah,

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this is a real groundhog that Bill Murray is working with. Yeah, now,

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he's got gloves. It bit him through the gloves, bit

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him three times and the third time it punctured the

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glove and they had to take a few days off.

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Bill Murray is always getting hurt by these little woodland creatures.

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He's got the groundhog, He's got Carol Caine.

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Speaker 1: Carol Kane, ripping his lip off, scrooged.

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Speaker 2: Yeah.

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Speaker 1: So the depression stage is where certain funny things happen. Yeah,

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there is a commercial that came out a couple of

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years ago. Did you see that commercial? He steals a

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jeep right right, and so it's a jeep commercial. His

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day in the commercial is every day he steals his

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jeep just to go crazy with his jeep.

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Speaker 2: So he's full in depression. You see multiple suicide attempts

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for a movie that is the comedy like this. Watching

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him jump off of the top of a building was

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pretty intense.

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Speaker 1: The worst one for me is him putting the toaster

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in the bathtub.

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Speaker 2: See, I thought that was funny. That part, it was

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funny to me. The leaping to his death, that was

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the one. Yeah, that was rough.

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Speaker 1: Here's the other thing I wanted to bring up in

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the depression stage, Yeah, because this is where he sinks

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to his lowest, like the lowest of low. Okay, there

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is never anything really really depraved that we see, Okay,

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like why not go on a killing spree? Or you know,

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who knows what depraved things that a person like that

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could think of.

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Speaker 2: Sure, the most depraved that he gets is pretending to

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be Clint Eastwood with what I can only guess is

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the local hooker I get, I don't. She's in that

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one scene and doesn't explain.

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Speaker 1: Any more than that, call me Bronco. But the conclusion

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that I reach from that is that he's not a

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bad guy. Right, He's he's grumpy, and he's arrogant, and

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he's got some issues.

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Speaker 2: He's got some limitations, like he's got some self limitations

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that he's not going to go murder people even though

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he could, right he could, and these in that there's

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still hope because probably if you are not murdering somebody.

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It means that you think there may still be a tomorrow.

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Sure may still be a tomorrow.

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Speaker 1: I mean, the worst thing that he's trying to do

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is bed rita right.

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Speaker 2: And once he's given up on that and he's in

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this depression state. It's at that stage much later on

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when he's talking to her, and it's again another scene

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in the diner. We've moved from he's eating all of

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this horrible food to he's in the diner and he's

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talking to her about how he is a god. You're

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a god. I'm not the god. I'm a god.

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Speaker 1: I think that's what he says, right.

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Speaker 2: And so it's at that moment where he opens himself

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up and he makes himself vulnerable. He's no longer the

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prima Donna. He is bearing his soul. And if you

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think about the hero's journey here, this is where he

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faces his biggest fear of being completely honest with this

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girl that he loves, and this love is changing. It's

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not just I'm looking to better, I'm looking to tricker

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and manipulate her. This is I'm reaching out to you

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as a fellow intelligent human being and telling you the

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circumstance that I'm in and she spends the whole day

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with him as he talks about all of this stuff,

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and it's at that moment that night where she goes,

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you know, I don't know, Phil. I mean, some people

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would love to have to be able to repeat the

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same day over and over again to finally get it right.

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You know, some people would look at it us as

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something great. And he says, gosh, you're a beat. But

340
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that is the pivotal moment where we move into act

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three and he switches from depression to acceptance. And what

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00:17:37,160 --> 00:17:40,279
his acceptance is is I'm not here for me, I'm

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here for everybody else, and so he makes his purpose

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to better everybody else's life. And you have this little

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vignette in the middle of all of that, in the

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middle of the acceptance, where he goes through the whole

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cycle again in a brief moment with the vagrant with

348
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the bumb Yeah, okay, he gives him money and then

349
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he discovers that but you know, hey, he's not doing well,

350
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takes from the hospital and he dies and she's like,

351
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sometimes people just die, and he's not today, and you

352
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see him again and again and again trying to save

353
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this guy and it doesn't give us closure about what happens,

354
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but you have to at that point go. He probably

355
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just had to accept it, and that's why we're in

356
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this stage here. We're in the acceptance stage. And you

357
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get to the final point where he's bettered himself as

358
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a person, learned to play the piano, read countless books,

359
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helped everybody be their best self, and he isn't chasing

360
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read it anymore. She is now chasing him. And it's

361
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there that finally you get the end and I'll do

362
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I'll blow your mind with this. You ready, yeah?

363
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Speaker 1: Yeah?

364
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Speaker 2: Okay. So at the very beginning of the cycle of

365
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the time loop, they're trying to get out of town, right,

366
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he's predicted that the blizzard is not coming. Right, They

367
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try to leave town and the road is blocked, and

368
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this kind of lets us know, Hey, this is why

369
00:18:59,839 --> 00:19:02,200
he can't leave, why he can't get out of this

370
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place and go do something somewhere else. Right, right, the

371
00:19:05,519 --> 00:19:08,319
trooper says, you can either go back to bucks a

372
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tawny or you can die in the cold. Yes, you pick, right,

373
00:19:12,519 --> 00:19:15,759
I'm thinking about it. Right at that moment, it's snowing.

374
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You see the snow falling right, you do not see

375
00:19:18,839 --> 00:19:22,720
snow falling again for the entire movie until that last

376
00:19:23,200 --> 00:19:27,759
night of February second and he's dancing with Rita, dancing

377
00:19:27,839 --> 00:19:30,839
in the pavilion and while they're dancing, it starts to

378
00:19:30,880 --> 00:19:33,200
snow and that's the first time you see snow again.

379
00:19:33,680 --> 00:19:36,960
And it's like the book ends of his time with

380
00:19:37,079 --> 00:19:40,079
Predicament start with snow and with snow.

381
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Speaker 1: I like it. I like it very cool. Okay, you know,

382
00:19:43,200 --> 00:19:44,960
you brought up something that I wanted to touch on.

383
00:19:45,160 --> 00:19:49,480
So Rita is his everest, right, that is his number

384
00:19:49,559 --> 00:19:53,119
one goal. But he has like all these side missions, right,

385
00:19:53,480 --> 00:19:55,759
because you can tell because when he walks through the

386
00:19:55,799 --> 00:19:58,319
diner and he's actually explaining it to her, he's like, well,

387
00:19:58,359 --> 00:19:59,920
this guy does this, this.

388
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Speaker 2: This, and this.

389
00:20:01,079 --> 00:20:02,599
Speaker 1: I mean, how many days did he spend with that

390
00:20:02,640 --> 00:20:04,599
guy to learn about that dude?

391
00:20:04,799 --> 00:20:05,039
Speaker 2: Right?

392
00:20:05,440 --> 00:20:08,319
Speaker 1: You know, Nancy makes a funny noise when she gets excited.

393
00:20:08,400 --> 00:20:10,079
Speaker 2: Right, that only took one day.

394
00:20:10,240 --> 00:20:13,559
Speaker 1: Yeah, But he spends time with all these people. He

395
00:20:13,559 --> 00:20:16,119
gets to know everybody, you know, and so to me,

396
00:20:16,519 --> 00:20:18,720
that's just really cool to think about the amount of time.

397
00:20:18,799 --> 00:20:20,599
And then you know he catches that kid. It falls

398
00:20:20,640 --> 00:20:23,079
out of the tree. He's like, hey, thank you. You know,

399
00:20:24,079 --> 00:20:26,200
say thank you you, Brad, I'm here every day is

400
00:20:26,240 --> 00:20:28,359
save your life. You never say thank you.

401
00:20:28,160 --> 00:20:31,839
Speaker 2: Right, So let me just say this. I got I had.

402
00:20:31,920 --> 00:20:32,920
I knew I was going to have to tell this

403
00:20:33,000 --> 00:20:35,839
story at some point. Okay, So I watched this movie

404
00:20:35,839 --> 00:20:38,559
in preparation for this. But the last time I saw

405
00:20:38,599 --> 00:20:41,440
it before that, yeah, I was on a flight. I

406
00:20:41,480 --> 00:20:43,920
don't remember where I was flying, but it was a

407
00:20:43,920 --> 00:20:46,839
long enough flight that I could watch the whole movie right,

408
00:20:47,119 --> 00:20:49,279
And I'd seen Groundhog Day a few times before, and

409
00:20:49,319 --> 00:20:52,319
I had enjoyed it. When I saw this movie this time,

410
00:20:52,720 --> 00:20:57,599
this second most recent time, I was weeping at the end.

411
00:20:59,359 --> 00:21:03,400
Now we've talked about how all of these religions and

412
00:21:03,480 --> 00:21:08,400
psychoanalysis and all these other things, there's this universal concept

413
00:21:08,480 --> 00:21:12,319
that they all have said, Hey, this is a you know,

414
00:21:12,480 --> 00:21:15,319
the time loop, the repeating the same day is something

415
00:21:15,359 --> 00:21:18,559
we all deal with. But on this particular watching it

416
00:21:18,839 --> 00:21:22,400
hit me hard. It hit me really hard. I literally

417
00:21:22,400 --> 00:21:24,920
when I got done with the flight, I was like, Jason,

418
00:21:24,960 --> 00:21:26,680
I got to figure out how to do a podcast

419
00:21:26,960 --> 00:21:29,559
minute by minute On Groundhog Day, I did not realize

420
00:21:29,559 --> 00:21:32,759
how incredible a movie this was And then I googled

421
00:21:33,200 --> 00:21:36,160
emotional overreaction on flights and it turns out that's a thing.

422
00:21:37,880 --> 00:21:40,119
There you go, Okay, I love this movie. I did

423
00:21:40,119 --> 00:21:43,079
not cry this most recent time. But this movie it

424
00:21:43,200 --> 00:21:45,079
hits in a spot that it needs to hit. And

425
00:21:45,160 --> 00:21:47,079
like you pointed out, the first time you saw it,

426
00:21:47,160 --> 00:21:50,480
you're twenty. Yeah, so you didn't really appreciate this idea

427
00:21:50,559 --> 00:21:53,559
of hey, I'm stuck and doing this same routine over

428
00:21:53,599 --> 00:21:55,680
and over like you do when you're in your forties. Right.

429
00:21:56,400 --> 00:22:00,000
But and Ramus actually talked about this. He was talking

430
00:22:00,119 --> 00:22:02,319
about the Jews reading the Torah and how it has

431
00:22:02,359 --> 00:22:04,960
a different meaning every time they read it, as they

432
00:22:04,960 --> 00:22:06,480
go through it each year, and he's like, and it's

433
00:22:06,519 --> 00:22:08,759
like this movie. You know, every time somebody watches it,

434
00:22:08,880 --> 00:22:11,640
they get something new from it. And he's like, not

435
00:22:11,759 --> 00:22:15,400
that I'm comparing Groundhog Day to the Torah, but that's

436
00:22:15,480 --> 00:22:17,960
what happens. And it's true, every time I see it,

437
00:22:18,000 --> 00:22:20,319
there's something new about it that hits home.

438
00:22:20,440 --> 00:22:22,079
Speaker 1: I wanted to bring up a couple of things. So

439
00:22:22,240 --> 00:22:24,400
Bill Murray was going through a divorce at the time

440
00:22:24,440 --> 00:22:27,200
he was filming this, Yeah, which was hard.

441
00:22:27,519 --> 00:22:29,920
Speaker 2: Sure, Well, yeah, it was. It was marital problems that

442
00:22:30,039 --> 00:22:32,039
ended in a divorce about three years later.

443
00:22:32,160 --> 00:22:34,920
Speaker 1: Yeah, yeah, it was bad, so angry Phil could come

444
00:22:34,960 --> 00:22:35,960
out pretty easily.

445
00:22:36,119 --> 00:22:38,160
Speaker 2: Yeah, by the way, that's what Bill Murray would say

446
00:22:38,200 --> 00:22:40,440
before each take. He's like, am I angry Phil in

447
00:22:40,440 --> 00:22:41,759
this one? Or? Am I happy? Film?

448
00:22:42,599 --> 00:22:45,480
Speaker 1: It's all he needed to do. That's hilarious. So we

449
00:22:45,559 --> 00:22:48,279
talked about how Harold Ramis and Bill Murray had a

450
00:22:48,319 --> 00:22:51,039
fall out after this movie. Yeah, and I think one

451
00:22:51,039 --> 00:22:53,880
of the things was this divorce was causing him to

452
00:22:53,920 --> 00:22:56,160
be cranking difficult more so this anyway.

453
00:22:56,279 --> 00:22:58,640
Speaker 2: Yeah, he's notorious anyway for is he going to show it?

454
00:22:58,720 --> 00:22:59,839
They didn't know whether he was going to show up

455
00:22:59,839 --> 00:23:02,279
the Gobusters or not, right exactly. I mean, he's just

456
00:23:02,359 --> 00:23:05,039
notorious for you never know what he's going to do.

457
00:23:05,079 --> 00:23:08,240
And there's this whole cow of Bill Murray and the

458
00:23:08,240 --> 00:23:11,519
Bill Murray stories out there where he'll just randomly show

459
00:23:11,599 --> 00:23:14,599
up at a sorority party and start washing dishes. He'll

460
00:23:14,680 --> 00:23:17,960
randomly show up at a urinal and rub somebody's ear lobes,

461
00:23:18,000 --> 00:23:20,519
and when they turn around and see it's him, he'll say,

462
00:23:20,720 --> 00:23:24,559
nobody will ever believe you, Right, you know, he does

463
00:23:24,640 --> 00:23:28,279
weird stuff, and part of the conflict that he had

464
00:23:28,319 --> 00:23:30,480
with Harold Ramis is Harold Ramis was trying to make

465
00:23:30,519 --> 00:23:34,559
a good, funny Hollywood movie and Bill Murray got kind

466
00:23:34,559 --> 00:23:36,400
of caught up in this, as you do when you're

467
00:23:36,400 --> 00:23:40,359
in depressed states of life, wanting to dive deeper into

468
00:23:40,359 --> 00:23:44,240
the philosophical side of things. Right right, This movie does

469
00:23:44,440 --> 00:23:47,359
a perfect combination of both. I don't know how their

470
00:23:47,400 --> 00:23:52,000
headbutting ended up with good dose of philosophy with a

471
00:23:52,039 --> 00:23:55,720
good dose of comedy, perfect mix together. But at some

472
00:23:55,880 --> 00:23:59,359
point I think you're coming to this. Harold Ramis, who

473
00:23:59,440 --> 00:24:02,200
is just the gentlest, nicest guy in the world, grabs

474
00:24:02,200 --> 00:24:04,920
Bill Murray by his shirt and pushes him against the wall.

475
00:24:05,279 --> 00:24:08,519
Speaker 1: Yeah. I mean they had a collision of egos here.

476
00:24:08,640 --> 00:24:10,519
But one of the things that kind of I think

477
00:24:10,720 --> 00:24:14,079
got under Bill Murray's skin, and Harold Ramis doesn't really know,

478
00:24:14,319 --> 00:24:17,680
and I haven't heard Bill Murray talk explicitly about it. Yeah,

479
00:24:17,720 --> 00:24:21,920
but he delegated the talking to Bill to one of

480
00:24:21,920 --> 00:24:26,000
his aides. Did you hear this? No, So, Harold Ramis

481
00:24:26,039 --> 00:24:29,079
said that they were asking him in the interview, They're like,

482
00:24:29,119 --> 00:24:31,279
you know, does Bill Murray show up early for work

483
00:24:31,400 --> 00:24:34,839
or is he involved in the process, And Harold Ramis said, well,

484
00:24:34,839 --> 00:24:37,079
we always know where he is, which is in his

485
00:24:37,119 --> 00:24:40,559
trailer he goes. Sometimes you got to rouse him to

486
00:24:40,599 --> 00:24:43,519
get him going, and a lot of times he doesn't

487
00:24:43,559 --> 00:24:45,200
like to be roused. He doesn't like to be pushed.

488
00:24:45,200 --> 00:24:47,880
He doesn't like to be prodded. And so he delegated

489
00:24:47,920 --> 00:24:52,200
that to an aid, right, And I think Bill Murray took.

490
00:24:52,000 --> 00:24:54,960
Speaker 2: That personally, Yeah, well, how do you not well?

491
00:24:55,000 --> 00:24:57,319
Speaker 1: And during this divorce, like Bill Murray would call him

492
00:24:57,359 --> 00:24:59,839
at like five o'clock in the morning or two am

493
00:25:00,240 --> 00:25:02,759
questions and of course you're trying to direct a movie

494
00:25:02,839 --> 00:25:05,640
and you know, why are you calling me in the middle.

495
00:25:05,400 --> 00:25:06,279
Speaker 2: Of the night.

496
00:25:06,519 --> 00:25:09,160
Speaker 1: And so he finally just said you handle Bill to

497
00:25:09,240 --> 00:25:10,240
one of his aides.

498
00:25:10,440 --> 00:25:12,039
Speaker 2: Right, I don't know what Bill Murray is going to

499
00:25:12,079 --> 00:25:15,400
complain about with this sort of communication technique. Bill Murray

500
00:25:15,440 --> 00:25:18,839
has no agent. I know he has a red phone hotline.

501
00:25:18,880 --> 00:25:21,599
I know he has a one eight hundred number. And

502
00:25:21,640 --> 00:25:25,680
you leave a message. If you're like, hey, Bill, I'm

503
00:25:26,000 --> 00:25:28,240
directing a movie for the very first time. I'd love

504
00:25:28,279 --> 00:25:29,920
for you to come be a part of it. He

505
00:25:30,039 --> 00:25:32,720
might call you back. He might, You don't know, he might,

506
00:25:32,839 --> 00:25:35,400
but there's no agent to call. There's it's he is

507
00:25:35,799 --> 00:25:39,000
a free agent in the truest source of the world.

508
00:25:39,319 --> 00:25:42,200
Speaker 1: And you talk. We've talked about how likable he is, right.

509
00:25:42,559 --> 00:25:44,480
You know who had a problem with him, Chevy Chase,

510
00:25:44,559 --> 00:25:47,680
Harold Ramis, Richard Dreyfuss wanted to kill him on what

511
00:25:47,720 --> 00:25:51,119
about Bob? Yeah, right, Lucy lou hated his guts when

512
00:25:51,160 --> 00:25:54,480
they made Charlie's Angels. Yeah, he just rubs people the

513
00:25:54,519 --> 00:25:55,000
wrong way.

514
00:25:55,240 --> 00:25:57,519
Speaker 2: Yeah, he's he's an interesting cat.

515
00:25:57,680 --> 00:26:00,599
Speaker 1: In fact, Tom Hanks said they didn't bring him on

516
00:26:00,759 --> 00:26:03,160
to be, you know, in the movie groundhog Day because

517
00:26:03,160 --> 00:26:06,960
he's too nice. And Tom Hanks's quote was, well, Bill

518
00:26:07,039 --> 00:26:09,240
Murray is the meanest son of a bit to walk

519
00:26:09,319 --> 00:26:11,960
the earth, so he ought to be fine. So I

520
00:26:12,000 --> 00:26:12,960
thought that was hilarious.

521
00:26:13,000 --> 00:26:13,279
Speaker 2: Wow.

522
00:26:13,440 --> 00:26:15,920
Speaker 1: By the way, real quick, I've got some information on

523
00:26:15,960 --> 00:26:18,799
the song I Got You Babe by Sonny and Cherry. Okay,

524
00:26:18,880 --> 00:26:21,880
all right, all right, just why not. I'm just touching

525
00:26:21,920 --> 00:26:25,880
on it, Okay, because it's it's featured prominently in the movie.

526
00:26:25,960 --> 00:26:28,680
It's the song that's played by his alarm clock every

527
00:26:28,680 --> 00:26:31,480
time it wakes him. Up. Okay, So here's the deal.

528
00:26:31,640 --> 00:26:36,559
That song hit number one August fourteenth, nineteen sixty five.

529
00:26:37,759 --> 00:26:41,680
This top ten from again August fourteen, nineteen sixty five. Yeah,

530
00:26:41,720 --> 00:26:43,400
get ready for this is gonn blow your socks off?

531
00:26:43,440 --> 00:26:43,680
Speaker 2: Okay?

532
00:26:44,480 --> 00:26:47,039
Speaker 1: Number ten Down in the Boondocks by Billy Joe Royal,

533
00:26:47,319 --> 00:26:51,359
I don't know. Number nine California Girls by the Beach Boys.

534
00:26:51,400 --> 00:26:53,480
Speaker 2: Hey, daf Dave right? Yeah?

535
00:26:53,640 --> 00:26:57,319
Speaker 1: Number eight Don't Just Stand There by Patty Duke. Number seven,

536
00:26:57,359 --> 00:27:00,920
it's the same old song the four tops. Number six

537
00:27:01,160 --> 00:27:03,240
Unchained Melody by the Righteous Brothers.

538
00:27:03,359 --> 00:27:04,039
Speaker 2: Nice okay.

539
00:27:04,200 --> 00:27:08,839
Speaker 1: Number five, what's new? Pussy Cat by Tom Jones. Number

540
00:27:08,880 --> 00:27:12,000
four I'm Henry the eighth I Am by Herman Hermit's

541
00:27:12,559 --> 00:27:14,839
Number three, Save your Heart for Me Gary Lewis and

542
00:27:14,839 --> 00:27:19,079
the Playboys number two again blocking it from the number

543
00:27:19,079 --> 00:27:22,759
one spot. I Can't Get No Satisfaction by the Rolling Stones.

544
00:27:22,799 --> 00:27:23,920
Speaker 2: Wow, that's a pretty big hitter.

545
00:27:23,960 --> 00:27:26,039
Speaker 1: And number one I Got You Babe by Sonny and Share.

546
00:27:26,319 --> 00:27:29,680
Speaker 2: It's probably going to fall in that category of the

547
00:27:29,680 --> 00:27:33,039
perfect most annoying song to wake up to every day

548
00:27:33,039 --> 00:27:33,880
of your life for me.

549
00:27:34,160 --> 00:27:36,640
Speaker 1: I think that was the idea, right, Oh my gosh,

550
00:27:36,799 --> 00:27:39,400
for you it might be the Makarina or all I

551
00:27:39,440 --> 00:27:40,200
Want for Christmas?

552
00:27:40,279 --> 00:27:43,599
Speaker 2: Is you true? Both of those are true, solid choices.

553
00:27:44,799 --> 00:27:47,880
I had a day where was he like on the beach,

554
00:27:48,039 --> 00:27:50,119
made love? You know, that would have been a nice

555
00:27:50,160 --> 00:27:50,759
day to repeat.

556
00:27:50,759 --> 00:27:52,640
Speaker 1: It was a pretty great day.

557
00:27:54,200 --> 00:27:58,000
Speaker 2: I was in the Virgin Islands. Once I met a girl.

558
00:27:59,319 --> 00:28:05,000
We ate lobs, drank pinut coladas at sunset, we made love.

559
00:28:05,079 --> 00:28:12,759
Lexianis that was a pretty good game. Why couldn't I

560
00:28:12,799 --> 00:28:13,680
get that day.

561
00:28:14,279 --> 00:28:18,039
Speaker 1: Over one other thing on Groundhog Day that I don't

562
00:28:18,039 --> 00:28:22,839
want to mention. Okay, this movie is not shot in Pocksatani, Pennsylvania.

563
00:28:23,000 --> 00:28:25,359
Speaker 2: No, they shot it in Illinois.

564
00:28:24,920 --> 00:28:29,319
Speaker 1: Woodstock, Illinois. Yeah, the Pocksatani people were super mad about that,

565
00:28:29,559 --> 00:28:33,119
right right, Well, the people in Woodstock, Illinois were also

566
00:28:33,200 --> 00:28:35,680
super mad that he was filming in their town square,

567
00:28:35,799 --> 00:28:37,519
messing stuff up, messing stuff up.

568
00:28:37,640 --> 00:28:40,480
Speaker 2: It had more the Woodstock town had more of a

569
00:28:40,519 --> 00:28:43,319
down home feel, like you go to Pusatani and there's

570
00:28:43,359 --> 00:28:45,799
a McDonald's in the middle of the town square, which

571
00:28:46,400 --> 00:28:48,960
not just appealing, not a good appeal for And also

572
00:28:49,079 --> 00:28:52,000
you know copy or trademark issues so well.

573
00:28:51,759 --> 00:28:54,160
Speaker 1: And Gobbler's Knob is like two miles out of town.

574
00:28:54,599 --> 00:28:57,039
Speaker 2: Yeah, it's like in the woods. Yeah, they don't even Yeah,

575
00:28:57,039 --> 00:28:59,240
they don't even do the ceremony in town square. They

576
00:28:59,279 --> 00:29:02,880
definitely made a Hollywood production, but who cares. Nobody knows that.

577
00:29:03,160 --> 00:29:03,559
Speaker 1: I didn't know.

578
00:29:03,680 --> 00:29:08,880
Speaker 2: I thought this was perfect spot on ceremonially accurate pucksatani

579
00:29:08,920 --> 00:29:12,240
phil stuff when I saw it. Right at Woodstock, the

580
00:29:12,240 --> 00:29:14,240
town that they filmed it in. There are now plaques

581
00:29:14,359 --> 00:29:17,640
all over the place, including the whole.

582
00:29:17,720 --> 00:29:19,559
Speaker 1: With the puddle Bill Murray stepped here.

583
00:29:19,720 --> 00:29:21,279
Speaker 2: Watch out for that first step.

584
00:29:21,400 --> 00:29:26,400
Speaker 1: It's a diasy Okay, let's flip back to Multiplicity for

585
00:29:26,400 --> 00:29:30,400
a second. She picked Peppy Stief. So the interesting thing

586
00:29:30,599 --> 00:29:34,359
about the filming of Multiplicity and the production of Multiplicity,

587
00:29:34,480 --> 00:29:37,200
So this is at the beginning of all that computer

588
00:29:37,839 --> 00:29:41,279
you know, the CGI stuff that they did in Jurassic Park.

589
00:29:41,359 --> 00:29:43,759
This is still kind of the infancy of all that stuff.

590
00:29:43,880 --> 00:29:47,400
Speaker 2: Yeah, this is they used a lot of old techniques

591
00:29:47,519 --> 00:29:51,640
to create the multiple. Michael keatons the multiple Doug Kenny's right.

592
00:29:51,759 --> 00:29:53,960
I mean, you look at Patty Duke in the Patty

593
00:29:54,039 --> 00:29:57,160
Duke Show. It's just one actress, right, but they they

594
00:29:57,200 --> 00:29:59,599
had her and they would use a double and he

595
00:29:59,640 --> 00:30:01,799
would talk talk to him. But for this one, he

596
00:30:01,839 --> 00:30:04,359
would perform the scene. This is kind of how the

597
00:30:04,400 --> 00:30:06,559
fun way that they did it with this. He performed

598
00:30:06,559 --> 00:30:09,680
the scene as one of the characters, over and over

599
00:30:09,759 --> 00:30:13,079
a few times, and somebody would record it on just

600
00:30:13,119 --> 00:30:16,319
a handheld cam quorder, right, like a high eight cam quorder, right,

601
00:30:16,720 --> 00:30:20,920
and then he'd go change wardrobe. They would transfer it

602
00:30:20,960 --> 00:30:24,640
over and put it in the VCR, and so literally

603
00:30:24,880 --> 00:30:28,119
he would he would play off of himself from this

604
00:30:29,000 --> 00:30:32,680
handheld camcorder for the lines. Right. Yeah, So it's it's

605
00:30:32,720 --> 00:30:35,200
really quite brilliant, like they're bringing in some new technology.

606
00:30:35,359 --> 00:30:37,279
And then of course they used a lot of green

607
00:30:37,319 --> 00:30:40,720
screen technology on this as well to make things work.

608
00:30:41,279 --> 00:30:43,680
But can I tell you about them. I mean, I

609
00:30:44,119 --> 00:30:46,279
mentioned that we've got the same guy who did this

610
00:30:46,400 --> 00:30:49,880
the special effects for Fright Night. Remember he's the.

611
00:30:49,839 --> 00:30:52,000
Speaker 1: Guy who the pencil through the hand on the.

612
00:30:52,559 --> 00:30:54,960
Speaker 2: One of those guys, of those guys. Yeah, and there's

613
00:30:55,240 --> 00:30:56,880
you think to yourself, well, there's not a whole lot

614
00:30:56,880 --> 00:30:59,720
of special effects here, right, You've got the whole you know,

615
00:30:59,799 --> 00:31:03,839
him and the goo getting transferred and cloned and all

616
00:31:03,880 --> 00:31:06,160
of that, but not a whole lot of special effects,

617
00:31:06,200 --> 00:31:10,000
but there were because he had to interact with himself.

618
00:31:10,160 --> 00:31:12,279
And there's this one scene and I remember as I

619
00:31:12,359 --> 00:31:15,440
was watching it, I was like, holy crap, that was perfect.

620
00:31:15,440 --> 00:31:17,599
How the heck did they do that? And it's when

621
00:31:17,839 --> 00:31:21,880
Doug Kenny one brings in Doug Kenny three and introduces

622
00:31:21,920 --> 00:31:24,440
him to Doug Kenny two for the first time, and

623
00:31:24,559 --> 00:31:29,359
Doug Kenny two number two throws him a beer. Yes, right,

624
00:31:29,480 --> 00:31:32,400
And so what they were, what their plan was was

625
00:31:32,480 --> 00:31:36,079
to digitally erase the beer and then put it so

626
00:31:36,119 --> 00:31:38,599
that it didn't you didn't miss a sequence, it didn't

627
00:31:38,599 --> 00:31:43,559
hop out of place or whatever. Michael Keaton's throw was

628
00:31:43,799 --> 00:31:49,279
so perfect, both catching it and throwing it that they

629
00:31:49,559 --> 00:31:52,920
when they spliced the film together, it fit perfectly. So

630
00:31:52,960 --> 00:31:56,839
they literally called it the million Dollar Beer can Toss.

631
00:31:56,960 --> 00:31:58,880
Speaker 1: Yeah, if you don't have to digitally do all that

632
00:31:58,960 --> 00:32:01,519
crap and you're just like, oh my gosh, it lines

633
00:32:01,599 --> 00:32:02,279
up perfectly.

634
00:32:02,519 --> 00:32:05,400
Speaker 2: Yeah. I mean, just think about how difficult it would

635
00:32:05,400 --> 00:32:09,920
be with nineteen ninety six technology to have three of

636
00:32:10,000 --> 00:32:12,839
the same person shaving in front of the same mirror

637
00:32:13,000 --> 00:32:15,880
like they're's right next to each other. Yeah, this isn't

638
00:32:15,920 --> 00:32:18,079
something where like I'm talking to you from the right

639
00:32:18,119 --> 00:32:20,359
side of the screen and you're responding to me from

640
00:32:20,400 --> 00:32:22,000
the left side of the screen. This is they are

641
00:32:22,039 --> 00:32:25,079
standing in a line looking at their reflection in a mirror.

642
00:32:25,160 --> 00:32:27,319
Speaker 1: I mean, that's difficult, it's crazy.

643
00:32:27,359 --> 00:32:30,000
Speaker 2: And I will say this about that movie. They pulled

644
00:32:30,119 --> 00:32:32,680
all of it off seamlessly. I mean you just think

645
00:32:32,720 --> 00:32:37,119
about Attack of the Clones a few years later, or

646
00:32:37,599 --> 00:32:40,039
the Phantom Menace where they're staring at the top of

647
00:32:40,160 --> 00:32:44,359
jar Jar's head and it's just awful. It looks terrible,

648
00:32:44,519 --> 00:32:46,559
and I'm just like, guys, they knew how to do

649
00:32:46,599 --> 00:32:48,440
this back then. What are you missing out on here?

650
00:32:48,519 --> 00:32:51,440
Speaker 1: Yeah, the characters that Michael Keaton is playing. You have

651
00:32:51,559 --> 00:32:55,440
Doug one, Doug original, Yeah, Dug two. I saw him

652
00:32:55,480 --> 00:32:58,279
interviewed about this. He's like, I get Dug two sort

653
00:32:58,279 --> 00:33:01,799
of out of this region. Wins to his crotch. Yeah, right,

654
00:33:02,240 --> 00:33:05,240
And Doug three is a little bit more the homemaker,

655
00:33:05,400 --> 00:33:07,519
the more nurturing, and he's like, I get Doug three

656
00:33:07,559 --> 00:33:11,359
out of this region. He pointed at his heart. And

657
00:33:11,400 --> 00:33:14,599
then Doug four is a copy of a copy, which

658
00:33:14,680 --> 00:33:17,880
I thought that was brilliant and funny. Yeah, he said,

659
00:33:17,960 --> 00:33:21,039
that is my inner like five year old.

660
00:33:20,960 --> 00:33:25,480
Speaker 2: Kid, right right. It is the duality of man, the

661
00:33:25,519 --> 00:33:29,359
components of man. The first one is his macho workhard self. Right,

662
00:33:29,640 --> 00:33:32,720
it's not perfectly him. It is a guy who goes

663
00:33:32,759 --> 00:33:36,680
out and kicks butt, right yep. The second one he

664
00:33:37,400 --> 00:33:40,880
has soft. It is the feminine side to its max

665
00:33:41,440 --> 00:33:44,640
as far as a married man goes right. Sure, he's

666
00:33:44,759 --> 00:33:48,000
even wearing the ascot. At some point, I just you know.

667
00:33:48,039 --> 00:33:50,240
Speaker 1: Harold Ramis described to him he wanted him to be

668
00:33:50,359 --> 00:33:52,440
Martha Stewart on steroids.

669
00:33:52,039 --> 00:33:55,920
Speaker 2: Right right. And the obsessive compulsive comes out when he's

670
00:33:55,960 --> 00:33:57,839
explaining to her how to wrap up the meat loaf.

671
00:33:58,559 --> 00:33:59,640
Speaker 1: All that is ad libd.

672
00:34:00,079 --> 00:34:02,079
Speaker 2: It's so good. It's so good you can full it.

673
00:34:02,000 --> 00:34:03,480
Speaker 1: Twice, right, I even full of three times.

674
00:34:03,480 --> 00:34:08,679
Speaker 2: Sometimes Annie mcdeal would laugh so hard that they had

675
00:34:08,719 --> 00:34:11,320
to stop production for a while because she couldn't stop

676
00:34:11,400 --> 00:34:13,519
laughing at how funny Michael Keaton was in this movie.

677
00:34:13,599 --> 00:34:17,239
Speaker 1: Uh huh, the clips that I saw. I laughed with her.

678
00:34:17,880 --> 00:34:20,880
She could not get control of herself. Michael Keaton said.

679
00:34:21,000 --> 00:34:24,199
She would laugh, they'd have to stop production, they'd go

680
00:34:24,239 --> 00:34:28,400
to lunch, they'd come back she was still laughing, which

681
00:34:28,960 --> 00:34:30,039
that just makes me love.

682
00:34:29,920 --> 00:34:32,559
Speaker 2: Her even more, you know, yeah, for sure, for sure.

683
00:34:33,079 --> 00:34:36,599
Speaker 1: Okay, so the special effects on this are truly amazing.

684
00:34:36,840 --> 00:34:39,920
They're great. Wrong time, it's just it just missed the

685
00:34:39,960 --> 00:34:42,039
mark a little bit, it did. I guess we're moving

686
00:34:42,119 --> 00:34:43,280
Are we moving to final judgment?

687
00:34:43,400 --> 00:34:46,400
Speaker 2: So we talked about how Multiplicity was not well received,

688
00:34:46,440 --> 00:34:48,519
didn't even make half of its budget. Do you have

689
00:34:48,559 --> 00:34:50,440
the figures on what Groundhog they did?

690
00:34:50,599 --> 00:34:54,480
Speaker 1: Yeah? So Groundhog's Day's budget was thirty million dollars. Wow,

691
00:34:54,760 --> 00:34:57,039
and it made one hundred and five million. It was

692
00:34:57,079 --> 00:35:00,000
the tenth biggest movie of nineteen ninety three.

693
00:35:00,320 --> 00:35:03,800
Speaker 2: Wow. And that was a year that Yeah. Jurassic Park, Yeah,

694
00:35:03,880 --> 00:35:07,079
Jurassic Park. When you're talking about a very I mean

695
00:35:08,280 --> 00:35:12,679
or thirty million kind of a low budget, low effects,

696
00:35:12,800 --> 00:35:13,599
not a whole lot.

697
00:35:13,480 --> 00:35:15,519
Speaker 1: To do there, not a lot of actors, not a

698
00:35:15,519 --> 00:35:18,400
lot of sets. I mean, it's the same place, yeah,

699
00:35:18,519 --> 00:35:19,199
same people.

700
00:35:19,519 --> 00:35:21,280
Speaker 2: We talked. We didn't talk about this a lot, but

701
00:35:21,360 --> 00:35:24,280
can you imagine, like every scene that you see that's

702
00:35:24,320 --> 00:35:27,039
in the same place on a different day. They recorded

703
00:35:27,079 --> 00:35:29,360
all of those scenes on the same day, right, So

704
00:35:29,519 --> 00:35:33,840
scene one with needle nosed Ned occurs on the same

705
00:35:33,960 --> 00:35:36,719
day as I don't know where you're going between you

706
00:35:36,800 --> 00:35:39,400
call in six. Yeah, like those all were on the

707
00:35:39,400 --> 00:35:42,000
same day, one after the other, and all of the

708
00:35:42,000 --> 00:35:46,280
scenes at the bar, so you get all of these things.

709
00:35:46,920 --> 00:35:51,800
Makes the directing and production part easy. I would think

710
00:35:51,800 --> 00:35:53,639
it makes the editing a little more difficult because you

711
00:35:53,679 --> 00:35:55,880
got to move stuff around so much. But it's just

712
00:35:56,440 --> 00:36:00,000
they did such a good job with continuing a time

713
00:36:00,239 --> 00:36:03,079
sequenced despite the fact that they were all you know,

714
00:36:03,159 --> 00:36:06,239
each bit was its own recording process.

715
00:36:06,000 --> 00:36:09,880
Speaker 1: The needle nosed Ned Ryerson stuff. Stephen Tobolski talks about

716
00:36:09,880 --> 00:36:11,559
how he had to hit the same mark a bunch

717
00:36:11,559 --> 00:36:13,679
of times in the row. It's like step one, step two,

718
00:36:13,760 --> 00:36:18,440
finger up turn, you know Phil, Phil Connors right, And

719
00:36:18,480 --> 00:36:20,480
he had to do that exact same thing several times

720
00:36:20,519 --> 00:36:23,159
in a row. And he said, you never know what

721
00:36:23,199 --> 00:36:24,000
Bill was gonna do.

722
00:36:24,480 --> 00:36:27,440
Speaker 2: You know? Yeah, yeah that that I don't know where

723
00:36:27,440 --> 00:36:29,280
you're headed, But can you call him sick? That was

724
00:36:29,280 --> 00:36:33,840
an ablute. That was like Bill said, Okay, I'm gonna

725
00:36:33,880 --> 00:36:35,920
do something here and just go with it. And so

726
00:36:36,039 --> 00:36:41,760
Steven Tobolavski's response of gotta go running away in like

727
00:36:41,840 --> 00:36:46,519
the Heinee run. It was all ad libbed. Great moment.

728
00:36:46,920 --> 00:36:49,119
Speaker 1: Yeah, okay, are we ready for final judgment?

729
00:36:49,159 --> 00:36:51,000
Speaker 2: Do we even need to bother at this point?

730
00:36:51,239 --> 00:36:53,679
Speaker 1: I meanally we can't. We didn't hide it very well,

731
00:36:53,679 --> 00:36:54,000
did we.

732
00:36:54,000 --> 00:36:56,719
Speaker 2: Well we didn't. But I mean it's Groundhog Day to day, right,

733
00:36:56,840 --> 00:36:58,440
or at least it was last week when we started

734
00:36:58,440 --> 00:36:58,920
this process.

735
00:36:59,199 --> 00:37:03,400
Speaker 1: Right right right right right right right right right right right.

736
00:37:04,960 --> 00:37:11,760
Speaker 2: Yeah, So I mean, yes, sure, final judgment. Multiplicity definitely Okay,

737
00:37:12,480 --> 00:37:18,519
Well I thang, okay, so let me just defend multiplicity.

738
00:37:17,960 --> 00:37:20,599
Speaker 1: For a second. Okay, Okay, Yeah, So I'm gonna go

739
00:37:20,599 --> 00:37:24,599
ahead and say this is a landslide for Groundhog Day.

740
00:37:24,760 --> 00:37:27,880
Groundhog Day is a comedy classic. It never gets old.

741
00:37:28,039 --> 00:37:35,199
It's sweet, it's funny, it's poignant, it's meaningful. Multiplicity Doug

742
00:37:35,400 --> 00:37:38,519
treats his wife and his family bad the entire time.

743
00:37:38,519 --> 00:37:41,039
I don't think he's a bad guy, and I like

744
00:37:41,159 --> 00:37:43,320
Michael Keaton a lot. Michael Keaton is one of those

745
00:37:43,320 --> 00:37:47,760
guys like Tom Hanks or Harrison Ford or Bill Murray

746
00:37:47,800 --> 00:37:51,079
even that I'll watch whatever he's in because I like

747
00:37:51,199 --> 00:37:54,039
him as an actor. And there are some real laugh

748
00:37:54,119 --> 00:37:56,760
out loud moments in Multiplicity. When I watched it just

749
00:37:56,800 --> 00:37:59,840
the other day to prep for this, I laughed out loud,

750
00:38:00,079 --> 00:38:03,599
I myself in my house cracked up at several scenes,

751
00:38:03,880 --> 00:38:06,360
the restaurant scene where he runs into two, you know,

752
00:38:06,400 --> 00:38:09,280
one runs into two and his girlfriend is there, right,

753
00:38:09,559 --> 00:38:12,679
and then of course four doing all his stuff. So

754
00:38:12,760 --> 00:38:17,000
I like Multiplicity, but it's just missing something that groundhog

755
00:38:17,079 --> 00:38:19,960
Day has in spades. It doesn't have the same heart

756
00:38:20,280 --> 00:38:21,400
and the same sweetness.

757
00:38:21,639 --> 00:38:21,880
Speaker 2: For me.

758
00:38:22,079 --> 00:38:27,239
Speaker 1: It's groundhog Day all day, again and again and again.

759
00:38:27,480 --> 00:38:31,000
Speaker 2: Well, that certainly his home for me. I feel like

760
00:38:31,000 --> 00:38:33,239
I would have enjoyed Multiplicity more had I seen it

761
00:38:33,239 --> 00:38:36,559
back in the nineties. In the watching it this time,

762
00:38:37,239 --> 00:38:39,119
it did virtually nothing for me. I doubt I will

763
00:38:39,119 --> 00:38:42,199
ever watch it again, honestly. Okay, but that's just me

764
00:38:42,280 --> 00:38:45,239
missing out on the moment, right, Yeah, But that's what

765
00:38:45,280 --> 00:38:47,920
happened with Multiplicity. It missed out on the moment. It

766
00:38:47,920 --> 00:38:50,400
missed out on the moment for me. I wasn't interested

767
00:38:50,519 --> 00:38:55,400
in a Michael Keaton comedy romantic goofy cloning thing at

768
00:38:55,400 --> 00:38:57,920
that time. I wanted to see more pulp fiction. I

769
00:38:57,920 --> 00:38:59,920
wanted to see more natural born killers. I was into

770
00:38:59,920 --> 00:39:03,159
the hard hitting, edgy movies by that point in history.

771
00:39:03,480 --> 00:39:05,079
Let Me see Seven, you know.

772
00:39:06,320 --> 00:39:07,599
Speaker 1: One of the best movies of the nineties.

773
00:39:07,679 --> 00:39:10,960
Speaker 2: Yeah, yeah, right, But Groundhog Day is kind of like

774
00:39:11,320 --> 00:39:15,679
the perfect ending to the eighties decade of movies, even

775
00:39:15,679 --> 00:39:18,559
though it hits in ninety three. It is a comedy

776
00:39:18,840 --> 00:39:22,480
that hits you deep in the heart. It's something you

777
00:39:22,519 --> 00:39:25,679
can identify with. You are identifying with a guy who

778
00:39:25,719 --> 00:39:30,000
you recognize is a complete jerk. But because he's going

779
00:39:30,039 --> 00:39:32,599
through what we all struggle with, we all as the

780
00:39:32,679 --> 00:39:35,360
human race struggle with. You want him to win. You

781
00:39:35,400 --> 00:39:37,039
want him to find a way out, You want him

782
00:39:37,079 --> 00:39:40,000
to find an answer. And the question that has to

783
00:39:40,000 --> 00:39:42,639
be answered is why are we doing all this? What

784
00:39:42,679 --> 00:39:45,119
are we here for? What is our purpose? Right? And

785
00:39:45,159 --> 00:39:48,039
I love that he finds it and that it's special.

786
00:39:48,119 --> 00:39:51,280
It is. Stop thinking about me and start thinking about others.

787
00:39:51,400 --> 00:39:55,880
Yeah right, make myself a better person, not better circumstances,

788
00:39:55,920 --> 00:39:58,079
and make everybody's circumstances better.

789
00:39:58,119 --> 00:40:00,599
Speaker 1: And then then the lesson of multiplicity is if you

790
00:40:00,719 --> 00:40:04,639
lie to your wife, well enough, we'll never know.

791
00:40:04,920 --> 00:40:07,800
Speaker 2: Yeah, multiplicity. Did you see that at the end when

792
00:40:07,840 --> 00:40:11,039
they drive off together like like literally halfway into the movie,

793
00:40:11,079 --> 00:40:12,559
I'm like, how is he going to get rid.

794
00:40:12,519 --> 00:40:15,039
Speaker 1: Of the Like?

795
00:40:13,880 --> 00:40:17,719
Speaker 2: I like that literally, like my mind went to a

796
00:40:17,760 --> 00:40:19,239
really dark I'm like, is this going to be a

797
00:40:19,280 --> 00:40:21,599
really dark ending to this comedy? And then they just

798
00:40:21,719 --> 00:40:24,639
drive away in a car and they go start a

799
00:40:24,679 --> 00:40:28,000
pizza business down in Florida or something, and their logo

800
00:40:28,159 --> 00:40:30,920
is an obvious knockoff of the pet Boys. I mean,

801
00:40:30,960 --> 00:40:31,920
what's going on here?

802
00:40:33,079 --> 00:40:35,880
Speaker 1: But I'm telling you they should have cloned Rita.

803
00:40:36,159 --> 00:40:39,039
Speaker 2: Well that's one option. That is certainly one option. But

804
00:40:39,360 --> 00:40:42,559
I think that this movie could be remade as a

805
00:40:42,719 --> 00:40:45,760
much darker movie and be really good, like where he

806
00:40:45,840 --> 00:40:47,000
has to kill him at the end.

807
00:40:47,079 --> 00:40:49,679
Speaker 1: Yeah, we're like Number two wants to take over the family?

808
00:40:50,000 --> 00:40:52,039
Speaker 2: Right? Which is I mean that would have been the

809
00:40:52,079 --> 00:40:54,880
honest reaction. I mean, because number two wakes up and

810
00:40:54,960 --> 00:40:58,760
thinks he's the original. Can you imagine waking up tomorrow

811
00:40:59,320 --> 00:41:02,679
and somebody telling you, no, you have you only exist today.

812
00:41:03,119 --> 00:41:06,239
Your entire memory of your life we put there. It's

813
00:41:06,320 --> 00:41:09,360
not real, right, you're full of bologna. Yeah, let me

814
00:41:09,360 --> 00:41:11,639
show you the tattoo of a two on your ear right. Uh,

815
00:41:12,239 --> 00:41:15,719
that's that's for me. Losing my mind, not being a

816
00:41:15,719 --> 00:41:17,760
cool little I'll go get your work done guy. For you.

817
00:41:18,119 --> 00:41:23,199
Speaker 1: Somebody telling you rule number one. Nobody seeps with my wife, right,

818
00:41:23,400 --> 00:41:24,360
I mean my wife?

819
00:41:24,480 --> 00:41:28,400
Speaker 2: Yeah, yeah, so, And I was talking to Jet about

820
00:41:28,440 --> 00:41:31,480
this as well. Jet. I love Jet. He called me

821
00:41:31,519 --> 00:41:34,159
the other day and he was literally angry for us

822
00:41:34,239 --> 00:41:37,280
that were not like world famous because of this podcast.

823
00:41:37,400 --> 00:41:40,280
Yet He's like, your podcast is so good. I'm like,

824
00:41:40,519 --> 00:41:42,639
thank you, man, I need to hear that from time.

825
00:41:43,039 --> 00:41:46,239
That's somebody whose opinion I value. But I talked to

826
00:41:46,280 --> 00:41:48,239
him about that concept and he's like, oh, I think

827
00:41:48,239 --> 00:41:50,679
there's a black mirror that's like that, And I looked

828
00:41:50,679 --> 00:41:53,400
it up. There's not one. But maybe, hey, you know,

829
00:41:53,559 --> 00:41:56,199
retell the same story a different way. Maybe it's the recipe.

830
00:41:56,239 --> 00:41:59,079
I don't know. Don't steal that idea, Shirley fans. I

831
00:41:59,079 --> 00:42:00,000
may write that myself.

832
00:42:00,119 --> 00:42:01,400
Speaker 1: Let's go to Let's go.

833
00:42:01,800 --> 00:42:04,320
Speaker 2: All right, guys. That brings us to the end of

834
00:42:04,559 --> 00:42:08,159
groundhog Day versus Multiplicity. I didn't mention it, but if

835
00:42:08,199 --> 00:42:10,880
you couldn't tell, groundhog Day is definitely my pick. Be

836
00:42:10,960 --> 00:42:14,000
sure and come back and join us next week. We

837
00:42:14,159 --> 00:42:17,239
have a matchup that you are going to Love.

838
00:42:17,599 --> 00:42:22,960
Speaker 1: Next week we are doing The Outsiders versus Rumblefish. Now,

839
00:42:23,000 --> 00:42:24,880
for those of you might think, oh, that's kind of

840
00:42:24,880 --> 00:42:28,440
a weird thing. Both Francis Ford Coppola, both Matt Dylon

841
00:42:28,599 --> 00:42:32,519
and Dian Lane, both Tulsa movies. So this is a

842
00:42:32,519 --> 00:42:34,559
little Jason episode will matchup.

843
00:42:34,679 --> 00:42:37,719
Speaker 2: Yeah, both came out in eighty three, yes, forty years old.

844
00:42:38,199 --> 00:42:41,519
This March is when it will be the fortieth anniversary

845
00:42:41,519 --> 00:42:42,280
for the Outsiders.

846
00:42:42,360 --> 00:42:44,360
Speaker 1: Yeah, so that's going to be a lot of fun,

847
00:42:44,480 --> 00:42:47,000
really cool, and come back next week for that.

848
00:42:47,360 --> 00:42:49,360
Speaker 2: Yeah. Some of you have been asking why did it

849
00:42:49,400 --> 00:42:51,599
take us so long to get to the Outsiders. Well,

850
00:42:51,679 --> 00:42:53,800
because we wanted to land on the number forty. That's why.

851
00:42:53,880 --> 00:42:55,760
Speaker 1: That's right. All right, we'll see you next week.

852
00:42:55,840 --> 00:42:56,880
Speaker 2: Thanks guys, see you then,