1
00:00:01,040 --> 00:00:16,519
Speaker 1: This is a podcast from Minute Media.

2
00:00:27,359 --> 00:00:30,199
Speaker 2: Hello everybody, and welcome back to the Shirley You Can't

3
00:00:30,239 --> 00:00:34,799
Be Serious Podcast. The Epic Conclusion Part three et versus

4
00:00:34,880 --> 00:00:35,880
The Thing versus.

5
00:00:35,560 --> 00:00:38,280
Speaker 3: Blade Runner Shirley fans, Jason and I have spent the

6
00:00:38,359 --> 00:00:41,479
day making origami, playing E T on the Atari, and

7
00:00:41,600 --> 00:00:44,039
drinking J and B whiskey.

8
00:00:44,560 --> 00:00:48,520
Speaker 2: That will get us prepared for this epic conclusion and

9
00:00:48,560 --> 00:00:56,280
he won et cheating. That is not true. The FBI

10
00:00:56,359 --> 00:00:57,479
guy got me every time.

11
00:00:58,719 --> 00:01:02,280
Speaker 3: Okay, Before we get roll on this awesome episode, Part three,

12
00:01:02,399 --> 00:01:05,959
Kapper of our epic three part series on these awesome movies,

13
00:01:06,000 --> 00:01:07,840
I got to give a shout out to the thirty

14
00:01:07,879 --> 00:01:11,319
something meter movie podcast guys. They are killing it over there.

15
00:01:11,319 --> 00:01:14,200
They're doing such a good job. This week they came

16
00:01:14,239 --> 00:01:17,400
out with their Encino Man episode, which is one of

17
00:01:17,400 --> 00:01:20,680
my favorites. And it also stars, as you noted in

18
00:01:20,719 --> 00:01:24,079
one of our last episodes, mister Richard Masser, who plays

19
00:01:24,079 --> 00:01:25,079
Clark in The Thing.

20
00:01:25,200 --> 00:01:25,640
Speaker 2: That's right.

21
00:01:25,719 --> 00:01:28,439
Speaker 3: It does, yeah, and it also involves whizzing the juice.

22
00:01:28,760 --> 00:01:34,359
Speaker 2: Hey, weezing the Jews. There'd be the juice. The cheese

23
00:01:34,439 --> 00:01:38,480
is old and moldy. All right, Well, let's dive in, man,

24
00:01:38,680 --> 00:01:40,359
get ready to pass the final.

25
00:01:40,079 --> 00:01:43,359
Speaker 3: Here, you're you're ready to bring up Okay, well, we

26
00:01:43,560 --> 00:01:45,799
are going to talk about some kind of big, amazing

27
00:01:45,840 --> 00:01:48,560
ideas in the movie. Before we jump into that, let's

28
00:01:48,560 --> 00:01:52,519
talk about the fact that these are three special effects

29
00:01:52,640 --> 00:01:56,239
amaze ball movies. Yeah right, I mean the Thing, of course,

30
00:01:56,359 --> 00:01:58,359
because it's a horror movie and so you're going to

31
00:01:58,439 --> 00:02:01,200
have the extra special effects. But the things that are

32
00:02:01,239 --> 00:02:04,040
going on with the scenery, and the blade Runner, and

33
00:02:04,239 --> 00:02:07,760
the animatronics that are going on with et these are

34
00:02:07,799 --> 00:02:09,639
things worth noting. As a matter of fact. They're not

35
00:02:09,639 --> 00:02:11,479
only worth noting, there are things that we could probably

36
00:02:11,479 --> 00:02:15,520
spend an entire episode on for each movie. So I'm sorry, listeners,

37
00:02:15,639 --> 00:02:17,960
we are not going to go as deep and in

38
00:02:18,000 --> 00:02:20,479
depth as we normally would on these things, but we've

39
00:02:20,520 --> 00:02:22,199
got to at least touch base on these.

40
00:02:22,280 --> 00:02:23,639
Speaker 2: Yeah, let's do it. Yeah, okay, So.

41
00:02:23,680 --> 00:02:25,960
Speaker 3: Let's start with the thing again, as we it seems

42
00:02:25,960 --> 00:02:28,520
to lead out every time. We've got Rob Boteen, who

43
00:02:28,560 --> 00:02:32,199
we've mentioned before. Now, he just before this had done

44
00:02:32,520 --> 00:02:35,639
the fog, yes, and he had also done.

45
00:02:35,400 --> 00:02:37,080
Speaker 2: The howling, oh, the hewling. That's right.

46
00:02:37,159 --> 00:02:39,599
Speaker 3: Yeah, nineteen eighty one, be sure and check out our

47
00:02:39,919 --> 00:02:42,960
the Howling versus American Werewolf in London episodes.

48
00:02:43,120 --> 00:02:45,360
Speaker 2: Those were great episodes. That was the a movie that

49
00:02:45,439 --> 00:02:47,080
he turned De Wallace into an ewok.

50
00:02:47,759 --> 00:02:54,199
Speaker 3: Yes, yes, right, and so he did some incredible, incredible

51
00:02:54,240 --> 00:02:56,599
stuff with this. He had met John Carpenter when he

52
00:02:56,639 --> 00:02:59,199
was like twenty one and wanted to work with him,

53
00:02:59,280 --> 00:03:01,759
ended up getting a part in The Fog. Yes, And

54
00:03:01,879 --> 00:03:04,080
so we're going to talk about those in just a second.

55
00:03:04,159 --> 00:03:06,199
But I also got to mention a couple other guys.

56
00:03:06,360 --> 00:03:09,360
Number One, you got Albert Whitlock. He was the Matt artist.

57
00:03:09,759 --> 00:03:12,560
So those scenes where you're seeing the spaceship and the snow,

58
00:03:12,960 --> 00:03:15,719
those are painted no CGI back in nineteen eighty two,

59
00:03:15,840 --> 00:03:18,280
mind blowing. They would have the guys go stand on

60
00:03:18,439 --> 00:03:21,280
like you know, sheets on the ground out in the grass,

61
00:03:21,719 --> 00:03:24,719
filmed them and then Albert Whitlock would go in and

62
00:03:24,759 --> 00:03:27,520
paint over them. Now, Albert Whitlock is a guy who

63
00:03:28,039 --> 00:03:31,159
was the guy to go to, starting with Alfred Hitchcock,

64
00:03:31,280 --> 00:03:33,879
like Olver Hitchcock Houston for virtually all of his movies.

65
00:03:34,039 --> 00:03:35,759
But let me throw out some others that he was

66
00:03:35,800 --> 00:03:38,080
involved in. Okay, he was involved with Dune, which would

67
00:03:38,120 --> 00:03:40,240
come up just a bit later as Ridley Scott was

68
00:03:40,280 --> 00:03:40,759
almost the.

69
00:03:40,719 --> 00:03:42,439
Speaker 2: Director, almost directed Dune.

70
00:03:42,479 --> 00:03:45,879
Speaker 3: He did Never Ending Story too. I did Grimlins two.

71
00:03:46,319 --> 00:03:49,479
He did Coming to America, which is you know one

72
00:03:49,599 --> 00:03:52,360
we've covered before, but you get those Africa scenes. That's

73
00:03:52,400 --> 00:03:55,240
Albert Whitlock who painted those. Wow. And he did the

74
00:03:55,240 --> 00:03:57,000
Best Little Whorehouse in Texas.

75
00:03:57,639 --> 00:04:00,199
Speaker 2: The movie that had the sign out front that WELLcom

76
00:04:00,280 --> 00:04:02,840
Kurt Russell and John Carpenter to the movie studio when

77
00:04:02,879 --> 00:04:03,759
they were shooting the thing.

78
00:04:03,960 --> 00:04:06,759
Speaker 3: Yes, and if I can tie in just one more

79
00:04:06,800 --> 00:04:08,639
episode of ours. He also did Spaceballs.

80
00:04:09,159 --> 00:04:09,599
Speaker 2: Wow.

81
00:04:09,719 --> 00:04:13,599
Speaker 3: Yeah, So he's an icon, Roboteen's icon. And then of

82
00:04:13,639 --> 00:04:17,720
course Roboteen had to have some animatronics involved with his

83
00:04:18,079 --> 00:04:21,160
special effects. And who did they have Stan Winston?

84
00:04:21,240 --> 00:04:22,639
Speaker 2: That's right, they did. I did see that.

85
00:04:22,800 --> 00:04:25,639
Speaker 3: So Stan Winston we talked about him on our Jurassic

86
00:04:25,720 --> 00:04:29,560
Park episode. He is another icon in the field involved

87
00:04:29,600 --> 00:04:33,879
with Star Wars and a million other animatronics style movies

88
00:04:33,920 --> 00:04:34,480
of the eighties.

89
00:04:34,680 --> 00:04:38,360
Speaker 2: The stuff that is done on the monster special effects

90
00:04:38,360 --> 00:04:40,639
and the thing super fascinating.

91
00:04:40,759 --> 00:04:41,000
Speaker 3: Right.

92
00:04:41,120 --> 00:04:45,120
Speaker 2: So there is a scene where the chest cavity opens

93
00:04:45,199 --> 00:04:48,040
up and this little flower like thing comes out. Well,

94
00:04:48,079 --> 00:04:51,560
that flower is made up of dog tongues.

95
00:04:51,720 --> 00:04:54,079
Speaker 3: Yeah, if you'll remember it, because it looks like the

96
00:04:54,079 --> 00:04:55,560
Little Shop of Horrors Venus like.

97
00:04:55,720 --> 00:04:58,199
Speaker 2: It really does, right, feed me Seymour yeah.

98
00:04:57,959 --> 00:04:59,639
Speaker 3: Or if you're a Stranger Things fan, it kind of

99
00:04:59,639 --> 00:05:03,399
looks like the dog demon things on Stranger Things, right.

100
00:05:03,480 --> 00:05:06,399
John Carpenter had sent Rob botein down. They had a

101
00:05:06,439 --> 00:05:09,600
comic book artist there at the studio. They both work

102
00:05:09,680 --> 00:05:12,920
together designing these things, just in kind of picture format

103
00:05:12,920 --> 00:05:15,120
to start with, and then Rob botem go in and

104
00:05:15,160 --> 00:05:19,120
create these characters. Stan Winston came in and he's like, Okay, well,

105
00:05:19,160 --> 00:05:21,279
you know it's going to be hard to do animatronics

106
00:05:21,279 --> 00:05:23,959
on this, but if you've gotten no real definition on

107
00:05:24,079 --> 00:05:26,839
the way it's formed, if you can just mold around

108
00:05:26,839 --> 00:05:29,120
my arm, I could just work it like a puppet. Yeah.

109
00:05:29,120 --> 00:05:31,120
And so a lot of the dog mouth action that

110
00:05:31,199 --> 00:05:33,480
you see, I mean that's literally a guy's arm in

111
00:05:33,560 --> 00:05:35,000
a puppet making that happen. You know.

112
00:05:35,079 --> 00:05:37,800
Speaker 2: One of the effects that's really stunning to me, and

113
00:05:37,839 --> 00:05:39,879
I still don't really understand how they did it. But

114
00:05:39,920 --> 00:05:43,040
when the thing breaks open and all that like spaghetti

115
00:05:43,079 --> 00:05:46,079
like stuff is started whipping around. That creeped me out

116
00:05:46,079 --> 00:05:48,480
to no end. Man, that stuff is disgusting.

117
00:05:48,720 --> 00:05:51,920
Speaker 3: So in that scene, there are a couple of things

118
00:05:51,959 --> 00:05:54,399
going on. Number One, he was making stuff up as

119
00:05:54,399 --> 00:05:57,000
he went. And so at one point when they're filming

120
00:05:57,040 --> 00:06:00,439
that scene, they've got all these chemicals there that have

121
00:06:00,519 --> 00:06:02,680
been flying around and shooting out and doing all this

122
00:06:02,759 --> 00:06:05,439
other stuff, and suddenly John Carpenter's like, wait, wait, wait, wait,

123
00:06:05,519 --> 00:06:07,600
in this part of the scene, he's just shot a

124
00:06:07,639 --> 00:06:10,279
flame thrower right before this, and the thing's on fire.

125
00:06:10,360 --> 00:06:12,480
So I can't just shoot this with no fire. It's

126
00:06:12,480 --> 00:06:14,600
not going to be consistent. And so they're like okay.

127
00:06:14,800 --> 00:06:17,439
And I mean they've got guys under the table doing

128
00:06:17,480 --> 00:06:20,879
all these mechanics and stuff like that, so they're like, okay, well,

129
00:06:20,959 --> 00:06:23,000
let's set it on fire. Well, those chemicals they had

130
00:06:23,000 --> 00:06:27,160
been using had just been filling the room with flammable gas,

131
00:06:27,360 --> 00:06:29,399
and all of a sudden, it just goes like the

132
00:06:29,439 --> 00:06:32,959
whole room in gulfs and flames and these things that

133
00:06:33,360 --> 00:06:37,160
Rob Boutin had spent weeks and he slept at the studio,

134
00:06:37,360 --> 00:06:40,839
right and I mean he was exhausted. He had spent months.

135
00:06:41,120 --> 00:06:42,519
Speaker 2: He hospitalized at the end of this.

136
00:06:42,759 --> 00:06:45,720
Speaker 3: Yeah, I mean it was. And so he's this monumental

137
00:06:45,759 --> 00:06:47,680
effort and all of a sudden he just sees it

138
00:06:47,759 --> 00:06:52,199
burned to a crisp. Fortunately it wasn't completely destroyed and

139
00:06:52,240 --> 00:06:54,480
he could patch it back up. But yeah, So the

140
00:06:54,639 --> 00:06:57,160
part where the guy's arms get bitten off, you know,

141
00:06:57,160 --> 00:07:00,759
they've got that animatronic thing that opens up his chest, yes,

142
00:07:00,959 --> 00:07:02,600
and clamps stand on it. Well, the way that they

143
00:07:02,639 --> 00:07:05,240
did that is they had a guy who was an

144
00:07:05,279 --> 00:07:09,040
amputee come in and they made him fake arms out

145
00:07:09,040 --> 00:07:11,959
of jello and other stuff like that, so that whenever

146
00:07:12,000 --> 00:07:16,079
the chest clamps shut, he can pull his arms out

147
00:07:16,160 --> 00:07:19,480
of the fake arms. Right. And so, since you know

148
00:07:19,639 --> 00:07:22,959
the actor who's playing this part isn't an amputee, they

149
00:07:22,959 --> 00:07:24,360
were like, well, what do we do there? You're going

150
00:07:24,399 --> 00:07:27,600
to see his face. They made a fake face. They

151
00:07:27,600 --> 00:07:29,920
made like a wax face and put it on the

152
00:07:29,959 --> 00:07:32,959
amputees face, so that when you see him like thrashing

153
00:07:33,000 --> 00:07:36,040
around with no arms, it's the guy is wearing a mask.

154
00:07:36,240 --> 00:07:39,240
Speaker 2: Really, that's cool. Hey, I did see something that was

155
00:07:39,279 --> 00:07:42,959
really funny to me. They used a ton of ky jelly, right,

156
00:07:43,279 --> 00:07:45,519
who doesn't They used a ton of kyjilly and it

157
00:07:45,519 --> 00:07:48,680
makes everything look super slimy and slick and all that stuff. Yeah,

158
00:07:49,000 --> 00:07:51,560
and one of the guys I heard marveling was he's like,

159
00:07:51,639 --> 00:07:54,480
we bought this in fifty five gallon drums. He goes,

160
00:07:54,519 --> 00:07:58,759
who needs fifty five gallon drums of ky jelly? You know,

161
00:07:59,360 --> 00:08:00,680
it's crazy, that's funny.

162
00:08:01,920 --> 00:08:09,680
Speaker 3: Okay, let's jump over to Blade Runner. So in Blade

163
00:08:09,720 --> 00:08:13,160
Runner there's not as many special effects per se. You

164
00:08:13,199 --> 00:08:15,639
don't have a lot of core going on, you don't

165
00:08:15,639 --> 00:08:18,720
have a lot of weird stuff. What you have is

166
00:08:18,800 --> 00:08:21,839
some of the most amazing scenery I've ever seen in

167
00:08:21,920 --> 00:08:25,160
any movie in my life. We talked about how Ridley

168
00:08:25,160 --> 00:08:27,600
Scott wanted to use the Bradberry and they're like, no,

169
00:08:27,759 --> 00:08:29,920
everybody uses the Bradberry. He's like, not the way I'm

170
00:08:29,920 --> 00:08:32,039
going to do it right. Well, the entire thing is

171
00:08:32,200 --> 00:08:34,720
like that, and it all comes from this artist named

172
00:08:34,759 --> 00:08:39,279
Sid Mead, And Dude, I looked at this guy's life.

173
00:08:39,639 --> 00:08:42,039
Holy smokes. I mean, he's just he is a god

174
00:08:42,080 --> 00:08:44,879
among men. I mean, he just He worked for car

175
00:08:44,919 --> 00:08:48,399
design companies, he worked for building design companies. He was

176
00:08:48,480 --> 00:08:52,600
doing movie after movie. He did Tron at the same time,

177
00:08:52,639 --> 00:08:56,759
as he was doing he's designing, like he's drawing these

178
00:08:57,080 --> 00:08:59,600
city scapes, he's doing all of that stuff in his

179
00:08:59,720 --> 00:09:02,840
art work is just amazing. This is what he used

180
00:09:02,840 --> 00:09:05,559
for inspiration. Hong Kong on a very Bad Day and

181
00:09:05,720 --> 00:09:09,360
Nighthawks by Edward Hopper. Those were his kind of instegrational points.

182
00:09:09,440 --> 00:09:12,440
And I think that's probably one of the most amazing

183
00:09:12,440 --> 00:09:15,320
features about Blade Runner, is the way that they put

184
00:09:15,399 --> 00:09:19,120
you in this future world and you buy in. I mean,

185
00:09:19,519 --> 00:09:22,080
when I'm watching it, I'm not thinking to myself, well,

186
00:09:22,399 --> 00:09:24,799
that's fake. That wouldn't really it, right. It all is

187
00:09:24,840 --> 00:09:27,519
stuff that you're just like, Oh, I can completely see

188
00:09:27,559 --> 00:09:29,399
this as our dystopian future.

189
00:09:29,480 --> 00:09:32,440
Speaker 2: Absolutely. One of the possible futures that they proposed in

190
00:09:32,519 --> 00:09:35,639
nineteen eighty two was this idea that Los Angeles and

191
00:09:35,720 --> 00:09:40,320
San Francisco would grow together as one giant urban area, huh,

192
00:09:40,480 --> 00:09:43,240
and that you would have this sort of street language

193
00:09:43,279 --> 00:09:47,519
that included like Japanese and English. There's actually some Chinese lettering.

194
00:09:47,720 --> 00:09:48,960
This is how detailed they got.

195
00:09:49,039 --> 00:09:49,279
Speaker 3: Yeah.

196
00:09:49,320 --> 00:09:52,320
Speaker 2: I don't speak Chinese, but apparently it says Asian's good,

197
00:09:52,360 --> 00:09:55,480
Americans bad or something like that. All they steered away

198
00:09:55,480 --> 00:09:59,759
from that one big urban area. But Demolition Man picked

199
00:09:59,759 --> 00:10:02,039
that up, idea up and ran with that a little bit.

200
00:10:02,200 --> 00:10:06,559
Speaker 3: Yeah, and they did a great job of taking Sidmead's

201
00:10:06,600 --> 00:10:08,919
paintings and bringing him to life. And the guys that

202
00:10:09,000 --> 00:10:11,240
did that, that was Douglas Trumbull that I talked about

203
00:10:11,279 --> 00:10:13,519
in our last episode, who was kind of the man

204
00:10:13,559 --> 00:10:16,399
as far as those set designs go. And then we

205
00:10:16,480 --> 00:10:19,120
have et kaya swear.

206
00:10:18,879 --> 00:10:22,919
Speaker 2: It one more time. I have that some absolute power.

207
00:10:24,159 --> 00:10:27,039
Speaker 3: The biggest effect on ET is E T. Right, so

208
00:10:27,159 --> 00:10:29,840
you've got the creature of e T. He was created

209
00:10:29,879 --> 00:10:34,120
by Carlo Rumbaldi. Okay, Carlo Rumbaldi also involved in Doune

210
00:10:34,200 --> 00:10:37,320
and the original Never Ending Story and he before this

211
00:10:37,440 --> 00:10:41,559
movie he did the alien head an alien Yeah, like

212
00:10:41,600 --> 00:10:43,960
the effects where the mouth would come out. That was

213
00:10:44,000 --> 00:10:47,039
Carlo Rumbaldi. And he also did the alien effects on

214
00:10:47,080 --> 00:10:49,799
Close Encounters. Okay. After this movie he did a ton

215
00:10:49,840 --> 00:10:52,919
of movies. But one of them was the Werewolf suit

216
00:10:53,080 --> 00:10:53,759
in Silver Bowl.

217
00:10:53,840 --> 00:10:54,279
Speaker 2: Oh nice.

218
00:10:54,320 --> 00:10:55,960
Speaker 3: Did you see the seventy six version of King Kong?

219
00:10:56,080 --> 00:10:57,759
I have he did that one? He did King Kong

220
00:10:57,799 --> 00:11:00,399
as well. Yeah, he's another icon of the We've got

221
00:11:00,600 --> 00:11:04,399
icon after icon. The Matt paintings for this movie were

222
00:11:04,480 --> 00:11:07,919
done through ILM and as Christopher Evans, who was like

223
00:11:08,000 --> 00:11:10,519
the chief of Matt paintings for them. You get the

224
00:11:10,600 --> 00:11:14,200
spaceship animation and that sort of thing, but really, this

225
00:11:14,360 --> 00:11:17,440
isn't a movie that's super full of these special effects

226
00:11:17,639 --> 00:11:20,840
except for the Et, and the Et creature was something

227
00:11:21,080 --> 00:11:23,320
I was looking at the operators. I counted at least

228
00:11:23,360 --> 00:11:26,240
seven different operators on the and obviously they're doing it

229
00:11:26,279 --> 00:11:29,080
at different times. They had different suits that they used,

230
00:11:29,159 --> 00:11:34,000
but Carlo Rombaldi's design looks very similar to another thing

231
00:11:34,039 --> 00:11:36,279
that we've talked about just a bit before that. I

232
00:11:36,320 --> 00:11:38,559
wanted to get in a little bit more detail about. Okay,

233
00:11:38,600 --> 00:11:39,159
you ready for this?

234
00:11:39,240 --> 00:11:39,480
Speaker 2: Yeah?

235
00:11:39,480 --> 00:11:42,600
Speaker 3: Sure, okay, So here I am. I'm looking at the

236
00:11:42,639 --> 00:11:46,519
biggest special effects science fiction movies of nineteen eighty two

237
00:11:46,600 --> 00:11:50,080
and probably conceivably of all time. And there's a name

238
00:11:50,200 --> 00:11:54,519
that's missing. Okay, it's Rick freakin Baker. Where is Rick Baker?

239
00:11:54,799 --> 00:11:57,840
I can't. I'm like, Okay, Well, he did Ghost Story

240
00:11:57,919 --> 00:12:01,519
before this, and he did some other like Videodrome after this.

241
00:12:01,879 --> 00:12:04,639
What was he doing in nineteen eighty was he on vacation?

242
00:12:05,159 --> 00:12:07,840
I'm looking I can't figure it out. Why wouldn't you

243
00:12:07,840 --> 00:12:10,120
have Rick Baker? Right, why wouldn't you have Rick Baker

244
00:12:10,120 --> 00:12:12,519
involved and in some capacity in one of these movies?

245
00:12:12,600 --> 00:12:15,000
Let me tell you why. Okay, so you talked about

246
00:12:15,080 --> 00:12:19,159
in our first part of this series, Night Skies. Yes, so,

247
00:12:19,440 --> 00:12:22,720
Night Skies was this script that was written by John

248
00:12:22,759 --> 00:12:26,240
Sales that ended up spawning Poulter, Guys, E T and

249
00:12:26,320 --> 00:12:27,840
Grimlin's the movie right.

250
00:12:27,879 --> 00:12:28,879
Speaker 2: Right, Yeah, that's correct.

251
00:12:29,120 --> 00:12:32,360
Speaker 3: And so the way it was originally written, instead of

252
00:12:32,440 --> 00:12:35,879
Grimlins being the creatures that were running around creating havoc,

253
00:12:36,000 --> 00:12:40,519
it was little aliens like et running around creating the havoc.

254
00:12:40,519 --> 00:12:42,399
And I think you listed off some names last time.

255
00:12:42,480 --> 00:12:48,159
Speaker 2: Yeah, Squid and there's Squirt and Scar yeah something like that, right, yep,

256
00:12:48,279 --> 00:12:49,200
Well here's what happened.

257
00:12:49,279 --> 00:12:52,440
Speaker 3: Okay. Spielberg thinks he's going to be making this movie

258
00:12:52,480 --> 00:12:55,519
called Night Skies, right, and so he goes to the

259
00:12:55,559 --> 00:12:59,240
most logical guy, Rick Baker. Okay, Rick, I'm gonna make

260
00:12:59,240 --> 00:13:01,759
this movie. I've got lots of aliens that I need

261
00:13:01,799 --> 00:13:04,000
and you helped me out, and sir Rick Baker starts

262
00:13:04,080 --> 00:13:07,679
creating aliens, which they end up looking very similar to

263
00:13:07,720 --> 00:13:10,120
what we finally end up with with Et just a

264
00:13:10,120 --> 00:13:13,200
little rougher and tougher, but that same kind of style

265
00:13:13,440 --> 00:13:17,919
for sure. Okay, Well, then the movie changes and Spielberg's like, well,

266
00:13:17,960 --> 00:13:20,320
I'm not going to make one movie called night Skies.

267
00:13:20,360 --> 00:13:23,120
I'm going to make three movies, none of which are

268
00:13:23,240 --> 00:13:27,399
night Skies, right, and so hey, Rick, thanks for your trouble,

269
00:13:27,480 --> 00:13:29,879
but I'm going to not do this right. Well, Rick

270
00:13:29,960 --> 00:13:33,440
had spent seven hundred and fifty thousand dollars of his

271
00:13:33,559 --> 00:13:36,240
own money, not to mention all of the hours that

272
00:13:36,320 --> 00:13:39,200
he put in to build these things. And he's like,

273
00:13:39,279 --> 00:13:41,559
what you're just saying, No, We're just done. And that's

274
00:13:41,639 --> 00:13:44,039
just it. I mean, at the time, you could think, hey,

275
00:13:44,039 --> 00:13:46,240
this is Spielberg telling me he's going to do a movie.

276
00:13:46,279 --> 00:13:48,399
I can feel safe and secure in doing this, right.

277
00:13:48,440 --> 00:13:51,480
So it really pissed him off. Yeah, of course, and

278
00:13:51,519 --> 00:13:53,120
he's like, I'm never going to work with that guy

279
00:13:53,159 --> 00:13:55,159
ever again. And if you look, they have never done

280
00:13:55,200 --> 00:13:58,039
a mill Wow. So there it is. That's the answer

281
00:13:58,080 --> 00:14:00,200
to the question. I couldn't figure out. The reason Rick

282
00:14:00,240 --> 00:14:02,879
Baker wasn't doing this is because he had been spurned

283
00:14:02,879 --> 00:14:06,240
by Spielberg in trying to do something that ultimately was

284
00:14:06,679 --> 00:14:07,600
a precursor.

285
00:14:07,679 --> 00:14:10,960
Speaker 2: I can't believe he stiff team on that, man, I know. Gosh.

286
00:14:11,200 --> 00:14:14,000
Speaker 3: Okay, okay, you ready to talk deep questions.

287
00:14:14,279 --> 00:14:18,960
Speaker 2: Let's talk about the big issues in these movies. Okay, ready, Yes,

288
00:14:19,039 --> 00:14:20,120
let's start with Blade Runner.

289
00:14:20,279 --> 00:14:20,799
Speaker 3: Let's do it.

290
00:14:20,840 --> 00:14:23,639
Speaker 2: So before we get to the biggest question, we have

291
00:14:23,679 --> 00:14:27,159
to ask ourselves. Why are there multiple versions of this movie?

292
00:14:27,200 --> 00:14:28,720
Speaker 3: That's a good question. Okay. Yeah.

293
00:14:28,840 --> 00:14:31,120
Speaker 2: In fact, I think you watched I watched the final

294
00:14:31,200 --> 00:14:33,919
You watch the final cut. I watched the director's cut. Okay,

295
00:14:34,039 --> 00:14:36,120
there's some differences between those two movies, right.

296
00:14:36,120 --> 00:14:37,799
Speaker 3: I think the first time that I watched it, I

297
00:14:37,799 --> 00:14:40,679
didn't watch director's cut or final cut. I watched like

298
00:14:40,720 --> 00:14:41,600
the original version.

299
00:14:41,679 --> 00:14:43,840
Speaker 2: Okay. So, just for those of you who are listening,

300
00:14:43,919 --> 00:14:46,360
I mean, there's the work print prototype, there was the

301
00:14:46,399 --> 00:14:49,639
San Diego sneak preview. There's the US theatrical release which

302
00:14:49,679 --> 00:14:52,320
people saw in theaters. There was an international release. There

303
00:14:52,440 --> 00:14:54,840
was of course the TV version. Then we have the

304
00:14:54,919 --> 00:14:57,559
director's cut. So this is the interesting one. The original

305
00:14:57,679 --> 00:15:01,840
theatrical release in nineteen eighty Twoerson Ford did some narration. No,

306
00:15:02,080 --> 00:15:05,279
because when they had screened it, test audiences didn't really

307
00:15:05,399 --> 00:15:07,000
understand what was happening.

308
00:15:07,080 --> 00:15:10,639
Speaker 4: Skin jobs, that's what Bryant called replicants, and.

309
00:15:10,639 --> 00:15:12,679
Speaker 2: So the studio said, you got to clarify for these

310
00:15:12,720 --> 00:15:14,759
dumb people, you got to tell them what's going on.

311
00:15:14,919 --> 00:15:17,320
And Harrison Ford is like, no, this is stupid. I'm

312
00:15:17,320 --> 00:15:19,120
not going to dumb it down and tell these people.

313
00:15:19,200 --> 00:15:20,960
And basically they had to make him. Yeah, and you

314
00:15:21,000 --> 00:15:23,279
can tell by his performance that he does not want

315
00:15:23,279 --> 00:15:23,720
to be there.

316
00:15:23,759 --> 00:15:25,480
Speaker 3: He seems extremely disinterested.

317
00:15:25,679 --> 00:15:28,039
Speaker 2: Now, Harrison Ford has said, I didn't nail it in.

318
00:15:28,200 --> 00:15:29,240
I gave it my best.

319
00:15:30,879 --> 00:15:33,600
Speaker 3: Sure you did, right, right, right, Sure you did, Harrison. Okay,

320
00:15:33,639 --> 00:15:35,879
because you're really good at hiding how you feel.

321
00:15:37,360 --> 00:15:39,440
Speaker 2: He's grumpy. And then you had the happy ending at

322
00:15:39,440 --> 00:15:41,320
the end of the US theatrical release.

323
00:15:41,360 --> 00:15:43,399
Speaker 3: Okay, yeah, for those of you who haven't seen it,

324
00:15:43,480 --> 00:15:47,799
the happy ending is that Deckert and Rachel are driving

325
00:15:47,799 --> 00:15:50,039
off into the sunset, right, They're going to go live together,

326
00:15:50,440 --> 00:15:52,799
and we find out that Rachel doesn't have the four

327
00:15:52,879 --> 00:15:56,679
year limitation, so they could potentially have their happily ever after.

328
00:15:56,799 --> 00:15:59,440
Speaker 2: Here's the interesting thing about the happy ending. Yeah, they're

329
00:15:59,480 --> 00:16:04,039
going off into this mountains and snow and lakes and

330
00:16:04,320 --> 00:16:07,840
you know, beautiful, those were the castaway shots from the Shining.

331
00:16:07,960 --> 00:16:09,919
Speaker 3: No, I know what you're talking about. You've got the

332
00:16:10,240 --> 00:16:13,840
ominous music playing as things are flying.

333
00:16:13,600 --> 00:16:16,879
Speaker 2: Over Jagni Lin. Yeah, yeah, yeah, it was driving out

334
00:16:16,919 --> 00:16:22,240
to Colorado and that those shots were taken from leftover shots.

335
00:16:21,879 --> 00:16:24,399
Speaker 3: Of the Shining. That's fantastic. I did not. You blew

336
00:16:24,399 --> 00:16:25,960
my mind right there? Cool, Where to go?

337
00:16:26,159 --> 00:16:29,320
Speaker 2: So that's the original release. Well, really, Scott was dissatisfied

338
00:16:29,320 --> 00:16:31,600
with it. Harrison Ford was certainly dissatisfied with it. So

339
00:16:31,799 --> 00:16:34,600
ultimately it didn't help audiences. They still didn't understand it,

340
00:16:34,600 --> 00:16:36,519
they still didn't get it, and it didn't help it

341
00:16:36,600 --> 00:16:37,279
be a success.

342
00:16:37,440 --> 00:16:38,960
Speaker 3: It wasn't. Yeah, it was a failure.

343
00:16:39,200 --> 00:16:42,120
Speaker 2: Okay. So listen to this. In nineteen ninety two, we

344
00:16:42,200 --> 00:16:44,440
get the director's cut, okay, and now listen to how

345
00:16:44,480 --> 00:16:46,759
this came about. In October of nineteen eighty nine, this

346
00:16:46,799 --> 00:16:50,840
guy named Michael Eric was looking for an old cut

347
00:16:50,919 --> 00:16:54,360
of the movie Gypsy. Okay. Now, he worked at the

348
00:16:54,399 --> 00:16:56,919
todd Ao Vaults, which is one of these places that

349
00:16:57,000 --> 00:16:59,120
store old movies and kind of preserve them and keep

350
00:16:59,159 --> 00:17:02,000
them or whatever. So he stumbled upon this version of

351
00:17:02,480 --> 00:17:05,039
Blade Runner. Okay, Okay, Well, it turns out it was

352
00:17:05,079 --> 00:17:07,599
the work print version, which means it did not have

353
00:17:07,640 --> 00:17:09,960
the happy ending and it did not have the narration.

354
00:17:10,319 --> 00:17:11,240
Speaker 3: Okay.

355
00:17:11,559 --> 00:17:16,079
Speaker 2: So this theater in La the Cineplex Ordan Fairfax Theater

356
00:17:16,279 --> 00:17:19,160
got wind of this discovery and said, hey, Warner Brothers,

357
00:17:19,279 --> 00:17:22,160
is it okay if we show this version in our theaters?

358
00:17:22,240 --> 00:17:22,440
Speaker 3: Right?

359
00:17:22,960 --> 00:17:24,920
Speaker 2: Well, when they showed it, people were like, oh, this

360
00:17:25,000 --> 00:17:28,240
is so much better, right right, and then it sort

361
00:17:28,279 --> 00:17:29,480
of built up some of them and some of the

362
00:17:29,519 --> 00:17:32,200
people wanted to see this different cut of Blade Runner,

363
00:17:32,559 --> 00:17:35,599
and it caused a surge in popularity. And so Ridley

364
00:17:35,640 --> 00:17:38,440
Scott said he didn't work and he didn't edit it himself,

365
00:17:38,480 --> 00:17:39,279
but he okayed it.

366
00:17:39,519 --> 00:17:41,799
Speaker 3: Yeah. He I think there was an he was in

367
00:17:41,799 --> 00:17:43,599
the middle of some other movies at the time, Thelma

368
00:17:43,640 --> 00:17:45,400
and Louise, I think if I remember, and I think

369
00:17:45,440 --> 00:17:48,319
that's right. Yeah, And there was somebody else who he

370
00:17:48,359 --> 00:17:50,559
trusted to make the cuts, and he said, here's what

371
00:17:50,599 --> 00:17:52,880
I would do, and that's how you get the title

372
00:17:53,119 --> 00:17:54,400
director's cut. Okay.

373
00:17:54,400 --> 00:17:56,799
Speaker 2: So in the director's cut, you have the removal of

374
00:17:56,880 --> 00:18:02,640
Deckard's voiceovers, right, you have the of the Unicorn dream sequence,

375
00:18:02,799 --> 00:18:06,759
which is huge. It's huge, it's so huig. I can't

376
00:18:06,759 --> 00:18:08,799
believe they took it out. I know, right, it doesn't

377
00:18:08,799 --> 00:18:10,759
make any I mean it, it's crazy. We'll talk about

378
00:18:10,759 --> 00:18:12,640
that more here in just a second. Yeah, and then

379
00:18:12,680 --> 00:18:13,720
they took off the happy ending.

380
00:18:13,880 --> 00:18:14,119
Speaker 3: Well.

381
00:18:14,200 --> 00:18:16,640
Speaker 2: In two thousand and seven you have the final cut version,

382
00:18:16,720 --> 00:18:19,839
which is actually Ridley Scott sitting down, going through with

383
00:18:19,880 --> 00:18:22,319
a fine tooth comb and making his own version of it.

384
00:18:22,400 --> 00:18:25,400
Speaker 3: And let me just say, George Lucas could learn something

385
00:18:25,480 --> 00:18:29,079
from Ridley Scott, Yes, because you don't have any new

386
00:18:29,680 --> 00:18:33,759
like shiny spaceships coming in that are all cgi' and right,

387
00:18:33,880 --> 00:18:37,119
and you have a genuine effort to make the original

388
00:18:37,160 --> 00:18:42,920
product look better, not different. It was so much better

389
00:18:42,960 --> 00:18:45,440
looking than the originals.

390
00:18:44,880 --> 00:18:46,519
Speaker 2: By the way. Yeah, I don't want to get into

391
00:18:46,519 --> 00:18:48,720
this too much. Yeah, but in two thousand and two,

392
00:18:49,079 --> 00:18:51,799
Steven Spielberg sat down and did a cut of Et,

393
00:18:52,000 --> 00:18:56,359
a twentieth anniversary cut. Whereas in the original theatrical cut

394
00:18:56,440 --> 00:18:59,039
you had ET's heart light when he's running from keys

395
00:18:59,079 --> 00:19:02,200
at the very beginning. Yeah, they're pulling him on a rail,

396
00:19:02,319 --> 00:19:05,480
and so that heartlight just goes evenly and in two

397
00:19:05,480 --> 00:19:08,359
thousand and two, Spielberg added a little bit of CGI

398
00:19:08,559 --> 00:19:11,680
just to make the heartlight jump like it had movement.

399
00:19:12,000 --> 00:19:14,839
Oh okay, And so it's subtle changes like that instead

400
00:19:14,839 --> 00:19:19,279
of Grido getting shot, you know, you know, subtle changes,

401
00:19:19,680 --> 00:19:22,640
Lucas subtle Okay, all right, so that's the multiple versions.

402
00:19:22,720 --> 00:19:26,640
Let's talk about Harrison Ford and Ridley Scott in their battle.

403
00:19:26,759 --> 00:19:27,480
Speaker 3: Okay.

404
00:19:27,519 --> 00:19:30,079
Speaker 2: Now, really, Scott has said that the toughest actor he

405
00:19:30,119 --> 00:19:32,400
has ever worked with is Harrison Ford.

406
00:19:32,839 --> 00:19:34,640
Speaker 3: Okay, all right, He's probably not alone.

407
00:19:34,759 --> 00:19:37,480
Speaker 2: Harrison Ford was not speaking to Ridley Scott by the

408
00:19:37,559 --> 00:19:39,720
end of this movie, and Alan lad Junior said even

409
00:19:39,720 --> 00:19:42,039
more than that he wanted to beat the crap out

410
00:19:42,079 --> 00:19:44,400
of him, like he was ready to go to fisticuffs

411
00:19:44,400 --> 00:19:47,279
with Ridley Scott. Now here's the interesting thing about it.

412
00:19:47,279 --> 00:19:49,880
It has to do with the big question of whether

413
00:19:50,000 --> 00:19:51,759
or not Deckard is a replicant or not.

414
00:19:51,920 --> 00:19:52,920
Speaker 3: That is the big question.

415
00:19:53,079 --> 00:19:53,960
Speaker 2: That's the big question.

416
00:19:54,200 --> 00:19:57,400
Speaker 3: Okay. Let's talk about some iconic magery in this thing

417
00:19:57,480 --> 00:19:58,559
to lead us down this path.

418
00:19:58,640 --> 00:19:59,599
Speaker 2: Okay, yes, okay.

419
00:19:59,640 --> 00:20:02,920
Speaker 3: So let's start with Tyrel's pyramid. Okay, it is not

420
00:20:03,039 --> 00:20:06,599
an Egyptian pyramid. Is in a pyramid like the old

421
00:20:06,839 --> 00:20:10,519
Incas or Aztec type of pyramid, which is important because

422
00:20:10,839 --> 00:20:15,119
in their religion, the god or gods that existed created

423
00:20:15,240 --> 00:20:19,599
man not for loving but for service, as in you

424
00:20:19,680 --> 00:20:24,519
are my workers, my slaves, which is exactly what Tyrell

425
00:20:24,640 --> 00:20:29,359
has created his replicants for. Yes, okay, yep number two. Okay,

426
00:20:29,519 --> 00:20:32,839
the snake. Yes, now we get into the biblical imagery right, Yes,

427
00:20:33,440 --> 00:20:36,559
you've got the snake tattoo on Zora and then of

428
00:20:36,599 --> 00:20:39,119
course she owns the snake, but it's not a real snake. Well,

429
00:20:39,119 --> 00:20:42,759
this of course immediately brings up images of the garden

430
00:20:42,839 --> 00:20:45,799
and the serpent, but also the idea that the animals.

431
00:20:45,839 --> 00:20:47,880
I mean, you're kidding me. I couldn't afford something like

432
00:20:47,920 --> 00:20:50,000
that if it was a real snake because it doesn't

433
00:20:50,039 --> 00:20:53,440
really detail it. But all of the animals have died off,

434
00:20:53,559 --> 00:20:55,319
which brings me to the owl. It was one of

435
00:20:55,319 --> 00:20:57,240
the first animals to die off, which is why you

436
00:20:57,279 --> 00:20:59,839
have that owl as a replicant. Here's the big one

437
00:20:59,839 --> 00:21:02,759
for me. Okay, where we're getting into it. Yes, fake

438
00:21:02,839 --> 00:21:06,279
family pictures. Yeah, so you know that Rachel when she

439
00:21:06,359 --> 00:21:08,960
comes in, she's like, I know I'm real because I

440
00:21:09,000 --> 00:21:11,119
have these memories of when I was a kid, and

441
00:21:11,160 --> 00:21:13,359
he describes the memory to her, and she has this

442
00:21:13,480 --> 00:21:15,839
picture of her sitting on her mom's lap.

443
00:21:16,000 --> 00:21:16,559
Speaker 2: Right.

444
00:21:16,559 --> 00:21:19,279
Speaker 3: But he's like, no, Terrell just put the memories of

445
00:21:19,319 --> 00:21:22,119
his niece into you, and that's why you have these memories.

446
00:21:22,200 --> 00:21:24,240
Speaker 2: Yes, And the idea that you have.

447
00:21:24,440 --> 00:21:29,799
Speaker 3: Memories is directly connected to whether you are real or

448
00:21:29,839 --> 00:21:33,359
not real? Right? Yeah? I mean whenever Roy is talking

449
00:21:33,440 --> 00:21:36,319
to the little Chinese guy who makes the eyes, right,

450
00:21:36,519 --> 00:21:39,200
he's like, Oh, if you could have only seen the

451
00:21:39,240 --> 00:21:43,039
things with your eyes, with my eyes that you made

452
00:21:43,119 --> 00:21:47,000
for me, that's a big deal because Roy, even though

453
00:21:47,039 --> 00:21:50,119
he's a replicant, still has these memories. And so it

454
00:21:50,119 --> 00:21:52,720
seems to be that the memories and the family pictures

455
00:21:52,759 --> 00:21:56,279
are related to that are directly correlated to are you

456
00:21:56,400 --> 00:21:57,960
real or are you not real?

457
00:21:58,200 --> 00:21:58,319
Speaker 1: Right?

458
00:21:58,920 --> 00:22:03,519
Speaker 2: And even says I've seen things you people wouldn't believe.

459
00:22:03,880 --> 00:22:06,519
Speaker 3: Yeah, you have her fake family picture. But you also

460
00:22:06,759 --> 00:22:10,119
just before that scene, you have Deckert sitting at the

461
00:22:10,160 --> 00:22:15,559
piano looking at old photographs, and if you're familiar with

462
00:22:15,599 --> 00:22:19,000
the movie at all, you have to go, Okay, are

463
00:22:19,039 --> 00:22:23,480
these really his old photographs from his past? Or has

464
00:22:23,519 --> 00:22:26,279
he been programmed like all of the other replicants.

465
00:22:26,359 --> 00:22:27,240
Speaker 2: Yes, that's true.

466
00:22:27,319 --> 00:22:32,279
Speaker 3: Okay, Now that brings me to Gaff and the origami. Okay,

467
00:22:32,400 --> 00:22:35,440
so what's the first origami that we see Gaff making?

468
00:22:35,480 --> 00:22:37,039
Speaker 2: First one is a chicken, that's right.

469
00:22:37,119 --> 00:22:38,119
Speaker 3: And when is he making it?

470
00:22:38,200 --> 00:22:39,279
Speaker 2: When he's being a coward?

471
00:22:39,559 --> 00:22:41,799
Speaker 3: Right, it's whenever Deckert is like, I don't want to

472
00:22:41,799 --> 00:22:43,599
go do this. I'm not I am not a Blader

473
00:22:43,640 --> 00:22:46,400
Runner anymore. I don't do that stuff anymore. Well, you're

474
00:22:46,400 --> 00:22:48,400
gonna do this, right, So he makes the chicken. So

475
00:22:48,440 --> 00:22:50,559
that's simplism, very simple symbolism.

476
00:22:50,680 --> 00:22:52,880
Speaker 2: Number one, you are being a chicken, right.

477
00:22:53,160 --> 00:22:53,319
Speaker 4: Huh.

478
00:22:53,640 --> 00:22:56,599
Speaker 2: What's the second one? The second one is a match man, right.

479
00:22:56,519 --> 00:23:02,559
Speaker 3: It's little match stick Man, which literally is a human

480
00:23:02,839 --> 00:23:07,200
creating another human, just like the subject of this movie.

481
00:23:07,519 --> 00:23:09,440
And then finally, and this is the big deal because

482
00:23:09,440 --> 00:23:12,400
we talked about the unicorn, right right, Deckert has a

483
00:23:12,519 --> 00:23:15,640
dream about a unicorn, and really that's the whole dream,

484
00:23:15,759 --> 00:23:18,039
Like you just see the unicorn like round in the corner,

485
00:23:18,079 --> 00:23:20,079
and that's it towards him and that's it. At the

486
00:23:20,279 --> 00:23:23,559
very end of the movie, just after Gaff says.

487
00:23:23,680 --> 00:23:26,480
Speaker 2: Too bad, she won't live. But then again, who does.

488
00:23:26,680 --> 00:23:30,680
Speaker 3: Right, perfect, Decker goes back, finds Rachel. We don't know

489
00:23:30,880 --> 00:23:33,640
until he lifts up the blanket whether she's already been

490
00:23:33,839 --> 00:23:37,279
retired or not, right, but lifts it up. She's not retired,

491
00:23:37,359 --> 00:23:40,880
she's alive. But then he finds that orgami sitting there,

492
00:23:40,880 --> 00:23:43,279
which means Gaff has been there and he did not

493
00:23:43,440 --> 00:23:44,119
retire her.

494
00:23:44,240 --> 00:23:44,680
Speaker 2: That's right.

495
00:23:44,720 --> 00:23:47,759
Speaker 3: But then what is the orgamie of It's.

496
00:23:47,599 --> 00:23:50,640
Speaker 2: Of a unicorn, which is Decord's dream.

497
00:23:50,680 --> 00:23:56,680
Speaker 3: Right, So how would Gaff know what Decord was dreaming

498
00:23:57,000 --> 00:23:58,680
unless he was a replicant?

499
00:23:58,759 --> 00:23:58,920
Speaker 2: Right?

500
00:23:59,240 --> 00:24:02,920
Speaker 3: And that brings that brings us to that main question.

501
00:24:03,079 --> 00:24:05,720
Will You talked before about how the replicants could be

502
00:24:05,759 --> 00:24:09,240
identified by the little red glint that's in their eyes, right,

503
00:24:09,240 --> 00:24:12,359
It's correct, And there's just that, I mean, it's less

504
00:24:12,400 --> 00:24:16,079
than a second long whenever Deckert is talking to Rachel

505
00:24:16,240 --> 00:24:18,319
and they both look the same direction at the same time,

506
00:24:18,680 --> 00:24:21,160
and you see a red glint in his.

507
00:24:21,119 --> 00:24:24,680
Speaker 2: Eyes, but it is so brief, it's out of focus.

508
00:24:24,720 --> 00:24:28,079
It's in the background, yeah, but it's definitely there.

509
00:24:28,400 --> 00:24:31,720
Speaker 3: Right, So you were talking to me about how where

510
00:24:31,759 --> 00:24:33,799
they got the you know, the camera magic to make

511
00:24:33,839 --> 00:24:34,200
this work.

512
00:24:34,200 --> 00:24:37,400
Speaker 2: Tell me about that, Okay, So I don't fully understand it.

513
00:24:37,480 --> 00:24:40,240
This is a special effect, like an old school special

514
00:24:40,240 --> 00:24:43,519
effect that Fritz Lange did in the movie Metropolis. And

515
00:24:43,599 --> 00:24:46,920
so he used a light and he sort of shined

516
00:24:46,960 --> 00:24:49,400
it off a mirror at a forty five degree angle

517
00:24:49,599 --> 00:24:51,799
and thus it lit the black part of their eyes

518
00:24:51,839 --> 00:24:52,559
and made it red.

519
00:24:52,920 --> 00:24:55,880
Speaker 3: Right. Yeah, So the camera would be facing them at

520
00:24:55,920 --> 00:24:59,000
one spot yep, and they would put this mirror that

521
00:24:59,039 --> 00:25:02,119
reflected the red lfe forty five degrees from that.

522
00:25:02,039 --> 00:25:05,039
Speaker 2: Spot, and it caused their eyes to glow red. And

523
00:25:05,119 --> 00:25:09,440
every replicant, including the owl, has red eyes. Yeah, you know,

524
00:25:09,519 --> 00:25:11,720
it comes and goes, but you see it. And like

525
00:25:11,799 --> 00:25:14,119
you said, at one point in the movie, Deckert has

526
00:25:14,200 --> 00:25:18,240
red eyes yea, which definitely hints that he is a replicant.

527
00:25:18,440 --> 00:25:21,039
Right now. Then, when Harrison Ford was signed on to

528
00:25:21,079 --> 00:25:24,000
play the part of Decker, really Scott was hoping to

529
00:25:24,039 --> 00:25:25,839
get somebody who would just come in and play a

530
00:25:25,839 --> 00:25:29,480
part and go home. Well, Harrison Ford's very collaborative, so

531
00:25:29,519 --> 00:25:31,480
he wants to be involved in the whole creation. In

532
00:25:31,519 --> 00:25:33,839
the storyteller at the beginning, he's like, okay, now we

533
00:25:33,880 --> 00:25:37,119
are agreeing that Deckert is not a replicant, right, really

534
00:25:37,160 --> 00:25:39,839
at the very beginning, Okay, So Harrison Ford's like, I

535
00:25:39,839 --> 00:25:42,240
feel like it's super important so that the audience has

536
00:25:42,279 --> 00:25:45,799
a representative in the movie that's human, and so they

537
00:25:45,839 --> 00:25:48,119
need to be able to identify with Deckert as being

538
00:25:48,319 --> 00:25:48,720
a man.

539
00:25:49,039 --> 00:25:49,559
Speaker 3: Okay.

540
00:25:49,720 --> 00:25:52,160
Speaker 2: So then really Scott sort of started to kind of

541
00:25:52,200 --> 00:25:54,680
change his mind, right, and in the middle of it,

542
00:25:54,720 --> 00:25:57,440
he wanted to make it sort of ambiguous, and so

543
00:25:57,720 --> 00:26:00,279
Harrison Ford's like, no, that's not true. He is not

544
00:26:00,319 --> 00:26:03,400
a replicant. And Hampton Fancher, the guy who wrote the screenplay,

545
00:26:03,559 --> 00:26:07,119
in his screenplay, Deckard wasn't a replicant, right, And so

546
00:26:07,400 --> 00:26:11,079
when Harrison Ford went and saw the movie, he was

547
00:26:11,359 --> 00:26:15,559
mega pissed because Ridley Scott was doing stuff behind the scenes.

548
00:26:15,720 --> 00:26:17,599
You know, he agreed up front that yeah, he's not

549
00:26:17,640 --> 00:26:19,039
going to be a replicant, and then he would do

550
00:26:19,079 --> 00:26:21,480
stuff like insert the red eyes, right, And that made

551
00:26:21,519 --> 00:26:23,559
Harrison Ford super mad.

552
00:26:23,599 --> 00:26:26,759
Speaker 3: Right, And I think it's I think it's also fascinating

553
00:26:26,920 --> 00:26:31,519
everybody who's a real human is not a really great person, right,

554
00:26:31,640 --> 00:26:35,079
Like they're not they don't seem to value life, and

555
00:26:35,119 --> 00:26:37,720
they're I mean, for lack of a better term. They're ugly,

556
00:26:37,920 --> 00:26:42,119
like they're they have ugly souls and ugly faces, and

557
00:26:42,599 --> 00:26:46,400
the only ones that are beautiful are the replicants. Are

558
00:26:46,440 --> 00:26:49,759
the replicants. I mean, you've got Rachel, you've got Roy,

559
00:26:49,920 --> 00:26:54,000
you've got I wouldn't say that, Leon, Leon, it's beautiful

560
00:26:54,240 --> 00:26:57,759
at all, right, But that wasn't his that wasn't his making, right.

561
00:26:57,799 --> 00:27:00,440
He was supposed to be strong, and he was definitely strong.

562
00:27:00,599 --> 00:27:04,119
And you've got Chris, who's beautiful, Zora who's beautiful, and

563
00:27:04,160 --> 00:27:06,759
then you've got him surrounded by these ugly people. And

564
00:27:06,799 --> 00:27:11,039
it's kind of this idea of fallen angels. Right. They're

565
00:27:11,079 --> 00:27:15,160
the ones who are concerned about their imminent demise. Right.

566
00:27:15,279 --> 00:27:17,799
They want to have a longer life, which is what

567
00:27:17,920 --> 00:27:19,960
all of us want, right, we don't want to have

568
00:27:20,000 --> 00:27:23,519
that death looming over our heads. And so that's their objective.

569
00:27:23,640 --> 00:27:28,400
Find their creator and convince him to give them longer life,

570
00:27:28,559 --> 00:27:30,920
that's right. And so then of course when he says

571
00:27:30,920 --> 00:27:33,559
it can't do that, then they kill them. They kill

572
00:27:33,640 --> 00:27:34,039
the god.

573
00:27:34,200 --> 00:27:36,160
Speaker 2: I'm going to squeeze your head off, Yeah.

574
00:27:36,079 --> 00:27:37,680
Speaker 3: Yeah, I'm going to put my thumbs.

575
00:27:37,359 --> 00:27:39,000
Speaker 2: Through your eye.

576
00:27:39,680 --> 00:27:43,240
Speaker 3: But so that creates as the fallen angels. That creates

577
00:27:43,599 --> 00:27:46,839
this idea that maybe they're demons, right, maybe Roy bat

578
00:27:46,880 --> 00:27:49,759
He's a demon, and he's certainly going after Deckert, knowing

579
00:27:49,880 --> 00:27:52,799
he's about to die, still going after him and breaking

580
00:27:52,839 --> 00:27:55,079
his hand and chasing them around and all of this

581
00:27:55,119 --> 00:27:58,880
other stuff. And then we have this moment where Roy

582
00:27:59,200 --> 00:28:04,759
has a nail pushed through his hand. Yes again, so biblical, right,

583
00:28:04,839 --> 00:28:07,480
And I'm like, wait, is the bad guy supposed to

584
00:28:07,480 --> 00:28:10,160
be Jesus? That doesn't make any sense, right, right? And

585
00:28:10,200 --> 00:28:12,400
then of course later on they're up on the roof

586
00:28:12,640 --> 00:28:14,079
deckerd is not going to make it.

587
00:28:14,160 --> 00:28:16,160
Speaker 2: Decert is falling to his death.

588
00:28:16,039 --> 00:28:20,720
Speaker 3: And he gives this last defiant spit, right, And it's

589
00:28:20,759 --> 00:28:24,920
that moment that Roy Baddy decides to save him instead

590
00:28:24,960 --> 00:28:28,119
of letting him die. But also the same moment that

591
00:28:28,240 --> 00:28:32,759
Roy Baddy himself sees his end happen, yeh, and he

592
00:28:32,799 --> 00:28:37,640
gives this amazing speech about his memories. Right, it's all

593
00:28:37,759 --> 00:28:41,160
these things that are going to be disappearing, like tears

594
00:28:41,640 --> 00:28:43,880
in the rain, which, by the way, that was a

595
00:28:43,960 --> 00:28:48,720
Ruggerhuer improv line, by the way, yes, but it perfectly

596
00:28:48,759 --> 00:28:51,400
sums up the idea that's going on in this movie,

597
00:28:51,880 --> 00:28:55,920
that he's been redeemed, he sacrificed himself to save someone else,

598
00:28:56,160 --> 00:28:58,799
and then at the moment that he dies, what happens.

599
00:28:58,960 --> 00:29:01,960
He lets go of this dove that he's been whole things,

600
00:29:01,960 --> 00:29:05,319
which flies up to heaven as if it is his soul.

601
00:29:05,640 --> 00:29:08,359
Speaker 2: It's really good, it's really good. And that's a great

602
00:29:08,359 --> 00:29:09,960
way to wrap up that story. But I got one

603
00:29:09,960 --> 00:29:11,559
more thing I want to throw in, sort of the

604
00:29:11,680 --> 00:29:15,160
additional information of why deckerd may be a replicant.

605
00:29:15,160 --> 00:29:16,720
Speaker 3: Okay, sure, so just a.

606
00:29:16,640 --> 00:29:19,160
Speaker 2: Couple of things. Rachel asks him in the movie, Well,

607
00:29:19,200 --> 00:29:21,319
how about you, mister big shot? Have you ever take

608
00:29:21,359 --> 00:29:26,319
the void comf test? He doesn't answer, Okay, So again ambiguous.

609
00:29:26,480 --> 00:29:27,880
One of the things that sort of added to the

610
00:29:27,960 --> 00:29:30,440
confusion whether or not Decord is a replicant or not.

611
00:29:30,519 --> 00:29:34,359
So we know that there are six replicants, okay, but

612
00:29:34,400 --> 00:29:38,799
there are five rogue replicants. Okay, so you've got Rachel.

613
00:29:39,359 --> 00:29:42,039
She's not rogue. She's kind of in a category by herself.

614
00:29:42,119 --> 00:29:45,000
Speaker 3: Well, she ran off from Turrill's house.

615
00:29:44,799 --> 00:29:48,640
Speaker 2: Right, Well, but she's not why Deckard is hired. Deckard

616
00:29:48,720 --> 00:29:51,599
is hired to track down these five replicants, okay, Roy

617
00:29:51,799 --> 00:29:58,519
PRIs Leon Zora. Who's the fifth? So Bryant says in

618
00:29:58,559 --> 00:30:02,359
the movie that there are six applicants, okay, okay, And

619
00:30:02,680 --> 00:30:05,400
in the original theatrical cut he said one of them

620
00:30:05,480 --> 00:30:08,160
got fried, one of them.

621
00:30:08,480 --> 00:30:09,880
Speaker 3: I thought that there was two.

622
00:30:10,680 --> 00:30:13,559
Speaker 2: Well in the final cut it's two.

623
00:30:14,200 --> 00:30:14,880
Speaker 3: He's changed it.

624
00:30:14,960 --> 00:30:17,839
Speaker 2: He changes it, okay. So that leads to the confusion.

625
00:30:17,920 --> 00:30:19,559
Speaker 3: Okay, yep, right, yes.

626
00:30:19,599 --> 00:30:22,160
Speaker 2: So when people in the original who saw the original

627
00:30:22,160 --> 00:30:25,119
movie or saw the director's cut, they're like, well, what

628
00:30:25,559 --> 00:30:26,119
do we what?

629
00:30:26,559 --> 00:30:27,279
Speaker 3: Who's number five?

630
00:30:27,279 --> 00:30:30,440
Speaker 2: Who's number five? So who can it be? Well, most

631
00:30:30,480 --> 00:30:33,720
people are like, it's gotta be Decker, right right, Well,

632
00:30:34,119 --> 00:30:37,319
apparently there was a character of Marv.

633
00:30:37,640 --> 00:30:40,160
Speaker 3: Marv, Marv, Marv, what are you doing Marv?

634
00:30:41,240 --> 00:30:46,359
Speaker 2: Hey Marv? Yeah, the web bandit Marv. But that character

635
00:30:46,480 --> 00:30:49,240
was written out, So that led to the confusion and

636
00:30:49,279 --> 00:30:52,200
the question of who is number five? And then of course,

637
00:30:52,240 --> 00:30:56,039
really Scott being as ambiguous as possible on whether or

638
00:30:56,039 --> 00:30:57,319
not it's it's Decker or not.

639
00:30:57,559 --> 00:30:58,759
Speaker 3: Okay, have you seen later On.

640
00:30:58,839 --> 00:31:00,720
Speaker 2: Of twenty forty nine, I've not seen it.

641
00:31:00,799 --> 00:31:02,880
Speaker 3: Okay, I'm going to, but I haven't seen it yet.

642
00:31:02,880 --> 00:31:04,920
Speaker 2: Man, I saw it, but I don't remember it very well,

643
00:31:04,960 --> 00:31:07,000
and so I don't remember what kind of I.

644
00:31:07,000 --> 00:31:10,039
Speaker 3: Don't know what resolution. But it's a different director, different writer,

645
00:31:10,359 --> 00:31:14,400
different everything except for Deckert and the idea, right right, right,

646
00:31:14,880 --> 00:31:16,200
So what do you say?

647
00:31:16,359 --> 00:31:19,680
Speaker 2: I say Decert is not a replicant because I think

648
00:31:19,680 --> 00:31:21,920
it's important to the story at the very end that

649
00:31:22,000 --> 00:31:27,039
it's man versus machine, that it's creator versus creation for

650
00:31:27,440 --> 00:31:32,160
that to be that poignant. Plus Deckert, every replicant kicks

651
00:31:32,200 --> 00:31:36,880
his butt, so he doesn't appear to have any superhuman

652
00:31:36,960 --> 00:31:37,799
powers in any way.

653
00:31:38,000 --> 00:31:40,920
Speaker 3: Okay, what do you think? I think he's a replicant. Okay,

654
00:31:41,039 --> 00:31:44,440
and I think it's he's a replicant because in this movie,

655
00:31:44,720 --> 00:31:47,640
the replicants are the real human like they're the ones

656
00:31:47,720 --> 00:31:50,759
that we should identify with. We don't really identify with

657
00:31:50,839 --> 00:31:53,440
any of the other humans. We identify with the replicants

658
00:31:53,480 --> 00:31:56,720
who don't want to die, the replicants who have memories

659
00:31:56,720 --> 00:31:58,440
that are going to be lost. I mean, if the

660
00:31:58,480 --> 00:32:00,720
main character is a guy should be a with that

661
00:32:00,759 --> 00:32:03,000
means he needs to be a replicant too. Plus he's

662
00:32:03,039 --> 00:32:03,880
one of the pretty people.

663
00:32:04,759 --> 00:32:07,559
Speaker 2: Well, and the real question is is Baddie a good

664
00:32:07,599 --> 00:32:08,440
guy or a bad guy.

665
00:32:08,559 --> 00:32:12,240
Speaker 3: I think that it's important. I think that it's important

666
00:32:12,279 --> 00:32:14,960
that you that he has changed. We have to have

667
00:32:14,960 --> 00:32:17,519
a character arc. So he's bad at the beginning, right,

668
00:32:17,640 --> 00:32:19,680
or at least self serving at the beginning, only to

669
00:32:19,720 --> 00:32:22,920
become sacrificial at the end. That's huge. That's very important

670
00:32:22,960 --> 00:32:25,599
the story. I also think it's important to the story

671
00:32:25,599 --> 00:32:28,160
that the question of whether Deckert is a replicant or

672
00:32:28,240 --> 00:32:31,440
not isn't answered. I agree with that. It's the reason

673
00:32:31,480 --> 00:32:35,400
we're talking about that's exactly right. So it is supposed

674
00:32:35,440 --> 00:32:39,000
to be ambiguous. I'm glad it's ambiguous. I like talking

675
00:32:39,039 --> 00:32:40,000
about the different pots of.

676
00:32:40,160 --> 00:32:42,200
Speaker 2: It's really cool. Yeah, I mean there are people out

677
00:32:42,200 --> 00:32:46,200
there that nerd out to this question. Okay, we're done

678
00:32:46,240 --> 00:32:48,200
talking about the big issues with Blade Runner.

679
00:32:48,240 --> 00:32:53,640
Speaker 3: They're literally again, there are podcasts that the entire podcast

680
00:32:53,720 --> 00:32:56,240
week after week is about Blade Runner. So we can't

681
00:32:56,279 --> 00:32:59,400
give as much attention as this needs. But yeah, I

682
00:32:59,440 --> 00:33:01,319
think we probably done at this point.

683
00:33:01,480 --> 00:33:05,599
Speaker 2: Okay, let's go to the thing. Okay, I got two

684
00:33:05,839 --> 00:33:08,880
big questions from the thing. Okay, all right, my first

685
00:33:08,920 --> 00:33:13,759
biggish question to you is the beast the thing? The alien.

686
00:33:14,720 --> 00:33:18,720
Was it the pilot of that spacecraft or was it

687
00:33:18,839 --> 00:33:23,160
a parasite that that alien craft got taken over by

688
00:33:23,319 --> 00:33:24,720
and crash landed on Earth?

689
00:33:25,359 --> 00:33:28,160
Speaker 3: Wow? So I don't think there's any way that it was.

690
00:33:29,079 --> 00:33:30,880
I don't think it was a parasite. I think it

691
00:33:31,039 --> 00:33:31,880
was the alien.

692
00:33:32,079 --> 00:33:33,960
Speaker 2: Do you think it was flying that spacecraft?

693
00:33:35,119 --> 00:33:39,440
Speaker 3: Because we have the scene where they follow the hole

694
00:33:39,640 --> 00:33:42,200
that goes down out of where they've been keeping Blair

695
00:33:42,240 --> 00:33:45,880
captive the whole time. It goes underneath the snow and

696
00:33:45,920 --> 00:33:50,079
they follow it back and they find a spaceship that

697
00:33:50,200 --> 00:33:53,559
is being built by Blair the alien. I mean, if

698
00:33:53,599 --> 00:33:55,599
it was just a parasite on the ship, he wouldn't

699
00:33:55,599 --> 00:33:56,759
be building another ship.

700
00:33:56,960 --> 00:34:01,240
Speaker 2: What if they take your brain and your memories or

701
00:34:01,279 --> 00:34:02,039
something like that.

702
00:34:02,119 --> 00:34:04,920
Speaker 3: They do, so you're saying that he's taken the memory

703
00:34:05,039 --> 00:34:08,440
of the Aliens from the original ship. And yeah, but

704
00:34:08,599 --> 00:34:10,519
why why do we have that as a Why is

705
00:34:10,519 --> 00:34:11,079
that a concern?

706
00:34:11,239 --> 00:34:14,599
Speaker 2: It's just interesting? Why did that UFO crash land on Earth?

707
00:34:14,679 --> 00:34:15,360
What happened?

708
00:34:15,519 --> 00:34:19,800
Speaker 3: I don't know. It was before I was born, nice.

709
00:34:20,280 --> 00:34:24,199
Speaker 2: See, I think years before. I think that that alien

710
00:34:24,239 --> 00:34:27,400
spacecraft was overtaken by this animal.

711
00:34:27,519 --> 00:34:28,079
Speaker 3: Huh.

712
00:34:28,119 --> 00:34:31,599
Speaker 2: And therefore caused it to crash, and therefore Earth is

713
00:34:31,639 --> 00:34:34,960
now contaminated. Okay, all right, yeah, all right, I'd be

714
00:34:34,960 --> 00:34:36,119
interested to hear what people think.

715
00:34:36,159 --> 00:34:37,880
Speaker 3: It's just a thought, okay, Okay.

716
00:34:38,519 --> 00:34:41,039
Speaker 2: Now, then the real question is which one of the

717
00:34:41,079 --> 00:34:43,880
guys or both or neither at the end of the

718
00:34:43,920 --> 00:34:45,039
movie is the thing?

719
00:34:45,440 --> 00:34:48,880
Speaker 3: Well, the question throughout the movie is which one of

720
00:34:48,920 --> 00:34:50,920
the guys that's the true that's true? Right, And so

721
00:34:51,039 --> 00:34:54,159
that I'm gonna I promise I won't go on as

722
00:34:54,199 --> 00:34:55,840
long about the thing as I did about That's.

723
00:34:55,880 --> 00:34:56,440
Speaker 2: Okay, that's it.

724
00:34:56,519 --> 00:35:00,320
Speaker 3: But there's just so many So this, of these three movies,

725
00:35:00,400 --> 00:35:02,920
this is the horror movie, right, yes, So can I

726
00:35:03,079 --> 00:35:07,480
talk about for just a second the elements that trigger

727
00:35:07,599 --> 00:35:11,599
our fear response. So, number one, climate, They're in the

728
00:35:11,639 --> 00:35:15,920
middle of the harshest weather in the world, right, I mean,

729
00:35:15,960 --> 00:35:18,400
this is the place where it's going to be more

730
00:35:18,440 --> 00:35:20,400
than one hundred degrees below zero. I mean, it's just

731
00:35:20,599 --> 00:35:24,119
absurd how cold it can get. And that's something that

732
00:35:24,159 --> 00:35:28,480
we as humans fear. The other thing isolation. Sure, they

733
00:35:28,519 --> 00:35:32,079
are stuck where they can't communicate with anybody despite windows

734
00:35:32,159 --> 00:35:35,239
best efforts, right, I mean, the nearest camp is still

735
00:35:35,519 --> 00:35:37,599
they say, like two hours away or something like that.

736
00:35:37,599 --> 00:35:39,320
That couldn't get beer all the way up there, It

737
00:35:39,440 --> 00:35:43,280
could get fear. That is an isolation that I truly fear.

738
00:35:44,239 --> 00:35:47,320
And then you've got this claustrophobic element because with that

739
00:35:47,400 --> 00:35:51,239
outside weather, you're stuck inside these close quarters with all

740
00:35:51,280 --> 00:35:56,039
of these other guys, which then brings us to the paranoia.

741
00:35:56,199 --> 00:35:59,000
And that's the key element, the key fear element that

742
00:35:59,039 --> 00:36:02,719
goes on with this. So fear is confronting a threat. Right,

743
00:36:02,760 --> 00:36:04,639
You've got a threat in front of you, and you're afraid.

744
00:36:04,679 --> 00:36:07,800
That's fear, right right, You're going to get anxiety if

745
00:36:07,840 --> 00:36:11,840
you're anticipating that feared threat. But paranoia is where you

746
00:36:12,000 --> 00:36:16,599
believe that the threat is all around you, including people

747
00:36:16,639 --> 00:36:20,519
who you should trust as friends that might ultimately be

748
00:36:20,760 --> 00:36:24,440
bad guys conspiring against you. And that paranoia is what

749
00:36:24,639 --> 00:36:27,280
bills this movie and what makes it great. Right, that's

750
00:36:27,440 --> 00:36:30,800
special effects, Yeah, I'm with you. It's yeah.

751
00:36:31,079 --> 00:36:34,719
Speaker 2: Unlike like say Aliens, where it's just a threat and fear, Yeah,

752
00:36:35,000 --> 00:36:37,320
paranoia adds that added element.

753
00:36:37,119 --> 00:36:41,320
Speaker 3: Because it's the unknown. It's my brother might be the monster.

754
00:36:41,519 --> 00:36:44,480
And then I love, I love what they do on

755
00:36:44,559 --> 00:36:47,000
the very first change. I mean the changes that we have,

756
00:36:47,119 --> 00:36:49,760
we have different monsters. Each time that we see a

757
00:36:49,840 --> 00:36:52,960
creature change happen is a completely different looking thing. But

758
00:36:53,039 --> 00:36:56,599
the very first time when the dog changes, yes, is

759
00:36:56,679 --> 00:36:59,079
so impactful. So we've I just want to I want

760
00:36:59,079 --> 00:37:03,239
to list some stuff that you see as that first creature, right, Yeah,

761
00:37:03,320 --> 00:37:07,760
you see blood yep, you see slime, Yes, you see dogs,

762
00:37:08,000 --> 00:37:14,719
vicious dogs, snakes, spiders, insects. All of these attributes are

763
00:37:15,039 --> 00:37:17,880
connected to this creature. Well, those are all the most

764
00:37:17,960 --> 00:37:24,239
commonly feared things that we have. Blood, slime, vicious dogs, snakes, spiders, insects.

765
00:37:24,480 --> 00:37:29,280
I mean, the only thing they're missing is sharks, that's true.

766
00:37:29,679 --> 00:37:35,159
So again, they've got the storyline that captures are paranoia

767
00:37:35,239 --> 00:37:38,920
and fear, and they've got the special effects that tap

768
00:37:39,000 --> 00:37:41,639
into all of those primal fears.

769
00:37:41,280 --> 00:37:44,280
Speaker 2: That we have. When that one guy's head falls off

770
00:37:44,360 --> 00:37:48,639
the body and the tongue like anchors it to a

771
00:37:48,760 --> 00:37:51,679
chair and he grows spider legs, and when I saw

772
00:37:51,719 --> 00:37:53,880
that for the first time, my eyeballs almost fell out

773
00:37:53,880 --> 00:37:54,280
of my head.

774
00:37:54,440 --> 00:37:54,719
Speaker 1: Yes.

775
00:37:55,280 --> 00:37:59,159
Speaker 3: Yeah, So our friend David Wright was asking about before

776
00:37:59,159 --> 00:38:01,280
he saw Maverick. He likes there, you know, taking a

777
00:38:01,360 --> 00:38:03,800
kid anything to be concerned about. I said, there's one

778
00:38:03,920 --> 00:38:06,480
F bomb, right, but it's earned right, like it's a

779
00:38:06,719 --> 00:38:08,760
it's an F bomb that if I was in the situation,

780
00:38:08,840 --> 00:38:11,000
I probably would be saying the same thing, right, same

781
00:38:11,119 --> 00:38:13,679
is true for that scene, right. You watch that thing

782
00:38:13,800 --> 00:38:16,880
crawl out the door, and you're gonna say, you gotta

783
00:38:16,920 --> 00:38:17,840
be fing kidding me.

784
00:38:19,800 --> 00:38:20,480
Speaker 2: Oh man.

785
00:38:20,840 --> 00:38:24,599
Speaker 3: So ultimately we've got this paranoia the whole time, and

786
00:38:24,760 --> 00:38:28,039
still we managed to end with the same paranoia. We've

787
00:38:28,079 --> 00:38:31,119
got Child's and we got mccredy. Yeah, which one is

788
00:38:31,159 --> 00:38:34,440
the alien or either of them? Are both of them?

789
00:38:34,920 --> 00:38:38,079
Could one be and the other one's not? Who is it? Okay?

790
00:38:38,159 --> 00:38:41,559
Speaker 2: So here's the thing. Carpenter has sort of gone back

791
00:38:41,599 --> 00:38:44,639
and forth on this. He's done the Ridley Scott game

792
00:38:44,719 --> 00:38:48,559
here right, where yes they are yes, one is, no,

793
00:38:48,599 --> 00:38:51,000
they're both not. They even shot a happy ending, right,

794
00:38:51,440 --> 00:38:54,000
they shot a happy ending where both McCready and childs

795
00:38:54,000 --> 00:38:57,159
were rescued and everybody gets to go home. Well, instead,

796
00:38:57,239 --> 00:38:59,960
they chop that off and you're left wondering. The interesting

797
00:39:00,079 --> 00:39:02,559
thing to me, there's a there's an eye theory in

798
00:39:02,599 --> 00:39:05,480
the thing as well as Bladeerner okay. And this goes

799
00:39:05,519 --> 00:39:08,480
back to when they're testing the blood, which is maybe

800
00:39:08,519 --> 00:39:11,239
the best scene in the entire movie. They draw everybody's

801
00:39:11,280 --> 00:39:14,800
blood and they're going to burn the blood because McCready

802
00:39:14,920 --> 00:39:18,079
theorizes that the thing is made up of everything, and

803
00:39:18,119 --> 00:39:22,559
so we'll react when it's burned. And when he burns

804
00:39:22,599 --> 00:39:26,480
Palmer's blood and that Petri dish and that thing leaps

805
00:39:26,519 --> 00:39:30,480
out of the dish, it scares the heck out of

806
00:39:30,519 --> 00:39:33,159
everybody in the audience, and Kurt Russell jumps out of

807
00:39:33,159 --> 00:39:35,960
his skin, and then everybody's tied to the couch with

808
00:39:36,000 --> 00:39:37,840
that guy. He starts shaking.

809
00:39:38,039 --> 00:39:39,400
Speaker 3: Didn't see that as a problem.

810
00:39:40,159 --> 00:39:45,320
Speaker 2: Good timing. Right before that happens, they actually changed the

811
00:39:45,400 --> 00:39:48,239
positioning so that there will be no light, no what

812
00:39:48,320 --> 00:39:52,199
they call it the eye gleam r reflection, no reflection

813
00:39:52,280 --> 00:39:55,000
of light in his eyes, and if you look closely

814
00:39:55,079 --> 00:39:57,079
at it, it's not there, and that that is the

815
00:39:57,079 --> 00:39:58,880
indicator that it's the thing.

816
00:39:59,039 --> 00:40:02,480
Speaker 3: Okay, So the thing has no eyeling, the thing has

817
00:40:02,519 --> 00:40:07,239
no igling, gotcha? Okay, But upon further review, that theory

818
00:40:07,280 --> 00:40:11,519
doesn't hold up. Okay, because like the dog, when it's changing,

819
00:40:11,920 --> 00:40:14,960
it has igling. Okay, and other people when they're changing,

820
00:40:15,000 --> 00:40:17,159
they have igling, right, But it's a really cool thing,

821
00:40:17,199 --> 00:40:20,559
and it definitely when Palmer changes, they did that intentionally.

822
00:40:21,480 --> 00:40:25,039
So at the end, Child's and McCready both have iyegling.

823
00:40:25,280 --> 00:40:27,760
Okay they did, yeah, okay, Okay.

824
00:40:27,840 --> 00:40:31,519
Speaker 2: However, John Carpenter points out that Child's has no breath.

825
00:40:31,719 --> 00:40:34,239
Speaker 3: This is true. I watched this one with Brock, and

826
00:40:34,320 --> 00:40:36,400
Brock is like, why can't you see his breath?

827
00:40:36,480 --> 00:40:36,599
Speaker 4: Right?

828
00:40:36,639 --> 00:40:39,000
Speaker 3: Like, he wasn't. It wasn't tuning in that you can't

829
00:40:39,039 --> 00:40:42,320
see his breath because it's he's the alien. It was

830
00:40:42,559 --> 00:40:45,639
just it seems weird that I'm watching this guy huff

831
00:40:45,679 --> 00:40:47,760
and puff and there's steam coming out of his mouth

832
00:40:48,000 --> 00:40:50,480
and there's no steam coming out of Child's mouth.

833
00:40:50,639 --> 00:40:54,079
Speaker 2: Yes, here's the other theory. Yeah, there is a the

834
00:40:54,239 --> 00:40:56,119
Molotov cocktail theory. Have you heard this?

835
00:40:56,559 --> 00:40:56,920
Speaker 3: Tell me?

836
00:40:57,320 --> 00:41:01,760
Speaker 2: Okay, So, right before the end the final McCready is

837
00:41:01,840 --> 00:41:05,519
using his jamb whiskey bottles to throw Molotov cocktails all

838
00:41:05,519 --> 00:41:09,800
over the place. Well, at the end, when it's just McCready,

839
00:41:10,039 --> 00:41:14,320
he's got a bottle of jamb whiskey, Child comes and

840
00:41:14,360 --> 00:41:18,239
sits down, and it's theorized that maybe McCready is testing

841
00:41:18,360 --> 00:41:22,519
Child's and offers him a drink from the whiskey bottle,

842
00:41:23,199 --> 00:41:28,079
that maybe gasoline, oh okay, right, yeah, and that the

843
00:41:28,079 --> 00:41:34,800
thing wouldn't react adversely to drinking gasoline, and so McCready

844
00:41:34,840 --> 00:41:37,840
would then know and he kind of laughs knowingly after

845
00:41:37,880 --> 00:41:41,039
he drinks, right, he kind of smiles, and so some

846
00:41:41,079 --> 00:41:43,920
people have speculated that he served him gasoline to drink

847
00:41:43,960 --> 00:41:47,199
and the thing did and was fine, didn't react bad.

848
00:41:47,840 --> 00:41:50,760
The only problem is when McCready's by himself and Child's

849
00:41:50,840 --> 00:41:52,719
is behind him and he doesn't know he's there, McCready

850
00:41:52,800 --> 00:41:55,039
is getting ready to take a drink and then Childs

851
00:41:55,079 --> 00:41:57,480
walks in, So that theory doesn't really hold up for

852
00:41:57,519 --> 00:41:57,840
me either.

853
00:41:57,960 --> 00:41:59,920
Speaker 3: Well, unless he knew that he was done for anyway,

854
00:42:00,079 --> 00:42:01,679
and he was looking for a quicker way out than

855
00:42:01,719 --> 00:42:02,199
freezing to.

856
00:42:02,199 --> 00:42:07,599
Speaker 2: Death drinking gasoline. Sure, okay, well, I mean you have

857
00:42:07,639 --> 00:42:10,639
a gun. Yeah, And our buddy James Buckley did send

858
00:42:10,719 --> 00:42:14,199
us a picture, like a comic book picture. There is

859
00:42:14,280 --> 00:42:18,559
a Child's thing monster that showed up in the comics

860
00:42:19,480 --> 00:42:21,360
and it was pretty cool. It was just this big

861
00:42:21,679 --> 00:42:23,119
scary beast that was made.

862
00:42:23,000 --> 00:42:25,239
Speaker 3: Of child's nice Okay, time for ET.

863
00:42:25,599 --> 00:42:34,159
Speaker 2: Let's go to ET. I've been waiting to talk about

864
00:42:34,159 --> 00:42:34,480
this one.

865
00:42:34,920 --> 00:42:36,440
Speaker 3: I'm excited. You lead the way, my friend.

866
00:42:36,480 --> 00:42:39,280
Speaker 2: All right, So before we get to the big, big question, Yeah,

867
00:42:39,360 --> 00:42:43,599
I want to know what happened when Eat died and resurrected.

868
00:42:43,840 --> 00:42:45,960
Let's back it up. Let's back it up, because when

869
00:42:46,000 --> 00:42:49,239
they set up the transmitter, Elliott goes to sleep. When

870
00:42:49,280 --> 00:42:51,960
he wakes up, ET's being you know, chewed on by

871
00:42:52,000 --> 00:42:55,000
a raccoon, which as a kid, I was like, get

872
00:42:55,079 --> 00:42:58,239
that raccoon away from e tea right right? And he

873
00:42:58,280 --> 00:43:02,920
looks like powder dump. Yeah, and he's not doing well.

874
00:43:03,039 --> 00:43:03,199
Speaker 3: Right.

875
00:43:03,480 --> 00:43:06,639
Speaker 2: He went from being fine phoning home to being lost

876
00:43:06,679 --> 00:43:07,719
in what's going on?

877
00:43:07,920 --> 00:43:08,960
Speaker 3: Worst hangover ever?

878
00:43:10,280 --> 00:43:12,760
Speaker 2: Right, and they can't find Elliott doesn't know where he is.

879
00:43:12,800 --> 00:43:16,000
I mean, he wanders off and raccoons are carrying him off. Right,

880
00:43:16,079 --> 00:43:18,000
So what happened? Why does he get sick? Why has

881
00:43:18,039 --> 00:43:18,400
he died?

882
00:43:18,599 --> 00:43:18,920
Speaker 3: All right?

883
00:43:18,960 --> 00:43:19,639
Speaker 2: What's going on?

884
00:43:19,800 --> 00:43:21,800
Speaker 3: So is this a question that you're asking you? It's

885
00:43:21,840 --> 00:43:25,239
not rhetorical? Well, I mean, okay, what's going on? Well,

886
00:43:25,320 --> 00:43:27,920
he's an alien. He is a stranger in a strange land,

887
00:43:28,000 --> 00:43:31,039
Yes he is, and so he can probably handle our

888
00:43:31,039 --> 00:43:34,679
air for a while, but he can't handle it indefinitely. Right, Okay,

889
00:43:34,760 --> 00:43:37,679
So I mean the fact that he's not not able

890
00:43:37,719 --> 00:43:40,599
to live forever on our world doesn't bother me too much, right.

891
00:43:41,079 --> 00:43:45,719
I think the most interesting question is how does he

892
00:43:45,760 --> 00:43:49,000
come back to life? And what all that really means? Right?

893
00:43:49,079 --> 00:43:53,440
We talked about the biblical similarities to the Christ story

894
00:43:53,960 --> 00:43:57,400
in this and so what you have in this situation,

895
00:43:57,719 --> 00:44:01,159
you have E t who has become connected to humanity,

896
00:44:01,280 --> 00:44:06,639
but in order to save humanity must become disconnected with humanity,

897
00:44:07,119 --> 00:44:10,679
which is strong on the biblical Christ image of dying

898
00:44:10,679 --> 00:44:13,840
on the cross, right, right, And then we don't get

899
00:44:13,840 --> 00:44:17,840
a how did Christ rise again other than he just

900
00:44:18,239 --> 00:44:22,639
did right? He just did right? And so for Edi

901
00:44:22,760 --> 00:44:24,639
to come back, the why is he?

902
00:44:24,800 --> 00:44:25,119
Speaker 2: Who's e?

903
00:44:26,079 --> 00:44:29,360
Speaker 3: For Et to come back? The why isn't the big question.

904
00:44:29,800 --> 00:44:33,320
It is just a part of his relationship and a

905
00:44:33,360 --> 00:44:36,239
part of what has to happen for him to be

906
00:44:36,320 --> 00:44:39,880
able to leave, because just like Jesus is like, don't

907
00:44:40,000 --> 00:44:42,119
try to hold on to me. If I stayed here,

908
00:44:42,639 --> 00:44:46,480
you wouldn't have the counselor inside of you. I must

909
00:44:46,519 --> 00:44:49,039
go for you to have him, which is exactly the

910
00:44:49,079 --> 00:44:54,679
same as Et going, I'll be right here. That's good.

911
00:44:55,400 --> 00:44:58,760
Speaker 2: And you know Steven Spielberg, who was born and raised

912
00:44:58,800 --> 00:45:02,679
as a Jewish person, he rejects that idea. Of course.

913
00:45:02,719 --> 00:45:04,679
Of course, he said his mom would be very upset

914
00:45:04,719 --> 00:45:07,000
if it was a Christian allegory. But it is an

915
00:45:07,000 --> 00:45:10,239
interesting question. As soon as Et disconnects from Eliot, he

916
00:45:10,320 --> 00:45:13,400
then resurrects, which as a kid, I bawled my eyes

917
00:45:13,440 --> 00:45:16,880
out in that scene, and actually I was already. There

918
00:45:16,920 --> 00:45:19,800
are about five times as a grown man where Et

919
00:45:20,079 --> 00:45:22,320
I'm watching it and I have to choke back tears.

920
00:45:23,199 --> 00:45:26,880
When they're doing the defibrillator on Et and Gardi's there

921
00:45:26,960 --> 00:45:29,800
watching and tears are flowing. The lump is prominent.

922
00:45:30,000 --> 00:45:31,679
Speaker 3: I understand, you know what I mean. I understand.

923
00:45:31,920 --> 00:45:35,519
Speaker 2: And then when Elliott notices the red light and he's back,

924
00:45:35,639 --> 00:45:38,920
Oh my gosh, et vone home, and I'm like, ah, he's.

925
00:45:38,760 --> 00:45:40,800
Speaker 3: Back, I mean phone home, e d vone.

926
00:45:40,599 --> 00:45:47,199
Speaker 2: Home, and it's just the lump is there many times. Okay,

927
00:45:47,239 --> 00:45:50,159
But here's the real question. Okay, the real question is

928
00:45:50,159 --> 00:45:52,440
is Et a Jedi?

929
00:45:53,559 --> 00:45:53,639
Speaker 4: What?

930
00:45:54,079 --> 00:45:54,280
Speaker 3: Now?

931
00:45:54,360 --> 00:45:56,440
Speaker 2: What is Et a Jedi?

932
00:45:56,639 --> 00:45:58,639
Speaker 3: Okay, so you asked this at the end of our

933
00:45:58,960 --> 00:46:02,440
at the end of last episode, and you're just gonna

934
00:46:02,440 --> 00:46:03,599
have to elaborate, my friend.

935
00:46:03,679 --> 00:46:06,400
Speaker 2: Okay, I'm gonna give you the case for yes, Et

936
00:46:06,639 --> 00:46:09,599
is a Jedi. Okay, right, yeah, okay. First of all,

937
00:46:09,679 --> 00:46:12,239
uses the force through the entire movie fifteen thousand times.

938
00:46:12,280 --> 00:46:14,599
Speaker 3: He certainly can make things float with the wave of

939
00:46:14,639 --> 00:46:15,000
his hand.

940
00:46:15,199 --> 00:46:17,320
Speaker 2: She makes objects levitate.

941
00:46:17,559 --> 00:46:19,800
Speaker 3: He has mind control over Elliott.

942
00:46:19,960 --> 00:46:22,519
Speaker 2: There is something going like Jedi mind trick.

943
00:46:22,760 --> 00:46:25,719
Speaker 3: Hey, yeah, similar in their features. Okay, okay, all right.

944
00:46:26,000 --> 00:46:29,760
Speaker 2: In episode one, the Phantom Menace, Oh no, yes, I'm

945
00:46:29,800 --> 00:46:32,679
going there. Yes, no, no, no, I am going there

946
00:46:33,440 --> 00:46:36,400
in the Galactic Council meeting. If you weren't asleep during

947
00:46:36,440 --> 00:46:39,840
all the politics going on in Phantom Menace, there you.

948
00:46:39,960 --> 00:46:41,400
Speaker 3: Locked it out of your mind.

949
00:46:41,239 --> 00:46:45,440
Speaker 2: Like the rest of the world. Our man Terence Stamp

950
00:46:45,760 --> 00:46:49,199
is given a vote of no confidence and the council

951
00:46:49,320 --> 00:46:54,159
goes crazy, and there is very clearly at least three Assogians.

952
00:46:54,280 --> 00:46:56,320
Now that is ET's race. I bet you didn't know that.

953
00:46:56,360 --> 00:46:57,239
Speaker 3: I did not know that.

954
00:46:57,280 --> 00:47:01,400
Speaker 2: Assogians in Star Wars the Phantom Mena, so clearly the

955
00:47:01,480 --> 00:47:05,400
Asogian Et is in the Star Wars universe. We've established

956
00:47:05,400 --> 00:47:08,199
that with the Phantom menace. Yeah, okay, yeah, now that

957
00:47:08,480 --> 00:47:13,519
he also force heels Elliott's finger. True, Okay, yeah, he

958
00:47:13,639 --> 00:47:16,719
wears a white Jedi rope, the blanket.

959
00:47:17,559 --> 00:47:19,119
Speaker 3: He was dressed up like a ghost.

960
00:47:19,599 --> 00:47:21,559
Speaker 2: No, no, no, no, no, that's my big one. That's

961
00:47:21,599 --> 00:47:24,440
the one on cut. That's my uppercut right here, okay,

962
00:47:24,960 --> 00:47:28,199
my little jab Here is the the little white blanket

963
00:47:28,239 --> 00:47:31,519
Jedi rope. Okay, all right, here's the uppercut. You're ready

964
00:47:31,559 --> 00:47:35,199
for this. When e T is dressed as a ghost

965
00:47:35,239 --> 00:47:39,239
on Halloween and they're dragging him around the neighborhood. Yes,

966
00:47:39,960 --> 00:47:42,920
And the kid dressed up as Yoda, who is actually

967
00:47:42,960 --> 00:47:43,840
I think dever Winger.

968
00:47:44,440 --> 00:47:47,559
Speaker 3: No, dever Winger is dressed up as a zombie carrying

969
00:47:47,559 --> 00:47:50,440
a dog. Okay, she's just the voice. Okay.

970
00:47:50,519 --> 00:47:52,280
Speaker 2: So somebody is dressed up as Yoda.

971
00:47:52,440 --> 00:47:52,639
Speaker 3: Yep.

972
00:47:52,960 --> 00:47:58,960
Speaker 2: And he walks right up to Et and Et recognizes him. Yeah, buddy,

973
00:47:59,079 --> 00:48:03,599
I freaking know this guy. And he even says home. Yeah,

974
00:48:03,639 --> 00:48:06,679
and you get the cool little musical cue from John Williams.

975
00:48:06,679 --> 00:48:10,239
There you get yogastin eat back at his planet. He

976
00:48:10,320 --> 00:48:11,960
recognizes Joda.

977
00:48:11,840 --> 00:48:13,920
Speaker 3: Good bam, thinking that's the Jedi.

978
00:48:14,039 --> 00:48:14,639
Speaker 2: Huh, listen.

979
00:48:14,960 --> 00:48:17,880
Speaker 3: I like the idea, okay, the fact that it relies

980
00:48:18,000 --> 00:48:19,360
on episode one.

981
00:48:20,840 --> 00:48:21,519
Speaker 2: You're not liking that?

982
00:48:21,639 --> 00:48:22,960
Speaker 3: Du not like that idea?

983
00:48:23,079 --> 00:48:27,480
Speaker 2: Okay? The case, here's the case against already. Where's his lightsaber?

984
00:48:28,079 --> 00:48:28,320
Speaker 3: Right?

985
00:48:28,519 --> 00:48:31,239
Speaker 2: No Jedi leaves without his lightsaber?

986
00:48:31,400 --> 00:48:34,599
Speaker 3: Right? He's he's a lowly worker picking up plants. He

987
00:48:34,760 --> 00:48:37,760
is not a Jedi master, no.

988
00:48:37,480 --> 00:48:40,480
Speaker 2: Our buddy, Jeff Mazukah, Yeah, he came at me pretty strong.

989
00:48:40,559 --> 00:48:43,440
That can't we just let these two movies be separate

990
00:48:43,480 --> 00:48:46,119
and enjoy them without trying to crossming a limit.

991
00:48:47,239 --> 00:48:49,920
Speaker 3: No, this is what we do, sorry, Jeff.

992
00:48:51,920 --> 00:48:54,400
Speaker 2: So I'm going with yes, Absolutely, Et is a Jedi.

993
00:48:54,519 --> 00:48:57,719
Speaker 3: Okay, what do you say? No, he is not a Jedi?

994
00:48:58,760 --> 00:48:59,079
Speaker 2: Why not?

995
00:48:59,199 --> 00:49:01,239
Speaker 3: You can't just say no, Well he did because he

996
00:49:01,400 --> 00:49:05,320
is not a He does not have a lightsaber. He

997
00:49:05,480 --> 00:49:10,239
is not a member of some large organization that is

998
00:49:10,639 --> 00:49:12,800
empowered with protecting the universe.

999
00:49:13,039 --> 00:49:13,880
Speaker 2: How do you know that?

1000
00:49:14,000 --> 00:49:18,239
Speaker 3: Because he wouldn't have gotten left behind it. Okay, they

1001
00:49:18,239 --> 00:49:21,440
wouldn't have left Yoda behind, they wouldn't have left Luke behind,

1002
00:49:21,760 --> 00:49:25,800
they wouldn't have left Darth Vader behind. No way, not

1003
00:49:26,119 --> 00:49:26,559
a Jedi.

1004
00:49:26,639 --> 00:49:29,320
Speaker 5: All right, sounds good. Okay, all right, are we ready

1005
00:49:29,360 --> 00:49:32,000
to move on to composers. Yeah, let's talk composers real quick.

1006
00:49:32,039 --> 00:49:34,360
And again I'll try to fly pass this as quickly

1007
00:49:34,360 --> 00:49:37,039
as I can. Okay, right, ready, So again the thing

1008
00:49:37,239 --> 00:49:42,360
our composer Ineo Morricone man and icon right, no.

1009
00:49:42,679 --> 00:49:47,159
Speaker 3: Man, the guy who did all of the uh Sergio leone.

1010
00:49:47,280 --> 00:49:49,000
Speaker 2: Esde matt and the ugly the one that we know

1011
00:49:49,159 --> 00:49:52,840
so well, fistful of dollars, ecstasy of gold and icon

1012
00:49:53,079 --> 00:49:53,760
right right.

1013
00:49:53,840 --> 00:49:56,000
Speaker 3: So, and he does what he's the composer for the thing.

1014
00:49:56,079 --> 00:49:56,360
Speaker 2: The thing.

1015
00:49:56,440 --> 00:50:00,239
Speaker 3: Now, what's interesting is this music isn't really like his

1016
00:50:00,320 --> 00:50:04,360
style of music. It's really much more like the style

1017
00:50:04,480 --> 00:50:08,400
of John Carpenter's music. So John Carpenter is a musician,

1018
00:50:08,559 --> 00:50:12,239
like he's still doing live stage performances and stuff. And

1019
00:50:12,320 --> 00:50:16,320
he composed one of the most iconic musical pieces in

1020
00:50:16,360 --> 00:50:17,960
film history from Halloween.

1021
00:50:18,079 --> 00:50:18,239
Speaker 4: Yeah.

1022
00:50:18,280 --> 00:50:21,039
Speaker 3: Absolutely, And so I had to think that they, I mean,

1023
00:50:21,159 --> 00:50:24,119
all of the all directors talked to their composer about

1024
00:50:24,119 --> 00:50:27,039
what their thoughts and ideas are for the music sound

1025
00:50:27,199 --> 00:50:33,079
But there is a clear similarity to what Anniomorcone's soundtrack

1026
00:50:33,320 --> 00:50:36,280
sounds like and what John Carpenter's music sound like, sounds

1027
00:50:36,320 --> 00:50:39,920
like sure, so say this real quick, okay. Twenty sixteen,

1028
00:50:40,159 --> 00:50:43,239
he won the Oscar for the Hateful eighty when he

1029
00:50:43,239 --> 00:50:46,159
gave a speech. I mean he just passed away, not

1030
00:50:46,199 --> 00:50:48,039
too long ago, like a couple of years ago, and

1031
00:50:48,119 --> 00:50:50,400
I think he was ninety one. He lived a long

1032
00:50:50,480 --> 00:50:52,840
time because in his eighties when he gets the Oscar, right,

1033
00:50:53,320 --> 00:50:56,840
he gives special thanks to John Williams, who is also

1034
00:50:56,920 --> 00:50:59,920
nominated that year for the music in Force Awake.

1035
00:51:00,400 --> 00:51:00,760
Speaker 2: Really.

1036
00:51:00,840 --> 00:51:06,480
Speaker 3: Also in twenty sixteen, John Carpenter was performing Morriconi's The

1037
00:51:06,480 --> 00:51:07,880
Thing live on stage.

1038
00:51:07,920 --> 00:51:08,239
Speaker 5: Wow.

1039
00:51:08,360 --> 00:51:11,840
Speaker 2: Yeah, by the way, the Thing score, Yeah, won a

1040
00:51:12,039 --> 00:51:15,119
Razzie for Worst Score. It's terrible.

1041
00:51:15,719 --> 00:51:19,440
Speaker 3: It's terrible that that that has happened. The main theme.

1042
00:51:19,800 --> 00:51:21,800
I mean, we can't we can't possibly go through all

1043
00:51:21,840 --> 00:51:23,639
of them, but the main theme, if you just listen

1044
00:51:23,679 --> 00:51:29,039
to it, you've got this pulsing, heartbeat like thing going on,

1045
00:51:29,079 --> 00:51:32,079
and then you've got these dissonant chords that are overlapping

1046
00:51:32,119 --> 00:51:35,360
with each other just I mean, they just create anxiety

1047
00:51:35,480 --> 00:51:38,320
just to listen to the music, which is exactly what

1048
00:51:38,440 --> 00:51:40,800
you want if you've got a horror movie going on, right,

1049
00:51:40,800 --> 00:51:44,039
So it's perfect. It is perfect music for this movie. Now,

1050
00:51:44,159 --> 00:51:47,400
I could go on for days and days about Anyo Morriconi,

1051
00:51:47,559 --> 00:51:49,360
but I'm not going to. Okay, but I will say

1052
00:51:49,400 --> 00:51:52,840
one fascinating tidbit I found out. Yeah, nineteen eighty seven,

1053
00:51:53,000 --> 00:51:56,039
he co wrote a song called it Couldn't Happen Here

1054
00:51:56,320 --> 00:51:59,599
with the Pet Shop Boys, which was on their album. Actually, man,

1055
00:51:59,639 --> 00:52:00,000
I got it.

1056
00:52:00,039 --> 00:52:24,119
Speaker 2: We got to hear that. That's cool, Mutch, there you go. Okay,

1057
00:52:24,519 --> 00:52:38,840
now to play run? Yes we have ours?

1058
00:52:39,119 --> 00:52:42,760
Speaker 3: Yes? Who just passed away less than a month ago,

1059
00:52:42,800 --> 00:52:45,920
like May nineteenth, I think, Yeah, not very long ago

1060
00:52:46,039 --> 00:52:48,199
at all, just a couple of weeks ago. But here's

1061
00:52:48,239 --> 00:52:51,159
a guy who's done some amazing film scores that you

1062
00:52:51,239 --> 00:52:53,920
just don't ever hear about. He's really a very private guy.

1063
00:52:53,960 --> 00:52:56,440
He just I did get to see one interview where he,

1064
00:52:56,719 --> 00:52:59,000
if I could sum up, he basically said, I don't

1065
00:52:59,039 --> 00:53:02,360
operate the way that people want me to operate because

1066
00:53:02,679 --> 00:53:04,559
I don't want what they want. I don't want fame,

1067
00:53:04,719 --> 00:53:07,280
I don't want this other stuff. The only reason I

1068
00:53:07,320 --> 00:53:09,840
really did the things that are big that I did,

1069
00:53:09,920 --> 00:53:13,199
that I kind of operated in that system, was because

1070
00:53:13,199 --> 00:53:15,079
it allowed me to do all of the other things.

1071
00:53:15,119 --> 00:53:18,239
That I wanted to do, which was creating music. Ineo

1072
00:53:18,320 --> 00:53:21,920
Morriconi born in Rome Begallis was Greek. He was a

1073
00:53:21,920 --> 00:53:23,960
member of a couple of rock bands, none of which

1074
00:53:23,960 --> 00:53:27,840
are super important. But another interesting bit that I found

1075
00:53:28,119 --> 00:53:31,519
from seventy nine to eighty six, he was in a

1076
00:53:31,639 --> 00:53:37,480
duo group with Joby Close a John that spells his

1077
00:53:37,519 --> 00:53:38,239
name Jon.

1078
00:53:38,480 --> 00:53:38,599
Speaker 4: Oh.

1079
00:53:38,599 --> 00:53:41,519
Speaker 3: Okay, but it's John Anderson of the group. Yes, they're

1080
00:53:41,519 --> 00:53:43,280
in a group called John and Van Gallis.

1081
00:53:43,519 --> 00:53:47,119
Speaker 2: Really. Yeah, you want to hear a quick tie into Yes, Yes,

1082
00:53:47,519 --> 00:53:49,199
I'm gonna throw this in real quick. Do that?

1083
00:53:49,239 --> 00:53:49,559
Speaker 3: All right?

1084
00:53:49,559 --> 00:53:53,920
Speaker 2: Everybody, listen up. We are doing a exclusive Patreon episode

1085
00:53:54,079 --> 00:53:56,360
every month. Now We're going to pick one song from

1086
00:53:56,360 --> 00:53:59,199
the eighties or nineties or whatever, and we're gonna deep

1087
00:53:59,239 --> 00:54:01,280
dive into that song. One of the things I found

1088
00:54:01,280 --> 00:54:04,159
out about the guys from the Buggles because we're getting

1089
00:54:04,199 --> 00:54:06,159
ready to do video killed the Radio Star. You know

1090
00:54:06,280 --> 00:54:08,000
two of those guys were in the band.

1091
00:54:08,079 --> 00:54:10,480
Speaker 3: Yes, very good, nicely done. Do you want to hear

1092
00:54:10,480 --> 00:54:13,920
the rest of that episode? Go to patreon dot com.

1093
00:54:13,960 --> 00:54:18,119
Slash Shirley Podcast. Okay, so we know that Vangelis won

1094
00:54:18,199 --> 00:54:21,519
the Oscar for Chariots of Fire, which also hit number

1095
00:54:21,519 --> 00:54:23,679
one on the Hot one hundred. I mean, that's pretty

1096
00:54:23,679 --> 00:54:26,280
impressive for a music scorer song.

1097
00:54:26,400 --> 00:54:28,480
Speaker 2: Let's talk about that for just a second. Okay, okay,

1098
00:54:28,599 --> 00:54:32,079
because people who weren't born early enough to remember how

1099
00:54:32,119 --> 00:54:36,199
big the Chariots of Fire theme song was. It was everywhere,

1100
00:54:36,559 --> 00:54:39,199
absolutely and it I mean was in the movie Vacation

1101
00:54:39,360 --> 00:54:41,679
when Chivi and Chase runs towards Wally World.

1102
00:54:41,760 --> 00:54:42,239
Speaker 3: Right, Yep.

1103
00:54:42,480 --> 00:54:43,239
Speaker 2: It was huge.

1104
00:54:43,599 --> 00:54:48,480
Speaker 3: So he didn't read music. He was very musical from

1105
00:54:48,480 --> 00:54:51,360
a young age, very musical, like was playing their piano

1106
00:54:51,400 --> 00:54:53,880
when he was four. He would experiment with it and

1107
00:54:53,920 --> 00:54:56,920
put nails and kitchen pans in there and play it

1108
00:54:56,960 --> 00:54:58,960
to make different sounds, which is I mean, you could

1109
00:54:58,960 --> 00:55:00,679
tell from the way that he writes music he's got

1110
00:55:00,719 --> 00:55:03,280
a taste for a different sound than everybody.

1111
00:55:02,840 --> 00:55:05,599
Speaker 2: Else wants, right, kind of like Nick Rhoades in when

1112
00:55:05,639 --> 00:55:08,239
we talked about our Rio episode where he banged the

1113
00:55:08,320 --> 00:55:09,199
chords of the piano.

1114
00:55:09,360 --> 00:55:11,440
Speaker 3: Yeah, yeah, exactly. When it was time for him to

1115
00:55:11,480 --> 00:55:15,400
score Blade Runner, he got videotapes and so he would

1116
00:55:15,400 --> 00:55:19,360
watch the videotapes and he wasn't writing down music. I mean,

1117
00:55:19,519 --> 00:55:22,360
it's not John Williams writing down a sketch on notebook

1118
00:55:22,400 --> 00:55:25,599
paper because he doesn't read or write music. He would

1119
00:55:25,679 --> 00:55:29,000
just sit there on his keyboard, which was a Yamaha

1120
00:55:29,079 --> 00:55:31,039
CS eighty. He'd used a whole bunch of stuff, but

1121
00:55:31,119 --> 00:55:33,960
that was the primary one. That's the recognizable sound that

1122
00:55:34,039 --> 00:55:36,719
you hear there. And he would just improvise based on

1123
00:55:36,760 --> 00:55:38,440
what he was watching on those videos.

1124
00:55:38,519 --> 00:55:40,760
Speaker 2: Wow, that's incredible. That's the talent I don't have.

1125
00:55:41,039 --> 00:55:45,320
Speaker 3: Well. This soundtrack was called the best film score of

1126
00:55:45,480 --> 00:55:48,239
all time by Pitchfork in twenty nineteen.

1127
00:55:49,159 --> 00:55:49,480
Speaker 2: It is.

1128
00:55:49,760 --> 00:55:53,519
Speaker 3: I mean, there are multiple sources that say this is,

1129
00:55:53,719 --> 00:55:57,239
if not the best soundtrack, it's the best synth soundtrack

1130
00:55:57,280 --> 00:55:57,840
of all time.

1131
00:55:57,920 --> 00:56:01,440
Speaker 2: Here's the interesting thing about this soundtrack from Blade Runner. Okay, Yeah,

1132
00:56:01,480 --> 00:56:05,079
the release of the official soundtrack recording was delayed for

1133
00:56:05,159 --> 00:56:06,199
over a decade.

1134
00:56:06,360 --> 00:56:09,679
Speaker 3: Yeah, with and there have been three or four different

1135
00:56:09,880 --> 00:56:12,960
soundtracks that have come out in the meantime, and none

1136
00:56:12,960 --> 00:56:15,280
of them had all of his music. They would have

1137
00:56:15,440 --> 00:56:18,159
things that were in the film that weren't on the soundtrack.

1138
00:56:18,320 --> 00:56:20,280
They would have things on the soundtrack that weren't in

1139
00:56:20,320 --> 00:56:25,199
the film. There's been a huge mishmash of songs. As

1140
00:56:25,199 --> 00:56:27,559
far as the Blade Runner soundtrack goes. Wow, the one

1141
00:56:27,559 --> 00:56:30,679
that I listened to has little sound clips from the

1142
00:56:30,679 --> 00:56:33,079
movie in it, like the little dialogue parts, which I

1143
00:56:33,079 --> 00:56:35,920
think is pretty innovative for the early eighties. I don't

1144
00:56:36,000 --> 00:56:39,079
remember any movie doing that that early.

1145
00:56:38,800 --> 00:56:41,000
Speaker 2: On, but Queen did it in Flash Gordon.

1146
00:56:40,760 --> 00:56:43,960
Speaker 3: Right right, which was eighty right yep, same time that

1147
00:56:44,039 --> 00:56:47,840
he's recording this stuff. So yeah, it's pretty impressive. When

1148
00:56:48,400 --> 00:56:52,440
Hans Zimmer and Ben Walfish did the score for Blade

1149
00:56:52,480 --> 00:56:55,239
Runner twenty forty nine, they use the Yamaha C S

1150
00:56:55,320 --> 00:56:59,400
eighty to capture that same feeling, and they were largely

1151
00:56:59,440 --> 00:57:02,079
inspired by Van Gelis's soundtrack.

1152
00:57:02,119 --> 00:57:02,480
Speaker 2: Awesome.

1153
00:57:02,639 --> 00:57:07,280
Speaker 3: It's got components of those film noir sounds in parts,

1154
00:57:07,360 --> 00:57:12,000
but then obviously very futuristic, very dystopian, saw teasingly mystical.

1155
00:57:12,039 --> 00:57:15,199
I thought that's pretty spot on. Okay, yeah, I'll go

1156
00:57:15,280 --> 00:57:18,480
with that. Yeah, So there you go. There is the

1157
00:57:18,960 --> 00:57:21,920
soundtrack for Blade Runner, arguably one of the best soundtracks

1158
00:57:21,920 --> 00:57:22,760
of all time.

1159
00:57:22,880 --> 00:57:26,599
Speaker 2: Wow, blow muscart up about that one. Finally, we ready

1160
00:57:26,599 --> 00:57:27,639
to talk about the goat here.

1161
00:57:29,280 --> 00:57:31,760
Speaker 3: Who's the composer for e T I don't think I

1162
00:57:31,880 --> 00:57:32,599
remember his name?

1163
00:57:33,119 --> 00:57:34,320
Speaker 2: Mister Johnny Williams.

1164
00:57:34,320 --> 00:57:36,400
Speaker 3: Oh my gosh, Johnny.

1165
00:57:36,440 --> 00:57:40,119
Speaker 2: So he won the Oscar for this score. Okay, he

1166
00:57:40,199 --> 00:57:41,920
won it het well well deserved.

1167
00:57:42,119 --> 00:57:44,400
Speaker 3: Right, as you mentioned just a second ago, there's a

1168
00:57:44,400 --> 00:57:47,199
song on the soundtrack called The Magic Falloween, and he

1169
00:57:47,280 --> 00:57:50,320
puts a little sound cue from Yoda's.

1170
00:57:49,920 --> 00:57:52,320
Speaker 2: Theme from The Empire Strikes Back, The.

1171
00:57:52,280 --> 00:57:55,159
Speaker 3: Empire Strikes Back, which, of course he also wrote that right.

1172
00:57:55,360 --> 00:57:59,159
And then, of course, as you also mentioned, George Lucas

1173
00:57:59,159 --> 00:58:02,639
springs at full circle by having the little et neogens

1174
00:58:02,719 --> 00:58:08,440
or whatever you call Themsojians. Yes, sure has them in

1175
00:58:08,440 --> 00:58:09,639
that horrible, horrible movie.

1176
00:58:09,639 --> 00:58:14,039
Speaker 2: Hey, don't forget that. Johnny Williams was friends with the

1177
00:58:14,760 --> 00:58:15,559
guys in Toto.

1178
00:58:15,679 --> 00:58:17,519
Speaker 3: Oh, that's right. The Toto guys used to hang out

1179
00:58:17,559 --> 00:58:19,239
of his house all the time, and his son became

1180
00:58:19,239 --> 00:58:20,760
their lead singer. That's exactly right.

1181
00:58:20,880 --> 00:58:21,039
Speaker 2: Yep.

1182
00:58:21,119 --> 00:58:24,239
Speaker 3: If you want some more in depth John Williams info,

1183
00:58:24,400 --> 00:58:27,679
go check out our Jaws versus Jurassic Park episode as

1184
00:58:27,679 --> 00:58:32,679
well as our Indiana Jones versus The Future Future episodes. Okay,

1185
00:58:32,920 --> 00:58:37,039
last bit, he was having trouble timing the music right

1186
00:58:37,119 --> 00:58:41,360
to the chase sequence. Yes, and so Steven Spielberg was

1187
00:58:41,400 --> 00:58:43,960
sitting there and he said, turn off the projector. Yeah,

1188
00:58:44,079 --> 00:58:46,119
turns off the projector. He says, just do it the

1189
00:58:46,159 --> 00:58:48,159
way you want to do it. Yeah, And so John

1190
00:58:48,239 --> 00:58:53,880
Williams that last bit, which is the best, the best

1191
00:58:54,280 --> 00:58:58,199
cinematic experience because of that music. He did it his

1192
00:58:58,239 --> 00:59:00,599
own way. And then Spielberg went back and he edited

1193
00:59:00,639 --> 00:59:03,360
the chase scene to match what John Williams had composed.

1194
00:59:04,119 --> 00:59:06,559
Speaker 2: Okay, I'm not ready to spike the football on et

1195
00:59:06,800 --> 00:59:11,239
being the best John Williams composition good because it's not well,

1196
00:59:11,639 --> 00:59:12,840
it's in the conversation.

1197
00:59:12,960 --> 00:59:14,880
Speaker 3: It's it is in the conversation. I told you it

1198
00:59:14,960 --> 00:59:16,760
wasn't before and listened off about seven.

1199
00:59:17,320 --> 00:59:21,480
Speaker 2: Well, that's it. It's like talking about Michael Jordan's best game, right,

1200
00:59:21,639 --> 00:59:23,559
because you're like, oh, well, the Jaws.

1201
00:59:23,320 --> 00:59:25,039
Speaker 3: I mean, come on, Jaws, right, right?

1202
00:59:25,119 --> 00:59:27,079
Speaker 2: And then I'm like, well, I mean Raiders of the

1203
00:59:27,079 --> 00:59:29,320
Lost Arc man he kills it. I mean, Indy has

1204
00:59:29,320 --> 00:59:31,039
a theme, Marion has a theme, The Arc has a theme,

1205
00:59:31,119 --> 00:59:33,519
the Nazis. And then you're like, well, crap, what about

1206
00:59:33,519 --> 00:59:34,079
Star Wars?

1207
00:59:34,239 --> 00:59:35,840
Speaker 3: Right? What about Superman?

1208
00:59:36,199 --> 00:59:39,280
Speaker 2: What about Superman? What about Close Encounters? What about Jurassic Park.

1209
00:59:39,360 --> 00:59:40,280
Speaker 3: What about Harry Potter.

1210
00:59:40,719 --> 00:59:41,400
Speaker 2: He's the best.

1211
00:59:41,599 --> 00:59:42,800
Speaker 3: Yeah, he's the best. Yeah.

1212
00:59:42,880 --> 00:59:48,719
Speaker 2: ET is phenomenal. The music carries me emotionally through the movie.

1213
00:59:49,159 --> 00:59:50,199
It's fantastic.

1214
00:59:50,880 --> 00:59:53,360
Speaker 3: If the music isn't in this movie, it's not good.

1215
00:59:53,440 --> 00:59:54,400
Speaker 2: It might be Mac and me.

1216
00:59:55,119 --> 00:59:58,280
Speaker 3: Yeah, that's exactly right. It might be some sort of

1217
00:59:58,360 --> 00:59:59,719
schleppy nothing.

1218
01:00:00,079 --> 01:00:02,320
Speaker 2: Yes, I agree, I agree. It's incredible.

1219
01:00:02,360 --> 01:00:07,679
Speaker 3: Okay, that is all I have for the composers. We've

1220
01:00:07,719 --> 01:00:11,960
talked already about the reception. Obviously, E T was the

1221
01:00:12,039 --> 01:00:14,400
number one movie for weeks and weeks until it got

1222
01:00:14,440 --> 01:00:17,360
bumped by Zapped right, and then it was like Officer

1223
01:00:17,400 --> 01:00:19,199
and a Gentleman, and then it was ET again for

1224
01:00:19,320 --> 01:00:20,079
weeks and weeks.

1225
01:00:20,239 --> 01:00:23,960
Speaker 2: Curiously, the Empire Strikes Back reached the number one spot

1226
01:00:24,159 --> 01:00:26,519
during a re release in nineteen eighty two There You Go,

1227
01:00:26,639 --> 01:00:28,800
and then E T. Retouching ran with it.

1228
01:00:29,000 --> 01:00:32,440
Speaker 3: All right, So obviously, as far as box office concerned,

1229
01:00:32,519 --> 01:00:35,239
ET is the clear winner for best of these three,

1230
01:00:35,360 --> 01:00:39,639
clear winner. But as we mentioned before, financial failures, Blade

1231
01:00:39,679 --> 01:00:41,000
Runner and The Thing.

1232
01:00:40,960 --> 01:00:45,440
Speaker 2: Right all right, d it's almost time for final judgment.

1233
01:00:45,480 --> 01:00:50,440
I've got one last item of discussion. Okay, we briefly

1234
01:00:50,480 --> 01:00:53,159
mentioned it in our last episode, I feel like we

1235
01:00:53,159 --> 01:00:56,679
should talk briefly about the et Atari game. Okay, did

1236
01:00:56,679 --> 01:00:58,199
you play the et Atari game?

1237
01:00:58,320 --> 01:00:58,400
Speaker 4: No?

1238
01:00:58,480 --> 01:00:58,840
Speaker 3: I did not.

1239
01:00:59,079 --> 01:01:02,519
Speaker 2: I played it, Okay, I played it. It was created

1240
01:01:02,559 --> 01:01:03,880
by the same guy who made the Riders of the

1241
01:01:03,880 --> 01:01:06,719
Lost Art game. Both these games were maddening to me.

1242
01:01:07,480 --> 01:01:09,960
They were sort of those journey games where we had

1243
01:01:09,960 --> 01:01:12,199
to go and collect items and try to do this

1244
01:01:12,280 --> 01:01:14,599
and that and figure it out. And I just wanted

1245
01:01:14,599 --> 01:01:16,960
to see the completion of the game for Raiders of

1246
01:01:17,039 --> 01:01:18,960
Lost Ark and ET and I could never do it.

1247
01:01:19,039 --> 01:01:22,400
And it was freaking hard. Yeah, the stupid FBI agent

1248
01:01:22,440 --> 01:01:25,559
would always grab me and I could never I could

1249
01:01:25,599 --> 01:01:28,639
never do anything in the et game and it was frustrating.

1250
01:01:28,679 --> 01:01:30,920
And you know what what, I wasn't the only one

1251
01:01:30,920 --> 01:01:32,119
that found it really frustrating.

1252
01:01:32,199 --> 01:01:32,320
Speaker 4: Now.

1253
01:01:32,760 --> 01:01:36,239
Speaker 2: In fact, Atari bet the company on this game and

1254
01:01:36,280 --> 01:01:37,519
lost and it was a bust.

1255
01:01:37,840 --> 01:01:40,880
Speaker 3: Yeah. We talked in our previous episode about the fact

1256
01:01:40,920 --> 01:01:43,199
that all the companies that you see in the Blade

1257
01:01:43,239 --> 01:01:46,800
Runner Future Verse are actually companies that went out of

1258
01:01:46,800 --> 01:01:49,440
business or had some real financial setback at the time,

1259
01:01:49,519 --> 01:01:52,480
and Atari is definitely one of those. And it was

1260
01:01:52,559 --> 01:01:55,760
because of et There's a documentary out there on I've

1261
01:01:55,800 --> 01:01:59,079
watched it. The land fell where like two hundred and

1262
01:01:59,119 --> 01:02:02,320
fifty thousand and the or something et cartridges were buried.

1263
01:02:02,440 --> 01:02:04,719
Speaker 2: Yeah, during the in the documentary they actually go to

1264
01:02:04,719 --> 01:02:07,519
the landfill. They figure out like look at the catalog

1265
01:02:07,599 --> 01:02:09,159
and figure out the date and then go to that

1266
01:02:09,239 --> 01:02:11,400
spot and then have to go eight feet down to

1267
01:02:11,440 --> 01:02:11,880
find the.

1268
01:02:12,039 --> 01:02:15,960
Speaker 3: It's a good documentary and making a cameo appearances. Ernest Klein,

1269
01:02:16,039 --> 01:02:18,719
writer of Ready Player one. I think it did you

1270
01:02:18,800 --> 01:02:19,960
drive us Delarean over there?

1271
01:02:20,000 --> 01:02:20,519
Speaker 2: I think he did?

1272
01:02:20,599 --> 01:02:23,159
Speaker 3: Yeah, I think that's right. Has definitely something to check out.

1273
01:02:23,239 --> 01:02:24,119
All right, good TIDBT.

1274
01:02:24,280 --> 01:02:27,000
Speaker 2: Okay, guys, let's hear from our buddy James Buckley and

1275
01:02:27,039 --> 01:02:28,800
hear what he has to say on these three movies.

1276
01:02:29,039 --> 01:02:32,079
Speaker 4: Hey, Jason, Indeed, this is James Buckley chiming in from

1277
01:02:32,079 --> 01:02:34,360
the North Louisiana chapter of the show You Can't Be

1278
01:02:34,519 --> 01:02:37,559
Serious Appreciation Society. I've been asked to chime in on

1279
01:02:37,559 --> 01:02:39,599
the three movies you guys are looking at this week.

1280
01:02:39,679 --> 01:02:42,400
And while I definitely have a favorite, there's no going

1281
01:02:42,440 --> 01:02:45,079
wrong with any of these three films. Each one is

1282
01:02:45,079 --> 01:02:47,480
a classic in its own right, and each one deserves

1283
01:02:47,519 --> 01:02:50,239
all the praise it's received over the years, starting with

1284
01:02:50,280 --> 01:02:53,400
et this is a perfect fairy tale, I'll be at

1285
01:02:53,400 --> 01:02:56,519
A slightly dark fairy tale in some points, extremely well

1286
01:02:56,559 --> 01:02:59,800
acted by the kids, Lots of tense action scenes. The

1287
01:02:59,840 --> 01:03:02,760
old botanist, as I believe the alien was called in

1288
01:03:02,760 --> 01:03:06,280
some promotional material, was very well done, especially considering the

1289
01:03:06,440 --> 01:03:08,480
level of special effects at the time. Oh, in all,

1290
01:03:08,559 --> 01:03:11,159
it's a perfect movie for kids and adults. I love

1291
01:03:11,199 --> 01:03:12,800
it as a twelve year old, and I love it now.

1292
01:03:12,920 --> 01:03:15,719
Blade Runner, it's a slightly different story. I saw this

1293
01:03:15,760 --> 01:03:17,719
when I was twelve with a buddy of mine, and

1294
01:03:18,119 --> 01:03:20,440
confession I was a little bit of a geek. So

1295
01:03:20,480 --> 01:03:23,280
I had read Philip K. Dick's novel beforehand and I

1296
01:03:23,360 --> 01:03:25,440
was puzzled. And I saw the movie and I was

1297
01:03:25,480 --> 01:03:28,760
still puzzled. There were some great action scenes, a topless

1298
01:03:28,760 --> 01:03:31,800
scene but don't tell my mother, But overall, the question

1299
01:03:31,920 --> 01:03:34,400
about what it means to be human? Yeah, this was

1300
01:03:34,440 --> 01:03:35,960
not what I was looking for in a movie at

1301
01:03:35,960 --> 01:03:39,280
the time. Subsequent versions of the movie really straightened a

1302
01:03:39,280 --> 01:03:41,360
lot out for me and gave me a greater appreciation

1303
01:03:41,480 --> 01:03:44,199
for the overall narrative. But from a visual sense. This

1304
01:03:44,239 --> 01:03:48,719
movie was amazing. The cyberpunk, vaguely post apocalyptic city in

1305
01:03:48,760 --> 01:03:52,320
which Decker lived, Decker's cool gun coat and flying car,

1306
01:03:52,480 --> 01:03:54,920
all this was amazing to look at. Rutger Howard was

1307
01:03:54,960 --> 01:03:59,719
outstanding as Roy Batty. His improvised rooftop scene was amazing

1308
01:04:00,159 --> 01:04:02,679
of work and stands the test of time. Now we

1309
01:04:02,719 --> 01:04:06,119
get to John Carpenter's The Thing. I had read Alan

1310
01:04:06,159 --> 01:04:09,639
Dean Foster's novelization of this movie prior to actually seeing

1311
01:04:09,639 --> 01:04:12,519
the movie, so I was pretty pumped up and I

1312
01:04:12,599 --> 01:04:15,960
was not disappointed. It's an amazing science fiction horror movie.

1313
01:04:16,000 --> 01:04:19,000
I had seen the original with James Arness as the

1314
01:04:19,039 --> 01:04:23,280
bloodsucking Vegetableman from Space and it was okay, But this

1315
01:04:23,360 --> 01:04:26,800
movie was mind blowing. John Carpenter really created a palpable

1316
01:04:26,840 --> 01:04:31,039
sense of isolation in Paranoia, which was really helped by score.

1317
01:04:31,239 --> 01:04:34,079
Kurt Russell was amazing as always, as was the rest

1318
01:04:34,079 --> 01:04:38,119
of the crew, including the dog and the special effects man.

1319
01:04:38,239 --> 01:04:40,519
Not to give anything away, but when the guy's back

1320
01:04:40,559 --> 01:04:43,960
splits open and tries to eat somebody, yeah, that was

1321
01:04:43,960 --> 01:04:45,960
pretty shocking at the time. I think it's safe to

1322
01:04:46,000 --> 01:04:49,039
say that this is my favorite of the three it

1323
01:04:49,079 --> 01:04:51,719
was such a well made movie. I still enjoy watching

1324
01:04:51,719 --> 01:04:54,119
it today, always rank it as one of my favorite

1325
01:04:54,119 --> 01:04:56,599
films regardless of genre. So yeah, you can put me

1326
01:04:56,679 --> 01:05:00,760
down in team McReady, but honestly, as a earlier all

1327
01:05:00,800 --> 01:05:03,280
these films are great and uh well what you guys

1328
01:05:03,320 --> 01:05:05,320
have brought out about them. So that's it for tonight,

1329
01:05:05,599 --> 01:05:07,840
keep on keeping on. You guys really have the greatest

1330
01:05:07,840 --> 01:05:08,679
podcast out there.

1331
01:05:08,719 --> 01:05:10,480
Speaker 2: We'll talk to you later, all right, James, thanks a

1332
01:05:10,480 --> 01:05:12,639
lot for weighing in there. From northern Louisiana. We can

1333
01:05:12,719 --> 01:05:15,920
hear the crickets as they are chirping. Appreciate you as always.

1334
01:05:16,039 --> 01:05:19,280
Wake up, time to die, reay for final judgment.

1335
01:05:19,519 --> 01:05:21,159
Speaker 3: Let me have it, buddy. What do you think? All right?

1336
01:05:21,159 --> 01:05:22,320
And my first? You're first?

1337
01:05:22,559 --> 01:05:26,679
Speaker 2: Okay, Listen, we don't pick any losers, right right. We

1338
01:05:26,760 --> 01:05:28,639
pick nothing but winners, although we're going to make an

1339
01:05:28,639 --> 01:05:32,079
exception in July. I feel actual pressure on this one

1340
01:05:32,320 --> 01:05:34,920
to like make sure that I cover all my bases

1341
01:05:34,960 --> 01:05:36,960
and then I think through my judgment and stuff like that.

1342
01:05:37,119 --> 01:05:41,840
So here's where I am. My heart says et okay,

1343
01:05:43,360 --> 01:05:48,039
my head says blade Runner okay, and my balls say

1344
01:05:48,320 --> 01:05:54,400
the thing. Say your balls yes. Pg. Thirteen. I can't

1345
01:05:54,440 --> 01:05:54,800
say that.

1346
01:05:57,119 --> 01:05:59,400
Speaker 3: I'm just gonna keep going. They say balls is PG

1347
01:05:59,519 --> 01:06:00,320
thirteen time.

1348
01:06:00,320 --> 01:06:06,440
Speaker 2: Okay, all right, so when I was a kid. So

1349
01:06:06,639 --> 01:06:09,480
let's get in the Doloreum and go back to nineteen

1350
01:06:09,480 --> 01:06:13,239
eighty two. I mentioned before that et was one of

1351
01:06:13,320 --> 01:06:17,239
the greatest cinematic experiences I've ever had in my entire life.

1352
01:06:17,800 --> 01:06:22,159
I laughed, I cried, I was moved, I was entranced.

1353
01:06:22,360 --> 01:06:24,840
Speaker 3: Better than cats. I'll see it again and again.

1354
01:06:26,480 --> 01:06:29,000
Speaker 2: I loved it, absolutely loved it as a nine year old.

1355
01:06:29,039 --> 01:06:30,679
So I was nine and eighty two, so basically I'm

1356
01:06:30,679 --> 01:06:31,719
the same age as Elliott.

1357
01:06:31,760 --> 01:06:32,079
Speaker 3: Okay.

1358
01:06:32,239 --> 01:06:35,679
Speaker 2: When I finally saw Blade Runner, I guess I saw

1359
01:06:35,760 --> 01:06:38,440
the director's cut in the early nineties. I didn't quite

1360
01:06:38,679 --> 01:06:41,239
get it, but ever since that time, it's one of

1361
01:06:41,280 --> 01:06:44,000
those movies you can't really shake, and every time I

1362
01:06:44,119 --> 01:06:47,360
watch it, I like it a little bit more every time.

1363
01:06:47,519 --> 01:06:51,559
I'm also a big believer that sort of modern movies.

1364
01:06:51,920 --> 01:06:55,800
Sometimes it can get cluttered with characters. I love the

1365
01:06:56,039 --> 01:06:59,920
final Mono Emano scene with Harrison Ford and Roy Batty.

1366
01:07:00,119 --> 01:07:02,360
There can be only one and so I really love

1367
01:07:02,440 --> 01:07:05,440
that part about Blade Runner. I also love the ambiguity

1368
01:07:05,480 --> 01:07:08,880
and the questions and the discussions that go along with that,

1369
01:07:09,039 --> 01:07:13,119
and the thing I was thrilled by. I was scared,

1370
01:07:13,400 --> 01:07:16,639
I was paranoid about it. Really was a heart thumper

1371
01:07:16,639 --> 01:07:19,400
for me. So it all comes down to it. I

1372
01:07:19,400 --> 01:07:23,639
can't even say rewatchability because I don't rewatch ET very much,

1373
01:07:23,760 --> 01:07:26,960
but when I do, it still moves me. Okay, So

1374
01:07:27,039 --> 01:07:29,840
here's what I'm going to say of these three, and

1375
01:07:29,880 --> 01:07:32,559
it's razors Sharp in the number three spot.

1376
01:07:32,599 --> 01:07:33,480
Speaker 3: I'm going to go the thing.

1377
01:07:34,119 --> 01:07:38,039
Speaker 2: I love it, the poster, the plot is exciting. I

1378
01:07:38,079 --> 01:07:41,480
love Kurt Russell. I love it. Number two, Blade Runner,

1379
01:07:41,559 --> 01:07:45,039
It's very interesting. It makes me think. I love the

1380
01:07:45,079 --> 01:07:48,000
futuristic stuff. I'm a big fan of Ridley Scott. But

1381
01:07:48,199 --> 01:07:52,480
for me, number one has to be ET. I'm an

1382
01:07:52,480 --> 01:07:57,559
old school guy. John Williams, Steven Spielberg and a little

1383
01:07:57,559 --> 01:08:01,440
man from space. Come on, I get a lump in

1384
01:08:01,480 --> 01:08:04,880
my throat just thinking about the movie ET. So that's

1385
01:08:04,920 --> 01:08:09,360
how I'm gonna go. Spike in the football ET number one.

1386
01:08:09,639 --> 01:08:12,840
Speaker 3: Okay, where yet? All right? So when we started on this,

1387
01:08:13,199 --> 01:08:16,720
I was pretty confident where I was going to end up. Right, ET.

1388
01:08:17,159 --> 01:08:20,239
I loved when I was a kid. I was Gertie's age.

1389
01:08:20,279 --> 01:08:22,640
I was due Barrymore's age. Okay, so a little bit younger.

1390
01:08:22,840 --> 01:08:25,399
So I didn't quite get all of it, but there

1391
01:08:25,479 --> 01:08:28,319
wasn't much that I didn't get. It was pretty simple story.

1392
01:08:28,640 --> 01:08:31,439
The thing was something that I watched with my dad

1393
01:08:31,680 --> 01:08:35,239
because he preferred the kind of scarier, tougher movies, and

1394
01:08:35,279 --> 01:08:37,479
this one didn't have any nudity in it. You got

1395
01:08:37,520 --> 01:08:39,560
some f bombs, but you know, when we watched the

1396
01:08:39,600 --> 01:08:42,439
TV versions, it was probably those were edited out right.

1397
01:08:42,479 --> 01:08:46,079
So I've got nostalgia with my dad associated with the thing,

1398
01:08:46,199 --> 01:08:49,880
and so the last one for me was definitely gonna

1399
01:08:49,880 --> 01:08:53,600
be played Runner because I had seen it. I hadn't

1400
01:08:53,640 --> 01:08:55,159
seen it. I didn't see it in the eighties. I

1401
01:08:55,199 --> 01:08:56,520
don't even think I saw it in the nineties. I

1402
01:08:56,520 --> 01:08:58,520
think it was twenty first century before I ever sat

1403
01:08:58,560 --> 01:09:01,239
down and watched the movie. I wasn't super impressed with it.

1404
01:09:01,319 --> 01:09:02,960
I didn't know why it was such a big deal

1405
01:09:03,000 --> 01:09:05,600
when I watched it the first time, and it literally

1406
01:09:05,760 --> 01:09:08,239
was the one that I had to force myself to

1407
01:09:08,279 --> 01:09:12,039
watch this last time. So when I watched ET, I

1408
01:09:12,159 --> 01:09:15,720
was impressed by the simplicity of the story, right, And

1409
01:09:15,800 --> 01:09:18,439
I had to keep asking myself the question like why

1410
01:09:18,439 --> 01:09:22,840
did this one win? Right? Why did this one break

1411
01:09:22,880 --> 01:09:25,640
all the records? And the other two were cut and

1412
01:09:26,079 --> 01:09:29,279
left to die right, and only became cult classics later

1413
01:09:29,319 --> 01:09:32,319
on after years and years go by. And then when

1414
01:09:32,359 --> 01:09:35,760
I watched the thing, I was like, Okay, how much

1415
01:09:35,760 --> 01:09:37,560
of this do I remember for being a little kid,

1416
01:09:37,600 --> 01:09:40,279
and how much of it did I really love? The

1417
01:09:40,359 --> 01:09:43,600
thing was the reason I became a fangor a ficionado.

1418
01:09:43,840 --> 01:09:46,359
Okay like that, I mean the makeup effects like Blew

1419
01:09:46,359 --> 01:09:50,479
Me Away, and so I became obsessed with Ye, yes, yeah,

1420
01:09:51,399 --> 01:09:55,479
I became obsessed with movie makeup special effects because of

1421
01:09:55,520 --> 01:09:58,119
that movie. But when I watched it, there were parts

1422
01:09:58,159 --> 01:10:00,359
in the plot that I, as an adult, I went,

1423
01:10:00,800 --> 01:10:03,920
this doesn't make any sense. Yeah, Like they're burning down

1424
01:10:03,960 --> 01:10:05,520
the camp at the end of the movie, which is

1425
01:10:05,600 --> 01:10:09,000
kind of an important feature, and it doesn't make any sense,

1426
01:10:09,119 --> 01:10:11,399
Like why is this going to solve the problem? It

1427
01:10:11,439 --> 01:10:13,039
really just seems like a way for you to have

1428
01:10:13,079 --> 01:10:16,800
a bunch of explosions and everybody dead at the end, right,

1429
01:10:16,880 --> 01:10:19,640
I mean, it just does It didn't need shelter, Yeah, yeah,

1430
01:10:19,680 --> 01:10:21,800
it didn't make it. I mean, the idea is we're

1431
01:10:21,840 --> 01:10:24,159
going to burn him out and then he can't, you know,

1432
01:10:24,239 --> 01:10:26,680
hide in the ice. Well what if he watched twenty

1433
01:10:26,760 --> 01:10:29,680
yards away where it's freezing cold. You guys are about

1434
01:10:29,680 --> 01:10:31,560
to freeze to death right now in the middle of

1435
01:10:31,600 --> 01:10:33,840
all of this stuff. It didn't make any sense. So

1436
01:10:33,880 --> 01:10:36,880
I was troubled by that, and so I thought, Okay, well,

1437
01:10:37,039 --> 01:10:40,199
the thing is going to finish second to ET, because

1438
01:10:40,239 --> 01:10:43,119
Et is still amazing. And the thing that ET did,

1439
01:10:43,239 --> 01:10:46,760
and this is really what I believe is the key here,

1440
01:10:47,560 --> 01:10:51,439
is that it was the pepsi cola of these three movies.

1441
01:10:51,920 --> 01:10:56,279
When they had the pepsi challenge, everybody picked pepsi. And

1442
01:10:56,359 --> 01:10:59,800
why do they pick pepsi Because it's sweeter? Yeah, right right.

1443
01:11:00,199 --> 01:11:03,039
Speaker 2: You take that first drink and you're like, oh, that's it.

1444
01:11:03,479 --> 01:11:06,039
Speaker 3: But here's the thing. If you have an extended test,

1445
01:11:06,720 --> 01:11:10,279
you don't pick pepsi. You pick coke because that's sweet.

1446
01:11:10,760 --> 01:11:14,119
For that amount of time, it's not that great. So

1447
01:11:14,199 --> 01:11:17,079
you've got it long enough for a year worth of

1448
01:11:17,079 --> 01:11:19,960
great movies and some rewatches, but I don't go back

1449
01:11:20,000 --> 01:11:22,640
and revisit it. And when I watched it with my daughter,

1450
01:11:23,000 --> 01:11:25,199
I didn't get choked up. I thought, this is a

1451
01:11:25,239 --> 01:11:28,960
pretty simple, straightforward movie. The thing that Spielberg hit the

1452
01:11:29,039 --> 01:11:33,640
nail on the head with was the emotional vantage point

1453
01:11:33,840 --> 01:11:36,600
of a child, and he lowered the camera. I mean,

1454
01:11:36,640 --> 01:11:39,319
you got crop shots at the beginning, right, he lowered

1455
01:11:39,359 --> 01:11:43,800
the camera and he let the kids go chronologically through

1456
01:11:43,800 --> 01:11:47,159
the story, all to capture the emotions of a child.

1457
01:11:47,319 --> 01:11:50,199
And so that's great if you're nine or if you

1458
01:11:50,239 --> 01:11:55,199
were six, But as a forty five year old, I'm like, Okay,

1459
01:11:55,239 --> 01:11:58,399
this is a pretty simple story. The effects aren't that great.

1460
01:11:58,560 --> 01:12:01,760
You've got compelling music, which is really the reason that

1461
01:12:01,800 --> 01:12:06,720
this movie is so great, but if you really analyze it,

1462
01:12:06,720 --> 01:12:11,159
it's not super impressive. And so that left me with

1463
01:12:11,920 --> 01:12:14,520
Blade Runner, which I didn't even like the first time.

1464
01:12:14,520 --> 01:12:16,399
Speaker 2: I fall out of my chair if you say Blade Runner.

1465
01:12:16,479 --> 01:12:20,199
Speaker 3: I watched Blade Runner this time and I was engrossed.

1466
01:12:21,079 --> 01:12:24,039
I was like, holy cow, how did I not realize

1467
01:12:24,079 --> 01:12:26,239
how good the movie this was? And maybe it was

1468
01:12:26,279 --> 01:12:28,239
because I didn't watch final cut the first time, and

1469
01:12:28,279 --> 01:12:31,359
I watched final cut this time, and there are those

1470
01:12:31,439 --> 01:12:34,199
various versions. So probably in the eighties I would not

1471
01:12:34,199 --> 01:12:36,359
be picking Blade Runner. I wouldn't want the voiceover. I

1472
01:12:36,359 --> 01:12:38,920
wouldn't want the happy ending, but you give me the

1473
01:12:38,960 --> 01:12:42,760
final cut Ridley Scott's original idea, and you give me

1474
01:12:42,800 --> 01:12:47,399
those iconic imagery that sid Mead does, and you give

1475
01:12:47,479 --> 01:12:51,319
me the little pieces of deeper meaning as far as

1476
01:12:51,640 --> 01:12:56,560
historical fiction goes, and religion and meaning and the question

1477
01:12:56,680 --> 01:12:59,600
of life, and you put all that together in a

1478
01:12:59,600 --> 01:13:04,560
detective story. Blade Runner overtook me. WHOA, I didn't even

1479
01:13:04,600 --> 01:13:07,439
want to watch it again, and it overtook me, and

1480
01:13:07,479 --> 01:13:10,520
it overtook the Thing, and it overtook ET. So Blade

1481
01:13:10,560 --> 01:13:15,199
Runner is my number one pick. Cinematically incredible, visually incredible,

1482
01:13:15,600 --> 01:13:19,319
acted incredibly. The guys you identify with are the bad guys,

1483
01:13:19,359 --> 01:13:23,960
and it's still great. Wow, it's for me number one,

1484
01:13:24,319 --> 01:13:28,119
Blade Runner, number two ET, and number three the Thing,

1485
01:13:28,279 --> 01:13:30,520
only because the Thing had some plot problems with it.

1486
01:13:31,079 --> 01:13:35,079
Speaker 2: Okay, that's fascinating because when, like before I knew that

1487
01:13:35,159 --> 01:13:38,079
you hadn't seen Blade Runner, I may have guessed that

1488
01:13:38,279 --> 01:13:40,399
because you're kind of the thinker and I'm kind of

1489
01:13:40,399 --> 01:13:42,960
a feeler, and so that kind of makes sense for

1490
01:13:43,000 --> 01:13:44,560
me to take ET and you to take Blade Runner.

1491
01:13:44,600 --> 01:13:47,880
But you were like, I didn't like it, not really

1492
01:13:48,880 --> 01:13:51,600
and for now for it to emerge number one. That

1493
01:13:52,039 --> 01:13:53,359
makes me want to fall out of my chair, and

1494
01:13:53,399 --> 01:13:55,720
that makes me feel great because I love it when

1495
01:13:55,720 --> 01:13:59,199
we change opinions, and maybe we changed yours, maybe we

1496
01:13:59,279 --> 01:14:00,239
changed the people out there.

1497
01:14:00,399 --> 01:14:02,920
Speaker 3: Shirley fans. If you have not seen these movies in

1498
01:14:02,960 --> 01:14:06,520
a while, go give them a second look, especially the

1499
01:14:06,560 --> 01:14:09,319
final cut of Blade Runner, which is on HBO Max

1500
01:14:09,399 --> 01:14:11,119
right now. If you happen to have a subscription to that,

1501
01:14:11,319 --> 01:14:14,359
it is well worth the rewatch. And speaking of rewatch,

1502
01:14:14,479 --> 01:14:16,720
I will be watching it again soon before it's gone

1503
01:14:16,760 --> 01:14:19,199
off of HBO because I want to just drink it

1504
01:14:19,239 --> 01:14:19,520
all in.

1505
01:14:19,840 --> 01:14:24,239
Speaker 2: Wow. Fantastic. All right, d So that's the Kapper three

1506
01:14:24,319 --> 01:14:26,960
parter et Blade Run of the thing. What do we

1507
01:14:27,000 --> 01:14:28,399
got coming next week?

1508
01:14:28,479 --> 01:14:32,960
Speaker 3: So next week we have a special unplanned episode. We

1509
01:14:33,239 --> 01:14:36,600
talked briefly in Top Gun about the Top Gun soundtrack,

1510
01:14:37,079 --> 01:14:41,439
but those episodes have been so popular for us that

1511
01:14:41,520 --> 01:14:44,119
we have decided we are going to cover the Top

1512
01:14:44,159 --> 01:14:48,640
Gun soundtrack in depth, track by track, and we're going

1513
01:14:48,720 --> 01:14:51,760
to give you some bonus tracks from the Maverick soundtrack

1514
01:14:51,760 --> 01:14:52,079
as well.

1515
01:14:52,319 --> 01:14:55,439
Speaker 2: It's gonna be awesome. One of my favorite albums nineteen

1516
01:14:55,439 --> 01:14:58,079
eighty six hands down, I can't wait to dive into that.

1517
01:14:58,239 --> 01:15:01,279
After that, we got Motley Crue Versus Whitesnake. We're back

1518
01:15:01,319 --> 01:15:03,960
to stripper music. It's gonna be great.

1519
01:15:04,079 --> 01:15:06,479
Speaker 3: Great stories to go along with both of those albums.

1520
01:15:06,520 --> 01:15:07,560
I can't wait.

1521
01:15:08,000 --> 01:15:11,920
Speaker 2: Come back next week. Don't forget Patreon. You now get

1522
01:15:12,079 --> 01:15:15,520
additional Patreon episodes once a month. It's gonna be awesome.

1523
01:15:15,560 --> 01:15:17,720
Speaker 3: One hit Wonders of the Eighties and beyond. If you're

1524
01:15:17,760 --> 01:15:21,279
a Patreon subscriber. If that's not within your budget, totally understand.

1525
01:15:21,319 --> 01:15:23,840
If you could do something free for us, leave us

1526
01:15:23,880 --> 01:15:26,640
a review hit the five Stars. It just help us

1527
01:15:26,640 --> 01:15:28,680
out tremendously and it doesn't trout you had done.

1528
01:15:28,920 --> 01:15:30,000
Speaker 2: Plus, we love it. It's great.

1529
01:15:30,079 --> 01:15:33,960
Speaker 3: Yeah, builds our ego too. Thank you guys, look forward

1530
01:15:33,960 --> 01:15:34,840
to seeing you in next week.

1531
01:15:34,880 --> 01:15:35,600
Speaker 2: See you next week.