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<v Speaker 1>There was once a man as the highest paid stuntman

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<v Speaker 1>in the world. This man broke fifty six bones his

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<v Speaker 1>back twice, punctured a lung, and knocked out a few teeth.

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<v Speaker 1>His career has included work on forty five hundred television

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<v Speaker 1>episodes and three hundred and ten feature films as a stuntman,

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<v Speaker 1>stunt coordinator, second unit director, and ultimately director. This man

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<v Speaker 1>wrecked hundreds of cars, fell from tall buildings, got blown up,

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<v Speaker 1>was dragged by horses, rescued the cast and crew from

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<v Speaker 1>a Russian invasion in Czechoslovakia, set a world record for

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<v Speaker 1>a boat stunt on Gator, jumped a rocket powered pickup

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<v Speaker 1>truck across the canal for a GM commercial and was

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<v Speaker 1>the first human to test the car airbag. This man

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<v Speaker 1>was Hal Needham and he was wrapped.

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<v Speaker 2>All right. This is Dick Miller. If you're listening to

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<v Speaker 2>junk food cinema, who.

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<v Speaker 1>Are these guys? Do you believe in Heaven above? Do

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<v Speaker 1>you believe in love? Do you perhaps believe in jug

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<v Speaker 1>food Cinema? Brought to you by Send Me an Angel

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<v Speaker 1>dot com dot com dot com dot that is not

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<v Speaker 1>a mail order bride catalog, but actually our exclusive take

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<v Speaker 1>delivery service. This is, of course, the weekly Culton Exploitation

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<v Speaker 1>film cast. So good it just has to be fattening.

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<v Speaker 1>I'm your Brian Salisburnham, joined as per usual by my

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<v Speaker 1>friend and co host. He is a novelist. He is

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<v Speaker 1>a screenwriter, a lieutenant of Mega Force, a man with

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<v Speaker 1>thunder in his heart who's every movement is like lightning.

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<v Speaker 1>Luckily that's what emodium is for. Mister c Robert Cargill. Hi,

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<v Speaker 1>how's it going? Man?

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<v Speaker 2>What I would give to go ass sliding with you

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<v Speaker 2>right now?

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<v Speaker 1>I would love to go. You know what, Cargo, that

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<v Speaker 1>touches me that you want to go ass sliding with me?

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<v Speaker 2>Sliding Joel as lighting.

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<v Speaker 1>If there were two people better equipped to go as

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<v Speaker 1>lighting together, I'd like to meet them. Well, actually no,

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<v Speaker 1>I don't think I would kirkt me if I'm wrong, Cargo.

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<v Speaker 1>But I think you told me that while you were

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<v Speaker 1>watching Brad for this episode, you got a text from

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<v Speaker 1>friend of the show, Joe Lynch. Yes that Joe Lynch did.

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<v Speaker 1>What did? What did he say?

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<v Speaker 2>He's like, what are you watching? And I told him

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<v Speaker 2>and he's like, ass lighting first word out of his mouth, asslighting.

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<v Speaker 1>You know what's crazy, Cargo, is that sounds like a

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<v Speaker 1>reductive bit we're doing. And no, that's what they call

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<v Speaker 1>that in this movie.

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<v Speaker 2>To go to one of our regular segments, Unfiltered Wife,

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<v Speaker 2>I was making as sliding references and just just kept

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<v Speaker 2>looking over at me and then and then right, and

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<v Speaker 2>she looks at me. The character goes, let's I want

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<v Speaker 2>to take you ass sliding and she looks at me

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<v Speaker 2>and she gives I thought that was a bit you

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<v Speaker 2>were making this up and I was like, oh no, baby,

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<v Speaker 2>get ready for the ass sliding.

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<v Speaker 1>You have never heard a term that seems dripping in

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<v Speaker 1>as much irony as it turns out to be completely

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<v Speaker 1>bereft of irony as two teenagers saying let's go as

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<v Speaker 1>sliding together. And no, you know what kills me, Cargo,

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<v Speaker 1>I don't even care fucking sidebar at the top of

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<v Speaker 1>the show before we get into it.

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<v Speaker 2>Personally, I think it's gonna be the whiskey, but what

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<v Speaker 2>he could be also be the fried foods. But what

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<v Speaker 2>do you think is gonna kill you?

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<v Speaker 1>What kills me is that no one, even the newbiest

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<v Speaker 1>to this town, no one's ever like, I'm sorry, did

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<v Speaker 1>you just say as sliding. That's weird. What the fuck

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<v Speaker 1>does that? They all just go along with it. It

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<v Speaker 1>is like it is this film takes place in yes

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<v Speaker 1>and and Alberta. Hey buddy, Hey buddy, how are you

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<v Speaker 1>now going as Ladin? Are you Goodn't you like? What

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<v Speaker 1>the fuck is happening in this movie? Figurenau?

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<v Speaker 2>I mean, everybody knows what movie we're talking about, but

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<v Speaker 2>let's let's make this official.

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<v Speaker 1>You know what Cargill. Recently, I was made aware that,

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<v Speaker 1>in honor of its fortieth anniversary, RAD was returning to theaters.

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<v Speaker 1>And what a great opportunity I thought to reshare our

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<v Speaker 1>rat episode on social media. So imagine my shock and

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<v Speaker 1>horror to discover that I could not reshare our rat

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<v Speaker 1>episode on social media because we did not have a

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<v Speaker 1>rat episode at all.

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<v Speaker 2>It's one of the few now how Needa movies we

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<v Speaker 2>haven't covered Cargil.

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<v Speaker 1>We've had plenty of occasions where we are startled, shocked,

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<v Speaker 1>and even miffed to find out that there is a

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<v Speaker 1>piece of foundational junkie cinema that has yet to be

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<v Speaker 1>covered on this podcast. But the omission of RAD from

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<v Speaker 1>the junk food Cinema catalog is deeply disturbing and in

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<v Speaker 1>a sense a trader's betrayal of our core values.

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<v Speaker 2>Yes, but we have a good excuse, is.

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<v Speaker 1>It because we did BMX bandits and just got completely

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<v Speaker 1>Mandela affected into thinking we did this one okay?

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<v Speaker 2>And we did that shortly after I had rewatched RAD

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<v Speaker 2>and showed Jes for the first time, and we met.

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<v Speaker 2>I believe we mentioned RAD in the episode and a

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<v Speaker 2>couple of items for it, So it feels like we've

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<v Speaker 2>talked about it, and it's hard to get through an

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<v Speaker 2>episode of Junk Food Cinema without me saying the word RAD.

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<v Speaker 2>So I can't imagine, you know why our brains think

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<v Speaker 2>we've covered this masterpiece.

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<v Speaker 1>Social psychologists for years. After this show is dead and gone,

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<v Speaker 1>we'll study it and trying to figure out what the

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<v Speaker 1>fuck is wrong with me and Cargil. But until that time,

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<v Speaker 1>let us now write this most egregious of oversights, because Cargil,

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<v Speaker 1>at the end of the day, only we can make

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<v Speaker 1>it right by standing on our handlebars and releasing in

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<v Speaker 1>a full voice as loud as the thunder in our hearts.

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<v Speaker 1>Our adoration of nineteen eighty six is Rat.

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<v Speaker 3>His name is crewe Hey, good looking BMX is his world.

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<v Speaker 3>Rat is his way of life. The world would be

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<v Speaker 3>a lot better off we.

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<v Speaker 4>We're here for the biggest and most important bicycle motocross

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<v Speaker 4>event ever held hell Track.

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<v Speaker 2>This is a very important race.

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<v Speaker 3>That are a finest riders in the country.

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<v Speaker 4>You're here writing for some one hundred thousand dollars Heil Track.

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<v Speaker 2>Just pick out.

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<v Speaker 3>They've gotta be kidding.

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<v Speaker 2>This is a joke. I really think I can get

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<v Speaker 2>this one.

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<v Speaker 4>I think I got a chance.

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<v Speaker 1>I don't want to hear any more about it.

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<v Speaker 3>Everyone's on his case.

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<v Speaker 2>Get that.

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<v Speaker 3>The paper boy thinks he's a pro. He's not the

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<v Speaker 3>next Bart Taylor. He's got the style. There's something about

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<v Speaker 3>the way you ride so naturally, and he's going to

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<v Speaker 3>prove it.

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<v Speaker 4>I've never seen this raw determination and talent against the

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<v Speaker 4>factory hot shots.

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<v Speaker 3>Looks like the local yocle's gonna race that. It's gonna

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<v Speaker 3>take a miracle to beat this guy against the big

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<v Speaker 3>money fixers.

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<v Speaker 4>All you have to do is take out that kid

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<v Speaker 4>against impossible odds.

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<v Speaker 3>This guy doesn't even stand a chance. Yeah, yeah, he's

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<v Speaker 3>going for it all rad.

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<v Speaker 1>I am so excited to talk about this, to finally

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<v Speaker 1>cross it off the list to fill in this weird

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<v Speaker 1>memory pothole that both of us have had, and to

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<v Speaker 1>say that this is accidentally an anniversary episode where it

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<v Speaker 1>was definitely not intended, and claim very proudly that I

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<v Speaker 1>have now seen RAD on the big screen and I'm

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<v Speaker 1>super excited about that.

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<v Speaker 2>Hell yeah.

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<v Speaker 1>It was playing in selected theaters for like two days,

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<v Speaker 1>and one of them happened to be yesterday, So I

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<v Speaker 1>was like, fuck it.

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<v Speaker 2>Oh oh it was yesterday because we were gonna record

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<v Speaker 2>yesterday and I couldn't. Yeh that fuck yeah. That allowed

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<v Speaker 2>you to see it on the big screen before we recorded.

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<v Speaker 2>That's amazing, dude.

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<v Speaker 1>That's what I'm saying is like all of these weird

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<v Speaker 1>things that fell into place to make this the most

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<v Speaker 1>rad RAT episode that ever ratted Radical Radical? Have you? Okay?

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<v Speaker 1>So for those of you who haven't seen RAD, this

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<v Speaker 1>is a movie about hell track this dastardly BMX race

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<v Speaker 1>that's taking place in a small town, and it's about

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<v Speaker 1>our hero, Crew Jones, who is a teenage BMX racer, uh,

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<v Speaker 1>and he wants so desperately to win this race. Even

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<v Speaker 1>though we're gonna talk about the weird like economical politics

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<v Speaker 1>of BMX racing and how corporate it is evidently, and

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<v Speaker 1>we'll get into all of that, but it's really just

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<v Speaker 1>a movie. I mean, it's to Save the rec Center movie.

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<v Speaker 1>If the rec Center is just personal pride, personal glory

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<v Speaker 1>at being the best BMX racer in your town. And yeah,

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<v Speaker 1>as we mentioned a moment ago, it's directed by Hal

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<v Speaker 1>mother fucking need him, the Immortal hounding them.

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<v Speaker 2>Yes, a man who never let the plot get in

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<v Speaker 2>the way of a good story.

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<v Speaker 1>And I love him for that. A patron saint of

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<v Speaker 1>junk food cinema. I believe he hasn't earned he's earned

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<v Speaker 1>that cannonization.

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<v Speaker 2>I mean one of our first episodes is on his films,

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<v Speaker 2>and we covered three or four of them over the

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<v Speaker 2>years at the very least, and mentioned the rest. At

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<v Speaker 2>some point.

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<v Speaker 1>We've done Mega Force, We've done Hooper, We've done but

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<v Speaker 1>I was gonna say, Butch Cassidy Smoking the Bandit is

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<v Speaker 1>a very different film than Butch Kassidy and the Sundance Kid.

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<v Speaker 2>Uh, didn't we do Cannonball Run? At one point?

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<v Speaker 1>We have not done Cannonball Run yet.

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<v Speaker 2>If you can believe that, I know we haven't done

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<v Speaker 2>Cannonball Run too. I did that with someone else and

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<v Speaker 2>we're unlikely to. We'll cover Cannonball Run two the same

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<v Speaker 2>way we covered Eddie and the Cruisers to Eddie lives.

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<v Speaker 1>Eddie lives, he lives, Canniball Runs. I don't know. I

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<v Speaker 1>don't know if that's the same situation there.

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<v Speaker 2>Now there's no exclamation points.

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<v Speaker 1>And also, as we mentioned, this is a movie he

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<v Speaker 1>filmed in Alberta, Canada, so essentially this is a Letter

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<v Speaker 1>Kenny sports film fingernail. Again. I kind of feel like

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<v Speaker 1>the stars have aligned perfectly for us to cover Rad

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<v Speaker 1>right now.

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<v Speaker 2>Yeah, absolutely, So what is your relationship with Rad? Cause

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<v Speaker 2>you're younger than me. I was old enough to see

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<v Speaker 2>this when it came out. I loved this. This was

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<v Speaker 2>a whole ass meme. This was a movie we remembered

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<v Speaker 2>for one scene, and pretty much one scene only, because

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<v Speaker 2>functionally the movie is essentially like the plot of most

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<v Speaker 2>other hou Need of movies in some way, shape or form.

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<v Speaker 2>And we'll get into all of that. But so, it

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<v Speaker 2>was a movie that you know, I saw on the

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<v Speaker 2>big screen when I was a kid. You know, it

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<v Speaker 2>came out when I was eleven, perfect fucking age for it,

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<v Speaker 2>right when having a BMX bike was the coolest fucking

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<v Speaker 2>thing in the world. Skateboarding was starting to become cool

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<v Speaker 2>in the mainstream, but m was where it was fucking at.

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<v Speaker 2>And I was all in on this fucking movie. And

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<v Speaker 2>you know, it is formational in you know who Cargill

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<v Speaker 2>is because Lori Laughlin in this movie, as we will

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<v Speaker 2>get to, was kind of a whole eighties aesthetic. She

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<v Speaker 2>you know, if there was an eighties version of the

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<v Speaker 2>Manic Pixie dream Girl, it's Lori Laughlin in this fucking

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<v Speaker 2>movie and caused a number of awakenings in the eighties.

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<v Speaker 2>And so this is one of those movies that was

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<v Speaker 2>formative for me.

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<v Speaker 1>See, yeah, this is I believe a just post Austin

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<v Speaker 1>move viewing for me. Uh it's you know, I was

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<v Speaker 1>a little too young for it when it came out,

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<v Speaker 1>but you know, I was one of those kids that

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<v Speaker 1>really wanted to have the cool bike in the neighborhood.

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<v Speaker 1>And I was the kid who tried to make little

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<v Speaker 1>stunt tracks and you know, you know, right as fast

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<v Speaker 1>as absolutely as I could and get hurt plenty of times.

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<v Speaker 1>But I didn't see this movie until shortly after moving

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<v Speaker 1>to Austin, and even then, in bits and pieces. It

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<v Speaker 1>really wasn't until twenty nineteen that I sat down and

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<v Speaker 1>watched it from start to finish. But my god, did

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<v Speaker 1>I fall in love with this movie. It's kind of

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<v Speaker 1>insane to think that I saw BMX Bandits before I

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<v Speaker 1>saw Rad.

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<v Speaker 2>Well, I mean BMX Bandits came out before Rad.

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<v Speaker 1>No, no, no, that I know. But just like in

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<v Speaker 1>the quantum leap of my life. Yeah, because temporal shit.

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<v Speaker 1>Temporal alignment doesn't mean shit to me because BMX Bandits

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<v Speaker 1>came out, I believe before I was even born, So

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<v Speaker 1>I don't really think that's the prerequisite here. But it

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<v Speaker 1>is kind of strange that BMX Bandits found its way

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<v Speaker 1>into my heart before Rad. But once Rad got in there,

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<v Speaker 1>there was thunder in that heart. I absolutely adored this movie.

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<v Speaker 1>It represents everything I love about the eighties. But it

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<v Speaker 1>also hammers home the idea that howning Him can shoot

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<v Speaker 1>anything on any vehicle and make it look cool, and

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<v Speaker 1>I applaud him for that.

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<v Speaker 2>Oh, I mean, that's when I said earlier about how

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<v Speaker 2>he never lets the plot get in the way of

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<v Speaker 2>a good story. The classic Joe Bob Briggs reference, the

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<v Speaker 2>thing about how need him is he was one of

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<v Speaker 2>the greatest stunt coordinators of all time. All he developed

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<v Speaker 2>several stunts that you see regularly on screen that he

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<v Speaker 2>developed the safety apparatus to do the stunts. He would

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<v Speaker 2>not have anybody do a stunt he himself wouldn't do.

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<v Speaker 2>That's what the whole movie Hooper's about is about the

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<v Speaker 2>life of a stuntman and how he eventually, you know,

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<v Speaker 2>had to move on and go into directing because you know,

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<v Speaker 2>there's only so much your body can take. And yet

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<v Speaker 2>he put together amazing stunt teams and would stunt coordinate

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<v Speaker 2>his own films, and so his films are essentially frameworks

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<v Speaker 2>for stunts, and he knew how to make a really enjoyable, emotional,

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<v Speaker 2>very core base experience. Like he's never trying to do

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<v Speaker 2>anything deep in any of his movies. He's just trying

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<v Speaker 2>to show off how badass his boys are. And man

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<v Speaker 2>is his team always up to the task. And here

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<v Speaker 2>he collected up a whole bunch of actual BMX stunt

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<v Speaker 2>riders and built a whole film around them. And this

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<v Speaker 2>is a movie that is absolutely showcasing real badass is

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<v Speaker 2>doing really real things. And he always knows where to

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<v Speaker 2>put the camera and how fast to be running that

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<v Speaker 2>film through that camera to get the perfect fucking shot.

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<v Speaker 1>So, in addition to watching the movie again, in addition

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<v Speaker 1>to going through the research provided by our research team,

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<v Speaker 1>and in addition to seeing Rad on the big screen,

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<v Speaker 1>in preparation for this episode, I also watched a RAD

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<v Speaker 1>documentary which is from just last year, and in the

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<v Speaker 1>documentary they have some stock footage of how Needham and

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<v Speaker 1>they talk about the making of this film. And I

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<v Speaker 1>think this process of preparation for the episode, more than

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<v Speaker 1>anything else, has crystallized the fact that I want to

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<v Speaker 1>be how Needham when I grow up. Like the guy is.

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<v Speaker 1>It's just brilliant and funny and charming and humble, but

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<v Speaker 1>also like living in.

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<v Speaker 2>Burt reynolds pool house for twelve years.

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<v Speaker 1>Dude, basically the if you liked Once upon a Time

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<v Speaker 1>in Hollywood. The relationship between Leonardo DiCaprio and Brad Bitt

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<v Speaker 1>is completely one hundred percent stolen from the relationship between

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<v Speaker 1>Burt Reynolds and Hal Needham one percent.

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<v Speaker 2>That's exactly exactly what Quenton was doing in that movie.

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<v Speaker 1>But there's just something so inspiring about the way he

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<v Speaker 1>approaches work, about how excited he is about his work,

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<v Speaker 1>and I learned so much about not only how he

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<v Speaker 1>made this movie, but who he was as an artist.

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<v Speaker 1>And one of the things that's really interesting is that

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<v Speaker 1>rad is the first movie he worked on where he

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<v Speaker 1>didn't know more about the stunts being performed than the

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<v Speaker 1>stunt performers did, because he wasn't familiar with BMX writing.

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<v Speaker 1>This was a fairly new thing in the late eighties.

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<v Speaker 1>And what that means is this guy who was known

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<v Speaker 1>for being a legend in this industry, for being a

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<v Speaker 1>shed figure for the art of stunt performing, a guy

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<v Speaker 1>who was also known to be kind of a task master,

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<v Speaker 1>like Hey, I want this stunt, we gotta get it done,

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<v Speaker 1>and there's no pussy footing around it, like let's make

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<v Speaker 1>it happen. Suddenly is dropping back and giving a tremendous

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<v Speaker 1>amount of grace and leeway to the young BMX writers,

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00:16:20.279 --> 00:16:22.639
<v Speaker 1>who would you know, be the stunt performers in this

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00:16:22.679 --> 00:16:25.200
<v Speaker 1>movie and in some of the actors as well. And

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<v Speaker 1>it's just really interesting to hear him talk about how

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<v Speaker 1>he kind of had to take a step back and go, Okay,

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<v Speaker 1>you guys, show me what you can do. What's the

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00:16:31.440 --> 00:16:34.759
<v Speaker 1>what is the capacity of this vehicle and then figure

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00:16:34.799 --> 00:16:38.440
<v Speaker 1>out how to shoot it, working very much in collaboration

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<v Speaker 1>with them, And I just love that because it's the

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00:16:41.080 --> 00:16:43.080
<v Speaker 1>thing that works best about this movie. I'll just rip

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<v Speaker 1>this band aid off right up top. I think the

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<v Speaker 1>thing that absolutely works best for this movie in terms

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00:16:47.799 --> 00:16:51.759
<v Speaker 1>of its legacy is the weird chocolate and peanut butter

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00:16:52.320 --> 00:16:56.639
<v Speaker 1>of the old Hollywood sensibilities of hol Needham and the

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00:16:56.759 --> 00:17:02.759
<v Speaker 1>completely new teenage sport of BMX writing. Like, those two

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00:17:02.799 --> 00:17:08.279
<v Speaker 1>worlds colliding make for a very interesting film because you

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00:17:08.519 --> 00:17:11.519
<v Speaker 1>have all of these performers who are doing these incredible

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<v Speaker 1>things on these bikes that you know, when rad came

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<v Speaker 1>out a lot of people had never seen before. But

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<v Speaker 1>then you also have a dance number, do you know

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<v Speaker 1>what I mean? Like there's there's all of these little

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<v Speaker 1>trappings of what an old school teen film would be

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<v Speaker 1>smashed right up against what we know an eighties teen

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<v Speaker 1>teen film looks like. And I love the at times

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<v Speaker 1>disparate but always wonderful smashing up of those two things.

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<v Speaker 2>After these messages, we'll be right back.

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<v Speaker 3>Seven Eleven's got it.

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<v Speaker 4>It's your wave, not microwave hamburger, cheese, burger, all beat

331
00:17:48.480 --> 00:17:50.319
<v Speaker 4>hot Hammon cheese barbecue too.

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<v Speaker 3>We got it good for han tastes. It are red hot, right,

333
00:17:54.519 --> 00:17:55.240
<v Speaker 3>get it hot.

334
00:17:55.160 --> 00:17:58.119
<v Speaker 4>Get it fast, get it good, and right now you'll

335
00:17:58.160 --> 00:18:00.720
<v Speaker 4>get any one of these hot new sandwiches just sixty

336
00:18:00.799 --> 00:18:01.519
<v Speaker 4>nine cents.

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00:18:01.880 --> 00:18:04.200
<v Speaker 3>Get us yeah good.

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00:18:04.920 --> 00:18:07.920
<v Speaker 4>A great new hot set, which is like you're like

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00:18:07.519 --> 00:18:09.960
<v Speaker 4>a seven eleven.

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<v Speaker 1>The other thing that that comes about of this union

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<v Speaker 1>between old Hollywood and you know, eighties teen film is

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00:18:18.240 --> 00:18:22.200
<v Speaker 1>the fucking cast of this movie. Oh yeah, like hal Ninam,

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<v Speaker 1>isn't just like I'm gonna go out and find a

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<v Speaker 1>bunch of young, somewhat unknown actors. I'm gonna get Olympic

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00:18:28.319 --> 00:18:31.720
<v Speaker 1>gymnasts to play the bully in the film. I'm gonna

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00:18:31.759 --> 00:18:33.000
<v Speaker 1>I'm gonna do a lot of the things that you

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00:18:33.039 --> 00:18:35.079
<v Speaker 1>would expect from a sort of low budget teen film

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<v Speaker 1>in the eighties. But then on top of that, I'm

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00:18:37.599 --> 00:18:41.160
<v Speaker 1>gonna cast uh, you know, guys like like Ray Walston,

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00:18:41.400 --> 00:18:44.400
<v Speaker 1>I'm Jack Weston and Jack Weston. I'm gonna get tally

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<v Speaker 1>a fucking Shire.

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<v Speaker 2>Sure, sure, we need a Coppola in this movie. Let's go.

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<v Speaker 1>We need a couple of Coppolas in this movie, at

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00:18:51.559 --> 00:18:54.960
<v Speaker 1>least one. So we're gonna get Talia Shire, who's not

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<v Speaker 1>only not only plays the mom in this movie, but

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00:18:58.160 --> 00:19:01.279
<v Speaker 1>also her and her husband and produced it. And there's

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00:19:01.319 --> 00:19:03.759
<v Speaker 1>a whole fascinating story about that that we'll get into.

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<v Speaker 1>But I mean, like HB.

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<v Speaker 2>Haggarty, HB.

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00:19:07.359 --> 00:19:10.279
<v Speaker 1>Haggarty, HB, which by the way, was who was a

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<v Speaker 1>professional wrestler, So you better fucking believe the HB stood

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<v Speaker 1>for hard boiled jung fud.

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<v Speaker 2>Alums know HB. Haggarty. He's one of the guys that

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<v Speaker 2>the minute you see him, you smile. You may not

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00:19:19.799 --> 00:19:22.440
<v Speaker 2>know that name, but you remember him from the Muppet movie,

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<v Speaker 2>you remember him from Foxy Brown, like you remember him

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<v Speaker 2>from these movies that he did and all these TV

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<v Speaker 2>appearances that he did where you just he's unmistakable.

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<v Speaker 1>It's just it's an incredible cast that they've put together

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<v Speaker 1>around these these young actors. And then of course Lori

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<v Speaker 1>Laughlin in this movie just showing up just long enough

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<v Speaker 1>to remind everyone how anyone within her eye line will

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<v Speaker 1>instantly fall in love with Lori Laughlin.

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<v Speaker 2>Convicted Fella, Lori Laughlin.

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<v Speaker 1>You know it's true. It's true.

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<v Speaker 2>That's the thing is that we feel so conflicted. It's

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00:19:57.279 --> 00:20:00.839
<v Speaker 2>very easy to like be like, oh, convicted fella, It's like, yeah,

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<v Speaker 2>but it's laur Laughlin.

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<v Speaker 1>Though.

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<v Speaker 2>Look at those brown eyes. Man, come on, come on,

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<v Speaker 2>I get it here. I'm not made of wood people.

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<v Speaker 1>We're not made of wood. She is a man at

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<v Speaker 1>Pixie dream girl. She might be the scourge of academia,

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00:20:14.519 --> 00:20:17.079
<v Speaker 1>but she is still an absolute cinema darling.

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<v Speaker 2>And she might she might turn into a man mid stunt.

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<v Speaker 2>So apart from.

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<v Speaker 1>That, don't worry about that. Don't worry about who's in

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00:20:25.880 --> 00:20:29.200
<v Speaker 1>those white hands. Don't worry about that for a second. Yeah,

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00:20:29.400 --> 00:20:32.559
<v Speaker 1>Laura Laughlin truly is an angel. Like send me an angel,

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00:20:32.599 --> 00:20:35.799
<v Speaker 1>send me Lori Laughlin. Oh wow, she just been with

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<v Speaker 1>me a thousand dollars for saying that, Laurie, I would

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00:20:38.000 --> 00:20:38.720
<v Speaker 1>have said it for free.

393
00:20:38.759 --> 00:20:40.359
<v Speaker 2>But no, no, no, she's trying to get her kid

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<v Speaker 2>into college.

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<v Speaker 1>Sorry, yes again, I'm doing a bit. But it does,

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00:20:43.920 --> 00:20:47.039
<v Speaker 1>it does become a weird foreshadow that she's giving Crewe

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00:20:47.079 --> 00:20:50.920
<v Speaker 1>advice on college admissions in this movie that actually fucking happens.

398
00:20:51.079 --> 00:20:52.480
<v Speaker 2>Well, I mean you're waiting for the mem where she

399
00:20:52.480 --> 00:20:54.160
<v Speaker 2>goes just pay your way into college with the ten

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00:20:54.200 --> 00:20:55.000
<v Speaker 2>thousand dollars.

401
00:20:55.400 --> 00:20:57.000
<v Speaker 1>Oh yeah, then she's like, you know, you can like

402
00:20:57.039 --> 00:20:59.720
<v Speaker 1>take a year, Like he doesn't even understand how college works.

403
00:20:59.720 --> 00:21:02.160
<v Speaker 1>She's like, you know, if you don't take the SATs now,

404
00:21:02.200 --> 00:21:03.960
<v Speaker 1>you can take them again, and like you could take

405
00:21:04.039 --> 00:21:05.599
<v Speaker 1>like a few months off and go to college the

406
00:21:05.640 --> 00:21:07.680
<v Speaker 1>next semester. It's like he had never thought of that

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00:21:07.720 --> 00:21:09.799
<v Speaker 1>as an option. He thought if he didn't take the

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00:21:09.839 --> 00:21:12.480
<v Speaker 1>SATs right then and there, he would never go to college.

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00:21:12.799 --> 00:21:15.599
<v Speaker 1>And she has to be the one like ushering him

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00:21:15.640 --> 00:21:18.599
<v Speaker 1>through the process of college admissions, which, again, because it's

411
00:21:18.640 --> 00:21:24.279
<v Speaker 1>Lori Lachlan, feels really fucking weird. Yeah, it's it's a

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00:21:24.279 --> 00:21:27.640
<v Speaker 1>little bizarre, uh, but yeah, And because it's an eighties

413
00:21:27.680 --> 00:21:31.559
<v Speaker 1>teen movie, we've got to have a blonde bad guy, right.

414
00:21:31.759 --> 00:21:34.200
<v Speaker 1>The bad guy has to be an arrogant, towheaded little

415
00:21:34.200 --> 00:21:39.160
<v Speaker 1>shit And in this Miniszka Minnie Zapka played by Bart

416
00:21:39.240 --> 00:21:42.480
<v Speaker 1>Conner in this movie playing Bart Taylor and before, as

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00:21:42.480 --> 00:21:44.319
<v Speaker 1>I mentioned before, he became an actor. This is his

418
00:21:44.400 --> 00:21:46.759
<v Speaker 1>first movie. He was an Olympic gymnast. He was the

419
00:21:46.759 --> 00:21:49.759
<v Speaker 1>youngest member of the seventy six men's Olympic gymnastics team

420
00:21:49.920 --> 00:21:52.000
<v Speaker 1>and he won two gold medals at the nineteen eighty

421
00:21:52.000 --> 00:21:54.440
<v Speaker 1>four Olympics, and in the documentary he says that he

422
00:21:54.519 --> 00:21:56.839
<v Speaker 1>has remembered way more from this movie than he ever

423
00:21:56.960 --> 00:21:58.960
<v Speaker 1>was for winning gold medals at the Olympics.

424
00:21:59.519 --> 00:22:02.440
<v Speaker 2>I mean, sidebar, we treat our Olympians like dog shit.

425
00:22:02.680 --> 00:22:03.200
<v Speaker 1>This is true.

426
00:22:03.359 --> 00:22:05.279
<v Speaker 2>Yeah, I mean, this is this is why you know,

427
00:22:05.400 --> 00:22:08.240
<v Speaker 2>in the Year of Our Lord twenty twenty six, Snoop

428
00:22:08.279 --> 00:22:11.160
<v Speaker 2>Dogg is out and Flava Flave is in. And why

429
00:22:11.400 --> 00:22:14.799
<v Speaker 2>because Flava Flave has been standing up for our many

430
00:22:14.920 --> 00:22:18.880
<v Speaker 2>women Olympians who aren't getting supported and he's paying to

431
00:22:19.640 --> 00:22:22.640
<v Speaker 2>back them, just like in this movie. He found out

432
00:22:22.640 --> 00:22:24.720
<v Speaker 2>they couldn't go to the Olympics if they didn't have

433
00:22:25.160 --> 00:22:28.440
<v Speaker 2>backing of a support, and he became that support and

434
00:22:28.519 --> 00:22:30.839
<v Speaker 2>now is a hype man for Olympians And I think

435
00:22:30.880 --> 00:22:34.400
<v Speaker 2>that's the coolest shit ever. And uh yeah, that is

436
00:22:34.480 --> 00:22:35.880
<v Speaker 2>a that is a thing.

437
00:22:36.240 --> 00:22:37.880
<v Speaker 1>So I'm just gonna go ahead and burn this twenty

438
00:22:37.920 --> 00:22:41.480
<v Speaker 1>twenty six Bingo card, Like at this point, it's worthless

439
00:22:41.519 --> 00:22:42.880
<v Speaker 1>to me. This is insane.

440
00:22:44.720 --> 00:22:47.359
<v Speaker 2>Yeah, none of us, none of us had any of

441
00:22:47.400 --> 00:22:48.640
<v Speaker 2>this on the bing Go card.

442
00:22:49.119 --> 00:22:50.960
<v Speaker 1>I mean, it doesn't make sense given that he is

443
00:22:51.000 --> 00:22:52.680
<v Speaker 1>one of the greatest hype men in the history of

444
00:22:52.720 --> 00:22:56.039
<v Speaker 1>hip hop. So that's literally what he would do in

445
00:22:56.079 --> 00:22:58.519
<v Speaker 1>those Public Enemy tracks, as he would just be like

446
00:22:58.839 --> 00:23:02.079
<v Speaker 1>in the background like yeah, yeah, boy, like that's this

447
00:23:02.160 --> 00:23:04.519
<v Speaker 1>whole thing. Uh.

448
00:23:04.559 --> 00:23:06.519
<v Speaker 2>By the way, have you listened to their new album yet?

449
00:23:06.680 --> 00:23:09.559
<v Speaker 1>I have. There's Shut the fuck Up. Public Enemy has

450
00:23:09.559 --> 00:23:10.279
<v Speaker 1>a new album.

451
00:23:10.680 --> 00:23:13.240
<v Speaker 2>Yeah, and it sounds exactly like they made it in

452
00:23:13.279 --> 00:23:15.279
<v Speaker 2>nineteen eighty nine, and it fucking rips.

453
00:23:15.440 --> 00:23:17.920
<v Speaker 1>Let's fucking go. That is Rad Cargil. That is the

454
00:23:17.920 --> 00:23:19.880
<v Speaker 1>first of many things in this episode that I find

455
00:23:20.039 --> 00:23:23.799
<v Speaker 1>Rad Rad Rad. You know what else I find Rad

456
00:23:23.960 --> 00:23:28.680
<v Speaker 1>is Bartrad Brad Bart's double trouble cronies Rod and Rex

457
00:23:28.759 --> 00:23:29.799
<v Speaker 1>Reynolds in this movie.

458
00:23:30.319 --> 00:23:31.720
<v Speaker 2>You mean the Reynolds twins.

459
00:23:31.599 --> 00:23:34.279
<v Speaker 1>The Reynolds twins, the other Reynolds twins. Uh yeah, it's

460
00:23:34.279 --> 00:23:36.200
<v Speaker 1>always It's always Sunny and Alberta as well.

461
00:23:36.640 --> 00:23:40.440
<v Speaker 2>Uh uh yeah. You know that Jessica's maiden name is

462
00:23:40.440 --> 00:23:43.519
<v Speaker 2>Reynolds and she is a twin. I married one of

463
00:23:43.559 --> 00:23:44.359
<v Speaker 2>the Reynolds twins.

464
00:23:44.599 --> 00:23:46.480
<v Speaker 1>Oh shit, you're gonna die.

465
00:23:46.880 --> 00:23:49.079
<v Speaker 2>Uh.

466
00:23:49.160 --> 00:23:51.240
<v Speaker 1>But they look identical. By the way, I don't know

467
00:23:51.279 --> 00:23:53.319
<v Speaker 1>if you caught this to the Cobra twins. And g

468
00:23:53.440 --> 00:23:59.480
<v Speaker 1>I Joe. Oh yeah, Brah Tomas and zeymot yep. First

469
00:23:59.519 --> 00:24:03.160
<v Speaker 1>of all, who decided to name them Tomax.

470
00:24:02.720 --> 00:24:06.279
<v Speaker 2>And Zaymot someone who got paid way too much in

471
00:24:06.359 --> 00:24:07.160
<v Speaker 2>nineteen eighty two.

472
00:24:07.599 --> 00:24:11.000
<v Speaker 1>That show was drawn on individual cells of cocaine, Like

473
00:24:11.079 --> 00:24:14.119
<v Speaker 1>we all need to just be aware of this. Pure

474
00:24:14.200 --> 00:24:17.359
<v Speaker 1>Nicaraguan gold was used to make that Gi Joe cartoon.

475
00:24:17.359 --> 00:24:19.920
<v Speaker 1>You better fucking believe it, like you could. I'm sorry

476
00:24:20.039 --> 00:24:23.279
<v Speaker 1>you couldn't find a snake name that worked forwards and backwards.

477
00:24:23.599 --> 00:24:26.559
<v Speaker 1>Tomax and Zaymot, like they both sound like stores my

478
00:24:26.599 --> 00:24:29.079
<v Speaker 1>mom would drag me to when the jeans at Target

479
00:24:29.119 --> 00:24:31.759
<v Speaker 1>were too expensive. What the fuck is happening right now?

480
00:24:33.559 --> 00:24:35.599
<v Speaker 1>It also doesn't help that in the dance sequence, which

481
00:24:35.640 --> 00:24:37.960
<v Speaker 1>we're gonna fucking get to, don't you worry about it,

482
00:24:38.759 --> 00:24:42.319
<v Speaker 1>they're not helping themselves in this comparison. They're wearing silver

483
00:24:42.440 --> 00:24:45.640
<v Speaker 1>spacesuits that were literally borrowed from the mini series v.

484
00:24:46.119 --> 00:24:48.920
<v Speaker 2>Oh yeah, yeah no, Like you see them and you're like, oh,

485
00:24:49.039 --> 00:24:51.880
<v Speaker 2>that's me, and then you look into the background you're like, oh,

486
00:24:51.880 --> 00:24:54.920
<v Speaker 2>wait no, those were actually borrowed from.

487
00:24:54.160 --> 00:24:56.680
<v Speaker 1>B Again, there's gonna be a lot of things that

488
00:24:56.720 --> 00:24:58.480
<v Speaker 1>are said in this episode that are gonna sound like

489
00:24:58.559 --> 00:25:00.559
<v Speaker 1>bits that are not fucking bits.

490
00:25:01.279 --> 00:25:04.079
<v Speaker 2>There's a reason why as silly as this movie is,

491
00:25:04.319 --> 00:25:07.640
<v Speaker 2>as simple as this movie is, it is still legendary

492
00:25:07.920 --> 00:25:12.000
<v Speaker 2>forty years later. It got played in theaters forty years later,

493
00:25:12.079 --> 00:25:14.640
<v Speaker 2>and it's rocking a six point seven out of ten

494
00:25:14.720 --> 00:25:19.480
<v Speaker 2>on IMDb, which for a movie like this is astoundingly high.

495
00:25:19.880 --> 00:25:22.920
<v Speaker 1>It's a B movie if the B stands for be lovid.

496
00:25:23.400 --> 00:25:25.880
<v Speaker 1>This is a beloved eighties film.

497
00:25:25.960 --> 00:25:29.559
<v Speaker 2>Because it does. We can make fun of a lot

498
00:25:29.599 --> 00:25:31.720
<v Speaker 2>of the silliness, we can make fun of the flaws.

499
00:25:32.039 --> 00:25:34.920
<v Speaker 2>But this is a perfect example of what we talk

500
00:25:35.400 --> 00:25:36.920
<v Speaker 2>what we talk about when we say it's not a

501
00:25:36.920 --> 00:25:39.880
<v Speaker 2>good movie. It's a great movie. Like you can make

502
00:25:39.920 --> 00:25:41.839
<v Speaker 2>fun of it, but it's hard as in the right place.

503
00:25:42.160 --> 00:25:46.039
<v Speaker 2>It's fun. Everybody is doing their damnedest to make this

504
00:25:46.279 --> 00:25:51.400
<v Speaker 2>the most enjoyable movie possible, and it's never fucking boring.

505
00:25:51.599 --> 00:25:56.119
<v Speaker 2>It is always entertaining, even in slow mo as sliding.

506
00:25:56.319 --> 00:25:59.000
<v Speaker 1>Slow moo as sliding. Here's what I'm gonna say, Cargol.

507
00:25:59.119 --> 00:26:01.720
<v Speaker 1>I'm gonna take our mind one step further and say

508
00:26:01.720 --> 00:26:03.359
<v Speaker 1>that I do not think this is a bad movie

509
00:26:03.400 --> 00:26:05.839
<v Speaker 1>at all. I think this is a tremendously cheesy film.

510
00:26:06.279 --> 00:26:06.680
<v Speaker 2>Mm hmm.

511
00:26:06.880 --> 00:26:09.119
<v Speaker 1>I think it wears its heart on its sleeve in

512
00:26:09.160 --> 00:26:11.000
<v Speaker 1>a way that is a little cringe at times. But

513
00:26:11.119 --> 00:26:14.119
<v Speaker 1>at the same time, it's hard to fault a movie

514
00:26:14.160 --> 00:26:17.359
<v Speaker 1>for doing that, especially when you revisit it in this

515
00:26:17.440 --> 00:26:20.720
<v Speaker 1>day and age, like there is something so endlessly pure

516
00:26:20.839 --> 00:26:24.039
<v Speaker 1>and charming and wonderful about rad And when it comes

517
00:26:24.079 --> 00:26:28.480
<v Speaker 1>to the actual shooting of the action sequences, because you've

518
00:26:28.480 --> 00:26:31.240
<v Speaker 1>got hal need them, and you've got the best BMX

519
00:26:31.279 --> 00:26:34.200
<v Speaker 1>writers in the country at the time performing in the movie,

520
00:26:35.160 --> 00:26:38.880
<v Speaker 1>it's an absolute legitimate marvel. Like you don't need to

521
00:26:38.920 --> 00:26:42.400
<v Speaker 1>apologize for one frame of the action shots in this movie.

522
00:26:42.680 --> 00:26:44.240
<v Speaker 2>Nope, So you.

523
00:26:45.720 --> 00:26:47.599
<v Speaker 1>Need them, you need you need them. This movie in

524
00:26:47.599 --> 00:26:58.599
<v Speaker 1>your life is what we're trying to say. When Hall

525
00:26:58.720 --> 00:27:01.000
<v Speaker 1>Track comes to town and you have the chance of

526
00:27:01.039 --> 00:27:04.000
<v Speaker 1>winning one hundred thousand dollars and a new Chevy Corvette

527
00:27:04.240 --> 00:27:06.440
<v Speaker 1>and the fame that goes along with winning Hell Track,

528
00:27:06.759 --> 00:27:10.119
<v Speaker 1>you participate in Hell Track, the SATs be damned, I'm sorry,

529
00:27:10.119 --> 00:27:12.920
<v Speaker 1>college will still be there. The hell Track is where

530
00:27:12.920 --> 00:27:15.640
<v Speaker 1>we need to focus all of our attention. What I

531
00:27:15.680 --> 00:27:19.920
<v Speaker 1>really love here is that they are so committed to

532
00:27:20.119 --> 00:27:25.279
<v Speaker 1>getting BMX culture correct even though it is a brand

533
00:27:25.359 --> 00:27:28.880
<v Speaker 1>new thing. So like there's a lot of Vans sponsorship

534
00:27:28.920 --> 00:27:34.480
<v Speaker 1>all over this movie. Jack Weston is literally playing a

535
00:27:34.640 --> 00:27:39.400
<v Speaker 1>character who owns Mongoo's Bicycles, which is a real fucking

536
00:27:39.480 --> 00:27:43.240
<v Speaker 1>bicycle brand that is still around to this day. Oh

537
00:27:43.640 --> 00:27:46.839
<v Speaker 1>just some random corporate fat cat. He's the owner operator

538
00:27:46.920 --> 00:27:48.920
<v Speaker 1>of Mongoo's Bicycles.

539
00:27:48.519 --> 00:27:50.359
<v Speaker 2>And Mongoos was really big at the time.

540
00:27:50.960 --> 00:27:53.920
<v Speaker 1>Yeah, and it's like we're just trying, we're trying so

541
00:27:54.079 --> 00:27:57.519
<v Speaker 1>hard to make sure that we're doing justice to this

542
00:27:57.680 --> 00:28:01.400
<v Speaker 1>weird new subculture. And that's that's a testament to hell.

543
00:28:01.440 --> 00:28:02.759
<v Speaker 1>Need Him. It's like, I don't want to make a

544
00:28:02.799 --> 00:28:06.000
<v Speaker 1>shitty movie about about BMX bikers. I want to make

545
00:28:06.079 --> 00:28:08.000
<v Speaker 1>the movie about BMX bikers.

546
00:28:08.160 --> 00:28:10.319
<v Speaker 2>I mean, look this, this was always the thing with

547
00:28:10.480 --> 00:28:13.720
<v Speaker 2>need Him. It's what's really interesting about his films. You know,

548
00:28:13.759 --> 00:28:17.480
<v Speaker 2>when he made Smoking in the Bandit, he dug deep

549
00:28:17.680 --> 00:28:22.759
<v Speaker 2>into trucker culture and he got into that and CB culture.

550
00:28:22.880 --> 00:28:25.359
<v Speaker 2>That was something they did. He did a deep dive

551
00:28:25.720 --> 00:28:28.759
<v Speaker 2>and represented to the point that it was already popular,

552
00:28:28.839 --> 00:28:31.920
<v Speaker 2>but he helped push that over, you know, over the

553
00:28:31.960 --> 00:28:35.279
<v Speaker 2>line Cannonball Run was based on a very real event,

554
00:28:35.400 --> 00:28:39.039
<v Speaker 2>and he dove deep into that and got into that.

555
00:28:41.200 --> 00:28:44.480
<v Speaker 2>You know, he he was always paying attention to the

556
00:28:44.519 --> 00:28:48.920
<v Speaker 2>things that he was, uh he was directing and making

557
00:28:48.960 --> 00:28:52.440
<v Speaker 2>sure that you know it, it got the culture right,

558
00:28:52.839 --> 00:28:56.240
<v Speaker 2>because that's one of the things about these these various

559
00:28:56.279 --> 00:29:01.160
<v Speaker 2>hobby cultures is that they are real cultures and they

560
00:29:01.200 --> 00:29:05.559
<v Speaker 2>really do have whole systems to them and work in

561
00:29:05.599 --> 00:29:09.079
<v Speaker 2>certain ways that are fascinating. And that he was like, well,

562
00:29:09.119 --> 00:29:11.759
<v Speaker 2>what if I do what I did with Hooper and

563
00:29:11.839 --> 00:29:14.720
<v Speaker 2>put you know, stuntman culture out there, but treat other

564
00:29:14.759 --> 00:29:18.440
<v Speaker 2>people's cultures with that same respect. And that's how he

565
00:29:18.480 --> 00:29:19.720
<v Speaker 2>got megaphors.

566
00:29:20.079 --> 00:29:24.759
<v Speaker 1>And megaphce the good guys always win, even in the eighties.

567
00:29:25.440 --> 00:29:27.200
<v Speaker 2>No, but I mean, like you look at you know,

568
00:29:27.359 --> 00:29:30.000
<v Speaker 2>stroker Ace and how much he put into, you know,

569
00:29:30.079 --> 00:29:35.400
<v Speaker 2>getting stock car culture and body Slam, which is a

570
00:29:35.440 --> 00:29:38.839
<v Speaker 2>favorite of a friend of ours, which you know, is

571
00:29:38.880 --> 00:29:42.279
<v Speaker 2>all about trying to get wrestling culture right in the

572
00:29:42.319 --> 00:29:45.599
<v Speaker 2>mid eighties. And so he's really almost all of his

573
00:29:45.680 --> 00:29:50.720
<v Speaker 2>films are like taking some kind of sporty or competitive

574
00:29:50.720 --> 00:29:55.759
<v Speaker 2>culture and diving into it and making a movie about that.

575
00:29:55.799 --> 00:29:58.359
<v Speaker 2>And literally I mentioned megaphors because it's like the only

576
00:29:58.440 --> 00:30:03.680
<v Speaker 2>one maybe that in the Villain, where arguably the villain

577
00:30:03.799 --> 00:30:10.759
<v Speaker 2>might you know, be Yeah, I mean I don't even

578
00:30:10.759 --> 00:30:12.319
<v Speaker 2>know what to say about the villain at this point.

579
00:30:12.319 --> 00:30:13.880
<v Speaker 2>I haven't talked about it in ten years.

580
00:30:14.079 --> 00:30:15.799
<v Speaker 1>Have you ever wanted to know what it would be

581
00:30:15.880 --> 00:30:19.720
<v Speaker 1>like if a Wiley coyote cartoon was made for real

582
00:30:19.839 --> 00:30:24.519
<v Speaker 1>and populated with human beings instead of animated roadrunners and coyotes,

583
00:30:25.599 --> 00:30:26.480
<v Speaker 1>because that's the villain.

584
00:30:26.799 --> 00:30:31.200
<v Speaker 2>Yeah, I just realized. I realized we had memory hold it.

585
00:30:31.960 --> 00:30:34.160
<v Speaker 2>This is why we thought we'd covered this. We did

586
00:30:34.200 --> 00:30:40.200
<v Speaker 2>a Hall Needum panel together at Convergence years ago and

587
00:30:40.279 --> 00:30:41.240
<v Speaker 2>talked about it there.

588
00:30:41.640 --> 00:30:43.759
<v Speaker 1>We did, We absolutely did, and we.

589
00:30:43.720 --> 00:30:45.720
<v Speaker 2>Talked about the villain there as well, because we haven't

590
00:30:45.720 --> 00:30:47.960
<v Speaker 2>done an episode on the villain, but we've talked about it,

591
00:30:48.000 --> 00:30:50.759
<v Speaker 2>and I was like, we've talked about it. I was like, Oh,

592
00:30:50.880 --> 00:30:53.759
<v Speaker 2>this is why we memory hold this fucking thing. This

593
00:30:53.880 --> 00:30:55.240
<v Speaker 2>is holy shit.

594
00:30:56.000 --> 00:30:58.680
<v Speaker 1>Well, I think to put a button on what it

595
00:30:58.720 --> 00:31:02.440
<v Speaker 1>is you're saying though about how Neat his approach is

596
00:31:02.599 --> 00:31:07.200
<v Speaker 1>similar to Golan and Globist in terms of like, what

597
00:31:07.359 --> 00:31:10.279
<v Speaker 1>is a popular thing right now, let's make a movie

598
00:31:10.319 --> 00:31:13.839
<v Speaker 1>about it. But the difference is how Needam goes into

599
00:31:13.880 --> 00:31:17.279
<v Speaker 1>that focused on the art. Golan and Globists go into

600
00:31:17.279 --> 00:31:20.119
<v Speaker 1>that focused on the commerce. Right. So it's like where

601
00:31:20.359 --> 00:31:22.119
<v Speaker 1>Goldin and Globus are like, what's popular with the kids

602
00:31:22.200 --> 00:31:24.440
<v Speaker 1>right now, break dancing? Let's make a break dancing movie,

603
00:31:25.039 --> 00:31:26.839
<v Speaker 1>and they go into it and they make Breaking, which

604
00:31:26.880 --> 00:31:29.119
<v Speaker 1>is fine, like we love Breaking, but and then they

605
00:31:29.160 --> 00:31:31.240
<v Speaker 1>would do it again with like, oh what else do

606
00:31:31.319 --> 00:31:34.079
<v Speaker 1>the kids love Lumbarda. It's like do they think.

607
00:31:34.319 --> 00:31:38.319
<v Speaker 2>And yes, we did it was it was for three months,

608
00:31:38.359 --> 00:31:39.240
<v Speaker 2>but we did love it.

609
00:31:39.559 --> 00:31:40.960
<v Speaker 1>Well, That's what I'm saying is this like how do

610
00:31:41.079 --> 00:31:44.000
<v Speaker 1>we how do we capitalize on this? Whereas how Needam's like,

611
00:31:44.039 --> 00:31:46.400
<v Speaker 1>how do I do this thing justice? How do I

612
00:31:46.480 --> 00:31:49.000
<v Speaker 1>make the best version of that movie? How do I

613
00:31:49.039 --> 00:31:52.559
<v Speaker 1>tell that Fad story? And he is a consummate artist,

614
00:31:52.599 --> 00:31:55.680
<v Speaker 1>And I think that's why Rad you know, continues to

615
00:31:55.880 --> 00:31:57.680
<v Speaker 1>have the legacy that it does today. I mean, how

616
00:31:57.799 --> 00:32:00.720
<v Speaker 1>how Needam says in the documentary, if you find a radfan,

617
00:32:01.200 --> 00:32:05.720
<v Speaker 1>they're a fan, like there is no in between, which

618
00:32:05.920 --> 00:32:09.359
<v Speaker 1>I think and in fact, hol Needham refers only to

619
00:32:09.440 --> 00:32:13.640
<v Speaker 1>Smoking the bandit and Rad as his quote classics. So

620
00:32:13.880 --> 00:32:16.400
<v Speaker 1>he he loves this movie as much as we do.

621
00:32:16.759 --> 00:32:19.799
<v Speaker 1>And I think that's a tremendous testament to why this

622
00:32:19.880 --> 00:32:23.000
<v Speaker 1>movie is still so good. You know, so many years later,

623
00:32:23.039 --> 00:32:24.200
<v Speaker 1>so many decades later.

624
00:32:24.160 --> 00:32:26.480
<v Speaker 2>After these messages, we'll be right back.

625
00:32:26.640 --> 00:32:29.440
<v Speaker 4>Could seven eleven offer the same kind of fountain soft

626
00:32:29.480 --> 00:32:32.759
<v Speaker 4>drink value as fast food places, Sure, but you'd get

627
00:32:32.799 --> 00:32:35.599
<v Speaker 4>lots less for your money because we'd have to cut

628
00:32:35.680 --> 00:32:38.640
<v Speaker 4>our forty four ounds Super Big Gulp in half down

629
00:32:38.680 --> 00:32:41.920
<v Speaker 4>to their twenty two ounce size ounce four ounce, Our

630
00:32:42.039 --> 00:32:44.359
<v Speaker 4>super Big GLP gives you almost twice as much for

631
00:32:44.400 --> 00:32:45.000
<v Speaker 4>your money.

632
00:32:45.319 --> 00:32:47.720
<v Speaker 3>We even give you your choice of coke or Pepsi.

633
00:32:47.880 --> 00:32:51.680
<v Speaker 4>They don't. Seven eleven's biggest drink is your best value,

634
00:32:51.759 --> 00:32:54.359
<v Speaker 4>and that's what makes our forty four ounds Super Big

635
00:32:54.400 --> 00:32:55.359
<v Speaker 4>Gulp super.

636
00:32:56.759 --> 00:33:00.519
<v Speaker 1>But of course, the other reason we love Rad is

637
00:33:00.559 --> 00:33:03.039
<v Speaker 1>the fucking soundtrack.

638
00:33:03.480 --> 00:33:04.720
<v Speaker 2>I mean, they sent me an angel.

639
00:33:04.920 --> 00:33:08.279
<v Speaker 1>They few movies have the courage to break the ice,

640
00:33:08.559 --> 00:33:12.519
<v Speaker 1>the confidence, the downright to marity to let you know

641
00:33:12.640 --> 00:33:16.480
<v Speaker 1>how rad they are from frame uno, and the radness

642
00:33:16.480 --> 00:33:19.200
<v Speaker 1>of Rad is on full display as the first few

643
00:33:19.240 --> 00:33:22.599
<v Speaker 1>notes of Break the Ice play and bmx's are flying

644
00:33:22.599 --> 00:33:25.359
<v Speaker 1>into freeze frame above the camera. If you don't know

645
00:33:25.720 --> 00:33:29.000
<v Speaker 1>from the first few seconds whether you like this movie,

646
00:33:29.440 --> 00:33:32.920
<v Speaker 1>turn it off like it's like it's it's not for

647
00:33:33.000 --> 00:33:35.480
<v Speaker 1>you if it doesn't grab you immediately, like this movie

648
00:33:35.920 --> 00:33:39.079
<v Speaker 1>is rad from Jump Street and I love it.

649
00:33:40.319 --> 00:33:42.079
<v Speaker 2>Yeah, fuck ice, break.

650
00:33:41.839 --> 00:33:44.680
<v Speaker 1>It, break the ice. This movie is ahead of its time.

651
00:33:45.079 --> 00:33:47.359
<v Speaker 1>Fuck ice, break the ice. Dare I say, Hal Needham

652
00:33:47.359 --> 00:33:50.440
<v Speaker 1>breaks the ice for this ninety two minute discussion on

653
00:33:50.640 --> 00:33:54.599
<v Speaker 1>radical bikesmanship and I could not be here for we

654
00:33:54.680 --> 00:33:57.759
<v Speaker 1>needed a montage cargo and that's just what we fucking got.

655
00:33:58.119 --> 00:34:00.400
<v Speaker 2>Well. One of the things I love it about this

656
00:34:00.480 --> 00:34:03.319
<v Speaker 2>movie is it has almost as many montage as as

657
00:34:03.519 --> 00:34:04.480
<v Speaker 2>the cutting edge.

658
00:34:04.960 --> 00:34:07.319
<v Speaker 1>I'm just saying that the radness of rad could not

659
00:34:07.400 --> 00:34:10.320
<v Speaker 1>be contained, It could not even be slightly mitigated by

660
00:34:10.360 --> 00:34:13.360
<v Speaker 1>a pea soup fog that would make John Carpenter remark

661
00:34:13.400 --> 00:34:16.320
<v Speaker 1>out loud, g that's a lot of fog. He's shooting

662
00:34:16.360 --> 00:34:19.280
<v Speaker 1>montages in the fucking fog because he knows the audience

663
00:34:19.320 --> 00:34:21.280
<v Speaker 1>is going to be looking at the gray background that

664
00:34:21.320 --> 00:34:23.159
<v Speaker 1>makes it look like they're in a warehouse in o Hi.

665
00:34:23.440 --> 00:34:25.800
<v Speaker 1>You're just gonna be focused on the guy in the foreground.

666
00:34:26.280 --> 00:34:29.199
<v Speaker 1>Like up on one wheel, spinning the bike underneath him

667
00:34:29.199 --> 00:34:33.679
<v Speaker 1>as he hops. Even if he had a montage montage,

668
00:34:35.360 --> 00:34:40.039
<v Speaker 1>John Farnham is an elite company. I feel like Robert Tepper,

669
00:34:40.119 --> 00:34:44.920
<v Speaker 1>John Farnham, uh, you know, obviously Survivor and of course

670
00:34:45.960 --> 00:34:49.239
<v Speaker 1>possibly the king of the montage, the log Dog Like,

671
00:34:49.760 --> 00:34:53.360
<v Speaker 1>those are your A listers when you're talking about the

672
00:34:53.480 --> 00:34:56.719
<v Speaker 1>music of montage in the eighties, those are your absolute

673
00:34:56.760 --> 00:35:01.280
<v Speaker 1>A listers. And this movie, like the balls of this movie,

674
00:35:01.280 --> 00:35:04.440
<v Speaker 1>the fucking soundtrack in this movie is so goddamn good

675
00:35:04.840 --> 00:35:09.960
<v Speaker 1>that literally cargil. It has two of the best montage

676
00:35:09.960 --> 00:35:10.679
<v Speaker 1>songs of the.

677
00:35:10.639 --> 00:35:13.639
<v Speaker 2>Eighties, and shit songs are they?

678
00:35:14.079 --> 00:35:18.920
<v Speaker 1>That is Break the Ice and Thunder in Your Heart, Like,

679
00:35:19.159 --> 00:35:21.639
<v Speaker 1>those are two of the best montage songs of the eighties,

680
00:35:21.719 --> 00:35:24.119
<v Speaker 1>and they're both from the same film, from the same film,

681
00:35:24.199 --> 00:35:26.239
<v Speaker 1>from the same guy, because they're both John Farnham.

682
00:35:26.400 --> 00:35:29.039
<v Speaker 2>And I love how You're skipping over Send Me An Angel,

683
00:35:29.039 --> 00:35:31.119
<v Speaker 2>which is the best montage in the movie.

684
00:35:31.400 --> 00:35:33.320
<v Speaker 1>It's the best montage in the movie. But that song,

685
00:35:33.440 --> 00:35:35.400
<v Speaker 1>that song doesn't even feel like a montage song to me.

686
00:35:35.480 --> 00:35:38.440
<v Speaker 1>That sounds just like a powerful love ballad that happens

687
00:35:38.440 --> 00:35:41.400
<v Speaker 1>to play over one of the greatest sequences ever committed

688
00:35:41.400 --> 00:35:42.920
<v Speaker 1>to film, and we will fill It was a.

689
00:35:42.920 --> 00:35:45.079
<v Speaker 2>Huge hit on the radio and still played to this

690
00:35:45.199 --> 00:35:48.800
<v Speaker 2>day on your your name stations. You're Jack, You're Bob,

691
00:35:48.880 --> 00:35:53.079
<v Speaker 2>You're Chris FM. Whatever, Chris FM. Boy, that sounds like

692
00:35:53.119 --> 00:35:55.039
<v Speaker 2>a Christian station. I don't want to listen to.

693
00:35:58.559 --> 00:36:02.360
<v Speaker 1>Now NonStop our block of jars of Clay DC talking

694
00:36:02.400 --> 00:36:10.400
<v Speaker 1>the newsboys, let's go on, Chris f M. Your volume,

695
00:36:10.440 --> 00:36:15.079
<v Speaker 1>Knob has risen, like, no, fucking thank you, car Gill,

696
00:36:15.239 --> 00:36:16.119
<v Speaker 1>No thank you at all.

697
00:36:17.360 --> 00:36:22.840
<v Speaker 2>You didn't stick around for the Amy Grant block. Boy,

698
00:36:22.880 --> 00:36:26.400
<v Speaker 2>You're right, I didn't carget Baby Baby.

699
00:36:26.480 --> 00:36:28.320
<v Speaker 1>Even when they tried to go super hip with the

700
00:36:28.400 --> 00:36:30.360
<v Speaker 1>kids and play like pod, I was like, I'm sorry,

701
00:36:30.400 --> 00:36:35.239
<v Speaker 1>I'm already out, or like the first Creed album, like no, no,

702
00:36:35.320 --> 00:36:37.360
<v Speaker 1>I'm sorry, I can't. I can't do any of this,

703
00:36:41.320 --> 00:36:44.800
<v Speaker 1>which is crazy because there has been a complete one

704
00:36:44.920 --> 00:36:49.039
<v Speaker 1>eighty on both Creed and nickelback that I am a

705
00:36:49.079 --> 00:36:52.639
<v Speaker 1>thousand percent on board with because I always wondered why,

706
00:36:52.960 --> 00:36:55.960
<v Speaker 1>like I understand the backlash against Creed because Creed Scott

707
00:36:56.039 --> 00:37:00.280
<v Speaker 1>Staff had a major christ complex, like a major major

708
00:37:00.320 --> 00:37:04.000
<v Speaker 1>Messiah complex. Nicoback didn't do shit to anybody, and yet

709
00:37:04.039 --> 00:37:05.880
<v Speaker 1>they got lumped in with that and we all hated

710
00:37:05.920 --> 00:37:08.519
<v Speaker 1>them for so long, and now guys my age are like,

711
00:37:08.639 --> 00:37:11.119
<v Speaker 1>oh wait a minute, that was like good music from

712
00:37:11.159 --> 00:37:12.800
<v Speaker 1>our youth. Why are we throwing the baby out with

713
00:37:12.880 --> 00:37:18.840
<v Speaker 1>the bathwater six feet from the edge of the window.

714
00:37:18.840 --> 00:37:20.239
<v Speaker 1>And I don't want to throw the baby out with

715
00:37:20.280 --> 00:37:24.679
<v Speaker 1>the bathwater, as it turns out, but this.

716
00:37:24.719 --> 00:37:27.440
<v Speaker 2>Soundtrack, Oh, that was a good period of music.

717
00:37:27.760 --> 00:37:30.639
<v Speaker 1>I'm just saying it it you'll, it's been it's being

718
00:37:30.679 --> 00:37:32.519
<v Speaker 1>re evaluated, and I appreciates that.

719
00:37:33.440 --> 00:37:34.599
<v Speaker 2>Is that what you appreciate?

720
00:37:34.960 --> 00:37:38.480
<v Speaker 1>That's what I appreciates about Creed. Allegedly, hell Needam, according

721
00:37:38.519 --> 00:37:40.320
<v Speaker 1>to the documentary, by the way, had nothing to do

722
00:37:40.360 --> 00:37:43.400
<v Speaker 1>with putting the soundtrack together, but he knew how good

723
00:37:43.400 --> 00:37:45.639
<v Speaker 1>it was as soon as he heard it. Like again,

724
00:37:45.800 --> 00:37:48.000
<v Speaker 1>I love that. Hal Needham, who was such a hands on,

725
00:37:48.639 --> 00:37:51.159
<v Speaker 1>you know, borderline control freak when it comes to his movies,

726
00:37:51.280 --> 00:37:54.360
<v Speaker 1>is like I need to let somebody else take the

727
00:37:54.400 --> 00:37:57.039
<v Speaker 1>reins of Like I'm gonna listen to my writers because

728
00:37:57.079 --> 00:37:59.039
<v Speaker 1>this is a sport I don't know, and I'm going

729
00:37:59.079 --> 00:38:01.800
<v Speaker 1>to trust my mute usic supervisors because we're making a

730
00:38:01.800 --> 00:38:04.639
<v Speaker 1>movie for teenagers, and I'm not connected with their music,

731
00:38:04.639 --> 00:38:06.519
<v Speaker 1>but as soon as he heard this soundtrack, he's like,

732
00:38:06.880 --> 00:38:09.199
<v Speaker 1>we've got fucking gold. And he did have gold because

733
00:38:09.280 --> 00:38:12.880
<v Speaker 1>this soundtrack is like, it has a pulse. It's the

734
00:38:13.000 --> 00:38:16.360
<v Speaker 1>living heartbeat of the sound of the nineteen eighties, not

735
00:38:16.400 --> 00:38:19.400
<v Speaker 1>just for montages, but just for popular music in general.

736
00:38:19.800 --> 00:38:22.559
<v Speaker 1>And I think again, it's one of the things about

737
00:38:22.559 --> 00:38:26.639
<v Speaker 1>this movie that is forgive the repetitiveness super Red Brad.

738
00:38:26.760 --> 00:38:28.679
<v Speaker 1>Should we talk about it? Should we talk about the

739
00:38:28.719 --> 00:38:29.840
<v Speaker 1>bicycle boogie cargo?

740
00:38:30.800 --> 00:38:33.039
<v Speaker 2>I mean, we can't talk about this and not talk

741
00:38:33.039 --> 00:38:35.119
<v Speaker 2>about the bicycle boogie. I mean, first you get a

742
00:38:35.159 --> 00:38:40.840
<v Speaker 2>Reynolds Twins dance sequence, and then that gets interrupted by

743
00:38:40.960 --> 00:38:41.960
<v Speaker 2>the bicycle boogie.

744
00:38:42.599 --> 00:38:45.920
<v Speaker 1>Again, it's just this old Hollywood mentality of like, we're

745
00:38:45.920 --> 00:38:49.599
<v Speaker 1>making a movie for teens, it's gotta have a dance number.

746
00:38:49.599 --> 00:38:52.559
<v Speaker 1>It's like, what, like what is this Saturday bike Fever?

747
00:38:52.639 --> 00:38:55.320
<v Speaker 1>Are you buzzby bikeley? Like why are we putting a

748
00:38:55.440 --> 00:38:57.840
<v Speaker 1>dance sequence? Because that's the thing. If you're making a

749
00:38:57.880 --> 00:38:59.639
<v Speaker 1>movie about BMX riders and you want to have a

750
00:38:59.719 --> 00:39:05.400
<v Speaker 1>dance sequence, they have to dance on their bikes, and

751
00:39:05.519 --> 00:39:09.559
<v Speaker 1>they do. They dance. Dear God, send me an angel

752
00:39:09.880 --> 00:39:12.679
<v Speaker 1>because I watch this scene and I am dead.

753
00:39:12.840 --> 00:39:15.480
<v Speaker 2>And they slowly fall in love during it.

754
00:39:15.480 --> 00:39:18.199
<v Speaker 1>It's incredible. So, you know, this hell track is coming

755
00:39:18.199 --> 00:39:21.760
<v Speaker 1>to town. Jack Weston's bringing his team from Mango's Bicycles

756
00:39:21.760 --> 00:39:25.880
<v Speaker 1>because everything is corporatized in BMX riding evidently, and they

757
00:39:25.920 --> 00:39:28.760
<v Speaker 1>are there to be celebrities. He has to sell these

758
00:39:29.039 --> 00:39:32.039
<v Speaker 1>this team to the town as being the coolest, hottest

759
00:39:32.079 --> 00:39:35.159
<v Speaker 1>young people ever conceived. So they show up at this

760
00:39:35.280 --> 00:39:38.440
<v Speaker 1>town hall for a meet and greet dance and God

761
00:39:38.519 --> 00:39:43.280
<v Speaker 1>love them. Between the g I, Joe Cobra twins and

762
00:39:43.679 --> 00:39:47.119
<v Speaker 1>not quite Zabka, not a single fucking one of them

763
00:39:47.159 --> 00:39:50.679
<v Speaker 1>can dance. And yet the fucking like dj' is like,

764
00:39:50.719 --> 00:39:52.760
<v Speaker 1>oh man, look at him, bust to move. Is there

765
00:39:52.800 --> 00:39:55.360
<v Speaker 1>anything this kid can't do? And I'm like, yeah, dance

766
00:39:56.000 --> 00:39:59.199
<v Speaker 1>because he's terrible at it. Absolutely, So it's funny that

767
00:39:59.199 --> 00:40:03.360
<v Speaker 1>that is immediately followed by, you know, the a female

768
00:40:03.360 --> 00:40:06.360
<v Speaker 1>member of this team, Lori Lochlin, who started to kind

769
00:40:06.360 --> 00:40:08.960
<v Speaker 1>of get sweet on Crewe, the local boy, and the

770
00:40:09.000 --> 00:40:11.039
<v Speaker 1>two of them are like, all right, you think that's cool,

771
00:40:11.079 --> 00:40:13.920
<v Speaker 1>fuck it watch this and then lights go out and

772
00:40:14.000 --> 00:40:16.239
<v Speaker 1>the first few notes of Send Me an Angel just

773
00:40:16.320 --> 00:40:18.559
<v Speaker 1>come up in this room, and the next thing we know,

774
00:40:18.639 --> 00:40:22.639
<v Speaker 1>they're slowly moving around this dance floor, like pirouetting around

775
00:40:22.679 --> 00:40:25.880
<v Speaker 1>each other while doing wheelies. They're standing on the handlebars,

776
00:40:26.159 --> 00:40:32.320
<v Speaker 1>they're like posturing. It is so grandiose and so amazing,

777
00:40:32.519 --> 00:40:36.239
<v Speaker 1>Like it's something that I feel like is not only

778
00:40:36.320 --> 00:40:38.800
<v Speaker 1>a centerpiece of this movie, but one of those perfect

779
00:40:39.199 --> 00:40:42.679
<v Speaker 1>encapsulations of what I look for, the kind of like

780
00:40:43.039 --> 00:40:46.519
<v Speaker 1>complete commitment and yet audacity that I look for whenever

781
00:40:46.559 --> 00:40:49.559
<v Speaker 1>I'm wanting to discover films. This is exactly the type

782
00:40:49.599 --> 00:40:51.400
<v Speaker 1>of thing that I hope to see in every new

783
00:40:51.480 --> 00:40:53.000
<v Speaker 1>film into my eyeballs.

784
00:40:53.320 --> 00:40:55.000
<v Speaker 2>Hell fucking yes.

785
00:40:55.800 --> 00:41:00.320
<v Speaker 1>And you mentioned at certain points it's not Lorie Locke Clynn.

786
00:41:01.880 --> 00:41:04.800
<v Speaker 2>Oh no, oh no. There's a few shots where the

787
00:41:04.840 --> 00:41:06.159
<v Speaker 2>stuntman takes her place.

788
00:41:07.519 --> 00:41:09.800
<v Speaker 1>So the character of Crew is loosely based off of

789
00:41:09.960 --> 00:41:12.960
<v Speaker 1>Eddie Fiola, who is a BMX writer who did most

790
00:41:13.000 --> 00:41:14.639
<v Speaker 1>of Bill Allen, the guy that plays Crew, he did

791
00:41:14.639 --> 00:41:15.360
<v Speaker 1>most of his stunts.

792
00:41:16.000 --> 00:41:16.119
<v Speaker 2>Uh.

793
00:41:16.480 --> 00:41:20.079
<v Speaker 1>And there's a couple of moments during this dance number

794
00:41:20.519 --> 00:41:23.039
<v Speaker 1>where Eddie Fiola, who does a lot of the stunt

795
00:41:23.079 --> 00:41:25.840
<v Speaker 1>work not only for Crew, but for Lori Lachlan as well,

796
00:41:26.320 --> 00:41:29.239
<v Speaker 1>and he's the one like in a Wig and White

797
00:41:29.320 --> 00:41:32.360
<v Speaker 1>Jets pretending to be Lori Lochlan in this sequence. But

798
00:41:32.400 --> 00:41:35.199
<v Speaker 1>I also love that how Neinam built like this rotating

799
00:41:35.280 --> 00:41:38.719
<v Speaker 1>sort of lazy Susan stage and then he locked the

800
00:41:38.719 --> 00:41:40.800
<v Speaker 1>bikes to it so they could sit on the bikes

801
00:41:40.800 --> 00:41:44.280
<v Speaker 1>and look like they're spinning around, you know, the actual actors,

802
00:41:44.320 --> 00:41:45.760
<v Speaker 1>Like it's such a cool thing. Like the way he

803
00:41:45.800 --> 00:41:50.119
<v Speaker 1>shoots this movie is absolutely incredible because that's that's one

804
00:41:50.159 --> 00:41:52.480
<v Speaker 1>of the things that hal Ninham does is he does

805
00:41:53.239 --> 00:41:55.840
<v Speaker 1>a lot of wide shots. It's all masters, not a

806
00:41:55.840 --> 00:41:58.199
<v Speaker 1>lot of close ups, and he uses that to such

807
00:41:58.280 --> 00:42:00.960
<v Speaker 1>great execution this movie because he shoot all these races

808
00:42:01.199 --> 00:42:03.360
<v Speaker 1>from all these different angles. And I also love that

809
00:42:03.719 --> 00:42:06.480
<v Speaker 1>a lot of the professional writers in this movie thought

810
00:42:06.519 --> 00:42:08.599
<v Speaker 1>that they were gonna do the whole race and it

811
00:42:08.599 --> 00:42:10.679
<v Speaker 1>would actually like trip them up and he'd be like, okay, cut,

812
00:42:10.719 --> 00:42:12.519
<v Speaker 1>He's like, what do you mean cut? Like no, no, no, no,

813
00:42:12.519 --> 00:42:14.199
<v Speaker 1>we don't we don't shoot the whole race. We shoot

814
00:42:14.239 --> 00:42:16.239
<v Speaker 1>it in pieces. And they were just like what do

815
00:42:16.280 --> 00:42:18.599
<v Speaker 1>you mean, Like they couldn't they couldn't wrap their heads

816
00:42:18.599 --> 00:42:20.960
<v Speaker 1>around just not doing the entire race, and it's like, no,

817
00:42:20.960 --> 00:42:22.320
<v Speaker 1>we shoot it in segments, and we shoot it from

818
00:42:22.360 --> 00:42:24.920
<v Speaker 1>multiple angles. And that's why this movie looks so goddamn

819
00:42:24.960 --> 00:42:27.760
<v Speaker 1>good mm hmmm, because of the way he shoots where

820
00:42:27.800 --> 00:42:29.400
<v Speaker 1>it's just like, we're gonna we're gonna set up all

821
00:42:29.400 --> 00:42:31.400
<v Speaker 1>these cameras and have you do portions of the race

822
00:42:31.440 --> 00:42:35.440
<v Speaker 1>for real. If the the plot points were then built

823
00:42:35.480 --> 00:42:38.280
<v Speaker 1>around what happened in the race he film, So if

824
00:42:38.280 --> 00:42:41.199
<v Speaker 1>the stuntman standing in for the hero happens to fall,

825
00:42:41.760 --> 00:42:43.480
<v Speaker 1>that's the moment the hero falls in the film and

826
00:42:43.519 --> 00:42:46.199
<v Speaker 1>has to get back up. If his buddy crashes out

827
00:42:46.239 --> 00:42:48.639
<v Speaker 1>and can't finish the race, his buddy crashes out and

828
00:42:48.639 --> 00:42:51.320
<v Speaker 1>can't finish the race, that becomes like you said, never

829
00:42:51.440 --> 00:42:53.880
<v Speaker 1>letting a plot get in the way of the story

830
00:42:54.960 --> 00:42:57.719
<v Speaker 1>away is what it is. Yes it is, Yes, it

831
00:42:57.880 --> 00:43:01.599
<v Speaker 1>absolutely is. And then treating watching the dailies as a

832
00:43:01.639 --> 00:43:05.000
<v Speaker 1>mini rap party every day, like I can only imagine

833
00:43:05.000 --> 00:43:06.920
<v Speaker 1>how amazing it was to be on this set.

834
00:43:07.039 --> 00:43:09.679
<v Speaker 2>I mean, yeah, yeah, if you're watching, you're watching the

835
00:43:09.760 --> 00:43:13.400
<v Speaker 2>dailies and watching everybody do stuff. I mean, because that's

836
00:43:13.400 --> 00:43:15.440
<v Speaker 2>one of the things when you're performing stunts you never

837
00:43:15.480 --> 00:43:17.920
<v Speaker 2>get to see what you're doing, and to be able

838
00:43:17.960 --> 00:43:20.440
<v Speaker 2>to then sit down and watch what you just did

839
00:43:20.559 --> 00:43:22.920
<v Speaker 2>filmed by people who really know how to fucking film it,

840
00:43:23.639 --> 00:43:26.960
<v Speaker 2>that's got to be fucking fun. Plus we all know

841
00:43:27.199 --> 00:43:29.360
<v Speaker 2>Needham was as fond of the drink as I am,

842
00:43:29.440 --> 00:43:32.079
<v Speaker 2>so that was probably a fun set at rap time.

843
00:43:32.599 --> 00:43:35.679
<v Speaker 1>Oh one thousand percent, especially when he was paying some

844
00:43:35.719 --> 00:43:40.199
<v Speaker 1>of these guys five hundred dollars per injury, Like it's

845
00:43:40.199 --> 00:43:42.199
<v Speaker 1>like if you get hurt's five hundred bucks. So like

846
00:43:42.239 --> 00:43:45.599
<v Speaker 1>you had guys like literally pushing themselves to do crazier

847
00:43:45.599 --> 00:43:47.559
<v Speaker 1>and crazier shit just because they knew if they got

848
00:43:47.639 --> 00:43:49.800
<v Speaker 1>hurt they would get extra money from Hal Needham. Which

849
00:43:49.880 --> 00:43:52.239
<v Speaker 1>is that a responsible way to run a set? No? No,

850
00:43:52.760 --> 00:43:54.920
<v Speaker 1>does that sound exactly like a way how Needham would

851
00:43:54.960 --> 00:43:56.360
<v Speaker 1>run a set, Yes, it fucking does.

852
00:43:56.599 --> 00:44:03.760
<v Speaker 2>Yes, yeah, no, that's no. Incentivizing injury is never a

853
00:44:03.800 --> 00:44:08.440
<v Speaker 2>good thing when it comes to your insurance. So it

854
00:44:08.639 --> 00:44:12.039
<v Speaker 2>just but also how Needum sets were known for that

855
00:44:12.159 --> 00:44:17.039
<v Speaker 2>kind of shenanigan, So you know, yeah, you know this

856
00:44:17.119 --> 00:44:19.960
<v Speaker 2>is a guy who used stuntman and live explosives all

857
00:44:20.000 --> 00:44:23.760
<v Speaker 2>the time, because fuck yeah.

858
00:44:22.920 --> 00:44:25.360
<v Speaker 1>It's like I'm Hal Needam. You gave me three billion

859
00:44:25.440 --> 00:44:27.639
<v Speaker 1>dollars to sneak away to Alberta and make a movie

860
00:44:27.639 --> 00:44:30.800
<v Speaker 1>about BMX writers. I'm gonna do it the hell Needham Way.

861
00:44:30.840 --> 00:44:32.920
<v Speaker 1>And again this is why I say I want to

862
00:44:32.960 --> 00:44:34.320
<v Speaker 1>be Hal Needham when I grow up. But this is

863
00:44:34.320 --> 00:44:36.000
<v Speaker 1>all stuff that I learned from the documentary. One of

864
00:44:36.000 --> 00:44:38.039
<v Speaker 1>the things I learned is that so they built this

865
00:44:38.119 --> 00:44:44.599
<v Speaker 1>hell track right, and the Hell track itself apparently caused

866
00:44:46.199 --> 00:44:50.079
<v Speaker 1>it caused a delay in shooting because the Hell Track

867
00:44:50.239 --> 00:44:53.760
<v Speaker 1>starting ramp was so high. Initially none of the writers

868
00:44:53.760 --> 00:44:55.960
<v Speaker 1>wanted to go down it, so they actually had to

869
00:44:56.000 --> 00:44:59.119
<v Speaker 1>cut the ramp down to the twenty five foot tall

870
00:44:59.239 --> 00:45:03.320
<v Speaker 1>version that's in film Like. BMX Plus magazine actually published

871
00:45:03.360 --> 00:45:06.119
<v Speaker 1>an article about it at the time because they had

872
00:45:06.159 --> 00:45:08.519
<v Speaker 1>to stop shooting and shave some feet off of that

873
00:45:08.599 --> 00:45:10.719
<v Speaker 1>thing because all the professional writers are like, you are

874
00:45:10.760 --> 00:45:13.480
<v Speaker 1>a goddamn mad man, Hell need Him. Nobody's going down

875
00:45:13.519 --> 00:45:17.920
<v Speaker 1>that thing. But it's also like hell Trek is so

876
00:45:18.159 --> 00:45:20.760
<v Speaker 1>what an old stunt icon would think is a suitable

877
00:45:20.800 --> 00:45:25.039
<v Speaker 1>BMX track, Like it's not just the insane drops, it's

878
00:45:25.079 --> 00:45:27.559
<v Speaker 1>not just going over these crazy terrains at one point

879
00:45:28.280 --> 00:45:31.280
<v Speaker 1>they go in and out of a giant cereal bowl structure,

880
00:45:32.320 --> 00:45:35.320
<v Speaker 1>like they're dipping down into the bowl before they springboard

881
00:45:35.320 --> 00:45:37.599
<v Speaker 1>off the spoon handle. And I'm like, I'm sorry, did

882
00:45:37.639 --> 00:45:38.320
<v Speaker 1>Wayne's the Lynx?

883
00:45:38.320 --> 00:45:38.480
<v Speaker 3>Wait?

884
00:45:38.639 --> 00:45:41.599
<v Speaker 2>Hold on back, go back and use that lingo against.

885
00:45:41.320 --> 00:45:44.599
<v Speaker 1>Her the springboard off the spoon handle?

886
00:45:45.199 --> 00:45:48.400
<v Speaker 2>Mm hmm, it just it seemed really super technical.

887
00:45:48.960 --> 00:45:50.639
<v Speaker 1>No, I'm I I just make because it looks like

888
00:45:50.639 --> 00:45:53.519
<v Speaker 1>a giant fucking spoon like it literally looks like Wayne

889
00:45:53.559 --> 00:45:56.280
<v Speaker 1>Zelensky designed this thing, like Honey Shrunk the BMX ers.

890
00:45:56.519 --> 00:45:58.719
<v Speaker 2>I mean, oh, I was under the impression that springboarding

891
00:45:58.760 --> 00:46:01.000
<v Speaker 2>off of the spoon handle was a BMX stunt I

892
00:46:01.039 --> 00:46:01.960
<v Speaker 2>was unfamiliar with.

893
00:46:02.239 --> 00:46:02.280
<v Speaker 4>No.

894
00:46:02.400 --> 00:46:04.400
<v Speaker 1>I think it's a term for taking heroin that you

895
00:46:04.400 --> 00:46:06.639
<v Speaker 1>could hear in one of the Red Hot Chili Peppers albums.

896
00:46:06.679 --> 00:46:08.840
<v Speaker 1>I don't know that for sure, but I'm sure they

897
00:46:08.840 --> 00:46:11.079
<v Speaker 1>have a song called springboarding the spoon handle on one

898
00:46:11.119 --> 00:46:12.119
<v Speaker 1>of their albums, for sure.

899
00:46:14.239 --> 00:46:18.800
<v Speaker 3>Not on a lot.

900
00:46:19.639 --> 00:46:22.920
<v Speaker 2>After these messages, we'll be right back. Have you heard

901
00:46:22.960 --> 00:46:26.679
<v Speaker 2>the latest fresh idea? It's something new, something good.

902
00:46:27.119 --> 00:46:31.960
<v Speaker 4>Seven eleven's new super dog a plump Fresh one quantity

903
00:46:32.000 --> 00:46:35.400
<v Speaker 4>meat hot dog top with our own special spicy chili,

904
00:46:35.760 --> 00:46:37.559
<v Speaker 4>cheese and fresh onions.

905
00:46:37.840 --> 00:46:39.360
<v Speaker 3>Even the price is delicious.

906
00:46:39.800 --> 00:46:40.880
<v Speaker 2>Try super dogs.

907
00:46:41.079 --> 00:46:44.159
<v Speaker 4>They're fast, fresh and fixed, just the way you like

908
00:46:44.199 --> 00:46:47.119
<v Speaker 4>them at the place that's always got a fresh idea.

909
00:46:47.480 --> 00:46:48.199
<v Speaker 3>Seven eleven.

910
00:46:52.280 --> 00:46:54.599
<v Speaker 2>We also talk about for a second the fact that

911
00:46:54.760 --> 00:46:57.079
<v Speaker 2>just being called hell Track, how the hell is there

912
00:46:57.119 --> 00:46:59.440
<v Speaker 2>a movie made in nineteen eighty six that features hell

913
00:46:59.480 --> 00:47:03.039
<v Speaker 2>track and doesn't involve summoning Satan when you get to

914
00:47:03.079 --> 00:47:04.199
<v Speaker 2>the end of the race.

915
00:47:04.119 --> 00:47:06.880
<v Speaker 1>Could so easily be a horror film. This could so

916
00:47:07.360 --> 00:47:09.880
<v Speaker 1>easily be a horror film. And then I thought about

917
00:47:09.920 --> 00:47:12.599
<v Speaker 1>the fact that, you know, this movie could have been

918
00:47:12.599 --> 00:47:15.320
<v Speaker 1>called hell Track and probably attracted a few more you know,

919
00:47:15.400 --> 00:47:19.599
<v Speaker 1>theatrical goers. Then I remember that originally, do you remember

920
00:47:19.599 --> 00:47:21.840
<v Speaker 1>what the original title for rad actually was.

921
00:47:22.440 --> 00:47:27.159
<v Speaker 2>No, I have no idea balls out? Now there is

922
00:47:27.199 --> 00:47:30.800
<v Speaker 2>that great moment where that that line comes up, no

923
00:47:31.000 --> 00:47:34.599
<v Speaker 2>balls out, as if as sliding wasn't enough as sliding

924
00:47:34.639 --> 00:47:37.199
<v Speaker 2>in balls out. There's a lot of a lot of

925
00:47:37.280 --> 00:47:38.079
<v Speaker 2>lingo in here.

926
00:47:38.320 --> 00:47:40.440
<v Speaker 1>There sure is, Cargil, There sure is, And just for

927
00:47:40.480 --> 00:47:42.519
<v Speaker 1>seventeen ninety nine, you can get all the lingo in

928
00:47:42.559 --> 00:47:45.519
<v Speaker 1>this movie on two kissettes or two CDs. Call now

929
00:47:45.719 --> 00:47:46.480
<v Speaker 1>no CODs.

930
00:47:46.719 --> 00:47:49.320
<v Speaker 2>Uh, please allow four to six weeks for delivery.

931
00:47:49.679 --> 00:47:53.800
<v Speaker 1>Pure Balls, the CD collection about the Lingo in rad

932
00:47:54.880 --> 00:47:59.320
<v Speaker 1>with your favorite song Springboard the Spoon, No like, but

933
00:47:59.679 --> 00:48:02.119
<v Speaker 1>Smith has that line. Sargia Smith, who, by the way,

934
00:48:02.480 --> 00:48:07.000
<v Speaker 1>apparently just sits around the town and waits for He's weirly,

935
00:48:07.039 --> 00:48:09.440
<v Speaker 1>kind of a wily coyote character. He just sits around

936
00:48:09.480 --> 00:48:12.440
<v Speaker 1>his motorcycle waiting to see a BMX biker. Not them

937
00:48:12.480 --> 00:48:15.039
<v Speaker 1>doing anything wrong, he just likes to chase them. And

938
00:48:15.079 --> 00:48:17.360
<v Speaker 1>that's why we get this sequence where you know, we're

939
00:48:17.400 --> 00:48:20.159
<v Speaker 1>riding around the lumberyard and going up and down these

940
00:48:20.199 --> 00:48:22.719
<v Speaker 1>massive piles of wood, and you know, you just got

941
00:48:22.719 --> 00:48:27.360
<v Speaker 1>this former NWA wrestler, former NFL linebacker chasing these dudes

942
00:48:27.360 --> 00:48:30.559
<v Speaker 1>on a motorcycle. And he gets that line he tells crew, hey,

943
00:48:30.800 --> 00:48:33.519
<v Speaker 1>go balls out, which before they changed the title was

944
00:48:33.559 --> 00:48:36.360
<v Speaker 1>probably like the trailer moment. I'm sure he was pissed

945
00:48:36.360 --> 00:48:36.719
<v Speaker 1>about that.

946
00:48:37.440 --> 00:48:40.039
<v Speaker 2>Maybe. Well, you know, I love this character so much.

947
00:48:40.800 --> 00:48:43.079
<v Speaker 2>You know, it's one of the things that I really

948
00:48:43.440 --> 00:48:48.519
<v Speaker 2>it's just so wonderfully big hearted about this movie is

949
00:48:48.559 --> 00:48:55.639
<v Speaker 2>that Sergeant Smith is kind of portrayed as a bad guy,

950
00:48:55.760 --> 00:49:00.320
<v Speaker 2>as an antagonist, but he actually isn't He said this

951
00:49:00.360 --> 00:49:04.199
<v Speaker 2>good nice cop, like wh' who does his job? And

952
00:49:04.280 --> 00:49:07.800
<v Speaker 2>like he shows up outside and you get the impression

953
00:49:08.360 --> 00:49:12.280
<v Speaker 2>that he's taunting these kids. He's just having a good time.

954
00:49:12.360 --> 00:49:14.880
<v Speaker 2>He's playing with the kids. He's letting them ride around

955
00:49:14.960 --> 00:49:17.599
<v Speaker 2>and treating him like, hey, kids, if I catch you,

956
00:49:17.599 --> 00:49:20.679
<v Speaker 2>you're in trouble and having a good time, like he's

957
00:49:20.679 --> 00:49:23.400
<v Speaker 2>doing it for fun. And I think that's kind of

958
00:49:23.480 --> 00:49:24.199
<v Speaker 2>fucking neat.

959
00:49:25.280 --> 00:49:27.280
<v Speaker 1>One of the things about how Ningham as a filmmaker,

960
00:49:27.280 --> 00:49:30.239
<v Speaker 1>and they talk about this in the documentary, is that

961
00:49:30.920 --> 00:49:35.039
<v Speaker 1>he loved to get the community involved when he was

962
00:49:35.079 --> 00:49:37.519
<v Speaker 1>making a movie like that was one of his big things.

963
00:49:37.599 --> 00:49:40.960
<v Speaker 1>Is he wanted to make He wanted to make it

964
00:49:41.000 --> 00:49:44.880
<v Speaker 1>feel like it was an experience for everyone. And I

965
00:49:44.920 --> 00:49:48.880
<v Speaker 1>think I think that's why the moral of this movie

966
00:49:49.239 --> 00:49:52.039
<v Speaker 1>is that mighty corporations are no match for a consortium

967
00:49:52.039 --> 00:49:53.559
<v Speaker 1>of local small business owners.

968
00:49:53.960 --> 00:49:54.400
<v Speaker 2>Yeah.

969
00:49:54.599 --> 00:49:57.199
<v Speaker 1>Like I said, Jack Weston, he's the president of Mango's Bicycles,

970
00:49:57.199 --> 00:49:59.480
<v Speaker 1>which again is a real company, but he does all

971
00:49:59.559 --> 00:50:04.239
<v Speaker 1>this we and delan and bribing. He's corrupt, and yet

972
00:50:04.280 --> 00:50:08.360
<v Speaker 1>it's the town that comes together to raise the fifty

973
00:50:08.480 --> 00:50:13.119
<v Speaker 1>thousand dollars to pay the exorbitant sponsorship tax or whatever

974
00:50:13.159 --> 00:50:15.599
<v Speaker 1>you want to call it. The company that sponsors you

975
00:50:15.840 --> 00:50:17.880
<v Speaker 1>has to be worth fifty thousand dollars or you don't

976
00:50:17.880 --> 00:50:20.039
<v Speaker 1>get to participate in hell Track and all of this

977
00:50:20.320 --> 00:50:24.280
<v Speaker 1>just because he doesn't want his on staff bikers to

978
00:50:24.320 --> 00:50:27.280
<v Speaker 1>be shown up by the local boy. And more than

979
00:50:27.320 --> 00:50:30.760
<v Speaker 1>half of that money is provided by mister Timmor who's

980
00:50:30.760 --> 00:50:33.519
<v Speaker 1>played by Ray Walston, who throughout the movie, much like

981
00:50:33.599 --> 00:50:37.559
<v Speaker 1>Sargent Smith, seems like they are very annoyed by the

982
00:50:37.599 --> 00:50:41.480
<v Speaker 1>local BMX writers. But when push comes to shove, Sargent

983
00:50:41.559 --> 00:50:43.320
<v Speaker 1>Smith is at that meeting like, we need to stand

984
00:50:43.400 --> 00:50:45.639
<v Speaker 1>up for these boys, We need to help them achieve

985
00:50:45.679 --> 00:50:48.920
<v Speaker 1>their dreams. So that's like his he's a former wrestler, right,

986
00:50:48.960 --> 00:50:50.960
<v Speaker 1>So that's his face turn right there. And I love it.

987
00:50:51.599 --> 00:50:55.400
<v Speaker 1>And honestly, the moment where Ray Walston coughs up the

988
00:50:55.719 --> 00:50:58.719
<v Speaker 1>additional twenty seven thousand dollars that the rest of the

989
00:50:58.719 --> 00:51:01.920
<v Speaker 1>town wasn't able to raise, it's a legitimately moving moment.

990
00:51:02.400 --> 00:51:05.440
<v Speaker 2>No, he did, absolutely, Like it's one of those things

991
00:51:05.440 --> 00:51:07.519
<v Speaker 2>that really works for this I also loved at one

992
00:51:07.559 --> 00:51:10.400
<v Speaker 2>of the things he always does is he always has

993
00:51:11.000 --> 00:51:15.760
<v Speaker 2>like these weird goofball characters who are the antagonists. Yeah,

994
00:51:15.800 --> 00:51:18.960
<v Speaker 2>and like you've talked about Jack Weston, but Jack Weston's

995
00:51:19.039 --> 00:51:22.920
<v Speaker 2>number two is Alpi Wise, Yes, who we sadly lost

996
00:51:23.000 --> 00:51:27.320
<v Speaker 2>last year, but is also in you know, several of

997
00:51:28.719 --> 00:51:32.239
<v Speaker 2>the films, like he plays Batman and Canniball Run. He's

998
00:51:32.280 --> 00:51:35.280
<v Speaker 2>the patrol man in Traffic Jam. But here he's playing

999
00:51:35.599 --> 00:51:39.000
<v Speaker 2>a similar role to what we've seen other characters play

1000
00:51:39.159 --> 00:51:41.840
<v Speaker 2>in these hound Eedo movies, which is like the Father

1001
00:51:41.920 --> 00:51:46.000
<v Speaker 2>and Son and Smoking the Bandit and he's the idiot,

1002
00:51:46.239 --> 00:51:51.000
<v Speaker 2>you know, sidekick that adds a little light humor to it,

1003
00:51:51.519 --> 00:51:54.199
<v Speaker 2>because the bad guys can never be truly competent.

1004
00:51:55.039 --> 00:51:57.079
<v Speaker 1>Well, this movie sheds light on an important issue of

1005
00:51:57.119 --> 00:51:59.239
<v Speaker 1>the time, one that I previously had little to know

1006
00:51:59.239 --> 00:52:03.519
<v Speaker 1>knowledge of, which is wild considering it's evidently as scandalous

1007
00:52:03.559 --> 00:52:07.039
<v Speaker 1>as Reagan's I ran contra Quagmire, and I'm speaking, of course,

1008
00:52:07.199 --> 00:52:09.360
<v Speaker 1>about the out and out corruption of factory riders in

1009
00:52:09.440 --> 00:52:12.840
<v Speaker 1>competitive BMX racing. And you know, is it ethical for

1010
00:52:12.880 --> 00:52:15.400
<v Speaker 1>the president Mongoose Bicycles to also be the founder of

1011
00:52:15.440 --> 00:52:19.840
<v Speaker 1>the Federation of American Bicyclists Yep, fab in rad. You

1012
00:52:20.000 --> 00:52:23.320
<v Speaker 1>race for FAB and I think that's amazing. It's essentially

1013
00:52:23.360 --> 00:52:24.760
<v Speaker 1>the NFL of BMX racing.

1014
00:52:24.840 --> 00:52:28.800
<v Speaker 2>BAB is my favorite eighties diet soft drink.

1015
00:52:29.159 --> 00:52:33.119
<v Speaker 1>FAB. Yeah, FAB has half the sugar but twice the caffeine.

1016
00:52:33.280 --> 00:52:35.679
<v Speaker 1>And that would be like Ladies and gentlemen meet the

1017
00:52:35.679 --> 00:52:40.159
<v Speaker 1>new Commissioner of Professional Baseball, Lewis Villslugger. It's just like, wait,

1018
00:52:40.199 --> 00:52:42.559
<v Speaker 1>you owned the bikes and you also owned the league,

1019
00:52:42.599 --> 00:52:45.400
<v Speaker 1>Like it doesn't make sense, and the dude just changes

1020
00:52:45.440 --> 00:52:48.199
<v Speaker 1>the rules whenever he wants to exclude amateur riders who

1021
00:52:48.239 --> 00:52:52.239
<v Speaker 1>threaten the winning reputation its factory riders. But not before,

1022
00:52:52.639 --> 00:52:56.239
<v Speaker 1>mind you bribing the amateur rider to throw the race

1023
00:52:56.440 --> 00:52:59.199
<v Speaker 1>so that his sponsored factory boys look like an unstoppable

1024
00:52:59.199 --> 00:53:03.159
<v Speaker 1>winning machine. Thus he sells more bicycles. I cannot wait

1025
00:53:03.320 --> 00:53:06.880
<v Speaker 1>cargil for the ESPN thirty for thirty documentary that will

1026
00:53:06.920 --> 00:53:09.519
<v Speaker 1>inevitably be made about this that I assume it is

1027
00:53:09.559 --> 00:53:15.519
<v Speaker 1>called Hell on Wheels or maybe Break the Vice. Perhaps

1028
00:53:15.559 --> 00:53:18.599
<v Speaker 1>I don't know, but I can't wait for that documentary.

1029
00:53:19.360 --> 00:53:25.639
<v Speaker 2>Bm dash e x ooh oh should I should be

1030
00:53:25.639 --> 00:53:26.880
<v Speaker 2>a you? Should?

1031
00:53:27.079 --> 00:53:33.679
<v Speaker 1>I should be a writer Jesus fucking Christ. It's good.

1032
00:53:33.880 --> 00:53:36.199
<v Speaker 1>It's all fucking good. But yeah, I mean when the

1033
00:53:36.239 --> 00:53:38.920
<v Speaker 1>town comes together to support you know, crew at the

1034
00:53:39.000 --> 00:53:40.920
<v Speaker 1>end of the movie, and they're selling shirts. By the way,

1035
00:53:41.079 --> 00:53:42.960
<v Speaker 1>I'm gonna get my hands on one of those fucking shirts.

1036
00:53:43.400 --> 00:53:46.280
<v Speaker 1>Like I've found several places online that sell that exact shirt.

1037
00:53:46.440 --> 00:53:50.280
<v Speaker 1>I'm gonna get it. Dude. I'm sorry I couldn't have

1038
00:53:50.280 --> 00:53:53.400
<v Speaker 1>worn it last night to the screening because had I

1039
00:53:53.440 --> 00:53:55.199
<v Speaker 1>had that shirt, I absolutely would have worn it to

1040
00:53:55.320 --> 00:53:59.920
<v Speaker 1>the screening. But yeah, I highly highly recommend tracking down

1041
00:54:00.280 --> 00:54:03.559
<v Speaker 1>the documentary, which again is just called a rad documentary

1042
00:54:04.159 --> 00:54:08.639
<v Speaker 1>from last year because the documentary literally talks to everyone

1043
00:54:08.719 --> 00:54:13.320
<v Speaker 1>involved with the movie, including again stock footage from some

1044
00:54:13.519 --> 00:54:16.239
<v Speaker 1>interview from some I don't know when it was recorded

1045
00:54:16.239 --> 00:54:18.280
<v Speaker 1>because obviously we lost hell Needham a few years ago,

1046
00:54:18.719 --> 00:54:22.320
<v Speaker 1>but he's talking all about this movie. Yeah, and one

1047
00:54:22.320 --> 00:54:24.719
<v Speaker 1>of the stories that gets told in the vein of again,

1048
00:54:24.800 --> 00:54:27.599
<v Speaker 1>why I want to be hol Needham when I grow up.

1049
00:54:28.199 --> 00:54:30.280
<v Speaker 1>Two days before they were set to shoot the actual

1050
00:54:30.320 --> 00:54:33.840
<v Speaker 1>Hell Track race, they had built this massive racetrack. Right,

1051
00:54:34.239 --> 00:54:38.079
<v Speaker 1>it's a dirt track and it rains, it's a downpour.

1052
00:54:38.320 --> 00:54:40.519
<v Speaker 1>They spent all this time building a massive dirt track

1053
00:54:40.599 --> 00:54:44.280
<v Speaker 1>that was now a massive mud hole. But did hell

1054
00:54:44.360 --> 00:54:49.039
<v Speaker 1>needam surrendered to the elements? No, never surrender, Fuck you,

1055
00:54:49.119 --> 00:54:52.360
<v Speaker 1>mama nature. I've got helicopters. So he had the studio

1056
00:54:52.480 --> 00:54:57.360
<v Speaker 1>fly out two massive industrial helicopters to hover over the

1057
00:54:57.400 --> 00:55:00.880
<v Speaker 1>track for hours until it was dry. Are you starting

1058
00:55:00.920 --> 00:55:03.280
<v Speaker 1>to understand? Are you starting to get the slightest inkling

1059
00:55:03.320 --> 00:55:05.360
<v Speaker 1>perhaps as to why I say I want to be

1060
00:55:05.400 --> 00:55:06.480
<v Speaker 1>holndeaed and when I grow.

1061
00:55:06.400 --> 00:55:08.719
<v Speaker 2>Up, I've always wanted to be handed and when I

1062
00:55:08.719 --> 00:55:09.119
<v Speaker 2>grow up?

1063
00:55:09.440 --> 00:55:11.559
<v Speaker 1>This is just this is a man who fucking lived

1064
00:55:11.559 --> 00:55:15.320
<v Speaker 1>by his own goddamn rules in service of his art.

1065
00:55:15.559 --> 00:55:19.920
<v Speaker 1>And his art was flipping cars, falling off of buildings,

1066
00:55:20.039 --> 00:55:23.800
<v Speaker 1>falling off of horses. It's just he's everything. He's a

1067
00:55:23.840 --> 00:55:26.960
<v Speaker 1>fucking hero man. I love the way he approaches everything.

1068
00:55:27.199 --> 00:55:29.559
<v Speaker 1>And Rad is no exception, because Rad is a movie

1069
00:55:30.159 --> 00:55:32.360
<v Speaker 1>that you know could have been written off. It's a

1070
00:55:32.400 --> 00:55:35.079
<v Speaker 1>movie that you know is a true blue cult classic

1071
00:55:35.440 --> 00:55:38.559
<v Speaker 1>because on a three million dollar budget, it only managed

1072
00:55:38.559 --> 00:55:43.000
<v Speaker 1>to rake in two million dollars, and it was not

1073
00:55:43.800 --> 00:55:46.840
<v Speaker 1>liked by critics, like not at all. Leonard Malton called

1074
00:55:46.840 --> 00:55:49.679
<v Speaker 1>it a straight up bomb something he reserved for movies

1075
00:55:49.679 --> 00:55:55.320
<v Speaker 1>he truly hated only but rad really ramped up its

1076
00:55:55.360 --> 00:55:58.440
<v Speaker 1>business on home video. It was released on VHS and

1077
00:55:58.519 --> 00:56:01.000
<v Speaker 1>laser disc in nineteen eighty six, was a top ten

1078
00:56:01.079 --> 00:56:03.800
<v Speaker 1>This is Insane cargo. It was a top ten video

1079
00:56:03.840 --> 00:56:09.400
<v Speaker 1>rental for two straight years after its release, two years

1080
00:56:10.000 --> 00:56:12.559
<v Speaker 1>of being in the top ten of video rentals across

1081
00:56:12.760 --> 00:56:13.400
<v Speaker 1>the country.

1082
00:56:14.159 --> 00:56:17.519
<v Speaker 2>Yeah, that's yeah, we were all fucking watching it.

1083
00:56:18.519 --> 00:56:19.280
<v Speaker 1>That is wild.

1084
00:56:19.920 --> 00:56:22.760
<v Speaker 2>Sometimes sometimes you drop a movie in the wrong weekend,

1085
00:56:22.840 --> 00:56:25.239
<v Speaker 2>or you don't advertise it properly, or the studio doesn't

1086
00:56:25.280 --> 00:56:27.559
<v Speaker 2>get behind it in the right way. It's not put

1087
00:56:27.559 --> 00:56:29.679
<v Speaker 2>out there. I got to see it. But then again,

1088
00:56:29.760 --> 00:56:31.559
<v Speaker 2>I saw it on the big screen because I lived,

1089
00:56:31.599 --> 00:56:33.079
<v Speaker 2>as I've talked about in the past, on an Air

1090
00:56:33.079 --> 00:56:36.280
<v Speaker 2>Force base, and we got everything that came through and

1091
00:56:36.320 --> 00:56:40.199
<v Speaker 2>anything that looked remotely, you know, geared towards me. My

1092
00:56:40.280 --> 00:56:42.039
<v Speaker 2>parents would give me a dollar fifty and go go

1093
00:56:42.119 --> 00:56:43.880
<v Speaker 2>to the movie theater, get the fuck out of the house.

1094
00:56:45.760 --> 00:56:49.960
<v Speaker 1>That tracks. Yep, that hell tracks. But no, and then,

1095
00:56:50.719 --> 00:56:53.199
<v Speaker 1>even though it was such a massive hit on VHS

1096
00:56:53.199 --> 00:56:56.639
<v Speaker 1>and laser disc, we would not get an upgraded release

1097
00:56:57.599 --> 00:56:59.840
<v Speaker 1>until twenty twenty, when Vinegar Syndrome put out that four

1098
00:57:01.480 --> 00:57:04.000
<v Speaker 1>and that that really kind of broke my brain because

1099
00:57:04.039 --> 00:57:06.519
<v Speaker 1>I was like, why in the hell did it just disappear?

1100
00:57:06.559 --> 00:57:10.400
<v Speaker 1>This massively successful on home video film, this kind of

1101
00:57:10.400 --> 00:57:15.280
<v Speaker 1>cult classic disappears for that long turns out. Let's rewind

1102
00:57:15.280 --> 00:57:17.079
<v Speaker 1>to the part where I said the movie was produced

1103
00:57:17.079 --> 00:57:21.320
<v Speaker 1>by Talia Shire's company. Talia Shire did not like this movie.

1104
00:57:21.599 --> 00:57:22.960
<v Speaker 1>She did not think she was good in this movie.

1105
00:57:23.000 --> 00:57:24.800
<v Speaker 1>She did not think the movie was good, and she

1106
00:57:25.000 --> 00:57:29.079
<v Speaker 1>actually prevented it from getting updated releases throughout the years

1107
00:57:29.159 --> 00:57:32.880
<v Speaker 1>until twenty twenty. So is as much gravitaz as she

1108
00:57:32.920 --> 00:57:34.519
<v Speaker 1>brings to this movie, and as much as I think

1109
00:57:34.559 --> 00:57:37.400
<v Speaker 1>she's committing one thousand percent of this performance. I mean,

1110
00:57:37.400 --> 00:57:40.239
<v Speaker 1>she's Talia Shire. She can't give a bad performance. She's

1111
00:57:40.280 --> 00:57:41.119
<v Speaker 1>incapable of that.

1112
00:57:41.320 --> 00:57:42.000
<v Speaker 3>She defied me.

1113
00:57:42.760 --> 00:57:43.960
<v Speaker 1>I didn't do it to hurt you.

1114
00:57:44.199 --> 00:57:48.039
<v Speaker 3>It's not me you're hurting. They're willing to sacrifice building

1115
00:57:48.039 --> 00:57:52.079
<v Speaker 3>a solid future for a bicycle race. It's very self destructive.

1116
00:57:52.280 --> 00:57:54.599
<v Speaker 2>Oh Man. One of my favorite moments in this movie

1117
00:57:55.039 --> 00:57:57.679
<v Speaker 2>is when she's watching her son and her son is

1118
00:57:57.719 --> 00:58:00.320
<v Speaker 2>winning and she's so proud of him, and then she

1119
00:58:00.360 --> 00:58:03.360
<v Speaker 2>has her this this moment of tremendous acting where she

1120
00:58:03.360 --> 00:58:05.360
<v Speaker 2>has this look on her face where she just you

1121
00:58:05.400 --> 00:58:08.840
<v Speaker 2>can read her mind and she's going, oh, fuck, he's

1122
00:58:08.880 --> 00:58:13.880
<v Speaker 2>not going to college. And she realized and you know

1123
00:58:14.199 --> 00:58:18.079
<v Speaker 2>it's there in the subtext like she's frustrating. It's like, fuck,

1124
00:58:19.039 --> 00:58:21.760
<v Speaker 2>he's really good at this, but also, fuck, he's not

1125
00:58:21.880 --> 00:58:24.400
<v Speaker 2>going to college. He's gonna be working at that pizza

1126
00:58:24.519 --> 00:58:26.119
<v Speaker 2>joint his whole fucking life.

1127
00:58:28.760 --> 00:58:32.360
<v Speaker 1>He's gonna be he's gonna be boogie bikeen and as

1128
00:58:32.400 --> 00:58:34.559
<v Speaker 1>sliding with girls in this town for the rest of

1129
00:58:34.599 --> 00:58:35.119
<v Speaker 1>his life.

1130
00:58:35.800 --> 00:58:42.320
<v Speaker 2>That is that is one hundred percent correct. That's and

1131
00:58:42.320 --> 00:58:44.360
<v Speaker 2>that she the look is on her face when you

1132
00:58:44.360 --> 00:58:47.360
<v Speaker 2>guys rewatch this see it for yourselves. I ain't lying.

1133
00:58:47.519 --> 00:58:49.519
<v Speaker 2>It's there. You can see it in that moment you're like,

1134
00:58:49.599 --> 00:58:51.880
<v Speaker 2>oh god, oh fuck.

1135
00:58:52.480 --> 00:58:55.320
<v Speaker 1>Man, it's it's And it's so great too, because as

1136
00:58:55.320 --> 00:58:58.760
<v Speaker 1>we're watching the hell track scene where she's having this epiphany,

1137
00:58:59.000 --> 00:59:01.719
<v Speaker 1>what's confounding This is the one thing, the one knock

1138
00:59:01.719 --> 00:59:04.199
<v Speaker 1>against the movie that I have, the single knock against

1139
00:59:04.199 --> 00:59:07.360
<v Speaker 1>this movie that I have is that it is literally

1140
00:59:07.480 --> 00:59:12.840
<v Speaker 1>legendary for it soundtrack. This movie has montage songs, to spare.

1141
00:59:13.920 --> 00:59:18.760
<v Speaker 1>And yet as we're watching the hell track climax of

1142
00:59:18.800 --> 00:59:23.360
<v Speaker 1>the film, why is it scored by G. E. Smith

1143
00:59:23.360 --> 00:59:27.000
<v Speaker 1>in the Saturday Night Live Band? Like why why instead

1144
00:59:27.000 --> 00:59:29.599
<v Speaker 1>of a montage song? Are we getting incredibly saxy up

1145
00:59:29.599 --> 00:59:33.360
<v Speaker 1>in here? Because this is a jazzy fucking final score.

1146
00:59:33.400 --> 00:59:34.920
<v Speaker 1>I don't know what the fuck is going on.

1147
00:59:37.039 --> 00:59:39.719
<v Speaker 2>I mean, it's very nineteen eighty six.

1148
00:59:40.880 --> 00:59:43.159
<v Speaker 1>I'm just all I'm saying is either Crew is gonna

1149
00:59:43.159 --> 00:59:44.960
<v Speaker 1>win Hell Track or one of the boys in the

1150
00:59:44.960 --> 00:59:47.079
<v Speaker 1>Hood is about to get whacked. Like there is so

1151
00:59:47.199 --> 00:59:48.920
<v Speaker 1>much fucking saxophone at the end of.

1152
00:59:48.840 --> 00:59:52.840
<v Speaker 2>The Boys in the Hood always hard.

1153
00:59:52.559 --> 00:59:55.280
<v Speaker 1>Come talking that trash and we'll support our female Olympians.

1154
00:59:55.840 --> 00:59:59.480
<v Speaker 2>That's correct, Yeah, boy, yeah.

1155
00:59:59.119 --> 01:00:02.599
<v Speaker 1>Boy flave. I also think it's great that one of

1156
01:00:02.599 --> 01:00:05.400
<v Speaker 1>the reasons this movie was so successful on VHS is

1157
01:00:05.440 --> 01:00:08.119
<v Speaker 1>because in the late eighties early nineties, bicycle shops all

1158
01:00:08.159 --> 01:00:10.920
<v Speaker 1>over the country, which again it was starting to be

1159
01:00:10.960 --> 01:00:14.559
<v Speaker 1>a very prevalent thing all over the world. Yes, they

1160
01:00:14.559 --> 01:00:17.760
<v Speaker 1>were selling VHS copies of rad in the shops because

1161
01:00:18.159 --> 01:00:20.519
<v Speaker 1>that's kind of like, you know, a Christian store selling

1162
01:00:20.599 --> 01:00:23.119
<v Speaker 1>the Bible, right, This is this is the er text

1163
01:00:23.119 --> 01:00:25.039
<v Speaker 1>of what it is that we do. If you were

1164
01:00:25.079 --> 01:00:28.079
<v Speaker 1>into BMX riding, you need to watch rad.

1165
01:00:28.480 --> 01:00:30.199
<v Speaker 2>Yeah, I mean the thing to talk about. You know,

1166
01:00:30.719 --> 01:00:34.679
<v Speaker 2>we haven't done this in a while, So old man

1167
01:00:35.000 --> 01:00:38.480
<v Speaker 2>car Gil, that old man car.

1168
01:00:38.280 --> 01:00:40.000
<v Speaker 1>Gil, I forgot how old you were.

1169
01:00:40.679 --> 01:00:43.079
<v Speaker 2>There was a reason the X Games were such a

1170
01:00:43.119 --> 01:00:46.440
<v Speaker 2>big fucking deal because there were all these sports that

1171
01:00:46.480 --> 01:00:50.199
<v Speaker 2>weren't taken seriously that were taken very seriously by Gen xers.

1172
01:00:51.119 --> 01:00:53.800
<v Speaker 2>And finally, you know, it's literally where they got the

1173
01:00:53.880 --> 01:00:57.440
<v Speaker 2>name the X Games. It was the games for gen X.

1174
01:00:57.480 --> 01:01:00.199
<v Speaker 2>They were our sports and they were being taken and

1175
01:01:00.280 --> 01:01:03.480
<v Speaker 2>seriously for the first fucking time. So if you were

1176
01:01:03.519 --> 01:01:05.920
<v Speaker 2>into BMX, if you were skateboarding, if you were doing

1177
01:01:05.960 --> 01:01:08.320
<v Speaker 2>any of those what we now knew at we now

1178
01:01:08.360 --> 01:01:13.159
<v Speaker 2>call extreme sports, or as we call it the nineties extreme.

1179
01:01:13.000 --> 01:01:16.440
<v Speaker 1>Sports, Aha, Mountain two level extreme.

1180
01:01:18.039 --> 01:01:21.559
<v Speaker 2>This was a big deal. And so like anything that

1181
01:01:21.679 --> 01:01:25.840
<v Speaker 2>legitimized the sport would be heralded and worshiped. And so

1182
01:01:26.039 --> 01:01:28.920
<v Speaker 2>it was like, yeah, here's a real movie, a Hollywood

1183
01:01:28.960 --> 01:01:31.559
<v Speaker 2>movie with real Hollywood actors in it, that you recognized

1184
01:01:31.599 --> 01:01:35.039
<v Speaker 2>by a real Hollywood director acknowledging that we were real

1185
01:01:35.119 --> 01:01:38.480
<v Speaker 2>fucking sport. So they were all in on that, and

1186
01:01:38.519 --> 01:01:40.519
<v Speaker 2>that was a big part of the culture at the time.

1187
01:01:41.719 --> 01:01:45.519
<v Speaker 1>I just think this movie is such a fucking delight.

1188
01:01:45.840 --> 01:01:49.239
<v Speaker 1>From frame one where we get the opening morning sequence

1189
01:01:49.320 --> 01:01:51.599
<v Speaker 1>that shows us exactly what a movie based on the

1190
01:01:51.639 --> 01:01:54.840
<v Speaker 1>Nees game Paperboy would have looked like, you know, and

1191
01:01:54.880 --> 01:01:59.159
<v Speaker 1>then the sequence where Sergeant Smith is uh is just

1192
01:01:59.239 --> 01:02:02.559
<v Speaker 1>chasing them around the lumber yard, right and uh, and

1193
01:02:02.840 --> 01:02:04.280
<v Speaker 1>then all the way up to hell Track. And then

1194
01:02:04.320 --> 01:02:05.760
<v Speaker 1>when we get through Hell Track, we get to the

1195
01:02:05.840 --> 01:02:09.320
<v Speaker 1>end of hell Track and literally, Bart, who has been

1196
01:02:09.320 --> 01:02:12.199
<v Speaker 1>this asshole the entire movie, gets fired on the spot

1197
01:02:12.239 --> 01:02:15.280
<v Speaker 1>by Jack Weston and he rolls over to Crue and

1198
01:02:15.480 --> 01:02:19.719
<v Speaker 1>his crew and they decide to let him onto Team Rad. Like.

1199
01:02:19.800 --> 01:02:22.400
<v Speaker 1>It's just such a fucking wholesome ending, because unlike the

1200
01:02:22.480 --> 01:02:24.280
<v Speaker 1>ending of The Karate Kid, which by the way, is

1201
01:02:24.320 --> 01:02:27.280
<v Speaker 1>totally fucking unearned, where Zabka comes over like you're all right,

1202
01:02:27.360 --> 01:02:30.360
<v Speaker 1>LaRusso and it's like, no, I'm not shaking your fucking

1203
01:02:30.440 --> 01:02:32.719
<v Speaker 1>hand after you just tried to cripple me, you piece

1204
01:02:32.760 --> 01:02:35.280
<v Speaker 1>of shit. Sweep the leg, Johnny, I know what it is, Like,

1205
01:02:35.280 --> 01:02:37.159
<v Speaker 1>We're supposed to be friends after you can straight go

1206
01:02:37.199 --> 01:02:39.519
<v Speaker 1>fuck yourself, Johnny, I'm sorry. Hell no, That's why we

1207
01:02:39.559 --> 01:02:42.679
<v Speaker 1>made this entire other series about what happens when we're older,

1208
01:02:42.880 --> 01:02:46.000
<v Speaker 1>because this moment makes no sense. You don't have to

1209
01:02:46.039 --> 01:02:49.960
<v Speaker 1>do that with Rad because the only person that Bart

1210
01:02:50.119 --> 01:02:55.079
<v Speaker 1>fucks over during the race are his own teammates. He

1211
01:02:55.239 --> 01:02:56.840
<v Speaker 1>sells them out so that he can get a lead

1212
01:02:56.840 --> 01:02:58.559
<v Speaker 1>and knocks them out of the race. But at no

1213
01:02:58.639 --> 01:03:01.000
<v Speaker 1>point in this movie is he trying to kick crew

1214
01:03:01.559 --> 01:03:04.679
<v Speaker 1>or like throw something in the spokes. He does nothing shady.

1215
01:03:04.719 --> 01:03:07.079
<v Speaker 1>He's just trying to win the race. It's a straight

1216
01:03:07.119 --> 01:03:10.079
<v Speaker 1>up competitive moment between two guys at the top of

1217
01:03:10.119 --> 01:03:11.800
<v Speaker 1>their game. And at the end he comes over, he

1218
01:03:11.840 --> 01:03:14.280
<v Speaker 1>says great race, and they're like, hey, you should join

1219
01:03:14.320 --> 01:03:19.639
<v Speaker 1>team Rad. And it's completely believable because you haven't had

1220
01:03:19.679 --> 01:03:23.320
<v Speaker 1>that moment of Bart just being an irrerreprehensible piece of shit.

1221
01:03:23.800 --> 01:03:26.400
<v Speaker 1>So it's like it again. The movie wears its heart

1222
01:03:26.400 --> 01:03:28.320
<v Speaker 1>on its sleeve. And if that is why it gets

1223
01:03:28.360 --> 01:03:31.280
<v Speaker 1>labeled as cheesy, that's fine, but I think that's why

1224
01:03:31.320 --> 01:03:32.719
<v Speaker 1>the movie still works to this day.

1225
01:03:33.800 --> 01:03:34.519
<v Speaker 2>I agree.

1226
01:03:35.000 --> 01:03:38.840
<v Speaker 1>I'm just saying, you need a little Rad in your life,

1227
01:03:38.840 --> 01:03:41.840
<v Speaker 1>you need some thunder in your heart. I saw it

1228
01:03:41.880 --> 01:03:43.519
<v Speaker 1>in theaters and it was amazing to see on the

1229
01:03:43.519 --> 01:03:46.119
<v Speaker 1>big screen. I wish there had been a few more

1230
01:03:46.239 --> 01:03:49.800
<v Speaker 1>classic trailers for you know, maybe maybe get some thrashing

1231
01:03:49.880 --> 01:03:53.800
<v Speaker 1>in there, some gleam in the cube, some BMX Bandits, which,

1232
01:03:53.880 --> 01:03:56.679
<v Speaker 1>by the way, Cargil, you are gonna this bit of

1233
01:03:56.719 --> 01:04:00.960
<v Speaker 1>trivia is gonna delight you. You dig it the most baby?

1234
01:04:01.559 --> 01:04:02.800
<v Speaker 2>Do you think it the most baby?

1235
01:04:03.000 --> 01:04:08.320
<v Speaker 1>In Argentina? This movie was sold. It was marketed as

1236
01:04:08.360 --> 01:04:10.559
<v Speaker 1>a sequel to BMX Bandits.

1237
01:04:14.519 --> 01:04:16.320
<v Speaker 2>That's some zombie two shit.

1238
01:04:16.280 --> 01:04:18.559
<v Speaker 1>I'm telling you, it's Argentina being the most Italian that

1239
01:04:18.719 --> 01:04:19.800
<v Speaker 1>Argentina has ever been.

1240
01:04:20.400 --> 01:04:24.920
<v Speaker 2>Mad respect mad respect BMX Bandits.

1241
01:04:24.519 --> 01:04:27.920
<v Speaker 1>To rad Rad and that brings us to the junk

1242
01:04:27.920 --> 01:04:30.159
<v Speaker 1>food pairing. And for this one, I'm gonna go with

1243
01:04:30.199 --> 01:04:32.320
<v Speaker 1>a big goalp a super dog and a VHS copy

1244
01:04:32.360 --> 01:04:35.199
<v Speaker 1>of rad from your local nineteen eighty six, seven eleven.

1245
01:04:35.719 --> 01:04:38.559
<v Speaker 1>Throughout this episode, you have been hearing commercials for seven

1246
01:04:38.599 --> 01:04:41.559
<v Speaker 1>eleven and you've probably been wondering, what the fuck? Why

1247
01:04:41.639 --> 01:04:44.079
<v Speaker 1>is that the theme? Why is that the audio bit

1248
01:04:44.119 --> 01:04:47.400
<v Speaker 1>that Brian went with. Well, it's not only due to

1249
01:04:47.440 --> 01:04:50.159
<v Speaker 1>the heavy sponsorship of hell Track, because seven eleven is

1250
01:04:50.320 --> 01:04:54.280
<v Speaker 1>all over all over. Uh. In fact, there is a

1251
01:04:54.320 --> 01:04:56.880
<v Speaker 1>deleted scene. You want to talk about the town coming together, right,

1252
01:04:56.920 --> 01:04:59.440
<v Speaker 1>being the theme of this movie. There's a deleted scene

1253
01:04:59.440 --> 01:05:02.519
<v Speaker 1>where Crew is gifted his new bike right before Helltrack

1254
01:05:02.880 --> 01:05:05.199
<v Speaker 1>by the local seven eleven manager. Because if you look

1255
01:05:05.239 --> 01:05:07.119
<v Speaker 1>really closely in the opening of the film and he's

1256
01:05:07.159 --> 01:05:08.679
<v Speaker 1>delivering newspapers.

1257
01:05:08.159 --> 01:05:10.639
<v Speaker 2>Oh yeah, there's the bike for sale, the bike that

1258
01:05:10.679 --> 01:05:11.159
<v Speaker 2>you can win.

1259
01:05:11.320 --> 01:05:13.920
<v Speaker 1>It's a giveaway, yes, and the manager of that seven

1260
01:05:13.960 --> 01:05:15.679
<v Speaker 1>eleven gives it to Cruz so that he can have

1261
01:05:15.719 --> 01:05:17.800
<v Speaker 1>an even better bike for Helltrack has a better chance

1262
01:05:18.000 --> 01:05:18.480
<v Speaker 1>of winning.

1263
01:05:18.599 --> 01:05:18.760
<v Speaker 2>Right.

1264
01:05:19.559 --> 01:05:24.159
<v Speaker 1>It turns out that nineteen eighty six was an incredibly

1265
01:05:24.239 --> 01:05:28.519
<v Speaker 1>fateful year for the convenience store chain. In April of

1266
01:05:28.559 --> 01:05:32.440
<v Speaker 1>that year, they decided to stop carrying Hustler and Playboy magazines.

1267
01:05:33.320 --> 01:05:35.719
<v Speaker 1>So it looks like the mailman's going to have to

1268
01:05:35.719 --> 01:05:38.159
<v Speaker 1>send you your angels from from now on until the

1269
01:05:38.159 --> 01:05:43.360
<v Speaker 1>Internet is invented. But the biggest innovation for seven eleven

1270
01:05:43.400 --> 01:05:47.679
<v Speaker 1>stores in nineteen eighty six was the advent of movie

1271
01:05:47.760 --> 01:05:49.800
<v Speaker 1>rentals within the store locations.

1272
01:05:49.840 --> 01:05:53.280
<v Speaker 4>Oh yes, now that seven eleven has ninety nine cent movies,

1273
01:05:53.519 --> 01:05:58.719
<v Speaker 4>everybody's becoming a critic Silverado is a cinematic tour to fours.

1274
01:05:58.800 --> 01:06:00.840
<v Speaker 3>Don't you think it's a poetic lazing saddle.

1275
01:06:01.000 --> 01:06:04.159
<v Speaker 2>It's a new wave in Western In ten, your corner

1276
01:06:04.199 --> 01:06:09.840
<v Speaker 2>store had thirty to fifty VHS tapes and Circle K

1277
01:06:10.039 --> 01:06:15.239
<v Speaker 2>followed suit shortly thereafter, and I rented untold movies from

1278
01:06:15.360 --> 01:06:18.039
<v Speaker 2>seven eleven. In Circle K, seven eleven has all the

1279
01:06:18.079 --> 01:06:19.679
<v Speaker 2>top HiT's twenty four hours a day.

1280
01:06:19.920 --> 01:06:22.880
<v Speaker 4>You know, there's a photos dynamic for Strength to Rambo

1281
01:06:23.000 --> 01:06:23.519
<v Speaker 4>that you need.

1282
01:06:23.599 --> 01:06:24.360
<v Speaker 3>And the price.

1283
01:06:24.679 --> 01:06:28.039
<v Speaker 2>The Universal spent twenty two million on this baby, you

1284
01:06:28.199 --> 01:06:30.079
<v Speaker 2>hit it for only ninety nine sent Yeah.

1285
01:06:30.000 --> 01:06:32.639
<v Speaker 1>Like this was the like literally seven eleven first started

1286
01:06:32.679 --> 01:06:35.400
<v Speaker 1>doing this in nineteen eighty six. So the the the

1287
01:06:35.480 --> 01:06:39.480
<v Speaker 1>creation of rad and its success on home video corresponds

1288
01:06:39.559 --> 01:06:43.159
<v Speaker 1>directly with seven eleven starting to use a service called

1289
01:06:43.199 --> 01:06:46.400
<v Speaker 1>movie Quick. Right, so, in their American stores, this service

1290
01:06:46.480 --> 01:06:48.679
<v Speaker 1>was provided by movie Quick, but in the Canadian stores

1291
01:06:48.880 --> 01:06:53.639
<v Speaker 1>it was provided in partnership with a company called so Savas,

1292
01:06:54.079 --> 01:06:57.000
<v Speaker 1>which sounds like a gynecological disorder. I'm not really sure

1293
01:06:57.079 --> 01:07:00.719
<v Speaker 1>that's a terrible name. But it would therefore or not

1294
01:07:00.800 --> 01:07:03.400
<v Speaker 1>be outside the realm of possibility that you could walk

1295
01:07:03.440 --> 01:07:05.719
<v Speaker 1>into with seven eleven in nineteen eighty six, get a

1296
01:07:05.719 --> 01:07:09.199
<v Speaker 1>forty four ounce big gulp, grab yourself a super dog,

1297
01:07:09.599 --> 01:07:13.559
<v Speaker 1>and VHS copy of rad Rad one of the most

1298
01:07:13.599 --> 01:07:16.840
<v Speaker 1>popular rentals of that year and for the next two years, hence.

1299
01:07:16.719 --> 01:07:19.800
<v Speaker 2>Movies for ninety nine cents. Now it's seven eleven. I'm

1300
01:07:19.800 --> 01:07:22.039
<v Speaker 2>gonna take you a step further. The other thing you

1301
01:07:22.039 --> 01:07:24.840
<v Speaker 2>could do while you were there was hit the comic

1302
01:07:24.960 --> 01:07:29.079
<v Speaker 2>rack and get all your monthly comics. Yes, like I

1303
01:07:29.159 --> 01:07:31.880
<v Speaker 2>this was like going to when I was when I

1304
01:07:31.960 --> 01:07:36.000
<v Speaker 2>was eleven, twelve thirteen. I would walk off base to

1305
01:07:36.079 --> 01:07:38.800
<v Speaker 2>the circle k right out there, because there was a

1306
01:07:38.800 --> 01:07:40.800
<v Speaker 2>circle k right on the corner at the time of

1307
01:07:40.880 --> 01:07:43.079
<v Speaker 2>the base I was living at, and I would hike

1308
01:07:43.159 --> 01:07:46.199
<v Speaker 2>to the to the gate walk off base, and that

1309
01:07:46.400 --> 01:07:48.920
<v Speaker 2>was exactly what I would fucking do. I would go

1310
01:07:48.960 --> 01:07:52.400
<v Speaker 2>and get get me a dog. I would get me

1311
01:07:53.400 --> 01:07:56.639
<v Speaker 2>a big gulp of some kind, usually you know, probably

1312
01:07:56.639 --> 01:08:00.320
<v Speaker 2>a frozen coke slurpy if they had it. I would

1313
01:08:00.440 --> 01:08:02.599
<v Speaker 2>get my comic books. I would rent some movies, and

1314
01:08:02.639 --> 01:08:05.199
<v Speaker 2>I would go home and read comics and watch movies

1315
01:08:05.239 --> 01:08:07.719
<v Speaker 2>on a Saturday afternoon, and it was all done for

1316
01:08:07.840 --> 01:08:10.960
<v Speaker 2>my fucking convenience store. And if anybody ever wonders why

1317
01:08:11.000 --> 01:08:15.119
<v Speaker 2>the eighties were fucking heaven, it was partly that.

1318
01:08:15.119 --> 01:08:18.079
<v Speaker 1>That is truly red Brad.

1319
01:08:18.319 --> 01:08:21.039
<v Speaker 2>I mean, yeah, you need a greasy slice of pizza

1320
01:08:21.119 --> 01:08:23.960
<v Speaker 2>and some ice cold coke served in a wax cup.

1321
01:08:24.319 --> 01:08:26.760
<v Speaker 1>Oh the wax cup. Coke is a is a is

1322
01:08:26.800 --> 01:08:28.319
<v Speaker 1>a category unto itself.

1323
01:08:28.960 --> 01:08:31.720
<v Speaker 2>Yeah, but like the whole thing of you know, of

1324
01:08:31.800 --> 01:08:34.239
<v Speaker 2>him working in the pizza joint and all the pizza

1325
01:08:34.319 --> 01:08:39.840
<v Speaker 2>joint you know, adjacent elements, it just it's it's a

1326
01:08:39.880 --> 01:08:43.439
<v Speaker 2>greasy slice of pizza and a coke movie Like it just.

1327
01:08:43.560 --> 01:08:47.359
<v Speaker 1>Is the the alt I had for this junk food pairing,

1328
01:08:47.399 --> 01:08:50.520
<v Speaker 1>by the way, Cargill was get yourself a good amount

1329
01:08:50.680 --> 01:08:54.880
<v Speaker 1>of really slow cooked and well seasoned pork, but mash

1330
01:08:54.960 --> 01:08:57.079
<v Speaker 1>that down into burger patties and put it on Mini

1331
01:08:57.159 --> 01:08:58.680
<v Speaker 1>King's Hawaiian rolls to happen.

1332
01:08:58.520 --> 01:09:02.800
<v Speaker 2>An ass slider, some assa there it is. Puts it

1333
01:09:02.840 --> 01:09:03.920
<v Speaker 2>with some donkey.

1334
01:09:03.640 --> 01:09:06.600
<v Speaker 1>Sauce, with some donkey sauce. We're taking you to flavored

1335
01:09:06.680 --> 01:09:12.359
<v Speaker 1>town a on diners, drive ins and hell tracks. I

1336
01:09:12.399 --> 01:09:14.800
<v Speaker 1>would watch that fucking show, That's all I'm saying. Yeah,

1337
01:09:14.840 --> 01:09:16.359
<v Speaker 1>that was gonna be the junk food pairing until I

1338
01:09:16.399 --> 01:09:19.279
<v Speaker 1>fell down this seven eleven history rabbit hole, and then

1339
01:09:19.359 --> 01:09:22.640
<v Speaker 1>like finding out that the company that provided the rental

1340
01:09:22.680 --> 01:09:25.560
<v Speaker 1>service for the seven elevens in Canada bought the rental

1341
01:09:25.600 --> 01:09:27.840
<v Speaker 1>service Movie Quick that did it in the United States,

1342
01:09:28.000 --> 01:09:30.199
<v Speaker 1>and then because of the massive debt that they absorbed

1343
01:09:30.199 --> 01:09:32.199
<v Speaker 1>by doing that, they went out of business, which is

1344
01:09:32.359 --> 01:09:36.199
<v Speaker 1>why they stopped renting movies. So RAD has its fingers

1345
01:09:36.239 --> 01:09:40.319
<v Speaker 1>in the creation of and destruction of the movie rentals

1346
01:09:40.319 --> 01:09:42.239
<v Speaker 1>at seven eleven. Like it is there for all of it.

1347
01:09:42.279 --> 01:09:45.319
<v Speaker 1>The circles are all aligned, and it's incredible. It's one

1348
01:09:45.359 --> 01:09:49.720
<v Speaker 1>of the best rabbit holes I've ever fallen down. Hell yeah,

1349
01:09:49.720 --> 01:09:52.920
<v Speaker 1>that is rad. This is rad Rad. I'm so glad

1350
01:09:52.920 --> 01:09:56.640
<v Speaker 1>we finally covered. A happy fortieth birthday to this movie,

1351
01:09:57.119 --> 01:09:59.720
<v Speaker 1>one that I highly highly recommend that you check out

1352
01:10:00.039 --> 01:10:03.359
<v Speaker 1>at your earliest convenience cargo. Where can people find you?

1353
01:10:03.399 --> 01:10:04.199
<v Speaker 1>On the interwebs.

1354
01:10:04.520 --> 01:10:07.039
<v Speaker 2>You can find me talking smack on fucking Blue Sky

1355
01:10:07.319 --> 01:10:12.479
<v Speaker 2>at c Robert Cargill dot blue Sky dot Social. You

1356
01:10:12.479 --> 01:10:16.239
<v Speaker 2>can find my latest movie, Black Film two on Peacock,

1357
01:10:17.159 --> 01:10:20.039
<v Speaker 2>and you can find my previous film The Gorge streaming

1358
01:10:20.039 --> 01:10:20.800
<v Speaker 2>on Apple Plus.

1359
01:10:21.399 --> 01:10:23.600
<v Speaker 1>So when you tay so when you say talking smack

1360
01:10:23.640 --> 01:10:25.920
<v Speaker 1>are you are you saying talking trash or are you

1361
01:10:26.520 --> 01:10:28.039
<v Speaker 1>springboarding the spoon handle?

1362
01:10:30.600 --> 01:10:31.960
<v Speaker 2>I'm pissing off the bigots.

1363
01:10:33.720 --> 01:10:36.439
<v Speaker 1>That's a different dragon to ride. That's your tedness dragon,

1364
01:10:36.800 --> 01:10:39.560
<v Speaker 1>but a different one for sure. Thanks for joining us

1365
01:10:39.600 --> 01:10:41.560
<v Speaker 1>for this episode. You know where to find us. If

1366
01:10:41.600 --> 01:10:42.880
<v Speaker 1>you really like the show.

1367
01:10:43.239 --> 01:10:45.439
<v Speaker 2>I mean you really like the show.

1368
01:10:45.479 --> 01:10:47.239
<v Speaker 1>You like it more than we like as sliding on

1369
01:10:47.239 --> 01:10:49.439
<v Speaker 1>a Sunday afternoon, you can go to patreon dot com

1370
01:10:49.439 --> 01:10:51.840
<v Speaker 1>slash jun Food Cinema financially support the show. And as

1371
01:10:51.880 --> 01:10:54.319
<v Speaker 1>we close this lap around hell track, I'm gonna let

1372
01:10:54.399 --> 01:10:58.000
<v Speaker 1>Jack Weston enlighten you as to the consequences of not

1373
01:10:58.159 --> 01:11:01.319
<v Speaker 1>watching RAD this week in celebration of its fortieth You'll regret,

1374
01:11:01.319 --> 01:11:02.640
<v Speaker 1>and I'm telling you you'll live.

1375
01:11:02.680 --> 01:11:05.399
<v Speaker 2>Three You'll live, Oh sure, you'll all. You'll live.