All Out of Bubblegum: John Carpenter's They Live (1988) | Popcorn & Piledrivers

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[SPEAKER_00]: Hey, hey.

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[SPEAKER_00]: It is the rebirth of popcorn and pile drivers.

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[SPEAKER_00]: Jeremy Feinstein here with me.

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[SPEAKER_00]: And you know, usually around this time, I'm recording with Big Dave.

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[SPEAKER_00]: We're doing Rusting Observer Radio.

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[SPEAKER_00]: He is on vacation.

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[SPEAKER_00]: So I was like, huh, this is a perfect time for Jeremy and I to do this.

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[SPEAKER_00]: So let's talk about what the idea is behind this podcast.

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[SPEAKER_00]: John the Rock and I did a version of it.

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[SPEAKER_00]: We were trying to do wrestling movies.

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[SPEAKER_00]: wrestling movies, you know, when you do a few of them, and then you get bored of them, and then some of them are really bad.

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[SPEAKER_00]: And it was just hard for us to keep it going.

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[SPEAKER_00]: You and I, when the smashing machine came out, where you decided to do some stuff there.

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[SPEAKER_00]: We reviewed the movie.

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[SPEAKER_00]: We talked about the rock.

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[SPEAKER_00]: And I kind of put a pin in that because I know your background, like not a lot, I don't know if a lot of people on this website or on on our channel know that you actually have a film background from college.

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[SPEAKER_00]: That is.

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[SPEAKER_00]: And I don't know.

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[SPEAKER_00]: Well, and it's something that kind of you fall back on when you're talking about stuff I could I could see it now I think a lot of people know that you're a comic book guy as well, but you are a fan of film you are a film major so talk about that a little bit before we just get into this whole thing.

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[SPEAKER_01]: Uh, it's all kind of related, man, when I was growing up, you know, watching Star Wars and like 11 a.m. just changed everything before then, you know, you have like transformers to movie, uh, Goonies, you know, all of these 80s kind of movies that are on HBO or you get

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[SPEAKER_01]: I was just, I was enamored with story telling.

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[SPEAKER_01]: And so I think it seventh grade my English teacher had a, doing a joke of Campbell, book about the myth of heroes.

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[SPEAKER_01]: I don't remember talking to the name, but the Campbell book about,

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[SPEAKER_01]: just the archetypes of heroes, storytelling, and all that stuff, and I realized that there was a structure to all of it, and that there were like formulas that people use to convey emotion, and feeling, and to really drive home a story.

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[SPEAKER_01]: And I would get more into comic books, and visual medium just became something that I would, that I would just easily digest in high school.

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[SPEAKER_01]: I'm gonna, I'm gonna get the comic book, I'm gonna get into movies, I'm gonna get a film theory degree, maybe film production, all these things, but once you get to college, you actually have to go to college, you actually have to maintain a living and then you have to figure out what your plan is after work.

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[SPEAKER_01]: And the other issue was, I like talking about it, but once I found out I have some of the sausages made when it came to movies.

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[SPEAKER_01]: I actually, it was not something that I was as excited for.

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[SPEAKER_01]: So I kind of dialed that back and probably until about 2012, I was watching movies like all the time, just involved in the Oscar discourse and all of these things.

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[SPEAKER_01]: And I kind of kind of peeled that back when, you know,

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[SPEAKER_01]: you don't have as much money in life and you have to decide what thing or what things that you can have.

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[SPEAKER_01]: And you'd watch things on streaming, but it wasn't the streaming boom yet.

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[SPEAKER_01]: So like the movie came out.

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[SPEAKER_01]: It will still be months before it would end up on the internet or anything like that.

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[SPEAKER_01]: So you just kind of shifted into the medium.

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[SPEAKER_01]: And I was back in a wrestling, still reading comic books.

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[SPEAKER_01]: And for whatever reason, the only movie that I was

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[SPEAKER_01]: You know, the embassy movie, if you keep in track of that and sometimes the DC movie, but we were we were in the ZAT stage and DC versus or a superman versus Batman from the DC movie.

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[SPEAKER_01]: Didn't attack me like my world on fire and that whole generation of movies.

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[SPEAKER_01]: So,

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[SPEAKER_01]: Everything I look at has a lens of storytelling and when it comes to wrestling, you look at it from a business aspect.

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[SPEAKER_01]: But I try and look at it is, what is the best story that's going to make you the most money?

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[SPEAKER_01]: And the thing that are intertwined, but frequently you and I come from different angles to come to the same conclusion.

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[SPEAKER_01]: And we're just taking that kind of approach and we're going

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[SPEAKER_00]: Now the movies that we're going to talk about and you know it's funny, you said that you know, that's a certain part of your life you're like, man, keeping up with the movies is kind of expensive going to the theater all the time is kind of expensive.

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[SPEAKER_00]: I wasn't doing a whole lot of that.

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[SPEAKER_00]: I always blame being, you know, being a dad and, oh, like, shuffling my kids all the way around and being so frequent with their lives.

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[SPEAKER_01]: Now they're, oh, I'm going to

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[SPEAKER_00]: So I can actually focus back on stuff like that and I'm actually going to see the 40th anniversary of Top Gun tomorrow on iMac.

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[SPEAKER_00]: So I'm just back everything everything big screen.

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[SPEAKER_00]: But the idea behind this show is to take movies that are tangential.

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[SPEAKER_00]: to the fight game media brand.

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[SPEAKER_00]: So if they star a wrestler or they are about wrestling or they star an MMA fighter or a boxer or there's a boxing theme or there's a fighting theme, we could probably extend it to action movies.

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[SPEAKER_00]: We do want to still keep it in the lens of fight game media at least right now, you know, maybe at some point we could create a

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[SPEAKER_00]: different channel or something if we did, if we did want to delve into it further.

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[SPEAKER_00]: But for right now, that's kind of what it is.

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[SPEAKER_00]: It's an extension of the original idea which was to talk about wrestling movies.

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[SPEAKER_00]: We just extended that out so that we can talk about the movie that we're going to talk about today, which on Carpenters they live from 1988.

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[SPEAKER_00]: The fascinating thing about this movie, so I'm watching a lot of movies right now, kind of in the late 70s, early 80s, mid 80s, time frame.

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[SPEAKER_00]: I've actually, because of carpenter and because of wanting to know more about his backstory, I did watch Escape from New York, currently watching Big Trouble Little China.

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[SPEAKER_00]: I will probably go back to watch the thing at some point.

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[SPEAKER_00]: I've seen Halloween, of course.

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[SPEAKER_00]: Do you have a favorite carpenter movie?

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[SPEAKER_00]: Are you familiar with his work?

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[SPEAKER_01]: Yes, and no, I am familiar with some of his movies, but I am not a horror guy by dreaming either.

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[SPEAKER_01]: And a lot of his catalog is horror, sci-fi, genre, commentary kind of things.

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[SPEAKER_01]: And so when I grew up on HBO, big trouble and little China was like, oh, the time.

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[SPEAKER_01]: And, uh,

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[SPEAKER_01]: It was one of those movies where literally I would watch it, but maybe like 10 years afterwards you'd be in high school and you try to explain to somebody.

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[SPEAKER_01]: It's like, hey, do you know that Kurt Russell movie where he's like a trucker and he's got a fight, mystical, Chinese mobsters in order to save him and his friends, girlfriend, does that sound familiar?

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[SPEAKER_01]: And people just look at you like, what?

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[SPEAKER_01]: So that one was always, that one was always my favorite, but it took years to realize that was a John Carpenter film.

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[SPEAKER_01]: Like I liked the movie before I knew it was a John Carpenter film.

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[SPEAKER_01]: And I was watching WVF when I was a kid.

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[SPEAKER_01]: And I knew that they live was Roddy Piper, but I was too young.

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[SPEAKER_01]: I was seven years old to be watching this film.

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[SPEAKER_01]: So when we sat down and watched it, now this is the first time I had it received it.

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[SPEAKER_01]: So I think I'd seen big trouble a little China and I think I've seen both the escape from movies, LA and New York.

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[SPEAKER_01]: Other than that, I have not seen the thing, but a lot of it's maybe there are cult classes and the thing while it ruined his career at the time, kind of now is one of the things he's best known for.

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[SPEAKER_00]: And it's so interesting because as we get into like the trivia stuff of this movie, he was not a fan of these movie critics who were kind of killing his stuff and thus having an effect on his life.

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[SPEAKER_00]: And there's a version of Cisco and Ebert at the end of this movie.

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[SPEAKER_00]: You know, as the world, as the movie ends that is not is meant to be a shot.

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[SPEAKER_00]: Let's just say,

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[SPEAKER_01]: I was looking at some of the poll quotes after the critical and commercial sale here of the thing at the time and he just sounded so broken when he was just saying, I guess the audience wasn't ready for this at the time, you know, like, but now it's loved, you know?

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[SPEAKER_01]: I'm like, you come back like into the back of the future, like, you might not be ready but you're kidding, I love it.

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[SPEAKER_00]: He's probably like, where the hell was everybody when this movie came out like now you're saying this, but okay.

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[SPEAKER_00]: So let's, let's focus a little bit more on kind of the making of the movie and sort of the early things and you know, when it comes to movies, I, in addition to the movie itself, I always love the story around the making of the film.

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[SPEAKER_00]: I'm not a big director's commentary guy, mostly because I don't like watching things more than

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[SPEAKER_00]: once in having to kind of do the homework.

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[SPEAKER_00]: And I know a lot of people can do that.

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[SPEAKER_00]: They can watch it like two or three times in the span of like a week to kind of like pick up different things.

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[SPEAKER_00]: But I do like the stories that come out of this.

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[SPEAKER_00]: And as you can imagine, Router Ritey Piper is quite the storyteller.

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[SPEAKER_00]: And some of the conversation around this movie is what his future in Hollywood could have been.

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[SPEAKER_00]: and why it didn't happen based off of this this part because you watch him and you think of some of the the action heroes in that time frame.

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[SPEAKER_00]: It's a little bit of like you know late late 80s early 90s Stallone Schwarzenegger.

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[SPEAKER_01]: I'm sure you've seen Arnold Lambert adjacent to me.

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[SPEAKER_01]: You know, like that level below.

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[SPEAKER_01]: But what I say, what would be, right?

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[SPEAKER_00]: What I'm saying is is that those guys were kind of the apex and what you may have wanted to shoot for.

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[SPEAKER_00]: And the difference between those guys and someone like Roddy Piper is simply the right thing to put him in.

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[SPEAKER_00]: And after watching they live, I had this thought

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[SPEAKER_00]: You know, I don't know if Roddy Piper could have been this box office star, but he could have been in more things and more important things than he actually was in for the rest of his movie career like he did a lot of stuff, but nothing really with with the depth of this movie and I kind of just wonder why.

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[SPEAKER_01]: Well, I mean, I was looking at a filmography on Wikipedia and he did they live in 88 and from 89 to 97, he's got about 10 to 15 lead roles and all of these B movie titles, kind of repertoire, you know?

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[SPEAKER_01]: And I would almost believe the idea that

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[SPEAKER_01]: being the pro wrestler that he was at the time of actually a detriment to him to get more credibility as one of those actors because there was nothing inherently wrong that he did in in the movie and he was totally capable and you could argue that he really did carry the film

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[SPEAKER_01]: from point A to point B because he was the, he was the only character pretty much the entire way through like the room.

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[SPEAKER_01]: There's nobody else.

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[SPEAKER_01]: It was always like their purpose.

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[SPEAKER_01]: Here, they're supposed to be right there.

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[SPEAKER_01]: No, he was the connective tissues of the whole thing.

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[SPEAKER_01]: There was nothing about him that was deficient, but everyone just kind of looked at him and it was just like he was already pegged as as what he was, regardless of the success that this movie garnered him.

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[SPEAKER_01]: You know, it was more like, it was, it happened to work out for him, rather than he, he was good at what he did.

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[SPEAKER_00]: So let's break down where Piper was in his wrestling career, before he went off to Hollywood.

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[SPEAKER_00]: In 1985, he's in the main event of WrestleMania 1.

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[SPEAKER_00]: He and Paul

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[SPEAKER_00]: Hulk Hogan's number one heel at the point of, you know, 8586.

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[SPEAKER_00]: I'm sure him not wanting to lose to Hulk Hogan by pinfall is probably why he was not in other big matches with Hogan around that time.

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[SPEAKER_00]: WrestleMania II, he's in the boxing match with Mr. T, a boxing match in which Mr. T is so tired, it looks like he does not want to stand up anymore.

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[SPEAKER_00]: It is quite the, quite the visual there if you've ever seen that fight.

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[SPEAKER_00]: And then WrestleMania III is his original swan song.

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[SPEAKER_00]: He faces Adrian Adonis,

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[SPEAKER_00]: Beats Adrian Adonis and his retirement match.

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[SPEAKER_00]: Brutus the barber beef cake comes out.

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[SPEAKER_00]: They start shaving Adrian Adonis's hair.

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[SPEAKER_00]: So the pipe relieves and now Brutus the barber beef cake is like a popular character.

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[SPEAKER_00]: And so that is kind of the foray into Hollywood.

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[SPEAKER_00]: And you know, I was trying to look

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[SPEAKER_00]: You know, and the problem with this stuff is, you know, there's directors who may or may not have great memories or politically may have different memories of how a conversation or how a decision was made and wrestling is worse.

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[SPEAKER_00]: So the validity of some of these comments in this commentary, I will just say out in front.

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[SPEAKER_00]: Take with a great nose like it's a it's very entertaining.

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[SPEAKER_00]: I don't know what's right or wrong.

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[SPEAKER_00]: I actually did reach out to a big Dave Meltzer because there's a story that is told and I don't know where this comes right.

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[SPEAKER_00]: I don't know if this is from a carpenter, if this is from Piper.

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[SPEAKER_00]: But the idea that Vince was bothered with him doing this movie.

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[SPEAKER_00]: And that Vince was like, no, like, I'll find you a movie, like, you know, stay in the family or whatever.

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[SPEAKER_00]: And then when Piper decided to leave, like Vince was mad.

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[SPEAKER_00]: And I asked Dave about this, and he's like, I kind of sounds like BS to me.

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[SPEAKER_00]: But that's the story that's out there.

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[SPEAKER_00]: Other parts of this story is that John Carpeter himself was in the crowd at WrestleMania three at the Pontiac Silverdom,

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[SPEAKER_00]: watch him move, watch his body movements and to see if he was the right thing.

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[SPEAKER_00]: So there's lots of stuff like that around this movie.

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[SPEAKER_00]: That is that it's pretty fun, but it's also like, are we sure about?

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[SPEAKER_01]: I don't know about the John Carpenter.

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[SPEAKER_01]: I met Recklomania because you have been in a crowd like that.

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[SPEAKER_01]: It's really hard for your like your eyesight to really

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[SPEAKER_00]: Oh, we'll get to more of this story in a second here.

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[SPEAKER_00]: But let's focus a little bit on Piper.

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[SPEAKER_00]: So from Dave Meltzer, 1988, this is in the Observer, probably the first four months of 1988.

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[SPEAKER_00]: I don't remember the exact date.

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[SPEAKER_00]: and he wrote, I caught Piper on the MTV spot, and I see he's going to be the leading man in John Carpenter's next film.

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[SPEAKER_00]: Carpenter only does big budget films these days, so Piper is doing extremely well for himself in Hollywood.

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[SPEAKER_00]: At this point, unless he totally blows it with horrible reviews, he has an excellent future in Hollywood.

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[SPEAKER_00]: He'd be completely nuts to ever go back to wrestling, except for cameo appearances.

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[SPEAKER_00]: paper has the kind of charisma that gets you places in Hollywood and he's not hard on the eyes either, which is an amazing quote because after I watched this movie and I watched the movie before I found the quote and I was like,

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[SPEAKER_00]: that would have been my play too like I want to keep doing movies and if I could hit myself to the to the wagon of John Carpenter now John Carpenter's post they live career is not as well remembered as his pre they live career but they just get eyeballs on like a new person.

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[SPEAKER_00]: to possibly build stuff around.

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[SPEAKER_00]: And unlike you said, he may not have been the top top guy.

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[SPEAKER_00]: He could have been, he could have had a long career as some sort of bad guy or a different type of anti hero or whatever.

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[SPEAKER_00]: but it's not that long after that he comes back to wrestling and I would love to know kind of what happened in between that made him decide that well wrestling is still the thing that puts the money on the table and some of it had to be

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[SPEAKER_00]: And I'm going to dig kind of deep into the psychosis, because I've read Piper's books and stuff and kind of rough, you know, just his mentality and stuff, he had a crazy insane childhood and he was kind of a young person in an adult business and, you know, having to learn a lot of things, having to be street smart at such an early age.

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[SPEAKER_00]: So he was very pessimistic about certain things.

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[SPEAKER_00]: And I just wonder if he was like,

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[SPEAKER_00]: Even though I can't trust wrestling, at least I know it, and I know it like the back of my hands.

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[SPEAKER_00]: So if I need to maneuver, I have the instincts there, and I don't have those instincts necessarily for Hollywood, to be the big star that I would like to be in Hollywood.

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[SPEAKER_00]: So I wonder if that's the answer, but I don't know because I couldn't really find any information around that.

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[SPEAKER_01]: The one thing that I would want to look up that I didn't think of at the time was paper.

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[SPEAKER_01]: being a lead actor in a major film means he would have been in the screen actor's guild and a couple of these other things.

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[SPEAKER_01]: But whatever he was paying in order to get this big break might have been minimal, you know, like base pay for a role in a movie at the time, which is not a lot.

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[SPEAKER_01]: But if you're thinking you're taking the gamble of, oh, I'm getting, I'm getting this

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[SPEAKER_01]: I'm not making a whole lot of money, but it's going to springboard to all these other opportunities and those opportunities don't really happen.

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[SPEAKER_01]: All of a sudden, you've invested all this time and you've done the acting classes, you've paid your dues and the guild and doing all this things and that, that, that, that.

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[SPEAKER_01]: that money that you made for making that film all of a sudden into the exactly uh... get a sustain you for all of the much longer and you find yourself not go into auditions and not getting the role sometimes feeling like you you've got a guaranteed spot in a company over here is the safe play so more information more backstory in the john carpenter thing that i was talking about

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[SPEAKER_00]: Hmm.

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[SPEAKER_00]: This is a great story as well.

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[SPEAKER_00]: I will read it and you tell me what you think.

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[SPEAKER_00]: Sure.

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[SPEAKER_00]: So supposedly, Carpenter was a lifelong wrestling fan and even wrote a column for ring magazine as a kid.

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[SPEAKER_00]: I mentioned the the Pontiac Silver Dome being in person supposedly after the show, Carpenter meets Piper.

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[SPEAKER_00]: He said he wasn't looking for a movie star.

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[SPEAKER_00]: He wanted someone who looked like they had been through a war.

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[SPEAKER_00]: Carpenter famously said that most actors were too pretty or too soft.

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[SPEAKER_00]: And when he looked at Piper, he saw a guy with a life written all over his face and a physique that looked genuinely battered from years of taking bumps.

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[SPEAKER_00]: Piper's audition.

21:01.927 --> 21:03.568
[SPEAKER_00]: wasn't a traditional audition.

21:04.329 --> 21:12.797
[SPEAKER_00]: Carpenter was convinced just by Piper's presence and his weary disposition that he basically offered him the role in the spot.

21:13.317 --> 21:24.247
[SPEAKER_00]: He saw Nada as a man who had been discarded by society and felt Piper's struggle as a nomadic wrestler fit the character's DNA perfectly.

21:24.968 --> 21:26.489
[SPEAKER_00]: Now, what do you think about that?

21:27.170 --> 21:29.672
[SPEAKER_00]: Those paragraphs about one John Carpenter.

21:31.002 --> 22:00.452
[SPEAKER_01]: You know, the best wife or the ones that have a nugget of truth in them, and I think they're a nugget of truth that John Carpenter saw out Roddy Piper and needed to see in person if this guy looked like the road had owned him in in in ways and he traveled the road going to car and he'd seen stuff that most people would crawl in a fetal position and they made it out the other side.

22:00.432 --> 22:12.417
[SPEAKER_01]: But John Carbender was not exactly punching his own ticket the way that he was before the thing which we were talking off air was a critical and commercial

22:12.768 --> 22:13.409
[SPEAKER_01]: failure.

22:14.269 --> 22:16.291
[SPEAKER_01]: He needed to make sure this guy could act.

22:16.531 --> 22:18.593
[SPEAKER_01]: He needed to make sure this guy could audition.

22:19.013 --> 22:24.238
[SPEAKER_01]: It sounds better than, you know, it sounds better to say, like, oh, you know, what?

22:24.398 --> 22:27.921
[SPEAKER_01]: I just needed to see him, but he has a pro wrestler, and I knew that you can do this.

22:28.482 --> 22:41.273
[SPEAKER_01]: You know, you, you, you, you make that mistake and you, you, you, you, you give him something special about that aura rather than say, no, we had to make a audition and do all these

22:42.130 --> 23:11.327
[SPEAKER_01]: that, you know, sometimes you just don't know about like pro wrestlers and, you know, 70 to 80s, Roddy tombs, the, he had a rough life, you know, like you can't guarantee all these guys had the educations that they had and you had to make sure that, you know, besides cutting a promo and wrestling match, you would be able to have a guy that you could

23:12.421 --> 23:14.904
[SPEAKER_00]: You know, it's interesting about Big Trouble and Little China.

23:15.044 --> 23:18.569
[SPEAKER_00]: Is it didn't actually do that well in the box office?

23:18.809 --> 23:24.056
[SPEAKER_00]: But I'm sure it made a killing on the video market and on cable, as well.

23:25.038 --> 23:35.612
[SPEAKER_01]: Uh, it was a, it's cold status, you know, like once people want to was on videotape, once it was on repeat HBO, uh, over and over and over again.

23:35.672 --> 23:41.179
[SPEAKER_01]: It was just that thing, that thing thrives.

23:41.497 --> 23:51.606
[SPEAKER_01]: He had like two movies back-to-back that were through Caroko Pictures, and I want to say that those were the, uh, those were the two big trouble little China they live.

23:52.447 --> 24:04.917
[SPEAKER_01]: And Caroko Pictures was a really interesting movie studio because they were the ones that, no, it was Printed Darkness and they live, and 20th Century Fox had big trouble little China the year before.

24:05.718 --> 24:10.322
[SPEAKER_01]: Caroko Pictures,

24:10.488 --> 24:25.394
[SPEAKER_01]: And they were the ones that had the licenses for all the Marvel movies for years, like the Spider-Man movie that James Cameron wanted to make, all of these movies, and they were just cycling into bankruptcy over and over and over again and holding these licenses as hostage.

24:25.795 --> 24:31.365
[SPEAKER_01]: And once though that company went under was when like Sony got

24:31.345 --> 24:36.233
[SPEAKER_01]: the right to then they could make the one because Ramey and Toby McGuire.

24:36.393 --> 24:55.362
[SPEAKER_01]: So Caroko Pitcher actually has this wide birth of legacy in which they basically cock blocked all of these other properties for being made for years on earth of just snapping up these rights and then holding them hostage and tell they could maximize their profits on on that part of it.

24:57.755 --> 24:59.757
[SPEAKER_00]: All right, some more information.

24:59.818 --> 25:05.304
[SPEAKER_00]: Oh, by the way, have you seen the always sunny and Philadelphia arc with Piper in it?

25:06.366 --> 25:09.950
[SPEAKER_01]: I thought a long time ago, it's that shit crazy.

25:11.051 --> 25:13.514
[SPEAKER_01]: But I could not tell you a thing about it now.

25:13.875 --> 25:26.310
[SPEAKER_01]: The only thing that I could tell you is that when I think of that at the good arc, it also reminds me of that story that Brian Alvarez tells of Roddy Piper, cornering him and a Portland.

25:26.290 --> 25:36.352
[SPEAKER_01]: like gymnasium during a wrestling show with like a lighter and threatening threatening thing to him because Brian was spreading lives.

25:37.314 --> 25:40.080
[SPEAKER_01]: That would not work for mine to be off.

25:41.123 --> 25:41.684
[SPEAKER_00]: That's hilarious.

25:41.965 --> 25:52.685
[SPEAKER_00]: And the reason why I mentioned is because, you know, we talk about how his movie career doesn't really, like it doesn't really get much bigger than this first film.

25:53.467 --> 26:00.280
[SPEAKER_00]: And people point to that arc on the TV show to say, that was maybe his best comedic work and it was actually on television.

26:00.631 --> 26:18.454
[SPEAKER_01]: Yeah, I would say watching, watching how he works in always an infidelophia 100% conveyed more of the grittiness of a guy that had been on the road, I think that they stripped a lot of that away and they live.

26:18.552 --> 26:25.169
[SPEAKER_01]: where what they wanted was to make this guy look road, wary, and tired.

26:25.811 --> 26:35.295
[SPEAKER_01]: But he just looked like generic construction guy in a lot of ways, you know, throughout the film, you come to a getting it at the kick.

26:35.275 --> 26:50.376
[SPEAKER_01]: and be down more and more and more and I think that part of it was they really wanted a guy able to sell being injured throughout the entire like just getting the crap kicked out of him over and over and over at various different ways.

26:52.439 --> 27:02.093
[SPEAKER_01]: But I think the movie was not able to really convey from the

27:02.326 --> 27:18.265
[SPEAKER_01]: because he walked a little too clean for a guy that was traveling by backpack across the country because what Colorado dried up right at the bank.

27:18.285 --> 27:19.006
[SPEAKER_01]: The bank's right up.

27:19.246 --> 27:20.647
[SPEAKER_01]: Well, we got no work for you here.

27:20.687 --> 27:28.857
[SPEAKER_00]: Yeah, so, you know, one thing I will say is he was never.

27:30.558 --> 27:35.664
[SPEAKER_00]: more physically imposing in his life than he was in that movie.

27:36.085 --> 27:59.434
[SPEAKER_01]: Like he put on, I would guess between 15 and 20 pounds of muscle and he never looked that big ever in pro wrestling, which was, you know, it's where the, you know, it's where the, the shirt with the collar, like the, I can't remember the game, what the ringer teas, the ringer teas, and they would make him look

27:59.414 --> 28:18.843
[SPEAKER_01]: like muscular, you know, you just kind of, you just kind of explode it out of that shirt, but when you was wearing the flannel in, uh, in the bank, and it's got the sunglasses on, and it says the iconic line that Fernando and everybody, uh, love, which is, uh, I came here to choose some bubble gum and kick some ass and I'm all on a bubble gum.

28:19.304 --> 28:20.005
[SPEAKER_01]: Like,

28:19.985 --> 28:37.670
[SPEAKER_01]: He looked like he could rip you apart with his bare hands, but he doesn't actually touch anybody, just to bring to, to single individuals with a shotgun in a crowded bank, which logically didn't make any sense to me, but that felt really cool at the time.

28:38.751 --> 28:39.833
[SPEAKER_00]: Yeah, okay.

28:39.853 --> 28:46.482
[SPEAKER_00]: So I asked Google Gemini to give me the elevator pitch of how you would describe this movie to somebody.

28:47.002 --> 28:48.503
[SPEAKER_00]: So this is what Google Jam and I told me.

28:49.304 --> 28:57.072
[SPEAKER_00]: Rattie Rattie Piper is a homeless, blue collar drifter who finds a pair of sunglasses that reveal a terrifying truth.

28:57.672 --> 29:07.182
[SPEAKER_00]: America's wealthy elite are actually skinless, skull faced alien invaders who have enslaved humanity using subliminal advertising, cable TV and corporate greed.

29:07.903 --> 29:15.490
[SPEAKER_00]: Armed with a shotgun and a construction buddy, he literally has to beat half to death just to get him to see the truth.

29:15.470 --> 29:16.451
[SPEAKER_00]: played by Keith David.

29:17.092 --> 29:22.940
[SPEAKER_00]: He launches a two-man guerrilla war to take down the corporate broadcast keeping the world asleep.

29:24.001 --> 29:34.415
[SPEAKER_00]: In this ultimate 80s cult classic, half anti-capitalist political satire, half swaggering, wrestling, promo, and 100% bad ass.

29:34.595 --> 29:36.938
[SPEAKER_00]: What do you think about that description of the movie?

29:38.605 --> 29:55.727
[SPEAKER_01]: Pretty solid, pretty succinct, you know, it doesn't tell you the twists and turns of people perhaps in the movie that are not who you think, so what I'm so forth, but it gives you everything and the rundown, and it's a 94-minute movie, Garrett, pretty economical storytime.

29:55.867 --> 29:56.648
[SPEAKER_01]: They are.

29:56.768 --> 30:05.119
[SPEAKER_01]: They don't wait any time in this movie whatsoever, and it's almost like you can do a stage play with the one way that they did this movie.

30:05.588 --> 30:12.156
[SPEAKER_00]: Keith David as the second biggest role was fascinating to me now.

30:12.256 --> 30:16.361
[SPEAKER_00]: I know he had done stuff with the carpenter in the past, so it's kind of a favorite of carpenter's.

30:17.442 --> 30:21.527
[SPEAKER_00]: But like what is his most memorable role?

30:21.748 --> 30:23.990
[SPEAKER_00]: Is it something about Mary?

30:24.030 --> 30:25.773
[SPEAKER_00]: Where he's the state that?

30:25.793 --> 30:27.214
[SPEAKER_01]: He's talking about Mary.

30:27.374 --> 30:35.224
[SPEAKER_01]: The first time I actually knew of him and I had to find this

30:35.727 --> 30:53.466
[SPEAKER_01]: from a cartoon called Gargoyles, what I was growing up on the Disney network like the two hour block of cartoons, you know, you have Gargoyles and ductails and,

30:55.201 --> 30:56.784
[SPEAKER_01]: Chippin' Dale can all act dumb.

30:57.365 --> 30:59.348
[SPEAKER_01]: So, and like, Blue and Goofy.

30:59.849 --> 31:02.213
[SPEAKER_01]: So, that's the first time I knew of him.

31:02.353 --> 31:16.237
[SPEAKER_01]: And then, I saw him and there's something about Mary, but the one that I kind of feel like stuck with me the most was when he ended up basically replacing Chevy Chase his character in community.

31:17.319 --> 31:20.685
[SPEAKER_01]: Mm, yeah, and he spent a season there

31:21.593 --> 31:30.665
[SPEAKER_01]: Just the whole cadence and older states been kind of vibe that he had, also just kind of reminds you of all these other roles that he had throughout the years.

31:30.785 --> 31:33.289
[SPEAKER_01]: And he's a great actor.

31:33.489 --> 31:37.555
[SPEAKER_01]: He is literally like the epitome of what you call, like a character actor.

31:37.995 --> 31:50.352
[SPEAKER_01]: He just, you come in there and you know, like you know enough of him that like you recognize the guy, but then all of a sudden he's the character that you're playing and not the guy that you recognize from all of these other things.

31:51.209 --> 31:54.593
[SPEAKER_00]: So they play kind of the polar opposites of each other.

31:55.434 --> 31:57.716
[SPEAKER_00]: Keith's David's character has a family.

31:58.237 --> 32:06.786
[SPEAKER_00]: He does not want to disrupt what is going on for fear of losing his job, for fear of losing his family.

32:06.926 --> 32:10.230
[SPEAKER_00]: And Piper's on the other end, we don't know too much about Nada.

32:10.270 --> 32:14.274
[SPEAKER_00]: I don't even remember, I don't even know if his name is even uttered in the movie one time.

32:14.795 --> 32:20.541
[SPEAKER_00]: But in the credits he is Nada as the character name.

32:20.656 --> 32:25.443
[SPEAKER_00]: John Nata, and so he is the opposite.

32:25.563 --> 32:26.925
[SPEAKER_00]: He doesn't have anything.

32:27.406 --> 32:35.278
[SPEAKER_00]: He comes from the banks closing down in Colorado, and there's nothing keeping him anywhere.

32:35.478 --> 32:37.261
[SPEAKER_00]: We don't know if he's got a family.

32:37.582 --> 32:40.746
[SPEAKER_00]: We know that he had a bad dad, at least.

32:40.826 --> 32:47.136
[SPEAKER_00]: We know that much about him, which is probably, I don't know if it's autobiographical by it wouldn't be surprised.

32:47.386 --> 33:02.695
[SPEAKER_00]: Um, and so there's there's there's he has nothing to keep he has nothing to to allow things to say status quo, which helps in his rebelliousness when he kind of figures out what's going on.

33:02.675 --> 33:22.320
[SPEAKER_00]: What did you think about the the small sort of rebellious society who's kind of figured out what's going on and they're trying to broadcast these signals through the cable television and then infiltrating and hijacking the signals and such the way that they played that society or or those folks.

33:23.762 --> 33:25.965
[SPEAKER_00]: It was almost like to me I was like.

33:26.873 --> 33:28.455
[SPEAKER_00]: Hmm.

33:28.595 --> 33:34.222
[SPEAKER_00]: If I'm going, if I'm going to broadcast my signal, I'm just going to, I just need more people on my side, man.

33:34.262 --> 33:38.947
[SPEAKER_00]: I just can't have like 15 people don't have anything going on.

33:39.588 --> 33:48.679
[SPEAKER_01]: But like, yeah, you must have one high school teacher to have teaching everyone how to do chemistry and radio transmissions.

33:49.317 --> 33:58.096
[SPEAKER_01]: and then creating the optic lenses that could reveal the society.

33:58.377 --> 34:02.005
[SPEAKER_01]: My question is, how did you figure out the optic lenses in the first place?

34:02.085 --> 34:05.914
[SPEAKER_01]: Like, yeah, who figured out from the get go that this was all happening?

34:06.996 --> 34:07.798
[SPEAKER_01]: And,

34:07.778 --> 34:08.980
[SPEAKER_01]: got to that point.

34:09.100 --> 34:27.593
[SPEAKER_01]: That the story I want to know is because you had John Nada and he and he was your he was the the viewers entry into the whole world where he was experiencing all of these things at the new stand where he after he got these glasses and he's like

34:27.573 --> 34:37.087
[SPEAKER_01]: What the, like, I just, I just risked my life and there's a bunch of goddamn sunglasses and he's like, fine, I'm going to grab a pair and we're going to go.

34:37.247 --> 34:46.982
[SPEAKER_01]: And then slowly, I'm peeling the world like an onion and realizing there's like subliminal messages everywhere and there are, uh,

34:46.962 --> 34:59.037
[SPEAKER_01]: Subterfuge, counterfeit, or subterfuge, a bad actor is from another world that are strip mining our society for everything it's worth and subjugating the majority of society.

34:59.057 --> 35:02.001
[SPEAKER_01]: And you're like, oh, cool, that's a bad.

35:02.041 --> 35:08.970
[SPEAKER_01]: And then you're like watching this movie and you're looking around and the real life is like, oh, cool, that sounds real bad.

35:08.950 --> 35:28.658
[SPEAKER_01]: And you're wondering, like, no, our bent bet in this entire subjugation of our society is pinning on the hope of the people that we have ignored completely, given them no resources, whatsoever, and expecting them to save all of our assets.

35:28.678 --> 35:32.102
[SPEAKER_01]: No wonder we're probably going to save all of them.

35:32.122 --> 35:37.590
[SPEAKER_00]: You know the most fascinating thing about this movie to me is John

35:37.773 --> 35:55.400
[SPEAKER_00]: seeing society in 1988, now this is a post Ronald Reagan society, but very deeply based on economics and what Ronald Reagan was doing in his two terms of presidency.

35:56.882 --> 36:05.215
[SPEAKER_00]: And the reason why this movie works, maybe just as good or even better today, is because the current

36:06.258 --> 36:32.350
[SPEAKER_00]: his lens the way that he saw this thing working was to go and redo Ronald Reagan's style of of what he wanted the the US presidency to be like he would make America great again comes directly from Ronald Reagan and so to watch that to watch that movie from 1998 through the lens of

36:33.359 --> 36:52.444
[SPEAKER_01]: I was incredibly thrown off because we're watching this movie and when the movie starts, you have that really old universal crawl that we don't see anymore, it's from a day day is gone by.

36:53.425 --> 36:56.850
[SPEAKER_01]: But you and I are both from San Jose or we live in San Jose right now.

36:57.771 --> 36:59.333
[SPEAKER_01]: And the movie starts.

36:59.718 --> 37:16.292
[SPEAKER_01]: And the problem for me, Garrett, was that I felt like I recognized those kind of streets and I felt like everything about like the way that they caught the urban landscape with the billboards and just kind of the

37:16.272 --> 37:23.704
[SPEAKER_01]: the despondents of the urban areas, that felt like today.

37:24.405 --> 37:28.612
[SPEAKER_01]: And the only thing that were different were no cell phones and the cars were older.

37:29.253 --> 37:38.147
[SPEAKER_01]: But the way that like the Mason Sen, like the setting of this entire movie, really did felt contemporaneously timeless.

37:38.768 --> 37:43.495
[SPEAKER_01]: You know, like there

37:43.475 --> 38:08.461
[SPEAKER_01]: kind of, you know, kind of look at the same, you know, hollies gay neighbors that they didn't say were gay, but were clearly gay watching us like, that's the same kind of like environment that you're gonna be around now, where you're just gonna have two young men who enjoy each other's company on the balcony, like watering down while women of being taken hostage by a strange man and chore her.

38:08.481 --> 38:08.661
[SPEAKER_01]: Right.

38:08.681 --> 38:08.842
[SPEAKER_01]: Right.

38:08.862 --> 38:12.165
[SPEAKER_01]: Ain't no thing, she just like to have a good time guys.

38:12.567 --> 38:25.510
[SPEAKER_01]: But anyways, that was the most stunning thing for me, was just how current it felt with the way that it was shot and the way that everything was happening.

38:25.891 --> 38:35.368
[SPEAKER_01]: And there was a scene later on where, after all, said and done and through various teleportation and other, you know,

38:36.175 --> 38:43.912
[SPEAKER_01]: world technique to otherworldly techniques that these aliens are using, not a, and was it Frank?

38:44.172 --> 38:52.851
[SPEAKER_01]: Is the, if the other ones, they end up in the ballroom where basically all of the

38:52.831 --> 39:22.062
[SPEAKER_01]: human collaborators and the aliens are talking about by 2025 we will have installed ourselves at the power elite where we can basically milk the resources dry of this world and then move on to the next one and you're just sitting there watching this at 2020

39:23.324 --> 39:34.003
[SPEAKER_01]: I don't want to say that like we're living in like an altruality or whatever, but sometimes you just look around you're like, this doesn't feel right, you know?

39:34.023 --> 39:37.089
[SPEAKER_01]: Like, this doesn't feel like reality, but it is.

39:37.269 --> 39:43.881
[SPEAKER_01]: And we're existing in it and we're the ones that have to change the things that

39:44.063 --> 39:46.306
[SPEAKER_01]: you know, we're trying to push it back against.

39:46.686 --> 39:58.761
[SPEAKER_01]: And that's exactly what this movie is trying to do to is this the view tile effort to push back against this overwhelming force that is crushing down on our lives and telling us, this is how we need to live.

39:59.162 --> 40:00.403
[SPEAKER_01]: This is what we need to do.

40:00.904 --> 40:07.592
[SPEAKER_01]: And you're so forced by it that you don't get a chance to say, why are you making me do these things?

40:08.574 --> 40:09.615
[SPEAKER_01]: And

40:09.595 --> 40:19.831
[SPEAKER_01]: that the whole message of this movie is pulling back, removing yourself from whatever one of telling you to do and asking yourself why.

40:20.512 --> 40:24.037
[SPEAKER_01]: Why am I doing these things that people are telling me to do?

40:24.578 --> 40:27.663
[SPEAKER_01]: Why does this not feel authentic to me?

40:28.203 --> 40:36.396
[SPEAKER_01]: And you look around like I am doing this in service

40:36.376 --> 40:44.128
[SPEAKER_01]: for lack of a better term, drinking the cool way that somebody has provided me because it provides me with the way of life that I am comfortable with.

40:44.929 --> 41:01.354
[SPEAKER_01]: And so this movie is kind of trying to remind you that these companies don't love you, you know, like your job is there to provide you a mean to live, but in no way shape or form should your job be

41:01.655 --> 41:11.389
[SPEAKER_01]: what defines you or you take that home, your family, the people who love you, that people you invest in, and invest back in you, those are the most important things in the world.

41:12.311 --> 41:30.177
[SPEAKER_01]: And this movie is trying to remind you that the things that you buy, the things that you are, the things that you wear, the things that you carry around with you, do not define you and are simply just accessories to the wardrobe that you carry around to give it out word appearance.

41:30.157 --> 41:52.840
[SPEAKER_01]: to say I am I am I am not my a LeBamba Richie Valens shirt here and I am not my Kenny Omega black man, you know, like I got all my comic books and I got all my merchandise and I was like at the same time we all want to like buy the things and have the things that make us feel like we are unique and and enjoy that.

41:53.495 --> 41:55.678
[SPEAKER_01]: but it's the given take, right?

41:55.698 --> 42:02.807
[SPEAKER_01]: It's are you the things that you buy or are you your own person and the things that just help make you happy?

42:04.089 --> 42:15.022
[SPEAKER_01]: And this movie does challenge you to find that line of does this define you or is this something just made to you happy?

42:16.084 --> 42:23.333
[SPEAKER_00]: So let me tie in a couple of more things to today.

42:23.785 --> 42:50.738
[SPEAKER_00]: being like the evil transmitter to this alternate world Donald Trump, you know, his main vehicle in getting his message across to become the president the first time Fox News, the using the cable signal for your own good, now who is John Carpenter?

42:50.937 --> 42:53.520
[SPEAKER_00]: kind of pointing at with this idea.

42:53.540 --> 42:59.426
[SPEAKER_00]: A lot of people believe it is none other than someone who recently passed away, but Ted.

43:00.086 --> 43:10.837
[SPEAKER_01]: Mr. Turner, I can see that, but I think the more appropriate target now that time this past would probably be Rupert Murdoch.

43:10.877 --> 43:19.746
[SPEAKER_00]: What I was going to say is who did Ted Turner hate the most so much so that he jokingly or maybe didn't jokingly say that he

43:19.827 --> 43:21.429
[SPEAKER_00]: was Rupert, right?

43:22.270 --> 43:26.635
[SPEAKER_00]: Why did Rupert Murdoch create Fox news to counter CNN?

43:27.516 --> 43:31.461
[SPEAKER_00]: So the lines or the stories are all there to connect those dots?

43:31.941 --> 43:48.501
[SPEAKER_01]: One of the worst things that the world has ever propagated and all honesty is the 24 hour new cycle, because in a lot of ways, there isn't 24 hours of news really to report, because just like the TV did in they live,

43:49.882 --> 43:54.270
[SPEAKER_01]: They decide the news to tell you, rather than report all the news that go out there.

43:54.711 --> 44:09.578
[SPEAKER_01]: You know, like there's always the angle from CNN or Fox or MSNBC, or the BBC or Sky News, or all of the other news organizations that have,

44:10.300 --> 44:29.041
[SPEAKER_01]: a point of reality that they are starting from, that sometimes isn't the black and white myopic, this is what we all agree happened, and instead frame it as one side did bad when it's hard to really parse exactly what happened yet.

44:29.122 --> 44:36.510
[SPEAKER_01]: So the insidiousness of the news here in reality is that

44:37.250 --> 44:42.918
[SPEAKER_01]: there are people deciding what that news is for a before we ever get a chance to digest it.

44:43.759 --> 44:57.199
[SPEAKER_01]: And they're doing the same thing here in this movie where they're using the cable signal to basically mask what truth really is and tell you a message of what they want you to know rather than

44:57.179 --> 45:09.195
[SPEAKER_01]: You know, using the responsibility of that satellite to report to you what actually happening and what you need to know in order to live and be aware of the truth around you.

45:10.236 --> 45:11.879
[SPEAKER_01]: So I thought that was kind of interesting.

45:12.559 --> 45:21.972
[SPEAKER_00]: Before we get to the one female part in this movie that actually has some a little bit of teeth to it, I wanted to mention the fight.

45:22.120 --> 45:31.557
[SPEAKER_00]: Rottie Piper and Keith David, they have this, I don't know, it's like a five minute brawl that supposedly

45:31.942 --> 45:33.766
[SPEAKER_00]: Carpenter didn't even choreograph.

45:34.387 --> 45:36.351
[SPEAKER_00]: He was just like page one.

45:36.371 --> 45:38.435
[SPEAKER_00]: I believe that the fight begins.

45:39.337 --> 45:41.842
[SPEAKER_00]: Page two, the fight continues.

45:42.182 --> 45:45.629
[SPEAKER_00]: And like it was up to Piper and Keith David.

45:45.669 --> 45:50.038
[SPEAKER_00]: And I'm sure a choreographer, a fight choreographer to kind of fill in the blanks there.

45:50.599 --> 45:53.545
[SPEAKER_00]: And you mentioned Keith David, who was Keith David?

45:55.060 --> 46:02.813
[SPEAKER_00]: It's so funny because Keith David is like a classically trained stage guy, like that's his background.

46:03.354 --> 46:12.951
[SPEAKER_00]: So to see him in this scene with Piper, like Piper is who he is in the movie, just a big

46:12.931 --> 46:17.217
[SPEAKER_00]: Burley fighter has had to be, you know, he's had to, he's a street fighter.

46:17.237 --> 46:18.438
[SPEAKER_00]: He's at the fight all of his life.

46:18.678 --> 46:21.242
[SPEAKER_00]: He uses his physicality in everything that he does.

46:21.843 --> 46:24.546
[SPEAKER_00]: And on the other end, Keith David is the opposite.

46:24.886 --> 46:26.529
[SPEAKER_00]: He is a trained actor.

46:26.569 --> 46:27.770
[SPEAKER_00]: He is a stage guy.

46:28.031 --> 46:33.277
[SPEAKER_00]: So you have these two different, not, again, going back to the differences of their characters.

46:33.317 --> 46:35.140
[SPEAKER_00]: The differences of them is humans too.

46:35.680 --> 46:41.588
[SPEAKER_00]: And they have to create this scene of where they're fighting and the reason they're fighting,

46:41.973 --> 46:46.739
[SPEAKER_00]: is because Nada wants Frank to put on the glasses.

46:47.280 --> 46:49.343
[SPEAKER_00]: So if you can see, stupid, stupid.

46:50.344 --> 46:51.706
[SPEAKER_00]: What he sees, right?

46:51.786 --> 47:03.983
[SPEAKER_00]: It's like, you know, if you and I, if you and I were having this conversation, and let's say even we were upset at each other, I'd just be like, Jeremy, I swear to God, you need to see this.

47:04.643 --> 47:07.908
[SPEAKER_00]: Just, you can put them on for five seconds.

47:08.509 --> 47:09.971
[SPEAKER_00]: Who would throw the person out?

47:10.111 --> 47:11.052
[SPEAKER_00]: Really?

47:13.242 --> 47:16.745
[SPEAKER_01]: I don't see the scenario where I'm throwing a punch at you to put on these glasses.

47:17.045 --> 47:19.467
[SPEAKER_01]: And you're throwing a punch at me to put on these glasses.

47:19.888 --> 47:23.211
[SPEAKER_01]: I don't see me in a headlock with you trying to put it on.

47:23.571 --> 47:25.112
[SPEAKER_01]: I see none of this happening.

47:26.693 --> 47:32.979
[SPEAKER_00]: And so it's like they have to actually get in a physical fist fight, which does have.

47:33.880 --> 47:42.507
[SPEAKER_00]: I think there's a, there's at least two suplexes in this fight scene.

47:42.959 --> 47:47.190
[SPEAKER_01]: Yeah, it goes on way too long to the point where I'm laughing when they're laughing.

47:48.153 --> 47:51.602
[SPEAKER_01]: The fact that they pee each other down for about four minutes.

47:51.622 --> 47:55.753
[SPEAKER_01]: They're so beat up that they're like, this isn't saying, okay, I'll put all the glasses.

47:56.948 --> 47:57.209
[SPEAKER_00]: Yeah.

47:57.269 --> 48:01.096
[SPEAKER_00]: And finally, he puts on the glasses and he has to see what not a sees.

48:02.539 --> 48:02.699
[SPEAKER_00]: Yeah.

48:02.719 --> 48:07.829
[SPEAKER_00]: But, you know, that is, when people talk about this movie, that is kind of the memorable scene.

48:07.849 --> 48:10.735
[SPEAKER_00]: We'll talk about what your favorite scene in the movie is at the end here.

48:10.975 --> 48:16.526
[SPEAKER_00]: But that is the thing that a lot of people bring up about this movie is like, oh, man, when they had to do that long, go fight.

48:18.089 --> 48:18.670
[SPEAKER_00]: So.

48:20.017 --> 48:21.559
[SPEAKER_01]: If you think about this movie, right?

48:21.980 --> 48:30.733
[SPEAKER_01]: And you look at the way that it past all the way through, there are only a few action bits throughout the entire thing.

48:31.154 --> 48:42.310
[SPEAKER_01]: You have the homeless camp being torn down at the bulldozer, and that's like a high-action frenetic energy with the helicopters and everything.

48:42.731 --> 48:45.535
[SPEAKER_01]: You have the scene in the bank.

48:45.515 --> 48:55.845
[SPEAKER_01]: you have the the fight in the alley with Frank and then you have like the like the the closing big spectacular like fight.

48:57.007 --> 49:12.523
[SPEAKER_01]: Those all feel like things that Jean Carpenter really didn't want to have to do to tell the psychological like the ruler that he wanted to do, but in order to sell this movie, he had to throw action like bits into it here or there.

49:12.683 --> 49:20.131
[SPEAKER_01]: So you have the shotgun in the bank, and you have like a single like two men fighting for an extended period of time, and then you have the big action.

49:20.151 --> 49:22.153
[SPEAKER_01]: So you look at the end.

49:23.247 --> 49:42.189
[SPEAKER_01]: for that aspect, I think Keith David and Roddy Piper were great in their roles, but when you tell me that John Carberner didn't choreograph this fight, it probably because he didn't really care about the action sequences, it was just something that he had to do in order to make the rest of the film that he wanted to make.

49:44.072 --> 49:45.273
[SPEAKER_00]: Yeah.

49:45.453 --> 49:49.558
[SPEAKER_00]: Okay, Meg Foster, who plays Holly,

49:50.855 --> 49:58.170
[SPEAKER_00]: So she is best known for having, maybe the most piercing blue eyes on a human.

49:59.432 --> 50:04.002
[SPEAKER_00]: I wanted to ask you about this, because this is more towards your fandom.

50:05.104 --> 50:11.597
[SPEAKER_00]: Evil Lin in Master of the Universe is one of the ones, one of the movies that comes up immediately when you Google her.

50:12.353 --> 50:29.147
[SPEAKER_01]: she was evil in and I was a huge master to the universe fan and I may or may not be going to see this movie with John Maraka when it comes out in a couple of weeks but I would always remember the freaky blue eye that she had and

50:29.127 --> 50:35.939
[SPEAKER_01]: This is really the only movie that I was like aware of her in and she didn't have an like role here or there.

50:36.020 --> 50:43.373
[SPEAKER_01]: Like she didn't become a character actress because I didn't know anything about this, but apparently she, um,

50:43.792 --> 51:06.508
[SPEAKER_01]: She was the first Cagney in Cagney and Lacey in the in the TV show and something happened and the show got canceled and the role got recast and I don't remember the fact within the lady's name, but there she's the iconic Cagney of Cagney and Lacey and this time knows.

51:06.488 --> 51:09.831
[SPEAKER_01]: kick megfactor career to the curb.

51:09.851 --> 51:11.133
[SPEAKER_01]: This was something like 1982 or 1982.

51:11.353 --> 51:24.767
[SPEAKER_01]: Yeah, so this is a five year later from from all that where she's in they live and then I think the year later she's in he man in the master's of the universe, which you don't hear before.

51:24.927 --> 51:26.128
[SPEAKER_01]: It's actually well, people can 80.

51:26.168 --> 51:26.929
[SPEAKER_01]: Yeah.

51:26.949 --> 51:27.510
[SPEAKER_00]: Yeah.

51:27.550 --> 51:27.850
[SPEAKER_00]: Okay.

51:28.291 --> 51:29.992
[SPEAKER_00]: 87 and they live is 88.

51:30.113 --> 51:31.234
[SPEAKER_01]: Got it.

51:31.354 --> 51:31.754
[SPEAKER_01]: Okay.

51:31.774 --> 51:34.437
[SPEAKER_01]: I was getting them not those years up mixed up.

51:34.872 --> 51:44.429
[SPEAKER_01]: But I remember seeing that movie as a kid, but the issue with that movie is that it was nothing like the actual cartoon that we were cutting our teeth on.

51:44.990 --> 51:58.534
[SPEAKER_01]: And a little known fact that I waited for him out, if that movie was actually co-opted from a comic book property that Jack Kirby had created for DC Comics called The New Gug.

51:58.514 --> 52:05.966
[SPEAKER_01]: And, uh, Galatore was basically, uh, dark side and he man was basically Orion.

52:06.026 --> 52:09.672
[SPEAKER_01]: And there were a bunch of all these like one to one transfers.

52:10.093 --> 52:13.919
[SPEAKER_01]: But somebody saw him like, oh, we can turn this into a he man movie and they did.

52:14.039 --> 52:20.209
[SPEAKER_01]: And even when we basically a character called Granny Goodness, all of these things.

52:21.031 --> 52:21.872
[SPEAKER_01]: But,

52:22.274 --> 52:37.599
[SPEAKER_01]: It was a pretty bad at movie if you all things considered a young Courtney cockles in that movie, but that was the first time that I had ever seen Meg Foster and for a lot of years, it felt like the last time I had seen Meg Foster.

52:38.821 --> 52:43.289
[SPEAKER_00]: The Courtney Cox post Bruce Springsteen dancing in the dark.

52:44.270 --> 52:44.370
[SPEAKER_01]: Yeah.

52:44.390 --> 52:44.491
[SPEAKER_00]: Yeah.

52:44.511 --> 52:45.132
[SPEAKER_00]: And post.

52:45.372 --> 52:47.075
[SPEAKER_01]: She got her parent back at the end of that movie.

52:47.175 --> 52:48.417
[SPEAKER_01]: I was so happy for her.

52:49.460 --> 52:51.522
[SPEAKER_00]: Make Foster.

52:51.562 --> 52:53.564
[SPEAKER_00]: So you're right about the Cagney and Lacy story.

52:54.204 --> 53:02.151
[SPEAKER_00]: She was the first Cagney and they said that she was just like not feminine enough the way that she played the role.

53:02.171 --> 53:17.205
[SPEAKER_00]: So they recasted her for and, you know, she's kind of the forgotten Cagney.

53:17.185 --> 53:27.968
[SPEAKER_00]: the eyes were so distracting in some roles that they forced her to wear contacts to don't have a little bit because they were so sharp and so blue.

53:28.729 --> 53:30.553
[SPEAKER_00]: Is that a form of body shaming?

53:30.955 --> 53:46.692
[SPEAKER_01]: I don't know, I'm going to weird like, wow, you're you're you're either so striking that we have to shit like we have to not use that, you're like, at least now they have CGI, you know, you can just think of them post.

53:47.093 --> 53:48.795
[SPEAKER_01]: Yeah, you have to make somebody feel bad about it.

53:49.535 --> 53:55.001
[SPEAKER_00]: I guess Rob Zombie put her in some stuff really late in her career as well.

53:56.924 --> 53:59.346
[SPEAKER_00]: Okay, so this movie comes out, 1988.

53:59.366 --> 54:00.928
[SPEAKER_00]: Yes.

54:01.617 --> 54:08.708
[SPEAKER_00]: And so this is what would it be like six or seven years post escape from New York post the thing.

54:08.728 --> 54:14.556
[SPEAKER_00]: So what starman's what late 70s Halloween 78 something like that.

54:14.697 --> 54:20.385
[SPEAKER_00]: So we we've had a child of 85 86 so that you know there's been.

54:20.365 --> 54:23.772
[SPEAKER_00]: you know, more than 10 years of John Carpenter in film.

54:24.353 --> 54:25.455
[SPEAKER_00]: And so this movie comes out.

54:25.715 --> 54:29.382
[SPEAKER_00]: And there is a B movie aesthetic to this as well.

54:29.422 --> 54:32.729
[SPEAKER_00]: It does not look like a big budget thing in any way.

54:32.749 --> 54:35.995
[SPEAKER_00]: It looks like, you know, and throughout my childhood.

54:37.477 --> 54:46.768
[SPEAKER_00]: this movie was not on HBO as much as it was on like the USA channel, which more be movies kind of lean towards the USA channel.

54:47.129 --> 54:48.671
[SPEAKER_00]: And so that's how I would see this movie.

54:48.691 --> 54:54.318
[SPEAKER_00]: So when I saw it on the USA channel, I was like, oh, it must not be that good because it was any good.

54:54.338 --> 54:58.202
[SPEAKER_00]: It would have been on HBO and it's on USA channel.

54:59.784 --> 55:04.530
[SPEAKER_00]: You know, Gilbert Godfrey

55:04.510 --> 55:31.480
[SPEAKER_00]: But you know, I guess a lot of carpenter stuff had a little bit of B movie aesthetic to it, where it didn't look like this gigantic, you know, budget kind of film, and in this case, it probably works to the advantage of the movie to have it look like that.

55:31.713 --> 55:33.597
[SPEAKER_01]: a horror skeleton kind of thing.

55:33.938 --> 55:42.496
[SPEAKER_01]: But when you watch the movie, it's more like no flesh on the body kind of thing, which is a little bit different than a skeleton.

55:43.237 --> 55:46.043
[SPEAKER_01]: But they really try to convey that like,

55:46.630 --> 55:50.636
[SPEAKER_01]: There were no bodies on the standout, it was like the lack of flesh.

55:51.037 --> 55:58.889
[SPEAKER_01]: And so that kind of horror thing kind of sad with you, like the iconic, you know, the visuals on that.

55:59.390 --> 56:02.695
[SPEAKER_01]: And I never saw the movie on USA.

56:02.915 --> 56:12.710
[SPEAKER_01]: I never saw it anywhere, but I would always have this idea of what this movie was based off of that promo art, which was the glasses with like the skeleton.

56:12.730 --> 56:15.034
[SPEAKER_01]: So it felt more to me

56:15.014 --> 56:20.562
[SPEAKER_01]: even growing up that this was undead, zombies, that kind of thing.

56:20.922 --> 56:27.492
[SPEAKER_01]: So when I ended up watching the movie and it turned out they were space aliens and I'm like, oh, oh, that's interesting.

56:27.512 --> 56:27.912
[SPEAKER_01]: Okay, sure.

56:27.952 --> 56:28.814
[SPEAKER_01]: Let's go with that.

56:28.974 --> 56:35.583
[SPEAKER_01]: And then I'll show you like, oh, space aliens that are threatening our world for consumerism.

56:36.104 --> 56:37.626
[SPEAKER_01]: That's not on the nose.

56:38.568 --> 56:39.469
[SPEAKER_01]: And here we are.

56:39.890 --> 56:43.755
[SPEAKER_01]: But yeah,

56:44.630 --> 56:57.998
[SPEAKER_01]: It was such a journey to go from the preconceived notions what you saw based off of the advertisements and not knowing anything about the film, to actively watching it and realizing, oh, there's some stuff here I got you now, I got it.

56:58.720 --> 57:03.524
[SPEAKER_00]: So the critics were not in love with this movie when it came at 1988, though.

57:03.945 --> 57:06.968
[SPEAKER_00]: Again, thanks to video and cable and all those things.

57:07.028 --> 57:13.574
[SPEAKER_00]: I think the movie is seen as a really great social commentary on what was going on.

57:14.795 --> 57:16.156
[SPEAKER_00]: And so I mentioned this.

57:16.176 --> 57:17.417
[SPEAKER_01]: Was you called a cult classic?

57:18.598 --> 57:19.519
[SPEAKER_00]: Yeah, I think so.

57:19.539 --> 57:25.825
[SPEAKER_00]: I mean, I think a cult classic in of itself

57:27.577 --> 57:33.364
[SPEAKER_00]: a small pocket of people really loved it, like, more than the majority of people.

57:33.925 --> 57:36.047
[SPEAKER_00]: And, you know, I think that's probably right.

57:37.209 --> 57:42.635
[SPEAKER_01]: It parts of be a cool class who can you just go on to read it and just bring up a topic and say, hey, this movie rules.

57:42.716 --> 57:46.400
[SPEAKER_01]: And then a hundred people, like, uploaded and comments like, yeah, I wouldn't do.

57:47.301 --> 57:47.982
[SPEAKER_01]: Bye.

57:47.962 --> 58:17.445
[SPEAKER_01]: They're all for that sense of like when you crowdsource that kind of information it doesn't feel as like in the world as someone that you know and talking to one to one and saying like hey do you know about this movie and then they don't know about it and you feel like wrestling right right it's just kind of like it could a little bit of a hidden secret and you kind of have to figure out

58:17.729 --> 58:18.751
[SPEAKER_00]: Yeah, yeah, for sure.

58:19.872 --> 58:20.193
[SPEAKER_00]: Okay.

58:20.213 --> 58:31.491
[SPEAKER_00]: So then I mentioned this, the secret Cisco and Ebert as Google's cameo near the end of the movie after not a destroys the alien transmitter and the hidden reality exposed to the world.

58:31.511 --> 58:36.579
[SPEAKER_00]: The film shows a montage of every day TV broadcasts changing from human to alien.

58:37.600 --> 58:45.593
[SPEAKER_00]: Those broadcasts is a parody of a movie review show featuring two critics who look and act like Gene Cisco and Roger Ebert.

58:45.910 --> 58:47.392
[SPEAKER_01]: Uh, creative, they're number shook.

58:47.572 --> 58:49.093
[SPEAKER_01]: Garrett, creative, they're never shook.

58:50.295 --> 59:01.687
[SPEAKER_00]: The, uh, the, the ebert clone or the ebert alien clone is complaining about directors like carpenter and George A. Romero whining that there's too much gratuitous violence in modern seminar.

59:01.707 --> 59:05.931
[SPEAKER_00]: It's cinema and that filmmakers need to make more wholesome movies.

59:06.192 --> 59:15.782
[SPEAKER_00]: Yeah, you know, look, if you are someone who makes art and that art gets criticized

59:17.011 --> 59:18.814
[SPEAKER_00]: And you disagree with that.

59:19.034 --> 59:20.817
[SPEAKER_00]: I think you have the right to state it.

59:20.837 --> 59:26.846
[SPEAKER_00]: You have the right to use your art to make those points at the same time because of what we do because of what I do.

59:27.668 --> 59:37.203
[SPEAKER_00]: I stand on, hey, I can critique something as long as I do it in a smart way, in a not trolling way, in a thought for way.

59:38.625 --> 59:43.913
[SPEAKER_00]: And that's kind of what we do on this website, but at the same time,

59:44.669 --> 59:52.989
[SPEAKER_00]: our thoughts and our conversation is also up for debate for anybody who listens to it to have a thought or reply or whatever.

59:53.410 --> 01:00:01.108
[SPEAKER_00]: Now, if ghetto creates a Jeremy

01:00:01.713 --> 01:00:03.996
[SPEAKER_00]: or a Stephen Conway character.

01:00:04.056 --> 01:00:12.746
[SPEAKER_00]: And as a job or just to beat them, then you're like, okay, maybe I pushed a button and it looks like there's got to do it.

01:00:13.447 --> 01:00:16.070
[SPEAKER_00]: It looks like Cisco and Ebert pushed a push to button.

01:00:16.411 --> 01:00:30.808
[SPEAKER_00]: One, too many times on carpenter, but because of that, it actually makes me more interested to go back into the carpenter film,

01:00:31.160 --> 01:00:46.546
[SPEAKER_01]: I mean, look, if you have any sense of understanding subject, right, you can't look at this movie and not think that what Carpenter tried to do is actually low-key brilliant 40 years later.

01:00:46.566 --> 01:00:50.974
[SPEAKER_01]: From top to bottom, this movie is economically told.

01:00:50.954 --> 01:01:00.845
[SPEAKER_01]: a shooting budget shot in eight weeks, but the message that it's trying to convey is crystal clear to everyone trying to watch it.

01:01:01.185 --> 01:01:08.073
[SPEAKER_01]: Now, you can look around and say that that message is a lot more on the nose than other people look around and say that that message is on the nose.

01:01:08.674 --> 01:01:19.105
[SPEAKER_01]: But there are very real sense of a two tier justice system of a world in which when you have money the rules do not apply to you.

01:01:19.085 --> 01:01:32.572
[SPEAKER_01]: And this movie is also very much driving the fact that, like, if you do not have money, you are under the thumb of any kind of authority that tells you to stop doing what you're doing and do what they want you to do instead.

01:01:33.675 --> 01:01:40.789
[SPEAKER_01]: And this is not the only movie in which social commentary

01:01:41.545 --> 01:01:56.432
[SPEAKER_01]: But if you're really trying to look at the pantheon of director saying like what they were able to communicate with the movies that they made and whether it has any social commentary that it's worth really exploring.

01:01:57.290 --> 01:02:13.005
[SPEAKER_01]: John Carbender is one of those directors that you really need to, you know, have an academic conversation about because he's a lot smarter than just aliens coming to put you to work.

01:02:13.025 --> 01:02:25.356
[SPEAKER_00]: John Carbender also still alive at 78 years old.

01:02:25.690 --> 01:02:27.292
[SPEAKER_00]: Let's talk about your favorite scene.

01:02:27.512 --> 01:02:33.999
[SPEAKER_00]: Oh, by the way, it did open at number one in the box office, though, it wasn't a big box office week that this movie came out.

01:02:34.139 --> 01:02:38.443
[SPEAKER_00]: It beat U2's Rattle in HUM for that week.

01:02:38.463 --> 01:02:40.105
[SPEAKER_00]: All right, favorite scene.

01:02:40.566 --> 01:02:49.355
[SPEAKER_00]: The three scenes that I kind of threw out there in my mind were the fight, which is this long, long fight scene.

01:02:50.616 --> 01:02:52.238
[SPEAKER_00]: I also love

01:02:52.336 --> 01:03:01.051
[SPEAKER_00]: when Piper just first puts on the glasses and then walks into that that store and it's just got to do stand and he'd like it.

01:03:01.071 --> 01:03:10.007
[SPEAKER_00]: Well, no, even when he goes into the store and because he's kind of kind of has this moment where he's just like kind of like what you said like earlier.

01:03:09.987 --> 01:03:25.161
[SPEAKER_00]: is this reality like what's going on and he just starts laughing to himself and he's like making fun of ugly women and stuff in the store and like I'll have some of the quotes later but that's that's seeing the idea of like

01:03:25.141 --> 01:03:44.408
[SPEAKER_00]: taking the glasses off and going like huh and then putting them on and going like oh my god like what is what is obey sitting on here on the thing and then uh these people like why are some people what why do I see there you know no skin and others I see you know that they have skin and you know what it reminded me of and let's connect us to wrestling.

01:03:45.450 --> 01:03:53.241
[SPEAKER_00]: Do you remember

01:03:54.166 --> 01:04:01.624
[SPEAKER_00]: Do you remember when Scotty too hotty or grandmaster sex A would put on the glasses?

01:04:01.945 --> 01:04:02.910
[SPEAKER_00]: It was like

01:04:03.835 --> 01:04:09.561
[SPEAKER_01]: They were saying you would look around and it was like he would it was that his eyes were finally open.

01:04:09.601 --> 01:04:11.063
[SPEAKER_01]: He could not believe what he was seeing.

01:04:11.504 --> 01:04:20.974
[SPEAKER_00]: Yeah, yeah, like I wonder I wonder if they got that from they live like, oh my gosh, like I'm seeing like this alternative like thing like what's going on now.

01:04:20.994 --> 01:04:21.615
[SPEAKER_00]: They played it.

01:04:21.955 --> 01:04:24.838
[SPEAKER_00]: They played it really, you know, then then they would start dancing.

01:04:24.858 --> 01:04:29.083
[SPEAKER_00]: Then they would start dancing, but yeah, the idea of the sunglasses.

01:04:29.249 --> 01:04:36.073
[SPEAKER_01]: Did you know that the guy who did the Andre, the giant, had a, has a posse, are Shepard Ferry?

01:04:36.735 --> 01:04:41.672
[SPEAKER_01]: His no Bay Art was based off of the movie.

01:04:41.922 --> 01:04:43.604
[SPEAKER_00]: it's awesome.

01:04:43.624 --> 01:04:43.985
[SPEAKER_00]: So cool.

01:04:44.225 --> 01:04:51.314
[SPEAKER_01]: Like the pop culture references are far and wide and the Andre the Giant had a posse star.

01:04:51.334 --> 01:04:55.659
[SPEAKER_01]: My dog is just loving my teacher right now for it.

01:04:57.301 --> 01:05:02.648
[SPEAKER_01]: So I was looking at all of that and to realize I think just exactly

01:05:02.999 --> 01:05:13.002
[SPEAKER_01]: how impactful it just little ways that people have taken little part of the movie, you know, the Chuchem Bubblegum and Kicks, people talk about it.

01:05:13.443 --> 01:05:19.236
[SPEAKER_01]: Anyway, my favorite scene, Garrett, that I've tried to think about this because I don't really

01:05:19.216 --> 01:05:25.542
[SPEAKER_01]: I didn't really think that there was one scene that, you know, like the Keith David, the fight in the alley, which was really good.

01:05:25.602 --> 01:05:39.694
[SPEAKER_01]: And, you know, kind of outside the norms of the kind of fight that you've seen here, I thought there was a scene in the first third of the movie when Nada goes into the church in the daytime and he goes through the back door.

01:05:40.294 --> 01:05:49.122
[SPEAKER_01]: And everything about the way that they shot that scene was him coming from the right instead of traditionally

01:05:49.540 --> 01:05:57.413
[SPEAKER_01]: a character comes in from the left and so you're immediately disoriented and you're disoriented because not a disoriented.

01:05:57.453 --> 01:06:12.358
[SPEAKER_01]: He's in there and he's trying to figure out what's going on with this music and then he's the scrap door and he sees all these boxes and he knows something to up but he like the way that a call being framed to him it's like

01:06:13.081 --> 01:06:29.487
[SPEAKER_01]: these are the bad guys, you know, like it's all kind of like, I don't know which way this is all going, but the disquiet and the discomfort that he's feeling and not understanding what's going on, and then

01:06:29.467 --> 01:06:50.732
[SPEAKER_01]: all the sudden kind of realizing like oh there's attention here like there's there's something going on he's got to get out of there and then almost immediately you know we have drones drones of this movie 40 years ago they're using drones to surveil people within like hours that whole thing is getting torn down.

01:06:51.016 --> 01:06:56.482
[SPEAKER_00]: Yeah, he thinks there's like there's like a church choir singing, but really it's just a tape playing of music.

01:06:56.522 --> 01:07:13.142
[SPEAKER_01]: Yeah, and they're they're planning the first stages of trying to get the glasses out to the masses because they're like an African Episcopal church, you know, like no one's here and right across the street from the whole book slide.

01:07:13.122 --> 01:07:19.749
[SPEAKER_01]: that John Carter hired actual homeless people to actually be in the movie to do this for the authenticity.

01:07:20.209 --> 01:07:23.133
[SPEAKER_01]: But everything about it's like, what is up with these weird people?

01:07:23.213 --> 01:07:24.254
[SPEAKER_01]: What's going on?

01:07:24.374 --> 01:07:26.636
[SPEAKER_01]: Why are why is this all happening?

01:07:27.197 --> 01:07:30.821
[SPEAKER_01]: And then you realize like, oh, these are the people that are trying to push back.

01:07:30.841 --> 01:07:32.783
[SPEAKER_01]: You get what is reality right now.

01:07:33.343 --> 01:07:35.826
[SPEAKER_01]: And everything that is going wrong.

01:07:36.847 --> 01:07:42.673
[SPEAKER_01]: And that's the point for

01:07:43.058 --> 01:07:53.329
[SPEAKER_01]: The thing that he believed in, like your work hard, you get a paycheck, you pay for your meal for that day and then you do it all over again.

01:07:53.369 --> 01:07:56.012
[SPEAKER_01]: That's the dream you can get through that day.

01:07:56.052 --> 01:08:06.523
[SPEAKER_01]: He systematically watches all of that get torn down when the LAPD come in and destroy and race to the ground that's almost camp and take everything away.

01:08:06.583 --> 01:08:10.467
[SPEAKER_01]: And it goes like, why are you doing

01:08:10.447 --> 01:08:12.352
[SPEAKER_01]: why are you tearing this all apart?

01:08:12.713 --> 01:08:19.189
[SPEAKER_01]: And it's because they're an undesirable element to the way of life that they're trying to cultivate.

01:08:19.250 --> 01:08:26.428
[SPEAKER_01]: And so that part of it just feels really on the nose nowadays with like clearing of homeless care.

01:08:26.528 --> 01:08:26.869
[SPEAKER_01]: And

01:08:26.849 --> 01:08:41.450
[SPEAKER_01]: making sure that when you look out your front yard that you're not disgusted by what you see, and you rather like hide it away rather than be a part of the community and try and fit what the blight that you rather admit is not there.

01:08:42.031 --> 01:08:55.810
[SPEAKER_01]: And so in the dead of night trying to clear all this way so that people aren't made clear of the actions that you're taking to remove the under terrible element for the people in charge

01:08:55.790 --> 01:08:58.254
[SPEAKER_01]: I think that was my favorite scene because I just felt so honored.

01:08:58.294 --> 01:09:08.429
[SPEAKER_00]: No, it's a great scene and you know, as I'm watching this movie, I'm going like, man, those cops came in a quickness, right?

01:09:08.449 --> 01:09:15.100
[SPEAKER_00]: Like it was almost like some snapper fingers and boom, just tons of cops and then I went, oh wait, that's kind of like ice.

01:09:16.602 --> 01:09:19.366
[SPEAKER_01]: Yeah, yeah, the whole thing, man.

01:09:19.386 --> 01:09:19.907
[SPEAKER_01]: It's just,

01:09:21.136 --> 01:09:39.846
[SPEAKER_01]: the older than I get and the more that I am Disappeared of what I was told this country was versus the reality of what I see The people who have less than myself have to go through just to make it to make it through the day.

01:09:39.867 --> 01:09:42.030
[SPEAKER_01]: You know, like

01:09:42.010 --> 01:09:59.449
[SPEAKER_01]: a good society in all honesty is not predicated on how successful the most successful person in in it is it's predicated on how bad we off the worst people are and what you're doing to lift them up.

01:10:02.492 --> 01:10:02.852
[SPEAKER_00]: Yeah.

01:10:02.872 --> 01:10:10.060
[SPEAKER_00]: So the other scene that people may enjoy the most is at the end when

01:10:11.339 --> 01:10:22.776
[SPEAKER_00]: not a, and what he believes is Frank and Holly coming with him to blow up that transmitter in all of a sudden, he looks back.

01:10:23.477 --> 01:10:27.584
[SPEAKER_00]: Frank isn't there because Holly took out Frank.

01:10:27.604 --> 01:10:32.571
[SPEAKER_00]: And then he's, he's kind of like Luke Skywalker.

01:10:32.551 --> 01:10:51.117
[SPEAKER_00]: given the one shot to blow up the death star and he he blows the thing up and is immediately shot and he's going down falling down throws up the middle finger like he's two poxikour and that's how the movie ends for him which is it's pretty amazing if you think about it like

01:10:51.552 --> 01:10:52.794
[SPEAKER_01]: and blazing glory.

01:10:53.775 --> 01:10:55.839
[SPEAKER_00]: Yeah, like, it's just amazing.

01:10:56.199 --> 01:10:59.144
[SPEAKER_00]: And that is Routy Piper at the same time.

01:10:59.244 --> 01:11:02.729
[SPEAKER_00]: Like that's who he is as a pro wrestling character.

01:11:02.789 --> 01:11:06.255
[SPEAKER_00]: Like, you know, so just that, I thought that scene is also amazing.

01:11:06.375 --> 01:11:16.330
[SPEAKER_00]: I would, if I was picking a favorite scene, I think it's the scene of him realizing and just having so much fun figuring out what these glasses are doing.

01:11:16.410 --> 01:11:18.994
[SPEAKER_00]: I think it's the funniest part of the movie for me.

01:11:18.974 --> 01:11:35.768
[SPEAKER_01]: But okay, the holy thing I thought will actually kind of interesting and I will I'll about touch on this before we get out of here because the way that female characters in movies are you sometimes find fascinating and worth discussing.

01:11:36.289 --> 01:11:39.936
[SPEAKER_01]: She's the only significant female character in the movie real.

01:11:39.916 --> 01:11:44.121
[SPEAKER_01]: And she only had three significant part within the entire film.

01:11:44.141 --> 01:11:51.671
[SPEAKER_01]: She initially kidnapped near halfway point of the film after not a discover that the aliens are there.

01:11:51.731 --> 01:11:56.477
[SPEAKER_01]: And he basically kidnapped her not knowing what she does or where she works or anything.

01:11:56.497 --> 01:11:58.579
[SPEAKER_00]: She works at the cable station.

01:11:58.599 --> 01:12:00.642
[SPEAKER_01]: Which we find out after work.

01:12:00.622 --> 01:12:04.127
[SPEAKER_01]: And I'll just magically play a part into this plot.

01:12:04.648 --> 01:12:07.653
[SPEAKER_01]: That seems more like a convenient plot device than anything else.

01:12:08.053 --> 01:12:12.640
[SPEAKER_01]: So they go back to her apartment and he's like trying to get her to put on the glasses too.

01:12:12.660 --> 01:12:14.463
[SPEAKER_01]: And she's like, I'll do it every one.

01:12:14.523 --> 01:12:19.371
[SPEAKER_01]: You know, like very coded as if like she's expecting like a sexual soul.

01:12:19.451 --> 01:12:22.275
[SPEAKER_00]: Yeah, she's thinking that he's going to like rape her.

01:12:22.255 --> 01:12:38.627
[SPEAKER_01]: Yes, and so she's like I need something to drink and he's he's selling the he's been beat a crap completely and he's trying to get her to put on the glasses and she basically give give him the treat as a fan

01:12:38.607 --> 01:12:40.009
[SPEAKER_00]: Yeah, that's what I thought too.

01:12:40.029 --> 01:12:42.714
[SPEAKER_01]: I was like, this is the Judas effect to out the window, man.

01:12:42.894 --> 01:13:02.567
[SPEAKER_01]: Out the window, and he goes out over T-Cettle, out the balcony, down like a 50 foot drop, on the side of the LA Hill, landing on the ground, crawling away and watching the cops come to try and figure out exactly what happened, and she called him the phone, and she has her glasses in the head.

01:13:02.587 --> 01:13:04.530
[SPEAKER_01]: She has these glasses in the hand.

01:13:04.510 --> 01:13:10.564
[SPEAKER_01]: And you're led to believe, Oh, she's going to put on the glasses and find out what's happening.

01:13:10.725 --> 01:13:10.825
[UNKNOWN]: Yeah.

01:13:10.940 --> 01:13:17.408
[SPEAKER_01]: But the next time you see her, it's at this in the surgeon meeting that not in Frank are at.

01:13:17.428 --> 01:13:19.350
[SPEAKER_01]: And she magically shows up there.

01:13:19.430 --> 01:13:28.921
[SPEAKER_01]: So you don't exactly know how she got that other than she was able to get the information because she had those glasses and somebody else.

01:13:28.961 --> 01:13:29.842
[SPEAKER_00]: That's what she said.

01:13:29.883 --> 01:13:34.408
[SPEAKER_00]: She's like, oh, I put the glasses on and I was able to see what you were trying to tell me or whatever.

01:13:34.969 --> 01:13:37.892
[SPEAKER_00]: But she's just going to infiltrate the meeting and watch him.

01:13:38.125 --> 01:13:54.953
[SPEAKER_01]: And so the whole time she's this double agent and I don't love the fact that the one female in the movie ends up being like an evil female, but you also needed somebody in the movie that's like no, I'm going to sell everyone else out and get works mine.

01:13:54.933 --> 01:13:58.118
[SPEAKER_01]: and it just will happen to be a woman in this case.

01:13:58.138 --> 01:14:00.042
[SPEAKER_01]: So I'm of both ways of it.

01:14:00.482 --> 01:14:10.940
[SPEAKER_01]: I wish it wasn't, but your two options were a woman or a black guy, and either one of them being the guy who ended up being the traitor in 2020, 2026 wasn't going to read well.

01:14:11.161 --> 01:14:12.142
[SPEAKER_01]: And that's just the way it was.

01:14:12.202 --> 01:14:13.785
[SPEAKER_01]: That's that's how the story is.

01:14:14.491 --> 01:14:21.685
[SPEAKER_00]: Now, if at the same time, she told Roddy Piper, don't do drugs, maybe she could have been Nancy Reagan.

01:14:21.705 --> 01:14:28.557
[SPEAKER_00]: But, okay, so I wanna know what your favorite line is.

01:14:28.578 --> 01:14:30.140
[SPEAKER_00]: I'll read a couple of the favorite lines.

01:14:30.441 --> 01:14:32.044
[SPEAKER_00]: Everyone's favorite line.

01:14:32.024 --> 01:14:40.359
[SPEAKER_00]: is I've come here to chew bubble gum and kick ass and I'm all out of bubble gum where he walks into the bank with the shotgun after seeing the aliens.

01:14:40.880 --> 01:14:48.835
[SPEAKER_00]: Now this line is adlibbed, but it's something that he had thought about.

01:14:48.815 --> 01:14:52.039
[SPEAKER_00]: And possibly he was going to use an arrestling promo.

01:14:52.640 --> 01:14:59.408
[SPEAKER_00]: And so when carpenter wants him to be in this movie, and kind of gives him a little bit of cart blanche with some of these lines.

01:14:59.468 --> 01:15:03.333
[SPEAKER_00]: He wants Piper to do wrestling promo kind of work in this movie.

01:15:03.854 --> 01:15:11.363
[SPEAKER_00]: Piper pulls this one out from his notebook for what is probably the most memorable line.

01:15:11.523 --> 01:15:18.332
[SPEAKER_00]: One of the most memorable lines in all the 80s I would say.

01:15:19.358 --> 01:15:36.000
[SPEAKER_00]: He tells the elderly alien woman in the supermarket so in the scene that I was talking about you know your head you know you look like your head fell in cheese dip back in 1957

01:15:36.301 --> 01:15:52.302
[SPEAKER_00]: he says uh uh uh the same uh one of the women that he shoots with the shotgun you you're okay this one real fucking ugly uh so you got a couple there mama don't like tattletales is another one do you have a favorite piper line in this movie

01:15:52.822 --> 01:15:56.890
[SPEAKER_01]: Uh, I think a brother alive, the bitch and chief back at heat.

01:15:57.311 --> 01:15:58.754
[SPEAKER_01]: That's, that's another one.

01:15:59.074 --> 01:16:00.257
[SPEAKER_01]: That's another one.

01:16:00.277 --> 01:16:00.497
[SPEAKER_01]: Oh, no.

01:16:00.878 --> 01:16:04.646
[SPEAKER_01]: That was a choice one that I don't think I could ever say in real life.

01:16:04.806 --> 01:16:06.409
[SPEAKER_01]: But uh,

01:16:06.777 --> 01:16:11.463
[SPEAKER_01]: Mr. Piper there and it's to nail that one pretty well.

01:16:11.563 --> 01:16:32.211
[SPEAKER_01]: I think I think just the whole put the glass is on like just the Just the frustration with each other like put the god damn glasses on I think every one of us had that frustration with somebody else or it's like just do the thing

01:16:32.444 --> 01:16:39.618
[SPEAKER_00]: All right, just a couple of more trivia pieces I was kind of looking at, you know, who else was, were they thinking of for this movie?

01:16:40.319 --> 01:16:45.188
[SPEAKER_00]: And everyone would have thought Kurt Russell, because Kurt Russell and John Carpenter had worked so much together.

01:16:45.229 --> 01:16:49.677
[SPEAKER_00]: And they just worked together in big trouble and little China.

01:16:49.657 --> 01:16:54.702
[SPEAKER_00]: The studio expected Kurt Russell to be in this movie and Carperature went the other way.

01:16:54.822 --> 01:17:01.889
[SPEAKER_00]: He thought that Kurt was too much of a movie star, so he wanted more of like a blank slate kind of character.

01:17:01.909 --> 01:17:05.312
[SPEAKER_00]: So that's why he chose Piper for that role.

01:17:06.113 --> 01:17:09.296
[SPEAKER_01]: Didn't they have to be like overboard at the same time in the movie?

01:17:09.716 --> 01:17:11.138
[SPEAKER_00]: Is that the is that the Goldie Han won?

01:17:11.658 --> 01:17:16.643
[SPEAKER_01]: That's the yeah, it's the Goldie Han won.

01:17:17.230 --> 01:17:20.475
[SPEAKER_00]: that that sounds around the same time sometime in the late 80's.

01:17:21.176 --> 01:17:21.696
[SPEAKER_01]: Yeah.

01:17:22.437 --> 01:17:26.163
[SPEAKER_01]: So for Keith David 87, in fact, yeah.

01:17:26.183 --> 01:17:26.463
[SPEAKER_00]: Yeah.

01:17:26.583 --> 01:17:35.015
[SPEAKER_01]: So it might have been the movie that you were unable to do the result of, you know, fan, family comedy with his, uh, are they married?

01:17:35.536 --> 01:17:36.037
[SPEAKER_01]: Correctly.

01:17:36.077 --> 01:17:36.518
[SPEAKER_01]: Come.

01:17:37.459 --> 01:17:41.044
[SPEAKER_01]: Come and look at them together forever and not actually get married.

01:17:41.227 --> 01:17:42.088
[SPEAKER_00]: It's no idea.

01:17:42.129 --> 01:17:43.751
[SPEAKER_00]: Yeah, who knows?

01:17:44.032 --> 01:17:44.733
[SPEAKER_00]: They're happy though.

01:17:44.753 --> 01:17:45.134
[SPEAKER_00]: Good for them.

01:17:45.234 --> 01:17:46.235
[SPEAKER_00]: Yeah, good for them.

01:17:46.937 --> 01:17:51.645
[SPEAKER_00]: So Keith David, obviously worked with Carpenter on the thing.

01:17:52.206 --> 01:18:01.902
[SPEAKER_00]: Carpenter was a little bit worried that Keith might be a little too intelligent, a little too theatrical for this role, which required him to be a little bit

01:18:01.882 --> 01:18:05.206
[SPEAKER_00]: Um, you know, that a little more rougher on the edges.

01:18:06.227 --> 01:18:17.380
[SPEAKER_00]: And, but it's after seeing Keith in a platoon, which was the year a couple years before that he realized that Keith could actually stand toe to toe, physically with with Piper.

01:18:18.621 --> 01:18:19.983
[SPEAKER_00]: Um, they had a great fight.

01:18:20.343 --> 01:18:30.775
[SPEAKER_01]: I, I, I got to say like they, for a guy that doesn't look like he

01:18:30.991 --> 01:18:31.251
[SPEAKER_00]: Yeah.

01:18:31.552 --> 01:18:31.752
[SPEAKER_00]: Yeah.

01:18:32.192 --> 01:18:34.095
[SPEAKER_00]: Piper has some funny things to say about it.

01:18:34.135 --> 01:18:36.918
[SPEAKER_00]: Like, yeah, you know, he's, he's a Shakespeare guy.

01:18:37.058 --> 01:18:49.313
[SPEAKER_00]: Like, you know, so the early in production, carpenter plan to have one single man play every male alien and one single woman play every female alien.

01:18:49.793 --> 01:18:53.758
[SPEAKER_00]: The idea was to create a subliminal sameness

01:18:53.738 --> 01:19:15.122
[SPEAKER_00]: that made them look even creepier, but during, but during screen test, he felt that this look too much like a technical gimmick, and it didn't feel, it robbed the world of its lived in feel, so he scrapped it and then he hired a bunch of different actors and stunt performers to play those folks.

01:19:15.423 --> 01:19:17.249
[SPEAKER_00]: Um, all right.

01:19:17.450 --> 01:19:20.802
[SPEAKER_00]: So we got through just about everything.

01:19:20.822 --> 01:19:26.361
[SPEAKER_00]: Was there anything that you wanted to get through before I ask you one final question?

01:19:26.645 --> 01:19:29.730
[SPEAKER_01]: I was just going to throw a call out to anyone listening to this.

01:19:29.890 --> 01:19:33.596
[SPEAKER_01]: We are still trying to figure out the movies that we will do in the future.

01:19:33.657 --> 01:19:43.292
[SPEAKER_01]: You know, essentially when we did this show, Garrett, the end goal for our pilot program was basically doing the Street Fighter movie at the end of the summer.

01:19:43.312 --> 01:19:46.678
[SPEAKER_00]: Yeah, because Cody and Roman everybody broke each other.

01:19:46.658 --> 01:19:57.869
[SPEAKER_01]: So we've got a few movies, there are about 25 movies that are on the chalkboard, the virtual chalkboard as it will.

01:19:58.409 --> 01:20:03.034
[SPEAKER_01]: But if anybody was listening to this, really it's just like you got to do this and this is why.

01:20:03.074 --> 01:20:07.698
[SPEAKER_01]: Throw it away, you know, send it to GG if I gave media.com, right?

01:20:07.819 --> 01:20:10.321
[SPEAKER_01]: Is that the, is that anything you can do?

01:20:10.341 --> 01:20:16.547
[SPEAKER_01]: And we'll, we'll bandie about and figure that out.

01:20:16.527 --> 01:20:18.029
[SPEAKER_01]: I'm open.

01:20:18.289 --> 01:20:27.760
[SPEAKER_01]: I'm open a whole bunch of different movies, a whole bunch of different themes, a whole bunch of different approaches to doing this as long as, you know, Gary and I are having fun with it.

01:20:28.661 --> 01:20:33.407
[SPEAKER_00]: Yeah, and you know, if you want to, we have a pretty fun movie channel in the discord as well.

01:20:33.427 --> 01:20:38.913
[SPEAKER_00]: So if you're interested in coming through and you're like wrestling and you're like movies and you want to come join the discord.

01:20:38.933 --> 01:20:42.197
[SPEAKER_00]: We keep it, you know, we keep it pretty, you know,

01:20:42.633 --> 01:20:48.280
[SPEAKER_00]: You know, pretty, pretty small, but we will let in good folks.

01:20:48.320 --> 01:20:52.506
[SPEAKER_00]: If you're here to kind of troll around and screw around, maybe not, maybe it's not the greatest discord for you.

01:20:52.526 --> 01:20:55.810
[SPEAKER_00]: But if you are interested, you can hit me up at the Amy Meledris.

01:20:56.511 --> 01:21:04.201
[SPEAKER_01]: When it comes for the movie, like section, you've got a fun little thing going where everyone's going to try and predict the top 10 grossing movie to the summer and stuff, right?

01:21:04.782 --> 01:21:11.070
[SPEAKER_01]: So if you guys, if you're listening to this and like, hey, that's how I've got my

01:21:11.050 --> 01:21:13.493
[SPEAKER_01]: Like you said, hit up, hit up GGS.

01:21:13.553 --> 01:21:14.013
[SPEAKER_01]: I gave media.

01:21:15.255 --> 01:21:16.256
[SPEAKER_00]: Okay, then the last question.

01:21:16.296 --> 01:21:18.398
[SPEAKER_00]: So we'll we'll just kind of end everyone.

01:21:18.999 --> 01:21:24.084
[SPEAKER_00]: Every single one of these with the with one simple yes or no A or B kind of question.

01:21:25.346 --> 01:21:29.090
[SPEAKER_00]: They live John Carmoner's they live good movie or bad movie.

01:21:29.991 --> 01:21:36.838
[SPEAKER_00]: Good movie good movie good movie good movie good movie works and you know I would say if you haven't seen it in a little while.

01:21:37.375 --> 01:21:38.136
[SPEAKER_00]: I would watch it.

01:21:38.677 --> 01:21:43.544
[SPEAKER_00]: It's it's pretty fascinating just the theme of this movie and how well it connects to today.

01:21:44.286 --> 01:22:04.817
[SPEAKER_01]: It's entertaining, but it's also competent, you know, some movies are just like they're made well, but they're like boring a shit or just not what you like, and some movies are really entertaining, but when you try and like actually you can structure like, oh, this thing, the match, this one just kind of seemed like understood the, understood the assignment

01:22:05.219 --> 01:22:07.642
[SPEAKER_01]: didn't fuck around and I can appreciate that.

01:22:07.702 --> 01:22:08.923
[SPEAKER_01]: Good movie.

01:22:08.943 --> 01:22:09.324
[SPEAKER_00]: All right.

01:22:09.344 --> 01:22:13.088
[SPEAKER_00]: Like Jeremy said, we will come back for another go-round.

01:22:13.108 --> 01:22:19.135
[SPEAKER_00]: We're probably going to be around once a month and if we can fit in more than that, then we definitely will.

01:22:19.195 --> 01:22:24.381
[SPEAKER_00]: I'm watching so many movies a week, so just it's kind of is like an assignment.

01:22:24.401 --> 01:22:30.788
[SPEAKER_00]: It's just I just got to watch it and then do my research, so so we will, you know, there's some movies that are on our list.

01:22:30.768 --> 01:22:40.404
[SPEAKER_00]: that have come out recently, but I kind of like doing the older movies at least in the beginning, just because there's more information and there's more stories around them.

01:22:40.684 --> 01:22:44.871
[SPEAKER_00]: You know, there's there's more directors commentary type of stuff about them.

01:22:44.931 --> 01:22:49.418
[SPEAKER_00]: So we may lean a little bit older in the beginning, but we do are.

01:22:50.697 --> 01:23:00.607
[SPEAKER_01]: You have a podcast or anything that for movies that you listen to that inspires you when you approach doing this podcast.

01:23:01.308 --> 01:23:02.309
[SPEAKER_01]: Oh yeah, going rogue.

01:23:02.949 --> 01:23:03.570
[SPEAKER_00]: Going rogue.

01:23:03.590 --> 01:23:04.511
[SPEAKER_01]: Yeah, yeah.

01:23:04.551 --> 01:23:05.552
[SPEAKER_01]: Yeah, yeah.

01:23:06.313 --> 01:23:07.634
[SPEAKER_01]: Yeah, they do all movies right now.

01:23:07.654 --> 01:23:11.558
[SPEAKER_01]: They're doing a Star Wars like whole program that's really good.

01:23:11.658 --> 01:23:16.403
[SPEAKER_01]: You can structure everything that happened with the sequel trilogy of Star Wars.

01:23:16.443 --> 01:23:18.645
[SPEAKER_01]: And they got two or three episodes in the can.

01:23:19.165 --> 01:23:20.007
[SPEAKER_01]: Man, that's a mess.

01:23:20.448 --> 01:23:23.073
[SPEAKER_00]: Real mess.

01:23:23.694 --> 01:23:28.244
[SPEAKER_00]: I'm a big Sean fantasy and Amanda Dobbins guy with the ringer.

01:23:28.284 --> 01:23:31.250
[SPEAKER_00]: They're they're they're show the big picture.

01:23:31.270 --> 01:23:40.228
[SPEAKER_00]: I listen to every single episode and they I think they they're doing two or three a week these days and sometimes these things are long so I'm just playing the show.

01:23:40.208 --> 01:23:42.291
[SPEAKER_00]: doing some grinding and have that thing going on.

01:23:42.331 --> 01:23:56.971
[SPEAKER_00]: But also kind of I think maybe the the most maybe the perfect conversational podcast that I think is out there is the rewatchables with Bill Simmons and his cast of characters, Chris Ryan, Sean Fennessey, Van Lathen.

01:23:58.273 --> 01:24:01.277
[SPEAKER_00]: Those guys I actually saw them live not too long ago.

01:24:01.317 --> 01:24:06.064
[SPEAKER_00]: They did basic they were out here in San Francisco and they did a live show for basic instinct.

01:24:06.331 --> 01:24:07.673
[SPEAKER_00]: And that was a blast.

01:24:08.454 --> 01:24:12.020
[SPEAKER_00]: My buddy Ben Cruz obviously works at the ringer.

01:24:12.080 --> 01:24:17.328
[SPEAKER_00]: So, he was kind of letting us know, you know, we're going to do a rewatchable.

01:24:17.348 --> 01:24:18.369
[SPEAKER_00]: It's like, get ready.

01:24:18.810 --> 01:24:19.892
[SPEAKER_00]: So that was a lot of fun.

01:24:20.012 --> 01:24:23.938
[SPEAKER_00]: And so rewatchable is probably my favorite podcast that I listened to these days.

01:24:24.038 --> 01:24:25.620
[SPEAKER_01]: I do for the nerd stuff.

01:24:25.800 --> 01:24:28.885
[SPEAKER_01]: I do House of R through that same podcast network the ringer.

01:24:29.366 --> 01:24:33.452
[SPEAKER_01]: And today they came out with one for the House of R. We're mean of kinds.

01:24:33.432 --> 01:24:40.530
[SPEAKER_01]: joined them and they are reviewing revisiting Christopher Nolan's The Dark Knight with Heath Ledger and Christopher Nolan.

01:24:40.550 --> 01:24:41.412
[SPEAKER_00]: No way.

01:24:41.432 --> 01:24:42.334
[SPEAKER_00]: I'm sorry, I'm sorry.

01:24:42.354 --> 01:24:44.961
[SPEAKER_01]: That sounds like that could be a fun conversation.

01:24:45.194 --> 01:24:49.641
[SPEAKER_00]: I probably saw that like six months ago, I went back to rewatch that.

01:24:49.661 --> 01:24:49.802
[SPEAKER_01]: Yeah.

01:24:50.182 --> 01:24:51.084
[SPEAKER_00]: Yeah.

01:24:52.205 --> 01:24:52.546
[SPEAKER_00]: All right.

01:24:52.806 --> 01:24:53.488
[SPEAKER_00]: That is it from here.

01:24:53.548 --> 01:24:56.833
[SPEAKER_00]: We'll have this on the audio feed as well.

01:24:56.873 --> 01:25:04.806
[SPEAKER_00]: So if you're listening through the audio, we do have this on video and likewise, if you're more of an audio person and you caught us on.

01:25:04.786 --> 01:25:07.130
[SPEAKER_00]: The YouTube stream, check us out on video.

01:25:07.150 --> 01:25:11.116
[SPEAKER_00]: You can find everything at fightgamemedia.com.

01:25:11.176 --> 01:25:17.606
[SPEAKER_00]: I'm also going to be doing a little bit of writing tomorrow because Gina Corrano and Ronda Rouser are fighting.

01:25:17.626 --> 01:25:24.616
[SPEAKER_00]: So I'm going to do some live updates about that fight just because I have to talk about it with David Paul later in the evening.

01:25:24.636 --> 01:25:26.279
[SPEAKER_00]: And I just want to have all my notes together.

01:25:26.359 --> 01:25:28.903
[SPEAKER_00]: So you'll see some writing on the website tomorrow as well.

01:25:28.883 --> 01:25:30.652
[SPEAKER_00]: Okay, that is it from here.

01:25:30.873 --> 01:25:32.884
[SPEAKER_00]: For Jeremy, I am WG.

01:25:32.964 --> 01:25:36.362
[SPEAKER_00]: We will see you when we see you peace out.