Steve, David, and Anthony switched the samples, with the Fugitive.
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00:19 --> 00:24 [SPEAKER_02]: Welcome to Properly Hower, a podcast that reviews classic films and other old fiction.
00:25 --> 00:29 [SPEAKER_02]: Today we take a look at the Academy Award Winnie Film of the Fugitive.
00:30 --> 00:39 [SPEAKER_02]: starring Harrison Ford and Tommy Lee Jones, the Fugitive is a story about a man wrongly convicted of the murder of his wife and is quest to find the least hinky people in Chicago.
00:41 --> 00:47 [SPEAKER_02]: Today we are joined by special guests David from the Lorehouse and with me as always to discuss this movie
00:48 --> 00:50 [SPEAKER_02]: is Dr. Anthony LaDont.
00:50 --> 00:51 [SPEAKER_02]: Welcome, David.
00:52 --> 00:52 [SPEAKER_05]: Thank you.
00:53 --> 00:53 [SPEAKER_05]: Great to be here.
00:54 --> 00:56 [SPEAKER_05]: I'm honored to be part of the Bacon Rapp season.
00:57 --> 01:00 [SPEAKER_02]: Do you know that my intros always pay tribute to the fugitive?
01:00 --> 01:06 [SPEAKER_02]: When I say Dr. Anthony LaDont, I try to say it like Tommy Lee Jones going, your fugitive's name is Dr. Richard Campbell.
01:06 --> 01:07 [SPEAKER_05]: I did not know that.
01:07 --> 01:09 [SPEAKER_05]: Dr. LaDont, I'm giving the speech here.
01:10 --> 01:13 [SPEAKER_05]: That would be my friend, my friend, my friend.
01:13 --> 01:15 [SPEAKER_02]: And back to LaDont, he's not feeling so well.
01:17 --> 01:34 [SPEAKER_02]: I mean, I'm not saying that you're wrong to not like it, but I find it interesting that the reviews are generally positive and you sort of said, I've seen some positive reviews as well already like you're questioning the authenticity of the reviews that are out there.
01:34 --> 01:35 [SPEAKER_05]: Exactly.
01:35 --> 01:39 [SPEAKER_02]: This is like Rod Tomatoes is the Epstein list of reviews.
01:41 --> 01:42 [SPEAKER_05]: Steve, the file is on my desk.
01:43 --> 01:43 [SPEAKER_05]: I'm reviewing it.
01:44 --> 01:45 [SPEAKER_02]: I'm looking at it right now.
01:45 --> 01:46 [SPEAKER_02]: I need to go.
01:46 --> 01:49 [SPEAKER_02]: And it's, and the good news is it's gone and it never was.
01:50 --> 01:52 [SPEAKER_03]: I feel like it's very anti bald.
01:53 --> 01:55 [SPEAKER_03]: And it's, I find that offensive.
01:57 --> 01:59 [SPEAKER_05]: Is the, is the Lex Luther character not bald?
02:00 --> 02:02 [SPEAKER_05]: I'm not tracking Superman at all.
02:03 --> 02:09 [SPEAKER_03]: Lex Luther historically is bald, but they've usually found a way to allow Gene Hackman to kill his hair.
02:09 --> 02:10 [SPEAKER_05]: Exactly.
02:10 --> 02:18 [SPEAKER_03]: Or Kevin Spacey to keep his hair, or there's usually a wig involved, which makes me feel a little bit better about it.
02:18 --> 02:24 [SPEAKER_03]: But this one just full bald all the time, kind of going for a Jeff Bezos look.
02:25 --> 02:29 [SPEAKER_02]: The wig is to Lex Louther as the glasses are to Superman.
02:32 --> 02:33 [SPEAKER_02]: No, that's not Lex Louther.
02:33 --> 02:37 [SPEAKER_03]: That's Gene Hackman played by Kevin Space.
02:40 --> 02:40 [SPEAKER_03]: Uh, goodness.
02:41 --> 02:46 [SPEAKER_03]: Um, Gene Hackman loosely attached to the fugitive, which we're talking about today.
02:46 --> 02:46 [SPEAKER_03]: Yeah.
02:46 --> 02:47 [SPEAKER_03]: Indeed, he is.
02:48 --> 02:52 [SPEAKER_05]: We just had a Gene Hackman movie fest for our eleventhies coverage.
02:52 --> 02:54 [SPEAKER_03]: And we, uh, love this.
02:55 --> 03:00 [SPEAKER_03]: So this movie, the fugitive, uh, he was considered for the Harrison Ford role.
03:01 --> 03:03 [SPEAKER_02]: No, I thought he was considered for the, uh,
03:04 --> 03:05 [SPEAKER_02]: Simon Lee Jones that you wrote.
03:05 --> 03:09 [SPEAKER_03]: And then and then he was considered for the other role.
03:09 --> 03:13 [SPEAKER_03]: He was considered for both roles for this film.
03:13 --> 03:19 [SPEAKER_02]: So he was going to have a wig when he was Harrison Ford's character and he'd be bald when he was timely Jones characters.
03:19 --> 03:21 [SPEAKER_02]: And I was going to work.
03:21 --> 03:23 [SPEAKER_03]: In either case, he would have had the Gene Hackman voice.
03:24 --> 03:26 [SPEAKER_03]: Did he ever do a different voice?
03:27 --> 03:31 [SPEAKER_03]: He's one of these great actors who, you know, everyone loves him.
03:31 --> 03:32 [SPEAKER_03]: Did he ever do a voice?
03:33 --> 03:33 [SPEAKER_03]: No.
03:34 --> 03:35 [SPEAKER_03]: I don't think so.
03:35 --> 03:38 [SPEAKER_03]: I do his credit.
03:38 --> 03:42 [SPEAKER_02]: Well, and in the end of the state, he voiced Will Smith's character.
03:42 --> 03:43 [SPEAKER_02]: He did both sides.
03:44 --> 03:46 [SPEAKER_02]: Yeah, Will Smith was in that one for some reason.
03:46 --> 03:48 [SPEAKER_02]: He was just he was too nervous.
03:51 --> 03:55 [SPEAKER_03]: Steve, what is the coolest thing you've ever done with Velcro?
03:56 --> 04:00 [SPEAKER_02]: The coolest thing I've ever done with Velcro.
04:00 --> 04:07 [SPEAKER_02]: I guess wore Spider-Man shoes when I was little.
04:07 --> 04:07 [SPEAKER_03]: Very good.
04:08 --> 04:09 [SPEAKER_03]: All right, same question to you David.
04:09 --> 04:17 [SPEAKER_05]: I think it had something to do involving fireworks and the pre-forced July teenage hijack.
04:17 --> 04:18 [SPEAKER_03]: Same, same warrant.
04:19 --> 04:21 [SPEAKER_03]: I'm trying to, it's like, it's fuzzy.
04:21 --> 04:23 [SPEAKER_03]: Because I will do it as an adult.
04:25 --> 04:34 [SPEAKER_05]: It was fuzzy, but it was something about creating some sort of handheld bottle rocket launcher.
04:34 --> 04:37 [SPEAKER_05]: Like a pistol grip bottle rocket launcher.
04:37 --> 04:39 [SPEAKER_03]: I can't believe I didn't think of it.
04:40 --> 04:40 [SPEAKER_02]: This is fantastic.
04:41 --> 04:45 [SPEAKER_02]: I was on a story about one of Anthony's and my, like we used to work in the,
04:46 --> 04:48 [SPEAKER_02]: the fireworks stands at the same thing.
04:49 --> 04:57 [SPEAKER_02]: And you know, so there's nothing crazy, but then some guy would told us about the killer bees firework with these little paper bees.
04:58 --> 04:59 [SPEAKER_03]: We used to get the best tips.
05:00 --> 05:04 [SPEAKER_02]: And so they were, yeah, they were like, they were glued to the sides of this thing.
05:04 --> 05:08 [SPEAKER_02]: So you'd have the center fountain and then these little guys would shoot off the little individual killer bees.
05:09 --> 05:13 [SPEAKER_02]: And the guy said, hey, what you want to do is you want to clip those bee wings.
05:13 --> 05:14 [SPEAKER_02]: You want to clip those wings.
05:15 --> 05:17 [SPEAKER_02]: And then so we said, hey, all right, this is going to be really fun.
05:17 --> 05:18 [SPEAKER_02]: I mean, it kind of blew a bit of pop in certain sense.
05:18 --> 05:21 [SPEAKER_02]: We were in a neighborhood that I had never been to before.
05:21 --> 05:22 [SPEAKER_02]: Okay.
05:22 --> 05:24 [SPEAKER_03]: And this is actually an important detail to me.
05:25 --> 05:29 [SPEAKER_03]: The killer B has around the perimeter of the cylinder.
05:30 --> 05:35 [SPEAKER_03]: Tiny little fireworks about twelve that will shoot off.
05:35 --> 05:36 [SPEAKER_03]: or shoot up.
05:36 --> 05:39 [SPEAKER_03]: But what you're supposed to do is you're supposed to take a razor blade.
05:40 --> 05:41 [SPEAKER_03]: And it's supposed to.
05:41 --> 05:43 [SPEAKER_02]: And you're not supposed to.
05:44 --> 05:51 [SPEAKER_03]: According to the tip I got, you're supposed to take a razor blade and cut the paper that holds it on the side.
05:51 --> 05:52 [SPEAKER_03]: Just slightly.
05:52 --> 05:52 [SPEAKER_03]: It's not glued.
05:53 --> 05:56 [SPEAKER_03]: It's just held on by a thin bit of paper.
05:56 --> 05:57 [SPEAKER_03]: But if you use the.
05:58 --> 05:58 [SPEAKER_03]: I'm looking at it.
05:59 --> 05:59 [SPEAKER_03]: Just so.
05:59 --> 06:00 [SPEAKER_03]: And just make sure online.
06:01 --> 06:04 [SPEAKER_03]: Leave just a tiny little bit of the paper.
06:05 --> 06:06 [SPEAKER_03]: Uh, continuous Steve.
06:07 --> 06:13 [SPEAKER_02]: Uh, so yeah, and I believe I believe you kind of like kind of had a gather round all you children moment.
06:14 --> 06:17 [SPEAKER_02]: Uh, so like people know, it's just going to be cool thing that's going to happen here.
06:18 --> 06:23 [SPEAKER_02]: And uh, and it was, I mean, I think lit off and that fountain did what the fountain did in the nose bees.
06:24 --> 06:33 [SPEAKER_02]: Those bees took off like they they departed from from their base and they they were be lining.
06:34 --> 06:40 [SPEAKER_02]: couple directed be lining one direction right into a child's sternum
06:44 --> 06:47 [SPEAKER_05]: You know, our generation was a one-time thing.
06:47 --> 06:50 [SPEAKER_05]: We don't let us do that.
06:50 --> 06:53 [SPEAKER_05]: Is even the killer bees is that available in store?
06:53 --> 06:54 [SPEAKER_05]: I don't think so.
06:54 --> 06:55 [SPEAKER_05]: I don't think so.
06:55 --> 06:57 [SPEAKER_03]: That's like one of those things we're all banned out here.
06:57 --> 06:57 [SPEAKER_03]: All right.
06:57 --> 07:04 [SPEAKER_03]: Well, let me let me let me let give you a little tip on the the border of Michigan and Indiana.
07:04 --> 07:04 [SPEAKER_03]: All right.
07:04 --> 07:10 [SPEAKER_03]: So I just went across this border recently right around the place of the fugitive is filmed.
07:11 --> 07:19 [SPEAKER_03]: And when you go across this border, you'll see right at the border, all of the illegal fireworks in Michigan are legal in Indiana.
07:20 --> 07:26 [SPEAKER_03]: But all of the marijuana that is legal in Michigan is illegal in Indiana.
07:26 --> 07:31 [SPEAKER_03]: And so these, they push these two things together, right at the border.
07:32 --> 07:43 [SPEAKER_03]: And what I'm thinking is why don't you people get together because what would be better than combining both of these things and join both at the same time?
07:44 --> 07:50 [SPEAKER_05]: Listen, the artificial geographical boundary is what makes it a special thing.
07:51 --> 07:54 [SPEAKER_05]: Because if you had a bar in a VFW post, like, so what?
07:55 --> 07:56 [SPEAKER_05]: Like, you know, that makes sense.
07:56 --> 08:00 [SPEAKER_05]: It's not special, but that you're crossing the border from one to the other.
08:00 --> 08:03 [SPEAKER_05]: I think that somehow it makes it something, something different.
08:06 --> 08:10 [SPEAKER_03]: Close thing I've ever done with Velcro involved a knife set that I had.
08:10 --> 08:12 [SPEAKER_03]: I was very happy about it.
08:13 --> 08:17 [SPEAKER_03]: And it's important that you're using load barine Velcro.
08:18 --> 08:19 [SPEAKER_05]: Okay.
08:19 --> 08:21 [SPEAKER_03]: Are you familiar with load bearing Velcro?
08:22 --> 08:23 [SPEAKER_05]: I didn't know that there was a distinction.
08:23 --> 08:34 [SPEAKER_03]: I mean, I'm certainly it's really important and I want you this is important for this film because the key distinction between the federal agents and the local policemen is really the Velcro technology.
08:35 --> 08:39 [SPEAKER_05]: Tommy Dilly Jones definitely has a Velcro moment.
08:40 --> 08:42 [SPEAKER_03]: And not only that, his whole team's got a Velcro.
08:42 --> 08:44 [SPEAKER_03]: And he's got a Velcro.
08:44 --> 08:47 [SPEAKER_03]: He's walking up to the crime scene.
08:47 --> 08:48 [SPEAKER_03]: They're going to question them.
08:48 --> 08:50 [SPEAKER_03]: Velcro flips it down.
08:50 --> 08:51 [SPEAKER_03]: Hey, look at that badge.
08:51 --> 08:52 [SPEAKER_03]: Yep.
08:52 --> 08:52 [SPEAKER_03]: That's true.
08:52 --> 08:53 [SPEAKER_03]: I'm going to take over.
08:53 --> 08:57 [SPEAKER_03]: And then, of course, they've got the scene with the Velcro's on their back.
08:58 --> 09:00 [SPEAKER_03]: And I remember watching this in ninety-three thinking,
09:01 --> 09:05 [SPEAKER_03]: Damn it, that's the coolest thing I've ever seen in her when I do it with Velcro.
09:06 --> 09:12 [SPEAKER_02]: Well, the thing too about the Velcro, so clearly that is not a low-bearing Velcro because it would take so many pulls.
09:12 --> 09:19 [SPEAKER_02]: So the thing is about it is like one it shows their experience as officers that they can usually get it in one tug.
09:20 --> 09:24 [SPEAKER_02]: Because the better the Velcro, you know, the better the seal, right?
09:24 --> 09:29 [SPEAKER_02]: Your hooks are doing what they're supposed to do, so they get it in one yank.
09:29 --> 09:33 [SPEAKER_02]: I mean, that it demonstrates a certain adeptness in their craft.
09:33 --> 09:42 [SPEAKER_03]: There's a whole week at the Academy where they get the cadet, you know, at the cadet level where you have to master the Velcro.
09:42 --> 09:43 [SPEAKER_03]: And a lot of people just don't make it past that.
09:44 --> 09:55 [SPEAKER_02]: There's a lot of deleted scenes where the Chicago PD are trying to unveil something and they're comically struggling mildly to try to demonstrate the difference between the two units.
09:55 --> 09:59 [SPEAKER_03]: I do want to talk about the difference between police officers and this movie, but before we do.
10:00 --> 10:07 [SPEAKER_03]: I'm kind of curious, Steve, you chose this film because of Tommy Lee.
10:08 --> 10:08 [SPEAKER_03]: True.
10:09 --> 10:12 [SPEAKER_03]: So I thought I gave you a little bit of room to talk just about
10:12 --> 10:13 [SPEAKER_03]: why he chose the movie.
10:13 --> 10:21 [SPEAKER_02]: Because I was coming down to interesting, it was coming down to two, I mean, obviously, Tommy Jones is the reason why we're here by virtue of no country for old men.
10:22 --> 10:32 [SPEAKER_02]: And I was actually going between two Tommy Jones joins that were both directed by Andrew Davis, which would be the fugitive and under siege.
10:34 --> 10:35 [SPEAKER_05]: Well, you said to segal one.
10:36 --> 10:37 [SPEAKER_02]: Yeah.
10:37 --> 10:40 [SPEAKER_02]: And my, uh, that's your roof.
10:40 --> 10:40 [SPEAKER_02]: That's the best.
10:41 --> 10:41 [SPEAKER_02]: It's the best.
10:41 --> 10:42 [SPEAKER_02]: It's the best segal.
10:42 --> 10:49 [SPEAKER_02]: It's it probably put Tommy Lee Jones back on the map more so like giving runway for for this kind of attention on the fugitive.
10:49 --> 10:54 [SPEAKER_05]: That's one where he was the ship's cook on a battle ship or something on the air or a cigar.
10:54 --> 10:56 [SPEAKER_02]: Yeah, yeah, yeah, yeah.
10:57 --> 10:58 [SPEAKER_02]: You see in it.
10:58 --> 10:58 [SPEAKER_02]: Come on, just think.
10:58 --> 10:59 [SPEAKER_02]: Amazing.
11:00 --> 11:01 [SPEAKER_02]: And so peaky.
11:01 --> 11:03 [SPEAKER_03]: So it was making boolea base.
11:03 --> 11:04 [SPEAKER_03]: Is that what he's done?
11:04 --> 11:05 [SPEAKER_02]: I believe so.
11:05 --> 11:09 [SPEAKER_02]: It was really hard for me to not pick us in any of our, you know, our free fans.
11:09 --> 11:11 [SPEAKER_02]: But no, this is that would be much more on brand for me.
11:12 --> 11:17 [SPEAKER_02]: But my relationship with the fugitive made it so that I wanted to talk with Anthony.
11:18 --> 11:25 [SPEAKER_02]: specifically about this is because I have a feeling that this movie was a pretty ninety three, you know, we're at what seniors in high school.
11:25 --> 11:30 [SPEAKER_02]: So this is like we're kind of in that we want to be entertained, but we also are like, you know,
11:31 --> 11:35 [SPEAKER_02]: kind of one foot into like movies that might matter a little bit more.
11:36 --> 11:42 [SPEAKER_02]: And this one kind of did in a way, because it was, you know, it was heavy action, but it was also like, this was a big deal.
11:42 --> 11:45 [SPEAKER_02]: This is a pretty large film for ninety three.
11:46 --> 11:52 [SPEAKER_02]: And to be as critically acclaimed as it was commercially successful as kind of a unique situation, instead this time.
11:52 --> 11:59 [SPEAKER_02]: So I've seen this movie, I don't know, dozens of times.
12:00 --> 12:05 [SPEAKER_02]: I have always had the same problems with it every time I watch it and I always enjoy the same parts every time I watch it.
12:06 --> 12:12 [SPEAKER_02]: It's a little surprising to me how many Academy Awards it was nominated for.
12:16 --> 12:19 [SPEAKER_02]: Yeah, it's definitely good.
12:19 --> 12:27 [SPEAKER_02]: I mean, it's definitely a good film, but it's one of those movies where the more I watch it, the more formulaic it becomes.
12:30 --> 12:33 [SPEAKER_02]: I love every bit of that formula.
12:33 --> 12:52 [SPEAKER_02]: I mean, this is, you know, when we get to the tropes questions, I mean, this is rife and it's kind of interesting how there's a lot of things that don't feel especially new, but they're presented in such a, I guess, I think the pacing is so good that it's, you just sort of are on the ride the whole time.
12:53 --> 13:06 [SPEAKER_05]: Would you, how close in proximity would you put this movie to the usual suspects in terms of its, I don't wanna say, it's not, not its heel turn, but it's plot twist.
13:07 --> 13:12 [SPEAKER_05]: And it's in its formulation of the reveal of the mystery.
13:13 --> 13:21 [SPEAKER_02]: I would say that it's lesser than, because I think there was so much more with the usual suspects,
13:22 --> 13:38 [SPEAKER_02]: You're you're traveling along with the plot twist like almost like you know like you're you're like hand in hand with it and then you realize oh wait a minute I've been holding my hands with the devil little time is this one it's like you know something's up and I mean I'll
13:38 --> 13:44 [SPEAKER_02]: be honest, I mean, that accents enough for me to already do like, I don't think so.
13:45 --> 13:50 [SPEAKER_02]: Because he's Peter lowering all over the place.
13:50 --> 13:53 [SPEAKER_03]: I think I think you're right about that because
13:55 --> 14:03 [SPEAKER_03]: I think that there's something about the Dutch accent that's good for this particular role because it's not quite German, so you think, well, this guy actually might be good.
14:04 --> 14:07 [SPEAKER_03]: When he turns out to be bad, you're like, oh, yeah, of course, of course.
14:08 --> 14:10 [SPEAKER_03]: That was what it was supposed to be all along.
14:11 --> 14:14 [SPEAKER_03]: That guy kind of sounds a little bit like a German, right?
14:14 --> 14:19 [SPEAKER_05]: So it's right on the border or indeterminantly European.
14:20 --> 14:20 [SPEAKER_03]: Right.
14:20 --> 14:21 [SPEAKER_03]: No, I don't know.
14:21 --> 14:23 [SPEAKER_03]: It sounds a German enough.
14:23 --> 14:23 [SPEAKER_03]: Okay.
14:23 --> 14:25 [SPEAKER_03]: Yeah, he works on the Death Star.
14:28 --> 14:29 [SPEAKER_05]: I thought they had British, but anyway.
14:30 --> 14:33 [SPEAKER_02]: So he, well, it's also, it's not just the voice.
14:33 --> 14:39 [SPEAKER_02]: It's the way that he constantly texts his chin down and then raises his eyes the top of his eyes.
14:39 --> 14:41 [SPEAKER_02]: I saw it gets to give you a very condescending.
14:42 --> 14:43 [SPEAKER_02]: No, and you'll never find him.
14:46 --> 14:46 [SPEAKER_02]: Yeah.
14:46 --> 14:49 [SPEAKER_02]: No bad guy in this movie doesn't look like a bad guy by the way.
14:49 --> 14:53 [SPEAKER_05]: And he's so, he's so abusive whenever Richard connects with him.
14:54 --> 14:57 [SPEAKER_03]: Well, on top of that, he's honest.
14:57 --> 14:59 [SPEAKER_03]: He's honest with the federal agents.
14:59 --> 15:00 [SPEAKER_03]: He's like, alright, fine, I'll tell you.
15:01 --> 15:01 [SPEAKER_03]: I gave money.
15:01 --> 15:04 [SPEAKER_03]: And I wouldn't tell you where he was if I knew.
15:04 --> 15:06 [SPEAKER_03]: And he's too smart for you.
15:06 --> 15:07 [SPEAKER_03]: I saw him this morning.
15:08 --> 15:11 [SPEAKER_03]: And I don't mind just telling you, I'll be all my cards are on the table.
15:11 --> 15:13 [SPEAKER_03]: And so he just comes off as
15:14 --> 15:18 [SPEAKER_03]: This guy thinks that a shit does not stink, but he's not going to lie.
15:19 --> 15:26 [SPEAKER_03]: Of course, you feel even more betrayed toward the end when you realize that it is.
15:26 --> 15:31 [SPEAKER_02]: Well, and it does make it more, and it's actually more diabolical shows that there's a less of a
15:32 --> 15:58 [SPEAKER_02]: well I just kind of caught up in the whole thing like it shows there's a premeditation to this whole entire process and then so for him to be like well I'm going to be honest with the cops about things like that's like that's a very clever way to sort of get off the sand a little bit like yeah your people are suspicious but like if you're just told them that you saw them then it doesn't seem like you're you're not you're not automatically thinking you're you're a concealing something because it's like well he's cooperating and so it's a very
15:59 --> 16:06 [SPEAKER_02]: very interesting and then in retrospect to it's like okay well if I kind of tell you where Richard is then maybe you'll find him too and that's fine too.
16:07 --> 16:11 [SPEAKER_03]: David you're a big fan of this movie I'll give you a little bit of room to cook on it.
16:13 --> 16:13 [SPEAKER_05]: I
16:15 --> 16:30 [SPEAKER_05]: I didn't really think about the Velcro aspect, but now going back to it, when Tommy Lee Jones does that like solidified him in our minds as, oh, who's this guy when he pulls out his gun in the tunnel?
16:31 --> 16:40 [SPEAKER_05]: And then all his one liners in and just his general being, it was a phenomenal film at the time.
16:40 --> 16:42 [SPEAKER_05]: And then the pacing and the action,
16:44 --> 16:52 [SPEAKER_05]: the stunts and that it's, you know, one of the questions that you always ask is like who is this movie for?
16:53 --> 17:13 [SPEAKER_05]: This is a movie for those of us who consumed a steady diet of under siege and die hard and still own and sorts of nager and just just that whole, you know, and aliens and Robocop and all of this sort of actions have, but in a little bit more sophisticated level,
17:14 --> 17:16 [SPEAKER_05]: Like we've grown up, we survive.
17:16 --> 17:19 [SPEAKER_05]: We made it to the nineties out of the eighties.
17:21 --> 17:27 [SPEAKER_05]: And then it's like this interesting crossover film because of the original television series, right?
17:28 --> 17:30 [SPEAKER_05]: That this is this generational crossover.
17:30 --> 17:33 [SPEAKER_05]: So you could get whatever, what do they call it?
17:33 --> 17:34 [SPEAKER_05]: The four acts or something like that.
17:34 --> 17:39 [SPEAKER_05]: You could get multiple quadrants of audience members into this movie.
17:39 --> 17:46 [SPEAKER_05]: You can get an older generation that saw it on television, and then you can get this younger generation like us who just eat it up.
17:46 --> 17:49 [SPEAKER_05]: Have you ever pulled up the TV series?
17:49 --> 17:50 [SPEAKER_05]: I have not.
17:50 --> 17:53 [SPEAKER_05]: I thought about trying to jump into it for this, but timing.
17:54 --> 17:55 [SPEAKER_03]: Steve, you used to be ever pulled that up?
17:56 --> 17:56 [SPEAKER_02]: No.
17:57 --> 18:03 [SPEAKER_03]: Neither of I, now is interesting because we all know that it's real, we all know that it's based on a television series.
18:04 --> 18:12 [SPEAKER_03]: And you know, maybe the best film ever made as a TV adaptation from a TV show.
18:12 --> 18:19 [SPEAKER_03]: But it's never been anything that we've decided that it's worth, worth our time to go look at.
18:19 --> 18:26 [SPEAKER_03]: And I do think that it is one of these things that allowed my father to appreciate it on a different level.
18:27 --> 18:51 [SPEAKER_03]: Because in ninety three I was kind of already a movie snob and Steve of course Steve of course was He was sort of my anchor to the popcorn world and this is sort of before Well, it's before I started to appreciate movies like big trouble in the little China on that level
18:52 --> 18:58 [SPEAKER_03]: And so, I thought... I need to interject because you invoked big trouble in Little China.
18:59 --> 18:59 [SPEAKER_03]: Okay.
19:00 --> 19:01 [SPEAKER_05]: I'm working on this theory.
19:01 --> 19:05 [SPEAKER_05]: I've got a kind of a protoblog post in process.
19:06 --> 19:08 [SPEAKER_05]: But Steve said some stuff on your guys' coverage about that.
19:08 --> 19:10 [SPEAKER_05]: That made me start thinking.
19:11 --> 19:20 [SPEAKER_05]: And I, I, I, trying to design a criteria of what a that describes a perfect movie or a movie that is a perfect movie.
19:21 --> 19:23 [SPEAKER_05]: And I think big trouble in Little China is a perfect movie.
19:28 --> 19:28 [SPEAKER_06]: Good.
19:30 --> 19:30 [SPEAKER_03]: Sorry.
19:31 --> 19:31 [SPEAKER_03]: Back to you.
19:31 --> 19:32 [SPEAKER_03]: I thought there would be more.
19:33 --> 19:34 [SPEAKER_03]: I thought there would be more.
19:34 --> 19:35 [SPEAKER_03]: I'll wait for the blog post.
19:35 --> 19:35 [SPEAKER_02]: Yeah.
19:35 --> 19:36 [SPEAKER_02]: Yeah.
19:36 --> 19:36 [SPEAKER_02]: Okay.
19:36 --> 19:37 [SPEAKER_02]: This is amazing.
19:38 --> 19:55 [SPEAKER_03]: I guess what I was trying to say before is that this is one of those movies that my dad and I both appreciate even though I was becoming a movie star because even though I wasn't really giving action movies like this a second look, this movie is so good on so many levels.
19:57 --> 20:03 [SPEAKER_03]: Just technically, and the actions compelling, but the acting is also compelling.
20:04 --> 20:18 [SPEAKER_03]: And because of that, it's one of these rare movies that I think both my father and I both liked at the same time, and hunt for October would be another example of this.
20:19 --> 20:23 [SPEAKER_05]: I think just goes to my theory that it's this cross-generational across movies.
20:23 --> 20:24 [SPEAKER_03]: So I think you're right about that.
20:24 --> 20:31 [SPEAKER_03]: I think it's one of these things where my dad could enjoy it on one level and I could enjoy it on a different level.
20:32 --> 20:35 [SPEAKER_03]: And we could just really enjoy it together.
20:35 --> 20:43 [SPEAKER_03]: And this is one of the rare... Maybe one of the rare action movies
20:44 --> 20:49 [SPEAKER_03]: that has a bit of a, I don't know, cinematic heft to it.
20:50 --> 20:55 [SPEAKER_05]: Something came to mind too about the action movie criteria things.
20:55 --> 20:57 [SPEAKER_05]: This has a rooftop fight scene.
20:57 --> 21:00 [SPEAKER_05]: It has a cat and mouse in an industrial space.
21:01 --> 21:03 [SPEAKER_05]: Um, and it's got some daring to action.
21:03 --> 21:12 [SPEAKER_05]: So yeah, I mean, it takes so many boxes within the that eighties, erosion, reaction movie and shooting from a helicopter almost as automatically.
21:13 --> 21:17 [SPEAKER_03]: Oh, and ascending action and you got spotlight.
21:17 --> 21:18 [SPEAKER_03]: Yeah, exactly.
21:18 --> 21:21 [SPEAKER_03]: You got hunting dogs and you got a train wreck.
21:21 --> 21:21 [SPEAKER_03]: I mean,
21:22 --> 21:40 [SPEAKER_03]: it's got a grand hotel at the end where there's a bunch of there there's actually an and in room audience to see him reveal the big pro vassic secret but that's not enough you have to go all the way down into the fifth floor of the laundry room to actually have
21:41 --> 21:43 [SPEAKER_03]: the punch out scene.
21:44 --> 21:46 [SPEAKER_03]: So it's structured like an action movie.
21:46 --> 21:48 [SPEAKER_03]: I mean, there's no question about that, right?
21:49 --> 21:54 [SPEAKER_03]: But for some reason, this is just, this sort of elevates beyond the genre.
21:55 --> 21:55 [SPEAKER_06]: Right.
21:56 --> 21:56 [SPEAKER_02]: It's a trick.
21:56 --> 22:07 [SPEAKER_02]: And that's I think that's one of the things that were struck me on this rewatch was how much of it in this where I talked about formula falls into action tropes at the end.
22:07 --> 22:09 [SPEAKER_02]: I mean, it's kind of throughout, but like,
22:10 --> 22:20 [SPEAKER_02]: It's an odd ending to a movie like this, in many ways, because it's like there's nothing about Charles Nichols up to this point that gives you the sense that this guy can fight.
22:21 --> 22:22 [SPEAKER_02]: And he fights quite a bit.
22:23 --> 22:24 [SPEAKER_03]: He fights with my daughter.
22:24 --> 22:29 [SPEAKER_03]: And that was like, man, these doctors really know how to throw a punch.
22:29 --> 22:34 [SPEAKER_02]: Yeah, yeah, these guys, yeah, these surgeons, they could bust chairs on each other.
22:34 --> 22:36 [SPEAKER_02]: And also, here's a fork and take a chair to the back.
22:36 --> 22:39 [SPEAKER_02]: I mean, these surgeons are tough as nails.
22:39 --> 22:44 [SPEAKER_02]: And I mean, there's an, he uses an IBM at one point to knock a guy out.
22:44 --> 22:46 [SPEAKER_02]: I mean, it's like, it's relentless.
22:46 --> 22:48 [SPEAKER_02]: And it's like, it's a little odd.
22:48 --> 22:55 [SPEAKER_02]: Like the rooftop fight scene is like, I'm like, this is just, I guess I don't, I would say I had a problem because I didn't enjoy it.
22:55 --> 22:58 [SPEAKER_02]: But then I'm like, wow, I've been watching an action movie all these years.
22:59 --> 23:06 [SPEAKER_02]: You know, because, because I'll be honest, I usually, when I rewatch the fugitive, I rarely finish it.
23:07 --> 23:30 [SPEAKER_02]: It's sort of like Anthony has movies that we talked about like even like he likes to have like once upon a time in Hollywood in the background because like you know it's moments of just like just good company right exactly so me the fugitive is good it's great company up until a point and then I'm like I'm like I can I can always leave it and I usually always leave it I usually like I do like the ballroom scene because I just love I love the
23:31 --> 23:34 [SPEAKER_02]: a picture in the middle of a speech, you know.
23:36 --> 23:42 [SPEAKER_02]: And then he just goes off and everyone just like clutching their pearls as there's a wonderful exposition about R.D.
23:42 --> 23:43 [SPEAKER_02]: U.N.D.
23:43 --> 23:45 [SPEAKER_02]: and Provasic, a devil in the Gregor.
23:45 --> 23:46 [SPEAKER_02]: And wonderful words to say.
23:46 --> 23:49 [SPEAKER_03]: So I mean, Devlin McGregor is perfect.
23:49 --> 23:49 [SPEAKER_03]: Yeah.
23:49 --> 23:50 [SPEAKER_02]: Yeah.
23:50 --> 23:51 [SPEAKER_02]: Yeah.
23:51 --> 23:53 [SPEAKER_02]: The devil in the Gregor and Max Devlin.
23:54 --> 23:54 [SPEAKER_02]: And it's just this
23:55 --> 23:56 [SPEAKER_02]: It's this great.
23:57 --> 24:00 [SPEAKER_02]: But then within the fight scene, I'm always like, I mean, I guess.
24:02 --> 24:14 [SPEAKER_02]: There's so much you could have still done with like because like the idea that the Chicago PD wants to like, you know, shoot the kill and and but I don't know the the fight between Nichols and Kimball is just something I feel like.
24:15 --> 24:26 [SPEAKER_05]: Nothing up into that point was saying I wanted that Can it just quickly back on the on the Harrison Ford thing I forget what your other question was Anthony.
24:26 --> 24:33 [SPEAKER_03]: I think Harrison Ford is the best actor who had a popular action figure made of him.
24:33 --> 24:34 [SPEAKER_05]: Oh, I didn't realize yet.
24:34 --> 24:36 [SPEAKER_05]: I actually I mean obviously a hand solo
24:36 --> 24:48 [SPEAKER_03]: Absolutely, and, and, you know, in the end of Jones, but you know, usually these these action figure stars are a particular kind of actor, right?
24:49 --> 24:51 [SPEAKER_03]: They're not the kind of actor who's gonna win an Oscar.
24:52 --> 24:54 [SPEAKER_03]: I think he's the best of both worlds.
24:54 --> 24:57 [SPEAKER_03]: And I think this may be controversial.
24:57 --> 25:06 [SPEAKER_03]: I think that when he's being interrogated by the police at the beginning, I think that that may be some of the best acting of his entire career, right?
25:07 --> 25:08 [SPEAKER_02]: We're going to disagree on this.
25:09 --> 25:11 [SPEAKER_03]: I think it's fantastic.
25:11 --> 25:13 [SPEAKER_03]: I think he's processing his grief.
25:14 --> 25:17 [SPEAKER_03]: He's upset that he's even being accused.
25:17 --> 25:22 [SPEAKER_03]: He's trying to recall this, you know, the final moments of his wife's life.
25:23 --> 25:24 [SPEAKER_03]: I think it's fantastic.
25:24 --> 25:26 [SPEAKER_02]: Yeah, I think it's, I think that's his worst acting in the film.
25:26 --> 25:27 [SPEAKER_02]: Oh, no.
25:29 --> 25:30 [SPEAKER_02]: Hands down, it's the worst acting in the film.
25:30 --> 25:32 [SPEAKER_02]: And it's that sequence.
25:33 --> 25:38 [SPEAKER_02]: His acting, his acting in that interrogation scene is about as authentic as the dummy that goes falling off.
25:40 --> 25:41 [SPEAKER_02]: I love it.
25:41 --> 25:42 [SPEAKER_03]: I love it every time.
25:42 --> 25:44 [SPEAKER_03]: Are you suggesting I crush your skull?
25:44 --> 25:45 [SPEAKER_03]: You're fighting that, man.
25:46 --> 25:47 [SPEAKER_03]: He took everything from me.
25:48 --> 25:48 [SPEAKER_03]: Oh.
25:49 --> 25:50 [SPEAKER_03]: I want you to know that you mimicking that.
25:50 --> 25:51 [SPEAKER_03]: Just now brought me to tears.
25:54 --> 25:57 [SPEAKER_03]: But he's a mechanical arm.
25:57 --> 25:58 [SPEAKER_03]: You find this man.
25:59 --> 26:00 [SPEAKER_03]: You find him.
26:00 --> 26:00 [SPEAKER_03]: Oh.
26:04 --> 26:08 [SPEAKER_05]: If he's a Richard Kimble, though, a bit of a Gary Sioux.
26:09 --> 26:37 [SPEAKER_05]: for who for I don't know who I don't know the writer exactly for him I mean he is a perfect dad bod he has a a beautiful intelligent accomplished wife he's the white savior doctor who is uh... you know while uh... he's a super here let's just put it that way he saves the kid on the right yeah he's a super he can jump off a damn and then the next day like he did a better plan off this damn
26:39 --> 26:40 [SPEAKER_03]: He can save kids' lives.
26:41 --> 26:48 [SPEAKER_03]: He can flirt a little bit with some of the doctors at the hospital, even though he was just accused of killing his wife.
26:48 --> 26:49 [SPEAKER_02]: Even the lesbian doctor.
26:52 --> 26:54 [SPEAKER_03]: That he's such a superhero.
26:54 --> 26:58 [SPEAKER_03]: He's going to make Jane Lynch weaken the knees.
26:59 --> 27:06 [SPEAKER_05]: Or I thought, yeah, and Julianna Moore, you know, she would have, you know.
27:06 --> 27:10 [SPEAKER_03]: I do want to talk a little bit about one scene in particular.
27:11 --> 27:16 [SPEAKER_03]: And this relates to the court case against him, right?
27:16 --> 27:20 [SPEAKER_03]: The legal case against him, he's accused of murdering his wife.
27:21 --> 27:26 [SPEAKER_03]: And part of this is pinned on this nine-o-one phone call, and I'm going to play a little bit of it for you right now.
27:26 --> 27:28 [SPEAKER_00]: Bam, is your attacker still in the house?
27:31 --> 27:31 [SPEAKER_00]: Man.
27:31 --> 27:33 [SPEAKER_06]: Okay.
27:35 --> 27:35 [SPEAKER_00]: Richard.
27:36 --> 27:36 [SPEAKER_00]: Man.
27:37 --> 27:40 [SPEAKER_00]: Richard.
27:41 --> 27:42 [SPEAKER_00]: Is this trying to kill me?
27:47 --> 27:49 [SPEAKER_03]: Okay, right now.
27:50 --> 27:52 [SPEAKER_03]: You see a gloved hand.
27:54 --> 27:54 [SPEAKER_03]: Hang up the phone.
27:56 --> 28:00 [SPEAKER_03]: That gloves hand has to be the one-art man, right?
28:00 --> 28:01 [SPEAKER_05]: Right.
28:01 --> 28:02 [SPEAKER_05]: Right.
28:02 --> 28:03 [SPEAKER_03]: Right.
28:03 --> 28:05 [SPEAKER_03]: That's not Richard Kimball who just hung up the phone.
28:06 --> 28:09 [SPEAKER_05]: Because it's like I'd love to keep your fingerprints off.
28:09 --> 28:12 [SPEAKER_03]: Yeah, that's the dude who just killed her.
28:12 --> 28:12 [SPEAKER_05]: Right.
28:14 --> 28:20 [SPEAKER_03]: So my question is, why is he hanging out letting her make a phone call?
28:20 --> 28:20 [SPEAKER_02]: I know.
28:21 --> 28:23 [SPEAKER_02]: That's why that that that that that bugs me.
28:24 --> 28:32 [SPEAKER_02]: Because it's such an important plot device that she says Richard and then there's this opportunity from for misunderstanding, but like
28:33 --> 28:35 [SPEAKER_02]: Is he just sitting there and we'll maybe she will do that?
28:36 --> 28:38 [SPEAKER_03]: I mean, yeah, that's the other thing about it.
28:38 --> 28:48 [SPEAKER_03]: I was thinking like, does, is he allowing this phone call to happen because he knows that she's gonna call out her husband's name and it's impossible.
28:48 --> 28:49 [SPEAKER_03]: It's impossible.
28:49 --> 28:53 [SPEAKER_05]: Well, just goes to my theory that Sykes is the worst assassin.
28:54 --> 28:57 [SPEAKER_05]: He's a, he's gonna, he got distracted.
28:57 --> 28:59 [SPEAKER_05]: He can, well, and he didn't even finish the job.
29:00 --> 29:03 [SPEAKER_03]: Doesn't he have a gun when he's fighting with Kimball?
29:04 --> 29:06 [SPEAKER_03]: I mean, he's there to kill Kimball, not the right.
29:06 --> 29:07 [SPEAKER_03]: Right.
29:07 --> 29:17 [SPEAKER_03]: And so it could be that when Kimball comes in the room, he hides or something thinking, OK, maybe I'll be able to attack him from behind.
29:18 --> 29:22 [SPEAKER_02]: Once he goes in easy time to do that would be when he's down there with his wife.
29:23 --> 29:24 [SPEAKER_02]: Just shoot, maybe just shoot him.
29:25 --> 29:25 [SPEAKER_05]: Right.
29:26 --> 29:30 [SPEAKER_02]: So maybe he put the gun in the wrong hand and we're like, I can't pull a trigger.
29:30 --> 29:31 [SPEAKER_02]: I have one arm.
29:36 --> 29:41 [SPEAKER_03]: So that really bugs me a lot because it's such a crucial point of the story.
29:42 --> 29:42 [SPEAKER_03]: It's a big flaw.
29:43 --> 29:44 [SPEAKER_03]: I think it's a huge flaw.
29:44 --> 29:44 [SPEAKER_02]: Well, here's the thing.
29:45 --> 29:52 [SPEAKER_02]: The more I watch this movie, the more it's like this is why I do believe going back to that statement I made earlier and like you guys are talking about the action
29:52 --> 29:53 [SPEAKER_02]: This, it's kind of a trick.
29:53 --> 29:55 [SPEAKER_02]: There's a lot of tricks in this movie.
29:55 --> 29:55 [SPEAKER_02]: Totally.
29:55 --> 29:59 [SPEAKER_02]: And I think the trick is, this is where Andrew Davis deserves a lot of credit.
29:59 --> 30:06 [SPEAKER_02]: He makes this action movie where there's all these things and the pacing is such that it doesn't really allow you to spend a lot of time on that.
30:07 --> 30:11 [SPEAKER_02]: You know, it isn't until like further rewatches that you're like, oh, hold on a second here.
30:11 --> 30:13 [SPEAKER_02]: You know, like this seems like wait.
30:14 --> 30:25 [SPEAKER_02]: There was a phone call from Richard's cell phone to psychs and they just now decided to look into this, you know, like, you know, like, you know, like, because that's a part where I'm like, for real.
30:25 --> 30:26 [SPEAKER_02]: You mean to tell me?
30:26 --> 30:30 [SPEAKER_03]: Why didn't they do a little bit of investigation about prosthetic arms?
30:30 --> 30:38 [SPEAKER_02]: Like, well, especially because it's like in the night, like the very night that this happened, you think that phone record, you would go through all of it, right?
30:38 --> 30:41 [SPEAKER_02]: I mean, when you go through, I'm like, oh, well, here's one he's never made before.
30:41 --> 30:42 [SPEAKER_02]: Okay, well, that's an outlier.
30:44 --> 30:45 [SPEAKER_02]: Oh, it happens to be to a one arm man.
30:45 --> 30:46 [SPEAKER_02]: Oh, that's interesting.
30:48 --> 30:50 [SPEAKER_02]: I wonder if that has anything to do with his alibi.
30:51 --> 31:00 [SPEAKER_03]: Yeah, the cops in this man, the Chicago PD, it does not, it's not painted in a very positive light in this particular film.
31:01 --> 31:09 [SPEAKER_02]: And just an interesting move because I think that this movie does some a couple things different like which I like is like they flip some of the tropes like in this case.
31:10 --> 31:22 [SPEAKER_02]: It's the it's you know and you see it I mean it in this is you know different movies do it differently like it is interesting to see the feds are the ones right like normally it's like sort of the local cops are the ones that are like going to be a little bit more in tune with everything and the feds are like.
31:23 --> 31:25 [SPEAKER_02]: Like when you like you just look at a die hard, for example, right?
31:25 --> 31:34 [SPEAKER_02]: Like it's the the FBI is like so detached and they're just like will the ones who will just kill at will and they are not interested in in all the details.
31:34 --> 31:35 [SPEAKER_02]: They just got to get this thing done.
31:36 --> 31:37 [SPEAKER_02]: Whereas now it's the other way right.
31:37 --> 31:46 [SPEAKER_02]: It's so it's an interesting element that the the Chicago PD because like they're protecting the Chicago legal system and then the justice department as well and all of them.
31:46 --> 31:53 [SPEAKER_05]: and something that struck me to was that these were federal marshals that don't look like militarized robocops.
31:57 --> 32:05 [SPEAKER_05]: Hmm, and if this were made now, we'd have tactical teams with helmets, we'd looking like a raid at a Home Depot kind of stuff, you know?
32:05 --> 32:10 [SPEAKER_03]: I just, I want to commend whoever was doing costume in for this movie.
32:10 --> 32:14 [SPEAKER_03]: Whoever is doing costume in for this movie, just had a lot of fun.
32:15 --> 32:22 [SPEAKER_03]: I mean, these federal marshals, they're wearing some very interesting clothing stylish.
32:23 --> 32:25 [SPEAKER_03]: Yeah, they're trying on different styles.
32:25 --> 32:26 [SPEAKER_03]: There weren't suspenders.
32:26 --> 32:27 [SPEAKER_02]: They were commonly wear jeans.
32:27 --> 32:29 [SPEAKER_02]: Don't leave a lot to the imagination.
32:30 --> 32:38 [SPEAKER_05]: Did Tommy Lee Jones, not only is this a breakout role for him, but did he popularize the sport coat tie jeans look?
32:39 --> 32:41 [SPEAKER_03]: If he did, I use it every day.
32:41 --> 32:47 [SPEAKER_03]: When I was in high school, I wore that sort of Army coat.
32:48 --> 32:49 [SPEAKER_03]: The green Army coat.
32:50 --> 32:51 [SPEAKER_03]: We market it.
32:51 --> 32:51 [SPEAKER_03]: Yeah.
32:52 --> 32:57 [SPEAKER_05]: I wore that a lot of Peacope, but yeah, like a Vietnam era jacket.
32:57 --> 32:57 [SPEAKER_05]: Yeah.
32:57 --> 33:02 [SPEAKER_03]: And now in my adult life, I dress a lot like Tommy Lee Jones in this.
33:03 --> 33:05 [SPEAKER_03]: I always love a gun fanny pack though.
33:06 --> 33:10 [SPEAKER_03]: I like the sweater vest under the sport note.
33:10 --> 33:12 [SPEAKER_02]: Kimbles outfit that he steals.
33:12 --> 33:19 [SPEAKER_02]: I really like the one that he takes from the old man like the big sweater and and I just really am like that's
33:19 --> 33:22 [SPEAKER_02]: It's got a stylish old man that he's taken some stuff from there.
33:22 --> 33:25 [SPEAKER_02]: I mean, that guy came in, you know, and he's all right.
33:25 --> 33:26 [SPEAKER_05]: Yeah, the nineties.
33:26 --> 33:27 [SPEAKER_03]: He did okay.
33:27 --> 33:34 [SPEAKER_03]: That's, that's why you got to keep it tight because if I was, if I was looking for clothes, I'd be, this is a little bit tighter on the waist.
33:34 --> 33:36 [SPEAKER_03]: Is there another guy in another room?
33:36 --> 33:39 [SPEAKER_03]: It's a little bit more importantly.
33:42 --> 33:48 [SPEAKER_03]: I've got a, um, I've developed a theory about film cops on the basis of watching this.
33:49 --> 33:54 [SPEAKER_03]: So there's two primary different film cops that we find.
33:54 --> 33:58 [SPEAKER_03]: There's the the Kanoli cop and the donut cop, all right.
34:00 --> 34:10 [SPEAKER_03]: I'm thinking specifically about a detective and usually associated with New York City.
34:11 --> 34:18 [SPEAKER_03]: So usually these detectives, a little greasy, usually leaning toward plain clothes, they're a little bit younger.
34:19 --> 34:24 [SPEAKER_03]: And they give off the vibe that they could have been gangsters if they had just gone a different direction.
34:25 --> 34:30 [SPEAKER_03]: It's like they're from the old neighborhood and some of their friends are in the mafia.
34:30 --> 34:35 [SPEAKER_03]: But for whatever reason, they decided to go to into the force.
34:35 --> 34:35 [SPEAKER_03]: All right.
34:35 --> 34:38 [SPEAKER_02]: So they're not going to get corrupt, but they're like corrupt adjacent.
34:38 --> 34:40 [SPEAKER_02]: They're usually my current there.
34:40 --> 34:43 [SPEAKER_02]: They might turn their their head on some certain situation.
34:43 --> 34:45 [SPEAKER_03]: Yeah, there's usually corrupt in some way, right?
34:45 --> 34:47 [SPEAKER_03]: So that's the Canoli Cup.
34:47 --> 34:53 [SPEAKER_03]: Usually associated with New York in the Cop universe in film, right?
34:54 --> 34:58 [SPEAKER_03]: The Donut Cup usually associated with Chicago.
34:59 --> 35:01 [SPEAKER_03]: These guys are where suits.
35:01 --> 35:02 [SPEAKER_03]: They're a little bit older.
35:02 --> 35:03 [SPEAKER_03]: They're definitely fatter.
35:04 --> 35:07 [SPEAKER_03]: They're almost always either like Irish or Scottish.
35:07 --> 35:11 [SPEAKER_03]: They're very, they're very, they're very, must dash forward.
35:13 --> 35:18 [SPEAKER_02]: except for Pat the uncle and cocktail, who was in the last one.
35:18 --> 35:28 [SPEAKER_03]: And so the donut cup, these guys are, they may not be like a dirty cops, like they may not take money from a crime scene.
35:29 --> 35:30 [SPEAKER_03]: But if you kill one of their own,
35:31 --> 35:37 [SPEAKER_03]: they're going to use every opportunity to take down, you know, whatever cop colors on the loose.
35:37 --> 35:37 [SPEAKER_03]: Right.
35:37 --> 35:38 [SPEAKER_03]: Right.
35:38 --> 35:40 [SPEAKER_05]: It's the blue wall type.
35:40 --> 35:41 [SPEAKER_03]: Yes.
35:41 --> 35:41 [SPEAKER_05]: That's right.
35:41 --> 35:47 [SPEAKER_05]: And we're when on your way to the station, you're going to come up with a couple more bumps and bruises than you were.
35:47 --> 35:48 [SPEAKER_02]: Right.
35:48 --> 35:48 [SPEAKER_02]: Yeah.
35:48 --> 35:48 [SPEAKER_02]: Right.
35:49 --> 35:54 [SPEAKER_02]: I like that there was there was this like understood element of they think he killed one of theirs.
35:54 --> 35:56 [SPEAKER_02]: They they're they're going to go after him.
35:56 --> 35:59 [SPEAKER_02]: It was sort of like the like unwritten rules and baseball kind of with that.
35:59 --> 36:02 [SPEAKER_03]: Well, and on top of that, they don't mind saying that out loud.
36:02 --> 36:07 [SPEAKER_03]: I mean, this is the kind of, like, a public corruption that everyone kind of knows.
36:07 --> 36:12 [SPEAKER_03]: Like, you took down a cop, now we're gonna come and out you down.
36:12 --> 36:12 [SPEAKER_06]: Right.
36:13 --> 36:18 [SPEAKER_03]: So that's the kind of cop that I would associate with the donut cop, right?
36:19 --> 36:26 [SPEAKER_03]: Now the donut cop, like I said, usually associated with Chicago, but you would find them in many kind of local areas too.
36:27 --> 36:27 [SPEAKER_03]: These are folks.
36:29 --> 36:31 [SPEAKER_03]: that are from like cop families.
36:32 --> 36:35 [SPEAKER_03]: In other words, their dad were cop where their uncle was a cop.
36:35 --> 36:37 [SPEAKER_03]: They go to a cop bar.
36:38 --> 36:40 [SPEAKER_03]: They drink with their cop buddies.
36:41 --> 36:43 [SPEAKER_03]: That's kind of the culture that they grew up in.
36:43 --> 36:49 [SPEAKER_05]: Anthony, are you low-key setting up another season of properly Howard?
36:50 --> 36:50 [SPEAKER_05]: It's possible.
36:51 --> 36:51 [SPEAKER_03]: It's possible.
36:52 --> 36:53 [SPEAKER_03]: Donut cops versus canoly cops.
36:54 --> 36:58 [SPEAKER_02]: Well, but don't forget local sheriffs who eat pie at the diner.
37:00 --> 37:06 [SPEAKER_03]: That's, I would put that under the donut cup umbrella, although a subtype.
37:07 --> 37:12 [SPEAKER_03]: This subtype, they're not, you wouldn't find that guy in Chicago, but that guy grew up in the town, right?
37:12 --> 37:19 [SPEAKER_05]: So, so, copland would have to go into this lineup because that's where you have New York City cops and a sheriff.
37:20 --> 37:24 [SPEAKER_05]: and mobster, like actual mob stuff, all coming to a head.
37:24 --> 37:26 [SPEAKER_05]: I think it's the loan's best role.
37:27 --> 37:27 [SPEAKER_05]: Absolutely.
37:28 --> 37:28 [SPEAKER_03]: Right.
37:28 --> 37:34 [SPEAKER_03]: I don't know if this theory holds up, but I do associate copland with the Kanoly cop.
37:34 --> 37:35 [SPEAKER_05]: Mm-hmm.
37:35 --> 37:35 [SPEAKER_05]: Yeah.
37:35 --> 37:38 [SPEAKER_03]: Although there is a little bit of cross over there.
37:38 --> 37:39 [SPEAKER_03]: Now that I'm thinking about that.
37:39 --> 37:42 [SPEAKER_05]: Because still ons character is the sheriff of the town over.
37:42 --> 37:43 [SPEAKER_03]: Right.
37:43 --> 37:54 [SPEAKER_03]: And usually, and I forget who someone touched on this before, maybe it was you Steve, that when the federal agent comes in, they usually have higher in suits.
37:55 --> 37:56 [SPEAKER_03]: They have better training.
37:57 --> 37:59 [SPEAKER_03]: They're sort of like, they're like,
38:00 --> 38:06 [SPEAKER_03]: Like, yeah, they come into like, hey, hey kids, it's fun that you guys were playing cop before.
38:07 --> 38:13 [SPEAKER_03]: We're gonna take over this crime scene and now the big, you know, the big kids are gonna do their thing, right?
38:13 --> 38:13 [SPEAKER_03]: Yeah.
38:14 --> 38:18 [SPEAKER_03]: And this movie just blows out of the water.
38:18 --> 38:21 [SPEAKER_03]: You start with the don't-up cops, so you see different kinds of donut cops in this film.
38:22 --> 38:27 [SPEAKER_03]: But then once the federal agents come in, they're almost like geniuses like this.
38:28 --> 38:35 [SPEAKER_03]: There's like these guys listen to jazz music and like, you know, do impressionist paintings when they go home or something?
38:38 --> 38:45 [SPEAKER_03]: In addition to their advanced Velcro technology, they're a little bit more bohemian than any kind of federal cop that we've seen before.
38:45 --> 38:48 [SPEAKER_02]: Yeah, they have like, they have like art degrees, all of them.
38:49 --> 38:51 [SPEAKER_05]: It liberal arts in the law enforcement.
38:51 --> 38:52 [SPEAKER_05]: It's a natural transition.
38:53 --> 38:53 [SPEAKER_03]: All right.
38:53 --> 38:56 [SPEAKER_03]: So this brings us into a conversation about Tommy Lee Johnson.
38:56 --> 39:01 [SPEAKER_03]: Now, David, you said something to me via text that I appreciated.
39:03 --> 39:12 [SPEAKER_03]: You said something along the lines of, can you think of a line that propelled an actor's career better than this one?
39:14 --> 39:15 [SPEAKER_00]: I didn't kill my wife.
39:17 --> 39:18 [SPEAKER_00]: I don't care!
39:18 --> 39:21 [SPEAKER_03]: Famously an ad lib by Tommy Lee Jones.
39:23 --> 39:25 [SPEAKER_03]: You think this kind of launches career?
39:26 --> 39:31 [SPEAKER_05]: At first I need Steve to do the Richard Kimball impersonation if I didn't kill my wife.
39:33 --> 39:34 [SPEAKER_05]: I didn't kill my wife!
39:35 --> 39:36 [SPEAKER_00]: I don't care!
39:37 --> 39:44 [SPEAKER_05]: That's the moment that, you know, the Tommy Lee Jones vibe, right, which we later get in, I think, you know, men in black and stuff like that.
39:45 --> 39:45 [SPEAKER_03]: Yeah.
39:46 --> 40:10 [SPEAKER_05]: That and then when he opens his his his waist pack and and pull that it's gotten like that was the moment and then every line Quip when he shoots the other felon everything and then and he goes to the I forget as they ran for oh or is that the other one anyway the last moment Cosmo yeah and he goes
40:14 --> 40:15 [SPEAKER_05]: or whatever, like all of that stuff.
40:16 --> 40:18 [SPEAKER_04]: I can't hear anything, my ears.
40:19 --> 40:23 [SPEAKER_04]: I can't believe you did that.
40:25 --> 40:27 [SPEAKER_04]: You think I should have bargained with that guy?
40:29 --> 40:29 [SPEAKER_04]: Yeah.
40:30 --> 40:31 [SPEAKER_04]: I do.
40:32 --> 40:33 [SPEAKER_04]: You could have missed.
40:33 --> 40:35 [SPEAKER_04]: You could have killed me.
40:35 --> 40:36 [SPEAKER_04]: Yeah.
40:39 --> 40:40 [SPEAKER_04]: How about that here?
40:41 --> 40:42 [SPEAKER_04]: It's terrible.
40:42 --> 40:43 [SPEAKER_04]: I'm going to have permanent hearing damage.
40:43 --> 40:44 [SPEAKER_04]: Let me see it.
40:47 --> 40:48 [SPEAKER_04]: Can you hear what I'm saying now?
40:49 --> 40:50 [SPEAKER_04]: Yeah, I don't.
40:51 --> 40:54 [SPEAKER_04]: I don't bark.
40:57 --> 41:02 [SPEAKER_03]: It's a great scene of establishes almost a fatherly relationship.
41:03 --> 41:12 [SPEAKER_03]: with this guy and he's, but he's also a certain kind of police officer who, uh, he just, he's just relentless.
41:12 --> 41:16 [SPEAKER_02]: Yeah, I was always more partial to hand house out house dog house.
41:16 --> 41:18 [SPEAKER_02]: Your fugitive's name is Dr. Richard.
41:19 --> 41:26 [SPEAKER_05]: But we don't have any of that unless he says I don't care in the tunnel of the dam.
41:26 --> 41:28 [SPEAKER_03]: He's, he's interesting in that,
41:29 --> 41:34 [SPEAKER_03]: Well, he's kind of a revelation in this movie because he has kind of a folksy charm to him.
41:34 --> 41:36 [SPEAKER_03]: He's already older right at this point.
41:36 --> 41:38 [SPEAKER_03]: He was in he was in twenty one films prior to this.
41:40 --> 41:40 [SPEAKER_02]: Right.
41:41 --> 41:45 [SPEAKER_02]: So he's so here's the thing that's important about Tommy Lee Jones is he's been around.
41:45 --> 41:54 [SPEAKER_02]: In fact, two years prior he had been in JFK, which was obviously very, you know, prolific of people knew about this movie, right?
41:54 --> 41:56 [SPEAKER_02]: He had bunch of movies that are just kind of like whatever.
41:57 --> 42:01 [SPEAKER_02]: But so he had a role in JFK that was pretty significant.
42:02 --> 42:10 [SPEAKER_02]: Under siege, and this is where I go back to under siege, under siege because of the fact that critics actually liked a Steven Segal movie.
42:11 --> 42:15 [SPEAKER_02]: And a lot of it was attributed to the performance by Tommy Lee Jones as the villain.
42:17 --> 42:23 [SPEAKER_02]: Under siege really did sort of bring him, like, all this people were just suddenly like, Tommy Lee Jones, huh?
42:24 --> 42:26 [SPEAKER_02]: And then the fugitive comes out and it's like,
42:27 --> 42:39 [SPEAKER_02]: He a year later and he's able to just just capitalize and from then it's just off to the races in terms of I mean the next year he's in blown away the client natural born killers blue cut sky and cop.
42:39 --> 42:40 [SPEAKER_02]: I mean that's a lot.
42:41 --> 42:42 [SPEAKER_03]: He's in almost every movie after.
42:42 --> 42:52 [SPEAKER_02]: Yeah, then it's Batman forever volcano men and black US Marshall is equal to this one small so just on and on it's just it's it's amazing what how this
42:52 --> 42:56 [SPEAKER_02]: It went from like, oh yeah, Tommy Lee Jones has been in movies to now there are Tommy Lee Jones movies.
42:56 --> 42:56 [SPEAKER_05]: Right.
42:57 --> 42:59 [SPEAKER_05]: And you go to a movie because it has Tommy Lee Jones.
42:59 --> 43:05 [SPEAKER_05]: That is the difference between a movie star and an actor is that, oh, oh, that actor is, this is their movie.
43:05 --> 43:06 [SPEAKER_05]: Oh, I'm going to go see it.
43:07 --> 43:07 [SPEAKER_03]: Yeah.
43:07 --> 43:10 [SPEAKER_03]: We, you know, we just covered no country for old men.
43:10 --> 43:12 [SPEAKER_03]: Did you know what is it out yet?
43:12 --> 43:14 [SPEAKER_05]: You don't, you haven't released it on Monday.
43:16 --> 43:21 [SPEAKER_05]: I think it's it's it's all time top then top ten movies for me.
43:21 --> 43:36 [SPEAKER_03]: It's fantastic and I don't think that movie really I don't think he gets that role hundred percent less unless this movie happens hundred percent and it's such a a tonal shift from min and black and this
43:36 --> 43:48 [SPEAKER_03]: Yeah, but the one thing that they have in common this movie and no country is folksy charm, but there's it's like he's the smartest guy in the room.
43:49 --> 43:49 [SPEAKER_02]: Right.
43:49 --> 43:55 [SPEAKER_02]: The wisdom of experience and just like there's something innate, right?
43:55 --> 43:56 [SPEAKER_02]: Like so it's like, okay, you can go to the academy.
43:56 --> 44:02 [SPEAKER_02]: You can do different things, but then, you know, it's sort of like the what you just said about activists is movie stars sort of like
44:03 --> 44:18 [SPEAKER_02]: you know police officer versus you know had detective or something along those lines like so he goes like yeah you may have you know the rules you know the procedures but now how can you how do you execute and perfect it you know to to bring actual justice
44:18 --> 44:31 [SPEAKER_03]: So, here's my thought about the way that he's, I mean, this movie is almost like, for all of the sort of physical action that Harrison Ford is portrayed as doing.
44:32 --> 44:39 [SPEAKER_03]: It's like all of those acrobats are being juxtaposed with the verbal acrobats of Tommy Lee Jones in this film.
44:40 --> 44:56 [SPEAKER_03]: he's always talking fascies always yelling he's always shouting over a damn or you know he's always like like the best talker in a room full of fast talkers in this film and Richard Kimball on the other hand Harrison Ford
44:57 --> 45:01 [SPEAKER_03]: He doesn't have as nearly as many lines.
45:02 --> 45:09 [SPEAKER_03]: When he talks, he usually is like low voice until he yells at the end or whatever.
45:10 --> 45:15 [SPEAKER_03]: But he's soft spoken and he chooses his words very carefully.
45:16 --> 45:23 [SPEAKER_03]: And what that does, and because we've established kind of Tommy Lee Jones is kind of the fatherly figure who
45:24 --> 45:25 [SPEAKER_03]: He doesn't care.
45:25 --> 45:26 [SPEAKER_03]: He doesn't bargain.
45:26 --> 45:28 [SPEAKER_03]: He's going to get his men no matter what.
45:29 --> 45:34 [SPEAKER_03]: He's like a dog with a bone when he comes around at the end.
45:35 --> 45:37 [SPEAKER_03]: And he says, I thought you didn't really care.
45:37 --> 45:39 [SPEAKER_03]: And he says, I don't, which is kind of a joke.
45:39 --> 45:45 [SPEAKER_03]: And then it's like, it's like, everything's going to be okay because dad finally believes my story.
45:46 --> 45:48 [SPEAKER_03]: That's the feeling that you get when he's in the car.
45:48 --> 45:49 [SPEAKER_03]: He's smiling.
45:49 --> 45:50 [SPEAKER_03]: He takes on the cuffs.
45:50 --> 45:53 [SPEAKER_05]: That's such a good script writing to you because of the I don't care line.
45:53 --> 45:55 [SPEAKER_05]: And so great.
45:55 --> 45:58 [SPEAKER_03]: Which is reiterated on the phone call later on.
45:59 --> 46:09 [SPEAKER_03]: And so if if this guy who's no nonsense, actually, it's come around to believe this theory about provasic.
46:10 --> 46:11 [SPEAKER_03]: then everyone will.
46:11 --> 46:13 [SPEAKER_03]: So you don't need any other scenes.
46:15 --> 46:17 [SPEAKER_03]: And this movie ends perfectly.
46:17 --> 46:17 [SPEAKER_02]: I agree.
46:17 --> 46:23 [SPEAKER_02]: I will take a minor exception to the idea that we've seen Tom and Lee Jones come around to care.
46:23 --> 46:32 [SPEAKER_02]: I think he does in the sense that they've had this sort of relationship from afar and it's like, you know, this is the guy trying to get.
46:32 --> 46:34 [SPEAKER_02]: So it's like kind of like a hunter prey type thing.
46:34 --> 46:38 [SPEAKER_02]: But I do think that there's an element of he starts to be more interested in the fact
46:39 --> 46:42 [SPEAKER_02]: that maybe there is a conspiracy theory.
46:43 --> 46:46 [SPEAKER_02]: Not for Richard Timble's sake, but for the sake of justice.
46:46 --> 46:47 [SPEAKER_02]: He's out here.
46:47 --> 46:51 [SPEAKER_02]: So the man that he was trying to chase changed.
46:52 --> 46:55 [SPEAKER_02]: He no longer was trying to chase Richard Kimble, the fugitive.
46:55 --> 46:58 [SPEAKER_02]: He's trying to chase who actually did this thing.
46:58 --> 47:02 [SPEAKER_02]: So it's like, that's where I think the shift becomes is that now he's on a hunt.
47:02 --> 47:04 [SPEAKER_02]: He's on a hunt for truth.
47:04 --> 47:07 [SPEAKER_02]: And Richard Kimble is sort of a vehicle to that now.
47:08 --> 47:10 [SPEAKER_02]: So when he says I don't care, I think to some degree, he's still being off that.
47:11 --> 47:14 [SPEAKER_05]: And I think this is what's so interesting about the construction of the film.
47:14 --> 47:17 [SPEAKER_05]: I don't think this film is a fits in my perfect film category.
47:17 --> 47:22 [SPEAKER_05]: There's too many nice coincidences and there's a couple of pacing things.
47:22 --> 47:23 [SPEAKER_05]: It's a little bit long, too.
47:23 --> 47:28 [SPEAKER_05]: I think I think you could chop about fifteen minutes and still have a really good movie.
47:30 --> 47:32 [SPEAKER_05]: But the Tommy Lee Jones character
47:33 --> 47:37 [SPEAKER_05]: His job is, as a federal martial, as to chase down these fugitives, right?
47:37 --> 47:39 [SPEAKER_05]: He's not a detective.
47:39 --> 47:41 [SPEAKER_05]: His job is not to solve crime.
47:41 --> 47:45 [SPEAKER_05]: His job is to bring people back into the regardless of their guilt or innocence.
47:45 --> 47:47 [SPEAKER_05]: That's not his point of view.
47:48 --> 47:58 [SPEAKER_05]: But his seek for justice or his, he wasn't seeking justice per se, but when confronted with the truth about what was going on,
47:59 --> 48:08 [SPEAKER_05]: because Kimball saves the guard in the bus, saves the kid in the hospital, you know, and keeps doing all these altruistic things.
48:10 --> 48:18 [SPEAKER_05]: As he's just deputy jarred, it's just like, wait, this isn't my normal kind of guy that I chase and bring back.
48:19 --> 48:20 [SPEAKER_05]: And my
48:21 --> 48:28 [SPEAKER_05]: who I ultimately am can't turn away from the truth of this injustice.
48:28 --> 48:29 [SPEAKER_03]: It could be that.
48:29 --> 48:31 [SPEAKER_03]: It could be that, or it could be that.
48:31 --> 48:33 [SPEAKER_03]: Well, if I follow Richard Gimbal, I'll get Charles.
48:33 --> 48:35 [SPEAKER_03]: Well, all right, it could be that.
48:35 --> 48:36 [SPEAKER_03]: Or it could be that.
48:37 --> 48:43 [SPEAKER_03]: He's going to this job because he's going to anticipate what a criminal is going to do next or where he's going to be next.
48:44 --> 48:45 [SPEAKER_03]: Absolutely, right.
48:45 --> 48:47 [SPEAKER_03]: That's he's a, he's a, he's a hound doll.
48:47 --> 48:50 [SPEAKER_03]: He's a boy that just so happens that Richard Gimbal
48:51 --> 48:53 [SPEAKER_03]: is trying to solve a mystery.
48:53 --> 48:58 [SPEAKER_03]: So in order to sort of anticipate where that mystery is going to lead him so he can catch the guy.
48:58 --> 48:59 [SPEAKER_03]: He's got it now.
49:00 --> 49:02 [SPEAKER_03]: He's now in the position of a detective, right?
49:02 --> 49:03 [SPEAKER_03]: Yeah.
49:03 --> 49:04 [SPEAKER_03]: So yeah, I don't know.
49:04 --> 49:09 [SPEAKER_03]: It very well could be that he feels a sense of justice or injustice at the end.
49:09 --> 49:16 [SPEAKER_03]: I don't know if it necessarily matters that why he's pursuing the end.
49:16 --> 49:17 [SPEAKER_03]: It just so happens that
49:18 --> 49:21 [SPEAKER_03]: I think it's important for the audience that he believes.
49:22 --> 49:24 [SPEAKER_03]: He believes that Kimbles innocent.
49:26 --> 49:29 [SPEAKER_03]: Because you want the audience to believe everything's going to be okay.
49:31 --> 49:33 [SPEAKER_02]: Well, and David's point, too.
49:33 --> 49:40 [SPEAKER_02]: It's like if his coal career and everything he does is anticipate when a criminal is going to be doing on the run is like this guy's not on the run.
49:41 --> 49:46 [SPEAKER_02]: So his ability to catch him is somewhat hampered because this is not a criminal.
49:46 --> 49:46 [SPEAKER_02]: This is
49:47 --> 49:49 [SPEAKER_02]: This is something entirely.
49:49 --> 49:52 [SPEAKER_02]: So he has to shift here.
49:52 --> 49:55 [SPEAKER_02]: And so that's when that's so the hunt becomes much different.
49:55 --> 49:59 [SPEAKER_02]: They're not looking for someone to find, you know, what he's looking for a rock to crawl under.
49:59 --> 50:01 [SPEAKER_02]: No, no, he's actually unearthed rocks as we speak.
50:01 --> 50:02 [SPEAKER_02]: And he's not departing.
50:02 --> 50:05 [SPEAKER_02]: He's not as far away as we would assume that he would be.
50:05 --> 50:14 [SPEAKER_02]: And then yeah, so then the object of why becomes part of it, you know, and whether again, whether or not he's looking for some larger form of justice.
50:14 --> 50:16 [SPEAKER_02]: It's like if they get Charles Nichols
50:16 --> 50:18 [SPEAKER_02]: And he really did get the real killer.
50:19 --> 50:20 [SPEAKER_02]: It just that that wasn't one he was assigned.
50:21 --> 50:25 [SPEAKER_03]: David, you already touched on this a little bit, but is there a tweak you would make to this movie to improve it?
50:26 --> 50:29 [SPEAKER_05]: Yeah, I think I'd cut about fifteen minutes.
50:29 --> 50:30 [SPEAKER_03]: Where are you going to cut?
50:30 --> 50:31 [SPEAKER_03]: I don't know where you're going to cut.
50:31 --> 50:33 [SPEAKER_03]: I enjoy every bit of this movie.
50:34 --> 50:36 [SPEAKER_05]: So it's roughly a three act.
50:38 --> 50:59 [SPEAKER_05]: Moving right there's the there's the the whole trial and escape there's the middle bit and then there's the end you know once he's figured out the the mystery and because I think you could cut it out of the middle and all this stuff with you know there's a big montage scene there's a bunch of of him unraveling the mystery
51:00 --> 51:04 [SPEAKER_05]: And I was doing some, I did a little bit of research on this.
51:04 --> 51:08 [SPEAKER_05]: The runtime on this was a hundred and thirty minutes.
51:09 --> 51:30 [SPEAKER_05]: And that's about fifteen to twenty minutes above the average for nineteen ninety three so this was a long movie by even it's genre it's uh... it's ira standards i caught myself looking at my phone in the middle didn't in in act too during the thing and i'm like oh you know and when i do that i'm like oh i'm i've lost so it's interesting i think that that's a rewatch problem because
51:31 --> 51:35 [SPEAKER_03]: You know, I was watching this with my daughter who had never seen the whole thing all the way through.
51:35 --> 51:41 [SPEAKER_03]: And all of the misdirects were working on her, like when he's living in the basement and the cop show up.
51:41 --> 51:42 [SPEAKER_05]: Yeah, right.
51:42 --> 51:44 [SPEAKER_03]: She's like, how they not a find him there.
51:45 --> 51:52 [SPEAKER_03]: She, she's invested because she doesn't know, oh, they're really here to get the slimy drug dealer kid.
51:52 --> 51:52 [SPEAKER_03]: Right.
51:53 --> 51:54 [SPEAKER_03]: Who's living upstairs, right?
51:55 --> 51:57 [SPEAKER_03]: But you kind of need that.
51:57 --> 52:03 [SPEAKER_03]: I mean, that misdirection is sort of a directorial choice, which you might take issue with.
52:03 --> 52:10 [SPEAKER_03]: But you need that because that drug dealer is going to, anger him by he's going to rat him out, right?
52:10 --> 52:16 [SPEAKER_03]: They also do a redirection with the felon who ends up getting shot in the head.
52:17 --> 52:17 [SPEAKER_03]: Right?
52:17 --> 52:26 [SPEAKER_03]: You think, you know, Richard Kimball just gets picked up and then the next scene is Cosmos saying, ah, he's shacking up with a girl, or let's go get him right now, right?
52:27 --> 52:28 [SPEAKER_03]: And you think it's right.
52:28 --> 52:36 [SPEAKER_03]: So all that stuff, if you have seen it before, doesn't surprise you like it will defer the very first time.
52:36 --> 52:36 [SPEAKER_03]: Sure.
52:36 --> 52:37 [SPEAKER_05]: Yeah.
52:37 --> 52:39 [SPEAKER_03]: Steve is there a tweak you'd make to this movie to improve it.
52:42 --> 52:50 [SPEAKER_02]: There's there's a handful of things that bug me the dummy Well every time though.
52:50 --> 53:06 [SPEAKER_02]: I'm like if that if Richard Campbell's leg did what that dummy's leg does in the damn the movie's over I know There's not running Let's drag it like he's like hooking back toward the concrete at the one point
53:06 --> 53:12 [SPEAKER_02]: It looks like somebody tried to draw the air Jordan logo with their left hand.
53:16 --> 53:18 [SPEAKER_02]: I don't love for its interrogation performance.
53:18 --> 53:21 [SPEAKER_02]: I know that's just quickly on the damn stuff.
53:22 --> 53:28 [SPEAKER_05]: Apparently the budget for just the damn sequence was over two million dollars and a hundred and fifty thousand gallons of water.
53:29 --> 53:31 [SPEAKER_02]: And then a million and a half of that was that dumb.
53:34 --> 53:38 [SPEAKER_02]: Is there also the fashion show?
53:38 --> 53:42 [SPEAKER_05]: That's the worst fashion show.
53:43 --> 53:48 [SPEAKER_02]: The fashion show in the beginning when when they're at the the devil's regular.
53:48 --> 53:51 [SPEAKER_02]: Yeah, the fashion show is so bad.
53:51 --> 53:53 [SPEAKER_02]: It's just don't have the fashion show.
53:53 --> 53:54 [SPEAKER_02]: And because all time like God, when
53:55 --> 53:59 [SPEAKER_02]: Yeah, you some of that damn budget for the fashion job.
53:59 --> 54:06 [SPEAKER_03]: Is there a trope, a cliche, or a device that you appreciate in this movie, Steve?
54:08 --> 54:14 [SPEAKER_02]: I'm a sucker for a, as much as I don't necessarily need.
54:15 --> 54:24 [SPEAKER_02]: the action sequence, give me a laundry room or like, where some place where people are are just doing their job, especially if they've got headphones in and they don't know what's going on around them.
54:24 --> 54:25 [SPEAKER_02]: I love that.
54:25 --> 54:29 [SPEAKER_03]: David, do you have a, uh, trope of cliche or device?
54:32 --> 54:38 [SPEAKER_05]: Eighties rooftop, fight scene, and the industrial space, cat and mouse.
54:39 --> 54:45 [SPEAKER_05]: They never, you, I was waiting for the, I was like, oh, he's gonna like fall down on the elevator.
54:46 --> 54:50 [SPEAKER_05]: He's gonna fall off the side and Richard's gonna hand it, put it at his hand and say, take my hand.
54:50 --> 54:52 [SPEAKER_05]: They, they subvert all of those tropes.
54:52 --> 54:54 [SPEAKER_05]: So I like the fact that they use,
54:55 --> 55:20 [SPEAKER_05]: classical templates of the action genre and then they move they goose it along they move it along so that you never get a resolution to that and then you go oh this movie is a little bit different so I like that they use the tropes they set them up and then they separate so one of those that I love and I love it every single time but just really surprised the hell out of me the first time I watched it was the criminal calling the cop on the phone
55:21 --> 55:25 [SPEAKER_03]: and then realizing, like, the cop realizing, oh, this is really him, it's not a fake call.
55:26 --> 55:37 [SPEAKER_03]: And then everyone scrambles around him in silence to try to, like, you know, start up the whatever tracer device that they're using, which is very, very specific.
55:37 --> 55:44 [SPEAKER_03]: Very specific to cop movies because as I'm told, like, that's not how real life phone tracers work.
55:45 --> 55:46 [SPEAKER_03]: And they never worked that way.
55:46 --> 55:50 [SPEAKER_03]: But you've got to stretch out the conversation and you got, and yet did you
55:50 --> 55:53 [SPEAKER_03]: the thing where you send fingers and roll your, you know, when he joins us.
55:53 --> 55:54 [SPEAKER_02]: That's what happened.
55:54 --> 55:55 [SPEAKER_02]: That's what happened.
55:55 --> 55:56 [SPEAKER_03]: That's what I want to play with.
55:57 --> 55:57 [SPEAKER_04]: Then we'll see that phone.
55:58 --> 55:59 [SPEAKER_04]: Tell me, it looks good in a beer.
55:59 --> 56:00 [SPEAKER_04]: I think so.
56:00 --> 56:02 [SPEAKER_04]: Well, I think so.
56:02 --> 56:03 [SPEAKER_04]: Thank you.
56:03 --> 56:04 [SPEAKER_04]: Thank you.
56:04 --> 56:06 [SPEAKER_04]: How's your hard?
56:08 --> 56:10 [SPEAKER_04]: Do you remember what I told you in the tunnel?
56:10 --> 56:13 [SPEAKER_04]: We ought to be shipping some whiskey.
56:13 --> 56:13 [SPEAKER_04]: Yeah.
56:13 --> 56:14 [SPEAKER_04]: Yeah.
56:14 --> 56:16 [SPEAKER_04]: I remember, well, it was noisy.
56:16 --> 56:18 [SPEAKER_04]: I think you said something like, um,
56:19 --> 56:20 [SPEAKER_04]: He didn't kill your wife.
56:21 --> 56:22 [SPEAKER_04]: Remember what you told me?
56:23 --> 56:25 [SPEAKER_04]: I remember you were pointing my gun at me.
56:28 --> 56:29 [SPEAKER_04]: Snap in the fingers.
56:29 --> 56:31 [SPEAKER_04]: You said, I don't care.
56:32 --> 56:33 [SPEAKER_06]: He's on the South side.
56:34 --> 56:35 [SPEAKER_04]: Yeah.
56:35 --> 56:36 [SPEAKER_04]: Richard, that's right.
56:37 --> 56:38 [SPEAKER_04]: I don't care.
56:38 --> 56:39 [SPEAKER_04]: I'm not trying to solve a puzzle here.
56:40 --> 56:41 [SPEAKER_04]: Well, I am trying to solve a puzzle.
56:42 --> 56:43 [SPEAKER_04]: Life's like a location.
56:44 --> 56:45 [SPEAKER_04]: And I just found a big piece.
56:46 --> 56:46 [SPEAKER_04]: Richard,
56:47 --> 56:48 [SPEAKER_03]: and he slams down the phone.
56:48 --> 56:49 [SPEAKER_03]: Richard?
56:49 --> 56:50 [SPEAKER_02]: But not hanging up.
56:50 --> 56:52 [SPEAKER_03]: But it doesn't hang up.
56:52 --> 57:02 [SPEAKER_03]: And in every other cop movie I've ever watched, you always know that the criminal is smarter than the cop because he hangs at right before they're able to make the trace.
57:03 --> 57:04 [SPEAKER_03]: And it's like, damn it.
57:05 --> 57:06 [SPEAKER_03]: He's so smart.
57:06 --> 57:10 [SPEAKER_03]: He knew just the amount of time to taunt us before he hung up the phone.
57:11 --> 57:19 [SPEAKER_03]: And this one was a huge surprise because this criminal obviously is very smart and they use the trope and then they subvert the trope.
57:20 --> 57:27 [SPEAKER_03]: by having them say, nope, I want you to trace this because I want you to come and investigate what I just investigated.
57:27 --> 57:27 [SPEAKER_03]: Right.
57:28 --> 57:35 [SPEAKER_03]: And so at this point, you kind of know, okay, Richard Kimble is an amazing investigator.
57:35 --> 57:40 [SPEAKER_03]: Moreover, he's going to use the federal marshals as a tool.
57:41 --> 57:45 [SPEAKER_03]: to sort of vindicate his own incrimination.
57:45 --> 58:09 [SPEAKER_02]: Well, also, I think that goes back to what you were saying too, and we were talking about two in terms of like the turn that Tommy League Jones character does at this point is because he's trying to, he would have anticipated that same exact thing, because he would have assumed this guy, if this guy's a real criminal, he's a smart criminal, and he's going to hang up before we get a chance to locate him, but he didn't, and at that point he's like, okay,
58:10 --> 58:10 [SPEAKER_02]: He's not dumb.
58:11 --> 58:12 [SPEAKER_02]: He did this on purpose.
58:12 --> 58:12 [SPEAKER_06]: Yeah.
58:13 --> 58:20 [SPEAKER_02]: Maybe I'll just, like, so now he's entertaining this puzzle solving thing, just a little bit more, because he's like, okay, look, this is the thing.
58:20 --> 58:22 [SPEAKER_02]: I, you're, you're defined my, my expectations.
58:23 --> 58:24 [SPEAKER_02]: Yeah, it's kind of impressive.
58:24 --> 58:25 [SPEAKER_02]: I have to recalibrate.
58:26 --> 58:31 [SPEAKER_03]: And, you know, it's like I'm hunting a different kind of beast than I used, than I was before.
58:32 --> 58:36 [SPEAKER_05]: All the signals he's getting from Kimball are not the same as any other felon.
58:36 --> 58:38 [SPEAKER_05]: He, or, you know, escaped fugitive.
58:39 --> 58:41 [SPEAKER_02]: Can I say my mate?
58:41 --> 58:51 [SPEAKER_02]: We talk about timely Jones' lines and there's so many good ones, but the one that I go back to now more than ever that probably didn't hit me the first couple watches, but I anticipate it every single time I watch it now.
58:51 --> 58:53 [SPEAKER_02]: I just, I don't, right now I'm just making ideas.
58:56 --> 59:01 [SPEAKER_02]: I love that line so much because it is so unnecessary.
59:01 --> 59:05 [SPEAKER_02]: It is completely unnecessary.
59:06 --> 59:10 [SPEAKER_02]: And, but to me, it adds an element of authenticity to this film.
59:11 --> 59:19 [SPEAKER_02]: And just a window into Tom, like, Tommy Jones is focusing as well as his, like, hey, I discovered something.
59:19 --> 59:21 [SPEAKER_02]: Also, here's a new show about Orange.
59:22 --> 59:24 [SPEAKER_03]: I, I like that too.
59:24 --> 59:36 [SPEAKER_03]: I think that there is something about the acid in the citric acid that like dissolves the glue and I think that you would use that if you were going to doctor an ID.
59:37 --> 59:39 [SPEAKER_03]: How do you, you, you know a lot about.
59:39 --> 59:40 [SPEAKER_03]: I guess you watched it.
59:40 --> 59:41 [SPEAKER_03]: I don't know why I know that.
59:41 --> 59:41 [SPEAKER_03]: I just know it.
59:44 --> 59:44 [SPEAKER_03]: All right.
59:45 --> 59:51 [SPEAKER_03]: Is this movie better worse or on par with a Ron Howard film David you first?
59:52 --> 59:55 [SPEAKER_05]: I don't know that Ron Howard could make a film as good as this.
59:57 --> 01:00:12 [SPEAKER_05]: And when you go into the camera work, the sets, the train wreck, which is a whole thing in and of itself, you know, the handicam work, the using the parade for real, like that, you know, using natural lighting, using a lot of French connection techniques.
01:00:14 --> 01:00:16 [SPEAKER_05]: I don't know that Ron Howard
01:00:16 --> 01:00:19 [SPEAKER_05]: has this kind of edge to his filmmaking.
01:00:20 --> 01:00:22 [SPEAKER_05]: So I think that's really interesting.
01:00:22 --> 01:00:23 [SPEAKER_05]: I was doing a plus three.
01:00:23 --> 01:00:24 [SPEAKER_03]: Yeah, okay.
01:00:24 --> 01:00:26 [SPEAKER_03]: So you say this is a Howard plus three.
01:00:27 --> 01:00:28 [SPEAKER_03]: I thought this was properly Howard.
01:00:29 --> 01:00:37 [SPEAKER_03]: And I was interesting specifically because like if you asked me who directed this movie before I did any research on this, I don't, I would have known.
01:00:39 --> 01:00:45 [SPEAKER_03]: And so it's like it's not like this particular director has like a known style or something.
01:00:45 --> 01:00:45 [SPEAKER_03]: Right.
01:00:45 --> 01:00:52 [SPEAKER_03]: I think that, you know, I think like this would sort of be in Apollo thirteen kind of thriller.
01:00:52 --> 01:00:54 [SPEAKER_02]: Maybe a Da Vinci code in a line.
01:00:54 --> 01:00:57 [SPEAKER_03]: It's a little bit, I don't know, huge fan of that.
01:00:57 --> 01:01:04 [SPEAKER_03]: But it's both action and cerebral, which I think that Howard can pull off.
01:01:06 --> 01:01:13 [SPEAKER_03]: I don't know if you guys have seen the movie called, I think it's called thirteen lives or fourteen lives.
01:01:16 --> 01:01:17 [SPEAKER_03]: Yeah, it's called Thirteen Lives.
01:01:18 --> 01:01:23 [SPEAKER_03]: And it's a true story about sort of a rescue effort.
01:01:24 --> 01:01:27 [SPEAKER_03]: And just just an amazing thriller.
01:01:27 --> 01:01:28 [SPEAKER_03]: I don't know.
01:01:28 --> 01:01:29 [SPEAKER_03]: I thought this was probably Howard.
01:01:29 --> 01:01:30 [SPEAKER_03]: What about you, Steve?
01:01:31 --> 01:01:33 [SPEAKER_02]: I had probably Howard on my notes as well.
01:01:34 --> 01:01:38 [SPEAKER_02]: And I thought about that a lot throughout the film.
01:01:38 --> 01:01:43 [SPEAKER_02]: I think, and I think, again, it's like, we're not trying to denigrate
01:01:43 --> 01:02:02 [SPEAKER_02]: Ron Howard in any stretch, would we say like, oh, you know, there are some flaws that they were to say that, but I there was sort of this cat this this anonymous quality to the director, which by the way, I was just looking at like he's had a long history, but like the he made above the law, which is Steven's a goal's debut film.
01:02:03 --> 01:02:04 [SPEAKER_03]: Ron Howard made above the law.
01:02:05 --> 01:02:07 [SPEAKER_02]: No, no, no, Andrew Davis.
01:02:07 --> 01:02:14 [SPEAKER_02]: And then following that, and then following that, Andrew Davis made the movie, the package starring Jean Hackman and Tommy Lee Jones.
01:02:15 --> 01:02:16 [SPEAKER_02]: That was interesting.
01:02:17 --> 01:02:24 [SPEAKER_02]: And then, and then he does under siege, where reunites him with full Tommy Lee Jones and Steven Sagaugh and then off to the future of America.
01:02:25 --> 01:02:30 [SPEAKER_02]: But yeah, so I felt like there was a lot to this movie that was, you know, like,
01:02:30 --> 01:02:36 [SPEAKER_02]: because it was kind of a well done cat and mouse, but still playing very heavily with formulas and familiar tropes.
01:02:36 --> 01:02:47 [SPEAKER_02]: but relying heavily on pacing and, you know, not maybe the most amazing slide-a-hand, but decent slide-a-hand and getting good performances out of good actors and in some cases.
01:02:47 --> 01:02:49 [SPEAKER_05]: Super, not completely put together.
01:02:50 --> 01:03:03 [SPEAKER_05]: The whole editing sequence of the efficiency of the trial and the establishing of the mystery at the very beginning really well done despite Harrison Ford's acting.
01:03:06 --> 01:03:13 [SPEAKER_03]: Is there a Kevin Bacon character that could be plausibly inserted into this movie?
01:03:13 --> 01:03:14 [SPEAKER_05]: Oh, is it plausibly supposed to be?
01:03:15 --> 01:03:15 [SPEAKER_05]: Oh, shit.
01:03:16 --> 01:03:17 [SPEAKER_02]: Yeah.
01:03:17 --> 01:03:22 [SPEAKER_02]: His character is the kid in hero at large could have also been in the hospital.
01:03:22 --> 01:03:24 [SPEAKER_02]: Just making homophobic comments.
01:03:24 --> 01:03:24 [SPEAKER_02]: Yeah.
01:03:30 --> 01:03:36 [SPEAKER_02]: But Kim Bull saves him anyway to show that what a bigger, you know.
01:03:36 --> 01:03:39 [SPEAKER_03]: David, do you have a Kevin Bacon character doing certain here?
01:03:39 --> 01:03:47 [SPEAKER_05]: Yeah, I didn't realize that the criteria was plausibly, so I went with Chip Diller from Animal House.
01:03:48 --> 01:03:55 [SPEAKER_05]: He's a pledge to the fraternity, and he's the one in the military uniform at the end, where it gets flattened as everybody's riding.
01:03:57 --> 01:04:09 [SPEAKER_05]: And I was thinking he could be the odd man out on Gerard's team, always quoting regulations to him and saying, oh, we gotta wait for back up and then tell Gerard kicks in the door and that kind of stuff.
01:04:10 --> 01:04:12 [SPEAKER_03]: So I don't know if you've seen Whitewater Summer.
01:04:13 --> 01:04:24 [SPEAKER_03]: Bacon plays a sort of a camp leader named Vic, who's sort of aggressively knowledgeable about Boy Scout stuff.
01:04:25 --> 01:04:35 [SPEAKER_03]: and if you've not seen this movie, it's actually a pretty good movie, but I was worried the entire time that he was a pedophile, I thought, what is he gonna tell him?
01:04:35 --> 01:04:37 [SPEAKER_02]: That's always the worry within, isn't it?
01:04:37 --> 01:04:50 [SPEAKER_03]: It's like your a boy scout leader, you've got these boys out in the wilderness, when it's just gonna turn into that kind of movie, and it doesn't, and it's a good movie, but I thought that if you inserted Vic from Whitewater Summer, maybe he could,
01:04:52 --> 01:04:55 [SPEAKER_03]: help Harrison Ford out of the river at some point.
01:04:56 --> 01:04:58 [SPEAKER_03]: All right.
01:04:58 --> 01:05:05 [SPEAKER_03]: Rather than half the battle one to grow on, I'm going to play one of my favorite John Millaney bits.
01:05:07 --> 01:05:12 [SPEAKER_01]: So I went with my mom as her date to reconnect with Governor Bill Clinton.
01:05:13 --> 01:05:15 [SPEAKER_01]: We walked into the ballroom.
01:05:15 --> 01:05:16 [SPEAKER_01]: There was a big hotel ballroom.
01:05:16 --> 01:05:18 [SPEAKER_01]: There was the Palmer House Hilton, big Hilton hotel ballroom.
01:05:19 --> 01:05:21 [SPEAKER_01]: Walked into the ballroom is packed with people.
01:05:22 --> 01:05:24 [SPEAKER_01]: It's actually, it's the ballroom from the end of the movie, the fugitive.
01:05:25 --> 01:05:26 [SPEAKER_01]: So, that ballroom.
01:05:26 --> 01:05:31 [SPEAKER_01]: So, my mom and I walk and it's packed with people.
01:05:31 --> 01:05:37 [SPEAKER_01]: The end where Harrison Ford has Dr. Richard Kimball, a person that confront Dr. Charles Nichols, right?
01:05:37 --> 01:05:38 [SPEAKER_01]: Okay.
01:05:38 --> 01:05:39 [SPEAKER_01]: So, that ballroom.
01:05:39 --> 01:05:39 [SPEAKER_01]: So.
01:05:40 --> 01:05:42 [SPEAKER_01]: My mom and I walk in.
01:05:42 --> 01:05:43 [SPEAKER_01]: It's packed with people.
01:05:43 --> 01:05:44 [SPEAKER_01]: Why does Kimball confront Nichols?
01:05:44 --> 01:05:55 [SPEAKER_01]: Well, I know we all know this, but never, but, but, but Kimball, he found out that Nichols, along with Devlin Negragger and Lance, who's mysteriously done, they had hired Frederick Sykes to win our man to kill Kimball.
01:05:55 --> 01:06:01 [SPEAKER_01]: Kimball's wife wasn't even the target, I know we all know this, but they were gonna kill Kimball because he wasn't gonna prove certain liver samples to pass our U.D.
01:06:01 --> 01:06:01 [SPEAKER_01]: ninety.
01:06:01 --> 01:06:04 [SPEAKER_01]: So, Kimball finds out about all of this, and of course, he's furious.
01:06:04 --> 01:06:07 [SPEAKER_01]: And he bursts in the ballroom and he goes, just switch the samples.
01:06:08 --> 01:06:13 [SPEAKER_01]: And Dr. Nichols is like, uh, ladies and gentlemen, my friend, Dr. Richard Kimball.
01:06:13 --> 01:06:14 [SPEAKER_01]: What accent did that guy have by the way?
01:06:15 --> 01:06:17 [SPEAKER_01]: He goes to switch the samples.
01:06:18 --> 01:06:19 [SPEAKER_01]: And you doctored your research.
01:06:20 --> 01:06:23 [SPEAKER_01]: So that you could have prophesic.
01:06:25 --> 01:06:27 [SPEAKER_01]: Anyway, so is that barram?
01:06:27 --> 01:06:28 [SPEAKER_01]: So we walk into that barram.
01:06:29 --> 01:06:31 [SPEAKER_01]: It was packed with people.
01:06:34 --> 01:06:38 [SPEAKER_01]: It was packed with people, a real who's not of Chicago celebrities.
01:06:39 --> 01:06:40 [SPEAKER_03]: I love this bit.
01:06:40 --> 01:06:42 [SPEAKER_03]: There are no like obvious punchlines.
01:06:43 --> 01:06:50 [SPEAKER_03]: It just presupposes that you've seen this movie and you appreciate it for all of its quirks.
01:06:52 --> 01:06:55 [SPEAKER_02]: Yeah, and it makes it, then it makes almost like, is this funny?
01:06:57 --> 01:07:02 [SPEAKER_02]: Is this like, because the movie does take itself pretty seriously.
01:07:03 --> 01:07:08 [SPEAKER_02]: And, and, but there are like, I do quote a lot of this movie sometimes for the unintentional comedy.
01:07:09 --> 01:07:15 [SPEAKER_02]: And to me, you know, because I, I was, I saw Millani do this bit in Berkeley at the Greek theater.
01:07:16 --> 01:07:24 [SPEAKER_02]: And I was blown away because I was like, oh, it's so, it's so particular.
01:07:25 --> 01:07:28 [SPEAKER_03]: It could be viewed as kind of like a one percent kind of humor.
01:07:28 --> 01:07:34 [SPEAKER_03]: And maybe it does presuppose a certain, um, that you're of a certain age or something.
01:07:34 --> 01:07:36 [SPEAKER_02]: Yeah, I think the age is part of the right.
01:07:36 --> 01:07:47 [SPEAKER_03]: But the people who are laughing are laughing really, really hard because for whatever reason, we all know that this is kind of funny on some level.
01:07:47 --> 01:07:50 [SPEAKER_05]: It is part of the joke too that you're trying to find the joke.
01:07:51 --> 01:07:54 [SPEAKER_05]: and he keeps going further and further and further.
01:07:54 --> 01:07:56 [SPEAKER_03]: Well, he sort of, it's sort of a cutout.
01:07:56 --> 01:07:57 [SPEAKER_03]: He's kind of like, right?
01:07:57 --> 01:07:59 [SPEAKER_03]: I'm telling you this other story.
01:07:59 --> 01:08:03 [SPEAKER_03]: By the way, I was in the same hotel that that movie was shot in.
01:08:03 --> 01:08:06 [SPEAKER_03]: And then you're kind of along with the ride.
01:08:07 --> 01:08:09 [SPEAKER_03]: You're like, okay, there's a side car now.
01:08:09 --> 01:08:15 [SPEAKER_03]: And he's more interested in the side car than he is in the actual vehicle that's driving the joke.
01:08:16 --> 01:08:18 [SPEAKER_03]: And that's kind of a fun ride to.
01:08:18 --> 01:08:19 [SPEAKER_05]: It's a nerdy about it.
01:08:19 --> 01:08:19 [SPEAKER_05]: Yeah.
01:08:20 --> 01:08:37 [SPEAKER_02]: Well, it's kind of like when you and I went to New York and I really wanted to go to like the touristy places we wanted to go to or because I wanted to go to where maybe a little less conventional like I wanted to go to the court house area because that's where the picture of the court from night court was in the opening sequence.
01:08:38 --> 01:08:40 [SPEAKER_02]: And we ended up having like a wonderful time there.
01:08:41 --> 01:08:42 [SPEAKER_02]: It was a lovely time.
01:08:42 --> 01:08:48 [SPEAKER_03]: That was the same day that we visited the firehouse from Ghostbusters.
01:08:53 --> 01:08:55 [SPEAKER_03]: Um, I love this movie.
01:08:57 --> 01:09:03 [SPEAKER_03]: And the fact that I named it as a properly Howard movie just kind of shows you how amazing.
01:09:03 --> 01:09:09 [SPEAKER_03]: Howard can be at times, even though he's not associated with this movie at all.
01:09:10 --> 01:09:13 [SPEAKER_02]: Yes, this is a compliment to Ron Howard.
01:09:13 --> 01:09:14 [SPEAKER_02]: Do we do it?
01:09:14 --> 01:09:19 [SPEAKER_02]: By the way, uh, was it did play a had a guest spot on one of the episodes of the fugitive series?
01:09:19 --> 01:09:19 [SPEAKER_02]: Oh, interesting.
01:09:20 --> 01:09:23 [SPEAKER_02]: Car Russell had two shows though.
01:09:24 --> 01:09:25 [SPEAKER_05]: So we're not doing half the battle.
01:09:28 --> 01:09:28 [SPEAKER_03]: Let's do it.
01:09:29 --> 01:09:32 [SPEAKER_03]: David is there a half the battle in this film.
01:09:33 --> 01:09:40 [SPEAKER_05]: When you're flying in an aircraft and you're a law enforcement officer, you must absolutely.
01:09:40 --> 01:09:45 [SPEAKER_05]: There's only a microphone so that you get great distortion when you're getting on your orders.
01:10:52 --> 01:10:57 [UNKNOWN]: In a cocoon of horror