August 17, 2020 • 33 mins
Mini Crush #132 IS OVER IT ALREADY.
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Episode Transcript
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Speaker 1 (00:00):
Welcome to Movie Crush, a production of I Heart Radio.
(00:28):
Hey everybody, and welcome to Minni Crush Monday with Me,
Charles W. Bryant and musical guests. No, Brown, is that
a Kermit the Frog boys? John, No, that's not Kermit
the Frog? Who is it? It's down part of SNL.
It kind of sounded like Kermit Chuck a little bit
(00:49):
ain going Kermit the Frog. Here. We okay, it's you're
doing a different cadence now. But the voice, I argue,
was that big frog. Oh, we could get a little
bit going nol from now on. We should do the
show in the characters of of of Frog. We're going
(01:11):
to start out with a stream this frog. Is that
the only thing you can do? I can't, I can't
say other words? Uh yeah, No, We're gonna do a
little reverse order and start out with a little stream
this action before we get into things. I watched a
couple of music documentaries last week that are highly recommended
by Moah. I guess you gotta like the musicians though
(01:34):
to like the docks. But I watched the David Crosby
documentary Remember My Name, that was out last year. Fantastic,
really good space. It was just very brutally raw, like
he's a guy who in his old age, he's he's
dying soon and he knows that and as any end
(01:55):
of his life, basically saying, all the people I worked
with hate me because I'm a big asshole. Yeah, has
a lot of regrets and it's just very somber. He's
very frank about it all um, good stuff, complicated man,
but just you know, he said it was his adrenaline
(02:16):
and his anger management. He said, you know I was
when I got mad, adrenaline kicked in, and he said
it was instant asshole. And I think he's just one
of those guys, you know, the at least the trail
of pain in their wake. He's the one that looks
like Gallagher kind of right. Uh sure, yeah, yeah. He
(02:36):
does a little bit really good documentary though, and it
got me to listen. I did not really know this.
Um he did a solo record, uh kind of in
the midst of all that what's it called here? If
only I could remember my name, which I didn't know about.
And they said that it was like a stoner classic
and just such a weird, psychedelic, bizarre um thing in
(03:00):
that in that the studio was just open and all
his friends would just drop by and like like, hey,
let me add this, let me put in a vocal part,
let me throw in a lap steel, and it just
was this layered like you should check it out, man,
And uh yeah, I'd love to sit around with the
candles on in the dark. And you know, I don't
know if you have to have a joint that that
might help. Sure, sure, always have you speaking of you know,
(03:22):
legends potentially on their last and their twilight days, I guess,
and making cool work. Have you heard the new Bob
Dylan record, Rough and Rowdy Ways? Of course that's been
good man, it is good. Yeah. The first song in
particular that I contain multitudes all these like it's got
all these really interesting like modern pop culture references. Yeah,
(03:45):
that that they I am not used to hear and
coming from him. I have a great toin of charming.
Also that lost Um Nearly Young record that they came
out similarly at the same time. I've been listening to
that one. Toolan's also good. It's great. Um. The first
time I saw Dylan was I think it was maybe
during college. He was doing one of these tours and
(04:05):
he does this sometimes where he plays like just like
very off the beaten path places. And he played in Gainesville, Georgia.
And if you know, I mean, if you're listening, you
don't know. Gainesville. It's a just sort of at the
foothills where the North Georgia Mountains begin, and it's, um,
it's a sizeable town for North Georgia, but it is very,
very small. And he played the Gainesville Civic Center, I guess,
(04:29):
which I don't know. It's probably like three or four
thousand people. And my buddy Eddie and I who's a
Dylan freak um went and camped out nearby and then
went to the Dylan show and then went back to
our campsite, which is kind of the perfect first way
to see Dylan. And it was in the nineties, so
it was a while ago he was he was a
bit younger. But it was really cool, man. It was
like a town event, like everybody in the town of
(04:51):
Gainesville came out for the show. Like there were the
people that traveled to see Dylan. But then you could
just see these families like a grandma and grandpa and
parents and aids who probably don't ever go to see
live music. They came out because Bob Dylan came to town.
It was really really neat. Highly recommend checking out Bob Dylan.
Emily hated it live. We took another time to Eddie
(05:12):
and I saw them we drug our wives and they
were both just not too impressed. More recently, Dylan's been
doing this bit where he just kind of sits behind
the piano and he's kind of croony like Frank Sinatra
e type numbers, and people are like, I came to
hear fucking blowing in the wind. That's a song, right,
Sure he didn't he didn't do it. I mean, he
(05:35):
does some of the hits, but he he's always been
famous for just rearranging things on the fly. And his
band is like he might be on stage and oll
and he'll go to do all along the watch Tower
and he'll turn around and switch the key right before
he says one, two, three, four, And the band has
got to be so good they can just go with
whatever he wants to do. Wow, he's just have to
(05:56):
like eyeball it. Yeah, very interesting performer, love it. Agen
And then the other doctor I watched last night Nol
was Heaven Adores You. The Elliott Smithwin that's been out
for a while and it uh I wanted to see
in the theater when it came out, but it had
a very short limited run and just sort of got
by me. But it popped up on Amazon Prime. It
(06:17):
was really just so great. Yeah to watch that's a
sad one. I think I maybe mentioned this in the
show before. I saw him live weeks before he died,
and he was not well, Like he was just very
clearly quite drug added was. Yeah, he was just slurring
and I couldn't find his capo when he was like
(06:39):
sitting on in It was just this whole kind of
like seeing somebody sort of like quiet, quietly melting down. Man.
It was, Yeah, that is tough stuff. He his audience
cared so much about him, and I remember I saw
him a few times with the band and then a
couple of times by himself, and people would yell out
these solo shows by himself things like you know, we
(07:00):
hope you're okay and stuff like that, Like he was
so cherished by his his fan base. It was just
so fucking sad the way he went out. I missed
that that music. Man, We we get cheated when these
people the Jeff Buckley's and the Elliott Smith's leave us
so early. You know, I had a Jeff Buckley into
Elliott smith sash last night. Actually, um that record that
(07:22):
Buckley was working on before, Right before he died. They
put out his sketches from My Sweethearts to Drunk, which
is phenomenal. It was one disc of it is more
polished what they did in the studio. The second disc
is all these really dope, weird uh uh four track
type recordings, and one of them he does this song,
this Genesis song called Back in New York City that's
(07:43):
really weird and like trippy, and you know, um with
all these loops and stuff, and it's just he's just
he was such a creative guy. And Grace is incredible.
That's such a straightforward record like I wanted to I would.
That really showed that, Oh man, he's he's got some
weird ship up his sleeve, like he was gonna ye,
who knows where he was going. His was even more
sad too, because it wasn't like addiction or he didn't
(08:05):
die by suicide. It was like he died living life.
You know, you want to go swimming. He jumped to
the river to swim never came back. You know, he's
the kind of guy that takes his shirt off and
jumps in the Mississippi River at midnight after total recording
session and yeah, it's sucking. So sad man. There was
your buddy. Uh. Matt Gorley had this podcast where he
(08:26):
would interview I can remember the name of it. It
just ended, but he would interview like kind of behind
like like second second tier players from big movies. Yeah,
I was there too, that's the one. And he interviewed
the woman who played the senator's daughter in Silence of
the Lambs who was stuck in the pit, you know
with the with the dog and all that ship. Um,
(08:47):
really really great, really cool lady. But she was talking
about how she used to be Jeff Buckley's roommates. Um,
and just a really weird, like totally unexpected twist to
the story. I was talking about how like he needed
a place to stay and he lets you let him
stay with her for he was like the door guy
at this club that she liked and or something like that,
and they just became best of friends. And it was
just a really really touching little story that was expected.
(09:10):
It was it was literally the last episode of that series.
He wrapped it. So if you guys want to check
out that story, it's the it's the the last episode
of I was there too. I think it's the name
of it. Yeah, okay, alright, everyone, we're gonna do grip this.
It's been a while. I got some ship on Facebook
(09:32):
for not doing stuff like this anymore, specifically grip this.
So I'm doing it and all we're gonna talk about
script supervisors. Nice. They call him script e s. Back
in the day they would call them continuity clerks or
U script girl, of course because it was old Hollywood.
And uh, his historically been a job that a woman performs.
(09:54):
I don't think in all of my days on any set,
I ever worked with a man as a script supervisor.
And perhaps one of the reasons is that, uh, you
have to blend in and just sort of be ever
present but not loud and obnoxious about things that are
(10:15):
going on. And the script supervisor is the right hand
person of the director, um, almost as much as I
would say as the assistant director. Uh. And if you
don't know what a script he does, the scripty oversees
a continuity. UM. They do a lot of things. They
oversee the continuity of a movie. So when they go
to shoot a scene, like a few minutes beforehand, when
(10:37):
they're prepping, you will see everyone from the wardrobe person
to the prop person, and especially if it's a carry overseene,
like if you broke for lunch or if you're coming
back to it, come over to the scripty and be like, hey,
which hand was the was the gun in? Was the
gun cocked? Was the collar? Was the collar up on
the side like it is right now? Or did they
do that during lunch? Because it's got all match and
(10:57):
that's all on scripty, And won't they take colect polaroids
and stuff too to like do when they do like
last looks or whatever. They'll make sure that they know
and they keep that filed away and they're a little
folder and pull out that thing and see because it's
not like they can make notes that all that by
hand and remember it. They have to like have some
kind of visual you get a reference. These days, I
think they're using the old iPhones and iPads for that
(11:19):
kind of thing. That makes perfect. But back in the day,
it was a big stack of polaroids. Uh. And then
during the scene they record what's going on and how
a line may be said. They mark. They're sort of
the the aison between the director and the editor who
was obviously not on set, And a lot of times
they'll be sending not a lot of times, always they'll
be sending footage to the editor because they kind of
(11:40):
get to work right away. It's not like they shoot
the movie then send it to the editor and they
so they'll be making notes and they will hand those
notes over to the editor. Um, like we did eighteen takes.
The director really loved to six and nine and a
double star next to nine because he thought that was
the best take. Um or maybe this director, um, maybe
(12:03):
she thought that, uh, they didn't get it at all.
So she was she wants you to look at these
to see if you can marry these three takes instead
of using what we thought was going to be one take.
So just sort of notes like that that director is
constantly giving to the script supervisor to pass along. Um
what else they're watching the script obviously they're reading along. Uh.
(12:26):
If it's a movie where you, um, where the dialogue is,
you really have to nail and it's not like you're
improving and doing whatever. Um, they make sure that you
get it right. If it is improv stuff, they have
to keep up with that because Christopher guest five takes
later might be like, oh wait, what was that? That
was great? What you were doing before? And the actor goes,
(12:46):
I don't even know what I was doing. I was
just sat on the zone. That's where script he comes
in say, oh, you did a little bit about your
fly being down or whatever. So also like is that
the person that someone yells line ye, script supervisor will
yell out the line, or not yell out. They will
very quietly tell you the line. Uh. They will time
(13:07):
the script of the stopwatch if it's required. I think
for movies you don't see that as much unless it's
a really sort of timed thing that has to be
a certain length. But on commercials, especially in music videos,
where timing is everything you have, they sit there with
a stopwatch because they know, like, you've only got three
seconds to do this bit, because the commercial is only
(13:29):
thirty seconds long or whatever, what else and all they
keep in It's called the access of the scene. It's
sort of where the camera position sits in relation to
the actors and the actor's eye lines. So they'll keep
up with all of that and be like, no, you
were over the shoulder in the scene and you were
looking from left to right because that's where the horses
galloping away. Because you know, some actors are great at that,
(13:52):
and other actors are so into their performance they really
really rely on scripty to kind of point out this stuff.
There's a really great Instagram account that I follow, and
it's gonna be so useless because I can't remember the
name of it, but I'll try to remember for next time.
But it shows like split screens of like this, like
really awesome sequences in movies, and it shows like the
on set version versus the the actual, you know, finished edit.
(14:17):
And that one that I saw recently was like, I
don't remember what movie was from, but it was I've
seen it. I've seen it done for Children of Men
as well, a big scene where it was a one
shot tracking thing and then something blows up, like one
of the buildings explodes, and everyone likes running screaming, but
it shows them having like firing all those you know,
those explosives and all of the like the things that
have to happen to make us a scene like that
(14:39):
go off without a hitch, and probably so much budget
lined up in that an extra personnel and I don't know,
it's really cool. Also, I'll send it to you and
on Instagram. I think you'd dig it. I'll totally dig
that and all. Uh well else, I guess the final
thing they do or I mean they do a lot more,
but they keep track of the uh the takes. As
in the camera department. They work closely with the camera department,
so they have to you know, the clapper. The loader
(15:02):
comes in and claps the old clapper down, and on
that slate it says who the director is, what take
it is, what's scene it is? Maybe who the camera
uh cinematographer is, and and the script he is watching
that thing and they will say like it's take four,
not take three, until they'll quickly erase it and put
take three before anyone notices. So script is kind of
the best friend of a lot of departments. That sounds
(15:23):
like it. Yeah, very important job. If you I always
thought this was a job my mom could have done
in retirement. It's a great gig. Like you show up.
You don't have to be there super early. Um you
know you you you kind of have the director's hour,
So you show up when they show up, and as
soon as they call cut, you make your copies of
(15:45):
the stuff that you got to send out, and you
go home and you're just sort of quietly always there.
You gotta have a really good handwriting, have to have
a nice demeanor. You get paid very well, like all
film jobs. So if you if you were someone who
is comfortable not being the center of attention and come
both being seen and not heard and has a great
eye for detail, nice penmanship, uh, script supervisor might be
(16:07):
the job for you. But how do you work your
way up to that? I mean it seems like such
a rarefying there isn't because there's no assistant. It's not
like you can start out in a department and work
your way up. It's one person. So you just kind
of have to make that decision like this is what
I want to do, and try and just get in
(16:27):
there any way you can, because it's all about like
who you know. I mean, like the reason David, my
my ex husband, got this job is because he works
with this crew, and like they every time a gig
comes up, they hire out the people they want. That's right,
And it's not even like the production, it's the production
hires the guy, and then the guy hires the team.
(16:48):
So it's like you really just have to get in
there and like get you know, your your foot in
the door, and then get in the union, I guess,
and that's a big part of it too. Yeah, I'm
not sure what union they're in, but I know that personnelity.
I like, you've got to be good at your job
obviously and have that great eye for your detail, but
your personality goes a long way as a script. If
the director really likes working with you, she might just
(17:09):
be like, you know, you're my my person forever. I
like having your round. You've got my back, and you know, uh,
you know how to do your job in a in
a nice kind of quiet, unassuming way, which is a
big part of it. So that's it. No, that's a
grip this. Hope everybody learned something. I sure did, check,
(17:30):
I sure did. I'm wondering if I should go get
my computer charger. I think I should because I'm a
Skype just eats it up. Yeah, I came down here
with a percent and noll. Yeah. Man, alright, always plug in,
always plug in, all right, I'll be right back. Okay,
all this entertain the people. We can leave that part in.
But do do do do do do? Okay, Noel, I'm
(17:59):
back through the magic of editing me. Running up two
flights of stairs took no time at all. I know
you don't seem WinDD or anything. Strangely, I'm not. Actually
we experienced that in real time, Chuck. I was entertaining
the folks at home while you were away. I was
singing little muppet type songs. So, oh well, should we
could leave all that in? If you want some of that?
I think it'll be clear to super producer Ramsey where
(18:20):
where to where to institute the cut? So no, we're
gonna move on to uh a little thing called casting couch.
Oh sexy. That is where I get you on the
couch and hol and make sweet sweet love. I do
have a couch right here. How do you Where do
you want me? Huh? Well, and I don't look I
can make anything work. No, okay, all right, I know
(18:42):
your holes. Oh no, all right, So we're gonna go
to casting couch. And with all these and music biopics
biopics that are out and have been out, everyone's talking
about what's who's next? You know what? Movies are next.
I know you don't like those movies. No, but pretend
for a minute you do. What do you want to see? Um? Well,
(19:04):
I actually do want to see the Elton John one.
I really liked Bohemian Rhapsody quite a bit, and I
know there's some some some of the same personnel, right
that did those two? Am I am? I mistaken about
that rocket Man in Bohemian Rhapsody. I don't know was there.
I thought there was. I thought it was the same director.
Oh maybe the first singer got fired and then took over. Yeah,
(19:28):
I think he went on to do Rocket Man, which
every one that I've talked to you about said is
so awesome and dream like and fantastic. And did you
see it rocket Man several times? It kicks. Liked it
a lot. Let's see. I don't know. I think the
Bowie one would be cool. I know there's one in
the works, but it looks a little twee honestly like
it doesn't look like it's gonna be hard hitting cinema
(19:52):
actually happening. Yeah, yeah, let's see Bowie bio pic. What's his?
He's he's somebody I hadn't heard of. Uh, well, then
I was errant because it's about the young David Bowie. Yeah,
star Dust, Oh it's already out. Yeah, it doesn't look good.
(20:15):
Why do you got to mess up a Bowie movie? Aloy,
isn't that crazy? Like? How does that even? How is
that allowed to happen? Johnny Flynn, Yeah, I don't know
that person. He just seems kind of like a little
sweet pop star from South Africa kind of well. I
missed the memo nol because I asked to cast, uh
the Billy Joel movie, the Stevie Nicks movie, and the
(20:36):
David Bowie movie, so I did not realize there was
I think we can count this one as a wash, like,
let's just pretend this will never happened. Maybe it's great.
I'm sorry. I don't want to mean to Malina before
having seen it, but based on the casting and the
look of it, they kind of came and went. Does
not bode well. Um, but I love dude. Tildas Winton
always comes up and I just think that's so clever.
I would love to see that. Sure, might it might
(20:58):
be tough to sustain for a whole I don't think so.
I mean, if Kate Lynch I can play Bob Dylan. Yeah,
but that was only in one little vignette and like,
and it was meant to be kind of weird, you
know what I mean. Good point. Our oldest of friends,
Franka Dakas first named Debbie, says Stevie could be Billy Lord,
Carrie Fisher's daughter. I could see that. Eddie Redmain for Bowie. Yeah,
(21:23):
why not. Billy Joel could be Michael Keaton for the
older version. Young Joel could be played by a tussled
Timothy shallow May. Timothy shallowm is way too handsome and
chisel jaw to play Billy Joel, who has always been
a very round human. Uh. And shallow May's playing Dylan,
so is he really? Oh? Yes, in real life and
(21:46):
in the movie, I r l in a. I am
got gotta gotta got it. Yeah, it's gonna be great.
I can't wait for that. Kristen glen Kister, one of
our old friends, says, uh, Gillian Anderson should reprise the
role of David Bowie from American Gods, Florence Pugh or
Amelia Clark for Stevie Nicks. Yeah, I could see that.
(22:09):
She said, Billy is hard and to have such an
unabashed love of Billy Joel me too that. I'm not
sure there's a person who could do it to my licking.
James McAvoy maybe, m oh, maybe he can. He can
be so versatile man like he really he's one of
those ones that will like beef up or like, you know,
get all gaunt and ship like, like, oh my god,
did you see that movie where he played all the
different personalities? He played them all so great. No, that
(22:31):
was That's exactly kind of that. I think he did
a fabulous job in that movie. Um, I like him
very much. Yeah, that's a pretty smart, smart casting call there. Yeah,
and he sort of has that look a little bit.
J Fraser says to Billy Joel, James McAvoy would do
solid representation Stevie Nicks. I'd go to Lady Gaga route. Okay,
(22:52):
I could see that maybe, even though if they did
a good wig job, you know, I think she would
she would be pretty good. Okay, I could go for that.
I mean, I certainly thinks she's wonderful. But boy, I
love Stevie Knicks, David Bowie, Eddie Redmain. Everyone is saying,
Eddie Redmain, do they know something? I don't know. He's
(23:12):
he's a little too nerdy looking or something. I don't know.
I'm not feeling it. Uh, Star Chili says Bowie Tilda Swinton. Okay,
Uh someone I saw someone say Billy Lord for Stevie Nicks,
that would be great, and Elijah would for Billy Joel
mm hmm nah, not for me. Uh, young Billy modern
(23:38):
Billy Joel Paul Giamatti. That's where Mike Sam's I've heard
that too, that that would not be bad as an
older Billy Joel Mark Ballas as young Billy Joel from
Dancing with the Stars. Who is that? Knull? I don't know,
but holy funk, I did not realize that Billy Lord
was Carrie Fisher's daughter. She's in all the American horror
(24:01):
story shows, do, isn't she? Uh? I don't know, don't
watch it. Yeah, she totally is she and and she's yeah,
she's great, She's fantastic. I had no idea. Now and
now I'm looking at her in the face, and like,
how did I not realize that? So I am now
looking at Mark Ballas from Dancing with the Stars. He
would make a great young Billy Joel because you gotta
have that sort of those sad puppy dog eyes, which
(24:25):
he has. He's more handsome than Young Billy Joel, but
they're always better looking. Let's get real, almost always better looking. Yeah,
good job. That's from Ballad b A L L A
s Mark Ballace. He could totally be a young Billy
Joel or that afro out, that white boy afrow that
(24:45):
he had. Another vote for Elijah Wood is from Ben
mcvittie Stevie Nicks. Another vote for Billy Lord. Why is
everyone saying Billy Lord? I mean she doesn't. She sort
of looks like her. She's you gotta see and um
American horror story. All right, She's real versatile, like she's
She plays very different characters in each season, and it
(25:09):
is always kind of like disappears into the role. I
really think she's super talented. Okay, fair enough. David Bowie,
Jonathan Groff, Hey, I love Groff. Uh doesn't look enough
like him for me. M Jimmy Kachendal says Billy Joel
John c Riley, John c Riley, I don't think uh
(25:29):
to be fun, but I'm not sure about that. He's
sort of in that middle range where he can't play
old or young. He is he is an original. He can't.
He's kind of like he's just himself. You know. Another
vote for a Lady Gaga and another vote for Tilda Swinton. Uh.
Garrett Keels has Billy Joel played by John Roderick. That's funny.
(25:51):
Roderick and I had a not famous because it was
only between us, but we had a little dust up
about Billy Joel once where I made him eat crow.
Years later he was bagging on him and I was like,
you don't know what you're talking about, dude. Do you
take that snobbery elsewhere? And then about a year later
I heard on another podcast Roderick talking about getting free
tickets to go see Billy Joel and went and was like,
(26:12):
god damn it if I didn't know thirty of those
songs my heart and had a great time. And I
was like, you owe me an apology. Yeah, yeah, like
the early stuff in particular, like is there a song
called um It's like the name of a of a
city like Berlin, Vienna, Vienna. That song is awesome. It's
(26:34):
just crazy child. You know, you're so ambitious for juvenile
very such a great song. I know him all Noll.
He was my first big crush, didn't he do for
the longest time? Sure, but like he made like a
real doo woppie record or for the longest man, for
the longest time I didn't realize for the longest time
(26:56):
was Billy Joel. And it just sounded like a like
a girl group hit or something, you know what I mean. Yeah,
that was owed to his youth in the in the
those groups from his youth. Not my favorite record, but um,
you know I had plenty of hits. That's a good song, though, Dude,
let me see Garret Keels Let's finish up Stevie Knicks
played by Hilary Duff. I could see that if she's
(27:16):
still around, and Hugh Jackman is David Bowie, Nick Kelly says,
Emma Stone for Stevie Knicks. Nah, h Billy Joel kind
of looks like Paul Gmtti these days, but that would
be buck Wild, That's what Nick Kelly says, buck Wild,
Billy Joel, Dean Norris Hank from Breaking Bad maybe as
(27:37):
old Billy Joel, Stevie Nicks, David Spade. This is from
Austin Devsky. By the way, it's good to an Austin.
Tilda Swint's getting a lot of votes and all, so
that must have been bandied about online. Oh, had certainly
been discussed. Yeah, another vote for Michael Keaton, This from
Steph Shannon for Billy Joel, Another vote for Gaga, another
(28:00):
road for Tilda Swinton. Why is everyone saying the same people?
It's just in the zeitgeist. Man, I don't know. Christine
Davis Baker says, uh, younger version Rommy Malick. Now, he
can't do he's way too square jawed, and he did
Freddie Mercury. He can't do too. You can't be Freddie Mercury.
And Billy Joel, Stevie Nicks, Glowy create Grace Moretts. Yeah,
(28:23):
Grihese Witherspoon is an older Stevie Knicks. And then Robert
Sheehan from Umbrella Academy for David Bowie. Do you know him?
I know Umbrella Academy. I don't know the names of
the actors super well. Oh okay, I'm looking at him.
He's he's got a face that could work. Let me
see which one is. He's Irish? Oh yeah, yeah, he's
(28:45):
he's the guy that makes ghosts. Uh. And I recommend
Umbrella Academy a lot Chuck if you haven't, if you
want that kind of like an adult weird superhero barn Yeah,
full full, full porn um, but also Doom Patrol which
is on um HBO Max Now, which is another Brendan
Fraser's and he plays like a robot guy. You don't
(29:05):
see his face very much except for when the first
very first scene and the rest of his in a
robot suit. Check that out for sure, that's good stuff.
Let me see Angela Coxes and Natasha Leone for Stevie,
Alexander scars Guard for Bowie, and Adam Sandler for Billy Joel. Hey,
it's not the worst idea. Actually, everyone's saying Billy Lord,
(29:27):
that is interesting because I agree with you. I don't
think she's the spitting image, but I wonder what it
is in the zeitgeist of Lord. I think it may
be is because she's been and like there's so many
of those seasons of American Horror Story, like oh Ship.
You know what Stevie Nicks was in American Horror Story.
She was in with the Witch season of American Horror Story,
(29:48):
and Billy Lord's character was very like close with her,
and they kind of dressed something that makes that might
be why people are saying that. Zack Pointer says Billy
Joel Genre. No, yeah, they got the same eyes. Stevie Nicks,
Emma Watson, I could see that. David Bowie, Don Dane Dehn.
(30:12):
I don't know who that is. Oh sure, I know
that guy, the guy with the sort of the creepy
ice blue eyes. I think he was. Was he it? No? No,
it was Bill Scarce guard right right right? Who? I
(30:33):
believe at least one person dropped for a Bowie. Um,
and I like him. I like him a lot. Uh.
Someone here recommends uh ansel l Gort. Oh, he's the
guy from Baby Driver. Yeah for Billy Joel way too handsome,
Lily James for Stevie Nicks. And Eddie Redmain for Bowie.
(30:55):
That's from Scott Christopher Ledford. Not too bad. Alright, let's
finish up here with a couple of more. I'm looking
for different people here. Uh, let me see Miley Cyrus
for Stevie Knicks. That's from Angela Martin Cluck. I think
a lot of people would revolt against that decision for
(31:15):
reasons other than you know, her acting ability. She's divisive, nol.
I'm wrong about Billy Lord being in this season with
Stevie Knicks. But Stevie Knicks definitely was in a season
of American Horror Story, and Billy Lord's in almost every
season of it. But it appears that she was not
in the season that Stevie Knicks was in, which is
super strange. I don't understand the internet. All right, Keith
(31:38):
Edward here has a new one for Billy Joel as
someone I don't know but is pretty great looking for
this role. Ben Platt with two teas. Look up that guy.
He very much could be a young Billy Joel. Yeah,
that's good casting right there. What's the name again, Ben Platt?
This is coming from Keith Edward. I'm picking up. Put
(31:58):
your laying down there, buddy. Uh And he says, Billy
Lord is Stevie Nicks and Janet McTeer is David Bowie. Interesting,
Stevie Nicks, Millie, Bobby Brown. That's from our buddy, the
Danger Oven. She's too young. Bradley Cooper's Billy Joel. Oh, Gail,
what are you talking about? Bradley Cooper can't play Billy Joel.
(32:19):
You can do whatever. He wants. He's eight ft dollar
than Billy. Joel is billy. Joel is short man, He's
a little guy. They're all short and roll. You ever
been to the Rock and Roll Hall of Fame? And actually,
are you saying all rock stars are short? Most? Really? Yeah?
I mean I have a theory. I don't think it's own,
this theory, but it's is. You know, you're a little
(32:40):
little person and you don't grow up playing sports necessarily,
So what do you do to get chicks? You turn
to that piano with a guitar. Walk through the Rock
and Roll Hall of Fame. There's a section with clothing,
actual clothing. Mick, Jagger, Prince, You're walking around looking at
all these Springsteen they're real clothes, and it looks like
you're walking through the children's section of a department store.
(33:02):
I can make Jaggers pants look like a ten year
old should wear them. That's us and Prince, all of them.
They're little. Rare is the six ft rock star? All right? No,
that's all I got. Good casting, everybody? Oh yeah, very good,
well done, And uh, if you don't have anything else,
(33:23):
then I think we'll just sign off for this week.
I look forward to seeing you again, though in the
near future all I hope. So take care and don't
get covid. Okay, that goes for everybody. Stay well, wash
your hands, wear a goddamn mask. For more podcasts for
(33:52):
my heart Radio, visit the I heart Radio app, Apple Podcasts,
or wherever you listen to your favorite shows.
Welcome to Movie Crush, a production of I Heart Radio.
(00:28):
Hey everybody, and welcome to Minni Crush Monday with Me,
Charles W. Bryant and musical guests. No, Brown, is that
a Kermit the Frog boys? John, No, that's not Kermit
the Frog? Who is it? It's down part of SNL.
It kind of sounded like Kermit Chuck a little bit
(00:49):
ain going Kermit the Frog. Here. We okay, it's you're
doing a different cadence now. But the voice, I argue,
was that big frog. Oh, we could get a little
bit going nol from now on. We should do the
show in the characters of of of Frog. We're going
(01:11):
to start out with a stream this frog. Is that
the only thing you can do? I can't, I can't
say other words? Uh yeah, No, We're gonna do a
little reverse order and start out with a little stream
this action before we get into things. I watched a
couple of music documentaries last week that are highly recommended
by Moah. I guess you gotta like the musicians though
(01:34):
to like the docks. But I watched the David Crosby
documentary Remember My Name, that was out last year. Fantastic,
really good space. It was just very brutally raw, like
he's a guy who in his old age, he's he's
dying soon and he knows that and as any end
(01:55):
of his life, basically saying, all the people I worked
with hate me because I'm a big asshole. Yeah, has
a lot of regrets and it's just very somber. He's
very frank about it all um, good stuff, complicated man,
but just you know, he said it was his adrenaline
(02:16):
and his anger management. He said, you know I was
when I got mad, adrenaline kicked in, and he said
it was instant asshole. And I think he's just one
of those guys, you know, the at least the trail
of pain in their wake. He's the one that looks
like Gallagher kind of right. Uh sure, yeah, yeah. He
(02:36):
does a little bit really good documentary though, and it
got me to listen. I did not really know this.
Um he did a solo record, uh kind of in
the midst of all that what's it called here? If
only I could remember my name, which I didn't know about.
And they said that it was like a stoner classic
and just such a weird, psychedelic, bizarre um thing in
(03:00):
that in that the studio was just open and all
his friends would just drop by and like like, hey,
let me add this, let me put in a vocal part,
let me throw in a lap steel, and it just
was this layered like you should check it out, man,
And uh yeah, I'd love to sit around with the
candles on in the dark. And you know, I don't
know if you have to have a joint that that
might help. Sure, sure, always have you speaking of you know,
(03:22):
legends potentially on their last and their twilight days, I guess,
and making cool work. Have you heard the new Bob
Dylan record, Rough and Rowdy Ways? Of course that's been
good man, it is good. Yeah. The first song in
particular that I contain multitudes all these like it's got
all these really interesting like modern pop culture references. Yeah,
(03:45):
that that they I am not used to hear and
coming from him. I have a great toin of charming.
Also that lost Um Nearly Young record that they came
out similarly at the same time. I've been listening to
that one. Toolan's also good. It's great. Um. The first
time I saw Dylan was I think it was maybe
during college. He was doing one of these tours and
(04:05):
he does this sometimes where he plays like just like
very off the beaten path places. And he played in Gainesville, Georgia.
And if you know, I mean, if you're listening, you
don't know. Gainesville. It's a just sort of at the
foothills where the North Georgia Mountains begin, and it's, um,
it's a sizeable town for North Georgia, but it is very,
very small. And he played the Gainesville Civic Center, I guess,
(04:29):
which I don't know. It's probably like three or four
thousand people. And my buddy Eddie and I who's a
Dylan freak um went and camped out nearby and then
went to the Dylan show and then went back to
our campsite, which is kind of the perfect first way
to see Dylan. And it was in the nineties, so
it was a while ago he was he was a
bit younger. But it was really cool, man. It was
like a town event, like everybody in the town of
(04:51):
Gainesville came out for the show. Like there were the
people that traveled to see Dylan. But then you could
just see these families like a grandma and grandpa and
parents and aids who probably don't ever go to see
live music. They came out because Bob Dylan came to town.
It was really really neat. Highly recommend checking out Bob Dylan.
Emily hated it live. We took another time to Eddie
(05:12):
and I saw them we drug our wives and they
were both just not too impressed. More recently, Dylan's been
doing this bit where he just kind of sits behind
the piano and he's kind of croony like Frank Sinatra
e type numbers, and people are like, I came to
hear fucking blowing in the wind. That's a song, right,
Sure he didn't he didn't do it. I mean, he
(05:35):
does some of the hits, but he he's always been
famous for just rearranging things on the fly. And his
band is like he might be on stage and oll
and he'll go to do all along the watch Tower
and he'll turn around and switch the key right before
he says one, two, three, four, And the band has
got to be so good they can just go with
whatever he wants to do. Wow, he's just have to
(05:56):
like eyeball it. Yeah, very interesting performer, love it. Agen
And then the other doctor I watched last night Nol
was Heaven Adores You. The Elliott Smithwin that's been out
for a while and it uh I wanted to see
in the theater when it came out, but it had
a very short limited run and just sort of got
by me. But it popped up on Amazon Prime. It
(06:17):
was really just so great. Yeah to watch that's a
sad one. I think I maybe mentioned this in the
show before. I saw him live weeks before he died,
and he was not well, Like he was just very
clearly quite drug added was. Yeah, he was just slurring
and I couldn't find his capo when he was like
(06:39):
sitting on in It was just this whole kind of
like seeing somebody sort of like quiet, quietly melting down. Man.
It was, Yeah, that is tough stuff. He his audience
cared so much about him, and I remember I saw
him a few times with the band and then a
couple of times by himself, and people would yell out
these solo shows by himself things like you know, we
(07:00):
hope you're okay and stuff like that, Like he was
so cherished by his his fan base. It was just
so fucking sad the way he went out. I missed
that that music. Man, We we get cheated when these
people the Jeff Buckley's and the Elliott Smith's leave us
so early. You know, I had a Jeff Buckley into
Elliott smith sash last night. Actually, um that record that
(07:22):
Buckley was working on before, Right before he died. They
put out his sketches from My Sweethearts to Drunk, which
is phenomenal. It was one disc of it is more
polished what they did in the studio. The second disc
is all these really dope, weird uh uh four track
type recordings, and one of them he does this song,
this Genesis song called Back in New York City that's
(07:43):
really weird and like trippy, and you know, um with
all these loops and stuff, and it's just he's just
he was such a creative guy. And Grace is incredible.
That's such a straightforward record like I wanted to I would.
That really showed that, Oh man, he's he's got some
weird ship up his sleeve, like he was gonna ye,
who knows where he was going. His was even more
sad too, because it wasn't like addiction or he didn't
(08:05):
die by suicide. It was like he died living life.
You know, you want to go swimming. He jumped to
the river to swim never came back. You know, he's
the kind of guy that takes his shirt off and
jumps in the Mississippi River at midnight after total recording
session and yeah, it's sucking. So sad man. There was
your buddy. Uh. Matt Gorley had this podcast where he
(08:26):
would interview I can remember the name of it. It
just ended, but he would interview like kind of behind
like like second second tier players from big movies. Yeah,
I was there too, that's the one. And he interviewed
the woman who played the senator's daughter in Silence of
the Lambs who was stuck in the pit, you know
with the with the dog and all that ship. Um,
(08:47):
really really great, really cool lady. But she was talking
about how she used to be Jeff Buckley's roommates. Um,
and just a really weird, like totally unexpected twist to
the story. I was talking about how like he needed
a place to stay and he lets you let him
stay with her for he was like the door guy
at this club that she liked and or something like that,
and they just became best of friends. And it was
just a really really touching little story that was expected.
(09:10):
It was it was literally the last episode of that series.
He wrapped it. So if you guys want to check
out that story, it's the it's the the last episode
of I was there too. I think it's the name
of it. Yeah, okay, alright, everyone, we're gonna do grip this.
It's been a while. I got some ship on Facebook
(09:32):
for not doing stuff like this anymore, specifically grip this.
So I'm doing it and all we're gonna talk about
script supervisors. Nice. They call him script e s. Back
in the day they would call them continuity clerks or
U script girl, of course because it was old Hollywood.
And uh, his historically been a job that a woman performs.
(09:54):
I don't think in all of my days on any set,
I ever worked with a man as a script supervisor.
And perhaps one of the reasons is that, uh, you
have to blend in and just sort of be ever
present but not loud and obnoxious about things that are
(10:15):
going on. And the script supervisor is the right hand
person of the director, um, almost as much as I
would say as the assistant director. Uh. And if you
don't know what a script he does, the scripty oversees
a continuity. UM. They do a lot of things. They
oversee the continuity of a movie. So when they go
to shoot a scene, like a few minutes beforehand, when
(10:37):
they're prepping, you will see everyone from the wardrobe person
to the prop person, and especially if it's a carry overseene,
like if you broke for lunch or if you're coming
back to it, come over to the scripty and be like, hey,
which hand was the was the gun in? Was the
gun cocked? Was the collar? Was the collar up on
the side like it is right now? Or did they
do that during lunch? Because it's got all match and
(10:57):
that's all on scripty, And won't they take colect polaroids
and stuff too to like do when they do like
last looks or whatever. They'll make sure that they know
and they keep that filed away and they're a little
folder and pull out that thing and see because it's
not like they can make notes that all that by
hand and remember it. They have to like have some
kind of visual you get a reference. These days, I
think they're using the old iPhones and iPads for that
(11:19):
kind of thing. That makes perfect. But back in the day,
it was a big stack of polaroids. Uh. And then
during the scene they record what's going on and how
a line may be said. They mark. They're sort of
the the aison between the director and the editor who
was obviously not on set, And a lot of times
they'll be sending not a lot of times, always they'll
be sending footage to the editor because they kind of
(11:40):
get to work right away. It's not like they shoot
the movie then send it to the editor and they
so they'll be making notes and they will hand those
notes over to the editor. Um, like we did eighteen takes.
The director really loved to six and nine and a
double star next to nine because he thought that was
the best take. Um or maybe this director, um, maybe
(12:03):
she thought that, uh, they didn't get it at all.
So she was she wants you to look at these
to see if you can marry these three takes instead
of using what we thought was going to be one take.
So just sort of notes like that that director is
constantly giving to the script supervisor to pass along. Um
what else they're watching the script obviously they're reading along. Uh.
(12:26):
If it's a movie where you, um, where the dialogue is,
you really have to nail and it's not like you're
improving and doing whatever. Um, they make sure that you
get it right. If it is improv stuff, they have
to keep up with that because Christopher guest five takes
later might be like, oh wait, what was that? That
was great? What you were doing before? And the actor goes,
(12:46):
I don't even know what I was doing. I was
just sat on the zone. That's where script he comes
in say, oh, you did a little bit about your
fly being down or whatever. So also like is that
the person that someone yells line ye, script supervisor will
yell out the line, or not yell out. They will
very quietly tell you the line. Uh. They will time
(13:07):
the script of the stopwatch if it's required. I think
for movies you don't see that as much unless it's
a really sort of timed thing that has to be
a certain length. But on commercials, especially in music videos,
where timing is everything you have, they sit there with
a stopwatch because they know, like, you've only got three
seconds to do this bit, because the commercial is only
(13:29):
thirty seconds long or whatever, what else and all they
keep in It's called the access of the scene. It's
sort of where the camera position sits in relation to
the actors and the actor's eye lines. So they'll keep
up with all of that and be like, no, you
were over the shoulder in the scene and you were
looking from left to right because that's where the horses
galloping away. Because you know, some actors are great at that,
(13:52):
and other actors are so into their performance they really
really rely on scripty to kind of point out this stuff.
There's a really great Instagram account that I follow, and
it's gonna be so useless because I can't remember the
name of it, but I'll try to remember for next time.
But it shows like split screens of like this, like
really awesome sequences in movies, and it shows like the
on set version versus the the actual, you know, finished edit.
(14:17):
And that one that I saw recently was like, I
don't remember what movie was from, but it was I've
seen it. I've seen it done for Children of Men
as well, a big scene where it was a one
shot tracking thing and then something blows up, like one
of the buildings explodes, and everyone likes running screaming, but
it shows them having like firing all those you know,
those explosives and all of the like the things that
have to happen to make us a scene like that
(14:39):
go off without a hitch, and probably so much budget
lined up in that an extra personnel and I don't know,
it's really cool. Also, I'll send it to you and
on Instagram. I think you'd dig it. I'll totally dig
that and all. Uh well else, I guess the final
thing they do or I mean they do a lot more,
but they keep track of the uh the takes. As
in the camera department. They work closely with the camera department,
so they have to you know, the clapper. The loader
(15:02):
comes in and claps the old clapper down, and on
that slate it says who the director is, what take
it is, what's scene it is? Maybe who the camera
uh cinematographer is, and and the script he is watching
that thing and they will say like it's take four,
not take three, until they'll quickly erase it and put
take three before anyone notices. So script is kind of
the best friend of a lot of departments. That sounds
(15:23):
like it. Yeah, very important job. If you I always
thought this was a job my mom could have done
in retirement. It's a great gig. Like you show up.
You don't have to be there super early. Um you
know you you you kind of have the director's hour,
So you show up when they show up, and as
soon as they call cut, you make your copies of
(15:45):
the stuff that you got to send out, and you
go home and you're just sort of quietly always there.
You gotta have a really good handwriting, have to have
a nice demeanor. You get paid very well, like all
film jobs. So if you if you were someone who
is comfortable not being the center of attention and come
both being seen and not heard and has a great
eye for detail, nice penmanship, uh, script supervisor might be
(16:07):
the job for you. But how do you work your
way up to that? I mean it seems like such
a rarefying there isn't because there's no assistant. It's not
like you can start out in a department and work
your way up. It's one person. So you just kind
of have to make that decision like this is what
I want to do, and try and just get in
(16:27):
there any way you can, because it's all about like
who you know. I mean, like the reason David, my
my ex husband, got this job is because he works
with this crew, and like they every time a gig
comes up, they hire out the people they want. That's right,
And it's not even like the production, it's the production
hires the guy, and then the guy hires the team.
(16:48):
So it's like you really just have to get in
there and like get you know, your your foot in
the door, and then get in the union, I guess,
and that's a big part of it too. Yeah, I'm
not sure what union they're in, but I know that personnelity.
I like, you've got to be good at your job
obviously and have that great eye for your detail, but
your personality goes a long way as a script. If
the director really likes working with you, she might just
(17:09):
be like, you know, you're my my person forever. I
like having your round. You've got my back, and you know, uh,
you know how to do your job in a in
a nice kind of quiet, unassuming way, which is a
big part of it. So that's it. No, that's a
grip this. Hope everybody learned something. I sure did, check,
(17:30):
I sure did. I'm wondering if I should go get
my computer charger. I think I should because I'm a
Skype just eats it up. Yeah, I came down here
with a percent and noll. Yeah. Man, alright, always plug in,
always plug in, all right, I'll be right back. Okay,
all this entertain the people. We can leave that part in.
But do do do do do do? Okay, Noel, I'm
(17:59):
back through the magic of editing me. Running up two
flights of stairs took no time at all. I know
you don't seem WinDD or anything. Strangely, I'm not. Actually
we experienced that in real time, Chuck. I was entertaining
the folks at home while you were away. I was
singing little muppet type songs. So, oh well, should we
could leave all that in? If you want some of that?
I think it'll be clear to super producer Ramsey where
(18:20):
where to where to institute the cut? So no, we're
gonna move on to uh a little thing called casting couch.
Oh sexy. That is where I get you on the
couch and hol and make sweet sweet love. I do
have a couch right here. How do you Where do
you want me? Huh? Well, and I don't look I
can make anything work. No, okay, all right, I know
(18:42):
your holes. Oh no, all right, So we're gonna go
to casting couch. And with all these and music biopics
biopics that are out and have been out, everyone's talking
about what's who's next? You know what? Movies are next.
I know you don't like those movies. No, but pretend
for a minute you do. What do you want to see? Um? Well,
(19:04):
I actually do want to see the Elton John one.
I really liked Bohemian Rhapsody quite a bit, and I
know there's some some some of the same personnel, right
that did those two? Am I am? I mistaken about
that rocket Man in Bohemian Rhapsody. I don't know was there.
I thought there was. I thought it was the same director.
Oh maybe the first singer got fired and then took over. Yeah,
(19:28):
I think he went on to do Rocket Man, which
every one that I've talked to you about said is
so awesome and dream like and fantastic. And did you
see it rocket Man several times? It kicks. Liked it
a lot. Let's see. I don't know. I think the
Bowie one would be cool. I know there's one in
the works, but it looks a little twee honestly like
it doesn't look like it's gonna be hard hitting cinema
(19:52):
actually happening. Yeah, yeah, let's see Bowie bio pic. What's his?
He's he's somebody I hadn't heard of. Uh, well, then
I was errant because it's about the young David Bowie. Yeah,
star Dust, Oh it's already out. Yeah, it doesn't look good.
(20:15):
Why do you got to mess up a Bowie movie? Aloy,
isn't that crazy? Like? How does that even? How is
that allowed to happen? Johnny Flynn, Yeah, I don't know
that person. He just seems kind of like a little
sweet pop star from South Africa kind of well. I
missed the memo nol because I asked to cast, uh
the Billy Joel movie, the Stevie Nicks movie, and the
(20:36):
David Bowie movie, so I did not realize there was
I think we can count this one as a wash, like,
let's just pretend this will never happened. Maybe it's great.
I'm sorry. I don't want to mean to Malina before
having seen it, but based on the casting and the
look of it, they kind of came and went. Does
not bode well. Um, but I love dude. Tildas Winton
always comes up and I just think that's so clever.
I would love to see that. Sure, might it might
(20:58):
be tough to sustain for a whole I don't think so.
I mean, if Kate Lynch I can play Bob Dylan. Yeah,
but that was only in one little vignette and like,
and it was meant to be kind of weird, you
know what I mean. Good point. Our oldest of friends,
Franka Dakas first named Debbie, says Stevie could be Billy Lord,
Carrie Fisher's daughter. I could see that. Eddie Redmain for Bowie. Yeah,
(21:23):
why not. Billy Joel could be Michael Keaton for the
older version. Young Joel could be played by a tussled
Timothy shallow May. Timothy shallowm is way too handsome and
chisel jaw to play Billy Joel, who has always been
a very round human. Uh. And shallow May's playing Dylan,
so is he really? Oh? Yes, in real life and
(21:46):
in the movie, I r l in a. I am
got gotta gotta got it. Yeah, it's gonna be great.
I can't wait for that. Kristen glen Kister, one of
our old friends, says, uh, Gillian Anderson should reprise the
role of David Bowie from American Gods, Florence Pugh or
Amelia Clark for Stevie Nicks. Yeah, I could see that.
(22:09):
She said, Billy is hard and to have such an
unabashed love of Billy Joel me too that. I'm not
sure there's a person who could do it to my licking.
James McAvoy maybe, m oh, maybe he can. He can
be so versatile man like he really he's one of
those ones that will like beef up or like, you know,
get all gaunt and ship like, like, oh my god,
did you see that movie where he played all the
different personalities? He played them all so great. No, that
(22:31):
was That's exactly kind of that. I think he did
a fabulous job in that movie. Um, I like him
very much. Yeah, that's a pretty smart, smart casting call there. Yeah,
and he sort of has that look a little bit.
J Fraser says to Billy Joel, James McAvoy would do
solid representation Stevie Nicks. I'd go to Lady Gaga route. Okay,
(22:52):
I could see that maybe, even though if they did
a good wig job, you know, I think she would
she would be pretty good. Okay, I could go for that.
I mean, I certainly thinks she's wonderful. But boy, I
love Stevie Knicks, David Bowie, Eddie Redmain. Everyone is saying,
Eddie Redmain, do they know something? I don't know. He's
(23:12):
he's a little too nerdy looking or something. I don't know.
I'm not feeling it. Uh, Star Chili says Bowie Tilda Swinton. Okay,
Uh someone I saw someone say Billy Lord for Stevie Nicks,
that would be great, and Elijah would for Billy Joel
mm hmm nah, not for me. Uh, young Billy modern
(23:38):
Billy Joel Paul Giamatti. That's where Mike Sam's I've heard
that too, that that would not be bad as an
older Billy Joel Mark Ballas as young Billy Joel from
Dancing with the Stars. Who is that? Knull? I don't know,
but holy funk, I did not realize that Billy Lord
was Carrie Fisher's daughter. She's in all the American horror
(24:01):
story shows, do, isn't she? Uh? I don't know, don't
watch it. Yeah, she totally is she and and she's yeah,
she's great, She's fantastic. I had no idea. Now and
now I'm looking at her in the face, and like,
how did I not realize that? So I am now
looking at Mark Ballas from Dancing with the Stars. He
would make a great young Billy Joel because you gotta
have that sort of those sad puppy dog eyes, which
(24:25):
he has. He's more handsome than Young Billy Joel, but
they're always better looking. Let's get real, almost always better looking. Yeah,
good job. That's from Ballad b A L L A
s Mark Ballace. He could totally be a young Billy
Joel or that afro out, that white boy afrow that
(24:45):
he had. Another vote for Elijah Wood is from Ben
mcvittie Stevie Nicks. Another vote for Billy Lord. Why is
everyone saying Billy Lord? I mean she doesn't. She sort
of looks like her. She's you gotta see and um
American horror story. All right, She's real versatile, like she's
She plays very different characters in each season, and it
(25:09):
is always kind of like disappears into the role. I
really think she's super talented. Okay, fair enough. David Bowie,
Jonathan Groff, Hey, I love Groff. Uh doesn't look enough
like him for me. M Jimmy Kachendal says Billy Joel
John c Riley, John c Riley, I don't think uh
(25:29):
to be fun, but I'm not sure about that. He's
sort of in that middle range where he can't play
old or young. He is he is an original. He can't.
He's kind of like he's just himself. You know. Another
vote for a Lady Gaga and another vote for Tilda Swinton. Uh.
Garrett Keels has Billy Joel played by John Roderick. That's funny.
(25:51):
Roderick and I had a not famous because it was
only between us, but we had a little dust up
about Billy Joel once where I made him eat crow.
Years later he was bagging on him and I was like,
you don't know what you're talking about, dude. Do you
take that snobbery elsewhere? And then about a year later
I heard on another podcast Roderick talking about getting free
tickets to go see Billy Joel and went and was like,
(26:12):
god damn it if I didn't know thirty of those
songs my heart and had a great time. And I
was like, you owe me an apology. Yeah, yeah, like
the early stuff in particular, like is there a song
called um It's like the name of a of a
city like Berlin, Vienna, Vienna. That song is awesome. It's
(26:34):
just crazy child. You know, you're so ambitious for juvenile
very such a great song. I know him all Noll.
He was my first big crush, didn't he do for
the longest time? Sure, but like he made like a
real doo woppie record or for the longest man, for
the longest time I didn't realize for the longest time
(26:56):
was Billy Joel. And it just sounded like a like
a girl group hit or something, you know what I mean. Yeah,
that was owed to his youth in the in the
those groups from his youth. Not my favorite record, but um,
you know I had plenty of hits. That's a good song, though, Dude,
let me see Garret Keels Let's finish up Stevie Knicks
played by Hilary Duff. I could see that if she's
(27:16):
still around, and Hugh Jackman is David Bowie, Nick Kelly says,
Emma Stone for Stevie Knicks. Nah, h Billy Joel kind
of looks like Paul Gmtti these days, but that would
be buck Wild, That's what Nick Kelly says, buck Wild,
Billy Joel, Dean Norris Hank from Breaking Bad maybe as
(27:37):
old Billy Joel, Stevie Nicks, David Spade. This is from
Austin Devsky. By the way, it's good to an Austin.
Tilda Swint's getting a lot of votes and all, so
that must have been bandied about online. Oh, had certainly
been discussed. Yeah, another vote for Michael Keaton, This from
Steph Shannon for Billy Joel, Another vote for Gaga, another
(28:00):
road for Tilda Swinton. Why is everyone saying the same people?
It's just in the zeitgeist. Man, I don't know. Christine
Davis Baker says, uh, younger version Rommy Malick. Now, he
can't do he's way too square jawed, and he did
Freddie Mercury. He can't do too. You can't be Freddie Mercury.
And Billy Joel, Stevie Nicks, Glowy create Grace Moretts. Yeah,
(28:23):
Grihese Witherspoon is an older Stevie Knicks. And then Robert
Sheehan from Umbrella Academy for David Bowie. Do you know him?
I know Umbrella Academy. I don't know the names of
the actors super well. Oh okay, I'm looking at him.
He's he's got a face that could work. Let me
see which one is. He's Irish? Oh yeah, yeah, he's
(28:45):
he's the guy that makes ghosts. Uh. And I recommend
Umbrella Academy a lot Chuck if you haven't, if you
want that kind of like an adult weird superhero barn Yeah,
full full, full porn um, but also Doom Patrol which
is on um HBO Max Now, which is another Brendan
Fraser's and he plays like a robot guy. You don't
(29:05):
see his face very much except for when the first
very first scene and the rest of his in a
robot suit. Check that out for sure, that's good stuff.
Let me see Angela Coxes and Natasha Leone for Stevie,
Alexander scars Guard for Bowie, and Adam Sandler for Billy Joel. Hey,
it's not the worst idea. Actually, everyone's saying Billy Lord,
(29:27):
that is interesting because I agree with you. I don't
think she's the spitting image, but I wonder what it
is in the zeitgeist of Lord. I think it may
be is because she's been and like there's so many
of those seasons of American Horror Story, like oh Ship.
You know what Stevie Nicks was in American Horror Story.
She was in with the Witch season of American Horror Story,
(29:48):
and Billy Lord's character was very like close with her,
and they kind of dressed something that makes that might
be why people are saying that. Zack Pointer says Billy
Joel Genre. No, yeah, they got the same eyes. Stevie Nicks,
Emma Watson, I could see that. David Bowie, Don Dane Dehn.
(30:12):
I don't know who that is. Oh sure, I know
that guy, the guy with the sort of the creepy
ice blue eyes. I think he was. Was he it? No? No,
it was Bill Scarce guard right right right? Who? I
(30:33):
believe at least one person dropped for a Bowie. Um,
and I like him. I like him a lot. Uh.
Someone here recommends uh ansel l Gort. Oh, he's the
guy from Baby Driver. Yeah for Billy Joel way too handsome,
Lily James for Stevie Nicks. And Eddie Redmain for Bowie.
(30:55):
That's from Scott Christopher Ledford. Not too bad. Alright, let's
finish up here with a couple of more. I'm looking
for different people here. Uh, let me see Miley Cyrus
for Stevie Knicks. That's from Angela Martin Cluck. I think
a lot of people would revolt against that decision for
(31:15):
reasons other than you know, her acting ability. She's divisive, nol.
I'm wrong about Billy Lord being in this season with
Stevie Knicks. But Stevie Knicks definitely was in a season
of American Horror Story, and Billy Lord's in almost every
season of it. But it appears that she was not
in the season that Stevie Knicks was in, which is
super strange. I don't understand the internet. All right, Keith
(31:38):
Edward here has a new one for Billy Joel as
someone I don't know but is pretty great looking for
this role. Ben Platt with two teas. Look up that guy.
He very much could be a young Billy Joel. Yeah,
that's good casting right there. What's the name again, Ben Platt?
This is coming from Keith Edward. I'm picking up. Put
(31:58):
your laying down there, buddy. Uh And he says, Billy
Lord is Stevie Nicks and Janet McTeer is David Bowie. Interesting,
Stevie Nicks, Millie, Bobby Brown. That's from our buddy, the
Danger Oven. She's too young. Bradley Cooper's Billy Joel. Oh, Gail,
what are you talking about? Bradley Cooper can't play Billy Joel.
(32:19):
You can do whatever. He wants. He's eight ft dollar
than Billy. Joel is billy. Joel is short man, He's
a little guy. They're all short and roll. You ever
been to the Rock and Roll Hall of Fame? And actually,
are you saying all rock stars are short? Most? Really? Yeah?
I mean I have a theory. I don't think it's own,
this theory, but it's is. You know, you're a little
(32:40):
little person and you don't grow up playing sports necessarily,
So what do you do to get chicks? You turn
to that piano with a guitar. Walk through the Rock
and Roll Hall of Fame. There's a section with clothing,
actual clothing. Mick, Jagger, Prince, You're walking around looking at
all these Springsteen they're real clothes, and it looks like
you're walking through the children's section of a department store.
(33:02):
I can make Jaggers pants look like a ten year
old should wear them. That's us and Prince, all of them.
They're little. Rare is the six ft rock star? All right? No,
that's all I got. Good casting, everybody? Oh yeah, very good,
well done, And uh, if you don't have anything else,
(33:23):
then I think we'll just sign off for this week.
I look forward to seeing you again, though in the
near future all I hope. So take care and don't
get covid. Okay, that goes for everybody. Stay well, wash
your hands, wear a goddamn mask. For more podcasts for
(33:52):
my heart Radio, visit the I heart Radio app, Apple Podcasts,
or wherever you listen to your favorite shows.
Movie Crush News
Host
Chuck Bryant
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