May 28, 2018 • 27 mins
Crush out this week with Chuck and Noel - Mini Crush #17 is fresh from the oven and smells delicious.
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Episode Transcript
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Speaker 1 (00:24):
Hello, everybody, Welcome to movie Crush Many Crush a dish.
I'm in the captain seat. Nol Is behind me. Is
my my Steward? No Steward, huh that my first mate. Okay,
I'll say Kim Steward's cool. That's like a Game of
Thrones thing. That's uh yeah, they're the ones who attend
(00:45):
to the generals and of the king. Okay, I'll tell
that sounds good. That sounds good. That makes me the king,
though I don't want to be the king. You can
be whatever you want. Shock, it's uh, it's Hollywood. How
other be the Queen? Have you seen the Queen trailer?
The Queen the Freddie Mercury movie? No, No, but he
that guy's got an uncanny resemblance. You haven't seen the
teaser yet? Are you avoiding it or didn't? Right? It
(01:08):
was dropped yesterday, And I gotta tell you, man, I
am a huge Queen fan, a Freddie Mercury like he
for My money is one of the top maybe three
all time greatest performers. Shuman and um Love Love Love
That band and the trailer got me excited. But I
(01:30):
just think it's gonna suck. You think it's gonna suck.
I think it's gonna look great and sound great, but
you know, famously, Sasha Baron Cohen left the film because
they weren't going to tell the real story. Yeah, I
heard they were gonna leave it. We're gonna whitewash it,
and we're gonna whitewash it. And I don't want to
see that version. I want to see the real deal.
And I think the movie even I think a lot
(01:51):
of the movie doesn't have Freddie Mercury, and that's how
the band carried on after his passing. Interesting, it makes
sense to that. I mean, like I said, Rommy Malick
uncanny resemblance, and I'm sure he does a fine job,
but he does strike me as like he's more of
a TV guy. They could probably push him around a
little more, and he was. He was just stoked to
play such an iconic role, and he wasn't. He looks
(02:13):
this trailer. He looks great in it, and I know
it will look great and sound great, but ultimately I
think it'll be another kind of lame movie biopic. You
know what, I don't care about what biopics at all. Ever,
never want to see him. You don't really care about him? No, hu, Yeah,
what's a good one? Give me a good one? Oh well,
(02:33):
I mean I certainly loved Walk the Line the Johnny
Cash movie. Yeah, I preferred Walk Hard the Dewey Cox story.
All right, let's get going. Let's get going this week
with the trope time. My favorite segment is it. It's
I like the mom but this is a good one.
I don't know if I've been overdoing troupe time, but
who cares? Right, So we're gonna pick up on my
(02:56):
internet list, and then once this list is out, people,
I'm gonna start calling on you. But we're gonna start
with the un The interrupted kiss such a trope. The
music swells, they're looking to each other's eyes. Almost there,
and then hey, guys, then it's saves the clock tower
or whatever it is. Yeah, that's right, that was That
(03:18):
was last night. I'm sorry I watched Back to the
Future last night. You're like, that happened to me last night.
I gotta kiss interrupted. Yeah, that's a very famous one,
obviously when she shakes that can in their but yeah,
very very heavy, heavily used trope. The one in Um
Infinity War is is awesome with star Lord and and
(03:41):
go mora and then uh and then dracks Tracks has
gotta eats a chip and then it cuts over to him. Man,
it's good, very good moment, all right. Next one is
the keys or in the visor. Have you ever known
anyone that kept their car keys in the visor? Maybe
like in the seventies, I don't know, really was that
a thing? I don't know, man, I'm asking you. You
(04:02):
were around the seventies, So thanks for pointing that out. Um, yeah,
I don't know. Why not. I mean, just leave me
in the ignition. If you're gonna leave in the visor,
it just seems like a very irresponsible thing to do. Yeah,
but it's it's become such a movie thing that. Um,
people when they get in the car, sometimes they're not
in the visor, but you know, they're frantically get in
(04:23):
the car and they look at the butt in the visor. First,
my my thing is, why why not put him in
your pocket? Why why leave him in the car? And
ever ever, when when is that ever like the better
solution to leave them in the car? Yeah, or hide
them in the car. That is certainly not a hiding place.
Put him in one of those rocks, those fake rocks.
I don't know. Well, the funny thing is is we're
(04:43):
also conditioned by films. If I were in a dangerous
situation and I jumped in some random car, I would
probably look at the visor, probably just out of sheer,
you know, movie embedding movies into my brain. At the
same time, like a jerk, I'll hide my key under
the doormat occasionally. Well that's a trope only if it's
(05:05):
for somebody Specifically. I wouldn't, that wouldn't be like the
regular place. But if I and someone needs my key,
I'm just gonna show that under the doormat. Really not
even the plants are pot all right, I deserve to
get robbed. Key under the mant That's another good one. Truly,
No one really hides their key into the match, No
I I do. I'm I'm being I'm telling the truth, Chuck.
That was That's a thing that I do. But I mean,
(05:27):
nobody would do that, right, No, just a just a
jerk like me. All right, here's the trope that's been
troped up so many times now it has been made
fun of. That's when you know you've truly troped the trope.
The baby carriage in the street, My baby with with
the car chase happening, like that's the opening scene of
Ghostbusters too. Oh yeah, sure, big time. I think it
(05:51):
was already a trope at that point, and they're almost
making fun of it in Ghostbusters too. Yeah, And I
don't know, I should have should have done some search
and found the if there are first times for these tropes,
like the Origin, the O G, the O T. But
of clearly in Fringe Connection, one of the great car
chases of all time. Uh, there's a baby carriage and
(06:13):
that one. And I have even a joke in here
on the blog post. The Pew Research Center found that
of women walking babies and a stroller had a sixty
seven percent chance of narrowly missing being squashed by a
car chase. It's a real pole man. I don't like
those odds, my baby. And then, of course in some
(06:35):
movies it's been either made fun of or was its speed?
Were they hit the baby carriage and it turned out
it was like recycling it's full of cans. It was like, yeah,
it was like a homeless ladies and she got she
was mad, been collecting those cans all day. Yeah, And
everyone was like, oh, thank god, it wasn't a baby,
but no one was like, oh, I feel bad, we
(06:56):
just ruined that, ladies, SERI, yeah, I know that that
that that was actually a pretty clever use of that trope.
And yeah, because the tensions there and then you never
expected to hit, and then it hits, and then there's this, yeah,
get busted. Couldn't show down. I'm trying to find it
on the online. I'm typing in Runaway Baby Carriage. Um,
(07:17):
I'm not I'm coming up short, but I'm sure. Well,
maybe we'll report back on that. That's it. I think
that would be a fun thing to add to these
the original trope. I agree, Um, all right, how about
this telephones Emily were commented last night while we were
watching something, Uh die Hard, Actually no one ever says
(07:37):
hello and goodbye on the telephone in films. It's become
such a thing. It's just a film thing. That's the
way people act in movies. Uh, you just don't do it,
especially goodbye. Well, actually both kind of equally, And it's
just I think it's become such a thing that it
would seem really odd if in the film someone picked
(07:59):
up the phone and said hello, well, hey, how are
you doing, and then had their conversation and said, okay,
well i'll talk to you later then goodbye, now goodbye.
You just don't do it. I mean, part of it
is the economy of words for films, I think. So
maybe that's why, like you don't need to say hello
and goodbye in a movie to get that you're on
(08:20):
the phone. And they always kind of tell you the
screenwriter to get rid of all that superfluous shit. But uh, yeah,
it's a little rude. Yeah you ever noticed too, there's
very rarely a dial tone when people pick up the
phone in movies or like the way phones work, it's
sort of just a movie way right, sort of like
early depictions of being on the internet. Yeah, yeah, or
(08:41):
you know another trope actually with that dial tone is
the hang up on someone like you didn't get a
dial tone, that's I'm sorry, you know what, That's exactly
what I'm thinking, chuck, exactly, I'm on the phone. It
would go, yep, that is that is not how that didn't.
I know, all your kids out there you have no
idea what a dialtone even is. But in the old days,
(09:04):
when you pick up a phone, uh, you would hear
a dial tone before you started dialing. They just needed
an extra layer of this person definitely hung up, even
though it makes absolutely. I just looked it up on
on there's a video in old movies. Why the dial
tone after someone hangs up? It's definitely it's on. There's
a there's a site actually called movie tropes dot com
that that catalogs a lot of stuff. Yeah, that's well.
(09:28):
And while I'm on that, I just gotta pair of binoculars.
And uh, Emily could not. She she can't work binoculars right.
She can never get it right. And I'm telling him, like,
you can. You don't put them right up, agintry, eyeball,
you gotta hold them out a little bit. And we
figured out the problem is that she is looking for
the classic movie binocular look, which is two round uh
(09:53):
you know, two round things joined together, and that is
not how binoculars work. It becomes one, one becomes one thing.
And she went really and she was like, I've never
had a binocular experience that worked. Because of that, I said,
because the movies. Probably she's trying to make it look
like that thing in movies to signify you're looking through binoculars.
(10:13):
That's fine. We just discovered a trope. Noll um, how
about a couple of more here, we've got never turn
your back on the dead guy or the bad guy.
I mean that one's that's a super trope. I feel
like it's been done so many times in horror movies
and action films. They're never dead, They're never dead. They're
never dead. Yeah, even like after that's happened a couple
(10:37):
of times already, they're still they're probably never dead. I
heard to watch it last night, as I just said, Um,
you know, Carl is hung from the neck by a chain,
and in real time, probably ten minutes later, he's alive.
He's just imbued with the power of evil keeps him going. Uh.
(10:58):
And finally, the the kung fu fight, not always kung fu,
but whenever it's one on ten, they always kind of
fight one guy at a time. Every time I see
a movie fight where it's like eight or nine guys
against the one guy and they do like one at
(11:19):
a time and he turns and fights the other guy,
I'm always like, everybody run at him. Well, they just
want to give their buddies a chance to shine chuck
show off their sweet moves, and the other guys are
just kind of standing there like, all right, when's it
my turn? When's it my turn? No, just everyone run
at him, beat up on him, and beat him the ship.
That would be more efficient. It's true, all right, that's
it for troupe time. It's funny that a lot of
(11:40):
these things chuck that you say this stuff and you
look at the movie and you said, why didn't they
do this? I'm like I said, if they didn't do this,
there'd be no scene. Everything would have ended in five minutes.
All right, I'm gonna skip this segment because we are
running short on time today and I will go straight
(12:02):
to stream this Captain fantastic. Did you see it? Loved it?
I think we talked about a little bit and Emily
and I might actually do a crust to judgment on
this one soon, so I'm not gonna get too into
it here. But uh, I feel like I picked this
one because I feel like it was underseen in two
(12:22):
thousand sixteen, written and directed by the actor Matt Ross,
who many of you probably know as the leader of
Huli in UH Silicon Valley. He was also the creepy
brother in Big Love, Yeah Yep, and UH, one of
the American Psycho years ago he was in that. Um.
(12:44):
So it turns out Matt Ross is super talented as
a writer and director because he wrote this movie starring
Vigo Mortenson as a father raising his children. Is his
pack of kids, uh, in the woods and in the
y old and teaching them, homeschooling them and teaching them
to hunt and fish and live off the land and
(13:06):
grow organic foods and farm. And they're incredibly intelligent and
be communists. Uh maybe anarch gets communists. But it's just
a wonderful movie, so much heart so real. I think
Vigo got nominated for Best Actor. Actually, so it did
get a little bit of kudos. But criminally underseeing to
(13:29):
me and a very very touching, heartwarming and sad and
and also uplifting film for sure. Yeah, I I I
knew very little about it. I went in cold and
it just it got me. Yeah. And it also like it.
You think it's gonna do a thing. It's a little
bit schmaltsey and cliche, and it doesn't do it. It
(13:52):
really does a good job of kind of subverting your
expectations and um, you come out on the other side.
It sort of puts you through the ring, but you
still come out with this kind of cathartic experience, but
doesn't do it in like a sappy, saccharine kind of way. Yeah,
totally agree, So check it out everyone. Like I said,
Emily and I might do a crush to judgment on
that because we recently watched it and loved it so
(14:14):
so much. And then finally we're gonna finish up with
comic cardinal five questions from you folks to us, Ben
masters one of my favorite questions in a while, very
succinct Streets of Fire or Eddie and the Cruisers. Do
you even know what I'm talking about? All right? Ben
is clearly a man of my age. These were two
movies in the nineteen eighties that came out kind of
(14:35):
near each other that really aren't very similar other than
the fact that they feel similar somehow, but they really aren't.
But somehow they're linked in my mind. I am just
gonna straight up answer this Eddie and the Cruisers and Ben.
I was such a fan of that film that I
bought the record soundtrack, and I actually saw John Cafferty
(14:59):
and the Beaver Brown ba And in concert when I
was a good and they provided the music they played,
They did the music as the real band of the
fictional Eddie and the Cruisers in the film, and they
had a big hit. One of their one of those songs,
on the Dark Side was a legit I think probably
top ten hit. I didn't look that up, but uh yeah,
good stuff. The Beaver Wet Band John Cafferty and the
(15:21):
Beaver Brown mand Nice really not a good name, but
that's what they're most well known for. Checkout Eddie and
the Cruisers. I think you would dig that. Who's in it?
It's Michael Perey plays Eddie and he was in a
band in the guess sixties or fifties called Eddie and
the Cruisers who and he disappeared, he vanished, And the
(15:43):
movie jumps back in time from the from the modern day,
one of the guys in the band telling the story
and trying to find Eddie and then telling the story
of of being in this band that really got super popular,
and then what happened to Eddie and what what Streets
of Fire and why are they related? Well, Streets of
Fire was around the same era, but if I'm not mistaken,
(16:06):
it was sort of a post apocalyptic thing. Um, And
I think they're related because Michael Perey is in both
of them, quite honestly, and they both came out kind
of around the same time. But other than that, they
really have nothing to do with one another. The poster
for Streets of Fire looks very much like The Warriors
(16:26):
or something. Yeah, but it's like a post apocalyptic Warriors
or like a Mad Max ish kind of thing. Yeah.
Directed by the great Walter Hill, So certainly we're checking
out as well. But yeah, that's probably why they're length
of Michael Peree for sure. He was great. Man. Megan
Broil's what's your favorite Robert Altman film? I'm not gonna
name one, Megan, because it's just too hard for me.
(16:48):
So I'm gonna say the Player shortcuts Nashville, and believe
it or not, I'm gonna throw in Popeye. That's like
a musical, right it is? And it is. Doesn't Harry
Nilsen do the music for that? Maybe I think he does.
It was widely panned, but um, I was a huge
fan of that movie as a kid, and it still
(17:08):
holds a place in my heart. And as far as
creating a world of like a comic book cartoony world
and making it real life and the casting, um it
didn't get any better the world he created, and Robin
and Williams is Popeye and Shelley Davallo's Olive Oil. I
mean it was all on point to me. Um, plot wise,
(17:28):
maybe that's where it falls apart. But I love that
movie when I was a kid. Robin Williams has those
ridiculous swollen biceps too. They just like the Yeah, well
that was just you know, a prosthetic. Yeah. No, I'm
just saying it's just like it's it's comical. Yeah, how
much they tried to do that, dude, I love that
movie so much when I was a kid that I want.
I tried to figure out a way to do that
(17:49):
for Halloween and I could not figure it out. Yeah,
I don't know how what would be a d i
y way to do that. I don't know. I'm sure
these days, like maybe some sort of they probably have
applications now they would make it easier. It's funny. Um. Yeah.
Harry Neilson did do the soundtrack, and Pitchfork gave the
reissue of it an eight point oh so totes, coming
(18:12):
back into favor with the with the hipster record review scene. Um,
you know what I watched, I watched the flint Stones
movie with my kids. I never saw that it's not good,
although it did the first one. The first one, it
does look cool though, like the dinosaurs and all the
dinosaurs mowing the lawn and all the stuff from the cartoon.
It looks great, but it like has this plot involving
(18:33):
like embezzlement and like corporate fraud. The problems with some
of those movies is like we can create it and
look cool, but like, oh the story, yeah, but it's
just like is this for kids? Who is this four?
But it did, it did well. Um, it's about embezzlement.
It's about embezzlement topic. It's very strange. Nicole Park says,
(19:00):
which movie defines your childhood? Um, as much as ET
was up there, I probably would say Empire Strikes Back
or Raiders of the Lost Ark. Those were two big
ease for me when I was just at that right age.
Maybe war games too. I was really deep into those.
Um Don Bluth animated films like um, The Secret of
(19:25):
Nim and Land Before Time and American Tale and all that.
Any of those. Yeah, they're the really bummer ones. They're
all like sadder than Disney and way more intense, like, uh,
you know, there's what all Dogs go to Heaven, where
like they literally go to hell and there's a demon
dog thing, and those movies kind of messed me up
(19:45):
when I was a kid, but I have a very
distinct memory of seeing a lot of those in the theater,
and um that's a very kind of time and place.
Childhood movie memory for me is all those movies. You know,
I think our ages are compliment each other well for
the show, because we're just far enough for part where
we had some different ship as as our our kids stuff,
you know, because all the all the stuff was I
(20:08):
was like in high school, so I was not going
to see American Tale, yeah, I mean, but I also
remember seeing et on VHS. Well yeah, you know, and
uh all all those um you know, the Indiana joneses.
I do remember renting the Indiana Jones movies and being
like there they were PG or something and it's like
the guy in the Temple of Doom, dude gets his
heart ripped out, and I was like, how is this? Well,
(20:30):
I believe Temple of Doom was the movie that uh
spurred one of two movies that spurred the PG thirteen ratings.
I'm not mistaken because Back to the Future, which I
watched the other night. Um, a lot of swearing and
it's it's it's p g a lot of like pretty
adult talk. Yeah, yeah, totally. Kevin Herban or Airben says,
(20:55):
a blind person just had their site restored, what movie
do you suggest they see first? What a great question. Um, obviously, Kevin,
you would think you would lean towards something like a
piece for the eyes, and I did. And so I'm
gonna give two answers, one animated and one just straight
up film. I'm gonna say Coco, even though it's super recent, because,
(21:18):
and I've said it before, maybe the most visually, um
fantastic film I've ever seen in my life. Unbelievable. Yeah, No,
it's it's insane, like all of the backgrounds and the
stuff when they're in the the underworld or afterlife. It's
some very very beautiful filmmaking for sure. Uh. And then
I'm gonna go with Days of Heaven because it is
(21:39):
one of my favorite movies of all time. It is.
Uh so it's a great film, and there's just visually
it's just so beautiful. Um. Most of the movie, as
if you listen to the episode with Brooke Adams. We
shot at Magic Our and it's just gorgeous. So really
great question, Kevin, That's what I would suggest, William Angus. Finally,
(22:00):
question number five, what is an older film whose visual
effects hold up amazingly well? He said, for me, it's
got to be the first Jurassic Park. I agree. I
think that holds up big time, And that was one
of the ones I remember, you know, that first really
great use of c G I to where it was
goose bumpy, you know in the theater. It even looks
(22:22):
good on TV, like I've seen it on TV with
my kid recently, and it really you can usually kind
of see the edges and uh see the kind of
flaws and and it looks it looks as good as
anything they're doing today. I think in a lot of ways.
You know, I'm gonna go though, with some older movies. Um,
I'm gonna go with Alien and Blade Runner, the original
Blade Runner Runner. Those movies hold up remarkably well visually.
(22:46):
They do not look dated. I think one of the
reasons why is because they didn't. They went obviously a
lot of practical effects and models. It's lighting. It's all
like you know, good use of lighting and stuff, and
they didn't try and like, hey, let me look futuristic,
because when you try and do the future, you end
up looking dated because no one ever gets it right.
(23:09):
They went with like this sort of retro, dumpy garbage
e look for both and that just makes it hold up.
I think, did I tell you about when I got
to go to Industrial Light and Magic in San Francisco
and just walk around take a tour with Holly Fry
a little bit. Well, they had all of the original
Matt paintings from a lot of those films like um
(23:29):
Et for example, they had the Matt painting of the
l a city scape with lights and for anyone that
doesn't know Matt paintings that they used to do. Instead
of superimposing things digitally, they literally would have these highly
skilled artists paint a backdrop that looked like, you know,
a scene, and then they would film it and light
(23:51):
it in a way that it like it's pre blue
screen screens, but they would composit it with other stuff
using um It's called optic printer, which was invented by
U Eye Works who worked with Disney, and this giant machine.
They had one of those the original ones they used
for all these movies like Temple of Doom and E
t at M I l M. But the the the
(24:14):
Matt paintings were actually done on shower doors, like glass
shower doors, um, and so you can light it through
it from and there would be like holes kind of
not punched, but there would be a little spots where
there would be city lights and they would light it
from behind, so it would like twinkle and they would
have the lights move. But you look at it, you
look at it up close, and you see the brushstrokes.
And there was even a tiny movie theater for the
(24:36):
E T one where it says Star Wars like on
the Marquee, but you can see the brush strokes, and
then when you step back, it just looks like what
it is. It's such just you know, delicate, artisanal kind
of work, and you don't have that anymore. But that
stuff holds up the best, I think, because it's they
knew what they were doing. Yeah, I will say this,
it's easy, I think to fall into that thing where
(24:57):
you like, oh man, they were just such artists then,
But I think it's just a different version of that today.
No no, no, no, no no, doubt you know, but um,
it is very cool to see those old school like
in camera effects and tricks and models and Matt paintings.
Very good stuff. All Right, that's it, Noel, that was fun.
You feel good about this? Why I feel very good
about it? Chuck your homework This week, everybody is Tokyo Story.
(25:22):
We have had a run on musicians lately, and I
was very pleased with this one because I had Mr
Louden Wayne right the third actually not in the studio.
I went next door to the City Winery in his
green room on location. And Louden's the father of my
friend Lucy Wayne Wright, who played Jerry on the Stuff
You Should Know TV show. And that's how I got
hooked up with this one in Louden is also an actor. Um,
(25:46):
he's he was on the TV show mash he was
in Knocked Up and quite a few of the Judd
Apatile projects and so he's kind of run the gamut.
He's he's a Grammy Award winner. So now I've had
a Grammy winner, a Tony winner, and Emmy winner. And uh,
we had a really good conversation about Tokyo Story. It
is a tough movie. Everyone just throwing it out there.
(26:07):
It is in black and white, it is from uh
the early nineteen fifties, and it is Japanese. And all
of these things combined to make it a tougher film
maybe for today's audience, is to get through, but a
very rewarding film if you manage to sit with it
and UH and take it all in. And it is
very slow and languid and um and and it has
(26:31):
great rewards, That's what I will say. And is known
as one of the great films of all time. UH.
And we had a great conversation about that, and about
his life and music and his career, and about what
it's like to be in San Francisco in the summer
of my Lord, what a time. So Tokyo story brush
up to crush out loud and Wayne write the third
(26:53):
coming Friday, and until next week we'll be here in
the studio camping out together. I can't wait. Man. I
brought my my thermos and my sleeping back. Great. Well,
I've got some buny in the sausages and a huge
bag of wheat. It sounds like a good time all
right by everybody.
Hello, everybody, Welcome to movie Crush Many Crush a dish.
I'm in the captain seat. Nol Is behind me. Is
my my Steward? No Steward, huh that my first mate. Okay,
I'll say Kim Steward's cool. That's like a Game of
Thrones thing. That's uh yeah, they're the ones who attend
(00:45):
to the generals and of the king. Okay, I'll tell
that sounds good. That sounds good. That makes me the king,
though I don't want to be the king. You can
be whatever you want. Shock, it's uh, it's Hollywood. How
other be the Queen? Have you seen the Queen trailer?
The Queen the Freddie Mercury movie? No, No, but he
that guy's got an uncanny resemblance. You haven't seen the
teaser yet? Are you avoiding it or didn't? Right? It
(01:08):
was dropped yesterday, And I gotta tell you, man, I
am a huge Queen fan, a Freddie Mercury like he
for My money is one of the top maybe three
all time greatest performers. Shuman and um Love Love Love
That band and the trailer got me excited. But I
(01:30):
just think it's gonna suck. You think it's gonna suck.
I think it's gonna look great and sound great, but
you know, famously, Sasha Baron Cohen left the film because
they weren't going to tell the real story. Yeah, I
heard they were gonna leave it. We're gonna whitewash it,
and we're gonna whitewash it. And I don't want to
see that version. I want to see the real deal.
And I think the movie even I think a lot
(01:51):
of the movie doesn't have Freddie Mercury, and that's how
the band carried on after his passing. Interesting, it makes
sense to that. I mean, like I said, Rommy Malick
uncanny resemblance, and I'm sure he does a fine job,
but he does strike me as like he's more of
a TV guy. They could probably push him around a
little more, and he was. He was just stoked to
play such an iconic role, and he wasn't. He looks
(02:13):
this trailer. He looks great in it, and I know
it will look great and sound great, but ultimately I
think it'll be another kind of lame movie biopic. You
know what, I don't care about what biopics at all. Ever,
never want to see him. You don't really care about him? No, hu, Yeah,
what's a good one? Give me a good one? Oh well,
(02:33):
I mean I certainly loved Walk the Line the Johnny
Cash movie. Yeah, I preferred Walk Hard the Dewey Cox story.
All right, let's get going. Let's get going this week
with the trope time. My favorite segment is it. It's
I like the mom but this is a good one.
I don't know if I've been overdoing troupe time, but
who cares? Right, So we're gonna pick up on my
(02:56):
internet list, and then once this list is out, people,
I'm gonna start calling on you. But we're gonna start
with the un The interrupted kiss such a trope. The
music swells, they're looking to each other's eyes. Almost there,
and then hey, guys, then it's saves the clock tower
or whatever it is. Yeah, that's right, that was That
(03:18):
was last night. I'm sorry I watched Back to the
Future last night. You're like, that happened to me last night.
I gotta kiss interrupted. Yeah, that's a very famous one,
obviously when she shakes that can in their but yeah,
very very heavy, heavily used trope. The one in Um
Infinity War is is awesome with star Lord and and
(03:41):
go mora and then uh and then dracks Tracks has
gotta eats a chip and then it cuts over to him. Man,
it's good, very good moment, all right. Next one is
the keys or in the visor. Have you ever known
anyone that kept their car keys in the visor? Maybe
like in the seventies, I don't know, really was that
a thing? I don't know, man, I'm asking you. You
(04:02):
were around the seventies, So thanks for pointing that out. Um, yeah,
I don't know. Why not. I mean, just leave me
in the ignition. If you're gonna leave in the visor,
it just seems like a very irresponsible thing to do. Yeah,
but it's it's become such a movie thing that. Um,
people when they get in the car, sometimes they're not
in the visor, but you know, they're frantically get in
(04:23):
the car and they look at the butt in the visor. First,
my my thing is, why why not put him in
your pocket? Why why leave him in the car? And
ever ever, when when is that ever like the better
solution to leave them in the car? Yeah, or hide
them in the car. That is certainly not a hiding place.
Put him in one of those rocks, those fake rocks.
I don't know. Well, the funny thing is is we're
(04:43):
also conditioned by films. If I were in a dangerous
situation and I jumped in some random car, I would
probably look at the visor, probably just out of sheer,
you know, movie embedding movies into my brain. At the
same time, like a jerk, I'll hide my key under
the doormat occasionally. Well that's a trope only if it's
(05:05):
for somebody Specifically. I wouldn't, that wouldn't be like the
regular place. But if I and someone needs my key,
I'm just gonna show that under the doormat. Really not
even the plants are pot all right, I deserve to
get robbed. Key under the mant That's another good one. Truly,
No one really hides their key into the match, No
I I do. I'm I'm being I'm telling the truth, Chuck.
That was That's a thing that I do. But I mean,
(05:27):
nobody would do that, right, No, just a just a
jerk like me. All right, here's the trope that's been
troped up so many times now it has been made
fun of. That's when you know you've truly troped the trope.
The baby carriage in the street, My baby with with
the car chase happening, like that's the opening scene of
Ghostbusters too. Oh yeah, sure, big time. I think it
(05:51):
was already a trope at that point, and they're almost
making fun of it in Ghostbusters too. Yeah, And I
don't know, I should have should have done some search
and found the if there are first times for these tropes,
like the Origin, the O G, the O T. But
of clearly in Fringe Connection, one of the great car
chases of all time. Uh, there's a baby carriage and
(06:13):
that one. And I have even a joke in here
on the blog post. The Pew Research Center found that
of women walking babies and a stroller had a sixty
seven percent chance of narrowly missing being squashed by a
car chase. It's a real pole man. I don't like
those odds, my baby. And then, of course in some
(06:35):
movies it's been either made fun of or was its speed?
Were they hit the baby carriage and it turned out
it was like recycling it's full of cans. It was like, yeah,
it was like a homeless ladies and she got she
was mad, been collecting those cans all day. Yeah, And
everyone was like, oh, thank god, it wasn't a baby,
but no one was like, oh, I feel bad, we
(06:56):
just ruined that, ladies, SERI, yeah, I know that that
that that was actually a pretty clever use of that trope.
And yeah, because the tensions there and then you never
expected to hit, and then it hits, and then there's this, yeah,
get busted. Couldn't show down. I'm trying to find it
on the online. I'm typing in Runaway Baby Carriage. Um,
(07:17):
I'm not I'm coming up short, but I'm sure. Well,
maybe we'll report back on that. That's it. I think
that would be a fun thing to add to these
the original trope. I agree, Um, all right, how about
this telephones Emily were commented last night while we were
watching something, Uh die Hard, Actually no one ever says
(07:37):
hello and goodbye on the telephone in films. It's become
such a thing. It's just a film thing. That's the
way people act in movies. Uh, you just don't do it,
especially goodbye. Well, actually both kind of equally, And it's
just I think it's become such a thing that it
would seem really odd if in the film someone picked
(07:59):
up the phone and said hello, well, hey, how are
you doing, and then had their conversation and said, okay,
well i'll talk to you later then goodbye, now goodbye.
You just don't do it. I mean, part of it
is the economy of words for films, I think. So
maybe that's why, like you don't need to say hello
and goodbye in a movie to get that you're on
(08:20):
the phone. And they always kind of tell you the
screenwriter to get rid of all that superfluous shit. But uh, yeah,
it's a little rude. Yeah you ever noticed too, there's
very rarely a dial tone when people pick up the
phone in movies or like the way phones work, it's
sort of just a movie way right, sort of like
early depictions of being on the internet. Yeah, yeah, or
(08:41):
you know another trope actually with that dial tone is
the hang up on someone like you didn't get a
dial tone, that's I'm sorry, you know what, That's exactly
what I'm thinking, chuck, exactly, I'm on the phone. It
would go, yep, that is that is not how that didn't.
I know, all your kids out there you have no
idea what a dialtone even is. But in the old days,
(09:04):
when you pick up a phone, uh, you would hear
a dial tone before you started dialing. They just needed
an extra layer of this person definitely hung up, even
though it makes absolutely. I just looked it up on
on there's a video in old movies. Why the dial
tone after someone hangs up? It's definitely it's on. There's
a there's a site actually called movie tropes dot com
that that catalogs a lot of stuff. Yeah, that's well.
(09:28):
And while I'm on that, I just gotta pair of binoculars.
And uh, Emily could not. She she can't work binoculars right.
She can never get it right. And I'm telling him, like,
you can. You don't put them right up, agintry, eyeball,
you gotta hold them out a little bit. And we
figured out the problem is that she is looking for
the classic movie binocular look, which is two round uh
(09:53):
you know, two round things joined together, and that is
not how binoculars work. It becomes one, one becomes one thing.
And she went really and she was like, I've never
had a binocular experience that worked. Because of that, I said,
because the movies. Probably she's trying to make it look
like that thing in movies to signify you're looking through binoculars.
(10:13):
That's fine. We just discovered a trope. Noll um, how
about a couple of more here, we've got never turn
your back on the dead guy or the bad guy.
I mean that one's that's a super trope. I feel
like it's been done so many times in horror movies
and action films. They're never dead, They're never dead. They're
never dead. Yeah, even like after that's happened a couple
(10:37):
of times already, they're still they're probably never dead. I
heard to watch it last night, as I just said, Um,
you know, Carl is hung from the neck by a chain,
and in real time, probably ten minutes later, he's alive.
He's just imbued with the power of evil keeps him going. Uh.
(10:58):
And finally, the the kung fu fight, not always kung fu,
but whenever it's one on ten, they always kind of
fight one guy at a time. Every time I see
a movie fight where it's like eight or nine guys
against the one guy and they do like one at
(11:19):
a time and he turns and fights the other guy,
I'm always like, everybody run at him. Well, they just
want to give their buddies a chance to shine chuck
show off their sweet moves, and the other guys are
just kind of standing there like, all right, when's it
my turn? When's it my turn? No, just everyone run
at him, beat up on him, and beat him the ship.
That would be more efficient. It's true, all right, that's
it for troupe time. It's funny that a lot of
(11:40):
these things chuck that you say this stuff and you
look at the movie and you said, why didn't they
do this? I'm like I said, if they didn't do this,
there'd be no scene. Everything would have ended in five minutes.
All right, I'm gonna skip this segment because we are
running short on time today and I will go straight
(12:02):
to stream this Captain fantastic. Did you see it? Loved it?
I think we talked about a little bit and Emily
and I might actually do a crust to judgment on
this one soon, so I'm not gonna get too into
it here. But uh, I feel like I picked this
one because I feel like it was underseen in two
(12:22):
thousand sixteen, written and directed by the actor Matt Ross,
who many of you probably know as the leader of
Huli in UH Silicon Valley. He was also the creepy
brother in Big Love, Yeah Yep, and UH, one of
the American Psycho years ago he was in that. Um.
(12:44):
So it turns out Matt Ross is super talented as
a writer and director because he wrote this movie starring
Vigo Mortenson as a father raising his children. Is his
pack of kids, uh, in the woods and in the
y old and teaching them, homeschooling them and teaching them
to hunt and fish and live off the land and
(13:06):
grow organic foods and farm. And they're incredibly intelligent and
be communists. Uh maybe anarch gets communists. But it's just
a wonderful movie, so much heart so real. I think
Vigo got nominated for Best Actor. Actually, so it did
get a little bit of kudos. But criminally underseeing to
(13:29):
me and a very very touching, heartwarming and sad and
and also uplifting film for sure. Yeah, I I I
knew very little about it. I went in cold and
it just it got me. Yeah. And it also like it.
You think it's gonna do a thing. It's a little
bit schmaltsey and cliche, and it doesn't do it. It
(13:52):
really does a good job of kind of subverting your
expectations and um, you come out on the other side.
It sort of puts you through the ring, but you
still come out with this kind of cathartic experience, but
doesn't do it in like a sappy, saccharine kind of way. Yeah,
totally agree, So check it out everyone. Like I said,
Emily and I might do a crush to judgment on
that because we recently watched it and loved it so
(14:14):
so much. And then finally we're gonna finish up with
comic cardinal five questions from you folks to us, Ben
masters one of my favorite questions in a while, very
succinct Streets of Fire or Eddie and the Cruisers. Do
you even know what I'm talking about? All right? Ben
is clearly a man of my age. These were two
movies in the nineteen eighties that came out kind of
(14:35):
near each other that really aren't very similar other than
the fact that they feel similar somehow, but they really aren't.
But somehow they're linked in my mind. I am just
gonna straight up answer this Eddie and the Cruisers and Ben.
I was such a fan of that film that I
bought the record soundtrack, and I actually saw John Cafferty
(14:59):
and the Beaver Brown ba And in concert when I
was a good and they provided the music they played,
They did the music as the real band of the
fictional Eddie and the Cruisers in the film, and they
had a big hit. One of their one of those songs,
on the Dark Side was a legit I think probably
top ten hit. I didn't look that up, but uh yeah,
good stuff. The Beaver Wet Band John Cafferty and the
(15:21):
Beaver Brown mand Nice really not a good name, but
that's what they're most well known for. Checkout Eddie and
the Cruisers. I think you would dig that. Who's in it?
It's Michael Perey plays Eddie and he was in a
band in the guess sixties or fifties called Eddie and
the Cruisers who and he disappeared, he vanished, And the
(15:43):
movie jumps back in time from the from the modern day,
one of the guys in the band telling the story
and trying to find Eddie and then telling the story
of of being in this band that really got super popular,
and then what happened to Eddie and what what Streets
of Fire and why are they related? Well, Streets of
Fire was around the same era, but if I'm not mistaken,
(16:06):
it was sort of a post apocalyptic thing. Um, And
I think they're related because Michael Perey is in both
of them, quite honestly, and they both came out kind
of around the same time. But other than that, they
really have nothing to do with one another. The poster
for Streets of Fire looks very much like The Warriors
(16:26):
or something. Yeah, but it's like a post apocalyptic Warriors
or like a Mad Max ish kind of thing. Yeah.
Directed by the great Walter Hill, So certainly we're checking
out as well. But yeah, that's probably why they're length
of Michael Peree for sure. He was great. Man. Megan
Broil's what's your favorite Robert Altman film? I'm not gonna
name one, Megan, because it's just too hard for me.
(16:48):
So I'm gonna say the Player shortcuts Nashville, and believe
it or not, I'm gonna throw in Popeye. That's like
a musical, right it is? And it is. Doesn't Harry
Nilsen do the music for that? Maybe I think he does.
It was widely panned, but um, I was a huge
fan of that movie as a kid, and it still
(17:08):
holds a place in my heart. And as far as
creating a world of like a comic book cartoony world
and making it real life and the casting, um it
didn't get any better the world he created, and Robin
and Williams is Popeye and Shelley Davallo's Olive Oil. I
mean it was all on point to me. Um, plot wise,
(17:28):
maybe that's where it falls apart. But I love that
movie when I was a kid. Robin Williams has those
ridiculous swollen biceps too. They just like the Yeah, well
that was just you know, a prosthetic. Yeah. No, I'm
just saying it's just like it's it's comical. Yeah, how
much they tried to do that, dude, I love that
movie so much when I was a kid that I want.
I tried to figure out a way to do that
(17:49):
for Halloween and I could not figure it out. Yeah,
I don't know how what would be a d i
y way to do that. I don't know. I'm sure
these days, like maybe some sort of they probably have
applications now they would make it easier. It's funny. Um. Yeah.
Harry Neilson did do the soundtrack, and Pitchfork gave the
reissue of it an eight point oh so totes, coming
(18:12):
back into favor with the with the hipster record review scene. Um,
you know what I watched, I watched the flint Stones
movie with my kids. I never saw that it's not good,
although it did the first one. The first one, it
does look cool though, like the dinosaurs and all the
dinosaurs mowing the lawn and all the stuff from the cartoon.
It looks great, but it like has this plot involving
(18:33):
like embezzlement and like corporate fraud. The problems with some
of those movies is like we can create it and
look cool, but like, oh the story, yeah, but it's
just like is this for kids? Who is this four?
But it did, it did well. Um, it's about embezzlement.
It's about embezzlement topic. It's very strange. Nicole Park says,
(19:00):
which movie defines your childhood? Um, as much as ET
was up there, I probably would say Empire Strikes Back
or Raiders of the Lost Ark. Those were two big
ease for me when I was just at that right age.
Maybe war games too. I was really deep into those.
Um Don Bluth animated films like um, The Secret of
(19:25):
Nim and Land Before Time and American Tale and all that.
Any of those. Yeah, they're the really bummer ones. They're
all like sadder than Disney and way more intense, like, uh,
you know, there's what all Dogs go to Heaven, where
like they literally go to hell and there's a demon
dog thing, and those movies kind of messed me up
(19:45):
when I was a kid, but I have a very
distinct memory of seeing a lot of those in the theater,
and um that's a very kind of time and place.
Childhood movie memory for me is all those movies. You know,
I think our ages are compliment each other well for
the show, because we're just far enough for part where
we had some different ship as as our our kids stuff,
you know, because all the all the stuff was I
(20:08):
was like in high school, so I was not going
to see American Tale, yeah, I mean, but I also
remember seeing et on VHS. Well yeah, you know, and
uh all all those um you know, the Indiana joneses.
I do remember renting the Indiana Jones movies and being
like there they were PG or something and it's like
the guy in the Temple of Doom, dude gets his
heart ripped out, and I was like, how is this? Well,
(20:30):
I believe Temple of Doom was the movie that uh
spurred one of two movies that spurred the PG thirteen ratings.
I'm not mistaken because Back to the Future, which I
watched the other night. Um, a lot of swearing and
it's it's it's p g a lot of like pretty
adult talk. Yeah, yeah, totally. Kevin Herban or Airben says,
(20:55):
a blind person just had their site restored, what movie
do you suggest they see first? What a great question. Um, obviously, Kevin,
you would think you would lean towards something like a
piece for the eyes, and I did. And so I'm
gonna give two answers, one animated and one just straight
up film. I'm gonna say Coco, even though it's super recent, because,
(21:18):
and I've said it before, maybe the most visually, um
fantastic film I've ever seen in my life. Unbelievable. Yeah, No,
it's it's insane, like all of the backgrounds and the
stuff when they're in the the underworld or afterlife. It's
some very very beautiful filmmaking for sure. Uh. And then
I'm gonna go with Days of Heaven because it is
(21:39):
one of my favorite movies of all time. It is.
Uh so it's a great film, and there's just visually
it's just so beautiful. Um. Most of the movie, as
if you listen to the episode with Brooke Adams. We
shot at Magic Our and it's just gorgeous. So really
great question, Kevin, That's what I would suggest, William Angus. Finally,
(22:00):
question number five, what is an older film whose visual
effects hold up amazingly well? He said, for me, it's
got to be the first Jurassic Park. I agree. I
think that holds up big time, And that was one
of the ones I remember, you know, that first really
great use of c G I to where it was
goose bumpy, you know in the theater. It even looks
(22:22):
good on TV, like I've seen it on TV with
my kid recently, and it really you can usually kind
of see the edges and uh see the kind of
flaws and and it looks it looks as good as
anything they're doing today. I think in a lot of ways.
You know, I'm gonna go though, with some older movies. Um,
I'm gonna go with Alien and Blade Runner, the original
Blade Runner Runner. Those movies hold up remarkably well visually.
(22:46):
They do not look dated. I think one of the
reasons why is because they didn't. They went obviously a
lot of practical effects and models. It's lighting. It's all
like you know, good use of lighting and stuff, and
they didn't try and like, hey, let me look futuristic,
because when you try and do the future, you end
up looking dated because no one ever gets it right.
(23:09):
They went with like this sort of retro, dumpy garbage
e look for both and that just makes it hold up.
I think, did I tell you about when I got
to go to Industrial Light and Magic in San Francisco
and just walk around take a tour with Holly Fry
a little bit. Well, they had all of the original
Matt paintings from a lot of those films like um
(23:29):
Et for example, they had the Matt painting of the
l a city scape with lights and for anyone that
doesn't know Matt paintings that they used to do. Instead
of superimposing things digitally, they literally would have these highly
skilled artists paint a backdrop that looked like, you know,
a scene, and then they would film it and light
(23:51):
it in a way that it like it's pre blue
screen screens, but they would composit it with other stuff
using um It's called optic printer, which was invented by
U Eye Works who worked with Disney, and this giant machine.
They had one of those the original ones they used
for all these movies like Temple of Doom and E
t at M I l M. But the the the
(24:14):
Matt paintings were actually done on shower doors, like glass
shower doors, um, and so you can light it through
it from and there would be like holes kind of
not punched, but there would be a little spots where
there would be city lights and they would light it
from behind, so it would like twinkle and they would
have the lights move. But you look at it, you
look at it up close, and you see the brushstrokes.
And there was even a tiny movie theater for the
(24:36):
E T one where it says Star Wars like on
the Marquee, but you can see the brush strokes, and
then when you step back, it just looks like what
it is. It's such just you know, delicate, artisanal kind
of work, and you don't have that anymore. But that
stuff holds up the best, I think, because it's they
knew what they were doing. Yeah, I will say this,
it's easy, I think to fall into that thing where
(24:57):
you like, oh man, they were just such artists then,
But I think it's just a different version of that today.
No no, no, no, no no, doubt you know, but um,
it is very cool to see those old school like
in camera effects and tricks and models and Matt paintings.
Very good stuff. All Right, that's it, Noel, that was fun.
You feel good about this? Why I feel very good
about it? Chuck your homework This week, everybody is Tokyo Story.
(25:22):
We have had a run on musicians lately, and I
was very pleased with this one because I had Mr
Louden Wayne right the third actually not in the studio.
I went next door to the City Winery in his
green room on location. And Louden's the father of my
friend Lucy Wayne Wright, who played Jerry on the Stuff
You Should Know TV show. And that's how I got
hooked up with this one in Louden is also an actor. Um,
(25:46):
he's he was on the TV show mash he was
in Knocked Up and quite a few of the Judd
Apatile projects and so he's kind of run the gamut.
He's he's a Grammy Award winner. So now I've had
a Grammy winner, a Tony winner, and Emmy winner. And uh,
we had a really good conversation about Tokyo Story. It
is a tough movie. Everyone just throwing it out there.
(26:07):
It is in black and white, it is from uh
the early nineteen fifties, and it is Japanese. And all
of these things combined to make it a tougher film
maybe for today's audience, is to get through, but a
very rewarding film if you manage to sit with it
and UH and take it all in. And it is
very slow and languid and um and and it has
(26:31):
great rewards, That's what I will say. And is known
as one of the great films of all time. UH.
And we had a great conversation about that, and about
his life and music and his career, and about what
it's like to be in San Francisco in the summer
of my Lord, what a time. So Tokyo story brush
up to crush out loud and Wayne write the third
(26:53):
coming Friday, and until next week we'll be here in
the studio camping out together. I can't wait. Man. I
brought my my thermos and my sleeping back. Great. Well,
I've got some buny in the sausages and a huge
bag of wheat. It sounds like a good time all
right by everybody.
Movie Crush News
Host
Chuck Bryant
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