April 7, 2026 • 41 mins
Jump in today to hear all about the disaster that was the movie ROAR.
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Speaker 1 (00:01):
Welcome to Stuff You Should Know, a production of iHeartRadio.
Speaker 2 (00:11):
Hey, and welcome to the podcast. I'm Josh, and there's
Chuck and Jerry's here too. And this is a good
old Stuff you Should Know movie edition, which usually I
have to say, have generally been pretty good.
Speaker 3 (00:23):
Yeah. Had you ever heard of this movie? No?
Speaker 2 (00:26):
I haven't, had you.
Speaker 3 (00:27):
Oh yeah, it's legendary.
Speaker 2 (00:29):
Okay, you had. I didn't know if that was right
or not. I looked up to see if anybody had
written in, and I guess somebody named Ian Tindall had recently.
Oh really, right, So in case that happened. Sometimes people
write in and be like, oh, thanks for doing the
episode I suggested, and it's something that had been on
our list already, So that happened.
Speaker 3 (00:51):
Sometimes that just happened.
Speaker 1 (00:54):
Somebody wrote in and was like, hey, you didn't thank
me for this one, and I was like, oh, sorry,
I didn't.
Speaker 2 (00:59):
You know, Well, that is what happens. So if we
don't thank you, there's a ninety eight percent chance that
we didn't.
Speaker 3 (01:07):
We already had it, that's right. But I already had
this one.
Speaker 1 (01:10):
This is a legendary movie known as the most dangerous
film ever made from nineteen eighty one. This you know,
big budget movie that was terrible and never shown in
the United States much so it's no wonder that you
hadn't heard of it.
Speaker 2 (01:26):
No, but I guess yeah, being a movie dude, this
is the kind of thing. It's like a legendary movie
for sure. Yeah, especially have you have you seen it?
That's a guest. Oh no, no, no, no, Yeah, it's
almost impossible to find. You could shell out I think
one hundred bucks on Amazon to buy a DVD of it.
Speaker 3 (01:45):
Don't do that.
Speaker 2 (01:46):
Alamo draft House re released it in twenty fifteen, which
generated a lot of buzz and interest in it. But
they did it in such a way that people used
to show the room kind of yeah, and then it's
just not anywhere. It's nowhere. You can see some trailers
and clips and stuff like that, but the movie itself
is nowhere. That's kind of a shame, because from what
(02:08):
I can tell from researching it, it would be something
to see at least once.
Speaker 1 (02:13):
Yeah, for sure, I don't feel like I'm missing out
having never seen it all because I've seen tons of
clips and read about it and stuff, and it's kind
of one of those that to suffer through the entire thing.
You know, I think that's the thing you should do
with the room, sure, but not necessarily with roar.
Speaker 2 (02:28):
Okay, fair enough, good, Well then I feel a lot better.
Speaker 3 (02:31):
Yeah, just my dumb opinion.
Speaker 2 (02:33):
So all right, Charles, let's tell everybody what we're talking about.
It's a nineteen eighty one movie.
Speaker 3 (02:38):
Roar.
Speaker 2 (02:39):
Like you said, a lot of people consider it the
most dangerous film ever made. Why is it the most
dangerous film ever made? Especially considering there's been plenty of
movies where people have died making the movie, like Noah's
Ark from I think the twenties. Three people drowned during
the real deluge that they filmed. You know, there was
(02:59):
the Twilight movie, Like people have died. No one died
on this movie, So why do people call it the
most dangerous film ever go?
Speaker 1 (03:07):
Yeah, well, I mean, in other cases, there have been
accidents on films that were all, you know, top quality productions,
where just something happened that was a big mistake. But
in this case, the actors were purposefully put in peril
because of just the whole idea of the film to
begin with. And there's really no way to talk about
(03:29):
it without just sort of telling the story. I guess
from inception, which was a married couple in Hollywood, the
great Tippy Hedron from You probably know her from Alfred
Hitchcock's The Birds most famously, Yeah, and her hubby, Noel Marshall,
who was her agent and a movie producer. He was
best known, probably still best known for the Exorcists and
(03:52):
unfortunately roar. Yeah, he kind of rewrote his legacy after
the Exorcists. But they were married couple who thought of
this idea because of a trip they took.
Speaker 2 (04:03):
Yeah. Yeah, So roar is essentially like it's meant to
generate like good will and stuff among humans toward wild animals,
right to show them that wild animals are nothing to
be afraid of. And Tippy Hedron and Noel Marshall had
a shared love of animals and wildlife that dated all
(04:24):
the way back to Marshall's youth, I think his teenage
yeers when he volunteered at the Saint Louis Zoo. And
I guess as he and Tippy Hedron got together, he
kind of influenced her. She was already a champion of
certain social causes, but she hadn't taken up animal welfare yet.
Speaker 1 (04:39):
Yeah, for sure. You know she had an activist heart.
I guess always did. And they were in Africa. They
were in Zimbabwe filming. She was filming a movie. This
was in nineteen sixty nine. It was a movie called
Satan's harvest YEP. So you know, her career wasn't at
his zenith after the Birds. But while they were there,
(05:02):
they went to Mozambique and went to a game preserve there,
and a couple of sort of key things came out
of that game reserve. I guess preserve visit. I guess
it's the reserve and a preserve.
Speaker 3 (05:13):
Huh.
Speaker 2 (05:13):
Sure, the PA is in parentheses before this, right.
Speaker 1 (05:17):
They saw an abandoned house that had a pride of
thirty lions living in this home sort of in and out,
and they were like, huh, Like, what an interesting concept,
you know, to be put on film. This looks really
kind of strange seeing these big cats roaming around a home.
And then the second thing is that their guide there
kind of educated them on what was going on with
(05:39):
the poaching conditions back then, and that really inspired them
to do something to drive some sort of awareness about
these beautiful big cats.
Speaker 2 (05:47):
Yeah, and it was kind of in the air at
the time too, Like there was a big like jungle
adventure in Africa like theme going on in a lot
of movies and TV. There's a very popular TV show
called Duct about a father and daughter veterinary team who
worked with wildlife in East Africa. And get this, Chuck Daktari,
(06:10):
which is if a drama was based on a movie
called Clarence the Cross Eyed Lion.
Speaker 3 (06:17):
Oh, poor Clarence, I know, But how do you.
Speaker 2 (06:20):
Get Clarence the Cross Eyed Lion to the serious like
animal medical drama Doctari. That's a strange transition.
Speaker 1 (06:28):
Yeah, I think probably a pretty smart one because Doctari
was on for a few seasons. Yeah, you know, other
stuff like Mutual Omaha's Wild Kingdom was big.
Speaker 3 (06:37):
And I think you're right.
Speaker 1 (06:37):
I think there was a general fascination with Africa in
the United States at the time, so they were bitten
by that bug. They get back to Hollywood and they said, hey,
what if we do this movie? What if we do
a movie about these big cats? And they pushed the
idea to some animal trainers and they said, that's a
(06:59):
really bad eye. It's not practical and it's like super
dangerous and but caveat.
Speaker 3 (07:06):
I suppose if you raise.
Speaker 1 (07:08):
Them together and they all knew each other and they
were raised with humans, then it might not be as
dangerous or dumb of an idea.
Speaker 2 (07:17):
Yeah, and so this is the first step that is
actually a step backward, because I get the impression they
came back from Africa and just assumed they were going
to get a bunch of like rent a bunch of
lions and tigers and stuff putting together, you know, knock
this movie out in a year or something at the most. Yeah,
that's not the case. This so they actually started from scratch.
(07:38):
They got their hands on a lion cub named Neil,
and they started raising him around the family in the
house with their teenage children, one of whom was Melanie Griffith.
She is Tippy Hedron's daughter, and she was like thirteen
or fourteen when Neil came into the picture and they
raised him from a cub into this four hundred pound
(08:00):
family pet, fully grown male African lion Maine and all
like sleeping in bed with Melanie Griffith at the time.
Speaker 1 (08:10):
Yeah, And I mean this wasn't they didn't have a
ranch out in the middle of nowhere, right, This was
in the valley. This is in Sherman Oaks, in their
Spanish home in Sherman Oaks. So I'm not sure about
the laws at the time. We'll see that they were
ordered to get rid of them about a year later.
In fact, it was about a year after Life magazine
in nineteen seventy one ran a big photographic feature that
(08:32):
it was, you know, the very sensational thing. It showed
all these amazing pictures of life with this four hundred
pound lion living in the home, like you were saying,
you know, hanging out.
Speaker 3 (08:42):
By the pool, the kids playing with them.
Speaker 1 (08:45):
And so about a year after that, I guess the
city stepped in and said, you can't do that in
Los Angeles even.
Speaker 2 (08:52):
No, and in retrospect, I think in her autobiography, Tippy
Hedrin later wrote that she realized that this was stupid
on belief to keep a four hundred pound male lion
in the house around her family. And like there's pictures
of her like lounging around with her head on the
lions like chests and everything. They're both laying on the
ground together. It is. It's quite a photo spread. And
(09:15):
it's also got that perfect like late sixties early seventies photo. Lookye,
you just could not possibly recreate it looks like that.
It's really cool. Yeah, but yeah, so they were ordered
to get rid of the animals. By this time, they'd
started collecting other lions and started raising them together again,
with the ultimate goal of filming them all together in
(09:37):
this movie that they wanted to make. Right, So, instead
of getting rid of their actors and pets, they bought
like a ranch in Actin, which is in Solidad Canyon.
I guess a little north of Los Angeles. I'm sure
you know where that is, right.
Speaker 1 (09:53):
I had never heard of Actin. Actually it said it
is forty miles north, but I think I'd heard of
solid Ad Canyon.
Speaker 3 (09:59):
But and it's new to me. I guess that's where
you go when you want to raise lions, right.
Speaker 2 (10:04):
The locals leave you alone when you show up with
a bunch of lions, right, And they did. They bought
a bunch of acreage and created a compound. And even
the compound was bought with an eye toward the ultimate
goal of making this movie.
Speaker 1 (10:17):
Yeah, I mean they wanted to film it like, you know,
as lions who lived in a house. And so they
created everything was kind of built as a movie set
to be, so they landscaped it with you know, it
was supposed to be an Africa set in Africa, so
they landscaped it with plants and architectural styles that might
have mimicked southern Africa. They put in an artificial pond,
(10:38):
and then eventually they would move there a few years
later in nineteen seventy six and live on the property
and kind of get to work on that movie.
Speaker 2 (10:46):
Yeah, that was about the year that they started with
seventy six. I say we take a break and we'll
get into actually making the film, because this is about
the point where things start to get a little bonkers.
Speaker 3 (10:56):
That's right, we'll be right back, Chuck.
Speaker 2 (11:21):
Before we get back into it, I have a tippy
hedron fact that I found. She is the only actress
to be directed by Hitchcock, Charlie Chaplin, and Edward Jr.
Speaker 3 (11:32):
Nice.
Speaker 2 (11:33):
Yeah, that's quite a career.
Speaker 3 (11:34):
Yeah, I like that Ben diagram.
Speaker 2 (11:36):
So yeah, okay, so we're at the filming, the beginning
of filming. The cameras are rolling, and the cameras just
kept rolling.
Speaker 3 (11:45):
Yeah, they kept rolling.
Speaker 1 (11:47):
You know, by this point they had more animals, I
believe you mentioned they started collecting more, but specifically they
had tigers by that point, they had leopards, they had panthers,
they had cougars. Notably, they had I mean, this was
self described by Tippy Hedron.
Speaker 3 (12:04):
Those were just sort of the big cats.
Speaker 1 (12:05):
They also had flamingos and ostriches and storks and swans
and sheep, and they even had an elephant which made
an appearance in the movie. And these are all pets
living there together, again with the aim that they would
all know one another by that point and be docile
enough to be you know, animal actors.
Speaker 2 (12:25):
Yeah.
Speaker 1 (12:25):
But as you would imagine, they had a hard time
raising money for the project because mainly they didn't have
much of a project except for a loose idea.
Speaker 2 (12:35):
I guess no they had a bunch of real estate.
They ended up self financing this thing mostly so they
sold a bunch of their real estate to put the
cash into this film. I think Noel was one of
the producers on The Exorcists, and he made a bunch
of money off of that. He was essentially an investor
(12:55):
in it, so we got an executive producer credit. And
I guess some of the back plum is that what
it's called back plumb, Yeah, the back end. Sure, the
back end, but it's plummy.
Speaker 3 (13:07):
Okay.
Speaker 2 (13:08):
Anyway, he had a bunch of money from the Exorcists.
They threw that into and they're like, Okay, this is
gonna be such a cool movie that no one's ever
done anything like this before. We're just gonna make our
money back a million times over. And initially the whole idea,
remember they had seen that pride of lions living in
this and that was kind of what kicked this off.
So the whole thing was very lion centric. But I
(13:30):
think the working titles were Lions or Lions, Lions and
more Lions. Those are definitely working titles. I think.
Speaker 3 (13:38):
Yeah, it makes ror look pretty great by comparison it
a title it does.
Speaker 2 (13:43):
Yeah, you could see Noel like dropping his gin and
Tonic thinking like I got it.
Speaker 3 (13:48):
Yeah, but you said.
Speaker 2 (13:49):
They collected a bunch of other animals, some of which
do not live in Africa, like Siberian tigers do not
live in Africa. But that didn't stop them, so they
expanded the scope even more because they wanted their whole
face of big cats and animals to be able to
star in this movie. So they ended up kind of
expanding the focus of the whole thing.
Speaker 3 (14:07):
Yeah, for sure. They didn't even have a script.
Speaker 1 (14:11):
And you know, Marshall was not a writer, like you know,
like you said he invested in The Exorcist. I don't
think anyone ever confused him with a creative in Hollywood, huh.
But he did write the script. He got some ideas
from Tippy. He wrote the script, said he was going
to direct the film and it was a family adventure,
so he was going to have all of his family
(14:32):
in it, which was you know, young Melanie, and then
he had two sons from a previous marriage, Jerry and.
Speaker 3 (14:37):
John, and they were all going to be in it.
Speaker 1 (14:40):
But they were like, we need a real deal, like
regular lead actor for the male role to play like
the patriarch of this family. But they could not get
any actor to sign on because again I don't think
even people thought it would be that dangerous. Yet they
just knew it was not a good idea and it
was bad. The script was terrible.
Speaker 3 (14:58):
So Marshall was like, you know what, I'll just do
that too, right.
Speaker 2 (15:02):
I'm sure they were like what is wrong with everybody?
Between not raising financing or getting a star yeah, so
Noel wrote, directed, and starred in this movie, like you
were saying, and that, from all of my experience, any
movie that is written, directed, and starred in is essentially
going to be not as good as it would be
(15:22):
if any one of those were taken out of that equation.
Oh you think, yeah, because there's no one there to
tell the director or the writer or the lead actor
don't do this. Like those things are supposed to be
checks and balances, like the three branches of government in
the United States. So if you have all of them
(15:44):
together as one, you got a big problem.
Speaker 3 (15:48):
All Right, I disagree, but we'll just walk right past it.
Speaker 2 (15:51):
All right, that's fine.
Speaker 3 (15:52):
I mean I think if you're terrible, then it's a
bad idea. But there have been plenty of examples of
great writer, director, actors, and great films.
Speaker 2 (16:00):
Okay, name one besides Herbie the Lovebug.
Speaker 3 (16:04):
I like most anything clinice Wood's ever been in.
Speaker 2 (16:08):
Okay, I don't fully agree with that, but okay.
Speaker 1 (16:14):
Yeah, all right, I mean that's fine. You can nitpick
clinice Wood anyway. Like I said, we don't need to
debate this point, man.
Speaker 2 (16:20):
It's just similar. Like the pot is just simmering almost over,
but we're gonna walk past it, like you said.
Speaker 1 (16:26):
Yeah, I think the point why this is bad is
because he was not a talented human being. Early on, though,
Melanie Griffith is like, I don't want to be in
this movie. I think the direct quote was to her
mom was I don't want to come out of here
with half a face. So she backed out. They got
her friend to star instead, or friend who was an actor.
(16:46):
But eventually she was like, you know what, I guess
I will be in the movie. So she came back
on board and they completely reshot all the scenes. They're
just burning through money at this point, ye, but reshot
the scene so Melanie could be back in the film.
Speaker 2 (16:59):
Yeah, that friend ned who went on to become an
award winning Folly artist. And that's right. It's like you said,
they're burning through money. Because there's something to remember here
that I didn't think about until pretty far down the research,
Like they were not shooting video, they were not using
SD cards. They were using actual film stock over and over,
(17:21):
like all sorts of film stock. And that stuff was expensive,
wasn't it.
Speaker 3 (17:26):
Oh?
Speaker 1 (17:26):
Yeah, I mean they you know at one point because
they had to essentially just keep cameras rolling and wait
for the animals to do something interesting. Yeah, they were
shooting you know, six seven, eight cameras at a time
sometimes and this was I mean, this is something you
routinely see now, but back then you didn't. You know,
you maybe had three or four cameras max on like
(17:48):
a huge, huge stunt, but rolling that many cameras just
wasn't what you did typically back then on films, especially
films of the size, so that they were just burning
money on film stock.
Speaker 2 (18:00):
Yeah, and like you said, the reason why they were
just running all the times because the cats had zero training,
Like you could not tell them like, okay, we need
you to jump at this person because in this scene
it calls for that. The cats would just look at
you like I hear like man b bae bit and
that's it, Like I don't know what you're saying. So
(18:21):
occasionally they would do something interesting enough to use in
the film, and then they reverse engineered it and wrote
the plot around the stuff that they had filmed the
cats doing.
Speaker 3 (18:32):
Yeah, and all the animals.
Speaker 1 (18:34):
There was a scene where the elephant destroys a boat,
and that scene is in there because the elephant destroyed
a boat, right. It was not planned, but they were like, hey,
we got a little bit of production value out of
the elephant wrecking that boat, right, so we got to.
Speaker 3 (18:48):
Put it in the movie.
Speaker 1 (18:49):
The other thing was is these animals were you know,
they were raised in captivity and were used to laying
around by the pool and laying in bed in a
fairly sedate scene. So while they were pretty calm and
chill as far as big cats go in the movie,
when the real human actors are instructed to like yell
and scream or to run away or something that would
(19:13):
incite or excite, rather these animals in ways you know
that they weren't prepared for either.
Speaker 2 (19:18):
I know, I felt bad about that confused them, and
that's said. They were like, why are friends you know yelling?
Speaker 1 (19:24):
Yeah, and you know we're we're going to get to
some of the darker stuff later. This isn't all just
like funny.
Speaker 2 (19:29):
No good point. So this whole thing, the entire film
takes about five years to film, and not just because
the animals weren't doing what you'd want them to almost
all the time. There were some real catastrophes that they
ran into that were just totally unavoidable. But this is
a very dangerous set, Like that is the through line
(19:51):
here if you haven't picked up on that. People are
interacting with you know, domesticated to an extent, but there's
still very much wild fully grown lions, tigers, leopards, and
that's what's going on they're filming that. They're filming like
the lions jumping on people and attacking people, and so
(20:13):
this is like a really dangerous set at the same
time because they were using all this stuff, there's a
strange realism to the whole thing, especially the violence that
the animals inflict on the humans, because it actually was
what was going on.
Speaker 1 (20:28):
Yeah, for sure. I mean they had a hard time
sustaining funding because of this. They had a hard time
sustaining a crew because of this. I think in total
over the five years they had about one hundred and
forty different crew members because people, you know, they would
get on set, they would work for a little while.
Either there would be you know, something terrible and horrifying
would happen, or they would just realize, like you know,
(20:50):
you know when you get on one of those shows
where you're just like this is not a professional outfit, right,
So get out of there as quickly as I can
get something else going. They're shooting it all at this
compound for Africa there sort of deep outside Los Angeles,
and people started getting hurt. I think seventy cast and
crew members ended up getting injuries. And in the if
(21:13):
you look at the Alamo Drafthouse trailer that they put
out online, at the end, it'll show as they're announcing
the cast, it would freeze frame on that cast member
and in parentheses like give their name and then say
kind of what their most major injury was on set.
Speaker 2 (21:29):
Right, Probably the biggest one was Yon Debance. You probably
recognize him from such films as Heart of a Champion,
The ray Mancini Story, or Roar. But he was the
cinematographer for this movie and he took it like three
weeks after this whole thing started. He got it bad
(21:53):
where a lion essentially scalped him from the back half
of his head backward.
Speaker 1 (22:00):
Yeah, two hundred and twenty stitches. But he would complete
the film and before you start emailing us, I gotta
stem the tide, Josh. Unfortunately, Yon Debant is very much
known for being a big time action movie director. Oh yeah, yeah,
I mean you were kidding, right, yeah, okay, just making sure.
He directed Speed and Twister and some other, you know,
(22:21):
very big movies later on. But this was his first
film in the United States, and I think that's probably
why he kept coming back, because it was his first
film in the States, and maybe he didn't think it
would be such idea to quit his first movie here.
Speaker 2 (22:34):
Sure, yeah, because that's a really good point. He was
a very talented cinematographer by this time. Like that's one
of the other things he's very well known for, not
just directing. So like this movie, this, like you said,
completely like unprofessional outfit where the writer, director, and star
has no experience in any of those fields, has a
(22:55):
world class cinematographer working for it, which makes the whole
thing even that much more bizarre when you watch it.
Speaker 3 (23:01):
Apparently, Yeah, for sure.
Speaker 1 (23:04):
So you know, speaking of John Marshall, I believe he
was one of the sons. He got bit on the
head he tripped and fell during a scene. And of
course again this you know, I don't think we mentioned
that not only were the animals not prepared for some
of this stuff, but they didn't have a full staff
of animal wranglers on hand, like anytime you have a
(23:26):
I mean it really depends, but if it's like a
big cat or something like this, you've got a team
of people there for each one, right, and you know
they had some help, but they weren't staff like they
needed to be.
Speaker 2 (23:36):
No, And I think those are also the same crew
that kind of came and went over time. They were
like this, this is nutstude. I don't want to have
anything to do with this.
Speaker 3 (23:44):
Oh yeah, they didn't want their name on this thing
because they saw where it was going.
Speaker 2 (23:47):
So Melanie Griffith, who said that she didn't want to
come out of this with half a face, came very
close to that. Actually, she got clawed by her eye.
She needed fifty stitches. She also had to undergo cosmetic
surgery to kind of reconstruct that part of her face. Yeah,
that made it into the movie.
Speaker 3 (24:07):
Yeah, that scene, I mean that was a very believable
tax scene.
Speaker 2 (24:12):
Yeah. So you got a clumsy plot and actors, you
have a great cinematographer, and now also you have genuine
terror and blood that shows up in this essentially what's
supposed to be like a kind of wacky comedy family adventure.
Speaker 1 (24:29):
Yeah, for sure, there were two cases of Gangreen from
you know, getting bitten by infected cat mouths. Tippy Hedron
was one. She got a lion bite, got Gangreen. I'm
not sure where she got it, but she ended up
getting skin grass. There was also a scene where she
was riding on Timbo the elephant, and this animal wasn't
(24:52):
used to being ridden and like have somebody like shouting
and stuff like she was, so it threw her off,
fractured her ankle. And then Noel, the star and the
director and madman behind all this, he got the other
case of Gangreen.
Speaker 2 (25:06):
Yeah, Tippy Hedron getting thrown from the elephant and breaking
your ankle. That made it into the movie as well.
I know Noel got a bite on the hand trying
to break up a fight between lions and started bleeding.
That made it into the movie as well. So all
of this stuff is just showing up. Two crew members
lost digits. Like over a six year period, people kept
(25:28):
coming back, Like the core, people kept coming back and
coming back and coming back. There's one other thing to
keep in mind. To Charles, this was supposed to take place.
The action in the movie takes place over what maybe
like a few days, weeks, months tops. The actors involved
are all aging, like over the course of several years,
(25:49):
some of them teenagers under Like you really undergo some
serious like outward changes over like a few years in
your teens, and they had to kind of like deal
with that as well. This is like reverse boyhood essentially.
Speaker 1 (26:03):
Yeah, for sure. There was also a flash flood which
damaged some fencing. This is nineteen seventy eight, so this
is like two and a half years into this thing,
and it damaged some of the fencing such that some
of these big cats escaped.
Speaker 3 (26:19):
This is some of the darker stuff as far.
Speaker 1 (26:20):
As the animals are concerned, because they really played up
the idea that no animals were hurt in the filming
of this, like only humans. But they recovered most of
those animals, but allegedly the deputies there ended up having
to shoot and kill three lions. Yeah, and there was
also a situation where I think there was a disease
(26:44):
that spread through the.
Speaker 3 (26:45):
Cat community and some of them died.
Speaker 1 (26:47):
It's hard to get like good verification on that, but
I see plenty of places that claim that happened.
Speaker 2 (26:52):
Right, And technically none of this happened during filming. But yeah, yeah,
I think that's just part of a problem. When you
have hundreds of like big cats all living together, that's
not how they live. That flood you mentioned they had
like twenty minutes of filming left. I think when there
was a wildfire they were down to like seven minutes
(27:13):
something like that. And it just kept getting set back
and set back. That flood was so destructive that it
destroyed a lot of the vegetation and that made up
the set, so they had to replant and then wait
for it to grow back again. It just kept getting
set back and set back. I have the impression, and
I don't know if you got the same impression that
(27:35):
Tippy Heeddron and Noel Marshall were so deep into this
financially that they couldn't walk away. They had to finish
this because it was it had to be a hit
or else they were in serious financial trouble. Did you
get that same impression?
Speaker 3 (27:50):
Yeah, I mean, who knows what's going on.
Speaker 1 (27:53):
It's either that or just like the Madman thing takes over, right,
But I bet I know that. You know, they certainly
had no chance of recovering any money if they stopped,
and they knew that too, and they were close to
being done. Like you said, they did finally finish in
the fall of seventy nine. They had to shoot a
little bit in Africa, but most everything was taking place
there at their ranch, and they spent and this was
(28:17):
you know, late seventies money, about seventeen million dollars, which
is almost what Raiders of the Lost Art cost. So
they're definitely not getting their production value. And I'm sure
a lot of that seventeen million was just you know,
wasted money, like film stock and rebuilding things and just
(28:38):
waiting around and waiting around and paying crew while you're
waiting around.
Speaker 2 (28:42):
Yeah, for sure. Yeah, I can't imagine that seventeen million
dollars worth of production value made it into Roar from
everything I've seen, you.
Speaker 1 (28:50):
Know, I don't think seven hundred thousand dollars worth of
production value except I guess Yandubont shooting some nice looking
stuff probably for sure.
Speaker 2 (28:58):
So they finally finished filming, they get it edited, it's
all ready to go. They've like got their hands together,
they're rubbing their hands. They're ready to start making some
money back. And they cannot find anyone in the United
States to sign on as a distributor, which is a
huge problem, especially back then you had no streaming services whatsoever.
Like the way you saw a movie was to go
(29:18):
to a movie theater, and the way you got your
movie in movie theaters was by having a contract with
the distributor to get that movie out to movie theaters
so that you could have money coming back in. They
did not have that in the United States. They never
got it in the US.
Speaker 1 (29:33):
No, no release in the US.
Speaker 3 (29:36):
It was a non union production, so that had something
to do with it.
Speaker 1 (29:38):
But really the deal was it was just a really
bad movie, sure, and nobody wanted to release it. I
think even at the time they didn't think like if
a distributor doesn't even think they can get it back
based on how notorious you can trump up the advertising
of like the most dangerous film ever made. Like it
was really that bad that they couldn't even get like
(29:59):
cult B movie status going for it, you know.
Speaker 2 (30:01):
No, And there was a lot of buzz too. I
read some of the press tour that Tippy Heedron was
doing in nineteen seventy nine to help, you know, pump
up the release of the movie, and like it was
widely discussed. Apparently it was. It was shown widely in
the UK and Ireland. But even all that, it was
I think it grossed two million dollars worldwide. Yeah, so
(30:23):
they lost fifteen million dollars just out of the gate.
And because it was never shown almost anywhere else, especially
after its first run, they had like there's that was it.
That's all they ever made off of it, Like they
haven't slowly been making their money back. It just ended
its life right then and there after it limped out
of the last theater in the UK.
Speaker 3 (30:45):
That's right, let's stick our second break.
Speaker 1 (30:47):
Yeah, yeah, all right, we'll be right back with a
little bit more believe it or not about Roar right
after this.
Speaker 3 (31:15):
All right, we're back.
Speaker 1 (31:18):
More about Roar, which by the way, was about one
hundred minutes long. Livia did the great service of trying
to break down, even without seeing it, the plot of
this whole movie. I don't think we should kind of
go over that because maybe spoilers if people want to
try and find this thing, but almost certainly more because
it's not a very good movie at all.
Speaker 3 (31:39):
Sure, but just loosely.
Speaker 1 (31:41):
It was a plot about an eccentric American scientist who
spent a few years living in Tanzania's where it was
set and then having his family come out there, and
you know, it was really about that simple, like these people.
You know, there's a mistaken communication where the family comes
(32:02):
right as the dad has gone to go to the airport,
so they walk into the scene where all these lions
and it's really that bad.
Speaker 3 (32:10):
Like that's kind of the plot of the movie.
Speaker 2 (32:12):
Yeah, And the overall theme of the movie is that
this doctor, in the time that he's been living in Tanzania,
started living among the wild animals he's studying and become
like a family with them. Now his family who hasn't
been living with these animals is showing up, and this
is I think what I understand is that you start
(32:33):
to see the process of them kind of coming around
through all the attacks and hijinks and all that stuff,
until the overall message is if you treat wild animals
in a friendly manner, they're going to be friendly. If
you are scared of them and you treat them hostily,
they're going to respond as such. The thing about this
is I think it was Richard Brody from The New
(32:56):
Yorker he points out that just consistently throughout the movie,
this message is contradicted time after time after time where
people are being friendly to these animals and the animals
are like drawing blood and attacking them on screen in
the movie. So the message itself was flawed out of
the gate, even though it was an admirable one.
Speaker 3 (33:19):
Yeah.
Speaker 1 (33:20):
Another big flaw was that it was sort of a
genre less film. Yeah, parts of it seem like home movies,
parts of it seem like comedy, Like a couple of
the attacks are played as straight up comedic, parts of
it are played up for the true terror. And the
score even is all over the place, So the score
(33:41):
sometimes feels like a horror movie and the score sometimes
feels like a comedy. I think Tippy Hendrid says they
based some of the stuff on old slapstick silent comedies,
so it was completely rudderless. And that critic that you
talked about, Richard Brody, one of his quotes was kind
of back this up. He said, Marshall doesn't quite seem
aware of the forms he's using.
Speaker 3 (34:02):
So it was just a big mess.
Speaker 2 (34:05):
Yeah, big mess. I think that should be like the tagline, right,
So yeah, I guess if you're like I got to
see this, there are stuff, there are things you can
see online, but you're just unless you're gonna show out
a hundred bucks, you're not gonna see the whole movie.
One of the cool things about this though, is from
the outset, Tippy Heedron and Noel Marshall were not just
(34:28):
about like, let's just make a bunch of money exploiting animals.
They one of their stated purposes of making war was
to take some a significant amount of the proceeds and
put it toward wild animal welfare. And they put their
money where their mouth is, even though they lost a
bunch of money, and they basically turned their compound into
a place called the Cats of Shambala, which is like
(34:51):
they presented as a place of peace between animals and
humans where they can come together in harmony. It's still
around today, and it's the home of the Roar Foundation,
which is also still around today, which is still promoting
money and lobbying for legislation on behalf of animal welfare.
Speaker 1 (35:10):
Yeah, for sure, I mean that is when positive. They
would get divorced about a year after this movie, and
he continued to support the Shambala project even after that,
which was a good thing. But I don't want to
paint Marshall is like some great dude because you know,
reading some of the accounts, it seems like he had
a definite anger problem, was possibly violent with his own family.
(35:35):
Definitely there were moments where his you know, fourteen fifteen
year old stepdaughter is like really upset and crying and
doesn't want to continue, and he's forcing her back into
these scenes.
Speaker 3 (35:47):
So he was not a good dude.
Speaker 1 (35:50):
So I don't want to portray this as just like
sort of a fun family project gone wrong.
Speaker 2 (35:54):
Yeah. There was an interview with his son John around
the time that this was re released by draft House
Films in twenty fifteen where John was like, you know,
we all had safe words that we could use when
we were filming if we were uncomfortable, that we could get,
you know, removed from that situation and filming would stop.
And he said there was at least one time when
Melanie used her safe word and Noel just ignored it
(36:17):
and made everybody keep filming. So yeah, I think that
was that's definitely worth pointing out for sure. But like
you said, I mean, he's known for being an executive
producer investor on the Exorcist, and he's known for ror
and he will always be known for Roor from what
I can tell.
Speaker 3 (36:35):
Yeah, for sure, that's his legacy.
Speaker 1 (36:38):
In nineteen eighty five, it got a little bit more
attention because the Today Show had Tippy Hedron on because
she had written a book, her autobiography or at least
about this, The Cats of Shambala, So she was on
there promoting that, they showed clips from Roor and so
it got a little bit of attention in the United
States at the time and then was kind of not
(37:00):
heard from again until Draft House Films. Yeah, came along,
like you said, in twenty fifteen, and you know, played
it up for what it was, which is a pretty.
Speaker 3 (37:09):
Bad, I mean B movie at best.
Speaker 1 (37:12):
I think most B movies usually even have more of
a plot than this thing did.
Speaker 2 (37:16):
Yeah. They that's where the tagline the most dangerous film
ever made came from, which is very popular these days.
And they also were the ones that came up with
No animals were harmed during the making of Roar, but
seventy members of the cast and crew were, and Tippy
Hedron apparently was not at all happy about the I'm
sure this portrayal, and the Roor Foundation asked not to
(37:40):
speak publicly about it. Apparently she was that mad about it.
There is an Animal Planet documentary. I couldn't find that either,
but it was called Roar, the Most Dangerous Movie ever made.
It came out in twenty seventeen, and then there's been reviews,
especially after Alamo or the Draft House released it in
twenty fifteen. A lot of like those kind of online
(38:03):
reviewers who just love like terrible movies, really sank their
teeth into this, if you'll excuse that.
Speaker 1 (38:11):
Yeah, I think my favorite one is from Under the Radar,
it said, based on his reputation alone, nineteen eighty one's
Roar is the citizen Kane of films where actors were
mauled by lions. That's pretty good.
Speaker 2 (38:24):
Drew mcweeney also had a pretty memorable quote. They said
that it feels like Walt Disney decided to make a
snuff version of Swiss Family Robinson.
Speaker 3 (38:34):
That's kind of on point.
Speaker 2 (38:35):
Yeah, And I mean, if you are like, I don't
care about any of this. I just want to help
the big cats. Like I said, the Shambala Preserve is
still around, The RAR Foundation is around, and they're accepting donations.
I think they're down to like nine big cats now.
They've definitely whittled it down I'm guessing that the other
(38:56):
big cats kind of died of natural causes over time, hopefully.
But yeah, there you go. And Tippy Hedron's still alive.
She's coming up on her one hundredth birthday in twenty thirty.
Speaker 3 (39:07):
Well, I hope she doesn't listen to this.
Speaker 2 (39:09):
I feel like we did it justice.
Speaker 3 (39:12):
Yeah, which is exactly probably what she doesn't want to hear.
Speaker 2 (39:14):
Okay, it's true. Well, if you're listening, Tippy, hats off
to you. And since I did our annual hats off
to Tippy Hedron, I just unlocked blistener mail.
Speaker 3 (39:27):
For a second, I thought you're gonna say Tippy of
the hat to you.
Speaker 2 (39:31):
After all the times we've done that too, I can't
believe we've never come up with that before.
Speaker 1 (39:35):
I'm going to call this shouting out a good little
thing that this company's doing because we heard from Robin
about a company.
Speaker 3 (39:44):
Oh, let me just read it.
Speaker 1 (39:45):
Hey, guys, So listen to you from the mountains of
western North Carolina near Asheville, and I just listened to
the Mangroves episode, notably one of my favorite trees, and
I wanted to share information that's me talking about, right.
Speaker 3 (39:57):
I wanted to share information on.
Speaker 1 (39:58):
A company called man mang Gear m A n G Gear.
They make SPF shirts and for every shirt they sell,
they plan a mangrove tree.
Speaker 2 (40:07):
Nice.
Speaker 1 (40:07):
It's a nonprofit started by two brothers. And when you
do this they send you a certificate the GPS coordinates
of the location cool where your mangrove was planted. After
listening to the episode, it couldn't help it share in
case you wanted to do show some support to their work.
I listen all the time. Every episode is chock full
of information, facts and history. And let's not forget you
both are great hosts and make the show so interesting.
(40:29):
Nice And that is from Robin maw to lick and
just go to mang gear dot com. That would be
m A n G g e r dot com and
check out those SPF shirts if you want to have
a mangrove tree planet in your honor.
Speaker 2 (40:44):
That was smart to add the extra G or else
they might not have gotten what they were doing across
very well if it was.
Speaker 1 (40:51):
I'm sure there's a website called mang gear that sells
puba care shavers and stuff like that.
Speaker 2 (40:56):
All right, yeah, who was that Robin?
Speaker 3 (41:00):
Yeah?
Speaker 2 (41:01):
Okay, thanks a lot, Robin. That was a great shout out,
and thanks to the people at mangear who are doing
God's work and using GPS which we did an episode
on and I guess if you want to get in
touch with this like Robin did, you can send us
an email to send it off to stuff podcast at
iHeartRadio dot com.
Speaker 3 (41:21):
Stuff you Should Know is a production of iHeartRadio. For
more podcasts my heart Radio, visit the iHeartRadio app, Apple Podcasts,
or wherever you listen to your favorite shows.
Welcome to Stuff You Should Know, a production of iHeartRadio.
Speaker 2 (00:11):
Hey, and welcome to the podcast. I'm Josh, and there's
Chuck and Jerry's here too. And this is a good
old Stuff you Should Know movie edition, which usually I
have to say, have generally been pretty good.
Speaker 3 (00:23):
Yeah. Had you ever heard of this movie? No?
Speaker 2 (00:26):
I haven't, had you.
Speaker 3 (00:27):
Oh yeah, it's legendary.
Speaker 2 (00:29):
Okay, you had. I didn't know if that was right
or not. I looked up to see if anybody had
written in, and I guess somebody named Ian Tindall had recently.
Oh really, right, So in case that happened. Sometimes people
write in and be like, oh, thanks for doing the
episode I suggested, and it's something that had been on
our list already, So that happened.
Speaker 3 (00:51):
Sometimes that just happened.
Speaker 1 (00:54):
Somebody wrote in and was like, hey, you didn't thank
me for this one, and I was like, oh, sorry,
I didn't.
Speaker 2 (00:59):
You know, Well, that is what happens. So if we
don't thank you, there's a ninety eight percent chance that
we didn't.
Speaker 3 (01:07):
We already had it, that's right. But I already had
this one.
Speaker 1 (01:10):
This is a legendary movie known as the most dangerous
film ever made from nineteen eighty one. This you know,
big budget movie that was terrible and never shown in
the United States much so it's no wonder that you
hadn't heard of it.
Speaker 2 (01:26):
No, but I guess yeah, being a movie dude, this
is the kind of thing. It's like a legendary movie
for sure. Yeah, especially have you have you seen it?
That's a guest. Oh no, no, no, no, Yeah, it's
almost impossible to find. You could shell out I think
one hundred bucks on Amazon to buy a DVD of it.
Speaker 3 (01:45):
Don't do that.
Speaker 2 (01:46):
Alamo draft House re released it in twenty fifteen, which
generated a lot of buzz and interest in it. But
they did it in such a way that people used
to show the room kind of yeah, and then it's
just not anywhere. It's nowhere. You can see some trailers
and clips and stuff like that, but the movie itself
is nowhere. That's kind of a shame, because from what
(02:08):
I can tell from researching it, it would be something
to see at least once.
Speaker 1 (02:13):
Yeah, for sure, I don't feel like I'm missing out
having never seen it all because I've seen tons of
clips and read about it and stuff, and it's kind
of one of those that to suffer through the entire thing.
You know, I think that's the thing you should do
with the room, sure, but not necessarily with roar.
Speaker 2 (02:28):
Okay, fair enough, good, Well then I feel a lot better.
Speaker 3 (02:31):
Yeah, just my dumb opinion.
Speaker 2 (02:33):
So all right, Charles, let's tell everybody what we're talking about.
It's a nineteen eighty one movie.
Speaker 3 (02:38):
Roar.
Speaker 2 (02:39):
Like you said, a lot of people consider it the
most dangerous film ever made. Why is it the most
dangerous film ever made? Especially considering there's been plenty of
movies where people have died making the movie, like Noah's
Ark from I think the twenties. Three people drowned during
the real deluge that they filmed. You know, there was
(02:59):
the Twilight movie, Like people have died. No one died
on this movie, So why do people call it the
most dangerous film ever go?
Speaker 1 (03:07):
Yeah, well, I mean, in other cases, there have been
accidents on films that were all, you know, top quality productions,
where just something happened that was a big mistake. But
in this case, the actors were purposefully put in peril
because of just the whole idea of the film to
begin with. And there's really no way to talk about
(03:29):
it without just sort of telling the story. I guess
from inception, which was a married couple in Hollywood, the
great Tippy Hedron from You probably know her from Alfred
Hitchcock's The Birds most famously, Yeah, and her hubby, Noel Marshall,
who was her agent and a movie producer. He was
best known, probably still best known for the Exorcists and
(03:52):
unfortunately roar. Yeah, he kind of rewrote his legacy after
the Exorcists. But they were married couple who thought of
this idea because of a trip they took.
Speaker 2 (04:03):
Yeah. Yeah, So roar is essentially like it's meant to
generate like good will and stuff among humans toward wild animals,
right to show them that wild animals are nothing to
be afraid of. And Tippy Hedron and Noel Marshall had
a shared love of animals and wildlife that dated all
(04:24):
the way back to Marshall's youth, I think his teenage
yeers when he volunteered at the Saint Louis Zoo. And
I guess as he and Tippy Hedron got together, he
kind of influenced her. She was already a champion of
certain social causes, but she hadn't taken up animal welfare yet.
Speaker 1 (04:39):
Yeah, for sure. You know she had an activist heart.
I guess always did. And they were in Africa. They
were in Zimbabwe filming. She was filming a movie. This
was in nineteen sixty nine. It was a movie called
Satan's harvest YEP. So you know, her career wasn't at
his zenith after the Birds. But while they were there,
(05:02):
they went to Mozambique and went to a game preserve there,
and a couple of sort of key things came out
of that game reserve. I guess preserve visit. I guess
it's the reserve and a preserve.
Speaker 3 (05:13):
Huh.
Speaker 2 (05:13):
Sure, the PA is in parentheses before this, right.
Speaker 1 (05:17):
They saw an abandoned house that had a pride of
thirty lions living in this home sort of in and out,
and they were like, huh, Like, what an interesting concept,
you know, to be put on film. This looks really
kind of strange seeing these big cats roaming around a home.
And then the second thing is that their guide there
kind of educated them on what was going on with
(05:39):
the poaching conditions back then, and that really inspired them
to do something to drive some sort of awareness about
these beautiful big cats.
Speaker 2 (05:47):
Yeah, and it was kind of in the air at
the time too, Like there was a big like jungle
adventure in Africa like theme going on in a lot
of movies and TV. There's a very popular TV show
called Duct about a father and daughter veterinary team who
worked with wildlife in East Africa. And get this, Chuck Daktari,
(06:10):
which is if a drama was based on a movie
called Clarence the Cross Eyed Lion.
Speaker 3 (06:17):
Oh, poor Clarence, I know, But how do you.
Speaker 2 (06:20):
Get Clarence the Cross Eyed Lion to the serious like
animal medical drama Doctari. That's a strange transition.
Speaker 1 (06:28):
Yeah, I think probably a pretty smart one because Doctari
was on for a few seasons. Yeah, you know, other
stuff like Mutual Omaha's Wild Kingdom was big.
Speaker 3 (06:37):
And I think you're right.
Speaker 1 (06:37):
I think there was a general fascination with Africa in
the United States at the time, so they were bitten
by that bug. They get back to Hollywood and they said, hey,
what if we do this movie? What if we do
a movie about these big cats? And they pushed the
idea to some animal trainers and they said, that's a
(06:59):
really bad eye. It's not practical and it's like super
dangerous and but caveat.
Speaker 3 (07:06):
I suppose if you raise.
Speaker 1 (07:08):
Them together and they all knew each other and they
were raised with humans, then it might not be as
dangerous or dumb of an idea.
Speaker 2 (07:17):
Yeah, and so this is the first step that is
actually a step backward, because I get the impression they
came back from Africa and just assumed they were going
to get a bunch of like rent a bunch of
lions and tigers and stuff putting together, you know, knock
this movie out in a year or something at the most. Yeah,
that's not the case. This so they actually started from scratch.
(07:38):
They got their hands on a lion cub named Neil,
and they started raising him around the family in the
house with their teenage children, one of whom was Melanie Griffith.
She is Tippy Hedron's daughter, and she was like thirteen
or fourteen when Neil came into the picture and they
raised him from a cub into this four hundred pound
(08:00):
family pet, fully grown male African lion Maine and all
like sleeping in bed with Melanie Griffith at the time.
Speaker 1 (08:10):
Yeah, And I mean this wasn't they didn't have a
ranch out in the middle of nowhere, right, This was
in the valley. This is in Sherman Oaks, in their
Spanish home in Sherman Oaks. So I'm not sure about
the laws at the time. We'll see that they were
ordered to get rid of them about a year later.
In fact, it was about a year after Life magazine
in nineteen seventy one ran a big photographic feature that
(08:32):
it was, you know, the very sensational thing. It showed
all these amazing pictures of life with this four hundred
pound lion living in the home, like you were saying,
you know, hanging out.
Speaker 3 (08:42):
By the pool, the kids playing with them.
Speaker 1 (08:45):
And so about a year after that, I guess the
city stepped in and said, you can't do that in
Los Angeles even.
Speaker 2 (08:52):
No, and in retrospect, I think in her autobiography, Tippy
Hedrin later wrote that she realized that this was stupid
on belief to keep a four hundred pound male lion
in the house around her family. And like there's pictures
of her like lounging around with her head on the
lions like chests and everything. They're both laying on the
ground together. It is. It's quite a photo spread. And
(09:15):
it's also got that perfect like late sixties early seventies photo. Lookye,
you just could not possibly recreate it looks like that.
It's really cool. Yeah, but yeah, so they were ordered
to get rid of the animals. By this time, they'd
started collecting other lions and started raising them together again,
with the ultimate goal of filming them all together in
(09:37):
this movie that they wanted to make. Right, So, instead
of getting rid of their actors and pets, they bought
like a ranch in Actin, which is in Solidad Canyon.
I guess a little north of Los Angeles. I'm sure
you know where that is, right.
Speaker 1 (09:53):
I had never heard of Actin. Actually it said it
is forty miles north, but I think I'd heard of
solid Ad Canyon.
Speaker 3 (09:59):
But and it's new to me. I guess that's where
you go when you want to raise lions, right.
Speaker 2 (10:04):
The locals leave you alone when you show up with
a bunch of lions, right, And they did. They bought
a bunch of acreage and created a compound. And even
the compound was bought with an eye toward the ultimate
goal of making this movie.
Speaker 1 (10:17):
Yeah, I mean they wanted to film it like, you know,
as lions who lived in a house. And so they
created everything was kind of built as a movie set
to be, so they landscaped it with you know, it
was supposed to be an Africa set in Africa, so
they landscaped it with plants and architectural styles that might
have mimicked southern Africa. They put in an artificial pond,
(10:38):
and then eventually they would move there a few years
later in nineteen seventy six and live on the property
and kind of get to work on that movie.
Speaker 2 (10:46):
Yeah, that was about the year that they started with
seventy six. I say we take a break and we'll
get into actually making the film, because this is about
the point where things start to get a little bonkers.
Speaker 3 (10:56):
That's right, we'll be right back, Chuck.
Speaker 2 (11:21):
Before we get back into it, I have a tippy
hedron fact that I found. She is the only actress
to be directed by Hitchcock, Charlie Chaplin, and Edward Jr.
Speaker 3 (11:32):
Nice.
Speaker 2 (11:33):
Yeah, that's quite a career.
Speaker 3 (11:34):
Yeah, I like that Ben diagram.
Speaker 2 (11:36):
So yeah, okay, so we're at the filming, the beginning
of filming. The cameras are rolling, and the cameras just
kept rolling.
Speaker 3 (11:45):
Yeah, they kept rolling.
Speaker 1 (11:47):
You know, by this point they had more animals, I
believe you mentioned they started collecting more, but specifically they
had tigers by that point, they had leopards, they had panthers,
they had cougars. Notably, they had I mean, this was
self described by Tippy Hedron.
Speaker 3 (12:04):
Those were just sort of the big cats.
Speaker 1 (12:05):
They also had flamingos and ostriches and storks and swans
and sheep, and they even had an elephant which made
an appearance in the movie. And these are all pets
living there together, again with the aim that they would
all know one another by that point and be docile
enough to be you know, animal actors.
Speaker 2 (12:25):
Yeah.
Speaker 1 (12:25):
But as you would imagine, they had a hard time
raising money for the project because mainly they didn't have
much of a project except for a loose idea.
Speaker 2 (12:35):
I guess no they had a bunch of real estate.
They ended up self financing this thing mostly so they
sold a bunch of their real estate to put the
cash into this film. I think Noel was one of
the producers on The Exorcists, and he made a bunch
of money off of that. He was essentially an investor
(12:55):
in it, so we got an executive producer credit. And
I guess some of the back plum is that what
it's called back plumb, Yeah, the back end. Sure, the
back end, but it's plummy.
Speaker 3 (13:07):
Okay.
Speaker 2 (13:08):
Anyway, he had a bunch of money from the Exorcists.
They threw that into and they're like, Okay, this is
gonna be such a cool movie that no one's ever
done anything like this before. We're just gonna make our
money back a million times over. And initially the whole idea,
remember they had seen that pride of lions living in
this and that was kind of what kicked this off.
So the whole thing was very lion centric. But I
(13:30):
think the working titles were Lions or Lions, Lions and
more Lions. Those are definitely working titles. I think.
Speaker 3 (13:38):
Yeah, it makes ror look pretty great by comparison it
a title it does.
Speaker 2 (13:43):
Yeah, you could see Noel like dropping his gin and
Tonic thinking like I got it.
Speaker 3 (13:48):
Yeah, but you said.
Speaker 2 (13:49):
They collected a bunch of other animals, some of which
do not live in Africa, like Siberian tigers do not
live in Africa. But that didn't stop them, so they
expanded the scope even more because they wanted their whole
face of big cats and animals to be able to
star in this movie. So they ended up kind of
expanding the focus of the whole thing.
Speaker 3 (14:07):
Yeah, for sure. They didn't even have a script.
Speaker 1 (14:11):
And you know, Marshall was not a writer, like you know,
like you said he invested in The Exorcist. I don't
think anyone ever confused him with a creative in Hollywood, huh.
But he did write the script. He got some ideas
from Tippy. He wrote the script, said he was going
to direct the film and it was a family adventure,
so he was going to have all of his family
(14:32):
in it, which was you know, young Melanie, and then
he had two sons from a previous marriage, Jerry and.
Speaker 3 (14:37):
John, and they were all going to be in it.
Speaker 1 (14:40):
But they were like, we need a real deal, like
regular lead actor for the male role to play like
the patriarch of this family. But they could not get
any actor to sign on because again I don't think
even people thought it would be that dangerous. Yet they
just knew it was not a good idea and it
was bad. The script was terrible.
Speaker 3 (14:58):
So Marshall was like, you know what, I'll just do
that too, right.
Speaker 2 (15:02):
I'm sure they were like what is wrong with everybody?
Between not raising financing or getting a star yeah, so
Noel wrote, directed, and starred in this movie, like you
were saying, and that, from all of my experience, any
movie that is written, directed, and starred in is essentially
going to be not as good as it would be
(15:22):
if any one of those were taken out of that equation.
Oh you think, yeah, because there's no one there to
tell the director or the writer or the lead actor
don't do this. Like those things are supposed to be
checks and balances, like the three branches of government in
the United States. So if you have all of them
(15:44):
together as one, you got a big problem.
Speaker 3 (15:48):
All Right, I disagree, but we'll just walk right past it.
Speaker 2 (15:51):
All right, that's fine.
Speaker 3 (15:52):
I mean I think if you're terrible, then it's a
bad idea. But there have been plenty of examples of
great writer, director, actors, and great films.
Speaker 2 (16:00):
Okay, name one besides Herbie the Lovebug.
Speaker 3 (16:04):
I like most anything clinice Wood's ever been in.
Speaker 2 (16:08):
Okay, I don't fully agree with that, but okay.
Speaker 1 (16:14):
Yeah, all right, I mean that's fine. You can nitpick
clinice Wood anyway. Like I said, we don't need to
debate this point, man.
Speaker 2 (16:20):
It's just similar. Like the pot is just simmering almost over,
but we're gonna walk past it, like you said.
Speaker 1 (16:26):
Yeah, I think the point why this is bad is
because he was not a talented human being. Early on, though,
Melanie Griffith is like, I don't want to be in
this movie. I think the direct quote was to her
mom was I don't want to come out of here
with half a face. So she backed out. They got
her friend to star instead, or friend who was an actor.
(16:46):
But eventually she was like, you know what, I guess
I will be in the movie. So she came back
on board and they completely reshot all the scenes. They're
just burning through money at this point, ye, but reshot
the scene so Melanie could be back in the film.
Speaker 2 (16:59):
Yeah, that friend ned who went on to become an
award winning Folly artist. And that's right. It's like you said,
they're burning through money. Because there's something to remember here
that I didn't think about until pretty far down the research,
Like they were not shooting video, they were not using
SD cards. They were using actual film stock over and over,
(17:21):
like all sorts of film stock. And that stuff was expensive,
wasn't it.
Speaker 3 (17:26):
Oh?
Speaker 1 (17:26):
Yeah, I mean they you know at one point because
they had to essentially just keep cameras rolling and wait
for the animals to do something interesting. Yeah, they were
shooting you know, six seven, eight cameras at a time
sometimes and this was I mean, this is something you
routinely see now, but back then you didn't. You know,
you maybe had three or four cameras max on like
(17:48):
a huge, huge stunt, but rolling that many cameras just
wasn't what you did typically back then on films, especially
films of the size, so that they were just burning
money on film stock.
Speaker 2 (18:00):
Yeah, and like you said, the reason why they were
just running all the times because the cats had zero training,
Like you could not tell them like, okay, we need
you to jump at this person because in this scene
it calls for that. The cats would just look at
you like I hear like man b bae bit and
that's it, Like I don't know what you're saying. So
(18:21):
occasionally they would do something interesting enough to use in
the film, and then they reverse engineered it and wrote
the plot around the stuff that they had filmed the
cats doing.
Speaker 3 (18:32):
Yeah, and all the animals.
Speaker 1 (18:34):
There was a scene where the elephant destroys a boat,
and that scene is in there because the elephant destroyed
a boat, right. It was not planned, but they were like, hey,
we got a little bit of production value out of
the elephant wrecking that boat, right, so we got to.
Speaker 3 (18:48):
Put it in the movie.
Speaker 1 (18:49):
The other thing was is these animals were you know,
they were raised in captivity and were used to laying
around by the pool and laying in bed in a
fairly sedate scene. So while they were pretty calm and
chill as far as big cats go in the movie,
when the real human actors are instructed to like yell
and scream or to run away or something that would
(19:13):
incite or excite, rather these animals in ways you know
that they weren't prepared for either.
Speaker 2 (19:18):
I know, I felt bad about that confused them, and
that's said. They were like, why are friends you know yelling?
Speaker 1 (19:24):
Yeah, and you know we're we're going to get to
some of the darker stuff later. This isn't all just
like funny.
Speaker 2 (19:29):
No good point. So this whole thing, the entire film
takes about five years to film, and not just because
the animals weren't doing what you'd want them to almost
all the time. There were some real catastrophes that they
ran into that were just totally unavoidable. But this is
a very dangerous set, Like that is the through line
(19:51):
here if you haven't picked up on that. People are
interacting with you know, domesticated to an extent, but there's
still very much wild fully grown lions, tigers, leopards, and
that's what's going on they're filming that. They're filming like
the lions jumping on people and attacking people, and so
(20:13):
this is like a really dangerous set at the same
time because they were using all this stuff, there's a
strange realism to the whole thing, especially the violence that
the animals inflict on the humans, because it actually was
what was going on.
Speaker 1 (20:28):
Yeah, for sure. I mean they had a hard time
sustaining funding because of this. They had a hard time
sustaining a crew because of this. I think in total
over the five years they had about one hundred and
forty different crew members because people, you know, they would
get on set, they would work for a little while.
Either there would be you know, something terrible and horrifying
would happen, or they would just realize, like you know,
(20:50):
you know when you get on one of those shows
where you're just like this is not a professional outfit, right,
So get out of there as quickly as I can
get something else going. They're shooting it all at this
compound for Africa there sort of deep outside Los Angeles,
and people started getting hurt. I think seventy cast and
crew members ended up getting injuries. And in the if
(21:13):
you look at the Alamo Drafthouse trailer that they put
out online, at the end, it'll show as they're announcing
the cast, it would freeze frame on that cast member
and in parentheses like give their name and then say
kind of what their most major injury was on set.
Speaker 2 (21:29):
Right, Probably the biggest one was Yon Debance. You probably
recognize him from such films as Heart of a Champion,
The ray Mancini Story, or Roar. But he was the
cinematographer for this movie and he took it like three
weeks after this whole thing started. He got it bad
(21:53):
where a lion essentially scalped him from the back half
of his head backward.
Speaker 1 (22:00):
Yeah, two hundred and twenty stitches. But he would complete
the film and before you start emailing us, I gotta
stem the tide, Josh. Unfortunately, Yon Debant is very much
known for being a big time action movie director. Oh yeah, yeah,
I mean you were kidding, right, yeah, okay, just making sure.
He directed Speed and Twister and some other, you know,
(22:21):
very big movies later on. But this was his first
film in the United States, and I think that's probably
why he kept coming back, because it was his first
film in the States, and maybe he didn't think it
would be such idea to quit his first movie here.
Speaker 2 (22:34):
Sure, yeah, because that's a really good point. He was
a very talented cinematographer by this time. Like that's one
of the other things he's very well known for, not
just directing. So like this movie, this, like you said,
completely like unprofessional outfit where the writer, director, and star
has no experience in any of those fields, has a
(22:55):
world class cinematographer working for it, which makes the whole
thing even that much more bizarre when you watch it.
Speaker 3 (23:01):
Apparently, Yeah, for sure.
Speaker 1 (23:04):
So you know, speaking of John Marshall, I believe he
was one of the sons. He got bit on the
head he tripped and fell during a scene. And of
course again this you know, I don't think we mentioned
that not only were the animals not prepared for some
of this stuff, but they didn't have a full staff
of animal wranglers on hand, like anytime you have a
(23:26):
I mean it really depends, but if it's like a
big cat or something like this, you've got a team
of people there for each one, right, and you know
they had some help, but they weren't staff like they
needed to be.
Speaker 2 (23:36):
No, And I think those are also the same crew
that kind of came and went over time. They were
like this, this is nutstude. I don't want to have
anything to do with this.
Speaker 3 (23:44):
Oh yeah, they didn't want their name on this thing
because they saw where it was going.
Speaker 2 (23:47):
So Melanie Griffith, who said that she didn't want to
come out of this with half a face, came very
close to that. Actually, she got clawed by her eye.
She needed fifty stitches. She also had to undergo cosmetic
surgery to kind of reconstruct that part of her face. Yeah,
that made it into the movie.
Speaker 3 (24:07):
Yeah, that scene, I mean that was a very believable
tax scene.
Speaker 2 (24:12):
Yeah. So you got a clumsy plot and actors, you
have a great cinematographer, and now also you have genuine
terror and blood that shows up in this essentially what's
supposed to be like a kind of wacky comedy family adventure.
Speaker 1 (24:29):
Yeah, for sure, there were two cases of Gangreen from
you know, getting bitten by infected cat mouths. Tippy Hedron
was one. She got a lion bite, got Gangreen. I'm
not sure where she got it, but she ended up
getting skin grass. There was also a scene where she
was riding on Timbo the elephant, and this animal wasn't
(24:52):
used to being ridden and like have somebody like shouting
and stuff like she was, so it threw her off,
fractured her ankle. And then Noel, the star and the
director and madman behind all this, he got the other
case of Gangreen.
Speaker 2 (25:06):
Yeah, Tippy Hedron getting thrown from the elephant and breaking
your ankle. That made it into the movie as well.
I know Noel got a bite on the hand trying
to break up a fight between lions and started bleeding.
That made it into the movie as well. So all
of this stuff is just showing up. Two crew members
lost digits. Like over a six year period, people kept
(25:28):
coming back, Like the core, people kept coming back and
coming back and coming back. There's one other thing to
keep in mind. To Charles, this was supposed to take place.
The action in the movie takes place over what maybe
like a few days, weeks, months tops. The actors involved
are all aging, like over the course of several years,
(25:49):
some of them teenagers under Like you really undergo some
serious like outward changes over like a few years in
your teens, and they had to kind of like deal
with that as well. This is like reverse boyhood essentially.
Speaker 1 (26:03):
Yeah, for sure. There was also a flash flood which
damaged some fencing. This is nineteen seventy eight, so this
is like two and a half years into this thing,
and it damaged some of the fencing such that some
of these big cats escaped.
Speaker 3 (26:19):
This is some of the darker stuff as far.
Speaker 1 (26:20):
As the animals are concerned, because they really played up
the idea that no animals were hurt in the filming
of this, like only humans. But they recovered most of
those animals, but allegedly the deputies there ended up having
to shoot and kill three lions. Yeah, and there was
also a situation where I think there was a disease
(26:44):
that spread through the.
Speaker 3 (26:45):
Cat community and some of them died.
Speaker 1 (26:47):
It's hard to get like good verification on that, but
I see plenty of places that claim that happened.
Speaker 2 (26:52):
Right, And technically none of this happened during filming. But yeah, yeah,
I think that's just part of a problem. When you
have hundreds of like big cats all living together, that's
not how they live. That flood you mentioned they had
like twenty minutes of filming left. I think when there
was a wildfire they were down to like seven minutes
(27:13):
something like that. And it just kept getting set back
and set back. That flood was so destructive that it
destroyed a lot of the vegetation and that made up
the set, so they had to replant and then wait
for it to grow back again. It just kept getting
set back and set back. I have the impression, and
I don't know if you got the same impression that
(27:35):
Tippy Heeddron and Noel Marshall were so deep into this
financially that they couldn't walk away. They had to finish
this because it was it had to be a hit
or else they were in serious financial trouble. Did you
get that same impression?
Speaker 3 (27:50):
Yeah, I mean, who knows what's going on.
Speaker 1 (27:53):
It's either that or just like the Madman thing takes over, right,
But I bet I know that. You know, they certainly
had no chance of recovering any money if they stopped,
and they knew that too, and they were close to
being done. Like you said, they did finally finish in
the fall of seventy nine. They had to shoot a
little bit in Africa, but most everything was taking place
there at their ranch, and they spent and this was
(28:17):
you know, late seventies money, about seventeen million dollars, which
is almost what Raiders of the Lost Art cost. So
they're definitely not getting their production value. And I'm sure
a lot of that seventeen million was just you know,
wasted money, like film stock and rebuilding things and just
(28:38):
waiting around and waiting around and paying crew while you're
waiting around.
Speaker 2 (28:42):
Yeah, for sure. Yeah, I can't imagine that seventeen million
dollars worth of production value made it into Roar from
everything I've seen, you.
Speaker 1 (28:50):
Know, I don't think seven hundred thousand dollars worth of
production value except I guess Yandubont shooting some nice looking
stuff probably for sure.
Speaker 2 (28:58):
So they finally finished filming, they get it edited, it's
all ready to go. They've like got their hands together,
they're rubbing their hands. They're ready to start making some
money back. And they cannot find anyone in the United
States to sign on as a distributor, which is a
huge problem, especially back then you had no streaming services whatsoever.
Like the way you saw a movie was to go
(29:18):
to a movie theater, and the way you got your
movie in movie theaters was by having a contract with
the distributor to get that movie out to movie theaters
so that you could have money coming back in. They
did not have that in the United States. They never
got it in the US.
Speaker 1 (29:33):
No, no release in the US.
Speaker 3 (29:36):
It was a non union production, so that had something
to do with it.
Speaker 1 (29:38):
But really the deal was it was just a really
bad movie, sure, and nobody wanted to release it. I
think even at the time they didn't think like if
a distributor doesn't even think they can get it back
based on how notorious you can trump up the advertising
of like the most dangerous film ever made. Like it
was really that bad that they couldn't even get like
(29:59):
cult B movie status going for it, you know.
Speaker 2 (30:01):
No, And there was a lot of buzz too. I
read some of the press tour that Tippy Heedron was
doing in nineteen seventy nine to help, you know, pump
up the release of the movie, and like it was
widely discussed. Apparently it was. It was shown widely in
the UK and Ireland. But even all that, it was
I think it grossed two million dollars worldwide. Yeah, so
(30:23):
they lost fifteen million dollars just out of the gate.
And because it was never shown almost anywhere else, especially
after its first run, they had like there's that was it.
That's all they ever made off of it, Like they
haven't slowly been making their money back. It just ended
its life right then and there after it limped out
of the last theater in the UK.
Speaker 3 (30:45):
That's right, let's stick our second break.
Speaker 1 (30:47):
Yeah, yeah, all right, we'll be right back with a
little bit more believe it or not about Roar right
after this.
Speaker 3 (31:15):
All right, we're back.
Speaker 1 (31:18):
More about Roar, which by the way, was about one
hundred minutes long. Livia did the great service of trying
to break down, even without seeing it, the plot of
this whole movie. I don't think we should kind of
go over that because maybe spoilers if people want to
try and find this thing, but almost certainly more because
it's not a very good movie at all.
Speaker 3 (31:39):
Sure, but just loosely.
Speaker 1 (31:41):
It was a plot about an eccentric American scientist who
spent a few years living in Tanzania's where it was
set and then having his family come out there, and
you know, it was really about that simple, like these people.
You know, there's a mistaken communication where the family comes
(32:02):
right as the dad has gone to go to the airport,
so they walk into the scene where all these lions
and it's really that bad.
Speaker 3 (32:10):
Like that's kind of the plot of the movie.
Speaker 2 (32:12):
Yeah, And the overall theme of the movie is that
this doctor, in the time that he's been living in Tanzania,
started living among the wild animals he's studying and become
like a family with them. Now his family who hasn't
been living with these animals is showing up, and this
is I think what I understand is that you start
(32:33):
to see the process of them kind of coming around
through all the attacks and hijinks and all that stuff,
until the overall message is if you treat wild animals
in a friendly manner, they're going to be friendly. If
you are scared of them and you treat them hostily,
they're going to respond as such. The thing about this
is I think it was Richard Brody from The New
(32:56):
Yorker he points out that just consistently throughout the movie,
this message is contradicted time after time after time where
people are being friendly to these animals and the animals
are like drawing blood and attacking them on screen in
the movie. So the message itself was flawed out of
the gate, even though it was an admirable one.
Speaker 3 (33:19):
Yeah.
Speaker 1 (33:20):
Another big flaw was that it was sort of a
genre less film. Yeah, parts of it seem like home movies,
parts of it seem like comedy, Like a couple of
the attacks are played as straight up comedic, parts of
it are played up for the true terror. And the
score even is all over the place, So the score
(33:41):
sometimes feels like a horror movie and the score sometimes
feels like a comedy. I think Tippy Hendrid says they
based some of the stuff on old slapstick silent comedies,
so it was completely rudderless. And that critic that you
talked about, Richard Brody, one of his quotes was kind
of back this up. He said, Marshall doesn't quite seem
aware of the forms he's using.
Speaker 3 (34:02):
So it was just a big mess.
Speaker 2 (34:05):
Yeah, big mess. I think that should be like the tagline, right,
So yeah, I guess if you're like I got to
see this, there are stuff, there are things you can
see online, but you're just unless you're gonna show out
a hundred bucks, you're not gonna see the whole movie.
One of the cool things about this though, is from
the outset, Tippy Heedron and Noel Marshall were not just
(34:28):
about like, let's just make a bunch of money exploiting animals.
They one of their stated purposes of making war was
to take some a significant amount of the proceeds and
put it toward wild animal welfare. And they put their
money where their mouth is, even though they lost a
bunch of money, and they basically turned their compound into
a place called the Cats of Shambala, which is like
(34:51):
they presented as a place of peace between animals and
humans where they can come together in harmony. It's still
around today, and it's the home of the Roar Foundation,
which is also still around today, which is still promoting
money and lobbying for legislation on behalf of animal welfare.
Speaker 1 (35:10):
Yeah, for sure, I mean that is when positive. They
would get divorced about a year after this movie, and
he continued to support the Shambala project even after that,
which was a good thing. But I don't want to
paint Marshall is like some great dude because you know,
reading some of the accounts, it seems like he had
a definite anger problem, was possibly violent with his own family.
(35:35):
Definitely there were moments where his you know, fourteen fifteen
year old stepdaughter is like really upset and crying and
doesn't want to continue, and he's forcing her back into
these scenes.
Speaker 3 (35:47):
So he was not a good dude.
Speaker 1 (35:50):
So I don't want to portray this as just like
sort of a fun family project gone wrong.
Speaker 2 (35:54):
Yeah. There was an interview with his son John around
the time that this was re released by draft House
Films in twenty fifteen where John was like, you know,
we all had safe words that we could use when
we were filming if we were uncomfortable, that we could get,
you know, removed from that situation and filming would stop.
And he said there was at least one time when
Melanie used her safe word and Noel just ignored it
(36:17):
and made everybody keep filming. So yeah, I think that
was that's definitely worth pointing out for sure. But like
you said, I mean, he's known for being an executive
producer investor on the Exorcist, and he's known for ror
and he will always be known for Roor from what
I can tell.
Speaker 3 (36:35):
Yeah, for sure, that's his legacy.
Speaker 1 (36:38):
In nineteen eighty five, it got a little bit more
attention because the Today Show had Tippy Hedron on because
she had written a book, her autobiography or at least
about this, The Cats of Shambala, So she was on
there promoting that, they showed clips from Roor and so
it got a little bit of attention in the United
States at the time and then was kind of not
(37:00):
heard from again until Draft House Films. Yeah, came along,
like you said, in twenty fifteen, and you know, played
it up for what it was, which is a pretty.
Speaker 3 (37:09):
Bad, I mean B movie at best.
Speaker 1 (37:12):
I think most B movies usually even have more of
a plot than this thing did.
Speaker 2 (37:16):
Yeah. They that's where the tagline the most dangerous film
ever made came from, which is very popular these days.
And they also were the ones that came up with
No animals were harmed during the making of Roar, but
seventy members of the cast and crew were, and Tippy
Hedron apparently was not at all happy about the I'm
sure this portrayal, and the Roor Foundation asked not to
(37:40):
speak publicly about it. Apparently she was that mad about it.
There is an Animal Planet documentary. I couldn't find that either,
but it was called Roar, the Most Dangerous Movie ever made.
It came out in twenty seventeen, and then there's been reviews,
especially after Alamo or the Draft House released it in
twenty fifteen. A lot of like those kind of online
(38:03):
reviewers who just love like terrible movies, really sank their
teeth into this, if you'll excuse that.
Speaker 1 (38:11):
Yeah, I think my favorite one is from Under the Radar,
it said, based on his reputation alone, nineteen eighty one's
Roar is the citizen Kane of films where actors were
mauled by lions. That's pretty good.
Speaker 2 (38:24):
Drew mcweeney also had a pretty memorable quote. They said
that it feels like Walt Disney decided to make a
snuff version of Swiss Family Robinson.
Speaker 3 (38:34):
That's kind of on point.
Speaker 2 (38:35):
Yeah, And I mean, if you are like, I don't
care about any of this. I just want to help
the big cats. Like I said, the Shambala Preserve is
still around, The RAR Foundation is around, and they're accepting donations.
I think they're down to like nine big cats now.
They've definitely whittled it down I'm guessing that the other
(38:56):
big cats kind of died of natural causes over time, hopefully.
But yeah, there you go. And Tippy Hedron's still alive.
She's coming up on her one hundredth birthday in twenty thirty.
Speaker 3 (39:07):
Well, I hope she doesn't listen to this.
Speaker 2 (39:09):
I feel like we did it justice.
Speaker 3 (39:12):
Yeah, which is exactly probably what she doesn't want to hear.
Speaker 2 (39:14):
Okay, it's true. Well, if you're listening, Tippy, hats off
to you. And since I did our annual hats off
to Tippy Hedron, I just unlocked blistener mail.
Speaker 3 (39:27):
For a second, I thought you're gonna say Tippy of
the hat to you.
Speaker 2 (39:31):
After all the times we've done that too, I can't
believe we've never come up with that before.
Speaker 1 (39:35):
I'm going to call this shouting out a good little
thing that this company's doing because we heard from Robin
about a company.
Speaker 3 (39:44):
Oh, let me just read it.
Speaker 1 (39:45):
Hey, guys, So listen to you from the mountains of
western North Carolina near Asheville, and I just listened to
the Mangroves episode, notably one of my favorite trees, and
I wanted to share information that's me talking about, right.
Speaker 3 (39:57):
I wanted to share information on.
Speaker 1 (39:58):
A company called man mang Gear m A n G Gear.
They make SPF shirts and for every shirt they sell,
they plan a mangrove tree.
Speaker 2 (40:07):
Nice.
Speaker 1 (40:07):
It's a nonprofit started by two brothers. And when you
do this they send you a certificate the GPS coordinates
of the location cool where your mangrove was planted. After
listening to the episode, it couldn't help it share in
case you wanted to do show some support to their work.
I listen all the time. Every episode is chock full
of information, facts and history. And let's not forget you
both are great hosts and make the show so interesting.
(40:29):
Nice And that is from Robin maw to lick and
just go to mang gear dot com. That would be
m A n G g e r dot com and
check out those SPF shirts if you want to have
a mangrove tree planet in your honor.
Speaker 2 (40:44):
That was smart to add the extra G or else
they might not have gotten what they were doing across
very well if it was.
Speaker 1 (40:51):
I'm sure there's a website called mang gear that sells
puba care shavers and stuff like that.
Speaker 2 (40:56):
All right, yeah, who was that Robin?
Speaker 3 (41:00):
Yeah?
Speaker 2 (41:01):
Okay, thanks a lot, Robin. That was a great shout out,
and thanks to the people at mangear who are doing
God's work and using GPS which we did an episode
on and I guess if you want to get in
touch with this like Robin did, you can send us
an email to send it off to stuff podcast at
iHeartRadio dot com.
Speaker 3 (41:21):
Stuff you Should Know is a production of iHeartRadio. For
more podcasts my heart Radio, visit the iHeartRadio app, Apple Podcasts,
or wherever you listen to your favorite shows.
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Chuck Bryant
Josh Clark
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