Silverado (1985)

Brian & Cargill come ridin' into town to prove that the good stuff CAN last a long time...provided that good stuff is Lawrence Kasden's Silverado!

Or, as Brian calls it...The Big Sil

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Episode Transcript

Speaker 1 (00:00):
That's I mean junk and watching.

Speaker 2 (00:03):
Where the West begins and a mention never ends. You
gonna come out and stop me? All right? This is

(00:30):
Dick Miller. If you're listening to Junk Food Cinema, who
are these guys?

Speaker 1 (00:53):
Goarly, Bob Howdy.

Speaker 3 (00:54):
It's a root and toot and spur jangling new episode
of Junk Food Cinema, brought to you by He's just
not that into you dot com, dot cam, dot com
dot A good smelly saloon is my favorite place in
the world. This is, of course, the weekly Culton Exploitation
FILMCS so good it just has to be fattening. I'm
your host, Brian Salisbury, and I'm joined as per usual,

(01:15):
by my friend and co host.

Speaker 1 (01:17):
He is a novelist. He is a screenwriter, a.

Speaker 3 (01:19):
Lieutenant of Mega Force, a man who can hog tie
your brain into a not Mister c Robert Cargill.

Speaker 2 (01:25):
To Verado, wha do you jump over fences?

Speaker 3 (01:32):
Your cast is insane, Bro. I know it doesn't rhyme,
but it's still true. Oh shit, we're gonna talk about that.
We're gonna talk about this movie today. We're gonna spend
probably thirty minutes alone just on the cast list of
this movie, and I'm super excited to get into that,
but before we do, we gotta get into the housekeeping tokeeping,

(01:53):
and that is to let you know that there's eleven
years of this horseshit available on your favorite podcatcher.

Speaker 1 (01:58):
You can also follow us on social and if you
really liked the.

Speaker 2 (02:01):
Show, I mean you really liked the show, you like it.

Speaker 3 (02:04):
As much as Junk Food Cinema is just becoming a
secret Brian Dennaheat podcast. You can go to patreon dot
COM's Last Junkfood Cinema financially support the show. We greatly
appreciated Cargal secret. I mean, yeah, it's no secret that
we love the man. It just seems to be he's
taking over.

Speaker 1 (02:22):
The show of late I mean yeah, Like.

Speaker 3 (02:25):
We tried to hitchhike past Deniheat Town and he was like,
you're you gotta get the fuck out of here, and
then we decided we wanted to go back in.

Speaker 1 (02:32):
And then there was this big fight and people died.

Speaker 3 (02:33):
There were arrows and bombs and nothing is over and
I didn't draw first blood, they drew fort Look, it's
a whole story.

Speaker 1 (02:40):
Okay, we'll go into.

Speaker 3 (02:41):
It later, but what you need to know is that today,
once again in the human scent iPod that is junkfood Cinema.
This week's episode comes from the discussion of last week's episode.
We are talking today about a film that a film
that you could just as easily call the Big Sill.
It's Silverado.

Speaker 2 (03:01):
Oh no, this is your horse. Pete was a drifter
see this horse lesson em It wanted.

Speaker 4 (03:06):
Just hanging around with you is no picnic.

Speaker 5 (03:09):
Mel had a score to seven and Jake was just
playing crazy.

Speaker 2 (03:19):
It used to be in a peaceful town. Joined them
for the Ride of Your Life. Silver Roddo Ready PG.
Thirteen sneak pretty use Saturday Night check News favors for theaters.

Speaker 1 (03:28):
Yes from nineteen eighty five.

Speaker 2 (03:31):
Yeah. The thing about this movie is, and it's something
that I've been really kind of shocked by in the
last years, and I really had a period of time
where I'm like, we were covering this, we have to
cover this. So I thought we'd covered this. When I
said that, I legitimately thought we had because I had
this big, wild hair up my ass to do it,
because I had this realization a few years ago rewatching it.

(03:54):
This is one of the best movies ever made.

Speaker 1 (03:56):
Oh wow, strong words.

Speaker 2 (03:58):
This is top five westerns. I mean, of all time.
It is just a perfect movie. It's perfect, Like it's
one of those things that everything about it, every line
of dialogue, every casting choice, every you know, the score,
the cinematography, every this is a perfect movie that satisfy,

(04:18):
not only satisfies you the whole way through. You have
a smile watching it the whole way through. And then
it's one of those movies that people have kind of
forgotten about, like I would, I would The film I
think I best compare it to is Ocean's eleven. Oh sure,
in terms of you know, when you the first time
you see Oceans Is eleven, you're like, that's a really

(04:39):
good movie. I really liked that movie, but you know,
it's it's just kind of, you know, kind of what
Hollywood does. And then you move on, and if you
ever revisit it, you are immediately struck by how great
it really is and how it's much better than it
was received, much better than people talk about. And then

(05:00):
you have that realization nobody talks about this movie like this.
And so I went through a phase several years ago
where I was just showing it to everyone or pitching
it to people, and like, I'm watched it in a while.
Me and Scott Derekson, my partner in crime. He and
I sat down one weekend while we were shooting The
Black Phone and it was the first time he had

(05:20):
watched it since it came out in theaters and he
was still in high school. And every ten fifteen minutes
he's like, why does nobody talk about this movie? He
is one of the best movies. Like everything about this
movie rocks, Like there's no apologies you have to make
for this movie, and fuck at all, there's no you know,
it's not a good movie. It's a great movie. It's like, no, no, no,

(05:42):
It's a perfect fucking movie. And it's just one of
those that I wish more people talked about. I wish
more people talked about in just how exemplary it is,
because it really is one of those truly great films.

Speaker 3 (05:59):
I also think it is one of the biggest and
boldest blank check movies of all time. Yeah, I mean
that because we're talking about a movie directed by Lawrence Kasden, who,
by this point in his career Body Heat. You know,
he was he was known as a screenwriter. You know,
this is a guy that fucking wrote Empire Strikes Back
and had been a legendary screenwriter as far as by.

Speaker 2 (06:19):
Yeah, Empire Strikes Back and Raiders of the Lost Arc.

Speaker 3 (06:22):
Right right, yeah, yeah, that was my next point that
I was going to make. But yeah, so he was
a guy that was very well known as a screenwriter.
But when he made this shift into directing, his first
film was Body Heat, which was a hit. But then
his second film was Big Chill, which was a godzilla
of a movie, a massive.

Speaker 2 (06:44):
Colossal hit. Created a whole subgenre of films that we
just call Big Chill movies. We just call it the
name of the movie that kicked it.

Speaker 1 (06:52):
Off, the Baby Boomer Hangout Movie.

Speaker 3 (06:54):
Like literally the shot across the bow of the Baby
Boomer Hangout Movie is the Big Chill. And it's a
fantastic movie, don't get me wrong. But the success of
those first two movies propelled Columbia to take a chance
on Lawrence Kasden that at the time this movie was made,
was a monstrous risk. This is nineteen eighty four. When

(07:18):
they start shooting this movie, we are only four years
removed from Heaven's Gate, pretty much tanking the idea of
a studio western like that movie's failure is so legendary
that the idea of a studio getting behind making a
western again like it. They just didn't for a while.
For several years, they just didn't make westerns like it.

(07:40):
Slowly started to come back right around this year with
movies like Rustler's Rhapsody and Pale Writer, and those movies
were marginally successful.

Speaker 1 (07:48):
But for Columbia to go, you know what, we're gonna
give this sophomore director his third movie. We're gonna let
him up his budget considerably, because that's the other thing.
Both Big Chill and Body Heat were made on very
low budgets. We're now going to give this guy twenty
three million, nineteen eighty four dollars to make a studio western,

(08:10):
a genre that at this point is on life support,
and he's going to rope in an enormous fucking cast.
And it just to me.

Speaker 3 (08:18):
I have to believe that Columbia was still riding the
high off of their Ghostbusters success, that they felt a
little bit bulletproof, because otherwise I do not see this
getting greenlit.

Speaker 2 (08:28):
I mean, and but the thing is is, you gotta think,
you know, here's two dead genres that are just absolutely
you know that that weren't things other people could get
to work, like space opera and the uh the serial

(08:49):
adventure film. And Lawrence Casden wrote the best versions of
both of those. Yes, and so this guy says, I'm
going to bring back the Western, and then he wrote,
writes this fucking script, this amazing fucking script, writes it
with his brother, who would only be credited on three movies,
one of them, weirdly, a recent Western with one of

(09:14):
the stars of this movie.

Speaker 1 (09:17):
Uh.

Speaker 2 (09:17):
And that's and and I get it. I get why
they took the risk. You're a studio exec. Can you
get handed this script? You're just like, I think we
can make westerns again.

Speaker 3 (09:30):
I agree with that, But I also think, I mean,
you know as well as I do, having a tremendous
script is not at all a rubber stamp in the
eyes of an executive. Executives overlook great scripts all the time. Like,
I'm not disagreeing that this is a great script, because
it absolutely is. But it's also a great script handed
in by the director and the director's brother, who I

(09:50):
believe at this point.

Speaker 1 (09:51):
Had had not written a film before.

Speaker 3 (09:54):
But you're right, Lawrence Castin has proven to be the
defibrillator for dead genres, so he does have that in
his corner for sure. But it's still to me a
massive risk that the studio took and it paid off,
but maybe not as much as they would have hoped.
Like this, compared to his first two films, is nowhere
near the financial success of A Body Heat or A

(10:15):
Big Chill. But yeah, I'll be damned if it's not
a great movie.

Speaker 2 (10:19):
Yeah, I mean yeah, at the end of the day,
it only made thirty two million dollars, which wasn't anything
to sneeze at at the time, But it also isn't great.

Speaker 3 (10:29):
Well when it costs twenty three and makes thirty two,
Like you know, remember, you're thinking like, oh, it made
its money back and more. Yeah, but then you factor
in you know, P and I, You factor in all
this other stuff, in the fact that it's nineteen eighty
four dollars marginally successful.

Speaker 2 (10:42):
And you also factor in that the video market isn't
what it would become, right, So there isn't this huge
back end that if you don't make it all back
in the theater, there's not an anticipation of more revenue
beyond Television Broadcasting and HBO.

Speaker 3 (10:59):
Right, yes, now, for anyone who hasn't seen it, Silverado
is a Western and the film basically revolves around four outlaw,
roguish type characters and how their stories intersect around the
town of Silverado and this long standing land war that's
going on. And there's so much about this movie cargill

(11:23):
in so many ways in terms of its plot and
in terms of its production.

Speaker 1 (11:27):
That feels like the ultimate prequel to Yellowstone.

Speaker 2 (11:30):
Yeah, it's also one of the greatest Dungeons and Dragons
movies ever made. It's four people, four disparate people who
all get brought together in the first act and then
have their big come together moment, and then they ride
into town and on the way they have a side
quest to help out a bunch of you know, stranded

(11:51):
wagon train folks, and they go and sneak into a
bandit's lair and get the gold back and then head
to the town, only to find out that that town
is infested with villains.

Speaker 1 (12:02):
Oh yeah, it's the it's the Guild, the bad and
the ugly, for sure.

Speaker 2 (12:04):
Yes, But the thing is is it's fucking great. Every
every character of our of our four main characters are
damaged people. They have they have all have interesting backstories
in their own they all have their own drama. They
each have their own villain in this movie. Yep, you know,

(12:26):
when you get to the end of this movie, there's
four different showdowns as a result of you know, uh,
and each villain is detestable in their own right, and
each villain gets it in the way they need to
get it, and uh uh it is fantastic. Uh. You've
got an incredible fucking cast rounding out not only the

(12:50):
four the four big protagonists, but every every side role
here is somebody great. You know, even the smallest but
even even the horror with three lines in the movie
is someone awesome like this is. It's crazy how great
all of this is and how it all comes together
and delivers perfectly on every single element it presents.

Speaker 3 (13:14):
There are five people in the cast named Kasden. For
fuck's sake, Well, yeah.

Speaker 2 (13:18):
I do love that. Even Jake Kasden is in this
Let you know, a guy who's become a legendary director
in his own right is here as a kid in
his dad's movie.

Speaker 3 (13:27):
There is a true Western film and film history icon
in this movie that has a throwaway blink and you'll
miss it type of scene. And we're gonna go into
that man's importance not only to this genre, but to
cinema history in general in a moment. But I want
to before we go, because we're gonna start. Once we
start talking about this cast, it's gonna be off to

(13:48):
the races, like the horses are gonna be let out
of the bar and it will be a stampede. But
I want to focus for just a second on Kevin
Costner because this is such a momentous moment in Kevin
Costner's career.

Speaker 1 (14:02):
Yep, this is his first Western.

Speaker 3 (14:05):
This is also the movie that he is in because
Lawrence Casden felt bad that his part was basically completely
excised from.

Speaker 1 (14:14):
The Big Chill.

Speaker 3 (14:16):
So, in an effort to make amends for the fact
that Kevin Costner's part ended up on the cutting room
floor for The Big Chill, Lawrence Casden writes him a
role in Silverado, which becomes his first Western. And if
you think about that, and you think about the trajectory
of his career from this point forward, where Casden again
on Wyatt Earth like Kasden's brother being a producer on

(14:40):
Horizon American Saga again, this movie is kind of planting
the seed for what would be not only the thing
that we best know Kevin Costner for, but changing the
current landscape of American television. It's fucking crazy how being
cut out of the Big Chill is the best thing

(15:00):
that ever happened to Kevin Costner.

Speaker 2 (15:03):
Yeah, and then Costner's fucking incredible here, give me a
role that is unlike anything else he's ever played.

Speaker 3 (15:10):
So wild and energetic in this. He's not the grizzled
veteran yet, he's just he's the fucking like wild card
in this.

Speaker 2 (15:16):
He's did the bigger dopey you know, uh, a kid
who uh is too too hot headed to control yea,
you know. And he's so good at like a guy
who would spend so much of his career uh playing
as you said, the grizzled veteran but like the controlled
quiet type. He's just the opposite.

Speaker 4 (15:37):
Here.

Speaker 2 (15:37):
He's so outlandish and big and brazen, and it's wonderful
the choices he makes in this movie, like when he's
trying to tell the story of how he's about to
be hung and he can't stop himself from climbing the
jail like their monkey bars because he's still a fucking kid,
like the nervous energy he's portraying there, you know, the

(15:58):
great scene when he's about to get in another shootout
in the bar and Peyden has to break it up,
and even then he's trying to tell Peyden to get
the fuck out of his way, like he's all of
his choices are amazing here.

Speaker 1 (16:14):
Yeah.

Speaker 3 (16:14):
I also love that he's a character that can't stop
stepping on his own dick, or maybe more appropriately, whose
dick can't stop from stepping on him. Because literally, the
reason he's in jail at the beginning of this movie,
and then when you know, when that gets resolved in
its own way, and then later he's in another conflict,
and when Scott Glenn asks him why he's in that conflict,
the story sounds remarkably similar to the reason he was

(16:37):
in jail, and you realize this dude cannot keep his
dick in his pants and it always leads to shootouts.

Speaker 1 (16:43):
What the fuck?

Speaker 4 (16:44):
Man?

Speaker 2 (16:45):
Yeah, yeah, he's like, that's what happened to me.

Speaker 3 (16:47):
He is is shoot then aim one hundred percent ready
to shoot aim. That is Kevin Costmer's character in this
a thousand percent. But as I mentioned, his older brother
in this movie is played by the absolutely funucking phenomenal
Scott Glenn.

Speaker 1 (17:01):
And if you want an actor that can.

Speaker 3 (17:03):
Portray the uh, the older brother who has just fucking
had it with you, it's Scott Glenn, you know what
I mean, Like there's still there's still an ounce of
caring there, but it's clear Scott Glenn is like, god
damn it.

Speaker 1 (17:18):
Yeah.

Speaker 2 (17:19):
Yeah, And and they play they played brothers so well.
And of course Emmett is the you know, the the
tight knit, trying to keep everything together brother, and Jake
is just the wild card that he's constantly got to
get out of trouble.

Speaker 1 (17:35):
And yet the thing that connects them is that they've
both had their runnings. They both had the challenges in
their past where they have had to do things that
they are not proud of.

Speaker 3 (17:44):
They have, they have both served time. They've but like,
they're both in sconsin who they are, and they're both
not afraid to, you know, stand their ground, and because
of that, they both face consequences.

Speaker 2 (17:57):
But Emmett's Emmett. The reason why he he goes to
jail for five years, he's just getting out of jail.
The reason he went to jail. Was he shot a
man who was about to shoot Jake in the back,
and the movie shows you why Jake probably was about
to get shot in the back. Yes, Like, one of
the great things about this movie is almost every line

(18:17):
of dial First of all, every line of dialogue is perfect, yes,
but almost every line of dialogue is also exposition, like
is it is either advancing the story or it is
defining character, and it is giving you the track. There
is no there is no single moment where everybody's backstory
is laid out. You simply get bits and pieces up

(18:42):
and you know, one of the things that's never said,
Like it's never said what Peyden and Cobb's gang did
or that they were even a gang. It's just alluded to.
And then you get bits and pieces here and there
they tell you, oh, Eden was a bad guy once
upon a time and now he's not. They never say that,

(19:06):
but they illustrate it. And every single choice that's made
in the movie advances these characters and shows you who
they are, It shows you their damage, It advances along
the way, and by the time you get to the end,
you can break it all down and lay every character out.
But there's no moment where they sit down and explain

(19:26):
any of the characters to you in a way that
so many other movies do, or where just one scene
illustrates it. It's all laid out over the course of
two fucking hours, and by the time you get to
the end, you have resolved who all of these characters are,
both good and bad.

Speaker 3 (19:42):
It's a quartette of redemption stories, which is what I
really like about it. I mean, every single hero of
this movie starts off at a place where he has
a lot to atone for, and the movie slowly parcels
out to us as the audience what those things are.
I want to start just how we're introduced to Emmett
because at this moment I knew Lawrence Kasden directed this movie.

(20:03):
But for a brief moment Cargil watching the opening of
the film, I was like, is this a Sam Raimi movie?
Or was Sam Raimi somehow involved? Because we meet Emmitt
as he's in this tiny little cabin in the dark,
and you know emmittt is, you know, Scot Glenn is
a square jawed hero and he's in this cabin. The

(20:24):
cabin is sieged by these unseen lurkers and we keep
kind of whip zooming around the cabin to show different
points of view, and then we get an honest to
goodness slow most shotgun somersaulting through the air. If you
do not watch this opening scene and think for a
split second that we are seeing Ash's origin story, you
were out of your fucking mind, because this feels so

(20:46):
much like a Sam Raimi film for a split second.
But we don't even fully know who the people are
who are laying siege to Emmett. We just know that
there are people out to get him. And then when
he meets Kevin Klein. I love the shorthand of finding
Kevin Kleine literally in his underwear in the desert, someone
who has quite literally as well as figuratively, been stripped

(21:08):
down to you know, their barest, most primal starting point,
and then has to build themself back up Like this
is literally the redemption story of Kevin Klein.

Speaker 1 (21:18):
Now, it's like what happened to him? How did he
get here? Laid bare? And how is he going to
pick himself back up?

Speaker 3 (21:24):
Not only in the sense of you know, getting him
getting new clothes and getting a gun and taking revenge,
but building himself back up as a character and determining
the trajectory of his life going forward from this moment
because he's hit rock bottom, Like I love all of
that in this just shorthand of Oh he's in his
long John's like, that's it.

Speaker 2 (21:41):
And on top of that, they discuss what we've just
seen of the attack on Emmett and at lays ground
for a mystery that you forget as a mystery. You
may forget that that even happened. People forget, and they'll
answer it an hour later. And when they do answer it,

(22:03):
it is a big turn in the movie. And it's
so good you don't realize that how you've met Emmett
is actually this ticking time bomb that's about to go
off and dramatically impact the trajectory of the story you're telling.

Speaker 1 (22:18):
And again, it's a land war. It's about ranchers claiming
land that's not theirs. It feels like it could have
been ripped from the plot of fucking Yellowstone. It is
insane how much this movie feels.

Speaker 3 (22:29):
Like it planted all of the right seeds and it
just took forty years for that to finally blossom.

Speaker 1 (22:34):
But we'll get there in just a moment.

Speaker 2 (22:35):
After these messages We'll be right back. There were times
when yesterday seems so far away.

Speaker 4 (22:41):
I feel I was at my best when I was
with you people, and.

Speaker 2 (22:44):
Yet so very close.

Speaker 5 (22:46):
Biggest mistake I haven't made in my life was not
trying how hard tote you away from it.

Speaker 2 (22:50):
When college friends from the sixties come together in the eighties,
it's a time for memories.

Speaker 1 (22:55):
Getting with a few people.

Speaker 4 (22:56):
If this thing ever happened to me?

Speaker 2 (22:58):
How much sex funds friendship and one man? Take a
time for laughter, a time for tears. HBO brings you
the feel good hit of nineteen eighty three, So Big Chill.

Speaker 1 (23:10):
It's about everything.

Speaker 6 (23:13):
Alex and I made love the night before he died.

Speaker 4 (23:15):
It was fantastic.

Speaker 2 (23:17):
Is there either married or gay?

Speaker 1 (23:19):
Where's our hope? Go lost? Hope?

Speaker 2 (23:21):
That's it, lost hope. Boy's up, folks. We're all alone
out there, and tomorrow we're going out there again.

Speaker 5 (23:26):
William Hurt and Glenn Close hit an all star cast
in this bittersweet.

Speaker 2 (23:30):
Comedy about growing up.

Speaker 4 (23:31):
The Big Chill Tonight on HBO.

Speaker 1 (23:39):
I Love Cargill.

Speaker 3 (23:40):
After you know we've been confined to this little Cabinet's
feeling very evil, debtish, but then Lawrence Kasden has shotun
opened the door and we reveal that push into a
panoramic shot of the American West, very much the opening
shot from the Searchers, and it's just it's fucking it.
It's beautiful. It's everything that you need a Western to

(24:02):
be in a split second.

Speaker 2 (24:04):
Yeah, and now you're out in the open and you're
on the prairie and it is amazing. It is just
it's gorgeous. And then we just start collecting characters.

Speaker 3 (24:15):
And then we get to this, you know, when when
Scott Glenn and Kevin Klein have crossed paths and they've
decided to ride together into this town. Kevin Kline immediately
sees the guy that stole his horse and goes, I
love him going to the gun shop and just like
what what can I get for this money? And it's
just it's a piece of shit gun and he's got
a box of bullets he drops immediately on the on
the ground. And at this point the guy has spotted

(24:37):
him as riding towards him, shooting at him, and Kevin
Klein doesn't flinch.

Speaker 1 (24:40):
He's just trying to load the gun.

Speaker 3 (24:42):
He doesn't he knows this guy is not as good
a shot as he is, and he's going to take
his time and make sure that he delivers the kill shot.

Speaker 1 (24:47):
And it's again everything you need to know about this character.

Speaker 3 (24:50):
You think this character might be a fuck up because
we met him in his underwear laying in the middle
of the desert, turns out this guy has a really
good handle on a fucking six shooter and that probably
came handy and whatever his life was before this.

Speaker 2 (25:02):
And that he's also a bad dude who's got ice
in his veins, and that will come up time and
again through the rest of the movie, is that Peyton
absolutely has ice running through his veins. He is just
a fearless guy. He is a as we hear later,
a true gambler, but as a true gambler, not that

(25:23):
he leaves everything up to chance. He's a true gambler,
and that he doesn't experience feer that way, and that
what we end up finding out is the only thing
he ends up caring about are other people, and that's
that's what he gets scared for, and that's how you
control him, and that's his entire arc. But here in
this moment, he's not afraid if he gets shot, but

(25:45):
he knows that he's got to get this shot off
just right, and so he does everything he in his
power to do it and then kills the guy in
a single shot. And that's where we're like, oh, this
is a bad hombre. This is not just some guy
who got some chump who got left in the desert
and stripped. This is a bad dude.

Speaker 3 (26:05):
Very much so, And enter into the movie. Welcome to
the Denny he double folks.

Speaker 2 (26:09):
There we go.

Speaker 1 (26:10):
Here he is in all of his glory like but
brandishing a badge.

Speaker 3 (26:13):
And my favorite thing about that is Kevin Klein's reaction
to seeing that badge. Lets you know everything you need
to know about Denny. He's passed without Dinny. He's saying
a fucking word.

Speaker 2 (26:23):
But the badge isn't until an hour later.

Speaker 1 (26:26):
Oh he's not wearing the badge at this point.

Speaker 2 (26:28):
No, No, he's talking. He talks about how he's got
a sweet deal going on and it's all legit now,
and of course Payin's like, yeah, yeah, yeah, whatever. But
the you know, Denny, he gets a cob, gets him
out of trouble, and of course kicks off more of
the great backstory. Where's the dog Peyton.

Speaker 3 (26:48):
Yeah, where's the dog man? The running dog story throughout
this movie, and.

Speaker 2 (26:53):
Then the punchline, the punchline when he's like, well the
thing is it all evened out? I went to jail
and the dog sprung me.

Speaker 1 (27:01):
You know what?

Speaker 3 (27:02):
You know how like every horror franchise has that sequel
four or five deep where it's like, I have an
idea for a concept for this movie, Let's go back
to the Old West. Like inevitably, all these fucking horror franchises,
they're like, let's go back to the Old West.

Speaker 1 (27:16):
It's the old It's the Old West, or the Hood
or the hood Leprechaun. I think did all of them? Look?

Speaker 2 (27:22):
Yes, it didn't.

Speaker 3 (27:22):
My favorite part of this is that this feels like
John Wicks John Wick sequel way down the Road where
they go back to the Old West and Kevin Klein's
story is like John Wick's great great grandfather or something.

Speaker 2 (27:34):
I do love the whole I love the whole thing
of that, you know what Denny. He says later on,
He's like, you know, the kicker of it all is
I didn't even light that dog.

Speaker 1 (27:44):
Yeah yeah, like.

Speaker 2 (27:46):
Like he ended up getting himself caught and uh uh
fucked up because he tried to save a dog he
didn't like.

Speaker 3 (27:55):
There has always been in classic westerns a sort of
moral absolutism. You are either a white hat or you
are a black hat, and that's it. There is no
in between, largely because those movies were originally filmed in
black and white.

Speaker 1 (28:07):
There could be no shades of gray.

Speaker 3 (28:09):
So the idea that Kevin Klein, who's a character that
has had some kind of shady pass, is willing to
literally go to jail and kill people and do all
these things for a dog he doesn't even like, just
because that's the right thing to do is so fucking
john Ford in the best way possible.

Speaker 2 (28:27):
Yep.

Speaker 3 (28:28):
Absolutely, And then we meet Danny Glover, proving as always
too old for this shit and yet somehow also never
too old to do anything.

Speaker 2 (28:36):
Yeah, and watching this movie again, you know, the moment
his entry scene happens, I was like, ah shit, I'm
not watching this without whiskey and pulled out a nice
expensive bottle of Garrison Brothers.

Speaker 3 (28:50):
The Garrison Brothers could describe the two guys that besiege
him in this bar, not happy about the fact that
there is a black man in their bar. He just
wants a bottle, and he just wants a place to stay.

Speaker 1 (29:02):
That's it, and.

Speaker 2 (29:03):
It's I haven't had a taste of whiskey or slept
in a bed for ten days, and.

Speaker 3 (29:10):
He's that's all he wants and this this place just
will not have it. They start a ruckus, and uh,
you know it's it's literally Kevin Klein and Scott Glenn
who back up Danny Glover's story when these guys try
to attest that it was Danny Glover who started this.

Speaker 2 (29:24):
This woman and busting up my place.

Speaker 3 (29:26):
And then because of this FriCAS into the bar walks
the local law man. The local law man played by
John Cleese.

Speaker 2 (29:34):
Today my jurisdiction ends here.

Speaker 1 (29:37):
Guy. Fucking love him in this movie because.

Speaker 2 (29:39):
It's so he's so detestable in this movie, like likable
and detestable, Like instantly you like him because he keeps
the law in town and has this great bit where
you know, he's he is telling the the thisalon keep
to you know, you know, I don't like that word,
and he's putting him in his place for being a racist.
But h at the same time, he's also racist. We

(30:02):
find that out moments later, and then he's just kind
of a piece of shit that is way too strict
with the laws, especially when it comes to self defense,
and this causes a lot of trouble, even though he's.

Speaker 6 (30:20):
John Cleacy's fucking charming, Like yeah, and even he again
hasden giving every character of import in this movie extra weight.

Speaker 2 (30:31):
There's this great moment where he's sitting across from one
of his deputies playing chess and then you find out
he's actually just playing chess with himself. Yeah, he turns
the board because the deputy is too dumb to be
able to play chess with.

Speaker 3 (30:46):
There is something about British characters in westerns, you know,
it's kind of like Richard Harrison unforgiven, do you know
what I mean? Like, there's just something about British characters
in American westerns that I've always really like because they're
always he sort of played the same way, which is
a little bit slimy. And what I like about John
Cleese's character is he's that rare but very dangerous combination

(31:07):
of slimy and pragmatic. Like he's not unhinged, He's not
somebody who is just so egotistical and you know, so
obsessed with power. That he gets into his own way.
He's very very practical about how he goes about things.
He's just also very slimy about it. And this is
John Clees, I believe, in his first non comedy film,

(31:27):
and so you know, audience is going in probably not
sure what to expect, and he does such a fantastic job.
And I really do feel like, you know, maybe by
just sheer law of averages and the numbers in this movie,
but Silverado does feel like a nexus point for a
lot of different careers. I mean, we've already mentioned how
this is such a weird, you know, launching pad for

(31:48):
Kevin Costner, both in terms of.

Speaker 1 (31:49):
The short term of his career and the long term
of his career.

Speaker 3 (31:52):
But this is also the movie that made John Clees
realized he realized he liked working with Kevin Klein, and
ends up putting him him in a fish called Wanda, which.

Speaker 2 (32:02):
Was also this would not be his first and only Western.

Speaker 1 (32:06):
That is very true. That is entirely true, but.

Speaker 2 (32:08):
Agains especially if you count fible Goes West.

Speaker 1 (32:10):
I do count fible Goes West. Goddamn It's wah, god
damn it.

Speaker 3 (32:20):
It's a good movie. And I'm sorry that it's Jimmy
Stewart's last movie. But I'm also not terribly sorry about that,
because it's not a terrible movie and you should fucking
watch it.

Speaker 1 (32:28):
I like fible Goes West. Fucking sue me.

Speaker 2 (32:30):
Why are you getting so defensive as if if I
was shitting on fible Goes West.

Speaker 1 (32:36):
I'm not talking to you, I'm talking to them. You
know who them is.

Speaker 2 (32:40):
Why would they should on fible Goes West. They're listening
to us. These are good people. They deserve your respect
and and and love.

Speaker 3 (32:48):
My man, I'm gonna put my two guns away, which,
by the way, is something I didn't even think of
because I've seen so many Westerns in my life. I
never thought about the fact that having two guns is
like a signature, would be out of the norm so
much that it would define a person. When they're looking
for Kevin Costner, Scott Glenn Goes. Yeah, he's a young
kid with a two guns set up, and I'm like,
everybody's got it two And then I started thinking about

(33:09):
I'm like, oh no, they don't.

Speaker 2 (33:11):
No, because shooting shooting with another with an off hand
is a good way to miss.

Speaker 1 (33:16):
Also, when you're shooting from a horse. You gotta hold
the reins with the other hand.

Speaker 2 (33:19):
Yeah.

Speaker 3 (33:20):
Like it just was like again stepping back from the
bulletin board and the Kobayashi mug breaks, I was like,
oh my god, they don't normally have two guns in Westerns.
Like it just it kind of blew my mind, maybe
because I was raised a little too much on Tombstone,
where it seems like everyone has two fucking guns. But
that's that's a whole nother story.

Speaker 4 (33:37):
I have two guns one fight Chovia.

Speaker 1 (33:41):
By the way, remind me to come back to this.

Speaker 3 (33:43):
There's a lot of fucking weird similarities between this and
Tombstone that I think comes from a very specific place,
and we will get to that.

Speaker 1 (33:50):
But yes, this is where we're introduced to.

Speaker 3 (33:52):
Like literally, if we stopped talking about the cast right now,
it would be impressive.

Speaker 1 (33:57):
We're not done talking about this cast.

Speaker 2 (34:00):
We haven't even talked about all the main characters yet.

Speaker 1 (34:03):
We really haven't. But in terms of nexus points for careers,
this is two years before Lethal Weapon and Danny Glover,
more times than any in this movie is paired up
with a white gun slinger, like when he and Scott
Glenn are gearing up to go into the finale of
this movie, I couldn't help but sit there and go
when they're casting Lethal Weapon, are they thinking about how

(34:26):
good he is in Silverado?

Speaker 3 (34:27):
How they are holding his own with guns against you know,
and he's got kind of this this white wild card
character that he's also partnering up with in Silverado, Like
is this factor? Is this movie like that much important
for all of these actors in the cast, Like it's
wild to think about.

Speaker 2 (34:43):
Yeah, well, because again, everyone is so great here. Of
course this would have to be a touchstone in their
career entirely because like literally everybody, like I mean continuing
Jeff Ahy.

Speaker 3 (34:58):
In his theatrical film debut, who also came up on
last week's episode. Weirdly, not because he's in glad here,
because he's not, but because, as Greg put it, Jeff
Fay he fucks, so.

Speaker 2 (35:08):
Jeff Fay, he fucks and you know it's not a
spoiler till you get there.

Speaker 3 (35:13):
Jeff Fay he fucks around and finds out in this
movie because he's one of Brian denahe's Henchman's and this
is his theatrical film debut, and he's really good, Like
he reminded me a lot actually of Michael Bean in Tombstone,
just like this, this real dark energy around him, a
guy who's clearly comfortable going to any links to carry
out his boss's will.

Speaker 1 (35:33):
And it's just it's.

Speaker 2 (35:34):
It's he's sole too.

Speaker 1 (35:37):
Oh yeah, oh yeah.

Speaker 2 (35:38):
And especially in the staredown between him and Jake, where
we establish one of these men is gonna kill the.

Speaker 3 (35:44):
Other one hundred percent. And he's fucking fantastic in this.
And then into town comes this gambler character.

Speaker 2 (35:54):
Straight out of a fucking Marvel movie, huge fucking fur coat.
He is an honest man looking for a good game
of gambling. Who should he talk to?

Speaker 1 (36:05):
You know?

Speaker 3 (36:06):
I auditioned to be yes, Yes, Craven the Hunter, and
for some reason was not cast.

Speaker 1 (36:15):
Yes.

Speaker 3 (36:15):
Can you imagine Jeff Goldblum is Craven the Hunter in
like nineteen ninety because that would have been a hell
of a movie.

Speaker 2 (36:20):
Yeah yeah, But here he's.

Speaker 1 (36:22):
Slick, slick, his mama called him slick.

Speaker 2 (36:26):
And boyd does he get it rough too, because he's
the guy who seems he's the big betrayer in this.
He seems really nice, he seems like he's got it
going on, but he's a piece of work himself, the.

Speaker 3 (36:38):
Guy that could literally go either way because he's a
shady gambler and you know whatever, Like Westerns are full
of shady gambling characters who in the law, who in
the grand scheme of the plot, don't have a lot
of function. They're really just there to emphasize the fact
that the West was kind of a scary place full
of outlaws and degenerates. But here we have a character
who the whole movie we're like, where do you sit

(37:01):
on this fence? Because I'm really, I really need to
know what's going on with you, And we don't find
that out until we absolutely need to find that out.
And then we do find that out, and it turns
out Jeff Goldboom's character, Slick, is as oily as his
name would suggest. Yep, And he's fucking great as an
oily villain. Like I don't I don't feel like we
got a lot of Jeff Goldbloom villainous roles, but goddamn

(37:23):
is it good.

Speaker 2 (37:24):
Yeah? And also, just we're gonna speed past a bunch
of other people because we'll get back to him since
we're talking villains right now. Rounding out some of the
great villains in here. Richard Jenkins is Kelly.

Speaker 1 (37:37):
In his big screen debut.

Speaker 2 (37:40):
Yeah, like he would go on to be such a huge, great,
accurate and it's it's such a small role, but also
like cool to see Richard Jenkins.

Speaker 3 (37:49):
Here almost unrecognizable. Richard Jenkins. Yeah.

Speaker 1 (37:52):
Yeah. Other villains.

Speaker 3 (37:53):
James Gammon plays the head of this outlagging that steals
the money from these poor homesteaders.

Speaker 2 (37:59):
Ah, sir, I don't know any of those names.

Speaker 1 (38:01):
I don't know any of the names you just mentioned.
All I know is I gotta get to Cleveland before
they invent baseball because he is better.

Speaker 3 (38:09):
Known to everyone as Lou the Manager from the Major
League films, and he's fucking fantastic in those movies, and
he's fucking fantastic here as I mean, he's basically playing
that role of Lou the Manager.

Speaker 1 (38:19):
From the Major League movies.

Speaker 3 (38:21):
Because Scott Glenn comes in with this whole gambit he's
working and James Gammage just like, I don't know what
the fuck you're talking about, so I'm gonna kill you.

Speaker 1 (38:29):
Like he doesn't fall for it for a fucking second.

Speaker 2 (38:32):
No, Oh, I think there's only a couple of guys
a couple of assholes up there, and this guy is
one of them.

Speaker 3 (38:39):
Yeah, he knows, he knows exactly what's going on from
the dude, you want to talk about villains in this movie?

Speaker 1 (38:44):
This movie is so stacked with villains.

Speaker 2 (38:46):
How stacked is it.

Speaker 3 (38:48):
That literally, swamp Thing is one of the guys that
accosts Danny Glover in that bar. Oh yeah, Dick de
Rock is literally one of the two guys that's a
costing Danny Glover in the bar, the guy that played
swamp Thing in both Swap Thing movies.

Speaker 1 (39:01):
For fuck's sake, guys.

Speaker 2 (39:03):
Yeah, then we as we move on, we get some
of the more resident side characters, and you've got You've
got a woman so beloved at the time that not one,
but two huge pop songs were written about her from
people who loved her.

Speaker 3 (39:23):
Rosanna Arcat, No, I believe her name is Rosanna Arcat.
Apparently that song and Peter Gabriel's In Your Eyes are
both written about her.

Speaker 2 (39:35):
Yeah, and and by the way, she has the hardest
fucking line series of lines in this whole fucking movie.
This does this great rug pull where you you know,
you see up front that Kevin Klein is really interested
in her and like, you're gonna see this connection. And

(39:55):
then she just has this short speech about how you know,
a lot of men, a lot of men tell me
I'm pretty, but you know, they don't want what I want.
He's like, well, what do you want? And I want
to build something beautiful and she lays out this thing
that you know, She's like, you know, in a few years,
I'm not going to be so pretty, but this land
is going to be is gonna be. Yeah, And all

(40:15):
of a sudden, you watch Kevin Klein's erection rop like
he it is a pure cold shower moment. And later
on he's talking to Emmett and he's just like, hey,
if you're interested in her, I'm not gonna be in
your way. She's got a different version of living than
I got.

Speaker 1 (40:32):
Yeah, he basically goes from high noon to low six.

Speaker 2 (40:34):
Yeah, yes he did, Yes he did. But but that's
another great thing about this movie is it's unafraid to
make the characters flawed like that, because that is a flaw.
For Peyton. Peyden is this guy who's we're being illustrated
is something of Assault of the Earth guy, but he's

(40:56):
not Assault of the Earth.

Speaker 6 (40:57):
Guy.

Speaker 2 (40:58):
He's a saloon guy. He's abody who wants to run
gambling and drink into the night.

Speaker 1 (41:04):
You know.

Speaker 2 (41:04):
They well, okay, well we'll get there at a moment.

Speaker 1 (41:07):
Some of us would call those men heroes.

Speaker 2 (41:11):
Some of those would call those men they're close friends,
but fair enough. But yeah, but like the way the
turn of like where you see, she scares him off,
and rightly, so she catches him stepping around and she's right.
And then of course, certainly she starts falling for Emmett

(41:32):
because Emmett is that salt of the earth guy. Emmett
is just a guy who wants to go out and
and and you know, get his own steak in his
own part of the world. But he's gonna do it
taking care of his family and friends, and he's going
to be the stand up guy and that you know.
And even then they don't end up together. They just
had the promise that maybe someday when I come back

(41:53):
through town.

Speaker 1 (41:55):
Yeah, and I think what she does here, what Rosanna
Rachett is able to accomplish here, is remarkable, given what
I learned today was that a lot of her role
ended up on the cutting room floor, Like her role
will lead it way the fuck down, and yet she
still maximizes every screen second that she has.

Speaker 2 (42:12):
Oh yeah, absolutely.

Speaker 1 (42:14):
And then we have Linda Hunt in this movie.

Speaker 2 (42:17):
My favorite, my favorite character outside of Peydon, my one
of my favorite on screen pseudo romances of all time,
like friendship romances, is Linda Hunt as the midnight star herself.

Speaker 3 (42:33):
She's not always she's always there, but she only shines
at night.

Speaker 2 (42:36):
That's right, and that defines Kevin Klein himself, where these
two instantly bond of friendship because they are two people
who belong in a bar, drinking, taking care of other people,
and they don't know any other life. And Linda Hunt's
so great here. Linda Hunt is one of those underrated

(42:59):
character actors. I feel like she was the Peter Dinklice
of the eighties that you know she was. She's everywhere, everywhere,
all over the eighties and early nineties. You know her
from a million different things. One of my favorite things
of hers is something almost nobody has ever heard of,

(43:19):
which is Space Rangers Fort Hope, a short lived TV
series where she's.

Speaker 3 (43:27):
Cargill just made up that there's no way that exists.
What are you talking about?

Speaker 2 (43:31):
Space Rangers? Six episodes from nineteen ninety three to nineteen
ninety four.

Speaker 1 (43:35):
Oh, I'm sorry, where are my manners? Clearly I'm wrong.
It totally exists in six episode form. What was I thinking?

Speaker 2 (43:42):
It was a CBS TV show that they took a
big gamble on and they canceled it right away, and
it is one of those famous cult shows. But Linda
Hunt is so cool in that fucking show.

Speaker 3 (43:56):
It's wild to me that my on ramp for Linda
Hunt is Hindergarten Cop, a movie that I saw far
too many times as a child, and she's great as
the principal in that movie, not knowing at all at
the time or for many years afterwards that you know,
by the time she's in that movie, she's won an
Oscar for playing a male character.

Speaker 1 (44:15):
In the Year of Living Dangerously.

Speaker 2 (44:17):
Yeah, you've got She's in Popeye, She's in Your laina
dangerously Dune Silverado Arena, she Devil, and then she gets
the Kindergarten Cop. She's in If Looks could Kill, a
film that I'm frankly shocked we haven't covered.

Speaker 3 (44:32):
Ah, Cargil, you may want to have a seat. We
have covered that movie.

Speaker 2 (44:37):
Oh did you cover that without me.

Speaker 3 (44:39):
I covered that with Greg as a because he had
never seen because look she did look sidebar. Greg had
never seen Never Too Young to Die, and I had
never seen If Lukes Could Kill. So we made an agreement,
a gentleman's agreement, where he would watch Never Too Young

(45:00):
to Die and I would watch If Looks Could Kill?
And then we ended up doing an episode on If
Looks Could Kill?

Speaker 2 (45:05):
Well, all right, I guess I don't get to get
my Greeko on.

Speaker 3 (45:10):
Oh so you must be here two thousand. Greeco a
guy who who's probably very a fantastic human being, but
his career was not white two k comply.

Speaker 1 (45:18):
That's all it was not.

Speaker 2 (45:20):
And this is the one film we would end up
talking about.

Speaker 3 (45:22):
Richard Yes, yeah, Greeco would not get his own month
on Junk Food Cinema.

Speaker 1 (45:27):
You know what I'm saying, Like this is not gonna happen.
He had his week his Greek go not Greek stay.

Speaker 2 (45:34):
Star girl Stark.

Speaker 1 (45:38):
Or some reference to If Looks Could Kill? If we're
trying to even things out, Look, Linda Hunt's great in
this movie.

Speaker 3 (45:43):
I love her With Kevin Klein, You're so right about that.
One other person I want to throw out there. Deep
into this cast is the kid who plays Augie in
the movie, Thomas Wilson Brown, who if you're watching this
movie and you're my age, you probably don't recognize him immediately.
He is better known to folks my age as Little
Russ Thompson from Honey, I Shrunk the Kids. He's one

(46:05):
of the four kids from that movie, and he's fantastic
in that movie.

Speaker 1 (46:09):
I love Honey I Shrunk the Kids.

Speaker 3 (46:10):
We are going to cover that at some point because
I think it's one of the wildest, most daring kids
movies ever fucking made, and the fact that it was
made by Disney blows my fucking mind. But something I
found out about this character which is wildly relevant to
this podcast, Cargo. The character of Augie was named it
Costner's suggestion because Costner is an alum of cal State

(46:34):
Fullerton and cal State Fullerton at the time had just
won three national titles under their coach, Augie Garrito.

Speaker 1 (46:43):
Aggi.

Speaker 3 (46:43):
Garrito would go on to be the baseball coach at
the University of Texas from ninety seven to twenty sixteen
and win two championships with the Longhorns. So there is
a direct Texas connection in this movie, and that made
me very happy.

Speaker 2 (47:04):
After these messages, we'll be right back in the twenty
second century.

Speaker 5 (47:08):
Our destiny depends on space rangers like Jojo, a shy pilot,
a lovableazy.

Speaker 2 (47:15):
He's doing much better at.

Speaker 5 (47:17):
Doc, a mild mannered cyboard and who there's sensitive Captain.

Speaker 2 (47:22):
Jojo might be.

Speaker 5 (47:23):
Space Rangers are coming Wednesday, January sixth to CBS.

Speaker 2 (47:28):
Rounding out the count. There's a few more people we
have to bring up. First of all, if you were
an eighties kid at all, Joe Seneca, oh yeah, is
one of those you know you you guys all probably
best know him from the Blob. He was very old
in the eighties. He was around for a long time,
but he did several movies that were very impactful of

(47:51):
me in the eighties, including one. We haven't covered Crossroads yet,
have we.

Speaker 1 (47:55):
We have not.

Speaker 2 (47:56):
We need to talk about Crossroads, and some of you
are like, wait the Britney Spears, No, fuck you. We're
talking about nineteen eighty six Crossroads by one of the
great junk food directors of all time, Walter Hill, and
Joe Seneca is so fucking good in that movie.

Speaker 1 (48:15):
If we make it to a twelfth year.

Speaker 3 (48:17):
We will do Ralph Marcio and just do a month
of Ralph Maccio film.

Speaker 2 (48:21):
You know, that's not the worst idea in the world.

Speaker 1 (48:23):
Although nothing, it's not even my worst idea.

Speaker 2 (48:25):
Yeah, it's really not. But he's great in this as
Maddal's dad.

Speaker 1 (48:31):
That no sister, I'm sorry.

Speaker 3 (48:33):
That relationship between Mal and his dad so fucking powerful.
Like just again, every character in this movie in some
way has something to atone for, and in Danny Glover's case,
it's that he pretty much abandoned his family and left
them in a position where they were completely taken advantage
of by this powerful white rancher and his dad is

(48:53):
just trying to fucking get by and his whole life
is falling apart.

Speaker 2 (48:56):
And by living in some cave like some wildcat.

Speaker 3 (48:59):
Yeah, and by the time I'm Danny Glover comes home
something his dad thought he would never do. You know,
his sister has gone to town, which basically means she's
become a prostitute. That's literally what it means in this case.
But when he says that, you know it's more than
just leaving the farm to go somewhere else. And the
mom has died, and it's just Danny Glover now having
to atone for that. And then in the midst of

(49:19):
all that, what happens with his death, Like it is
a really powerful emotional moment for that character that I
completely bought into.

Speaker 2 (49:27):
Yeah, yeah, and his death really hits this movie hard.
And then of course this mouth's sister, Lynn Lynn Whitfield,
who I.

Speaker 3 (49:38):
Wasn't really super familiar with her, so I was hoping
you could fill me in on this.

Speaker 2 (49:41):
Oh God, yeah, she's I mean, just one of those
great actresses who's I mean a lot of her work
is a lot of African American films and depending on
how much time you spend in that world personally, one
of my favorite movies of all time Eaves Bay You
she's the mother in that. Okay, Yes, she's in you know,

(50:03):
lots of mainstream films, you know, and one of those
actresses that always fucking working. You know, she's been She's
been working for over forty years, you know, and started
in small roles, gets a role like this in Silverado,
you know, bounces around television. Then really in the nineties,
her career picks up and she starts doing a lot
of stuff and then you know, by the two thousands,

(50:27):
she's a mainstay in a lot of films, and so
she's somebody who's just all over the place. But you know,
also one of her early roles is Jaws the Revenge,
which is not a great one, is it not?

Speaker 1 (50:42):
Is it not great? Now, I'm just kidding.

Speaker 2 (50:43):
I know it's terrible, but yeah, so she's but she's
also great here as the sister.

Speaker 1 (50:47):
Wait wait, wait, hold on just a second. I'm sorry.

Speaker 3 (50:50):
I have to give Lynn Whitfield an extra bit of
props here. I mean, you already mentioned that her career
survived being in Jaws the Revenge. It also fucking surve
being in Doctor Detroit.

Speaker 2 (51:03):
That's where she started it. That was one of her
first roles is Doctor Detroit.

Speaker 3 (51:07):
This woman is a fucking survivor. And I tip my musky,
Oh my god. And by the way, before we get
all the tweets yelling at us, she them right now.
We're also gonna mention that Brian James has a small
role in this movie.

Speaker 2 (51:25):
Very small. Yep, we do love Brian James.

Speaker 3 (51:28):
Love Brian James and Blade Runner, forty eight Hours, Tango
and Cash, I mean, you name it.

Speaker 1 (51:31):
The guy's t cah I'm gonna talk about one more
person in this cast, Cargill, and then I promise this
entire hour long conversation about just the cast will end
in this cast playing a cavalry sergeant. This this film
is so stacked that it.

Speaker 3 (51:49):
Even features Shev Woolley sit the fuck down for a sidebar.
Shev Bully is the guy I mentioned earlier who is
so pivotal not just to the Western genre but to
cinema itself. She Bully played one of the four outlaws

(52:10):
who stocked Gary Cooper in High Noon. Yes, yes, that's great,
but he is far more legendarily known as the voice
of the Wilhelms scream.

Speaker 1 (52:20):
He is the guy who recorded the Wilhelm scream.

Speaker 3 (52:23):
Yes, he recorded it for a movie called Distant Drums
in nineteen fifty one, but it was used more prominently
in the nineteen fifty three movie The Charge at Feather River,
where literally a character is introduced, Hey Willhelm get over
here and then immediately killed by an arrow and you hear.

Speaker 1 (52:38):
That screen, Yeah, I'll just fill my pipe.

Speaker 3 (52:44):
And it was dubbed the Wilhelm Scream because of that
clip by sound editor Ben Burt. He found the file
Man Getting Bit by Alligator, which was the name of
its file in the Warner Brothers Sound Effects library. He
found it in the seventies, is at USC editing a
bunch of student films, so he starts putting it into
all these student films. Now Ben Bert is significant because

(53:08):
he goes on to be George Lucas's editor for not
only the entire Star Wars trilogy, but the original Indiana
Jones trilogy, which is why you hear the Willhelms scream
so much in those movies, and people have fallen under
the misconception that is George Lucas who loves the Willhelm scream.

Speaker 1 (53:24):
No no, no, no no, it's sound editor Ben Burt. But
that literally is Sheb Woolley recording that scream for the
movie Distant Drums, and then it just sits in the
dusty Warner Brothers Sound Effects library for twenty fucking years
until Ben Bert unearths it, and from that point forward
has been in roughly seventeen thousand.

Speaker 2 (53:44):
Movies four hundred.

Speaker 1 (53:46):
But I'm gonna go.

Speaker 3 (53:48):
With seventeen thousand, Bob, and if I'm over, I will
lose out on the mopeds or whatever else.

Speaker 1 (53:54):
The showcase is.

Speaker 2 (53:55):
It does mean shev Wolly might appear in more films
than almost any other actor in modern history, think about it.

Speaker 5 (54:02):
And.

Speaker 2 (54:03):
Shows up in the most amazing films. Yeah, without even
knowing about it.

Speaker 1 (54:08):
Yeah.

Speaker 3 (54:08):
More famous directors have used the Wilhelm scream sort of
out of homage to the history of the Wilhelm scream.
It's this weird, self perpetuating legend that I love so much,
and every time I hear it, I cannot help but
yell out Wilhelm, and my wife is always like, what
the fuck are you talking about. I'm like, I know,
you don't want to hear this. You don't want to
hear this whole sidebar I just went into on the
episode you don't want to hear it, So just so

(54:29):
just know it's a thing. It's she thinks I have Tourette's.
I think at this point where I just yell out
Wilhelm every time we're watching movies, because inevitably I will
hear the Willhelms scream. I'm actually under the weather right now,
so every laugh is brutal and painful. So that was
I'll take the pain on that one. But yeah, by
the way, sidebar to the sidebar. Willie went on to

(54:55):
be a parody song singer and writer and had a
big hit with Purple People Eater.

Speaker 1 (55:01):
This dude is fascinating to me.

Speaker 2 (55:03):
He's a one eyd one home flying Purple People Eater And.

Speaker 3 (55:07):
Then that became a movie that I watched too much
as my childhood. But that's a story for another day.
Fucking Stargrove. So now that we've introduced you, we spent
the whole episode introducing you to this cast. I just
want to say a couple other things I really love
about this movie. I love how hard Columbia went on
this film, how much, like I said, rolling the dice

(55:28):
on a Western in an era where the Western was
basically dead is insane to me. And they spent so
much money the sets they built for Silverado, where they
built all of these fucking buildings right, and they basically
put a forty building western town together using pictures and

(55:49):
another vast body of historical reference. Production designer Ida Random
deserves an immense amount of credit because this set is
so fucking good. How good is It's so good? It's
been used in other movies we've covered on this show.
It was left standing and then would use. It was
used for movies like Young Guns and later for Kasmin's

(56:09):
own Wyatt RB. It was used for Lonesome Dove, It
was used for Last Man Standing with Bruce Willis. Like
it's and it's all outside of Cook Ranch, which is
about twenty five miles from Santa Fe, New Mexico, and
it just it stayed up and was so sturdy and
so well put together that they would use it for
movies for the next you know, fifteen years.

Speaker 1 (56:29):
It's incredible.

Speaker 3 (56:30):
Yeah, that is so the essence of a great Western
is you really got to feel like this town has
lived in like these people are real. Like, at no
point during this movie, despite the number of giant movie
stars and people I love from other things that are
in it, am I ever taken out of the illusion
that I'm in, you know, nineteenth century Silverado, Like everything
feels so real and so realized.

Speaker 1 (56:50):
I fucking love it.

Speaker 2 (56:51):
Man, Yeah, No, I mean every element here just fucking rips.
It's one of those movies. When I was tweeting about
it last night on Blue Sky, somebody was like, oh, well,
it looks like I'm gonna have to scratch that off
my to watch list. And I felt so jealous for
that person getting to watch Silverado for the first time.

Speaker 3 (57:14):
You realize I was that person two weeks ago, right, No, yes,
I think we mentioned this briefly on our last episode.
The reason we haven't covered Silverado until now is because
I just saw it two weeks.

Speaker 2 (57:25):
Ago, right right, Yes, it was me, it was you,
And I mean the thing is watching it a few
more times down the road, you know, six months from now,
pull it out of you in and watch it, and
you'll have that experience of what I was talking about
just up front. You'll be like, shit, now that I
know everything that's coming in this movie, Now that I

(57:46):
know all of the character arcs and understand all of
the depth and can appreciate the performances and the little
jokes you know that are buried the first time, Like
you know, you know, where's the dog? You know is
a whole running theme, and then when you know what
the thing about the dog is, all of a sudden,
you realize how dickish that question is. Yeah, Like, and

(58:10):
it just every you see all the track that's laid
for every single relationship in this movie, every single scene
in this movie hits like a fucking truck just great moments.
Every Oh my god, my favorite scene in the movie is,
you know, not what you would think, but instead the
scene where Peyton walks into the Midnight Star for the

(58:33):
first time and meets Stella and they have their conversation,
and then Cob walks in and gets that smile on
his face and he goes, I love it. I'm seeing
two of my favorite people in the world talking together,
and all of a sudden, they both realize that they
have this thing in common with Cobb when they just
thought they were strangers hitting it off, and it begins

(58:54):
the beginning of this beautiful, fucking friendship that defines what
happens later. The movie, like the entire movie, is just
filled with these things, and every time I watch it,
I just marvel at how well connected everything is and
how there isn't a single scene in this movie that
doesn't fucking rip or carry its weight or further the

(59:17):
movie in a huge regard, and it's just so good.
And this time in particular, I was very, very taken
aback by how the structure of this movie, and ultimately
the structure of Westerns themselves, really had a lot of
influence on Dungeons and Dragons that we don't talk about that.
We talk about fantasy literature and fantasy storytelling and all

(59:39):
those fantasy books that really influenced influenced Dungeons and Dragons.
But how you look at a movie like this, which
is a very classic western based on the other classic westerns,
and you look at them, You're like, oh, these are
all Dungeons and dragons stories. When you take the guns
away and put swords in their hands, and really really

(01:00:00):
struck me here that this is like one of those
best ways where I actually got inspired that I'm like,
you know, my next campaign, I think I'm gonna have
the characters meet like Silverado in one way, shape or form,
Like I'm gonna put it together that way. That would
be rad. Just it's just something that you can't wipe
the smile off my face while I'm watching this movie.

(01:00:22):
I'm just marveling at every line of dialogue and every
delicious acting choice, and it's just also fucking good. So
I now am curious to see how you're going to
react to this when you watch it again in six months.

Speaker 3 (01:00:36):
Well, Lawrence Kasin has said that what attracts him to
Westerns is that you can really tell any kind of
story within a Western. Yeah, like that's just the fundamental
advantage of the Western genre.

Speaker 2 (01:00:46):
Well, I mean, as the old writing phrase goes, there's
only three stories in storytelling. A man goes on a journey,
a man comes to town, and Godzilla versus Mega Godzilla.

Speaker 1 (01:00:54):
Yes, this is correct, and I'll be honest with you, Cargil.

Speaker 3 (01:00:58):
I really liked Silver the first time I watched it,
but I had qualms, like I had nitpicks and things
that I was like, you know, this is really good.
I really appreciate so much about this, but you know,
it's by no means my favorite Western. And even just
watching it the second time, for this episode I like
the things that I was nitpicking and had qualms, I
was like, you know what, I don't really have those,

(01:01:19):
So even just by the second viewing, it's improved. So
I can only imagine that by the fifth, sixth, tenth
viewing of this movie, how it's going to hit me.

Speaker 2 (01:01:27):
I mean, this movie's lived in my head for forty years,
and you know I saw it when it came out
and revisit it on the regular. I hadn't revisited in
like twenty years. When I revisited it, I think around
the Pandemic. Yeah, it was the Pandemic. And it was
one of those that I realized Jess had never seen it.

Speaker 3 (01:01:45):
No one has ever sounded more excited to remember the
Pandemic than Cargo did.

Speaker 1 (01:01:49):
Just there. Yeah it was the pandemic.

Speaker 2 (01:01:51):
Yes, oh oh well yeah, Because me and Jess, you know,
because there wasn't a lot to do, we would have
movie nights where we would interest. We would we would
set up a theme and then we would pick movies
without telling each other what we were watching, and then
have these really cool movie nights. We haven't done that
in a while. And I remember this was a particularly

(01:02:11):
great night because I had been talking to her. She
had never seen Silverado, and I'm like, you're in for
a treat, and so I showed her Silverado, being like, yeah,
she's gonna see this good movie, and me revisiting it,
not having seen it in forever, was just like blown
away by how deeply in love I really am with
this movie. And I think, I think it's a movie
that if you haven't watched it in forever, you owe

(01:02:33):
it to yourself to watch it again and really take
it in and really just marvel at how perfect it
is I think because it's big budget, mainstream eighties, you know, Western,
it just people feel like it's kind of disposable, and
instead it's just really fucking good.

Speaker 3 (01:02:56):
Yeah, and I'm glad that you've you've come to this
realization as I have. You probably got there first. But
you know, I used to be one of those people
that would be personally offended or take it like I would.
It would be an affront to me when people said
that they hadn't seen legendary movie X or favorite movie why,
And you get so just like, oh the hell have
you not seen that?

Speaker 1 (01:03:14):
Blah blah blah blah.

Speaker 3 (01:03:16):
And finally coming to the realization that you shouldn't be
angry with those people. You should be jealous of those
people because you know they And I think what finally
did it for me is I had a friend who
had never seen Jaws, who was going to one of
those Alamo events on a lake and they were going
to see Jaws for the first time sitting in an
inner tube on a lake.

Speaker 2 (01:03:34):
Dude, that they're literally doing that for dangerous animals here
in a few weeks. There you go, I'm very excited
for this. Jai Courtney as a serial killer who uses
sharks to kill people, and I'm gonna watch it in
an inner tube in the lake.

Speaker 3 (01:03:47):
I'm surprised we're not watching that movie right now, but no,
that was my moment of like, oh, this is such
a great moment for them, like I envy them. And
there's a line in this movie that kind of encapsulates
that beautiful when Kevin Klein and Linda Hunt are drinking
the good stuff right and he says, here's to the

(01:04:07):
good stuff. May it last a long time? And I
realize that that is kind of accidentally my mantra for
never running out of new movies to love.

Speaker 1 (01:04:15):
It's like, as.

Speaker 3 (01:04:16):
Long as as long as there's good stuff out there,
the good stuff lasts a long time, and you should
really embrace that, and that discovery is so wonderful and
so magical that you can't be upset at people who
haven't seen the same movies that you have, because honestly,
you know that sense of discovery is truly magical, and
you want that for everyone. One of the things that

(01:04:36):
I definitely think was unfair to my first viewing is
because I love Tombstone so much, I was starting to
compare them and it's not really fair to compare them,
even though even though there are a lot of similar
plot points between. You know, the group of men who
don't feel at home where they were and they moved
to this far west boom town. And the first thing

(01:04:57):
they do is, you know, one of them takes over
the local saloon. And in order to do that, they
have to roust out the old rascal who used to
illegitimately hold sway over the saloon, and in this case,
that was Richard Jenkins. And then we have this gambler,
miscreant character who comes to town seeking his fortune at
the tables and Tombstone stock Holliday in this movie, Jeff Goldbloom.
And then it falls to our reluctant heroes to rid

(01:05:17):
this small burgh of the vicious organized crime element. And
there was there was a part of me that was like,
you know, is Panos, like Panos, that's his son, is
George Cauzmatos, like just borrowing from Silverado for you know, Tombstone.
Later and then I realized no, no, no, no, no, Lawrence
Kasden would end up making Wyatt Irp. So he's probably

(01:05:39):
borrowing from a lot of the actual tales and stories
of Wyatt Irp much in the same way that the
writer of Tombstone did. Like that's probably why these movies
share a little bit of DNAs, because they're both drawing
from a similar well that Cosden would draw far more
directly from when he and Costner reteam for whyatt Rp,
which is now, maybe want to give whitet Up another shot,

(01:06:00):
because when I first saw it, I thought it was
kind of bloated and dull. But now I'm like, you
know what, It's not a two part three hours of
chunk American saga, so maybe I can give Why it
Orp a little bit more of my patients. So I'm
gonna I'm gonna go back and watch that now.

Speaker 2 (01:06:17):
Yeah. Yeah. It's also it's unfair to compare those two
because one is a nineteen eighty five movie made in
the middle of eighties optimism, whereas the other is an
early nineties gritty movie in the era that would give
us one of the greatest Westerns of all time with Unforgiven,

(01:06:40):
and is a different style of Western is borrowing more
from the Spaghetti era than it is the American era.
The way this is, you know, people saw this with Pale,
some people saw this in a double feature with Pale Rider,
and you know that's much more spaghetti.

Speaker 3 (01:07:01):
Yeah, but it's also like the last gasp of the
heyday of Clint Westerns.

Speaker 2 (01:07:06):
Yep, but sure is. But this is a movie that
is iss full, like as dark as the themes are
in terms of you know, what the people are doing
and the how evil the villains are and how mustache
twirly they are. This is an optimistic movie. Yeah, that
is something that the other movies we're talking about are not.

(01:07:31):
So it's I just I adore it. I just fucking
love this movie.

Speaker 3 (01:07:36):
I like, I really appreciate that much like the rarest
of WWF pay per views, Silverado manages to pull off
a double main event. There are two finales in this movie,
and both finales are fantastic. Now notice I said pay
per view, not premium live event, and I got the
FN as well, because I am no r Wellian Lemming

(01:07:57):
and my history will not be rewritten by big brother
McMahon AnyWho. The first finale that takes place at the
at the Ranch, and it's the siege by the good guys.
You know, we're rescuing the kid, We're rescuing Augie. That
is such an amazing fucking siege. You got Danny Glover
on the roof of his sharpshooter abilities, like very much
like a superhero movie where everyone's got their own special

(01:08:17):
skill and they're coming or a dirty dozen, everyone's got
their own special skill and they're gonna take out the
bad guys and we're starting stampedes like it's it is
large in scale.

Speaker 2 (01:08:25):
You get great character moments like he's trying to yell
at Mal, and Mal can't hear him because there's all
this stampede and gunfire going on. So he shoots.

Speaker 1 (01:08:32):
And next to him, yes.

Speaker 2 (01:08:35):
And it goes over to aim at him and he's
just like, hey, over there behind you.

Speaker 1 (01:08:40):
So just so good.

Speaker 2 (01:08:42):
It's just it's so good. The chaos of that scene,
the great shot they have where the camera's on the
ground and you get the actual stampede running over that
you know, probably wrecked the fucking camera, but the shot
was fucking great. Oh you know that. Yeah, that scene
is awesome. And then of course, because it's a Western,
we now that we've had the shootout at the ranch,

(01:09:02):
we gotta have the shootout in town.

Speaker 3 (01:09:04):
Yeah, we gotta have the showdown between Jeff Fahey and
Kevin Costner, and also the showdown between Brian Denhee and
Kevin Klein, so even within the second finale, it's a
two headed finale.

Speaker 2 (01:09:16):
And the final showdown between Mal and Slick. Yeah, and
you know, yeah, I mean, everybody gets their villain and
everybody gets to kill their villain real good.

Speaker 3 (01:09:29):
I think that's why on my initial viewing, I thought
this movie was a little bit overwrought in terms of
its plot. But now I'm realizing that's because it's not
a straight line. What this movie's plot is is a
bunch of planets that are inevitably going to a line.
So we're just watching gravity pull all these stories into
one straight line that it wasn't before, and we just
get to enjoy the ride of being pulled to the

(01:09:50):
center of this movie.

Speaker 2 (01:09:51):
Yeah, because, as it turns out, every single one of
these four strangers that meet are caught up in this
story in some way, shape or form, and all have
to pay for the sins of their past, and they
all get to do that by stopping the people that
are doing the real harm.

Speaker 1 (01:10:07):
Yep.

Speaker 3 (01:10:08):
And I love that Caston is paying tribute to the
genre he loves by you know, a lot of the
animal and a lot of the animal wranglers and some
of the other crew members, a lot of the guys
that were training the actors on how to quick draw.
They had been working in westerns by thirty forty years
by that point. These are guys that worked with Ford
and Hawks and all of the icons of the American Western,
and he literally learned from them. They would tell stories,

(01:10:30):
like one of the things he learned is he was
having trouble with his dolly shots, like just about the
mud and the terrain of where they were filming, and
one of the guys is like, oh, you gotta, you
gotta basically have a big rubber tires on your dollies,
and he basically changed up the design of the dollies
he was using. Learning from these guys that had fucking
worked with Ford and Hawks, it's incredible.

Speaker 1 (01:10:51):
And then you take all of that and you.

Speaker 3 (01:10:54):
Give it this score by Bruce Broughton, and he definitely
it's been Broughton. This is a guy who weirdly also
did the score for Tombstone, but he did the score
for Monster Squad the Rescue. So I married an axe

(01:11:16):
murderer lost in space and he got nominated for an
Oscar for Silverado and by the way, I just learned
this today. Bruce Broughton also did the music for Spaceship Earth,
which is my favorite antiquated Disney ride.

Speaker 1 (01:11:31):
For those of you who've never.

Speaker 3 (01:11:32):
Been Disney World, it's the ride inside the Giant Spirit Epcot,
and it's this weird, bloated history of communication that's narrated
by Walter Cronkoitte. But when you were a kid, it
was one of your favorite rides if you happened to go.

Speaker 1 (01:11:46):
To Disney World in June or July, because it.

Speaker 3 (01:11:49):
Was dark in there and the ac was blasting in there.
So when you would spend the day at Epcot and
you were basically dying and you had sores all over
your feet and you were sweating to death, you would
go on a cup rounds of Spaceship Earth because there
was never really a line, and it would cool you
down and you would just get a moment to fucking chill.
So thank you Bruce Broughton for the music inside of

(01:12:10):
Spaceship Earth so that I could take five minutes and
not die of heat stroke.

Speaker 1 (01:12:14):
I appreciate that about you.

Speaker 2 (01:12:15):
After these messages, we'll be right.

Speaker 4 (01:12:17):
Back this is Fcott Center, Keevcott Center at Walt Disney World, didn't.

Speaker 1 (01:12:45):
Law We wrap up these stories.

Speaker 3 (01:12:51):
This great showdown between Kevin Klein and Brian Denahey ends
exactly the way you want it to. And then we
get that line We'll be back, and he and Kevin
Klein and and Kevin Costner and all the Kevins in
fact riding off into the sunset and come to find kevinset.

Speaker 1 (01:13:09):
Oh that's true.

Speaker 3 (01:13:10):
We get the reveal of oh, I have a job
to do, and he no, he reveals he's got a star.

Speaker 1 (01:13:14):
He's got a fucking star.

Speaker 2 (01:13:15):
He's got the job that he took from his old.

Speaker 3 (01:13:19):
Partner because he was always a guy that was gonna
do what was right. He was always a guy that
was going to care for people no matter what. Just
this is his fucking destiny and I love it. But yeah,
when Kevin Costner goes writing off and says we'll be back,
turns out there was a planned sequel to this, so
that final line was supposed to set up the sequel
that never materialized because the movie didn't do well enough.

Speaker 1 (01:13:39):
At the box office. But man, I would have loved
to see that sequel. Oh, yeah, yeah, I don't know.
If we'd call it what silverad Dose, I would.

Speaker 2 (01:13:49):
Oh, yes, that is that? That that's the Silverados.

Speaker 1 (01:13:53):
God damn it, what what? What this timeline has ripped
from us? Cargill, I know, I know. Great movie. I'm
so glad we got to talk about it.

Speaker 3 (01:14:01):
This was fucking phenomenal, great discovery for me this year,
A great discovery. Even after I discovered it a few
days later and just liked it even more, It's just
it's just one of those movies.

Speaker 2 (01:14:10):
It used to be a peaceful town.

Speaker 3 (01:14:12):
And that brings us to the junk food pairing Cargo.
I'm gonna let you go first on this one.

Speaker 2 (01:14:16):
Garrison Brothers Texas Whiskey and is there is there is
this amazing moment where after U there's a great scene
with Mal where Mal, you know, when he's jumped, he
has bought from the barmaid a bottle of whiskey, puts
his money down, give me the bottle, and one of
the racists picks up the bottle and smashes it. And

(01:14:38):
the look of disappointment on Mel's face when he realizes
his bottle of whiskey is gone and he's been looking
forward to it, and then at the end of that
scene he remembers he poured a single shot of that
whiskey and he walks over and sabers every drop of it.
And it is just at that moment, watching that again,
I was like, Yeah, I need a glass of whiskey,

(01:14:59):
and oh boy, was that the right choice. So and
I was drinking garrettson Brothers last night and it pairs
la beautifully.

Speaker 3 (01:15:07):
I think the differences in our junk food pairings will
also illustrate the diconomy between the two hosts of the show,
and that yours is a fine bottle of whiskey and
mine is a can of wolf chili.

Speaker 2 (01:15:17):
Now wolf bran chili.

Speaker 3 (01:15:18):
Wolf bran chili not only as chill without meat, with
or without meat, because not only as chili from a can,
a hearty staple of life on the range and a
cornerstone of the cowboy diet.

Speaker 1 (01:15:30):
But if you happen to acquire an economy.

Speaker 3 (01:15:32):
Size can of Wolf brand chili from your local big
box bulk buy store, you'd effectively be enjoying the big chili, the.

Speaker 1 (01:15:47):
Big chili, the big chili.

Speaker 2 (01:15:52):
No, I heard you the first few times.

Speaker 1 (01:15:55):
We're just we're just gonna We're just gonna let that
one twist.

Speaker 2 (01:15:57):
We're gonna let that the hole you just dug for
yourself so deep, it hasn't hit the bottom yet, so
I'm gonna wait for that to thud. There it is.
I can't fuck that was a long walk for that joke.

Speaker 1 (01:16:14):
Hi, have you met me? I wear Doctor Shoul's insoles
in my shoes while I record this podcast because I
know I'm gonna be taking some long walks.

Speaker 3 (01:16:24):
Cargil, so glad we got to talk about Silverado a
great place to visit.

Speaker 1 (01:16:29):
I might even want to live there.

Speaker 3 (01:16:30):
But in the meantime, if you want to live online,
you can find Junk Food Cinema all eleven years of
this podcast on your favorite podcatcher and follow us on
the social media's.

Speaker 1 (01:16:38):
And if you really like the show, I mean, you
really like the show, if you like it.

Speaker 3 (01:16:42):
More than I like to take those long walks, you
can go to Patreon dot com slash Junk Food Cinema
and financially support the show.

Speaker 1 (01:16:49):
We greatly appreciate it. Cargo. Where can people find you
on the interwebs?

Speaker 2 (01:16:53):
You can find me on Blue Sky at c Robert
Cargill dot Blue sky Do Social. You can find my
latest movie, The Gorge, playing on Apple TV Apple Plus.
And you can find my latest book from Subtrainean Press,
All the Ash We Leave Behind, on Subtraining Press's website.
The limited edition hardcover is coming out. Just got a
starred review in Publishers Weekly, so people out there are

(01:17:16):
liking it, so maybe you will too.

Speaker 1 (01:17:19):
There you have it.

Speaker 3 (01:17:20):
We're gonna leave Silverado now because this used to be
a peaceful town.

Speaker 1 (01:17:24):
But then they had to go and take chili off
the menu at Chili's. Why are you even still called that?

Speaker 3 (01:17:30):
We have entered a wondrous new age, the age of information,
a time of new promise, a new hope for ourselves.

Speaker 2 (01:17:38):
And the spaceship earth.

Speaker 4 (01:17:55):
Man getting a bit by an alligator and the screams a.

Speaker 1 (01:17:58):
Good outsart to me? Okay, right, give me ah.

Speaker 3 (01:18:07):
The first one you did up there was much better.

Speaker 1 (01:18:10):
Oh not an hour?

Speaker 2 (01:18:13):
A real scream of paint