March 26, 2024 • 36 mins
Ever ponder why our feline friends emit those curious chirps when eyeing birds through the window? We kick off with a whimsical discussion about these endearingly odd behaviors before shifting to the silver screen's latest hot topic – the 'Roadhouse' remake. With Jake Gyllenhaal and Conor McGregor stepping into the dance-free zone of this classic's redo, we're stirring the pot and asking: is the magic of the original being sidelined for star power? Bedford Williamson joins us once more, bringing his sharp wit and cinematic savvy to the table, ready to dissect these film industry choices with us.
Strap in for a rhythm-infused rollercoaster as we tackle the daring notion of musical numbers busting into the realms of action-packed franchises like 'Fast and Furious.' Could a high-speed car chase suddenly segue into a full-blown ballad? We explore the finesse required to integrate song and dance into unexpected genres, citing the charm of "La La Land" and the quirky beats of "500 Days of Summer." Yet, we're not afraid to call out missteps like that notorious 'Spider-Man 3' boogie. And what about "Brave"? Bedford contributes his expertise on whether a dash of Scottish folk could have seasoned Pixar's animated stew just right.
Finally, we sweep through the stars with a symphony of ideas, from the catchy tunes of "Frozen" to the hypothetical melodies of a "Star Wars" space opera. Delving into the realm of musical casting, we applaud Hugh Jackman's transformation into "The Greatest Showman" and even flirt with the notion of a 'Joker' sequel, crescendoing into a Gaga-led spectacle. And as we pull back the curtain on a city's life through song, inspired by urbanist Jane Jacobs, we ponder the enduring significance of the arts in our AI-dominated zeitgeist. So, tune in for a harmonious blend of critique, culture, and creativity that's sure to strike a chord.
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Comments? Feedback? Questions? Solutions? Message us! We will do a mailbag episode.
Email: solutionsfromthemultiverse@gmail.com
Adam: @ajbraus - braus@hey.com
Scot: @scotmaupin
adambraus.com (Link to Adam's projects and books)
The Perfect Show (Scot's solo podcast)
The Numey (inflation-free currency)
Thanks to Jonah Burns for the SFM music.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
I don't know.
I haven't heard him on therecording Corn dog Lee.
Speaker 2 (00:03):
Corn dog, have some respect, get your ass out of my
face.
Speaker 1 (00:05):
Okay, buddy.
Oh, I was going to say.
When he's watching the birdsout the window, when they come
to the bird feeder, he makes theweirdest noise.
Speaker 3 (00:21):
Oh, he does that, he does that.
Speaker 1 (00:23):
It's like oh, you've heard it.
Speaker 3 (00:24):
Yeah yeah, mine cats do that too.
It's called like a.
It has a name.
It has a name, yeah.
Speaker 1 (00:29):
Cause it is like this weird chirping it's a chirp?
Speaker 3 (00:32):
Yeah, it might be chirp, it sounds like he's like
a fax machine.
Like he's like.
Speaker 1 (00:37):
It seems like he's malfunctioning in some way?
Speaker 2 (00:39):
Do you check if maybe a fax comes out?
Speaker 1 (00:42):
I've lived up his tail and there's no documents.
Tick or tape.
Tick or tape.
Speaker 3 (00:45):
Fax come on Tick or tape Corn dog.
Speaker 2 (00:51):
I guess I read that there, cause my cats do that too
, and I was like this is soweird.
I've never seen cats do this.
And I Googled it and it turnsout they are actually mimicking
the sounds of birds in order toget the birds to like get closer
to them.
Speaker 1 (01:04):
Oh really, yeah, so they're actually.
Does that ever work in the wild?
Speaker 3 (01:08):
Hey, come close.
Meow chirp, meow chirp.
Speaker 1 (01:14):
And they're like I'm not falling.
I'm a bird, but I'm not fallingfor that.
I just saw the new roadhouseremake that came out on Amazon.
Speaker 3 (01:35):
That would be hard to top.
No, yeah.
Speaker 1 (01:36):
It's hard.
I don't know why they'reremaking classic Patrick's Waze
movies they did with JakeGyllenhaal and like Connor,
McGregor's in there.
Speaker 3 (01:47):
Is there a dancing?
No, dancing, well didn't thatsucks.
Speaker 1 (01:50):
Not.
Speaker 2 (01:51):
I don't think any dancing.
Did you guys like read my mindbefore coming here?
Speaker 1 (01:55):
Oh, you wanted to talk about Jake Gyllenhaal and
the new roadhouse.
Speaker 2 (01:58):
This is what the solution is.
The solution is exactly this.
Should we start?
Yeah, we could start.
Speaker 1 (02:04):
I'm just.
I've done this.
You read my mind again.
I was going to say that wouldbe two weeks in a row.
I know, oh, not two weeks in arow.
Speaker 2 (02:11):
Three times in so many months.
Speaker 1 (02:12):
Yeah.
Speaker 2 (02:12):
Yeah, although technically, if I do a movie
solution, we're probably goingto talk about movies, so pretty
tight.
Speaker 1 (02:20):
That's my go-to nexus of conversation.
Speaker 3 (02:23):
Movies are the way to train society.
Speaker 2 (02:27):
You didn't know that.
Speaker 3 (02:29):
That's like that Obama movie with the Tesla cars.
Speaker 1 (02:32):
The Obama movie with the Tesla cars.
Speaker 2 (02:34):
I haven't seen any Obama movie.
What's that?
Speaker 3 (02:37):
I've produced a movie about tech taking over the
world.
Speaker 2 (02:41):
Okay, okay On.
Speaker 3 (02:42):
Netflix, right yeah.
And these Tesla cars all getprogrammed to go to this one
spot and they just all drive offthe lot and just crash and they
just go into a giant powwherever there are in the United
States and just all keep goingand going to this one place.
If you're in the way you getread over.
Speaker 1 (03:02):
Oh no.
Speaker 3 (03:03):
If you were in the car.
You just keep driving.
This is a fictional movie,though, right.
Speaker 2 (03:06):
And then they get to.
It's a fictional movie.
Speaker 3 (03:09):
They're trying to go somewhere, but there's already a
big pow and they just driveright into it.
Speaker 2 (03:14):
So this is a fictional movie, though, right,
this is like a.
It's not a documentary oranything.
Speaker 3 (03:19):
It's basically showing like once we get hacked,
but it's a fake movie, it's afiction.
Speaker 1 (03:24):
Adam, it's what we call a pre-documentary.
Yeah, it's a pre-documentaryAll documenting what will happen
in the future.
Speaker 3 (03:29):
Yeah right, All movies are fake.
Speaker 2 (03:31):
No, but you know what I mean.
It's not purporting to be true,it's purporting to be a
fictional story, like a zombiemovie or something right.
Speaker 1 (03:38):
No, I heard about the giant pile of Teslas that was
killing people.
That was killing people.
I mean I'm just trying to Manyper day.
Speaker 2 (03:44):
I'm trying to understand.
Speaker 1 (03:45):
That didn't happen yet it's in Nebraska right, but
it could happen.
Speaker 2 (03:47):
Yeah, yeah, yeah, of course it could happen.
It could happen.
It could happen right now.
It could happen right now.
Yeah, we have all theself-driving cars.
Yeah, yeah, yeah.
I mean it could happen, but ithasn't happened.
That's the definition of sci-fi, it's happened in simulation
probably.
Speaker 1 (04:01):
That's true.
Speaker 3 (04:02):
In testing yeah.
Speaker 1 (04:04):
Adam, how can you prove we're not in a simulation?
I think we already did thatepisode, that's true.
Well, I feel like we did banterthis one.
We bantered Hello, helloeveryone.
Welcome to a special episode ofSolutions for Multiverse,
because we have a guest today.
I'm Scott Moppen, I'm AdamBrouse and today we have a
returning guest, BedfordWilliamson.
(04:25):
Hello world, Hello multiverse.
Bedford, you're our firstreturning guest.
Speaker 2 (04:31):
I think yeah, everyone else is great.
Speaker 1 (04:34):
Everyone else loses our number, right?
They're just like no way Oopsthese guys Not coming back, but
you, we tricked again, sowelcome back.
Thanks for joining us.
Thanks for having me.
Speaker 2 (04:45):
Very excited Welcome.
This is Solutions on theMultiverse.
Every week we share acompletely new solution, an
unheard of solution to theworld's problems, and today
we're facing an extremely direproblem and we're going to solve
it and the solution is.
The solution is movies need tohave more musical numbers in
(05:08):
them.
Speaker 1 (05:09):
Musical numbers.
Speaker 2 (05:11):
Movies need more music.
Yeah, not music.
No movies have tons of music.
Music wall to wall, but musicalnumbers.
We need our singing dancingbreak out into song, and my
inspiration for this was if youlook at Disney movies okay,
there are certain Disney moviesthat we all remember.
Any Disney movie you can thinkof.
Speaker 1 (05:33):
The Lion King.
Speaker 2 (05:34):
The Lion King, any Disney movie.
What's a Disney movie Frozenright the big hits, those two,
All the Boreini, Aladdin any ofthe big hits?
Speaker 1 (05:41):
Yeah, of course I don't have a choice.
Speaker 2 (05:43):
They all have breakout songs.
Okay there are excellent Disneymovies that have no breakout
songs.
Nobody knows about them.
Brave, fantastic movie no one.
It's not famous.
No one gives a crap, becausethere's no songs.
Orion, the Last Dragon no songs, Great movie, cool movie cool
great stuff.
No songs great characters,great story, great everything.
(06:06):
Moana songs, everybody knows it.
Huge movie, huge thing.
Speaker 3 (06:12):
I don't know the words to that.
I see it's big, but Moana.
I think when I think of aDisney, I might think of
Fantasia.
Speaker 2 (06:20):
Also songs, pretty much all songs, actually.
Do you know the words toFantasia, although Fantasia is
all instrumental, allinstrumental songs?
Speaker 3 (06:27):
Instrumental songs and dance.
Speaker 2 (06:29):
That's what I'm saying.
It has a huge impact.
That's right, that's right, butyou can't share through words.
Speaker 1 (06:35):
If you don't know the words to the songs in Frozen,
at this point, though, I meanyou just gotta let it go.
I'm safe.
Yeah, just let that go.
You gotta let it go.
Speaker 2 (06:41):
You gotta let it go, just let it go.
If you don't know, I don't know.
Frozen.
Speaker 1 (06:44):
Would you like it?
The song is Let it Go.
Do you need me to teach yousome songs from Moana?
Speaker 3 (06:48):
Oh, I love the song.
I would I don't know the songsfrom Moana.
Speaker 1 (06:50):
If you want me to, you're welcome.
I mean, I can?
Speaker 3 (06:52):
I see little three-year-olds walking around
like zombies, singing them.
The girls are walking around.
Speaker 2 (06:58):
But here's the thing, Okay.
So then look at the few moviesin American movies that do add
songs.
They punch way above theirweight.
They punch way above theirweight.
La La Land.
Speaker 1 (07:10):
La La Land.
Speaker 2 (07:10):
That's a stupid movie .
But you add movie, you add songand dance, break out in song
and dance.
All of a sudden it wins, likeOscars.
Okay, look at 500 Days ofSummer.
Stupid movie, just a stupidmovie, but it breaks out in a
song.
Speaker 3 (07:23):
Was there a song Two or three times?
Yeah, this is just musicals,right?
Speaker 2 (07:27):
Well, but I like 100 Days of Summer as the kind of
exemplar of what I'm suggesting,which is one musical number in
just add a musical number.
Speaker 1 (07:38):
Yeah, not a musical, but they just enter the musical
family.
Speaker 2 (07:42):
I think it should just become like we should just
forget the distinction musical,non-musical.
And we should just say whatsells tickets.
What is better and what'sbetter is if you just add
musical numbers to movies.
Speaker 1 (07:53):
What's better is rules on art.
Like, every movie has to have amusical number, whether or not.
Speaker 2 (07:59):
Well, it's not ruled.
Speaker 3 (08:01):
But what sells tickets you can get creative
about it, though right Likethink of Pulp Fiction.
You have a musical number butthey're not singing an original
song.
You mimic a song that's alreadyout there and have a dance.
Speaker 2 (08:19):
Sure, you could just do a lip sync yeah, like a cover
yeah yeah, yeah, or you coulddo a totally original song, but
either way, yeah, yeah.
But then break out in a song,everybody dancing like a music
video in the middle of the movie.
Speaker 3 (08:33):
Barbie.
Speaker 2 (08:34):
Yep, barbie does it too, barbie does it well, barbie
does it well, and Barbie alsonot a great movie if you remove
the musical right.
Speaker 1 (08:41):
No, it is, it's fun.
Speaker 2 (08:43):
No, but the musical adds a lot to it.
It makes it fun.
You sit in your chair andyou're like this is a great
movie, Do you?
Speaker 1 (08:47):
think there are any movies that don't that were a
musical number in the middlewould maybe be the wrong choice.
Speaker 3 (08:53):
Like Vin Diesel and Michelle Rodriguez.
Speaker 1 (08:56):
12 angry men Are driving their cars very fast and
furious and they have to stopand do a musical and then sing
and dance for a minute.
Speaker 3 (09:03):
No, that's not how you do it.
Okay, how do you do?
Speaker 1 (09:04):
it.
They're driving very fast, yeahand furious.
Speaker 3 (09:07):
They're listening to the same radio show.
Oh.
Speaker 2 (09:11):
It's playing the song that they love they have a
flashback of them dancing to it.
Speaker 3 (09:16):
Oh yeah, While they're driving and doing the
moves of the car or the dips inthe dance, oh my God.
Speaker 2 (09:23):
And yes, vin Diesel's in his car Directed by Fredy
Wobun yeah.
Speaker 3 (09:30):
Do, do, do, do do.
Speaker 1 (09:31):
Yeah.
Speaker 2 (09:32):
Maybe we don't have Vin Diesel sing.
Nope, he has to every movie.
Yeah, it's Vin Diesel movie.
He has to sing, oh God.
Speaker 3 (09:40):
But that's where I'm saying you don't sing you lip,
sing you flashback.
Speaker 2 (09:43):
Right you correlate.
Speaker 3 (09:45):
There's create, there's ways to do this, to make
them still have the number, themusical number.
Speaker 1 (09:50):
Biderman is fighting the green goblin.
Speaker 3 (09:52):
And then he says wait a minute.
Speaker 1 (09:53):
remember that talent show I was in last week?
Doodaloo, doodaloo, doodaloo,doodaloo.
We flashback to singing dancing, singing dancing.
Speaker 2 (10:03):
That's why he's fighting.
Speaker 1 (10:04):
Because Spider-Man wait.
Oh, this is wonderful.
Speaker 2 (10:07):
I think Spider-Man would be an easy one to do
Because Spider-Man's like yourfriendly neighborhood Spider-Man
.
Oh well, adam, and also youcould include hip hop in it too.
I mean, wouldn't just have tobe like ballads.
Speaker 1 (10:16):
It could be like hip hop.
Speaker 2 (10:17):
It could be like any kind of music.
Speaker 1 (10:18):
There is.
There are a number ofSpider-Man movies, and one of
them has a musical number inthem.
Which one?
Spider-man 3.
Everyone's favorite Spider-ManSpider-Man 3 from Sam.
Raimi, the first one hasmultiple Mary Jane Kirsten Dunst
singing songs in the middle ofit, and that's people's
favorites.
And then it has no people hatethat one, and then it has emo,
(10:40):
emo, Toby McGuire singing likedancing with the weird hair.
Speaker 2 (10:44):
Oh yeah, that's bad.
That's all Spider-Man 3.
So it doesn't always work.
Speaker 1 (10:49):
It's not a magic pill .
Speaker 2 (10:50):
Well, if you get everything else wrong, yeah,
that's not gonna save you.
Speaker 1 (10:53):
You can't put a music number in a terrible way.
Wait, he's dancing like theblack suit on Yup, yup, yup.
Speaker 3 (10:57):
that's it.
Speaker 2 (10:58):
500 Days of Summer is just like a bad movie, that
then the musical, I think,really saves.
Speaker 3 (11:04):
Cause it's so bad.
Speaker 2 (11:05):
They make LA look like New York.
What the hell's wrong with them?
They're?
He's like oh, I just walked towork and I'm like you know when
walks to work in LA.
This is weird.
Speaker 1 (11:14):
Joseph Gordon Levitt does yeah, I can.
So where did this movie ideacome from?
Speaker 2 (11:18):
Cause, just from the Disney stuff Just from looking
at Disney.
I watched Brave.
Brave is one of my favoritemovies and no one knows about it
.
Speaker 1 (11:25):
What would your Brave song?
Speaker 2 (11:27):
be Well Brave, could have a bunch of songs, cause it
has the mom turning into a bear,my mom's a bear, yeah, and then
it has beautiful Scottish folkmusic in it.
You could do all kinds of youknow or just dance.
You could even just do clocking.
You know like just break outinto like river dance, scottish
dancing, that would be good too.
Speaker 3 (11:47):
Is there a placement for this?
Can you have it at thebeginning of the movie and then?
Speaker 2 (11:52):
you forget about it, and then the rest of the movie's
nothing.
Yeah sure, I think you could doit anything.
Speaker 1 (11:56):
Can I poke a tiny hole in your theory?
I'm sure it's going to be ahuge hole.
I don't know Brave is on thePixar side, where it's not a
Disney.
Disney movie like Moana is orFrozen.
But Brave is on the Pixar side,where they don't always do
musicals.
Like the Incredibles is a Pixarmovie that did.
(12:19):
That's true.
Speaker 2 (12:20):
They're not like the.
Incredibles, the Incredibles Imean like it does have really
nice music, of course.
Yeah, so does Brave, reallybeautiful Scottish music.
Speaker 1 (12:27):
But there's not like a singing song that you.
Speaker 2 (12:29):
That's true.
There's not an.
I Can Show you the World.
Incredibles was a good movie.
Speaker 1 (12:33):
Would you say it?
Speaker 2 (12:33):
was, it was good, but I think it would have been
better with musicals, would yousay it was.
Speaker 1 (12:38):
It was incredible.
Okay, thank you Extraordinary.
Speaker 2 (12:42):
Excellent.
Speaker 1 (12:43):
Fantastic.
What are you trying to get meto say?
Speaker 2 (12:47):
I think it would have improved with a musical number.
Speaker 1 (12:50):
I'm Mr Incredible, this is my wife.
She's pretty stretchy you coulddo.
Speaker 2 (12:55):
You could do it as boring as that.
Speaker 1 (12:56):
I think you go much more.
Wow, the best music, oh Okayburn.
I was really trying think aboutthe Grinch.
Speaker 3 (13:04):
you know, that's the format for bad guys.
When they come in, all right,they have their theme song, they
do a little dance intro, yep,and then they go back to Mr.
Speaker 2 (13:14):
Oogie Boogie man.
Speaker 3 (13:16):
Right from the, from nine before.
Speaker 2 (13:17):
Christmas also Fantastic movie if you took the
musicals out of nine beforeChristmas.
It's just a creepy Tim Burtonnightmare.
Speaker 1 (13:25):
It's horrible.
Speaker 2 (13:27):
Well, they made it.
Speaker 3 (13:28):
Yeah, this is making me think of Beetlejuice, yeah
they did it right.
Speaker 2 (13:33):
They also did they all.
They did a cover, a cover andit was the only musical in the
whole thing and sitting down andit was awesome.
Speaker 1 (13:40):
Harry Belafonte.
Speaker 2 (13:41):
That's why I love the the songs that like the, the,
the shrimp cocktails hands comeout of and grabbing their faces
at the end.
Speaker 1 (13:48):
Are we just talking about movies, or like that's
what the solution is?
Are you excited?
I'm solving movies.
Speaker 2 (13:53):
Beetlejuice too, I think movies are bad.
That's we did another solutionfor movies before to the NPS
ratings right, I think moviesare just bad and we need to make
them better.
This is another.
So we did NPS ratings, yeah,and now we're doing add musical
numbers.
You know what film traditiondoes this already?
I Bollywood.
(14:14):
I was gonna say Bollywood justis like move.
They don't say musical, notmusical, they're just like it's
another movie and of course ithas like big music Switches into
there.
Yeah and people love it.
But this is awesome.
They're amazing, they're great.
The audience learns the dancesand and it's a great promotional
opportunity tic-tac danceseveryone can copy the dance copy
.
Speaker 3 (14:34):
We have that, we have the dance, we have.
The musical is just in shortform.
You know, now you come out witha mute, a song, you have a
music video right has a dance asa little dance.
Yeah, anybody knows they'reusing the dance.
There's a news station I watch.
Occasionally it's in adifferent country, so I watch on
YouTube.
Speaker 2 (14:53):
Okay, and the newscasters, they do a dance
Like the whole news team whilethey're doing the news, or
before, right before date whenthey come on to do the news.
Speaker 3 (15:04):
Wow, don't do like a little stand alive, stay it
alive.
It'll have a hole like discodance.
Speaker 2 (15:09):
Don't do Christmas was we try to guess the country
for this.
Well, he said Christmas.
That we know it's a Christmas,I'm just throwing out holidays.
I'm not sure is this, not theirnational holiday.
Is this Belarus?
No, where do they?
Speaker 3 (15:25):
But they dance and then they go into the news.
What if you went to your parent?
You go to see your Principalfor parent teacher day.
You show up with a dance.
Teachers are getting fired forthis, for dancing teachers,
dance the teachers parents theteachers try to teach their
class and dance and they're likeoh you're dancing.
(15:46):
We don't like your dance.
It's too sexy.
You're fired.
Speaker 2 (15:50):
Well, I mean, I think there's something there,
probably, oh, sexy dance.
So now that's the teachingstripping.
Speaker 3 (15:58):
I mean, now stripper, teacher, now we're regulating
the type of dance you can do.
Only hands above the hip dance.
Speaker 1 (16:05):
No hands.
Speaker 3 (16:08):
No elbows to the knee dances.
We got a lie to your foot xchart, a little chart with no
elbow to the knees Police overhere.
Speaker 2 (16:17):
Yeah, there could be some good best practices.
I'm not saying regulations, butyou know.
Speaker 3 (16:22):
You gotta stay within the dance guidelines.
I.
Speaker 2 (16:26):
Feed away oh my goodness, you must be fun at a
dad.
Speaker 3 (16:29):
I'm starting to not like this dance thing.
Speaker 2 (16:31):
You must be fun at a business, a business party,
right.
Speaker 3 (16:34):
He can't go to a business party and just cut
loose completely right dependson your country or how good you
are talking about America.
Speaker 2 (16:41):
But if you're a good.
We live in one of thosecountries, and it's a country of
oppression.
Speaker 3 (16:46):
Arguably, you can let loose to hire up your.
Yeah, there's DJ CEOs get outof here.
Speaker 1 (16:56):
What do you think?
Burning man Bezos?
Speaker 2 (16:59):
but don't they all show up with they all show up
and they don't.
They don't say their identity,they say we know who they are,
we're right.
Speaker 3 (17:04):
Well, you have the whole camp and you let them go.
You're giving out all the freefreebies.
Speaker 2 (17:11):
So I, so you think that dance is gonna be dance
washing.
It's gonna wash over thebadness of the movie but I'm
saying that's a good thing.
It's gonna cover over thebadness of the movie and make it
a nice movie to watch.
Speaker 3 (17:21):
But you just said the dance could be bad and make the
movie worse.
Speaker 2 (17:25):
Well, they had elbows to the knees, dance no no, I
think dancing, I think the danceand songs generally make it
better almost always.
So dance is important.
I want to get back to, though,about what the lyrics should be.
So you were saying, like youknow, I'm mr Incredible.
Yeah my wife.
That's boring.
The songs that really go strongare like super abstract, like
like think about, think aboutlike a defying gravity, in in in
(17:49):
a wicked.
What a bizarrely abstractConcept to be like singing about
.
Okay, right, because it has allthese layers of meaning.
And then the same thing, likelet it go.
It's like a super abstract kindin like little girls get it,
they like get it, theyunderstand.
Like let it go, it has allthese meanings, okay.
So I think the songs have to.
They should be like that.
(18:10):
They should be like highlyabstract.
They shouldn't be like hey, letme tell you about the plot of
the movie in the song.
Like no, it should be likedeeply.
Speaker 3 (18:20):
So don't write.
Speaker 2 (18:21):
The song has Double meanings many meanings, yeah,
like let it go, has like amillion meanings, right.
Speaker 3 (18:28):
I mean let it go is almost the same as let it rip.
There you go.
Speaker 2 (18:32):
Yeah, it's like energized.
Speaker 1 (18:33):
Yeah, you wanted to have a Context free enjoyability
, right, like you want to beable to be played on the radio,
right, like, let it go andpeople like I get it and you
don't have to.
It doesn't have to be like here.
I'm telling you the story ofthe movie You're not watching.
Speaker 3 (18:48):
Depending on your movie a sci-fi movie they may
Not have the same rhythms as asas you're expecting sure you can
even bring in, like electronic,you know sort of sci-fi
sounding songs.
Yeah, but how abstract couldthey be, david?
Speaker 2 (19:08):
Bowie.
Oh, like the labyrinth yeah.
Speaker 3 (19:10):
Yeah, the labyrinth.
The labyrinth was an excellentsong.
Speaker 1 (19:14):
It just has one.
Does it have one or two songs?
It was about the movie.
Still, it's just one song,though, right Dance.
Speaker 2 (19:19):
Magic Dance.
It's great, it's super abstract.
Put that little spell on me andit carries it all the way
through, I think, and then youknow what.
You know what?
I would argue that in Star Wars, the, the, cantina.
They're dancing and it's veryunique music.
Everybody recognizes it, nomatter where you hear it, right?
I think in a way, they weregetting closer to that.
Speaker 1 (19:42):
So what do we do about our great actors who will
be left out in the cold?
Speaker 2 (19:48):
Like Can't sing.
Speaker 1 (19:50):
Do you imagine a Paul Giamatti singing, dancing?
Speaker 2 (19:54):
Yeah, he can talk, he can do a jokie song or like.
Speaker 1 (19:58):
Anthony Hopkins.
He's an older man.
We don't need him dancingaround, but he's a great actor
of some sort.
You know what Do?
We have stunt singers.
Speaker 2 (20:06):
You'd be surprised.
Do we have stunt singers comingin just for a scene?
You'd be surprised.
They're sprightly because theyare entertainers.
They all generally in theirbackground have some dance, some
tap.
You know they do.
They have this training Okay.
Almost all actors do.
What about the greatest show?
Was that a musical?
Greatest showman, greatestshowman.
Speaker 1 (20:25):
The Joker Wolverine.
Speaker 2 (20:27):
Yeah, was that a musical or no?
No, greatest showman.
Speaker 1 (20:29):
Yeah, that's a See punching way above its weight.
Yeah, that's a good example,because Because otherwise it'd
be a really weird movie.
It's just like a circus guy Acircus man?
Speaker 2 (20:38):
Yeah, but with the music you're like this is great,
it carries it, it's fun, youcan share it.
But is he a good singer?
Yeah, he's great, it's a reallyfun musical.
I wonder if this wouldn't savethe Disney Star Wars franchise,
like if Disney took its.
It has musical chops, people inits Orbit right.
(21:00):
If they pulled the Moana peopleand they were like write songs
for like Andor or like writesongs for the next whatever Star
Wars movie.
Speaker 3 (21:09):
I think people would be like this is a good Star Wars
movie.
Star Wars or famous for theirsoundtracks?
Speaker 1 (21:15):
Yeah, and Star Wars fans are famous for allowing new
stuff into their universe andnot being mad about it.
They love that, but what?
Speaker 2 (21:23):
did you?
What they call Star Wars isspace opera.
Speaker 1 (21:26):
That's what it is Ah, of course, so that you can put
in the musicals, so they can'tget mad, of course you never
mind.
Speaker 2 (21:31):
Like if Luke was looking out the window and then
he started to sing about youknow some abstract thing that
sort of connected back to howhis feelings were at that moment
.
Speaker 1 (21:40):
He's like my home world has two sons.
Speaker 2 (21:43):
No, you're doing the literal thing.
He has to be like, what he hasto be like.
Here's my two robot friends andwe go on adventures, it would
probably Get out of here.
It's not like that.
Speaker 3 (21:55):
It would be a song probably about consciousness or
something.
Yeah, and who's my real friend?
Speaker 2 (22:01):
Kissing my sister.
Speaker 1 (22:03):
What.
Speaker 3 (22:03):
On the mouth.
What?
Speaker 1 (22:05):
Can't roll literal, just kidding.
Speaker 2 (22:07):
I guess Aladdin's songs are pretty literal right?
It's like Al Prince Ali.
It's like this is literallyPrince Ali.
Let me tell you about him.
Speaker 1 (22:15):
Yes, and he's also, I am currently trying to avoid
these people from stabbing me,but I'm singing about it at the
same time.
The person you're going to havea hard time convincing is the
most famous director right now,christopher Nolan, because he
doesn't make movies.
Speaker 2 (22:31):
This is going to change the director field the
Joker dances.
Oh, is there a musical numberin the Joker?
No, that's.
Speaker 1 (22:39):
Todd.
Speaker 2 (22:42):
It makes the movie.
Speaker 1 (22:43):
Yeah, it makes the movie he does a dance, okay,
well, joker 2 is a full-onmusical.
Is that going to be a?
I haven't seen Joker 1.
Speaker 2 (22:50):
There's another Joker movie.
Speaker 1 (22:51):
Yeah, it's going to be Joker and it's a musical yeah
.
Speaker 2 (22:53):
You're joking now.
Speaker 1 (22:55):
I'm jokering.
Do I ever joke?
Speaker 3 (22:58):
about movies.
Speaker 2 (22:59):
Is this for?
Speaker 3 (22:59):
real.
Can you verify?
I don't know if he's startingto be a musical.
Speaker 1 (23:01):
I can't tell if Scott's being sarcastic or not,
but guess who's going to beHarley Quinn.
I don't know Lady Gaga.
Speaker 2 (23:07):
No you've got to be kidding me.
Speaker 1 (23:08):
All right 100% real information here from Scott
Cormor.
If that's true, then they'retaking this solution right now.
Speaker 2 (23:13):
They're using our solution.
This is We'll have to.
We'll cite it when it comes out.
Everyone goes through the Jokermovie because solutions on the
multiverse they still are right.
Speaker 1 (23:22):
But I'm saying where do you put a musical number in?
That dance is creepy too.
Oh, it's creepy.
Where do you put one inOppenheimer?
Speaker 2 (23:29):
Do you just like?
Speaker 1 (23:31):
I mean, you don't have to do it in every movie.
Whoa, whoa, whoa.
I'm just saying Wait a minute,I'm just saying.
Yeah, oppenheimer, it's quite anice bicycle you rented to
pedal backwards.
Speaker 2 (23:40):
That's very interesting.
Speaker 3 (23:43):
You said you shouldn't put rules on art.
Speaker 2 (23:45):
I'm agreeing with you .
Yeah, it's not a, you don'thave to do it.
You could say this is a dramaand there's no musical, and it's
totally straight Boring.
Speaker 1 (23:53):
Yeah, it's boring.
Speaker 2 (23:56):
But just to play devil's advocate, how would you
put it in Oppenheimer?
I think there could be maybe amoment where he's, a moment
where they're doing physics andthey're all trying to figure out
.
Maybe a lot of times when yousee a montage, I think you could
replace a montage with amusical.
But then there they had themontage where they're building
(24:17):
the uranium, they're making theconcentrated uranium.
Right, you might, but I meanit's hard to make a musical
about a thing that killed600,000 people.
Oh, probably, yeah, but thereis Sweeney Todd.
I mean murder, murder musical.
Speaker 1 (24:30):
Did he kill 600,000 people?
Speaker 2 (24:31):
No, no, but he killed a lot of people and it's a lot.
Speaker 3 (24:35):
That's a lot of upset people.
Speaker 1 (24:36):
It's a very successful barber practice.
Speaker 2 (24:38):
You don't want to upset people, you don't want to
be like.
Speaker 1 (24:40):
Because they were laughing and snapping their
fingers when they were enrichinguranium.
Speaker 3 (24:45):
It's like yeah, it's not a good look, yeah, you have
to draw the line somewhere.
Speaker 2 (24:50):
But Fast and Furious.
They're having a fun thing.
It might bring some levity andsome romance to an otherwise
perfectly boy.
Speaker 1 (24:57):
Those movies are ridiculous.
It could actually fit in there,but I don't want it to be just
shoehorn in there.
Speaker 2 (25:04):
Or like a heist movie , I think.
Speaker 3 (25:07):
Heist movies have dance a lot yeah.
Speaker 2 (25:09):
Strippers.
You know what movie did thisactually recently, but you don't
think about it this way, maybeat the beginning is Killers of
the Flower Mountain.
Because, they have NativeAmerican music and then Native
American dancing happening onscreen in sync with the music.
That's a song and dance.
Speaker 1 (25:30):
Well, and Scorsese is .
He is so skilled at needledrops and putting music in all
of his music, all of his movie,like Goodfellas or they have
these crazy, and now we use theRolling Stones You're like, yep,
that's perfect you know, in themovie you said early on, the
(25:54):
Pulp Fiction, there is a dance.
Yeah, when they do this yeah.
That's what you was talkingabout.
Speaker 2 (26:00):
Oh, I thought you were saying Add a Song and Dance
number two, the Chubby.
Speaker 1 (26:03):
Checker.
Speaker 3 (26:03):
That movie and I was like, yeah, that would be a
weird movie, but they actuallyhave it already, so they have
the cover of the cover and adance put in a movie without
making it about the movie Rightright, right.
Speaker 2 (26:15):
But it strengthens the movie like crazy, develops
the character, it develops thethemes, it develops the mood.
Speaker 3 (26:21):
Whenever you see a person dance, it develops their
character.
You're like whoa, yeah, theycan move.
If someone moves in rhythm,their, their, their, their state
goes up.
Speaker 2 (26:34):
You have more respect for someone who moves in rhythm
.
Speaker 3 (26:36):
All right, it's just, it's natural habit, yeah, of a
human.
You're like man.
This person's in rhythm.
That's a better person.
Speaker 2 (26:45):
I think, I think more highly of this person.
Speaker 3 (26:50):
I'm like, I have instant jealousy because I'm
like oh, man I want to be, Imean naturally clumsy boy, and
so when I have to be there, justlike if you're just, if they
could just do a little move.
Speaker 2 (27:02):
You're like oh, so basically what we're saying is
musical number.
Often time could just be adance number and we and you'd
get as almost the same effect,but I do think you should add
full musical numbers wherepeople are singing and anyways.
So everybody in Hollywoodlistening up, just the next film
, your screenwriter, if you're ascreenwriter, just be like,
just to be like parentheses,musical number and parentheses.
(27:25):
Just put that into yourscreenplay like two times, and
and the and, let, let, let thedirector, let other people
figure out, but just, you know,think about that as a, as a
visual tool, the storytellingtool, that's.
Speaker 1 (27:38):
I think underutilized .
Yeah, if you're a screenwriterout there and you're typing up
your final pages and it's likeand the bad guy went to jail.
Good job, jack, you're the bestcop on the force, all right?
Musical number and beat singingdancing, right, you know.
And then the triumphant yeahsinging dancing.
Speaker 2 (27:58):
I had this idea a while ago because I was teaching
some, some kids, kids 20 yearolds how to do screen
screenplays.
Okay, and I've written a fewscreenplays and and one of the
screenplays I've been working onmore seriously is a biopic of
Jane Jacobs and absolute.
I, as I was telling, this idea.
I was like, oh my god, janeJacobs biopic absolutely needs a
(28:21):
musical number, and I startedto actually sort of like come up
with like the lyrics and likekind of how it would look and
feel.
Because there's a famous thingin Jane Jacobs books, in the in
the death and life of greatAmerican cities, called the
ballet of the city, and it's allabout how the city, the
sidewalk, has this sort of orthe ballet of the sidewalk.
It's about how the sidewalk hasthis sort of life.
You know, people come atdifferent times of day for
(28:43):
different things and everyone islike a group of people kind of
joining the stage and exitingthe stage, and so you could do
this really cool.
You know also this the buildingin which she wrote the death
and life is like this like hadall.
It was like a what was like afive-story walk up and every
different floor had likemultiple different things going
(29:03):
on in it.
So it'd be cool to like cutaway, like Wes Anderson, like a
dollhouse, like cut the wall offand then have a musical number
of everything going on in thatbuilding yeah and Jane Jacobs is
just like arriving with hertypewriter and and kind of going
through people would.
It would just be so much moreinteresting than if you just
were like it's a straight biopic.
Right, beautiful mind, straightbiopic.
No, no song or dance it wouldjust add so much anyways.
Speaker 3 (29:26):
So your song, your song about this, is it abstract
with multiple means?
Gotta make it abstract you said, you started a song a little
bit well, I was thinking aboutcalling it.
Speaker 2 (29:39):
Yeah, you don't have to tell me the details.
Speaker 3 (29:40):
But is it abstract or is it more about the story?
Speaker 2 (29:44):
no, it's abstract because it's oh yeah, the name
of the song is better togetherwe're better together okay
because it's about mixed use,urbanism and but it's very
abstract.
We're better together, so it'sa, but it's also about
multiracial democracy.
You know it's about bettertogether.
It's not being a better ifwe're diverse, better if we are
together in the same spaces andthe one and a two, and a one,
(30:05):
two, three.
Speaker 1 (30:06):
I don't know that.
I didn't actually work outmusic, I just worked out the
lyric.
Speaker 2 (30:12):
I just worked out at least one lyric better together,
and then that would be you knowit'd be a power ballad it power
.
This would just be a powerballad standard musical.
Speaker 3 (30:19):
Yeah would Jane dance or just other people in the
house?
Speaker 2 (30:23):
I think Jane probably cut up a little bit, or at
least she'd be going through thescene.
You know she's on a bike, youknow she's walking through the
scene.
I think she'd be more likewalking through the scene, going
and doing, and then everyonearound her.
I have an additive for you yeah,please, where, if let's riff
here she's sitting at thetypewriter and it looks like her
fingers are dancing to cut awayto what she's writing about in
(30:44):
the different parts of that,yeah, yeah, yeah, no, I like, if
you bring it back, a call backthey dance when she comes in,
yeah, yeah she sits down,actually work.
Speaker 3 (30:51):
It's like she starts to think about yes, yes, I think
what.
Speaker 2 (30:54):
I like is her sitting at a bit on a bench on in the
morning and then the whole dayof the city happens around her
and every like part of the dayof the city is like another
people entering.
So, like you know, she'ssitting there and like the baker
like opens up, up the thing andnow the baker gets to sing a
little bit about being bettertogether and then, like then
(31:15):
businessmen come on and are likemaking their way, you know, or
construction guys are goingthrough because it's the morning
and they're going to theconstruction site, yeah, and
then the businessmen come, andthen the moms of the strollers,
and then the you know it's thebeauty in the beast song, the
beginning, where she's likegoing through the town with her
book.
Speaker 1 (31:30):
Oh, I recall bonjour, bonjour, bonjour, bonjour,
bonjour, because the bread right, so you like everyone always it
feels like very broad, likethis is a very I think Broadway
right now is where they havepeople who are just like we need
to put music into all the shows, but it's how the culture is
here.
Yeah, so you, just you hirethose people to help people out
(31:54):
there.
Speaker 3 (31:54):
Well, you know what there's.
Where do we get these people todo the music?
Because schools are removingmusic classes, shutting down.
It's very hard to get a goodwhoa training.
I think we, okay, I think weoverproduce musicians at this
point.
Speaker 2 (32:10):
I think, it's fine yeah, I had a guy too much
there's too much.
I interviewed a guy once whowrote the song Space Cowboy by.
Speaker 3 (32:20):
You know, some people call me the Space Cowboy the
guy who made that song made methe gangster yeah, for Steve
Miller band.
Speaker 1 (32:28):
He made the songs, gave it to Steve Miller band he
was telling it, he was tellingyou go, wow, how do?
Speaker 3 (32:34):
you write that space cowboy.
Speaker 1 (32:38):
Oh, I have a question on the lyrics here AI, how do I
pronounce?
Speaker 2 (32:44):
I.
What is that wow?
Speaker 3 (32:47):
I really like your peaches.
Yeah, maurice Maurice, thisguy's name Maurice, so this guy.
Speaker 2 (33:01):
I was asking this guy and he said at the golden age
of jazz there was like 180 jazzartists in exist, like in
existence, it's not a lot.
And then, and that wererecorded you know that we have a
record of today.
Every year there's like 8,000jazz PhDs graduate we need them
(33:21):
for it.
We need their services rightwell, I mean, I'm not against
musical education, don't get mewrong, but I'm just not worried
that we're not gonna be able tofind people to write the songs.
Speaker 1 (33:29):
But there's people out.
It is a valid boy that they'reslashing arts funding.
Yeah, I love art.
Probably gonna result,especially with AI automating
everything.
Speaker 2 (33:37):
We absolutely should be focusing on art.
What else are human beingsgonna do?
Speaker 3 (33:41):
gonna result in movies with bad musicals we got
to start at start while they'reyoung.
But here's the thing we got.
We're talking about movies andmusicals, but maybe this
conversation should continue.
To Dance can improve life inall aspects outside of movies.
Speaker 1 (34:05):
In your business?
In what do you mean?
Speaker 2 (34:08):
In your bank, your bank.
Speaker 1 (34:10):
I am so against this as a person who is terrible at
dancing.
Speaker 2 (34:13):
I mean, it's easy dances and then you get better
at it.
Come on, growth mindset.
Speaker 3 (34:17):
Yeah.
Speaker 2 (34:18):
Well, that's it for today, guys.
Do we solve it?
I think we did.
Do you guys convince.
Speaker 1 (34:25):
I'm not.
I'm convinced.
I'm even more convinced thanbefore.
I like my movies.
Speaker 2 (34:29):
We already said the good movies have a lot of
musicals.
Speaker 1 (34:32):
Some do, but.
Speaker 2 (34:32):
I feel like they could do more, the ones that
need musicals.
Speaker 1 (34:36):
The ones that need musicals You're saying it's
perfect.
Speaker 2 (34:38):
Well, the ones that need musicals have them, and the
ones that don't, don't.
No come on, clearly, you coulddo it better or worse.
They're either too many or toofew.
It's not that they're in thewrong.
Speaker 1 (34:45):
There's not the right amount.
Speaker 2 (34:46):
No, clearly it's too and it's too few.
Because it's not too many.
You wouldn't be like, oh,there's too many musicals.
God, I'm always like, lookingat my watch, saying when's this
musical number gonna end?
Speaker 1 (34:54):
You never said that, but terrible oh you are when
they're bad musicals.
Scott Skeptical I am, butthat's my job, right?
Speaker 2 (35:00):
Exactly the way they are.
Speaker 1 (35:01):
I like my movies, or he wants fewer musicals.
Speaker 2 (35:03):
He wants fewer musical numbers.
What do you think Bedford Fewermore exactly the right amount
already.
Speaker 3 (35:09):
We need more.
Speaker 1 (35:10):
I just don't want a singing, dancing.
Hop on my side.
That's what I'm saying.
Well, that's, I didn't say it'snot strict.
Speaker 2 (35:16):
It's not a strict rule.
All right, should we finish?
Speaker 1 (35:20):
Yes.
Speaker 2 (35:21):
Thanks everybody for coming along.
Speaker 1 (35:23):
Enjoy the movie talk.
See you back next week.
There are no other podcaststhat talk about movies so I
think we are gonna get a quite abump this episode.
Speaker 2 (35:33):
Yeah Well, I don't think anyone's ever proposed
what I proposed here today, sothat's good.
That's what you come here for.
This is new ideas.
Speaker 1 (35:40):
That is definitely new, New ideas for sure.
All right.
Well, thank you, Bedford forjoining us.
Speaker 2 (35:45):
Yeah, thanks for dropping in Bedford.
Speaker 1 (35:47):
Thank you guys for listening in and we'll catch you
next week.
Bedford.
Is there anything we shouldplug for you?
Do you want to plug anything?
Do you want to send anyone?
Speaker 3 (35:55):
anywhere.
Speaker 2 (35:55):
Peace on.
Speaker 3 (35:56):
Earth.
I want everyone to go and finda line dance this week.
Speaker 2 (36:02):
Some contra dancing, some line dancing, some line
dancing.
Okay, you all have yourhomework.
Speaker 3 (36:08):
You're marching orders.
Speaker 1 (36:09):
Go find line dances.
We'll see you next time.
Speaker 2 (36:13):
Jiddy-o Bye cyber HeavyUNT.
I don't know.
I haven't heard him on therecording Corn dog Lee.
Speaker 2 (00:03):
Corn dog, have some respect, get your ass out of my
face.
Speaker 1 (00:05):
Okay, buddy.
Oh, I was going to say.
When he's watching the birdsout the window, when they come
to the bird feeder, he makes theweirdest noise.
Speaker 3 (00:21):
Oh, he does that, he does that.
Speaker 1 (00:23):
It's like oh, you've heard it.
Speaker 3 (00:24):
Yeah yeah, mine cats do that too.
It's called like a.
It has a name.
It has a name, yeah.
Speaker 1 (00:29):
Cause it is like this weird chirping it's a chirp?
Speaker 3 (00:32):
Yeah, it might be chirp, it sounds like he's like
a fax machine.
Like he's like.
Speaker 1 (00:37):
It seems like he's malfunctioning in some way?
Speaker 2 (00:39):
Do you check if maybe a fax comes out?
Speaker 1 (00:42):
I've lived up his tail and there's no documents.
Tick or tape.
Tick or tape.
Speaker 3 (00:45):
Fax come on Tick or tape Corn dog.
Speaker 2 (00:51):
I guess I read that there, cause my cats do that too
, and I was like this is soweird.
I've never seen cats do this.
And I Googled it and it turnsout they are actually mimicking
the sounds of birds in order toget the birds to like get closer
to them.
Speaker 1 (01:04):
Oh really, yeah, so they're actually.
Does that ever work in the wild?
Speaker 3 (01:08):
Hey, come close.
Meow chirp, meow chirp.
Speaker 1 (01:14):
And they're like I'm not falling.
I'm a bird, but I'm not fallingfor that.
I just saw the new roadhouseremake that came out on Amazon.
Speaker 3 (01:35):
That would be hard to top.
No, yeah.
Speaker 1 (01:36):
It's hard.
I don't know why they'reremaking classic Patrick's Waze
movies they did with JakeGyllenhaal and like Connor,
McGregor's in there.
Speaker 3 (01:47):
Is there a dancing?
No, dancing, well didn't thatsucks.
Speaker 1 (01:50):
Not.
Speaker 2 (01:51):
I don't think any dancing.
Did you guys like read my mindbefore coming here?
Speaker 1 (01:55):
Oh, you wanted to talk about Jake Gyllenhaal and
the new roadhouse.
Speaker 2 (01:58):
This is what the solution is.
The solution is exactly this.
Should we start?
Yeah, we could start.
Speaker 1 (02:04):
I'm just.
I've done this.
You read my mind again.
I was going to say that wouldbe two weeks in a row.
I know, oh, not two weeks in arow.
Speaker 2 (02:11):
Three times in so many months.
Speaker 1 (02:12):
Yeah.
Speaker 2 (02:12):
Yeah, although technically, if I do a movie
solution, we're probably goingto talk about movies, so pretty
tight.
Speaker 1 (02:20):
That's my go-to nexus of conversation.
Speaker 3 (02:23):
Movies are the way to train society.
Speaker 2 (02:27):
You didn't know that.
Speaker 3 (02:29):
That's like that Obama movie with the Tesla cars.
Speaker 1 (02:32):
The Obama movie with the Tesla cars.
Speaker 2 (02:34):
I haven't seen any Obama movie.
What's that?
Speaker 3 (02:37):
I've produced a movie about tech taking over the
world.
Speaker 2 (02:41):
Okay, okay On.
Speaker 3 (02:42):
Netflix, right yeah.
And these Tesla cars all getprogrammed to go to this one
spot and they just all drive offthe lot and just crash and they
just go into a giant powwherever there are in the United
States and just all keep goingand going to this one place.
If you're in the way you getread over.
Speaker 1 (03:02):
Oh no.
Speaker 3 (03:03):
If you were in the car.
You just keep driving.
This is a fictional movie,though, right.
Speaker 2 (03:06):
And then they get to.
It's a fictional movie.
Speaker 3 (03:09):
They're trying to go somewhere, but there's already a
big pow and they just driveright into it.
Speaker 2 (03:14):
So this is a fictional movie, though, right,
this is like a.
It's not a documentary oranything.
Speaker 3 (03:19):
It's basically showing like once we get hacked,
but it's a fake movie, it's afiction.
Speaker 1 (03:24):
Adam, it's what we call a pre-documentary.
Yeah, it's a pre-documentaryAll documenting what will happen
in the future.
Speaker 3 (03:29):
Yeah right, All movies are fake.
Speaker 2 (03:31):
No, but you know what I mean.
It's not purporting to be true,it's purporting to be a
fictional story, like a zombiemovie or something right.
Speaker 1 (03:38):
No, I heard about the giant pile of Teslas that was
killing people.
That was killing people.
I mean I'm just trying to Manyper day.
Speaker 2 (03:44):
I'm trying to understand.
Speaker 1 (03:45):
That didn't happen yet it's in Nebraska right, but
it could happen.
Speaker 2 (03:47):
Yeah, yeah, yeah, of course it could happen.
It could happen.
It could happen right now.
It could happen right now.
Yeah, we have all theself-driving cars.
Yeah, yeah, yeah.
I mean it could happen, but ithasn't happened.
That's the definition of sci-fi, it's happened in simulation
probably.
Speaker 1 (04:01):
That's true.
Speaker 3 (04:02):
In testing yeah.
Speaker 1 (04:04):
Adam, how can you prove we're not in a simulation?
I think we already did thatepisode, that's true.
Well, I feel like we did banterthis one.
We bantered Hello, helloeveryone.
Welcome to a special episode ofSolutions for Multiverse,
because we have a guest today.
I'm Scott Moppen, I'm AdamBrouse and today we have a
returning guest, BedfordWilliamson.
(04:25):
Hello world, Hello multiverse.
Bedford, you're our firstreturning guest.
Speaker 2 (04:31):
I think yeah, everyone else is great.
Speaker 1 (04:34):
Everyone else loses our number, right?
They're just like no way Oopsthese guys Not coming back, but
you, we tricked again, sowelcome back.
Thanks for joining us.
Thanks for having me.
Speaker 2 (04:45):
Very excited Welcome.
This is Solutions on theMultiverse.
Every week we share acompletely new solution, an
unheard of solution to theworld's problems, and today
we're facing an extremely direproblem and we're going to solve
it and the solution is.
The solution is movies need tohave more musical numbers in
(05:08):
them.
Speaker 1 (05:09):
Musical numbers.
Speaker 2 (05:11):
Movies need more music.
Yeah, not music.
No movies have tons of music.
Music wall to wall, but musicalnumbers.
We need our singing dancingbreak out into song, and my
inspiration for this was if youlook at Disney movies okay,
there are certain Disney moviesthat we all remember.
Any Disney movie you can thinkof.
Speaker 1 (05:33):
The Lion King.
Speaker 2 (05:34):
The Lion King, any Disney movie.
What's a Disney movie Frozenright the big hits, those two,
All the Boreini, Aladdin any ofthe big hits?
Speaker 1 (05:41):
Yeah, of course I don't have a choice.
Speaker 2 (05:43):
They all have breakout songs.
Okay there are excellent Disneymovies that have no breakout
songs.
Nobody knows about them.
Brave, fantastic movie no one.
It's not famous.
No one gives a crap, becausethere's no songs.
Orion, the Last Dragon no songs, Great movie, cool movie cool
great stuff.
No songs great characters,great story, great everything.
(06:06):
Moana songs, everybody knows it.
Huge movie, huge thing.
Speaker 3 (06:12):
I don't know the words to that.
I see it's big, but Moana.
I think when I think of aDisney, I might think of
Fantasia.
Speaker 2 (06:20):
Also songs, pretty much all songs, actually.
Do you know the words toFantasia, although Fantasia is
all instrumental, allinstrumental songs?
Speaker 3 (06:27):
Instrumental songs and dance.
Speaker 2 (06:29):
That's what I'm saying.
It has a huge impact.
That's right, that's right, butyou can't share through words.
Speaker 1 (06:35):
If you don't know the words to the songs in Frozen,
at this point, though, I meanyou just gotta let it go.
I'm safe.
Yeah, just let that go.
You gotta let it go.
Speaker 2 (06:41):
You gotta let it go, just let it go.
If you don't know, I don't know.
Frozen.
Speaker 1 (06:44):
Would you like it?
The song is Let it Go.
Do you need me to teach yousome songs from Moana?
Speaker 3 (06:48):
Oh, I love the song.
I would I don't know the songsfrom Moana.
Speaker 1 (06:50):
If you want me to, you're welcome.
I mean, I can?
Speaker 3 (06:52):
I see little three-year-olds walking around
like zombies, singing them.
The girls are walking around.
Speaker 2 (06:58):
But here's the thing, Okay.
So then look at the few moviesin American movies that do add
songs.
They punch way above theirweight.
They punch way above theirweight.
La La Land.
Speaker 1 (07:10):
La La Land.
Speaker 2 (07:10):
That's a stupid movie .
But you add movie, you add songand dance, break out in song
and dance.
All of a sudden it wins, likeOscars.
Okay, look at 500 Days ofSummer.
Stupid movie, just a stupidmovie, but it breaks out in a
song.
Speaker 3 (07:23):
Was there a song Two or three times?
Yeah, this is just musicals,right?
Speaker 2 (07:27):
Well, but I like 100 Days of Summer as the kind of
exemplar of what I'm suggesting,which is one musical number in
just add a musical number.
Speaker 1 (07:38):
Yeah, not a musical, but they just enter the musical
family.
Speaker 2 (07:42):
I think it should just become like we should just
forget the distinction musical,non-musical.
And we should just say whatsells tickets.
What is better and what'sbetter is if you just add
musical numbers to movies.
Speaker 1 (07:53):
What's better is rules on art.
Like, every movie has to have amusical number, whether or not.
Speaker 2 (07:59):
Well, it's not ruled.
Speaker 3 (08:01):
But what sells tickets you can get creative
about it, though right Likethink of Pulp Fiction.
You have a musical number butthey're not singing an original
song.
You mimic a song that's alreadyout there and have a dance.
Speaker 2 (08:19):
Sure, you could just do a lip sync yeah, like a cover
yeah yeah, yeah, or you coulddo a totally original song, but
either way, yeah, yeah.
But then break out in a song,everybody dancing like a music
video in the middle of the movie.
Speaker 3 (08:33):
Barbie.
Speaker 2 (08:34):
Yep, barbie does it too, barbie does it well, barbie
does it well, and Barbie alsonot a great movie if you remove
the musical right.
Speaker 1 (08:41):
No, it is, it's fun.
Speaker 2 (08:43):
No, but the musical adds a lot to it.
It makes it fun.
You sit in your chair andyou're like this is a great
movie, Do you?
Speaker 1 (08:47):
think there are any movies that don't that were a
musical number in the middlewould maybe be the wrong choice.
Speaker 3 (08:53):
Like Vin Diesel and Michelle Rodriguez.
Speaker 1 (08:56):
12 angry men Are driving their cars very fast and
furious and they have to stopand do a musical and then sing
and dance for a minute.
Speaker 3 (09:03):
No, that's not how you do it.
Okay, how do you do?
Speaker 1 (09:04):
it.
They're driving very fast, yeahand furious.
Speaker 3 (09:07):
They're listening to the same radio show.
Oh.
Speaker 2 (09:11):
It's playing the song that they love they have a
flashback of them dancing to it.
Speaker 3 (09:16):
Oh yeah, While they're driving and doing the
moves of the car or the dips inthe dance, oh my God.
Speaker 2 (09:23):
And yes, vin Diesel's in his car Directed by Fredy
Wobun yeah.
Speaker 3 (09:30):
Do, do, do, do do.
Speaker 1 (09:31):
Yeah.
Speaker 2 (09:32):
Maybe we don't have Vin Diesel sing.
Nope, he has to every movie.
Yeah, it's Vin Diesel movie.
He has to sing, oh God.
Speaker 3 (09:40):
But that's where I'm saying you don't sing you lip,
sing you flashback.
Speaker 2 (09:43):
Right you correlate.
Speaker 3 (09:45):
There's create, there's ways to do this, to make
them still have the number, themusical number.
Speaker 1 (09:50):
Biderman is fighting the green goblin.
Speaker 3 (09:52):
And then he says wait a minute.
Speaker 1 (09:53):
remember that talent show I was in last week?
Doodaloo, doodaloo, doodaloo,doodaloo.
We flashback to singing dancing, singing dancing.
Speaker 2 (10:03):
That's why he's fighting.
Speaker 1 (10:04):
Because Spider-Man wait.
Oh, this is wonderful.
Speaker 2 (10:07):
I think Spider-Man would be an easy one to do
Because Spider-Man's like yourfriendly neighborhood Spider-Man
.
Oh well, adam, and also youcould include hip hop in it too.
I mean, wouldn't just have tobe like ballads.
Speaker 1 (10:16):
It could be like hip hop.
Speaker 2 (10:17):
It could be like any kind of music.
Speaker 1 (10:18):
There is.
There are a number ofSpider-Man movies, and one of
them has a musical number inthem.
Which one?
Spider-man 3.
Everyone's favorite Spider-ManSpider-Man 3 from Sam.
Raimi, the first one hasmultiple Mary Jane Kirsten Dunst
singing songs in the middle ofit, and that's people's
favorites.
And then it has no people hatethat one, and then it has emo,
(10:40):
emo, Toby McGuire singing likedancing with the weird hair.
Speaker 2 (10:44):
Oh yeah, that's bad.
That's all Spider-Man 3.
So it doesn't always work.
Speaker 1 (10:49):
It's not a magic pill .
Speaker 2 (10:50):
Well, if you get everything else wrong, yeah,
that's not gonna save you.
Speaker 1 (10:53):
You can't put a music number in a terrible way.
Wait, he's dancing like theblack suit on Yup, yup, yup.
Speaker 3 (10:57):
that's it.
Speaker 2 (10:58):
500 Days of Summer is just like a bad movie, that
then the musical, I think,really saves.
Speaker 3 (11:04):
Cause it's so bad.
Speaker 2 (11:05):
They make LA look like New York.
What the hell's wrong with them?
They're?
He's like oh, I just walked towork and I'm like you know when
walks to work in LA.
This is weird.
Speaker 1 (11:14):
Joseph Gordon Levitt does yeah, I can.
So where did this movie ideacome from?
Speaker 2 (11:18):
Cause, just from the Disney stuff Just from looking
at Disney.
I watched Brave.
Brave is one of my favoritemovies and no one knows about it
.
Speaker 1 (11:25):
What would your Brave song?
Speaker 2 (11:27):
be Well Brave, could have a bunch of songs, cause it
has the mom turning into a bear,my mom's a bear, yeah, and then
it has beautiful Scottish folkmusic in it.
You could do all kinds of youknow or just dance.
You could even just do clocking.
You know like just break outinto like river dance, scottish
dancing, that would be good too.
Speaker 3 (11:47):
Is there a placement for this?
Can you have it at thebeginning of the movie and then?
Speaker 2 (11:52):
you forget about it, and then the rest of the movie's
nothing.
Yeah sure, I think you could doit anything.
Speaker 1 (11:56):
Can I poke a tiny hole in your theory?
I'm sure it's going to be ahuge hole.
I don't know Brave is on thePixar side, where it's not a
Disney.
Disney movie like Moana is orFrozen.
But Brave is on the Pixar side,where they don't always do
musicals.
Like the Incredibles is a Pixarmovie that did.
(12:19):
That's true.
Speaker 2 (12:20):
They're not like the.
Incredibles, the Incredibles Imean like it does have really
nice music, of course.
Yeah, so does Brave, reallybeautiful Scottish music.
Speaker 1 (12:27):
But there's not like a singing song that you.
Speaker 2 (12:29):
That's true.
There's not an.
I Can Show you the World.
Incredibles was a good movie.
Speaker 1 (12:33):
Would you say it?
Speaker 2 (12:33):
was, it was good, but I think it would have been
better with musicals, would yousay it was.
Speaker 1 (12:38):
It was incredible.
Okay, thank you Extraordinary.
Speaker 2 (12:42):
Excellent.
Speaker 1 (12:43):
Fantastic.
What are you trying to get meto say?
Speaker 2 (12:47):
I think it would have improved with a musical number.
Speaker 1 (12:50):
I'm Mr Incredible, this is my wife.
She's pretty stretchy you coulddo.
Speaker 2 (12:55):
You could do it as boring as that.
Speaker 1 (12:56):
I think you go much more.
Wow, the best music, oh Okayburn.
I was really trying think aboutthe Grinch.
Speaker 3 (13:04):
you know, that's the format for bad guys.
When they come in, all right,they have their theme song, they
do a little dance intro, yep,and then they go back to Mr.
Speaker 2 (13:14):
Oogie Boogie man.
Speaker 3 (13:16):
Right from the, from nine before.
Speaker 2 (13:17):
Christmas also Fantastic movie if you took the
musicals out of nine beforeChristmas.
It's just a creepy Tim Burtonnightmare.
Speaker 1 (13:25):
It's horrible.
Speaker 2 (13:27):
Well, they made it.
Speaker 3 (13:28):
Yeah, this is making me think of Beetlejuice, yeah
they did it right.
Speaker 2 (13:33):
They also did they all.
They did a cover, a cover andit was the only musical in the
whole thing and sitting down andit was awesome.
Speaker 1 (13:40):
Harry Belafonte.
Speaker 2 (13:41):
That's why I love the the songs that like the, the,
the shrimp cocktails hands comeout of and grabbing their faces
at the end.
Speaker 1 (13:48):
Are we just talking about movies, or like that's
what the solution is?
Are you excited?
I'm solving movies.
Speaker 2 (13:53):
Beetlejuice too, I think movies are bad.
That's we did another solutionfor movies before to the NPS
ratings right, I think moviesare just bad and we need to make
them better.
This is another.
So we did NPS ratings, yeah,and now we're doing add musical
numbers.
You know what film traditiondoes this already?
I Bollywood.
(14:14):
I was gonna say Bollywood justis like move.
They don't say musical, notmusical, they're just like it's
another movie and of course ithas like big music Switches into
there.
Yeah and people love it.
But this is awesome.
They're amazing, they're great.
The audience learns the dancesand and it's a great promotional
opportunity tic-tac danceseveryone can copy the dance copy
.
Speaker 3 (14:34):
We have that, we have the dance, we have.
The musical is just in shortform.
You know, now you come out witha mute, a song, you have a
music video right has a dance asa little dance.
Yeah, anybody knows they'reusing the dance.
There's a news station I watch.
Occasionally it's in adifferent country, so I watch on
YouTube.
Speaker 2 (14:53):
Okay, and the newscasters, they do a dance
Like the whole news team whilethey're doing the news, or
before, right before date whenthey come on to do the news.
Speaker 3 (15:04):
Wow, don't do like a little stand alive, stay it
alive.
It'll have a hole like discodance.
Speaker 2 (15:09):
Don't do Christmas was we try to guess the country
for this.
Well, he said Christmas.
That we know it's a Christmas,I'm just throwing out holidays.
I'm not sure is this, not theirnational holiday.
Is this Belarus?
No, where do they?
Speaker 3 (15:25):
But they dance and then they go into the news.
What if you went to your parent?
You go to see your Principalfor parent teacher day.
You show up with a dance.
Teachers are getting fired forthis, for dancing teachers,
dance the teachers parents theteachers try to teach their
class and dance and they're likeoh you're dancing.
(15:46):
We don't like your dance.
It's too sexy.
You're fired.
Speaker 2 (15:50):
Well, I mean, I think there's something there,
probably, oh, sexy dance.
So now that's the teachingstripping.
Speaker 3 (15:58):
I mean, now stripper, teacher, now we're regulating
the type of dance you can do.
Only hands above the hip dance.
Speaker 1 (16:05):
No hands.
Speaker 3 (16:08):
No elbows to the knee dances.
We got a lie to your foot xchart, a little chart with no
elbow to the knees Police overhere.
Speaker 2 (16:17):
Yeah, there could be some good best practices.
I'm not saying regulations, butyou know.
Speaker 3 (16:22):
You gotta stay within the dance guidelines.
I.
Speaker 2 (16:26):
Feed away oh my goodness, you must be fun at a
dad.
Speaker 3 (16:29):
I'm starting to not like this dance thing.
Speaker 2 (16:31):
You must be fun at a business, a business party,
right.
Speaker 3 (16:34):
He can't go to a business party and just cut
loose completely right dependson your country or how good you
are talking about America.
Speaker 2 (16:41):
But if you're a good.
We live in one of thosecountries, and it's a country of
oppression.
Speaker 3 (16:46):
Arguably, you can let loose to hire up your.
Yeah, there's DJ CEOs get outof here.
Speaker 1 (16:56):
What do you think?
Burning man Bezos?
Speaker 2 (16:59):
but don't they all show up with they all show up
and they don't.
They don't say their identity,they say we know who they are,
we're right.
Speaker 3 (17:04):
Well, you have the whole camp and you let them go.
You're giving out all the freefreebies.
Speaker 2 (17:11):
So I, so you think that dance is gonna be dance
washing.
It's gonna wash over thebadness of the movie but I'm
saying that's a good thing.
It's gonna cover over thebadness of the movie and make it
a nice movie to watch.
Speaker 3 (17:21):
But you just said the dance could be bad and make the
movie worse.
Speaker 2 (17:25):
Well, they had elbows to the knees, dance no no, I
think dancing, I think the danceand songs generally make it
better almost always.
So dance is important.
I want to get back to, though,about what the lyrics should be.
So you were saying, like youknow, I'm mr Incredible.
Yeah my wife.
That's boring.
The songs that really go strongare like super abstract, like
like think about, think aboutlike a defying gravity, in in in
(17:49):
a wicked.
What a bizarrely abstractConcept to be like singing about
.
Okay, right, because it has allthese layers of meaning.
And then the same thing, likelet it go.
It's like a super abstract kindin like little girls get it,
they like get it, theyunderstand.
Like let it go, it has allthese meanings, okay.
So I think the songs have to.
They should be like that.
(18:10):
They should be like highlyabstract.
They shouldn't be like hey, letme tell you about the plot of
the movie in the song.
Like no, it should be likedeeply.
Speaker 3 (18:20):
So don't write.
Speaker 2 (18:21):
The song has Double meanings many meanings, yeah,
like let it go, has like amillion meanings, right.
Speaker 3 (18:28):
I mean let it go is almost the same as let it rip.
There you go.
Speaker 2 (18:32):
Yeah, it's like energized.
Speaker 1 (18:33):
Yeah, you wanted to have a Context free enjoyability
, right, like you want to beable to be played on the radio,
right, like, let it go andpeople like I get it and you
don't have to.
It doesn't have to be like here.
I'm telling you the story ofthe movie You're not watching.
Speaker 3 (18:48):
Depending on your movie a sci-fi movie they may
Not have the same rhythms as asas you're expecting sure you can
even bring in, like electronic,you know sort of sci-fi
sounding songs.
Yeah, but how abstract couldthey be, david?
Speaker 2 (19:08):
Bowie.
Oh, like the labyrinth yeah.
Speaker 3 (19:10):
Yeah, the labyrinth.
The labyrinth was an excellentsong.
Speaker 1 (19:14):
It just has one.
Does it have one or two songs?
It was about the movie.
Still, it's just one song,though, right Dance.
Speaker 2 (19:19):
Magic Dance.
It's great, it's super abstract.
Put that little spell on me andit carries it all the way
through, I think, and then youknow what.
You know what?
I would argue that in Star Wars, the, the, cantina.
They're dancing and it's veryunique music.
Everybody recognizes it, nomatter where you hear it, right?
I think in a way, they weregetting closer to that.
Speaker 1 (19:42):
So what do we do about our great actors who will
be left out in the cold?
Speaker 2 (19:48):
Like Can't sing.
Speaker 1 (19:50):
Do you imagine a Paul Giamatti singing, dancing?
Speaker 2 (19:54):
Yeah, he can talk, he can do a jokie song or like.
Speaker 1 (19:58):
Anthony Hopkins.
He's an older man.
We don't need him dancingaround, but he's a great actor
of some sort.
You know what Do?
We have stunt singers.
Speaker 2 (20:06):
You'd be surprised.
Do we have stunt singers comingin just for a scene?
You'd be surprised.
They're sprightly because theyare entertainers.
They all generally in theirbackground have some dance, some
tap.
You know they do.
They have this training Okay.
Almost all actors do.
What about the greatest show?
Was that a musical?
Greatest showman, greatestshowman.
Speaker 1 (20:25):
The Joker Wolverine.
Speaker 2 (20:27):
Yeah, was that a musical or no?
No, greatest showman.
Speaker 1 (20:29):
Yeah, that's a See punching way above its weight.
Yeah, that's a good example,because Because otherwise it'd
be a really weird movie.
It's just like a circus guy Acircus man?
Speaker 2 (20:38):
Yeah, but with the music you're like this is great,
it carries it, it's fun, youcan share it.
But is he a good singer?
Yeah, he's great, it's a reallyfun musical.
I wonder if this wouldn't savethe Disney Star Wars franchise,
like if Disney took its.
It has musical chops, people inits Orbit right.
(21:00):
If they pulled the Moana peopleand they were like write songs
for like Andor or like writesongs for the next whatever Star
Wars movie.
Speaker 3 (21:09):
I think people would be like this is a good Star Wars
movie.
Star Wars or famous for theirsoundtracks?
Speaker 1 (21:15):
Yeah, and Star Wars fans are famous for allowing new
stuff into their universe andnot being mad about it.
They love that, but what?
Speaker 2 (21:23):
did you?
What they call Star Wars isspace opera.
Speaker 1 (21:26):
That's what it is Ah, of course, so that you can put
in the musicals, so they can'tget mad, of course you never
mind.
Speaker 2 (21:31):
Like if Luke was looking out the window and then
he started to sing about youknow some abstract thing that
sort of connected back to howhis feelings were at that moment
.
Speaker 1 (21:40):
He's like my home world has two sons.
Speaker 2 (21:43):
No, you're doing the literal thing.
He has to be like, what he hasto be like.
Here's my two robot friends andwe go on adventures, it would
probably Get out of here.
It's not like that.
Speaker 3 (21:55):
It would be a song probably about consciousness or
something.
Yeah, and who's my real friend?
Speaker 2 (22:01):
Kissing my sister.
Speaker 1 (22:03):
What.
Speaker 3 (22:03):
On the mouth.
What?
Speaker 1 (22:05):
Can't roll literal, just kidding.
Speaker 2 (22:07):
I guess Aladdin's songs are pretty literal right?
It's like Al Prince Ali.
It's like this is literallyPrince Ali.
Let me tell you about him.
Speaker 1 (22:15):
Yes, and he's also, I am currently trying to avoid
these people from stabbing me,but I'm singing about it at the
same time.
The person you're going to havea hard time convincing is the
most famous director right now,christopher Nolan, because he
doesn't make movies.
Speaker 2 (22:31):
This is going to change the director field the
Joker dances.
Oh, is there a musical numberin the Joker?
No, that's.
Speaker 1 (22:39):
Todd.
Speaker 2 (22:42):
It makes the movie.
Speaker 1 (22:43):
Yeah, it makes the movie he does a dance, okay,
well, joker 2 is a full-onmusical.
Is that going to be a?
I haven't seen Joker 1.
Speaker 2 (22:50):
There's another Joker movie.
Speaker 1 (22:51):
Yeah, it's going to be Joker and it's a musical yeah
.
Speaker 2 (22:53):
You're joking now.
Speaker 1 (22:55):
I'm jokering.
Do I ever joke?
Speaker 3 (22:58):
about movies.
Speaker 2 (22:59):
Is this for?
Speaker 3 (22:59):
real.
Can you verify?
I don't know if he's startingto be a musical.
Speaker 1 (23:01):
I can't tell if Scott's being sarcastic or not,
but guess who's going to beHarley Quinn.
I don't know Lady Gaga.
Speaker 2 (23:07):
No you've got to be kidding me.
Speaker 1 (23:08):
All right 100% real information here from Scott
Cormor.
If that's true, then they'retaking this solution right now.
Speaker 2 (23:13):
They're using our solution.
This is We'll have to.
We'll cite it when it comes out.
Everyone goes through the Jokermovie because solutions on the
multiverse they still are right.
Speaker 1 (23:22):
But I'm saying where do you put a musical number in?
That dance is creepy too.
Oh, it's creepy.
Where do you put one inOppenheimer?
Speaker 2 (23:29):
Do you just like?
Speaker 1 (23:31):
I mean, you don't have to do it in every movie.
Whoa, whoa, whoa.
I'm just saying Wait a minute,I'm just saying.
Yeah, oppenheimer, it's quite anice bicycle you rented to
pedal backwards.
Speaker 2 (23:40):
That's very interesting.
Speaker 3 (23:43):
You said you shouldn't put rules on art.
Speaker 2 (23:45):
I'm agreeing with you .
Yeah, it's not a, you don'thave to do it.
You could say this is a dramaand there's no musical, and it's
totally straight Boring.
Speaker 1 (23:53):
Yeah, it's boring.
Speaker 2 (23:56):
But just to play devil's advocate, how would you
put it in Oppenheimer?
I think there could be maybe amoment where he's, a moment
where they're doing physics andthey're all trying to figure out
.
Maybe a lot of times when yousee a montage, I think you could
replace a montage with amusical.
But then there they had themontage where they're building
(24:17):
the uranium, they're making theconcentrated uranium.
Right, you might, but I meanit's hard to make a musical
about a thing that killed600,000 people.
Oh, probably, yeah, but thereis Sweeney Todd.
I mean murder, murder musical.
Speaker 1 (24:30):
Did he kill 600,000 people?
Speaker 2 (24:31):
No, no, but he killed a lot of people and it's a lot.
Speaker 3 (24:35):
That's a lot of upset people.
Speaker 1 (24:36):
It's a very successful barber practice.
Speaker 2 (24:38):
You don't want to upset people, you don't want to
be like.
Speaker 1 (24:40):
Because they were laughing and snapping their
fingers when they were enrichinguranium.
Speaker 3 (24:45):
It's like yeah, it's not a good look, yeah, you have
to draw the line somewhere.
Speaker 2 (24:50):
But Fast and Furious.
They're having a fun thing.
It might bring some levity andsome romance to an otherwise
perfectly boy.
Speaker 1 (24:57):
Those movies are ridiculous.
It could actually fit in there,but I don't want it to be just
shoehorn in there.
Speaker 2 (25:04):
Or like a heist movie , I think.
Speaker 3 (25:07):
Heist movies have dance a lot yeah.
Speaker 2 (25:09):
Strippers.
You know what movie did thisactually recently, but you don't
think about it this way, maybeat the beginning is Killers of
the Flower Mountain.
Because, they have NativeAmerican music and then Native
American dancing happening onscreen in sync with the music.
That's a song and dance.
Speaker 1 (25:30):
Well, and Scorsese is .
He is so skilled at needledrops and putting music in all
of his music, all of his movie,like Goodfellas or they have
these crazy, and now we use theRolling Stones You're like, yep,
that's perfect you know, in themovie you said early on, the
(25:54):
Pulp Fiction, there is a dance.
Yeah, when they do this yeah.
That's what you was talkingabout.
Speaker 2 (26:00):
Oh, I thought you were saying Add a Song and Dance
number two, the Chubby.
Speaker 1 (26:03):
Checker.
Speaker 3 (26:03):
That movie and I was like, yeah, that would be a
weird movie, but they actuallyhave it already, so they have
the cover of the cover and adance put in a movie without
making it about the movie Rightright, right.
Speaker 2 (26:15):
But it strengthens the movie like crazy, develops
the character, it develops thethemes, it develops the mood.
Speaker 3 (26:21):
Whenever you see a person dance, it develops their
character.
You're like whoa, yeah, theycan move.
If someone moves in rhythm,their, their, their, their state
goes up.
Speaker 2 (26:34):
You have more respect for someone who moves in rhythm
.
Speaker 3 (26:36):
All right, it's just, it's natural habit, yeah, of a
human.
You're like man.
This person's in rhythm.
That's a better person.
Speaker 2 (26:45):
I think, I think more highly of this person.
Speaker 3 (26:50):
I'm like, I have instant jealousy because I'm
like oh, man I want to be, Imean naturally clumsy boy, and
so when I have to be there, justlike if you're just, if they
could just do a little move.
Speaker 2 (27:02):
You're like oh, so basically what we're saying is
musical number.
Often time could just be adance number and we and you'd
get as almost the same effect,but I do think you should add
full musical numbers wherepeople are singing and anyways.
So everybody in Hollywoodlistening up, just the next film
, your screenwriter, if you're ascreenwriter, just be like,
just to be like parentheses,musical number and parentheses.
(27:25):
Just put that into yourscreenplay like two times, and
and the and, let, let, let thedirector, let other people
figure out, but just, you know,think about that as a, as a
visual tool, the storytellingtool, that's.
Speaker 1 (27:38):
I think underutilized .
Yeah, if you're a screenwriterout there and you're typing up
your final pages and it's likeand the bad guy went to jail.
Good job, jack, you're the bestcop on the force, all right?
Musical number and beat singingdancing, right, you know.
And then the triumphant yeahsinging dancing.
Speaker 2 (27:58):
I had this idea a while ago because I was teaching
some, some kids, kids 20 yearolds how to do screen
screenplays.
Okay, and I've written a fewscreenplays and and one of the
screenplays I've been working onmore seriously is a biopic of
Jane Jacobs and absolute.
I, as I was telling, this idea.
I was like, oh my god, janeJacobs biopic absolutely needs a
(28:21):
musical number, and I startedto actually sort of like come up
with like the lyrics and likekind of how it would look and
feel.
Because there's a famous thingin Jane Jacobs books, in the in
the death and life of greatAmerican cities, called the
ballet of the city, and it's allabout how the city, the
sidewalk, has this sort of orthe ballet of the sidewalk.
It's about how the sidewalk hasthis sort of life.
You know, people come atdifferent times of day for
(28:43):
different things and everyone islike a group of people kind of
joining the stage and exitingthe stage, and so you could do
this really cool.
You know also this the buildingin which she wrote the death
and life is like this like hadall.
It was like a what was like afive-story walk up and every
different floor had likemultiple different things going
(29:03):
on in it.
So it'd be cool to like cutaway, like Wes Anderson, like a
dollhouse, like cut the wall offand then have a musical number
of everything going on in thatbuilding yeah and Jane Jacobs is
just like arriving with hertypewriter and and kind of going
through people would.
It would just be so much moreinteresting than if you just
were like it's a straight biopic.
Right, beautiful mind, straightbiopic.
No, no song or dance it wouldjust add so much anyways.
Speaker 3 (29:26):
So your song, your song about this, is it abstract
with multiple means?
Gotta make it abstract you said, you started a song a little
bit well, I was thinking aboutcalling it.
Speaker 2 (29:39):
Yeah, you don't have to tell me the details.
Speaker 3 (29:40):
But is it abstract or is it more about the story?
Speaker 2 (29:44):
no, it's abstract because it's oh yeah, the name
of the song is better togetherwe're better together okay
because it's about mixed use,urbanism and but it's very
abstract.
We're better together, so it'sa, but it's also about
multiracial democracy.
You know it's about bettertogether.
It's not being a better ifwe're diverse, better if we are
together in the same spaces andthe one and a two, and a one,
(30:05):
two, three.
Speaker 1 (30:06):
I don't know that.
I didn't actually work outmusic, I just worked out the
lyric.
Speaker 2 (30:12):
I just worked out at least one lyric better together,
and then that would be you knowit'd be a power ballad it power
.
This would just be a powerballad standard musical.
Speaker 3 (30:19):
Yeah would Jane dance or just other people in the
house?
Speaker 2 (30:23):
I think Jane probably cut up a little bit, or at
least she'd be going through thescene.
You know she's on a bike, youknow she's walking through the
scene.
I think she'd be more likewalking through the scene, going
and doing, and then everyonearound her.
I have an additive for you yeah,please, where, if let's riff
here she's sitting at thetypewriter and it looks like her
fingers are dancing to cut awayto what she's writing about in
(30:44):
the different parts of that,yeah, yeah, yeah, no, I like, if
you bring it back, a call backthey dance when she comes in,
yeah, yeah she sits down,actually work.
Speaker 3 (30:51):
It's like she starts to think about yes, yes, I think
what.
Speaker 2 (30:54):
I like is her sitting at a bit on a bench on in the
morning and then the whole dayof the city happens around her
and every like part of the dayof the city is like another
people entering.
So, like you know, she'ssitting there and like the baker
like opens up, up the thing andnow the baker gets to sing a
little bit about being bettertogether and then, like then
(31:15):
businessmen come on and are likemaking their way, you know, or
construction guys are goingthrough because it's the morning
and they're going to theconstruction site, yeah, and
then the businessmen come, andthen the moms of the strollers,
and then the you know it's thebeauty in the beast song, the
beginning, where she's likegoing through the town with her
book.
Speaker 1 (31:30):
Oh, I recall bonjour, bonjour, bonjour, bonjour,
bonjour, because the bread right, so you like everyone always it
feels like very broad, likethis is a very I think Broadway
right now is where they havepeople who are just like we need
to put music into all the shows, but it's how the culture is
here.
Yeah, so you, just you hirethose people to help people out
(31:54):
there.
Speaker 3 (31:54):
Well, you know what there's.
Where do we get these people todo the music?
Because schools are removingmusic classes, shutting down.
It's very hard to get a goodwhoa training.
I think we, okay, I think weoverproduce musicians at this
point.
Speaker 2 (32:10):
I think, it's fine yeah, I had a guy too much
there's too much.
I interviewed a guy once whowrote the song Space Cowboy by.
Speaker 3 (32:20):
You know, some people call me the Space Cowboy the
guy who made that song made methe gangster yeah, for Steve
Miller band.
Speaker 1 (32:28):
He made the songs, gave it to Steve Miller band he
was telling it, he was tellingyou go, wow, how do?
Speaker 3 (32:34):
you write that space cowboy.
Speaker 1 (32:38):
Oh, I have a question on the lyrics here AI, how do I
pronounce?
Speaker 2 (32:44):
I.
What is that wow?
Speaker 3 (32:47):
I really like your peaches.
Yeah, maurice Maurice, thisguy's name Maurice, so this guy.
Speaker 2 (33:01):
I was asking this guy and he said at the golden age
of jazz there was like 180 jazzartists in exist, like in
existence, it's not a lot.
And then, and that wererecorded you know that we have a
record of today.
Every year there's like 8,000jazz PhDs graduate we need them
(33:21):
for it.
We need their services rightwell, I mean, I'm not against
musical education, don't get mewrong, but I'm just not worried
that we're not gonna be able tofind people to write the songs.
Speaker 1 (33:29):
But there's people out.
It is a valid boy that they'reslashing arts funding.
Yeah, I love art.
Probably gonna result,especially with AI automating
everything.
Speaker 2 (33:37):
We absolutely should be focusing on art.
What else are human beingsgonna do?
Speaker 3 (33:41):
gonna result in movies with bad musicals we got
to start at start while they'reyoung.
But here's the thing we got.
We're talking about movies andmusicals, but maybe this
conversation should continue.
To Dance can improve life inall aspects outside of movies.
Speaker 1 (34:05):
In your business?
In what do you mean?
Speaker 2 (34:08):
In your bank, your bank.
Speaker 1 (34:10):
I am so against this as a person who is terrible at
dancing.
Speaker 2 (34:13):
I mean, it's easy dances and then you get better
at it.
Come on, growth mindset.
Speaker 3 (34:17):
Yeah.
Speaker 2 (34:18):
Well, that's it for today, guys.
Do we solve it?
I think we did.
Do you guys convince.
Speaker 1 (34:25):
I'm not.
I'm convinced.
I'm even more convinced thanbefore.
I like my movies.
Speaker 2 (34:29):
We already said the good movies have a lot of
musicals.
Speaker 1 (34:32):
Some do, but.
Speaker 2 (34:32):
I feel like they could do more, the ones that
need musicals.
Speaker 1 (34:36):
The ones that need musicals You're saying it's
perfect.
Speaker 2 (34:38):
Well, the ones that need musicals have them, and the
ones that don't, don't.
No come on, clearly, you coulddo it better or worse.
They're either too many or toofew.
It's not that they're in thewrong.
Speaker 1 (34:45):
There's not the right amount.
Speaker 2 (34:46):
No, clearly it's too and it's too few.
Because it's not too many.
You wouldn't be like, oh,there's too many musicals.
God, I'm always like, lookingat my watch, saying when's this
musical number gonna end?
Speaker 1 (34:54):
You never said that, but terrible oh you are when
they're bad musicals.
Scott Skeptical I am, butthat's my job, right?
Speaker 2 (35:00):
Exactly the way they are.
Speaker 1 (35:01):
I like my movies, or he wants fewer musicals.
Speaker 2 (35:03):
He wants fewer musical numbers.
What do you think Bedford Fewermore exactly the right amount
already.
Speaker 3 (35:09):
We need more.
Speaker 1 (35:10):
I just don't want a singing, dancing.
Hop on my side.
That's what I'm saying.
Well, that's, I didn't say it'snot strict.
Speaker 2 (35:16):
It's not a strict rule.
All right, should we finish?
Speaker 1 (35:20):
Yes.
Speaker 2 (35:21):
Thanks everybody for coming along.
Speaker 1 (35:23):
Enjoy the movie talk.
See you back next week.
There are no other podcaststhat talk about movies so I
think we are gonna get a quite abump this episode.
Speaker 2 (35:33):
Yeah Well, I don't think anyone's ever proposed
what I proposed here today, sothat's good.
That's what you come here for.
This is new ideas.
Speaker 1 (35:40):
That is definitely new, New ideas for sure.
All right.
Well, thank you, Bedford forjoining us.
Speaker 2 (35:45):
Yeah, thanks for dropping in Bedford.
Speaker 1 (35:47):
Thank you guys for listening in and we'll catch you
next week.
Bedford.
Is there anything we shouldplug for you?
Do you want to plug anything?
Do you want to send anyone?
Speaker 3 (35:55):
anywhere.
Speaker 2 (35:55):
Peace on.
Speaker 3 (35:56):
Earth.
I want everyone to go and finda line dance this week.
Speaker 2 (36:02):
Some contra dancing, some line dancing, some line
dancing.
Okay, you all have yourhomework.
Speaker 3 (36:08):
You're marching orders.
Speaker 1 (36:09):
Go find line dances.
We'll see you next time.
Speaker 2 (36:13):
Jiddy-o Bye cyber HeavyUNT.
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