January 3, 2025 • 50 mins
F#@K OFF FILM FOLKS… Oops! Sorry, the machines took over for a second there. It’s our first Legendary Lore of Season 2! This week we’re breaking down the drug fueled production that is Stephen King’s Maximum Overdrive. Join us as we explore King’s first and last attempt at directing, how Emelio Esteves compares to Bruce Springsteen, is AC/DC ok after wrecking their tour van? And another reason we wear face protection behind the camera. This film is not to be confused with “Trucks,” or is it? Enjoy the show!
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Hello film friends, friends of film and everyone in between.
(00:12):
Welcome to the Film Folklore Podcast.
I am Jed Props and I am joined today by Zoe Props.
Hello.
And Justin Sound.
Hello.
Chris and Joe are not with us today.
I guess we should start.
Zoe, where's Chris?
I was kind of like interstellar thing.
I feel like I can hear echoes of him and the walls, whatever the plot of that movie was.
(00:37):
Yeah, yeah, yeah.
It's what it feels like.
Or that other movie, Frequency, lesser known, that still it's like he's hearing somebody
that's in a...
I think.
Yeah.
I think.
I don't know.
Or Poltergeist-y, Carol Anne.
Hard to pin down after his illness.
He's gone into the theoretical third dimension.
Yeah.
So...
The Ebolaverse.
The Ebolaverse, yes.
(00:59):
He still has Ebola.
And Joe, of course, is not with us today.
Joe was last reported to be at the Casbah of Marrakesh in Morocco with actor-writer
Mo Raqqa.
Yeah?
Y'all see what I did there?
Yeah?
Yeah?
All right.
(01:19):
So, season two, Legendary Lore is back and we are gonna kick off a bizarro movie, which
everyone has watched at least part of.
But we'll get into that.
Today we will get to see the effects of cocaine on a film production in the way of a cooked-out
director.
(01:39):
That'll be fun.
And I'm gonna use that to segue us to a find the fake movie title.
Ding, ding, ding, ding.
We should have a little jingle for that.
Yeah.
We could just use the ding, ding, ding from Joe Adrian.
That's right.
Call back to Joe Adrian.
So y'all know the drill.
(02:01):
Three movie titles, one is fake.
The theme I'm going with for these three titles, these are three titles that all sound like
someone on drugs came up with the title.
So that's how we're segueing this.
So the...
Wait, one is fake, one is real?
One is fake.
Okay.
Season seven, we're gonna have this down pat.
(02:22):
How do I play?
All right, y'all ready to play?
Okay.
The first title is A Nymphoid Barbarian in Dinosaur Hell.
So the next one is Machine Gun Street Preacher from Mars.
(02:45):
The third one is called Blood Orgy of the She Devils.
Same again, nympho, dinosaur.
Yeah, a nymphoid barbarian in dinosaur hell, Machine Gun Street Preacher from Mars, Blood
Orgy of the She Devils.
I say the middle one's fake.
(03:07):
You going Machine Gun Street Preacher?
I don't know.
That would be the middle one.
I don't know.
Let's say that one.
I think it's fake.
All right.
I think I've seen the last one.
Blood Orgy of the She Devils?
Yeah, well not seen it, but...
Or that one's a fake one.
I think I've seen the poster for it.
(03:28):
Okay.
Maybe that one's a fake one.
All right, because you're guessing the fake one.
Because I always get it wrong.
Well there's a theme here of a bunch of words put together that mean nothing.
So fuck, I don't know, man.
No, I'm going to go with the middle one.
(03:49):
All right, you're sticking with the middle one.
Maybe.
Justin, which one are you going to go with?
I think I'll go with the first one.
The a nymphoid barbarian in dinosaur hell.
All right, and then you're saying Machine Gun Street Preacher from Mars.
All right.
Drum roll.
The correct answer of the fake movie is Machine Gun Street Preacher from Mars.
(04:10):
Which one did I guess?
The right one.
What are you looking at me for?
Thank you for playing.
Those were long names.
Yeah, yeah.
I've had them saved for quite a while trying to figure out where I'm going to use them.
(04:30):
And then I was like, oh, if I take both of them together, then yeah, now I just need
one weird something to go in there.
Yeah, yeah.
By the way, we need to get to work on Machine Gun Street Preacher from Mars.
That'll definitely be a hit.
Yeah, I think I've seen the poster for Blood Orgy.
And oh, she devils.
Yeah.
(04:50):
This is probably a good time to say we're going to post these on our social media and
I'm going to laugh because we're so far behind on all of that.
But at some point in time, you'll eventually see posters for these.
So the first one, a nymphoid barbarian in dinosaur hell was a 1990 movie.
It's actually a Tromaville joint from that world.
Joe probably would have gotten that.
(05:11):
And the synopsis is, in a post-Armageddon world, a young woman finds herself in a fight
for survival against mutant cavemen, dinosaurs, and other prehistoric animals.
Why she's a nymphoid, I'm not exactly sure.
Is she also prehistoric?
It just says post-Armageddon world.
(05:33):
So somehow in that universe, the dinosaurs have returned and she's not prehistoric.
I don't know.
I don't think I actually know the definition of Armageddon.
Well according...
I'm not that smart.
I only know that Aerosmith is involved.
(05:53):
And Michael Bay.
So anyway.
And then the other one, Blood Orgy of the She Devils is a 1973 movie and the synopsis
for that is Lorraine and Mark enter a world of witchcraft where Mara foretells the future
and helps them remember their past lives.
(06:14):
When a series of mysterious murders begin to occur, they turn to Dr. Helsford for advice.
Don't know who any of those people are, but I guess you'd have to watch the movie.
Dr. Hellsford?
Helsford.
Helsford.
Helsford.
I thought this was so funny.
I decided to include it.
I found an IMDB review from 2004 and this is in regards to Blood Orgy of the She Devils.
(06:38):
It says, it's titled Dumb and Boring and it says, I spent $5 on a VHS copy of this film.
I want that $5 back.
I mean, think of all the gumballs I could have bought instead.
There's no orgy.
There's little blood and Leslie McCray hasn't learned to dance any better since her terrible
turn in a movie called The Girl in Gold Boots.
(06:59):
Even in this film, it looks like they swallowed a quart of Nyquil before filming began.
The plot?
Was there one?
I saw this film less than six months ago and I can't remember much about its central storyline.
Maybe it's a subconscious defense mechanism that caused me to block it from my memory.
It's awful.
That's five dollar tape.
It tried too hard to be arty and fails because nobody's art is going to be taken seriously
(07:22):
when you have a scantily clad go-go dancers wiggling around with long spears.
Big yawn.
That's the end.
Classic bait and switch.
No blood, no orgies.
It's definitely one of those titles that you're like, what is this?
And then you're like, no, okay, that was terrible.
(07:43):
Very little blood, very little orgy.
He's mad.
In my hometown, I think I was a senior in high school.
They shot a B movie out by the lake and it was Savage Beach 3 and that lake is a mud
(08:05):
bottom lake nowhere near a beach.
There's cypress trees in the shot that are also not beach.
That's why it's savage.
But like the queen of B movies at the time, it wasn't Shannon Tweed, but it was someone
of that ilk and a friend of mine was able to get on set and get her autographed.
(08:26):
He cherished that for many years.
It's like, I got the queen of B movies.
We're like, who is that?
It's this person.
Cool.
And ironically, now I'd probably be like, yeah.
But I have never gotten to see Savage Beach 1, 2 or 3.
One day.
No bummer.
(08:47):
Times three.
I wrote on Legendary Laura.
So thank you for playing that, everyone.
Now onto the show.
So today we will be discussing a head scratcher from 1986 called Maximum Overdrive.
Some ears I think I just felt perk up out there.
It's definitely a cult movie.
It's written and directed by Stephen King.
(09:09):
It's the only thing he's ever directed and we're going to find out why soon.
And my name for this episode is Maximum Overdrive, Cocaine and Confusion.
So I guess to kind of kick this off, of what y'all saw, what's your kind of initial take
on what you saw of Maximum Overdrive?
(09:30):
I love how stupid the diner lady is.
I like how it's like sexist and also not.
They're like, no, no, no.
Women are stupid.
And she like can't flip an egg.
Well, then later when she goes nuts, she's like, we made you.
(09:51):
We made you.
She's left for like three seconds.
You didn't make them.
Anyway, that's what I got through.
Well, that's funny.
So you should also mention falling asleep and what you woke up to.
Oh yeah.
No, I fell asleep.
I think I made it like 15, maybe 20 minutes of the movie and then woke up to trucks.
(10:11):
I was like, cool, I'll finish the movie.
Wait, this is a different movie.
So apparently there's a movie called Trucks and what was that Prime?
I guess it just segwayed into another movie while you were sleeping.
It also happens to be about 18.
Sure.
I see algorithms.
They just play the same, more or less the same movie.
(10:33):
If you like Maximum Overdrive, you will love Trucks.
Trucks.
And then they played Cars.
Fast and the Furious.
Eventually made your way back to playing with Jerry B. Justin, what's your take on it?
(10:54):
Ah man, it's just, yeah, immediately new drugs were involved.
Almost within the first five minutes.
Justin was hoping for a little bit more other types of machines kind of taken over.
Yeah, there's no real rhyme or reason to, because like some cars they drive without
issue and some small appliances are fine while other ones.
(11:18):
Yeah, because that's what I was thinking too.
I was like, well, why isn't this car fucking up?
And then at one point there's a kid that gets on a bike and the bike flips.
Right, right.
In the baseball field.
Yeah, as if to signal that they can take over the bikes, but then the other kid that jumps
on his bike and gets away, nothing, but there's no electronics in the bike.
(11:41):
Yeah, the sprinklers going off, there's no electronics in that.
Yeah, what's the fucking story?
That's where it gets really confusing where it's like, I'm not understanding the parameters
of this universe, but I'm still watching.
Yeah, I'm down for electronics taking over and if it's electronic or plugged in or whatever,
(12:03):
then sure.
Or if it's mechanical maybe is the idea.
Well the hand or whatever, the electric knife that cuts are on the arm, you know, like that
thing spazzing out.
That thing that's right there for some reason in this diner that belongs on.
Use that to cut a turkey usually.
Yeah.
It wouldn't be by the hash browns.
It allows it to continue cutting for a good 15 seconds.
(12:28):
Did you get cut there little old lady?
Just move your arm.
As soon as you feel it, it starts to cut you.
But it cuts the electricity on and off inside of the building, but then again later.
Well then she stays at work after that and be like, I'm going to go to the hospital,
maybe get a couple of stitches, not stay and work at this shit ass job.
(12:49):
Yeah.
Well, that boss was a hard ass.
I mean, that's beyond.
Should we watch the trailer right now?
Yeah, come on.
Shut up and drive.
And specifically this is the trailer with Stephen King.
There are multiple trailers.
It's loading.
(13:10):
It's a de la Renta's joint.
Love that tape audio.
Hi, my name is Stephen King.
I've written several motion pictures, but I want to tell you about a movie called Maximum
Overdrive, which is the first one I've directed.
(13:32):
A lot of people have directed Stephen King novels and stories and I finally decided if
you want something done right, you ought to do it yourself.
Oh, he's got the director.
(13:53):
His first and last.
And how many takes did he do?
He feels like he can't remember the lines.
I sort of enjoyed it.
I just wanted someone to do Stephen King right.
You want a war?
(14:13):
He's my brother.
So come and spend some time with me and my friends at the Dixie Boy.
Spend some time in the dark.
I'm going to scare the hell out of you.
(14:38):
And that's a promise.
You're going to get us in an awful lot of trouble, man.
We already in trouble.
Maximum Terror.
Jesus come in and he is.
Maximum King.
Maybe tomorrow will be our world again.
Dino De Laurentiis presents.
It's your world, it's just a couple of things they took over.
(14:59):
Maximum Overdrive.
I like that the worst person to direct a Stephen King thing is Stephen King.
It's definitely up there outside of maybe one of his TV movies that were done.
(15:20):
In the 90s, I think it was the Langoliers.
Was it a TV movie?
Rolls off the tongue.
Effects were terrible in that movie, but it was a TV movie.
It had Balke from Perfect Strangers.
Okay, they didn't hire the guy from FX.
The special effects guy.
Well, he was too popular.
They weren't able to get him.
Sure, only the best of the best for him.
(15:40):
Yeah, oh no.
That guy, there's no way he would be.
I'm going to throw this in here because I have nowhere to logically put this, but one
of the random things I learned when I was researching is that apparently there's an
unrated cut of this that's very graphic, way more than what is in here, and George Romero
(16:02):
of all people said that he saw that cut and it made him sick to his stomach.
It's like if George Romero is saying that.
Who could it possibly be?
I believe he also followed it up and said he loved it, which is also very George Romero.
Something can make you sick to your stomach that you like.
If that's your thing.
(16:26):
The short plot synopsis is a group of people try to survive when machines start to come
alive and become homicidal.
To not well explain that, I have written down the opening and closing, I'm going to put
in quotes, air quotes, explanations for this plot.
(16:47):
Normally I might call this a spoiler alert, but I'm not sure what we're spoiling as most
of this doesn't make sense.
In the opener it says, on June 19th, 1987, at 9.47 a.m. Eastern time, the earth passed
into the extraordinary diffuse tail of Rhea M., a rogue comet.
(17:08):
According to astronomical calculations, the planet would remain in the tail of the comet
for the next eight days, five hours, 29 minutes, and 23 seconds.
That's all it says.
There's a green gassy haze, whatever it is, that gets shown twice and then it just goes
away.
Surround the entire earth.
(17:28):
We never to be seen again.
Remember there's one shot in the sky that you see it, but then all these other shots
where you see the sky, it's not there.
That's why the machines are taking over.
Yeah.
Here's the comet.
She figured it out.
I don't know what her name is.
Brett.
That girl.
Oh, yeah, the female love interest character.
(17:50):
The one in the beginning again, I fell asleep, so I don't know.
There's just two women in it.
She was hitchhiking with the sleazy Bible salesman.
One is dumb and one's smart.
Yeah, the smart one figured it out.
Yeah, your girl's wicked smart.
(18:11):
Then you get to the end of the movie and you get another title card that comes up that
says, two days later, a large UFO was destroyed in space by a Russian weather satellite, which
happened to be equipped with a laser cannon and class four nuclear missiles.
Approximately six days later, the earth passed beyond the tail of RIA-M exactly as predicted.
(18:33):
Then you get a little delayed thing pop up and then it says the survivors of the Dixie
Boy are still survivors.
That's it.
The UFO thing, Blackfield, didn't know what that is.
Yeah, why?
They're not even saying that the UFO was the cause because they still go back to the whole
comet thing.
Let's throw a UFO in there.
(18:55):
Yeah.
Did the UFO not save them?
I don't know.
Because they exploded and happened to have cool bombs conveniently that we need or something.
Should we be thanking the Soviets?
There's always the gas.
There's the comet gas.
Right.
It's very convenient.
See, I didn't even get to the comet gas part.
It was the very beginning of the movie.
Well, then I wasn't paying attention.
(19:16):
What's a movie?
Yeah, what's a movie?
I was getting a drink from the kitchen.
I could hear it.
I could hear the gas.
I remember.
Like a lot of movies based on King's works, the source material for this movie was from
(19:37):
a short story he wrote called Trucks, which with Zoe's story today, we haven't had time
to confirm if that actually is another movie based on that same short story or is it just
something that's happened to be called Trucks?
It's got to be.
It seemed like the same fucking movie.
Yeah.
Straight, but like the day instead of the night.
(19:57):
18 Wheelers Going in a Circle.
Yeah, it was just a bunch of trucks.
Right.
Oh, which other inexplicable things.
So the trucks somehow understand English.
At least one of those things could communicate with Morse code because the boy that's on
(20:18):
the bike, he later is like, wait, they're talking to us.
And they're like, how do you know it?
It's Morse code.
I got a merit badge in that.
And suddenly he's translating.
And then the trucks are basically saying they want fuel.
So they have to go fill up the trucks all day until the gas runs out.
It's very bizarre.
So it's like speed, but gas, they just need more gas.
(20:43):
There was a bus that if it's speed, below a certain level, then it's speed.
Well, of course the trucks speak English, though.
That makes sense.
How are they going to read the road signs?
Sure.
Why not?
Where they're going.
Agonist is sort of the Green Goblin toy truck.
It's never outrightly shown that it's the leader, but it seems to sort of be the leader.
(21:05):
But he's the one with the face.
Yeah, it's the one with the face.
The one truck with the goddamn face on him.
Stephen King insisted on getting Marvel's approval to put the Green Goblin.
The Green Goblin?
That is the Marvel Green Goblin face.
I just thought it was some other green dude.
But other than like-
Ben lived exactly like the Green Goblin.
I didn't know I didn't know.
I'm a nerd.
I don't fucking care.
He's called the Greenish Goblin-like guy.
(21:28):
Yeah, I just know Willem Dafoe is Green Goblin.
Yeah.
Looks exactly like him.
Well, whatever.
So a little backstory for this.
The producer was Dino De Laurentiis.
I'm not going to go too deep into him.
(21:50):
He's a whole episode of his own.
Legendary Italian producer.
He's also the patriarch of a De Laurentiis film family.
All of his children, grandchildren, nieces, nephews, they're all producers, actors, writers.
And he did- y'all are more than welcome to go look him up.
(22:10):
He's produced all kinds of crazy stuff.
He's Howard Hughes level, just not as well known.
One of my favorites, because he took a lot of crazy risks back in the 80s.
He's the money backing for like Coney and the Barbarian and a lot of that kind of stuff.
So him doing Stephen King movies kind of tracks.
(22:30):
He had already produced Firestarter and Cat's Eye, and Stephen King had written the screenplay
for Cat's Eye.
And then that ultimately led to him directing Maximum Overdrive.
And producer Martha De Laurentiis, she- I have a quote here from her.
She said, Dino had given Stephen the opportunity to write his first screenplay, which was Cat's
(22:54):
Eye.
Stephen later said to Dino, I want to direct.
And Dino said to Stephen, why not?
You should.
And that's how it happened.
It sounds great on paper.
Isn't that how all directors- You know, classic elevator pitch.
Direct.
You ever look at that and you're like, what the hell did you do?
(23:16):
But hey, this crew member that's been in the industry for 30 years, what would they know?
Yeah, fuck that guy.
But you know, my niece just graduated from AFI.
Yeah, this 27 year old with cool pants.
Or actually, not even from the American Film Institute.
She got a degree in engineering, but I've always thought she'd make a good director.
(23:39):
That's what our world is.
Yeah.
She's got coveralls.
She likes to wear kooky hats.
You know she's set to be a director.
Are those New Balance?
Get the fuck out of here.
Somebody likes fluorescent colors.
So Stephen King has been very vocal about his substance abuse in the past.
(24:03):
And apparently he was raging on cocaine for the entire making of Maximum Overdrive.
And I did learn, I didn't know this.
I mentioned it before recording, but Misery was actually written as a giant analogy for
how he felt about the grip of alcoholism on him.
And here, not intentional, but we're seeing what cocaine can do.
(24:30):
So as we've kind of been dancing around, the movie makes little sense.
I couldn't help but think about like, if you were partying with Stephen King during this
time period, and think about like, because this is, what did I say, 87?
(24:51):
All this stuff that he hasn't written yet, but maybe it's in his head, but this dude's
just like coked out and he's just saying like random things from his yet to be done stuff.
And you're like, this dude's out there.
Whereas like maybe he's talking like Dark Tower series stuff or something.
He's like, like a baby, but with like a mancock.
And you're like, what?
What are you talking about?
(25:11):
Well, he thought Maxman Overdrive was really scary.
I like him talking about it.
The eyes get red.
Yes.
He sounds like he's reading and like really trying to remember his lines too.
He's like not like, dude.
I don't think he blinks the entire time.
Yeah.
Yeah.
The way he's talking like, oh, this is weird and not natural.
(25:33):
Sucks.
Get him out of here.
So I have several quotes from people that worked on it that all kind of help explain
a lot of what is going on behind the scenes.
So it was obvious out from the gate that Stephen King was not fit to direct.
And this is a quote from a camera assistant, Sylvia Gialetti.
(25:57):
I'm going to, I feel like I didn't butcher that.
But she elaborated, Stephen King was not a director.
He did not know where to put the cameras, how to do this.
Stephen King had a strong idea about the movie, but he was not able to translate it in images.
You know what I mean?
So I know what she means.
(26:18):
We've all worked around directors that were not good at getting the idea in their head
out to you in a clear way.
I mean, that's just something that happens.
Their job.
Yeah, their job.
Yeah.
Yeah.
Yeah.
I mean, you're a director, direct.
But I've been on a couple of shows where the director was the weakest link and it is quite
(26:42):
problematic the way it trickles down because that obviously is a very important role.
So it's like a domino effect when you're not getting the information you need and you're
trying to get the answers to your questions and they're not coming.
So then you get on the day into the shoot, you're kind of doing your best educated guess
and having some maybe back pocket options because you just got to plan for all these
(27:06):
things you can drum up as possibilities.
And then you'll always be wrong.
It'll be the one thing you didn't think of and didn't plan for.
And then the director now on the moment in the day is like, why did you not know the
idea in my head that I needed it to be blue?
And you're like, that's on me, I guess.
That's when I feel the worst for the ADs.
Yeah, that's definitely a world where you sympathize with the ADs.
(27:28):
Yeah.
What are we doing next?
Oh, man.
Yeah.
I'm finding the shit is.
That was a, I think I can talk about this.
The second plane of the apes movie, the director, the DP and the first AD were not on the same
page.
And this is like a $250 million movie.
(27:48):
And the director was definitely inexperienced for that size of movie and everything.
And he's gone on to do other giant things.
But the DP, I believe, it's been so long, but there was something about the DP.
He had never done a CGI film or something like that.
And it's like, why is he here then?
He had a good resume.
It wasn't about his abilities or whatever, but it's like on a show of that scale, wouldn't
(28:12):
you want to get somebody that has more of a hand in that?
And then the AD was just basically pulling his hair out, trying to hold it all together
and all that.
It more or less went fine because shows of that size will push for, they're like trains
without brakes.
They're going to get done one way or the other kind of thing.
Overall it was a good experience.
I should say that.
(28:34):
Also I've never seen more people in a film set than that movie.
At the time it was the largest VFX department ever assembled.
And it just felt like there's a hundred people with stills cameras to constantly going around
taking photos and things.
Yeah.
People clapping at special effects left and right.
And then everything you shoot with your CGI stuff has to be done three times.
(28:55):
That's annoying.
Anywho.
So, back to this that is not CGI, it's just bad effects.
So De Laurentiis, do you know, he brought on, kind of going in with what I was just talking
about, he brought on a very successful and talented Italian cinematographer named Armando
(29:16):
Nanuzzi, I hope these names.
I'm not reading what you're reading.
I'm thinking.
I know.
Nanuzzi.
Like I can't help it.
Yeah, it's fun.
I look forward to your hate mail from the Italian community.
Yeah, make fun of them.
We'll make fun.
(29:36):
Yeah.
That's alright.
It's always here.
Yeah, yeah, yeah.
That makes it okay.
So he was brought on obviously to aid King in his directorial debut.
Unfortunately this will end in a senseless and very avoidable tragedy, but we'll get
to that later.
A translator was hired to work between the DP and King and there was often friction there.
(30:02):
That translator's name was Roberto Croce and he, as I said, that was a translator for the
film.
He called a conversation that kind of sums up everything and this is from his POV, but
he says, quote, I can do 10 movies for you Dino, but I want Bruce Springsteen.
(30:22):
But Dino says, Bruce who?
Bruce who?
Dino didn't know.
He didn't know he was the boss, the man who had changed rock music.
So Stephen King explained and said, I want to direct Bruce.
This is my movie and the truck driver is Bruce Springsteen.
But Dino didn't care.
He just say, I'll get Emilio, Martin's son.
(30:42):
And when that moment became official that there was no Bruce Springsteen, Stephen King
couldn't give a shit about the movie.
That's my opinion.
So reveal there that he had envisioned Bruce Springsteen, the working man's hero.
I like how his response was, I'll get Martin's son.
Yeah, I'll get Martin's son, Emilio.
(31:04):
I should have done that in a bad Italian accent.
But so as we kind of mentioned before, Stephen King has been very vocal since the making
of this movie that he was very cooked out of his mind and didn't know what he was doing.
He was nominated for a Razzie for worst director, lost.
(31:26):
He couldn't even win the Razzie.
He lost to Prince under the cherry moon, which was I believe Prince's maybe one and done
director moment, but.
Prince directed a movie with his name in the title?
I believe so.
Well, it was called under the cherry moon.
Oh, yeah.
It was like Prince under the cherry moon.
(31:47):
I mean, anything's possible.
Prince.
Yeah, yeah, yeah.
I'm not going down that rabbit hole.
The last thing I want to mention here is that we were watching that trailer, the version
that has Stephen King in it, and he's promising more scares and more things.
(32:10):
And it might be coincidence, but it's certainly if you invite you all to go watch.
But it looks like he's coked up in it.
I mean, he looks bug hide.
Yeah.
Well, his eyes are crossed.
Yeah.
And his eyes are kind of like straight up fucking one blue this way, one blue that way.
They're not.
Right.
And as we listened, I have it written down here, but he says a lot of people have directed
(32:34):
Stephen King novels and stories.
And I've finally decided if you want something done right, you got to do it yourself, which
is very odd for him to say when he has also admitted multiple occasions he didn't know
what he was doing.
So, yeah.
So he wrote that for him.
I'll show you on my computer.
(32:55):
This is the still that I have from the trailer.
Oh, God.
He looks cross.
He's in that moment right now.
He's given me a little bit of a it's like a Michael McDonald, but crazy.
The guy from the Doobie Brothers.
I can't forget that guy.
(33:16):
So it's the beard kind of pushing us along here to the finish line.
So as alluded to earlier, one of his Stephen King's first demands that went nowhere was
in wanting Bruce Springsteen as the lead.
He was a big fan of the boss and he envisioned him as the lead, I'm assuming with Red Hanker
(33:39):
Chiff in Back Pocket.
And De Laurentiis in that quote was clearly unfamiliar with the working class hero.
And so he got Emilio Estevez instead.
But Springsteen and the E Street Band were not apparently his favorite band because he
got his favorite band ACDC to score the movie, of course, including their hit Who Made Who.
(34:02):
So I don't know if you remember in that original bridge accident in the very beginning, there's
a van that actually has an ACDC logo on the side.
Just shameless promotion.
That like confusing geographical shot.
I didn't see him.
What?
I don't know.
Although, did you know who the young black gentleman in the arcade that died?
(34:28):
Do you know who that was?
That's a very young Jean Carlo Esposito.
If you go back and look, I mean, he's just a boy.
Jean Carlo Esposito, he's in Do the Right Thing too.
I believe so.
Yeah.
He's the first guy that's been around a lot longer than people realize.
It's just he becomes some actors hit their stride later than others.
(34:52):
And he's got such a great look.
Yeah, Star Wars, right?
He became famous.
Anyway, so nothing mattered to King when it came to the actual story and there's no rhyme
or reason to it.
Why we've talked about this, but like why people could still drive some cars with no
(35:14):
issue and operate small electric tools with no problems and then other machines seem to
somehow have cursory knowledge of the English language.
We talked about the Morse code.
The fact that that gun mounts shows up.
It's like, I don't even know what is going on with this thing because it just, I don't
know, it was a very odd vehicle.
(35:34):
It was just like, I need some with a gun on it.
The Mad Max, yeah, the Mad Max turret vehicle.
But all this is small potatoes for the accident that occurred on set, which is ultimately
what we're driving towards here.
E-E-E-Y.
Our laugh is the same.
(36:00):
Very punny today.
During a scene in which a sentient lawnmower chases a boy, the mower veers off course.
Oh, in one of the takes I should say, the mower veered off course and it hit a woodblock
that was being used to hold the camera up at an angle.
(36:20):
And that splintered the block and pieces of wood splinters shot out into the face and
eye of the DP.
And to which the rest of his career, he loses sight in that eye and his life is forever
(36:41):
altered.
And there is conflicting reports whether he lost his eye, whether his vision was impaired
or whether, but at the end of the day, he couldn't see out of the eye properly for the
rest of his life.
I just couldn't figure out to what degree the eye remained or whatever.
That's an eye patch worthy story.
(37:03):
And I didn't see any pictures of an eye patch, so I feel like the eye is still there.
Right, well, you still wear an eye patch just for the story.
Yeah, true.
And I actually, I was going to ask Chris this until he got Ebola, but normally, I can't
(37:24):
speak to 86, 87 and this era, but normally in that world, our safety, anytime there's
a risk of something that could be coming at camera, we use face shields, just the plastic
face shield that you've seen at a Home Depot or wherever.
And we bore a hole in it for the camera operator to be able to still look through the lens
(37:48):
and also have protection.
What I couldn't figure out with this logistically is what was going on when that thing veered
away.
You kind of get the idea that obviously there'd be a mad dash to save the camera.
So they probably pull the camera and then it's hit the woodblocks.
The DP and the confusion, he might have not originally been close enough to camera to
(38:10):
need a face shield.
And then this happens.
I mean, this is all speculation on my part, but it's just such a weird freak accent.
But the reason it's not a full freak accident is because according to court papers, because
he did sue King and the production company.
The DP did?
Yes.
Nanouzi.
(38:31):
Yeah, yeah.
And according to court papers, King insisted that the mower blades be left in to make the
lawnmower more menacing despite crew affirming that they were not necessary at all for the
shot.
Nanouzi wanted it in.
No, no, no.
He said.
He said.
Because in his coked out, hey, hey, hey.
(38:52):
Come on.
It was a little slow to catch that one.
No, you see.
I don't see.
You see.
So it's one of those things of again showing the novice level of King and everything.
He's going like, no, we'll hear the blade or whatever.
When you're going, it's just, you don't see the blade.
(39:15):
Why would you need the blade?
And this also is what ultimately leads to the incident.
And so all of that makes sense in the lawsuit side of it.
So apparently Nanouzi later sued King and the production company for $18 million of
1980s money, but ultimately settled out of court for just shy of a million.
(39:37):
Nassouzi.
He would go on to work sporadically, but with his vision forever altered, it made him hard
to direct photography as you would imagine.
Yeah, no shit.
I think his career officially ended about 10 years later.
What'd you say he got, Mill?
He probably did some commercials.
He had been working since the 50s and he had done pretty prominent stuff.
So he's fine.
He's fine.
(39:58):
He's got Mill in retire.
I can still see you with my good eye.
Yeah, old choppy here or whatever.
Yeah, dental plan.
All right, Lisa needs braces.
So that is something that kind of starting to wind us down.
I wanted to ask in y'all's opinion, I mean, obviously we have not been in a situation
(40:23):
that specific because most things we work on are smarter than that.
We did a scene for Scream Queens.
Of course, yes, it was a lot safer than all of that.
There was a running blade or anything like that.
There was a gag where they ran a lawnmower over a girl's head that was buried in the
ground.
So a little bit similar.
(40:45):
Okay.
And they left the blades on?
Oh, no, no, no, no.
Absolutely not.
There was a squib that went off whenever it was supposed to.
Right.
Yeah.
Which actually you just reminded me, that's something that I think kind of gets lost in
this ridiculous movie is.
I was actually drawn to the puppeteering robotics of them driving and all of these rigs and
(41:13):
everything around where you're seeing unmanned things in motion.
You're seeing gear shifts with no one there.
I was immediately thinking this got to be a nightmare for props to work on.
That is going to be effects picture cards.
Yeah, I was going to say, yeah, because maybe some stuff is props, like gray area where
you work together, like the thing that cuts the lady.
(41:35):
Yeah, and the light up buttons.
Those are joint conversations with effects.
Usually in a lot of those situations, we're providing the housing after discussion of
what they need to put into the guts of the item.
But we're with the director on the look of it.
And then once we establish this look and the size needed for the housing, then it's handed
(42:00):
over to the other department to do what they need to do to get it to rig.
So who's on the other end of the conversation being like, we shouldn't have the blades running.
In that, that would be props and effects on that would have been the likely two departments
and probably an AD.
I mean, safety's AD.
(42:21):
But if someone says, no, we want them.
Okay.
Yeah.
Yeah.
Whatever.
As long as I don't lose my eye.
I'll be over here.
I did forget to mention though, this is the only movie I know of offhand that actually
says Wilmington, North Carolina, where pre incentive world Wilmington was a popular film
(42:43):
spot and actually it kind of died off because of film incentive world.
It's sort of rebounding a little bit now.
Yeah, it's coming back now, but more like-
That's 491 world, which is the Carolina is dragging down to Savannah as the one part
of Georgia that's not in the rest of the state.
It's a weird how they draw lines.
I'm surprised we're not up in Maine.
(43:03):
Yeah.
Like all the Stephen King stuff, right?
I'd like to-
Everything's in Maine.
Yeah.
Maine would be a nice place to do it.
I'd love to work at Maine.
Yes, you can't imagine homicidal 18 wheelers in Maine.
Just lobster fishermen.
Yeah.
Yeah.
Clams and all that.
Yeah, clams.
Yeah.
Got Chadda.
Yeah, they love clams, man.
(43:24):
The mist.
Yeah, right.
Filmed in Shreveport.
Really?
The mist was?
Yeah, post Katrina Shreveport.
Hell yeah.
I fucking love the mist.
My favorite ending to a movie.
It's like, oh shit.
We were working in the building where they had stored all of their rap stuff.
And so all of that stuff that was in that grocery store or whatever, and rats got in
(43:48):
the building and ate the dog food that was in there.
And then like this giant mess and it had to get cleaned.
It was a big to do.
But it was just this thing of like, oh, we're in this nice clean building.
And then suddenly there's a rat issue.
And it's just because there was actual bags of dog food sitting there.
Yep.
Rat gone rat.
Wasn't anybody's fault to be clear.
How would you have known that that would have happened?
(44:09):
The reason I brought up Wilmington as well was because East Coast prop world picture
cars falls under props, whereas West Coast picture cars is under transpo.
That's right.
You've mentioned that before.
Yeah.
And then to lean West Coast style every now and then we'll do a show that we do have to
have a heavier hand in that.
(44:29):
So you're right.
I mean, between, I mean, I think that would still technically be effects and possibly
puppeteering.
So let out all hands on deck situation.
Yeah, for that.
And unfortunately that gets lost in this craziness because otherwise you're like, I mean, that's
a pretty tall order that what those people were asked to do.
Yeah.
Yeah.
(44:50):
So maybe it was easy for props.
All hands overboard.
I want to work on a puppety show.
So like I'm not a big like Team America or like five nights at Freddy's.
But I'm like, oh man, I want to work on that.
Yeah.
I mean, like the just the I just think that's cool.
I've never seen that before.
I want to see those puppet dudes.
You're the birthday.
You're the birthday boy or girl.
(45:13):
All right.
Full of Simpsons reference today.
So shut up.
Let's wind this puppy down.
So I think we sort of mentioned this earlier.
Actually I remember we talked about a different episode.
So I'm just going to skip that.
So let's talk about Stephen King.
So an incompetent director can be problematic for a lot of reasons.
(45:38):
And we sort of mentioned how that can leak down to multiple departments.
What would you say, whether own an experience or just randomly off top of your head, what
makes sense?
What would be an example of something affected by a director that doesn't know what they're
doing?
All right.
Long pause.
Well, because now all I'm thinking about is the stupid blade thing.
(46:05):
And how many times that a director has insisted something be there be be for whatever reason.
I don't know if it's like a dick swinging thing or what.
And then you look and you're like, I got a perfect example.
Why?
Why is this here?
The audience doesn't care.
You just wanted something to say in this moment to just be the director without being the
(46:25):
director.
I did a show where a director wanted a boy to be literally chopping wood with a sharp
axe, a 10 year old boy who's never chopped wood before.
So when I kept saying like, well, we have this other thing prepped, you know, we have
these other things split.
I don't feel comfortable with this.
And then they kept pushing going, no, no, it needs to happen.
And it's like, no, it doesn't.
But anyway, for anyone listening, if you don't know how to work around this, what you do
(46:49):
is you go get the stunt coordinator and then you let the stunt coordinator explain to the
director who doesn't want to listen to you because sometimes directors will only tunnel
vision to the department that makes sense, not just that you're speaking common sense.
And so stunt coordinator comes in and says, no, we can get one of my guys to do it.
We can cheat it, you know, camera this way, blah, blah, blah.
(47:11):
And it's like, but no, this is not safe.
And then director goes, OK, yeah, we'll do something different.
And like, that's what I've been telling you for 50 or whatever.
But that is definitely where it's the decision making.
That's where it can become very problematic and again, get into safety issues and things
like that.
So if it weren't for the injury, leaving a bad eye, black eye, if I say.
(47:42):
So this probably would have gone down in history as just a silly movie that makes sense once
you realize Stephen King was Casey Jones in his way through the production.
Watch your speed.
So real quick, stay in it.
(48:04):
Any final thoughts for this movie for what you saw and experienced?
I loved the very beginning part when the ATM told the guy to fuck off.
Oh, that's Stephen King.
Oh, really?
Yeah.
Oh, yeah, that's right.
I did recognize that.
Where it has that banner that digital banner is the same.
(48:27):
Fuck you going across it.
Yeah.
Get over here.
This ATMs calling me an asshole.
It starts off campy.
Yeah, but like just the right amount of camp.
Yeah.
I remember that guy getting pelted by the soda cans by soda cans.
And it's like, move, dude.
It's pretty everything.
(48:47):
Every reaction could have been moved.
Yeah, it's just anybody could have just moved out of the way.
Look at the kids that were dead in the field from the soda cans as well.
That when it's just pelting those cans, it's like, go left or right.
Yeah.
Why are you running?
Move, you moron.
Serpentine, serpentine.
Yeah.
Even running out of the way of the trucks.
Just go left or right.
Or try to catch it or something.
(49:09):
Oh my God.
All right.
Well, on that note, we want to thank everybody for listening as usual.
And I'm going to turn it over to, hmm, Zoe, I feel like there's something on your mind.
Yes.
Got to get off my chest.
Do you like what we're doing here?
(49:30):
Do you have thoughts, comments, questions?
Do you have an idea or suggestion for topics you want to hear about?
Well, you can find us on the intrawebs.
You can email us at filmfolklorepodcast at gmail.com.
You can find us on the social medias, Instagram being filmfolklorepodcast.
(49:51):
We have a Facebook group called Film Folklore, Twitter X, whatever you want to call it, at
the film folk.
And yeah, thanks for joining us today.
All right.
Thanks everybody.
Thanks.
Thanks.
Bye.
Hello film friends, friends of film and everyone in between.
(00:12):
Welcome to the Film Folklore Podcast.
I am Jed Props and I am joined today by Zoe Props.
Hello.
And Justin Sound.
Hello.
Chris and Joe are not with us today.
I guess we should start.
Zoe, where's Chris?
I was kind of like interstellar thing.
I feel like I can hear echoes of him and the walls, whatever the plot of that movie was.
(00:37):
Yeah, yeah, yeah.
It's what it feels like.
Or that other movie, Frequency, lesser known, that still it's like he's hearing somebody
that's in a...
I think.
Yeah.
I think.
I don't know.
Or Poltergeist-y, Carol Anne.
Hard to pin down after his illness.
He's gone into the theoretical third dimension.
Yeah.
So...
The Ebolaverse.
The Ebolaverse, yes.
(00:59):
He still has Ebola.
And Joe, of course, is not with us today.
Joe was last reported to be at the Casbah of Marrakesh in Morocco with actor-writer
Mo Raqqa.
Yeah?
Y'all see what I did there?
Yeah?
Yeah?
All right.
(01:19):
So, season two, Legendary Lore is back and we are gonna kick off a bizarro movie, which
everyone has watched at least part of.
But we'll get into that.
Today we will get to see the effects of cocaine on a film production in the way of a cooked-out
director.
(01:39):
That'll be fun.
And I'm gonna use that to segue us to a find the fake movie title.
Ding, ding, ding, ding.
We should have a little jingle for that.
Yeah.
We could just use the ding, ding, ding from Joe Adrian.
That's right.
Call back to Joe Adrian.
So y'all know the drill.
(02:01):
Three movie titles, one is fake.
The theme I'm going with for these three titles, these are three titles that all sound like
someone on drugs came up with the title.
So that's how we're segueing this.
So the...
Wait, one is fake, one is real?
One is fake.
Okay.
Season seven, we're gonna have this down pat.
(02:22):
How do I play?
All right, y'all ready to play?
Okay.
The first title is A Nymphoid Barbarian in Dinosaur Hell.
So the next one is Machine Gun Street Preacher from Mars.
(02:45):
The third one is called Blood Orgy of the She Devils.
Same again, nympho, dinosaur.
Yeah, a nymphoid barbarian in dinosaur hell, Machine Gun Street Preacher from Mars, Blood
Orgy of the She Devils.
I say the middle one's fake.
(03:07):
You going Machine Gun Street Preacher?
I don't know.
That would be the middle one.
I don't know.
Let's say that one.
I think it's fake.
All right.
I think I've seen the last one.
Blood Orgy of the She Devils?
Yeah, well not seen it, but...
Or that one's a fake one.
I think I've seen the poster for it.
(03:28):
Okay.
Maybe that one's a fake one.
All right, because you're guessing the fake one.
Because I always get it wrong.
Well there's a theme here of a bunch of words put together that mean nothing.
So fuck, I don't know, man.
No, I'm going to go with the middle one.
(03:49):
All right, you're sticking with the middle one.
Maybe.
Justin, which one are you going to go with?
I think I'll go with the first one.
The a nymphoid barbarian in dinosaur hell.
All right, and then you're saying Machine Gun Street Preacher from Mars.
All right.
Drum roll.
The correct answer of the fake movie is Machine Gun Street Preacher from Mars.
(04:10):
Which one did I guess?
The right one.
What are you looking at me for?
Thank you for playing.
Those were long names.
Yeah, yeah.
I've had them saved for quite a while trying to figure out where I'm going to use them.
(04:30):
And then I was like, oh, if I take both of them together, then yeah, now I just need
one weird something to go in there.
Yeah, yeah.
By the way, we need to get to work on Machine Gun Street Preacher from Mars.
That'll definitely be a hit.
Yeah, I think I've seen the poster for Blood Orgy.
And oh, she devils.
Yeah.
(04:50):
This is probably a good time to say we're going to post these on our social media and
I'm going to laugh because we're so far behind on all of that.
But at some point in time, you'll eventually see posters for these.
So the first one, a nymphoid barbarian in dinosaur hell was a 1990 movie.
It's actually a Tromaville joint from that world.
Joe probably would have gotten that.
(05:11):
And the synopsis is, in a post-Armageddon world, a young woman finds herself in a fight
for survival against mutant cavemen, dinosaurs, and other prehistoric animals.
Why she's a nymphoid, I'm not exactly sure.
Is she also prehistoric?
It just says post-Armageddon world.
(05:33):
So somehow in that universe, the dinosaurs have returned and she's not prehistoric.
I don't know.
I don't think I actually know the definition of Armageddon.
Well according...
I'm not that smart.
I only know that Aerosmith is involved.
(05:53):
And Michael Bay.
So anyway.
And then the other one, Blood Orgy of the She Devils is a 1973 movie and the synopsis
for that is Lorraine and Mark enter a world of witchcraft where Mara foretells the future
and helps them remember their past lives.
(06:14):
When a series of mysterious murders begin to occur, they turn to Dr. Helsford for advice.
Don't know who any of those people are, but I guess you'd have to watch the movie.
Dr. Hellsford?
Helsford.
Helsford.
Helsford.
I thought this was so funny.
I decided to include it.
I found an IMDB review from 2004 and this is in regards to Blood Orgy of the She Devils.
(06:38):
It says, it's titled Dumb and Boring and it says, I spent $5 on a VHS copy of this film.
I want that $5 back.
I mean, think of all the gumballs I could have bought instead.
There's no orgy.
There's little blood and Leslie McCray hasn't learned to dance any better since her terrible
turn in a movie called The Girl in Gold Boots.
(06:59):
Even in this film, it looks like they swallowed a quart of Nyquil before filming began.
The plot?
Was there one?
I saw this film less than six months ago and I can't remember much about its central storyline.
Maybe it's a subconscious defense mechanism that caused me to block it from my memory.
It's awful.
That's five dollar tape.
It tried too hard to be arty and fails because nobody's art is going to be taken seriously
(07:22):
when you have a scantily clad go-go dancers wiggling around with long spears.
Big yawn.
That's the end.
Classic bait and switch.
No blood, no orgies.
It's definitely one of those titles that you're like, what is this?
And then you're like, no, okay, that was terrible.
(07:43):
Very little blood, very little orgy.
He's mad.
In my hometown, I think I was a senior in high school.
They shot a B movie out by the lake and it was Savage Beach 3 and that lake is a mud
(08:05):
bottom lake nowhere near a beach.
There's cypress trees in the shot that are also not beach.
That's why it's savage.
But like the queen of B movies at the time, it wasn't Shannon Tweed, but it was someone
of that ilk and a friend of mine was able to get on set and get her autographed.
(08:26):
He cherished that for many years.
It's like, I got the queen of B movies.
We're like, who is that?
It's this person.
Cool.
And ironically, now I'd probably be like, yeah.
But I have never gotten to see Savage Beach 1, 2 or 3.
One day.
No bummer.
(08:47):
Times three.
I wrote on Legendary Laura.
So thank you for playing that, everyone.
Now onto the show.
So today we will be discussing a head scratcher from 1986 called Maximum Overdrive.
Some ears I think I just felt perk up out there.
It's definitely a cult movie.
It's written and directed by Stephen King.
(09:09):
It's the only thing he's ever directed and we're going to find out why soon.
And my name for this episode is Maximum Overdrive, Cocaine and Confusion.
So I guess to kind of kick this off, of what y'all saw, what's your kind of initial take
on what you saw of Maximum Overdrive?
(09:30):
I love how stupid the diner lady is.
I like how it's like sexist and also not.
They're like, no, no, no.
Women are stupid.
And she like can't flip an egg.
Well, then later when she goes nuts, she's like, we made you.
(09:51):
We made you.
She's left for like three seconds.
You didn't make them.
Anyway, that's what I got through.
Well, that's funny.
So you should also mention falling asleep and what you woke up to.
Oh yeah.
No, I fell asleep.
I think I made it like 15, maybe 20 minutes of the movie and then woke up to trucks.
(10:11):
I was like, cool, I'll finish the movie.
Wait, this is a different movie.
So apparently there's a movie called Trucks and what was that Prime?
I guess it just segwayed into another movie while you were sleeping.
It also happens to be about 18.
Sure.
I see algorithms.
They just play the same, more or less the same movie.
(10:33):
If you like Maximum Overdrive, you will love Trucks.
Trucks.
And then they played Cars.
Fast and the Furious.
Eventually made your way back to playing with Jerry B. Justin, what's your take on it?
(10:54):
Ah man, it's just, yeah, immediately new drugs were involved.
Almost within the first five minutes.
Justin was hoping for a little bit more other types of machines kind of taken over.
Yeah, there's no real rhyme or reason to, because like some cars they drive without
issue and some small appliances are fine while other ones.
(11:18):
Yeah, because that's what I was thinking too.
I was like, well, why isn't this car fucking up?
And then at one point there's a kid that gets on a bike and the bike flips.
Right, right.
In the baseball field.
Yeah, as if to signal that they can take over the bikes, but then the other kid that jumps
on his bike and gets away, nothing, but there's no electronics in the bike.
(11:41):
Yeah, the sprinklers going off, there's no electronics in that.
Yeah, what's the fucking story?
That's where it gets really confusing where it's like, I'm not understanding the parameters
of this universe, but I'm still watching.
Yeah, I'm down for electronics taking over and if it's electronic or plugged in or whatever,
(12:03):
then sure.
Or if it's mechanical maybe is the idea.
Well the hand or whatever, the electric knife that cuts are on the arm, you know, like that
thing spazzing out.
That thing that's right there for some reason in this diner that belongs on.
Use that to cut a turkey usually.
Yeah.
It wouldn't be by the hash browns.
It allows it to continue cutting for a good 15 seconds.
(12:28):
Did you get cut there little old lady?
Just move your arm.
As soon as you feel it, it starts to cut you.
But it cuts the electricity on and off inside of the building, but then again later.
Well then she stays at work after that and be like, I'm going to go to the hospital,
maybe get a couple of stitches, not stay and work at this shit ass job.
(12:49):
Yeah.
Well, that boss was a hard ass.
I mean, that's beyond.
Should we watch the trailer right now?
Yeah, come on.
Shut up and drive.
And specifically this is the trailer with Stephen King.
There are multiple trailers.
It's loading.
(13:10):
It's a de la Renta's joint.
Love that tape audio.
Hi, my name is Stephen King.
I've written several motion pictures, but I want to tell you about a movie called Maximum
Overdrive, which is the first one I've directed.
(13:32):
A lot of people have directed Stephen King novels and stories and I finally decided if
you want something done right, you ought to do it yourself.
Oh, he's got the director.
(13:53):
His first and last.
And how many takes did he do?
He feels like he can't remember the lines.
I sort of enjoyed it.
I just wanted someone to do Stephen King right.
You want a war?
(14:13):
He's my brother.
So come and spend some time with me and my friends at the Dixie Boy.
Spend some time in the dark.
I'm going to scare the hell out of you.
(14:38):
And that's a promise.
You're going to get us in an awful lot of trouble, man.
We already in trouble.
Maximum Terror.
Jesus come in and he is.
Maximum King.
Maybe tomorrow will be our world again.
Dino De Laurentiis presents.
It's your world, it's just a couple of things they took over.
(14:59):
Maximum Overdrive.
I like that the worst person to direct a Stephen King thing is Stephen King.
It's definitely up there outside of maybe one of his TV movies that were done.
(15:20):
In the 90s, I think it was the Langoliers.
Was it a TV movie?
Rolls off the tongue.
Effects were terrible in that movie, but it was a TV movie.
It had Balke from Perfect Strangers.
Okay, they didn't hire the guy from FX.
The special effects guy.
Well, he was too popular.
They weren't able to get him.
Sure, only the best of the best for him.
(15:40):
Yeah, oh no.
That guy, there's no way he would be.
I'm going to throw this in here because I have nowhere to logically put this, but one
of the random things I learned when I was researching is that apparently there's an
unrated cut of this that's very graphic, way more than what is in here, and George Romero
(16:02):
of all people said that he saw that cut and it made him sick to his stomach.
It's like if George Romero is saying that.
Who could it possibly be?
I believe he also followed it up and said he loved it, which is also very George Romero.
Something can make you sick to your stomach that you like.
If that's your thing.
(16:26):
The short plot synopsis is a group of people try to survive when machines start to come
alive and become homicidal.
To not well explain that, I have written down the opening and closing, I'm going to put
in quotes, air quotes, explanations for this plot.
(16:47):
Normally I might call this a spoiler alert, but I'm not sure what we're spoiling as most
of this doesn't make sense.
In the opener it says, on June 19th, 1987, at 9.47 a.m. Eastern time, the earth passed
into the extraordinary diffuse tail of Rhea M., a rogue comet.
(17:08):
According to astronomical calculations, the planet would remain in the tail of the comet
for the next eight days, five hours, 29 minutes, and 23 seconds.
That's all it says.
There's a green gassy haze, whatever it is, that gets shown twice and then it just goes
away.
Surround the entire earth.
(17:28):
We never to be seen again.
Remember there's one shot in the sky that you see it, but then all these other shots
where you see the sky, it's not there.
That's why the machines are taking over.
Yeah.
Here's the comet.
She figured it out.
I don't know what her name is.
Brett.
That girl.
Oh, yeah, the female love interest character.
(17:50):
The one in the beginning again, I fell asleep, so I don't know.
There's just two women in it.
She was hitchhiking with the sleazy Bible salesman.
One is dumb and one's smart.
Yeah, the smart one figured it out.
Yeah, your girl's wicked smart.
(18:11):
Then you get to the end of the movie and you get another title card that comes up that
says, two days later, a large UFO was destroyed in space by a Russian weather satellite, which
happened to be equipped with a laser cannon and class four nuclear missiles.
Approximately six days later, the earth passed beyond the tail of RIA-M exactly as predicted.
(18:33):
Then you get a little delayed thing pop up and then it says the survivors of the Dixie
Boy are still survivors.
That's it.
The UFO thing, Blackfield, didn't know what that is.
Yeah, why?
They're not even saying that the UFO was the cause because they still go back to the whole
comet thing.
Let's throw a UFO in there.
(18:55):
Yeah.
Did the UFO not save them?
I don't know.
Because they exploded and happened to have cool bombs conveniently that we need or something.
Should we be thanking the Soviets?
There's always the gas.
There's the comet gas.
Right.
It's very convenient.
See, I didn't even get to the comet gas part.
It was the very beginning of the movie.
Well, then I wasn't paying attention.
(19:16):
What's a movie?
Yeah, what's a movie?
I was getting a drink from the kitchen.
I could hear it.
I could hear the gas.
I remember.
Like a lot of movies based on King's works, the source material for this movie was from
(19:37):
a short story he wrote called Trucks, which with Zoe's story today, we haven't had time
to confirm if that actually is another movie based on that same short story or is it just
something that's happened to be called Trucks?
It's got to be.
It seemed like the same fucking movie.
Yeah.
Straight, but like the day instead of the night.
(19:57):
18 Wheelers Going in a Circle.
Yeah, it was just a bunch of trucks.
Right.
Oh, which other inexplicable things.
So the trucks somehow understand English.
At least one of those things could communicate with Morse code because the boy that's on
(20:18):
the bike, he later is like, wait, they're talking to us.
And they're like, how do you know it?
It's Morse code.
I got a merit badge in that.
And suddenly he's translating.
And then the trucks are basically saying they want fuel.
So they have to go fill up the trucks all day until the gas runs out.
It's very bizarre.
So it's like speed, but gas, they just need more gas.
(20:43):
There was a bus that if it's speed, below a certain level, then it's speed.
Well, of course the trucks speak English, though.
That makes sense.
How are they going to read the road signs?
Sure.
Why not?
Where they're going.
Agonist is sort of the Green Goblin toy truck.
It's never outrightly shown that it's the leader, but it seems to sort of be the leader.
(21:05):
But he's the one with the face.
Yeah, it's the one with the face.
The one truck with the goddamn face on him.
Stephen King insisted on getting Marvel's approval to put the Green Goblin.
The Green Goblin?
That is the Marvel Green Goblin face.
I just thought it was some other green dude.
But other than like-
Ben lived exactly like the Green Goblin.
I didn't know I didn't know.
I'm a nerd.
I don't fucking care.
He's called the Greenish Goblin-like guy.
(21:28):
Yeah, I just know Willem Dafoe is Green Goblin.
Yeah.
Looks exactly like him.
Well, whatever.
So a little backstory for this.
The producer was Dino De Laurentiis.
I'm not going to go too deep into him.
(21:50):
He's a whole episode of his own.
Legendary Italian producer.
He's also the patriarch of a De Laurentiis film family.
All of his children, grandchildren, nieces, nephews, they're all producers, actors, writers.
And he did- y'all are more than welcome to go look him up.
(22:10):
He's produced all kinds of crazy stuff.
He's Howard Hughes level, just not as well known.
One of my favorites, because he took a lot of crazy risks back in the 80s.
He's the money backing for like Coney and the Barbarian and a lot of that kind of stuff.
So him doing Stephen King movies kind of tracks.
(22:30):
He had already produced Firestarter and Cat's Eye, and Stephen King had written the screenplay
for Cat's Eye.
And then that ultimately led to him directing Maximum Overdrive.
And producer Martha De Laurentiis, she- I have a quote here from her.
She said, Dino had given Stephen the opportunity to write his first screenplay, which was Cat's
(22:54):
Eye.
Stephen later said to Dino, I want to direct.
And Dino said to Stephen, why not?
You should.
And that's how it happened.
It sounds great on paper.
Isn't that how all directors- You know, classic elevator pitch.
Direct.
You ever look at that and you're like, what the hell did you do?
(23:16):
But hey, this crew member that's been in the industry for 30 years, what would they know?
Yeah, fuck that guy.
But you know, my niece just graduated from AFI.
Yeah, this 27 year old with cool pants.
Or actually, not even from the American Film Institute.
She got a degree in engineering, but I've always thought she'd make a good director.
(23:39):
That's what our world is.
Yeah.
She's got coveralls.
She likes to wear kooky hats.
You know she's set to be a director.
Are those New Balance?
Get the fuck out of here.
Somebody likes fluorescent colors.
So Stephen King has been very vocal about his substance abuse in the past.
(24:03):
And apparently he was raging on cocaine for the entire making of Maximum Overdrive.
And I did learn, I didn't know this.
I mentioned it before recording, but Misery was actually written as a giant analogy for
how he felt about the grip of alcoholism on him.
And here, not intentional, but we're seeing what cocaine can do.
(24:30):
So as we've kind of been dancing around, the movie makes little sense.
I couldn't help but think about like, if you were partying with Stephen King during this
time period, and think about like, because this is, what did I say, 87?
(24:51):
All this stuff that he hasn't written yet, but maybe it's in his head, but this dude's
just like coked out and he's just saying like random things from his yet to be done stuff.
And you're like, this dude's out there.
Whereas like maybe he's talking like Dark Tower series stuff or something.
He's like, like a baby, but with like a mancock.
And you're like, what?
What are you talking about?
(25:11):
Well, he thought Maxman Overdrive was really scary.
I like him talking about it.
The eyes get red.
Yes.
He sounds like he's reading and like really trying to remember his lines too.
He's like not like, dude.
I don't think he blinks the entire time.
Yeah.
Yeah.
The way he's talking like, oh, this is weird and not natural.
(25:33):
Sucks.
Get him out of here.
So I have several quotes from people that worked on it that all kind of help explain
a lot of what is going on behind the scenes.
So it was obvious out from the gate that Stephen King was not fit to direct.
And this is a quote from a camera assistant, Sylvia Gialetti.
(25:57):
I'm going to, I feel like I didn't butcher that.
But she elaborated, Stephen King was not a director.
He did not know where to put the cameras, how to do this.
Stephen King had a strong idea about the movie, but he was not able to translate it in images.
You know what I mean?
So I know what she means.
(26:18):
We've all worked around directors that were not good at getting the idea in their head
out to you in a clear way.
I mean, that's just something that happens.
Their job.
Yeah, their job.
Yeah.
Yeah.
Yeah.
I mean, you're a director, direct.
But I've been on a couple of shows where the director was the weakest link and it is quite
(26:42):
problematic the way it trickles down because that obviously is a very important role.
So it's like a domino effect when you're not getting the information you need and you're
trying to get the answers to your questions and they're not coming.
So then you get on the day into the shoot, you're kind of doing your best educated guess
and having some maybe back pocket options because you just got to plan for all these
(27:06):
things you can drum up as possibilities.
And then you'll always be wrong.
It'll be the one thing you didn't think of and didn't plan for.
And then the director now on the moment in the day is like, why did you not know the
idea in my head that I needed it to be blue?
And you're like, that's on me, I guess.
That's when I feel the worst for the ADs.
Yeah, that's definitely a world where you sympathize with the ADs.
(27:28):
Yeah.
What are we doing next?
Oh, man.
Yeah.
I'm finding the shit is.
That was a, I think I can talk about this.
The second plane of the apes movie, the director, the DP and the first AD were not on the same
page.
And this is like a $250 million movie.
(27:48):
And the director was definitely inexperienced for that size of movie and everything.
And he's gone on to do other giant things.
But the DP, I believe, it's been so long, but there was something about the DP.
He had never done a CGI film or something like that.
And it's like, why is he here then?
He had a good resume.
It wasn't about his abilities or whatever, but it's like on a show of that scale, wouldn't
(28:12):
you want to get somebody that has more of a hand in that?
And then the AD was just basically pulling his hair out, trying to hold it all together
and all that.
It more or less went fine because shows of that size will push for, they're like trains
without brakes.
They're going to get done one way or the other kind of thing.
Overall it was a good experience.
I should say that.
(28:34):
Also I've never seen more people in a film set than that movie.
At the time it was the largest VFX department ever assembled.
And it just felt like there's a hundred people with stills cameras to constantly going around
taking photos and things.
Yeah.
People clapping at special effects left and right.
And then everything you shoot with your CGI stuff has to be done three times.
(28:55):
That's annoying.
Anywho.
So, back to this that is not CGI, it's just bad effects.
So De Laurentiis, do you know, he brought on, kind of going in with what I was just talking
about, he brought on a very successful and talented Italian cinematographer named Armando
(29:16):
Nanuzzi, I hope these names.
I'm not reading what you're reading.
I'm thinking.
I know.
Nanuzzi.
Like I can't help it.
Yeah, it's fun.
I look forward to your hate mail from the Italian community.
Yeah, make fun of them.
We'll make fun.
(29:36):
Yeah.
That's alright.
It's always here.
Yeah, yeah, yeah.
That makes it okay.
So he was brought on obviously to aid King in his directorial debut.
Unfortunately this will end in a senseless and very avoidable tragedy, but we'll get
to that later.
A translator was hired to work between the DP and King and there was often friction there.
(30:02):
That translator's name was Roberto Croce and he, as I said, that was a translator for the
film.
He called a conversation that kind of sums up everything and this is from his POV, but
he says, quote, I can do 10 movies for you Dino, but I want Bruce Springsteen.
(30:22):
But Dino says, Bruce who?
Bruce who?
Dino didn't know.
He didn't know he was the boss, the man who had changed rock music.
So Stephen King explained and said, I want to direct Bruce.
This is my movie and the truck driver is Bruce Springsteen.
But Dino didn't care.
He just say, I'll get Emilio, Martin's son.
(30:42):
And when that moment became official that there was no Bruce Springsteen, Stephen King
couldn't give a shit about the movie.
That's my opinion.
So reveal there that he had envisioned Bruce Springsteen, the working man's hero.
I like how his response was, I'll get Martin's son.
Yeah, I'll get Martin's son, Emilio.
(31:04):
I should have done that in a bad Italian accent.
But so as we kind of mentioned before, Stephen King has been very vocal since the making
of this movie that he was very cooked out of his mind and didn't know what he was doing.
He was nominated for a Razzie for worst director, lost.
(31:26):
He couldn't even win the Razzie.
He lost to Prince under the cherry moon, which was I believe Prince's maybe one and done
director moment, but.
Prince directed a movie with his name in the title?
I believe so.
Well, it was called under the cherry moon.
Oh, yeah.
It was like Prince under the cherry moon.
(31:47):
I mean, anything's possible.
Prince.
Yeah, yeah, yeah.
I'm not going down that rabbit hole.
The last thing I want to mention here is that we were watching that trailer, the version
that has Stephen King in it, and he's promising more scares and more things.
(32:10):
And it might be coincidence, but it's certainly if you invite you all to go watch.
But it looks like he's coked up in it.
I mean, he looks bug hide.
Yeah.
Well, his eyes are crossed.
Yeah.
And his eyes are kind of like straight up fucking one blue this way, one blue that way.
They're not.
Right.
And as we listened, I have it written down here, but he says a lot of people have directed
(32:34):
Stephen King novels and stories.
And I've finally decided if you want something done right, you got to do it yourself, which
is very odd for him to say when he has also admitted multiple occasions he didn't know
what he was doing.
So, yeah.
So he wrote that for him.
I'll show you on my computer.
(32:55):
This is the still that I have from the trailer.
Oh, God.
He looks cross.
He's in that moment right now.
He's given me a little bit of a it's like a Michael McDonald, but crazy.
The guy from the Doobie Brothers.
I can't forget that guy.
(33:16):
So it's the beard kind of pushing us along here to the finish line.
So as alluded to earlier, one of his Stephen King's first demands that went nowhere was
in wanting Bruce Springsteen as the lead.
He was a big fan of the boss and he envisioned him as the lead, I'm assuming with Red Hanker
(33:39):
Chiff in Back Pocket.
And De Laurentiis in that quote was clearly unfamiliar with the working class hero.
And so he got Emilio Estevez instead.
But Springsteen and the E Street Band were not apparently his favorite band because he
got his favorite band ACDC to score the movie, of course, including their hit Who Made Who.
(34:02):
So I don't know if you remember in that original bridge accident in the very beginning, there's
a van that actually has an ACDC logo on the side.
Just shameless promotion.
That like confusing geographical shot.
I didn't see him.
What?
I don't know.
Although, did you know who the young black gentleman in the arcade that died?
(34:28):
Do you know who that was?
That's a very young Jean Carlo Esposito.
If you go back and look, I mean, he's just a boy.
Jean Carlo Esposito, he's in Do the Right Thing too.
I believe so.
Yeah.
He's the first guy that's been around a lot longer than people realize.
It's just he becomes some actors hit their stride later than others.
(34:52):
And he's got such a great look.
Yeah, Star Wars, right?
He became famous.
Anyway, so nothing mattered to King when it came to the actual story and there's no rhyme
or reason to it.
Why we've talked about this, but like why people could still drive some cars with no
(35:14):
issue and operate small electric tools with no problems and then other machines seem to
somehow have cursory knowledge of the English language.
We talked about the Morse code.
The fact that that gun mounts shows up.
It's like, I don't even know what is going on with this thing because it just, I don't
know, it was a very odd vehicle.
(35:34):
It was just like, I need some with a gun on it.
The Mad Max, yeah, the Mad Max turret vehicle.
But all this is small potatoes for the accident that occurred on set, which is ultimately
what we're driving towards here.
E-E-E-Y.
Our laugh is the same.
(36:00):
Very punny today.
During a scene in which a sentient lawnmower chases a boy, the mower veers off course.
Oh, in one of the takes I should say, the mower veered off course and it hit a woodblock
that was being used to hold the camera up at an angle.
(36:20):
And that splintered the block and pieces of wood splinters shot out into the face and
eye of the DP.
And to which the rest of his career, he loses sight in that eye and his life is forever
(36:41):
altered.
And there is conflicting reports whether he lost his eye, whether his vision was impaired
or whether, but at the end of the day, he couldn't see out of the eye properly for the
rest of his life.
I just couldn't figure out to what degree the eye remained or whatever.
That's an eye patch worthy story.
(37:03):
And I didn't see any pictures of an eye patch, so I feel like the eye is still there.
Right, well, you still wear an eye patch just for the story.
Yeah, true.
And I actually, I was going to ask Chris this until he got Ebola, but normally, I can't
(37:24):
speak to 86, 87 and this era, but normally in that world, our safety, anytime there's
a risk of something that could be coming at camera, we use face shields, just the plastic
face shield that you've seen at a Home Depot or wherever.
And we bore a hole in it for the camera operator to be able to still look through the lens
(37:48):
and also have protection.
What I couldn't figure out with this logistically is what was going on when that thing veered
away.
You kind of get the idea that obviously there'd be a mad dash to save the camera.
So they probably pull the camera and then it's hit the woodblocks.
The DP and the confusion, he might have not originally been close enough to camera to
(38:10):
need a face shield.
And then this happens.
I mean, this is all speculation on my part, but it's just such a weird freak accent.
But the reason it's not a full freak accident is because according to court papers, because
he did sue King and the production company.
The DP did?
Yes.
Nanouzi.
(38:31):
Yeah, yeah.
And according to court papers, King insisted that the mower blades be left in to make the
lawnmower more menacing despite crew affirming that they were not necessary at all for the
shot.
Nanouzi wanted it in.
No, no, no.
He said.
He said.
Because in his coked out, hey, hey, hey.
(38:52):
Come on.
It was a little slow to catch that one.
No, you see.
I don't see.
You see.
So it's one of those things of again showing the novice level of King and everything.
He's going like, no, we'll hear the blade or whatever.
When you're going, it's just, you don't see the blade.
(39:15):
Why would you need the blade?
And this also is what ultimately leads to the incident.
And so all of that makes sense in the lawsuit side of it.
So apparently Nanouzi later sued King and the production company for $18 million of
1980s money, but ultimately settled out of court for just shy of a million.
(39:37):
Nassouzi.
He would go on to work sporadically, but with his vision forever altered, it made him hard
to direct photography as you would imagine.
Yeah, no shit.
I think his career officially ended about 10 years later.
What'd you say he got, Mill?
He probably did some commercials.
He had been working since the 50s and he had done pretty prominent stuff.
So he's fine.
He's fine.
(39:58):
He's got Mill in retire.
I can still see you with my good eye.
Yeah, old choppy here or whatever.
Yeah, dental plan.
All right, Lisa needs braces.
So that is something that kind of starting to wind us down.
I wanted to ask in y'all's opinion, I mean, obviously we have not been in a situation
(40:23):
that specific because most things we work on are smarter than that.
We did a scene for Scream Queens.
Of course, yes, it was a lot safer than all of that.
There was a running blade or anything like that.
There was a gag where they ran a lawnmower over a girl's head that was buried in the
ground.
So a little bit similar.
(40:45):
Okay.
And they left the blades on?
Oh, no, no, no, no.
Absolutely not.
There was a squib that went off whenever it was supposed to.
Right.
Yeah.
Which actually you just reminded me, that's something that I think kind of gets lost in
this ridiculous movie is.
I was actually drawn to the puppeteering robotics of them driving and all of these rigs and
(41:13):
everything around where you're seeing unmanned things in motion.
You're seeing gear shifts with no one there.
I was immediately thinking this got to be a nightmare for props to work on.
That is going to be effects picture cards.
Yeah, I was going to say, yeah, because maybe some stuff is props, like gray area where
you work together, like the thing that cuts the lady.
(41:35):
Yeah, and the light up buttons.
Those are joint conversations with effects.
Usually in a lot of those situations, we're providing the housing after discussion of
what they need to put into the guts of the item.
But we're with the director on the look of it.
And then once we establish this look and the size needed for the housing, then it's handed
(42:00):
over to the other department to do what they need to do to get it to rig.
So who's on the other end of the conversation being like, we shouldn't have the blades running.
In that, that would be props and effects on that would have been the likely two departments
and probably an AD.
I mean, safety's AD.
(42:21):
But if someone says, no, we want them.
Okay.
Yeah.
Yeah.
Whatever.
As long as I don't lose my eye.
I'll be over here.
I did forget to mention though, this is the only movie I know of offhand that actually
says Wilmington, North Carolina, where pre incentive world Wilmington was a popular film
(42:43):
spot and actually it kind of died off because of film incentive world.
It's sort of rebounding a little bit now.
Yeah, it's coming back now, but more like-
That's 491 world, which is the Carolina is dragging down to Savannah as the one part
of Georgia that's not in the rest of the state.
It's a weird how they draw lines.
I'm surprised we're not up in Maine.
(43:03):
Yeah.
Like all the Stephen King stuff, right?
I'd like to-
Everything's in Maine.
Yeah.
Maine would be a nice place to do it.
I'd love to work at Maine.
Yes, you can't imagine homicidal 18 wheelers in Maine.
Just lobster fishermen.
Yeah.
Yeah.
Clams and all that.
Yeah, clams.
Yeah.
Got Chadda.
Yeah, they love clams, man.
(43:24):
The mist.
Yeah, right.
Filmed in Shreveport.
Really?
The mist was?
Yeah, post Katrina Shreveport.
Hell yeah.
I fucking love the mist.
My favorite ending to a movie.
It's like, oh shit.
We were working in the building where they had stored all of their rap stuff.
And so all of that stuff that was in that grocery store or whatever, and rats got in
(43:48):
the building and ate the dog food that was in there.
And then like this giant mess and it had to get cleaned.
It was a big to do.
But it was just this thing of like, oh, we're in this nice clean building.
And then suddenly there's a rat issue.
And it's just because there was actual bags of dog food sitting there.
Yep.
Rat gone rat.
Wasn't anybody's fault to be clear.
How would you have known that that would have happened?
(44:09):
The reason I brought up Wilmington as well was because East Coast prop world picture
cars falls under props, whereas West Coast picture cars is under transpo.
That's right.
You've mentioned that before.
Yeah.
And then to lean West Coast style every now and then we'll do a show that we do have to
have a heavier hand in that.
(44:29):
So you're right.
I mean, between, I mean, I think that would still technically be effects and possibly
puppeteering.
So let out all hands on deck situation.
Yeah, for that.
And unfortunately that gets lost in this craziness because otherwise you're like, I mean, that's
a pretty tall order that what those people were asked to do.
Yeah.
Yeah.
(44:50):
So maybe it was easy for props.
All hands overboard.
I want to work on a puppety show.
So like I'm not a big like Team America or like five nights at Freddy's.
But I'm like, oh man, I want to work on that.
Yeah.
I mean, like the just the I just think that's cool.
I've never seen that before.
I want to see those puppet dudes.
You're the birthday.
You're the birthday boy or girl.
(45:13):
All right.
Full of Simpsons reference today.
So shut up.
Let's wind this puppy down.
So I think we sort of mentioned this earlier.
Actually I remember we talked about a different episode.
So I'm just going to skip that.
So let's talk about Stephen King.
So an incompetent director can be problematic for a lot of reasons.
(45:38):
And we sort of mentioned how that can leak down to multiple departments.
What would you say, whether own an experience or just randomly off top of your head, what
makes sense?
What would be an example of something affected by a director that doesn't know what they're
doing?
All right.
Long pause.
Well, because now all I'm thinking about is the stupid blade thing.
(46:05):
And how many times that a director has insisted something be there be be for whatever reason.
I don't know if it's like a dick swinging thing or what.
And then you look and you're like, I got a perfect example.
Why?
Why is this here?
The audience doesn't care.
You just wanted something to say in this moment to just be the director without being the
(46:25):
director.
I did a show where a director wanted a boy to be literally chopping wood with a sharp
axe, a 10 year old boy who's never chopped wood before.
So when I kept saying like, well, we have this other thing prepped, you know, we have
these other things split.
I don't feel comfortable with this.
And then they kept pushing going, no, no, it needs to happen.
And it's like, no, it doesn't.
But anyway, for anyone listening, if you don't know how to work around this, what you do
(46:49):
is you go get the stunt coordinator and then you let the stunt coordinator explain to the
director who doesn't want to listen to you because sometimes directors will only tunnel
vision to the department that makes sense, not just that you're speaking common sense.
And so stunt coordinator comes in and says, no, we can get one of my guys to do it.
We can cheat it, you know, camera this way, blah, blah, blah.
(47:11):
And it's like, but no, this is not safe.
And then director goes, OK, yeah, we'll do something different.
And like, that's what I've been telling you for 50 or whatever.
But that is definitely where it's the decision making.
That's where it can become very problematic and again, get into safety issues and things
like that.
So if it weren't for the injury, leaving a bad eye, black eye, if I say.
(47:42):
So this probably would have gone down in history as just a silly movie that makes sense once
you realize Stephen King was Casey Jones in his way through the production.
Watch your speed.
So real quick, stay in it.
(48:04):
Any final thoughts for this movie for what you saw and experienced?
I loved the very beginning part when the ATM told the guy to fuck off.
Oh, that's Stephen King.
Oh, really?
Yeah.
Oh, yeah, that's right.
I did recognize that.
Where it has that banner that digital banner is the same.
(48:27):
Fuck you going across it.
Yeah.
Get over here.
This ATMs calling me an asshole.
It starts off campy.
Yeah, but like just the right amount of camp.
Yeah.
I remember that guy getting pelted by the soda cans by soda cans.
And it's like, move, dude.
It's pretty everything.
(48:47):
Every reaction could have been moved.
Yeah, it's just anybody could have just moved out of the way.
Look at the kids that were dead in the field from the soda cans as well.
That when it's just pelting those cans, it's like, go left or right.
Yeah.
Why are you running?
Move, you moron.
Serpentine, serpentine.
Yeah.
Even running out of the way of the trucks.
Just go left or right.
Or try to catch it or something.
(49:09):
Oh my God.
All right.
Well, on that note, we want to thank everybody for listening as usual.
And I'm going to turn it over to, hmm, Zoe, I feel like there's something on your mind.
Yes.
Got to get off my chest.
Do you like what we're doing here?
(49:30):
Do you have thoughts, comments, questions?
Do you have an idea or suggestion for topics you want to hear about?
Well, you can find us on the intrawebs.
You can email us at filmfolklorepodcast at gmail.com.
You can find us on the social medias, Instagram being filmfolklorepodcast.
(49:51):
We have a Facebook group called Film Folklore, Twitter X, whatever you want to call it, at
the film folk.
And yeah, thanks for joining us today.
All right.
Thanks everybody.
Thanks.
Thanks.
Bye.
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