The Crow (1994) ft. Derrick

How does a cult classic from the '90s continue to haunt our memories and influence our lives years later? This week on Movie RX, we uncover the layers of Alex Proyas' 1994 film, "The Crow," featuring Brandon Lee in a performance that eerily echoes his father Bruce Lee’s legacy. Joined by Derek, we dissect this gothic superhero tale, exploring its dark, gritty visuals, and unforgettable soundtrack that defined a generation. The Good Doctor and Guest share the influence that The Crow held over their lives.

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Episode Transcript

Speaker 1 (00:20):
Hello and welcome to MovieRx, where I prescribe
entertainment one movie at atime.
I am your host, dr Benjamin MD.
What does the MD stand for?
Murder Defender, but not in themurder in the way that you
think.
Or do you think Crow Crowmurder?
It's like a community defender.
That's what I do.
I'm just getting a head shakefrom Jen, that's all I'm getting

(00:43):
.
Alright.
So returning for the firstfirst time.
On for the second run, the oneand thankfully the only Derek.
Welcome, derek.

Speaker 2 (00:51):
Yep, yes, thankfully, the only yeah.
I don't think the world wouldbe ready for any more of me.

Speaker 1 (00:56):
We couldn't handle two Derricks.
No, no.

Speaker 2 (00:59):
The universe would split.

Speaker 1 (01:06):
It'd be like a starbucks across from the
starbucks, yeah, and cds acrossthe street.

Speaker 2 (01:08):
I mean it would be.

Speaker 1 (01:09):
Yeah, it'd be anarchy .
Yeah, yeah, we don't need anyof that.
No, no, that might be somethingthat we'd find in our movie
that we're doing today.
Now, this, this movie, can bekind of divisive really.
Some people really love it,some people really hate it.
Some people really love it,some people really hate it.
Some people really love to hatethe people who love it.
This today we're talking aboutthe crow.
Um this.

(01:29):
This is a Miramax film releasedin 1994, uh, directed by Alex
Proyas.
Did dark city and I robot.
Uh stars Brandon Lee, michaelWincott and Rochelle Davis.
Uh, which this is this is thelast appearance of Brandon Lee
in a movie, sadly.
Imdb description the nightbefore his wedding, musician

(01:53):
Eric Draven and his fiancée arebrutally murdered by members of
a violent gang.
On the anniversary of theirdeath, eric rises from the grave
and assumes the mantle of theCrow, a supernatural Avenger.
I think they could have donewithout calling him an avenger
uh, yeah, yeah, a little bityeah, I mean, although I did

(02:13):
notice in your notes, this isnot.
This is not a like righteoussuperhero movie.

Speaker 2 (02:19):
Oh no, no no, fuck no not at all no, this is not a,
you know, like, yes, love story.
Yes, it's a comic book movie.
Yes, there is, you know, alittle bit of like, you know,
vengeance coming in and you know, killing the bad guys.
You know, but this is not likeyour standard good versus evil.
Like everybody goes home with a, you know, with a like bright,

(02:41):
shiny feeling, you know, a happy, warm, fuzzy or anything like
that at the end of the movie.
No, this is just straight upfucking revenge.

Speaker 1 (02:51):
Yes, this is gothic John Wick.
Yeah, there's no sugarcoatinganything in this movie, because
there's no defense of theinnocent, there's no, you know,
any of that.
He is just out for bloodbecause he was, because he was,
he was hurt and I mean granted,like, as as the movie goes, like

(03:13):
the story, and it is when youstart finding out why the people
were in his apartment andthings like that, then you just
start getting really pissed andyou're like good oh, yeah, yeah,
I mean you do you yeah, youfeel no sympathy, uh, for like
any of the bad guys whatsoever,like no, you know, there there
is no at all where you go.

Speaker 2 (03:33):
Oh, you know, that guy was kind of a good guy.
No, fuck him.
Every, every last one of theseguys.
They were bad people, very badpeople right, so on.

Speaker 1 (03:42):
Uh, right about now is when I do my my initial
impression of the movie, andI'll go ahead and go first.
It was.
It was pretty spectacularvisually.
I mean it was a tiny bit hokeyin the effects at the very, very
, very beginning.
That very first fly into thecity looked a little bit like it
was out of Duke Nukem.
You know some of the fires andstuff like that, but it's

(04:09):
forgivable considering the restof the movie, I mean, and that
was actually pretty big forbeing in a live action movie at
the time.
It was pretty spectacular too.
But, um, but I also think thatthat that sort of over
contrasted fire and stuff likethat on the buildings kind of
added to the atmosphere in theway that it needed to be, in the
way that it needed to be added.
So again, like the visualeffects could really be kind of

(04:32):
forgiven.
In that the music was fantastic.
The only thing that reallycould have made it better was,
you know, music that came outafter this movie was made.
I mean there were a couple ofnine inch nails tracks that I
was like that would have beenreally good in that.
But other than that, the use ofthe Japanese wood flute and the
deuduke and things like thatwere just.
It was perfect the timing on it, just the style, and it felt

(04:56):
like a comic book origin story,which I mean that's just cool,
but gothic in nature, so I don'tknow.
How did you feel about it?

Speaker 2 (05:06):
so, um yeah, I I have a lot of strong opinions about
this movie.
Is it because I have strongopinions or is it because I'm
frozen again?

Speaker 1 (05:14):
you were frozen for a moment.
Okay, go ahead.
Okay, all right cool uh.

Speaker 2 (05:18):
Yeah, as far as, like you know, my, my, my thoughts
and opinions on this movie, um,I mean, holy shit uh.
So, like I, I discovered thismovie when it came out in 1994,
so I was like 10 uh, when I whenI watched this so through the
lens of a 10 year old, thismovie was fucking awesome.

(05:38):
Uh, you know you had, you had asoundtrack that was just killer,
right, you know you had, justlike everybody that mattered in
like the mid 90s was on thissoundtrack.
Um, you have a world that wasbuilt up that was like the
grittiest, gnarliest, fucking uhdepiction of detroit you could

(05:59):
ever fucking imagine, right, Imean it was like if heroin was a
film, uh, you know that wouldbe this movie.
You know that would be thebackground of this whole fucking
thing, right.
So you've, you've got that,you've got.
You know the, the actionsequences, you know of all of
the things.
I mean Brandon Lee definitelyinherited a lot of shit from his
old man, so you know definitelya lot of that kind of stuff

(06:22):
with, like, the fight sequencesand everything were thoroughly
entertaining.
And then you've got juststylistically slick as hell the
direction, the cinematography, Imean everything just looked
awesome.
So, through the lens ofsomebody in 1994, this movie was
fucking amazing.
But then you also have theunderlying story.

(06:44):
It was groundbreaking, you knowyeah, right, you know, yeah,
you've got the underlying story.
That was just absolutelyawesome, uh.
And then when you pay attentionto the comic itself and you get
into like james obar and youget into his background and
everything, and like it justkeeps going and going and going
and going and going, uh, towhere you can really just
fucking like continue to unpackthat.

(07:06):
For just fucking well, you know, 30 years we've been just
continuing to unpack this thingright and and that's, and that's
something that doesn't go awaythere.

Speaker 1 (07:16):
There are some movies that, of course, the best
example that I have is actuallya tv show.
There are so many things thatyou watched as a kid when you
were 10 and you just thoughtwere the greatest thing on the
planet.
And then when you go back andwatch them again when you're 35
or 40, you're like that was hot,fucking garbage.
I don't know why I enjoyed itso much all the time.

(07:36):
The best example that I have ofsomething like that is beavis
and butthead now you watch yourmouth, sir no, I can't, I can't.
I went and I bought all ofbeavis and butthead, the whole
fucking thing on dvd and, like Ihadn't seen it in years, and I
sat down and I started watchingit and I was like god, this is

(07:57):
so dumb.
I noticed that the big changewas that I started to.
I enjoyed the music videoportions of the show more than
when I was a kid.
But other than that like I wasjust like, wow, I don't know, I
can't believe my dad actuallysat and watched this shit with
me.

Speaker 2 (08:14):
It was so bad.
I'm actually amazed that yourdad sat and watched that shit
with you.

Speaker 1 (08:20):
Are you kidding me?
All of my friends parents wereall like you know, I can't
believe you.
Let your kid watch that shitwith you.
You know, watch that shit, jim.
And he's just like fuck.
I sit and watch it with him,it's funnier now.
Oh, no way, man.

Speaker 2 (08:33):
I don't know how, but no, I got fucking grounded,
like if my mom caught mewatching, like any of that shit.
Uh, no, if I got busted.

Speaker 1 (08:48):
No, I got, I got out that's backwards my dad, my dad
like he, he would, uh, I would,I would get in trouble if I
watched a new episode without mydad.
Then he'd get mad at me.
And it was the same thing withsouth park too, like I mean all
those, all those things that Iwasn't supposed that.
I wasn't supposed that I wasn'tsupposed to watch because
society said so.
My dad watched with me.

(09:09):
Um, he took me to see beavis andbutthead do america in the
theater without screening it.
He took me to see bigger,longer, uncut in the theater
without screening it.
Why?
Because he was just like fuck,who cares my kids?
Smart like just that's kindthat's.
That's really awesome best,like, of course, my dad was also

(09:29):
the kind of guy that was likeyou can't, you can't buy edited
cds.
Why?
Because that is not the way theartist wanted them to be heard,
so like could your dad be like,be like my dad?
no, I'm kidding my dad, I'mkidding, but holy shit, man,
that's cool yeah, it was, it wasawesome growing up, but I mean,

(09:49):
but the point is, is that, likeall of those things, you watch
them now and they just theyreally fall apart.
But you watch the crow now and,yeah, some of the acting is
still a little like overblown,like it used to be, you know,
and stuff like that, but you,but it's still, it's still just
there and you and you take it inand you watch it and you love

(10:11):
it and it's and it's reallyhasn't changed no, no, it still
holds up, has that?
impact.
Yeah, um, and and that thatgothic stuff in it is just it
plays to a whole differentgeneration of the darker part of
society.
Because, like, what is gothicthen and what is gothic now?
It's the difference between anattitude and a fashion.

Speaker 2 (10:34):
Right, yeah, I mean like back in the late 80s, mid
90s, you had to work for thatshit, you had to actually earn
that look right, when youcouldn't just wander into a
fucking hot topic or or you know, you, you had to more than just
declare it.

Speaker 1 (10:51):
You know, right, like I mean, you had to live it.
And now it's like you, you askthe gothic kids.
Now you ask them, you know, hey, do you even know what, what a
goth is like?
If, if I were to say, tell mewho the goths were, can you do
that and none of them tell mewho the goths were, can you do
that and none of them can tellyou?
You know, I mean they, theydon't understand any of the
roots of any of it or anythinglike that.

(11:12):
But but the people, at thistime there were so few things
that that tailored to the Gothic, you know, to the Gothic people
, right, and so it was like so,when there was finally a Gothic
movie, then it really spoke tothat group of people.

Speaker 2 (11:31):
And a good one, like a Gothic movie that actually had
like a budget behind it and ithad like a real fucking, like a
big boy fucking movie studiobehind it and like real actors.

Speaker 1 (11:45):
And real actors and real stunt people.
I mean brandon lee.
Brandon lee was his father.
Like I mean it's so crazy howlike like there.
There are so many times in thatmovie where he stops and turns
around and he's got that.
That lee smile on right as he'sturning away from the camera
and you're just like, oh my God,he looks like his dad.
Like it's crazy how much helooks like his dad sometimes.

Speaker 2 (12:09):
There's a part in there.
There's a specific scene wherehe's talking to Albrecht when
he's in his apartment andAlbrecht's asking him like are
you some sort of a ghost?
And he looks at him and goesboo, and then he hands him a
beer.
And he's got this.
He looks at him and goes boo,and then he hands him a beer.
You know, and he's got this.
Like this goofy-ass, look onhis face when he does the boo.
When he does that, that's Bruce, like that's Bruce coming out

(12:33):
and handing the dude a fuckingbeer.
Like that is some shit that hisold man would have done 100%.

Speaker 1 (12:38):
Yeah, it's so crazy.
Well, and then you add in hisphysicality in the movies.
Oh, totally yeah, you know,doing stunts and things like
that, himself and whatever, Imean, that was again his dad.
You know, his dad was all aboutit, and it's so tragic how the

(13:00):
stories were so similar.
With as similar as they were,we, we lost, lost a hell of a
performer before they evenreally had a time to show the
world what they were capable of.
I mean, and I would say thatthat when, when he went out, he
was just as skilled in cinemaperformance as his father was,

(13:25):
oh easily, yeah, easily justgetting into it yep, yeah and,
yeah.
And so I mean, what kind ofthings could we have seen moving
forward had he been able tocontinue?

Speaker 2 (13:37):
yeah, uh, I and yeah, I think that from like both of
them where they were, just theywere, they were cut down like
just before they were aboutready to pop off.
If I remember right, I thinkbruce dot uh, bruce died like 10
days before the premiere ofenter the dragon, something,
something along those lines, towhere it was like just before
his american debut.
Uh, that was going to be likethe biggest fucking thing ever.

(13:59):
That would have launched himoff the planet, uh, and he died
like a week before that.
And then, yeah, brandon, I meanthis movie would have
absolutely broken him, uh, youknow where, he would have just
been everywhere, uh, especiallyin the mid 90s, like that,
because I mean, there wasn't,there wasn't a single role he
couldn't have done, because hedid.
He displayed all of theemotions in this movie, all of

(14:21):
them, every fucking one.
Yeah everything.

Speaker 1 (14:23):
Yeah, yeah, and well enough to pull those emotions
out of you as he was performingthem.
Yeah, that heartbreak with his.
You know his girlfriend.
And then you know the angerEvery time he met one of the bad
guys.
You know anybody, from Tintinto.

Speaker 2 (14:41):
You know, to Funboy, how he was able to really draw
those emotions out of you whilehe was doing it.
Yeah, um, and I mean, and he,he taps into like it's, it's
almost fucking like bipolar orsomething, like you know, I mean
, he, he taps into where he can,in like the blink of an eye he
goes from like ptsd you know I'mI'm really like emotional and
you know, and fucked up aboutbeing in the presence of this

(15:01):
person to just like outrightrage of like I'm, I'm really
like emotional and you know, andfucked up about being in the
presence of this person to justlike outright rage of like I'm
gonna tear this person apartyeah, that kind of diversity,
like, and he doesn't, he doesn'tneed time in between, like he
can do all of that in one shot.

Speaker 1 (15:18):
Yes, you know, like yeah, um, yeah, no, just great
stuff.
The next portion I have here isis characters, and and I kind of
put Eric and Shelly togetherfor the first ones, I mean
they're, they're the wholereason why we're here, you know
the reason why we watch thismovie, you know they're.
They're a couple that aregetting married on devil's night

(15:39):
and Shelly lives in anapartment that isn't good, in a
bad neighborhood, and she hascomplaints and she files a lot
of complaints and unfortunately,the people who own the
neighborhood are criminals andthey send their thugs to to kind
of hush it up a little bit andpeople die, both of them, eric

(15:59):
and Shelly, both At least for ayear, both at least for a year.
I'm and that's that's the otherthing about about Eric that I
that I'm not really sure like,cause they don't really like
there's, and there doesn'treally need to be, but there's
no explanation, like he's not azombie, obviously, but was he
resurrected, was he actuallyalive again?

(16:22):
But he, he comes back a yearlater to seek his revenge and
exact it and he he does have alittle bit of help on the way.
So we're going to talk aboutthe, the very few good guys next
in this movie there are notmany good guys, no no, no who we
got.
We got, we got the cop and thegirl.
What are their names?

Speaker 2 (16:42):
uh you, uh, albert, and um sarah sarah, that's right
.

Speaker 1 (16:47):
Yeah, I mean they just that's.
That's pretty much it like ofall of the people in this movie.
Those are the two good peoplethat he has yeah, yeah, as far
as, like, the people thatactually participate in anything
, yeah uh, sarah's mom comesaround a little bit later, like
she kind of comes around back tobeing herself a little bit
after after a visit from thecrow Right, but I mean, but

(17:11):
maybe again that's just himbeing a superhero inadvertently.
But yeah, I mean, that's that'sreally all they got.
Now, the cop, the cop Albrechthe has, he has like a he has
kind of a tragic story too,because he used to be a
detective right and now he'sjust a beat cop.
Yep, and that was because hekept sticking his nose in on, on
you know it was this particularcase.

(17:32):
Yeah, he kept, uh, yeah, he keptfucking around and kept poking
around and he pissed off thewrong people and they, they bust
his ass down to uh, you know,back to being a guy on the
street yep, and so anybodyanybody who knows a cop
personally knows that they don'talways know when they have
those hats on in in departmentsthat wear hats, and and when he

(17:53):
was walking around his apartmentin his underwear with his hat
still on and then and then ericcomes in and tells him you still
have your hat on, yep, it waslike.
I don't know anybody who knowsa cop that that works in a
precinct where they still wearhats can, can definitely be like
yeah, that happens, they.
They wear that shit so much theydon't even know they got it on

(18:14):
anymore.
Oh, and it's.

Speaker 2 (18:16):
I mean it's it's any job where you've got to wear
that kind of shit.
I mean, you know how many timeslike a like a food service job
not comparing law enforcement tofood service, don't come at me
but how many times you've beenin like a food service job or a
retail job where you've got towear a stupid fucking hat and
you're walking around the housestill wearing the damn?

Speaker 1 (18:36):
thing you didn't even realize, or a net.

Speaker 2 (18:39):
Yep, oh, no, yeah, the hair nets.
I always knew, because that sonof a bitch was immediately
coming off.

Speaker 1 (18:45):
Or your aprons, yep, yeah, yeah.
The hairnets I always knewbecause that son of a bitch was
immediately coming off.

Speaker 2 (18:48):
Your aprons, yeah those do come off pretty quick.

Speaker 1 (18:49):
Beardnets, man.
I hated beardnets.
Oh my God man, those were theworst.

Speaker 2 (18:54):
Yeah, working at Perkins and having to do both a
hairnet and the beardnet, whereit was like, Jesus Christ, all I
wanted was a cigarette and Ifeel like I'm getting done up
for surgery.
Dude, I bet you I wanted was acigarette and I feel like I'm
getting done up for surgery.

Speaker 1 (19:04):
Dude, I would have paid.
I bet you, I could have soldtickets to an event of your
beard versus a beard net.

Speaker 2 (19:09):
Yeah, yeah, I'd wear a couple of them because that's
pretty formidable.

Speaker 1 (19:13):
But yeah, the good guys in this movie, just like I
don't know.
There they were so few thatEric was really the one standout
with Albrecht and then Sarah,but the bad guys are everywhere.
Absolutely everybody else inthis movie is a bad guy and I
mean, with there being so manyof them, I don't know that we
can really talk about them all,but we can talk about our

(19:34):
favorites.
I know where one of them isgoing to be.
One of them is going to be 10,10.
Yeah, everybody loves 10, 10.
Why?
Because did you see that man?
Like when you just watch himstand up in that alleyway and
then pull those knives out fromhis jacket and then he just
starts dancing with him, it'slike, oh shit, that's a guy.

(19:55):
I mean, most of that's, most ofthat's fucking.

Speaker 2 (19:56):
Lawrence Mason.
Man, like most of that is, youknow, like most of that's Larry
Mason playing that role.
I mean that guy is just he is.
He hasn't been in a whole lotof stuff, but everything he's
been in he's just been fuckingtop shelf the entire time.

Speaker 1 (20:16):
Oh yeah, well, and like like we had, we had been
talking about with, with hackers.
He was Nikon and hackers yeah,yeah, right, yeah, and he was.
He was kind of that like whenthey introduce him, he was that
imposing sort of you know, likewho are you?
What do you want?
Like everybody's, like reverentabout his door, you know.

Speaker 2 (20:36):
And then you know they ask him in an instant, like
he turns into matthew lillard'scounterpart yeah, and then he,
and then he's doing kung fu inthe doorway Roar, exactly.
That's fucking basic man,talented, yeah.

Speaker 1 (20:54):
And then Michael Wincott the voice makes this man
.

Speaker 2 (21:00):
Yep top dollar that gruff.
It's almost like Clancy Brown,clancy Brown or the Kurgan, just
that gruff rumble it's one ofthose where you hear his voice
and you know exactly what it isand it's a little bit of a
Southern drawl.
It's a shitload of gravel andit's usually like he's got

(21:22):
something.
That's just like poignant andkaboom that he's about to say
right, and it's usuallysomething he got from his daddy.
My daddy always said everyman's got his devil right the,
the whiskey voice.

Speaker 1 (21:34):
That's what they call it right exactly, yeah, yeah,
the jack daniels voice yeah,he's, he's always got it, and
his voice really does make thatcharacter and give it.
Give it the character that itneeds you know yeah.
Um, but no, I just, I just lovethe way the loves, the love,
the way he does it.
And then, uh, god, what wasthat guys, the, the, the guy

(21:56):
that was like impish runningaround with, uh, you're talking
about the speed freak.
Yeah, oh skank, yeah.
Yeah, yeah, oh skank, yeah, yeah, yeah, fucking skank, yeah that
moment when he's talking withhim, you know like I've got,
I've got a soundbite for that.
Hey, you, what's your name?
You don't feel that.
I feel like a little worm on abig fucking hook.
That voice is just perfect anduh, and, and that's the most

(22:21):
animated he gets throughout thewhole movie.
So he also has this imposingpresence that he gives, just in
the calmness that he has.
And when he starts gettingworked up, then that's when you
start to worry.
Oh yeah, ok, what's he about todo?

Speaker 2 (22:36):
Like, yeah, like top dollars character is just
fucking.
Top dollars character isterrifying throughout the whole
fucking thing Because, yeah, he,just he, he stays very steady
through everything.
And then like, yeah, as yousaid, you know the few times
where he raises his voice likethey're very intense parts of
the whole fucking movie.

Speaker 1 (22:54):
Right and everybody around him worries, you know.
And then there's.
Then there's the other guy, he.
He also had kind of the samesort of thing.
I mean, he was, he was a littlebit more fly off the handle,
but but at the same time oh,what was his name?

Speaker 2 (23:07):
uh, t-bird t-bird t-bird was was obnoxious and
everything but that calmnessthat he had in the car oh yeah,
uh yeah, t-bird was like, it waslike a he, he almost hits me as
almost like a, like a beatnik.
Uh, you know, we're like.
Well, I mean, he's quotingfucking Milton the entire time.

(23:28):
You know, with the Abash, theDevil Stood and Felt how Awful
Goodness Is Like, yeah, he'squoting John Milton the entire
time.
Like this guy that's like astreet thug.
You know like that's not athing that you commonly see.
And then he would say you know,he said weird shit.
You know like, when Tintin dies, he's like.
You know, yeah, one of my crewwent and got himself perished.

(23:50):
Somebody stabbed all his bladesand all of his organs, in
alphabetical order you know,like shit like that.

Speaker 1 (23:56):
It's like who the?

Speaker 2 (23:56):
fuck says that.

Speaker 1 (23:58):
He also, you know, had a penchant for his very
favorite saying, for, uh, forhis very favorite saying they
get rowdy, those guys, and thatlittle interaction around the
table with tintin I loved it,you know oh everybody's standing
up and putting guns up againsteach other's cheeks and

(24:20):
everything it's like yeah, thatshows you exactly the kind of
people these are yeah, just justall, all sorts of just toxic
masculinity yeah, all over thereand they're swallowing bullets
right like what the hell rightexactly who does that shit?

Speaker 2 (24:35):
I get which which one of you motor city motherfuckers
wants to bet me.
This one isn't just like yeah,the the dialogue amongst all of
them, where you're just likeholy shit man.

Speaker 1 (24:46):
And that's the.
That's the average people inthis movie.
Yeah, the average is the peoplesitting around that table,
correct?
And so when you have that, youhave to have a pretty extreme
good to come in tocounterbalance that.
But they didn't.
They didn't use an extreme good.

(25:07):
Not saying that Eric Draven wasa bad person.
I mean, he was a goth.
It wasn't wholesome.
His reason for being there wasselfish and dark, but ultimately
it neutralized everything thatmakes this movie so dark, and he
did it completely.

(25:27):
There's no ifs, ands or butsabout it.
He really came in and cleanedhouse right about here.
I'm going to take some time out, same.
Let's talk about some of ourfavorite moments and quotes in
this.
I'll let you go first.
Oh boy.

Speaker 2 (25:40):
Probably.
I mean some of the oh man, um,as as far, as far as favorite
quotes, this whole movie.
It's a comic book movie, right?
So every single soundbite inthis movie, almost everything
fits in a bubble in a comic book, so almost everything in this
movie is quotable.
You have so many great lines towhere it's just really

(26:03):
difficult to pick just one.
But I mean your soundbite fromearlier of the.
Uh, you know, I feel like alittle worm on a big fucking
hook.
That is definitely one that,like burrows itself into the
brain right, of course I meanskank and t-bird, both.

Speaker 1 (26:20):
They just had those, those weird off-putting I don't
have any other way to put itbesides uneducated things that
they would say like I, I catchmyself all of the time using the
other, the t-bird line.

Speaker 2 (26:35):
You know, this is the really real world right, oh,
that was a good one.

Speaker 1 (26:39):
When he was in the car just getting ready to go off
the pier and he's like this isthe really real world there
ain't no coming back there ain'tno coming back and uh, well, he
did and he's uh, and he's rightin your wheelhouse, man.
Yeah, god, that was.
That was a really good line.

Speaker 2 (26:56):
I did like that uh the the the one, the interaction
between uh eric and albrechttowards the end of the movie.
Uh, you know, after the crowhas been shot, he's like kind of
lost his powers and things likethat.
And he's sitting there, he's,you know, he's been shot to shit
.
He's bleeding all over theplace.
But albrecht doesn't know ityet and he's just like you know,
yeah, you know, you go firstand uh, they'll shoot you until

(27:17):
they run out of bullets and thenI'll just arrest everybody.
You know, and he's like, yeah,it's a great plan, except shit,
you're bleeding all over theplace like I.
I thought you were invincible.
And you see the annoyance likeset into his face where he's
like I was, I'm not anymore,like catch up, like come on, man
.
You're like don't fuck with meright now.

Speaker 1 (27:38):
I'm shot, it hurts I mean a little bit of pain, dick,
right?
Yeah, exactly one other quotethat I really liked from this
movie, and it's actually the onequote that I think of every
time I think of this movie, thevery first quote that I think of
every time I think of thismovie I don't know why that

(28:03):
scene sticks with me and italways has.
Like I didn't watch that movie,like I mean, I watched it when
it first came out on vhs, on vhs, and then I watched it when it
was first released on dvd.
And since then I haven'twatched it and like what was it?
Maybe two or three days ago,the day before, I watched this

(28:26):
car, car bang.
Fuck, I'm dead like I'm justlike that that I don't know why
that stuck with me.

Speaker 2 (28:33):
And I noticed that you had that down in your in
your some of your favoritequotes too and I was like I mean
like that, that casual insanitythat, uh, that wincott brings
to the role of top dollar, uh,that's, that's where just so
much of that shit sticks in yourhead, because you're thinking,
okay, this is like the uh, thisis that last act.
You know, big baddie shootoutthing, who the fuck says

(28:54):
something like that, like, whomakes a joke like that, just so
casually of like, you know, bang, fuck, I'm dead.
All right, now we have problems.
I love it for a ghost.

Speaker 1 (29:03):
You'll bleed, just fine I'm glad that I'm not the
only one that that that thatreally stuck out to another one.
I still use it to this day andI'm not entirely certain whether
I got it from my dad or I gotit from this movie, or even if
my dad got it from this movieand I got it from my dad who got

(29:24):
it from this movie.
I don't know but the term.
What's this happy horse shit?
You see my producer throwingher head back.
That's because jen hears me saythat shit all the time yes what
is this happy horse shit?

Speaker 2 (29:38):
yep, and I love it.
I think that's just amidwestern colloquial, but it
like snuck its way into thisfucking movie I love it yeah,
yeah, yeah what's this shitright?

Speaker 1 (29:49):
here, man, you know, and then there's the whole, you
know, the whole jolly club witha jolly pirate, nicknames, and
yep, yeah, that wholeinteraction between him and
gideon in the pawn shop.

Speaker 2 (30:01):
Oh my god man it's it is.
It's hilarious, but it's alsojust terrible the entire time.
I mean, he's taking glee in thetorture of uh, of this, this
pawn shop owner, right, likewhen he stabs him in the fucking
hand and he's just like MrGideon, you're not paying
attention and then stabs him inthe fucking hand, right.

Speaker 1 (30:20):
Yeah.

Speaker 2 (30:21):
Cracking jokes the entire time, you know.

Speaker 1 (30:36):
Yeah, yeah, you know you're, you're nothing but
street grease.
You, motherfucker, is thatgasoline?
I smell like oh shit that.
I loved that scene, oh yeah,yeah, the way that they filmed
it, the angle that they got himat the lighting that they had on
him yep, that is that gasoline.
I smell like shit on me.

Speaker 2 (30:45):
Just great, great stuff oh my god, man like the
you know that the, the dude thatplayed gideon, uh, you know
fucking.
Uh, john palito, that guy islike, he is that guy in
everything he's ever been in,like, oh yeah, he does nothing
but like bit parts or you knowsmaller roles and everything
he's ever done, but he is thatguy and everything he's in he's

(31:07):
got one fucking speed butgoddamn does he do it well.

Speaker 1 (31:10):
That last scene that he has with Top Dollar.
Yeah, His annoyance with thewhole, you know.
Oh, just die already, will you?
Yeah?

Speaker 2 (31:22):
It's so good.
I mean, that's another one with, yeah, just Top Dollar being
just terrifying the entire way.
He's like would you justfucking die.

Speaker 1 (31:29):
I love it.
So there is one very specificfacet of filmmaking that I kind
of wanted to talk about withthis one, and it's mostly
because I'm not real familiarwith Grim Revelle.

Speaker 2 (31:42):
Oh yeah, grim Revelle , yeah, yeah.
So yeah, he was the composerthat put together the score for
the movie and this is like Imean even to him, he's like this
was my signature piece, thiswas like my magnum opus.
But I mean, this guy's workedon all sorts of shit that people

(32:04):
like us would probably considerto be like classic movies.
He worked on things like StreetFighter, tank girl, uh ghost in
the machine like the you knowthe animated ghost in the
machine, um, you know he workedon like all sorts of really cool
shit.
Uh, he worked on um the craft,um fuck what, uh, what the hell
else do you work?

Speaker 1 (32:24):
oh, I guess I do hear that there's something.

Speaker 2 (32:27):
Uh, there's something sticking in my head that, like
he worked on, it was a biggie.
Uh, it was another comic bookmovie.
Um god, son of a bitch, whatthe hell was it?
Hang on a minute um, you didsay tank girl I did yes and you
know that would have beenanother really big, uh, really
big one, but um, oh,motherfucker, where the hell are
you?
It's a black and white comicbook movie.
Um uh, sin city.

Speaker 1 (32:48):
Yeah, there you go okay, yeah, you worked on, you
worked on sin city.

Speaker 2 (32:52):
Uh worked on daredevil.
Um, you worked on like allsorts of shit okay.
So I mean he's got a particularsound to him that is almost
industrial, but it also has,like he's all about like vibe
and sound design and things likethat.

Speaker 1 (33:10):
It's not like a john williams type of a score he is
very similar to han zimmer,where he likes to use those
ethnic yes, ethnic instruments,a lot of percussion, um.
He's very much trying to createlike a vibe in an atmosphere
right, and now that you'vementioned a whole bunch of those
, I can kind of hear, I can kindof hear, I can kind of hear his

(33:30):
style in most of those, like inmy head as I'm, as I'm kind of
replaying some of the music fromthose movies in my head, the
similarities, but yeah, I mean Ijust the the name.
I feel like I should know it,but I just didn't.
I'm like huh, I'm going to haveto, I'm going to have to ask
him about that.
Um, but I, I did notice in thismovie, though as I was

(33:51):
listening to it, I was just like, you know, especially with that
do Duke and the and the, youknow, the Japanese wood flute
played at the same time togetheras he was walking down the
alleyway and stuff like that.
It was like God, I don't knowwhat kind of sound that is, but
it's, but it's haunting and andthey picked it like perfectly

(34:12):
for that scene just to give itthat that little bit of
mysticism right needed to be had.

Speaker 2 (34:18):
Yeah, just really, really good stuff yeah, a lot of
times like, unless you are, youknow, an orchestral nerd.
A lot of times like moviescores and the the common
listener is not able to listento like a score from like
beginning to end and actuallygive a shit, like most of the
time, you know, just a regularlistener, they, they just don't
care.
Uh, this is one of them, though.

(34:39):
We're like you can, you canhave this going in the
background and it's just goingto be like lo-fi tunes for like
the whole fucking time that it'srunning.

Speaker 1 (34:47):
Like you're even as just a normal listener, you're
okay with it yeah, see in andgrowing up, growing up in a
musical home and a movie theater, music, movie music was always
really important for me, sure,and and so, like my dad had kind
of taught me the like, thethings to look for between the
different, between the differentcomposers, and how you can kind

(35:09):
of see their signature right.
A lot of them have a signature,like john williams.
Obviously his is that octavejump that you know he's he
octave jumps, musically,technically, are ballsy and they
tell you not to do it.

Speaker 2 (35:25):
Yep, yeah, they go against the rules.

Speaker 1 (35:26):
They tell you not to do it because it's not because
it is too.
It is too epic to do you knowJohn.
Williams does it like he'staking a fucking walk in a park,
right Everything he does.

Speaker 2 (35:38):
John Williams does it for a reason because when you
have that, that giant likeoctave jump, it's a kick in the
pants Right, you know whereyou're like yeah all right,
let's do this shit.
And I mean most of his scoresare, you know, epic, like heroic
let's, let's fuck up the empirekind of you know kind of scores
.

Speaker 1 (35:57):
Yeah, and then, and then you've got movies like
Harry Potter that, like you know, I mean they're everywhere.
I mean just the whole fuckingtheme is nothing but octave
jumps, and he just does it socasually, and so I kind of look
for some of those signaturesounds and things like that.

(36:18):
And his I just I didn'trecognize, and that's kind of
why I put that in there.
But it really did fit in withkind of the, like you said, the
vibe.

Speaker 2 (36:29):
Yeah, it's world-building, it's how you put
on there.
I like how you put on there,even though I hate that term,
but it really did build a vibeit's because anymore, man, I
mean that's, that's become somuch of a zoomer term, uh, or
yeah, zoomer, kind of a term oflike you know, yeah, you know
the vibe, right, you knoweverything's, everything's a
vibe and it's like just yes, no,you like it's not a noun, all

(36:50):
right, you know you it's.
It's like, don't, don't do itthat way.
I know it makes me sound likethe cranky old fuck, but I mean,
I am who I am right?

Speaker 1 (37:00):
well we're, we're starting to get into that age
where we have to startpracticing to being the the the
cranky old guy in theneighborhood dude, I've been the
get off my lawn guy, since Iwas like 12.
Okay, I'm going to get up on mymic here real quick so that I
can tell this to you here I,when I was looking to buy a
house, I specifically found onethat kids would walk by from

(37:23):
school, so that I could becomethe local legend.
Don't go into that yard.
That's old man here.
What's yard?
I got this big looming houseand I've got windows up in the
top of the house that I am sogoing to just make, mysteriously
lit up at night with asilhouette.

Speaker 2 (37:40):
It's just going to be a cardboard cutout or some shit
, and I mean I'm going to you'rein midday, that's not going to
be that difficult.
Like you going to you're inthat's not gonna be that
difficult.

Speaker 1 (37:53):
Like you know, you're , you're in small town, nebraska
, that's not going to be thatdifficult to uh, to be able to
create that kind of legend.
I am going to be a legend,that's.
That's exactly what I was outfor I'm not going to be famous.
I may as well be infamous seejen's got her hand in her head
because she knows every time wewent to a new house to go look
at it with our realtor, I went,I went straight to the front
window and was like, yeah, Icould, I could terrify kids from

(38:14):
this place.

Speaker 2 (38:15):
Yeah, there you go, yeah yeah.

Speaker 1 (38:19):
So, uh, I mean speaking of vibe.
So, uh, cinematography, setdesign, you know direction from
proyas and and walski, uh,cinematography was set design.
You know direction from Proyasand Walsky.
Cinematography was really great.
And, yes, you can definitelysee how they had kind of
recycled some of their work with, you know, having worked in
Dark City, I think.

(38:41):
Now there's this quote that mydad used to say years ago all
the time, and it was when I wasat home by myself with my
trumpet and I was just learninghow to play and I had a Dizzy
Gillespie CD and I had that inthe CD player in my room and I
was trying to play along withDizzy Gillespie, which when

(39:01):
you're in your first like fiveweeks of learning how to play,
you know that that's notpossible, but I was trying.
Anyway.
My dad comes home and I'm likeI'm turning off the CD player,
I'm putting my trumpet away andall that stuff, and my dad was
like, what are you doing?
I was like, well, I was justplaying along with a CD and he
was like, yeah, what were youdoing?

(39:22):
I was like Dizzy Gillespie andhe was like, oh okay.
I was like, just okay, you'rejust going to tell me that it's
okay and he's like.
He's like, yeah, why?
And I was like I just figuredthat, you know it's well above
my, you know my skill, you knowmy skill level and everything.
And he was like and then hestopped and he looked at me and

(39:42):
he goes there is nothing wrongwith emulating greatness, and so
that stuck with me.
Now, when somebody doessomething right and then they do
it again, you find it excusable.
So even if they did copythemselves when making one movie
and then going to another anddoing the same thing, they

(40:06):
captured it, they figured it out.
They successfully found theformula that made what they
captured it.
They figured it out.
They successfully found theformula that made what they
wanted to make.
And then they then they justrecreated it for another project
.
And some people really hatethat.
I mean, some people will willtalk a lot of trash about people
doing that.
They'll be like you know well,this movie was just like that
movie and you can totally tellbecause it was the same people

(40:26):
that did this.
I think it's.

Speaker 2 (40:29):
I think it's fine, yeah, like, if you figure out
the skills yeah, there are somepeople that have like an
identifiable style to them, youknow.
Like there there are, uh, youknow there are a lot of films
where, like yeah, there's sureyou could say that they just
made the the same movie over andover again.
Like, uh, uh, oh, god damn it,the the fucking name is escaping

(40:51):
me right now.
But the other, the guy that madelike all of the teenager movies
back in the 80s, uh, he workedon like weird science and uh, 16
candles and um, you know whoI'm talking about, right, like,
yeah, I mean that, yeah, yeah hehe's known for, like, he made
all the teenager movies, right,and they they all have, you know
, very, very similar plots andthey're all about, you know,

(41:14):
kids that are like 16, 17 yearsold, they're coming of age,
they're all that kind of story,but they're all fucking great,
right, you know, yeah, he had aparticular style and he did it
very well and he did it verywell.
You could say the same thingabout the combination of Proyas
and Walsky were like theydiscovered their particular

(41:34):
style and when they were workingon something like Dark City, it
fucking works.
That's exactly what they'regoing for on that With Walski
and his cinematography.
When you look at what he didlater, when he's working on the

(41:57):
Alien movies, the newer oneslike Prometheus and Covenant,
it's still that kind of videostyle and it works for what it
was that they were trying tocapture.

Speaker 1 (42:13):
So if you've got a style, fuck it man, go for it.
Kind of breaking away from,from a little bit of what is
typical for me the, the movie,the movie thing in video games.
I remember when halo, when halo2 was just getting ready to
come out do you remember halo 2?

Speaker 2 (42:23):
uh, yeah, because of who I lived with.
Yeah wait.

Speaker 1 (42:26):
Which one did you live with at the time?

Speaker 2 (42:28):
I was living with Chris.

Speaker 1 (42:29):
Yeah, of course.
Yes, you were a Halo fan.
Now the whole thing with Halo isat the time they had a making
of Halo thing that came outaround that time and one of the
game testers had said that thereason why Halo was successful
was because they figured out theformula for fun, and that was

(42:51):
20 seconds of intense actiongameplay, split up and recreated
over and over and over again,with a little bit of walking
time in between to give you timeto recoup.
Sure, and so once you figurethat formula out for success,
then you just copy and pastethat formula and, like I said, I
don't see any problems withpeople doing that.

Speaker 2 (43:14):
No, absolutely not.
You don't have to reinvent thewheel every time.
Sometimes the wheel is justreally fucking good.

Speaker 1 (43:22):
Right, so some of the things that I was kind of
looking at here with some of theother things, some of the other
aspects here.
Now we talked about theorchestral music.
The soundtrack on this moviewas banging.
Oh dude dude, Three timesplatinum selling, selling over
three million copies.
That's just domestically.

(43:43):
I mean it really contributes tothe movie's atmosphere,
reflects the subcultures in thecity, with the varying different
styles within the soundtrackitself.
I mean this soundtrack wasamazing.

Speaker 2 (43:57):
Oh, I mean, dude, you've got.
I mean you know, some of thenames of people on here.
I mean you got, you know, yougot.
Stone Temple Pilots, Nine InchNails, rage Against the Machine,
rollins Band pantera, the onegood song by the cure, uh, I
mean I'm like the one, the onegood song by the cure I'm
surprised that you didn't havematt pinfield just show up in

(44:18):
the movie, because all of these,all of these guys were on 120
minutes.
Uh, I mean, like this was, thiswas alternative 90s, right
there.

Speaker 1 (44:28):
Right, yeah, it was.
It was such a good soundtrackand like I'm starting like I, as
I think back on it, I'm like Idon't know that I that I ever
owned it, like in that firstprobably I'd say probably five
years maybe after the movie cameout, I wasn't really old enough
to go buy that kind of stuff bymyself.
Uh, after the movie came out, Iwasn't really old enough to go

(44:49):
buy that kind of stuff by myself.
But, uh, but I do know thatbefore I was 20 I owned this
soundtrack and I loved it.
I, I literally wore out a cdlistening oh, yeah, yeah because
you you don't even have to stopit, like you don't have to skip
anything, you don't have tojump over anything.
It's all just really greatmusic.
I don't know, I feel like therewere a few parts where I had a
hard time identifying where someof the songs were in the movie.

Speaker 2 (45:12):
Um well, a lot of them were really like just kind
of low-key in the background,like the other, like stp uh that
was, I mean that was playing onthe radio as they're driving
away from the arcade, uh, youknow, from the arcade games
place where they blew that upright and you just barely hear
in the background while you havethe other, the little fucking
uh uh, tachio watch or whateverthe hell.

(45:33):
Uh, you know ticking away beforethe bomb goes off and you just
barely hear in the background.
You know that time to take herhome.
You know like, yeah, you barelyhear that while, like that
arcade's about ready to blow upright, yeah it's, I don't know
it.

Speaker 1 (45:47):
Just it doesn't get any better than the soundtrack.
Man Like I mean okay, well, Idon't know, there's been some
other really good soundtracksout there too.

Speaker 2 (45:54):
Yeah, there's a lot of them that are like when
they're good, they're fuckinggood yeah.

Speaker 1 (45:59):
Now some of the stuff that wasn't really soundtrack
movie or movie soundtrack andwasn't orchestral.
You know when Eric Draven isplaying the guitar on the on the
rooftops?
Oh yeah, thank you.
Thank you for that promotionalvideo.
By the way, that was spot on.
Like, yeah, I was like is hejust miming?

Speaker 2 (46:20):
Yeah, I did that on devil's night.
Uh, you know, like this thispast year, uh, you know, did
that.
Uh did that on devil's nightand was like, uh, you know, yeah
, we're we're talking about thecrow.

Speaker 1 (46:36):
It like, hey, fuck it .
Yeah, no, I still have this oldvideo floating around.
Yeah, why not?
I'll just throw that up there.
That's what I'm talking about.
I love it good, good stuff, andI mean it was it added
something.
Something that I I really wishthat they would have hit on a
little bit more in the movie waswas his band.
I really wish that they wouldhave had more about the band in
there yeah, um, I think, if Iremember correctly, in the
comics they do.

Speaker 2 (46:54):
Uh, you know, in the graphic novel they do talk more
about, like the other, the band,but uh, you know, like they,
they do have the, the one song,the, uh, it can't rain all the
time.
Uh, that was supposed to belike his band doing that song.
I'm probably, I'm probablygonna have fans of this movie
come after me for this, but thatband sucked, they weren't good.

(47:15):
They weren't good you know it'swell, I mean, and he, I think
the people that you have toworry about.

Speaker 1 (47:22):
I don't think he'd have had a music career right
now, the, the people that youhave to worry about, those were
the people that I, that I'd kindof talked about in in the very
beginning.
The, you know, the some peoplewho love to hate the people who
love it, right, like the peoplethat, like the people that love
this movie, that hate the peoplethat love it.
Those are us because, yeah,because the people, the people

(47:49):
who, who the people who love themovie hate the people who love
it, those people are weird, likethey're, they're just
absolutely fucking weirdos andthey go crazy about that shit.
Man, I mean, we're talkingpeople who, who, like, modeled
their whole lives after thismovie, which I love.
This movie, this movie actuallygave me some.
My active ingredient for thismovie has stuck with me since I

(48:12):
was 10 years old until today,right, and it still continues.
So, like this, this movie washuge, awesome, amazing and
impactful and just ginormous inevery way.
But, man, some people reallyneed to be careful.
So the next part that I reallywanted, wanted I'm actually look

(48:32):
, really looking forward to, tokind of your thoughts on this
one the sequels in a remake okayI'm just gonna turn my
microphone off, yeah yeah, allright.

Speaker 2 (48:46):
So the sequels are all fucking hot garbage.
Every last bit of them, justfucking dog shit.
Um the uh like city of angels,had a chance.
Like maybe, um, I'll give it alittle bit because Iggy pops in
it, uh, you know.
So like maybe, just becausehe's there, uh, it gets maybe a

(49:07):
little bit above.
But like the the rest of them,holy Christ man, bit above.
But like the the rest of them,holy christ man.
Just absolute fucking dog shit.
Like how in the fuck did thesethings get made?
Like the worst made for sci-fitv movie.
That, uh, that you could getyour hands on is still probably
better than most of thesesequels.
They're bad.

(49:30):
They're they're saying a lot,fucking bad um, especially
considering that, like the firstone was so good, you'd think
that, given the source material,that that would save it at
least a little bit yeah, I think, uh, so, like, I've got a
couple of theories on why, like,there are failures in, like,
the sequels and where, where wemight get to on the remake, and

(49:53):
I got a lot of thoughts on theremake we'll get to that here in
a minute, uh, but my, mythought is that, okay.
So the, the original movie, youknow, the with, uh, you with
brandon lee, alex prius, youknow whatever, that was
lightning in a bottle, right,and everybody kept trying to
make a riff off of that right,all of the uh, all of the

(50:15):
sequels they were trying to.
They weren't going to thesource, source material, they
were trying to riff off of themovie and that's what they were
trying to build their uh, youknow, base their uh, their
sequels off of.
And that's the wrong thing tofucking do.
When you look at other thingsthat exist in the Crow universe,
like other comics or novels,there are several books that are

(50:38):
based in the Crow universe andthey have nothing to do with the
original story.
They have nothing to do withEric Draven, like he's not even
a footnote in there.
The only thing that connectsthem is the concept of the Crow
Right, and you know that's theonly thing that connects any of
those and the books are fuckinggreat.
Like, some of those books arereally really fucking great.
One of them's a little twisted,but they're, they're really.

(51:00):
They're really really greatbooks.
Um, you know, but it's becausethey're not trying to recapture
the lightning in the bottle thatthey already got back in 94,
right?
Um, so I think that's where thefailure was of all of these
sequels, because they're fuckingdog shit.

Speaker 1 (51:17):
You know, I think, all of the sequels the best way
that I could describe those.
The reason why I told mostpeople to just kind of stay away
from most of the sequels wasimagine, imagine, imagine that
they wanted to make sequels toto the crow, and so they they
present the idea to you know,miramax, I guess, in this case.
And Miramax goes yeah, we'renot going to give any money for

(51:40):
it though.
So if you guys can pay for itout of pocket, that's great.
And then, instead of using thatmoney out of their pocket to
pay for sets and things likethat, they went and paid people
who had made bad knockoffs andsaid we're going to pay you for
this bad knockoff of the crowand we're going to give it to
miramax and they're going toturn it into a crow movie.

(52:03):
And and then miramax just tookit and put it onto a cassette
and started selling it oh yeahyeah, that is really what it
feels like, like they wereintentionally poorly made mimics
just to piss you off whenyou're scrolling through on
netflix yeah, mirabax, I don'tthink that this is actually part
of that movie yeah, yeah,mirabax was just like we really

(52:25):
like money, we'll take yourmoney.

Speaker 2 (52:27):
Uh, yeah, I mean like the, the sequels are uh,
especially like the, the thirdand the fourth one man, like the
, the, the sequels are you,especially the third and the
fourth one man.
The sequels are.
These are like what happenswhen you want to watch the Crow
and you order it from Wishcom.

Speaker 1 (52:41):
Yes, that is exactly it.
Have you ever seen on?
I think it was.

Speaker 2 (52:49):
I think it might have been on Amazon, it could have
been Netflix A movie calledtaint light excuse me, it was in
taint light taint light I'm I'mgonna need to know the context
yeah, huh, I'm gonna need toknow the context of that word
tank think twilight, but badwell, I mean twilight's already
bad so it was.

Speaker 1 (53:09):
It was a twilight knockoff where I think it was
filmed on a sony handycam and itwas just a bunch of kids and
and instead of baseball they didfroth.
Instead of sparkling in the sunthey would get boners and
bubbles would fly around them.
I mean just a really, reallybad remake of twilight.
That is what I feel.

(53:30):
The crow the crow sequels likethree and oh yeah yeah, three
and four is to the crow.
What taint light is to twilight?
I'm gonna have to take your wordon that one, but holy goddamn
I'm you know what that thatmight be something that I might
have to do.
I might have to, I might haveto, to prescribe people to watch

(53:53):
movies and then come back andtell me how bad they were.
I, I, yeah, see if you can findtaint light I don't think I'm
gonna.
It doesn't seem like a thingI'm gonna do oh, come on, it
could be worse, I could be uhI've done a lot of bad things in
my life.

Speaker 2 (54:10):
I've done a lot of dumb things in my life.
I don't done a lot of dumbthings in my life.
I don't think that's somethingI'm going to do.

Speaker 1 (54:13):
That's awesome.
So now the big question, thereally big question, and that's
you know, we've gone this longwith having nothing but garbage
sequels, and now they'rerebooting the movie.

Speaker 2 (54:28):
Okay, so the reboot on this?
First off, there's a hugemisconception that everybody
thinks that this is a reboot ofthe movie.
It's not Okay.
Okay, this is where they'rebeing different, in that this is
a reimagining of the graphicnovel, so they're not rebooting

(54:50):
the movie, they're not fuckingwith that, they're redoing.
It's a reimagining of theactual novel.
They're going back to Obar'smaterial.
They're not messing with AlexProyas and Brandon Lee, they're
leaving that alone.
However, there are a lot ofthere's still a lot of
controversy in there and there'sstill a lot of risk in there

(55:16):
and, I think, a lot of thereaction that, because you've
got some people where they lookat it, they're like dude, this
looks fucking good, and then youhave the reaction of like what
the fuck is this happy horseshit?
Um and it's.
It's because, uh, you, we'vewe've been burned so many times
by just the, the absolute,god-awful, fucking trash sequels
that I I can't stop cussingover.
Uh, yeah, I mean, they're justfucking hot garbage anyway.
Uh, you know, so like we'vebeen burned so many times by it.

(55:39):
So, like, when there's, whenthere's something that comes out
and it's not a sequel, we're,we're like, we're back to eric
draven and shelly here.
It's like, no, don't you fuckwith me here, don't you fuck
with this, right, uh, especiallyall like any of us that like
grew up in that time period.
You know those of us that arelike the, the elder millennials,
you know the of the gen xers,uh, like that was, that was our

(56:01):
movie man, don't fuck with ourmovie.
Uh, so there's a lot of liketrepidation.
You know to where we're justlike, wait a minute, and I mean
when the, when the red bandtrailer came out, it like the
red band looks really coolbecause it's incredibly violent.
Right which the, uh, the, thegraphic novel.
The graphic novel is incrediblyviolent, uh, because of all the

(56:22):
shit nobar went through and likehow this was his process for
being able to get through that.
You know the, the shit that hewas going through.
Uh, so yeah, like the, thegraphic novel, incredibly
violent.
So you look at that, you'relike, okay, maybe.
But then you look at like whatthey did to draven's look right
where he's in, like the, thetrack suit and he's got the

(56:42):
shitty face tattoos and he's gota mullet, uh, and you're just
like what the he looks like afucking uh, like a, a zoomer,
fucking fever dream and you'rejust like what the fuck did you
do to my eric draven like this.
This guy has been like the uh,the fucking poster child for
mid-90s goth for like 30 yearsand you've got him looking like.

(57:05):
He looks like machine gun,kelly.
You're like what the fuck man,what did you do?

Speaker 1 (57:10):
a you do A little bit like Billy Ray Draven man Well,
no he doesn't look redneck, helooks like fucking, like.

Speaker 2 (57:22):
what the hell is it?
There's a style now that theZoomers are doing where they're
purposely looking like they'rewhite trash.
They look like they justwandered out of Valley View, you
know, in like 1997.
And you know, you're and likeyou look at it and you're like

(57:42):
what the fuck?
Go, wash your ass.
What are you doing?

Speaker 1 (57:45):
What the fuck is this ?
Yeah, with the, I guess withthe, with the mullet and you
knowuit and you know, riding onsome stolen bike, um, and and
all of that.
Yeah yeah.

Speaker 2 (57:57):
So I mean there are.
There are some things where,like, you look at it and you're
like, oh, but I don't know, likeI'm I'm trying to go into it
with an open mind, we will seewhat it looks like.
I mean, they're just there area lot of things that don't bode
well.
I mean, this has been indevelopment hell since like 2008
.
Right, you know, you've gotlike 25 years of development
hell for this, uh, but you knowthat, like, is it going to be a

(58:19):
reboot of the original movie?
Is it going to be a reboot ofthe comic?
Are we going to just make thisanother sequel?
Uh, you've had like everybodyinvolved with this.
Like, I think, at one time youhad like jason momoa, you know,
involved.
He was going to be Eric Draven,like you know, yeah.

Speaker 1 (58:43):
Well, I mean, I think Jason Momoa I have a lot of
respect for him.
Okay, that's a bit much Right,yeah?

Speaker 2 (58:46):
Yeah, I mean, yeah, you've got like some crazy shit
in there.
Like James Obar, at one pointhe was, you know he was involved
.
Uh, you know, as, uh, as anadvisor, he's not anymore.
Uh, you know, so like just allsorts of weird shit.
And then like all of a sudden,boom, we have this and you're
like I don't fucking know, man,like it might be good it might

(59:09):
be just god awful, uh, but Ilike it's.
Also, you have to, you have totry to think of who is their
audience going to be, right, youknow, I, I and I think we might
have.
We might have touched on this alittle bit last time when we
were talking about clerks.
We're old, right, you knowwe're, we're going into our,
we're going into our 40s andwhen this movie came out, it was

(59:29):
, you know, it was directedtowards a specific generation,
right, 1994, gen x generation,when the uh, when the book
itself came out, it had a lot ofcues, stylistically, from like
late 80s, uh, you know, goth andpunk, uh, to where you had like
you know, I mean eric dravenoriginally was modeled off iggy

(59:49):
pop.
So uh, you know you have thatkind of uh, you know that kind
of look to it.
So who are they marketing thisto?
Are they marketing it to likeold fucks in their 40s or are
they marketing it to the zoomergeneration?
Because if that's who they'remarketing it to, then I mean, it
looks like it's probably gonnabe a fucking slam for them.

(01:00:10):
We'll just see if it applies totheir set of values for this
day and age.

Speaker 1 (01:00:16):
Otherwise there's going to be a lot of pissed off
Gen.

Speaker 2 (01:00:18):
Xers.

Speaker 1 (01:00:20):
Right, it kind of goes back to what we were
talking about before, we wererecording the Roadhouse thing.
Right, roadhouse, the newRoadhouse, if you stop thinking
of, stop thinking of it as as a,as a remake, and just think of
it as as its own movie, it's,it's fine, right, like, as long
as you're not going.

(01:00:40):
This is, this is a roadhousethat is made now and it's and it
was made because of the onethat came before.
Like, just think of it as oh,this is a with jake gyllenhaal
and some fuck stick fromoverstays and and I'm sorry I
was was that somebody importantin that movie?
I don't know.

(01:01:01):
Some people, some people saythat you know, oh, I couldn't
believe they got him and I'mlike I don't know who the fuck
he is, because he sure as shitain't an actor.

Speaker 2 (01:01:09):
I'll tell you oh god, no, no, no, no, no.
He make, he makes his bones bypunching people.

Speaker 1 (01:01:14):
He should not be talking yeah, yeah, and I mean
I'm not gonna, I'm not gonnachallenge him in that in that
arena because he would fuck meup.
He could.
He could reach me from whereverthe fuck he's at overseas, like
what is that ireland?
Yeah, he could probably punchme from ireland right now.
So I'm gonna, I'm gonna liketry to be a little bit of quiet
about it, but god, I hate thatguy.

(01:01:36):
Um, no, I think, I think thatI'll probably watch the new, the
new crow movie, I mean I'lldefinitely give it a shot.
Yeah, uh yeah, as far as I'lldefinitely watch it, I'll give
it a shot.

Speaker 2 (01:01:48):
Um the you're, you're not wrong.
You know, like talking aboutyou have to like separate it
from the original yeah it'sdifficult, though, with this, uh
, because there's there's a lotwith this movie.
I mean one, it means, it meansjust so much to a lot of people,
right, um right.
But also, I mean, this was,this, was brandon lee swan song,

(01:02:09):
and, uh, I mean alex preyeshimself has come out and said
you know, this is, this is lee'slegacy, so don't fuck with it.
You know, leave it alone, don'tmess with it.
This was, you know, this wasthe greatest performance that
this guy ever did and he died onthis, this movie.
You have the other actor, theguy that shot him.

(01:02:32):
We're like he spent the rest ofhis life fucked up over what
happened in this whole thing.
Um, you have a lot of peoplethat are affected by this.
Just leave it the fuck alone iswhat proyes always says, like
every time everybody, you know,anybody ever tried to talk about
a reboot, he did his damnedestto get it squashed because, uh,
you know, he always thought itwas disrespectful, uh, to

(01:02:53):
brandon and his legacy and hismemory.
So it's difficult to be able tolike, separate the the two
things, which is why I thinkit's important to really make
sure to hit home that, like thisis about reimagining of the
book and not not the movieitself see, and it's.

Speaker 1 (01:03:10):
It's funny.
You'll notice that, as you weresaying that, my producer was
nodding her head.
That's because we watched thatagain.
What?
The night before last wewatched it again and, uh, we
were talking about the remakeand I that was exactly what I
told her was you know, there'sit's, it's different.
It's different because brandonlee died making it.
It changes things.

(01:03:31):
Like, you want to reboot anymovie, like it's whatever, but
someone literally died to makethis movie.
It should remain a legacy, butbut again, like I mean, you're
not going to stop anything likethat from happening it's going
to happen.

Speaker 2 (01:03:45):
Yeah, no, I mean they've been.
They've been trying for anybodythat they've been trying for 25
years to remake this fuckingmovie, you know, or to, or to
reboot this franchise, rightright and well, I mean in my
whole thing with it is that Ithink back on things like Dune.

Speaker 1 (01:03:58):
You know the original Dune.
Would the person who made theoriginal Dune movie be OK with
them making a reboot on sci-fi?
No, would they be OK with DenisVilleneuve making his own?
No.
But guess what it fuckinghappened.
And you know what I love allthree of?
them I don't give a shit whatanybody says.
I love all.
They could make a new Duneremake every 15 years for the

(01:04:20):
rest of my life and I'm afucking happy guy.
I love Dune.
I don't care, I don't carewho's making it, I love watching
new reimaginings of that.
But this one, god, it's so hard.
It's so hard to be like, yeah,go ahead.
No, like, okay, I'll watch itand I'll I'll try to separate my

(01:04:42):
, I'll try to separate myconnection with it from from
what I'm feeling about watchinga new one.
So, yeah, anyway, I guess, Iguess we'll see right, but when
does that come out?

Speaker 2 (01:04:54):
uh, that comes out in like two weeks.
I think you know the oh geez uh22nd, 23rd, somewhere on there
jen, you want to go watch it,yeah yeah, well, we can go watch
it date night.

Speaker 1 (01:05:07):
yeah, there we go.
I just say date night, andshe's okay with it.
All right, so now, now we getinto the active ingredient.
Did you have an activeingredient in this movie,
something that made, somethingthat made you better, something
that changed you, something thatinfluenced you?

Speaker 2 (01:05:23):
I have several actually it's, it's like a
fistful of pills.
No, I so like with with thisone, I think, probably the the
biggest one, without getting toomuch on like a soapbox on this,
it's, it's catharsis, you knowit is the other.
The creation through trauma isthe other.
The big one is, like you know,I know we only kind of glossed

(01:05:45):
over it a little bit, but likeJames Obar, the guy that created
the, he grew up in the system.
You know he, he was essentiallyan orphan, grew up in, grew up

(01:06:08):
in the system, got the shitkicked out of him by foster
parents.
The only good thing that tofucking get through something.
That was just that horrific.
He created the crow.
He created, uh, you know,draven and he created these
characters and he did hisdamnedest to work through all of
his, his grief.
He tried to work that throughthese, uh, you know, these
particular characters.
For him, unfortunately, itdidn't work.

(01:06:28):
Uh, you know he, he said ithimself that the other, the more
that he worked on the other, onthe book, the worse it just got
for him.
So it was, you know, justcontinuously, you know, pulling
the scab and making the wounddeeper and deeper and deeper,
which is very unfortunate forhim, but for the rest of us, I
mean, you know, if you've beenthrough anything like that, you

(01:06:50):
know I mean this.
This definitely hits to whereyou can look at that kind of
cathartic experience and beingable to go.
You know, this was this amazingstory, this amazing movie that
got created out of the worstexperience that this poor son of
a bitch ever had to go through.
So it's, it's a reminder thatyou know you can, you can create

(01:07:11):
good things as a way to try toprocess pain.
So, yeah, that catharsis wasdefinitely a big one.
That kind of stuck in my brain,even as a even as a kid, you
know, 10 years old, watchingthis.

Speaker 1 (01:07:28):
Like I got that message, you know, straight to
the eyes like a fuckinglightning bolt.
Yeah, for me, mine, mine was alittle bit more, it was a little
bit more, I guess, kind ofguidance, I guess would be the
way to put it.
So there was actually.
I recorded a sound bite for it.
It's funny, Little things usedto mean so much to Shelly.

(01:07:49):
I used to think they were kindof trivial, Believe me nothing
is trivial.
Now, the reason, the reason whythat, why that one's kind of
important, is because that thatkind of inspired me at a very
young age, that when I did startgetting into into my
relationship years andeverything like that, some of

(01:08:11):
the things that I was reallylooking forward to was I wanted
to make sure that I foundsomebody who who appreciated
those little things, thosetrivial things, those those
teeny tiny little details thateverybody thinks is so
unimportant most of the time,and so actually had a little, a
little test sort of thing to.
You know that I had developed,that I sort of used over time

(01:08:34):
it's.
It was like, uh, every time Icame home from work or something
like that, I'd bring just somelittle thing, whether it was uh,
whether it was something todrink or just a little snack, or
even you know a trinket from astore somewhere you know like uh
, uh, like a beanie, baby, youknow key chain or some shit like
that.

(01:08:54):
Um and the, and what I lookedat was I looked at the, at the
people who appreciated it andand recognized what it was,
rather than you know, ratherthan just, oh, I brought you
something.
They would see it as youthought about me and me, and you

(01:09:14):
took time out of your day foryou know to, you know to show me
that you did, and so, yeah,those little trivial things were
something that I kind of lookedforward to, kind of discovering
somebody who appreciated thosethings.

Speaker 2 (01:09:29):
I mean, those little things are the things that kind
of stick out after a whilethings.

Speaker 1 (01:09:32):
I mean, those, those little things are the things
that kind of stick out after awhile, yeah, and that that
becomes I think it was, I thinkit was uh, robin Williams in
Goodwill hunting.
He says that's that's the goodstuff.
Yep, you know, that's that'sthe stuff that really matters.
So, so, yeah, uh, the crow, thecrow and Robin Williams gave me
, gave me my tactics for, for,for finding the person that I

(01:09:53):
eventually became attached to.

Speaker 2 (01:09:57):
Now I think that Robin Williams line, though I
think that's right after he wastelling the line about his wife
farting in his sleep.

Speaker 1 (01:10:04):
Right, yeah, exactly Right after Good stuff, and of
course that's right when JayRight good stuff and of course,
that's that's right.
When, uh, that's right when jayright, she's, she's like no,
I'm not, I'm not playing thisgame, I'm the bigger culprit.
I promise all right.

(01:10:27):
So, um so, yeah, thanks, derek,it was nice having you on.
If there's anything you want toplug, go ahead.

Speaker 2 (01:10:34):
Yeah, not really.
Well, I guess you know, alwayson the music side of things, you
know, feel free to look up myYouTube channel, deke the Gnome.
It's the YouTube handle.
You can also find me onInstagram with you know, reels
and guitar nonsense that I putup on a regular basis.

(01:10:56):
And then Mortal DesireD-E-Z-I-R-E is the name of one
of the major music projects thatI've been working on for the
last 20 years.
So if anybody's interested inhearing loud, angry noises, go
for it.

Speaker 1 (01:11:11):
That's awesome, all righty.
And hearing loud angry noises?
Go for it.
That's awesome, alrighty.
Well, I'm definitely lookingforward to having you on again,
because every time I have you onit's just a good time.
Now, if you have a movie that'sbeen medicine for you and you'd
like to be on a show, you canemail me at contact at
movie-rxcom, or you can alsoleave a voicemail or text me at
402-519-5790.

(01:11:33):
If anxiety is what's keepingyou from being on the show, you
can write me a couple ofparagraphs about a movie and I
can read them on air.
Remember, this movie is notintended to treat, cure or
prevent any disease, and we'llsee you at the next appointment.
So Thank you, you.