Stay Hungry: Movie Summary Pt. 2

Chris, Aaron, & Joe bust out their best poses to finish off Arnold's 1976 dramedy, Stay Hungry!
The boys wrap up the summary while discussing the effects of poppers & the evolution of art before coming face to face with...The Spreadator!

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Episode Transcript

Speaker 1 (00:02):
Tape deck Media see the.

Speaker 2 (00:15):
Welcome to see what the Patti Richta, Maaron Frescus, and
with me as always are Joseph Beck Castro and Chris Chapman.
And today we're gonna be finishing up the summary for
Arnold's nineteen seventy six Forgets Your Piece. That's like masterpiece
and forgettable mixed together. I guess it's not really masterpiece though,
so for I got nothing. Seriously, there's there just gotta

(00:37):
be a name like for like the seventies movies gritty.
It's not gritty though poorly aged, I'm not sure anyway.

Speaker 3 (00:46):
Stay Hungry is the name of this film.

Speaker 2 (00:48):
Yeah, yeah, So we're gonna finish up the summary. We're
also gonna do all the other fun stuff that we
do afterwards before we throw the film to the spreaditor.
But before we do any of that, we first one
hundred sent own apology to the great Gene Hackman, who
sadly passed away today literally today. Yeah, and for some reason,
this is your first episode you listened to and you

(01:09):
have no idea what we're talking about. Well, we recorded
the first part of the summary is at least about
a month ago.

Speaker 4 (01:18):
At the entire summary was recorded, yeah a while ago.

Speaker 2 (01:21):
Yeah, and like mid January, I take forever to get
everything done, and I was like, okay, cool, whatever.

Speaker 3 (01:27):
So I finally get.

Speaker 2 (01:28):
It, Like if you only get everything edited, and we
post the episode and we have this like running like
it's not even a sort of a running joke.

Speaker 4 (01:37):
You know, in my opinion, it was like sort of
a good natured yeah. Really, you know, it was like,
we made some comments about Gene Hackman's appearance during the episode.

Speaker 2 (01:49):
But we're in disparaging.

Speaker 4 (01:50):
Yes, we focused a little bit on his more tuber
like qualities, but uh, you know, no disrespect was meant.

Speaker 3 (01:57):
No, none at all.

Speaker 2 (01:58):
I loved you. I love Yeah, He's I always movies exactly,
Like what's your favorite genackmy movie Get Shorty? Really?

Speaker 4 (02:08):
I like Superman is good? Have you seen Get Shorty recently?
I have really funny.

Speaker 2 (02:13):
I haven't seen the second one, but I've seen the
first one.

Speaker 4 (02:16):
Yeah, it'd be cool. It's not as good, Okay, it's yeah.
Who was he in Get Shorty? He's the he's the
slimy movie producer gets his shit kicked in by the
end of the movie. He's really funny.

Speaker 2 (02:29):
Okay, I really like him. In Heartbreakers.

Speaker 4 (02:32):
I haven't it's been so long since I've seen Heartbreakers.
Obviously I love him.

Speaker 3 (02:35):
As it's probably the same character too.

Speaker 4 (02:37):
Yeah, he's just like it's just total.

Speaker 2 (02:40):
Yeah, like just does it very well. And then Royal
Tannem Bombs is awesome too.

Speaker 4 (02:45):
The Replacements, The replacement. I mean, I'm sure everybody else
thinks Hoosiers, but I'm like, the Replacements. That's you got
to set that up better.

Speaker 2 (02:56):
You know that one sports movie that he's really good in.

Speaker 3 (02:58):
The Replacements.

Speaker 4 (03:01):
Enemy of the Estate, that's another good one.

Speaker 2 (03:02):
Okay, So basically what the joke, the whole thing was.

Speaker 4 (03:05):
Well, we were talking about how the beauty standards of
the seventies.

Speaker 2 (03:08):
Were not even the beauty standards. It was the action
hero changed. Yeah, yeah, yeah, like what the action here
to look like basically changed from the seventies to the
eighties because in the seventies you had Clint Eastwood and
Charles Bronson. Exactly when we did the Pumping Iron episode
that's never going to get released, we were talking about
that and we said that Gene Hackman.

Speaker 3 (03:27):
Looks like basically he looks like a potato with a
hat on.

Speaker 4 (03:31):
Yes.

Speaker 2 (03:31):
In the French Connection.

Speaker 3 (03:33):
But the whole thing that's funny to me.

Speaker 2 (03:34):
Is just a potato wearing a hat.

Speaker 3 (03:36):
I don't know why. That's what's that's what's funny to me.
I don't know.

Speaker 4 (03:41):
That is the basic conceit of mister potato head. It's
not like you're the first person to get there. It's
funny potato.

Speaker 2 (03:48):
Pissed off, like like French connection. Yeah exactly, which I
guess is just mister potato head and toy story.

Speaker 3 (03:55):
So yeah, Gene Hackman, I play that.

Speaker 2 (03:58):
But anyway, so that was unintentional.

Speaker 4 (04:02):
Yeah, we love Gene Hackman. It was bad timing, Yeah,
just by pure coincidence. It was really poor timing to
release this episode. But again, no disrespect man, no none
at all of Gene Hackman. Just wanted to say, like,
you know, we're not being dickbags on purpose.

Speaker 2 (04:18):
Yeah, exactly. Okay, So anyway, yeah, so we just wanted
to say.

Speaker 4 (04:23):
That, sorry, genuinely sorry.

Speaker 2 (04:25):
Very stupid jokes. Yes, speaking of stupid jokes, how about
we get this episode going and finish off the rest
of this gos darn summary.

Speaker 4 (04:31):
Huh sounds good.

Speaker 3 (04:33):
Cool.

Speaker 2 (04:33):
We also sometimes play a clip of a line from
the movie to segue into the episode. But since I
can't think of a single memorable line off the top
of my head, how about we just do one from
Gene Hackman's scene in Young Frankenstein Is Dead. Huh yeah what.

Speaker 4 (04:54):
Wait, where are you going?

Speaker 1 (04:57):
I was gonna make a spresso?

Speaker 4 (05:00):
Okay. So back at the gym, Mary Tate shows up
to collect her things. As Thor wakes up from his bender,
he goes into his office and does some cocaine. I think, no, no, okay,
what is that?

Speaker 2 (05:12):
Okay? So, according to Bob Rafelson in an interview with
Senses of Cinnamon dot com, the actor who plays Thor,
uh whose name is Rgie Armstrong, was actually doing They're
called poppers. There's an actual names the poppers. They're called poppers,
but that's what he's sniffing. So it's it's actually called
amiel nitrite.

Speaker 1 (05:32):
Uh huh.

Speaker 2 (05:32):
So do you guys have haven't heard of that before?
Because I've never heard.

Speaker 4 (05:35):
I have heard of poppers, and all the contexts that
I've ever gotten about it is that they are popular
among the homosexual community. Okay, that's That's the only thing
ever heard about.

Speaker 1 (05:47):
It happening at a gym in the seventies.

Speaker 2 (05:49):
Soon allegedly throw that in there because anyway, So, okay,
this was Wikipedia, and it says, quote, it was used
recreationally as an inhalent drug that induces a brief euphoric state,
and when combined with other intoxicant stimulate drugs such as
cocaine or MDMA, which.

Speaker 1 (06:09):
Is Mollie right, yeah, pretty much ecstasy.

Speaker 3 (06:12):
Is it different than ecstasy?

Speaker 1 (06:14):
They're all kind of in the same, right.

Speaker 2 (06:16):
Okay, you forced. It intensifies and is prolonged once some
stimulative drugs wear off. A common side effect is appeared
to depression and anxiety collinoqually, collilically called a come down,
colloquially yeah, yeah, whatever. Anyways, amyl nitrite is sometimes used

(06:36):
to combat these negative after effects. Huh huh, I did
not read this far ahead. This effect, combined with its
disassociative effects, has led to it being used as a
recreational drug.

Speaker 1 (06:49):
Hummm, I thought it was smelling salts. That's what I
was thinking.

Speaker 2 (06:52):
That's what I thought it was too. And then I
read the interview where he okay, so, Bob Rafelson in
an interview said that he was doing these things. He
actually was doing those poppers. Damn yes, he was sniffing
and which I'm sure was like super fum for Sally
filled out to deal with.

Speaker 4 (07:07):
Yeah.

Speaker 2 (07:08):
Yeah, so great job on maintaining that safe set there,
Bob Ravelson.

Speaker 4 (07:11):
Yeah, she's anyway.

Speaker 2 (07:14):
But yeah, so it's like which again, like it's ephours.
I know, I'm sure he was drinking at the same time,
but it seems like it's like something to calm me
down though, because Joe, like, how does I'm sorry, I
didn't mean to throw to you like you're the drug expert,
but I think you were just about to say something
like MDMA. It makes you feel like like the next.

Speaker 1 (07:34):
Day, like yeah, well, basically what it does is it
takes like all your serotonin that she's like you're happy, horrible, horron,
thank you, and just like dumps it so you're like, yeah,
I feel great, like everything is awesome, and then you know,
usually it'll take a little bit to you know, get

(07:56):
back going. That's so I should only do it like
once every six months at the most. And this also
thing called suicide Tuesday, which is usually like Tuesdays like
the day you feel really bad. No, I don't think
I want to kill themselves, but like.

Speaker 4 (08:09):
Yeah, yeah, just like you take it over the weekend
and so then by the time Tuesday rolls around, Yeah,
you feel like horrible.

Speaker 1 (08:16):
Like fucking I need some serotonin. So there's actually, uh,
it's like Omega five or some shit, some like over
the counter stuff that you can take that's supposed to
boost your serotonin allegedly, but it's or not over the
counter but like herbal whatever, you know, all that bullshit.
So yeah, that's basically what else would so MDMA like

(08:37):
when you want to do it in the dance stuff
like it can be an upper because one of the
m's is like basically meth, but you can get it.
I always forget the difference between a MDMA, molly uh
ecstasy and sas one of them or some of them
don't have like the the meth part. So if you

(08:57):
take it like the stuff, and you take it and
you go to a club and you dance all night
because you're all hyped up and you serotonin's going, some
of the other ones you're just like, well, I want
to hang out and cuttle and laugh and talk stuff. Allegedly.

Speaker 2 (09:10):
By the way, the actual reason or the actual use
for this is for people with heart problems. So yes,
that's the uh, there's one, two, three, there's four uses
that are listed on Wikipedia.

Speaker 3 (09:21):
That's number four.

Speaker 2 (09:22):
That's the last one because the first one is.

Speaker 4 (09:25):
What does it like funk with your blood pressure? Like
what do you mean heart?

Speaker 2 (09:28):
So yes, it says uh am amelin nitrate and historically
uh employed medically to treat heart diseases as well as angina,
which just makes me laugh every time, Like my angina.
I mean, I know it's a very serious thing and
I'm sorry, but the word angina, I'm like, we are
you really gonna name it angina? It sounds like vagina,

(09:51):
my angina, And then they reach.

Speaker 3 (09:52):
For their heart, and like why they reaching for their heart?

Speaker 2 (09:54):
I want to every now and then I think of
like sitcom jokes that are really bad dru I'm like,
it's always for stupid characters to where it's like someone's like,
oh my aunt Jennet and then he grabs like his
like dick like he's like, oh, like that's not what angina,
or like a girl, a girl like that's not why
an Ngiina is like, oh my aunt Johina's acting up
and then she like grabs her like I don't know,
like it's it's a hard thing anyway. It's also was

(10:18):
used as an intido for cyanide poisoning apparently. But yeah,
and then it says that Popper's which is weird because
I feel like he wouldn't have the effect that it
does in this movie because he gets fucking crazy. And
it's like, I guess if it's like something that brings
you back. Actually that makes sense, if it's something that
brings you back up from when you're feeling like shit.

(10:38):
But I don't, I don't know.

Speaker 1 (10:39):
I don't know.

Speaker 4 (10:40):
It's hard to say. He takes the stuff and then
this is how I imagine a fucking like this is
what I imagined PCP does to you. Yeah, he gets
all weird and aggressive and like, I don't know, Yeah.

Speaker 2 (10:51):
Joe, not no PCP yet, No, okay, I was waiting
for like next year. Actually actually does not do that
to you.

Speaker 3 (11:02):
Well.

Speaker 1 (11:02):
See, the thing is, I don't know. It's one of
those drugs they would ever touch. I mean, just like
all drugs. Yeah, I'll stick with my beer.

Speaker 2 (11:14):
Speaking of drugs, the any situations where you'll be like, well,
PCPs or heroin is like like okay, like is it
like a dying thing to where you like like like
a little of sunshine sort of like thing to where
it's like you're Allen Arcis.

Speaker 1 (11:25):
See.

Speaker 4 (11:25):
Heroin seems like one of those things, uh like if.

Speaker 1 (11:29):
The world was ending or I'm dying or something, you know.
I mean, because I'm not gonna lie. They seem like
fucking fun. They just life.

Speaker 2 (11:39):
I don't know.

Speaker 1 (11:39):
I want to fucking stort a bunch of meth and
stay at for three days and fucking draw shit. I
don't know. It sounds cool, but then I have like
the rest of my fucking life and.

Speaker 2 (11:49):
What if it's like super awesome? So yes, like that's
why I try to do. Like besides like the pills
that I do take, I don't touch anything chemical because
my I have a very addictive personality, So it's like
nothing chemical whatsoever, because I don't want to have to
be like end up turning into like a requin for

(12:09):
a dream situation.

Speaker 5 (12:10):
Yeah, thank you, And we all know the situation he's
talking about.

Speaker 2 (12:21):
I mean, yeah, it's not like I'm doing that now,
but that was like, no, no, I want to stop
the ass. That's why it'll it'll stop me from the
Heroin's what gets me. You get too high to do
ass ass and you're like, oh, no, I ain't doing
that anymore, Like I.

Speaker 4 (12:41):
Gotta go all the way to the warehouse downtown.

Speaker 2 (12:43):
So when that movie, like, why is he shooting up
into the same spot every single time?

Speaker 3 (12:48):
That's that's what I don't get. Like I think I
mentioned this the first time.

Speaker 2 (12:51):
I have weird like remember weird stuff, but like the
much I was with at Joe's fucking parents.

Speaker 1 (12:57):
House watch parents house.

Speaker 3 (12:59):
Yes, I remember watching.

Speaker 2 (13:00):
At your parents house, Like, why is he shooting in
the same fucking spot. I'm pretty sure that was one
of our friends. Was was like the one that showed
it to us?

Speaker 3 (13:09):
Who actually did it?

Speaker 1 (13:10):
Was that him? I don't know. I just I just
remember seeing it once and I'm like.

Speaker 2 (13:14):
That was at your parents' house. Yeah yeah, I was like,
why why is he shooting it into the same spot
every single time?

Speaker 1 (13:20):
Yeah? That was kind of a dumb ass move on
his part.

Speaker 2 (13:23):
Yeah, you got how many different toes come on? Get
it in between those toes? Maybe that's what they did
before the internet.

Speaker 1 (13:29):
I don't know. Anyway, No, because there was some movie
with Joshua Jackson where he was shooting out in between
his toes. Was it cruel intentions. I don't know.

Speaker 4 (13:40):
Joshua Jackson wasn't in Yeah it was.

Speaker 1 (13:43):
It was.

Speaker 2 (13:44):
Yeah, he's a he plays the gay character and cruel intentions.
But uh that drug is that drugs?

Speaker 4 (13:52):
Anyway?

Speaker 3 (13:54):
Sorry?

Speaker 4 (13:54):
Okay, So he does some poppers before heading downstairs and
sexually assault taking Mary Tate. Back at the competition, Bridges
is whining at Arnold about how bad he feels until
Arnold can't take it anymore and tells him off before
going on stage.

Speaker 2 (14:10):
Okay, so wait what turned him?

Speaker 1 (14:12):
What turned to Jeff Bridges?

Speaker 4 (14:15):
What turned him?

Speaker 1 (14:16):
Uh?

Speaker 3 (14:16):
Yeah?

Speaker 2 (14:17):
Like why is he? Like I think, okay, that's twenty
minutes before the movie. He's a dictor because she infronts him.
She was like, you didn't want anything to do with
me at the party, and he's like lying, like he's
lying to worries like I was, Uh no, I was
trying to introduce you to people or doing whatever, Like
he's fucking lied to.

Speaker 4 (14:33):
I mean first he tries to gas light at first,
he's like, ah, that was your first party, You'll get
used to those, like.

Speaker 2 (14:38):
Yeah, but then he tells her he's like, I wasn't
doing that. I was, I was, I was proud of
you or what.

Speaker 4 (14:43):
Was the lamest fucking excuse he was like, I was
just trying to show him who you are. You're so
real baby.

Speaker 2 (14:49):
Yeah yeah, like that's ship. But then he goes and
apologizes to uh what's his name? Like I was just
curious what turned him like his billy master.

Speaker 4 (14:57):
He really apologized to Arnold like he's about too when they.

Speaker 2 (15:02):
Get interrupted, you know what I mean, I wonder if
he was thankful for they's like, oh, thank god?

Speaker 4 (15:07):
Who exactly apologize? So uh, Arnold goes on stage after
kind of telling him off. Franklin tells Bridges that Mary
Tate was planning to go to the gym, so Bridges
heads there and one of the secret Language brothers follows
him to make sure Thor isn't fleeing with all the money.
Bridges shows up to the gym and finds a very

(15:28):
shaken Mary Tate. Realizing what happened, he sends Mary to
find Arnold as Thor starts throwing all sorts of weight
and jim equipment at him. They have Oh sorry, go ahead, she.

Speaker 2 (15:40):
I thought he just sent her out of the gym.

Speaker 4 (15:42):
No, no, no, he says, go find Joe, Go find Joe.

Speaker 2 (15:45):
Oh, because the whole reason that that that uh that
Joe ran there was because he heard there was a yeah.

Speaker 4 (15:51):
Like the script is bad, yes, okay, but no he
as like as Thor starts throwing the weights, he her
to leave and he says, go find Joe, Go find Joe.
So they have a pretty like I don't know, in
my opinion, they have a pretty exciting and realistic fight
throughout the gyms. That is pretty much like the highlight

(16:11):
of this movie for me.

Speaker 2 (16:12):
Yeah, the first time I watched this, it was very tense.

Speaker 4 (16:15):
Yeah. Yeah, it's like a well choreographed and well thought
out fight.

Speaker 2 (16:19):
Yes, which that same sense of cinema dot Com interview
praises Bob Raefelson about that, and he actually says that
they mostly use real weights during that scene Jesus using
an example with it dropping on the stairs in front
Jeff Bridges and the stairs breaking, which I'm like, hardly, well,
are you trying to kill it? I don't know, it's
just a very I.

Speaker 4 (16:39):
Mean, he was on poppers man, what do you want
from him?

Speaker 2 (16:42):
Which it's like, if that's true, it's just like, dude,
set safety.

Speaker 4 (16:45):
Yeah, what the fuck? Although that that move that Jeff
Bridges pulls when he throws the weight down the stairs
at him, not not the Olympic weight, but like the
bar bell at him, and he like jumps up into
the hall. Yeah yeah, yeah, like a fucking spider monkey.
That was pretty sweet.

Speaker 2 (16:58):
But like the the fucking uh the weight that they
he drops.

Speaker 4 (17:02):
Right before he's walking big like fifty pound Olympic weight
that he throws down at him. Yeah.

Speaker 2 (17:07):
Yeah.

Speaker 4 (17:08):
At one point, the brother like comes to the gym
and sees them fighting and then runs back to the competition.
Back at the competition, we see a pose off between
Arnold and uh.

Speaker 1 (17:19):
What's his name?

Speaker 4 (17:21):
I just have some blonde Ken Waller?

Speaker 2 (17:23):
Ken Waller, Yeah, so I post on his name in
the movie, but that's his real name.

Speaker 1 (17:27):
Yeah.

Speaker 4 (17:27):
Yeah. We see a pose off between Arnold and ken Waller,
which Arnold wins pretty decisively according to the crowd.

Speaker 2 (17:33):
Yeah, and he like, sorry, it's just an Arnold body comment,
but like the definition is.

Speaker 3 (17:39):
Just so much better with.

Speaker 2 (17:42):
Yeah Ken Waller, which I'm I'm assuming it's just why.

Speaker 4 (17:44):
He won everything, yeah, like all the time. Yeah, Like
you really see it the moment before they call him
on stage when he's doing the barbell thing, and uh
he when he's doing the barbells, I was just like, oh,
he looks different from every other body builder in this movie. Yeah,
let's see. So as Arnold comes off the stage, the
weirdo with the secret language comes back and tells his

(18:07):
brother about the fight at the gym. So Arnold and
all the bodybuilders go running through the streets to get
to the gym. And so suddenly this movie decides that
it wants to be a mad cap comedy, not even
ten minutes after showing us a terrifying and like very
uncomfortable assault, which it still hasn't resolved, by the way.

(18:31):
So anyway, the bodybuilders are all trying to figure out
where Arnold went, but are being mobbed by people on
the street who want to see them do poses. So
they say fuck it and start posing in the middle
of the street, literally stopping traffic as we get like
almost like Benny Hill music in the back.

Speaker 2 (18:49):
Like American Benny Hill music, yeah, Southern Benny Hill music.

Speaker 4 (18:53):
Yeah.

Speaker 3 (18:54):
Yeah.

Speaker 1 (18:54):
There's even a bunch of them posing on top of
a bus that's going back.

Speaker 3 (18:57):
Yeah.

Speaker 4 (18:58):
Yeah.

Speaker 2 (18:58):
They start climbing on cars and there's so did they
think that Joe Santos tole the money because I.

Speaker 4 (19:03):
Know, I think they were following Joe because well they
were like, okay, you know what I mean. Those guys
don't know where the gym is. The registration wasn't at
the gym. Nothing was at the gym.

Speaker 2 (19:15):
So far, all right, Okay, yeah, I don't know.

Speaker 4 (19:18):
So back at the gym, the fight is over. Arnold
is trying to comfort Mary Tate as Bridges and Thor
are taken to the hospital. We cut to some time
later as the League of Evil realtors catch us up
on what happened after the fight. Thor agreed to sell
the gym to Bridges in exchange for Mary Tate dropping
the rape charges, which I only realized I only really

(19:41):
paid attention to on the second watch. And wow, that's
fucked up, Like that's yes, fucking monstrous. Yes, And now
that Bridges owns the gym, he decided not to sell
it to the realtors but to run the gym with Arnold.
We get a little more duration, first from the civil
or uncle, who is now proud of his nephew. Then

(20:03):
we get bridges narration, in which he tells his uncle
that he sold the mansion and gave the butler all
the best stuff to start his own thrift shop. Bridges
and Mary Tate are back together, and I guess that passes.

Speaker 1 (20:16):
For an ending.

Speaker 2 (20:17):
So wait, when does he make his way to the
Shining Hotel?

Speaker 4 (20:24):
Shortly after he opens the thrift shop. It doesn't do well,
so he has to move to Colorado or wherever the fuck.
The overlook is, yeah, become a chef because take care
as of training. Well, I get shit.

Speaker 2 (20:39):
Yeah, so he's already had the shinings.

Speaker 3 (20:43):
Why didn't he fuck with it?

Speaker 2 (20:46):
Maybe he didn't want to use it.

Speaker 1 (20:47):
Well, it's not like like Jedi mind trick, Like you
can't convince people to do stuff. You just kind of
understand stuff.

Speaker 2 (20:55):
So that is that why he knew that. I mean,
it was pretty obviously tip.

Speaker 1 (21:01):
But yeah, seems like a scene to your mind.

Speaker 4 (21:06):
Well, now that's how we knew what Jeff Bridges' grandma
would think of what Jeff Bridges.

Speaker 2 (21:09):
Was he was communing with Okay, is it?

Speaker 3 (21:13):
Wait?

Speaker 2 (21:13):
Can he do that?

Speaker 1 (21:14):
Uh? You talk to ghosts? So that's part of the
shiny Okay, I mean that's kind of like the entire
kind of point. And then doctor Sleep Danny talks to
oh yeah to Thecatman.

Speaker 4 (21:26):
Yeah, that would be great. He's like, would you stop
calling me that? Okay, so we're at the end of
the movie and now we get to the only fucking
reason that I bothered to finish this movie, which is
Joe Namath.

Speaker 1 (21:42):
Now we're going to do something extremely fun. We're going
to play a wonderful game called who is My Daddy?

Speaker 3 (21:49):
And what does she do?

Speaker 1 (21:51):
Yes, well, be ready because I have a long list.

Speaker 4 (21:58):
Alright.

Speaker 1 (21:58):
First off, I got somebody named Maith Nutter, m A
y F. Nutter, and that has been this episode's version
of Joe Namath. That was pretty much it.

Speaker 6 (22:13):
Uh you know what, Yeah, yeah, I do find it
though that uh, this movie does have like a lot
of stars that are in people that are still relevant
or well known.

Speaker 1 (22:24):
I mean you have Arnold, Jeff Bridges, Scatman, Crothers, at
Bagley Junior, Robert Englyn, Sally Fields. Like that's like if
you look at most movies in the seventies, like You're
lucky and you guys know like eighteen other random white
actors in this movie too.

Speaker 2 (22:39):
So yeah there. I mean it helps that the director
was super uh like that's a director you wanted to
work with, but like Bobert, you want to work Yeah. Yeah,
so like everyone wanted to be in the movie. So yeah,
it was like definitely makes sense.

Speaker 1 (22:54):
Yeah, like Tina oneion to your belt. It was a
style heah, okay, yeah, okay, real quick, before we get
to all the other stuff.

Speaker 2 (23:07):
I have a couple of things I left out of
the production episode because I wanted to save them for
when we finished the summary, got it. So yeah, this
all comes from one of the interviews we discussed during
the production episode, specifically the nineteen seventy six interview director
Bob Rayfielson did for the British Film Institute. And we're
going to start with a quote from Rafelson with him
discussing Charles Gaines adapting his own novel and the reason

(23:29):
behind some of the changes to the source material. And
he says, quote but rather than being redundant and trying
to capture the energies he had put into the novel,
Gaines might be able to bring new life into a
new creative experience based on the same basic body of material.
If you can break the logic of the original piece
of thinking and open it some, the quality of writing
becomes more energized. Otherwise you're merely trying to figure it out.

(23:52):
How can I translate the novel experience into the film
experience at any rate? I did not relent in my
feelings about wanting to make a more optimistic film and
express that aspect of myself.

Speaker 4 (24:00):
So I'm sorry. So he's saying he wanted a more
positive like he wanted the movie to.

Speaker 2 (24:04):
Yes, apparently the which we didn't. Apparently the book ended
on a fucking downer. I think someone died at the end.

Speaker 4 (24:11):
Yeah, but I thought that's what he liked about the book.
That's what we talked about.

Speaker 2 (24:14):
Is that he liked that. That's what That's what's weird
is because he's he says that, But then like, the
whole reason that he did that like this movie is
because he wanted something more positive. So I don't know.
He's like, I like, I like the fact that you
think like me, But I'm changing the end of your book. Okay,
that's all I got from that. I don't know.

Speaker 1 (24:30):
Okay.

Speaker 2 (24:30):
He also mentions why the gym owner ends up fighting
with Jeff Bridges instead of the developers. Yeah, so, uh,
he says, quote, I suppose that in more conventional narrative, structures.
The enemy in the film would have been the cartel members,
and the fight would have taken place openly between them
and the hero, Craig Blake. Instead, they simply subvert the
gym owner, and the big confrontation comes between those two.

(24:54):
I don't do this kind of thing intentionally. It's more
that I find the intentions of simple, straightforward narrative so
compellingly and embarrassingly predictable in most instances that I tend
to search out other possibilities. I don't mind looking at
movies that are made this way, but I find it
very difficult myself to make movies where I know right
from the beginning what the end is going to be.
Unquo and again each like it's it's just this is

(25:17):
why all this stuff right here is why, like just
such a pretentious and like I don't.

Speaker 4 (25:22):
Know, Yeah, no, he's an asshole. Again and again. Going
back to the park earlier, we were talking about where
he was in the production episode where he was talking
they were kind of shitting on Jaws.

Speaker 2 (25:35):
Yeah, it just it.

Speaker 4 (25:36):
It is really fucking stupid to me because it's like, yeah,
I bet you in Jaws, the end of the movie
is going to be they fight the shark, But that doesn't.

Speaker 2 (25:45):
Make it fucking less out that was exactly.

Speaker 4 (25:47):
Doesn't make it less exciting or what I was like that.

Speaker 2 (25:50):
By the way, Joe, during the filming of this, they
all went out and watched Jaws because it was in
the theater, and Bob Rafelson told it was him.

Speaker 4 (26:01):
And Robert England.

Speaker 2 (26:03):
I don't even I don't even know if he was there.

Speaker 4 (26:05):
Yeah, but wasn't Robert England one of the people.

Speaker 2 (26:07):
Yeah, he told the story, so I don't know, Like,
so it was it was the three main people and
Bob Rafelson for sure, and then maybe Robert Elkin too.
But Bob Rafelson told him this is this movie right
here is going to be the end, Like this is
going to end our type of movies. He was right, yeah, right,
because that was like the big blockbuster, like summer blockbuster.
And then you get like which I've read in a

(26:30):
few places, where you get like, they don't blame it.
They're they're kind of but not like it's what are
they they're like saying.

Speaker 4 (26:37):
That the kind of blame like And again again we
went over this part when we talked about it in
the Protection episode. They're not like entirely wrong. He made
the first blockbuster and that changed cinema, Like Summer Batch
the way the movie. Yeah, the movie business works.

Speaker 3 (26:53):
Yeah.

Speaker 2 (26:54):
So it's just like them talk like this is when
that great era ended.

Speaker 4 (26:59):
I'm like, also, if this is your example of your
great era, fuck you. This fucking sucks.

Speaker 1 (27:04):
I have a lot of thoughts about this, and I
was saving it for I pumped. Like, you know me,
I'm a constant contrarian, so I'll play both sides and
I'm gonna do that in the Uh cool, I pumped.

Speaker 2 (27:18):
Let me hear. Okay, so there's a reason for why
the movie might seem kind of uh disjointed. I guess
I think that's the word he uses. Okay, So anyway,
so he also mentions in that same this this comes
from the British Film Institute article that they did that
like profile on him, But this also comes from the
same article. He said that he shoots his films in
order and usually doesn't know how the movie's going to

(27:39):
end until the day before shooting the scene because quote,
in the movies I've made so far, the greatest reward
has been that they have yielded to me privileges of
experimentation and exploration. I don't like to know what my
movies are about. I don't like to know how they're
going to end. It's a constant puzzlement and a challenge. Okay,
before you say anything, Rafelson also unquote, but Rafelson also

(28:02):
admits that this can be quote quite exasperating for my collaborators.

Speaker 4 (28:06):
The fucking audience.

Speaker 2 (28:07):
Yeah, particularly in the production department, who are constantly receiving
new pages at the last moment, sometimes to be shot
in locals thousands of miles away from where they are unquote. Which,
first of all, like I've seen articles with longtime actors
that are talking to people that like to improvise, you
do it at least once the way that they want

(28:28):
you to do it, because it's disrespectful to the screenwriter. Yeah,
the fact that you're just like, fuck it, I can
I can make it better, So at least do it.
They're a way once and this ship would be frustrating
as fuck.

Speaker 1 (28:39):
As I was listening to the Conan podcast where Woody
Harrison and Ted Danson were on, which probably came out
a long as a time ago, but wood he was
talking about him and Javier Burden and they were talking
about that scene in No Country Old Men, No Country
for Men, you know, cheers.

Speaker 5 (29:00):
Really really tense scene and cheers with Woody Harrelson and
Bobby a fucking a toddler.

Speaker 2 (29:08):
The whole quarter scene.

Speaker 3 (29:09):
The quarter scene happened.

Speaker 1 (29:13):
But he was bouncing the quarter into the shop class
because but yeah, yeah, I don't know, mister, I don't know,
You're sorry, But yeah, they were. They were talking about
that and like, uh, Javier and Woody I'll call him

(29:35):
on their first names because her homies now basically we're
all in the bizz. Uh. They were like they like
reworked the scene. They like worked on it, like did
conversations for like two days or whatever, and they go
to like give it to the Cohen brothers like we're
gonna think we're gonna do it like that, and like
they do it how it's written and what. He's like, yeah, no,

(29:59):
there they were right like like you know, you got
to give credit to the guys whose job it is
to fucking like rate and direct the ship.

Speaker 2 (30:08):
They wrote that too. What they Yeah, okay, we met
the book.

Speaker 1 (30:14):
It's a Cormack McCarthy book. Who is who is?

Speaker 4 (30:17):
What?

Speaker 1 (30:17):
You? Helson in that he wasn't in it for very long,
but he he was in Mexico and spoilers. If you
haven't seen that movie, what the fuck are doing with
your life? But spoilers.

Speaker 2 (30:28):
I saw recently. I was like, holy shoot, this movie
is good.

Speaker 1 (30:31):
Yeah, he was in it for a little bit in Mexico.
Then he tries to like talk down Javier Bardem and
like he's like, he's like another he shoots him.

Speaker 4 (30:40):
Yeah, he's like another hit man hired by what's his name,
Stephen Root to find Javier Bardem and and like stop
him from But.

Speaker 1 (30:50):
He's the first one to be like you don't have
to do this, man, you know, and he tries to.
He's like, let the coin decide or whatever.

Speaker 4 (30:58):
Okay, they have like a history.

Speaker 2 (30:59):
So they no, they wrote they like, uh, workshop this
all thing. The Coin Brothers like, no, basically, yeah.

Speaker 4 (31:06):
The story tells on Conan is just like like Joe said,
they spent like two days like offset like reworking the
script and be like, oh, yeah, this is a great idea.

Speaker 3 (31:15):
This is a great idea.

Speaker 4 (31:15):
Let's improvise this and that. And then they took them
to the Coen Brothers and they read through it and
then they were just like I think we'll do it
as really.

Speaker 2 (31:24):
Just like not even thinking about it.

Speaker 1 (31:27):
And yeah, even what Harrison's like, yeah you know they
were right, Yeah, like we didn't I don't all overthinking.

Speaker 4 (31:33):
Yeah they were the Coen Brothers man.

Speaker 3 (31:35):
Yeah, well to.

Speaker 2 (31:36):
Give a Bobby Refles some credit in this instance started
to bring it back, but in this isn't instance.

Speaker 1 (31:40):
Yeah, started bringing back to the.

Speaker 4 (31:42):
Tope we're talking about.

Speaker 2 (31:44):
Yeah, well, Charles Gaines was like do whatever, like whatever,
like yeah, he just was, Yes, as long as as
long as I get to work with you, man, it's
in honor, do whatever you want to my script. So whatever,
I guess. But then anyway, so he goes on to
say in that same article that he kind of like
fiells out the characters sure, saying that his approach means

(32:07):
that the audience, which Chris was just saying, audiences find
his movie is hard to follow and or like are
disorienting or whatever, saying quote, I shoot in continuity, and
I pay very close attention to what the characters in
the movie are telling me. Rather than being myself this
dictatorial force telling the characters how they should respond. I
place a great deal of faith in the collaboration of
the entire company and in the atmosphere in which I'm shooting.

(32:29):
I try to remain susceptible to what the characters are
telling me, what the weather is telling me, what the
sounds are telling me. While I do in enormous amounts
of preparation, I go through a strange, empty process before
I go to the stage and try to evaporate all
the preconceived notions. This is just a bunch of fucking
asshole shit that I try to stay vulnerable. This also
accounts I think, Okay, sorry, this is what I'm trying

(32:50):
to get to. This also accounts is talking about the audience.
This also accounts I think for a certain amount of
confusion on the part of the audiences that see my movies.
They find them disorienting, problematic, and diicult to follow. Illogical,
if you will. My film seemed totally logical to me,
But I'm pursuing a psychological god. Shut okay anyway, Yeah,
so he knows that it fucks with the health people

(33:11):
are watching stuff.

Speaker 4 (33:12):
He knows it makes for a worse movie. He just
doesn't care.

Speaker 2 (33:15):
He says, quote, Stay Hungry Again does begin on an
incredibly solemn note, a boy riding through a force and
sitting alone, A leftover voiceover, sorry, a letter voiceover introducing
us to the problems of his life, the despair of
his life, and immediately stamp. We're dealing with the wild
flourishes of middle class Birmingham businessman talking on cebe units.
The film constantly, almost maniacally, shifts from one mood to

(33:35):
the next. It does take on totally unexpected confrontations. There
is a sudden explosion of comic energy when the body
of logical racing to the streets of Birmingham. But these
things are I hope anticipated, No, they're not at all.
How how would they have been so that they don't
just happen arbitrarily or as radically stylistic departures?

Speaker 4 (33:54):
And I thought you didn't want us to anticipate what's
gonna happen at the end of the movie. Fuck you,
fuck you and everything you do.

Speaker 1 (34:00):
I mean, look to be fair, God, we want to
say we're familiar with seventies cinema, but we're only familiar
with like ten movies in the entire fucking decade, like
Star Wars.

Speaker 2 (34:12):
Yeah, but there's a reason those movies have like lasted.

Speaker 1 (34:17):
I know, I know, well there's a reason they've lasted
and some didn't. But like it's kind of a it's
like tighten and onion to your bilt, like it was
a style at the time. This is like how things
were done. Like people don't realize like you were able
to get it's like eighties REP. Like like it was
a new groundbreaking thing.

Speaker 2 (34:36):
See that's something that I get.

Speaker 1 (34:37):
Yeah, but then you like listen to like eighties REP
like pre NWA or whatever, and just like like, you know,
there's there's a couple of ones you can like get into,
but you're not like, wow, this is fucking mind breaking
or like early's like early like late fifties, early sixties rock,
like rock and roll, like when the white people got
ahold of it. It's like the same sort of thing,

(34:58):
like yeah, there's a couple of bops in there or whatever,
but like it's not you know, it wasn't until like
the late sixties where people were like, oh fuck man,
like rock people can like make it art or whatever.
So I feel like that's kind of like that. I'm
not I'm not trying to justify like this movie or anything,
but you know, it's a fucking different time in art

(35:19):
and art and cinema and by cinema meaning art, but
it's just different. People didn't make like good ass crazy
ship till till later.

Speaker 2 (35:29):
But they did, you know they did because a.

Speaker 4 (35:32):
Couple of people did.

Speaker 1 (35:33):
Okay, like what what what? What? Like what fucking movies?
Like okay, okay, no one, I mean Jaws is.

Speaker 2 (35:42):
Made.

Speaker 1 (35:44):
I was getting there, like like you have your scorseses
and you have like your fucking Francis for and you're.

Speaker 2 (35:50):
Like monster directors, like they're really good directors.

Speaker 1 (35:53):
But yeah, like you guys, guys like that are like
cutting edge, but you guys, you need people who are
just like have fun B B plus movies like any
any early thing, like any early straw or whatever. It's
just the fucking bar has been raised so much since then.

Speaker 2 (36:12):
Yes, he's the uh, he's the Michael Michael Bay of
the seventies basically, like but you know not like like
it's where a stouts were like why was this popular?
Like when like when people are watching it thirty years later,
like look at it.

Speaker 1 (36:26):
It's don't get it.

Speaker 4 (36:29):
Even Michael Bay, he's like the fucking he's like the
fucking Peter Berg or what it like.

Speaker 3 (36:34):
Peter Berg, I don't know who that is.

Speaker 4 (36:35):
Yeah, and I don't know he's uh the Yule Bowl,
Yeah yeah, there you go.

Speaker 2 (36:41):
Or maybe it was one that they made that movie
about Mark uh oh the Long Hair, Yeah, Temmy it
was so yeah, yeah, that's probably a little worse. That's
that's the kind of probably an insult.

Speaker 1 (36:55):
But anyway, well, okay, so think think about it like TV, like, uh,
TV shows that came in the nineties, you know that
were like fucking great or whatever ninety something percent. Don't
have to fucking candle to what we have for like
TV today, Like yeah, you had Seinfeld, and you had
the Simpsons, and in the late nineties you had like
the Sopranos or whatever. But like like all the other

(37:16):
shows like fucking Dharma and greg Or, like, uh, Drew
Carrey Show, The Drew Carrey Show, like that was about Cleveland.
No one goes a fuck about Cleveland. I wouldn't say, uh, Reba,
but you like this show and you kind of made
me like that show.

Speaker 3 (37:31):
That's pretty good.

Speaker 1 (37:32):
Okay, Home Improvement there, we'll go with that one. Everyone
hates that show like that. That was like this thing
in there that was like upper. That was like a
fucking solid B show. That show came out. Now that's
like a f plus at best.

Speaker 2 (37:46):
I think that show just came re came out, like
with whatever.

Speaker 1 (37:49):
He's just cat Dennis.

Speaker 4 (37:51):
Yes, the last two Tim Allen shows that made Yes, Uh,
that's correct.

Speaker 1 (37:55):
So I'm just saying the standard was the bar was
allowed lower. So you anybody with art and everything says
a sana like I'm not reaching the top. I'm standing
on the shoulders of giants. Yeah I'm not saying like
I'm not saying fucking raffleson. And this movie is like
a giant people in cinema, tough one, but like you know,

(38:16):
like you can't reach the top unless you stand on
some fucking shoulders and so you know what, I can
see that for.

Speaker 2 (38:23):
Sure, like uh with whatever, like the time. But like
I think my problem with this movie is how people
look at it still like now it's still it's still
not enough towards he's actually remembered. But like the articles
that I do read, they're like the movies were like groundbreaking.
I'm like this, they're fine.

Speaker 3 (38:38):
I don't know.

Speaker 2 (38:39):
But also I haven't gotten a film school and all
that stuff. Maybe when I did it. I'm like, man,
you've got a good point, Like this represents the whatever of.

Speaker 1 (38:48):
I mean, it's the same idea with Citizen Kan. Like
if you go and watch that movie now, you like,
it's fine, It's boring as fuck, it's fine.

Speaker 2 (38:55):
I've never seen I don't think I've seen it.

Speaker 1 (38:57):
Yeah, Like it's it's fine. But I can easily understand
the argument for the greatest movie of all time because
like it just completely changed the fucking way the game
was played.

Speaker 2 (39:09):
You know, this didn't do that though, Like I'm not.

Speaker 1 (39:11):
Saying it did that, but like it could be in
that kind of level, Like it's.

Speaker 4 (39:17):
But art is iterative, so everything is building on top
of everything else. Even if it is not the most
famous movie from the seventies, everything that came after it
is built on top of it. That for sure. I
guess the only reason I'm upset is because this dude
talks like he's a genius.

Speaker 2 (39:35):
Yes that I think, and he's not.

Speaker 4 (39:37):
He's not Coppola, he's not square. He's not one of
those dudes. If somebody just came up to me and said,
I like, stay hungry, I don't got a problem with that.
Like whatever you like Man, but the fact that we're
listening to him specifically talk shit about other people's movies
or directing styles or whatever, and talks so much about
how like wax poetic about the way he's doing things

(40:00):
when the way he's doing things are fucking objectively wrong.
Nobody shoots a movie in sequence. I mean nobody does
that because it's the least efficient, dumbest way to shoot
a movie.

Speaker 2 (40:10):
That's like, and don't you hear about you hear about
it when it does happen, because you're they're like, well,
shout and like I think the Revenant was shot in
sequence or.

Speaker 4 (40:19):
Like those movies that try to be one take, they
probably shoot, yes, yes they.

Speaker 2 (40:22):
Might, which I think is the same director is uh
oh was it really? I think Birdman, I think, oh yeah, yeah, yeah,
you're right, so yes, probably, But.

Speaker 1 (40:32):
It's I mean, I don't I get it, Like it's
I'm not going to be out here, like like, oh,
our podcast genius, the rest of Yel's podcast, And sometimes
I feel like that and like every motherfucker's got a podcast,
like these fucking losers and like, oh wait, I got
a podcast too, yea yeah, But honestly, like we are visionaries.

(40:53):
We are the bob rapherson Ano our time. When it
comes to podcasts, Oh.

Speaker 2 (40:58):
God, oh yeah you could. I feel like you should
listen to the rest of the episodes, because.

Speaker 1 (41:09):
I mean, hey, we record them all in order, right
like we start at the beginning and we keep talking
to the end.

Speaker 3 (41:15):
So okay.

Speaker 2 (41:17):
So this last quote that I have, he says, quote,
there's a character who invents his own language, who takes
us to the edge of farce and becomes communicator of
a bedlam that's going on between the gym and the auditorium.

Speaker 1 (41:28):
M hm.

Speaker 2 (41:29):
There is a kind of challenge to see what would
happen if the Martians landed, so to speak. So this
is not so, this is not unlike I suspect the
way people's lives are lived all the time. We are
despairing and ecstatic and in various degrees from moment to
moment in day to day anyway. So I tried to
put that kind of energy into the movie. But this
all makes my work somewhat abrasive to a movie audience,

(41:50):
and it's one of the consequences that I have to
suffer if I'm going to continue to work in this form,
which I don't necessarily anticipate doing for the rest of
my life. That shit right there is where I'm like,
fuck this guy. He's like, if I have to suffer
from my art, then that's the way it's gotta be.
Like he's just like the epitome of like douchebag like
film artsy elite exactly. It's like this guy is the

(42:12):
fucking epitome of it. Anyway, It's just whatever. But there's
something with the review that made a good point about
the movie. But the New York Times review of this
says it quote was written by because the New York
Times addresses everyone by mister mister Raffleson and Charles Gaines,
who also wrote the original novel and who, according to
program Notes, was ready to make any changes in the
novel that mister Raffleson wanted, It says, quote Frankly, mister

(42:36):
Gaines is reported to have said, I just want to
write a screenplay. Mister Raffleson is quoted as saying, quote,
it was more than just adapting a novelist screen It
meant restructuring the script, bringing new characters to life. Mister
Gaines's creative juices flowed as though it was a new
project in this whole experience was exhilarating. This, I fear,
is just what's wrong with Stay hungry. Mister Gaines was

(42:56):
ready to jettison a lot of his novel, on which
I assume he worked long and hard in order to
make a movie, any movie, while mister Raffleson ran around
keeping those old creative juices flowing instead of turning off
the taps once in a while, I was like, this
guy's fucking on fire. The experience of me have been
exhilarating for the two of them, but for us, it's
all clutter. It's just sort of it. It is a

(43:19):
sort of movie whose vapidity is exposed as soon as
the clutter is removed. So that's the end of that,
like the last thing I had. But so how about
we move on to our favorite lines?

Speaker 1 (43:33):
Were cooking.

Speaker 2 (43:34):
He has powers, as we do, certainly, but oh, magnificent one.

Speaker 1 (43:39):
He is just one, or you are three or four
if you count even twice.

Speaker 4 (43:47):
I've got a line.

Speaker 2 (43:48):
Okay, let's start with Chris then, Okay.

Speaker 4 (43:52):
I just really like when Robert England is given him
the tour and he's talking about the hot Top and
he goes it's got herbs in it. Herbs, herbs. Sorry,
it's got herbs in it.

Speaker 2 (44:03):
He was talking about the hot he was talking about
hot dogs, hot tub.

Speaker 3 (44:06):
Oh.

Speaker 2 (44:07):
I was like, hot dogs like.

Speaker 4 (44:10):
Herbs, and yeah, I don't know if there's not a
lot of good lines in this but that I like
that one.

Speaker 1 (44:15):
No, I literally have, I have nothing. I was watching
it and like waiting for something to make me laugh
or something like literally anything. I mean, I guess like
the stay hungry line is the only line that I'll
probably still remember. And maybe that line, yeah, maybe not
just because it's the name of the movie, but maybe

(44:36):
that's what made me notice it more. But that's all
I got.

Speaker 4 (44:39):
It's probably like the only well written.

Speaker 2 (44:41):
That that is a very good line. Yeah, yeah, Joe's
probably got a better answer. And the only one that
made me laugh was the why don't you have some
more weight on that? That bar pery what made me laugh,
But it was just more like because it felt it
fell dead flat and then just jeff Bert Bridges smirking
like it was like, I don't know, it just made
it seem like it was U provides. But anyway, all right,

(45:02):
moving on, have.

Speaker 3 (45:04):
You ever killed anyone yeah, but they were all bad.

Speaker 2 (45:08):
We were supposed to actually start with the kill can,
which was zero.

Speaker 4 (45:11):
I would assume, Yeah, let's see, did they kill anyone? Oh?

Speaker 2 (45:15):
No, no, no, no, two?

Speaker 3 (45:16):
Two?

Speaker 2 (45:16):
Yess yeah, his parents.

Speaker 4 (45:20):
That's off screen, motherfucker. I'm three before the movie starts.

Speaker 3 (45:25):
Three.

Speaker 2 (45:26):
I have no idea. I didn't look it up because
I was I thought it was zero.

Speaker 1 (45:29):
Well, his parents and that fish.

Speaker 2 (45:32):
Oh yeah, I was on a stick. I was on screen,
so yeah, okay, but yeah, I don't think there was
anything else in there now.

Speaker 4 (45:39):
I'm sure. I'm sure he shot some stuff before the
beginning of the movie.

Speaker 2 (45:43):
Yeah, okay. So uh And then before we get to
the irons pumped, how about we get our asses tomus
and play a little perto recall.

Speaker 1 (45:51):
What do you want, mister quay? The same as you
to remember opening your.

Speaker 2 (45:58):
Mind for anyone listening who doesn't know, all it is
is five randm trivia questions from the movie we just watched,
and the first one to get three correct wins, so
quick rule thing. Chris reads the questions, whoever knows the
answer buzzes and using their name as the buzzer. Keep

(46:19):
in mind, whoever like the second someone buzzes in they'll
separate in the question, so just gotta yeah anyway, Yeah, Chris,
go right ahead, you got it. Also, Joe always wins,
which is kind of annoying.

Speaker 4 (46:31):
Yeah, okay, we got five questions here, and uh yeah,
that's all I could squeeze out of this movie.

Speaker 1 (46:37):
Uh.

Speaker 4 (46:38):
How long has it been since Blake's parents died?

Speaker 1 (46:42):
Joe Joe? Two years?

Speaker 4 (46:44):
Nope, Aaron, Aaron with the chance to steal.

Speaker 2 (46:48):
I mean, I know it's not right, but.

Speaker 3 (46:52):
Two weeks is my own.

Speaker 2 (46:54):
I know that that's how long he was. Like I
would say three months besides that, but I.

Speaker 4 (46:58):
Know that two weeks is how long it took for
his uncle to reach it because he was No, it's
five months.

Speaker 1 (47:06):
Okay.

Speaker 4 (47:07):
Number two, What is Newton gonna do with his bonus money?

Speaker 1 (47:17):
Bye? I don't.

Speaker 2 (47:22):
I have no idea?

Speaker 1 (47:24):
All right?

Speaker 4 (47:24):
Yeah, does Joe have a guess?

Speaker 1 (47:27):
He is going to go to a different gym.

Speaker 3 (47:32):
I remember him.

Speaker 2 (47:33):
Mentioning the bonus bonus money, but I don't remember what
he said.

Speaker 4 (47:36):
He's going to start a chicken farm. And then like
I think he said he's he just goes off in
this weird rant where I think he says he's going
to create a competing chicken restaurant, like to compete.

Speaker 1 (47:48):
Oh yeah, Well he also asked the question, what is
Newton plan?

Speaker 2 (47:55):
Jesus, Yeah, I should have said he's just going to
start a fig farm.

Speaker 3 (48:00):
There you go.

Speaker 4 (48:00):
That would have been a better answer. What are the
three sports that Joe Santo participates in besides bodybuilding?

Speaker 1 (48:08):
Oh, Joe, Joe? Curling?

Speaker 4 (48:12):
Really, javelin, No, you got curling? I guess I should
have told you that.

Speaker 3 (48:19):
Yeah.

Speaker 2 (48:19):
Sorry, Well I knew curling like water skiing, Nope, like okay, the.

Speaker 4 (48:26):
Sport, but uh it's he when when Robert England is
talking him up, he says he bowls a two hundred,
he's damn near an Olympic swimmer and he's a curling champion.

Speaker 2 (48:39):
Okay, joking have that one? If if we don't, if we,
I mean, that's fair.

Speaker 4 (48:42):
I don't think that's that's the first that's the first
even answer that anybody's had. So joking on that one.
What did Mary Tate think the stolen painting was before
she saw it up close?

Speaker 2 (48:54):
She says it before he goes in the building.

Speaker 4 (48:56):
No, but she says it after he brings it out,
and then She's like, oh, I thought it was.

Speaker 2 (49:02):
I mean, I know what it is after well, sure, Joe,
Joe boats, I have no answer.

Speaker 4 (49:09):
It's a lion. She thought it was a lion when
she saw it in the window.

Speaker 3 (49:13):
Oh okay.

Speaker 2 (49:14):
And last question is what happens when you watch it
three times? Because I guess twice.

Speaker 4 (49:21):
This is also what happens when I can't. Yeah, I
just picked random ship. The hot tub is always kept
precisely at what Joe? And there you go. Joe's got it.

Speaker 2 (49:34):
Dad, I had, I had, I wrote down one thing
was it was a number two?

Speaker 1 (49:39):
It was what was it?

Speaker 2 (49:41):
How many kids or something like that?

Speaker 1 (49:44):
Or cousins?

Speaker 2 (49:45):
Is how many cousins?

Speaker 4 (49:46):
Yeah, that probably would have been all right. See, but
then you both would have known that. And my aim
is for this game to be terrible.

Speaker 2 (49:57):
Well should accomplished.

Speaker 3 (50:00):
Okay, all right, when.

Speaker 1 (50:01):
The big man was killed, you must have wounded it.
It's blood, wasn't the leaves?

Speaker 3 (50:07):
If you please, we can kill it.

Speaker 1 (50:13):
All right. So now we're gonna get into rating this movie.
We're gonna rid on a scale for one to five
or irons pumped. Please remember this is a scale of
just Arnold movies only because if it included all movies,
it'll be five's. So, h Chris, why don't you go
ahead and tell us you're sure?

Speaker 4 (50:33):
Uh, this movie is not an Arnold movie in the least,
like as we define it. It's just not He's barely
in it really, like he's in I don't know, he's
got maybe twenty minutes of.

Speaker 2 (50:48):
Screen time off to win an award.

Speaker 4 (50:50):
Yeah, it's fine, and like I don't he's doing a
fine acting job. Like, clearly he has not fully honed
his acting skills yet, but this movie is actually asking
a little more of him than some of his earlier
films did. So he's doing a fine job, but he
doesn't get to do any of the fun arnoldy ship
that we made this podcast for. So like, uh, you know,

(51:13):
trying trying to brush aside my even trying to brush
aside my personal feelings about whether I like this movie
or not. It's just not a good Arnold movie. I'm
gonna go with a one point oh okay, one point
what just one point?

Speaker 2 (51:27):
Oh okay? I thought you said one point four.

Speaker 7 (51:28):
I was like, oh, well, whoever came up with this
scale is an idiot, because like, why are we just
doing on ten because we're out here giving me point
rides and ship.

Speaker 1 (51:40):
Yeah, I guys, a fucking moron. Speaking of morons, I'll
go next.

Speaker 4 (51:50):
Would have been funny.

Speaker 1 (51:51):
No, it is me Kevin the Scale. Okay, this movie,
I think I kind of let my feelings out. I
guess a little bit early. I think it's there's so
back in the day, I used to just go to
like Goodwill and just find a book for a dollar
and then just read through it. And a lot of

(52:13):
them sucked. A lot of them I didn't even get through.
And a lot of them were just like they were
just like good, they were enjoyable, Like you got into
the characters, Like the plot didn't really matter, but it
kind of like kept you going with like the characters,
like you were kind of put in this world. I
feel like that's probably what this book was, and maybe
like when this movie came out, like they try to

(52:35):
give you the feeling of that. Like my biggest problem
with Stephen King like adaptations is like that they never
get the feel of the characters, just because the plot
can definitely be secondary to like the world and the
characters that are there in his books. But everybody's like, oh,
it's fucking scary clown like clown scary whatever clowns are scary. Yeah,

(53:00):
well you feel that because of him. But that's kind
of what I feel like with Like, I imagine that's
what the book was like, because like there's not a
lot of fucking plot in this, you know, like, but
I imagine the book was like You're feeling these characters in
these like situations and the plot was kind of secondary,
and maybe when this movie came out, it kind of

(53:22):
was was like the same way. You know, like you
like you probably didn't you didn't watch a lot of
fucking movies in nineteen seventy six because you didn't watch
them at home, you know, like unless there was a
TV movie, like you went to this, you went to
the theater or whatever, and maybe you got like kind
of engrossed in it. You know, your boys talked about it,
maybe you saw it twice. I don't know. I feel
like it's definitely a movie for a different time. That said,

(53:43):
I don't think it's particularly a great movie, Like it
definitely didn't age well. I do think Arnold was actually
pretty fucking fantastic in this and very not in a
very not Arnold ye way like he was kind of
subdued and played his part right, and that speaks a
lot to what he's become and not what he immediately became.

(54:07):
So I am gonna give it a one point by
I thought I was gonna go higher with their your No,
I don't want to watch it again. It's not very arnoldy.
I'm just trying to get a retrospective on it, you know,
like Aaron, you and I I talk like I showed

(54:29):
Laura dumb and dumber and she did not like it.
And then you told me like, if you're ever considering
a divorce shore a Centura, Like I just yes, you did,
And I still laugh at that.

Speaker 2 (54:45):
Yeah, I think it was just like Jim Carrey, Like
it's the older I get, the more I'm like, but
I still I can still watch him. Just yeah.

Speaker 1 (54:53):
But like when that came out, that was amazing and
like comedy comedy, like like comedy doesn't he Well, I
guess you can say, and I think, certainly, No, I
don't want ever. The only way we're breaking up is
went on his dice or she divorces me, but.

Speaker 2 (55:13):
One of us dies.

Speaker 1 (55:15):
But no, like like that was like our fucking ship
back in the day and now, like like if you
release fucking Asin Dumb and Din in theaters, people are
like even the fucking kids that are our age would
be like what the fuck? Like this is this sucks.
It's like time and taste and how you feel about

(55:36):
art and ship changes and uh yeah, I feel like
wait with with with movies?

Speaker 2 (55:42):
Wait did she not like Dumma Dummer?

Speaker 3 (55:44):
No, I can't remember.

Speaker 2 (55:46):
Eric she did like k is okay with this?

Speaker 1 (55:48):
She did like Bad Santa, which I was surprised at that.

Speaker 2 (55:50):
That's that's way different.

Speaker 4 (55:52):
That's different dumbd Dummer's like I think.

Speaker 2 (55:54):
It's just Jim Carrey. He's where you're like, this guy's
a fucking idiot.

Speaker 4 (55:58):
Well no, no, I mean the Fairly Brothers movies for
the most part, if not aged no, yeah, but like
in general, but.

Speaker 2 (56:04):
Like if you get like the Ace Mature is way
worse than dum Dumber as far as like this fucking
guy like this movie just oh.

Speaker 1 (56:12):
It's yeah, like she should carry Yeah, well, I thought
you would hate Beds because everyone's just a fucking asshole
and most of the comedy is just everybody being a
piece of ship. And it's written very like well, they
was like, yeah, yeah, yeah, presently like that.

Speaker 2 (56:27):
So hey, hey, can you like dumb and dummer?

Speaker 1 (56:31):
Okay, it's all right, all right, jesus.

Speaker 2 (56:37):
I was trying to think of Tommy boy You see,
she's seen Tommy Boy.

Speaker 1 (56:41):
Right, I think show, and she's probably like it's fine, Okay.

Speaker 2 (56:46):
She likes that's just Chris Fraley is just.

Speaker 4 (56:48):
Very uh I mean the Tommy Boys. Yeah, I think
Tommy Boy age is better because it's.

Speaker 2 (56:53):
Because Chris Farley is dead and you're like, fuck this guy,
like he's dead.

Speaker 1 (56:57):
No. We I was like sick last weekend and we
watched like a lot of like ninety shit no, like
uh vines. I can't stop thinking about like YouTube populations
and like anytime somebody falls down, I'm laughing my ass off,
I'm like, And then I had to like I had
to like make sure I was like aware of how

(57:19):
dumb I'm like, guy fall down, funny. I'm like look
over at her and be like, yeah, I realize I'm
stupid for like laughing when people fall down. But I'm
smart enough to know.

Speaker 2 (57:29):
That I'm stupid, Like we should watch them.

Speaker 1 (57:32):
No.

Speaker 4 (57:33):
Then, Burney's film has heart, but football in the groin
has a football in.

Speaker 1 (57:37):
The That's what I cannot stop thinking about.

Speaker 4 (57:39):
Any older I get. I'm like, I don't know.

Speaker 1 (57:42):
Football on the grind, like that's dollars.

Speaker 2 (57:49):
It's kind of like.

Speaker 1 (57:52):
If I saw somebody to get football on the groin
right now, I at forty one years old, I probably
laughed my ass my grind.

Speaker 4 (58:00):
Who was it?

Speaker 2 (58:01):
George?

Speaker 5 (58:02):
George?

Speaker 1 (58:04):
But yeah, No. After that, I was like, let's watch
Mementos feel smart or whatever.

Speaker 2 (58:11):
That's your go to now, your smart movie to Eception,
something more confusing.

Speaker 1 (58:18):
Now we watched momental lesson. I've seen this Eception two
my times. I know what's going on. Watch less Memento.
I have a lot of feelings about the movie. I
watched it back like in like two thousand, thousand and one.
Right now, it is a very smart and well done movie.
It's entertainment value. I think it's like twenty minutes too long,

(58:43):
maybe just because I know what like kind of what
happens happened? Yeah, yeah, that makes sense. Like the rewatchability
is just kind of like you gotta wait a long
time because I watched it and it's still a couple
of years ago, and I was like, this movie's fucking good,
even though I knew it's gonna happen.

Speaker 2 (58:58):
But if you like, I'm trying to think of something
else that I waited, and then I was like, I
think Gladiator to Where, which is a completely different but
it was like, God, this movie's I was telling Rick,
I'm like, this movie's fucking good. Yeah, but I had
seen it since I was like twenty, maybe I was like,
fuck men. Well that's the thing.

Speaker 1 (59:15):
About like, uh, mystery stuff like books or obs or
shows like the game too, Like yeah, you can go
back and watch it again and be like wow, like
like all the signs are there, like this is amazing.
Like the game or like Themento were just like fucking
get to the point. Let's speed it up, like you

(59:36):
watched it the first time. You're like, this is amazing,
just like Inception kind of does that too, but Inception
is actually like entertaining to watch because there's like the
dream and the dream and the fucking like Joseph Gordon
Levitz fight that guy in the hallway and ship. You know,
you're just like, wow, this is like good. But like
Memento is just like what, like I get it. There's

(59:56):
no like action scene or anything. You know, like once
kind of know what's going on, then it takes the.

Speaker 2 (01:00:03):
It's it's second time just to like you can follow it.
But yeah, yeah, anyway, okay, so I'm gonna go with uh.

Speaker 1 (01:00:13):
Sorry real quick. What they need to make is memento
porn where you see the kind of shot and you're like, whoa,
what happened? And then it goes back to the scene
before and he realized, like.

Speaker 4 (01:00:26):
I can't imagine how we got Like Dick goes about, whoa,
how did that happen?

Speaker 1 (01:00:31):
And it just goes back to them like meeting at
a grocery store, you know, he's like, oh, you like
oranges or like we'nges too, you know, and then.

Speaker 4 (01:00:39):
The reveal is that she was hungry in ordered a pizza.

Speaker 2 (01:00:43):
Extra weird the weirdest porn all of a sudden, like
the porn starts are just like like right in her
face going on.

Speaker 5 (01:00:54):
But that would be you're like, wait, well, I'm sorry,
I just I feel like we have to do that now.

Speaker 4 (01:01:00):
Just a shot where somebody.

Speaker 5 (01:01:01):
Gets blasted in the face and hits the wall just
like Joey Pants and just sits there.

Speaker 1 (01:01:06):
Yeah.

Speaker 2 (01:01:10):
Uh, and it slowly rewinds like at then it goes
all the way back to it coming out of his yeah.

Speaker 1 (01:01:17):
Like scenes, but instead of shaking the he's shaking his dick.
Liked just just just meant, don't know.

Speaker 4 (01:01:33):
It sound No, you gotta make it sound smart. It's
gotta be called refractory.

Speaker 1 (01:01:37):
Oh yeah, there.

Speaker 2 (01:01:40):
You go, Factor P and then anyway, okay, okay, so
I'm sorry.

Speaker 1 (01:01:43):
I cut I cut you off, but I just gave
my brain. I needed to get that.

Speaker 2 (01:01:47):
Out, Okay, so uh yeah, again, my opinion has been known.
I'm not I don't have to say anything about this.
The movie is what it is. I don't think I
have to say much because yeah, you guys know I feel. Yeah,
I'm sure you've decide whether give it a one or
I'm not going one.

Speaker 1 (01:02:04):
Okay, that is gonna leave stay hungry at a one
point one six six is six seven, that's gonna put
it in last place. So Batman and Robin is one
point six six, Maggie Sabotage and the Villain or one
point five after Man's a one point three and it's
gonna be.

Speaker 2 (01:02:21):
Ready Ready sorry, ready was so bad that the score
doesn't work?

Speaker 4 (01:02:26):
Yeah, it can be calculating how terrible warning morning.

Speaker 1 (01:02:33):
And that will put Stay Hungry at the bottom of
the one point one six. You know what's actually weird
is I think it is a better movie than Sabotage.
And it's definitely a better movie than Batman and Robin.
It is, and Hercules and New York. It is not
more entertaining.

Speaker 2 (01:02:51):
But I'd rather watch two of those. Yeah, probably Sabotage,
I'd probably rather watch. Yeah, I'd rather watch Batman and Robin.

Speaker 1 (01:02:58):
It's a better movie, but I'm not saying more entertaining.
But it's not a better art ole movie. And that's
what the scale's forep. So that is gonna do it.
For our coverage of Stay Hungry, I just want to
say to all of you out there, stay hungry or don't.
I don't know if it's literal, don't, like, you know,
make sure to eat. Food banks are a great a

(01:03:21):
great place for that. But most importantly, like if you're
listening to this, like honestly, thank you, Like if you're
a friends, thank you for supporting us. If you're not,
also fucking thank you for just randomly listening to this,
and especially like like listening to this episode on this
fucking movie, like no one, Like, we didn't even hear

(01:03:44):
about this movie before. Weirdly, I was talking to a
guy tonight. I was like, oh, I got to record
the podcast and he was trying to guess all these movies.
I'm like, dude, you're never gonna guess it. Was like,
stay hungry. He's like, oh, stay hungry. I know that
it's filmed in Birmingham. From there, I should have guessed that.
I was like, what the fuck, Like, you know about
this movie.

Speaker 2 (01:04:03):
The Parents, it's a big thing, and like that. I
read an article I think that came out like five
years ago or so, and it was like, oh, yeah,
it's one of the things that Birmingham. It's don'ty four anywow.

Speaker 1 (01:04:12):
But honestly, if you're listening this far into this fucking
episode and you're not the three of us, even if
you're my mom, Hi mom, seriously, thank you, Like we
really appreciate it. We put in a lot of work
and money in this and we we're not like Raffleson.
You know, maybe we are like Raffleson. We just do
it for the fuck it.

Speaker 4 (01:04:33):
We're not We're not out.

Speaker 1 (01:04:35):
But our next movie is going to be the very
extremely underrated super frankly nineties, way ahead of a design
masterpiece slash Last Action Hero. So please stay tuned. You're
listening to this, You're definitely gonna listen to that, but
that one's gonna be fucking straight fire. So for me, Joe,
for Chris Shavian and Aaron Frescus, thank you so much

(01:04:57):
for listening, And I guess there's only like one thing left. See.

Speaker 4 (01:05:02):
If you enjoy our show, please consider giving us a
positive review on Apple Podcasts or your podcast app of choice.
You can follow us on Twitter and Instagram at the
Potty Richter to make sure you never miss an episode.
See You at the Potty Richter is a production of
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(01:05:24):
more hilarious podcasts.

Speaker 2 (01:05:26):
This has been a tape Deck Media production. Thank you
for listening.