February 26, 2025 • 46 mins
Amazon MGM Studios announced their purchase of the 007 franchise, along with producing their own James Bond extended universe.
(recorded on February 21, 2025)
Watch the Video Format on Youtube: Coming Soon!
LISTEN to us on our other various platforms:
Apple Podcasts:
https://podcasts.apple.com/us/podcast/the-red-band-podcast/id1559313468
Spotify:
https://open.spotify.com/show/3DtTVkV9HZz65ukS5FWETn
Iheartradio:
https://www.iheart.com/podcast/269-the-redband-podcast-102663694/
Subscribe & Follow to get the latest updates on new episode releases!
Subscribe to our Patreon @ https://www.patreon.com/theredbandpodcast
Discussion Links Below:
- 03:24 ~ Netflix To Invest $1 Billion in Mexico Films - https://www.hollywoodreporter.com/business/business-news/netflix-mexico-invest-billion-studios-ted-sarandos-1236141749/
- 12:15 ~ Stability AI To Be Involved With Hollywood Films - https://variety.com/2025/film/news/stability-ai-cto-hanno-basse-james-cameron-hpa-tech-retreat-1236313580/
- 20:04 ~ Disney Hires New Co-President For Live-Action Films - https://variety.com/2025/film/news/disney-live-action-paramount-daria-cercek-1236313183/
- 29:97 ~ MAIN TOPIC
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
I'm also writing down the facts of the supposed inspiration for James Bond is Christopher Lee.
(00:07):
Oh no, this man was like just...
He lived a life.
Yeah, he was the original, the most interesting man in the world.
Yes, he received accommodations by the end of the war for bravery from British,
Polish, Czech, and Yugoslavian ghost friends.
And Dracula.
And he's Dracula.
(00:27):
Speaking both French and Italian, Lee spent his time after World War II hunting Nazis with the
Central Registry of War Criminals and Secretary Suspects until he decided to give acting a try
at age 25. Jesus, this is all before the age of like...
Yeah, yeah.
That man lived.
He lived a life and he's not even 30 yet?
Yeah.
(00:47):
God damn.
They need a size... You know what I feel like acting. Let me try that out.
Yeah.
All right, let's get this guy.
Okay, here we go.
We're going in five, four, three, two...
What's up, everybody? This is the Red Band Podcast, your source for all film and TV related news
(01:09):
and topics. I am your host, Anthony King. And of course with me is my co-host...
Adrian G. Fuentes.
And sitting over there in the control room is our technical director, Mike Card.
You can't even do a simple hello. You can't even do a simple hello.
I'm tired of doing what's up, everyone.
Yeah. It's almost like, what's up, guys? And then you go into like, like and subscribe.
(01:32):
Oh, you could just say, hey, what's up? How's it going? How are you people's doing?
You know, you could say other things besides saying, what's up, guys?
Just ten clicks. That's all we get now. Just ten clicks.
It'll be something different each time.
Yeah.
This is why I wish I had a soundboard.
Yeah, I think it's time we should get a soundboard.
It's already prepped up, but I'm very cautious about...
(01:54):
But you don't want to give him that power.
Yeah. We'll see how.
I don't know. I don't think you should even have that power.
Oh, I don't even want that power.
We can even do like a little special segment where I go like, oh, no.
And then it goes into like, oh, who died this week?
Like the minute...
No, no. My fear is because you're going to want the air horn.
(02:16):
So damn much. So I'm just going to...
MLG horns? Yes.
No, my fear is like the minute we give him a soundboard,
it's going to be like a radio station coming up live.
Mike in the game.
Wow.
Just crazy, stupid sound.
Come on. At least two buttons like that and the rest can be like,
(02:39):
I don't know. We'll program it.
We'll program it together.
Absolutely not.
Man, you guys doing good tonight, though?
Yeah.
Pretty good.
Yeah.
It's finally getting a little warmer, though.
Oh, yeah.
Weather's finally changing. It's no longer super cold.
Now it's going into super hot.
Yeah.
It ain't there yet. It's not there.
There's still some snow on the mountains.
It's going to continue to go up and down for a little while.
Yeah.
(02:59):
I'm already sweating.
But I don't know. We might even get an early summer this year.
So damn.
Son of a bitch. Hopefully.
Hopefully. We got to pull, man.
I got to pull, man.
You guys are using that.
Yeah, that's true.
But anyways, let's just jump into this film news
because we got a lot more to talk about tonight than we did last week.
A little thing's kind of caught up in the film news section.
(03:20):
Yeah.
We got a little more stuff going on,
so let's just hop right into this.
First off, what we have here,
Netflix is to invest over a billion dollars into Mexico
over the next four years to produce films.
That's an actual huge leap for them.
I know Netflix has slowly been
integrating themselves into the Mexican market.
(03:42):
Back in 2011, they finally opened and released Netflix
for Mexican subscribers, I think, like, what, two years ago?
They had they opened up their own official headquarters for Latin America.
Yeah.
And I know they've been trying to produce a lot more
shows and television series down over there.
So this is actually pretty interesting that they're
going to jump big and move forward into fully developing series
(04:05):
and television shows down over there.
Yeah, because they have actually,
there is a large market for Spanish speaking subscribers
because they did over the years,
they have worked on a few ones like House of Flowers
and Where They Track Ends.
They've also worked on some big movies.
Yeah, there's been the I mean,
(04:25):
there's a whole history behind the whole filming in Mexico,
but unfortunately, it was disrupted during the 90s.
But it's coming back.
It's coming.
Actually, it's coming back.
A lot of big shows that were popular in English was like Darko's.
Yeah.
In Mexico.
That was huge.
Yeah.
I watched that.
But even though like the last Saw movie was filmed in Mexico.
Was filmed in Mexico City.
Oh, shit.
That's right.
Yeah.
(04:45):
Yeah.
So a lot of actually things being filmed in Mexico City.
So I'm not surprised that they chose as well with the whole filming here in the US.
Yeah, how it is.
But yeah.
Yeah.
Yeah.
And they're also going to be putting two million dollars into the Churubusco.
Yes.
The Churubusco studio.
Yeah.
That was like the really old studios where they first started producing films in Mexico.
(05:06):
So they're actually really trying to renovate the studio lot area itself.
One of the oldest built in 1940s.
Yeah.
I mean, it's not only that they've I mean,
they have a history so far of most recent history of winning Oscars
in movies that they've made, including Roma.
Oh, yeah.
Yeah.
I forgot that.
That won for best foreign language feature.
That was a first for Netflix and Mexico.
(05:28):
Yeah.
It was also you also have Bardo made by Alejandro Diaz.
I hope I pronounced his last name right.
In the Rito.
In the Rito.
Yes.
Yeah.
Who was also submitted an Oscar for best or sorry for a submission for Oscars.
But also.
He also did Burman.
And he did Burman.
Yeah.
And Guillermo del Toro's Pinocchio, which won an Oscar for best animated feature.
(05:51):
I forgot that did win an award.
Yeah.
That was another first for Mexico and Netflix.
Do you think, though, this can possibly affect Netflix, though?
I mean, due to the recent political climates we've been going through.
Like for me, it just seems like they're just doing their usual business standards
and how they've been slowly trying to develop in Mexico.
But you know, the political climate, how it is right now,
(06:13):
do you think people are just going to jump in and start like, oh, this is controversial?
Them trying to help out, you know, seeing.
There will be those who are like trying to push onto the whole, you know,
try to push their immigration or something like that.
But the truth is, no, because other studios are trying to.
We talked about recently, they're trying to work with India.
They're trying to work across the entire world.
(06:33):
Yeah.
They're trying to expand out of just the US.
Yeah.
They're trying to hit that world market.
That's where the money is.
Yeah.
Yeah.
Because we've learned because over the last, what, 15, 20 years,
actually, I mean, the last 10 years alone, we've learned that if we work with other studios,
different countries, we produce great content.
Yeah.
Um, I mean, even out of Korea, we ever seen a lot of great shows coming out of there already.
(06:54):
Oh, yeah, absolutely.
Yeah.
So it's one of those things.
I think we're just hitting a more bright, a wider market instead of trying to be in house
and like, oh, let's just do everything here because come on, everything we create is not gold.
Yeah.
See, what would be like one studio you would like for them to invest into like a foreign
production studio or company?
Like, so you have like Netflix producing into Mexico.
(07:16):
You have a Sony now being involved more in anime producing studios in Japan, stuff like that.
Like, what would you like to see for like an American production studio to be invested into
a foreign?
I have a feeling where this is already happening, but I can't remember actually pulling on anyone.
But for Universal to invest in India itself.
India.
Yeah.
Because we saw it come out.
(07:37):
What's that movie that just came out?
Uh, Monkey Paw.
Yeah.
Was it Monkey Paw?
No, no, no.
Monkey Paw Productions was the one.
Monkey Paw Productions did.
Monkey Man.
Monkey Man.
Monkey Man.
That's it.
Yeah.
Because I know a lot of, a lot of action good things are coming out of India itself.
And I believe that's a country that could produce like actually pretty good action films
and a couple of like dramas as well.
(07:58):
Okay.
What about you, Mike?
I kind of want to get, I almost want to go like the weirder route of choosing like a
country that's just like, we don't really see enough of.
Yeah.
Um, I'm either going one for like Denmark or even for like say Australia.
Okay.
Because Australia, we got the Mr. In-Between.
(08:21):
And I really liked that show.
Okay.
But I think there was only like two, three seasons or something like that, if I remember
right.
And yeah, and then it was just, that was it.
Okay.
No, no, that's pretty dumb.
See, I like to see something like Shudder getting more involved into like Italian
horror or like South Korean horror.
I don't think the world's ready for that.
(08:41):
That's gotta be toned down.
It's good though.
It's so good though.
But it has to be toned down for like American audiences.
Because I mean, they do get heavy into the body horror, like just really deep into it.
So that's a thing.
Well, that, I think you're getting that more confused with like certain directors only.
And that's like two or three directors who are really like obsessed with the body horror.
(09:04):
I think you're taking those guys as like the totality of all their works.
No, but it's just the ones, I guess, I guess those are the ones coming out of the market,
major ones coming out of the market itself.
Yeah.
Those are the major controversial ones.
Yeah.
So without focusing just on those, they have some really good catalog of horrors on both
sides that don't just involve body horror.
(09:25):
I guess.
Especially South Korean when they have a lot of ghost stories that are really well put
together.
That's the one I'm not sure if people could actually handle.
Is it too scary or?
It's just so out there.
The idea of like, because one thing I've learned was that...
Careful, you're going to clip your nails past 9 p.m.
It's like, it's things like that where American audience...
(09:45):
Horror ghosts going to snatch your toes.
Our supernatural compared to their supernatural is completely different.
But you know, we've always took in their supernatural and Americanized it.
Yes.
And we felt that heavily.
There's some good ones.
Which ones?
He got you on that one.
No, no, to be fair, the grudge series actually did pretty well on its own.
(10:05):
Yes.
Tale Twins Two Sisters, which was like the uninvited that did decently well.
So you see, like there is some, but you got to see that overall.
Yeah, the overall, I get what you're saying.
It's like so out there.
The idea is like...
Like...
But no, but you always we always talk about like,
we make these American bastardized ones and they do so bad and it makes people force them
(10:30):
to watch the original ones and then they like the originals.
So it's like, you can't, you see, you say like...
No, no, I get it.
It's same thing like what's it called?
Like rec and you know, yeah, yeah, yeah.
So yeah, I get it.
Yeah.
What's the name of the movie in?
Damn it.
What's it?
Remember the forest in Japan?
Like, yeah, yeah, yeah, the suicide forest.
Like that was interesting.
(10:50):
That's an interesting concept.
Yeah, yeah.
Don't leave the path and then, you know, just get haunted by the souls of people that have died.
See, I think that's the biggest issue is like there's the material that is written is well made.
It's just the translation.
The execution is always poor because they're trying to do it still in the standard poor.
You see on the issue?
(11:11):
Yeah.
Oh, like the formula.
The formula is still trying to hit the horror movie beats when these movies go off beat.
Yeah.
They're still going to scare me.
Oh, yeah.
Like they're still going to scare me.
But they're good and they're put together well.
I'll watch on a small screen.
Yeah, on your phone.
On my phone without the headphones.
(11:34):
You have your phone right here.
Any girl's phone?
One playing the horror movie, the one playing Bluey.
Yeah.
Can I just have it with the subway surfers like at the bottom of the screen?
Yeah.
Just brain rot.
Yeah.
No, but yeah, that's going to be interesting seeing the next four years as more productions
are going to be made in Mexico and especially going to be popping on Netflix.
(11:56):
I'm not on Netflix that much, so that's the one thing.
Every now and again for me.
Yeah, every now and then I'm popping them back and forth.
Pinocchio is so good.
Did you watch that?
No, not yet.
You haven't seen that one?
Not the Disney one, the girl in the car one.
Yeah, I haven't seen that one yet.
That shit hurts.
Hope you're bulletproof, motherfucker.
All right, next what we have here, this is actually pretty interesting.
(12:18):
A lot of people didn't know the AI developing companies to build the AI.
If you guys don't know, if you haven't heard the software stable diffusions or anything
like that, these are like AI video generated, AI photo generated software to create fake
images and videos.
They're now getting slowly more involved into the film studio in Hollywood and they actually
(12:41):
have a board member, which is James Cameron himself, who's helping leading them to be
more integrated into Hollywood.
And this is going to be interesting too, because this has a lot of fears.
This AI being well integrated now into the film studio, into Hollywood, into film production,
all that stuff.
But what they're claiming is this is not going to be a full replacement of jobs or
(13:04):
artists or any type of artwork that they're going to be producing.
This is more for like VFX companies and like computation uses, which that's what we always
talked about.
That's what AI needs to be used for in the film industry rather than trying to create
full blown images and ads and stuff like that and trying to recreate actors and actresses
for likenesses.
(13:24):
So I actually agree with how they want to go about this, but I know this has still a
lot of worries for people.
Yeah.
I mean, it's when we read through the article was one line that we read like, ah, that doesn't
sound right.
The wording, yeah, the wording of what he said.
So yeah, that's the chief technology officer, uh, Hanna Boss.
Yeah.
What do you say?
He says, I don't know anything that's impossible in the industry today, especially in the
(13:48):
investment of visual effects.
So I don't think AI is impossible.
Well, I really think what is it really about making things faster and cheaper?
If you look at your budgets today, whether it's TV or film, 87 or 90% of that budget
is human labor.
And what, and I'm not talking about putting people out of work, but I'm talking about
a lot of labor.
It's not fun to do.
(14:08):
Yeah.
So the way he worded, it made it seem like these people are going to be just thrown away.
Yeah.
We're going to take away 80 to 97% of people.
Just no, not what he's saying.
Yeah, because he says like, when he says here, if you look at your budgets today and the
words like faster and cheaper, and then using 87 to 90% of your budget is human labor, that's
like already telling me, oh shit, they're going to save money.
(14:30):
By cutting out the human element, the human labor.
But I know what he's trying to say is a lot of films nowadays are a lot more VFX heavy.
So most of that production budget isn't the people actually on site filming.
Most of that production budget is going to go to the VFX company where the higher thousands
of people to create, you know, design backgrounds, character models, all the, all the CG works.
(14:55):
What he's claiming is a lot of those people, what they do is very mundane tasks that eat
up a lot of time.
Production studios.
Now they want their movies out faster.
You're no longer given like the full year to work on or like the six or eight months.
They want you to finish films within three to four months.
That's correct.
And even blockbusters have like huge, huge amounts of CGI.
(15:19):
So what they want to use AI, especially generative AI is to help with the computations of small
tasks like rotoscoping, key framing, all that stuff, things that eat up a lot of time and
doesn't require a lot of brain power.
Cause you know, rotoscoping, you're just going from clip, mask out, clip, mask out, character
clip, every scene, every skill, mask tracking, all that stuff.
(15:42):
Now, if you have AI that can handle all that stuff, you can now move on to other bigger
parts of your production that you need to focus more on rather than just paying one
person to spend eight to 12 hours of the day drawing lines around a character or object
or a ball or something like that.
Yeah.
And this is actually, and this is actually a normal thing to happen because like I said,
(16:04):
but people hear about AI, they think it's a scary thing where it's, you know, it's
going to take up everyone's job.
And this AI is actually a magic wand to a film where they just press one button and
it will just produce a film all by itself.
Yeah.
Which no, it doesn't do that.
This is just another tool added to the toolbox itself for filmmaking.
It's happened since the very beginning of Hollywood when you have certain jobs that
(16:25):
no longer exist because technology advances, you know, you no longer have the person
physically cutting the film.
Yeah.
Now you have digital, you know, it's one of those things that just changes over time.
And yes, unfortunately, some jobs will be taken away.
We're not going to probably have rotoscope artists as many, like, you know, when we see
a Marvel film, how many names are rotoscoping?
Oh my God.
Like the dozens, almost like sometimes it almost feels like it could be hundreds.
(16:48):
At that point, you can now take all those people away and that's those jobs that will
unfortunately be affected like rotoscope artists.
But it might not just be that their jobs are completely gone.
They might just be put onto other things, other projects that don't require all day
rotoscoping.
Yeah, because there's no such thing as a specialty, you know, where a person on the resume
(17:09):
say, no, I'm a specialty rotoscope artist.
Like, no, that doesn't exist.
Do you think it would be more of like an added tool for these rotoscope artists rather than
getting rid of these people?
Would it just be like an essential tool to feed or give them this tool to be able to
rotoscope whatever subject that they're working on and then touch ups on?
Unfortunately, if AI does keep getting better, I do see it doing away with the job.
(17:34):
So nowadays, rotoscope artists, what they do now is they'll get the first frame of the
still image that they're working on the scene, mask around that and then whatever software,
you know, after effects, nuke fusion, whatever, they'll let that software play through the
entire clip.
And it's already doing a good job tracking and masking the rotoscope for every still
(17:56):
to cover whatever you need to replace the object.
It's already doing good with that.
So now with faster and better AI tools, you no longer have to have that rotoscope artist
recheck over every still just to make sure it can do its nice, fine tweaks.
It also says here in the article that they're looking to get.
(18:16):
Wait a minute.
Yeah, that's easy.
Sorry.
It said that they were looking to get their data not by scrapping or scraping YouTube or
whatever, but they're actually looking into data deals with people negotiating training
data deals.
OK, so maybe this is their way of kind of employing these rotoscope artists.
(18:39):
OK.
And then teaching the machine.
Yeah.
But what that means for the future for them, I don't know.
Yeah.
And that's where it's no matter what, when you move into the future of any industry,
there's some jobs that are going to be left behind.
We used to talk about that one job position on any film studio was like the VTR or whatever
it is, the guy whose job.
I was going to say the diddler.
Oh, the diddler too, yeah.
(19:01):
Yeah, the diddler.
But you don't want to say that guy whose job was just to press play on the VCR tape.
That's right.
Because he had a whole ass job.
He had a whole ass job.
And now like that's not necessary.
You don't need some guy who knows how to work all these monitors and machine and tape
recorders to press play just to watch playback.
(19:21):
Yeah.
Cameras have gotten so simple.
Now the director or even cinematographer or anyone could do that.
Yeah.
It's like I said earlier, it was just the industry evolves.
That's all it is.
As it is.
It evolves, it changes out, and there will be jobs lost.
But as well, there'll be jobs gained on top of that.
There'll be some other job that someone's job is to take care of the AI.
(19:43):
And of course, this will help out VFX companies.
We now know VFX companies are being way overworked and put on time constraints they can't keep
up with.
Completely ridiculous, unbelievable, impossible time constraints.
So these tools will help them keep up to actually get movies and films out on time.
(20:05):
All right.
Last thing before we hit our break.
Disney hires Paramount's Daria Sirsek to lead film studios live action division.
So you guys don't know, last February, the previous person who was ahead of all the live
action films, I think that was Sean Bailey, he's gone.
He was there for 15 years.
He's now gone.
So they just fired him?
I'm pretty sure they fired him.
(20:26):
It's probably like the resignation, forced resignation, forced early retirement, that
kind of stuff like that.
But people have been complaining for the last years about all the live action films.
They all suck.
Yeah.
So of course, what you got to do, you got to shake things up, get rid of the person in
charge, bring someone news.
I mean, overall, what do you expect these live actions if you've already seen the animated?
(20:49):
My thing is, does it even matter who you put in charge, whether these things will do good?
Probably not.
Probably not, because I'm looking right now at the list of live action films that were
released.
Yeah.
They all have the exact same look to them.
Peter Pan and Wendy, The Jungle Cruise, Pete's Dragon, Into the Woods, Mulan, Kim Possible.
(21:09):
Mm hmm. And it's just they're trying to keep on like that Disney feel, the Disney look.
Yes.
With every project.
And it just it does not look good with every project.
Just waiting for the the lead.
The leading ladies just have Disney knees.
You ever seen those?
Yeah.
Disney knees and just like Jonas Brothers to come out of nowhere.
(21:33):
Yeah.
Like shit, that would be the most Disney thing.
You're going to look that up, the Disney knees.
Yeah, I would like that out.
You ever heard that, Adrian?
No.
The Disney knees.
Watch.
You'll see it's a it's a stance that usually like the female leads will stand away to where
the knees crook together like they collapse inward.
(21:55):
It's like the staple.
Yes.
Like all of them have it no matter what performer.
Like usually like the this anyone's that they turn into singers.
They do the Disney knees.
Yep.
Don't know why.
I don't know why it's a thing.
I wish I wish I knew, but it's just weird.
(22:18):
You see it now.
You see it now, don't you?
Now watch.
You're going to pay attention from now on when you when you either see like a Disney show or
shit, any other any past artist who was on Disney, you can watch Sabrina Carpenter.
She does the same thing.
So here's what I'm thinking or what I want to say.
(22:40):
What do you think Disney needs to do to finally shake things up for people to actually start
liking their live action?
Take a risk.
Oh, that's that's one thing you're about to say.
No, right.
I was going to say not make them not make them.
You think this is done.
They need to stop.
So like if you're going to make a live action Disney movie, let it not be on content already
created.
(23:01):
So you want original live action.
Yeah.
OK, so not remakes, reboots, any stuff.
Makes sense.
I have it's not even just going off of, you know, try to make reboots and like that.
But it's just take a damn risk.
Do take risk making films.
Take something.
Do you know something like think Snow White's risk?
Oh, no, that that was not a risk.
(23:21):
That was just them being cocky.
That's what we're like.
We can do it.
We can we can definitely do it because they had a few hits.
Somehow they ignore that formula and.
I'm like, what's it called?
The Corolla and Melissa Fentz.
Yeah, pretty good movies.
But somehow like, you know what?
Screw it.
Let's just bring back all these.
Let's do Aladdin.
Let's do Snow White.
(23:42):
Well, it's a lanking.
I hate those misunderstood villain movies, too, because they don't make sense to me.
Because I'm going to watch the animated version and this person doesn't care.
Yeah.
Yeah.
Like Corolla's like, I'm misunderstood.
I can do what I want.
I'm a fashionista.
I can do what I want.
I'm a fashion queen.
Kill these fucking dogs.
That's exactly it.
(24:05):
Maleficent, misunderstood spirit of the forest.
Oh, I'm going to wage war on man, but keep the peace so I can so I can keep to my realm.
I'm going to curse this fucking child to die.
Yeah, it kind of like it does ruin it a little bit.
But I mean, take a risk, man.
When it comes to making these films, why it sticks the same formula?
(24:27):
High plate safe and don't bring the rock into any of this.
God, for the love of God, do not bring the rock in any of it.
You're a Brahmin jungle crew.
Just leave him alone.
And don't make a partnership where it's like, well, what if we bring in Kevin Hart into it
with the rock?
They're a good duo.
Don't do that either.
Just don't do that.
So you just want original live action content.
(24:48):
Yes.
Go back to the original.
Go back to when you're like, fucking, let's make all the rides into movies.
Honestly, yeah.
I will go back to that.
How would you feel?
Yeah, go back to doing rides movies.
What the fuck is my Matterhorn movie?
Yeah, make it shit.
You got three abominable fucking snowman's in there.
Terrifying as all hell.
That's true.
That is very true.
Like, damn, make a Mr. Toad's wild ride.
(25:10):
He takes you directly to hell.
Actually, yeah, but that's a toad.
Yeah, I'll see about that today because I'll see because watching a video.
I'm like, no kid in this fucking world knows about Mr. Toad.
No one knows about him.
And yet there's a ride on him.
Yeah, live action.
Here's your live action.
Just give him a ride so we know what it's about.
I'm going to ride to hell.
But don't give me like, don't give me accurate looking toad.
(25:34):
No, like photorealistic.
Hire the new animators that did Sonic, not the old ones.
All right, we don't need the old ones.
We don't need hyper realistic song.
Well, that's the same team.
Yeah, I refuse to believe that.
That's not so.
No, no, no doubt.
So that team, they were told those were the notes they were given
(25:54):
of what to do.
And then when they got the backlash, the studio was like, what the fuck do you do?
What you told me to do.
So they had to do all that extra work to redo everything to what you got now.
All right.
Well, yeah, that's the same to work that formula, not the original formula.
Yeah, of weird ass Nike shoe wearing Sonic.
(26:15):
Give me the now Sonic and make Mr. Toad with that.
So in other words, just make an animated cartoon.
It's like an animated cartoon.
Yeah.
Yeah, but but don't do it like Home on the Range.
All right.
Because I watched that.
I told you guys that, right?
Yeah.
The last 2D movie.
Yeah.
It's a fucking fever dream.
Yeah.
(26:35):
It's God awful.
No, no, I'm not saying to do that.
I'm just somehow like just.
I know.
But like, yes, to create an animation, but not that particular stuff.
Actually, I was looking right now, the Chippendale, Chippendale movie,
how they made one animated and one was 3D animated.
Oh, yeah.
There you go.
Shit.
I'm surprised they haven't tried doing their own Roger Rabbit.
They need to redo that one again because that shit's over 30 years old.
(26:58):
We're never going to get a Jessica Rabbit.
No, they won't do it.
But no, I mean, they don't have to do that,
but they have so much content for their own Disney universe.
I'm surprised they just haven't done their own version.
No, no, they've I.
Supposedly, there's rumor that they're going to make a reboot of who framed Roger Rabbit.
I don't think they should.
No, no, you can't touch that.
(27:19):
You can't touch that.
But you can still use that format like we do live action.
Yeah.
Yeah.
Like CC like that.
The Chippendale movie was a good example of that.
Actually, that was the perfect example.
Exactly.
Yeah, it was great.
Why can't they just do stuff like that if they want to do live action?
They should.
They absolutely should.
Yeah.
It's a great movie.
It absolutely was.
I would recommend it.
But anyway, this this particular person, Darya.
(27:42):
Mm hmm.
Darya Sirsak.
Yeah.
I hope she does well.
I hope maybe she brings something that brings some sort of vitalization.
I mean, she worked on Sonic the Hedgehog three.
Yeah.
So I hope she brings some sort of vitalization to these live action Disney movies.
Mm hmm.
I'm not very hopeful of it.
(28:03):
Not to say that I'm not hopeful of her skills.
You're just Disney in general.
Just Disney in general.
Got it.
Disney's not going to swing from the fence.
They're going to play it safe.
Like they always do.
They're going to hit us.
They're going to hit a grounder for a single every single time.
Because they're like, hey, if we just chip away at it just a little bit,
fuck that.
Mookie Betts or a Tony, that bitch, you know, swing for the fences.
(28:26):
At the end of it, it's just what makes some money.
Exactly.
Yeah.
Unfortunately, that's what it is.
That's what it is.
And they're going to stick to like their formula of like, all right, well, our our focus group
says that they like squirrels.
So I think we're going to have squirrels.
Also the color blue they like, but like a certain like cobalt blue because it's less threatening.
Like, fuck all that.
Stop it.
Just make a damn movie.
(28:47):
That's it.
Like, damn, just yeah, just make the damn movie.
I agree.
All right, we're going to take a quick break.
When we get back, we're going to cover our main topics.
So stay tuned and be right back to you guys.
Here are smaller news articles that couldn't make it in today's episode.
(29:07):
Bong Joon Ho teases his return to the horror genre for a project nearly 19 years later.
Clayface Movie gets director Speak No Evil, James Watkins and stunt double of Tom Holland
will be doing most of the work for Spider-Man 4 while Tom Holland films the Odyssey.
And that's it for smaller news articles.
Now back to the episode.
(29:28):
And we are back covering over our main topic tonight.
Amazon has the full rights to the 007 franchise and they are making plans to really
plan to really match up against DC.
You know, the DCU for Warner Brothers, they really want to compete against Marvel's Disney's
(29:50):
Marvel's.
They think they have a massive expansive universe to produce constant James Bond content.
They want to franchise the James Bond.
It is a franchise.
It is.
It already is a franchise, but they're trying to create an extended universe now of James
Bond films.
I hate it.
They really want to compete against the Lord of the Rings, Star Wars, all that stuff.
(30:13):
Why not?
My thing is like, why not?
Who cares?
Do you think 007 is franchisable like that?
Where it can have its own spin off series?
Would you watch a Q or M spin off series?
Depends how it's done.
Mike says no, like, nope, I will never do that.
But we have been we have proven Mike wrong numerous times.
(30:35):
So I don't know.
Because the closest we got to an extended universe is John Wick.
And we tried with the Continental and then it didn't work out so well because they were
like, no one really gives a fuck about the Continental.
People did.
I think they just didn't know how to do it right.
(30:57):
Yeah.
It didn't matter.
I don't think it was marketed correctly.
Yeah.
The way they sold it, I don't think it was done right.
And John Wick is pretty new.
James Bond has history, well over 60 years of history.
Yeah.
So it has a name behind it.
It's just like anything, you know, if you're going to produce any new Star Wars movie,
it has a name behind it.
If you're going to produce anything Star Trek related, it has a name behind it.
(31:22):
Anything Marvel related, it has a name behind it.
So 007 James Bond has a name behind it.
I just know that when they said they wanted to compete against Marvel's universe, Star
Wars universe.
Yeah.
DC.
DC universe.
It just basically tells me that like all these other universes, at least for Marvel and DC,
(31:43):
they're looking for their Thanos.
They're looking for the big bad dark side.
Yeah.
So it's like, all right, so now we're going to get multiple movies and shows leading up
to fucking Dr. No.
No, I don't think that's what they're trying to go for.
Yeah.
I mean, they did not say whether these stories are going to be interconnected in that way.
(32:04):
You see what I'm saying?
Just because you have an expanded universe doesn't mean it needs to be a linear Marvel
storyline.
It could be like how Star Wars is doing it.
There's no linear star storyline.
It's just different stories happening within this universe.
Yeah.
What's it called?
I mean, they say Star Trek Mandalorian.
Yeah.
Yeah.
Star Trek is a notorious for that.
(32:24):
Yeah.
Is no linear at all with anything.
It's just different events, different stories happening within this universe.
Yeah.
But I just don't see that with James Bond.
No.
Does that mean I don't give a shit about the origins of M?
I don't.
You're going to show me a flashback of World War II so it's like, oh, you're just going
to give me a Peggy Carter.
(32:45):
Mm hmm.
Mm hmm.
Like in Q, who the fuck cares about the Q?
What, watch them through grade school?
No, I've I mean, the way I see may possibly doing the show is like I said, they're doing
different characters, different, you know, different points, different points of history
or maybe impossible.
That's, you know, there's one show based on how, you know, how the organization started
itself or the original 007, you know, because supposedly they're like the mantle gets passed
(33:11):
on.
So basically just the origin of MI6?
Primitive, the origin MI6 or the origin, the original 007 and how his story, you know,
progress over the years or something like that.
But I don't even think it's like that.
I think it's just more like number based system.
So however many numbers you have just just happen to have.
No, I mean, I'm not a big 007 fan, but the one thing I've read was that supposedly there
(33:36):
there was never such thing as just one 007.
It's just at that current time.
That's that 007.
Yeah.
Oh yeah.
Like that number.
Yeah.
So it's basically whoever is the agent who's in the position of 007 at that time, which
is a moniker that gets passed over.
Yeah, I don't see it.
Honestly, it's going to show me like various forms of double O's and five, double O six.
(34:00):
And everyone thinks like, oh, this is our chance.
We're going to get our interest.
We're going to get our Henry Cavill.
We're going to get all the ones we ever wanted.
Yeah, because that's also want to talk about next is now that you have 007 fully under
Amazon's belt and they're going to produce films, who's going to be playing it now?
None of those people.
None of them.
You're going to get Army Hammer.
You're going to get the dude from Twister.
(34:23):
Twister.
Yeah.
Honestly, you're going to get the standard.
Well, it has to be Brit.
Yeah.
Oh, yeah.
It has to be British.
It has to be a British person.
You're not going to get Tom Hardy.
Harry Styles.
You might.
Yeah.
You might.
Don't look past it.
You might.
You might get your Daniel Radcliffe.
Yeah.
You might get your Tom Holland.
(34:44):
Shit.
Oh, no.
Timothy Charlamagne.
He's American.
Yeah.
I do agree with you at some point.
Not every franchise or series can be fully out there into an expanded universe.
Like, I know they wanted to do that with like Game of Thrones and that's failing hard.
Yeah.
I never asked for any of this.
Yeah.
If anything, if you gave me a if you gave me a series about like the First Men and origins
(35:08):
of like the first like invasion of the White Walkers, I'd be like, hey, that's fucking
cool because it's talked about before in Game of Thrones.
Yeah. I never asked about any of this song of the Dance of Dragons when we all know what's
going to happen.
Exactly.
And the same thing.
I mean, you mentioned John Wick, but like they've the standard John Wick films did good,
but then they want to do Continental and then Ballerina.
(35:31):
It started crashing hard because that's not something really meant for expanding universe.
I can see the comic books when they were doing the comic book routes for stuff like that.
It made sense.
But trying to do expanded live action universe, it doesn't make sense.
Live action universe, it doesn't work for everything.
It doesn't. Well, my whole thing with the whole John Wick is just how it was marketed.
Yeah.
It was mis-marketed as they kept marking John Wick universe, John Wick, John Wick.
(35:54):
Yeah.
So you expect it John Wick.
Yeah.
You're not getting that.
I think this would only work if they marketed correctly.
Honestly, like I said, I'm not a big fan of the 007 franchise.
Yeah.
I'm just not a big fan of it.
Ever since we talked about earlier, the last ones I watched was the 2000s.
Pierce Brosner.
Yeah.
That's the last ones I watched. I did watch the recent ones, but I was not a big fan of them.
(36:15):
The Daniel Craig ones.
You didn't like the Daniel Craig ones?
I liked those ones.
I liked those ones too. Yeah, I do.
I was not a big fan of them.
I like Casino Royale.
I like Casino Royale.
I'm going to leave that at that. I like Casino Royale.
No, the reason-
I don't care. I like Casino Royale.
No, I've seen the older ones and I've seen the reason I like those,
over the top gadgets. I just love that shit.
(36:37):
The over the top gadgets.
I hate the over the top gadgets.
You hated that?
I hated those.
That's like the staple though.
They were so corny to me.
What about like in Dr. No, like the classic ones and stuff like that? Did you really hate like,
no, I want a shoe that has like fucking bomb in it.
That's stupid.
I like the villains, man. The classic villains.
Octopussy, like come on. Pussy Galore.
All that was dumb.
(36:58):
Come on.
All that.
You hate all that. You want the more realism.
I like the realism with a little bit of like, of the outlandish.
And I got that with the Daniel Craig ones.
Okay. So that's like your sweet spot.
That was my sweet spot.
That was it for you.
Okay. That's tangible.
Rather than just like, here's a car that turns into a submarine, the airplane,
(37:19):
and the pen that explodes with C4.
See, and then that's also, which direction do you go now?
Cause there are people who like the Daniel Craig realism,
but then there's a lot of people who like the nostalgia factor of the old classic gadgets.
That just got way out there.
I think you'd find a happy medium. I think you could do it.
I think the Pierce browser one did do a little, like the minute you had that shitty,
(37:40):
what was it? The one with Halle Berry?
Yeah.
Yeah.
That's a, is that no time to die?
No time to die. Like that entire setup of that movie was just over the fucking top.
Okay. If we go back, like it's like the villains themselves, the gadgets, the, you know,
they're, they're fun.
(38:00):
They are a staple of James Bond in its core.
Yeah.
Yeah. Cause all the original ones had, here, look at this pen.
If you look at it, it throws up, up to, and to be fair, James Bond would have the closest
ensemble of villains compared to Marvel. Cause they were just out there.
But I swear to God, I cannot handle a modern day odd job, dude. I can't, I cannot handle that.
(38:26):
Why not?
Because it's so fucking dumb. It's so dumb.
That lethal hat.
That motherfucker from moral combat.
Yeah.
God, what was his name? I don't remember his name. You know what I'm talking about.
Yeah. Yeah. Kung Lao.
There you go.
Kung Lao.
He just Kung Lao to everyone.
Basically that's it. And it was like, okay, it was cool that you had a bowler hat that did that.
(38:46):
But now in today's standard, that would just be dumb. That's so stupid.
What's that do with the metal teeth?
Uh, uh, I know what you're talking about.
I forgot his name. Jaws, not, uh, iron jaws or something.
I think iron jaws or something like that.
I think something like that.
I'm sure there's somebody listening right now. It's like, it's obviously, and then just names it out.
(39:07):
I don't know, iron teeth.
Jaws. It's just jaws.
Oh my God. That's right. Fucking.
Dude, a modern version of that.
See.
Choose to steal cable.
Stupid. Just traits. Just traits stupid.
I think I might enjoy the stupidness of it. You're selling this more, Mike.
If honestly, if it is to that silly route, then you might as well just make more Austin power movies.
(39:28):
You know?
Cause that's all they were. They were just like spoofs of James Bond.
Yeah. No, no, no.
But I think that might, it sounds so ridiculous, but I think this is something that now that I'm
thinking about it with his villains and storylines and arcs, it might be something close enough.
(39:50):
You could expand like Marvel.
God, this is going to be so dumb. There has to be, there's gotta be a certain tone because
God, I don't know how to describe it, but I feel like if you go this route, the tone of it, of it being
just silly, it becomes silly, silly. Yeah.
Then it's just like, how far do you push that silliness to where it just becomes satirical?
(40:11):
To where it's no longer.
I think if you hit something in the same level as like, like the Jack Reacher show, that kind of
seriousness.
I feel like that's also kind of over the top.
It is a little over.
It is, but I mean, that's like.
It's very dramatized, like tough guy.
And that's a little cheesy too at times.
(40:32):
That's unfortunate. That's the only way I see happening with 007.
Yeah.
With its whole ensemble of villains.
I mean, there's only so much before, you know, one guy steals a nuke and wants to pop the world.
I don't like, I'm actually pretty interesting how they want to do this, but there is a lot of
hiccups with this. And I do see both of your guys' points on like, how are you going to find that
(40:57):
balance between silliness and seriousness and something new?
Yeah.
I say just do an anthology series.
Do an anthology series, different decades, different 007s.
That might work.
I know, but it sounds like they want to fully franchise it out.
So you're going to get TV shows, movies, and probably even animations.
(41:19):
No, but that's what I'm saying.
Yeah. Yeah. See, even Mike rolls his eyes right when it's an animation.
No, no, but that's what I'm saying is pretty much you expect, instead of sticking to one
storyline or one, you know, if you're doing like all within the same years, why not just do
one show based during the 70s, another, you know, a movie based during like the-
The 90s or something like that. Yeah.
I see what you're saying. Yeah. Just sparse it out in their decades.
(41:42):
Yes.
So they don't have to intersect on the same time period.
Yeah.
But then eventually will, because then someone down the line is going to get to modern day
007 and they'll be like, who can we trust? I think I know someone.
And it's going to go back to like some 004, you know, and it's always going to be him
like walking into the house. Like, is he here? Yeah, he should be.
And then from like around the dark corner or something, you just see like a gun out
(42:06):
of the shadows and then they wheelchair themselves forward. It's always a wheelchair or some shit.
And then they show their face and everyone's like, oh shit, that's 00 so-and-so.
I'm just waiting for the last movie. He's in a massive shootout with like his greatest enemy.
And all of a sudden he's pinned down. He's just all by himself. And then over the radio
on your left in the sling ring.
(42:35):
You get the various locations of allies from like past movies and locations.
Or.
You know, if they're doing the whole Marvel thing,
fuck it. Why not just do the multiverse? All the different 007s come out.
Oh, fuck. Then you just have.
James Bond, no way home.
(42:57):
You get Daniel Craig. You're going to get period. You do an AI Sean Connery.
With all the fucking shitty deep fakes from like Flash movie.
Yep. Yes. Not even good level deep fakes that level. It's all nasty and gummy.
And the ones where they like de-age them. Yes.
40 years or something. De-aged Pierce Bronson. It's going to be weird.
(43:23):
No, I this is going to actually be pretty interesting moving forward because Amazon has
really been working hard on picking up franchises and a lot of IPs. So like I said,
they have video games. They got the James Bond. They're trying to move more into animation.
So this is just something more that they're trying to provide for their catalog.
(43:43):
Yeah. The original owners are the ones who held most of the creative rights,
Barbara Broccoli and Michael G. Wilson. Yeah.
I get they're stepping back to focus more on like.
Oh, that's I think charitable. Yeah, I think they're finally let it go
and allowing someone else to. I mean, that's something that's been in their family and they've
been really involved in all these movies for over 60 years. Yeah.
(44:06):
I think now that their father and everything that everyone's done, people have retired,
people have moved on and passed on. I think they're just finally done with it.
Yeah. And just want to at least,
you know, still collecting the money, still have their name on everything, but now.
They still do to do stuff. Yeah, because it's one of those things where unfortunately,
if you let extended family members take over, unfortunately, history has shown that that's
(44:28):
never a good thing. Never a good thing. You know, unfortunately, you're going to have
grandchildren who don't really care about the project and just looking to make some money off
of it. Yeah. And that's when they sell off projects, which we've seen happen already.
That's how you have it. And that was Superman getting sold off for super cheap.
Yeah. Yeah.
Remember? God damn it. Yeah.
All right. Well, we want to thank everyone for listening to this week's episode. I'm curious
(44:51):
on your thoughts on tonight's topic. How you feel about the whole thing with Amazon buying
James Bond series? Do you think it's good? Do you think it's bad? You can leave a comment below if
you're watching this on a Red Band podcast, YouTube channel for listeners, discuss episode
topics and various other film related news. We put out episodes every Wednesday for our
auto listeners and Fridays for those who like to watch our videos for auto listeners. You can
(45:11):
find the Red Band podcast on Spotify, Apple podcast and I heart radio. And of course,
I'll say again, you can watch our video format on our Red Band podcast channel on YouTube.
And before I fully close out my castless last end notes for you guys. Yes. All the different
ways you can listen to us, including Anthony's mentioned on YouTube, head on over there and
look up youtube.com forward slash the Red Band podcast. Look for the screaming microphone and
(45:37):
you should be able to find us as well as these episodes live and when they were recorded. Our
videos usually come out every Friday and then with audios come out usually every Wednesday.
And of course, you'll be able to listen to us on the go with Samsung podcast, I heart radio,
Apple podcast and Spotify. Be sure to share with a loved one or a friend that you think might be
enjoyed these episodes because we enjoy doing them and we have people in the industry that
(46:00):
enjoy listening to. So yeah, consider sharing it with them and hope to gain that audience following.
You know, it'd be awesome. Of course, we also have our Patreon account, which we'd really
appreciate if you guys also subscribe to because more subscribers equals more content. There it is.
We like doing these and we really appreciate it. So that way, you know, we can quit our jobs and
(46:23):
just do this whole time and make cool edits and shit. We can put subway servers at the bottom of
it. You know, we can do that. I could do that. I'll do anything you want. Just subscribe. Just
fucking subscribe. But yeah, that's all I got. All right, guys, you heard it from Mike. Please
like and subscribe and we'll see you next time. Later, taters.
I'm also writing down the facts of the supposed inspiration for James Bond is Christopher Lee.
(00:07):
Oh no, this man was like just...
He lived a life.
Yeah, he was the original, the most interesting man in the world.
Yes, he received accommodations by the end of the war for bravery from British,
Polish, Czech, and Yugoslavian ghost friends.
And Dracula.
And he's Dracula.
(00:27):
Speaking both French and Italian, Lee spent his time after World War II hunting Nazis with the
Central Registry of War Criminals and Secretary Suspects until he decided to give acting a try
at age 25. Jesus, this is all before the age of like...
Yeah, yeah.
That man lived.
He lived a life and he's not even 30 yet?
Yeah.
(00:47):
God damn.
They need a size... You know what I feel like acting. Let me try that out.
Yeah.
All right, let's get this guy.
Okay, here we go.
We're going in five, four, three, two...
What's up, everybody? This is the Red Band Podcast, your source for all film and TV related news
(01:09):
and topics. I am your host, Anthony King. And of course with me is my co-host...
Adrian G. Fuentes.
And sitting over there in the control room is our technical director, Mike Card.
You can't even do a simple hello. You can't even do a simple hello.
I'm tired of doing what's up, everyone.
Yeah. It's almost like, what's up, guys? And then you go into like, like and subscribe.
(01:32):
Oh, you could just say, hey, what's up? How's it going? How are you people's doing?
You know, you could say other things besides saying, what's up, guys?
Just ten clicks. That's all we get now. Just ten clicks.
It'll be something different each time.
Yeah.
This is why I wish I had a soundboard.
Yeah, I think it's time we should get a soundboard.
It's already prepped up, but I'm very cautious about...
(01:54):
But you don't want to give him that power.
Yeah. We'll see how.
I don't know. I don't think you should even have that power.
Oh, I don't even want that power.
We can even do like a little special segment where I go like, oh, no.
And then it goes into like, oh, who died this week?
Like the minute...
No, no. My fear is because you're going to want the air horn.
(02:16):
So damn much. So I'm just going to...
MLG horns? Yes.
No, my fear is like the minute we give him a soundboard,
it's going to be like a radio station coming up live.
Mike in the game.
Wow.
Just crazy, stupid sound.
Come on. At least two buttons like that and the rest can be like,
(02:39):
I don't know. We'll program it.
We'll program it together.
Absolutely not.
Man, you guys doing good tonight, though?
Yeah.
Pretty good.
Yeah.
It's finally getting a little warmer, though.
Oh, yeah.
Weather's finally changing. It's no longer super cold.
Now it's going into super hot.
Yeah.
It ain't there yet. It's not there.
There's still some snow on the mountains.
It's going to continue to go up and down for a little while.
Yeah.
(02:59):
I'm already sweating.
But I don't know. We might even get an early summer this year.
So damn.
Son of a bitch. Hopefully.
Hopefully. We got to pull, man.
I got to pull, man.
You guys are using that.
Yeah, that's true.
But anyways, let's just jump into this film news
because we got a lot more to talk about tonight than we did last week.
A little thing's kind of caught up in the film news section.
(03:20):
Yeah.
We got a little more stuff going on,
so let's just hop right into this.
First off, what we have here,
Netflix is to invest over a billion dollars into Mexico
over the next four years to produce films.
That's an actual huge leap for them.
I know Netflix has slowly been
integrating themselves into the Mexican market.
(03:42):
Back in 2011, they finally opened and released Netflix
for Mexican subscribers, I think, like, what, two years ago?
They had they opened up their own official headquarters for Latin America.
Yeah.
And I know they've been trying to produce a lot more
shows and television series down over there.
So this is actually pretty interesting that they're
going to jump big and move forward into fully developing series
(04:05):
and television shows down over there.
Yeah, because they have actually,
there is a large market for Spanish speaking subscribers
because they did over the years,
they have worked on a few ones like House of Flowers
and Where They Track Ends.
They've also worked on some big movies.
Yeah, there's been the I mean,
(04:25):
there's a whole history behind the whole filming in Mexico,
but unfortunately, it was disrupted during the 90s.
But it's coming back.
It's coming.
Actually, it's coming back.
A lot of big shows that were popular in English was like Darko's.
Yeah.
In Mexico.
That was huge.
Yeah.
I watched that.
But even though like the last Saw movie was filmed in Mexico.
Was filmed in Mexico City.
Oh, shit.
That's right.
Yeah.
(04:45):
Yeah.
So a lot of actually things being filmed in Mexico City.
So I'm not surprised that they chose as well with the whole filming here in the US.
Yeah, how it is.
But yeah.
Yeah.
Yeah.
And they're also going to be putting two million dollars into the Churubusco.
Yes.
The Churubusco studio.
Yeah.
That was like the really old studios where they first started producing films in Mexico.
(05:06):
So they're actually really trying to renovate the studio lot area itself.
One of the oldest built in 1940s.
Yeah.
I mean, it's not only that they've I mean,
they have a history so far of most recent history of winning Oscars
in movies that they've made, including Roma.
Oh, yeah.
Yeah.
I forgot that.
That won for best foreign language feature.
That was a first for Netflix and Mexico.
(05:28):
Yeah.
It was also you also have Bardo made by Alejandro Diaz.
I hope I pronounced his last name right.
In the Rito.
In the Rito.
Yes.
Yeah.
Who was also submitted an Oscar for best or sorry for a submission for Oscars.
But also.
He also did Burman.
And he did Burman.
Yeah.
And Guillermo del Toro's Pinocchio, which won an Oscar for best animated feature.
(05:51):
I forgot that did win an award.
Yeah.
That was another first for Mexico and Netflix.
Do you think, though, this can possibly affect Netflix, though?
I mean, due to the recent political climates we've been going through.
Like for me, it just seems like they're just doing their usual business standards
and how they've been slowly trying to develop in Mexico.
But you know, the political climate, how it is right now,
(06:13):
do you think people are just going to jump in and start like, oh, this is controversial?
Them trying to help out, you know, seeing.
There will be those who are like trying to push onto the whole, you know,
try to push their immigration or something like that.
But the truth is, no, because other studios are trying to.
We talked about recently, they're trying to work with India.
They're trying to work across the entire world.
(06:33):
Yeah.
They're trying to expand out of just the US.
Yeah.
They're trying to hit that world market.
That's where the money is.
Yeah.
Yeah.
Because we've learned because over the last, what, 15, 20 years,
actually, I mean, the last 10 years alone, we've learned that if we work with other studios,
different countries, we produce great content.
Yeah.
Um, I mean, even out of Korea, we ever seen a lot of great shows coming out of there already.
(06:54):
Oh, yeah, absolutely.
Yeah.
So it's one of those things.
I think we're just hitting a more bright, a wider market instead of trying to be in house
and like, oh, let's just do everything here because come on, everything we create is not gold.
Yeah.
See, what would be like one studio you would like for them to invest into like a foreign
production studio or company?
Like, so you have like Netflix producing into Mexico.
(07:16):
You have a Sony now being involved more in anime producing studios in Japan, stuff like that.
Like, what would you like to see for like an American production studio to be invested into
a foreign?
I have a feeling where this is already happening, but I can't remember actually pulling on anyone.
But for Universal to invest in India itself.
India.
Yeah.
Because we saw it come out.
(07:37):
What's that movie that just came out?
Uh, Monkey Paw.
Yeah.
Was it Monkey Paw?
No, no, no.
Monkey Paw Productions was the one.
Monkey Paw Productions did.
Monkey Man.
Monkey Man.
Monkey Man.
That's it.
Yeah.
Because I know a lot of, a lot of action good things are coming out of India itself.
And I believe that's a country that could produce like actually pretty good action films
and a couple of like dramas as well.
(07:58):
Okay.
What about you, Mike?
I kind of want to get, I almost want to go like the weirder route of choosing like a
country that's just like, we don't really see enough of.
Yeah.
Um, I'm either going one for like Denmark or even for like say Australia.
Okay.
Because Australia, we got the Mr. In-Between.
(08:21):
And I really liked that show.
Okay.
But I think there was only like two, three seasons or something like that, if I remember
right.
And yeah, and then it was just, that was it.
Okay.
No, no, that's pretty dumb.
See, I like to see something like Shudder getting more involved into like Italian
horror or like South Korean horror.
I don't think the world's ready for that.
(08:41):
That's gotta be toned down.
It's good though.
It's so good though.
But it has to be toned down for like American audiences.
Because I mean, they do get heavy into the body horror, like just really deep into it.
So that's a thing.
Well, that, I think you're getting that more confused with like certain directors only.
And that's like two or three directors who are really like obsessed with the body horror.
(09:04):
I think you're taking those guys as like the totality of all their works.
No, but it's just the ones, I guess, I guess those are the ones coming out of the market,
major ones coming out of the market itself.
Yeah.
Those are the major controversial ones.
Yeah.
So without focusing just on those, they have some really good catalog of horrors on both
sides that don't just involve body horror.
(09:25):
I guess.
Especially South Korean when they have a lot of ghost stories that are really well put
together.
That's the one I'm not sure if people could actually handle.
Is it too scary or?
It's just so out there.
The idea of like, because one thing I've learned was that...
Careful, you're going to clip your nails past 9 p.m.
It's like, it's things like that where American audience...
(09:45):
Horror ghosts going to snatch your toes.
Our supernatural compared to their supernatural is completely different.
But you know, we've always took in their supernatural and Americanized it.
Yes.
And we felt that heavily.
There's some good ones.
Which ones?
He got you on that one.
No, no, to be fair, the grudge series actually did pretty well on its own.
(10:05):
Yes.
Tale Twins Two Sisters, which was like the uninvited that did decently well.
So you see, like there is some, but you got to see that overall.
Yeah, the overall, I get what you're saying.
It's like so out there.
The idea is like...
Like...
But no, but you always we always talk about like,
we make these American bastardized ones and they do so bad and it makes people force them
(10:30):
to watch the original ones and then they like the originals.
So it's like, you can't, you see, you say like...
No, no, I get it.
It's same thing like what's it called?
Like rec and you know, yeah, yeah, yeah.
So yeah, I get it.
Yeah.
What's the name of the movie in?
Damn it.
What's it?
Remember the forest in Japan?
Like, yeah, yeah, yeah, the suicide forest.
Like that was interesting.
(10:50):
That's an interesting concept.
Yeah, yeah.
Don't leave the path and then, you know, just get haunted by the souls of people that have died.
See, I think that's the biggest issue is like there's the material that is written is well made.
It's just the translation.
The execution is always poor because they're trying to do it still in the standard poor.
You see on the issue?
(11:11):
Yeah.
Oh, like the formula.
The formula is still trying to hit the horror movie beats when these movies go off beat.
Yeah.
They're still going to scare me.
Oh, yeah.
Like they're still going to scare me.
But they're good and they're put together well.
I'll watch on a small screen.
Yeah, on your phone.
On my phone without the headphones.
(11:34):
You have your phone right here.
Any girl's phone?
One playing the horror movie, the one playing Bluey.
Yeah.
Can I just have it with the subway surfers like at the bottom of the screen?
Yeah.
Just brain rot.
Yeah.
No, but yeah, that's going to be interesting seeing the next four years as more productions
are going to be made in Mexico and especially going to be popping on Netflix.
(11:56):
I'm not on Netflix that much, so that's the one thing.
Every now and again for me.
Yeah, every now and then I'm popping them back and forth.
Pinocchio is so good.
Did you watch that?
No, not yet.
You haven't seen that one?
Not the Disney one, the girl in the car one.
Yeah, I haven't seen that one yet.
That shit hurts.
Hope you're bulletproof, motherfucker.
All right, next what we have here, this is actually pretty interesting.
(12:18):
A lot of people didn't know the AI developing companies to build the AI.
If you guys don't know, if you haven't heard the software stable diffusions or anything
like that, these are like AI video generated, AI photo generated software to create fake
images and videos.
They're now getting slowly more involved into the film studio in Hollywood and they actually
(12:41):
have a board member, which is James Cameron himself, who's helping leading them to be
more integrated into Hollywood.
And this is going to be interesting too, because this has a lot of fears.
This AI being well integrated now into the film studio, into Hollywood, into film production,
all that stuff.
But what they're claiming is this is not going to be a full replacement of jobs or
(13:04):
artists or any type of artwork that they're going to be producing.
This is more for like VFX companies and like computation uses, which that's what we always
talked about.
That's what AI needs to be used for in the film industry rather than trying to create
full blown images and ads and stuff like that and trying to recreate actors and actresses
for likenesses.
(13:24):
So I actually agree with how they want to go about this, but I know this has still a
lot of worries for people.
Yeah.
I mean, it's when we read through the article was one line that we read like, ah, that doesn't
sound right.
The wording, yeah, the wording of what he said.
So yeah, that's the chief technology officer, uh, Hanna Boss.
Yeah.
What do you say?
He says, I don't know anything that's impossible in the industry today, especially in the
(13:48):
investment of visual effects.
So I don't think AI is impossible.
Well, I really think what is it really about making things faster and cheaper?
If you look at your budgets today, whether it's TV or film, 87 or 90% of that budget
is human labor.
And what, and I'm not talking about putting people out of work, but I'm talking about
a lot of labor.
It's not fun to do.
(14:08):
Yeah.
So the way he worded, it made it seem like these people are going to be just thrown away.
Yeah.
We're going to take away 80 to 97% of people.
Just no, not what he's saying.
Yeah, because he says like, when he says here, if you look at your budgets today and the
words like faster and cheaper, and then using 87 to 90% of your budget is human labor, that's
like already telling me, oh shit, they're going to save money.
(14:30):
By cutting out the human element, the human labor.
But I know what he's trying to say is a lot of films nowadays are a lot more VFX heavy.
So most of that production budget isn't the people actually on site filming.
Most of that production budget is going to go to the VFX company where the higher thousands
of people to create, you know, design backgrounds, character models, all the, all the CG works.
(14:55):
What he's claiming is a lot of those people, what they do is very mundane tasks that eat
up a lot of time.
Production studios.
Now they want their movies out faster.
You're no longer given like the full year to work on or like the six or eight months.
They want you to finish films within three to four months.
That's correct.
And even blockbusters have like huge, huge amounts of CGI.
(15:19):
So what they want to use AI, especially generative AI is to help with the computations of small
tasks like rotoscoping, key framing, all that stuff, things that eat up a lot of time and
doesn't require a lot of brain power.
Cause you know, rotoscoping, you're just going from clip, mask out, clip, mask out, character
clip, every scene, every skill, mask tracking, all that stuff.
(15:42):
Now, if you have AI that can handle all that stuff, you can now move on to other bigger
parts of your production that you need to focus more on rather than just paying one
person to spend eight to 12 hours of the day drawing lines around a character or object
or a ball or something like that.
Yeah.
And this is actually, and this is actually a normal thing to happen because like I said,
(16:04):
but people hear about AI, they think it's a scary thing where it's, you know, it's
going to take up everyone's job.
And this AI is actually a magic wand to a film where they just press one button and
it will just produce a film all by itself.
Yeah.
Which no, it doesn't do that.
This is just another tool added to the toolbox itself for filmmaking.
It's happened since the very beginning of Hollywood when you have certain jobs that
(16:25):
no longer exist because technology advances, you know, you no longer have the person
physically cutting the film.
Yeah.
Now you have digital, you know, it's one of those things that just changes over time.
And yes, unfortunately, some jobs will be taken away.
We're not going to probably have rotoscope artists as many, like, you know, when we see
a Marvel film, how many names are rotoscoping?
Oh my God.
Like the dozens, almost like sometimes it almost feels like it could be hundreds.
(16:48):
At that point, you can now take all those people away and that's those jobs that will
unfortunately be affected like rotoscope artists.
But it might not just be that their jobs are completely gone.
They might just be put onto other things, other projects that don't require all day
rotoscoping.
Yeah, because there's no such thing as a specialty, you know, where a person on the resume
(17:09):
say, no, I'm a specialty rotoscope artist.
Like, no, that doesn't exist.
Do you think it would be more of like an added tool for these rotoscope artists rather than
getting rid of these people?
Would it just be like an essential tool to feed or give them this tool to be able to
rotoscope whatever subject that they're working on and then touch ups on?
Unfortunately, if AI does keep getting better, I do see it doing away with the job.
(17:34):
So nowadays, rotoscope artists, what they do now is they'll get the first frame of the
still image that they're working on the scene, mask around that and then whatever software,
you know, after effects, nuke fusion, whatever, they'll let that software play through the
entire clip.
And it's already doing a good job tracking and masking the rotoscope for every still
(17:56):
to cover whatever you need to replace the object.
It's already doing good with that.
So now with faster and better AI tools, you no longer have to have that rotoscope artist
recheck over every still just to make sure it can do its nice, fine tweaks.
It also says here in the article that they're looking to get.
(18:16):
Wait a minute.
Yeah, that's easy.
Sorry.
It said that they were looking to get their data not by scrapping or scraping YouTube or
whatever, but they're actually looking into data deals with people negotiating training
data deals.
OK, so maybe this is their way of kind of employing these rotoscope artists.
(18:39):
OK.
And then teaching the machine.
Yeah.
But what that means for the future for them, I don't know.
Yeah.
And that's where it's no matter what, when you move into the future of any industry,
there's some jobs that are going to be left behind.
We used to talk about that one job position on any film studio was like the VTR or whatever
it is, the guy whose job.
I was going to say the diddler.
Oh, the diddler too, yeah.
(19:01):
Yeah, the diddler.
But you don't want to say that guy whose job was just to press play on the VCR tape.
That's right.
Because he had a whole ass job.
He had a whole ass job.
And now like that's not necessary.
You don't need some guy who knows how to work all these monitors and machine and tape
recorders to press play just to watch playback.
(19:21):
Yeah.
Cameras have gotten so simple.
Now the director or even cinematographer or anyone could do that.
Yeah.
It's like I said earlier, it was just the industry evolves.
That's all it is.
As it is.
It evolves, it changes out, and there will be jobs lost.
But as well, there'll be jobs gained on top of that.
There'll be some other job that someone's job is to take care of the AI.
(19:43):
And of course, this will help out VFX companies.
We now know VFX companies are being way overworked and put on time constraints they can't keep
up with.
Completely ridiculous, unbelievable, impossible time constraints.
So these tools will help them keep up to actually get movies and films out on time.
(20:05):
All right.
Last thing before we hit our break.
Disney hires Paramount's Daria Sirsek to lead film studios live action division.
So you guys don't know, last February, the previous person who was ahead of all the live
action films, I think that was Sean Bailey, he's gone.
He was there for 15 years.
He's now gone.
So they just fired him?
I'm pretty sure they fired him.
(20:26):
It's probably like the resignation, forced resignation, forced early retirement, that
kind of stuff like that.
But people have been complaining for the last years about all the live action films.
They all suck.
Yeah.
So of course, what you got to do, you got to shake things up, get rid of the person in
charge, bring someone news.
I mean, overall, what do you expect these live actions if you've already seen the animated?
(20:49):
My thing is, does it even matter who you put in charge, whether these things will do good?
Probably not.
Probably not, because I'm looking right now at the list of live action films that were
released.
Yeah.
They all have the exact same look to them.
Peter Pan and Wendy, The Jungle Cruise, Pete's Dragon, Into the Woods, Mulan, Kim Possible.
(21:09):
Mm hmm. And it's just they're trying to keep on like that Disney feel, the Disney look.
Yes.
With every project.
And it just it does not look good with every project.
Just waiting for the the lead.
The leading ladies just have Disney knees.
You ever seen those?
Yeah.
Disney knees and just like Jonas Brothers to come out of nowhere.
(21:33):
Yeah.
Like shit, that would be the most Disney thing.
You're going to look that up, the Disney knees.
Yeah, I would like that out.
You ever heard that, Adrian?
No.
The Disney knees.
Watch.
You'll see it's a it's a stance that usually like the female leads will stand away to where
the knees crook together like they collapse inward.
(21:55):
It's like the staple.
Yes.
Like all of them have it no matter what performer.
Like usually like the this anyone's that they turn into singers.
They do the Disney knees.
Yep.
Don't know why.
I don't know why it's a thing.
I wish I wish I knew, but it's just weird.
(22:18):
You see it now.
You see it now, don't you?
Now watch.
You're going to pay attention from now on when you when you either see like a Disney show or
shit, any other any past artist who was on Disney, you can watch Sabrina Carpenter.
She does the same thing.
So here's what I'm thinking or what I want to say.
(22:40):
What do you think Disney needs to do to finally shake things up for people to actually start
liking their live action?
Take a risk.
Oh, that's that's one thing you're about to say.
No, right.
I was going to say not make them not make them.
You think this is done.
They need to stop.
So like if you're going to make a live action Disney movie, let it not be on content already
created.
(23:01):
So you want original live action.
Yeah.
OK, so not remakes, reboots, any stuff.
Makes sense.
I have it's not even just going off of, you know, try to make reboots and like that.
But it's just take a damn risk.
Do take risk making films.
Take something.
Do you know something like think Snow White's risk?
Oh, no, that that was not a risk.
(23:21):
That was just them being cocky.
That's what we're like.
We can do it.
We can we can definitely do it because they had a few hits.
Somehow they ignore that formula and.
I'm like, what's it called?
The Corolla and Melissa Fentz.
Yeah, pretty good movies.
But somehow like, you know what?
Screw it.
Let's just bring back all these.
Let's do Aladdin.
Let's do Snow White.
(23:42):
Well, it's a lanking.
I hate those misunderstood villain movies, too, because they don't make sense to me.
Because I'm going to watch the animated version and this person doesn't care.
Yeah.
Yeah.
Like Corolla's like, I'm misunderstood.
I can do what I want.
I'm a fashionista.
I can do what I want.
I'm a fashion queen.
Kill these fucking dogs.
That's exactly it.
(24:05):
Maleficent, misunderstood spirit of the forest.
Oh, I'm going to wage war on man, but keep the peace so I can so I can keep to my realm.
I'm going to curse this fucking child to die.
Yeah, it kind of like it does ruin it a little bit.
But I mean, take a risk, man.
When it comes to making these films, why it sticks the same formula?
(24:27):
High plate safe and don't bring the rock into any of this.
God, for the love of God, do not bring the rock in any of it.
You're a Brahmin jungle crew.
Just leave him alone.
And don't make a partnership where it's like, well, what if we bring in Kevin Hart into it
with the rock?
They're a good duo.
Don't do that either.
Just don't do that.
So you just want original live action content.
(24:48):
Yes.
Go back to the original.
Go back to when you're like, fucking, let's make all the rides into movies.
Honestly, yeah.
I will go back to that.
How would you feel?
Yeah, go back to doing rides movies.
What the fuck is my Matterhorn movie?
Yeah, make it shit.
You got three abominable fucking snowman's in there.
Terrifying as all hell.
That's true.
That is very true.
Like, damn, make a Mr. Toad's wild ride.
(25:10):
He takes you directly to hell.
Actually, yeah, but that's a toad.
Yeah, I'll see about that today because I'll see because watching a video.
I'm like, no kid in this fucking world knows about Mr. Toad.
No one knows about him.
And yet there's a ride on him.
Yeah, live action.
Here's your live action.
Just give him a ride so we know what it's about.
I'm going to ride to hell.
But don't give me like, don't give me accurate looking toad.
(25:34):
No, like photorealistic.
Hire the new animators that did Sonic, not the old ones.
All right, we don't need the old ones.
We don't need hyper realistic song.
Well, that's the same team.
Yeah, I refuse to believe that.
That's not so.
No, no, no doubt.
So that team, they were told those were the notes they were given
(25:54):
of what to do.
And then when they got the backlash, the studio was like, what the fuck do you do?
What you told me to do.
So they had to do all that extra work to redo everything to what you got now.
All right.
Well, yeah, that's the same to work that formula, not the original formula.
Yeah, of weird ass Nike shoe wearing Sonic.
(26:15):
Give me the now Sonic and make Mr. Toad with that.
So in other words, just make an animated cartoon.
It's like an animated cartoon.
Yeah.
Yeah, but but don't do it like Home on the Range.
All right.
Because I watched that.
I told you guys that, right?
Yeah.
The last 2D movie.
Yeah.
It's a fucking fever dream.
Yeah.
(26:35):
It's God awful.
No, no, I'm not saying to do that.
I'm just somehow like just.
I know.
But like, yes, to create an animation, but not that particular stuff.
Actually, I was looking right now, the Chippendale, Chippendale movie,
how they made one animated and one was 3D animated.
Oh, yeah.
There you go.
Shit.
I'm surprised they haven't tried doing their own Roger Rabbit.
They need to redo that one again because that shit's over 30 years old.
(26:58):
We're never going to get a Jessica Rabbit.
No, they won't do it.
But no, I mean, they don't have to do that,
but they have so much content for their own Disney universe.
I'm surprised they just haven't done their own version.
No, no, they've I.
Supposedly, there's rumor that they're going to make a reboot of who framed Roger Rabbit.
I don't think they should.
No, no, you can't touch that.
(27:19):
You can't touch that.
But you can still use that format like we do live action.
Yeah.
Yeah.
Like CC like that.
The Chippendale movie was a good example of that.
Actually, that was the perfect example.
Exactly.
Yeah, it was great.
Why can't they just do stuff like that if they want to do live action?
They should.
They absolutely should.
Yeah.
It's a great movie.
It absolutely was.
I would recommend it.
But anyway, this this particular person, Darya.
(27:42):
Mm hmm.
Darya Sirsak.
Yeah.
I hope she does well.
I hope maybe she brings something that brings some sort of vitalization.
I mean, she worked on Sonic the Hedgehog three.
Yeah.
So I hope she brings some sort of vitalization to these live action Disney movies.
Mm hmm.
I'm not very hopeful of it.
(28:03):
Not to say that I'm not hopeful of her skills.
You're just Disney in general.
Just Disney in general.
Got it.
Disney's not going to swing from the fence.
They're going to play it safe.
Like they always do.
They're going to hit us.
They're going to hit a grounder for a single every single time.
Because they're like, hey, if we just chip away at it just a little bit,
fuck that.
Mookie Betts or a Tony, that bitch, you know, swing for the fences.
(28:26):
At the end of it, it's just what makes some money.
Exactly.
Yeah.
Unfortunately, that's what it is.
That's what it is.
And they're going to stick to like their formula of like, all right, well, our our focus group
says that they like squirrels.
So I think we're going to have squirrels.
Also the color blue they like, but like a certain like cobalt blue because it's less threatening.
Like, fuck all that.
Stop it.
Just make a damn movie.
(28:47):
That's it.
Like, damn, just yeah, just make the damn movie.
I agree.
All right, we're going to take a quick break.
When we get back, we're going to cover our main topics.
So stay tuned and be right back to you guys.
Here are smaller news articles that couldn't make it in today's episode.
(29:07):
Bong Joon Ho teases his return to the horror genre for a project nearly 19 years later.
Clayface Movie gets director Speak No Evil, James Watkins and stunt double of Tom Holland
will be doing most of the work for Spider-Man 4 while Tom Holland films the Odyssey.
And that's it for smaller news articles.
Now back to the episode.
(29:28):
And we are back covering over our main topic tonight.
Amazon has the full rights to the 007 franchise and they are making plans to really
plan to really match up against DC.
You know, the DCU for Warner Brothers, they really want to compete against Marvel's Disney's
(29:50):
Marvel's.
They think they have a massive expansive universe to produce constant James Bond content.
They want to franchise the James Bond.
It is a franchise.
It is.
It already is a franchise, but they're trying to create an extended universe now of James
Bond films.
I hate it.
They really want to compete against the Lord of the Rings, Star Wars, all that stuff.
(30:13):
Why not?
My thing is like, why not?
Who cares?
Do you think 007 is franchisable like that?
Where it can have its own spin off series?
Would you watch a Q or M spin off series?
Depends how it's done.
Mike says no, like, nope, I will never do that.
But we have been we have proven Mike wrong numerous times.
(30:35):
So I don't know.
Because the closest we got to an extended universe is John Wick.
And we tried with the Continental and then it didn't work out so well because they were
like, no one really gives a fuck about the Continental.
People did.
I think they just didn't know how to do it right.
(30:57):
Yeah.
It didn't matter.
I don't think it was marketed correctly.
Yeah.
The way they sold it, I don't think it was done right.
And John Wick is pretty new.
James Bond has history, well over 60 years of history.
Yeah.
So it has a name behind it.
It's just like anything, you know, if you're going to produce any new Star Wars movie,
it has a name behind it.
If you're going to produce anything Star Trek related, it has a name behind it.
(31:22):
Anything Marvel related, it has a name behind it.
So 007 James Bond has a name behind it.
I just know that when they said they wanted to compete against Marvel's universe, Star
Wars universe.
Yeah.
DC.
DC universe.
It just basically tells me that like all these other universes, at least for Marvel and DC,
(31:43):
they're looking for their Thanos.
They're looking for the big bad dark side.
Yeah.
So it's like, all right, so now we're going to get multiple movies and shows leading up
to fucking Dr. No.
No, I don't think that's what they're trying to go for.
Yeah.
I mean, they did not say whether these stories are going to be interconnected in that way.
(32:04):
You see what I'm saying?
Just because you have an expanded universe doesn't mean it needs to be a linear Marvel
storyline.
It could be like how Star Wars is doing it.
There's no linear star storyline.
It's just different stories happening within this universe.
Yeah.
What's it called?
I mean, they say Star Trek Mandalorian.
Yeah.
Yeah.
Star Trek is a notorious for that.
(32:24):
Yeah.
Is no linear at all with anything.
It's just different events, different stories happening within this universe.
Yeah.
But I just don't see that with James Bond.
No.
Does that mean I don't give a shit about the origins of M?
I don't.
You're going to show me a flashback of World War II so it's like, oh, you're just going
to give me a Peggy Carter.
(32:45):
Mm hmm.
Mm hmm.
Like in Q, who the fuck cares about the Q?
What, watch them through grade school?
No, I've I mean, the way I see may possibly doing the show is like I said, they're doing
different characters, different, you know, different points, different points of history
or maybe impossible.
That's, you know, there's one show based on how, you know, how the organization started
itself or the original 007, you know, because supposedly they're like the mantle gets passed
(33:11):
on.
So basically just the origin of MI6?
Primitive, the origin MI6 or the origin, the original 007 and how his story, you know,
progress over the years or something like that.
But I don't even think it's like that.
I think it's just more like number based system.
So however many numbers you have just just happen to have.
No, I mean, I'm not a big 007 fan, but the one thing I've read was that supposedly there
(33:36):
there was never such thing as just one 007.
It's just at that current time.
That's that 007.
Yeah.
Oh yeah.
Like that number.
Yeah.
So it's basically whoever is the agent who's in the position of 007 at that time, which
is a moniker that gets passed over.
Yeah, I don't see it.
Honestly, it's going to show me like various forms of double O's and five, double O six.
(34:00):
And everyone thinks like, oh, this is our chance.
We're going to get our interest.
We're going to get our Henry Cavill.
We're going to get all the ones we ever wanted.
Yeah, because that's also want to talk about next is now that you have 007 fully under
Amazon's belt and they're going to produce films, who's going to be playing it now?
None of those people.
None of them.
You're going to get Army Hammer.
You're going to get the dude from Twister.
(34:23):
Twister.
Yeah.
Honestly, you're going to get the standard.
Well, it has to be Brit.
Yeah.
Oh, yeah.
It has to be British.
It has to be a British person.
You're not going to get Tom Hardy.
Harry Styles.
You might.
Yeah.
You might.
Don't look past it.
You might.
You might get your Daniel Radcliffe.
Yeah.
You might get your Tom Holland.
(34:44):
Shit.
Oh, no.
Timothy Charlamagne.
He's American.
Yeah.
I do agree with you at some point.
Not every franchise or series can be fully out there into an expanded universe.
Like, I know they wanted to do that with like Game of Thrones and that's failing hard.
Yeah.
I never asked for any of this.
Yeah.
If anything, if you gave me a if you gave me a series about like the First Men and origins
(35:08):
of like the first like invasion of the White Walkers, I'd be like, hey, that's fucking
cool because it's talked about before in Game of Thrones.
Yeah. I never asked about any of this song of the Dance of Dragons when we all know what's
going to happen.
Exactly.
And the same thing.
I mean, you mentioned John Wick, but like they've the standard John Wick films did good,
but then they want to do Continental and then Ballerina.
(35:31):
It started crashing hard because that's not something really meant for expanding universe.
I can see the comic books when they were doing the comic book routes for stuff like that.
It made sense.
But trying to do expanded live action universe, it doesn't make sense.
Live action universe, it doesn't work for everything.
It doesn't. Well, my whole thing with the whole John Wick is just how it was marketed.
Yeah.
It was mis-marketed as they kept marking John Wick universe, John Wick, John Wick.
(35:54):
Yeah.
So you expect it John Wick.
Yeah.
You're not getting that.
I think this would only work if they marketed correctly.
Honestly, like I said, I'm not a big fan of the 007 franchise.
Yeah.
I'm just not a big fan of it.
Ever since we talked about earlier, the last ones I watched was the 2000s.
Pierce Brosner.
Yeah.
That's the last ones I watched. I did watch the recent ones, but I was not a big fan of them.
(36:15):
The Daniel Craig ones.
You didn't like the Daniel Craig ones?
I liked those ones.
I liked those ones too. Yeah, I do.
I was not a big fan of them.
I like Casino Royale.
I like Casino Royale.
I'm going to leave that at that. I like Casino Royale.
No, the reason-
I don't care. I like Casino Royale.
No, I've seen the older ones and I've seen the reason I like those,
over the top gadgets. I just love that shit.
(36:37):
The over the top gadgets.
I hate the over the top gadgets.
You hated that?
I hated those.
That's like the staple though.
They were so corny to me.
What about like in Dr. No, like the classic ones and stuff like that? Did you really hate like,
no, I want a shoe that has like fucking bomb in it.
That's stupid.
I like the villains, man. The classic villains.
Octopussy, like come on. Pussy Galore.
All that was dumb.
(36:58):
Come on.
All that.
You hate all that. You want the more realism.
I like the realism with a little bit of like, of the outlandish.
And I got that with the Daniel Craig ones.
Okay. So that's like your sweet spot.
That was my sweet spot.
That was it for you.
Okay. That's tangible.
Rather than just like, here's a car that turns into a submarine, the airplane,
(37:19):
and the pen that explodes with C4.
See, and then that's also, which direction do you go now?
Cause there are people who like the Daniel Craig realism,
but then there's a lot of people who like the nostalgia factor of the old classic gadgets.
That just got way out there.
I think you'd find a happy medium. I think you could do it.
I think the Pierce browser one did do a little, like the minute you had that shitty,
(37:40):
what was it? The one with Halle Berry?
Yeah.
Yeah.
That's a, is that no time to die?
No time to die. Like that entire setup of that movie was just over the fucking top.
Okay. If we go back, like it's like the villains themselves, the gadgets, the, you know,
they're, they're fun.
(38:00):
They are a staple of James Bond in its core.
Yeah.
Yeah. Cause all the original ones had, here, look at this pen.
If you look at it, it throws up, up to, and to be fair, James Bond would have the closest
ensemble of villains compared to Marvel. Cause they were just out there.
But I swear to God, I cannot handle a modern day odd job, dude. I can't, I cannot handle that.
(38:26):
Why not?
Because it's so fucking dumb. It's so dumb.
That lethal hat.
That motherfucker from moral combat.
Yeah.
God, what was his name? I don't remember his name. You know what I'm talking about.
Yeah. Yeah. Kung Lao.
There you go.
Kung Lao.
He just Kung Lao to everyone.
Basically that's it. And it was like, okay, it was cool that you had a bowler hat that did that.
(38:46):
But now in today's standard, that would just be dumb. That's so stupid.
What's that do with the metal teeth?
Uh, uh, I know what you're talking about.
I forgot his name. Jaws, not, uh, iron jaws or something.
I think iron jaws or something like that.
I think something like that.
I'm sure there's somebody listening right now. It's like, it's obviously, and then just names it out.
(39:07):
I don't know, iron teeth.
Jaws. It's just jaws.
Oh my God. That's right. Fucking.
Dude, a modern version of that.
See.
Choose to steal cable.
Stupid. Just traits. Just traits stupid.
I think I might enjoy the stupidness of it. You're selling this more, Mike.
If honestly, if it is to that silly route, then you might as well just make more Austin power movies.
(39:28):
You know?
Cause that's all they were. They were just like spoofs of James Bond.
Yeah. No, no, no.
But I think that might, it sounds so ridiculous, but I think this is something that now that I'm
thinking about it with his villains and storylines and arcs, it might be something close enough.
(39:50):
You could expand like Marvel.
God, this is going to be so dumb. There has to be, there's gotta be a certain tone because
God, I don't know how to describe it, but I feel like if you go this route, the tone of it, of it being
just silly, it becomes silly, silly. Yeah.
Then it's just like, how far do you push that silliness to where it just becomes satirical?
(40:11):
To where it's no longer.
I think if you hit something in the same level as like, like the Jack Reacher show, that kind of
seriousness.
I feel like that's also kind of over the top.
It is a little over.
It is, but I mean, that's like.
It's very dramatized, like tough guy.
And that's a little cheesy too at times.
(40:32):
That's unfortunate. That's the only way I see happening with 007.
Yeah.
With its whole ensemble of villains.
I mean, there's only so much before, you know, one guy steals a nuke and wants to pop the world.
I don't like, I'm actually pretty interesting how they want to do this, but there is a lot of
hiccups with this. And I do see both of your guys' points on like, how are you going to find that
(40:57):
balance between silliness and seriousness and something new?
Yeah.
I say just do an anthology series.
Do an anthology series, different decades, different 007s.
That might work.
I know, but it sounds like they want to fully franchise it out.
So you're going to get TV shows, movies, and probably even animations.
(41:19):
No, but that's what I'm saying.
Yeah. Yeah. See, even Mike rolls his eyes right when it's an animation.
No, no, but that's what I'm saying is pretty much you expect, instead of sticking to one
storyline or one, you know, if you're doing like all within the same years, why not just do
one show based during the 70s, another, you know, a movie based during like the-
The 90s or something like that. Yeah.
I see what you're saying. Yeah. Just sparse it out in their decades.
(41:42):
Yes.
So they don't have to intersect on the same time period.
Yeah.
But then eventually will, because then someone down the line is going to get to modern day
007 and they'll be like, who can we trust? I think I know someone.
And it's going to go back to like some 004, you know, and it's always going to be him
like walking into the house. Like, is he here? Yeah, he should be.
And then from like around the dark corner or something, you just see like a gun out
(42:06):
of the shadows and then they wheelchair themselves forward. It's always a wheelchair or some shit.
And then they show their face and everyone's like, oh shit, that's 00 so-and-so.
I'm just waiting for the last movie. He's in a massive shootout with like his greatest enemy.
And all of a sudden he's pinned down. He's just all by himself. And then over the radio
on your left in the sling ring.
(42:35):
You get the various locations of allies from like past movies and locations.
Or.
You know, if they're doing the whole Marvel thing,
fuck it. Why not just do the multiverse? All the different 007s come out.
Oh, fuck. Then you just have.
James Bond, no way home.
(42:57):
You get Daniel Craig. You're going to get period. You do an AI Sean Connery.
With all the fucking shitty deep fakes from like Flash movie.
Yep. Yes. Not even good level deep fakes that level. It's all nasty and gummy.
And the ones where they like de-age them. Yes.
40 years or something. De-aged Pierce Bronson. It's going to be weird.
(43:23):
No, I this is going to actually be pretty interesting moving forward because Amazon has
really been working hard on picking up franchises and a lot of IPs. So like I said,
they have video games. They got the James Bond. They're trying to move more into animation.
So this is just something more that they're trying to provide for their catalog.
(43:43):
Yeah. The original owners are the ones who held most of the creative rights,
Barbara Broccoli and Michael G. Wilson. Yeah.
I get they're stepping back to focus more on like.
Oh, that's I think charitable. Yeah, I think they're finally let it go
and allowing someone else to. I mean, that's something that's been in their family and they've
been really involved in all these movies for over 60 years. Yeah.
(44:06):
I think now that their father and everything that everyone's done, people have retired,
people have moved on and passed on. I think they're just finally done with it.
Yeah. And just want to at least,
you know, still collecting the money, still have their name on everything, but now.
They still do to do stuff. Yeah, because it's one of those things where unfortunately,
if you let extended family members take over, unfortunately, history has shown that that's
(44:28):
never a good thing. Never a good thing. You know, unfortunately, you're going to have
grandchildren who don't really care about the project and just looking to make some money off
of it. Yeah. And that's when they sell off projects, which we've seen happen already.
That's how you have it. And that was Superman getting sold off for super cheap.
Yeah. Yeah.
Remember? God damn it. Yeah.
All right. Well, we want to thank everyone for listening to this week's episode. I'm curious
(44:51):
on your thoughts on tonight's topic. How you feel about the whole thing with Amazon buying
James Bond series? Do you think it's good? Do you think it's bad? You can leave a comment below if
you're watching this on a Red Band podcast, YouTube channel for listeners, discuss episode
topics and various other film related news. We put out episodes every Wednesday for our
auto listeners and Fridays for those who like to watch our videos for auto listeners. You can
(45:11):
find the Red Band podcast on Spotify, Apple podcast and I heart radio. And of course,
I'll say again, you can watch our video format on our Red Band podcast channel on YouTube.
And before I fully close out my castless last end notes for you guys. Yes. All the different
ways you can listen to us, including Anthony's mentioned on YouTube, head on over there and
look up youtube.com forward slash the Red Band podcast. Look for the screaming microphone and
(45:37):
you should be able to find us as well as these episodes live and when they were recorded. Our
videos usually come out every Friday and then with audios come out usually every Wednesday.
And of course, you'll be able to listen to us on the go with Samsung podcast, I heart radio,
Apple podcast and Spotify. Be sure to share with a loved one or a friend that you think might be
enjoyed these episodes because we enjoy doing them and we have people in the industry that
(46:00):
enjoy listening to. So yeah, consider sharing it with them and hope to gain that audience following.
You know, it'd be awesome. Of course, we also have our Patreon account, which we'd really
appreciate if you guys also subscribe to because more subscribers equals more content. There it is.
We like doing these and we really appreciate it. So that way, you know, we can quit our jobs and
(46:23):
just do this whole time and make cool edits and shit. We can put subway servers at the bottom of
it. You know, we can do that. I could do that. I'll do anything you want. Just subscribe. Just
fucking subscribe. But yeah, that's all I got. All right, guys, you heard it from Mike. Please
like and subscribe and we'll see you next time. Later, taters.
Popular Podcasts
Cold Case Files: Miami
Joyce Sapp, 76; Bryan Herrera, 16; and Laurance Webb, 32—three Miami residents whose lives were stolen in brutal, unsolved homicides.  Cold Case Files: Miami follows award‑winning radio host and City of Miami Police reserve officer  Enrique Santos as he partners with the department’s Cold Case Homicide Unit, determined family members, and the advocates who spend their lives fighting for justice for the victims who can no longer fight for themselves.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.