Episode 1 - The Sweeper - The PM Entertainment Podcast

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
You have had the entertainment podcast. Hello, and welcome to

(01:03):
an all new episode of the PM Entertainment Podcast, the
show that celebrates and in fact heavily endorses, the days
when throwing stuntmen through multiple panels of random glass and
ramping a burning city bus through a wall of fire
was thoroughly fantastic entertainment if you ever needed to answer
the question what have immigrants ever done? For us? While
Canadian Richard Peppin and Syrian Joseph Mery in nineteen eighty

(01:25):
nine formed PM Entertainment, which emerged as a gun shooting,
glass smashing, car tossing, explosion making powerhouse of the straight
to video scene and phenomenal film school for martial artists
and actors looking for their big break in a leading
role and for future film talent in the worlds of stunts, cinematography,
and a lot more. I'm your host, John Cross and

(01:47):
don't forget. If you like the show, please remember to
rate and review us on any of the podcasting platforms
you use, share our Facebook posts, like comment, and you
can contact us via our email address, which is papod
at gmail dot com. That is p M E N
T Pod at gmail dot com our guests this week.

(02:09):
For the last nineteen years in counting, have consistently reviewed
straight to video and VHS action gems on their blog
Comeuppance Reviews dot Net, and currently have one hundred and
twenty five episodes of the Comeuppance Reviews podcast, which I
strongly urge you all to go subscribe, to listen, to share,
and shout from a mountain about to all and any

(02:29):
who will listen. I'm guessing if you're up a mountain,
it's mostly shepherds and widows who spend their time climbing mountains.
But that's okay. They need love and podcasts too, Ladies,
gems and those that simply want to be referred to
as Jeff. It's the Connecticut brothers who know more than
you do about Frank Zagarino films. It's Tie and Brett Baja. Gentlemen,

(02:50):
welcome to the show.

Speaker 2 (02:52):
Thank you so much, and thank you for that incredibly
kind and generous introduction. I appreciate that very much. This
is Brett. By the way, there's times what an intro.
I mean, thanks so much. Did your research on us?
I think you know more about come up interviews than
we do at this point.

Speaker 3 (03:10):
Yah, it's like I forgot of all that stuff.

Speaker 1 (03:12):
Yeah, did you know that next year was your twentieth
year of the blog?

Speaker 2 (03:19):
Tis Yes, I did know that, because it's about six
it did start.

Speaker 3 (03:23):
Yes, you were all the way back.

Speaker 1 (03:26):
I did. Luckily, your blog has has all the dates
on the right hand side, so I was able to
go all the way back and figure out when it started. Yeah,
well that'll be an exciting year next year. You have
to plan something big for your twentieth anniversary.

Speaker 4 (03:39):
Yeah.

Speaker 2 (03:39):
I can only imagine what that would be. And because
TI we have what it's about. Is it thirteen hundred reviews?
Earth thereabout? Yeah, a lot of reviews, so, I mean
we've uncovered a lot of stones in our time, so
we'd have to come up with something big. But you know,
if you go to it to come up interviews dot net,
now you'll see a review or transformed, which is a

(04:02):
gem and I would recommend people check that out. But yeah,
we've been doing this for a while and we've been
loving PM this whole time, so I think this is
a good match.

Speaker 3 (04:14):
Yeah, thanks thanks for having us on. That's great, of.

Speaker 1 (04:16):
Course, it's a pleasure. So were you both always into
action films? From an early age. Like I know, you
guys are brothers and stuff. So as you were growing up,
were you just ransacking video stores in the eighties and
nineties like mad people?

Speaker 2 (04:29):
Well, I mean I worked at a video star called
Best Video, and then that's how I just I ransacked
the action section. I looked up everything, every friend Zachary,
you know, every Richard Norton movie.

Speaker 1 (04:40):
Yeah.

Speaker 2 (04:41):
Yeah, for me, it's a little different because I'm older.
I'm older by six years. So for me, I mean, yes,
I was going to video stores going back almost as
far as I can remember. But I caught a lot
of this on cable, so you know, some of my
earliest memories of this were the pay channels, which for
a time we were lucky enough to have, and I

(05:02):
know PM, I sure had deals with, you know, Cinemax, Showtime,
the movie channel. I'm probably HBO, so a lot of
the stuff and at least in my household goes back
to that. But yes, of course I was ransacking every
you know, video store section I could find as well,
so cable and video as well for me.

Speaker 1 (05:22):
Excellent. And can you both remember when you first came
across a PM entertainment film and did you put it
together that PM was sort of a company putting out
lots of these movies or did you kind of realize
that later?

Speaker 2 (05:34):
Okay, so I remember it's like, wait, I heard of
a movie called The Sweeper. So it's like, wait, let
me look into it. And it's like I heard it
was really great. So I got it for the for
Best Video and I watched it, like this movie, it's amazing,
it's awesome, the best way I've ever seen in my life.
It's just like there must be more, and then there was.

(05:55):
It just became like this mountain, like a mountain of
rocks fallen down, like whoa. All these pable was Joe
Tolerance and Last Man's Standing and Recoil. Yes, so it
did become sort of a symbol of quality. You know.
You see that PM logo and you go, okay, I
mean now we're in for something good. Because they seem
to understand the action genre. So there's so many movies

(06:15):
that you get the sense that maybe they didn't quite
get it. PM got it, and when you saw that
logo you thought, okay. You know, it's like a lot
of times, so people will collect records because they look
for records on a certain label or something like that.
When you see the PM logo, then that's almost always
a good sign. So I would say that it's like
a trademark of quality. But for me, I believe I

(06:40):
was watching PM movies in the nineties but didn't know necessarily.
I mean like I would see that logo, but it
didn't one hundred percent register. And then I think it
only really came together for me once we started the
website s last blog, where it's like, Okay, now it's
more consistent. I'm starting to get it more so. I
for me, I think as I was watching them, but

(07:02):
it was a nebulous kind of thing. I didn't one
click until later. So while I was watching them, the
PM logo is something I would see, but it just
kind of didn't click until we started writing about these movies.

Speaker 1 (07:17):
Yeah. And it's funny, isn't it, because you're so right
about how PM Entertainment just they just seem to get
it because you know, we all watch a lot of
you know, straight to video and VHS and straight to
DVD and even straight to streaming kind of action films
all starring a lot of the same people that would

(07:37):
kind of go through the PM entertainment world, and you
always leave the movie going. I wish PM had produce.

Speaker 2 (07:46):
This because they would have put in I know, that feeling.

Speaker 1 (07:48):
Two more car chases or one more explosion you always feel.
And I think Cynthia Rothrock has sort of said, you know,
the shame to her of a lot of her American
movies that she did, the straight to video American films
or Canadian films that she worked on, you know, action
was always the last thing they shot. It was always
the thing that they spent the least amount of time on,

(08:11):
and they would spend more time, you know, lighting a
drama scene or you know, shooting establishing shots or whatever,
whereas PM Entertainment. I think I'm right. She's also said
that they sort of got it, like they understood that
you spend more time on the action in kind of
like the Hong Kong way. And although Hong Kong films
spent six months making movies, you know, PM entablement to

(08:34):
spend two weeks making movies, but you know, have sixteen
days or something. But out of those sixteen days, twelve
of them were blowing shit up or punching people through glass.

Speaker 4 (08:45):
You know.

Speaker 2 (08:45):
Yeah, and if you didn't mention that. I was going
to mention that too, about the similarity with the Hong
Kong way of looking at things, which is concentrate on
the action. I mean, yeah, I mean PM might be
a bit more quick and dirty than those you know,
lengthy Hong Kong productions. But yeah, because a lot of
what we're what we saw throughout the nineties sort of
reflexively was like a feedback loop on itself, because the

(09:09):
American movie started to resemble John wu in the Hong
Kong style of action more and more, and and we
and we see a little bit of that, I believe
in The Sweeper and some of the movies as the
nineties walled along, where you know, it's like a game
of one upsmanship where it's like, Okay, can we do
a crazier stunt? Can we do a lengthier action sequence?

(09:29):
And so the Hong Kong and American kind of symbiosis
has come to fruition I think around this time.

Speaker 1 (09:35):
Yeah, and when you think of sort of the plane
stunt at the end of the Sweeper, it's definitely reminiscent
of something like righting wrongs or whatever. You know.

Speaker 3 (09:42):
Definitely, yeah, well, poor for him, I mean.

Speaker 1 (09:48):
No, no, Yeah, well we'll we'll, we'll, we'll get to
Ed Lauder in his hilarious leather flying cap.

Speaker 2 (09:55):
It's kind of like flapping in the breeze.

Speaker 1 (09:59):
It looks like it looks like a leather tea cozy,
if such a thing as Anyway, the last question, do
you guys to either of you and I don't care
which order you're going, but either of you have a
definitive favorite PM, or at least a top three.

Speaker 2 (10:15):
For me, the Sweeper, Last Man Standing, and zero Tolerance
and recoil I I would agree, I mean, without even
trying to come up with something different, those would be
mine as well. And when we always talk about the
three r's, you know, rage, right, and recoil. Yes, they're
the new read and write and arithmetic. I mean, that's

(10:36):
what they should be teaching kids in school.

Speaker 1 (10:39):
Can you imagine how much better we would be as
a people, not just as a nation, but as a
people if those three movies were taught in schools? Yeah, exactly.

Speaker 3 (10:49):
You wheel out that TV.

Speaker 2 (10:51):
Here we go, a bunch of kids in seventh grade
time to watch Riot, and they'll go.

Speaker 1 (10:57):
Y, imagine how many kids will be running to school
if that was the case. You know, you get three
hours of you know, tedious lectures and then you get
two hours of a PM entertainment film. I think that's
how education should go go from.

Speaker 2 (11:13):
I couldn't agree more. And I think it's certainly in
film schools they should be teaching this stuff.

Speaker 1 (11:17):
Yeah, And I think that's definitely something I want to
come around to with this show. Is this idea that
entertainment for entertainment's sake. That's absolutely fine.

Speaker 2 (11:27):
Thank you. That's what we've been saying for years and years.
Like is one of the things. If you're going to
ask about the sweeper, Adam to interrupt, but just you know,
it's entertaining. There's never a moment in this movie. And
lots of PM movies their batting average is extremely high
on this or there's even a moment's worth of boredom.
The movie is entertaining from start to finish, right, And
it's like this, this is a piece of entertainment. And

(11:48):
when we talk about you're saying how they get it.
That's what they get. They get that if you want
people to rent and buy these movies, you have to
entertain them. You can't let them flag for a second.
You know, you don't even want to get up to
get a drink or whatever. You're glued to that seed
because what's Mark Goddard going to do next?

Speaker 5 (12:06):
Right?

Speaker 1 (12:06):
Oh, you turn your eyes away from any PM Entertainment
film for more than thirty seconds and you've missed at
least three stunts. You know what you're worried about?

Speaker 2 (12:16):
What you're going to miss?

Speaker 1 (12:17):
Yeah, let's get to our film. Then, thank you for
your feedback and introduction. So on this episode it is
the cee Thomas Howell and tangentially Jeff Fahye's starring vehicle,
The Sweeper, which was Howl's first PM Entertainment film but
would most definitely not be his last. He would go
on to star or appear in four more, including two

(12:39):
that he directed, Pure Danger in the Big Four and
then Avalanche and Hot Boys with the other two. The
Sweeper is from nineteen ninety six. It's directed by the
m of PM Entertainment, Joseph Mary and written by Jacobson Hart,
William Applegate Junior, and Heather Fariria. And while Heather wouldn't
write another film with PM, Jacobson Hart wrote too many

(13:02):
of the list here and William Applegate wrote Skyscraper, Tiger Heart,
The Silences, Pure Danger, Riot, The Big Fall, and the
TV series La Heat quite the heavy hitters, both of them.
The stunt coordinator for this one was the famous Spirorosatos,
who is one of the best in the biers and
did the following films for PM T Force, Last Man Standing, Rage,

(13:24):
The Sweeper, Pure Danger, Riot, Recoil, Running, Red, No Tomorrow
and Hot Boys. But he had helpless time from Michael J. Saner,
who is no slouch himself, having done stunts for PM productions.
Out for Blood, Ring of Fire TI to be the
best Firepower, Steel Frontier one of my personal favorites, and Rage.

(13:45):
Before we review and chat about the film, we have

(14:09):
fighting all the explosions, multiple car chases, a car and
bike chase seemingly on a never ending pier, cars flying
through the air, cars driving through fire, cars on fire,
cars exploding, vans exploding after a flaming man falls from
a high building into it. A bronco pulling a boat
that flips and then explodes. A giant tanker explodes, people

(14:31):
jumping through windows and falling several stories, a person falling
from a plane, multiple people being hit by a vehicle,
bike jumps, a man standing on a bike and jumping
onto a car while in hot pursuit. A man on
the roof of a car hanging off the side of
a car. Car jumps from pier with man jumping off it.
Multiple shootouts, blood squibs, blood spatter, foot chases, rooftop foot

(14:54):
chases and jumps. Two men jumping off a roof, one
of whom gets hung by a rope. Several stories in
Mida shower based sex scene, sleazy saxophone in a strip,
club wise old granny daughter dancing to disco music. Ed
Lauter in a silly leather flying cap see Thomas howl
in too many ludicrous leather items of clothing to even count,

(15:15):
bad goaty beards, unnecessary disrespect of cooks, and many in
the restaurant industry. Wow, what a phenomenal list. Doesn't that
whet your appetite? Ladies and germs to go watch the
sweeper immediately? What do you think about the list? Is
there anything I missed? Guys?

Speaker 3 (15:31):
Yeah, well, I say one house of paint hat please.

Speaker 2 (15:33):
Oh, I actually have a thought about that. Is now
the appropriate time to bring this up?

Speaker 1 (15:40):
Of course, always is an appropriate time to bring up
random house of pain hats.

Speaker 2 (15:45):
Now as we learn about the past of Mark Goddard.
Mark Goddard is troubled, you know, because of what happened
to his parents and his sister who is dancing to
disco at the time. And I have a thought about
that too, if I can remember to say.

Speaker 1 (15:57):
It, we should we do the plot and then we
can onto Brett's thoughts because I would love that. Let's
just give people tie if you want to give like
a three or four sentence, just a very quick plot synopsis,
and then Brett go right into your Brett's thoughts.

Speaker 2 (16:12):
Okay, okay, very ut to run out the plot for
I mean, because I did watch it this afternoon, maybe
it's a little fresher in my mind. So it starts
off with a young Mark Goddard and his father is
a cop, and he's a good cop according to their
wise old granny. But tragedy strikes when a group of
armed assailants burst into their house and basically shoot up

(16:35):
the family, but Mark manages to escape. Now, fifteen years later,
he's he's a coat cote. As we say on the website,
he's a cop on the edge. Now he's a he's
also a good guy, but with a troubled past. He's
also kind of a hot head, and he's approached by
j I Justice Incorporated, who approaches any cop on the

(16:58):
forest with nine confirmed kills to their name, and they
kind of recruit him to start doing some dirty dealings.
But then Mark Goddard kind of puts the pieces together,
and he's never really happy at Jai and he kind
of has a feeling this might have something to do
with the murder of his family. And then Ken Mark
Goddard put it all together. You have to watch the

(17:18):
Sweeper to find out.

Speaker 1 (17:20):
Perfect excellent Brett. Yes, perfect, So go into Brett's thoughts
and then we'll go into some overall thoughts from all
of us.

Speaker 2 (17:28):
Okay, just because I mentioned the House of Pain hat,
I was thinking, you know, yes, it was the nineties,
and sure we all love jump and Jump Around and
all the other House of Pain hit songs, But could
there be more here? Because you know how Mark Goddard's
a troubled guy. Maybe it's expressive of his inner life,
you know, because his parents were murdered. Mark Goddard is

(17:49):
always living in his own house of pain. So maybe
the hat means more than a thing that's fantastic, Yes, definitely, yeah,
and also about the disco dancing. I'm sure you're familiar
with the other Jeff Fay PM movie, The Underground.

Speaker 1 (18:04):
Oh of course, yes, definitely.

Speaker 2 (18:05):
Oh that also has Jeff fayhy is also PM and
also involves a disgruntled disco band called the Las Vegas
Disco Experience, which we always mentioned on our podcast because
I think it's so amazing. So I was thinking, could
there be a connection to the Underground in the fact

(18:26):
that the girl is kind of no I get that
it's supposed to be fifteen years before. I guess the
movie is set filmed in nineteen ninety five.

Speaker 1 (18:33):
It comes out in ninety six, So if it's meant
to be fifteen, is it meant to be fifteen years before?
Because you know, the sun is fairly all I mean,
the sun is like late teens.

Speaker 2 (18:44):
Right, Which is funny because if you remember, in the
beginning of the movie, he's talking his father played by
Jeff Fay He's talking about, Oh, your son watches Sesame Street.
That's why he gets beat up at school all the time.
My son doesn't watch Sesame Street's like, why are you
talking about Sesame Street The Kid's seventeen right, Yeah, it's.

Speaker 1 (19:00):
Weird, but I mean, so I would I don't know,
how does it say fifteen years later? Did I miss it?

Speaker 3 (19:06):
Oh?

Speaker 1 (19:06):
Okay? So if it's fifteen years later and this is
nineteen ninety six, then that would make it nineteen eighty.

Speaker 2 (19:13):
One, right, because it was disco, they were maybe trying
to paint a picture of an earlier time.

Speaker 1 (19:19):
Yeah, I mean, I guess, I guess disco aches its
way into the early eighties.

Speaker 3 (19:24):
Yeah, just why why not?

Speaker 2 (19:27):
Well, because I wanted to make that connection to the Underground.
And what's also interesting is that Jeff fayy Is is
credited as an associate producer on the film, and he's
not in the movie very long. So this is almost
like Jeff Fay's genitly in Psycho Moment. Yes, you know,
because you think that you know this was this movie
is jeffay He's going to be in it at least

(19:49):
at least longer than this, But no, he's uh, he's
taken out of the proceedings let's say early.

Speaker 1 (19:56):
The only thing that scuffers your thoughts is that the
Sweeper comes out, yes, a year before the Underground, but
about twenty films before The Underground, because you know, PM
were making a film a month basically.

Speaker 2 (20:12):
Right right, So I thought, you know, maybe there's some
kind of connection there.

Speaker 1 (20:17):
Let me see it would be more that he heard
the disco on set and said, right, when I get
to make my leading man movie with PM Entertainment, it
has to feature a disco band.

Speaker 2 (20:30):
Maybe that was yeah for Revenge. So and we mentioned
kind of a Hong Kong, you know John Wu connection.
If you remember the there's a shootout in like the
Drug Den, which I think is very Hong Kong to
my eyes. Now, I think the whole overall concept is
pretty much taken from I believe it's Magnum Force, the

(20:53):
Dirty Harry sequel movie, Yeah, which is about you know,
kind of some like a underground cabal of cop that
are taking out the trash. I believe that could be
the genesis for the overall concept of the Sweeper. But
this includes a lot of things that Magnie Force doesn't have. Right,
This innovated something in the action world, because you know

(21:16):
that amazing scene where all those like gas yes, coming on.
I know how you want to talk about this. I
don't want to hog the time.

Speaker 6 (21:23):
But I know I love the gas canister chase, yeah,
because that's actually a combination car chase, shootout, an explosion
kind of extravagance on one like and a lot of
other movies there would be a shootout or a car chase, oh.

Speaker 1 (21:37):
Yeah, but never PYM Entertainment film. And also it's it's
a big trait of see Thomas Howl PM Entertainment films
is that it starts as one thing moves to another thing,
Like there's, for example, I think it's pure danger where
there's like a shootout that moves to a foot chase
that becomes a car chase and that ends with more shooting.

Speaker 2 (21:57):
I guess, oh yeah, no, And this kind of combines
it all. Yeah. So it's almost like a not meta exactly,
but like more like mega action where they're stacking action
ideas on top of each other in a way that
pretty much only PM did, or they only did they
only did successfully. There it's almost like they're competing not

(22:18):
with other people but with themselves to do a crazier stunt,
a bigger thing. It's like, yes, and there are big
explosion in this movie, for sure, But what's cool about
that scene? We were just talking about the gas canisters.
It's all these kind of smaller ones, and you don't
see that too often.

Speaker 1 (22:33):
Well, what I think works really well in PM Entertainment films,
and I think it's it's it's definitely a product often
more so of Sparrowsatos's stunt work than the necessarily Cole
s McKay and some of the other stunt guys who
work on PM Entertainment, is that there's always sort of
a storyline to the action sequence. So it's never just

(22:56):
and a car chase ensues and and you know, there's
some card chase or whatever. There's always sort of an ABC.
So in this case, it's there's a car chase, then
there is oh look, the bad guy who's up ahead
of ce Thomas how notices that there's a truck full
of gas canisters. Then he's like, okay, well he'll shoot

(23:16):
those out and the gas canister will fall down, and
then he'll shoot at the gas canisters and they'll blow up.
But then as it gets to the end of the
gas canister chase, one happens to hit the front of
s Thomas Howe's car and he's like, great, I will
give them. I will now give this back to the
bad guy, and you know, take out the bad guy
using one of these gas It has, like a lot

(23:40):
of the stunt stunt sequences and action set pieces have
sort of a through line or a plot in a
way that others sequences, don't you know what I mean? Yeah,
they often think of a way in and a way out. Tyler,
while we're talking about this, do you want what are
your thoughts on the gas canister chase that you wanted.

Speaker 3 (24:01):
To I couldn't believe it when I first saw it.

Speaker 2 (24:03):
I mean, like as Brett now is as much people
know ideal of my blow ups, and that's kind of
and like it was just NonStop blow up, Just like
I couldn't just believe my eyes how many cars were
exploding at one time. Right, It's just like its like
the they're not just exploding, They're they're also crashing. They're Yeah,

(24:24):
it's it's like this total chaos. At one point, it's
like building and on top of each other. So it's
boom and crash and boom.

Speaker 1 (24:31):
It's hiculum mayhem into which they are throwing multiple explosions.

Speaker 2 (24:37):
And yeah, and you have to wonder how they actually
did some of this stuff. I mean, because you see
someone driving a car, then you see a gigantic explosion.
It's kind of like their rooftop chase, which is also
very amazing, where the guy you mentioned before, he like,
you know, kind of hangs himself and then over this
building and you can see that the street below and

(24:58):
you can tell it's not a green screen see time
cells character of God. It has to kind of basically
climb up the guide to safety, and how did they
do that? Like if you think about the mechanics of
how they actually did it, it's even more amazing because
it makes me think of those great stunts of Maniac
Coup too, from Spiro's from Spiro, Yeah, I'm glad you
mentioned that.

Speaker 1 (25:16):
Yeah, yeah, well and also yeah, and I've mentioned this before,
but what I think also works in PM's favor, and
it certainly worked for Bill Lustig and the Miniat Crop franchise,
is that the stunt cruise came to the directors or
came to the producers and sort of went, hey, we
want this that we've always wanted to do this thing.
Like the story Bill Lustick tells about Maniac Cup two

(25:38):
is Spiro goes, I've never had the chance to do
a high fall while on fire, Like, can we do
a high fall while on fire? And I think Bill's like,
you do it, I'll shoot it, you know what I mean,
Like we'll fit it into the movie somehow, right. And
so I think a lot of these things, and I
think this is where PM exells is because unlike the

(26:03):
Cannon model, which from the sort of documentaries I've watched
about Cannon, while Gold and Globals were obviously big dreamers
and had their sights set on, you know, buying out
cinemas and studios around the world and just growing and
becoming like a major. A lot of the movies they

(26:27):
were just like, it's this poster, it's this star, it's
this thing, now go make it, you know what I mean,
Whereas PM and often that would fail because they hadn't
budgeted it correctly, or the star didn't want to be
involved in certain scenes or whatever it was because they
weren't really thinking about it. I think with PM Entertainment
they went, no, no, this is it. We have this budget.

(26:50):
It's a few hundred thousand dollars from this budget.

Speaker 4 (26:54):
You know.

Speaker 1 (26:54):
The old Roger Corman and then Joel Silver thing was
you know, action every seven to ten minutes was like, nope,
action every five to seven seven minutes, right, for predominantly
their action films. I mean, there's some that that that
don't follow that rule, but but mostly it's it's, you know,
big action at the beginning, big action at the end,

(27:14):
and then throughout the movie, every kind of five minutes
have something happen, even if it's a you know, a
loud shouting fight or a punch up or something.

Speaker 3 (27:23):
Right in this movie, Oh yeah, I mean we'll.

Speaker 1 (27:29):
Get on to just I mean, all through the movie
we are told that, see Thomas Howe is a good cop.
The last thing see Thomas Howe is in this movie
is a good cop. He's he's one of the worst
cops that has ever copped in the history of cinematic cops.
I mean he is. It's not like he's you know,
dirty Harry. He's a little bit brusque, a little bit racist,

(27:49):
but he always gets his man. He's just fucking useless
from the get go. But we'll get into this.

Speaker 3 (27:57):
Tuma.

Speaker 1 (27:58):
Oh is that what it is?

Speaker 4 (28:01):
Yeah?

Speaker 1 (28:02):
I also questioned just how good his dad was his
being a cop as well, because they literally do that
Steven Seagal thing of just being like, hey, there's some
guys wearing pimp outfits. There must be bad guys. Let's
go beat them up and arrest them. Like there's no
reason other than the fact that they're all stood around
on a pier wearing like weirdly seventies pimp outfits. That true,

(28:24):
that they're apparently bad guys. I'm just like, they're just
standing around.

Speaker 2 (28:29):
You got to watch out for the local pimp, and
you can tell it to him because of his hat.

Speaker 1 (28:32):
Because of his hat. It's all about the hat and
the large medallion. But no, So what PM Entertainment did
I think is a lot better is they sort of said, look,
we're going to stick to these budgets. They rarely inflated
their budgets until sort of later on in their career
when distributors the foreign market started to demand bigger names

(28:52):
and bigger budgets. But early on the you know, the
the foreign markets that they were playing to, which was
mostly sort of Germany, China, and Japan mainly, they were
fine as long as there were sort of martial arts happening,
explosions happening in car chases, and so PM kind of
just went fine, you get this much money, you have

(29:12):
to have do this many car chases, and you know
this many stunts and blah blah blah blah blah. Asides
from that, do what you want. They kind of offered
filmmakers actors who then would become filmmakers, writers and so on.
Not exactly carte blanche, but you know, they would have
it needs to include these elements, but outside of that,
do whatever you want.

Speaker 2 (29:32):
Well, and that's very Corman, that's very corman asque.

Speaker 1 (29:34):
It is. Yeah, yeah, it definitely follows the Corman school
more than the Cannon school, because the Cannon then gets
sort of waylaid by all this. You know, each one
of their films gets kind of compromised by all this
stuff they're trying to do but not quite achieving, whereas
PM is just like, look, it's simple, you know, let's
just keep it to the formula.

Speaker 2 (29:54):
And that proved to be a Gangbuster's formula because what
some of those writers and directors came up with was gold.

Speaker 1 (30:01):
It was fantastic.

Speaker 2 (30:02):
They were right to give them. Well, I would say,
how about car brand car right.

Speaker 1 (30:08):
And I think also we have to include you know,
the stunt cruise in that like I feel like it
was collaborative. The experience that I get from watching the movies,
especially something like The Sweeper, is where where I feel
like there are set pieces in the Sweeper outside of
sort of the shootouts or whatever, I feel like there

(30:29):
are set pieces in the Sweeper where the stunt crew
is gone, Hey, how about we do this? How about
we do a car driving along a pier, hitting multiple
tables and multiple people along the way. For some reason,
this pier is going to have an inordinate amount of
people who are selling popcorn and stuffed toys. Don't don't
ask why, it just will And because what we've always

(30:51):
wanted to do is we've always wanted to do a
man standing up on a motorbike and jumping over to
a car. So that's that's what we wanted, and I
think we can achieve it in this p scene. I
feel like that's what the stunt cruise are bringing to it.
They're bringing like a story into the set pieces, and there's.

Speaker 2 (31:12):
A story on top of that too. Because that's I
don't mean to interrupt, but you and a lot of
movies like you, sometimes you can't even tell who's who.
It's like, who's shooting at who?

Speaker 3 (31:22):
Who's that?

Speaker 2 (31:24):
We don't know why they're shooting at each other. We
don't know why they're chasing each other. A lot of
times time I will be watching movies Who's that? Like,
we don't even know why this conflict is happening in
PM movies and the Sweeper is a perfect example. You
know who's chasing who and why, and it's very clear.
And I think they did that on purpose because you know,

(31:45):
especially for foreign markets, you know, it might be easier
for people if you speak German if it's very very
clear who is chasing who and why. And I do
think the drama in a lot of their movies and
including the Sweeper, is genuinely good. The the relationship that
Mark Goddard has with kind of like his is a
stranged wife and his young tot son because usually there's

(32:07):
a tot somewhere in there. And it's genuinely good. And
so if you care about the characters and you care
about their plight, and you care about you know, Mark
Goddard's pass and his estranged wife, then yeah, you're really
gonna care if you know he has to dodge pro
paane tanks on the highway because you don't want him
to get blown up, and you know who he's chasing,

(32:28):
and you know who's chasing him, and it all perfectly works.

Speaker 1 (32:31):
Yeah. Very often in PM films, it is not the
action of the protagonist that defines the character, but the
action of the people the protagonist is either working to
protect or working to avenge. So in the case of
the Sweeper see Thomas Haws, Mark Goddard is, as I've

(32:52):
said before, a terrible fucking cop. He's a terrible fucking person.
He's a terrible fucking cop. And almost all the death
happened is a movie at his fault. For some especially
all the you know, he's this Justice Incorporated, goes all right,
we've got to go kill these bad guys. So go

(33:13):
kill some bad guys. And instead of being like the
professional or like John Cusack in Gross point Blank, where
he's like where he studies the person and goes, all right,
how do I best kill them and get away with it,
he's just like, I'm going to set the dude on fire.
If the dude on fire runs at me, We're going

(33:35):
to go smashing out of a building into a truck,
you know, into a van that's going to explode in
the case of the ending, you know, I'm going to
I'm going to cause millions of dollars worth of damage
to a freeway and multiple cars and a large oil
tank and everything else trying to get one bastard where
I'm gonna just like snuck up behind him in the

(33:56):
lunch cue and hit him with a hammer. You know.

Speaker 2 (33:59):
But there is no white yelling chief or black yelling
chief as we usually one of the other who's yelling
at him, going god, ard, you've done it this time.
That's not in this movie. He's got off on his own.

Speaker 1 (34:10):
But there's a reason for that. So in order to
spend more money on stunts and less need for a
you know, police precinct set or whatever, they have the
shouting chief on the voicemail and it's their way.

Speaker 3 (34:29):
That's true.

Speaker 2 (34:29):
That's a great scene. Yeah, I think I've ever played
that voice at a great job.

Speaker 1 (34:32):
Yeah, it's their way of getting that scene in the movie.
And again, independent filmmakers and low budget filmmakers take note.
If you were going to have you know, your lead
character being a cop, and it's always difficult when they
do that in independent films, if they if you don't
have a police car or you know, a precinct or something.
But if you're going to have a character, you know,

(34:55):
be some form of professional, but you don't have an
office space or a police precinct, you know, voicemail or
video call or something like. Nowadays you can just do FaceTime, right,
You could have a guy just dressed up as a
chief of police with a big mustache screaming at him
through FaceTime, you know what I mean. There are ways
round it.

Speaker 2 (35:14):
Yeah, audio drops out right, Yeah, well that could happen,
but back in the nineties it was on tape, so
that that was unlikely to happen. But it's true. But
that character doesn't reappear throughout the It's one answering machine
message and that's it. That's all you get of the
chief yelling at Gar.

Speaker 1 (35:31):
And you're not really The only thing I would say
about the sweep in terms of the plot is that
you're not really told at any point that he's no
longer a cop, even though it's very clear that he's
no longer a cop. You know, in other films like
Zero Tolerance, for example, where he goes rogue, you know
he's an FBI agent and he goes rogue. There's at

(35:52):
least that scene in it where his old partner is
saying to their chief, you know, hey, he's one of us,
and the chiefs like he's not one of us anymore.

Speaker 4 (36:00):
You know.

Speaker 3 (36:01):
I remember name jeff Douglas for by Robert Patrick.

Speaker 1 (36:05):
Well, what I like about it. My favorite lines from
the trailer of the guy being the guy being like,
I wish crazy Jeffy was on us side.

Speaker 2 (36:15):
You know, you just kind of figured that maybe you know,
Ji fixed it with his chief, you know what I mean.
So it's like they we didn't need a scene where
ed Lauder goes to the chief said, hey, can can
Goddard come with us? I guess they figured they didn't
need that. There's no time, so you know, they'd rather
just go into the next action scene than have another
dialogue scene. So but you're right, they didn't make that

(36:35):
especially clear, but they kind of didn't need to because
he was, you know, kind of but see, he's very
ambivalent about, if not outright hostile to being in Ji,
Like he doesn't really want to be pretty angry most
of the movie. So he's in his house of pain,
you know, well.

Speaker 1 (36:52):
He gets he gets uh brought to a fancy party
by Ed Loucher at the beginning of the movie. Uh,
in the middle of the night, I think, right, isn't
he woken up and brought to the party and for
Ed Lauder to like pitch him this idea of being
part of JI and they Ed Louder execute a pedophile
from an earlier scene in the mall where Hal almost

(37:15):
kills a guy for taking pictures of his stepdaughter, and
at the end of that scene, how walks out of
the you know, Louder gives him a bunch of cash
and he walks out of the party, kind of scoffing
at it all, being like, yeah, right, whatever, kind of thing,
like in a very kind of dismissive, cynical way. The

(37:35):
next thing we see is a cab pulling up at
his new swanky house that the JI has bought him
and equipped with sports cars that we never see, which
is really weird, but yeah, you've got three sports cars.
And he throws down one set of keys and then
we never see any of them and a whole table
top full of guns. So suddenly see Thomas Hall has
a whole new life, even though the previous scene he's

(37:58):
very scoffy and just missive about this Ji though that's true.

Speaker 2 (38:02):
In fact, he even tries to give back the money,
if you remember, he brings the money to the party
and tries to give it back to Ed later. They
don't really make it clear if he actually gives it
back or he keeps it. But yeah, and maybe they're
just trying to sweeten the deal. But it could be
because you know, the part of the plot is how
you know Ed later keeps stringing him along, saying, you
do one more job, I'll tell you the truth about

(38:23):
your parents. So it's very lucy in the football. You
do it one more, just do it one more time.
I think that Goddard is kind of wise to that.
So the reason why he's staying in JI for so
long is because he not because he likes it, but
because he's using it to get to the truth about
his parents. It couldn't be argued.

Speaker 1 (38:42):
And just going back to finish the point that I
was saying earlier about how often PM characters as a grumpy,
bad or murderous as they are, are often defined by
the people around them, you know, the one through line
that kind of keeps your faith in how I guess
or at least you liking him grudgingly despite him being
such a an irascible, violent murderer. Essentially throughout the film

(39:06):
is that he clearly loves his his ex. She was
his crush, as we find out in the flashback where
his grandmother comes to the hospital while he's lying in
a coma to essentially embarrass him and be like, look,
I brought your crush. You're like, you're like junior high
crush with me. But but you see him give the

(39:30):
money to her. You see him, you know, there's a
few montages with him and his boy. You can tell
that he's sort of broken up about not being with
her anymore, and that's what gives him his humanity. It's
like the dog in john Wick gives John Wick his humanity,
you know what I mean. Like and then you'll see

(39:52):
this later, like in Pure Danger, for example, to see
Thomas halle movie that he directs. All the bad guys
are unknit necessarily and horribly racist. Just to make sure
that everyone is aware that it's not that they're doing
bad things, it's just that they're so horribly racist. You're like, well,
these must be all the bad guys. Very often they'll
find some kind of quick script thing that'll make you go, Okay,

(40:16):
he's a good guy because he gave money to his
ex girlfriend or whatever. Oh, he's a bad guy because
he's unnecessarily racist, like they'll use a shorthand to get
you where you need to go. And again, I think
that the few time jumps in this movie where like
we say, he leaves the party kind of scoffing at
the idea, taking the cash begrudgingly, and then the next
time we see him, he's pulling up at this house

(40:38):
and away he goes, do we really need to see
all the scenes that go in between those two we
can kind of understand what happened, you know what I mean?

Speaker 2 (40:46):
Wow, exactly, That's what I was trying to say. I
was trying to say a lot of that we just
don't need. It could be said that he's giving the
audience some credit. He's kind of saying, well, we don't
need to over explain everything. The audience can kind of
figure out what's going on. You know, we don't need
to over over dialogue them to death. You know, they
probably want to get to the next action scene anyway,
So let's just you know, move things along. Quickly, and

(41:07):
that's what helps the movie be entertaining.

Speaker 1 (41:09):
Agreed, Ty, what are your comments on the pea car chase,
motorbike the whole opening sequence space.

Speaker 2 (41:19):
They're a brilliant, brilliant way to open the movie, and
I love the brilliant way the end of the movie too,
gets well once we get to that. For all of
a sudden, the head laughters and a World War One
era biplane for some unexplained reason. But sorry, I don't
mean to steal your thunder the no, please, no, that's
my that's my favorite part really was towards the end.

Speaker 3 (41:38):
It was that massive highway cards. I love the beginning
of the pier. You just you up there right towards.

Speaker 2 (41:43):
The end, it's like, well, it's funny because you know,
we always talked about the fruit car car chase, which
I think, guess Roger Ebert famously start you know this,
that peer is as you said, it's as long as
they need it to be. It might be the ultimate
fruit car chase. I mean there was like multiple fruit
cars and all kinds of carts.

Speaker 1 (42:01):
Well there's popcorn. I mean, I don't know how many
popcorn tables they knock off, they knock over several popcorn tables.
There's a few fruit cuts, and then there's a lot
of like beanie baby stuffed toy kind of did everything.

Speaker 3 (42:15):
That's just a great good They did everything.

Speaker 2 (42:17):
Yeah, they threw it on the kitchen stake and some
of the parts of that and some of the other
action scenes. It looks dangerous, you know what I mean,
Oh I'm unsafe.

Speaker 1 (42:25):
I mean the people that are hitting the hood of
that car and in some cases like flipping up and
flying over the car. I mean it's you know, in
a Hollywood movie, you maybe see that stunt once, maybe twice.
In this movie, in the opening action sequence, it's like
eighteen people that they mow down, and.

Speaker 2 (42:45):
Because of just the way it's shot, it just it
appears genuinely dangerous. Same thing with the rooftop chase, and
they're like at the edge of these buildings and you
can see that, and it just it gives the audience
that like whoa factor where it's like, this really looks dangerous,
and it's very impressive how they execute that well.

Speaker 1 (43:04):
In fact, Spiro redoes an action scene from Maniac Cop
in this with the jump off the pier. If anyone
remembers the end of Maniac Cop you see what's meant
to be Bruce Campbell hanging onto the side of like
a brings truck, like a securitical truck, and as it
jumps off the pier, you see the stuntman literally having

(43:25):
to push himself off the truck or be crushed by it.
You know, he would if he went down with the truck,
he'd be dead, So he has to push off the truck.
Same thing here with the car as it goes off
the pier. You see the stuntman doubling for Feyhi have
to literally kick off the car in order not to
be crushed by it because they're both going in the
water at the same time.

Speaker 2 (43:45):
Yeah, because if we all remember the young Mark Goddard
is trapped underwater in the stolen car and you know,
and he's basically drowning to death before his father saves him.
And later in the movie it's one of the dramatic
scenes with his ex wife. An exact quote from her,

(44:07):
she says, I can't be with someone who's drowning, right.

Speaker 1 (44:11):
Oh, it all comes back to the trauma.

Speaker 2 (44:12):
Yeah, so she meant, I'm guessing you more like emotionally, spiritually,
physically but well not physically, but it ties back to
when he physically was drowning. So to me, that's an
example of clever writing.

Speaker 3 (44:25):
Oh.

Speaker 1 (44:25):
In another great independent filmmaking tip that PM give us
here if you want again a character shorthand to explain
kind of why he is the way he is, but
also to be able to have like pat out your
running time. You know, you shoot that scene at the beginning, right,
you have the action scene with Jeff Ay and everything

(44:46):
at the beginning, and you can flash that back as
many times as you want during the movie to show
your character having you know, a tumultuous dream. Every time
he wakes up, he's screaming. Even when his the woman
from Ji that joins him down in is It Mexico
they meant to be in shootout, even when she wakes

(45:09):
him up, he remembers to kind of go oh, you know,
like he's like he's constantly bothered by this dream. Well,
that's that's serving two purposes. A you can revisit footage
you've already used, and secondly, you can give your character,
you know, even more impulse or backstory.

Speaker 2 (45:27):
Yeah, for sure, I mean that's that's you know, getting
good for your buck literally exactly.

Speaker 1 (45:35):
At last point on the earliest scene. The boy playing
young Mark is Max Elliott Slade, and he's famous from
Parenthood and Apollo thirteen and some other run hard movies
for playing young versions or kids of famous people. In Parenthood,
he plays the young Steve Martin. However, he is also

(45:56):
from the Three Ninjas franchise, the second film of which
Three Ninjas Kick Back is directed by Charles T. Caganis,
who is also a PM mainstay who directed, wrote, and
acted in various PM productions. So it all ties in.

Speaker 2 (46:12):
Well, I just watched one of this movies, just No Escape,
No Return, and I rewatched it. Yeah, hopefully I'll be
one on one of your podcasts soon. Yes, yes, yes, excellent.

Speaker 1 (46:23):
And and that's a can Ganis joint, is it it is? Well?
Thank you so much for listening to the PM Entertainment
podcast so far. I think it's going pretty well, don't you. Anyway,
we have a lot more coming up, including some incredible
special guests. I cannot believe what you're about to listen to.

(46:43):
It is fantastic. Anyway, before then, we do have to
pay the bills and make sure we can keep this
podcast free, so there will be a few commercials, then
you will hear our special guests, then probably a couple
more commercials, and back to the talk about the sweeper.
If you're enjoying this, don't forget to rate and review us,
follow us, subscribe, share, like, comment, all that good stuff.

(47:06):
It doesn't take a lot of work, it's free, and
it does more than you know to support us and
get the word out there. Well, it is my great
pleasure now to welcome you all to the interview portion
of the PM Entertainment podcast. That's correct. I've been going
out to a lot of the movers and shakers from
PM Entertainment, both in front of and behind the camera,

(47:29):
and talking to them all about various different movies as
well as the PM Entertainment process in general, and I
hope to present that to you throughout these episodes, as
well as occasionally one off episodes that will be focused
solely on sort of the story of PM Entertainment. So
that's a very exciting part of this podcast that I

(47:49):
hope you'll get a lot of knowledge and fun and
entertainment out of. So first up in our interview segment,
it is my incredible honor to play a clip now, well,
from a conversation that I had with none other than
Joseph mehhe himself all about stunts, Spiro Resatas, and a
little bit about the Sweeper. So I want you to

(48:20):
know that these movies are loved. We study them, we
look at them, we love the You know, I was
going to ask about the stunt talents that you worked with.
I mean, look at the stunt people. You You gave
careers to Cole s McKay and Spiro Rosatos and Michael
Saner and people like this. These are some of the
best in the business. And you you gave them the
opportunity to do whatever stunt they wanted. They did whatever

(48:42):
they want, came up with and for their reels or
for their interest. You know, we look at you like
the Corman School, or like some of these Full Moon
some of these famous production houses that gave actors, directors,
stunt people a chance when other people wouldn't. So I
think you should be very, very proud of the films
you've made.

Speaker 4 (49:03):
I am. I still think we're a couple of idiots
who just decided to make some movies. He didn't get
to to film the school. We didn't know anything about
you know, film school or had to make the movie
correctly or something. We just got get in and start
making it and just had fun doing it. Make mistakes

(49:24):
we made, we made, we laughed, we we just we
just had fun and and we involved everybody. For example, Spiro,
who was one of my best friends, like a brother
to me. He just celebrated his montern one hundred years
old and we threw a party and every stunt stunt
men in the world was who was there at the party?

(49:47):
You know, Spiro is actually I fired him several times.
He will fight, will will argue, and then he will
Spiro had a vision and he a commitment to doing
something right and doing it's perfect. But we're on a budget.
Spiro one of the movies, I think it was Recoiled.

(50:08):
He said to me, you know, I've been dreaming about
a pipe ram a car, pick it up in the
air and take a traffic lights out. I said, okay, great,
keep dreaming. I want to do it. I said, no,
you're not gonna do it. I want to do it,
And no, I said it's too dangerous and and how
how do I know You're going to head the goddamn
traffic lights it's gonna everything's gonna cost mine. Oh please

(50:31):
please let me do it. Let me do it. And
he would come at me like That's when I fired him,
because he would come asking me. One time, I was
doing the movie. I was doing the movie with the
executive target and he was doing, you know, an action
sequence with like eight cameras and uh and and I'm
shooting shoot and Roy with with Michael Madison and and

(50:53):
the spear is next to me. What are you doing?
He goes, I'm gonna need you a camera. I said,
what do you mean you need my camera? You have
eight cameras, but yeah, but I need I need this
camera for one shot. It's particularly going to go to
lunch and I'm gon a bar with her half and
I said, no, you're not, You're not moving it. I'm
not going to be done. I need I need to
shoot in And he stood next to me and he said, well,
just shoot it, you know, just shurry up, shoot this.

(51:15):
And he said, I said, get the funk out of here.
Next time, screaming him, I said, you have me a camera.
I need to shoot the dialog. You want my camera
And he wouldn't leave till he get the camera and
he kept at it with me about the traffic light,
and sure enough he flew the goddamn car and took
out the traffic light.

Speaker 1 (51:37):
Did you did you have a fake traffic light? Or
was did you have to get that no permissions of
the city to do that?

Speaker 4 (51:42):
Or did he just do it?

Speaker 5 (51:44):
No?

Speaker 4 (51:44):
We just we just we didn't tell him. We just
replaced it. Whatever it costs of the cave. Wow, you know,
it just he he took it out. Wow, to the
traffic light out. He was brilliant. I mean, you know,
we made it well, they made it. It's all him, really,
but we made it look so easy that the biggest

(52:06):
major studios they will never you know, I live in
Los Angeles right now. We used to have chase scenes
where downtown everywhere we go. We just do it, you know.
And but the studios can't do that. They want to
be responsible, they have safety insurance. You know, they couldn't

(52:26):
do what we did. We were just reckless. I you
look at this movies and you know, Spiro and everybody else,
and it's like, Okay, there's no big deal. Once them
was gone and I started working as a consultant for
different movies, and I went on this big movies like
Jason Statham. You know, yeah, we got one hundred people.

(52:47):
They want to do a hit, a car hit. And
I'm looking at these guys back and forth, back and forth.
One car hit. You know, it took like six eight
hours and they do it and it's nothing right when
we used to say, oh, we need this guy to
head this car. Oh okay, the camera set, let's go boom.
Yeah done.

Speaker 3 (53:09):
Well.

Speaker 1 (53:09):
We were we were, I was. I was talking with
some friends last night. We were doing an episode on
the Sweeper, the c. Thomas Howe movie where you have
that fantastic sequence with the gas canisters on the back
of the truck and where you know, the the and
I was talking actually about how Spirow's and I know

(53:32):
him and Michael Sana both worked on that movie, but
Spirow's action scenes or set pieces have a story within them,
like very often it's like A leads to B leads
to C leads to D kind of flow, you know,
to the to the.

Speaker 4 (53:46):
Well that that particular scene, John, I was driving on
the freeway. Yeah, and I'm driving up the freeway and
we started shooting the sweeper, and that seemed wasn't the movie. Okay,
I see on the freeway, this stuck has this oxygen
I don't know when they have COEO two two and
there was like a hundred of them. I said, oh

(54:06):
my god, oh my god, this is gonna give us
a reason to blow up every single car on the freeway.
Let's do that. So I went and that was your
idea about it was my idea, wonderful. And then his idea.
His idea was, I said, how are we going to
kill the bad guy? Because we chase him, we hit
them in the back of the car. The we carry

(54:30):
the the CEO two and we throw it right inside
the car. That was Fear's idea, and did it brilliantly.
And then see Thomas shoots the CO two and blow
up the car. We grew up. I bought fifty cars
for this today.

Speaker 1 (54:45):
So how what we were what we were wondering? Because
you know what what spurred me to mention it is
you saying, you know when we did a when we
did a stunt, we just did it and moved on.
It didn't take hours and hours. You know, we were
hypothesizing how long did p M Entertainment spend on a
sequence like that? Did you shoot it all in one
night or was that over sort of three or four nights?

Speaker 4 (55:06):
No, no, no, no, one night.

Speaker 1 (55:08):
One night. That's what I might see. That's what I said.
I said to my friends. It was probably one night.

Speaker 4 (55:12):
Yeah, one night. We had the guys especial effect. Guys.
Yea later on in life, I thought it was normal.
You know, first of all, the prep for the cars,
each car that is gonna flip, we had to have it,
you know, ahead of time. There's the cage in it.
You know, the protection, the proper protection for the you know,

(55:34):
it's a bit taken care of. That's one. Two. The
setup for Spiro, he's brilliant. You know, you drive this way,
live that the way they will do it. You will
have Spiro will have extra extra, not some people's extras.
On the highways. Go to thirty five miles an hour.

(55:55):
You're getting one hundred bucks a day including your car. Yeah, okay,
And you go on the freeway on that line and
you don't change, just go thirty five. Don't worry about it.
We'll take care of the rest. And then the stuntman
they're weaving in and out in between these cars, and
then one of the car will be a stunt person
who will head it that goes around and then on

(56:17):
that I don't know that movie or another movie. Spirit
comes in he said, oh, I have an idea. You know,
we're trying to get the hero to run to drive
away from somebody because it goes under the eighteen wheeler.
And what because yeah, go under the eighteen wheeler and
changed the lane and go disappear behind. I said, no, no, no, no, no, no.

Speaker 1 (56:40):
It cus cuts the roof off the car right and
then he goes, oh, look a contible.

Speaker 4 (56:44):
Yeah yeah, yeah, yeah, well no that's no, that's another thing. Okay, yeah,
no yeah. So we had I mean, my heart two
or three times of all the action sequences, my heart
is black. Oh fuck, I don't want to do this.
I don't want to do this. No, Spiro, I don't
want to do this. No, no, no, no, don't worry about

(57:06):
It's going to be fine. You're gonna And then again,
who does it? I think it was see Thomas Howell's
dad goes in this little car. Yeah, and at the
time he was like sixty years old and I'll send
me one now. At the time, I say said no,
And why don't we give him a big link in
Mercedes or something old. It protects it. No, he likes

(57:29):
little cars. It's frolling better and boom, it's crazy. And
then we had a fight and on Okay, you have
to remember, John, we don't have computers, we didn't have
green screen, we didn't have nothing. Everything you saw happen.

Speaker 1 (57:46):
Oh, that's why we love them. That's why we love
those movies. You have a fight on a plane at
the end of that movie with a with a yeah,
the real life fall from a plane that seemingly went
on forever you and the sequence I was going to
talk to you about actually, because I think it's a
combination of three things that work so well together, and
that is the sequence with the foot chase and the

(58:09):
final stimulation on the one thing I wanted to say
Joe is first off, that scene is directed so well.
Like the shots in that scene, the direction in that scene,
it's so well. It's funny you talk about sort of
having your heart and your throat with all these car wrecks.
When I watch the movie, because I'm not afraid of heights,

(58:32):
but I'm not a big fan of heights. When I
watch that movie, that sequence, really, that's when my heart's
in my throat. And the fact that see Thomas Howell
is they're doing it himself, like he's hanging off the
edge of that building to some extent, and then you
have the stunt man perform that incredible stunt at the

(58:52):
end where it looks like he's been hung. To me,
it's the perfect combination of your direction who wants to
be involved, a star who wants to be part of
the action, and then your incredible stunt team all working
together to create a real breathtaking sequence.

Speaker 4 (59:10):
And that is like three or four hours. That's it.
That's it. Yeah, I mean, now it's thirty years later.
You look, you know, you look at it. Didn't didn't
think of the strength of that stuntman, strength of somebody
who can pull himself up. There is no safety underne
there's nothing.

Speaker 1 (59:28):
Yeah.

Speaker 4 (59:28):
All he had, you know, he had like a chest
a chest protection, you know, one of those things he
were on the motorcycle, you know. And then the fake
rope is on his on his neck and the actual
rope is is hanged to the to the chest where
he's fall that stops him. But even falling and stopping

(59:53):
just you know, I mean, it's amazing. It's amazing. It's
all thanks to Spureau. Spureau coordinated all this, and you know,
and then we were shooting. We're only shooting on one roof.
And Spiro said, you know, I think it will be time, John,
there will be time where we walk in. I forget
which one with the Gary Daniel movie was a chase

(01:00:16):
in the parking lot. And then and then Gary Daniel
comes out, the car comes out of the four story
building up a parking lot, goes in the street. And
so we come to shoot in one street and they said, oh,
we couldn't get a permit to shoot in that street.
We're not allowed to shoot in that street. I go

(01:00:36):
to Spiro and I said, Spiro, we can't. We can't
shoot the chase. What do you mean, I say, you can?
She said, what we're gonna do now? I said, you're
gonna shoot the chase in the parking lot. He said,
what is it in the parking lot? We have this
parking lot, all the cars were here. This fucking shoots
and he came up with all that chase in the
parking lot, in the parking lot.

Speaker 1 (01:00:58):
It's fantastic. That's fantastic.

Speaker 4 (01:01:03):
Okay, one last thing, I just want to tell you
why these people, why these people are just they give
their heart and soul into this movie. They're all movie makers,
they're all cellmakers. They all get the opportunity to create
their own way of doing things. It wasn't like a
dictatorship I'm the director of which should happen? Is I'm

(01:01:26):
the producer? You do this? It was like a like
like like a group efforts said, Okay, you know, we
need to do this. What do you think guys? Okay,
let's do this, Let's do that. How about this? The
caterer can have a good idea and next thing you know,
they're directing a movie. You know, so and so.

Speaker 1 (01:01:46):
It should be. It's such a collaborative art form one
person can't make.

Speaker 4 (01:01:51):
So it's That's the word I was looking for, except
I still can't master the English language. That specistic goddamn yours.

Speaker 1 (01:02:00):
Yeah, well that was fantastic. I mean, my goodness, what
an absolute treat to talk to Joseph. And you will
be hearing more of that interview laced throughout the PM
Entertainment podcasts as the content demands it, but coming up now,
a brief section of the conversation that I had with
and I cannot believe that I got to speak to

(01:02:20):
him because it's I mean, wow. You know, from his
early days working in stunts on well known movies such
as The Goonies, to doing stunt coordinator work for Bill
Lustig and the Maniac Cop franchise, to working with Joseph
and Rick Over at PM Entertainment, to breaking free from
the B movies and making it in the A list

(01:02:44):
with the Fast and Furious franchise and several Marvel movies.
It is my absolute joy to introduce to you a
clip from an interview I have done with Spiro risatas
stuntman extraordinary there, Hollywood heavyweight, and has either dune stunts

(01:03:04):
or stunt coordinated some of my favorite films of all time.
This was a fanboy moment like I can't explained. So
here's some of my conversations with Spiro. Results.

Speaker 5 (01:03:24):
Once you get pegged for low budget movies, nobody wants
to let you know to be in the big budget
movies and in our in our careers, there's only been
two people that really have been able to break from
the low budget to the big budget, and it's me
and Dan Bradley pretty much. And it was almost an
impossible deal because what happened is I had shot I

(01:03:47):
mean tons and tons of big chases as you saw
on Sweeper and Riot and Rage and all these movies,
and nobody would nobody knew about him, nobody would look
at him. They did, nobody saw him on the studio,
and you know, so it was easier for a guy
that did Silence of the Lambs, which had no hardly
any accident except some little fights and all that he

(01:04:08):
would be able to go get an interview on a
studio movie, and me, who had done a hundred action sequences,
couldn't even get an interview. Nobody would even talk to me.
Because I was ready to do the studios. I wanted
to do the studios, and so I had to trick
my way into the studios. What happened is a friend
of mine was close with Michael Bay and did a

(01:04:30):
lot of Michael Bay's stuff. And Michael Bay never had
second unit, and when he was doing another movie, he said,
can you go and work with Michael Bay because he
knew he could trust me to help him set up
stuff and all that. So Michael first said, who's this guy?
I don't want this guy? And the guy said, trust me,
pleads his housecure, help you. So he gave in. He
had me help him, and it turned out that there

(01:04:52):
was a chance to do a couple of days a
second unit, and I kept saying, Michael, please, And I
knew that here's the problem. You could direct one day
on a big studio picture and you'll get a credit
as a second inner director. And I could direct, like
I said, a one hundred sequences, and nobody cared on
the studio end of it. So I said, Michael, let
me just and he goes, Nope, nobody shoots second unit.

(01:05:12):
I'm the only one that shaid. And I said, Michael, please,
you know you don't have the time. I could get
you some pieces. So I finally begged him let me
shoot a couple of days, knowing that that's all I
needed on my credit, and he and then I would
send them footage. I'd send him the stuff I could
get to him that he didn't have time to get.
So he finally gave in and let me shoot some
second unit for him, which were important, big pieces. Eventually,

(01:05:34):
because he saw that I could do some stuff and
so he less trusted me, I went and shot you know,
part of the big Causeway sequence, one of the most
famous sequences he's ever done, with all the cars coming
off the car carriers. Well, I shot, you know, like
four days or whatever for him important gags, but only
a fraction of what he did, and it won an

(01:05:55):
award and I was able to put it on my
credit as second unit director for Bad Boys, and that
opened the door for me and the rest is history.
So it's sad what you know sometimes how the business works.
But I had to eventually play the Hollywood game. So
what happened to him is, I guess they were doing
a movie in Vegas, and you know, they had the

(01:06:18):
guy's low budget. Everything was down and dirty, and they
hired a stunt guy, Bob Brown, who was the double
for the guy on Terminator the bad Guy forget the guy,
and they yeah, and they hired him because I think
he may in the movie whatever. So that was like
their first taste of the big Hollywood and they hired

(01:06:39):
him on he's a stunt guy, but I guess he
helped out or whatever, and Joseph said, you know what,
I need to take my movies to another level. So
he said to Bob Brown, Hey, you know we you
you know, door next movie. We want to go to
the next level and you know, to our movies. And
he said, listen, I can't do it, but the right
guy for you, perfect guy's Spiro was really nice to

(01:07:00):
him to recommend me. So Joseph calls me in and
we make a deal, you know, I you know, obviously
I had to adjust as a budget, and I did
a play with him because that's one thing I was
doing because if I'm going to not do other jobs,
they got at least to a pair of play. So
the big sequence that I shot first is still one
of my favorites, was when the armored car going to

(01:07:22):
the freeway, the guy rolling out the back and dragging
him on the freeway, and you know, it was a
big thing. Motorcycles, jumping cars, flipping cannons. I mean, you
name it. It was a big sequence. And so I
was shooting it, and I remember I felt good about it.
You know, I never get a confident or excited, but
I didn't feel there was a problem in what I

(01:07:42):
was doing. I felt I was doing what I always do.
And I remember Joseph wasn't like excited. He wasn't He
just didn't say much and then after I finished the sequence,
what I heard happen behind the scenes before he called
me into his office was like, Yes, he didn't understand
my dailies, and he thought that I wasn't getting the

(01:08:03):
stuff that he was hoping he'd get. So he went
to the editor and said, listen, Spirril stuff is not working.
It's this, it's this. He goes, pull out all putage
from other movies and put together a sequence to make
this work. And the editor goes, wait a minute. He goes,
give me a chance with Spirril stuff. I see stuff
that's gonna that's work, and let Jeff goes. Joseph goes, no, no, no, no, no,

(01:08:26):
it's not I don't it's not gonna work. Find footage
from old movies of ours and put a sequence together.
And so he told that to the editor, and two
things happen. The editor, thank god for me, did not
listen to Joseph and decided he would make a crack
at editing the sequence. Okay, so he didn't listen Joe,

(01:08:47):
and he edited with just the footage I shot. But
in the meantime, Joseph calls me in his office and
because he was sincere, he said to me listen, I
don't you know, I don't think.

Speaker 4 (01:08:58):
I got what I was open to get.

Speaker 5 (01:09:01):
You know, for the money I spent, because you know,
he spent more than he's ever spent to hire me.
But I also, you know, took less than I normally do.
But it was a gift gift, and he just said,
you know what, there's not big, big action. I'm not
gonna let you go and have somebody else that I
could afford finish the movie. Now I had a pay
or play, so I could have said that Joseph, Hey, Joseph,

(01:09:22):
you know you still got to pay me because I
didn't take any other show. But I didn't. I felt bad,
and I just believed he was sincere and I just
couldn't understand why he felt that way, and walked away
without asking for the rest of my money. And in
the meantime, the editor cut the sequence, and obviously once

(01:09:44):
everybody saw it, they told Joseph, how much you know,
the show's gone to another level.

Speaker 4 (01:09:49):
This is it?

Speaker 5 (01:09:50):
And I guess that it was very successful, and so
then I as the rest of history.

Speaker 4 (01:09:56):
You know, I've done.

Speaker 5 (01:09:58):
I've been best friends with him and done all his
movie since then. He tried one other time to do
the same thing, but it never worked because you know,
he just there's been some you know, a couple of
funny stories where he's tried to stop me from shooting
a stunt and then I had to do it, sneak
it and all that, and he's probably told you some
of those. But we've had a pretty crazy and wonderful relationship.

(01:10:20):
But yeah, so he fired me and then all of
a sudden they cut it, and then I've done every
movie since then at his and then his friend for
thirty something years now whatever.

Speaker 1 (01:10:29):
Skin So your first big sequence with PAM Entertainment that
actually ended up in the movie was the armored car
sequence the.

Speaker 4 (01:10:38):
Last Man's Stand.

Speaker 1 (01:10:40):
Yeah.

Speaker 5 (01:10:40):
Yeah, but real quick on the Sweeper, we did that
pier sequence and we had more car hits I think
than any other movie has probably ever done up until
John Wich just did on their show.

Speaker 1 (01:10:52):
Yeah.

Speaker 5 (01:10:53):
So that's another thing. Think about it, thirty something years
ago on a million dollar plus whatever budget and we've
got you know, like thirty car gifts and people flying
off the pier and stuff like that.

Speaker 1 (01:11:06):
Oh yeah, I mean that peer sequence at the beginning
of The Sweeper is absolutely incredible. You know, it's it's
got that loveable thing about the fact that the pier
is probably about thirty miles long.

Speaker 4 (01:11:19):
If at those piece, it's no different.

Speaker 5 (01:11:23):
It's no different than the Fast and Furious when they're
on the airport with the airplane.

Speaker 4 (01:11:28):
Oh right, yeah and.

Speaker 5 (01:11:29):
That and that was actually seventy miles long. Yeah, no, no,
exactly that airport in history.

Speaker 1 (01:11:36):
Yeah, that goes on forever. But no, you get completely
embroiled in it. You know, you get you suspend belief
and you enjoy the sequence because it's so well done.
But yeah, you hit multiple tables and multiple people. I
mean yes, like you say, what was it like twenty
people or something? Twenty five people are something that roll
over that co Yeah, and then you do a similar

(01:11:58):
stunt from the end of Maniac Cup one.

Speaker 5 (01:12:03):
Yeah Cup with me also doing that stunt. That was
me at the end of Sweeper, I'm the one went
in the water.

Speaker 1 (01:12:09):
Yeah, you had to kick off. In both cases, you
had to kind of kick off the vehicle so that
the vehicle didn't hit you, like you that was that's
in both cases. That's an insane stunt.

Speaker 5 (01:12:20):
So yeah, and even though I was directing that sequence,
I kind of wanted to do do it, you know again,
And that's the stuff that I that was that made
it worthwhile to work with Joseph and the guys had
a good time. And you know, anytime there was a
scene when we did the pier sequence, one of the
stunt guys did something really stupid back then and took

(01:12:42):
my steps out and threw them off the pier, being
silly in the water, of course, but you know it
was like that. It wasn't the smartest thing for him
to do, but he was trying to have fun. So
because of that, wardrobe had a clown outfit. So I
made him wear the clown outfit to do the car hit.
I said, well, you're wearing clown offits for people to
get pictures of him looking like a clown. So you know,

(01:13:04):
that's kind of what I like to do, and I
still do that today.

Speaker 1 (01:13:07):
Yeah, there must be I guess working within a stunt
team like yours that I as you explained at the beginning,
you've kind of kept for years and years, and yes,
added onto and so on, But there must be this
incredible camaraderie, great stories, everything you've been through. It it
must be almost like having your own little platoon or something.

Speaker 5 (01:13:29):
If there's anything I could walk away from and my
whole career, that is it that I am with the
same people I was back in the eighties. It's the
same people, you know. Look, I have the same editor,
the same dps, the same stunt people, you know, all
the people you know, camera operators. They're all the same
people that We've been together my whole career. They're the

(01:13:51):
reason I'm here. I do think so on orthodox when
I tell people to turn to right, I mean left,
and the next time I tell them to right right
the next time, so they know when I say that,
how to figure out my crazy ideas and language. And
so we've been together. I'm very I've lost jobs, I've
fought the jobs. I've taken pacts so that I could

(01:14:13):
keep my team together. And so that's been a big
part of my life and career. And you know, I'll
never let that go.

Speaker 1 (01:14:20):
When we're talking about like building sequences, I think the
other one that jumps out to a lot of people,
and I think Joseph even mentions this. In fact, he
mentioned this when he was being into interviewed is the
hanging sequence in Sweeper with see Thomas Howe and again
the way you put those actors into those stunt sequences,

(01:14:43):
it's really believable. I mean, especially with see Thomas how
You know he sat there on the edge of the building,
the camera is up high, he's smoking a cigarette. At
the end of the sequence, you buy fully that he's
really there because and look, I don't have a fear
of heights, but I'm not my leg over a building
and hanging out and whatever like he did, so fair

(01:15:06):
play to him. But yeah, talk talk about the sweeper
hanging sequence. That's I mean again, all in camera, all
for real, just incredible.

Speaker 5 (01:15:14):
No that Yeah, that's that's actually one of my favorite
favorite moments because it was something not cars. I love
actually shooting stuff that's not cars more than I do
cars because I've done so much of the cars and
I have a hard time getting people to like you
let me do it. And then one of the movies
I did that I got a lot of acclaim for when
people like who did this and it was like Spirows,
Like wow, was like Skull Island. You know, Kim Kong

(01:15:37):
Ye shot all the action, even shot actors and shot
all the stuff and there was no cars in it.
You know, helicopters and Kim Kong and all that, But anyway,
so doing that that hanging. The whole idea of that
was to get that shot looking down because to me,
it's like a guy's risking his life. He's taking out

(01:15:58):
the bad guy and he's risking his life and he's
taken the audience for a ride at the same time.
So that's what that whole thing was about. It was like,
because I always what my number one goal in anything
I do as a director action director is the first
thing is what is going to get the audience? What

(01:16:19):
is the what am I? I want to get the
audience to like what I do and feel it. So
whenever I get excited about something, it might not be
the biggest it might not be this. It's not about
I'm getting my demo reel or this. It's about the
audience will remember this or it'll leave an impression. And
to this day I have to fight and I know

(01:16:41):
one of the places about it Fast and Furious, But
to this day, even on the last fast, you know,
I have to fight the director when I come up
with an idea and he looks at it and goes no, no,
And but I have a feeling about it. I have
a feeling that, no, we have to do that, the
audience will remember this or like this.

Speaker 1 (01:17:00):
Of course, of course the sequence in the sweep with
the gas kind of stays. I know Joseph told me
a little bit about it. But did you have anything
to add to that sequence? Just because again another kind
of standout.

Speaker 5 (01:17:14):
Did you notice what? What's the biggest thing that that is?
Like mind boggling. Nobody would ever do in a movie ever, ever,
you would never see this in a movie. It's the
most blatant thing. Here's the thing. For that sequence to work,
it had to be done at night to see the
explosions and all that, right right, it's the only way

(01:17:34):
that sequence could work, right, or it wouldn't. It wouldn't
have half the impact without all the cool fire and.

Speaker 1 (01:17:41):
Stuff, right right?

Speaker 5 (01:17:42):
Do you remember what? You don't? You don't remember what's
wrong with that sequence? Do you?

Speaker 1 (01:17:48):
No? I don't, and I watched it.

Speaker 5 (01:17:53):
It's oh my god. Then I don't know how how
we got away with it, because we got away with murder. Yeah,
thirty seconds before he goes outside to get in the
car at night, it's broad daylight. Literally, it's broad daylight.
We're doing a shootout in broad daylight at noon. Yeah,

(01:18:13):
and then he goes outside and it's and it's it's
midnight from in thirty seconds, not even in fifteen seconds.
So to make it people forget about it, and it
worked with you. That's why he goes down these steps.
He had him going down the stairwell longer than you
ever would like. Normally, you go down some steps for
five seconds, seven seconds, and you're out the door. He

(01:18:34):
went down these steps for like twenty seconds to help
by time that it went from noon night to midnight.

Speaker 3 (01:18:42):
And yeah, and we don't notice, we don't.

Speaker 5 (01:18:47):
It's unbelievable because when you look at it again, you go,
oh my god, literally literally broad daylight and then you
know ten seconds later it's midnight. So that's what Joseph
would do.

Speaker 4 (01:18:58):
He cared.

Speaker 5 (01:18:58):
He knew that the audience will to be entertained, so
if it would make a big impact to do it
at night instead of daytime, then he didn't care.

Speaker 4 (01:19:06):
If we did that.

Speaker 5 (01:19:07):
Yeah, and you know that sequence was cool because I thought,
you know, of course I looked at it again and
that's one of the few sequences that we definitely over over.
You know, like shot, the guy must have shot ten
thousand rounds, yes, in his gun, and that that's one
that definitely went on too long after seeing it again.

Speaker 1 (01:19:27):
And he's an incredible shot. Didn't considering he's driving along
and just sort of occasionally spraying bullets out the back window.
He's a great shot. Hits those canisters every time.

Speaker 5 (01:19:38):
Well, that's why we gave him a machine gun. To figure.
With a machine gun, you know, he could afford to miss,
you know. But when I looked at when I looked
at the semi sequence, the bus sequence on the beginning
of rage or early on, I mean during rage, you
know that to me was like it didn't feel like
I mean, it was long, but it didn't feel like

(01:19:58):
like over and over as much as the CO two sequence.
But you know, I guess back then, people you know,
they want to be entertained, so we gave it to them.

Speaker 1 (01:20:07):
Oh yeah, the more explosions the better. And the fact
that you were able to I understand from Joseph, I
think that you were the one that put the button
on it. You were like, well, we'll have a canister.
We've already established early on in the chase that the
canister can like hit his car or whatever. We're going
to have the canister bounce up onto his hood. He's
going to drive up behind his car. He's going to

(01:20:29):
nudge the canister into the back of his car and
then see Thomas Hallell shoot the canister and that's how
the bad guy will blow up. And my understanding is
you kind of put the button on that that that
was your idea.

Speaker 5 (01:20:40):
Yeah, yeah, and that was after looking at it again,
that was much like like that made me feel like, wow,
you know, that was kind of a clever idea back then.
You know, yeah, I thought it was a good way
to tag it and make it personal where they he
could look at the cannister, look back at CT and
it just made it personal. And those are hard find
a lot of times, you know, where you have the

(01:21:02):
moment where you have those close ups that you can
go back and forth for enough for the audience to
just say, yeah, he's gonna get his you know, those
are great moments with.

Speaker 4 (01:21:12):
A big gag.

Speaker 1 (01:21:13):
So there we go a little bit with spirosadist there
about the PM Entertainment films that he made, as well
as some in depth stuff about the sweeper stunt sequences
now we go back to the regular conversation about the
movie with Ty and Brett from Come Up and Reviews.
Don't forget to check out that blog, and also don't

(01:21:34):
forget to like, share, comment, subscribe, follow, rate, review all
the free things that you can do to support both
our podcast and Come Up and Reviews dot net. That
would be awesome. And we're just gonna have a couple
more commercials and then back to the conversation. Thanks so
much for listening, Thanks so much for supporting, and we

(01:21:56):
do hope you'll become a regular in these parts.

Speaker 2 (01:22:00):
TI, I know there's something you want to mention about
the mall scene. You know, I loved a bit where
you can see the Virtuosity poster because that's my favorite movie.
It's nice and you know, it's it's there's a lot
of nineties miss to it. So if you have a
nineties nostalgia, this this movie should hit the spot for
you because for a lot of different reasons. But yeah,

(01:22:21):
the Virtuosity poster just in the mall. After you know,
they go around the corner from a borrow and there's
a scene which we haven't mentioned yet with oh I
can't remember her name, but she the woman who meets
him at meets got It at the bar and wills
Cinda Williams. She says, yeah, my son watches Power Rangers

(01:22:41):
all the time. Uh, and he's eating cereal and the
cereals up to six dollars a box.

Speaker 3 (01:22:46):
And well that.

Speaker 1 (01:22:47):
Whole Cinda Williams scene, you know, and it will follow
on in c. Thomas How's directorial film Pure Danger. Clearly
someone around PM, or maybe it's Tom hol himself, big
fan of Tarantino, because that is if ever you wanted
to learn, Like a lot of people praise Tarantino, and

(01:23:10):
I'm not going to dismiss him. He you know, he
has a place in the world, and I understand why
people like him, and I certainly liked him growing up,
and I get it. You know, the aftermovie, Dina, My
first show is named after a concept from True Romance.
So you know, I'm as much a Tarantino cinefar as anybody.
But the fact that PM Entertainment proves in this short

(01:23:34):
scene about Cereal that a hooker who's not really a hooker,
who's set up by Ji in order to what in
trap him into joining the I didn't really understand what
she was doing. But there's a whole scene where she
talks about cereal and the difference between honeycomb cereal and
cocoa puffs, and he's like, I'd fuck with some cocoa
puffs or something, and you're just like, it's straight out

(01:23:56):
of like a Tarantino movie. While two criminals are talking
about something completely unrelated.

Speaker 2 (01:24:02):
Oh yeah, no, that scene I've clearly had a Tarantino influence.
I think there's no question.

Speaker 1 (01:24:07):
But it shows how easy you can imitate him, is
what I like about it, because it's really effective. It's
a really effective, well written scene.

Speaker 2 (01:24:15):
I mean, yeah, if you can come up with some
pop culture dialogue that does absolutely nothing to move the
plot along, then you're then you're kind of in Tarantino territory. Ty.

Speaker 1 (01:24:24):
You were saying about the mall earlier. The only thing
that I am sad about is that it's not the
mall from Rage where they had a PM Entertainment video store.

Speaker 3 (01:24:34):
It was the greatest day. Yeah, yeah, what video store.

Speaker 1 (01:24:39):
Tie. Every time I see Rage, I go I just
want that as a video store. I just want to
be transported back to be able to buy any tape
in that and poster in that.

Speaker 3 (01:24:49):
Video it must.

Speaker 2 (01:24:50):
It just seems so real when please yeah, do we
know that that's not a real video store?

Speaker 1 (01:24:57):
Well, mainly because they trash it, so I'm guessing it's
not a real well maybe, and that every movie in
there and every movie poster is PAM Entertainment. I think
one more overall thought I have about The Sweeper is
the clothes that see Thomas Hal wears. And if you
watch the CEE Thomas Hal movies that he's in for PM,

(01:25:20):
certainly This and Pure Danger and The Big Fall, there
is a lot of interest in his wardrobe. I feel
like in each movie he's paying a lot of attention
to his wardrobe. But I wonder if the Sweeper because
his out his outfits are outrageous. I mean, they're just
they're so bad it's ridiculous. I mean, if you ever want,
like when people go, oh, man, I wish we could

(01:25:41):
go back in time. If you watch The Sweeper, you go,
now it's okay. I don't need to go back in
time when grown men were wearing beads, some kind of
tooth around his neck, t shirts with leather waistcoats over
the top of them. At one point, a denim jacket
with no sleeves, a multitude of bandanas and hats and things,

(01:26:05):
none of which suit him. At one point he's all
matrixed up to the hilt, even though this was a
couple of years before the Matrix, wearing a long black
leather coat and sunglasses. And whatever I mean is there's
no nineties stone unturned when it comes to Hal's ridiculous outfits.
Tie and Brett your commentary.

Speaker 2 (01:26:28):
And also if we're talking about the nineties, you know
he had that kind of goatee, yeah, which it's like
just just around your mouth, you have hair in nowhere else.

Speaker 1 (01:26:40):
I believe it's called a van dyke. As Kevin Smith
likes to educate us on the Chasing Amy commentary, he says,
it's not a goatey, that would just be chin hair.
If it has a mustache as well, it's commonly known
as a van dyke.

Speaker 2 (01:26:54):
Which is that style was very big in the nineties,
and of course Howell has that, so I think to
show that once again he's troubled. He has a tattoo,
don't forget about it. It's like a skull and crossbones,
I believe, right, and and all the and the sunglasses
he wears which kind of have like a downward slant
to them, So it kind of looks like he's angry

(01:27:15):
when he wears sunglasses.

Speaker 1 (01:27:18):
Very deeply into everything that happens in the movie.

Speaker 2 (01:27:21):
Yeah, so that that's an expression of his his attitude
and once again his past trauma.

Speaker 1 (01:27:26):
So you are you a psychologist and or therapist in
your in your day joke by any time?

Speaker 2 (01:27:33):
No, I'm not. I just play one on a podcast. Okay,
But but I guess I would say that there's more
to these movies than people think if they take the
time to uh look at them the deeper meaning. I
guess my last couple of thoughts would be as far
as the action. You had all these very very excellently
uh staged scenes, but once it gets to that scene

(01:27:54):
with the with the rolling propane tanks, I think that's
when it achieves what I would call action genius.

Speaker 1 (01:28:01):
Yes, it's like, you.

Speaker 2 (01:28:02):
Know, okay, now we've reached to this transcendent level where
it's like, okay, this is actually like genius level action.
So I think it reaches that level in that one scene.
And also if you watch a show the Shield, I
think this kind of prefigures what happened on the shield
by a good many years.

Speaker 1 (01:28:19):
I think it also sets up a very tough task
that actually it succeeds on, and that is, well, hell's bells.
If this action scene with the gas tanks it's thirty
five minutes in or forty minutes in or whatever it
is into the movie, what the hell are they going
to do for the final sequence? You know what I mean?
Because this would be the end sequence of any other movie,
you know.

Speaker 2 (01:28:39):
Uh, well, I mean that's pm for you, right, yes,
would right in the middle.

Speaker 3 (01:28:43):
I was like, okay, so how can the top this?

Speaker 1 (01:28:44):
They kind of did, Yes, they do. They land a
plane on a freeway and drive several cars through an
oil tanker.

Speaker 4 (01:28:53):
Yeah.

Speaker 2 (01:28:53):
I couldn't believe that in the car and there's just
some like skidding, crashing, flipping cars just thrown in for
good measure.

Speaker 1 (01:29:00):
Of course, well there always is that you can't drive
down a highway in a PMN statement movie without ramping
at least four random junker cars. In fact, at one
point I think bront well, there's the Bronco towing the
boat with the explosion and flip. That's that's fantastic. Towards
the end of the gas canister falling from the truck. Chase,
there is a car flip, and then another car ramps

(01:29:23):
over that car that was just flipping, all of them
all the while both cars are on fire.

Speaker 2 (01:29:28):
I mean, do you think about the work and time
this must have taken. And I know you're saying they
didn't have a lot of time, but still, I mean
to even think of this and execute it.

Speaker 1 (01:29:38):
Well, they filmed that in one night. They will have
filmed that in one night. That's what's insane. A Hollywood
would take maybe a week to film that. They probably
filmed that in maybe two nights, but I'm betting probably
one night.

Speaker 2 (01:29:50):
It's kind of like do it and get it done,
and get it done quickly, and that probably is partially
responsible for the results that you see. You know. It's
it's they're not laboring over every little detail. They're just
gunning it. They're just going forward. It's great. It looks
like beyond scary, all these NonStop explosions.

Speaker 1 (01:30:09):
Yeah, I mean, it's it's it's it's incredible what they
get away with. And then of course during the end sequence,
Grandma also you mentioned earlier, Brett that Grandma says, you know,
your dad was really a good cop and dispatches a
bunch of wisdom that, see, Thomas How really could have
used about two weeks before, you know what I mean. Like,
If anything, the message of this movie is visit your

(01:30:31):
grandma more often, because she has all the knowledge right right.

Speaker 2 (01:30:36):
And and she offers him some lemonade, which he doesn't take.

Speaker 1 (01:30:40):
Well, he doesn't take anything. He doesn't want to take
anything from anyone.

Speaker 4 (01:30:43):
Right right.

Speaker 2 (01:30:46):
See I'm rubbing off on you, John.

Speaker 1 (01:30:47):
I think that's he's cynical, even about grandmother's lemonade. I mean,
come on, see, Thomas How, there is a there is
a moment where you can let your guard down, and
that's with Granny dearest.

Speaker 2 (01:30:58):
Come on, I know exactly. I'm trying to think there's
ever been a moment in my life when someone has
offered me lemonade and I said no. And I really
don't think there has been. I think someone offers it
to me, I always just say yes, yes.

Speaker 1 (01:31:08):
But no, go see your grandmothers more often. That's the
message of the entire movie, because she comes through with
the knowledge that could have helped How way before he
murders hundreds of people. She also says that both him
and his father were good cops. Again, I would disagree
with that they are not. Neither of them are good cops.
They both seem to be needlessly aggressive, have a lot

(01:31:31):
of mental health issues. Because even before we learn what
we ultimately learned about Jeff Ay, he's driving down the
road with his son in the back of the car, saying, like,
you know, I want my kid to be a cop,
and he ain't watching no sense mystery and like, you know,
I bet your kid gets bullet at school, and you've
been bulleted into buying your wife a stupid car because

(01:31:53):
your wife's stupid and you're stupid, and cars are stupid,
you know what I mean. Like he's he's already a
deeply miserable guy, you know what I mean, his wife
who has nervous anxiety like you wouldn't believe. He just
has a phone call, and the moment he hangs up
from the phone call, this woman is about to go
into you know, it's true, the fetal position because of

(01:32:18):
how anxious she is.

Speaker 2 (01:32:19):
Yeah, but it's interesting that that is the first scene
of the movie where he's kind of setting they're kind
of setting out their stall there and with his philosophy
of life, right, you know with with the Goddard family.

Speaker 1 (01:32:30):
The family Crest is like shoot first and ask questions later.

Speaker 2 (01:32:34):
H's like a fist punching someone in the face, a
gun and an exploding gas.

Speaker 1 (01:32:41):
And if you come across a pedophile on which you
have actual evidence, like they have physical evidence, this is
a slam dunk case. No, throw his face into a
more pillar and stamp on him several times in full
view of hundreds of people. That's the way you are
a good cap you know what I mean? I mean,
what an idiot anyway.

Speaker 2 (01:33:03):
And also another TV show that this kind of reminded
me of a little bit is Dexter, because you know
how Dexter kind of works on the outside of the
law to get the bad guys that slipped through the
justice system. It could be that Dexter the makers of
Dexter watched The Sweeper as well.

Speaker 1 (01:33:19):
I well believe it. I well believe it. So we
finished the movie. We have a shootout at the Ji Mansion,
the Justice Incorporated Mansion with hal versus Louder Louder again.
There's a weird bit where Loud pretends to be hiding
in the car, then jumps up and drives off and
instead of just stepping out of the way of the car,

(01:33:41):
Hal leaps up onto the hood. Then it becomes a
car chase. During the car chase, that's where we see
the broncho towing the boat, explosion and flip. We see
several crashes. I mean, no one on this freeway can drive,
mainly because Hal and Louder are you know, careering through
all of them. But there are several crashes. Then they
all there's a huge pile up into a tanker explosion.

(01:34:02):
How then drives through the explosion, removing the roof of
his car in the process, which makes him very happy
that he now has a convertible. We get that great
shot of the car driving through the fire and then
Hal popping up in the front seat. It's so cool,
I mean, it's such a great thing. Then a plane

(01:34:25):
that Louter has managed to call on a walkie talkie
that he just happens to have, as if this plane
is constantly flying around just in case Louter needs picking
up and droppings.

Speaker 3 (01:34:38):
At that moment.

Speaker 2 (01:34:39):
Right, Yeah, I love that.

Speaker 1 (01:34:42):
So the plane lands on the highway, picks up Lauter,
How gives Chase, How jumps from his now and this
is the reason why he needs a convertible so he
can just stand up on the car and grab the
wheels of a of a biplane that's that's flown down
onto the highway. He climbs up the plane. Again, this
is all done for real. We see a stuntman in

(01:35:04):
mid air climbing up a plane. There's no CGI, I know, nothing.
It's all done for real Loud to look hilarious. In
this flight cap, they have a little scuffle on the plane,
you know. And if you think about it, like even
Indiana Jones, I'm thinking of Last Crusade, Like when there's
a plane sequence, it's all you see, like the line
around it. It's all either back projection or blue screen

(01:35:25):
or whatever. Not here. This is all done for real. Again. Obviously,
Howl Aloud have filmed against a blue sky, probably on
the ground with some people like shaking the plane to
make it look like it's in motion. But it's still
a lot more effective, I think than blue screening it.

Speaker 2 (01:35:41):
I agree with that.

Speaker 3 (01:35:42):
Yeah, it looked pretty good for what it is.

Speaker 1 (01:35:45):
It really does.

Speaker 2 (01:35:46):
Yeah, and we did kind of touch on this before,
but we probably should tell the audience this plane we're
talking about isn't exactly Air Force one. This thing is.
It looks like Snoopy and the Red Barn are going
in the south.

Speaker 1 (01:35:57):
It's a bright orange bipe. I think I'm right in
saying it's like a piplane, right, two seat piplane.

Speaker 2 (01:36:02):
Yeah, it's like that's it, which is also think for
the Stumman, there's no place to hide. I mean, you know,
you got this thing's out there in the open, and
you got to do it because right, and it's.

Speaker 1 (01:36:12):
Bright orange, so it's not like they can hide wires
against it or anything like that. Like, it's pretty crazy.
And then it all ends with a huge high fall
from the plane, which again is very impressive. So it's
a fantastic movie. I absolutely adore it. Absolutely. The last thing.
Actually you did touch on this earlier, Bretton, I want
to go back to it very quickly. The direction of

(01:36:35):
this movie. I really think that, Like and I obviously
as I keep watching PM in order and start to
kind of really get an overview of every movie that
they've done rather than the sort of thirty five that
I've seen over and over again, I'll sort of be
able to see him progress. But the direction and the

(01:36:55):
cinematography especially with the rooftop chase, and then this final
action sequence on the freeway is really genuinely stunning. And
you know, some of the camera moves to establish you know,
we talk about economy of storytelling. The camera moves on
the roof as they're running along into that corner, and
the camera moves up off the roof and goes up

(01:37:18):
over the top. I mean, you know, that's lethal weapon
where the guy like jumps off the roof. That's lethal
weapon level good filmmaking. Like it looks like a Hollywood movie.
It looks it looks really really good. The soundtrack here
as well. It's like a good Orchestel slash since soundtrack.
It's not the usual kind of PM entertainment kind of

(01:37:40):
keyboard stuff. It's a really good soundtrack. And there's scenes
in this movie that really look phenomenally well shot. And
I think the roof sequence and this last sequence are it. Anyway,
that's my feeling, Ty and Brett. Starting with you, Tai,
let's go favorite scenes. Hit us with your three favorite

(01:38:01):
scenes for the movie.

Speaker 2 (01:38:02):
Well, love the car case with the canisters. Of course,
you got your World War two don hat from ed laughter.

Speaker 3 (01:38:10):
Yeah, And.

Speaker 2 (01:38:12):
It was like You're right. Everything just looks nice and bright,
which I really enjoyed. Dude, he's not dark. You can
see what's going on. Shootout was fantastic before the Canisters chase,
so like.

Speaker 3 (01:38:24):
All those are all my favorites.

Speaker 2 (01:38:26):
And the beginning, I mean, the temptation is just to
go down the line with the action scenes like I was.
The rooftop chase is fantastic, the Canisters obviously is incredible,
and the peer scene. Like just if we were just
going to pick out the action scenes, yeah, they're all gold.
I mean, they're They're better than a lot of Hollywood
action scenes of a similar type. But you know, if

(01:38:48):
I'm going to think of some other scenes, I would
probably have to say the the when his sister, whose
name is Teresa Movie is dancing to disco while the
family is getting shot.

Speaker 1 (01:38:58):
Yeah, and then the shootout at the beginning of the
family is very reminiscent of The Professional where Gary Oldman
goes in and kills all of Natalie Portman's family, And
then the whole idea that the you know, the bad
guy is sort of taunting the sun and being like no,
and you pull the trigger and I'm going to give

(01:39:18):
you your shot and all this sort of stuff. It
sort of feels a bit like that.

Speaker 2 (01:39:22):
Yeah, I didn't even make that connection. Yeah, that's that's interesting. Well,
it chose that, you know, PM. You know, it was
a synthesis of things. You know, it's like it was
Hollywood things that have come before, but also they're ahead
of their time in some ways, like I said, like
the shows like The Shield and Dexter. So yeah, they
were kind of synthesizing what came before, but also prefiguring
what came later. So it's really the perfect mix of

(01:39:44):
the past, present, and future.

Speaker 1 (01:39:46):
I would say I completely agree, and to quote Martin
Scorsese of old people, if everyone steals, so steal from
the best.

Speaker 2 (01:39:53):
Absolutely, yes, and I agree.

Speaker 3 (01:39:55):
Maybe he watched PM movies.

Speaker 1 (01:39:57):
Too, oh a thousand that Martin Score says he has
like a PM library somewhere in his screening room.

Speaker 2 (01:40:04):
Tarantino does, I mean for sure Tarantino does.

Speaker 1 (01:40:07):
Oh yeah, of course. Tarantino is all over PM entertainment
and probably gets little jollies that he inspired a couple
of scenes in the movie. One of my favorite scenes. Weirdly,
it's one of the shortest scenes, but one of my
favorite scenes just because I think it's such a perfectly
executed stunt and such a hilarious stunt to happen. Is see,

(01:40:29):
Thomas How goes, you know, he's been murdering all the
members of this like drug cabal or whatever. And he
bursts into the room of one of them, lights him
on fire because he's been he's been poured booze everywhere
or whatever, lights him on fire, and then the guy
on fire runs at him. Sea Thomas how goes, Oh shit,
a guy's running at me while he's on fire, and

(01:40:50):
just dives out of a window, hits a van on
the street, manages even though the guy on fire is
right behind him, manages to get out of the van
before the guy on fire hits the van, and then
the van explodes. It's such a it's such a simple,
deceptively simple yet obviously like intricate sequence, you know what

(01:41:12):
I mean. Like it's one of those things where it's
like Spiro saying, I want to do a high fall
while I'm on fire, you know what I mean. He's like, well,
how do I do that? And then take it to
the next level, all right, I crash into a van
and the van explodes, you know, like, it's like adding
that little cherry on the cake right at the end.
It's adding that little chef's kiss to the otherwise impressive stunt.

Speaker 3 (01:41:33):
That's where all the stunts are. They're all cherry on
top a lot of cherries.

Speaker 2 (01:41:38):
But we went this whole time without mentioning Janet Gunn,
who's the actress that plays the female member of ji Oh.

Speaker 1 (01:41:45):
Yes, the woman from the aforementioned shower sex scene.

Speaker 2 (01:41:49):
Yes, yes, yes, I feel like we should probably at
least shout her out because I thought she was good
in the movie. And also she was later in the
Quest with Van Dam and she was on Renegade and
Silk Stockings and all the great shows and movies.

Speaker 1 (01:42:05):
The number of people who in my favorite B movies
of all time ended up either in one episode or
several episodes of Silk Stalkings is very impressive, because almost
everyone from my favorite B movies have gone through the

(01:42:25):
Silk Stalkings TV franchise.

Speaker 2 (01:42:28):
Well, ty, you've seen every episode of Self Stocks Selk Stockings,
so it's like the ones of Chrys Lorenzo or you know,
robsters are better, you know.

Speaker 1 (01:42:39):
Of course, she's also in Knight of the Running Man
one of the better post Brat pack Andrew McCarthy movies.

Speaker 3 (01:42:46):
Fantastic in that.

Speaker 1 (01:42:47):
Okay, well that was absolutely fantastic, guys. That was a
great conversation all about the Sweeper. Lastly, we're going to
finish this up with two rankings. I want your ranking
within PM and Aertainment Films, and I want your ranking
within c. Thomas Hall movies. Oh, if that's at all possible.
If it's not possible, don't worry about it. Do either

(01:43:09):
of you know where you would put this in your
PM Entertainment rankings?

Speaker 3 (01:43:15):
For me?

Speaker 2 (01:43:15):
Number one, number one for PM. Well, it's a tough one.
As you mentioned before, you know, Sweeper, Last Man's.

Speaker 3 (01:43:23):
Standing, Zero Tolerance, Recoil.

Speaker 2 (01:43:25):
I just loved It's my first movie. The first PMO
ever seen was a Sweeper. Oh, I have a special
bond to it. Plus it was amazing. Well for sure,
I mean yeah, I mean for me, I mean top
five for sure. I mean I mean number one. That's
a respectable, you know choice. I mean, but it depends
on the day, Like you know, one day could be
Last Man Standing or Zero Tolerance. But yeah, I mean yeah,

(01:43:49):
but I would say top five if that's an acceptable answer.
And for see times how movies, which I have a
lot of them, John, if we add your name at
your punctuation, very versation, but twenty five of his movies
on tape, so it's probably number one again.

Speaker 3 (01:44:09):
But yeah, I still have you know, have Kid, which
I just watched. Did you like it?

Speaker 4 (01:44:14):
Yeah?

Speaker 2 (01:44:15):
Kid is John. Have you seen Kid?

Speaker 1 (01:44:17):
I haven't.

Speaker 2 (01:44:18):
No, you should check it out. I mean, it's not PM,
but there is some interesting parallels to The Sweeper because
and this is not this is not a spoiler, but
in that movie, see Thomas Hall's parents are murdered and
he's out for revenge.

Speaker 1 (01:44:32):
So I imagine that probably happens.

Speaker 2 (01:44:35):
Yea, his parents killed.

Speaker 3 (01:44:37):
Well. Subspect Device also a really good movie. You haven't
seen that one.

Speaker 2 (01:44:41):
But I mean, for me, it's probably it's got to
be The Hitcher because oh good point. I mean that
that's very tough to beat. But the sweepers right up there,
and I mean Kid and Sweeper. The Kid and the
Hitcher really jump out, as as some of Tommy's best I.

Speaker 3 (01:44:57):
Know, we almost met him John, Yeah, he.

Speaker 2 (01:44:59):
Almost came into terrific home, but but he bailed.

Speaker 3 (01:45:03):
Yeah, he was there the previous day.

Speaker 1 (01:45:08):
It's difficult for me because obviously I have been watching
a lot of PM lately, and I've been watching a
lot of like not the rareer ones, but the less
talked about ones like Shotgun and Still Frontier.

Speaker 3 (01:45:20):
And Good Shot Shot Shotgun of Jones.

Speaker 1 (01:45:24):
Shotgun is Shotgun and Steel Frontier and my two favorite
PM entertainment films so far.

Speaker 2 (01:45:30):
With spoken with Brian Huckaba Chicken not yeah, not yeah, chicken.
If you go to our review, he actually wrote in
and gave a little behind the scenes if you oh nice, yeah,
so yeah, to go to our site and look up
Still Frontier you'll you'll see that.

Speaker 1 (01:45:47):
So, so this is how mine shakes out. I have
Shotgun and Still Frontiers joint first, and I know that
when you ever joint first, the next one is meant
to be the third, but I'm not doing that. We
get joined first, Shotgun, Still Frontier, Joint second is Living
to Die, Ring of Fire three, Rage and Inferno, and
then joint third. I have like one, two, three, four, five, six, seven,

(01:46:12):
eight nine movies that would be in joint third position. Wow,
the Sweeper is one of them. So the Sweeper actually,
if you just go from my listing, the Sweeper is
in my top fifteen of PM entertainment and they made
over one hundred movies, so it's it's it's way up there.
It's alongside Pure Danger. I might give Pure Danger the edge.

(01:46:36):
I don't know if you've seen Pure Danger.

Speaker 2 (01:46:37):
But no, I haven't time.

Speaker 3 (01:46:39):
You've seen that a long time ago.

Speaker 1 (01:46:41):
I need to get I think I think it would be.
It's difficult, right because the action in the Sweeper is
so phenomenal, but then the the just the weird, gonzo
mad decisions that Thomas Hall makes in Pure Danger. For
my kind of love of film, maybe slightly pips the

(01:47:04):
Sweeper a little bit so in my ranking of C.
Thomas House. So it's in my you know, it's in
my it's joint third with like a bunch of movies.
It's joint third with like The Killer's, Ed's The Art
of Dying. They're a Tolerance Guardian, Angel, t Force, Last
Man Standing, Pure Danger and the Sweeper in the Silences.
Those I all give four stars to four out of

(01:47:25):
five on letterbox. So you know, it's in very good company,
I feel like. And in terms of Sea Thomas Howe movies, yes,
the Hitcher has to be number one, but then Pure
Danger is right behind it, and the Sweeper is probably
number three with then The Outsiders is number four. So
I'm sorry, Francis four coupler. I do put both see

(01:47:46):
Thomas Howe as a director and Joseph Mary above you.
Apparently in my see Thomas how rankings.

Speaker 2 (01:47:53):
Wow, that's you're making Pure Dangerous on really great. I
got to check that one out.

Speaker 1 (01:47:58):
Pure Danger is great. The other thing we don't mention
it because he doesn't direct this one, but you know,
after this one, they give the chance to see Thomas
how to direct a couple and I love the way
PM did that. I think it's such a breeding ground
because they said to actors who no other studio was
going to give, see Thomas how necessarily the chance to
direct the movie. They gave him his first chance. Now

(01:48:21):
he would go on to direct others, I believe, but
I believe that PM Entertainment gave him his his directorial debut.
I think I'm insane.

Speaker 2 (01:48:30):
And the Big Remind me again, what's it called?

Speaker 1 (01:48:32):
The Big The Big Fall?

Speaker 2 (01:48:34):
The Big Fall? Interesting one?

Speaker 1 (01:48:37):
So I'm wrong. Sorry, he made a movie called Hourglass
before Pure Day, which so maybe they didn't give him
his first opportunity.

Speaker 2 (01:48:45):
But The Big Fall is kind of a departure in
a sense because it's not a you know, seventeen cars
blowing up on highway movie. It's like a film noir.

Speaker 1 (01:48:54):
The Big Fall is fucking weird.

Speaker 2 (01:48:56):
You know. It's like, it's like Thomas Howell is doing
like a Raymond chand where a type of Philip Marlowe
kind of thing.

Speaker 1 (01:49:04):
It's also mad that he goes on to make a
bunch of like asylum style flicks. The next four that
he directs a War of the World's to the Next Wave,
The Day the Earth Stopped, the Land that Time Forgot,
which is you know, these are all like asylum styles
straight to cable CGI fests basically, and then the Genesis Code.

(01:49:25):
So you know, see Thomas, as well known as he
might be for The Brat Pack and The Outsiders and
Hitcher and various other things, he makes his directorial bones
of squarely in the B movie world. But I have
to say, based on the IMDb rankings, his two PM
entertainment films are his best well.

Speaker 2 (01:49:45):
And not just there, I think in our world as well, oh.

Speaker 1 (01:49:48):
One thousand percent, I agree, all right, So that brings
to an end our wonderful episode on the Sweeper. I
can't thank you both enough for being on this show.
It is a film that demands to be seen, talked about,
and experienced, and I'm so glad that there are other
people in the world who feel that what PM Entertainment

(01:50:09):
we're trying to do, it's not only genuinely entertainment, but
it's it's genuinely strong, thoughtful independent filmmaking. Where they've gone,
you know, how do we have economy of storyline? How
do we have economy of budget? How do we have
economy of action? Like you know, they they thought it
through and made the best film possible.

Speaker 4 (01:50:31):
I think, oh.

Speaker 2 (01:50:32):
Yeah, oh, I completely agree. And if there's anyone out
there who hasn't seen it or hasn't seen it in
a while, watch it or rewatch it, and I think
you'll be pleasantly surprised.

Speaker 3 (01:50:41):
Can't agree more hard. Yeah, We're like, you can have
this movie. I see a lot of a lot of movies.
This is another one. They were just lucky to have
them go on to any time.

Speaker 1 (01:50:50):
Yeah, I agree, it's going to be on It's going
to be on repeat for me in my little PM entertainment.
Den Well brett Ty. We will have you back on
the show, no doubt at all. This has been an
absolute joy. Thank you so much for being on this
PM Entertainment podcast episode We'll We'll, We'll see you again
down the road. If you give me some ideas tie

(01:51:10):
on Instagram about some of the other pms that you'd
like to cover, then I'll put you on the list.

Speaker 2 (01:51:17):
Thanks for having us. This has been a lot of fun.

Speaker 4 (01:51:19):
There's a lot of fun.

Speaker 1 (01:51:20):
Yeah, you are leaving the entertainment podcast S

All Episodes

Episode 1 - The Sweeper

Episode Transcript

Popular Podcasts

NFL Daily with Gregg Rosenthal

On Purpose with Jay Shetty

Dateline NBC

.css-15opob5{left:0;position:absolute;top:0.8rem;} All Episodes

.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Episode 1 - The Sweeper