Episode 2 - Rage - The PM Entertainment Podcast

Episode Transcript
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Speaker 1 (00:00):
You have had the entertainment podcast.

Speaker 2 (01:01):
Hello and welcome to an all new episode of the
PM Entertainment Podcast, the show that jumps back in time
to the bygone era of the video store, when shelf
after shelf needed stocking with rentable genre fair and one
company in the late eighties stepped up to fill the void.
Started by Richard Peppin and Joseph Merry in nineteen eighty nine,
PM Entertainment emerged as a gun shooting, glass smashing, car tossing,

(01:24):
explosion making powerhouse of the straight to video scene and
phenomenal film school for martial artists and actors looking for
their big break in the leading role and for future
film talent in the world of stunt cinematography and more.
I'm your host, John Cross and don't forget. If you
like the show, please remember to rate and review us
on any podcasting platforms you use, share our Facebook posts,

(01:46):
like comment, and you can contact us via our email
Pmentpod at gmail dot com. That is pm e Ntpod
at gmail dot com. Our guest this week was my
partnering crime for many years on the former Doctor Action
and the kick Ass Kid podcast, where we would do
comical commentaries on various eighties and nineties action films, former

(02:09):
episodes of which are still online if you're interested.

Speaker 1 (02:12):
He is a risk.

Speaker 2 (02:12):
Taker, a heartbreaker, a lousy baker, a one time casual
listener of Cooler Shaker, and has never spent time with
a devout quaker. It's the Doctor of Action himself, Doc
Paul Crossen. Sir, it's a pleasure to have you on
the show.

Speaker 3 (02:26):
It is an honor to be on this show. Thank
you very much for having me on.

Speaker 2 (02:30):
Oh, you're very welcome, sir, You're very welcome. Just to
introduce you to the listening several anyone who is not
aware of Doctor Action the kick Ass Kid Podcast, Although
I'm sure there are some listening today that remember that
fantastic show that we did for many We did over
one hundred episodes of that. We did that for quite
a while. Were you always into action films from an
early age? Was action a genre that you gravitated to

(02:54):
when you were first renting movies back in the day.

Speaker 4 (02:56):
Absolutely.

Speaker 3 (02:57):
I grew up on SWA, Sylvester Stallone, Sean Claudevan, Dan,
you know, the usual suspects, and that progressed through to
all different types of the action genre. Really martial arts,
Bruce Lee, Jackie Chan, and then you know, watching those

(03:18):
sort of films, you start going down the different tunnels
to different other action cinema. You know, John wu was
a big one at the start of the nineties that
was coming through, and that was a whole different type
of action which just kind of exploded onto the scene.

(03:39):
And then then we had this sort of offsprings of
PM Entertainment. So he's always intrigued me as a genre actions.

Speaker 2 (03:47):
Yeah, And do you remember when you first came across
a PM Entertainment film and sort of recognized it, Like,
was there a movie that you saw the logo at
the beginning of it, and when oh, it's one of them,
do you remember.

Speaker 1 (04:00):
At that moment or not? Were they just part of
your general action viewing?

Speaker 3 (04:05):
I think I probably rented them, but to be told,
it was probably just another logo. I didn't think it
was until we started doing the podcast ourselves and we
were sort of both doing a bit of research and
you sort of start connecting the dots certain actors. Gary
Daniels was in quite a few, Don Wilson, and then

(04:29):
you do look at it and you can see you
can see where PM Entertainments formed, and it's much like Canon.

Speaker 1 (04:36):
Yeah, they are the Canon. Yeah, Canon is the forerunner.

Speaker 3 (04:40):
Yeah, definitely, absolutely, Yeah, and PM Entertainment was, you know,
as you're going to discovering the podcast, just because they
primarily did action, didn't they primarily?

Speaker 2 (04:55):
Yes, they do some thrillers and dramas, they do some
sci fi films, but predominantly most of them have some
level of sort of action in them, even if they're
more you know, even if they lean heavier on the
thriller stuff or even the comedic stuff that they did. Yes,

(05:16):
they do a bunch of genres, but I mean action
is what they became rightly known for, because I can't
even Canon even when you look at Canon. And what's
interesting is I just recently watched a ton of documentaries
on Canon, both The Go Go Boys and Electric Boogaloo
one that Mark Hartley did. And what's really interesting about
Canon is sort of their whole model was more growth

(05:40):
based and more based on, you know, we want bigger
names and bigger movies and bigger budgets and bigger things.
And what's interesting about PM Entertainment is while yes, obviously
their budgets grow over time and they become a lot
action heavier, and a lot martial arts heavier and other
things as the movies go on. They never they never

(06:01):
went the way of Cat. They never got to a
sort of breaking point where they had entirely too many
movies being made at once for too much money. I mean, yes,
they were. They definitely got to a point where they
were like, all right, we don't want to do this anymore,
and they kind of sold the business. But you do
feel like with the budgets the way they were, because

(06:21):
I don't think any of their budgets really got much
above maybe a million, million, two million, anything like that.
And that's even for like the much later ones. You know,
most of these were made for under half a mill
three hundred and fifty four hundred thousand dollars, things like that,
shooting on thirty five mil. And they were knocking out
ten of these films a year. But they were all

(06:43):
very much within the same kind of format. They weren't,
you know, unlike Cannon, where they were like, well, we'll
do a big, you know, Superman sequel at the same
time as doing a Death Wish sequel at the same
time as doing you know, the Universe at the same
time is doing like a huge ZEPHYRRELLI, you know, costume

(07:06):
thing like they were. You know, it was entirely too
many things going on at once, you know what I mean.
Or at the same time they were buying up theater
chains and studio backlots and things like that, like Canon
just kind of grew too quickly and two large kind
of thing. And what's interesting, I think is that what
PM Entertainment seems to learn from that, not that I

(07:26):
don't not that I think it was necessarily conscious, but
what they seem to learn from that is keep the
you know, pool of talent close and happy. So once
you find someone good that you can build a franchise
off or make more movies with, keep it going, keep
the budgets much of the same, and shoot as best

(07:48):
you can in the sort of Los Angeles to Las
Vegas kind of area, you know what I mean. They
weren't flying all around the world to make these things, and
you know, they were sticking with the same cruise a
lot of the time, and as we'll find out, a
lot of the same actors. So I just think that
their stuff is while it's probably more samey as opposed

(08:08):
to Cannon, films where sometimes you watch a Cannon film,
you're like, this was a Cannon film?

Speaker 1 (08:12):
Who knew?

Speaker 2 (08:13):
You know, Like you see the logo at the beginning,
you're not even aware of it. With PM Entertainment, I
think you always know what's coming. But they definitely use
that Canon model of you know, and the Roger Corman
model as well. Let's not forget Roger Corman is definitely
a precursor for these guys as well of make something
happen on the screen every five to six minutes.

Speaker 3 (08:33):
The company Karlco did the opposite thing in the late
eighties and nineties. They sort of went too huge and
sort of burned out, didn't They bit PM Entertainment sort
of knew the formula just if he's not broke.

Speaker 2 (08:49):
Right, And there were other guys doing it, Like you know,
I've been collecting VHS now in America for a while.
I mean I always collected it when I was growing up,
but since I opened my videos, I've been collecting VHS
tapes again. And you know, you see the same production
companies come more frequently, so things like Vidmark is a

(09:10):
big one restaurant.

Speaker 1 (09:11):
Obviously, people know.

Speaker 2 (09:13):
And they all have their own style like when you
watch sort of three or four Vidmark movies back to back,
you go, oh, okay, But there's something about PM Entertainment,
there's something that there's something unique. Their films have a
unique flavor to them, and I think it's predominantly because
they were a company that realized very early on that

(09:34):
the model they wanted to go for was the straight
to video model. They weren't making these to be projected
on a big screen, although some of them did get
film festival screenings and things overseas for film markets for
especially the Germans are a big fan of PM Entertainment,
and obviously the Asian market is huge with action films,

(09:55):
but in general these were made to go on video
and that was their whole model, which was taken, funny enough,
from the adult film world that Rick Peppen came out
of early on in his career. They were doing stuff
straight to video and he saw or where he had
a friend of his who managed the big, big production

(10:17):
house for adult films, and just saw this huge warehouse
full of videotapes and the guy was telling him what
they make just shipping videotapes around the country, and he
was like, well, we could always do.

Speaker 1 (10:28):
That, and he kind of went back to Marry and said,
maybe this is a model.

Speaker 2 (10:31):
So very interesting anyway, and PM Entertainment, I think, more
than anything else, has, as I say, a very defined style.
It brings back a lot of the same actors over
and over again, and as we'll find out as well
a lot of the same stunt performers and stunt coordinators.
So when you were sending me DVDs because Doctor actually

(10:52):
the kick ass Kid, just to let people know, kind
of came out of this idea that I too had
grown up watching kind of acts movies, action adventure movies
predominantly like Indiana Jones and The Lethal Weapons and movies
like that, and but had never ventured, although I kind
of knew like Don the Dragon Wilson as a name,

(11:14):
and knew Cynthia Rothrock is a name, and probably had
seen some of their movies growing up, just because they
were kind of either on TV or at the video store.

Speaker 4 (11:24):
Yeah, do you remember seeing like the video front covers?

Speaker 2 (11:27):
Yeah, definitely. I mean I knew these names, these names
were sort of out there. I can't say that I
knew Gary Daniels and Jeff Speakman before meeting you and
talking to you, but you know, I knew some of
the things you know, and when you started, when we
started the podcast Doctor Action, the kick Ass Kid, Doc
was very kind to send me a ton of DVDs

(11:51):
that he had found in charity shops or thrift stores
as they call them in the US and various other
places and send me out like kind of what I
call sort of a action B movie primer. There were
thirty or forty movies that you ended up sending me.
I think over time, maybe not that many, but certainly
it seemed to like a lot that I still watch today.

(12:13):
And I don't know whether you were aware of this,
but a good handful of them were PM entertainment films.
Now that I have my movie collection all organized here
in the house and I have all my pms kind
of together, or at least my action stuff all together,
I look back and there were a surprising amount of
ones that you sent me. I think, Rage, you sent me, Riot,

(12:36):
you sent me. There was quite a few from back then,
and so I kind of jumped in very quickly. It
was really the Doctor Action show that got me up
to speed on these things. And then I think i've
kind of I know you then sort of went off
and started watching Westerns and other genres and things like that,

(12:56):
but I sort of stuck with B movie actions, and
then it's for me. I think my love of it
and my knowledge of it and working out kind of
where everything sits on a timeline has sort of become
even more my passion.

Speaker 1 (13:11):
Now.

Speaker 2 (13:11):
I think you are woke a beast in me, sir,
and that beast continues to row.

Speaker 4 (13:16):
Yeah, I think it's true.

Speaker 3 (13:18):
I think your knowledge far surpasses mind now on the
B movie genre, action action genre.

Speaker 4 (13:25):
Yeah, and I'm happy to hand the crown over.

Speaker 2 (13:29):
I can say names like Frank Zagarino and know who
I'm talking about.

Speaker 4 (13:34):
Yeah, project indeed, right, Yeah, all right.

Speaker 2 (13:38):
Our film on this episode is the Gary Daniels starring
Vehicle Rage, which might be considered probably the most well
known of the PM Entertainment films and certainly one of
the very highly regarded ones. It's from nineteen ninety five.
It's directed by the m of PM Entertainment, Joseph Mary,
written by Joseph John Barmettler and Jacobs and Heart, both

(14:01):
of whom wrote some of the best key titles for PM,
including T Force, Pure Danger, the Silences, Guardian Angels, Zero Tolerance,
Steel Frontier and many more. And the stunt coordinator and
second unit director was none other than Spirorisatos, whose name
you'll hear a lot around here, but who cut his
teeth in the horror genre and B movie worlds for

(14:21):
many years with films like Streets of Fire, Tough Turf,
The Return of Living Dead two, the mani At Cop franchise,
to name a few, but finally went fully mainstream as
the main stunt coordinator on the Fast and Furious franchise,
The Captain America films and Kong Skull Island. Before we
kick into our review and comments on the film, it's

(14:43):
time for the PM Entertainment bullet points. Do you see
what I did there? It's bullet points and bullet point anyway.

Speaker 4 (14:50):
I like it. I like it.

Speaker 1 (15:13):
For rage.

Speaker 2 (15:13):
This is going to be an epic list, so here goes.
We have fighting explosions, car chases, a tanker and truck chase,
cars flying through the air, cars flying through fire, Men
flying through the air, man flying through fire, people thrown
through glass, a big fat, abusive cop, loudmouth, abusive news

(15:35):
chief antagonist, rival journalists that are clearly morons, once ruined
journalist protagonist who kind of looks like a frog human
hybrid makes good low level cameos with Mark Metcalf and
Peter Jason, completely unnecessary SNM based bedroom scene, frying pan
fight with a man in a leather skirt, semi comic

(15:57):
fight with man and woman both in SNM gear where
they'd rather trash their own house than simply ask Gary
Daniels a question. Big evil company with only eighty million
in assets who somehow have the entire police force of
Los Angeles and the FBI at their disposal, seems so
quaint nowadays, considering eighty million in assets is nothing.

Speaker 1 (16:17):
In twenty twenty.

Speaker 2 (16:18):
Five, hanging off a high building, falling from a high building,
swinging from a high building onto a helicopter, hanging off
a helicopter, fighting while hanging from a helicopter, and falling
from a helicopter. Trucks drive through windows, stopping in the
middle of being chased by absolutely everyone to have sex
on your sense's enormous yacht video store full of PM

(16:40):
entertainment posters that gets completely trashed. A more shootout, diving
off a carousel onto a T shirt vendor and Crowbard
in message at the end of an otherwise enjoyable ramp
of a movie. That's quite the list. Do you have
any thoughts on that list right off the batser.

Speaker 4 (16:58):
I think that's pretty much it or covered. Yes, it's
a good list.

Speaker 2 (17:02):
It's a great list, good list, and not every single
PM entertainment movie is going to have a list that long,
but I think it's it's worth letting people know what
they're in for.

Speaker 4 (17:11):
Absolutely action galore.

Speaker 1 (17:13):
Action galore.

Speaker 2 (17:14):
So first of all, we're going to start off with
our overall thoughts. Dark over to you, as I've been
talking quite a lot, what is just your initial overall
thoughts on the movie Rage?

Speaker 4 (17:24):
When you say rollercoaster of a film.

Speaker 3 (17:27):
I was watching it and I sort of realized after
sort of half an hour, it's kind of like.

Speaker 4 (17:33):
There's not much plot that's been given away. You kind
of know that there's not the plot's there, but it
is so much more in service of the action. It's
purely an action film.

Speaker 2 (17:46):
Yeah, my feeling on it was that if the PM
Entertainment edict was make sure that every six or seven
minutes there's an action sequence, I feel like Rage flips
this on its head and it's almost like Joseph Mary
Is like, make sure every six to seven minutes there's
a small dialogue scene.

Speaker 3 (18:07):
Yes, yeah, just let everybody know that it's not a
silent film, right exactly. Yes, Yeah, but it's it's full
on and the action is so good, so good. Oh, definitely,
it's Yeah, it's highly thought of because.

Speaker 4 (18:30):
It really is.

Speaker 3 (18:32):
Just it was levels above other action films at that
point in the nineties.

Speaker 2 (18:41):
Yeah, and I think if there's any movie from the
PM Entertainment list that could have gone mainstream, you know,
Rage is one of those. And I'll say there's probably
a lot on the podcast, but Rage is one of
those that I think if there was a full blown
sixteen y nine widescreen remaster of this movie and it

(19:03):
did the convention circuit or the festival circuit or the
retro house circuit, you know, like the Landmark Cinema chains
or the Alamo Draft House chains, I think this could
get a whole new audience very very easily. It's such
a polished film.

Speaker 3 (19:20):
I think if we if you, if you do the
job right on the podcast, which I know you will,
getting attention, I could see a criterion.

Speaker 5 (19:37):
And have.

Speaker 4 (19:40):
By the end of the year.

Speaker 2 (19:43):
Yeah, you see Criterion. So not like Arrow or Blue
Underground or Vinegar Syndrome or Shout Factory, straight.

Speaker 4 (19:52):
To the top these Criterion Collection.

Speaker 1 (19:55):
Yeah.

Speaker 4 (19:57):
Yeah, And then we could add Waller Hairs are going
in Entertainment Collections box. That amazing.

Speaker 2 (20:07):
Can you can you imagine Erner Hurts are going in
and going, oh, look you have Rage starring daniels A
love Lyes.

Speaker 1 (20:17):
Yeah.

Speaker 4 (20:17):
I think that would be the cherry on top of
the cake.

Speaker 2 (20:22):
So what you think this podcast will lead to not
only the Criterion Collection putting out every PM entertainment film,
but them then being available in the Criterion closet. And
of all people, Werner Hurts are going into the Criterion
closet and at least putting some PM entertainment films in
his bag.

Speaker 5 (20:39):
That.

Speaker 3 (20:39):
Yes, that's that's kind of the goal I think you
have to have in life.

Speaker 2 (20:43):
Yes, think big is what you're saying, Think big, dream
big man have dreams.

Speaker 1 (20:51):
Yes, I would. I would love that.

Speaker 2 (20:53):
I would love that, especially, as I said, all joking aside,
like when you think of some of those bigger movies
that we mentioned at the beginning, whether it's the Swarzenegger
ones like Terminator or Commando or the Stallone ones like
Cobra and Rambo franchise and things like that, well, obviously

(21:13):
PM are playing with smaller budgets. This film, I think
is basically the most perfectly realized PM entertainment movie. And
what I mean by that is sort of from concept
to screen, it sort of didn't put a foot wrong.
It's you know, sometimes there are scenes in PM entertainment

(21:34):
films where you have to kind of go, I don't
know what that scene meant, but clearly they were going
for something. But all right, onto the next thing, you
know what I mean? And Rage doesn't have any of that.
And the number of movies that owe this movie a
debt because while yes, okay, there are some P of
entertainment films that people will say, are you know, straight
to video ripoffs of bigger Hollywood movies, this one feels

(21:58):
to me like it actually inspired a ton of Hollywood movies.

Speaker 4 (22:03):
I'd definitely say so.

Speaker 3 (22:04):
I mean that Freeway Chase alone is really really top notch.

Speaker 4 (22:12):
How much was the budget for this? Have you found
that out?

Speaker 1 (22:15):
I have not found out the budget for this. I
can have a quick look.

Speaker 4 (22:19):
I couldn't find it.

Speaker 3 (22:20):
The fact that it was made for less than a
million probably is crazy considering what Netflix does nowadays, and
it looks terrible, and this was all practical and it
doesn't ooka It wouldn't look out of place in a
John Wick film.

Speaker 2 (22:35):
Yeah, I mean I've always read in general that the
budgets hovered around three hundred and fifty thousand to five
hundred thousand, and then later on went up to like
a million, That's what I read.

Speaker 3 (22:48):
I mean, even a million, it's insane.

Speaker 2 (22:52):
But we also have to remember that like in the
last five years, let alone in the last ten years money.
You know, Titanic was made for what two hundred million?
Was that the biggest budget there was up until that point, right, yes, Yeah,
since Titanic was made for that, you know, two hundred
million is like, you know, it's like that's like just

(23:14):
a regular budgeted film these days, whereas I feel like, okay,
not in Hollywood. It's obviously you have in the nineties
and big hitters like Jurassic Park and and others that
come out where their budgets are sort of fifty sixty
seventy million.

Speaker 1 (23:29):
But yeah, I still think.

Speaker 2 (23:31):
That for the sort of straight to video era, whether
it's the Corman stuff, the Canon stuff, the PM Entertainment stuff,
the Vidmark some of these other things. I think a
million two million is pretty I think pretty standard, but
I don't I don't.

Speaker 3 (23:49):
Know absolutely, but for what they achieved on that, it's
pretty remarkable what they We know every percent of that
budget is on screen, oh one hundred.

Speaker 2 (24:02):
One of the quotes is that PM Entertainment's budgets were
typically around three hundred and fifty thousand and were shot
over a course of about fifteen days.

Speaker 4 (24:11):
That's fucking crazy.

Speaker 2 (24:12):
Yeah, And very often they were shooting, especially later on
in PM Entertainment, they were shooting two or three films
at once, very often, which is why sort of Merry
direct some and Pepin direct some, and then they bring
in like Munchkin and a couple of other directors. But
most of their stuff is only directed by a handful

(24:33):
of people, and most of their stuff is all produced
by the same people and edited by the same people,
and they try and keep similar stunt crews and everything working.
But you can definitely tell the difference between like a
Cole s McKay stunt coordinated PM film and a spirorosatas.

Speaker 3 (24:51):
Yes stunt like the Theater group.

Speaker 2 (24:55):
Yeah, I feel like Spiro and I feel this way
about a lot of his stuff because I've just because
I'm a horror fan, a B movie fan, and an
action fan. You know, I've seen a ton of movies
that Spiro worked on, and my feeling was that most
of those movies he's experiment like he is, he wants

(25:15):
stuff for his show real, you know what I mean.
So he's he's like, Okay, what can we do? Any
other comments on the general film as a whole, any
other comments on No.

Speaker 3 (25:25):
Not really, I mean it's not it's not a testing
plot that you know, being exploited by the media. It's
kind of it's kind of on point with where we
are today. It's kind of made, you know, what the
news will do for a story, right, It's kind of there,
isn't it.

Speaker 2 (25:43):
Yeah, No, there's definitely. They've definitely tried to whip in
a message there. The whole innocent you know, before being
proven guilty kind of thing. The whole not court of
public opinion, but rather you know, a natural court, you know,
corrupt officials, all that kind of stuff is in there.
I mean, just to give people an idea if they
haven't seen the movie. Very brief plot outline is that

(26:06):
a junior school teacher played by Gary Daniels, who is
a good family man, one day, accidentally during a carjacking,
gets embroiled in a secret, seemingly government run and mysterious
science fiction company run testing laboratory where they're injecting people,

(26:26):
especially illegal immigrants, which is another touchy subject right now,
with a serum that sort of makes them stronger and
less moralistic. And what it does with Gary Daniels when
they inject him is give him the rage. And basically,
you know, we find out that as a mild mannered

(26:48):
junior school teacher, he's also always in the gym doing
kung fu, so that's convenient. We find that out later
on from his wife's brother.

Speaker 1 (26:58):
Who he goes to for help.

Speaker 2 (27:00):
But in general, he's just, you know, a regular schmo
put in extreme circumstances, and I have to say, deals
with them very resourcefully. I don't know how much serum
you would have to inject me to get me at
the top of a skyscraper hanging on merely by my fingertips,

(27:20):
but it would have to be a fuck ton of serum.
Not enough, not enough serum in the world to get
me up a tall building like that. Even watching those
stunt sequences turn my stomach. To be perfectly honest with you, like,
I'm not I'm not good with heights of the best

(27:40):
of times. But what's incredible. And we'll get onto this
when we talk about our favorite scenes. But I watched
Argyle last night, the new Matthew Vaughan movie, and prior
to that, I had watched the new Guy Ritchie movie,
The Ministry of Ungentlemanly Warfare, and having watched Rage in

(28:03):
between those two, is it really cemented? And I loved Ministry,
and I thought I got Argyle was just okay. But
what it really cemented for me is that one of
the things that I think is my drug when it
comes to PM entertainment, the thing that keeps me coming
back and back all the time is the stunts done

(28:24):
for real. There isn't a blip of CGI in this movie.
It's real stunt men doing really like hair raisingly dangerous,
stomach churning, what the fuck stunts in such a way
that you kind of look at it and go, I
can't believe this ever passed a permit, you know what
I mean?

Speaker 4 (28:44):
Oh, just how did they get insurance.

Speaker 2 (28:47):
Right exactly, And did anyone even care about insurance or
did they just go ahead and do it?

Speaker 3 (28:52):
No, no, the magors never cared about insurance exactly.

Speaker 2 (28:58):
So no, no, no, But yeah, I think you know,
that's another thing that stands out for me is my
desire to see like real stuff done for real and
shot in camera, and there's so much of that in Rage.
So let's go let's go through some of our favorite scenes.
So obviously, we start off at the beginning of the

(29:21):
movie with the first kind of action sequence, which I
guess is when our mild mannered teacher is carjacked and
then and then we sort of go on a bit
of a car chase that then leads to him being
brought to the secret underground testing facility. So that's the

(29:41):
first action secrets do you do you have any favorite
scenes in this in these early parts of the.

Speaker 3 (29:46):
Film, I like, I like calling it to be honest,
it does set a good scene.

Speaker 4 (29:51):
You know, he's he's like this really good teacher. You know,
the kids love him.

Speaker 3 (29:57):
He's you know, he's he's got a lovely life and child.

Speaker 2 (30:02):
They establish his character with wonderful what's the word.

Speaker 4 (30:07):
It's so simple.

Speaker 1 (30:08):
It's just taking.

Speaker 3 (30:09):
It's just take eating his kids, the most basic you know,
the basic things. Ever in a really good way where
you si he's a good guy.

Speaker 1 (30:19):
Right.

Speaker 2 (30:19):
They establish his character, I guess with like brevity is
what I'm trying to say. They sort of do it
with the minimum amount of scenes.

Speaker 4 (30:27):
But it's the head with it. It's just it seems
very natural.

Speaker 2 (30:31):
Right, I mean, essentially, the script says, we've got to
establish this guy as a good guy so that when
he goes on a rage based action killing spree, we
still side with him over the big evil, you know,
corporation and government.

Speaker 4 (30:49):
Yeah, we know it's not in the nature right.

Speaker 2 (30:52):
Exactly, and we'd sort of further get that renewed later
on in the movie with his neighbor.

Speaker 4 (30:59):
Yes, all right, thank you.

Speaker 1 (31:00):
I hope you're enjoying the show so far.

Speaker 2 (31:02):
We've been talking about our overall thoughts, and when we
come back after this advertisement break, we're going to be
talking all about our favorite scenes from the movie. These
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(31:22):
simply fast forward them, please appreciate that the reason why
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and we'll be back in just a moment, and we're back,
all right, and we're talking about our favorite scenes from

(31:45):
PM Entertainment's Rage.

Speaker 1 (31:47):
Yeah.

Speaker 2 (31:47):
So they establish his character and in fact, all the
characters very quickly, but nicely, and it doesn't feel like
they're skirting over anything, and if anything, it feels pretty realistic.
You see the end of a class where he's you know,
teaching them about animals and stuff. There's a sweet little
teachable moment where one of the boys in class is

(32:08):
all grumpy and he gets all the other students to
stand up and kind of tell him that they all
love him and they you know, he's a good friend
or whatever, which is sort of love.

Speaker 4 (32:17):
The world's not a bad place.

Speaker 1 (32:19):
Right, The world's not a bad place.

Speaker 2 (32:21):
You've got the fact that his students are all sort
of very loyal to him. There aren't too many kids
like playing up in the classroom, so he clearly has
their respect.

Speaker 1 (32:31):
You know, he goes home.

Speaker 2 (32:32):
He's a great father to his daughter, he's you know,
a great husband to his particularly randy wife. We only
really have two big scenes with the wife, and in
both scenes, you know, either he's desperate for a quick year,
she's desperate for a quick they have a healthy sexual marriage.

(32:54):
That's what we're saying, basically. Yeah, and so on his
way back from taking his daughter to a sleepover, a
guy jumps in the car with a gun. And we
have found out earlier on in the movie, obviously because
they kind of intercut Gary's introduction with the fact that

(33:14):
there has been a Mexican guy who's been bringing other
illegal immigrants across the border, and that border patrol and
local police and possibly the FBI, I don't really know.
There's a lot of people involved in this big scheme.
Apparently isn't happy with the people that are being brought
across the border because they are not strong enough, they're

(33:38):
not muscular enough, they're not fit enough, a lot of
them are malnourished and so on. So when they find
Gary Daniels in the car with the Mexican guy that
they are trying to get hold of, they're like, well, wait,
a minute. He's all muscular and well built and everything.
Let's inject him full of serum and see what happens.

(34:00):
And so it's sort of you know, Crank is the
closest to this movie, right, of all the sort of
movies that came out after it, I think Crank owes
a ton to this movie.

Speaker 3 (34:11):
Yeah, good point. I wonder if the makers of Crank
actually watched it.

Speaker 1 (34:16):
Oh a thousand percent a thousand I mean.

Speaker 3 (34:19):
Also the fact that you've got the two British leads
right as well.

Speaker 2 (34:22):
Yeah, no, I think they looked around for like, okay,
who is the Gary Daniels of today and it was
Jason Statham.

Speaker 3 (34:29):
Yeah, absolutely, Yeah, that's yeah, it's Gary Daniels.

Speaker 4 (34:34):
The accent, so I mean, where's that Gary Daniels from
his Essex?

Speaker 2 (34:38):
Well, he's from London I think originally or that area,
and maybe maybe he's East Columbon, but it's it always
sounds to me like an East London guy trying to
do an American accent. But they referred to him as
a Limey, so I'm like, maybe it's just his accent,
but it's a weird accent. It's not a normal English accent.

Speaker 4 (34:56):
Yeah, he should have played it like Hugh Gren.

Speaker 3 (35:01):
Yeah, I guess so, And that would have liked some
scenes really out of place, So when he's like sort
of talking to like the froggy man lads, when.

Speaker 4 (35:11):
I don't know what's come over me.

Speaker 1 (35:12):
I don't know what's going on, completely confused.

Speaker 3 (35:16):
Yeah, and he could have blended that sort of genre
with it as well.

Speaker 1 (35:19):
Yeah.

Speaker 4 (35:20):
Gary Daniels does a good job. Is this you know,
this sort of mild mannered.

Speaker 3 (35:27):
School teacher, but once he's got this rage serum in it,
you know, all bets are as well.

Speaker 1 (35:32):
Yeah, don't get in his way at all. I really
liked it.

Speaker 2 (35:35):
In terms of favorite scenes from the first half of
the movie, I have to say I really enjoyed the
when he breaks out of the and in fact, if anything,
if there is a scene that's sort of missing in
this movie, and I guess it's just to kind of
keep it rolling along. Maybe they shot it, but it
didn't include it.

Speaker 1 (35:55):
Is it does?

Speaker 2 (35:56):
There is a pretty big time jump between him being
kidnapped by this corporation to him breaking free, like it
happens pretty quickly, and you kind of there's a part
of you that's like, wait.

Speaker 1 (36:12):
Did he get the serum? Did he not get the serum?
Like do you know what I mean?

Speaker 2 (36:16):
Like the woman the nurse comes over and sort of says,
like just relax or whatever, and then the next thing
you see is him breaking out of his restraints and
attacking the whole place.

Speaker 3 (36:29):
Yeah, it's so action reent tasted. It's very brief, the
moments of that sort of dialogue just to know what's like,
you know what's going on.

Speaker 4 (36:41):
That's so that the basics of what's going on.

Speaker 2 (36:43):
Yeah, I mean, later on he does show off the
scars on his arm and says, you know, they hop
me up full of serum or whatever, which you go, okay,
well we'd assumed as much. But you never, like you
don't see it. You don't see him hooked up to
any machines, you don't see the needle going in, Like
all of.

Speaker 1 (36:59):
That is just skipped.

Speaker 4 (37:01):
Yeah, I mean, did they have him for Does it
say no?

Speaker 1 (37:05):
It doesn't say no. There's not like a time.

Speaker 4 (37:08):
That he was gone for a week or.

Speaker 3 (37:11):
He don't know really just sort of goes you know,
he's had something done to him. Yeah, and then the
next minute he's breaking out. So he could be like
two months later or or something.

Speaker 4 (37:23):
We just don't know, but.

Speaker 2 (37:24):
It's a great fight scene with you know, he has
this sort of it's not a straight jacket, but a
similar kind of thing, a sort of a restraining jacket,
and him fighting while also breaking out of that jacket
and basically getting down to the point where he has
both legs and an arm free, and then one of

(37:44):
the other arms is sort of still wrestling with this jacket.
I thought that was a really not you know, in
amongst the pyrotechnics of him basically destroying the lab and
taking down a ton of the agents working there, he
does a really good job.

Speaker 1 (38:01):
You know.

Speaker 2 (38:01):
It's always nice when you have like a martial arts
sequence where they add something you know different, like you know,
where the guy is having you know, is restrained or
tied to a chair, or is carrying a baby, or
you know, there's you know, when he's got something else
to do. As well as it just being a breakout sequence,
it always adds that little bit of interest, you know.

Speaker 3 (38:23):
Yeah, lacking hard boiled rays called the baby at the end, right,
and this breakout did remind me of like the job who.

Speaker 4 (38:31):
Right, bloodshed films.

Speaker 3 (38:32):
Yeah, double guns, slow motion gunfight battles, which is it.

Speaker 4 (38:41):
Yeah, I mean I suffer for that.

Speaker 2 (38:44):
Oh yeah, I love I love all of that stuff. Yeah,
I love all of that stuff. And I really enjoyed
this scene. And it's a good scene. It has that
he's only in it, very very briefly, but that kind
of I've seen him and other stuff like a big
domed faced, weird looking guy who plays the doctor at
the beginning. He's very scary looking. It's Gary Bullock, who

(39:04):
passed away just a couple of years ago. But you know,
he's in Twin Peaks, fire Walk with Me, he was
in Species, He's He's shown up in a ton of these,
either horror movies or b movies. He's in Buffy the
Vampire Slayer and in an episode and when you see him,
you would know him. But he's fantastic. He is a
very short scene, but fantastic as sort of the scary

(39:28):
doctor at the beginning of the whole sequence.

Speaker 3 (39:31):
Yeah, it's one thing in Hollywood having a good look here,
you know, being good looking, good physique and everything that
there's always the roles for the weird looking guy.

Speaker 2 (39:42):
Oh yeah, and they use him so well in this,
Like he's only in the one scene, but you kind
of get the idea, Oh, there's this weird, menacing, you know,
odd looking doctor who's going to be taking care of him,
or rather not taking.

Speaker 1 (39:55):
Very good care of him.

Speaker 2 (39:57):
So as we go through the movie, obviously the the
car chase, tanker chase is just phenomenal. He's got this
you know, abusive. He's either a border guard or a cop.

Speaker 1 (40:11):
I think he's sort of a border guard initially because
he's wearing a slightly different colored uniform to the rest.

Speaker 2 (40:18):
I don't think he's Los Angeles Police. He might even
just be like hired help for this scientific research unit.

Speaker 4 (40:27):
I don't know, but he won't be out of place
in a film now.

Speaker 2 (40:32):
No, he's weirdly though not what I thought. I would
have thought he was more of a stunt guy. But no,
just basically a character actor. It looks like I mean,
he was in one episode of Renegade, the Lorenzo Lamas
TV show, but in general just did some TV stuff.

Speaker 1 (40:53):
He's in Leprecorn two. Yes, he was in the.

Speaker 2 (40:58):
Usual suspect as a bodyguy. I'd always sort of low level.
Rage is possibly one of his bigger roles, but he
plays the main evil antagonist to begin with. He's the
guy who's been going after Gary Daniels and restraining him
and beating him up and all that stuff. And Gary
is held bent on bringing the fucker down. And it

(41:20):
takes an entire like what feels like, fifteen minute car
chase and tanker chase to get the job done.

Speaker 3 (41:29):
It's getting on a par with Mad Max too. It's
so good. Yeah, And I just like the logistics. It's
you're saying, this was made for half a million yet
to close a road.

Speaker 2 (41:43):
Right, and it looks you can always tell, weirdly enough,
when it's either an old road that hasn't been updated
lately or where you know where it's probably a section
of freeway that was about to be you know, worked
on and we tarmact maybe because you can always tell

(42:03):
because it looks like this is one of those roads
out West and I used to live out West that
has had all the seams, all the seams and potholes
and everything kind of filled in, but has still got
very old tarmac underneath. You can always tell when you
look at the roads that it's probably a road that
was due to be resurfaced. Yes, And they were like,

(42:25):
can we just blow some shit up on it for
twenty minutes. But no, I mean when you think of
sort of, I don't know, I go to something like
the Indiana Jones truck chase in Last Crusade, or the
car chase on the freeway in Lethal Weapon Fur with

(42:47):
rigs like hanging off the back on the table and
the plastic and stuff.

Speaker 1 (42:52):
You know.

Speaker 2 (42:52):
No, it's not necessarily to that level because it doesn't
have that money, but for three hundred and fifty thousand,
it's as close to that fuck level as you've ever seen.
I mean, there's there's one point where the tanker drives
into I love how. I love how he's in a tanker,
notoriously not a fast vehicle at all, and instead of
like chasing him down in a car, the other guy goes, wow,

(43:16):
fuck it, I'm getting into a school bus. School buses.
How difficult going over forty miles an hour?

Speaker 3 (43:22):
But okay, yeah, and just carry on shooting bullets at it.

Speaker 2 (43:27):
Yeah, just keep shooting bullets at what could? I mean,
it's most likely some form of oil or gasoline tanker, Like,
just keep shooting bullets at it. But no, so they
he decides, well, I've got an idea. This is a fat,
abusive cop. I'm going to play chicken with a tanker
in a school bus, and Gary daniels mild manner teacher's

(43:50):
solution to how he's going to get out of this
is quite entertaining.

Speaker 3 (43:54):
Oh yeah, yeah, I mean my most of his wood
just probably at the last second jump out of the door.
Gary Daniels decides instead to fly over there over the
upcoming bus.

Speaker 4 (44:10):
Yeah, it's a sight told.

Speaker 2 (44:13):
Well, they contrive it that the school bus goes slamming
into the tanker. Everything explodes, because of course it explodes,
and then Gary Daniels, who has got out onto the
roofs he's wedged down the accelerator pedal. Uh climbed out
of the window onto the roof. Everyone's like, what the

(44:34):
fuck is he doing? He the guy continues to drive
the school bus, even though we can see him on
the roof, drives the school bus into the tanker. I
don't know what he assumed was going to happen. Everything explodes,
and Gary Daniels, or a stuntman for Gary Daniels, flies
through the fire, through the air and just has a

(44:54):
very nice.

Speaker 1 (44:55):
Little roll when he lands on the ground.

Speaker 2 (44:59):
Anyone else would on fire and broken every bone in
their body.

Speaker 3 (45:04):
Yeah, it reminded me of the motorbike stump from Hard
Target with John clad Van Dam.

Speaker 4 (45:11):
Yes, yes, definitely, Yeah, it kind of reminded me of that.
But but you know, so good, so good, so good.

Speaker 3 (45:20):
He's like a proper fist pump in that's my boy moment.

Speaker 2 (45:23):
Oh yeah, No, there's a couple of moments in there.
And again it's a long old car chase, but like
they've put up a barricade, you know, a police barricade
to stop him, and they're checking every car that's driving
through the barricade and Daniels just drives the tanga right
through the barricade.

Speaker 1 (45:40):
It's like.

Speaker 4 (45:43):
Over.

Speaker 1 (45:43):
Yeah.

Speaker 3 (45:44):
The one little bit of dialogue is this old boy
in the truck so gay. And then they usually stopped
to pick up eachers because the team which trouble.

Speaker 4 (45:53):
He's like, oh god, you picked up the wrong one
this time, and is.

Speaker 1 (45:56):
Yeah, because he throws him right out of the truck.
And this is the thing.

Speaker 2 (46:01):
It's quite funny because all the way through the movie,
you know, we get to Kenneth Tiger who starts to
who's the frog faced man, Tandy, little toad faced man?
He takes on Gary Daniels's cause as sort of the
his cause as well, because he's trying to get back
in the good graces of his boss, having had a
former journalistic mishap in the past when he tried to

(46:24):
tell the truth and someone wanted to quash the truth.
They couldn't handle the truth, so they stopped him from
reporting the truth, and that put a sort of black
mark on his career. He's trying to get back in
the good graces of his boss. He's the only one
that Gary Daniels will talk to. But what's funny is
they keep professing Gary daniels innocence. And yes, he is

(46:45):
innocent in the sense that, no, he didn't ask to
be dragged into a scientific research laboratory and hopped up
on you know, rage based aggressive soldier serum that's meant
for you know, the military. No, he never asked for that.
But every decision he makes after that, and I understand

(47:08):
he's being chased by people, But like I say, this
guy who's tanker he commandeers. I get that he you know,
he had to commandeer it, and and you know he's
being chased and everything else, but he does just push
a man out of his own truck at high school.

Speaker 3 (47:24):
Realistic, he could just get out of the lorry and
walk up the embankment.

Speaker 2 (47:29):
Yeah, but that wouldn't make much of a movie, so
we should probably not point that out all the time.
But yeah, but yes, at any point in this film,
Gary Daniels could like stop what he was doing and
I guess allow the system to play out.

Speaker 1 (47:42):
But they threw enough. Yeah, exactly.

Speaker 4 (47:47):
Rage by Mike Lee.

Speaker 2 (47:51):
It's just Gary Daniels just being like, well, you know,
I was a mild mannered teacher and then I got
arrested and beaten up and hop full of drugs.

Speaker 4 (48:01):
Now I'm all the rage, but it'll quit, it'll go.

Speaker 2 (48:04):
Now I'm in a cafe, yeah, staring in at my coffee.
So that's a great scene. That the car chase is
a fantastic scene. Then you know, we have the incredible
skyscraper sequence which is really just.

Speaker 4 (48:22):
Before that.

Speaker 3 (48:22):
Don't we don't we have the inside the house where
the call gets traced.

Speaker 2 (48:26):
We do we have the sequence with the S and
M couple who beat the ship out of him. Yes,
but we can talk about it that the S and
M fight scene, sure, with the frying pans.

Speaker 3 (48:36):
Oh yeah, it's just it's just that's kind of where
they get their next lead on where he is.

Speaker 4 (48:41):
Yes, and yeah, this.

Speaker 3 (48:43):
Crazy scene with this couple, yeah, like you quite Pop
rightly pointed out, all we have to do was sort
of coming and go what you're doing?

Speaker 1 (48:53):
Why have you eaten all our meat and drunk all
our milk?

Speaker 4 (48:57):
Yeah? Why didn't have it?

Speaker 3 (48:58):
Why is it when people are so hungry in films?
Sort of you'd think he'd just sit there and eat,
but they sort of have to eat everything at once.

Speaker 2 (49:07):
Well, I think the implication is that the pain in
his stomach won't go away unless he feeds the rage.

Speaker 4 (49:14):
I think, like an animal.

Speaker 2 (49:17):
Yeah, I think that's kind of what they were going for.
So it looks like he's tucking into I mean, it
looks like Thanksgiving stuffing is what it looks like. It
looks like the kind of sausage and bread stuffing though stuffing. Yeah,
so maybe he's just eating gobs and gobs and stuffing.
They were like, Gary, we've spent all our money on

(49:37):
car chases, explosions and hanging off buildings, so I'm sorry.

Speaker 1 (49:42):
All we can do is mix up this powdered stuffing or.

Speaker 4 (49:46):
What more likely was that's what Caterin had that day.

Speaker 2 (49:50):
Yeah, that that too, and he wastes a hold cat
and the milk though, so that's at least probably back then.
Back then it was probably like a dollar fifty. Nowadays
that's like six bucks.

Speaker 3 (50:00):
That's probably why they were self set, right, they were
just like fucking just bought that mail.

Speaker 2 (50:06):
Unless, of course, as long along with being S and
M people, they're also into like baby play, the fact
that he wakes him up hitting him with a frying patner. Yeah,
I mean in novel, you know, they try and like
each fight, they try and do something different, which is

(50:26):
it was the nineties. We were much more liberated people
back then. But then we get the by the time
he gets to the offices of his brother in law,
they get a tip off that he's there, probably because
the receptionist sees him or something, and all the police
converge on this high rise in downtown LA, which leads

(50:48):
us to a sequence where my stomach was in my
throat the whole time. Let's talk about I think probably
what is outside of the truck and tanker chase, probably
what is the most famous sequence in Rage, which is
this insane stunt sequence up on the roof of a

(51:09):
large skyscraper.

Speaker 3 (51:11):
Yeah, midpoint of the film, I think, and it's it's
like it's the mission impossible stunt of the film.

Speaker 1 (51:18):
Yeah, I mean it builds so incredibly yeah.

Speaker 4 (51:24):
Yeah, And just when you think it's it's the.

Speaker 3 (51:29):
Where it's going to some tel seconds the helicopter turns up,
it falls out. You know he's just made it. It
falls off again, and you know it's there's no grip
on there. It's just like a It's exactly what PM
Entertainment Towers is a huge building made of glass ready

(51:53):
to be settled into.

Speaker 4 (51:55):
A one hundred million pieces.

Speaker 2 (51:57):
And what's what's quite impressive is that there are many
shots in this sequence where it is Gary Daniels. Yeah.

Speaker 3 (52:08):
Yeah, he was all present and there for the day
of shooting.

Speaker 4 (52:14):
Certainly.

Speaker 2 (52:14):
He runs to the top of the roof, realizes he's
being followed by many police, thinks, oh my god, the
only thing I can do is hang off the building
and hope they don't look over the side too much.
They all say he's not up here and run down.
But then what happens. A helicopter with a sniper shows up,
and even that like even a guy just sitting casually
on the edge of a helicopter, leaning out firing a gun, Like,

(52:36):
even that is giving me a little vertigo because I'm like,
there's nothing holding him in. You know, he's just sat
there on the edge of a helicopter firing a gun
over the top of La.

Speaker 3 (52:46):
Yeah, I say, you just wouldn't you. It wouldn't be
done today.

Speaker 2 (52:51):
No, No, I mean it would all be green screen.
All of it would be green screen. There would be
no yeah.

Speaker 4 (52:57):
I mean, yeah, proy winning a helicopter me.

Speaker 2 (53:00):
But even by the time you get to you know,
there are some Bond films where either the fight in
the helicopter or the fight on the wing of an
airplane or whatever is all filmed safely on the ground
with you know, big fans blowing to make it look
like it's flying through the air or whatever.

Speaker 5 (53:17):
You know.

Speaker 2 (53:18):
And I mean, of this era, there are very few,
you know, film companies that are really putting people up
in helicopters above high rises above Los Angeles while a
stuntman hangs off what seemingly is a sheer wall of glass.

Speaker 3 (53:33):
Like yeah, I mean, what's crazy is Tom Cruise does
it in Missy impossible for Yeah, and it gets all
this big coverage.

Speaker 4 (53:41):
Gary Deshus does it nineteen ninety five and it's.

Speaker 1 (53:45):
Yeah, well, Tom Cruise.

Speaker 2 (53:46):
To be fair to Tom Cruise, he was running around
the top of the tallest building in the world and
was just sort of like hanging out there enjoying himself.
I think that's what gets reported is Cruise is just
like OK and casual about it. It's not quite but
you're You're totally right. Gary Daniels deserves a lot of
products for doing what he does.

Speaker 1 (54:08):
Most definitely.

Speaker 3 (54:09):
Yeah, A'll say it just goes to show that the
nineties people were doing this sort of thing and there
was no big attention.

Speaker 4 (54:17):
Drew to it. It was just it was just the
time of movie making.

Speaker 3 (54:23):
And now with sort of as you know, everything's more protected,
there's more CGI, it makes more of a storm when
there's a big real stunt that goes off.

Speaker 2 (54:36):
Yeah, And I think it also is difficult nowadays because
you know, you look at the stunt team on something
like a Fast and Furious eight or whatever. A lot
of that stuff in Fast and Furious franchise is probably
done for real, but because there is so much CGI
use and other stuff, as well, blue screen, green screen,
whatever you want to call it.

Speaker 1 (54:57):
You can never.

Speaker 2 (54:58):
Tell what the real stuff, and therefore nowadays it sort
of all gets lost in the mix. Whereas you know,
meaning when you sometimes when you see these things behind
the scenes footage and you see that they really, you know,
drove a tank down a freeway or whatever in a
Fast and Fear film, you go, I wouldn't have known

(55:19):
because it was so cgi enhants that they could have
driven it through a studio and just green you know
what I mean. Like the latest Spider Man movie, the three,
the third part of the Tom Holland Spider Man movie
that was made during COVID, was all made in front
of green screen, even scenes of him walking down the
road in New York. So it's like it's very difficult

(55:42):
to tell these days. Whereas when you watch a sequence
like this in Rage, I think that you're right, Jason
Statham and others have been calling out for a stunt
oscar for years and years and years, and you know,
it would be a shame if that never came to pass.
But it's equally a shame that nothing like that exists
back in the day, because I don't know what Spirow's

(56:03):
team is doing and the sequence should have been just
highlighted and praised and a war. I mean, it's so
crazy there, you know, Yeah.

Speaker 3 (56:12):
I mean the thing is, if you'veld have had a
stunt a stunt section for the for the Oscars in
the nineties, it wouldn't have been oscar bait that were
up for it. It would have been the films from
PAM Entertainment because they without the room stunts. But they
wouldn't want it to They wouldn't have had those who
put the oscars. Unfortunately, maybe nowadays it's or a bit

(56:36):
more mainstream.

Speaker 4 (56:37):
They'll they'll do it.

Speaker 1 (56:39):
Yeah.

Speaker 2 (56:39):
And then there's so the sequence on top of the roof.
He's hanging off the roof. Then the police come up,
they decide he's not there, they go down. He climbs
back off the edge of the building onto the roof.
The helicopter shows up. He's like shit. Then he climbs
back down over the edge of the building again and
tries to crawl around the edge of the building, just
using his tiptoe to try and get away from the helicopter.

(57:03):
Eventually calls far enough to be hanging above several stories
above a kind of window washer cart that.

Speaker 1 (57:13):
They have on these high rises.

Speaker 2 (57:16):
Does a high fall from the building down onto the
window washing cut. Then the guy with the gun in
the helicopter shoots out the wire that is holding the
window washer cart. So then the stuntman goes sliding down
the side of the building on a window washer car,
only for the bottom of it to come loose and

(57:37):
him be hanging still several stories above the street from
the bottom of this window washer cut, swinging back and
forth on the edge of the building, eventually grabbing another
rope that's hanging down, and with that rope gets enough
momentum to swing and grab hold of the bottom of
the helicopter. I mean, if you're if your arms weren't

(58:01):
tired from the first twenty minutes hanging from the top
of a building, grabbing onto a helicopter and then it
flying away across the freeway with them fighting and hanging
from beneath it.

Speaker 1 (58:10):
I mean, it's just it's breathtaking.

Speaker 4 (58:15):
It is it is.

Speaker 3 (58:16):
I mean, that's one way to catch a helicopter, isn't
it It is?

Speaker 1 (58:20):
It is.

Speaker 4 (58:21):
Don't wait for it to land.

Speaker 2 (58:23):
It ends with of course he falls eventually does fall
off the helicopter into that notoriously soft of landings a
sheet glass roof. Oh what looks like a conservatory or
greenhouse or something on the back of a building, and
they go, oh, don't worry about him, No one could
survive that fall. Cut to Gary climbing his way out

(58:45):
of some glass. I've survived off I go again. Well,
I hope you enjoyed the episode so far. It is,
of course now interview time. As you will have heard
on the first episode, we spoke to Joseph, Mary and Spirosatas,
and our plan is as we go forward with this podcast,

(59:08):
to speak to and interview as many people behind and
in front of the camera with PM Entertainment as possible
and sort of use some of those conversations in these
episodes as well as potentially down the road to make
some sort of audio histories of PM Entertainment. So we

(59:28):
have lots and lots of bits of content that we
can distribute throughout these episodes. Anyway, on this particular episode,
the only information we have around the film Rage specifically
is from Spirosatus at the moment. However, the information he
has about the stunt sequences in Rage are some of

(59:50):
the best stories we've heard so far. So I'm incredibly
happy to present to you a clip from our interview
with spirosart Us talking about all the action sequences in Rage.
So hopefully you get a big kick out of that.
Just wait until you hear the story about the action

(01:00:10):
sequence on top of the skyscraper that you just heard
Doc and I talking about. Just wait till you hear
Spiro's story about how he shut that. It is absolutely breathtaking.
So a really great interview snippet, but just Spiro this time,
and hopefully on later episodes we have a lot more
people lined up talking about various films. Is what I'm

(01:00:31):
trying to make right now is the interviews be film specific,
and we will release the full interviews in a different
format hopefully down the road. Anyway, just like earlier and
just like last time, we do have to have some
commercials in order to pay for the show, so there
will be a few commercials and then the interview will

(01:00:51):
start with Spiro asatas. So thanks ever so much for listening,
enjoy this interview with Spiro, and don't forget to rate, review, us, share,
like comment, all that good stuff, because without those things
nobody else gets to hear the show, So don't hold
it all to yourself. Tell your friends, tell your family,

(01:01:12):
tell a stranger on the street. We need to get
the word out about this so that more people can
find out, enjoy, and relish in the world of PM Entertainment.

Speaker 1 (01:01:26):
We pick up the interview with Spiro where he is
talking a little bit about the similarities and differences between
the Fast and Furious franchise that he works on and
PM Entertainment movies, but also why PM Entertainment was such
an important part of his career.

Speaker 5 (01:01:41):
The one big thing difference obviously between Fast and PM.
That's why PM is such a big part of my
life and important is that you know, like you say,
you can compare and say, wow, some of this reminds
us so fast. But you got to remember PM movies
were one million dollars of Asked and Furious are two
hundred and fifty millions. Oh, so you know, we were

(01:02:05):
able to do crazy stuff for a million dollars in
so minimum, you know. But it's the same people. That's
what's amazing is that the same people that did the
action on PM are the exact same people driving the
cars and doing the Action on Fast, same people. We
just you know, a bunch of I mean, we have

(01:02:26):
a few new guys, but a bunch of just old guys,
just you know, continuing to do what we can, you know.

Speaker 2 (01:02:32):
So of course you went on to Rage with Gary Daniels,
and I think Rage is you know, those those three
movies Rage, Riot, and Recoil are always called the three
hour's of PM. They're always the ones that even people
who don't necessarily know all of PM Entertainment's films, they're
the ones that people talk about a lot. And Rage especially,

(01:02:55):
I think because not only does it have the incredible
kind of deathifying stunts in it, but it sort of
a where is a lot of PM Entertainment films clearly
where their influences on their sleeves and are often like
borrowing from genres that already exist. Rage sort of has
that element that I think would go on to inspire
other films like Crank and some of the stuff that

(01:03:16):
Jason Staton did when he first started out. So talk
a little bit about working with Gary Daniels on Rage
and specifically sort of the sequences like the hanging off
the skyscraper stunt, which turns my stomach every time I.

Speaker 5 (01:03:29):
Watch No No, It's great. Well, Gary Daniels, I cannot
say enough about him. We're still we still keep in touch.
And you know what's great about him is you don't
get a nicer guy, you don't get a guy that's
more talented, you know. So he's got everything that you
could want, and he listens, and he doesn't have an
ego to get himself hurt, but he'll do. He'll trust you,

(01:03:52):
and he knows his ability. And so it's one of
the best relationships with an actor and stunts that I've had,
and it's incredible, you know. And so we got a
chance to actually work together just briefly on the Expendables
by accident. Again, I'm tired as an actor and I
was doing Second Unit, so that was neat to see

(01:04:12):
him kind of past our PM in atain of days.
But anyway, so so that you know, working with him
is obviously incredible. Before I get into the sky right thing,
there was a sequence in Rage. Here's the thing. I
enjoy life. I love doing stunts. I have fun. I
get in trouble a lot, but I get in trouble

(01:04:33):
because I'm like a kid at a candy store so people.
You know, that's why I get along really good with
more filmmakers. It doesn't mean that I know more than them, definitely,
but I can. But when they tell me, When the
filmmaker says to me, no, Spureau, I don't like what
you want to do because of this, or it doesn't
help the story, or or with this, I listen to

(01:04:53):
them and and if I feel that they're missing something
on my end, I give it another shot. And then
they're good enough to say, oh, yeah, I get it,
let's do it your way. Or right after I second
time he says no, I still think, you know, we
gotta do it this way, then I give in. So
that's what I love about working with true filmmakers, you know.
And that's how you learn, and that's how you get
your vision. Oh, you combine your visions and you get

(01:05:15):
them out there. But I love having a good time,
and PM allowed me to do that with all the
dangerous stuff, and the guys that were risking their lives
on it have these big stunts with the small budget,
so you know that it was tough. There was a
sequence when I read the script where Gary goes into
a house, breaks into a house and there's a couple upstairs,

(01:05:36):
you know, I guess having sex. Well, no, that's not
what the script had. That's not this is the part
that people don't know about me. In the script, all
that said was there's a couple having sex and they
hear a noise. That's all it's said. And then right
in my mind, I'm thinking instead of doubling whatever, finding

(01:05:59):
all that Joseph's finding to me doubling them, I started
to just get like, what can I do to have
fun with my guys? So I thought about the smallest
stunt guy that I have in my team and the
biggest stunt woman that I have in my team. And
I went up to Joseph and Joseph, wouldn't it be
better instead of people just having sex that you get
this S and M kinky guy, this big woman and

(01:06:21):
this tiny guy and they have a fight with Gary.
It would be hilarious and they'd be different. So he said, wow,
that's yeah, that's great. So we changed the script because
of my recommendation, and Joseph goes, I love it, and
I go, but Joseph, I want one more favor. He goes,
what I want to pick the wardrobe for the guys
because he's one of my best friends, and I wanted

(01:06:42):
to make it as silly and make him as embarrassed
as possible. Right, I said, I want to pick the wardrobe.
He goes, okay, go talk to wardrobe. Right, So I
went and picked the wardrobe, did all that, and he
hated acting, and I'll never forget when it was time
to the scene, I would never go to a dialogue scene. Right.
I went to the set on purpose. I brought a

(01:07:02):
couple of stunt guys that know him, and he could
see us watching him, and he tried to do the
scene and in the middle of the scene he goes
to Joseph. He goes, Joseph, can't you just light me
on fire and throw me out the window? I be's
so much easier than me trying to say this line.
It was hilarious. It was hilarious. So anyway, so that
was all my creative, my idea, change the script, picked

(01:07:27):
the wardrobe, and had fun with the guy. So you know,
that's the stuff that I was that made it worthwhile
to work with Joseph and the guys had a good time.
And yes, well, the first sequence with the trucks and
the semis. I mean we did stuff that was groundbreaking.
I mean we were jackknifing a semi you know, and

(01:07:48):
we didn't have the ability to do it, you know,
like you know when they build it from scratch, and
so we were like we had to come up with
ways to do it with oil coming and pushing it.
We flipped a paneker, I mean, stuff that was only
done on Beverly Hills, cop and movies like that. We
were doing it on these one million dollar movies.

Speaker 2 (01:08:07):
Yeah, and you had a guy jump jump off the
bus I think as it explodes.

Speaker 1 (01:08:13):
In front of explodes.

Speaker 5 (01:08:15):
Yes, and and and we've only had a small, you know,
a few small injuries. And that guy got a little
stinged on that because effects effects their their timing was
not good, you know. And so there's been a few things,
but fortunately there hasn't you know, on my shows. I
know Joseph has had things. And unfortunately when you do

(01:08:37):
a lot of movies, things are gonna happen once in
a while and you just pray they don't happen in
the minimum when I do. But so I've been very
lucky with the PM things. And it's that was one
of the few times that I've had an incident and
the guy got singed on that. He was fine, but
he just he got you know, he went through the
fire and it got him a little bit. So again,

(01:08:58):
we did stuff that was completely you know, hadn't been
done only on big movies is that and then the
building thing that sequence obviously that was also everything was practical.
Guys were flopping into the window washers, doing flips, and
the way to do that like, we couldn't do it
like in normal movies where you have like the guy

(01:09:22):
that was on the window washer doubling Gary when he
did the stunt where it opens up and releases and
he rolls out of it, he had We had an
aimo there. He had to turn on the camera. He
had to do his own effects because you know, all
that stuff was all self contained right there. Nobody could
get to it or could operate it and see it.

(01:09:42):
So he was doing all that size Denny Pierce, I know,
one of the things you want to talk about is
one of the most fearless stunt guys in our team.
And obviously they all had their own way of being fearless,
but Denny Pierce definitely cut the cake on doing the
the toughest, hardest hitting stunts back in my career and

(01:10:03):
still still doing it. I mean the guy on Fast
ten jumped out of a semi you know, on the
thing at his age. Now you know, it's like and
I said, Anny, please, I don't but but guys don't
do it like he does anymore. That's the hard part.
Like guys just don't do it like he does anyway.

Speaker 2 (01:10:26):
On the on the on the building, that was Denny
doing the hanging from the window washer platform.

Speaker 1 (01:10:31):
Is that bit?

Speaker 5 (01:10:32):
Yes, that was Denny Pierce yep doing all that. He's
a guy that got singed. Also, yeah twice Larry, Larry,
the effects guy, has singed him twice to him. So
one of the only times I've had any mishaps, and
both be in with toward Denny and both effects, and
both of them were just because of the button hitting
the button at the wrong time, so just you know,

(01:10:54):
just not Denny's fault. But those things happened. But one
of my greatest stories ever told as a filmmaker, one
of my highest moments, probably easily top three that has
ever happened as me doing something special as a director,
if not the best moment, was on the building sequence.

(01:11:15):
I'll never forget it. I always tell this to people
that want to become action directors or whatever. What I
had to do. You don't have to do those things nowadays,
but it sure helps to have that ability. I'll never
forget I had. I was doing the sequence. It's obviously
a big sequence. I had helicopters. Think about this. I
had two helicopters, a camera ship, and you know the

(01:11:38):
shooting helicopter. We were thirty stories up. We had riggers,
we had descenders, we had like I mean, there was
no mistake could be made, right, it'd be fatal. Right,
no mistake could be made. And remember I needed three
setups to finish the sequence. Now I had the time,
and Joseph, I guess realized the helicopter hours as they

(01:12:01):
build up, you know, they're expensive. He comes up to
me and said, Spero, you know I'm not paying the
helicopter any more time. I go, Joseph, I got three.
He goes, no, I'm done. Helicopter's done. And I go, Choseaph,
I can't the secrets. He goes, I'm telling you, Guchoseph.
I beg you, I beg you please. He goes, yea
one shot, then one I got. Joseph, I need three.
I won't have the sequence. He goes, Nope, you get one.

(01:12:23):
You're lucky. I'm getting it. That's it. And he walked
away and he told them one setup. That's it. You
guys are done after that. So I'm sitting there thinking
what do I do? What do I do? I won't
have a sequence right, and I need it. I needed
three things. I needed a close up to Gary hanging
off the building with the helicopter in the background shooting,

(01:12:45):
because I wanted to time in. I mean, nothing's better
than seeing the real actor with real, big stunts around him.
Now you believe that he's doing it for real, right,
So I needed a shot of Gary and the helicopter
shooting at him and him dropping out a frame. Now,
we found out a part of the building on the
roof that he could be there, but was only about
twelve feet high, so you could you know he wasn't

(01:13:07):
in danger. But if you shot past his close up,
you see the same glass around him and you see
the background is you know, your thirty stories up. So
we were able to cheat him and keep him safe
with crash pads underneath and all that So that was
one setup. The other setup I needed was a stunt
guy hanging on the edge early on in a sequence

(01:13:29):
on the very top, with the helicopter going around and
shooting at him, with the camera ship shooting past the
helicopter to get the production value of a helicopter in
the foreground. And a guy hanging off a third thirty
stories and wrapping around that big you know, James Bond
mission impossible shot. I need a bat And then finally

(01:13:51):
I needed Denny, you know, because another you know Denny
down on the window washer, so this isn't a different
part of the building down you know, ten stories eight
stories down below on the window washer with the helicopter.
I needed the POV as a sniper, right. I needed
the pelva the sniper, and I needed a shot at

(01:14:13):
the helicopter picture chopper with the camera ship shooting in.
That's actually two more setups. So that's four setups. I
needed four setups at least that I needed, and Joseph said,
you get one. So what do I do? I had
ten minutes to figure all this out. I sat there
and I said, okay, get Gary up in position there,

(01:14:35):
all right, get one camera there. Boom, get it closer. Boom.
Get another sun guy, a rigger who wasn't even Gary's double,
get him in the wardrobe and hang him over the
top of the corner of the building. Boom. They did
that right then, Denny said, Denny, you get in position
down on the window washer. Boom, you got it. Okay,
this is what we're gonna do. The choppers are going

(01:14:56):
to start with the picture chopper and it's gonna get
in the shot with Garry Daniels and just go back
and forth and just shoot so I have them revealed, disappear,
come in the shot and do that for you know,
one minute, real quick roll camera got that. I said,
as soon as you do that, you're not landing. You're
gonna go. And the camera ship now goes and meets

(01:15:18):
him at the top of the building where the other
stunt guy, the rig of the new stunt double is hanging,
and you will sit there and the camera ship will
keep dawling around the picture. You know, the picture cut
chopper that's trying to get a shot at the guy.
You get me about a minute with a footage. Dance
back and forth, move up and down, reveal, do all
that right. Boom as soon as you do that, you

(01:15:40):
guys shift to the around the building. Denny will be
waiting for you. You shoot, the camera ship goes where Denny
is and pretend it's the POV of the sniper. You
get a clean shot of Denny ducking. You'll be setting
off some sparks and all this. He's ducky and you're
pretending that you're the sniper trying to get a shot.
As you get a bit of that back a way,

(01:16:02):
let the picture ship come into the shot and you
do some shots with Danny. Boom, boom boom. You do that,
you get four major setups and you've got all these
things and they get the shot in one setup.

Speaker 1 (01:16:13):
Wow, fantastic. That is incredible.

Speaker 5 (01:16:17):
Yeah, And so I had to think of that, which
in Joseph giving me one setup and I got four
major helicopter thirty story stunts, dangling actors, close ups, all
that in one setup.

Speaker 1 (01:16:32):
Wow Wow. And it's it's such a sequence as well as.

Speaker 5 (01:16:40):
If someone had to say, define your moment and as
a filmmaker, as I would say, other than seeing the
movie Shaft at ten years old, that made me want
to do this, that is you know, that is one
of the moments.

Speaker 2 (01:16:52):
Oh no, that's incredible, spur. That is absolutely incredible. I'll
think about that now every time I watch the movie.
That's that's that's amazing. Yeah, because essentially you've got this,
You've got this camera helicopter having to like whizz all
over the place and cover you know, four different setups
while the other helicopter just kind of moves back and forth.

Speaker 5 (01:17:13):
Yeah, exactly between each other, you know, and with each
other get a position. Yep, yep.

Speaker 2 (01:17:21):
Oh man, what a what an existence. That must have
been absolutely incredible to pull that off. Well, weren't those
some great stories? Oh my goodness, I'm so happy that
I get to share those with you. Anyway, Now we
go back to the end of my conversation with Doc
Paul Croson.

Speaker 1 (01:17:38):
All about the movie Rage.

Speaker 2 (01:17:40):
We're going to wrap it up pretty soon, but thanks
ever so much for listening. There'll be a couple more
commercials and then we'll go back to doc. If you've
enjoyed this episode, Like I said before, don't forget to rate, review,
a share, comment, all that good stuff. It really really
does help podcasts. And thanks for everyone who's engaging on
the Facebook page. I get excited every day to see

(01:18:02):
your comments and hear your questions and hear your suggestions,
So please don't stop doing that. It's awesome, We love it.
Thanks so much for everyone coming out to support us
in the way that they have been.

Speaker 1 (01:18:14):
Keep it up. It's it's awesome. Thank you.

Speaker 4 (01:18:16):
All.

Speaker 1 (01:18:16):
Right, back to the show, and then we obviously skipping
forward to the end.

Speaker 2 (01:18:22):
We then have the big mall shootout. But the car chase,
the hanging from the building, and then the mall shootout.
Those are the three big set pieces, but even in
between them, there's like six small set pieces.

Speaker 4 (01:18:34):
Oh yeah, it's all action. It's all action.

Speaker 3 (01:18:38):
I mean the skyscraper would be enough to finish a film, yes,
but no, it's just the midpoint action scene. And yeah,
it's a high it's a highlight that the more scene
at the end is wonderful.

Speaker 4 (01:18:53):
It is, and it's a wonderful.

Speaker 1 (01:18:55):
It's fantastic.

Speaker 2 (01:18:56):
As I say, they have a surf shop and a
video shop fight that basically consists of people repeatedly punching
each other through glass windows. Yes, like they punch him
into the shop through a glass window and punch him
out of a shop through a glass window. At one point,

(01:19:18):
the bad guy is running for the shop door. Gary
Daniels slams the door, which is made of glass, and
the guy just falls through the glass. I mean the
PM Entertainment. It's a lot like the end of Last
Man Standing right with Jeff Windcutt, which is the other
mall doesn't that end in them all?

Speaker 3 (01:19:36):
That movie definitely a mall scene, and there is a
lot of broken a.

Speaker 1 (01:19:40):
Lot of broken glass, So this is reminiscent of that.

Speaker 3 (01:19:42):
I feel like, Yeah, I think Entertainment definitely had a
deal with some sort of window replacement company in the
LA area.

Speaker 2 (01:19:53):
Yeah, in the Northeast, for anyone who's either lives in
New York or Connecticut. It would be a safe like repair,
safe flight replace. That's the little you hear that all
the time. It's a little jingle for people who come
around and replace your windscreens.

Speaker 4 (01:20:08):
Yeah, I think it will probably stay right, stay right, safe.

Speaker 2 (01:20:12):
Light repair, safe flight replace, that's the little jingle. But yes,
they smash up a whole shit ton of stuff in
the mall, including my favorite moment in the whole mall
sequence is when they're destroying that video shop, which is
clearly just filled with all PM Entertainment products. I love
it because you get to look at all the posters

(01:20:32):
on the wall. But it also breaks my heart because
I just want to go in and buy.

Speaker 1 (01:20:35):
All those movies.

Speaker 4 (01:20:38):
Yeah, imagine what's they're all worth now?

Speaker 1 (01:20:40):
And the posts and the posters.

Speaker 2 (01:20:41):
Oh fuck yeah, the posters are worth a ton, sell
them on a for a few hundred bucks.

Speaker 1 (01:20:46):
Yeah.

Speaker 2 (01:20:47):
But no, great, just a great sequence all round, some
great stunt sequences and just as you say, just a
breath taking movie. Let's wrap it up then with a
any more comments about the movie and b where do
you rank this within the sort of PM entertainment films
and or Gary Daniels films that you have seen.

Speaker 3 (01:21:09):
It's definitely from what I remember what I've seen of
the PEM entertainment.

Speaker 4 (01:21:16):
Films, Rage is one of the top ones.

Speaker 3 (01:21:21):
You know, it's pretty pretty hard to beat because I say,
it's all there.

Speaker 4 (01:21:28):
Everything you need is there in it.

Speaker 3 (01:21:31):
It's you know, it's a very good plot really for
what for what it is. It gets you sort of
hooked in and the action scenes are great, and it's
definitely one of Gary Daniels' best films. Cold Harvest is
pretty pretty good. The Rage is the one.

Speaker 2 (01:21:55):
Yeah, Cold Harvest is if you want to see more
of his fighting style.

Speaker 4 (01:22:00):
H Yeah. This Rage is more.

Speaker 6 (01:22:05):
More guns definitely, and it's sort of a few of
those itches with your gunplay and the martial arts stuff,
sort of an around action film.

Speaker 2 (01:22:16):
But I mean not that he doesn't throw a few kicks.
I mean there's there's there's plenty.

Speaker 3 (01:22:20):
No, No, it's just the he does the fighting as
well in Rage. You know it's Gary Daniels is high
kicks galore.

Speaker 2 (01:22:29):
But I feel like in Cold Harvest it's more like
here is now a six minute martial arts fight scene,
whereas in Rage, yeah, it's.

Speaker 4 (01:22:38):
More just like it was.

Speaker 3 (01:22:41):
It was to build on the cyborg film.

Speaker 4 (01:22:44):
Of the days that, you know, the sort of mad X,
Whereas I.

Speaker 3 (01:22:49):
Think I think Rage is more it's more like sort
of I don't like.

Speaker 4 (01:22:54):
I think it's more like hard target.

Speaker 3 (01:22:58):
You know, he's got that little message in with the
media as well, the guy trying to sort of steer
everybody away to sort of expose the truth.

Speaker 1 (01:23:06):
Yeah, oh the truth is Yeah.

Speaker 2 (01:23:08):
I mean what's weird is in a weird way, Rage
becomes more and more relevant with the passing year because
it's you know, don't don't trust the government, don't.

Speaker 1 (01:23:20):
Trust the police. Sorry, go ahead, yeah no.

Speaker 7 (01:23:23):
As soon as start watching the game and he's improgrants
sort of in a room and still being exploited, I thought, oh.

Speaker 2 (01:23:34):
Yeah, right, yeah, so I mean a lot you know,
it's don't trust the government, don't trust the police, don't
trust the news media.

Speaker 1 (01:23:42):
You know, they're exploiting a legal immigrants abroad. What's that doing?

Speaker 4 (01:23:47):
And they're trying to kill at a broad.

Speaker 2 (01:23:50):
Right who they have a lot of fun with. There's
a lot of like we've got to get this liney fuck,
you know, there's a lot of that kind of stuff.
I love that, which I always appreciate because I feel
like it's such a nice It's sort of like a cozy,
outdated insult at this point, Like if someone walked into
the bar where I drink and when is that limey

(01:24:10):
fuck here? I'd be like, who me, Yes, certainly, do
you want to come sit down out? Like it's such
a cozy, friendly insult at this point.

Speaker 3 (01:24:17):
Yeah, because you've got to go over and do the
mat very thing I am here?

Speaker 1 (01:24:23):
Did somebody call it? Is me? But yes?

Speaker 2 (01:24:27):
I rank this as my in my top five of
PM entertainment films, which currently on letterbox then you can
follow me at aftermovie Diner on letterboxed. My top five
so far are Shotgun, Steel, Frontier, Living to Die, Ring
a Fire three, Lion Strike, which, by the way, doc

(01:24:50):
if you haven't seen it, watch that as soon as possible.
Talk about NonStop fucking action, Ring of Fire, three, Lion
Strike phenomenal.

Speaker 4 (01:24:59):
And yeah, that's really yeah.

Speaker 1 (01:25:01):
And then Rage.

Speaker 2 (01:25:03):
So those are my top five right now, with Inferno
and The Killer's Edge as my six and seven. But yeah, Shotguns, Steal, Frontier,
Living to Die, Ring of five to three, Line Strike,
and Rage. Those are my top five PM entertainment films
as we stand and in terms. And this is all
based on what I've written in reviews of on Letterbox,

(01:25:26):
so it's maybe not every single Gary Daniels movie I've
ever seen, but I've apparently watched seventeen of them, and
out of that seventeen, Rage is my second favorite Gary
Daniels movie, but that's because he shows up in the
original Expendables and I gave that a slightly higher mark.
But Rages, if you're just talking straight to video low

(01:25:49):
budget Gary Daniels movie, Rage is my number one, with
Blood Moon being my number two.

Speaker 3 (01:25:54):
Oh yeah, and I really like last Line's standing jefinitely.

Speaker 4 (01:26:00):
I think that's a really good film.

Speaker 1 (01:26:01):
Well, we'll have to have you back on to discuss
that then.

Speaker 4 (01:26:05):
I'd love to be onto that. And Shotgun is that
takes no shock?

Speaker 1 (01:26:10):
No, no, no, you're thinking of maximum force.

Speaker 3 (01:26:12):
That's right, that's right, using shotgun.

Speaker 2 (01:26:17):
Shotgun is a very early one. Shotgun was one that
came out in nineteen eighty nine. It was one of
the I think it's the second one that carries the
PM Entertainment name and it's very low budget.

Speaker 4 (01:26:30):
Watched it.

Speaker 2 (01:26:31):
The only person in it that you may have heard
of is Riff Hutton. Apart from that, all the other
cast are no names.

Speaker 3 (01:26:41):
You know what that rings a bell? I mean I've
definitely definitely had the DVD of Shotgun.

Speaker 1 (01:26:47):
That is worth something too, so hold on to that.

Speaker 2 (01:26:50):
Yeah, but no Stewart Chappin or Chapin or Chapin. I
don't know how he pronounces his last name, but it's
e H A P I N. Stuart Chapin was an
actor who was known for Shotgun. That's that's who's in it. Yeah,
Shotgun is sort of like it's very it's it's very

(01:27:12):
early PM. It's very low budget, way lower budget than Rage,
and it's sort of more got that kind of sleazy
Los Angeles. It feels a bit like The Exterminator by
glicken House meets Samurai carp meets Vice Squad with wings Houser.

(01:27:33):
It's it's sort of it meets Zipper Face. It's sort
of very grimy and B movie and low budget. But
I fucking loved it. I thought it was great.

Speaker 4 (01:27:42):
Yeah, I'm pretty sure.

Speaker 1 (01:27:47):
Well hold on to it.

Speaker 2 (01:27:48):
Circus Shotgun is is rare and expensive to pick up
on VHS or DVD, so keep hold of that anyway.
Thank you ever so much for joining us on this
episode of the PM Entertainment Podcast us discussing the movie Rage.
We hope to have you back on the show very soon, sir.
Is there anything anywhere that you would like people to

(01:28:08):
find you? Or are you happy to remain in a
bed of anonymity as far as the Internet is concerned.

Speaker 4 (01:28:15):
Yeah, that suits me fine.

Speaker 2 (01:28:19):
And if you want to find me, you can find
me wherever. The words after movie and Dina are put together.
Aftermovie diner dot com is my regular movie website on
which the PM Entertainment Podcast has a page you can
go find it there. You can find me online as
Aftermovie Diner or as PM Entertainment Podcast. We are on
both Instagram and Facebook, and as I said at the beginning,

(01:28:42):
please if you've enjoyed the show even a little bit,
don't forget to rate and review us on any of
the podcasting platforms you're using, Share our Facebook posts, our
Instagram posts, like comment, and you can always contact us
via our email at Pmentpod at gmail dot com. That's
PM I E. P O D at gmail dot com.

(01:29:02):
Thanks ever so much for listening and we'll be back
next week with more p M Entertainment explosive Magic.

Speaker 8 (01:29:09):
Thank you for having me on the entertainment podcast, suum

Speaker 3 (01:30:07):
Car

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Episode 2 - Rage

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.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 2 - Rage