Episode 6 - Zero Tolerance - The PM Entertainment Podcast

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

Speaker 2 (01:02):
Hello and welcome to an all new episode of the
PM Entertainment Podcast, the show that celebrates in a cool
pair of shades while riding a badass motorbike, the epic
filmmaking power of Peppin and mehe that Taurus swath whatever
a swath is, or maybe it's a swathe through video
stores from the end of the eighties to the new
millennium films where your enthusiasm to throw yourself repeatedly through

(01:23):
glass or fire and onto hard concrete weren't a reason
to call the HR Department and possibly a sanatorium, but
rather the words they wanted to read on your resume,
preferably followed by will work for cheap? I'm your host,
John Cross, and don't forget. If you like the show,
please please please remember to rate and review us on
any of the podcasting platforms you use, share our Facebook posts,

(01:47):
like comment, and you can contact us via our email
pment Pod at gmail dot com. That's p m e
Ntpod at gmail dot com. Our guest this week has
been in this podcasting racket for almost five years with
his show Give Me Back My Action in Horror Movies,
which just hit its two hundredth episode, and from the

(02:09):
title alone, immediately qualified him as guest material for this show.
But that's not all, because for the last eleven months
he's also been doing a spin off show called b Action,
where every week they give the likes of Gary Daniels
and Michael Dudicoff. They do and while sadly the dude
Doudakoff never danced in the halls of PM Entertainment, his
name is definitely still part of our love language, along

(02:32):
with high kicks, bullets, explosions, motorbikes, luxurious hair and stunts.
Welcome to the PM Entertainment Podcast, Charlie Chase.

Speaker 3 (02:41):
Yeah, well, Charlie with give me back my action in
horror movies. I felt like Hollywood in movies and Netflix
and all these places didn't understand action movies anymore, and
honestly didn't really understand horror movies anymore. I wanted that
old feeling I had when I want watch these as
a kid. I wanted my Arnold's back, I wanted my

(03:03):
Dudokovs back, and they weren't doing that. Once in a while,
a gym would pop up, so I wanted to do
a you know, my Buddy convinced me to do a podcast,
and I was like, well, I have a Facebook group
about action movies, Let's do action. And he's like, yeah,
that works, let's do that. And so we started it
just doing action. Then we added my other co host, Nate,

(03:24):
and we added horror to it, because horror and action
are kind of the same, just a little bit of
changing to the script. A lot of people die, there's
usually a lot of blood, there's usually boobs everywhere, and
you know, sometimes even action movies have a higher kill count.
So it just kind of worked to do some of
the you know, forgotten horror movies and yeah, it's and

(03:48):
it's been a blast ever since. And then I decided
that I had there was way more action movies than
I could get to, so I started another podcast called
b Action where we got to be back in action
and we do all the movies that are like that
Shelter two down below, the Arnold's and the Stallones. Not
that we'll never cover one of those, but we want

(04:09):
to get you know, the the Doudakovs's, do the Gary Daniels,
the Joe Laura's, you know, we want to put them
on a pedestal on that show, Yes, and we do
and we have a lot of fun with that one.

Speaker 2 (04:22):
So were you always into action films from an earlie age?

Speaker 3 (04:25):
So I was always about the like, you know what,
we grew up with action movies, Commando, Predator, all that stuff.
You know what every dad shows their kid. And now
that I'm digging like deeper, and I never knew what
PM Entertainment was. I didn't pay attention to the opening
unless it was Canon Characle something like that, just because

(04:45):
I would remember that opening, go oh, yeah, this is
an Arnold movie.

Speaker 4 (04:49):
But now I'm looking at these going, holy, I love
PM Entertainment now, like like seen a majority of them,
but never put it like this was a studio putting
them together, you know when I was young. So it's
been awesome like digging into these and being like remembering
movies like, I know you did it, and it was

(05:09):
the movie I love. And I know you're gonna ask me,
but my favorite PM is Steel Front Tier Will Forever Be.
But I had memories of that movie as a kid,
and when I rewatched it, going this movie looks cool,
let's do it on the podcast, I was like, wait
a minute, there's a machine gun going to come out
of the back of that motorcycle in a second, and

(05:30):
it did. I was like, hey, you just got the tattoo.

Speaker 3 (05:33):
Yeah, Angel, he's got a tattoo and he's gonna turn
it into a smiley face.

Speaker 4 (05:37):
Why do I remember that?

Speaker 3 (05:38):
And he does it, and I'm like, so as a kid,
I was already watching these and enjoying the heck out
of them, but it just never clicked that you know
that that's what these were. And now as an adult,
I'm like, oh, I knew I was into some gold
back as a kid man, and I'm I'm able to
enjoy it now.

Speaker 4 (05:54):
So yeah, it's much fun.

Speaker 1 (05:57):
Yeah, no, and it's funny.

Speaker 2 (05:59):
The three questions I always ask the guest before we
get into the movie is, uh, cause you remember when
you first came across the PM Entertainment film when did
you kind of put together that PM was a company
kind of putting out lots of different things. And then,
obviousely your favorite PM film. I think you've onsid old
of that.

Speaker 4 (06:15):
I think I answered all three right there.

Speaker 3 (06:18):
I can tell you my first R rated action movie,
and that was Delta Force. That is the one my
dad started me on when it was like you're about
fourteen thirteen, maybe fourteen, and he's like, okay, you can
watch an R rated one. And it was it's always
been Delta Force for me. That was where it started.

Speaker 1 (06:37):
Now I don't remember Foster on a Plane one, right.

Speaker 3 (06:39):
Yeah, Robert Robert Forster with a very dark tan. So
you know, well, you know you got Steve James in
that and you know stuff like that. It's it's how
I got My dad was in the military, so he
did you know, military meddies And it was that. That
was Chuck Norris. That was all. It was like gi

(07:00):
Jo's dad, was my kid's gonna like this?

Speaker 4 (07:03):
And I did.

Speaker 3 (07:04):
And he didn't realize the attic that he created. As
I got older, he looks.

Speaker 4 (07:09):
At me so weird.

Speaker 3 (07:10):
When I tell you about the podcast, He's like, you
don't have podcast.

Speaker 4 (07:13):
I was like, yea, it's your fault. He started watching
these movies.

Speaker 1 (07:17):
All right.

Speaker 2 (07:18):
Our film on this episode is a big one for PM.
It's Zero Tolerance. It's from nineteen ninety four, which I
consider not only the start of their prime PM era,
but it is definitely in the running for the best
year of PM films ever. If you can think of
a better year than nineteen ninety four for PM films

(07:38):
over all. I'm not saying that all their best films
are in nineteen ninety four, but I'm just saying that
nineteen ninety four has consistently a fantastic run of great
films from PM entertainment. If you can put another year
on the block as potentially the best year of PM
entertainment films, either comment on social media, send us a DM,

(07:58):
or email us at pment Pod at gmail dot com.
That's PM n T Pod at gmail dot com. What
do you think is the best year ever for PM
entertainment films? It stars Robert Patrick, fresh off his star
making turn in films like The Call, Surface and Body Shot.
It's directed by Joseph Mahe, written by Jacobson Hart, and

(08:21):
I think the only film in existence that features the
former drummer and founding member of Fleetwood Mac and hockey
legend Wayne Gretzky. This movie allows Robert Patrick to join
a long line of celebrated cinematic Jeffs, along with Jeffrey
the Doodlebowski, Jeff Spacoli, Jeff Pebe from the band Stillwater,
Jeffrey Beaumont, and Jeff Tracy the marionette puppet from Jerry

(08:44):
Anderson's The Thunderbirds. It's also an action film that takes
place at Christmas, joining the ranks of Invasion USA, The
Long Kist, Goodnight, Batman Returns, Cobra, Lethal Weapon, die Hard,
and of course Iron Man three. And lastly, Robert Patrick
stars with his real life wife and wife in the film,
Barbara Patrick, joining the likes of cinematic couples like Tom

(09:06):
Cruise and Nicole Kidman in Eyes White Shut, John Krasinski
and Emily Blunt in a Quiet Place, and probably the
most successful of all, Sean Penn and Madonna in Shanghai Surprise.
Before we review and chat about the film, it's of
course time for the PM Entertainment bullet points. Well, it

(09:43):
is quite a less we have for you this week.
That's right, we have irrelevant footage of Anaheim Mighty Ducks
hockey game, an FBI agent with allergies, confused Mexican extras,
Titus Welliver kicking a child, Titus Wellover consuming cocaine like
it's cotton candy, motorbike chase, gun shootout on a desert highway,
wonderful car out of control, acting and flailing a motorbike's

(10:05):
handlebars exploding when shot. Gratuitor's Mexican police station filled with chickens.
Man gets hit by a truck. Man gets hit by
a van. Man rolls out of a moving car. Man
flies through explosion over another car. Man hit in croutch
by log. Man hit in face by log and then
face plants a sideboard. Man jumps through a glass door
instead of opening it to exit a building. Quigger man

(10:27):
thrown off cliff, man thrown off top of ornate stairs.
Man shot into a jacuzzi. Man thrown out of a
window landing on a car. In slow motion, a limousine
blows up a news broadcast that conveniently gives the bad
guys all the information they need about Jeff and his whereabouts.
Multiple Gratuitor stroke dealers in jacuzzi scenes, multiple people shot,

(10:47):
and multiple gratuitor shots of Robert Patrick on a motorbike
riding along a desert road. A casino shootout, shotgun with
endless Samo car destroyed by vegas sign line of cars
blown up, cars set on fire and driven into a
warehouse as a distraction. Warehouse shootout, the insinuation that multiple
FBI agents live with their parents, dummy drop down cliff,

(11:08):
great step fall including shoulder bumping every stair on the
way down. Car chase featuring explosion and car flip, Cadillac
Jack's Drive in Dina that is featured in at least
Firepower and to the Limit and probably more PM films.
Helicopter shootout ending and exploding helicopter caused by Robert Patrick
simply driving a car through it without stopping. Villain's escaping

(11:30):
across all good rope and plank bridge that appears to
be the only way in and out of this fancy
cabin and grituritous Robert Patrick stunt rolls. Wow, okay, and
that feels like just the tip of the iceberg of
this movie. Anyway, let's get into it with Charlie Chase.

(11:50):
Do you remember when you first saw Zero Tolerance?

Speaker 3 (11:53):
So this is one of those that I had this
thing when I got a driver's license and I was
there was a local video store and they would do
five movies five dollars, you know, five days, And once
I got through, like all the the heavies, then it
was just like that one looks cool, that one looks cool,
that one looks cool, And I got this one because

(12:16):
It had the T one thousand with a handgun with
a scope on the top of it, and I went,
I need to watch that. That looks really cool, and
so I rented it. As a teenager. I remembered some
of this movie, but I'm gonna hear to tell you
this is this first time I've watched it since that
five movie five Days, five dollars, so it has been

(12:38):
a while. And for a PM Entertainment movie, this one
kind of caught me off guard a little bit. This
was not what I was expecting. Nothing, they didn't like it.
It was just like, wow, I don't remember it like
this whatsoever.

Speaker 2 (12:54):
But because I just asked you kind of what you
wanted to watch, I think this was the one that
you were like, let's do Zero Tolerance.

Speaker 3 (13:00):
I was going through because I went through like PM
Entertainment and to just look through all the movies they
have done, like I knew, I knew the heavy hitters,
and you already did the one I wanted to do,
Steal Front Tier.

Speaker 4 (13:10):
Yeah, but I saw that. I saw that cover. It's
so good.

Speaker 5 (13:14):
Uh.

Speaker 3 (13:15):
But I I saw the cover and I went, I
remember that cover. I've seen that. You know, Robert Patrick's
Fanley dies, I'll do that one. And so it was
also giving me an excuse to go rewatch it, which
come on streaming? Where was the PM entertainment stuff? I
had to go on YouTube and watch this.

Speaker 2 (13:31):
Yeah, it seems to be YouTube to be. You can
sometimes find stuff on like the Roku channel or one
of those things, but.

Speaker 3 (13:39):
Yeah, plex or something would have Yeah, but nothing except
YouTube on this one, like no one had it. But yeah, yeah,
So this was this was a fun you know, remembering,
you know, going back and watching this, going yeah, okay,
I remember that part.

Speaker 4 (13:55):
Oh I don't remember this part. Oh wow, I don't
remember that at all.

Speaker 3 (13:58):
And now that I've watched a few PM movies since then,
I'm kind of like, wow, this is a little different
for PM, this one. This one actually has some story
to it, some drama to it. You know, it's not
a thirty minute long action sequence at the beginning of
the movie. But there's definitely some stunts. There's definitely some

(14:21):
insane stunts.

Speaker 2 (14:22):
Yes one. Yeah, So it's I don't know whether I
would call it PM Entertainment's taken, but it's pretty close
in terms of like revenge movies in the sense that
he goes from place to place, avenging himself all over
people in a variety of violent and brilliant ways, you know,
interspersed obviously with some emotional drama around the fact that

(14:44):
he loses his family. Obviously, they're not taken in this
movie so much as like really brutally beaten up and
then shot in the head. It's not pleasant. It reminds
me a little bit of the opening of The Sweeper,
which is to see Thomas how PM entertainment film that
also features like a family's death. It is. I don't

(15:07):
know that it's like too unique for PM, but I
mean it's unique in the sense that it has Robert Patrick.
It's unique in the sense that it has a lot
of travel in it that most of their movies don't.
Most of their movies are in like one or two locations.
To keep the budget down, I think because they wanted
Robert Patrick that I think they up the budget for

(15:28):
this one more than they would normally, is my feeling
on this one. Ken Blakey kind of confirmed that as well,
so that was that was a big deal for this
and then yeah, It's ninety four is about when they
start really perfecting their formula. So they really you feel
like at this point their shootouts and their stunts and

(15:52):
their explosions, they're in their groove. Now they're beginning to
get in their groove four ninety five ninety six the
movies made in that time a PM. That's where you're
getting your really sweet spot stunt work and action work.
And the basic plot of this, the elevator pitch, such

(16:13):
as it is, is there's an FBI agent who is
sent down to Mexico to get a drug kingpin back.
He's been arrested and is in a Mexican jail. And
this drug kingpin is part of a conglomerate of drug
kingpins called the White Hand, and they are trying to
get an a legal drug called it's like liquid heroine

(16:35):
that they call wet love, which I think, how many
names did they kick around the PM offices before they
came up with wet love?

Speaker 4 (16:45):
Two exactly crowded.

Speaker 2 (16:49):
That But and and they're trying to this group have
had a setback by the fact that Titus Wellover, this
bad guy Manta, was in prison in me. They call
him up and they're like, look, we need our product yesterday.

Speaker 1 (17:03):
What the hell are you going to do about it.

Speaker 2 (17:06):
He knows that Robert Patrick is still kicking about Mexico,
so he has his goons attack his family in Los
Angeles and he goes after Robert Patrick in his hotel room,
convinces him to cross the border with drugs, telling him
that his family is still alive when they're not. And
once he finds out they're no longer alive in Vegas
and also finds out that they try to kill him

(17:28):
by blowing up his limousine, he is then hell bent
on revenge and will stop at nothing until he takes
down five leaders of the White Hat. So yeah, so
it becomes an all out war on this drug cartel,
and it really doesn't slow down like on once his

(17:48):
family gets attacked. You know, the opening keeps sort of
threatening to like get big, but I feel like that,
you know, I feel like the opening is just really
like a bit of a chase, bit of a car chase,
bit of a shootout. And then once his family is
attacked and he goes on the war path, you know,
all bets are off and we've got explosions and all

(18:10):
sorts of.

Speaker 3 (18:10):
It's right about the halfway point as what I was
noting on the movie.

Speaker 4 (18:15):
Like there's some action.

Speaker 3 (18:16):
But this this is what caught me off guard was
this wasn't what I was used to on the PM formula,
which is a little bit of talking, a lot of action,
a little bit of talking, a lot of action, and
they kept you like barely enough time to catch your
breath from all the actions. This one was talking good
action segment. Now we got to set everything up, and

(18:39):
now we got to give you a reason for why
he's about to go ape shit on all these drug cartels.
And we're almost there, guys, just hang on and then
or okay, he's about there. Now he goes like pedal
to the metal and goes you know, Liam Neeson or
I was even kind of seeing a little bit of
faster with Dwayne Rocksen in some of the scenes where

(19:01):
he is just methodical, doesn't give a shit about anything,
goes in, kills, don leave go after the next one.

Speaker 4 (19:08):
Definitely some influences later.

Speaker 2 (19:10):
Oh definitely. And he seems to have it like a
decent He has a different plan for each guy, so
the action doesn't really get get boring. Like for the
one guy, he drives a car into a warehouse while
the car's on fire and then just to kind of
like scatter everyone and then he just starts shooting. There's

(19:33):
the again one that's sort of similar to the Professional
with him kind of going up through a high rise
to get to like the bad guy in his office
at the top sort of thing. There's some neat set
pieces and I can't say, and I like, you watched
it this afternoon and it is fantastic, and it's I
would put it in, you know, the top twenty of
PM key titles if you're going to get into PM,

(19:55):
like watch there are Tolerance. It's definitely one of them.
But unlike Rage, which we were sort of talking about
a little bit about earlier, and unlike Steel Frontier obviously,
I mean stell Frontier is the benefit of being just
looking so different and just being in a different location.

Speaker 4 (20:12):
So it always it's on its level entertainment.

Speaker 1 (20:17):
Yes, it is. It is.

Speaker 2 (20:18):
They all admitted to me that they all took just
a little extra time there, Like they all took we'll
take a couple of extra days on the on the
shooting schedule, We'll take you We'll spend an extra hour
setting up the lights in the camera for that one.
It just looks when that comes out on Blu Ray
that is going to be I mean, it looks beautiful

(20:39):
on the shitty DVD I have, so on Blu Ray,
it's just going to look phenomenal.

Speaker 1 (20:44):
Some of those.

Speaker 2 (20:46):
Wide shots and long shots and the depth of focus
are it's so beautiful anyway.

Speaker 1 (20:52):
Zero Tolerance has some of that. Zero Tolerance.

Speaker 2 (20:54):
I think of the scene of Patrick, like when he's
heading into Vegas on his bike and they have that
like nice long desert shot of him.

Speaker 1 (21:03):
On his bike.

Speaker 2 (21:04):
It has some of that. But I was gonna finish.
I'm just saying that I have to say, there isn't
really like a memorable set There isn't a set piece
in the movie that makes you go, oh, that's kind
of like the cornerstone of the film. There's a lot
of action and I'm not putting it down at all,
but there's not that set piece, do you know what
I mean?

Speaker 6 (21:24):
No?

Speaker 3 (21:24):
Oh, I again, that's what I was kind of waiting
for watching this and where my memory as a you know,
sixteen seventeen year old, it's not as sharp as I am,
you know now, because I was like, I thought there
was more to this as far as action goes.

Speaker 4 (21:42):
Now, don't get me wrong, every bullet explodes. They have
unlimited ammo.

Speaker 3 (21:46):
Yes, Robert Patrick, stunt guy flies through the air more
than Superman does. I just it's constant. And he and
Robert Patrick learned how to stunt roll, and he did
it any chance he got in this movie. If nothing else,
the fact they used Robert Patrick, who is a great actor,

(22:07):
Like there's just something about him that sets him apart
from your normal b action you know, leads, and we
had just done Equalizer two thousand and he's it was
his first movie, and as he's like the second Battie
and we're all watching this, going we want him to
be the main bad Like Robert Patrick's actually really cool

(22:29):
in this, and it's his first movie, so you're like
someone watched this and when he's gonna be awesome.

Speaker 4 (22:34):
Even before T one thousand and so was seeing in this.

Speaker 3 (22:39):
I did like the cinematography though not just the set pieces,
but somebody played around with some filters and some lighting.
There are some like dark blues at night, and then
there's like a sunset shot where he's almost like glowing red.
Not in a bad way, but it's like somebody was
actually putting some thought behind me, you know. The cinematography

(23:03):
of it.

Speaker 2 (23:04):
And that's how boy kill Blaky.

Speaker 4 (23:06):
Yeah.

Speaker 3 (23:07):
I mean I it was enough for me to go
wow in a PS Wow, this is actually really good.

Speaker 2 (23:16):
NO and PM entertainment. As I said, once they hit
their stride, and I think it does start weirdly enough
with the I mean there's stuff like street crimes and
things like that earlier on that has some of that
like nighttime shooting cd LA stuff, but really it's sort

(23:38):
of the wings Houser movies like Art of Dying and
Living to Die, where you get those beautiful like colored
neon colors and hues and stuff set against the night
shooting because they do a lot of night shooting, and
they do a lot of night shooting because explosions look great,
gunshots look great. The neon streets the in this case

(23:59):
in zero tons, you've got the streets of downtown Las Vegas,
all the big lit up marquees, all that stuff. Everything
looks better against a you know, a silky black night
than it does necessarily a bright blue day. Although there
are some beautiful desert shots in this. The Mexican opening
is fantastic with the with the bike chases and the

(24:23):
car chase there at the beginning and the shootout and
all that, And I definitely liked seeing Patrick kind of
doing a lot of that himself.

Speaker 1 (24:31):
That was that was some fun stuff him, like driving
the car.

Speaker 2 (24:36):
His partner's been shot in the driver's seat and he
has to keep remembering to like keep the car said,
while he's also shooting out the back windscreen and stuff
and shooting out the side door. And then at one
point the door just blows off, which is fantastic.

Speaker 3 (24:50):
I was hoping you were going to see that because
I was like, what did that machine gun just cut
the door off of a Ford? So they got it
clean off, Yeah, disappear so that the guy could just
jump out of the car.

Speaker 4 (25:03):
But I was just right. I got thickled by that.

Speaker 3 (25:05):
And then of course there is a like automatic shotgun
that the FBI carries in the trunk of the car,
but Robert Patrick carries a revolver in this movie that
has infinite AMMO. I don't care. He never reloads it.
Then he has a double barrel shotgun later in the
movie that has four rounds in it, not two. He

(25:26):
shoots that sign that drops down onto the car.

Speaker 2 (25:29):
He just carries two guns a lot. There's a lot
of like two gun shootouts in the movie. At one
point he leaves them on top of a barrel in
the warehouse that he's just blown up, and yet in
the latest scene he's got them again. So he just
has I don't know whether he just has a ton
of guns at home or whether he just goes buy

(25:50):
his new guns. At one point he has a gun
holster on his leg. When they need him to find
a third gun and he's run out of all the
other guns, he has one on his leg. That's lucky,
you know.

Speaker 4 (26:00):
He was. I was.

Speaker 3 (26:02):
I kept attributing like this kind of has like a
punisher vibe to it too, like you know, Shamas Jane's
and stuff like that. But this was all obviously before,
so this would be like common I.

Speaker 1 (26:12):
Think the most un of the three as well.

Speaker 3 (26:15):
I agree, I agree. I like all of them, from
Golf to Ray Stevens. I like all of them. But
I also there they they dropped the tiniest little bit
of dialogue in this movie to kind of explain it
is he's being given all this by command, you know.
They she talks about like, oh, he, how's he getting

(26:37):
on all these planes?

Speaker 4 (26:38):
How does he have all this.

Speaker 3 (26:40):
They don't say the weapons, but I just kind of
put the pieces together in my brain, going, well, they're
giving him weapons too, Like there's probably weapons stashes that
they're like, go here.

Speaker 1 (26:50):
Get it's interesting.

Speaker 2 (26:52):
PM do like to throw in just a little bit
of uh, you know, the the high Iraqi of whether
it's the FBI, whether it's the mayor, whether it's the city,
whatever it is. And they do this throughout their movies,
but in this particular case, you know, his family gets killed,

(27:14):
so everyone's really worried about him, and they think he's
just gonna go crazy, and he does. He goes and
starts killing people and is suspended. And then halfway through
the movie his what would have been his partner, a
female FBI agent played by is it Kristin Meadows? Is
it Megan?

Speaker 4 (27:37):
She doesn't have a picture on IMDb, but I think
that's Kristin Meadows.

Speaker 2 (27:40):
Barbara is not only his wife, but is actually his wife.
Is actually like Robert Patrick's wife, like Wendy's. Wendy's IMDb
is all just pictures of her and Robert Patrick.

Speaker 4 (27:53):
Well, I guess Barbara Patrick. I guess that makes sense.

Speaker 3 (27:56):
So yeah, I'm gonna say Megan Kristen Meadows is the party.

Speaker 2 (27:59):
Yes, yeah, and they've been married since nineteen ninety.

Speaker 4 (28:04):
Good on them. That just tells me that's good dude.

Speaker 2 (28:09):
Yeah, tells me he's a good dude. And what also
tells me a good dude? You brought up Equalizer two thousand.
He posted him hanging out with Richard Norton recently, and
for you to stay in touch with someone from your
first movie. There aren't many people in Hollywood who who
are like that.

Speaker 4 (28:29):
No, No, that tells me he's a.

Speaker 1 (28:31):
Stand up guy.

Speaker 2 (28:32):
Absolutely, But yeah, and I have to say just a
quick word then on Barbara Patrick, who plays his wife
in real life and his wife in the movie. Is
that I actually thought, until I looked it up, I
actually thought that she was a stunt woman because in
the scenes that she's in, especially taking the beatings and whatever,
she does like really really well with that considering it's

(28:55):
I don't know, considering that's not normally for a role
small like that in a movie. PM would put a
stunt woman because she needs to get beaten up and
thrown through doors anyway.

Speaker 3 (29:05):
So just so it doesn't matter who it is, but
it does look like it looks like her doing it.
You know, it never looked like, oh, that's a stunt
woman getting thrown I mean change for them to not
show the actual killing. It still felt brutal watching them
beat on her over the the phone call. Oh it

(29:28):
was as well. Also had no idea Zero Tolerance is
a Christmas movie?

Speaker 4 (29:33):
Who knew? So you know Christmas is going on this
entire time. I said, it's on the list.

Speaker 1 (29:39):
Now it's on the list.

Speaker 2 (29:41):
It's up there with the Cobra and the Least Weapons and.

Speaker 4 (29:46):
Die High, I Come In Peace and right right, yeah, which.

Speaker 3 (29:52):
That kept coming to mind because I went, oh, liquid drugs.
Everyone thought that was going to be a huge thing
in the nineties. And also remember my Come in Peace
because they kept sucking everybody's brain stuff out to make
Alien Heroin. Basically it's what they're making in that movie.

Speaker 2 (30:07):
Yeah, I'm the sucking their adrenal gland or something out
in the movie, which always makes me think of Fair
and Loathing in Las Vegas. I'm like, what is it
about the adrenale gland that everyone is so why it
up about?

Speaker 3 (30:19):
It's because we don't know enough about it, John, We
don't know enough, so it must be awesome. Our body
makes drugs and won't give it to us. That's what
That's what drives us mad. Our body will make this
really cool drug, but it says, no, you can't have
it right now. Only if you're about to die. That's
the only time you're gonna get it right.

Speaker 2 (30:39):
Or when you're watching any large scale action film, you
know what I mean exactly. I never forget the first
time I saw Statham come out of the nose of
the plane, that whole bit Inexpendables one where Stallone runs
catches the plane with his hands, which is the silliest
thing you've ever scene, but it's fantastic because it would

(31:01):
I mean, all his fingers would be torn off.

Speaker 1 (31:03):
It would be great.

Speaker 2 (31:04):
Anyway, catches the plane against the plane, they they dumped
the oil, they fly off, they come around, Statham's little
bald head comes out the nose of the plane and
then he's just got a fucking machine guns coming out
the side of the plane and they just shoot up
the deck.

Speaker 1 (31:19):
I'm like, whoever thought.

Speaker 2 (31:21):
They like, well, Stillone's just a fucking genius when it
comes to that stuff. And I tell you what, I
was in a crowded cinema and when that fucking happened,
I didn't care. I went wow, Like I just threw
my fist up and whooped and hollered. It was Yeah,
that's a fantastic.

Speaker 3 (31:36):
I won't theater up if they're not giving the movie
the love it deserves.

Speaker 4 (31:42):
Yeah, it's just gold right there.

Speaker 2 (31:45):
It is h no, and you know, and there's similar sequences,
not so much again in Zero Tolerance, but but in
a lot of PM films, as I said, the Rage
sequence and Steel Frontier, the car chase.

Speaker 1 (32:01):
And just yeah, there's so many great words. But yeah, so.

Speaker 2 (32:06):
Back to Yeah. Kristen Meadows then, is the female FBI
agent who was about to be partnered with Robert Patrick
before he gets suspended. She's the only one who seems
to give a shit about him, although there's the other
cop who comes by later on and sort of says, hey,
you realize that if he's getting on the plane, he

(32:29):
must be using his undercover identity, which means that someone
somewhere in the FBI wants this.

Speaker 1 (32:33):
To be happening.

Speaker 2 (32:34):
Yeah, And sure enough, basically all the dudes in the
office are cheering him on, and.

Speaker 3 (32:39):
The one wait, I swear I was waiting for them
to high five each other. That was they were all
like Gabbro, He's doing the work for us because the
captain is like the millions we've spent to try and
indike these guys, and Jeff just put a bullet in
his head. Yeah, awesome, keep going, you know, that's all.

Speaker 2 (33:00):
How much? How much we'll just give him infinite bullets.

Speaker 3 (33:07):
That's all it's gonna cost us. Is just no more preadaches. Done,
right done.

Speaker 2 (33:11):
She kind of follows him, and then of course she
gets kidnapped as well, so then he has to like
save her as well.

Speaker 1 (33:18):
But you're right.

Speaker 2 (33:19):
He does a lot of stunt rolls. He does an
impressive roll over the top of a car and then
like rolls down onto the hood and jumps off the hood.
And then in the compound attack at the very end
of the movie, when he's going off to Titus, well
of a a guy comes out like a shed door
with a gun and he just does in mid air

(33:40):
like a stunt roll in mid air and then comes
crashing down and shoots him. It's fantastic.

Speaker 3 (33:45):
It faces the opposite direction. I still don't understand how,
but I was I knew what I was in for.
During the Las Vegas scene where they're about to blow
up the limousine and he for whatever reason, the force
told him to get out of the car because he's
getting out of that a way fast. Not it's not
like he saw a bomb and then the timer was

(34:07):
going down.

Speaker 1 (34:08):
He just he just realized. Everyone stepped away from the car.

Speaker 4 (34:11):
I think everybody got away from it.

Speaker 3 (34:12):
But I love the shot that you see it blow
up and that stunt guy flies two cars over and
does it. In there, it cuts to him rolling. Robert
Patrick gets up, take off running into the street and
a van comes running and hits the stunt guy again,
and Robert Patrick gets back up and runs again. I
was just like, this is the greatest stunt like courshit coordinating,

(34:37):
hit roll, hit roll, good guy keeps on running.

Speaker 4 (34:40):
I was like, I love this, I love everything.

Speaker 6 (34:43):
Well.

Speaker 7 (34:43):
I like that.

Speaker 2 (34:44):
What was the the red car that's coming after him
and he's trying to shoot at the red car.

Speaker 1 (34:48):
Trying to shoot at the red car? Oh yeah, yes, yeah, looks.

Speaker 2 (34:53):
Up, sees the sign that's hanging and has to shoot
the sign twice. You normally in a PM film, he
we would just be like shoot bang, the sign explodes,
drops down on the car. No, No, this one. They
show the metal wire that's holding the sign has to
be shot at least twice to bring it twice.

Speaker 1 (35:11):
You know what I mean.

Speaker 3 (35:11):
That's the infinite amo double barrel shotgun, because he shoots
at the car twice and then sees the sign and
shoots it twice, all because he's pinned under the motorcycle
he was riding. And I was like, I didn't think
that when it landed. I didn't see you still under
the motorcycle when it landed. But okay, I'll believe you

(35:32):
for a minute. You're stuck under the motorcycle. And then
the sign falls. But there's two cars parked at a
v so that when the red car hits it, it
jumps and flies through the air. And I went, well,
the two cars would have stopped it anyway. I don't care.

Speaker 2 (35:46):
This is awesome, not in PM entertainment. When, yes, when
two cars hit each other in PM entertainment, or if
two cars jackknife on a highway and another car comes
like driving towards it, it hits the car at such
an angle that apparently it flies up and ramps over

(36:07):
those cars. It's the law of PM and staments.

Speaker 4 (36:10):
It's always the bus from Speed.

Speaker 3 (36:12):
No matter what, that car is gonna fly, you're gonna
get a great shot of the undercarriage and it might roll.
We don't know, because we're PM Entertainment and we're just
hoping it does something. We get it on film pretty and.

Speaker 2 (36:23):
I think why I think the cars flying and the
cars flipping definitely to me, because you know, I think
growing up, the one the one thing we all crowded
around the TV for in the in the Saturday evenings
because I know they were they were week time shows here,
but in the UK there was Saturday evenings and that

(36:45):
was stuff like The A Team, and then after that
Night Rider and then well actually before that it was
jukeson Has and then The A Team, then Night Rider,
Incredible Hulk was in there somewhere. Those kind of shows
and The A Team solidified my love of flipping cars.
And there must have been so many like Junkyards in

(37:09):
the Los Angeles area that like Praigar Baxley, who did
a ton of the stunts for The A Team, must
have just rocked up every week and gone, yeah we
did two, three more shitty all.

Speaker 3 (37:21):
Like It's one of one of my favorite things my
dad does is we'll be watching like old A Team.
He goes, that's not a short one, that's a long one,
that's a Chevy, not a GMC, because they just, okay,
it looks like it like they'd have the hero that
always looks good, the hero van.

Speaker 4 (37:37):
It's like the Dukes of Hazzard.

Speaker 3 (37:38):
They went through a ton in like the first like
four seasons till they were like, now we're gonna start
using models.

Speaker 4 (37:44):
And that's kind of when it started going downhill that
you could tell.

Speaker 2 (37:47):
I think there's one point where they jumped the A
Team van and you see like as it lands, the
entire front axle ump, everything just fucking plan and then
it cuts to another sete and it's driving off down
the road. I'm like, I know, I didn't miss that.

Speaker 3 (38:06):
You know, BA can drive anything and it's totally fine.
Don't even worry about it. Yeah, it's all good.

Speaker 6 (38:12):
No.

Speaker 2 (38:12):
I was just watching the wings Houser episodes last night,
and I'm a big fan of the A Team.

Speaker 1 (38:18):
I put them on all the time.

Speaker 2 (38:19):
But you know, the A Team were kind of the
first visceral memory I had of these kind of stunts.
So like when I watched PM to me, you know
the A team started what PM kind of took with
and ran, because you go from maybe flipping one or
two cars every episode to a PM film where in

(38:42):
the first five minutes they're ramping a city bus through
a wall of fire and you're like, this is fucking amazing.

Speaker 3 (38:49):
Yeah, Or they're driving down a pier and knocking everything
off of the pier and people are jumping off of
you know, trampolines into the water and barrels jump straight
up in the air. When you hit it, you know
it's gold. And I don't care like some people I'm
sure are like, oh, this is so stupid, this is
so childish. Not me, man, because I'm just like, this
is the greatest thing I've ever seen. This is exactly

(39:11):
what I'm here for.

Speaker 2 (39:13):
Speaking of it, it's it's skill. It's what you win
once you take Once there's two things. It hits you
on two levels. You get entertained by it. The fucking
lizard brain just goes, oh, this is exciting and awesome,
and you know, you get boyish and childish again.

Speaker 1 (39:30):
And then the other thing is the skill.

Speaker 2 (39:33):
Once you know how the cookie has made and once
you like you have you've interviewed people. I've interviewed people.
I've been lucky enough to you know, speaking to all
sorts of people, stuntman, directors, whatever. And at the same time,
DVD commentaries and lazy disc extra features and all that
kind of stuff brought a lot of this into our

(39:53):
and a lot of these names we didn't know beforehand
into our living rooms. And so when I watch something
like the opening of this where, like you say, they
drive down a a peer that is abnormally long by
the way.

Speaker 4 (40:05):
Oh, it's like that thirty miles long easily, it's.

Speaker 1 (40:08):
Thirty mile Fuck.

Speaker 2 (40:10):
When you see that and you notice that there's something
I think there's something like twenty two body hits just
in that sequence alone, you know, you see the skill
the second time you watch it, and you're no longer
kind of necessarily wrapped up in the entertainment of it.

Speaker 1 (40:26):
You really see the skill of these stunt people that's involved. Yeah.

Speaker 2 (40:29):
So Patrick does a lot of his own stuff in
Zero Tolerance, which is great.

Speaker 1 (40:34):
He also is a really good stunt man.

Speaker 2 (40:35):
I have to say, you know, we're just joking about
the A team in the way that the axles destroyed,
and then the next minute, the Van seems fine. The
cuts between what's obviously a stuntman and Patrick getting up
done really well in this movie.

Speaker 1 (40:49):
You don't you do not see the joint at all?

Speaker 3 (40:52):
Really you You gotta be a connoisseur of these movies
like you and I to like kind of catch them.

Speaker 4 (40:58):
This one's done pretty smoothly.

Speaker 3 (41:01):
We just we just have an eye for being able
to go yep, that was definitely a stunt guy that
did that, you know, right, especially if it's all you
see is the back of the head for a minute.
But I have to say, though, even though he was
doing most of his stunts, Robert Patrick's hair gets better
as this movie goes on, Like towards the end of
the movie, Like I'm like, dude, did you go get
your hair styled before this final scene? Like when did

(41:23):
you do this? Because your hair looks amazing right now,
not like it did earlier.

Speaker 4 (41:28):
It just caught me off guard.

Speaker 3 (41:29):
And that's another reason I was liking Robert Patrick in
this so much.

Speaker 2 (41:33):
Do you think of blonde highlights?

Speaker 1 (41:34):
Catch you off? God?

Speaker 2 (41:35):
When you first what it is, Yeah, you don't think
FBI agent and blonde highlights. But like later, once he's
out of the suit and he's in the baba jacket
and the blue jeans. It kind of then all goes
with the like rebellious cowboy look or whatever he's going for.

Speaker 4 (41:51):
Ye what your modern day type thing. I dig it.

Speaker 3 (41:55):
And even like in other movies, like when they do
the serious stuff, because he does have a lot of
flashbacks to the family. He's in the house, he's watching
old tapes, looking at pictures.

Speaker 4 (42:05):
With Robert Patrick.

Speaker 3 (42:07):
I was, I was with it with him, you know,
I I he's a good actor, and I could see
the emotion that he's putting in there. In a lot
of these action movies that doesn't work, you know, that guy.
They can't cry on command, They can't emote an emotion
other than a mad face, you know, pissed off, you know,
but Robert Patrick was able to actually do it. Now,

(42:28):
is he gonna win an Oscar for this movie? No,
But at least in this movie, I'm like, I feel you,
man that you know, you I believe it, Like when
he has the outburst in the hotel room, you know,
when she's questioning him all this stuff, Like I like that,
I bought it. You know, he was actually you know,
like breaking down and you know when he says, I,

(42:49):
you know, I.

Speaker 2 (42:49):
Lost my wife, I lost my kids, I lost my job,
Like what do you expect from me?

Speaker 3 (42:53):
Kind of yeah yeah, and everyone else is like, you know,
a buck up, dust it off, You'll be okay. Like
the captain, he's like, I go fishing on the East coast, motherfucker.

Speaker 4 (43:03):
What that's you don't just bounce back from this.

Speaker 1 (43:06):
No, no, I'm not flying out to mon talk to.

Speaker 6 (43:13):
Yeah.

Speaker 4 (43:14):
No, it's and you know I do like that.

Speaker 3 (43:16):
You know, they never did the the other thing that
Cannon definitely would have had her and Robert Patrick hook
up in that hotel room, and that didn't work for
the story in this and I'm glad that it doesn't
even start to feel that way either.

Speaker 4 (43:28):
So I'm like, I like it.

Speaker 3 (43:29):
This, this one works for me. No nudity in this one.
A lot of strip clubs, but no nudity in this one.
So I was like, Okay, that's.

Speaker 2 (43:38):
The one scene he goes to New Orleans and to
establish that it's New Orleans, because it's clearly not New Orleans,
but to establish its New Orleans, you see sort of
scantily clad stripper in a window.

Speaker 4 (43:51):
Yeah, it's like the Red district or something.

Speaker 1 (43:55):
Like the last thing.

Speaker 2 (43:56):
And it is unique. It is unique to New Orleans
because it's one of the few places that And actually,
when I was in New Orleans the first time there
was a burlesque dancer at the bar we were in
that you can have a burless dancer in a window
without any curtains or shade or whatever.

Speaker 1 (44:15):
Like you it's perfectly fine. It's just right there.

Speaker 2 (44:19):
Where's most strip clubs in New York and other places
in Vegas and stuff that I've lived in, they tend
to all be you know, warehouse he style buildings that
are closed closed up and windows, the doors around.

Speaker 4 (44:34):
The corner, stuff like that.

Speaker 2 (44:36):
But I just more like, yeah, yeah, yeah. So you
see that he goes in like shoots a bunch of people,
kills a bunch of people, walks out, and as he
walks out, he turns his head over and they have
one more clip of her ass and then he just
kind of makes a little look and walks away.

Speaker 1 (44:54):
It was great, And.

Speaker 3 (44:55):
I said cigarette and just keeps walking. I was like,
this works for me. It's just the right amount of sleeves,
you know, in the movie that's kind of drama driven,
just that right amount that he's in there. He's in
the CD Underbelly of the World right now, you know
he's not FBI agent Jeff, He's just Jeff.

Speaker 1 (45:16):
He's crazy Jeffy.

Speaker 4 (45:17):
He's crazy Jeffy. Oh but not like Titus.

Speaker 2 (45:20):
Well, if you're going I wish I wish crazy Jeffy
was on our side, that's that's a That's a great line,
as is the kind of sad but also humorous line
where the little girl on the airplane looks up and says,
what did you get for Christmas?

Speaker 1 (45:35):
And he just goes nothing.

Speaker 4 (45:37):
Nothing.

Speaker 2 (45:38):
It's so bleak because you know what's happened to him,
but it's also kind of funny.

Speaker 3 (45:44):
And it's such a wild scene to just randomly be
on a plane next to a little girl that their
grandma put me on the plane. I'm going to my
mom and dad. I do this all the time, And
you know, you're just like, who wrote this? I'm not mad,
but I was just like this, this is what we're
going with here, This is you know, he lost his kids,

(46:06):
and I's sitting next to this little girl talking about Christmas,
and then he falls asleep and sweating and she hands
him the throw up bag. I did get a chuckle
out of that one. She goes, please, don't throw up
on yourself like my dad did.

Speaker 1 (46:16):
So yes, her dad the worst flyer in America, the worst.

Speaker 4 (46:22):
Do you tell the pilot?

Speaker 6 (46:25):
Oh?

Speaker 1 (46:26):
Yeah, but no.

Speaker 2 (46:28):
I thought it was nice, Like when you talk about
those flashbacks or the dreams that he has. I actually
thought like it was a really nice touch because normally
when they do that in a movie, I kind of go, look,
we get it, like he had a lovely family. Can
we just get back to the killing in the mud?
I have to say, in these ones, it really did.

Speaker 1 (46:48):
Uh.

Speaker 2 (46:50):
It added something. It added a little respite from the madness,
but it also added some important kind of like backstory.
I love the fact that they sort of included that
the last conversation he had with his wife was sort
of an argument, not a terrible argument, but terrible, right,
but sort of like a regretful thing, something that would

(47:13):
you know, sit in the back of his mind for
the rest of his life, kind of thing that you know,
that would hurt his memories.

Speaker 1 (47:20):
You know.

Speaker 2 (47:21):
Similarly, the little girl, his daughter is kind of saying like,
can we stay home from school today? And there's part
of him that wishes. You know, maybe he had just
stayed home and stayed home with the kid, yeah.

Speaker 1 (47:35):
School and whatever.

Speaker 2 (47:36):
You know, there were some nice little touches there that
didn't need to be in there, but were. And I
think that that's that's Joe Hart's writing. I think he
always whips stuff in there that you wouldn't necessarily expect.

Speaker 1 (47:48):
I feel like he.

Speaker 3 (47:49):
Does in some movies things like this, they would have
killed the family out of nowhere and you'd be like, Okay,
the family's there because we didn't spend enough time with them,
like I didn't, right, wasn't able.

Speaker 4 (48:00):
To care about them. That kind of happens, But we
get just enough.

Speaker 3 (48:05):
Where I'm like, and it's so brutal, You're like, oh shit,
But the flashbacks build my relationship with his family, and
let me see, it's way better than Arnold in End
of Days, when we had to like have all the
flashbacks of his family where I'm like, they were already
dead before the movie started, Like I don't you know,
like I get it.

Speaker 1 (48:27):
I like it. It's a great movie.

Speaker 3 (48:29):
It's a great movie, but it's one of those that
they're already dead and we have to relive everything through
the flashback of you know, from Satan, this one is
we we actually care about the dynamic of the family
through the flashbacks, so we're we're on Jeff's side regardless
of this movie. You know, we're like, yes, kill all

(48:50):
five of them, Yes, get your revenge.

Speaker 4 (48:52):
You know.

Speaker 3 (48:53):
Yeah, you're not gonna be able to, you know, sleep
at night if you don't do what you're about to do,
and who cares who gets into way.

Speaker 2 (49:00):
It sort of reminded me a little bit of like
Larry Cohen film. What Larry Cohen always does is he
and Q the Winger Servent is full of these characters,
but every character in the movie has a little thing,
has a little character, has a little backstory, has a
little note, has a little whatever. And I thought it

(49:22):
was really nice that, while it's not labored the idea
that Kristen Meadows Megan his would be partner, the fact
that you know she lost her mom and that she
now lives with her father, and her father is clearly
still going through a lot because he's always sort of

(49:44):
nagging her a little bit and kind of taking out
some of his frustrations.

Speaker 1 (49:48):
There were some nice little.

Speaker 2 (49:49):
Character bits there that I'm like that doesn't need to
be in there, but that it is in there just
kind of flushes this movie out a little bit, especially when.

Speaker 4 (49:58):
She he's kind of going talking to Jeff and she's
commiserating with him a little bit, and then we find
out what happened to her mom, and I'm.

Speaker 8 (50:10):
Like Jesus Christ, like, yeah, yeah, that's just got dropped
in my lap out of nowhere, and it's just like,
you know, where she's talking, like, oh, I've thought about slipping,
you know, sneaking in that guy's room and cutting his moth,
Like she drops where he where he works, where he lives, everything,
Like she's like, I've been following him, and I can

(50:31):
do what you're doing here, and I can sleek in
his room and cut his throat, but I don't because
I have ethics and I have you know, honor and
all this other stuff.

Speaker 3 (50:40):
And that's when we get that thing where he goes
they took it all from me, Like I don't even
have my honor anymore basically at that moment. But just
her dropping that out of nowhere, I'm like, again, that's
just that little bit extra of the writing that sets
itself above other like just generic b action movies.

Speaker 2 (51:00):
Yeah, definitely. The writer Joe was telling me the ending
was different. Titus Wellover was meant to survive, and he
was meant to bring him to justice, and he was
meant to close that out, so that some of what
she said in the hotel room kind of wrung true
in the sense that he stopped with the full blown

(51:24):
death revenge thing. He goes, all right, I can't keep
doing this. I've sacrificed something of myself, et cetera, et cetera.
He brings him back to justice and then but he
also can't be part of the FBI anymore because they're
the ones that have kind of spurred him on to
do this and even have just been like almost forcing
him to do.

Speaker 1 (51:43):
It, you know what I mean.

Speaker 3 (51:44):
In ways, So they said that he was supposed to
be like the fall guy, like like essentially the plan
would be he would do all this and then he
himself would get sent to prison for it, right, and
everything cleans itself. But yeah, I gotta say that was
probably one of the most like unusual endings for me,

(52:05):
even though I was I was kind of expecting it.
But before I talk about the end, though, I do
got to talk about when PM gonna PM that they
do it in such a way that I can't I
almost want to shout, is yes, you get the biggest
guy of your stunt crew as your henchman, carrying the
biggest gun, and every bullet he fires explodes on the

(52:28):
ground like Robert Patrick is in the middle of a
war movie.

Speaker 4 (52:33):
Because when that guy.

Speaker 3 (52:34):
Is walk carrying a fifty cow rifle and basically shooting
explosive rounds, which I don't think that's what it was
actually supposed to be, but that's just how they depicted it.
And Robert Patrick is running across this parking lot like
slash pier with explosions every time the guy pulls a trigger.

Speaker 4 (52:53):
I was just like, yes, more of this.

Speaker 2 (52:58):
Well, yeah, there was two great it seems like that.
There was that scene and then earlier. Robert Patrick's plan
when the henchman come running out of the casino is
to he shoots twice. He'll shoot the car because of course,
in a PM Entertainment movie, if you shoot a car,
it instantly explodes yep, so he'll there's a row of
cars outside this casino, the hench men come running out,

(53:23):
he shoots the car. Explosion disorientates them. Then he shoots
the henchman. Then the henchman that's in front of the
next car, he shoots the next car, car blows up,
shoots the henchman. And that was another kind of very
PM got a PM kind of moment, which was they
were like, well, we've got eight cars. We've got eight henchmen.
Run out, shoot one blow up, shoot next one, shoot

(53:44):
one blow up, shoot the next car. And it was
sort of this it's almost like it's almost like Robert
Patrick was like, if I could just get them out
into the street, because I know I could make cars explode.

Speaker 3 (53:55):
Right, I know that my bullet will make that car.
Even if I don't hit the gas tank, it's gonna explode.

Speaker 2 (54:02):
I think at one point he hits like the window
or the passenger doors.

Speaker 3 (54:08):
So cars are really really explosive. Did you not know that, John,
are very explosives. Acorn could fall if my car would explode.

Speaker 2 (54:20):
But again, I don't I don't mind that because sort
of once, once I get into like a PM Entertainment movie,
I'm like, the world I'm in has these rules, and
as long as it adhes to these rules, you know
what I mean, I'm fine like, as long as people
aren't you know, superheroes, which is sort of my a

(54:41):
little bit of my complaint against action movies made recently
is everyone now is a superhero, you know what I mean, yea,
and it ceases to be I rewatch the Beekeepers as
much as like it's a fun state of the movie.
I'm like, he doesn't even get a scratch in that movie, Like,
no one even takes him on in that movie, Like, well,

(55:04):
I guess.

Speaker 4 (55:05):
He does get hurt, but it takes a while. I
hurt him.

Speaker 2 (55:08):
Two minutes, you know, Whereas uh, you know, I prefer
my I understand that even John McLain would probably have
died in the first you know, three stunts that he
does in the movie die Hard, But it's at least
more believable that he's you know, a little beat up
rough gye emotionally, you know, his feet of bleeding, Like

(55:30):
at least it makes I don't know, it gives you
someone to root for, whereas when they're just superheroes, it's
less right.

Speaker 3 (55:37):
And that's something a little bit that I think Zero
Tolerance has going for it is Robert Patrick is a
giant dude. He's not incredibly buff, you know, he's not
got abs for days. He's kind of a regular guy,
and so he's also not Special Forces trained. He does
a couple of pretty cool kicks in this movie, and

(55:58):
I was like, okay, me off guard, I'm in, But
he doesn't rely on it the whole time. Like whenever
he's fighting Manta later, it's straight up fisticuffs. They're just
you know, beating the crap out of each other. And
I was like, this feels realer, like a little raw, like,
you know, it's not not as choreographed to fight, you know,

(56:19):
like Daniel Bernhardt would have or you know, Jason Statham
would have.

Speaker 4 (56:24):
This is this felt very.

Speaker 3 (56:28):
Guttural, very like they live. They're just gonna beat the
piss out of each other for ten straight minutes. But
he ain't got that that kind of time. But yeah,
I like that about this one.

Speaker 2 (56:38):
I did because you know too, like like well Of
is a pretty heavy hitter when it comes to the acting.
I mean, yes, he's doing a bit of a cartoony
villain and he's definitely like, yeah, I'm wearing the shiny
suits and I'm doing the I'm tight as well of
a being a bad guy with the shiny suits, So
what the fuck?

Speaker 1 (56:55):
It ain't my problem.

Speaker 2 (56:56):
He's definitely doing kind of some of that kind of
goofy cut tuniness. But because it's consistent and because that's
the character you kind of expect him to play it,
it does work. And it means that when you get
kind of the face off between the two of them,
you're already like, well, this is two actors who, yes,

(57:18):
are going to have a fight, and yes it's a
PM film, and yes, whatever, but they're actors first. This
is not Don the Dragon Wilson versus Gary Daniels or
Jeff Wincart, you know, versus Gary Daniels, or or Gary
Daniels versus the Old Warrior or whatever.

Speaker 4 (57:35):
This is versus Gary Daniels. Yes, I'll tell you what.

Speaker 2 (57:42):
If you haven't seen it on your B action movie journey,
check out Cold Harvest, because that is that is a
under the radar, phenomenal Gary Daniels movie, some of the
best martial arts, very Hong Kong inspired set pieces, and
even the female lead in it is Barbara Crampton, so

(58:02):
it even has Horror the horror star in it. And
I remain the only interviewer that when speaking to Barbara
Crampton brought up Cold Harvish.

Speaker 1 (58:12):
She was like, wow, no one has ever brought.

Speaker 3 (58:16):
That movie up to me before, so it just wrote
down and shall make it onto the list.

Speaker 1 (58:21):
So what you did, there's some great Have you seen
blood Moon with him and Darren.

Speaker 4 (58:26):
Shallab, Yeah, I think I've seen blood Moon?

Speaker 2 (58:29):
So blood Moon again top tier, Gary Daniels phenomenal set pieces.
Cold Harvest very similar, but it has some of that
steel frontier like steampunk post apocalyptic kind of sci fi
aspect to it as well. So everyone looks like they
just came off the set of Firefly or something. They're

(58:50):
all wearing like long brown duster coats and you know,
things like that. So it's a good time. It's a
good time.

Speaker 3 (58:56):
We just recently did Christopher Lambert's Male Wolf, so we're
well versed in some sci fi punk medieval blending.

Speaker 4 (59:07):
Yeah, we win them all with that movie.

Speaker 2 (59:09):
Oh yeah, that one's fantastic, the one I love with
him in it, Lambert, And it is another like Under
the Radar one is.

Speaker 1 (59:17):
The Hunted the Ninja Mons fucking enom movie.

Speaker 4 (59:23):
Really enough people talk about that movie.

Speaker 1 (59:25):
It's so such a great movie. I used to do
it in the aftermovie diner.

Speaker 2 (59:28):
I used to do Ninjavember and we used to do
double bills of Ninja movies every weekend in November, and
we did the Hunted As as one of our double bills.

Speaker 1 (59:39):
Phenomenal. I loved it. I thought was great.

Speaker 2 (59:41):
But yeah, so, the exploding cars are great, the exploding
shotguns are great. The fight, like you say, with Titus
Welleve and Robert Patrick, a lot more realistic. And but
but in general sort of the set pieces are slightly
more subdued in this than they are and in other movies.

Speaker 1 (01:00:01):
And this is not one.

Speaker 2 (01:00:02):
I'm gonna have to quickly look it up, but this
is not one that I think has They mainly work
with two stunt guys, Spirousatos and Cole s McKay, and
then Broadway Joe Murphy and a couple of others sort
of crop up. But I don't believe that this has
any I was looking earlier. I don't believe this has
any of like the key stunt guys they normally work with.

(01:00:25):
I feel like this was a kind of a secondary
group kind of thing. Okay, so Broadway Joe Murphy. No, okay,
so Broadway Joe Murphy is the is the stunt coordinator
on this, So that's yeah, he's I mean, look, he's fantastic.
I'm no knocking on Broadway, Joe. It's also got like
wild Bill Mark, who I've seen his name knocking around
on these things before, and a couple of others. But

(01:00:46):
it's not the it's not necessarily the usual stunt crew
for this movie either. And there may have been the
nature of the script. They may have been like, look,
it's Robert Patrick. Let's give him something more to work with.
Let's not just make it, you know, wall to wall explosions.
Let's let's try and let people see him emote. But

(01:01:06):
let's also have him like riding on a motorbike just
looking fucking badass.

Speaker 3 (01:01:13):
That was like the cherry on top of this is
the motorcycle sequence. He went, Arnold got to ride a motorcycle.
I want to ride a motorcycle? Can I ride a
motorcycle in this movie? That's what I want to do?

Speaker 4 (01:01:24):
And it was. It works.

Speaker 3 (01:01:25):
I like it, It comes off really well. I like
everything that happens in here. Until the end of the movie,
I was even okay with him. Hell, I was half
expecting her to shoot Manta in the head so that
it wouldn't be jeff because she's there again. She just
shows up out of nowhere too, like he's, you know,

(01:01:48):
assaulting that compound and a white I'm watching this going
where the fuck does this white car come from? What
is going on? And he jumps in it like it
was planned? And I was like, did I miss? I
was about to reward it till he goes where the
hell did you come from? And I was like, oh, okay,
you're just as lost as me. Yeah, where the hell
did you come from? And you know, she like, I'm

(01:02:08):
just here to help you and save you and all
this other stuff. And I was like that, I had
no idea that's what she was going to do, Like, yeah,
I think she.

Speaker 2 (01:02:17):
And again, I just watched this this afternoon, So I
don't know whether it's my old man brain or whether
it just didn't stick with me. My thought was at
one point, Titus Wellerfer is in the is in a
jacuzzi and his henchmen come in with the female agent
and he said, so, you're telling me that Jeffy got

(01:02:37):
away again, but you brought me this woman? Why?

Speaker 4 (01:02:40):
Right?

Speaker 2 (01:02:40):
And my feeling is that that was like where they
kidnapped her. And then I think during the raid on
the compound, the implication is that she has escaped, got
the car and swung around to pick him up.

Speaker 3 (01:02:55):
I think it it could be a mismatch because I
thought it was before she got kidnapped. And that's how
right before the hotel scene that she just appears.

Speaker 1 (01:03:06):
Oh she shows up the first time.

Speaker 4 (01:03:09):
Yeah, well, she just shows up the first time out
of nowhere in that white little compact car, bust through
the day.

Speaker 2 (01:03:17):
Okay, that is that is because her I think you
see her and her colleague say like, find me the
next place?

Speaker 3 (01:03:27):
He know, Yes, the last I think the last thing
she says is I'll be at lax, Like that's I
think it's the last thing she says and the last
time we see her. Yeah, until she's busting through the
gates and it just happen and he the way he
like sees the car busting the gates knocked down, the
henchman rolls again because he likes to roll in this movie,

(01:03:48):
jumps in the passenger seat they she takes off, and
that's where I'm like, was this planned? And then he
looks at her and goes where the hell did you
come from? And I was just okay, it's not just me.
Now later she's kidnapped. She's already there during that assault,
and that's okay, I'm getting confused. Yeah, okay, does whatever
he whenever he beats up Manta, and he's like, it's

(01:04:12):
time to do the kill shot. And she walks into
the frame of the shot. And that's kind of where
he pauses. It's kind of like, do the right thing.
She doesn't say that. She kind of walks up to him,
and she's already He's already slapped the ship out of her.
A couple of times. I was waiting for her to
pull out a piece and just like boom, all right, Jeff,
I did it for you.

Speaker 4 (01:04:30):
Now I we don't have to worry about it.

Speaker 3 (01:04:31):
But now it's He handcuffs him, takes him back on
an airplane. I love the PM way of showing an airplane,
airplane going over across the screen, just randomly, like they
were at the end of the airport. Let's film three
different airplanes today. That's that's gonna be our airplane on

(01:04:51):
the map. Yeah, right, And so he takes him all
the way back. He walks him into the FFL. Jeff
is wanted. He's killed countless people, probably fifty at this point,
got one of the most wanted people in the United
States and South America. Walks right into the offices and

(01:05:12):
hands him to his boss, and his boss like, all right,
it's we're doing good here, not hey, you're wanting now
you've killed all these people, you don't just get to leave.
And then dude goes to grab the gun, and I'm like, oh,
here we go, die hard ending every other ending I've
ever seen lethal weapon ending. He's gonna shoot him because

(01:05:34):
he grabbed the gun. Nope, he grabs the gun and
somehow trips over someone and falls through a window in
the sixth story of the of the FBI building. Yeah,
and falls to his death, and Jeff still walks out
of the building like.

Speaker 4 (01:05:54):
Is it done now? He's like, yeah, it's done. Roll credits.

Speaker 2 (01:06:00):
What's nice is he brings him in with handcuffs. I
think Robert Patrick when he goes to grab the gun.
I think Robert Patrick does like nudge him or grab
him or shove him a little bit something, and then
he falls through the window. When he falls through the window,
his arms are then released because you see the stuntman

(01:06:22):
do the typical fall out of the window. So when
he hits the car, his hands are handcuffed.

Speaker 6 (01:06:30):
Again.

Speaker 3 (01:06:30):
Yes, I always watch that, and it's because of lethal weapon,
because I watch the behind the scenes and if you
watch it close, when he gets the jumper and he
handcuffs himself, they're holding hands when they jump, and you
can see a moment that there's no that the handcuffs
aren't attached. They're just trying to hold onto each other's

(01:06:53):
hands to the last second so it's safe and they
don't break each other's wrists to land, and then they
get back out in their handcuffed to get I always
look for that if someone's wearing handcuffs and falls off
a building, like when does the handcuffs come off?

Speaker 4 (01:07:07):
When?

Speaker 3 (01:07:07):
When when there it is no handcuffs and they're back
on there he is like, I mean.

Speaker 2 (01:07:11):
This guy has no handcuffs on as he comes shooting
out the window. No, nothing, that's the other thing. It's
the other thing about PM Entertainment films. Glass has no substance,
Like there's one point where he needs to get out
of the casino quickly. He just throws himself through a
plane of glass. Like, I don't care how big, strong
and tough you are, You're not throwing yourself through a

(01:07:33):
plane of glass like glass will crack and shot them
before it completely breaks.

Speaker 3 (01:07:39):
Front of storefront buildings. That glass is designed not to
do that. Okay, that is super strong. At least shoot
the glass first. Give me that little bit of I
shot it, and then I jumped out, No, he had firsts.

Speaker 1 (01:07:55):
Himself through a window.

Speaker 4 (01:07:56):
Yeah, yeah, at least I had.

Speaker 2 (01:07:59):
You know, when he swings back from the building, he
shoots at the glass before he goes through it. Some
level of yeah, yeah, there's some level of believability there.
But yes, no glass in PM Entertainment movies has no
purchase and has no solidity.

Speaker 3 (01:08:16):
No they time to jump through. But yeah, I gotta say,
for the entire movie, I enjoyed. I enjoyed this movie,
but that ending left me wanting that's probably on the
best way I can put it. And it just actually
left me with more questions which they're never going to answer.
And that's fine, that's an action movie for you, But

(01:08:38):
it's like you've killed at least fifty people. You know,
it's not just four heads of the drug cartel. It's
all of their henchmen, every innocent bystander that got killed
in a crossfire from all of the gunfire.

Speaker 2 (01:08:53):
Right, and then doesn't he do like a million dollars
of damage to like a street in Las Vegas something
that like he did?

Speaker 3 (01:09:00):
Like yeah, they go, he did him over, And that's
when they almost high five all each other, like that's
all he spent, that's all it cost us.

Speaker 2 (01:09:09):
Like yeah, awesome, yes, yeah, wild. But then you know,
like you've got to at a certain point. I think
what PM does is they go, well, someone up top
is pulling strings, and that will be our catsual answer
for people who say, well, wait a minute, what about X,

(01:09:30):
Like what about the guns? How's he getting car how's
he getting motor bikes? How's he getting airplanes? How's he
getting guns? How's he getting bullets? You just go, oh, well,
the man from above is pulling the string. Oh well
that's all right. Then who's that? Then the president like,
who's pulling the string.

Speaker 3 (01:09:45):
He's got he's got his own smoking man before he
was ever part of X files, So he.

Speaker 1 (01:09:50):
Right, exactly.

Speaker 2 (01:09:51):
Yeah, It's like this catchual story line kind of technique
that kind of is just the answer to everything. I
get where Joe the writer is coming from the and
I don't know because I haven't read the original script,
but like what that scene was meant to be or
how they were going to get closure, you know, And I,

(01:10:13):
you know, I like the way it ends with him
riding off into the sunset and the motorbike again. But
I find it, I said, the shots cool where he rides.
But I'm with you, like, I don't know, how how
is it? You know, I get the big emotional ending.
There's a big emotional ending where he's I'm giving him over,
I'm doing the right thing, but I quit the FBI.

(01:10:34):
I can't be a part of this life anymore. Look
what it's done to me. Blah blah blah blah blah.
Like I can see that ending being an ending, even
if you take out of your head while he's a
wanted man and he's killed all these people, even if
you're just like he needs closure as a human being
and he's just going to kind of like walk the
land like a Western hero or whatever. You're like, Okay,

(01:10:55):
I could see that as an ending. And I could
even see an ending where they, you know, thank you
for your service, and then two guys come up behind him,
handcuff him, and walk him away like almost like thank
you for your service. And then I can see the
down ending as well.

Speaker 4 (01:11:11):
You know, yeah, you could have ended it up on
an up and and down.

Speaker 3 (01:11:15):
Hell, you could have ended it on the b actiony
of b action endings and just have the guy go
for the gun and before Jeff could get his out,
the police captain caps the guy and look Saman goes, damn,
that really was easier call back to where we're just
shooting him now, you know, you know, go go. The
movie isn't lending itself to that type of insanity, so

(01:11:39):
I'm okay, But I'm also like it would allow him
to still have that honorable moment where he didn't kill
the last guy, but yet now he doesn't have this
guy who's just in prison, which is usually where the
most powerful people are half the time anyway, looming over
him for the rest of his life. Yeah yeah, so

(01:11:59):
let let the captain who kind of put him in
this predicament cap this guy, or I think it could
have been anything other than him feeling like he falls
accidentally falls out of a window.

Speaker 4 (01:12:12):
That's kind of where it lands for me.

Speaker 3 (01:12:15):
Accidentally on purpose flies out of the window and Peter
Pan's out out the damn thing.

Speaker 2 (01:12:25):
But you know, I can just see Joseph on set
being like, we need one more stunt, we need one
more thing.

Speaker 4 (01:12:32):
I get that.

Speaker 3 (01:12:33):
I don't think anyone had fell out of a building
in this movie yet till that moment. That might have
been the yeah, we forgot the high fall. We're almost done,
fuck it, throwing him out the window, hodscrewber his ass.

Speaker 9 (01:12:50):
Okay, done, Okay, So you should all know the drill
by now.

Speaker 2 (01:13:09):
Now it is interview time, and this week we have
an interview with the writer of Zero Tolerance, Jameson Hart,
as well as some comments by some other PM Entertainment
luminaris that I've spoken to over the last few weeks
who have mentioned either the film or working with Robert Patrick.
So that'll be coming up now. Obviously, don't forget that

(01:13:30):
we do have to have some commercials because we need
to be able to pay for the hosting and other
things that we do in order to make this podcast possible. Obviously,
if you wish to support us, the best thing you
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(01:13:53):
other smaller services also allow it. So please rate and
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post on Facebook, share it, share it, share it, share it.

Speaker 1 (01:14:04):
Like it.

Speaker 2 (01:14:04):
Comment when you see us post on Instagram, share it
to your stories like comment. All that good stuff that
really really helps and doesn't cost anyone anything, So please
continue to do that. That would be fantastic. Thanks so
much so. Here are a few adverts, and then my
interview with Jacobson Hat and a few other people from
the PM Entertainment family. How did the I guess, how

(01:14:31):
did the idea? How did the script start to fall
into place?

Speaker 10 (01:14:34):
For Zero Tolerance was Joseph's initial idea on Monday morning,
and I went into his office to get my writing assignment,
and he started talking about zero Tolerance. He liked the
title who Wanted to Do? He had this story mapped
out pretty much from the beginning. I know he had

(01:14:57):
the first ten pages very detailed and how it all
got set up, and he also knew how he wanted
it to end. And I did my job. I did
my best to keep it simple and I appreciate how
sparse the story was and how sparse the structure was,

(01:15:21):
and I wanted to keep it that way, and I
kept the dialogue at a minimum. And that's the best
kind of dialogue I write is short, terse lines. The
more dialogue I have to write, the more cliche it gets.

(01:15:42):
But I wrote some pretty good short little lines. One
of my favorite pieces of writing is in that film
where the little girl asked him what he got for Christmas.

Speaker 5 (01:15:55):
He said nothing.

Speaker 1 (01:15:56):
Yeah.

Speaker 2 (01:15:57):
The trailer actually does a really good job of capturing
that because it seems to in between sort of the explosions,
car chases and stuns, they seem to have found sort
of the three or four times throughout the movie that
there's like a snappy back and forth and sort of
put that in the trailer.

Speaker 1 (01:16:15):
And that line.

Speaker 2 (01:16:16):
Where you know, he looks down at the little girl
next to him in the in the plane and says nothing,
I think is in the trailer. The bit where Titus
well of us, well of us says I wish crazy
Jeffrey was on our side. I love that they call
him crazy Jeffy and that hole back and forth.

Speaker 10 (01:16:36):
That would have been an improv from Titus. He did
a lot of improvise, improvising. He came up, he came
up with He just naturalized his dialogue. He gave a
terrific performance, and I think he naturalized his dialogue now
and he did a great job with that. Him and
Robert Patrick really elevate that material. And there's some terrific stunts.

(01:17:01):
Red Horton was the stunt coordinator and there's some terrific
stunts in that film. And Joseph kept the direction very,
very lean, and I appreciate how sparse.

Speaker 6 (01:17:15):
The whole thing is.

Speaker 1 (01:17:17):
Yeah, it's nice.

Speaker 10 (01:17:18):
I think that Robert might have added a couple of
his lines, but he certainly gave it a realism that
help the.

Speaker 6 (01:17:31):
Material a lot.

Speaker 10 (01:17:33):
I my general attitude was to try to keep the
dialogue to a minimum. That was my attitude about writing
action movies at that time. I wanted the story to
be told visually as sparse as I could, but you
still have to have a ninety Paige script.

Speaker 1 (01:17:50):
Yeah.

Speaker 10 (01:17:51):
The relationship between those three, him and the FBI and her,
that kind of came from Joseph because he liked the
idea of the FBI allowing him, allowing Jeff Douglas to
go and do his own thing, and the way that
they kind of tried to turn the other cheek to
the whole thing. That was Joseph's idea. I had written

(01:18:13):
a scene where the FBI was protecting the last member
of the band that he was killing the ramantic character.
I had written the scene with the FBI was protecting
him from Jeff Douglas.

Speaker 6 (01:18:34):
Like that irony.

Speaker 10 (01:18:36):
But Joseph liked the idea of the FBI allowing Jeff
Douglas to do that, to go.

Speaker 6 (01:18:43):
Vigilanti, and I appreciate that element too. I like that
angle too. It's kind of old school.

Speaker 2 (01:18:52):
Yeah, you feel like there's so many ways it could
have gone, you know. And and what's I think what's
interesting about the movie. Although I'm sure some people see
the ending as a sort of a hero moment and
then you know, he gets to drive off into the sunset,
what's actually more true is either way the story went.
So you know, whether he goes full vigilante and kills

(01:19:16):
everyone and drives off into the sunset, or whether the
FBI turn out to be protecting you know, Manta and
are going to just hang it all on Jeff, and
Jeff is the escapegoat you know, or multitude of other
ways it could have ended.

Speaker 1 (01:19:30):
I think what the dark under pinning of that.

Speaker 2 (01:19:34):
Is that Jeff loses no matter what, there's no world
in which Jeff comes out on top in the end,
you know what I mean.

Speaker 1 (01:19:42):
And yes, the ending as it is right now can
be read that.

Speaker 2 (01:19:46):
Well, at least he gets to write off with his freedom,
which I suppose is is something. But you know, he's
lost his job, he's lost his faith in the government
or the agency, at least the FBI. You know, he's
lost his Probably his colleagues who worked for the FBI,
or at least the colleagues in the FBI are probably
thinking whether they want to stick it out with the

(01:20:07):
FBI after this, and so you know, he's obviously he's
lost his family and everything else. So yeah, it's it's
probably the best in terms of optimism. It's probably the
most hopeful of all the endings. But either way, you know,
the dark ending, the real dark ending, would have been,
you know, the agency of protecting Manta and Jeff gets

(01:20:30):
blamed for everything, handcuffed and dragged off to you know,
federal prison. So you know that there's lots of ways
to end it, and I think that that's sometimes, especially
for a film fan, that's even better because it gives
us avenues and stories and choose our own adventures in
our head. You know, Joseph liked.

Speaker 6 (01:20:48):
To give a little hope in his endings.

Speaker 10 (01:20:51):
He didn't He did some nihilistic stuff early in his career,
but I think later he tended to to like the
more positive endings. I mean, the real the loss for
Robert Patrick's character is the loss of his family, and
that's you know, he doesn't escape from.

Speaker 1 (01:21:09):
That, right, No, never will, right.

Speaker 10 (01:21:11):
And him driving away in the motorcycle. I think that
kind of is alluded to earlier in that when that
truck driver that that guy picks him up as a hitchhiker,
the guy in the RV. Yeah, the guy kind of
fantasizes about how great it would be to have no responsibilities.

(01:21:32):
And in the end, that's where Jeff is left.

Speaker 2 (01:21:36):
Yeah, And it's interesting that I think the moment he
kind of goes vigilante, that the motorbike becomes his mode
of transport, because yes, on one hand, it's like a
cool action symbol for a movie, but on the other hand,
it's a solo transportation like there is no one else
who's traveling with him anymore, you know, right. Yeah, Like
if you look at Robert Patrick's resume after this, it

(01:21:58):
would have been lovely to seen him at least to
kind of two or three.

Speaker 1 (01:22:02):
I just he fits so well, it feels into the mold.

Speaker 6 (01:22:06):
Yeah, he did that role terrifically. Yeah. He was a
lot of fun in that part.

Speaker 1 (01:22:10):
Yeah.

Speaker 10 (01:22:11):
I really liked his double barrel shotgun that held five shells.

Speaker 2 (01:22:15):
Yeah, it never needs to be reloaded.

Speaker 10 (01:22:17):
Yeah, Yeah, you can't watch PM movies for realism.

Speaker 2 (01:22:20):
No, of course, there was there ever any talk for
like sequelizing it, or any talk about following on the
character or because Patrick never returned, it was never brought up.

Speaker 6 (01:22:32):
Yeah.

Speaker 10 (01:22:33):
I don't think that it was ever discussed because Robert
didn't come back for another film. Yeah, And I don't
know why he did it, why he didn't, I don't
know if they asked him.

Speaker 6 (01:22:42):
I don't know any details about that. No, I sat down.

Speaker 10 (01:22:47):
I worked one day with Robert. I had a gunfight
with him in Long Beach. I got to play one
of the henchmen in that gunfight scene, and so I
got to spend the day with him, And that was
a fun day.

Speaker 2 (01:22:59):
Yeah, and he seemed generally happened to be there. He
was enjoying himself, he thought that the production was good.
Or did you find him to be someone who was
just you know, this was the next step for him
or something.

Speaker 10 (01:23:12):
I think when I worked with him that day, he
seemed Robert seemed gung ho about the process. He seemed
to enjoy the day that I that I was there,
he was very positive. And it was a long day.
I mean we shot it was an extensive shootout, and
we were there well past twelve hours, and we were

(01:23:36):
there deep into the night shooting that scene. And he
was there the whole time, and he stayed positive the
whole time.

Speaker 1 (01:23:44):
Nice, that's great, That's great.

Speaker 6 (01:23:47):
And was that anything he got his wife a job
on that film? She played his wife in the movie.

Speaker 1 (01:23:54):
Yeah.

Speaker 2 (01:23:54):
And obviously that scene is incredibly violent. Was there any
discussion around sort of the violence in that scene or
was it just let's get some more action in that.

Speaker 10 (01:24:06):
I think the violence in that scene was more intense
than what I wrote. I think Joseph made it that
way to bring out the drama, so you know all
the time through the rest of the film why he's
doing what he's doing right, Joseph was. Joseph was very

(01:24:26):
enthusiastic about that project from the beginning. He had the
general idea, he had the ending, and he had the
structure also, and him traveling. It's kind of like an
action movie road movie. It's like a road movie across
with an action film because he's traveling through the whole film,

(01:24:49):
and it was Joseph's idea to have flashbacks while he
was traveling. He felt strongly that there should be more
drama in this film than in previous films.

Speaker 6 (01:25:04):
You know.

Speaker 10 (01:25:04):
He the last thing he told his wife was that
everything was going to be okay, and that eats away
at him. And that drama and what I mean by
drama is emotion. And that's what Joseph wanted out of
this film more than previous ones. Was he wanted to
bring in more emotions.

Speaker 1 (01:25:23):
No, and that comes across.

Speaker 10 (01:25:24):
Yeah, I think Josh should be proud of that film.
I think it's I think it's I'm real happy with it.

Speaker 6 (01:25:31):
I like how Spartan the whole thing is.

Speaker 10 (01:25:33):
I like how it ends, I like how it comes,
how he comes back around and brings him back to justice.
That was Joseph's idea, and I always responded to that positively. Yeah,
I thought that was a good way to end it
and not just have it be one last kill, right,
even though he kind of gives you that anyway, because

(01:25:56):
with the very ending with raymant A grabbing the other
cops gun, but that doesn't change.

Speaker 6 (01:26:05):
The character arc.

Speaker 10 (01:26:07):
I like how Robert Patrick quits at the end too.

Speaker 6 (01:26:09):
He said, the guy's like, you know, he.

Speaker 10 (01:26:14):
It's he could have come back, but he doesn't want
to come He doesn't want.

Speaker 8 (01:26:17):
To go back.

Speaker 2 (01:26:18):
No, everything has let him down. Everything is you know,
set him up for failure. And yeah, he doesn't want
to be part of that anymore, and it's important, I
think for him to walk away.

Speaker 10 (01:26:29):
Well, another thing Zero Tolerance gave me was a car.
I had needed a car. I don't know, my car
broke down. I'm like, my car broke down, and so
I needed I was without a car. And the picture
vehicle that Robert Patrick sets on fire, the Chevy Blazer,
blue and white. He sets it on fire and then

(01:26:51):
he drives him to the warehouse. He drives through the door. Yeah,
after they were done with that scene, they gave me.

Speaker 1 (01:26:57):
That that Chevy Oh it was still it was still drivable.

Speaker 4 (01:27:03):
Yeah.

Speaker 10 (01:27:03):
Yeah, they blew another they blew it. They blew a
junker up. Okay, they just threw They used that car
to drive in through the door, and then they were
done with it. And even though it was had been
burned and driven through a door, it still ran and
they gave it to me.

Speaker 6 (01:27:18):
So that's the kind of guys they were.

Speaker 1 (01:27:20):
I love that. Do you still have it somewhere or.

Speaker 6 (01:27:24):
Oh no, no, that was nineteen ninetyes, that was in
the nineties.

Speaker 1 (01:27:28):
Oh no, I know.

Speaker 2 (01:27:29):
I just didn't think she'd kept it as a dragged
it across the country as a keepsake.

Speaker 1 (01:27:35):
I didn't know, you know.

Speaker 2 (01:27:39):
And now a quick chat with Ken Blakey, who was
the cinematographer for many, many, many PM Entertainment films, over
half of them, and he talks a little bit about
Zero Tolerance and also shooting in Vegas. Is there anything
about working with Rob Patrick, anything about lighting in Vegas,
because obviously you've got those big Vegas scenes with all
the big casino marquees and things like that. Anything that

(01:27:59):
you can share about Zero Tolerance.

Speaker 7 (01:28:02):
Well, it was a big, big movie for PM. It
had a bigger budget moving forward. Uh, but I remember
about it. Robert Patrick was great. Uh. I loved working
with him. Uh, let's say, I'm trying to think we
that's a long time ago, a lot of movies there.

Speaker 5 (01:28:20):
I remember.

Speaker 7 (01:28:20):
I remember talking to him about Uh. He did the
film about the Tavis Walton story, the logger in Arizona
that was abducted.

Speaker 6 (01:28:31):
Uh.

Speaker 7 (01:28:32):
Fire in the sky they see that.

Speaker 1 (01:28:35):
I have not seen that document.

Speaker 7 (01:28:38):
Well, probably the best in reality, the best documented abduction
story you know there is, and we'll going to that
really good and I'm interested in that sort of thing.
So we talked a lot about Batman. He played Travis
Walton in that movie, right, and had done it. You know,
I was just picking his brain and uh and uh
and he enjoyed talking about out it and what you

(01:29:00):
know he took from it and and everything.

Speaker 1 (01:29:03):
And uh.

Speaker 5 (01:29:04):
Uh he was.

Speaker 7 (01:29:05):
He was a joy to work with. He was a
real pro. I ran into him at the supermarket one
day and uh in Hollywood at Nelson's where we shopped,
and I was with my daughter in law, and uh
we would walk along so well Robert Patrick and he
saw me, he recognized me. This is probably a year later.
I'm thinking and uh we started we had a conversation

(01:29:29):
there in the aisle at the store and uh and
then you know, Ben and I jews and walked away.
And my daughter in law was like, it was just
over the moon. She was said, everybody in the store
was stopped looking at you too, right watching It was
like your you were celebrities. Well he's a celebrity. I'm not,

(01:29:49):
but yeah, he's uh, he's a good guy. Yeah. And
as far as the shoe goes, the part I guess
I remember the most is the big shootout in the
Mexican village. That was a big, big deal and you know,
a lot of action and a lot of killers.

Speaker 2 (01:30:07):
As a cinematographer, as the director of photography, something like
shooting in Vegas where there is so many lighting sources,
is that a challenge for you or is that a
bonus for you? Does that mean you have to set
up less lights or do you have to combat the
insane amount of lights with with your own shadows and things?

Speaker 6 (01:30:29):
I don't know.

Speaker 7 (01:30:29):
Well, yeah, no, no, it's a blessing.

Speaker 5 (01:30:32):
I mean the light, I mean just just.

Speaker 7 (01:30:34):
The visuals there they are, you know, right, and if
you're side on the street or or inside it's you know,
it's twenty four hours bright lights.

Speaker 1 (01:30:43):
Yeah, so.

Speaker 7 (01:30:46):
I will say that in the case of what we
were shooting, then less lights. What you needed were just
lights to you know, so that you know, faces didn't
look bad. You know, you know, bring in a Kia
clows if you know what those are. They're basically you
know for us at lights there's plug it is and
you just have those to move around a lot. Used

(01:31:07):
a lot of Quina flows for that sort of thing.
Inside the casinos it's plenty bright, but I always want
faces to look nice, especially in the close ups, and
so so yeah, yes, I would say it was a
huge help. Uh, not just visually what you saw of
the lights, but what they added and gave you in
any scene. Yeah, it was great, and we shot a

(01:31:28):
lot in Vegas. I got to tell you that my
biggest memories of Vegas is you know, you know, being
on a film crew is like being in a rock band,
you know, and the hotels and the bars never closed.
So no matter what time you get off, if it's
three o'clock in the morning, you know the bar is open, right,
so shoot to go and zero tolerance. I think I

(01:31:50):
remember more about the partying and the bars in the rooms.
Making the movies that sounds awful, but making the movies
making a movie, that's you know, your work, and you
were doing it before, you know, right after you started
that movie and you started another one, I was I
was working on I think if I count correctly, you

(01:32:14):
know it was six, seven, sometimes eight movies a year.
I mean I literally wrapped a movie. I remember specifically
h one in particular, wrapped a movie at six o'clock
on a Monday morning, after working all night Sunday night
and finishing a movie and driven to another set and
started a movie that had a seven am call. Wow,

(01:32:38):
you know, so you worked, So you work days on
those shoots. You start at usually six or whatever, you know,
whatever time of year it is, the ending.

Speaker 5 (01:32:48):
Of the light.

Speaker 7 (01:32:49):
You say, just a six am call, and on Monday
and on Tuesday it might be eight, and then on
Wednesday it might be ten because you have evening and
a little bit of night stuff, and Thursday and Friday
you will put call splits or so you're starting at
noon and musing the daylight, and then you have night
stuff interior exterior, and you're wrapping around midnight. And then

(01:33:11):
by you know, Saturday night, you will be shooting all night,
coming in at you know, at six pm, and getting
off at six am on Sunday morning, and then going
back to work at six am on Monday morning. So
round the clock. Wow, and it's it's a grind. It
was a grind.

Speaker 2 (01:33:31):
Yeah, grueling schedule, but look at what you have now
to look back on. And then lastly, just a couple
of anecdotes from Joseph Mary again not just about zero tolerance,
but sort of a little bit about the budgets and
generally making a PM entertainment movie.

Speaker 6 (01:33:49):
Enjoy, because here's what we had.

Speaker 5 (01:33:51):
We had, you know, we had Ken Blakey, the director
of photography, and the duel at one hundred movies from
so we have a base. We can literally have anybody
direct as long as they can direct the actors and
you know, get the dialogue correctly and and and usually
these actors, because they're actors, they know the acting business

(01:34:14):
more than anybody, and they know friends who are really
good actors. For example, when when we brought h Robert Patrick,
you know our connection to Robert Patrick, you know, he
was making Terminator two and he was going to be
a huge star, So we signed him for three movies

(01:34:35):
and we thought, you know, just his connection. He got
Titus Williver to play the bad guy. So all these
actors will bring their friends, will bring somebody.

Speaker 2 (01:34:46):
So just give me an idea because obviously I think
when I was talking to Rick, he was sort of
talking that at a certain point in BM Entertainment you
had sort of multiple films shooting at once at any
given time. What was the what was the regular Also
people are asking me on the Facebook page for the
podcast as well, so what was the you know, budget,

(01:35:08):
production schedule and sort of the I guess the routine
of making like a PM entertainment film.

Speaker 5 (01:35:16):
Well, when we started, we started making movies for fifty
thousand on sixteen millimeters, and after I think seven or
eight or ten movies or whatever, then we graduated to
thirty five millimeters. So it went from fifty thousand to
about one hundred hundred and twenty thousand. This costly more
costs for thirty five millimeters, bigger camera, more extensive, so

(01:35:40):
we went to one hundred. I think the very first
movie was Emperor of the Bronx. We started in New York.
It was very ambitious to go to New York and
shot to shoot a movie in New York for one
hundred thousand, one hundred and fifty thousand at the time.
So we we really we used to literally walk it backwards.

(01:36:04):
Richard did not interfere much with the sales of the movie.
As a matter of fact, he didn't even go to
Europe until maybe fifteen years later. I was going to
Europe to sell us with Joe Sami, who was in
charge of the sales, and you know, I was interested
to keep of what people pay for the movie. So

(01:36:27):
we worked it backwards. If if if we feel by
putting Robert Patrick in the movie and giving him five
hundred thousand dollars for you know, ten days work, we
can get probably a million and a half to two
million dollars for the movie. So we cannot spend more
than a million dollars because we had a lot of overheads.

(01:36:49):
You know, we had a huge hudeo. We had you know,
people working for us, so we couldn't. We couldn't. You
would have to double or triple our our money. So
we'll work it backwards. Most of the time, we think
we can shoot a movie for a million a million,
two probably can get two to four for it, and

(01:37:09):
and that dictated to how many days we need to shoot,
and normally never shoot more than eighteen days, you know,
like two and a half weeks, three weeks, six days,
six days, plus another you know, maybe three weeks, three
and a half weeks at the most, four weeks, and
I think four weeks the most were a shot aside

(01:37:34):
from like the John Cordburn dam or later and I
get involved with bigger movies when they shoot for forty days. Yeah,
that's how we determine how much we pay the actor.
For example, I really feel bad for Robert Patrick. He
came off a movie that costs that at sixty seventy
eighty million a hundred million at the time to work

(01:37:55):
in the movie for a million bucks yea, and five
hundred thousand of it salaries. So we had five hundred
thousand dollars to make a movie that was, you know,
potentially a huge star that's worked with you know, James Cameron.
So he sorry for him, went from James Cameron to
working with me.

Speaker 2 (01:38:16):
But also, don't you feel that those your kind of
like a PM entertainment film or a straight to video
film or whatever kind of you know, second tier film
that he would make, and he went on to work
with other similar straight to video production companies. It often
gave actors like him that were either being asked to
play bad guys or character actor roles or whatever it

(01:38:40):
was in bigger movies. It gave them the chance to
be the heroic lead, which they didn't often get. I
think it was you know, a PM Entertainment or a
Canon film or you know, Vidmark, whatever, those kind of
production houses. You know, they gave those actors that opportunity.
So I would I wouldn't feel bad if if I was,
if I was an actor like Robert Patrick, I would

(01:39:00):
love the opportunity to be in an incredible, action packed,
explosion filled B movie as the lead.

Speaker 1 (01:39:10):
I mean, who wouldn't want that?

Speaker 5 (01:39:12):
You know, you know, you're absolutely right to think I
felt bad about it, and later on, you know I was.
You know, I think happened three years ago, and I
reflect back and still, what an idiot? Why didn't I
do it? I remember vividly he had Robert Tatrick was
in a countree or something and he made a call

(01:39:33):
to kind out about his life is filled with something
I can't remember. And he's an actor He's an amazing
actor and a really nice human being. So I said,
I said, you know, it reflects back on you know,
Robert Patrick, because we were friends, we got you know,
we did a couple of movies together, and then then
he kind of continue to connect and never never dawn no,

(01:39:57):
you know now like he just sad that thinking, oh
my god, you know, I see him in A friend
of mine produced a movie with him. I just had
dinner with well, walk the Line. Did you ever see
that movie Walk the Line?

Speaker 1 (01:40:12):
Yes, with Walk in Phoenix.

Speaker 5 (01:40:14):
And yes, you know and you know, yeah, James keats
the movie. And you know I was talking to him
and I see Robert thatatsok in the movie. I said,
oh my god. He asked me for one more take.
This is emotional scene and he wanted to be one
more take so he can get into the emotional you

(01:40:38):
know states of the scene. I said, no, was moving on.
And I feel that about you know, something like that.
I remember, and I feel really guilty in that and say, okay,
how can I do give this guy another takes? The
great actor with good actors. So yeah, and I used
to joke with him and I said, you know, I said,

(01:41:00):
you know, I don't worry about it. You know, Jim said,
James Hammon made you famous, I'm going to make you
unknown by the time and finished school.

Speaker 2 (01:41:17):
Well, I mean I can I can tell you, Joseph
that these these films, I mean, especially something like Zero Tolerance,
which is often on a lot of my friends or
people that I talked to online about paym entertainment, a
lot of their top ten lists, zero Tolerance is on.
So I wouldn't I wouldn't feel too bad about it
at all. I mean, I think you should be very,

(01:41:38):
very proud of the films you've made.

Speaker 5 (01:41:40):
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 get in and start making
it and just had fun in it to make mistakes

(01:42:01):
we made, we made, we laughed, we we just we
just had fun and and we involved everybody. If it
wasn't like a dictatorship, I'm the director of it should happen?
Is I'm 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, guy, Okay,

(01:42:23):
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.

Speaker 1 (01:42:31):
Ye, and how it should be.

Speaker 2 (01:42:34):
It's such a collaborative art form. One person can't make
a film. So it's the.

Speaker 5 (01:42:39):
Word I was looking for, except I still can't master
the English language. That specific. Goddamn you.

Speaker 2 (01:42:47):
You do great, You're absolutely fantastic. You sound fantastic. Yes, yes,
you worked incredibly hard. Yes you took risks, but you
did so knowing that there was support, that someone had
you back, that people would push you in the right direction.
That's collaboration. That's not one's no, one's an island or
lives in a vacuum.

Speaker 5 (01:43:08):
I'll tell you one incident where they were were shooting
a scene, a dialect scene, and the act of we're
forming the dialect scene and I said, and I was directing.
I said, oh wait, cut, this doesn't make any sense.
And then I said, oh this ship because you sure
you did.

Speaker 2 (01:43:36):
That's fantastic. M hm. Let's wrap this up then, and

(01:43:57):
let's do the last few questions that we always do
on every episode. We've pretty much gone through overall thoughts
on our favorite scenes.

Speaker 1 (01:44:06):
But where do you rank this?

Speaker 7 (01:44:08):
Then?

Speaker 2 (01:44:09):
Within PM entertainment films? Firstly, so within the PM films
that you've seen, where does this rank? And it doesn't
have to be an actual number, but is it in
the top five, the middle five, the bottom five?

Speaker 3 (01:44:20):
Like?

Speaker 1 (01:44:21):
Where do you place this? Just in the realms of
PM films?

Speaker 3 (01:44:25):
I think again, because you know, we picked this because
it was one that I remembered that I had seen,
and I think I had put it in my here's
the five I would like to cover. I'm gonna say
I'm probably gonna put this in the bottom ten, like
you know, eight or nine. There's still quite a and
it might move up or down depending on you know,

(01:44:48):
now that I'm digging more into PM on my own
as well.

Speaker 1 (01:44:53):
Because how many of you seen? Would you say? Roughly?
Do you list them anywhere? Or not? Really see?

Speaker 4 (01:45:00):
I can't.

Speaker 3 (01:45:00):
Everybody keeps telling me I need starting doing letterbox, and
I really should, because then I could just be like,
here is my list and that's where everything is. I
think I'm upwards of once I remember that I have
seen as possibility, I'll watch one of Oh I've seen this.
I think I've seen about ten or eleven because I
didn't realize Blood Fist was PM Entertainment movies, you know,

(01:45:23):
I didn't realize that there was quite blood.

Speaker 1 (01:45:26):
Blood Fist is Roger Corman.

Speaker 2 (01:45:28):
What was the blood?

Speaker 4 (01:45:31):
The one the Dragon after like after the.

Speaker 1 (01:45:35):
Ones we've done, the Dragon, A Ring of Fire.

Speaker 4 (01:45:37):
One, two, and that is what it is. Ring of Fire.

Speaker 1 (01:45:40):
And Alpha Blood and Cyber Track of one and two.
Those are the ones.

Speaker 4 (01:45:45):
So I've seen.

Speaker 3 (01:45:45):
I've seen the Cyber Trekkers, and I've seen the Ring
of Fire. Those are the ones. Uh so I'm at
about ten or eleven I've seen that. I know i've seen.
So yeah, I would say this one's in. It's in
the top ten, but at the bottom of my top ten.

Speaker 2 (01:46:04):
Understood, understood, And that's that's fair. That's absolutely fair. I
would I'm just gonna have a look now. So I
have my PM Entertainment list, which is not complete. I
still need to add to it. The trouble is is
that I have a bunch of PM films that I
just give four out of five, two and zero tolerance.

Speaker 1 (01:46:22):
I do give a four out of five two.

Speaker 2 (01:46:24):
I think after this watch though today and I hate
to end this on a downer, but like I might
knock it down to three and a half?

Speaker 1 (01:46:32):
Am I get a three?

Speaker 4 (01:46:33):
And ha, Yeah, I think I'm right about there.

Speaker 1 (01:46:37):
Which would push it down.

Speaker 2 (01:46:39):
So if it's if it's three and a half, that
puts it with films like Firepower, Ring of Fire two,
Executive Target Recoil. I give all those like three and
a half, Land of the Free with Jeff Speakman, So
that would put it squarely in my Like I've watched
about forty of their films more or less right now

(01:47:02):
as as I sit here, So I would that would
put it in like the bottom of the top twenty,
if that makes any sense.

Speaker 4 (01:47:09):
No, I got you.

Speaker 3 (01:47:10):
Yeah, so that's I don't do a podcast called PM
Entertainment podcast, so I can no I understand.

Speaker 1 (01:47:16):
No, no, no, I get it.

Speaker 4 (01:47:18):
You better be in like forty ors somewhere around there.

Speaker 1 (01:47:21):
Yeah, no, no, sure, sure show.

Speaker 2 (01:47:22):
I've only done six episodes of the show, But yes,
I know what you mean. Yes, I've watched a ton
for other other shows and others.

Speaker 3 (01:47:29):
And none of the none of what we're talking about
is Robert Patrick's fault at all.

Speaker 2 (01:47:34):
Like, no, not at all. He's fantastic in the movie.

Speaker 3 (01:47:37):
He would be like right now as far as leading men,
probably my top five PM leading men.

Speaker 1 (01:47:43):
Oh, I would have.

Speaker 2 (01:47:45):
Loved to have seen him do more PM films. And
it's funny because I was for the last year or so,
I've actually had in the town where I'm at, like
a little video store and I've been acting vhs and
DVDs to like sell in this video store, and a
lot of the vhs that I came across, believe it

(01:48:07):
or not, has like Robert Patrick starring in it movies
from much earlier on in his career, stuff like obviously
like the Cool Surface, Body Shot, Zero Tolerance, Yes, Double Dragon,
Last Gasp, things like that, And I have to say, like,

(01:48:29):
set against those movies. Zero Tolerance is like the top
of them, Like Body Shot, Last Gasp, Cool Surface. All
of these movies are pretty awful. He's great in them,
but the movies themselves are pretty awful. And Double Dragon
has its cheesy, nostalgic thrills, but it's not what I'm

(01:48:50):
putting in all the time. If I'm going to watch
a dicast cost movie, it's going to be drive, you know,
but or what's the other to Cascos one?

Speaker 1 (01:49:01):
I like, I can't think right now.

Speaker 2 (01:49:02):
But anyway, so in terms of where I would rank
this in Robert Patrick movies, uh, you have to kind
of you could include T two, which is always going
to be kind of like up there, but and the Faculty.
I like the faculty a lot. I would put that
up a lot. But where if you could kind of

(01:49:25):
slot this in where it falls just in Robert Patrick movies,
where would you put it if you could?

Speaker 6 (01:49:33):
So?

Speaker 4 (01:49:34):
For me?

Speaker 3 (01:49:34):
With Robert Patrick movies, I mean, because you've got to
remember he also did things like you know, from Dust
Till Dawn two, Yes, you know, which wasn't terrible Bruce
Campbell at least at the beginning of it.

Speaker 1 (01:49:47):
Yeah, but Scotty Spiegel directed at Scottie.

Speaker 3 (01:49:50):
Spiegel, and I totally forgot that he's the shadow king
in Double Drag until you said I was like, oh, yeah,
that was.

Speaker 1 (01:49:56):
Ye got that diet hair and that as well?

Speaker 3 (01:50:02):
Did he just like yes, did he get done filming
one of these and roll right into the other that
could have been also it too.

Speaker 4 (01:50:10):
I think I'm gonna have to pray.

Speaker 3 (01:50:12):
I mean, if as far as Robert Patrick early stuff,
you know, not Talk anything Peacekeeper or anything he's done recently.
It's probably my top five for Robert Patrick movies, you know,
because it's it's it's his movie, you know, Like some
of these never really felt like him being a leading man.
I like this one, like we said, because it's it's

(01:50:34):
very Robert Patrick. It's very it fits him as an
actor in an action movie that is suited to him.
He's not he's not a cyborg, he's not superpowered, he's
not supernatural or anything like that. He's just an FBI
agent before he was in the X Files. So yeah,

(01:50:54):
top five.

Speaker 2 (01:50:55):
And I would I would have loved to have seen
him do more PM films when you look at sort
of the ten years after this movie came out, outside
of like Copland, which again is one that I forget
he's in, and he's absolutely fucking phenomenal in Copland, I mean,
Cupland itself is just such a great movie, and the

(01:51:15):
faculty and from Dust Till Dawn too. Almost everything else
he's doing is either TV movies or straight to video movies.
And he could have done like four or five PM
films and had a great leading man action career, and
it's it's interesting that he doesn't do that.

Speaker 3 (01:51:32):
Yeah, I'd be curious to find out if there's a reason,
because you're right, you know, normally they would do one
of these and be like boom into stardom because you know,
he landed the next big role. But you start thinking
about the faculty. He's part of a cast. He's not
even he's not even the main villain in that he
has a decent role, but you know, he's not Famky

(01:51:54):
Johnson in there. You know, he's not you know, any
of the kids that are obviously on the of everything.
But yeah, so yeah, I wish I would have liked
to have seen more from him. So I gotta say
that kind of puts Zero Tolerance really high on my
Robert Patrick movie list.

Speaker 1 (01:52:12):
Yeah, it's in my top five. It's in my top five.

Speaker 2 (01:52:15):
And I would say that as someone who, like I say,
has recently watched a lot of his straight to video stuff,
and this is heads and shoulders above any of that stuff.

Speaker 4 (01:52:27):
It's good. So that's pretty great.

Speaker 2 (01:52:31):
Well, look, Charlie, we have come to the end of
the PAYM Entertainment Podcast. I hope it won't be the
last time you're on the show because I've had a
great time chatting with you and love to have you back.
But thanks so much for coming through in a pinch man.
I know it was last minute that I asked you,
but i'd been trying to figure out what I was
going to cover next week and I didn't know and

(01:52:51):
this this came up and it makes perfect sense. So
thanks so much for doing the show tonight. Man.

Speaker 4 (01:52:55):
It's been awesome anytime. Man, I loved it.

Speaker 3 (01:52:58):
Like I said, we've been as sort of as I
saw you promoting this podcast. I've been sharing it out
on all my stuff and give you a shout out
on our podcast.

Speaker 4 (01:53:05):
And you know, if you.

Speaker 3 (01:53:07):
Ever get around to making a commercial or an ad,
I'll throw it in on the podcast.

Speaker 4 (01:53:11):
Man.

Speaker 3 (01:53:11):
So I'll just you know, we'll just kind of be reciprocal.
You share our stuff, we'll share yours. But this has
been a blast. I can't wait to come back. I
know Dustin is chomping at the bit my other b
Action co host that he wants to come on, and
I think he's dropped hologram man. I don't know how
many times, half a dozen times, like we should go
on here and do that one, it's another Joe.

Speaker 1 (01:53:32):
You gotta do Joe Laura.

Speaker 4 (01:53:33):
I'm like, all right, well you talk to it, yo.
You you know how to do socials.

Speaker 2 (01:53:37):
You know, I'm leaving entertainment podcast didn't

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Episode 6 - Zero Tolerance

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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 6 - Zero Tolerance