August 25, 2025 • 62 mins
Original Release Date: Monday 25 August 2025
Description: This was not the show we expected to be bringing you this week, but all of a sudden, during their “side project” (“The Art Life” with friend of show Jon Lawlor), Dean started holding court about the current box office smash Superman. Suffice it to say, Dean had THOUGHTS! So, we bring you what ensued, a free-wheeling discussion not only of the James Gunn-directed blockbuster, but a discussion of DC comics’ history, of the character’s history, and of the lost art of behind-the-scenes documentary looks at the making of movies as promotional materials. Somehow, the conversation turns to Rob Zombie and his House of 1000 Corpses, to a “holy grail” of cinema for Phil that proved to be a guilty non-pleasure, Ashanti, and to Noah Hawley’s new Alien: Earth television series. All that, plus the Stallone film Dean walked out of, the horrible movie Nic Cage’s son starred in, why Iron Man turned out to be so good, the problem with reboots, and more!
Description: This was not the show we expected to be bringing you this week, but all of a sudden, during their “side project” (“The Art Life” with friend of show Jon Lawlor), Dean started holding court about the current box office smash Superman. Suffice it to say, Dean had THOUGHTS! So, we bring you what ensued, a free-wheeling discussion not only of the James Gunn-directed blockbuster, but a discussion of DC comics’ history, of the character’s history, and of the lost art of behind-the-scenes documentary looks at the making of movies as promotional materials. Somehow, the conversation turns to Rob Zombie and his House of 1000 Corpses, to a “holy grail” of cinema for Phil that proved to be a guilty non-pleasure, Ashanti, and to Noah Hawley’s new Alien: Earth television series. All that, plus the Stallone film Dean walked out of, the horrible movie Nic Cage’s son starred in, why Iron Man turned out to be so good, the problem with reboots, and more!
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:03):
And now Your Chill Pack Hollywood Hour with Dean Hagland
and Phil Lareness.
Speaker 2 (00:42):
Welcome to year nineteen, episode sixteen of Your Chillpack Hollywood Hour.
I am Phil Lareness, coming at you from Los Angeles,
and this is not the show that I have planned
for you this week. As long time loyal listeners know
by now, once a week Dean and I do a
(01:05):
little side project with our pal John Lawler. It's something
we call the Art Life, and sometimes I bring you
those conversations. This is one of those weeks. Again. It
wasn't planned, but we were in the midst of our
meeting and Dean started to I think hold court about
the new Superman movie, and I thought, oh oh my,
(01:28):
I'd better record this, and frantically set about to do
just that, and I thought the ensuing conversation was worthy
of your Chillpac Holly whatever. So that's it for this week.
Hope you are all doing well, and I look forward
to when we next get together. So Dean, you you
(01:50):
saw the only or the first or the first in
recent memory? What was it, John? It was the first time.
Speaker 3 (01:58):
It may have been the first time. Actually, Kelly reminded
me that we actually may have walked out of The
Devil's Rejects.
Speaker 2 (02:07):
Oh, I remember that.
Speaker 3 (02:08):
Yeah, yeah, yeah, yeah, it is pretty gross. And I
think the reason we may have walked out was it
was Kelly wanted to see it. I don't really like
movies like that, but she really wanted to see it,
and I was like, all right, I'll go with you.
And then we kind of got into it, and there
was a point where I don't recall walking out before,
(02:28):
but Kelly says we did. And the reason why I
would think that happened is because she realized at some
point there's not really a great plot here. There's not
a great story here. It's just kind of violence porn,
and I can I don't, I don't need to watch this.
Speaker 2 (02:46):
And so this is, uh, this is actually a fun conversation,
the walking out of movies. But you had said The
Superman was the first time that you ever found yourself
wanting to Oh.
Speaker 3 (02:54):
I definitely wanted to walk out.
Speaker 2 (02:56):
And and sometimes I've walked out without really nests necessarily
saying all right, I want to walk out. I can't,
you know, it's just well I saw it. No, it
wasn't It wasn't a moral stance. It was literally I remember,
I had a time conflict. I was at that AMC
on the Upper West Side, you know, not far from
(03:19):
Lincoln Center, right, and uh, I was seeing the uh,
the Alien offshoot, the sequel, the sequel to Prometheus. Yeah.
Speaker 3 (03:32):
Oh Jesus, I'm glad I watched that, I think on
a plane.
Speaker 2 (03:38):
Well, I I had a I had a time I
had a I had a time conflict, which is I
was supposed to meet people before the theater, but I
wasn't gonna quite make it if I watched the whole movie.
And I just picked a point in the movie where
I said, you know, if I leave now, I am
(03:58):
guaranteed of having had a good time.
Speaker 3 (04:02):
Yeah.
Speaker 2 (04:03):
So I'm going to leave now. And because I don't
need to know what happens on everything, right, you know,
because that's plot stuff and it's servicing whatever the next
installment is going to be, absolutely and if it turns
out that it's great, I can catch up on that.
So I did. So I walked out, and then I
(04:26):
read about what happened from there, and I was so
glad because if I had stayed, I would not have
enjoyed myself.
Speaker 3 (04:35):
So it would have been very upset for being late.
Speaker 2 (04:37):
So there are many reasons to walk out and when
we walk out. But Superman was the first time John
knew that he wanted to, and yet he did not
because the clarion call of the signature collector's edition Coca
Cola that he was enjoying.
Speaker 4 (05:00):
Almost got the Superman dog dish at my theater. There's
a little dog dish with.
Speaker 2 (05:04):
This that might have been worth it.
Speaker 3 (05:06):
The first and maybe the only time I bought something
like that was recently with the new Mission Impossible film.
I went to see it with a friend. He got
the tickets and then I was like, do you want
a beer or anything? And he's like, oh yeah, and popcorn?
And I was like yeah. And then I looked at
the guy and I was like, can I get one
of those like ten ones that say Mission Impossible and
(05:26):
stuff on it. He's like, yeah, you can, And I said,
I don't even want to know how much it is.
Just fill it with popcorn, baby.
Speaker 2 (05:32):
Now, Remember I thought.
Speaker 4 (05:33):
You're gonna fill it with beer until.
Speaker 2 (05:39):
Now I'm gonna Dean. Speaking of dog dishes, Superman.
Speaker 4 (05:46):
Yeah, totally at Dog's Breakfast, That's exactly it. Do you
ever read Superman comics like growing up see because some
you know, I was visiting DC comics because of my
role on the X Files. And you know, there was
the time there very in the eighties nineties where readership
(06:10):
took a jump off a cliff. The kids discovered video games.
Nobody was buying comic books anymore. There was a panic,
a complete panic, and they had to start coming up
with crazy characters and unbelievable ideas and oh my gosh,
we're going to have Superman cloned, and the clone is
(06:30):
going to be Ultraman, and you know, and mister Terrific
and all of these stupid characters, like they were just
jamming him through pipeline, trying to get any interest from
the kids who all stopped reading comic books. So this
movie is basically the catalog of that panic. It's all
of those characters, it's all of that tried to be
(06:52):
jammed into one stupid movie. And I mean, really, do
you need two black Holes on Earth as plot point two?
I got one and and you zipped it up. Well done,
but no you got to put a second one in.
But like you know, again, you can go back to
these obscure comic books where they were like so desperate
(07:15):
fryeballs that they just started going crazier and crazier. And now,
for some reason, mister Gunn thought, hey, you know me
really entertaining if you put all that stupid stuff, the desperation,
into one single mone.
Speaker 2 (07:28):
But it clearly must have worked. The desperation must have
worked because the people who started reading comics in this
era that you're talking about and still have not let
go of comics and collecting comics and toys, they have
such a fondness for this. So there has to be
(07:49):
this big group of people that have a fondness specifically
for that era when they started throwing everything but the
kitchen sink to try to create a new relevancy for DC.
And I remember this well because they were playing Chase up.
But you know, they were chasing Marvel even at that point,
which was almost unheard of. Rob. But there's some thing
(08:11):
one thing that but well, okay, what was that comic Con.
Speaker 4 (08:15):
San Diego that became the nostalgic thing? We're there? Then
they could rebrand and resell Superman to actual two hundred
thousand people, I mean the first comic con in San
Diego in nineteen seventy three was in a basement and
it was actually just comic books. There wasn't the artists,
there wasn't the publishers coming with live action, coseplay, none
(08:38):
of that. That all gradually developed, and as that developed,
so this nostalgia came back and people were buying back copies,
and that's where that came from.
Speaker 2 (08:48):
I would argue also, at least as important as that
was the fact that there was a nineteen seventy eight
movie called Superman, and that was the first time there
was a superhero word that was considered a work of
adults and for adults, and it made not only was
it an excellent film, but it made that whole genre
(09:12):
safe for grown ups to like. And at that point,
then the studio system, as it always does, wants to
chase that success. Right two thousand and one almost destroyed
the motion picture industry because they spent a decade trying
to chase it, and those attempts were greenlit by people
(09:35):
who didn't understand why the first thing was a hit,
or understood the first thing, And it takes takes almost
ten years before Star Wars proves that audience really does exist,
and Superman the same thing would happen with all these
attempts to then make comic book movies, and it isn't
until Batman ten years later that there's another big hit.
(09:58):
But both of those are DC properties, And so why
does gun do this? This is why I'm saying that
to a degree, the numbers must show that that effort
in the comics to throw all these crazy ideas and
crazy characters and everything but the kitchen sink must have worked,
must have had genuine appeal, because he's been brought in
(10:21):
to now do the exact same thing, which is to
save a floundering DC. Only it's the DC cinematic world
that had fallen way behind appeal to Marvel and could
not make a single project that made money. And so
(10:44):
why does he do that? Why does he gravitate back?
It could be a keen knowledge of history that that
actually worked for the publishing.
Speaker 4 (10:53):
For the publishing, but the movie, going back to the movie,
totally you did not follow, that is totally walkable, edible.
Speaker 2 (11:01):
And yet here we are. It's the first financially viable
DC movie in a long time. It's made a big profit.
Speaker 4 (11:11):
Because Superman as a brand is so prevalent.
Speaker 3 (11:15):
I also think.
Speaker 2 (11:16):
But the last Superman's hadn't see this is what I'm saying,
is like you compared it to something that happened before
that you found artistically bankrupt, and might have been artistically bankrupt,
But what I'm arguing is it might have worked commercially
and financially, and here they're doing the same thing. So
we're talking about why the movie doesn't work artistically, but
(11:40):
it may explain why it has appeal to so many
people because it had appeal before.
Speaker 4 (11:45):
But did we discuss this with mission impossible series? Like,
to me, the worst one is the one you said
was the most financially viable, the most money is what
I think.
Speaker 2 (11:55):
It's not the worst one. That's totally unfair. There's still
always going to be the wu Wan. There's still always
going to It's not going to be the worst one.
You mean, it's the worst one of the good ones,
of the ones where they actually knew how to make
a movie, as opposed to one that wasn't even a movie.
Speaker 4 (12:11):
Yeah, but in context, I mean, you know, in context
going oh, well, this one made the most money, so
that must be the best. That's never an argument. So
this Superman, even though it's making money, more than the
other ones. Is definitely not the best.
Speaker 2 (12:28):
And the reviews and the reviews, which you know, I
always think to a degree, are a sign of you know,
two things. One, an entire critical body that feels held
hostage by these movies. So anything that seems different is
going to be embraced in some way. And then the
(12:50):
other element of it is, you know, they do, I think,
to a degree, react to the marketplace, and you know
they're bringing in that context sometimes and say right, like
and Austin powers too, Like we were talking about, oh
it's so good. Wait, you didn't give a good review
to the first one. Why are you giving a good
(13:12):
review to the second one, which isn't as good? Right,
and it's good, but it's not as good. Why are
you now suddenly? And it's because they realized they missed
the boat.
Speaker 4 (13:22):
Right, they didn't get it, and they didn't.
Speaker 2 (13:24):
Get it, and so now they have to acknowledge, Oh,
it must actually work, so let's give up a Yeah.
Speaker 4 (13:29):
My favorite thing though, is in the Elevator, a father
with his two preteen kids, a girl and a boy. Yes,
a girl. So what was your favorite character? She goes,
I really liked the cousin Supergirl, who's completely hammered, just
has one scene at the end that was her takeaway
and he goes, oh, dear God.
Speaker 2 (13:49):
So I hate having to review movies this way, but
I but when it comes to franchises, you know, I've
been burnt before, right, I've been burnt with The Day
Aniel Craig, Cassino Royale, I've been burnt by JJ Abrams,
Star Trek, and had to realize that in some ways
the reboot, which we always thought was difficult because quite frankly,
(14:13):
most of them fail, so they are difficult, but in
some ways they're actually easier than what comes next. And
so I think again, with this Superman, whether people loved
it or in the case of YouTube gentlemen, did decidedly
(14:34):
not love it, the sign of its value actually will
be does it chart out a course to move forward
that's viable? And do you see?
Speaker 5 (14:49):
Yeah?
Speaker 3 (14:49):
May I, because that's I would say that. Man. A
lot of things just went through my mind as you
all discussed that one the the only thing that movie
serves is a path forward for any other character. That
it was it that was almost maybe one of the
(15:09):
most offensive parts of the film was that I was like, Okay,
I get what you're doing. Holy Christ. You know why
iron Man did really well because it was about iron
Man and.
Speaker 2 (15:20):
It told it told a.
Speaker 4 (15:22):
Story, a story.
Speaker 3 (15:24):
A single story. Two it also it was I can't
I didn't do enough research just now in the five
seconds that I had. But I don't think iron Man
had been done as a movie in this way other
than potentially animated, so already it's not technically a reboot.
(15:47):
It actually is just taking an interesting character and telling
a story about.
Speaker 2 (15:50):
Them, an offering, offering discovery to people who fans of
iron Man and total non vents beyond fans or neo.
Speaker 3 (16:03):
Fights, yeah them. I watched that movie because my dad
said it was good. I watched it with Kelly. We
were in I remember where I was, and I remember
at the end of the movie going that movie was
really just good. I had such a good time the
whole time, and that was such a fun stories interesting.
I'm interested to see what happens next, if something happens next.
(16:24):
And the other thing was was that that was the
point of that movie. It wasn't there. There weren't any
after credit, you know, here's the next thing that's gonna
happen or whatever. Beyond the potential James Bond like James
Bond will return in blah blah blah blah blah like
beyond that.
Speaker 2 (16:40):
And the and the innate knowing in the modern age
that if it's a hit, we know, they will know.
Speaker 3 (16:46):
We'll know another, they'll do another one some way, and
and and so that movie had all the right pieces
to be a good movie. It had basically no expectations.
It was well thought out and singular.
Speaker 2 (17:00):
And I want to throw in even more into the
mix because this is something that we usually call the
art life and so creative process on this casting someone
as Dean and I remember clearly because he was working
out preparing for the auditions for this in our building,
in the gym and our building where our offices were.
(17:22):
This was a desperate need on the part of its
leading man to salvage a career. He could not get
a movie bankrolled, He was not reliable, His movies couldn't
get in shirt, so he couldn't do big movies anymore.
And he needed this, and he had done other movies
(17:45):
that proved that, Okay, maybe he's back. Certainly he's back
talent wise and artistically, but is he reliable? So he
needed this movie to work. Other people involved in it
needed it to work. So you have created native people
involved who need it to work, as opposed to a
(18:06):
company that says, we need these properties to make money
for us. Ye. You you're the guy to make this
make money for us. There was no big company behind this.
Marvel wasn't owned by Disney. Marvel wasn't owned by Paramount.
Paramount distributed the movie, but did not own it, which
(18:28):
is why, of course Marvel can move to Disney when
Disney buys out the property. So you've got again people
involved in making it who are who have desperate need.
And these people, oh, by the way, are wildly creative.
And so getting back to the point that stood out
to me, of it was all thought out, except it wasn't.
(18:50):
It wasn't at all. As you find out more and
more about Iron Man, the more you realize that after
a few weeks into filming, there was nothing written. And
they're showing up each day and Jeff Bridges and Robert
Downey Junior and John Favreau and these guys are just
getting in together and their trailers and their thrown out
ideas and they're improving and they're riffing, and then they're
(19:12):
putting it together, and then they're coming to set and going,
this is what we could shoot today.
Speaker 4 (19:17):
Good lord.
Speaker 2 (19:20):
It's not a way to make a product locomotive.
Speaker 3 (19:24):
But it isn't can good movie.
Speaker 2 (19:27):
It can historically be a way. As a fan of
Robert Altman, as a fan of John Cassavetti's head of
Easter Keaton, let's say this. It can be a way
historically to make a great movie. It can also be
a way to make a historically awful movie. But at
least you know in both those cases that you are
(19:50):
watching something that was made by people and not by
corporate committee.
Speaker 3 (19:56):
Yeah, not by commercial And I think that's the thing
was Superman. The most interesting parts for me were were
to get me to the movie. It was that moment
where Lois Lane interviews him right that that made me go, oh, wait,
is this movie about.
Speaker 4 (20:14):
Like geopolitical strategy?
Speaker 3 (20:16):
Is Newman really allowed to be doing what he's doing?
And and how how does that? How does it affect
other humans? That to me would have been one fine
line to follow. Uh, you know, they definitely didn't follow it.
And then and then the other theory, the other part
that was kind of interesting was the moment where uh
Lois Lane has to go find Superman and she goes
(20:38):
to the Hall of Justice or whatever, and you meet
those characters. And if it had just been that story
as well, to meet the Hall of Justice and the
characters in that particular industry, the justice industry, that also
probably would have been fine. It was very funny, mister
was it, Mister fantastic, Mister mister terrific. Sorry, I'm sorry,
(21:01):
I don't He's gonna get his own movie that one, yes,
for sure, because he's he was. Everyone in that part
of the cast was terrific. And even I said, like,
I loved everyone in the movie. Everyone did a very
good job at what they did. Fantastic. But between that
and the fact that, yeah, it was basically a way
to introduce a thousand characters to see which ones sort
(21:24):
of hit with audiences so that they can go in
that direction instead of just saying, let's make one good movie.
And then also the other thing I want to mention
is the other most interesting thing that's come from that
movie is this video that's making the rounds where the
character the actor that plays Superman whose name I forget
right now is struggling to do this one scene with
(21:46):
Lex Luthor where he walks in and he's telling him
like that's what it is to be human or whatever, right,
and he can't quite get it right, and he talked.
He starts talking to James Gunn and they fill this
part is just a BTS sort of scenario, and it's
so interesting because it's this moment where the actor is
(22:06):
struggling and you see him go to the director and
be like, I'm pissed off. The crew is probably all
pissed off because I can't get this goddamn thing and
I don't know why I can't get this goddamn thing.
And they both talk and they have a really great
like if you've been in an acting class and you've
talked to your you know, your director or your teacher
(22:26):
or whatever, and you have that moment where like suddenly
you're able to speak the same language and something clicks,
and it's like that moment and then they do the
next shot and that's the shot that makes it into
the movie and stuff that's interesting. That was a thousand
times more interesting than the entire movie. And I was like,
(22:47):
you could have just why not just make a movie
about the making of that movie, and we would have
all been more.
Speaker 4 (22:54):
I don't know, and I love I haven't seen that video,
but now I want.
Speaker 3 (22:58):
To just search you. I'm behind the scenes Superman on
you know there is.
Speaker 2 (23:03):
I mean, I'm now comparing an all time classic to
this thing that neither of you liked. But I was
a It's weird seeing on my recently viewed search as
Lee Majors. Anyway, I got distracted. So you know, forty
(23:23):
four years ago, forty three years ago, Blade Runner opens
to bad reviews and to at best box office indifference.
It's a financial failure and a critical failure. And I
was a huge fan from the get go, and I
like to think I would have been anyway. But I
(23:43):
was already a fan before that thing opened because I
had read everything about the makings of I had so
many behind the scenes materials. My sister was an editor
at a newspaper and so I was getting all the
promo materials for this movie beforehand. I had books about
the design. So I was already a huge fan of
this movie on the basis of in my mind the
(24:07):
movie of the making of it, right, and it it's
actually I remember, like again in the Heyday. In the
eighties there were like The Big Movie Show and other
really cool shows on like Nickelodeon another that would do
like behind the scenes making of movies that were gonna
come out. And so it almost by the time we
(24:30):
saw the movie Krawl, I'm looking at you, it didn't
matter that you weren't good, like it was fun seeing
it because we'd already been so engaged in the story
of making it. And I wish that there was more
of that. Again, the cart got placed before the horse
(24:50):
in DVD, and everything had to have a behind the scenes,
but the behind the scenes didn't lead the story. It
came as a bonus after words. And so I think
there's a misted not only opportunity here, but it's an
art form that has sort of died, which is the
because I don't know where the avenue is, where's the channel,
(25:12):
where's the streaming channel? That's all about making of movies
that are going to be coming out like that would
be cool and for a lot of us, that's how
we learned filmmaking to a degree, right, And they're.
Speaker 3 (25:27):
Like, oh, what's that thing they're using there? Is that
how they do that? Well?
Speaker 2 (25:31):
Because honestly, your relationship to it now as a viewer
is the same as the filmmaker's relationship to it, which is,
as a filmmaker, you don't know what you've made until
it's done and all the pieces are put together, and
so you're following that path along with them, and you
haven't seen it yet, well neither have they. And as
(25:56):
opposed to we're watching the behind the scenes for something
we've already seen and so now we've already judged it,
and now we're watching the behind the scenes and go, well,
that's a problem right there. See that's they got that wrong.
Speaker 4 (26:11):
So and I think this is a Superman problem too.
Is clearly mister Gunn had spent years developing this and
so it's just so jam packed because you get blase
a about oh yeah, wouldn't be great. Lewis shows up
that the you know, legion and doing whatever, and you're like, okay,
but what if when she gets there, you know, it's
(26:32):
sort of like, oh yeah, let's get that creature. And
then Superman holds up the foot and saves a squirrel
and then the squirrel is a thing that gets his
own shot and you're like, oh my god. You just
keep jamming it in because you don't have faith that
eight months ago, your prep when you had this set
piece was enough. And so it had this multi layered
(26:53):
thing of like internal gags, winky winks to the camera,
fans who know this comic book or that, or remember
when they made all the news when I was a
kid with Superman died in the comic books, Oh my god,
he's dead. Oh they ended it. And then you know,
four months later, oh he's back. We got a new Superman.
(27:14):
And then you know, reboot fifty two, like all of
that stuff is like.
Speaker 2 (27:19):
And if and if that didn't work, would we be
where we are with James Bond. We had rebooted James
Bond by recasting the character for so many decades though
until I forget what it was until one movie, and
it's really really long in the run. It's past Timothy
(27:40):
Dalton before there's a movie that says, Okay, this is
a different character. Because up until then they maintained, you know,
as elastic and idea as it was, that they were
all adventures that could have been had by the same
person right for decades by. But this is the first
time that we're having a reboot that comes after spoiler alert,
(28:04):
James Bond dies and but so we're able to watch
and enjoy him dying while knowing from our collective pop
culture memory banks that nobody dies, they get recast, right,
So that's that's a And we all so we grew
up because we all do remember, whether we read those
(28:26):
comics or not. Superman dies, and we saw the posters
of the obituaries, we saw the rest in peace Superman,
whether again whether we read him or not, and we
knew the pop culture moment that was right, and it
works and he comes back and uh, and so all
(28:47):
those people that grew up on that are making the
creative decisions in Hollywood right now.
Speaker 3 (28:53):
Yeah, I feel like I would I would say I
would love to see a Superman movie where it's about
like I said, it's the behind the scenes, where it's
about an actor trying to figure out how to be
a superhero as the superhero tries to figure out how
to be a human. You know, like, there's definitely a
very interesting element of the fact that Superman wants to
(29:15):
be an Earthling a human, he wants to be more human,
and at the same time the actor is having a
hard time as a human struggling as a human does
becoming the superhero superhero.
Speaker 2 (29:31):
That you know, it's not a superhero, but it evokes
memories of that first Leonard Nimoy memoir, I Am Not Spock,
and it casts such a shadow the book that when
they were setting out to make the movies they almost
(29:52):
didn't want to negotiate with him, and finally asked him
at one point, why should we be negotiating with someone
who doesn't want to play the part? And he said,
what do you mean I don't want to play the part?
And is it what you wrote a whole book about
how you hate the character and don't want to play
the part. He goes, you did not read a word
of the book. You've read how much people are angry
(30:12):
about the title, But it was more or less John,
what you're kind of looking at, which is, you know,
here's an actor struggling to play an alien and the
alien is struggling to get in touch.
Speaker 3 (30:26):
Say it like a human trying to play an alien
and the alien just wants to be human?
Speaker 2 (30:31):
Yeah?
Speaker 3 (30:31):
Yeah, Like I just feel like there's that's more interesting,
And I think the reason why that video is interesting
and maybe it's just to me because I'm an actor.
But it is this idea that we only ever see
the finished product, which is very indicative of social media
in itself. I ever see the finished product.
Speaker 2 (30:50):
So let me ask you one more question, and then
I We've got to get back to Rob Zombie. But
the the because I'm realizing there's a story. There's there's
a story that I witnessed viz a VI, Rob Zombie
and Dean Haglan that has never been told on Chillpack.
But the question I have is I have always wanted
(31:14):
Clark Kent to be as much a character, a real
person as Superman. Right, And I hear lip service paid
about this all the time that, Okay, we're gonna make
his Earth parents' actual parents. And in that first movie
(31:34):
with Christopher eve By God is Earth Dad is Glenn Ford.
There's no better a a father figure than there could
have been a Glenn Ford and he and he's memorable
in that movie. Oh, the late Terrence Stamp. Let's all
have a moment of silence, the beautiful Terrance Stamp. Okay,
so do they make Clark Kent a real person or
(32:01):
is he still a stupid obvious alias.
Speaker 3 (32:05):
In this movie? Yeah, I'd say the best part about
the movie that I was talking about, where she's interviewing him,
he's both at the same time, and that's what's interesting.
Speaker 4 (32:16):
Yeah, and he's.
Speaker 3 (32:18):
Yeah simultaneously Clark Kent and Superman and it's beautiful, right.
Speaker 4 (32:23):
And she even asked it one time, it's a Superman
talking or Clark Kent. Yes, And it's like, because it's
blurring the morality of it exactly, which I thought was
going to be pursued. I mean, technically it had a
third act echo, but there was a lot that, you know, morality,
(32:44):
what the hell? And that stupid prison in the in
between world, like, oh my god, how do you even
go to the bathroom in there?
Speaker 3 (32:52):
That scene, I mean, that whole that whole premise, while interesting,
was far too, far, too lengthy, And but ultimately they
don't that. You don't see a lot of Clark. It's
not really about Clark. It really is about Superman. But
the part that you do see of Clark, and forgive
me for just calling him by his first name, we
are not on first name basis, but he's not here
(33:14):
right now. That the best part was the fact that
when you actually got to see Clark Kent and Superman
being the same person in a very interesting way where
it was like a confident Clark Kent, someone who because
a lot of times they just play him as some
sort of goob who has to be goob so that
he's not recognized, but they do a better job at
(33:35):
explaining why he's not recognized in this movie, why people
don't know he's Clark's Clark.
Speaker 2 (33:40):
You have some fascinating stories with the mythology that could
be resonant and relevant to the world as it is
right now. You could do a movie about teenage Clark
Kent and what a monster, What a monster he is,
(34:01):
addicted to his screens, addicted to game, you know, like
whatever you want of what the actual teenage experience is
right now, and what a monster he is because like
all young people, if they are not disciplined in a
(34:21):
stable and consistent way, they are going to know where
their power lies and they're going to exert their power
as much as they can. And why will they do that?
Like the rest of us, we seek to exert control
when we feel powerless, and literally, your formative years are
when you're going through all these changes that make you
(34:43):
feel powerless, so you seek to exert control. And where's
that story with someone who push comes to shove, has
the ultimate argument winner all the time, and who evolves
from that? And how do you evolve? Because yeah, either
(35:06):
it's gonna be honestly not Superman. It's gonna be Homelander
from the Boys that emerges, right, or it's gonna be
a well formed Clark Kent with a moral core. It
has to be a real driving element of it for
it to psychologically be viable in the world. Another story
(35:30):
that comes to mind is, I don't know if you've noticed,
we live in a time where news, where journalists are
under attack and untrusted, one of the least trusted professions,
and do a movie about that, and the journalist who's
(35:52):
facing it is Clark Kent, right, And it's.
Speaker 3 (35:57):
And isn't it also interesting that the reason we don't
trust news is because of the corporations behind them.
Speaker 2 (36:04):
And behind it. But it's but it's the individuals that
we take it out on.
Speaker 3 (36:08):
Well, yes, but that's what I was going to say,
is the reason we don't like movies is because oftentimes
it's the corporations that made it what it was, and
we take it out on the people who made it.
Speaker 2 (36:19):
Yes, that's why I do love I've always loved the
advertisement on posters, you know, from the studio that brought
you from the company, from the faceless corporate entity that,
by the way, was probably run by different people at
that time, because they all tend to get fired very quickly.
Speaker 4 (36:38):
From Doug from marketing at Disney brings you this.
Speaker 2 (36:41):
And I'll tell you one other movie in the Superman
world that I would be more interested in. And you know,
we talk about these universes, and here they're introducing all
these characters. Mister Terrific, the actor for whom in this movie.
I've always been a big fan of going back to
the Blacklist. But uh, where's my Jimmy Olsen movie? Where
the hell was that?
Speaker 4 (37:01):
And yet his own comic book.
Speaker 3 (37:04):
We're living in a time important in this moofy, and that's.
Speaker 2 (37:08):
The role I want to see Tom Holland play. I
don't want to see Tom Holland as James Bond. Are
you kidding me? Tom Holland should be Jimmy Olsen, not
James Bond. And I don't mean that as an insult,
and give me a Jimmy Olsen movie. Uh. But then again,
to the James Bond World. Give me a Ben wishaw
(37:30):
Q movie. Don't bother rebooting it. Give me a Ray
Fine m movie. I don't need you.
Speaker 3 (37:38):
Really, we know there's other double o's from from the
moment after you double O six or whatever it is, like,
from that moment you're like, oh, there's that multiple double.
Speaker 2 (37:48):
How many double How many double o's do you have?
What we got the one? Oh you got double O one. No,
we decided to start with seven deven just we were
like primes, you know, we're trying to throw people off
the scent. Yeah, all right, now that we're into the
numbers conversation. So, uh, Rob Zombie made a movie called
House of a Thousand Corpses. Yeah, it was Rob Zombie's
(38:12):
House of a Thousand Corpses, which one of the stars
of which was our friend Chris Hardwick. And we did
a movie with Chris Specters and.
Speaker 4 (38:23):
I was having a good, mirthful Hello. No, how do
you do?
Speaker 3 (38:27):
Yeah?
Speaker 2 (38:28):
Yeah, how are you doing that? Do you recall any
of that?
Speaker 4 (38:31):
Well? It was in the wasn't it. We're all sitting
on our chairs and you get in the b roll
for the behind the scenes or whatever.
Speaker 2 (38:38):
I mean. I may have cued it, but you were
doing it, not just in those chairs, was I you
had you had some riffs that you would go to about, yeah.
Speaker 4 (38:51):
Arts were you? But one sixty seven we'd get.
Speaker 2 (38:54):
Yeah, yeah, we got we got notes corpse one sixty
seven need to you.
Speaker 4 (39:01):
Got to cut one sixty seven. So it's a the
house of like nine hundred and fifty two corpses really,
because there was you know, a few that just needed
not to be in the movie.
Speaker 2 (39:12):
There were simply too many corpses, any.
Speaker 4 (39:15):
Corpses, the House of too many corpses. I should have
called it that.
Speaker 2 (39:22):
Oh my god, that's.
Speaker 4 (39:23):
What Chris, you know, said, Yes, I'm laughing at your
jokes all the way to the bank. We did get
me there.
Speaker 2 (39:34):
Have I, either of you guys been watching Alien Earth?
Speaker 3 (39:37):
I have not yet, say nothing. I'm very excited to
start that.
Speaker 2 (39:40):
It's oh my god, it's so good, so good.
Speaker 3 (39:44):
I was waiting for it, and I just haven't been
able to sit down. And I should see.
Speaker 2 (39:47):
It's to the point where I honestly would be fine
if now after three episodes there isn't even any more
like alien stuff in it. But uh, I give me
a right.
Speaker 4 (39:59):
Just the elevator pitch.
Speaker 2 (40:01):
What is this, Well, it's Noah Hawley Fargo, does you
know an adaptation. It's set just before the events of
the first of our alien movies, The Ridley Scott Alien,
and he is one of the executive producers. So it's
just a few years on Earth prior to that and before,
(40:27):
you know, so after some of the other movies that
have taken place and spinoffs that have taken place, but
right before that. And one of the plot devices involves
a deep space exploration vehicle that is returning after many
decades and it crash lands on Earth and about a
(40:49):
rival corporation that manages to seize control of this crashed
vehicle that had belonged to Wayland Utahni. And it's a
rival company, a prodigy that gets it, and it's boy
genius billionaire that runs the company and the experiments he's
(41:12):
been conducting into synthetic life and life extension and for humans.
And so it's cool, we have, you know, we're wrestling
with a lot of different themes, so it's great. But anyway,
the one thing that I will say is again, I
(41:33):
watched that first episode and I'm so pissed off that
Noah Hawley didn't get to make his Star Trek movie.
Remember he was you might recall a few years back,
hired to write and direct the fourth Star Trek movie,
and what he delivered was not a reboot, but something
(41:54):
that did not involve the Kirkspock McCoy crew. It was
in the Star Trek universe. And supposedly the script was great,
and but they couldn't they couldn't. Wait, how do we
get Chris Pine in it?
Speaker 3 (42:13):
Can we we can we contact him and see if
we can get that script.
Speaker 2 (42:17):
I've been trying.
Speaker 4 (42:19):
Wow.
Speaker 2 (42:20):
But anyway, this guy, you know, because what he did
with Fargo incredible five seasons. Not all the seasons were great,
but man, when it was when it was great, it's
some of the best television ever. And it's and it
lives alongside the Coen Brothers and in that universe so
very well. And he's doing that again here, pulling off
(42:42):
the same trick. So anyway, it's it's terrific. But the
other thing that I watched was a long time Holy
Grail for me, the Holy Grail.
Speaker 4 (42:56):
Bulty, Python's the Holy Grail.
Speaker 3 (42:57):
No, we haven't seen that.
Speaker 2 (43:00):
No, this is a bad movie. Holy Grail, whoa like
one of the real Superman as well Bad Movie Holy
grails from the same era of the original Superman. So
if I told you that Michael Caine Dang, Peter Eustinoff, Oh,
how could this be?
Speaker 4 (43:20):
Bad?
Speaker 2 (43:21):
Omar Shariff, what Rex Harrison and William Holden. William Holden
all starred in a nineteen seventy nine action adventure film
directed by Richard Fleischer, who had made such genre classics
(43:43):
and or hits as the film Noir, The Narrow Margin,
Twenty Thousand Leagues Under the Sea, The Vikings, Fantastic Voyage,
Love It, Doctor Doolittle, The Boston Strangler.
Speaker 4 (43:59):
Tora Torrah Torah, Oh, my gosh.
Speaker 2 (44:02):
Ten Rillington Place, which might be the best serial killer
movie ever, Soilent Green, Oh, I was just gonna watch,
and my favorite Charles Bronson film, Mister Majestic. If I
told you that cast was in an action adventure movie
directed by him, you might think, holy crap, I want
to see that.
Speaker 4 (44:20):
Yeah, that's gotta be amazing. Why isn't it amazing?
Speaker 2 (44:23):
Then when I tell you that the film was a
shanty and was notoriously awful, you might even want to
see it. More, how could this go wrong? And won't
it be delightful? I know That's how I felt for decades.
I had the poster for this on my dorm room wall.
Speaker 3 (44:45):
And then you hadn't seen it.
Speaker 2 (44:46):
It was impossible to find. And now, thanks to a
nineteen ninety eight transfer of it that has shown up
on prime video, I was able to see it. Michael
Caine has oft referred to it as one of the
three worst films he ever did, and No Jaws for
is not one of those three worst films the Swarm.
(45:07):
The Swarm was one of them. And here's the deal, though,
unfortunately he leaves out the fact that he's the major
reason it's awful, because.
Speaker 4 (45:18):
He's the World Health Organization doctor who's looking for his
wife in the Mideast.
Speaker 2 (45:22):
And well, let's not you know, you see now you
throw I'm cutting that out because we're focusing on Michael Kain.
You've already raised the racist component to it. But oh,
but Michael Caine's the problem in a movie that is
so blisteringly racist, it's Michael Kaine's acting that's a bigger
problem and more offensive. What the hell is he doing?
(45:44):
I will tell you what he isn't doing He isn't
playing a character, He isn't apparently doing any kind of
preparation for the role. He doesn't apparently even seem to
have read the script. The camera just sort of gets
set up and photographs him standing and looking at things.
What And that's pretty much it. It's based on a nineteen
(46:07):
seventy four novel, so I understand why they wanted to
make this movie, and it is set against a backdrop
of what at the time was purportedly real life modern
day slave trade in Africa.
Speaker 4 (46:21):
Yeah in Africa, right, So.
Speaker 2 (46:23):
Yeah, So Caine plays the un doctor who's who's a
black wife, also a doctor Ori originally from a tribal people,
gets kidnapped, She's going to be transported across the continent
to where she'll be auctioned into slavery.
Speaker 3 (46:36):
Are you going to ruin this film for me?
Speaker 2 (46:37):
I just say, that's the premise, that's the Time's the premise. No,
Michael Caine will ruin the movie for you. That's Peter
Uston This the slave Trader. So this is what makes
it really deliciously, notoriously awful and fun is Peter Ustinoff,
who unfortunately plays the slave Trader is here.
Speaker 4 (46:58):
Made a bad movie. Peter Uspuff fantastic.
Speaker 2 (47:02):
It's unfortunate because he's playing an Arab. Oh and and
unfortunate in that he's playing an Arab for laughs. Oh
and and it's all even more unfortunate because he actually
is entertaining in an awful awful I shouldn't be enjoying
(47:24):
this because he actually is entertaining kind of guilty pleasure.
Speaker 4 (47:29):
Way oh my gosh, okay.
Speaker 2 (47:32):
But there is so but there's so little pleasure in
the movie, and so the movie as a whole, rather
than being the guilty pleasure I want, it is just guilty.
It's it's guilty of wasting a perfectly game and oddly
comfortable in his surroundings. Rex Harrison. It's guilty of wasting
(47:54):
one of the final screen performances by William Holden, who
is both perfec game and perfectly uncomfortable by the fact
that he knows he's made so many wrong turns in
his life that he as an actor, has ended up here.
It wastes a character where we're introduced to halfway through
(48:17):
the film, a character named Malik who is played by
Kabir Betty, and he's actually excellent in the film. His
character is intriguing and interesting, and he's charismatic and dramatically impressive.
It sort of becomes his film for a while halfway through,
and we almost forget that Michael Kaine is along with
him or his stunt double is along with him for
(48:39):
an hour, and so, perhaps not surprisingly, for about forty
minutes or so, the movie becomes genuinely entertaining. After the
one hour mark, it finds itself. It finds something that
it could have made. Unhappily, though, we do have to
resolve the story that focuses on Michael Kaine's character searching
for his wife, which means we have to let Michael
(48:59):
can do things, and he's so terrible, and near the
end of the film we see his wife all dulled up,
made up and drugged, looking gorgeous but clearly confused and
uncertain of her speech. And what I suddenly realized is,
although he rarely looks good in it, I can't help
(49:21):
wondering if Caine himself had been drugged and kidnapped and
forced to act in a film he did not know
was being made. Oh my gosh, it is a viable
explanation for how Michael Caine. Oh yes, has sometimes been
hammy and cheesy and done bad movies and stuff. But
(49:42):
you would swear this person had never acted before and
had no idea what it involved.
Speaker 4 (49:48):
So but you read that he said this is the
worst movie you ever did. Did he explain why or
what he was going through? No?
Speaker 2 (49:55):
But I had never before and never since seen him
him utterly unable to act. But that's but that's what's
going on in this film. He's unable to act.
Speaker 4 (50:07):
He's not even doing his slow stare without blinking.
Speaker 2 (50:12):
That's all he does. That's all he does is the
slow stare without blinking. And it's but you're also aware, like, wait,
he's looking a cute little African children. He doesn't know
what he's looking at.
Speaker 4 (50:27):
So they just put him in a set and then
cut everything around it.
Speaker 2 (50:30):
Yeah, oh my god. So there is this great moment
when the rescue of the wife at the end, and
we've seen them on the boat as they're approaching the
other boat, and then we kind of see from a
distance the stunt doubles get up on the boat and
then we cut to Michael Caine, you know, surreptitiously sneaking
around only Michael Kaine's shirt is drenched in sweat, He's
(50:56):
got blood all over his face. Do they explain that, No,
that never happened.
Speaker 4 (51:04):
He had a delic They cut out.
Speaker 2 (51:06):
They cut out whatever scenes led to that, from him
getting off the boat and being on the boat.
Speaker 3 (51:13):
Maybe they maybe they served him just a really a
really arous rack of ribs. Yeah, and he was just
he was just sweating through it. Yeah, he was like
there was there was.
Speaker 2 (51:25):
Only sixty Michael Caine starring in an action adventure movie
and thinking that he should be tucking in his T
shirts like I love that there was an era where yeah,
that's fine. Yeah, do we need to see all those
rolls of flab on our lead actor? Like, yeah, it's
the seventies, it's fine, it's fine.
Speaker 4 (51:46):
Told this thing so well, I am now.
Speaker 2 (51:49):
Immediately, But you're not going to enjoy it. I swear
to god, you're gonna spend the hour. You're gonna spend
the hour slack jawed.
Speaker 4 (51:58):
And but did I sit through that Kirk Douglas jekylin
high thing.
Speaker 2 (52:04):
That's so this brings us back full circle and we'll
end here. But I shut it off after a half hour,
and I went, damn it, I did not get the
guilty pleasure. I'm ever gonna watch. And then, you know,
I had some stuff to do a couple days later,
and I went, well, I'm not I don't want to
get invested in something. I'll just keep watching more of it.
(52:24):
So I watched another half hour. Then I went to Montecito,
and somewhere in Monacito while writing my to do list.
Very near the top of my to do list was
finish a Shanty. And we got back from Monacito late
at night, and I unloaded the car and unpacked. I'm achy,
it's late at night. I should be getting to bed,
(52:46):
and instead what can I not resist doing but sitting
down and watching the second hour of A Shanty. So
somehow it had worked its way in. And so a
movie I walked out of and walk back into. All right,
lightning round Dean Haglin. Movies you've walked out of?
Speaker 4 (53:07):
Well, you know that producer from the X Files that
I would go to movies and then he would just
nudge and go, let's go. And we do all eight multiplexes, and.
Speaker 2 (53:16):
We've had movies you've walked out on. Be high on
your top ten list for the year. That's why we
started calling it a top ten movies that Dean Haglin
might have seen part of. And you would watch like
twenty minutes, twenty minutes, and you go, oh, no, I
could tell. I could tell this kid, Christopher Nolan, he
can really make a movie. Twenty minutes is enough for
(53:38):
me to know that's a great movie. It's that it's
near the top of my list, that's right. So you
walking out is a different thing. I mean, to paraphrase
Ambastardize the Great Oasis. I want to know about a
movie you where you walked out in anger?
Speaker 4 (53:57):
Oh, Sylvester Stallone, in between the Cliffhanger and the Jersey
Tunnel Collapse. He did a movie in between there that
was really terrible, and I forget what that was called,
but I said, let's go. She goes, it's not over yet. Yeah,
I know, but I don't want to see how this ends.
(54:17):
I don't want to see this. She goes, She's just
gonna walk out, and then she goes, yeah, then we do.
But then the most funniest thing, Oh my gosh.
Speaker 2 (54:26):
So an unnamed Sylvester Stalone movie.
Speaker 4 (54:30):
I have to look it up.
Speaker 2 (54:31):
I'm looking it up. Go Okay, keep going. Yeah.
Speaker 4 (54:33):
Oh then Nick Kaye's nephew did this movie and the
premiere was over in North Hollywood with a bunch of
hearses so with some sort of vampire movie, and there
was a red carpet and there was all these hot
women kinding out of herses and you know, and we're
all sitting there and Claudia Christian's at the end of
the row and Patty's beside me, and we're not even
(54:54):
five minutes into this thing, and we have a thing
where we hold hands and we we're watching trailers and
if we liked trailer, we give one squeeze, and if
we don't like the trailer, we give two squeezes. And
like four minutes into this movie, she gives me two squeezes,
and I just start killing myself.
Speaker 2 (55:08):
She is Nicholas Cage in this movie or not?
Speaker 4 (55:11):
No, no, his nephews, I don't know. I can't remember.
Speaker 2 (55:14):
With Jason Schwartzman, I mean who it would have been
a Coppola who. I mean, you're giving us nothing to
work with at all, you know, because made the movie.
Speaker 4 (55:24):
I think it was a billboard much like the room
billboard in North Hollywood that sat up there for three months,
and every time we drove by it we laughed hysterically
because everybody fled the premiere. Like she goes to, what's
the deal, I'm walking out on a head of premiere.
I don't know, And then Claudia gets up and goes,
and then we get up and then pretty much.
Speaker 2 (55:45):
The kay here we go in between Cliffhanger and Daylight Daylight,
all right, you have the following Sylvester Stallone movies. Demolition
Man's pretty good, The Specialist, Oh, that might be it,
(56:05):
but keep going, Judge, Dread and Assassins with Antonio Bunderis.
That's what you have between those, And then after Daylight
he does cop Land. So wait, yeah, which was great.
Speaker 4 (56:23):
Yeah.
Speaker 2 (56:24):
So before before, well, that's when I gave you. Before
Daylight and after Cliffhanger, that's what I gave you. So
before Cliffhanger, you've got stop or my mom will shoot.
Speaker 4 (56:36):
That's pretty funny.
Speaker 2 (56:37):
I'm going backwards through time. Oscar another comedy. You've got
Rocky five, you've got Tango and Cash. There's nothing brilliant movies.
Speaker 4 (56:48):
It's the Specialist. I'm pretty sure it's the Specialist.
Speaker 2 (56:50):
With Sharon Stone Yes and Eric Roberts and James Woods
and Rod Steiger the Specialist.
Speaker 4 (56:59):
I think that's the one.
Speaker 2 (57:00):
Okay, thank god that was a big hit for him though.
Speaker 3 (57:03):
But all right, question Dean, what was the what year
did this h Nick Cage nephew movie happen?
Speaker 4 (57:11):
Okay, so I'm going to say two thousand and eight, No,
two thousand and seven, maybe two thousand and eight.
Speaker 3 (57:18):
Somewhere in there was it Texas Vampire Massacre? Ooh a short?
Speaker 2 (57:26):
That was a short? No?
Speaker 4 (57:28):
No, no, this was feature length.
Speaker 3 (57:29):
Feature length. Yeah, I might have the wrong nephew. Hold on,
there's two nephews.
Speaker 4 (57:34):
Yeah, I mean nephews.
Speaker 2 (57:35):
Does he have to?
Speaker 4 (57:36):
I mean that was the only randing like, I didn't
recognize him on screen in the first five scenes for
Dulles Toast and had no scary or anything. Didn't you
know why they got the hearses?
Speaker 3 (57:48):
Frankly, the only the only movie that I can see
that even remotely feels like what you're discussing is the
movie Sacred Blood, which came out in twenty fifteen.
Speaker 4 (57:59):
Did it have distribution deal?
Speaker 3 (58:01):
Yeah?
Speaker 2 (58:02):
I mean Sacred Blood sounds like a vampire, it does.
Speaker 3 (58:06):
Yeah, that might be it.
Speaker 2 (58:08):
But twenty fifteen Dean was in Yeah, I was.
Speaker 4 (58:12):
In Australia by that, so that couldn't have been it
unless it sat forever waiting to get a distribution deal
like Rice Girl.
Speaker 2 (58:21):
Oh my goodness. Though, he has a nephew named Bailey
Coppola who is identical to him.
Speaker 3 (58:26):
That's the that's the guy I'm talking about.
Speaker 2 (58:29):
But he was born in ninety five.
Speaker 4 (58:33):
Oh yeah, No, there's gotta be another one.
Speaker 3 (58:35):
Sure it's his nephew.
Speaker 4 (58:37):
I'm not sure.
Speaker 2 (58:38):
Maybe and his other nephews sixteen years old. Now, so okay, well, cousins.
So he's a Coppola. So why would a Coppola be
referred to as Nick Cage's nephew or cousin? By the way,
you're talking about.
Speaker 4 (58:52):
Francis, it's not a Copla. It's got to be someone
else on the on the on the mom's.
Speaker 2 (58:58):
Side, isn't the mom the I don't know.
Speaker 4 (59:02):
Do I follow Nick Cage's family tree for.
Speaker 2 (59:04):
Apparently you do, because that's how you decide what MP.
Speaker 4 (59:09):
Said that I walked out on and then the only
thing I remember is that it had Nick Cage's relative
to it.
Speaker 3 (59:16):
Hold on, hold on, I might be finding it. I
might be finding it.
Speaker 4 (59:19):
It's not worth thinking this thing out.
Speaker 2 (59:21):
It's absolutely worth it. God did you?
Speaker 4 (59:24):
Uh?
Speaker 2 (59:24):
Did you?
Speaker 3 (59:25):
Is it called Raven in twenty ten?
Speaker 4 (59:28):
Yes, that's exactly it rave.
Speaker 3 (59:30):
The reawakening of a sedictive female vampire, the struggle of
a lone vampire hunter who must overcome his desire for
her in order to destroy her. I bet there's nudity
in this film.
Speaker 4 (59:42):
Uh, it probably was. We didn't stick.
Speaker 2 (59:44):
Around Raid Not the Raven with John Cuzac as Edgar
Allan Poe, which this again was a walk out of
movie the first time, the first time where we realized
about Kuzak. Wait a second, he doesn't play characters like
we look, many of us loved Kuzzack, grew up loving Kusak,
(01:00:05):
and then it became like it was until the twenty
tens where you realize, oh yeah, he always kind of
was doing a carriage. And then he's playing Edgar Allan Poe.
He's playing Brian Wilson and it's wait, there's John Kusack
reading lines as if he's somebody else.
Speaker 3 (01:00:26):
So this guy's name is Weston Cage west Age.
Speaker 4 (01:00:32):
Oh my god, how's he related?
Speaker 3 (01:00:35):
He is?
Speaker 4 (01:00:37):
Yes, the Raven. That was the worst.
Speaker 2 (01:00:39):
Wait, that's his son.
Speaker 3 (01:00:40):
It's his kid.
Speaker 2 (01:00:41):
Oh and his name is Weston Coppola because that's Nick
Kage's real name is Cola. Yes, west In Cage.
Speaker 3 (01:00:50):
He's an IMDb. He is Western Cage.
Speaker 2 (01:00:53):
Oh, Wes, Wes, he's trying to bring He's trying to
escape from the shadow of Nick Cage by taking the
name Coppola. Now, yeah, he is an actor, a recording artist,
a composer, writer, producer, and a mixed martial artist.
Speaker 3 (01:01:12):
Oh yeah, so he's busy.
Speaker 2 (01:01:17):
Oh god, he's about to tell his side of the
story in a new documentary, breaking his silence on the
alleged assault against his own mother that he perpetrated. So what.
Speaker 4 (01:01:35):
I've been remiss on reading my variety?
Speaker 2 (01:01:38):
He says that he's been a target for a lot
of misconception. I don't even know if those words work together.
Target for misconception though, was the stallone movie you walked
out on?
Speaker 5 (01:01:52):
All right, Guests of your Chillpack, Hollywood Hours, Stay at
the Baldwin Hills motor end promotional considering paid for by
Empire State Gas. From farm to pump, We've got great
Speaker 1 (01:02:04):
Gas belated spoiler alert
And now Your Chill Pack Hollywood Hour with Dean Hagland
and Phil Lareness.
Speaker 2 (00:42):
Welcome to year nineteen, episode sixteen of Your Chillpack Hollywood Hour.
I am Phil Lareness, coming at you from Los Angeles,
and this is not the show that I have planned
for you this week. As long time loyal listeners know
by now, once a week Dean and I do a
(01:05):
little side project with our pal John Lawler. It's something
we call the Art Life, and sometimes I bring you
those conversations. This is one of those weeks. Again. It
wasn't planned, but we were in the midst of our
meeting and Dean started to I think hold court about
the new Superman movie, and I thought, oh oh my,
(01:28):
I'd better record this, and frantically set about to do
just that, and I thought the ensuing conversation was worthy
of your Chillpac Holly whatever. So that's it for this week.
Hope you are all doing well, and I look forward
to when we next get together. So Dean, you you
(01:50):
saw the only or the first or the first in
recent memory? What was it, John? It was the first time.
Speaker 3 (01:58):
It may have been the first time. Actually, Kelly reminded
me that we actually may have walked out of The
Devil's Rejects.
Speaker 2 (02:07):
Oh, I remember that.
Speaker 3 (02:08):
Yeah, yeah, yeah, yeah, it is pretty gross. And I
think the reason we may have walked out was it
was Kelly wanted to see it. I don't really like
movies like that, but she really wanted to see it,
and I was like, all right, I'll go with you.
And then we kind of got into it, and there
was a point where I don't recall walking out before,
(02:28):
but Kelly says we did. And the reason why I
would think that happened is because she realized at some
point there's not really a great plot here. There's not
a great story here. It's just kind of violence porn,
and I can I don't, I don't need to watch this.
Speaker 2 (02:46):
And so this is, uh, this is actually a fun conversation,
the walking out of movies. But you had said The
Superman was the first time that you ever found yourself
wanting to Oh.
Speaker 3 (02:54):
I definitely wanted to walk out.
Speaker 2 (02:56):
And and sometimes I've walked out without really nests necessarily
saying all right, I want to walk out. I can't,
you know, it's just well I saw it. No, it
wasn't It wasn't a moral stance. It was literally I remember,
I had a time conflict. I was at that AMC
on the Upper West Side, you know, not far from
(03:19):
Lincoln Center, right, and uh, I was seeing the uh,
the Alien offshoot, the sequel, the sequel to Prometheus. Yeah.
Speaker 3 (03:32):
Oh Jesus, I'm glad I watched that, I think on
a plane.
Speaker 2 (03:38):
Well, I I had a I had a time I
had a I had a time conflict, which is I
was supposed to meet people before the theater, but I
wasn't gonna quite make it if I watched the whole movie.
And I just picked a point in the movie where
I said, you know, if I leave now, I am
(03:58):
guaranteed of having had a good time.
Speaker 3 (04:02):
Yeah.
Speaker 2 (04:03):
So I'm going to leave now. And because I don't
need to know what happens on everything, right, you know,
because that's plot stuff and it's servicing whatever the next
installment is going to be, absolutely and if it turns
out that it's great, I can catch up on that.
So I did. So I walked out, and then I
(04:26):
read about what happened from there, and I was so
glad because if I had stayed, I would not have
enjoyed myself.
Speaker 3 (04:35):
So it would have been very upset for being late.
Speaker 2 (04:37):
So there are many reasons to walk out and when
we walk out. But Superman was the first time John
knew that he wanted to, and yet he did not
because the clarion call of the signature collector's edition Coca
Cola that he was enjoying.
Speaker 4 (05:00):
Almost got the Superman dog dish at my theater. There's
a little dog dish with.
Speaker 2 (05:04):
This that might have been worth it.
Speaker 3 (05:06):
The first and maybe the only time I bought something
like that was recently with the new Mission Impossible film.
I went to see it with a friend. He got
the tickets and then I was like, do you want
a beer or anything? And he's like, oh yeah, and popcorn?
And I was like yeah. And then I looked at
the guy and I was like, can I get one
of those like ten ones that say Mission Impossible and
(05:26):
stuff on it. He's like, yeah, you can, And I said,
I don't even want to know how much it is.
Just fill it with popcorn, baby.
Speaker 2 (05:32):
Now, Remember I thought.
Speaker 4 (05:33):
You're gonna fill it with beer until.
Speaker 2 (05:39):
Now I'm gonna Dean. Speaking of dog dishes, Superman.
Speaker 4 (05:46):
Yeah, totally at Dog's Breakfast, That's exactly it. Do you
ever read Superman comics like growing up see because some
you know, I was visiting DC comics because of my
role on the X Files. And you know, there was
the time there very in the eighties nineties where readership
(06:10):
took a jump off a cliff. The kids discovered video games.
Nobody was buying comic books anymore. There was a panic,
a complete panic, and they had to start coming up
with crazy characters and unbelievable ideas and oh my gosh,
we're going to have Superman cloned, and the clone is
(06:30):
going to be Ultraman, and you know, and mister Terrific
and all of these stupid characters, like they were just
jamming him through pipeline, trying to get any interest from
the kids who all stopped reading comic books. So this
movie is basically the catalog of that panic. It's all
of those characters, it's all of that tried to be
(06:52):
jammed into one stupid movie. And I mean, really, do
you need two black Holes on Earth as plot point two?
I got one and and you zipped it up. Well done,
but no you got to put a second one in.
But like you know, again, you can go back to
these obscure comic books where they were like so desperate
(07:15):
fryeballs that they just started going crazier and crazier. And now,
for some reason, mister Gunn thought, hey, you know me
really entertaining if you put all that stupid stuff, the desperation,
into one single mone.
Speaker 2 (07:28):
But it clearly must have worked. The desperation must have
worked because the people who started reading comics in this
era that you're talking about and still have not let
go of comics and collecting comics and toys, they have
such a fondness for this. So there has to be
(07:49):
this big group of people that have a fondness specifically
for that era when they started throwing everything but the
kitchen sink to try to create a new relevancy for DC.
And I remember this well because they were playing Chase up.
But you know, they were chasing Marvel even at that point,
which was almost unheard of. Rob. But there's some thing
(08:11):
one thing that but well, okay, what was that comic Con.
Speaker 4 (08:15):
San Diego that became the nostalgic thing? We're there? Then
they could rebrand and resell Superman to actual two hundred
thousand people, I mean the first comic con in San
Diego in nineteen seventy three was in a basement and
it was actually just comic books. There wasn't the artists,
there wasn't the publishers coming with live action, coseplay, none
(08:38):
of that. That all gradually developed, and as that developed,
so this nostalgia came back and people were buying back copies,
and that's where that came from.
Speaker 2 (08:48):
I would argue also, at least as important as that
was the fact that there was a nineteen seventy eight
movie called Superman, and that was the first time there
was a superhero word that was considered a work of
adults and for adults, and it made not only was
it an excellent film, but it made that whole genre
(09:12):
safe for grown ups to like. And at that point,
then the studio system, as it always does, wants to
chase that success. Right two thousand and one almost destroyed
the motion picture industry because they spent a decade trying
to chase it, and those attempts were greenlit by people
(09:35):
who didn't understand why the first thing was a hit,
or understood the first thing, And it takes takes almost
ten years before Star Wars proves that audience really does exist,
and Superman the same thing would happen with all these
attempts to then make comic book movies, and it isn't
until Batman ten years later that there's another big hit.
(09:58):
But both of those are DC properties, And so why
does gun do this? This is why I'm saying that
to a degree, the numbers must show that that effort
in the comics to throw all these crazy ideas and
crazy characters and everything but the kitchen sink must have worked,
must have had genuine appeal, because he's been brought in
(10:21):
to now do the exact same thing, which is to
save a floundering DC. Only it's the DC cinematic world
that had fallen way behind appeal to Marvel and could
not make a single project that made money. And so
(10:44):
why does he do that? Why does he gravitate back?
It could be a keen knowledge of history that that
actually worked for the publishing.
Speaker 4 (10:53):
For the publishing, but the movie, going back to the movie,
totally you did not follow, that is totally walkable, edible.
Speaker 2 (11:01):
And yet here we are. It's the first financially viable
DC movie in a long time. It's made a big profit.
Speaker 4 (11:11):
Because Superman as a brand is so prevalent.
Speaker 3 (11:15):
I also think.
Speaker 2 (11:16):
But the last Superman's hadn't see this is what I'm saying,
is like you compared it to something that happened before
that you found artistically bankrupt, and might have been artistically bankrupt,
But what I'm arguing is it might have worked commercially
and financially, and here they're doing the same thing. So
we're talking about why the movie doesn't work artistically, but
(11:40):
it may explain why it has appeal to so many
people because it had appeal before.
Speaker 4 (11:45):
But did we discuss this with mission impossible series? Like,
to me, the worst one is the one you said
was the most financially viable, the most money is what
I think.
Speaker 2 (11:55):
It's not the worst one. That's totally unfair. There's still
always going to be the wu Wan. There's still always
going to It's not going to be the worst one.
You mean, it's the worst one of the good ones,
of the ones where they actually knew how to make
a movie, as opposed to one that wasn't even a movie.
Speaker 4 (12:11):
Yeah, but in context, I mean, you know, in context
going oh, well, this one made the most money, so
that must be the best. That's never an argument. So
this Superman, even though it's making money, more than the
other ones. Is definitely not the best.
Speaker 2 (12:28):
And the reviews and the reviews, which you know, I
always think to a degree, are a sign of you know,
two things. One, an entire critical body that feels held
hostage by these movies. So anything that seems different is
going to be embraced in some way. And then the
(12:50):
other element of it is, you know, they do, I think,
to a degree, react to the marketplace, and you know
they're bringing in that context sometimes and say right, like
and Austin powers too, Like we were talking about, oh
it's so good. Wait, you didn't give a good review
to the first one. Why are you giving a good
(13:12):
review to the second one, which isn't as good? Right,
and it's good, but it's not as good. Why are
you now suddenly? And it's because they realized they missed
the boat.
Speaker 4 (13:22):
Right, they didn't get it, and they didn't.
Speaker 2 (13:24):
Get it, and so now they have to acknowledge, Oh,
it must actually work, so let's give up a Yeah.
Speaker 4 (13:29):
My favorite thing though, is in the Elevator, a father
with his two preteen kids, a girl and a boy. Yes,
a girl. So what was your favorite character? She goes,
I really liked the cousin Supergirl, who's completely hammered, just
has one scene at the end that was her takeaway
and he goes, oh, dear God.
Speaker 2 (13:49):
So I hate having to review movies this way, but
I but when it comes to franchises, you know, I've
been burnt before, right, I've been burnt with The Day
Aniel Craig, Cassino Royale, I've been burnt by JJ Abrams,
Star Trek, and had to realize that in some ways
the reboot, which we always thought was difficult because quite frankly,
(14:13):
most of them fail, so they are difficult, but in
some ways they're actually easier than what comes next. And
so I think again, with this Superman, whether people loved
it or in the case of YouTube gentlemen, did decidedly
(14:34):
not love it, the sign of its value actually will
be does it chart out a course to move forward
that's viable? And do you see?
Speaker 5 (14:49):
Yeah?
Speaker 3 (14:49):
May I, because that's I would say that. Man. A
lot of things just went through my mind as you
all discussed that one the the only thing that movie
serves is a path forward for any other character. That
it was it that was almost maybe one of the
(15:09):
most offensive parts of the film was that I was like, Okay,
I get what you're doing. Holy Christ. You know why
iron Man did really well because it was about iron
Man and.
Speaker 2 (15:20):
It told it told a.
Speaker 4 (15:22):
Story, a story.
Speaker 3 (15:24):
A single story. Two it also it was I can't
I didn't do enough research just now in the five
seconds that I had. But I don't think iron Man
had been done as a movie in this way other
than potentially animated, so already it's not technically a reboot.
(15:47):
It actually is just taking an interesting character and telling
a story about.
Speaker 2 (15:50):
Them, an offering, offering discovery to people who fans of
iron Man and total non vents beyond fans or neo.
Speaker 3 (16:03):
Fights, yeah them. I watched that movie because my dad
said it was good. I watched it with Kelly. We
were in I remember where I was, and I remember
at the end of the movie going that movie was
really just good. I had such a good time the
whole time, and that was such a fun stories interesting.
I'm interested to see what happens next, if something happens next.
(16:24):
And the other thing was was that that was the
point of that movie. It wasn't there. There weren't any
after credit, you know, here's the next thing that's gonna
happen or whatever. Beyond the potential James Bond like James
Bond will return in blah blah blah blah blah like
beyond that.
Speaker 2 (16:40):
And the and the innate knowing in the modern age
that if it's a hit, we know, they will know.
Speaker 3 (16:46):
We'll know another, they'll do another one some way, and
and and so that movie had all the right pieces
to be a good movie. It had basically no expectations.
It was well thought out and singular.
Speaker 2 (17:00):
And I want to throw in even more into the
mix because this is something that we usually call the
art life and so creative process on this casting someone
as Dean and I remember clearly because he was working
out preparing for the auditions for this in our building,
in the gym and our building where our offices were.
(17:22):
This was a desperate need on the part of its
leading man to salvage a career. He could not get
a movie bankrolled, He was not reliable, His movies couldn't
get in shirt, so he couldn't do big movies anymore.
And he needed this, and he had done other movies
(17:45):
that proved that, Okay, maybe he's back. Certainly he's back
talent wise and artistically, but is he reliable? So he
needed this movie to work. Other people involved in it
needed it to work. So you have created native people
involved who need it to work, as opposed to a
(18:06):
company that says, we need these properties to make money
for us. Ye. You you're the guy to make this
make money for us. There was no big company behind this.
Marvel wasn't owned by Disney. Marvel wasn't owned by Paramount.
Paramount distributed the movie, but did not own it, which
(18:28):
is why, of course Marvel can move to Disney when
Disney buys out the property. So you've got again people
involved in making it who are who have desperate need.
And these people, oh, by the way, are wildly creative.
And so getting back to the point that stood out
to me, of it was all thought out, except it wasn't.
(18:50):
It wasn't at all. As you find out more and
more about Iron Man, the more you realize that after
a few weeks into filming, there was nothing written. And
they're showing up each day and Jeff Bridges and Robert
Downey Junior and John Favreau and these guys are just
getting in together and their trailers and their thrown out
ideas and they're improving and they're riffing, and then they're
(19:12):
putting it together, and then they're coming to set and going,
this is what we could shoot today.
Speaker 4 (19:17):
Good lord.
Speaker 2 (19:20):
It's not a way to make a product locomotive.
Speaker 3 (19:24):
But it isn't can good movie.
Speaker 2 (19:27):
It can historically be a way. As a fan of
Robert Altman, as a fan of John Cassavetti's head of
Easter Keaton, let's say this. It can be a way
historically to make a great movie. It can also be
a way to make a historically awful movie. But at
least you know in both those cases that you are
(19:50):
watching something that was made by people and not by
corporate committee.
Speaker 3 (19:56):
Yeah, not by commercial And I think that's the thing
was Superman. The most interesting parts for me were were
to get me to the movie. It was that moment
where Lois Lane interviews him right that that made me go, oh, wait,
is this movie about.
Speaker 4 (20:14):
Like geopolitical strategy?
Speaker 3 (20:16):
Is Newman really allowed to be doing what he's doing?
And and how how does that? How does it affect
other humans? That to me would have been one fine
line to follow. Uh, you know, they definitely didn't follow it.
And then and then the other theory, the other part
that was kind of interesting was the moment where uh
Lois Lane has to go find Superman and she goes
(20:38):
to the Hall of Justice or whatever, and you meet
those characters. And if it had just been that story
as well, to meet the Hall of Justice and the
characters in that particular industry, the justice industry, that also
probably would have been fine. It was very funny, mister
was it, Mister fantastic, Mister mister terrific. Sorry, I'm sorry,
(21:01):
I don't He's gonna get his own movie that one, yes,
for sure, because he's he was. Everyone in that part
of the cast was terrific. And even I said, like,
I loved everyone in the movie. Everyone did a very
good job at what they did. Fantastic. But between that
and the fact that, yeah, it was basically a way
to introduce a thousand characters to see which ones sort
(21:24):
of hit with audiences so that they can go in
that direction instead of just saying, let's make one good movie.
And then also the other thing I want to mention
is the other most interesting thing that's come from that
movie is this video that's making the rounds where the
character the actor that plays Superman whose name I forget
right now is struggling to do this one scene with
(21:46):
Lex Luthor where he walks in and he's telling him
like that's what it is to be human or whatever, right,
and he can't quite get it right, and he talked.
He starts talking to James Gunn and they fill this
part is just a BTS sort of scenario, and it's
so interesting because it's this moment where the actor is
(22:06):
struggling and you see him go to the director and
be like, I'm pissed off. The crew is probably all
pissed off because I can't get this goddamn thing and
I don't know why I can't get this goddamn thing.
And they both talk and they have a really great
like if you've been in an acting class and you've
talked to your you know, your director or your teacher
(22:26):
or whatever, and you have that moment where like suddenly
you're able to speak the same language and something clicks,
and it's like that moment and then they do the
next shot and that's the shot that makes it into
the movie and stuff that's interesting. That was a thousand
times more interesting than the entire movie. And I was like,
(22:47):
you could have just why not just make a movie
about the making of that movie, and we would have
all been more.
Speaker 4 (22:54):
I don't know, and I love I haven't seen that video,
but now I want.
Speaker 3 (22:58):
To just search you. I'm behind the scenes Superman on
you know there is.
Speaker 2 (23:03):
I mean, I'm now comparing an all time classic to
this thing that neither of you liked. But I was
a It's weird seeing on my recently viewed search as
Lee Majors. Anyway, I got distracted. So you know, forty
(23:23):
four years ago, forty three years ago, Blade Runner opens
to bad reviews and to at best box office indifference.
It's a financial failure and a critical failure. And I
was a huge fan from the get go, and I
like to think I would have been anyway. But I
(23:43):
was already a fan before that thing opened because I
had read everything about the makings of I had so
many behind the scenes materials. My sister was an editor
at a newspaper and so I was getting all the
promo materials for this movie beforehand. I had books about
the design. So I was already a huge fan of
this movie on the basis of in my mind the
(24:07):
movie of the making of it, right, and it it's
actually I remember, like again in the Heyday. In the
eighties there were like The Big Movie Show and other
really cool shows on like Nickelodeon another that would do
like behind the scenes making of movies that were gonna
come out. And so it almost by the time we
(24:30):
saw the movie Krawl, I'm looking at you, it didn't
matter that you weren't good, like it was fun seeing
it because we'd already been so engaged in the story
of making it. And I wish that there was more
of that. Again, the cart got placed before the horse
(24:50):
in DVD, and everything had to have a behind the scenes,
but the behind the scenes didn't lead the story. It
came as a bonus after words. And so I think
there's a misted not only opportunity here, but it's an
art form that has sort of died, which is the
because I don't know where the avenue is, where's the channel,
(25:12):
where's the streaming channel? That's all about making of movies
that are going to be coming out like that would
be cool and for a lot of us, that's how
we learned filmmaking to a degree, right, And they're.
Speaker 3 (25:27):
Like, oh, what's that thing they're using there? Is that
how they do that? Well?
Speaker 2 (25:31):
Because honestly, your relationship to it now as a viewer
is the same as the filmmaker's relationship to it, which is,
as a filmmaker, you don't know what you've made until
it's done and all the pieces are put together, and
so you're following that path along with them, and you
haven't seen it yet, well neither have they. And as
(25:56):
opposed to we're watching the behind the scenes for something
we've already seen and so now we've already judged it,
and now we're watching the behind the scenes and go, well,
that's a problem right there. See that's they got that wrong.
Speaker 4 (26:11):
So and I think this is a Superman problem too.
Is clearly mister Gunn had spent years developing this and
so it's just so jam packed because you get blase
a about oh yeah, wouldn't be great. Lewis shows up
that the you know, legion and doing whatever, and you're like, okay,
but what if when she gets there, you know, it's
(26:32):
sort of like, oh yeah, let's get that creature. And
then Superman holds up the foot and saves a squirrel
and then the squirrel is a thing that gets his
own shot and you're like, oh my god. You just
keep jamming it in because you don't have faith that
eight months ago, your prep when you had this set
piece was enough. And so it had this multi layered
(26:53):
thing of like internal gags, winky winks to the camera,
fans who know this comic book or that, or remember
when they made all the news when I was a
kid with Superman died in the comic books, Oh my god,
he's dead. Oh they ended it. And then you know,
four months later, oh he's back. We got a new Superman.
(27:14):
And then you know, reboot fifty two, like all of
that stuff is like.
Speaker 2 (27:19):
And if and if that didn't work, would we be
where we are with James Bond. We had rebooted James
Bond by recasting the character for so many decades though
until I forget what it was until one movie, and
it's really really long in the run. It's past Timothy
(27:40):
Dalton before there's a movie that says, Okay, this is
a different character. Because up until then they maintained, you know,
as elastic and idea as it was, that they were
all adventures that could have been had by the same
person right for decades by. But this is the first
time that we're having a reboot that comes after spoiler alert,
(28:04):
James Bond dies and but so we're able to watch
and enjoy him dying while knowing from our collective pop
culture memory banks that nobody dies, they get recast, right,
So that's that's a And we all so we grew
up because we all do remember, whether we read those
(28:26):
comics or not. Superman dies, and we saw the posters
of the obituaries, we saw the rest in peace Superman,
whether again whether we read him or not, and we
knew the pop culture moment that was right, and it
works and he comes back and uh, and so all
(28:47):
those people that grew up on that are making the
creative decisions in Hollywood right now.
Speaker 3 (28:53):
Yeah, I feel like I would I would say I
would love to see a Superman movie where it's about
like I said, it's the behind the scenes, where it's
about an actor trying to figure out how to be
a superhero as the superhero tries to figure out how
to be a human. You know, like, there's definitely a
very interesting element of the fact that Superman wants to
(29:15):
be an Earthling a human, he wants to be more human,
and at the same time the actor is having a
hard time as a human struggling as a human does
becoming the superhero superhero.
Speaker 2 (29:31):
That you know, it's not a superhero, but it evokes
memories of that first Leonard Nimoy memoir, I Am Not Spock,
and it casts such a shadow the book that when
they were setting out to make the movies they almost
(29:52):
didn't want to negotiate with him, and finally asked him
at one point, why should we be negotiating with someone
who doesn't want to play the part? And he said,
what do you mean I don't want to play the part?
And is it what you wrote a whole book about
how you hate the character and don't want to play
the part. He goes, you did not read a word
of the book. You've read how much people are angry
(30:12):
about the title, But it was more or less John,
what you're kind of looking at, which is, you know,
here's an actor struggling to play an alien and the
alien is struggling to get in touch.
Speaker 3 (30:26):
Say it like a human trying to play an alien
and the alien just wants to be human?
Speaker 2 (30:31):
Yeah?
Speaker 3 (30:31):
Yeah, Like I just feel like there's that's more interesting,
And I think the reason why that video is interesting
and maybe it's just to me because I'm an actor.
But it is this idea that we only ever see
the finished product, which is very indicative of social media
in itself. I ever see the finished product.
Speaker 2 (30:50):
So let me ask you one more question, and then
I We've got to get back to Rob Zombie. But
the the because I'm realizing there's a story. There's there's
a story that I witnessed viz a VI, Rob Zombie
and Dean Haglan that has never been told on Chillpack.
But the question I have is I have always wanted
(31:14):
Clark Kent to be as much a character, a real
person as Superman. Right, And I hear lip service paid
about this all the time that, Okay, we're gonna make
his Earth parents' actual parents. And in that first movie
(31:34):
with Christopher eve By God is Earth Dad is Glenn Ford.
There's no better a a father figure than there could
have been a Glenn Ford and he and he's memorable
in that movie. Oh, the late Terrence Stamp. Let's all
have a moment of silence, the beautiful Terrance Stamp. Okay,
so do they make Clark Kent a real person or
(32:01):
is he still a stupid obvious alias.
Speaker 3 (32:05):
In this movie? Yeah, I'd say the best part about
the movie that I was talking about, where she's interviewing him,
he's both at the same time, and that's what's interesting.
Speaker 4 (32:16):
Yeah, and he's.
Speaker 3 (32:18):
Yeah simultaneously Clark Kent and Superman and it's beautiful, right.
Speaker 4 (32:23):
And she even asked it one time, it's a Superman
talking or Clark Kent. Yes, And it's like, because it's
blurring the morality of it exactly, which I thought was
going to be pursued. I mean, technically it had a
third act echo, but there was a lot that, you know, morality,
(32:44):
what the hell? And that stupid prison in the in
between world, like, oh my god, how do you even
go to the bathroom in there?
Speaker 3 (32:52):
That scene, I mean, that whole that whole premise, while interesting,
was far too, far, too lengthy, And but ultimately they
don't that. You don't see a lot of Clark. It's
not really about Clark. It really is about Superman. But
the part that you do see of Clark, and forgive
me for just calling him by his first name, we
are not on first name basis, but he's not here
(33:14):
right now. That the best part was the fact that
when you actually got to see Clark Kent and Superman
being the same person in a very interesting way where
it was like a confident Clark Kent, someone who because
a lot of times they just play him as some
sort of goob who has to be goob so that
he's not recognized, but they do a better job at
(33:35):
explaining why he's not recognized in this movie, why people
don't know he's Clark's Clark.
Speaker 2 (33:40):
You have some fascinating stories with the mythology that could
be resonant and relevant to the world as it is
right now. You could do a movie about teenage Clark
Kent and what a monster, What a monster he is,
(34:01):
addicted to his screens, addicted to game, you know, like
whatever you want of what the actual teenage experience is
right now, and what a monster he is because like
all young people, if they are not disciplined in a
(34:21):
stable and consistent way, they are going to know where
their power lies and they're going to exert their power
as much as they can. And why will they do that?
Like the rest of us, we seek to exert control
when we feel powerless, and literally, your formative years are
when you're going through all these changes that make you
(34:43):
feel powerless, so you seek to exert control. And where's
that story with someone who push comes to shove, has
the ultimate argument winner all the time, and who evolves
from that? And how do you evolve? Because yeah, either
(35:06):
it's gonna be honestly not Superman. It's gonna be Homelander
from the Boys that emerges, right, or it's gonna be
a well formed Clark Kent with a moral core. It
has to be a real driving element of it for
it to psychologically be viable in the world. Another story
(35:30):
that comes to mind is, I don't know if you've noticed,
we live in a time where news, where journalists are
under attack and untrusted, one of the least trusted professions,
and do a movie about that, and the journalist who's
(35:52):
facing it is Clark Kent, right, And it's.
Speaker 3 (35:57):
And isn't it also interesting that the reason we don't
trust news is because of the corporations behind them.
Speaker 2 (36:04):
And behind it. But it's but it's the individuals that
we take it out on.
Speaker 3 (36:08):
Well, yes, but that's what I was going to say,
is the reason we don't like movies is because oftentimes
it's the corporations that made it what it was, and
we take it out on the people who made it.
Speaker 2 (36:19):
Yes, that's why I do love I've always loved the
advertisement on posters, you know, from the studio that brought
you from the company, from the faceless corporate entity that,
by the way, was probably run by different people at
that time, because they all tend to get fired very quickly.
Speaker 4 (36:38):
From Doug from marketing at Disney brings you this.
Speaker 2 (36:41):
And I'll tell you one other movie in the Superman
world that I would be more interested in. And you know,
we talk about these universes, and here they're introducing all
these characters. Mister Terrific, the actor for whom in this movie.
I've always been a big fan of going back to
the Blacklist. But uh, where's my Jimmy Olsen movie? Where
the hell was that?
Speaker 4 (37:01):
And yet his own comic book.
Speaker 3 (37:04):
We're living in a time important in this moofy, and that's.
Speaker 2 (37:08):
The role I want to see Tom Holland play. I
don't want to see Tom Holland as James Bond. Are
you kidding me? Tom Holland should be Jimmy Olsen, not
James Bond. And I don't mean that as an insult,
and give me a Jimmy Olsen movie. Uh. But then again,
to the James Bond World. Give me a Ben wishaw
(37:30):
Q movie. Don't bother rebooting it. Give me a Ray
Fine m movie. I don't need you.
Speaker 3 (37:38):
Really, we know there's other double o's from from the
moment after you double O six or whatever it is, like,
from that moment you're like, oh, there's that multiple double.
Speaker 2 (37:48):
How many double How many double o's do you have?
What we got the one? Oh you got double O one. No,
we decided to start with seven deven just we were
like primes, you know, we're trying to throw people off
the scent. Yeah, all right, now that we're into the
numbers conversation. So, uh, Rob Zombie made a movie called
House of a Thousand Corpses. Yeah, it was Rob Zombie's
(38:12):
House of a Thousand Corpses, which one of the stars
of which was our friend Chris Hardwick. And we did
a movie with Chris Specters and.
Speaker 4 (38:23):
I was having a good, mirthful Hello. No, how do
you do?
Speaker 3 (38:27):
Yeah?
Speaker 2 (38:28):
Yeah, how are you doing that? Do you recall any
of that?
Speaker 4 (38:31):
Well? It was in the wasn't it. We're all sitting
on our chairs and you get in the b roll
for the behind the scenes or whatever.
Speaker 2 (38:38):
I mean. I may have cued it, but you were
doing it, not just in those chairs, was I you
had you had some riffs that you would go to about, yeah.
Speaker 4 (38:51):
Arts were you? But one sixty seven we'd get.
Speaker 2 (38:54):
Yeah, yeah, we got we got notes corpse one sixty
seven need to you.
Speaker 4 (39:01):
Got to cut one sixty seven. So it's a the
house of like nine hundred and fifty two corpses really,
because there was you know, a few that just needed
not to be in the movie.
Speaker 2 (39:12):
There were simply too many corpses, any.
Speaker 4 (39:15):
Corpses, the House of too many corpses. I should have
called it that.
Speaker 2 (39:22):
Oh my god, that's.
Speaker 4 (39:23):
What Chris, you know, said, Yes, I'm laughing at your
jokes all the way to the bank. We did get
me there.
Speaker 2 (39:34):
Have I, either of you guys been watching Alien Earth?
Speaker 3 (39:37):
I have not yet, say nothing. I'm very excited to
start that.
Speaker 2 (39:40):
It's oh my god, it's so good, so good.
Speaker 3 (39:44):
I was waiting for it, and I just haven't been
able to sit down. And I should see.
Speaker 2 (39:47):
It's to the point where I honestly would be fine
if now after three episodes there isn't even any more
like alien stuff in it. But uh, I give me
a right.
Speaker 4 (39:59):
Just the elevator pitch.
Speaker 2 (40:01):
What is this, Well, it's Noah Hawley Fargo, does you
know an adaptation. It's set just before the events of
the first of our alien movies, The Ridley Scott Alien,
and he is one of the executive producers. So it's
just a few years on Earth prior to that and before,
(40:27):
you know, so after some of the other movies that
have taken place and spinoffs that have taken place, but
right before that. And one of the plot devices involves
a deep space exploration vehicle that is returning after many
decades and it crash lands on Earth and about a
(40:49):
rival corporation that manages to seize control of this crashed
vehicle that had belonged to Wayland Utahni. And it's a
rival company, a prodigy that gets it, and it's boy
genius billionaire that runs the company and the experiments he's
(41:12):
been conducting into synthetic life and life extension and for humans.
And so it's cool, we have, you know, we're wrestling
with a lot of different themes, so it's great. But anyway,
the one thing that I will say is again, I
(41:33):
watched that first episode and I'm so pissed off that
Noah Hawley didn't get to make his Star Trek movie.
Remember he was you might recall a few years back,
hired to write and direct the fourth Star Trek movie,
and what he delivered was not a reboot, but something
(41:54):
that did not involve the Kirkspock McCoy crew. It was
in the Star Trek universe. And supposedly the script was great,
and but they couldn't they couldn't. Wait, how do we
get Chris Pine in it?
Speaker 3 (42:13):
Can we we can we contact him and see if
we can get that script.
Speaker 2 (42:17):
I've been trying.
Speaker 4 (42:19):
Wow.
Speaker 2 (42:20):
But anyway, this guy, you know, because what he did
with Fargo incredible five seasons. Not all the seasons were great,
but man, when it was when it was great, it's
some of the best television ever. And it's and it
lives alongside the Coen Brothers and in that universe so
very well. And he's doing that again here, pulling off
(42:42):
the same trick. So anyway, it's it's terrific. But the
other thing that I watched was a long time Holy
Grail for me, the Holy Grail.
Speaker 4 (42:56):
Bulty, Python's the Holy Grail.
Speaker 3 (42:57):
No, we haven't seen that.
Speaker 2 (43:00):
No, this is a bad movie. Holy Grail, whoa like
one of the real Superman as well Bad Movie Holy
grails from the same era of the original Superman. So
if I told you that Michael Caine Dang, Peter Eustinoff, Oh,
how could this be?
Speaker 4 (43:20):
Bad?
Speaker 2 (43:21):
Omar Shariff, what Rex Harrison and William Holden. William Holden
all starred in a nineteen seventy nine action adventure film
directed by Richard Fleischer, who had made such genre classics
(43:43):
and or hits as the film Noir, The Narrow Margin,
Twenty Thousand Leagues Under the Sea, The Vikings, Fantastic Voyage,
Love It, Doctor Doolittle, The Boston Strangler.
Speaker 4 (43:59):
Tora Torrah Torah, Oh, my gosh.
Speaker 2 (44:02):
Ten Rillington Place, which might be the best serial killer
movie ever, Soilent Green, Oh, I was just gonna watch,
and my favorite Charles Bronson film, Mister Majestic. If I
told you that cast was in an action adventure movie
directed by him, you might think, holy crap, I want
to see that.
Speaker 4 (44:20):
Yeah, that's gotta be amazing. Why isn't it amazing?
Speaker 2 (44:23):
Then when I tell you that the film was a
shanty and was notoriously awful, you might even want to
see it. More, how could this go wrong? And won't
it be delightful? I know That's how I felt for decades.
I had the poster for this on my dorm room wall.
Speaker 3 (44:45):
And then you hadn't seen it.
Speaker 2 (44:46):
It was impossible to find. And now, thanks to a
nineteen ninety eight transfer of it that has shown up
on prime video, I was able to see it. Michael
Caine has oft referred to it as one of the
three worst films he ever did, and No Jaws for
is not one of those three worst films the Swarm.
(45:07):
The Swarm was one of them. And here's the deal, though,
unfortunately he leaves out the fact that he's the major
reason it's awful, because.
Speaker 4 (45:18):
He's the World Health Organization doctor who's looking for his
wife in the Mideast.
Speaker 2 (45:22):
And well, let's not you know, you see now you
throw I'm cutting that out because we're focusing on Michael Kain.
You've already raised the racist component to it. But oh,
but Michael Caine's the problem in a movie that is
so blisteringly racist, it's Michael Kaine's acting that's a bigger
problem and more offensive. What the hell is he doing?
(45:44):
I will tell you what he isn't doing He isn't
playing a character, He isn't apparently doing any kind of
preparation for the role. He doesn't apparently even seem to
have read the script. The camera just sort of gets
set up and photographs him standing and looking at things.
What And that's pretty much it. It's based on a nineteen
(46:07):
seventy four novel, so I understand why they wanted to
make this movie, and it is set against a backdrop
of what at the time was purportedly real life modern
day slave trade in Africa.
Speaker 4 (46:21):
Yeah in Africa, right, So.
Speaker 2 (46:23):
Yeah, So Caine plays the un doctor who's who's a
black wife, also a doctor Ori originally from a tribal people,
gets kidnapped, She's going to be transported across the continent
to where she'll be auctioned into slavery.
Speaker 3 (46:36):
Are you going to ruin this film for me?
Speaker 2 (46:37):
I just say, that's the premise, that's the Time's the premise. No,
Michael Caine will ruin the movie for you. That's Peter
Uston This the slave Trader. So this is what makes
it really deliciously, notoriously awful and fun is Peter Ustinoff,
who unfortunately plays the slave Trader is here.
Speaker 4 (46:58):
Made a bad movie. Peter Uspuff fantastic.
Speaker 2 (47:02):
It's unfortunate because he's playing an Arab. Oh and and
unfortunate in that he's playing an Arab for laughs. Oh
and and it's all even more unfortunate because he actually
is entertaining in an awful awful I shouldn't be enjoying
(47:24):
this because he actually is entertaining kind of guilty pleasure.
Speaker 4 (47:29):
Way oh my gosh, okay.
Speaker 2 (47:32):
But there is so but there's so little pleasure in
the movie, and so the movie as a whole, rather
than being the guilty pleasure I want, it is just guilty.
It's it's guilty of wasting a perfectly game and oddly
comfortable in his surroundings. Rex Harrison. It's guilty of wasting
(47:54):
one of the final screen performances by William Holden, who
is both perfec game and perfectly uncomfortable by the fact
that he knows he's made so many wrong turns in
his life that he as an actor, has ended up here.
It wastes a character where we're introduced to halfway through
(48:17):
the film, a character named Malik who is played by
Kabir Betty, and he's actually excellent in the film. His
character is intriguing and interesting, and he's charismatic and dramatically impressive.
It sort of becomes his film for a while halfway through,
and we almost forget that Michael Kaine is along with
him or his stunt double is along with him for
(48:39):
an hour, and so, perhaps not surprisingly, for about forty
minutes or so, the movie becomes genuinely entertaining. After the
one hour mark, it finds itself. It finds something that
it could have made. Unhappily, though, we do have to
resolve the story that focuses on Michael Kaine's character searching
for his wife, which means we have to let Michael
(48:59):
can do things, and he's so terrible, and near the
end of the film we see his wife all dulled up,
made up and drugged, looking gorgeous but clearly confused and
uncertain of her speech. And what I suddenly realized is,
although he rarely looks good in it, I can't help
(49:21):
wondering if Caine himself had been drugged and kidnapped and
forced to act in a film he did not know
was being made. Oh my gosh, it is a viable
explanation for how Michael Caine. Oh yes, has sometimes been
hammy and cheesy and done bad movies and stuff. But
(49:42):
you would swear this person had never acted before and
had no idea what it involved.
Speaker 4 (49:48):
So but you read that he said this is the
worst movie you ever did. Did he explain why or
what he was going through? No?
Speaker 2 (49:55):
But I had never before and never since seen him
him utterly unable to act. But that's but that's what's
going on in this film. He's unable to act.
Speaker 4 (50:07):
He's not even doing his slow stare without blinking.
Speaker 2 (50:12):
That's all he does. That's all he does is the
slow stare without blinking. And it's but you're also aware, like, wait,
he's looking a cute little African children. He doesn't know
what he's looking at.
Speaker 4 (50:27):
So they just put him in a set and then
cut everything around it.
Speaker 2 (50:30):
Yeah, oh my god. So there is this great moment
when the rescue of the wife at the end, and
we've seen them on the boat as they're approaching the
other boat, and then we kind of see from a
distance the stunt doubles get up on the boat and
then we cut to Michael Caine, you know, surreptitiously sneaking
around only Michael Kaine's shirt is drenched in sweat, He's
(50:56):
got blood all over his face. Do they explain that, No,
that never happened.
Speaker 4 (51:04):
He had a delic They cut out.
Speaker 2 (51:06):
They cut out whatever scenes led to that, from him
getting off the boat and being on the boat.
Speaker 3 (51:13):
Maybe they maybe they served him just a really a
really arous rack of ribs. Yeah, and he was just
he was just sweating through it. Yeah, he was like
there was there was.
Speaker 2 (51:25):
Only sixty Michael Caine starring in an action adventure movie
and thinking that he should be tucking in his T
shirts like I love that there was an era where yeah,
that's fine. Yeah, do we need to see all those
rolls of flab on our lead actor? Like, yeah, it's
the seventies, it's fine, it's fine.
Speaker 4 (51:46):
Told this thing so well, I am now.
Speaker 2 (51:49):
Immediately, But you're not going to enjoy it. I swear
to god, you're gonna spend the hour. You're gonna spend
the hour slack jawed.
Speaker 4 (51:58):
And but did I sit through that Kirk Douglas jekylin
high thing.
Speaker 2 (52:04):
That's so this brings us back full circle and we'll
end here. But I shut it off after a half hour,
and I went, damn it, I did not get the
guilty pleasure. I'm ever gonna watch. And then, you know,
I had some stuff to do a couple days later,
and I went, well, I'm not I don't want to
get invested in something. I'll just keep watching more of it.
(52:24):
So I watched another half hour. Then I went to Montecito,
and somewhere in Monacito while writing my to do list.
Very near the top of my to do list was
finish a Shanty. And we got back from Monacito late
at night, and I unloaded the car and unpacked. I'm achy,
it's late at night. I should be getting to bed,
(52:46):
and instead what can I not resist doing but sitting
down and watching the second hour of A Shanty. So
somehow it had worked its way in. And so a
movie I walked out of and walk back into. All right,
lightning round Dean Haglin. Movies you've walked out of?
Speaker 4 (53:07):
Well, you know that producer from the X Files that
I would go to movies and then he would just
nudge and go, let's go. And we do all eight multiplexes, and.
Speaker 2 (53:16):
We've had movies you've walked out on. Be high on
your top ten list for the year. That's why we
started calling it a top ten movies that Dean Haglin
might have seen part of. And you would watch like
twenty minutes, twenty minutes, and you go, oh, no, I
could tell. I could tell this kid, Christopher Nolan, he
can really make a movie. Twenty minutes is enough for
(53:38):
me to know that's a great movie. It's that it's
near the top of my list, that's right. So you
walking out is a different thing. I mean, to paraphrase
Ambastardize the Great Oasis. I want to know about a
movie you where you walked out in anger?
Speaker 4 (53:57):
Oh, Sylvester Stallone, in between the Cliffhanger and the Jersey
Tunnel Collapse. He did a movie in between there that
was really terrible, and I forget what that was called,
but I said, let's go. She goes, it's not over yet. Yeah,
I know, but I don't want to see how this ends.
(54:17):
I don't want to see this. She goes, She's just
gonna walk out, and then she goes, yeah, then we do.
But then the most funniest thing, Oh my gosh.
Speaker 2 (54:26):
So an unnamed Sylvester Stalone movie.
Speaker 4 (54:30):
I have to look it up.
Speaker 2 (54:31):
I'm looking it up. Go Okay, keep going. Yeah.
Speaker 4 (54:33):
Oh then Nick Kaye's nephew did this movie and the
premiere was over in North Hollywood with a bunch of
hearses so with some sort of vampire movie, and there
was a red carpet and there was all these hot
women kinding out of herses and you know, and we're
all sitting there and Claudia Christian's at the end of
the row and Patty's beside me, and we're not even
(54:54):
five minutes into this thing, and we have a thing
where we hold hands and we we're watching trailers and
if we liked trailer, we give one squeeze, and if
we don't like the trailer, we give two squeezes. And
like four minutes into this movie, she gives me two squeezes,
and I just start killing myself.
Speaker 2 (55:08):
She is Nicholas Cage in this movie or not?
Speaker 4 (55:11):
No, no, his nephews, I don't know. I can't remember.
Speaker 2 (55:14):
With Jason Schwartzman, I mean who it would have been
a Coppola who. I mean, you're giving us nothing to
work with at all, you know, because made the movie.
Speaker 4 (55:24):
I think it was a billboard much like the room
billboard in North Hollywood that sat up there for three months,
and every time we drove by it we laughed hysterically
because everybody fled the premiere. Like she goes to, what's
the deal, I'm walking out on a head of premiere.
I don't know, And then Claudia gets up and goes,
and then we get up and then pretty much.
Speaker 2 (55:45):
The kay here we go in between Cliffhanger and Daylight Daylight,
all right, you have the following Sylvester Stallone movies. Demolition
Man's pretty good, The Specialist, Oh, that might be it,
(56:05):
but keep going, Judge, Dread and Assassins with Antonio Bunderis.
That's what you have between those, And then after Daylight
he does cop Land. So wait, yeah, which was great.
Speaker 4 (56:23):
Yeah.
Speaker 2 (56:24):
So before before, well, that's when I gave you. Before
Daylight and after Cliffhanger, that's what I gave you. So
before Cliffhanger, you've got stop or my mom will shoot.
Speaker 4 (56:36):
That's pretty funny.
Speaker 2 (56:37):
I'm going backwards through time. Oscar another comedy. You've got
Rocky five, you've got Tango and Cash. There's nothing brilliant movies.
Speaker 4 (56:48):
It's the Specialist. I'm pretty sure it's the Specialist.
Speaker 2 (56:50):
With Sharon Stone Yes and Eric Roberts and James Woods
and Rod Steiger the Specialist.
Speaker 4 (56:59):
I think that's the one.
Speaker 2 (57:00):
Okay, thank god that was a big hit for him though.
Speaker 3 (57:03):
But all right, question Dean, what was the what year
did this h Nick Cage nephew movie happen?
Speaker 4 (57:11):
Okay, so I'm going to say two thousand and eight, No,
two thousand and seven, maybe two thousand and eight.
Speaker 3 (57:18):
Somewhere in there was it Texas Vampire Massacre? Ooh a short?
Speaker 2 (57:26):
That was a short? No?
Speaker 4 (57:28):
No, no, this was feature length.
Speaker 3 (57:29):
Feature length. Yeah, I might have the wrong nephew. Hold on,
there's two nephews.
Speaker 4 (57:34):
Yeah, I mean nephews.
Speaker 2 (57:35):
Does he have to?
Speaker 4 (57:36):
I mean that was the only randing like, I didn't
recognize him on screen in the first five scenes for
Dulles Toast and had no scary or anything. Didn't you
know why they got the hearses?
Speaker 3 (57:48):
Frankly, the only the only movie that I can see
that even remotely feels like what you're discussing is the
movie Sacred Blood, which came out in twenty fifteen.
Speaker 4 (57:59):
Did it have distribution deal?
Speaker 3 (58:01):
Yeah?
Speaker 2 (58:02):
I mean Sacred Blood sounds like a vampire, it does.
Speaker 3 (58:06):
Yeah, that might be it.
Speaker 2 (58:08):
But twenty fifteen Dean was in Yeah, I was.
Speaker 4 (58:12):
In Australia by that, so that couldn't have been it
unless it sat forever waiting to get a distribution deal
like Rice Girl.
Speaker 2 (58:21):
Oh my goodness. Though, he has a nephew named Bailey
Coppola who is identical to him.
Speaker 3 (58:26):
That's the that's the guy I'm talking about.
Speaker 2 (58:29):
But he was born in ninety five.
Speaker 4 (58:33):
Oh yeah, No, there's gotta be another one.
Speaker 3 (58:35):
Sure it's his nephew.
Speaker 4 (58:37):
I'm not sure.
Speaker 2 (58:38):
Maybe and his other nephews sixteen years old. Now, so okay, well, cousins.
So he's a Coppola. So why would a Coppola be
referred to as Nick Cage's nephew or cousin? By the way,
you're talking about.
Speaker 4 (58:52):
Francis, it's not a Copla. It's got to be someone
else on the on the on the mom's.
Speaker 2 (58:58):
Side, isn't the mom the I don't know.
Speaker 4 (59:02):
Do I follow Nick Cage's family tree for.
Speaker 2 (59:04):
Apparently you do, because that's how you decide what MP.
Speaker 4 (59:09):
Said that I walked out on and then the only
thing I remember is that it had Nick Cage's relative
to it.
Speaker 3 (59:16):
Hold on, hold on, I might be finding it. I
might be finding it.
Speaker 4 (59:19):
It's not worth thinking this thing out.
Speaker 2 (59:21):
It's absolutely worth it. God did you?
Speaker 4 (59:24):
Uh?
Speaker 2 (59:24):
Did you?
Speaker 3 (59:25):
Is it called Raven in twenty ten?
Speaker 4 (59:28):
Yes, that's exactly it rave.
Speaker 3 (59:30):
The reawakening of a sedictive female vampire, the struggle of
a lone vampire hunter who must overcome his desire for
her in order to destroy her. I bet there's nudity
in this film.
Speaker 4 (59:42):
Uh, it probably was. We didn't stick.
Speaker 2 (59:44):
Around Raid Not the Raven with John Cuzac as Edgar
Allan Poe, which this again was a walk out of
movie the first time, the first time where we realized
about Kuzak. Wait a second, he doesn't play characters like
we look, many of us loved Kuzzack, grew up loving Kusak,
(01:00:05):
and then it became like it was until the twenty
tens where you realize, oh yeah, he always kind of
was doing a carriage. And then he's playing Edgar Allan Poe.
He's playing Brian Wilson and it's wait, there's John Kusack
reading lines as if he's somebody else.
Speaker 3 (01:00:26):
So this guy's name is Weston Cage west Age.
Speaker 4 (01:00:32):
Oh my god, how's he related?
Speaker 3 (01:00:35):
He is?
Speaker 4 (01:00:37):
Yes, the Raven. That was the worst.
Speaker 2 (01:00:39):
Wait, that's his son.
Speaker 3 (01:00:40):
It's his kid.
Speaker 2 (01:00:41):
Oh and his name is Weston Coppola because that's Nick
Kage's real name is Cola. Yes, west In Cage.
Speaker 3 (01:00:50):
He's an IMDb. He is Western Cage.
Speaker 2 (01:00:53):
Oh, Wes, Wes, he's trying to bring He's trying to
escape from the shadow of Nick Cage by taking the
name Coppola. Now, yeah, he is an actor, a recording artist,
a composer, writer, producer, and a mixed martial artist.
Speaker 3 (01:01:12):
Oh yeah, so he's busy.
Speaker 2 (01:01:17):
Oh god, he's about to tell his side of the
story in a new documentary, breaking his silence on the
alleged assault against his own mother that he perpetrated. So what.
Speaker 4 (01:01:35):
I've been remiss on reading my variety?
Speaker 2 (01:01:38):
He says that he's been a target for a lot
of misconception. I don't even know if those words work together.
Target for misconception though, was the stallone movie you walked
out on?
Speaker 5 (01:01:52):
All right, Guests of your Chillpack, Hollywood Hours, Stay at
the Baldwin Hills motor end promotional considering paid for by
Empire State Gas. From farm to pump, We've got great
Speaker 1 (01:02:04):
Gas belated spoiler alert
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