May 5, 2023 • 12 mins
We start minute 115 with the Supervising art director John Deter and ends with Maintenance Doug Stewart.
The “Planet of the Apes” is kicked off in only the way Tim Burton can kick off a franchise, by adding Dirk Diggler to the world of apes!
Facebook @MinuteOfTheApes
Twitter @MinuteOfTheApes (Shows post but no interaction here because Elon Musk sucks)
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http://moviesbyminutes.com/
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http://divebarboombox.com/
“Antibody” by Chris Williams (shorturl.at/ctNY4)
The “Planet of the Apes” is kicked off in only the way Tim Burton can kick off a franchise, by adding Dirk Diggler to the world of apes!
Facebook @MinuteOfTheApes
Twitter @MinuteOfTheApes (Shows post but no interaction here because Elon Musk sucks)
Email: podcast@minuteoftheapes.com
Website: https://www.minuteoftheapes.com/
http://moviesbyminutes.com/
https://www.zeuscomics.com/
http://divebarboombox.com/
“Antibody” by Chris Williams (shorturl.at/ctNY4)
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
On today's Men of the Apes,Do not forget to make your plans for
free comic book today tomorrow at zeusComics dot com. Who Drinking Hello,
(00:49):
and welcome to Many of the Apes, the daily podcast where we break down
every minute of the play of theeight movies one minute a time. I'm
Todd and I am doing the oldschool way of managing audio because Gurdie is
on. They're loving on some kindof treat and all I could hear was
weird like wet vacuum cleaner. Yeah, And so I actually rolled the volume
down on each of It's just sothat you didn't have to hear that during
(01:11):
the opening. But Gertie say helloto the people. He's just licking up
Kong spray from inside of a cow'shoof. That is just lovely um sentence.
Never before, No, I don'tthink it was. And you know,
things that were never uttered before.As Ben, I'm looking forward to
this minute of credits. Yea.But here we are at minute one fifteen.
(01:32):
Let's get to it so we canmove along on this Friday, Sean
one fifteen. Where do we startand where do we end? Start one
fifteen with a supervising art director JohnDexter and into with maintenance Doug Stewart.
All right, here it comes onefifteen. There is John Dexter and here
(01:52):
comes to new music. Hey storyroard artist is Michael. I thought I
need to be doing my snatches.Stop that, Hey, clean it before
you jerk. We got the gangBoss while I'm doing my snatches. Second
system of directors. We got SundayStevens. I mean there were a couple
(02:13):
of those that is just gonna shoutout for the names. Yeah, there's
a Carl Fisher on the boom.Hey, David, Hey, cable person
Rocky Rocky was my cable person.There's Peter Romano come one of my college
roommates, and Terrible Brook. Wow, Ashley Suge was the Dolly grip.
Ashley, you did a hell ofa job. Chief wanting to mission Jack
(02:37):
Jack English? Uh good lay misterWahlberg's dress or Lisa A. Doyle Hey
cutter fitter, Diana Push And there'sthe end of the minute. We we
end kind of go on our dancemix. Did anybody want to get up
in dance? Did you fill thehouse music? Some monkey rave that is
(02:57):
Abby always trying to go okay,But dat's actually kind of good. And
I'm like, no, we needto insert the uh. I can't never
mind, I can't think the moviename right now. Matrix, that Matrix
from the second one. Yeah,dun, dunn, all the apes just
gyrating. I just read something theother day, and I'm not a Quentin
(03:19):
Tarantino fan, but you know,he wrote that book about cinema and all
that, and he was talking abouthow he loved the original Matrix and he
said, I've never witnessed two filmsthat can make me hate the original.
He's like the second two or thesome of the worst films ever made it.
And I thought, why do youfeel a need to put down other
people's work? I don't like thosefilms either, But Tarantino, being as
(03:40):
busy is why does he feel theneed to put other people down like that?
All right? Well, and that'sjust you know, us talking about
a podcast, you know, tryingto break down critically talking about movies.
Is one thing for other actors tosay, hey, that actress performance and
movie was shit, is like,why would you say that? That's what
I was like, Dude, that'sthrowing some really bad car amounts. So
(04:00):
people you may work with it right, yeah, right. There are a
lot of people that worked on thatthat did good work. It's just the
stories weren't coacive and the is itWorshowski? Is that how you say?
Yeah? Um, speed Racer cameup. I know you and I saw
that in the theater. Again,I used to I used to think,
at least visually, it was interesting. It is such a oh my god,
it chaotic. It's too much forme. It was too much for
me. It was the that SpeedRacer movie was like, uh, like
(04:25):
a starburst exploded in a blender andlike, yeah, it was a lot,
Yeah it was. It was alot. It's funny because when you
watch it, you start thinking,what is it that's going on and not
working? Should it take some ofthese expository moments out and put more pizzazz
and race in thought? What Iactually thought was no, take some of
the chaos out and keep more expositive. They tried to make it so much
(04:46):
like a cartoon that it just didn'twork, because there are things that work
in a cartoon that don't work inreality. That's why, like all these
live action remakes of Disney movies,just why King doesn't work Because as a
cartoon. You can make them expressiveand stuff, but if you're trying to
make it real, then you don'tmake expressive animals. You just have an
(05:10):
animal talking. Peter Pan growing Upwas easily one of my favorite stories,
and I tried the other day towatch the new one and when that came
out on Disney. Yeah, thisis a director by the guy that made
The Green Night, which could bedivisive as far as what people think,
but it's beautifully done. It's it'sreally makes you think. And I was
so damn bored with this Peter Panthat when finally when the Magic Kakurda is
(05:30):
like, well, I guess Ijust like much like Pinocchio and everything,
I don't maybe we're getting in anin between, but I don't understand.
Is there like a real big callfor a remake of Peter Pan right now?
It's a real big call for remakingPinocchio. They're a real big call.
Well, I mean, the audiencesare younger and they're not necessarily watching
the classics, and so you needto kind of move them into the classic
(05:51):
animated films, so you need tokind of move them into modern stories.
Mardest storyteller, and that's what thehope is. The hope is to recapture
the story worries and keep those propertiesgoing. Well, I think to that
point, and I'm glad that we'vekind of dovetailed this into Planet of the
Apes. True, why do youfeel the need to remake this film at
this time? I think that thereason the original works again is because you
(06:15):
tapped into the paranoia of race relationsthat was going on at the time,
as well as nuclear holocaust. Youtapped into a couple of really hot button
issues that people were receptive to theideas and maybe open their mind to thinking
about some things. I don't thinkthat this film at that time, this
is pre nine to eleven, correct, is that when it came out too
(06:38):
Yeah, okay, so you don'thave the destruction of you know, we
are safety feels in peril. Youdon't what were we going through at that
point that you could have touched on, because this doesn't feel like you're trying
to say anything different. And Ithink to that point, when you bring
out a new Peter Pan, youcan remake that if you can say,
(06:59):
you know, what's really important inthe world right now is this is going
on and I think we need someof that. It's what Lucas did with
a new hope he knew at thattime with Watergate one, and he takes
a lot of that governmental thing,gives it to the empire. But children
need hope, and so he tellsa story that goes to the time.
I don't know what the fuck thisstory is and what it's meant to give
me. This was this was onlyabout six or seven weeks before nine to
(07:23):
eleven. Well, one one ofthe things that I found when I was
trying to do research about this waswhy didn't You can't get a straight answer
as to why there was no sequel. There's no hey, we're not doing
it because of this, but youcan read between the lines. Marky Mark
came back and said it was ascheduling thing, which is usually actors speak
(07:45):
for they don't want to do it. The film went on to gross one
hundred and eighty million dollars in NorthAmerica one hundred and eighty two and foreign
countries, with a cumulative total ofthree hundred and sixty two million on a
one hundred dollars one hundred million dollarsbudget. That's not a whole lot when
you think about it. No andabout today's Matt that would have been a
flop. Yeah, because nowadays youknow that if you're not hitting half a
(08:09):
billion real quick. Yeah, andso it's a four to one return on
investment, but you're also not takingin marketing market things like that. Then
when you start getting into the criticalanalysis. There are one hundred and fifty
three reviews collected by Rotten Tomata's fortyfive percent of the critics enjoyed it.
The top critics poll only had athirty two percent rating. By comparison,
(08:31):
Metacritic collected an average score fifty,receiving thirty four reviews. Roger Ebert praised
the ending that film, felt thefilm did not have a balanced story structure.
The movie's great looking Baker makeup isconvincing even in the extreme close ups,
and the apes sparkle with personality andpresence. The sets and locations give
us a proper sense of alien awe. Ebert continued, Tim Burton made a
(08:52):
film that's respectful to the original andrespectful in itself, but that's not enough.
Ten years from now, it'll bethe nineteen sixty eight version that people
are still rinning. Yep. Yeah. Peter travers A Rolling Stone also gave
it a mixture. You call ita letdown, worsened by the forces of
shoddy screen riding. To quote Hestonin the both films, damned them,
damned them all. I think thatit's it's no different than you know,
(09:18):
when you go into a property thatyou like, you you look for the
hope that you're going to find somethingthat I know that that first time Sean
and I saw a Phantom Menace,we got to go through work. Somebody
give us, got us a charityscreening us a few days earlier, and
I remember that we were like,hey, that was fun. And then
afterwards you went and then the problemis we had already bought tickets for when
(09:39):
it opened, and we bought ticketsfor the whole day. Yeah, we
were watching back to back to back, like five times in a row or
something like that, so I knewwhat we were getting into by the second
time. And when it got tothat scene of Qui Gone at the dinner
table snatching Jarjar's tongue, there waslots of sleepy. Oh I was it
was completely Yeah, but you knowthis film of folks, some things talking
(10:01):
apes humans, and you really getdown to what is it giving me why
am I compelled with this? AndI feel like I'm almost here making excuses
for it. I quit making excusesfor it. I think that at least
when they get to this new one, and I think it somehow ends up
(10:24):
being weirdly prescient to what we endup going through today and this you know,
kind of culture that we have.They had something to say, and
I'm hoping with the new films they'redoing, they have something to say that's
important. Let's put it this way. It's April thirtieth today. There is
a writers strike looming that will happenat the beginning of May. Do you
(10:45):
know, I think I think it'snext week. It's going to happen,
which could potentially change movies that comeout in the next two years because of
this. So it won't affect thisplant the because they've already shot. No,
no, I'm not talking about I'mjust talking about movies in general.
So what are talking And then inthe next year and a half we could
(11:07):
be seeing movies that are kind ofin the same planet of the Apes things
where they were in the middle ofproduction and then a writer strike happened,
and so who knows, maybe thismovie would have been better if they could
have worked on it more. Oh. I think with that question, if
you've not had this these issues whereit was cobble together with numerous directors before,
it's in constant redevelopment. Hell,I think that going to the writer
(11:33):
strike. One thing I've read aboutthat too is that they actually think that
that the writers actually have a littleleverage because of this media culture as it
is, that if you shut thatdown, those companies are fucked. Yeah,
so they have that on their side. But I think to your point,
you're absolutely right. You could belooking at a whole bevy of things
where together a mess of shit wherethey start trying to we already had locked
(11:56):
it and I can do this andget it done and get things in in
the project. Games Gunn has saidhe's stepping away from Superman script that he's
writing. Uh, strike happened,Yeah, he's he's not going to be
working on it. Good on him. Does anybody get anything else? Hey,
we got twelve minutes of that,so yeah, okay, that is
Friday in the book. We'll goback tomorrow. Do we have any idea
(12:18):
what in between it's going to beabout time? Okay, we've got things.
We'll come back and talk to youabout it. Then everyone have a
great game. Bye bye everybody.
On today's Men of the Apes,Do not forget to make your plans for
free comic book today tomorrow at zeusComics dot com. Who Drinking Hello,
(00:49):
and welcome to Many of the Apes, the daily podcast where we break down
every minute of the play of theeight movies one minute a time. I'm
Todd and I am doing the oldschool way of managing audio because Gurdie is
on. They're loving on some kindof treat and all I could hear was
weird like wet vacuum cleaner. Yeah, And so I actually rolled the volume
down on each of It's just sothat you didn't have to hear that during
(01:11):
the opening. But Gertie say helloto the people. He's just licking up
Kong spray from inside of a cow'shoof. That is just lovely um sentence.
Never before, No, I don'tthink it was. And you know,
things that were never uttered before.As Ben, I'm looking forward to
this minute of credits. Yea.But here we are at minute one fifteen.
(01:32):
Let's get to it so we canmove along on this Friday, Sean
one fifteen. Where do we startand where do we end? Start one
fifteen with a supervising art director JohnDexter and into with maintenance Doug Stewart.
All right, here it comes onefifteen. There is John Dexter and here
(01:52):
comes to new music. Hey storyroard artist is Michael. I thought I
need to be doing my snatches.Stop that, Hey, clean it before
you jerk. We got the gangBoss while I'm doing my snatches. Second
system of directors. We got SundayStevens. I mean there were a couple
(02:13):
of those that is just gonna shoutout for the names. Yeah, there's
a Carl Fisher on the boom.Hey, David, Hey, cable person
Rocky Rocky was my cable person.There's Peter Romano come one of my college
roommates, and Terrible Brook. Wow, Ashley Suge was the Dolly grip.
Ashley, you did a hell ofa job. Chief wanting to mission Jack
(02:37):
Jack English? Uh good lay misterWahlberg's dress or Lisa A. Doyle Hey
cutter fitter, Diana Push And there'sthe end of the minute. We we
end kind of go on our dancemix. Did anybody want to get up
in dance? Did you fill thehouse music? Some monkey rave that is
(02:57):
Abby always trying to go okay,But dat's actually kind of good. And
I'm like, no, we needto insert the uh. I can't never
mind, I can't think the moviename right now. Matrix, that Matrix
from the second one. Yeah,dun, dunn, all the apes just
gyrating. I just read something theother day, and I'm not a Quentin
(03:19):
Tarantino fan, but you know,he wrote that book about cinema and all
that, and he was talking abouthow he loved the original Matrix and he
said, I've never witnessed two filmsthat can make me hate the original.
He's like the second two or thesome of the worst films ever made it.
And I thought, why do youfeel a need to put down other
people's work? I don't like thosefilms either, But Tarantino, being as
(03:40):
busy is why does he feel theneed to put other people down like that?
All right? Well, and that'sjust you know, us talking about
a podcast, you know, tryingto break down critically talking about movies.
Is one thing for other actors tosay, hey, that actress performance and
movie was shit, is like,why would you say that? That's what
I was like, Dude, that'sthrowing some really bad car amounts. So
(04:00):
people you may work with it right, yeah, right. There are a
lot of people that worked on thatthat did good work. It's just the
stories weren't coacive and the is itWorshowski? Is that how you say?
Yeah? Um, speed Racer cameup. I know you and I saw
that in the theater. Again,I used to I used to think,
at least visually, it was interesting. It is such a oh my god,
it chaotic. It's too much forme. It was too much for
me. It was the that SpeedRacer movie was like, uh, like
(04:25):
a starburst exploded in a blender andlike, yeah, it was a lot,
Yeah it was. It was alot. It's funny because when you
watch it, you start thinking,what is it that's going on and not
working? Should it take some ofthese expository moments out and put more pizzazz
and race in thought? What Iactually thought was no, take some of
the chaos out and keep more expositive. They tried to make it so much
(04:46):
like a cartoon that it just didn'twork, because there are things that work
in a cartoon that don't work inreality. That's why, like all these
live action remakes of Disney movies,just why King doesn't work Because as a
cartoon. You can make them expressiveand stuff, but if you're trying to
make it real, then you don'tmake expressive animals. You just have an
(05:10):
animal talking. Peter Pan growing Upwas easily one of my favorite stories,
and I tried the other day towatch the new one and when that came
out on Disney. Yeah, thisis a director by the guy that made
The Green Night, which could bedivisive as far as what people think,
but it's beautifully done. It's it'sreally makes you think. And I was
so damn bored with this Peter Panthat when finally when the Magic Kakurda is
(05:30):
like, well, I guess Ijust like much like Pinocchio and everything,
I don't maybe we're getting in anin between, but I don't understand.
Is there like a real big callfor a remake of Peter Pan right now?
It's a real big call for remakingPinocchio. They're a real big call.
Well, I mean, the audiencesare younger and they're not necessarily watching
the classics, and so you needto kind of move them into the classic
(05:51):
animated films, so you need tokind of move them into modern stories.
Mardest storyteller, and that's what thehope is. The hope is to recapture
the story worries and keep those propertiesgoing. Well, I think to that
point, and I'm glad that we'vekind of dovetailed this into Planet of the
Apes. True, why do youfeel the need to remake this film at
this time? I think that thereason the original works again is because you
(06:15):
tapped into the paranoia of race relationsthat was going on at the time,
as well as nuclear holocaust. Youtapped into a couple of really hot button
issues that people were receptive to theideas and maybe open their mind to thinking
about some things. I don't thinkthat this film at that time, this
is pre nine to eleven, correct, is that when it came out too
(06:38):
Yeah, okay, so you don'thave the destruction of you know, we
are safety feels in peril. Youdon't what were we going through at that
point that you could have touched on, because this doesn't feel like you're trying
to say anything different. And Ithink to that point, when you bring
out a new Peter Pan, youcan remake that if you can say,
(06:59):
you know, what's really important inthe world right now is this is going
on and I think we need someof that. It's what Lucas did with
a new hope he knew at thattime with Watergate one, and he takes
a lot of that governmental thing,gives it to the empire. But children
need hope, and so he tellsa story that goes to the time.
I don't know what the fuck thisstory is and what it's meant to give
me. This was this was onlyabout six or seven weeks before nine to
(07:23):
eleven. Well, one one ofthe things that I found when I was
trying to do research about this waswhy didn't You can't get a straight answer
as to why there was no sequel. There's no hey, we're not doing
it because of this, but youcan read between the lines. Marky Mark
came back and said it was ascheduling thing, which is usually actors speak
(07:45):
for they don't want to do it. The film went on to gross one
hundred and eighty million dollars in NorthAmerica one hundred and eighty two and foreign
countries, with a cumulative total ofthree hundred and sixty two million on a
one hundred dollars one hundred million dollarsbudget. That's not a whole lot when
you think about it. No andabout today's Matt that would have been a
flop. Yeah, because nowadays youknow that if you're not hitting half a
(08:09):
billion real quick. Yeah, andso it's a four to one return on
investment, but you're also not takingin marketing market things like that. Then
when you start getting into the criticalanalysis. There are one hundred and fifty
three reviews collected by Rotten Tomata's fortyfive percent of the critics enjoyed it.
The top critics poll only had athirty two percent rating. By comparison,
(08:31):
Metacritic collected an average score fifty,receiving thirty four reviews. Roger Ebert praised
the ending that film, felt thefilm did not have a balanced story structure.
The movie's great looking Baker makeup isconvincing even in the extreme close ups,
and the apes sparkle with personality andpresence. The sets and locations give
us a proper sense of alien awe. Ebert continued, Tim Burton made a
(08:52):
film that's respectful to the original andrespectful in itself, but that's not enough.
Ten years from now, it'll bethe nineteen sixty eight version that people
are still rinning. Yep. Yeah. Peter travers A Rolling Stone also gave
it a mixture. You call ita letdown, worsened by the forces of
shoddy screen riding. To quote Hestonin the both films, damned them,
damned them all. I think thatit's it's no different than you know,
(09:18):
when you go into a property thatyou like, you you look for the
hope that you're going to find somethingthat I know that that first time Sean
and I saw a Phantom Menace,we got to go through work. Somebody
give us, got us a charityscreening us a few days earlier, and
I remember that we were like,hey, that was fun. And then
afterwards you went and then the problemis we had already bought tickets for when
(09:39):
it opened, and we bought ticketsfor the whole day. Yeah, we
were watching back to back to back, like five times in a row or
something like that, so I knewwhat we were getting into by the second
time. And when it got tothat scene of Qui Gone at the dinner
table snatching Jarjar's tongue, there waslots of sleepy. Oh I was it
was completely Yeah, but you knowthis film of folks, some things talking
(10:01):
apes humans, and you really getdown to what is it giving me why
am I compelled with this? AndI feel like I'm almost here making excuses
for it. I quit making excusesfor it. I think that at least
when they get to this new one, and I think it somehow ends up
(10:24):
being weirdly prescient to what we endup going through today and this you know,
kind of culture that we have.They had something to say, and
I'm hoping with the new films they'redoing, they have something to say that's
important. Let's put it this way. It's April thirtieth today. There is
a writers strike looming that will happenat the beginning of May. Do you
(10:45):
know, I think I think it'snext week. It's going to happen,
which could potentially change movies that comeout in the next two years because of
this. So it won't affect thisplant the because they've already shot. No,
no, I'm not talking about I'mjust talking about movies in general.
So what are talking And then inthe next year and a half we could
(11:07):
be seeing movies that are kind ofin the same planet of the Apes things
where they were in the middle ofproduction and then a writer strike happened,
and so who knows, maybe thismovie would have been better if they could
have worked on it more. Oh. I think with that question, if
you've not had this these issues whereit was cobble together with numerous directors before,
it's in constant redevelopment. Hell,I think that going to the writer
(11:33):
strike. One thing I've read aboutthat too is that they actually think that
that the writers actually have a littleleverage because of this media culture as it
is, that if you shut thatdown, those companies are fucked. Yeah,
so they have that on their side. But I think to your point,
you're absolutely right. You could belooking at a whole bevy of things
where together a mess of shit wherethey start trying to we already had locked
(11:56):
it and I can do this andget it done and get things in in
the project. Games Gunn has saidhe's stepping away from Superman script that he's
writing. Uh, strike happened,Yeah, he's he's not going to be
working on it. Good on him. Does anybody get anything else? Hey,
we got twelve minutes of that,so yeah, okay, that is
Friday in the book. We'll goback tomorrow. Do we have any idea
(12:18):
what in between it's going to beabout time? Okay, we've got things.
We'll come back and talk to youabout it. Then everyone have a
great game. Bye bye everybody.
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