September 4, 2025 • 63 mins
Tonight we celebrate the career of Terry Gilliam!
What happens when the animator from Monty Python decides to direct movies? You get Terry Gilliam — an American who somehow made the most British films imaginable.
Gilliam’s fingerprints are all over Monty Python’s Flying Circus — those cut-out animations, the grotesque faces, the surreal leaps between worlds. And when he moved into directing, he carried that style with him: cluttered sets, exaggerated characters, satire of authority, and a constant blur between dream and reality.
You see it evolve across three films. Time Bandits — childhood fantasy meets biting satire, a boy escaping his consumer-obsessed parents to loot history with dwarves. The Adventures of Baron Munchausen — a sprawling tale of impossible adventures, about how imagination itself becomes resistance in a world closing in. And Fear and Loathing in Las Vegas — Hunter S. Thompson’s American nightmare, filtered through Gilliam’s absurd, grotesque lens, with Johnny Depp mumbling like a Monty Python character for two straight hours.
Gilliam’s films are infamous for their production disasters — blown budgets, lawsuits, near career-enders. But that’s exactly why he matters. In an age of safe blockbusters, Gilliam shows what happens when you chase imagination at any cost. His movies are messy, personal, and unforgettable.
Terry Gilliam isn’t just a filmmaker. He’s the warning and the inspiration — proof that cinema can still be wild.
Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.
Mark Radulich and his wacky podcast on all the things:
https://linktr.ee/markkind76
also
https://www.teepublic.com/user/radulich-in-broadcasting-network
FB Messenger: Mark Radulich LCSW
Tiktok: @markradulich
twitter: @MarkRadulich
Instagram: markkind76
RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59
What happens when the animator from Monty Python decides to direct movies? You get Terry Gilliam — an American who somehow made the most British films imaginable.
Gilliam’s fingerprints are all over Monty Python’s Flying Circus — those cut-out animations, the grotesque faces, the surreal leaps between worlds. And when he moved into directing, he carried that style with him: cluttered sets, exaggerated characters, satire of authority, and a constant blur between dream and reality.
You see it evolve across three films. Time Bandits — childhood fantasy meets biting satire, a boy escaping his consumer-obsessed parents to loot history with dwarves. The Adventures of Baron Munchausen — a sprawling tale of impossible adventures, about how imagination itself becomes resistance in a world closing in. And Fear and Loathing in Las Vegas — Hunter S. Thompson’s American nightmare, filtered through Gilliam’s absurd, grotesque lens, with Johnny Depp mumbling like a Monty Python character for two straight hours.
Gilliam’s films are infamous for their production disasters — blown budgets, lawsuits, near career-enders. But that’s exactly why he matters. In an age of safe blockbusters, Gilliam shows what happens when you chase imagination at any cost. His movies are messy, personal, and unforgettable.
Terry Gilliam isn’t just a filmmaker. He’s the warning and the inspiration — proof that cinema can still be wild.
Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.
Mark Radulich and his wacky podcast on all the things:
https://linktr.ee/markkind76
also
https://www.teepublic.com/user/radulich-in-broadcasting-network
FB Messenger: Mark Radulich LCSW
Tiktok: @markradulich
twitter: @MarkRadulich
Instagram: markkind76
RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:07):
There'll be spectator called, there'll be finished to the scene,
there will be daring.
Speaker 2 (00:11):
Do and stuff like you would never see mo.
Speaker 1 (00:16):
Yeah, We're gonna be a movie staring everybody.
Speaker 2 (00:20):
And me, stare every heroes, bold, every comedy and Dana
frustaens for the rest.
Speaker 1 (00:27):
Of your happy.
Speaker 2 (00:30):
Week and watch it on the balance.
Speaker 1 (00:32):
Everybody and me'll take a world and said it con
it Here come joint.
Speaker 2 (00:40):
We're gonna start byday and we are gonna start right here.
Hello and welcome to Hello, a Ratligion Broadcasting premiere podcast
triple feature. I am your host, a man data reporter
and frankly, I'm mortified mister Mark grad Lage and joining
(01:01):
me tonight a shade Tait. How do you do, madam?
Speaker 1 (01:05):
I'm doing pretty damn good.
Speaker 2 (01:07):
How are you good? Are you recovered from our toxic avenger?
Long road to ruin.
Speaker 1 (01:14):
And not really? But we're going for this one.
Speaker 2 (01:17):
Have you gotten a chance to see the new one yet?
Or are you waiting for it to mercifully come on
povd uh?
Speaker 1 (01:24):
I don't know. It kind of depends I've not gotten
a chance to see it yet, but it kind of
depends on how much time it funds we have as
to whether or not we're gonna I'm gonna go see that.
Speaker 2 (01:41):
It's okay. I did a full review of on and
I'm not gonna go over that again. But it's not
nearly as graphic as I was promised. It's very much
in line with It's very much in line with modern filmmaking. Yeah,
it's kind of like, you know, if Marvel, if if
(02:03):
Marvel Studios decided to make a Troma film, this is
kind of what it would look like.
Speaker 1 (02:09):
Okay, you think of me a little weirder with Elijah
Wood in it.
Speaker 2 (02:14):
Yeah, he's kind of one of the better parts of it.
So let me ask you tonight. We are looking at
the career of Terry Gilliam. We're reviewing Time Bandits, The
Adventures of Baron Muntaw's and and Fear and Loathing in
Las Vegas. And you're here for a very specific reason.
What is your name, what is your quest, and what
(02:38):
is your favorite color? And then tell me what is
the reason you are here.
Speaker 1 (02:44):
My name is Say, my quest is to make as
many monsters as possible, and my favorite color is lavender.
But the reason I'm here is because Terry Gillium is
actually one of my favorite comedy writers. I absolutely love,
absolutely love all of the Monty Python stuff. I grew
(03:07):
up watching Monty Python and the Holy Grail. I grew
up watching the actual Monty Python show, and a little
later in life I found his projects. Baron Munchausen and
I absolutely love Paramu.
Speaker 2 (03:26):
I watched It's like a Little Lady.
Speaker 1 (03:30):
I watched Lady HD boy who knew about his adventures.
Speaker 2 (03:36):
Yes, I watched it, I think last night with my
son or the night before. I watched it Tuesday night
with my son. And a couple of takeaways from the movie.
You can't show Baron mont Chausen to the modern child,
Like my son is movie trained and you know, and bright.
So he got through it. But even he was like,
this fucking tried. My patient's dad, Like, there's no other
(03:58):
way a kid my age is sitting through this.
Speaker 1 (04:01):
Yeah, it's just definitely a strange movie, and it's definitely
got a much older style.
Speaker 2 (04:06):
Yes, carry Terry gilliam is a is a weird guy.
The other, uh, the other takeaway he had and we
will definitely get into this was he was like, I
could see where this movie would be nominated for all
the Physical Awards. These are his words that I'm rehabilitating.
(04:28):
But he was like, I could see set, set design,
I could see U costuming, you know, all of the
Like this movie, Barry Munchausen is definitely like a very
old Hollywood film in that it is dense and layered
and there's so much craft going on it. I don't
(04:51):
know if you could make this today, because if you tried,
it would be all CGI and it would lose all
of its charm, every last bit of it. But we
are getting ahead of ourselves. So that's what we're talking
about tonight. We are looking because you wanted to talk
about Baron Monchausen and I said, I can't just do
one thing. So we are looking at the career of
Terry Gilliam from Time Bandits to Baron Monchausen. H So
(05:16):
let's talk about Terry Gillium, the American who became the
most British of filmmakers, the animator turned director who dragged
Monty Python's surreal imagination off the sketch stage this is
a dead parrot, and into cinematic worlds that were bigger,
I have a tick, bigger, stranger and often teetering on
the edge of Collapse. Gilliam's roots in Monty Python's Flying
(05:40):
Circus are key to understanding him. He was never just
another performer. He was the visual architect, the man behind
the cutout animations, the giant feet, the grotesque faces, the
nonsensical words where kings and bureaucrats look equally ridiculous. His
style was anarchic, absurd, and deeply suspicious of authority. Those
instincts never leave him. In fact, they became the foundation
(06:04):
of his career as a director, films that merged fantasy
with satire and satire with nightmare. The three films We're
looking at tonight chart the evolution of that vision, from
childhood wonder to adult myth making to psychedelic collapse. Time
Bandits in nineteen eighty one is a children's fantasy about
a boy who joins a band of dwarfs and boys.
(06:26):
Terry Gilliam, like his midgets, plundering history, but beneath its
whimsy is a biting attack on consumerism and shallow parenting.
The Adventures of Baron Munchausen nineteen eighty eight is an
extravagant tale of impossible adventures and tall stories, a film
that nearly bankrupted its studios, but stands as a monument
(06:47):
to imagination, refusing to die and fear and loathing. In
Las Vegas nineteen ninety eight, Gillian's adaptation of Hunter s
Thompson dans Us into the neon chaos of America's failed dream,
a grotesque carnival of drugs, paranoia, and wasted idealism. What
(07:09):
ties these films together is not just their subject matter,
but Gilliam's unmistakable style. His sets are cluttered, chaotic, and
bursting with detail. His characters are grotesque, exaggerated to the
point of cartoon. His camera angle skew the world into distortion,
and always there's a tension between the power of imagination
(07:31):
and the crushing weight of reality, whether that parents glued
to their televisions, governments besieged by war, or Vegas hotel
rooms dissolving into hallucination. But Gilliam isn't just a director
of films. He's a figure. He's a figure in film culture.
He embodies the idea of the impossible, project, the quick,
theaotic filmmaker who refuses to compromise even when it destroys him.
(07:54):
From lawsuits to studio interference to balluting budgets. Gilliam's career
is as famous for its disasters as for its t
and yet that's exactly why he matters. In an age
of safe franchises in corporate control, Gilliam stands as proof
that film can still be bold, messy, personal, and unlike
anything else. So tonight, Dear Hearts, we follow Gilliam through
(08:19):
the Ministry of Silly Walks and also three of his
most defining works, from childhood dreamscape of Time Bandits, through
the mystic mythic Spectacle two Spectacle of Baron Munchausen to
the American Nightmare of Fear and Loathing in Las Vegas Tonight.
They tell the story of an artist who've never stopped
chasing imagination, even when the world, the studios, and sometimes
(08:42):
reality itself told him, no, you're crazy person. No alright,
So have you ever seen Time Bandits? Yup? She froze.
Speaker 1 (08:59):
Are you.
Speaker 2 (09:03):
Okay?
Speaker 1 (09:03):
I think you're back.
Speaker 2 (09:05):
One of us. I can hear you now, I.
Speaker 1 (09:10):
Can hear you, just frie.
Speaker 2 (09:12):
Okay, I can hear you. So my question to you was,
have you ever seen Time Bandits?
Speaker 1 (09:19):
I had not ever seen time been, but I was
I was very pleasantly surprised. I actually really like Gilliam's
younger audience films.
Speaker 2 (09:35):
I saw Time Bandits years ago when I was a kid.
I almost certainly didn't get it, and it left my brain.
And I'm fairly certain through this and this experience, I
was confusing it with Ice Pirates until I sat down
and watched it. Okay, I was also confusing the Adventures
of Baron Munchausen with the Pirates of Penzance. I may
(09:57):
be going through dementia. I'm not entirely certain.
Speaker 1 (10:01):
I mean, so Pirates depends once does have a really
similar visual style to Baron Munchausen, and I think that
was very intentional. He Terry Gilliam had a very very
classically theatrical style that he pulled into into a lot
of his films.
Speaker 2 (10:20):
Yes, for certain. I also, by the way, I didn't
talk about it because you know, propriety, But I think
I got into money Python when I was in high school,
and I think I never I didn't watch the show
until much later. So my first experience with Python is
Monty Python on the Holy Grail, which two thirds is
the funniest fucking thing I've ever seen. In one third
falls off a cliff like by the time shortly after
(10:45):
the Holy Hand Grenade, it kind of falls apart.
Speaker 1 (10:49):
It does get a little bit slower. It's I think
that's one of the first Monty Python films that they've done.
Speaker 2 (10:56):
Yeah, for sure. I've since seen The Life of Brian
and Aways Look on the Right Side of like Do
Do Do, And I've seen The Meaning of Life, you know,
because all good boys should see the meaning of life
before they graduate to hardcore pornography. I don't remember anything
(11:20):
else by Monty Python. I would see the show years later,
and I don't think I've ever watched the entirety of
the series, but I've seen like the classic sketches. I've
seen the Dead Parrots sketch, the Ministry of Silly Walks.
You know, I've seen a fair amount of it. And
one of my friends from high school was a huge,
huge fan of British comedy, and there was a fair
(11:40):
amount of British comedy available just on like terrestrial and
cable television when I was growing up. I remember on
one of the latter down the dial terrestrial channels, like
Channel nine in New York, you could get Danger Mouse
and the Benny Hill Show. Yo, I was much too
young be watching Benny Hill, but god, I thought that
(12:02):
was the funniest thing ever when I was like seven,
you know Yack and e Saxson watching him chase tall
women around hilarious. So anyway back to Time Bandits. Time
Bandits came out in nineteen eighty one. It's a British
fantasy adventure film that was co written, produced and directed
by Terry Gilliam. It stars David Rappaport, Sean Connery, John Cleeves,
(12:26):
Shelley Duvalloo, Ralph Richardson, Catherine Hellman, Ian Hulm, Michael Pallin,
Peter Vaughan and David Warner. And the film tells the
story of a young boy taken on an adventure through
time with a band of thieves who plunder treasure from
various points in history. This thing was budgeted at five million,
(12:47):
was arousing success at making forty two point four million,
So not every film he made lost money. What do
you think Time Bandits?
Speaker 1 (12:58):
I thought it was fantastic. I thought it was another
absolutastic children's movie in the same vein as Monty Python.
It was for these movies the.
Speaker 2 (13:18):
Weird on.
Speaker 1 (13:21):
You filmmaking very much catches me and catches my attention
because there's enough weird stuff going on, and it snaps
to different spots enough that that it just it clicks
with my with my mind, and I just I have
(13:42):
a theory that Terry Gilliam has never met a child
who is not neurodivergent in some way and just kind
of assumed that that is how all children act and
just made Mommy Python for kids.
Speaker 2 (13:59):
Yeah. I have almost the same take as I was
watching this, And this only works if you've seen the movie.
If I have to explain it to you, this is
gonna fall flat. But it felt like somebody dared him
to make the never Ending Story. But as a Monty
Python movie, I don't think I've.
Speaker 1 (14:18):
Seen never Ending Story.
Speaker 2 (14:20):
Fuck.
Speaker 1 (14:22):
There's a weird amount of children's movies that I have
not seen, and I've seen some of the stranger ones.
Speaker 2 (14:29):
For some reason, you've seen not sure.
Speaker 1 (14:33):
I think it might have just been what my mom
was capable of being amused by.
Speaker 2 (14:37):
You've seen Return to Oz, right.
Speaker 1 (14:43):
I don't think I've seen Return to Oz either. I
think that's the one that they did not let to
see in school.
Speaker 2 (14:55):
I don't normally regard you as one of my more
difficult podcast co hosts, but tonight you are driving me
up the wall. I'm gonna have to like sit you
down and be like, didn't Dorian go through the whole
thing with you where he was like, you have to
watch all these movies? Or was that Mick?
Speaker 1 (15:16):
I think both Dorian and Nick have done that for me,
and I am currently in the process of watching those.
Speaker 2 (15:24):
Catching up on two decades worth of movies. Okay, well,
we'll get there eventually. I watch I went, well, only
watch The never Ending Story when you're already like in
you know, when you're in a decent mood, because you're
gonna get to a point in the never Ending Story
where if you're not in a good mood, they're gonna
have to bay correct you. Okay, that movie gets rough
(15:46):
in places.
Speaker 1 (15:50):
Okay, anyway, I will definitely keep that in mind.
Speaker 2 (15:54):
Yeah, uh. Never Any story is great though, And my
point is that's there are a part of the never
Ending Story, like the framing device is the kid steals
a book and he goes into the attic of this
of this home or bookstore or whatever, and he starts
reading the book, and the book comes to life and
he is off on this adventure. That's kind of how
(16:18):
Time Bandits was for me, where we have this kid
and a very British house. What is it with filmmakers?
Because I was also thinking about a clockwork Orange where
it just feels like British parents are very disconnected from
their children.
Speaker 1 (16:39):
I think that might have been a parenting style. So
I know in the early the late eighteen hundreds up
until like nineteen thirteen or something, the generalized parenting style
was that you treat your children as though they are
small adults, and there was no concept of a childhood
(17:00):
or being involved with your children. If you had enough money,
you did not raise your kids yourself. But I think
I think that might have I think that might have
clung on a little longer in Britain than it did
in America, because I know that America starting in the
(17:26):
nineteen tenth like right after the First World War, so
nineteen thirteen, nineteen twenties, the concept of a childhood was
a very big push.
Speaker 2 (17:38):
It's funny I just reposted a TikTok review of a
book I read about twenty years ago called re Juvenile,
which was celebrating carrying childhood into adulthood, you know, like
adults who played kickball collect funkco pops. Sort of a
arrested development kind of a thing, but the implication being
(18:01):
you do develop, you just retain your childhood interest into adulthood.
Speaker 1 (18:06):
Yeah, I don't think it's necessarily an arrested development. We
find the things that make us happy when we're in childhood.
Speaker 2 (18:13):
So yeah, well, I think that's related to Time Bandits.
And now I'm thinking about Peter Pan, where somewhat of
the moral of that story is at some point you
must grow the fuck up and give up childish things,
and you know, and there's that push and pull of
why should I Because it's good that you should, That's why,
And therein lies the central conflict in Peter Pan. And
(18:38):
I think that's one of the things he's playing with
here in Time Bandits is it's almost That's why I
brought up the parenting style thing, and I'm glad you
illuminated it somewhat because it very much feels like Terry
Gilliam is taking the piss out of that idea. Like
like if you polled one hundred years worth of British
(19:00):
kids and asked them, did you did you love the
way you were parented? I would imagine the majority of
them would have said no. Given a choice between loving,
doting parents and you know, cold co worker as parent
type feelings, they had chose the former, not the latter.
And Terry Gilliam seems to be saying with Time Bandits,
kids should be allowed to be kids and should have
(19:22):
whimsy and fantasy and parents should not throw cold water
on that sort of thing. Yeah, but I also think
about the ending of it, where they you know, where
God who was wearing who was a very you know,
Dowur British Man comes out of the fucking woodwork, and
you know, and and the uh, the Time Bandits there
(19:45):
the midgets are all just like, ooh sorry, and they're
like that's fine. Clean the mess, clean the clean your
mess up, you know, very much saying like, wouldn't it
be nice if kids had childhood? But they also need
parenting and structure and gosh, there's a place in the
middle where we could all meet here, that seems to
That was what I took away from the ending of
Time Bandits.
Speaker 1 (20:10):
Yeah, and I honestly I hadn't really thought about that.
I'm not a parent. I have very very little interaction
with children on any basis At this point, I maybe
do one show every several years where there are small people,
(20:33):
and as the costumer, it really is my job to
put into effect that like late eighteen hundred style of
existing around children. It's like, you guys are actors. You're
gonna act like actors. The only thing I ask is
that you put your stuff back where it's supposed to
be at the end of the show.
Speaker 2 (20:55):
Be responsible. If kind of reminds me of my high
school drama teacher. It was like, listen this time, this
is a time for This is not amateur night in Hicksville.
Hicksville was a real place, by the way, so that
always confused at least one person. But he would say,
this is not amateur night in Hicksville. You would act
like professional performers. It was like, yes, but we're as
(21:16):
we're asshole high school students. He was like, not tonight,
You're not tonight. Your play is and the Wizard of Oz,
damn it. So some fun performance is in this. I
think for the little bit that Shelley devolves in this,
she's really she's a lot of fun, very interesting. I
(21:37):
thought set pieces, this is a very episodic movie. They
kind of move from one set piece to the next
as they go on this adventure. It is you're you're
the art person, not me, but it felt it felt
weirdly like postmodern. And I'm thinking specifically when the Wharves
(22:00):
are in the cages and they're having to do like
a circus to's so lay to get out m h
and it's all again, you know, it's kind of like
what we were talking about with the Wiz, where they're
just in like a blank black area that seems to
exist out of time.
Speaker 1 (22:20):
Yeah, and I think I think for that specific moment,
it was very much supposed to be like that, because
so they were all inside of Evil's layer, and even
evil does exist outside of time, like it's this special
little pocket that's got its own place on the map.
(22:41):
And I have a feeling that it had its own
place on the map because it was a warning, Hey,
don't go there, we don't our rules don't apply there, right,
But it very much that part of it did feel
very very the is and it also kind of reminded
(23:02):
me of h Ship Labyrinth. Yeah, I have seen that one,
but it did it did feel very much like Labyrinth,
but also it was the power Power Pot, but yeah,
(23:29):
it was. It was very postmodern and it was a
very very stark contrast to the sets that they were
using previously. The sets that they were using previously felt
very like old Hollywood epic like it. It very much
felt like they were re using the sets from like
Robin Hood and and Lawrence of Arabia.
Speaker 2 (23:53):
That's why the budget was five five million dollars. They
didn't have to build a single thing, Like what are
you you to reuse these old sets? No one's using them? Yeah,
be really funny if he actually wasn't greenlit. He just
like raised his own capital and he's like snuck onto
a lot and just started filling nobody was using and
by that and by the time he was done, they
(24:14):
couldn't stop him. They were like, oh, well, you have
a finished movie. We might as well put this out. Yeah, well,
anything else about time Bandage because I don't want to
beat this to death.
Speaker 1 (24:25):
I love Time bound its. I love the storytelling in
the visual style. It's very Terry Gilliam and it's very
an ADHD child telling me telling you about the weird
dream that they had last night.
Speaker 2 (24:40):
There's a I just saw it on TikTok recently. There's
a clip, but I think it was from animaniacs Like
this kid, you know, a little baby kid walks out
of a house and got a ball cap on and
he's telling you this fucking story and he doesn't doesn't
even breathe doesn't take a breath, and he goes through
it and he's like, okay, bye, runs away. It's kind
(25:00):
of time bandits. You know, if you've ever if you've
ever actually listened to like a kid tell a story.
One they're terrible, but you know you but you have
to listen like they're kid. They want your attention and
actually reading something about this today like a kid that
wants your attention. One of the things they'll do is
they'll they'll want to tell you a story. And it's
(25:21):
always terrible. You know this, this doesn't seem to be
any beats to it. You know, they can't seem to
keep the character straight. You know, it feels like a
one man and then exercise.
Speaker 1 (25:33):
Yeah, they're practicing. They're learning how to talk, they're learning
how to put thoughts together coherently.
Speaker 2 (25:40):
Yes, I'm teasing. My point is, but you, you, as
the adult, you have no choice but to sit there
and listen to it. It'd be very interested in this
nonsense that they're viewing. So that's kind of time bandits
for me. So I liked it. I watched it the
other a week or so ago, and were we thinking
(26:01):
at the end of it. I was like, you couldn't
make this movie today, not this way. But for its time,
I think it was a wonderful tale of weirdness and whimsy.
Speaker 1 (26:11):
Yeah, it was absolutely fantastic and very whimsical, and you
could think about it really hard, but you don't have to.
Speaker 2 (26:23):
Yeah, that's why I don't want to talk about the
very end of the movie, because I was like my
friend and I both kind of had what the fuck moments,
like what what happened here?
Speaker 1 (26:32):
That was a little bit of an odd moment. It
kind of felt like he didn't really know how to finish.
Speaker 2 (26:38):
Like Dorothy goes back to Kansas, you know, and instead
of going and you were there, Auntie and you and
you it's like, oh, Dorothy, you dumb bitch. You know
it's fine, go back to sleep now, you know. The
she fucking like suicide bombs the house, like like why
there'll may be no joy in Kansas tonight. That's how
(27:00):
we're gonna end The Wizard of Oz. That's kind of
how this ending feels like, I don't know what to do,
so we'll just we'll just.
Speaker 1 (27:07):
Blow the house up. Explosions.
Speaker 2 (27:11):
Yeah, dead parents, fucking you know what. What people don't
know is a ted time band's led to a Disney movie.
Is what happened there? Because of the dead parents? You
get it? No?
Speaker 1 (27:29):
Oh is is that the nobody has parents in Disney movies,
like they're all one or more of them is dead.
Speaker 2 (27:47):
Yes, that would be the reason, all right.
Speaker 1 (27:52):
They don't think I've seen enough Disney movies.
Speaker 2 (27:55):
You're a weird chick. Chay, it's hard to pick you down.
The Avengers of Baron Munchausen the nineteen eighty eight fantasy
adventure film co written and directed by Terry Gilliam, starring
John Neville, Eric Idol, Sarah Polly Why he likes to
work with the same people, Oliver read Uber Thurbid, Jonathan Price,
(28:18):
and Valentina Cortiss. An international co production of the UK,
US and Germany, the film is based on the tall
tales of the eighteenth century German nobleman Baron Munchausen and
his wartime exploit against the Ottoman Empire. The film, as
you can guess, was a box office bomb, roasting only
(28:40):
eight million domestically and losing millions for Columbia Pictures. Despite this,
it received positive reviews from critics and was nominated for
Best Art the Academy work for Best Art Direction, Best
Costume Design, Best Makeup, and Best Visual Effects, and it
absolutely earns all of that. Oh yeah, no question about
any of us. Yeah. On a budget of forty six
(29:03):
point six million, it made like eight million, so yikes.
It did, however, win Best Costume Design, Best Hair and
Makeup and Best Production Design at the British Academy Film Awards. Uh.
It won a couple of awards at Nasha Argento. It
was nominated for a bunch of Saturn Awards. So that
(29:26):
is Baron Munchausen. The basic premise of this is an
award touring European city in the Age of Reason is
a large Ottoman empire prepairs an invasion outside the city gates.
Baron Munchausen goes on in an adventure that will lead
(29:47):
him back there to stop the invading Ottomans. And there's
this is much like Time Bandits. This is very episodic.
They just because they kind of go from one set
piece to the next. One point, they end up in
this really weird place where Robin Williams head keeps coming off. Yeah. Yes,
(30:10):
And then they go from the moon to the sea
where the when Monstro from Pinocchio was hanging out. And
then they get back to they get back to the
city and they defeat the Ottoman Empire. And that's Baron Munchausen. So, Shay,
this is like the whole reason you're here. So I'll
kick it over to you. Tell me about this movie.
Speaker 1 (30:30):
I loved Baron Munchausen so much. I watched it when
I was already an adult. I think it was like
five or six years ago. Then I first watched Baron Munchausen.
But I absolutely loved it. I loved the nonsensical nature
of it. I absolutely loved the acting and the costumes
(30:51):
and the cinematography. This movie feels like an old like
eighteen hundred's stage play Meant for Two Children. Yeah, and
it just it absolutely tickles every every piece of that
like stagehand and costume designer part of my brain, and
(31:15):
the nonsensical storyline is is something that I very much like,
I don't necessarily need, I don't necessarily need like a
lesson or a solid like through plot. Right in a movie,
(31:38):
it does need to have some kind of movement to it,
and some things need to happen, and this is this
movie definitely hits that there is movement and some things happen,
and it's it's also it's also really kind of refreshing
(31:58):
because I a lot of the films that go in
this direction can get bogged down into the everyone is
silly trope, and this one actually doesn't because the entire
time the kid is concerned about her family, and it
(32:20):
is the.
Speaker 2 (32:20):
Best part of this movie. Like John nevill is great.
Don't have that right john Neville? H Yeah, john nevill
is great, and I think he's like perfect casting. But
that girl make is the backbone of this movie. She
has no time for his fucking around.
Speaker 1 (32:38):
Oh yeah it is, and she is fantastic and she
gets more and more frustrated every time they go off
and do some shit, and it just it's really fantastic
because she does push the she does push the plot
forward along, and she is very much she is very
(32:59):
much the reason for urgency. Like if she wasn't there,
this movie could have been like four or five different
movies before we ever got back to the ever got
back to the city.
Speaker 2 (33:11):
Well, it's funny, you know. I brought up Peter Pan before,
and the first thing I thought of was how she's
kind of the Wendy of this thing of like, look,
I don't I like fucking around as much as the
next person, but like this ship that needs to be done.
Here there's a time for play, and there's a time
for being a grown up. And and it's funny because
(33:33):
without her, Baron Munchausen is very much okay with just
bouncing from one thing to the next, and nobody else
has the wear withal, the toughness, or the frankly the
courage to challenge him. But this girl does. Yeah, you
know which I think is great that that girl is
everybody who's ever worked on a team project that you know,
(33:56):
it was like holding all the various strings together while
everybody else was, you know, picking their nose and falling
over backwards.
Speaker 1 (34:05):
Yeah.
Speaker 2 (34:12):
I got about to the part with the moon and
I'd lost track of time, and I looked at my
son and I said, this has got to be over soon, right,
And he goes and checks the time and he was like,
still another hour to go, and I I almost turned
it off. I was like, oh my god, this movie,
this movie feels I this is somewhat of a craft thing.
(34:38):
This man tells no lies. There's a pacing issue with
this movie. You know, you talked about like there's a
tendency with the movie like this for everyone to be silly,
And you're right, it doesn't get that bad. However, there
(35:00):
is no sense of urgency in the plot. The girl
kind of creates some but this were written today, it
would be Daisy Ridley and she would be nagging and
then and everyone would hate her, like if someone gets
away with it, because at the time this was sort
of a new thing. Also, it's a little girl and
not you know, a young woman, so it doesn't carry
(35:22):
a lot of the same stigma. But uh, you're right,
she's the one pushing it. But the pace of the
movie isn't pushing itself. It very much like if you
get Robin Williams. I understand the need to use Robin Williams,
but they gave him so much like that moon sequence
(35:43):
kills the fucking movie dead and it's a lot of
Robin Williams just doing his comic routine from reality. What
a concept.
Speaker 1 (35:52):
Yeah, I'm honestly, I'm I'm very okay with that. I
have no problem with movies that kind of meander around,
and this this one is it's very much like several
Monty Python sketches put together, which I will. I will
(36:14):
binge watch Monty Python any day, So I think the
pacing issues don't really hit me nearly as hard because
I'm used to binge watching like two or three hours
of Monty Python in a single sitting.
Speaker 2 (36:27):
Mm hmm.
Speaker 1 (36:30):
But it I can definitely see where it meanders and
it doesn't really have its own urgency. That's I think
that's part of why that kid really really needed to
be in there.
Speaker 2 (36:43):
I think also like if you look at the structure
of a Monty Python show and then individually it's skits.
I think the most famous one Dead Parrot. What's funny
about a dead parrot? About the Dead Parrot sketch is
like the premise itself is he's trying to return it.
He's trying to return a dead bird and the pet
and the pet shop owner doesn't want the dead bird back.
(37:06):
Doesn't want to give him his money back, so he
wants to convince him that the parrot is the parrot
is just fine. It's either sleeping or it's molting, or
it's mulling its financial data, like it's something you know.
And and the guy with the bird is like, no,
the bird's fucking dead, asshole. It's dead. And if this
(37:28):
has been America, that's exactly what he would have said,
like this fucking bird is dead, give my money or
kill you. But this is Brittany. You know, this is England,
so you know it's the repetition. It is the very
It is a very funny way of saying the same
thing eighty seven different times, which as somebody who does
that kind of sense of humor in the group uns
(37:50):
out of British television somewhat. I that's what makes it funny,
you know, him exasperatedly telling the telling the guy this
parrot just get dead, fuck off, but finding twenty different
ways to say it. This parrot is no more. He's
(38:10):
gone from beyond it's beyond this, like this on and
on on, and every time he does it it's like
a song, you know, it's like it's poetry at rhymes,
like every time he does it, it just gets funnier
and funnier because like, how many more different ways can
he say the same thing? And yeah, this movie doesn't
(38:31):
do that. It does what a movie should. It shows you,
It doesn't tell you. But showing you, showing you somebody
doing the same thing with that same rhythm is not
the same as watching somebody say the same thing twenty
different ways. So this is you have to be very
(38:52):
patient with John Neville running around with a circle with
his crotch on fire, or this movie loses you instantly.
And again you have Robin Williams and now it's Robin Williams.
You know, it's Robin Williams doing twenty minutes of the
same thing, and then it just kind of goes on
like that.
Speaker 1 (39:11):
So yeah, Williams anything, it just ends up being Robin
Williams doing about as much as he has time for doing. Williams,
You want.
Speaker 2 (39:22):
To see Robin Williams being managed? How about Aladdin? Oh okay, yeah,
obviously they gave Robin Williams a lot and in Aladdin,
that's what that that's a class examples that you have
Robin Williams, you use him, but he doesn't take over
the whole movie. They gave him certain segments and he
was allowed to riff in those segments, and then that
(39:43):
was the end of it. Then we were we were
onto storytelling, trying to think of something some other big
time Robin Williams things like the guy can act. You
know when he when he went through his drama period
where it was like he was doing either like thrillers
or dramas. So like his death just smoochy era. You know,
(40:05):
we're somewhere in there he does good Will hunting and
then this all crashes and burns with I think it's
Patch Adams, Like you get to see where he can
obviously control himself, but when you don't let him control
himself and you just like go crazy. Rob Williams, all right,
he'll give you crazy, but you can't let it take
(40:25):
over the whole movie. In this scene with Rob Williams here,
that's exactly what happens. The scene the scene on when
they finally get back to the city and they're on
the beach with the Ottomans, and uh, it goes through
the whole scenario. I think they just don't have it anymore,
and you know, and Barahmont Johnson just fucking gives up
(40:47):
another past. Their editing would have been nice, a little
too long to get there. My thought anything else about
barahmunt Chausen.
Speaker 1 (41:01):
Not really. Honestly, it was an absolutely beautiful movie. Even
even if you have no interest in the plot line.
I think it's definitely something you should watch. It's an
absolute masterclass and how to make something look like a
Broadway show on film.
Speaker 2 (41:18):
If I was gonna say, if you're if you're teaching,
you know, in a film school, and you want to
show somebody, you want to show the class something where
the plot and the performances really don't matter. You're showing
it to them. For people who want to eventually become
set designers, this is the movie to show them. You
(41:40):
still having a hard time hearing me, Yeah.
Speaker 1 (41:45):
I'm having a little bit of a hard time hearing you.
I think it's I think it's the internet here.
Speaker 2 (41:49):
I would assume, so, all right, well before it craps
out entirely. If you're loathing in Las Vegas is a
nineteen ninety eight American black comedy adventure film based on
Hunter S. Thompson's novel of the same name. It was
co written and director by Terry Gilliaman starts Johnny deppan
Benicio Del Toro as Rule Dou Conductor Gonzo, respectively. The
film details of duo's journey through Las Vegas as their
(42:10):
initial journalistic contentions devolve into an exploration of the cities
under the influence of psychoactive substances. It was released May twelve,
nineteen ninety eight, by Universal. It received polarizing reviews from
critics and was a financial failure, but over the years
it's been regarded as a cult classic. Yeah, this thing made.
(42:31):
This thing budgeted at eighteen point five million, it made
thirteen point seven. It was nominated for a variety of awards.
Terry gilliam was nominated for a Palm d'Or and Cans.
Johnny Depp won Best Foreign Actor from the Russian Killed
of Film Critics. It was also nominated for a Stinker's
(42:53):
Band Movie Awards. So that's fantastic. So the basic premise
of this movie is is Johnny Depp and Benicio Del
Toro are driving to Las Vegas and they are fucked
up on all kinds of drugs, and they get to
Las Vegas and they are fucked up on all kinds
of drugs, and at some point Johnny Depp stays in
(43:18):
Las Vegas, but Pinicio del Toro goes home and they
are fucked up on all kinds of drugs, and eventually
Panicio tel Toro comes back and meets up with Johnny
Depp and they are fucked up on all kinds of
drugs and then the movie ends. Yeah, Fear and Loathing
in Las Vegas. I'll start It's not that I don't
(43:42):
enjoy a good drug movie. Like one of the very
first on trials we did, especially during the video era,
was I made Sean watch Spun, and I like Spun
because it's about meth heads and it's about what meth
heads do. But like a different movie, same era clerks.
(44:07):
Kevin Smith wanted to make a movie about what it
was like to run a convenience store, to do to
be a shiftless lay about in your twenties and going
nowhere nothing jobs. What is this like for them? But
it was his commentary on the suburbs retail, you know,
the bourgeoisie, the blaise MOI, all of it. Just it's
(44:28):
Kevin Smith kind of waxing philosophical about the life he
had lived up to that point, but Clerks has a
plot to it to a degree. Randall's not supposed to
be there that day.
Speaker 1 (44:43):
I think it's Randall, whichever one it is, Dante was
the one that was supposed to be.
Speaker 2 (44:47):
There, right, Dante's not supposed to be there that day,
and because he is there, various things happen. They get
caught up in all kinds of misadventures, and eventually this
leads to sexualists as all things do Clerks, everybody now Spun.
(45:08):
This is about meth heads. This is what met meth
heads do. Follows a very similar thing. We get to
see meth heads in their natural environment. We watch them
do meth, but things happen because they are doing meth.
These things might not have happened had they not been
doing meth, but they do happen, and these meth heads
have to deal with it. Spun and I'm watching Fear
(45:31):
and Loathing in Las Vegas and they are fucked up
on drugs. The entirety of this movie and all that
seems to be happening, is that Hunter S. Thompson is
not doing a very good job of his job, and
Benizio del Toro as his handler is not doing a
very good job of handling him. Why say it with
(45:53):
me now? Because he's fucked up on drugs and I
can only take that facact long mm hmm. I think
Johnny Depp gives a very Johnny Depp performance.
Speaker 1 (46:07):
He does. I saw a lot of a lot of
the other performances that he use.
Speaker 2 (46:13):
Uh this, this feels like earlier ring work for his
What he's gonna come up with for Jack Sparrow.
Speaker 1 (46:19):
Yeah, it feels like a combination of Jack Sparrow and
is Willy Wonka.
Speaker 2 (46:24):
God, I fucking hate it's Willy Wonka. Mhm. Every time
one of you knits tells me how great Tim Burton is,
I look at that movie and go, no, m.
Speaker 1 (46:37):
That was definitely not. I really liked the video game, really,
the Factory Chocolate Factory video game for your game Cub
was a lot of fun.
Speaker 2 (46:48):
I believe you. I was. When I was preparing the
notes for tonight's show, I was going going through some
things with chat Ept Fancy and I said, you know
how like it's a very British style comedy thing to mumble,
and chat Ept said, yes, it is a very British
(47:09):
thing kind of mumble to yourself and you know, it's
kind of having an inner monologue, it's also an outer monologue.
And I was like, okay, so I'm not just imagining that. No,
you're not imagining that. I said, Okay, wonderful, because that's
what Johnny Depp's character is doing. This entirety of this
movie is a is a British inner monologue outer monologue. Yeah,
(47:34):
he just mumbles to the whole fucking thing. And like
normally Bincio del Toro is the one who's completely unintelligible,
but here, like I could understand when he wasn't screaming
like an animal, I could hear what he was saying
the whole time. Johnny Depp is, you know, is paranoid
and talking to himself and mumbling and hiding behind a bar,
and I'm like two hours of this.
Speaker 1 (47:55):
Ah.
Speaker 2 (47:56):
Yeah, again, it's like this. When Gore Verbinski brought him
in to do Jack Sparrow, I almost I almost have
to assume his direction was, you know, your Hunter s
Thompson character from Fear and Loathing in Las Vegas, do that,
but you're also Keith Richards.
Speaker 1 (48:17):
Yeah, yeah, that that pretty much hits it right on
the head.
Speaker 2 (48:25):
So what did you think of Fear and Loathing in
Las Vegas?
Speaker 1 (48:29):
Uh? I guess it might have been a movie. I don't.
I don't really like drug movies, so one I don't.
I don't know how they go. Most of the time,
ninety percent of the time they will either fall into
one of two categories, which is the full shade doctrine.
It's beautiful, it's important. People need to know that these
(48:50):
are the effects effects effects of drugs and all of
that shit. But I fucking hated it, or it's so dumb,
might not even be a movie.
Speaker 2 (49:03):
I had never up to this point, I this is
the one I hadn't seen. I'd never seen Fear and
Loathing in Las Vegas. It comes up on a lot
of people's lists, so it was like a film snob.
I felt like I because you know, we didn't do Brazil.
We could have done Brazil. That's Terry gillia movie, that
one I think he actually won awards for, and one
I haven't seen yet. So it's like all my list
(49:25):
of things. Yeah, it's all my list of things to see.
I know everyone tells me I should see it as
a film snob, but I chose to do Fear and
Loathing and Las Vegas instead one because I thought I
would like it, but also because so many people. It's
kind of like like Swingers or Lockstock and Two Smoking Barrels.
It's one of those movies that I feel like everyone's
(49:45):
seen except me, and they just think it's the best
thing ever. It's not quite people's reaction to Fight Club,
but you know, it's still one of those where I like,
if you if you're at a party when people used
to have those, and you're socializing with other people in
REALI life, which may sound strange gen z people out there,
but this is the thing that used to happen amongst
(50:06):
mortals is we would we would find a domicile, some
sort of institution, a building, perhaps a home even, and
we would bring food and drink and make merry. And
while we were there, before the fornicating would begin, we
would talk to each other like humans. And if you
found her, you find a group of people. See I
(50:28):
can get away with this because I am enunciating and
not mumbling. See there's the difference. We talk to each other.
We would say I am a film person. Another person
would turn around, normally a guy, and he was I
am also a film person, and then he would stand
twelve paces and they would draw, and by draw, I
would say, have you seen as we tricked, you know,
(50:51):
try to trip him up? Well, have you seen Reservoir Dogs? Ah?
Have you seen Donnie Darko? Oh? Oh, well, if I
know there's going to be that kind of body, it
stuck my dick in the mashed potatoes? Have you seen
Requiem for a Dream? And this goes on. So one
of the things that people would say is have you
(51:14):
seen Fear and Loathing in Las Vegas? And it's either
that or The Big Lebowski, And I've seen part.
Speaker 1 (51:21):
I feel like Fear and Loathing in Las Vegas. I
feel like it's one of those movies that is vague
enough that the people who want to seem smart will
tell people that they love it and that it's got
such a deep meaning, as deep as as film dudes
(51:43):
think it is. I think it's literally about two dudes
that went on a drug bender.
Speaker 2 (51:46):
Well, that's the thing. It is, like people really do
conflate meaning for drug for drug addult and and some
of it's because sometimes the twain shall meet, Like if
you've ever talked to somebody who's been on like a
mess trip. You know, it doesn't like Payote or some shit. No,
they've gone on a vision quest. Like people will swear
(52:08):
by those, but look, not every time you you ingest substances,
are you going on Homer's fucking trip out? Like not
not every drug addult fiasco is a vision quest.
Speaker 1 (52:21):
Aren't a lot of those vision quests like the Payote
and the Mescaline aren't a lot of those. Basically, you
are guided through this very specific experience.
Speaker 2 (52:35):
It's been a very loomdr Yeah. Yeah, it's got in
meditation just with drugs. But if you do you know,
but if you're at Antille's house and you happen to
be doing Payote, it's not going to be the same experience.
I don't love Fear and Loathing in Las Vegas. It
(52:56):
was kind of one of those where like I wanted
to do it for the podcast, then I did it,
and I go like, Shay, that's important. So but outside
of that, like, here's the thing, I'm wondering how much
of it is also the material because I actually don't
think Terry Gilliam made a bad movie. But if the
plot of your book is two dudes get fucked up
(53:20):
and go to Vegas and fuck up around Vegas unless
it's like the Hangover, what you know, what else is
he supposed to do with this?
Speaker 1 (53:29):
Yeah, it's it. I just I don't know. I don't
I don't really know what he would do with that. Also,
I'm not sure Terry Gilliam has done a drug like
his his. This is basically how I would direct a
(53:54):
drug movie, primarily because I don't know what drugs do
to you, because I've never done anything harder than a cigar.
Speaker 2 (54:07):
Really, you never swow pot.
Speaker 1 (54:12):
I had a puff of pot once and I fell asleep.
Speaker 2 (54:18):
That sounds about right as there is. And they called
it puff the Magic Dragon. Oh I'm so tired. So anyway,
I'll give you the last word here on fear and
Loathing in Las Vegas. Like I said, I think Johnny
Depp's doing his level best. I think Venic Del is
doing his level best. Not to grace it was a
(54:41):
lot not Elijah would. This is who the hell am
I thinking of? The kid played Spider Man first, Toby McGuire,
That's the one. Toby McGuire is the hittiger. Actually cracked
me up.
Speaker 1 (54:53):
That was pretty funny. It just just seeing him there
and seeing him that fucking confused.
Speaker 2 (55:01):
So any other thing else about Fear and Loathing in
Las Vegas? Otherwise we'll call this to night and you
have to go do podcasts from a better place with
the internet.
Speaker 1 (55:08):
Yeah, honestly, I think the thing that I liked most
about Fear and Loathing in Las Vegas was seeing Benizio
del tour of shirtless most of the time.
Speaker 2 (55:21):
That's what does it for you? Yeah, it's fair all
right home, that's the case. Then, unless you've got anything
else about Turrigem, I do want to end with this.
So these are the three movies that I picked when
you picked, because it was Baron Munchausen, but he's done.
The Holy Grail, Jabberwaukee, Brazil, The Fisher King, Twelve Monkeys,
(55:43):
The Brothers Grim tideland The Imagination of Doctor parnassusis the
Zero Theorem. And then finally The Man Who Killed Don Quixote,
which apparently is quite legendary for its behind the scenes
Shenatigan he's won. He won a Academy Award for The
(56:06):
Fisher King, he's won batht Award for Brazil. And the
Adventures of Baron Munchausen. He won Golden Globes for The
Fisher King and Twelve Monkeys. So I mean I could
have done either one of those Brazil, The Fisher King
or Twelve Monkeys. But I think these three in terms
(56:30):
of like, you know, no, you weird style and something
that's you know, if you're going to point someone to
a Terry Gilliam film and you can only point him
to one one of these three would probably you know,
even more so time Bandits are Baron Munchausen.
Speaker 1 (56:43):
Yeah, definitely.
Speaker 2 (56:45):
Yeah. Give me the final word here on these three movies,
Terry Gilliam, The Cowboys, Eagles Game, whatever you want to
you want to comment on.
Speaker 1 (56:55):
I love Terry Gilliam's children's movies. They hit the eighty
eight HD part of my brain and I just I
absolutely adore them. The Fear and Loathing just kind of
was not my thing. I'm sure somebody loved it. I
do not.
Speaker 2 (57:13):
Okay, uh, well, now you get a break. You're like
two shows too this close together. I can't do it.
Well good because you won't be back for a while.
Like the next time you're back.
Speaker 1 (57:29):
Is October and we do another Devil.
Speaker 2 (57:35):
Yes, that's right, I have you two weeks in a row.
You're coming on for it because I really wanted to
talk about these, and like, you're supposed to be my
musicals person. So you and Mick doing Lame as a
Rob from twenty twelve, The Phantom of the Opera two
thousand and four, and Shweeney Todd the Demon Bobber of
Fleet Street. So that'll be fun. And then the following
(57:57):
week because you all made me you this, this is this,
This was everyone ganged up on me. I'm finally doing
a director focus on Tim Burton, Cinema's greatest monster. So
I'm finally gonna watch Edward Scissorhands because I've never seen it.
Mars Attacks and Dark Shadows, yeah I've Yeah, I know
(58:18):
everybody when it came out just thought that you know that?
And what's eating Gilbert Grape? That's all I ever fucking
heard about. But I have never seen Edward scissor Hands.
I did not give did not give a shit back then,
and I still to be.
Speaker 1 (58:31):
Honest, if I'd have known that it was a romance,
I probably would not have given a shit either. I actually,
the first time I saw it, I was very disappointed
that it was not a horror movie because it looked
scary on.
Speaker 2 (58:45):
The on like box art, isn't it basically syrah No,
but he's got instead of a large nose, he's got
scissor hands.
Speaker 1 (58:55):
Uh, I think so it's it's very similar.
Speaker 2 (58:59):
Okay, well that's what we'll be talking about the end
of October. In the meantime, here's what we did this week.
On Sunday, Jesse and I reviewed Paris Has Fallen. Monday,
Robert and I reviewed the new Toxic Avenger. Wednesday, Alexis
reviewed the new Twisted Metal, and then next few days
(59:21):
and taking a break this Sunday, my second album is
coming out. Just so everyone knows I'm into doing AI
music now, and I'm doing it under the banner of
a band of music experts and aficionados that are also chefs.
So the first one was Frodyavlo Recipes for the Damned
(59:46):
because for some odd reason they decided, you know, what's
better than attacking the church food puns that attacked the church.
So there's that, and then the second album one, you know,
I felt the need to talk about the holidays. So
this next album is called Holidays Are Hell and it
has uh you know, we started Halloween and we work
(01:00:08):
our way all the way to think passover. So it's
it's good stuff. I actually think it's better than the
first one. So I'm hoping everyone will check it out.
That's Freddyavlo. Holidays are Hell. It'll be available so on
Spotify this Sunday. Also this Sunday, myself and Jesse will
be doing a triple feature for a Predator Killer of Killers,
(01:00:30):
The Witcher, Sirens of the Deep, and Love Me. Get this, Shay,
I know you don't want to do three in a row,
but hang on. What if I were to tell you
that Kristen Stewart plays a booie it falls in love
with the satellite.
Speaker 1 (01:00:48):
Uhh, I'm gonna have to watch that because it sounds
insane right. Also, I get really attached to weird characters.
Speaker 2 (01:01:01):
Love Me came out I think last year, and for
like the movie reviewers that I was following on podcasts
at the time, this was all they would talk about.
This was the most bizarre thing they'd ever seen. So
I'm finally getting to talk about it. And because I
am I like the torture Jesse, I'm making him review
it with me. So there's that, and then Monday we've
(01:01:26):
got another Triple Feature because I've overloaded myself. We'll be
doing Queen of the Ring F one in magazine Dreams.
A week from tonight, myself and Jesse will be reviewing Vinyl,
the one and only season of Vinyl, so looking forward
(01:01:49):
to that. Shay tell us where you piss from.
Speaker 1 (01:01:52):
I am Shay Tate of Tata Effects.
Speaker 2 (01:01:54):
I do.
Speaker 1 (01:01:56):
A do special effects, mons, costumes, props, make up, set design,
pretty much anything. If it needs to be built, I
can build it. Whether that is functioning or not will
be determined by how much money you have.
Speaker 2 (01:02:15):
I would like to pay you two shillings at a
hate patty that you will get it poorly working.
Speaker 1 (01:02:18):
Costume absolutely and you can find me at Dat Effects
on pretty much just Facebook.
Speaker 2 (01:02:28):
All right, folks, thanks for joining us here at Triple Feature.
Thanks sche for coming on. Find better Internet. I'm sleepy, Joe,
be well, be safe and behave uck
There'll be spectator called, there'll be finished to the scene,
there will be daring.
Speaker 2 (00:11):
Do and stuff like you would never see mo.
Speaker 1 (00:16):
Yeah, We're gonna be a movie staring everybody.
Speaker 2 (00:20):
And me, stare every heroes, bold, every comedy and Dana
frustaens for the rest.
Speaker 1 (00:27):
Of your happy.
Speaker 2 (00:30):
Week and watch it on the balance.
Speaker 1 (00:32):
Everybody and me'll take a world and said it con
it Here come joint.
Speaker 2 (00:40):
We're gonna start byday and we are gonna start right here.
Hello and welcome to Hello, a Ratligion Broadcasting premiere podcast
triple feature. I am your host, a man data reporter
and frankly, I'm mortified mister Mark grad Lage and joining
(01:01):
me tonight a shade Tait. How do you do, madam?
Speaker 1 (01:05):
I'm doing pretty damn good.
Speaker 2 (01:07):
How are you good? Are you recovered from our toxic avenger?
Long road to ruin.
Speaker 1 (01:14):
And not really? But we're going for this one.
Speaker 2 (01:17):
Have you gotten a chance to see the new one yet?
Or are you waiting for it to mercifully come on
povd uh?
Speaker 1 (01:24):
I don't know. It kind of depends I've not gotten
a chance to see it yet, but it kind of
depends on how much time it funds we have as
to whether or not we're gonna I'm gonna go see that.
Speaker 2 (01:41):
It's okay. I did a full review of on and
I'm not gonna go over that again. But it's not
nearly as graphic as I was promised. It's very much
in line with It's very much in line with modern filmmaking. Yeah,
it's kind of like, you know, if Marvel, if if
(02:03):
Marvel Studios decided to make a Troma film, this is
kind of what it would look like.
Speaker 1 (02:09):
Okay, you think of me a little weirder with Elijah
Wood in it.
Speaker 2 (02:14):
Yeah, he's kind of one of the better parts of it.
So let me ask you tonight. We are looking at
the career of Terry Gilliam. We're reviewing Time Bandits, The
Adventures of Baron Muntaw's and and Fear and Loathing in
Las Vegas. And you're here for a very specific reason.
What is your name, what is your quest, and what
(02:38):
is your favorite color? And then tell me what is
the reason you are here.
Speaker 1 (02:44):
My name is Say, my quest is to make as
many monsters as possible, and my favorite color is lavender.
But the reason I'm here is because Terry Gillium is
actually one of my favorite comedy writers. I absolutely love,
absolutely love all of the Monty Python stuff. I grew
(03:07):
up watching Monty Python and the Holy Grail. I grew
up watching the actual Monty Python show, and a little
later in life I found his projects. Baron Munchausen and
I absolutely love Paramu.
Speaker 2 (03:26):
I watched It's like a Little Lady.
Speaker 1 (03:30):
I watched Lady HD boy who knew about his adventures.
Speaker 2 (03:36):
Yes, I watched it, I think last night with my
son or the night before. I watched it Tuesday night
with my son. And a couple of takeaways from the movie.
You can't show Baron mont Chausen to the modern child,
Like my son is movie trained and you know, and bright.
So he got through it. But even he was like,
this fucking tried. My patient's dad, Like, there's no other
(03:58):
way a kid my age is sitting through this.
Speaker 1 (04:01):
Yeah, it's just definitely a strange movie, and it's definitely
got a much older style.
Speaker 2 (04:06):
Yes, carry Terry gilliam is a is a weird guy.
The other, uh, the other takeaway he had and we
will definitely get into this was he was like, I
could see where this movie would be nominated for all
the Physical Awards. These are his words that I'm rehabilitating.
(04:28):
But he was like, I could see set, set design,
I could see U costuming, you know, all of the
Like this movie, Barry Munchausen is definitely like a very
old Hollywood film in that it is dense and layered
and there's so much craft going on it. I don't
(04:51):
know if you could make this today, because if you tried,
it would be all CGI and it would lose all
of its charm, every last bit of it. But we
are getting ahead of ourselves. So that's what we're talking
about tonight. We are looking because you wanted to talk
about Baron Monchausen and I said, I can't just do
one thing. So we are looking at the career of
Terry Gilliam from Time Bandits to Baron Monchausen. H So
(05:16):
let's talk about Terry Gillium, the American who became the
most British of filmmakers, the animator turned director who dragged
Monty Python's surreal imagination off the sketch stage this is
a dead parrot, and into cinematic worlds that were bigger,
I have a tick, bigger, stranger and often teetering on
the edge of Collapse. Gilliam's roots in Monty Python's Flying
(05:40):
Circus are key to understanding him. He was never just
another performer. He was the visual architect, the man behind
the cutout animations, the giant feet, the grotesque faces, the
nonsensical words where kings and bureaucrats look equally ridiculous. His
style was anarchic, absurd, and deeply suspicious of authority. Those
instincts never leave him. In fact, they became the foundation
(06:04):
of his career as a director, films that merged fantasy
with satire and satire with nightmare. The three films We're
looking at tonight chart the evolution of that vision, from
childhood wonder to adult myth making to psychedelic collapse. Time
Bandits in nineteen eighty one is a children's fantasy about
a boy who joins a band of dwarfs and boys.
(06:26):
Terry Gilliam, like his midgets, plundering history, but beneath its
whimsy is a biting attack on consumerism and shallow parenting.
The Adventures of Baron Munchausen nineteen eighty eight is an
extravagant tale of impossible adventures and tall stories, a film
that nearly bankrupted its studios, but stands as a monument
(06:47):
to imagination, refusing to die and fear and loathing. In
Las Vegas nineteen ninety eight, Gillian's adaptation of Hunter s
Thompson dans Us into the neon chaos of America's failed dream,
a grotesque carnival of drugs, paranoia, and wasted idealism. What
(07:09):
ties these films together is not just their subject matter,
but Gilliam's unmistakable style. His sets are cluttered, chaotic, and
bursting with detail. His characters are grotesque, exaggerated to the
point of cartoon. His camera angle skew the world into distortion,
and always there's a tension between the power of imagination
(07:31):
and the crushing weight of reality, whether that parents glued
to their televisions, governments besieged by war, or Vegas hotel
rooms dissolving into hallucination. But Gilliam isn't just a director
of films. He's a figure. He's a figure in film culture.
He embodies the idea of the impossible, project, the quick,
theaotic filmmaker who refuses to compromise even when it destroys him.
(07:54):
From lawsuits to studio interference to balluting budgets. Gilliam's career
is as famous for its disasters as for its t
and yet that's exactly why he matters. In an age
of safe franchises in corporate control, Gilliam stands as proof
that film can still be bold, messy, personal, and unlike
anything else. So tonight, Dear Hearts, we follow Gilliam through
(08:19):
the Ministry of Silly Walks and also three of his
most defining works, from childhood dreamscape of Time Bandits, through
the mystic mythic Spectacle two Spectacle of Baron Munchausen to
the American Nightmare of Fear and Loathing in Las Vegas Tonight.
They tell the story of an artist who've never stopped
chasing imagination, even when the world, the studios, and sometimes
(08:42):
reality itself told him, no, you're crazy person. No alright,
So have you ever seen Time Bandits? Yup? She froze.
Speaker 1 (08:59):
Are you.
Speaker 2 (09:03):
Okay?
Speaker 1 (09:03):
I think you're back.
Speaker 2 (09:05):
One of us. I can hear you now, I.
Speaker 1 (09:10):
Can hear you, just frie.
Speaker 2 (09:12):
Okay, I can hear you. So my question to you was,
have you ever seen Time Bandits?
Speaker 1 (09:19):
I had not ever seen time been, but I was
I was very pleasantly surprised. I actually really like Gilliam's
younger audience films.
Speaker 2 (09:35):
I saw Time Bandits years ago when I was a kid.
I almost certainly didn't get it, and it left my brain.
And I'm fairly certain through this and this experience, I
was confusing it with Ice Pirates until I sat down
and watched it. Okay, I was also confusing the Adventures
of Baron Munchausen with the Pirates of Penzance. I may
(09:57):
be going through dementia. I'm not entirely certain.
Speaker 1 (10:01):
I mean, so Pirates depends once does have a really
similar visual style to Baron Munchausen, and I think that
was very intentional. He Terry Gilliam had a very very
classically theatrical style that he pulled into into a lot
of his films.
Speaker 2 (10:20):
Yes, for certain. I also, by the way, I didn't
talk about it because you know, propriety, But I think
I got into money Python when I was in high school,
and I think I never I didn't watch the show
until much later. So my first experience with Python is
Monty Python on the Holy Grail, which two thirds is
the funniest fucking thing I've ever seen. In one third
falls off a cliff like by the time shortly after
(10:45):
the Holy Hand Grenade, it kind of falls apart.
Speaker 1 (10:49):
It does get a little bit slower. It's I think
that's one of the first Monty Python films that they've done.
Speaker 2 (10:56):
Yeah, for sure. I've since seen The Life of Brian
and Aways Look on the Right Side of like Do
Do Do, And I've seen The Meaning of Life, you know,
because all good boys should see the meaning of life
before they graduate to hardcore pornography. I don't remember anything
(11:20):
else by Monty Python. I would see the show years later,
and I don't think I've ever watched the entirety of
the series, but I've seen like the classic sketches. I've
seen the Dead Parrots sketch, the Ministry of Silly Walks.
You know, I've seen a fair amount of it. And
one of my friends from high school was a huge,
huge fan of British comedy, and there was a fair
(11:40):
amount of British comedy available just on like terrestrial and
cable television when I was growing up. I remember on
one of the latter down the dial terrestrial channels, like
Channel nine in New York, you could get Danger Mouse
and the Benny Hill Show. Yo, I was much too
young be watching Benny Hill, but god, I thought that
(12:02):
was the funniest thing ever when I was like seven,
you know Yack and e Saxson watching him chase tall
women around hilarious. So anyway back to Time Bandits. Time
Bandits came out in nineteen eighty one. It's a British
fantasy adventure film that was co written, produced and directed
by Terry Gilliam. It stars David Rappaport, Sean Connery, John Cleeves,
(12:26):
Shelley Duvalloo, Ralph Richardson, Catherine Hellman, Ian Hulm, Michael Pallin,
Peter Vaughan and David Warner. And the film tells the
story of a young boy taken on an adventure through
time with a band of thieves who plunder treasure from
various points in history. This thing was budgeted at five million,
(12:47):
was arousing success at making forty two point four million,
So not every film he made lost money. What do
you think Time Bandits?
Speaker 1 (12:58):
I thought it was fantastic. I thought it was another
absolutastic children's movie in the same vein as Monty Python.
It was for these movies the.
Speaker 2 (13:18):
Weird on.
Speaker 1 (13:21):
You filmmaking very much catches me and catches my attention
because there's enough weird stuff going on, and it snaps
to different spots enough that that it just it clicks
with my with my mind, and I just I have
(13:42):
a theory that Terry Gilliam has never met a child
who is not neurodivergent in some way and just kind
of assumed that that is how all children act and
just made Mommy Python for kids.
Speaker 2 (13:59):
Yeah. I have almost the same take as I was
watching this, And this only works if you've seen the movie.
If I have to explain it to you, this is
gonna fall flat. But it felt like somebody dared him
to make the never Ending Story. But as a Monty
Python movie, I don't think I've.
Speaker 1 (14:18):
Seen never Ending Story.
Speaker 2 (14:20):
Fuck.
Speaker 1 (14:22):
There's a weird amount of children's movies that I have
not seen, and I've seen some of the stranger ones.
Speaker 2 (14:29):
For some reason, you've seen not sure.
Speaker 1 (14:33):
I think it might have just been what my mom
was capable of being amused by.
Speaker 2 (14:37):
You've seen Return to Oz, right.
Speaker 1 (14:43):
I don't think I've seen Return to Oz either. I
think that's the one that they did not let to
see in school.
Speaker 2 (14:55):
I don't normally regard you as one of my more
difficult podcast co hosts, but tonight you are driving me
up the wall. I'm gonna have to like sit you
down and be like, didn't Dorian go through the whole
thing with you where he was like, you have to
watch all these movies? Or was that Mick?
Speaker 1 (15:16):
I think both Dorian and Nick have done that for me,
and I am currently in the process of watching those.
Speaker 2 (15:24):
Catching up on two decades worth of movies. Okay, well,
we'll get there eventually. I watch I went, well, only
watch The never Ending Story when you're already like in
you know, when you're in a decent mood, because you're
gonna get to a point in the never Ending Story
where if you're not in a good mood, they're gonna
have to bay correct you. Okay, that movie gets rough
(15:46):
in places.
Speaker 1 (15:50):
Okay, anyway, I will definitely keep that in mind.
Speaker 2 (15:54):
Yeah, uh. Never Any story is great though, And my
point is that's there are a part of the never
Ending Story, like the framing device is the kid steals
a book and he goes into the attic of this
of this home or bookstore or whatever, and he starts
reading the book, and the book comes to life and
he is off on this adventure. That's kind of how
(16:18):
Time Bandits was for me, where we have this kid
and a very British house. What is it with filmmakers?
Because I was also thinking about a clockwork Orange where
it just feels like British parents are very disconnected from
their children.
Speaker 1 (16:39):
I think that might have been a parenting style. So
I know in the early the late eighteen hundreds up
until like nineteen thirteen or something, the generalized parenting style
was that you treat your children as though they are
small adults, and there was no concept of a childhood
(17:00):
or being involved with your children. If you had enough money,
you did not raise your kids yourself. But I think
I think that might have I think that might have
clung on a little longer in Britain than it did
in America, because I know that America starting in the
(17:26):
nineteen tenth like right after the First World War, so
nineteen thirteen, nineteen twenties, the concept of a childhood was
a very big push.
Speaker 2 (17:38):
It's funny I just reposted a TikTok review of a
book I read about twenty years ago called re Juvenile,
which was celebrating carrying childhood into adulthood, you know, like
adults who played kickball collect funkco pops. Sort of a
arrested development kind of a thing, but the implication being
(18:01):
you do develop, you just retain your childhood interest into adulthood.
Speaker 1 (18:06):
Yeah, I don't think it's necessarily an arrested development. We
find the things that make us happy when we're in childhood.
Speaker 2 (18:13):
So yeah, well, I think that's related to Time Bandits.
And now I'm thinking about Peter Pan, where somewhat of
the moral of that story is at some point you
must grow the fuck up and give up childish things,
and you know, and there's that push and pull of
why should I Because it's good that you should, That's why,
And therein lies the central conflict in Peter Pan. And
(18:38):
I think that's one of the things he's playing with
here in Time Bandits is it's almost That's why I
brought up the parenting style thing, and I'm glad you
illuminated it somewhat because it very much feels like Terry
Gilliam is taking the piss out of that idea. Like
like if you polled one hundred years worth of British
(19:00):
kids and asked them, did you did you love the
way you were parented? I would imagine the majority of
them would have said no. Given a choice between loving,
doting parents and you know, cold co worker as parent
type feelings, they had chose the former, not the latter.
And Terry Gilliam seems to be saying with Time Bandits,
kids should be allowed to be kids and should have
(19:22):
whimsy and fantasy and parents should not throw cold water
on that sort of thing. Yeah, but I also think
about the ending of it, where they you know, where
God who was wearing who was a very you know,
Dowur British Man comes out of the fucking woodwork, and
you know, and and the uh, the Time Bandits there
(19:45):
the midgets are all just like, ooh sorry, and they're
like that's fine. Clean the mess, clean the clean your
mess up, you know, very much saying like, wouldn't it
be nice if kids had childhood? But they also need
parenting and structure and gosh, there's a place in the
middle where we could all meet here, that seems to
That was what I took away from the ending of
Time Bandits.
Speaker 1 (20:10):
Yeah, and I honestly I hadn't really thought about that.
I'm not a parent. I have very very little interaction
with children on any basis At this point, I maybe
do one show every several years where there are small people,
(20:33):
and as the costumer, it really is my job to
put into effect that like late eighteen hundred style of
existing around children. It's like, you guys are actors. You're
gonna act like actors. The only thing I ask is
that you put your stuff back where it's supposed to
be at the end of the show.
Speaker 2 (20:55):
Be responsible. If kind of reminds me of my high
school drama teacher. It was like, listen this time, this
is a time for This is not amateur night in Hicksville.
Hicksville was a real place, by the way, so that
always confused at least one person. But he would say,
this is not amateur night in Hicksville. You would act
like professional performers. It was like, yes, but we're as
(21:16):
we're asshole high school students. He was like, not tonight,
You're not tonight. Your play is and the Wizard of Oz,
damn it. So some fun performance is in this. I
think for the little bit that Shelley devolves in this,
she's really she's a lot of fun, very interesting. I
(21:37):
thought set pieces, this is a very episodic movie. They
kind of move from one set piece to the next
as they go on this adventure. It is you're you're
the art person, not me, but it felt it felt
weirdly like postmodern. And I'm thinking specifically when the Wharves
(22:00):
are in the cages and they're having to do like
a circus to's so lay to get out m h
and it's all again, you know, it's kind of like
what we were talking about with the Wiz, where they're
just in like a blank black area that seems to
exist out of time.
Speaker 1 (22:20):
Yeah, and I think I think for that specific moment,
it was very much supposed to be like that, because
so they were all inside of Evil's layer, and even
evil does exist outside of time, like it's this special
little pocket that's got its own place on the map.
(22:41):
And I have a feeling that it had its own
place on the map because it was a warning, Hey,
don't go there, we don't our rules don't apply there, right,
But it very much that part of it did feel
very very the is and it also kind of reminded
(23:02):
me of h Ship Labyrinth. Yeah, I have seen that one,
but it did it did feel very much like Labyrinth,
but also it was the power Power Pot, but yeah,
(23:29):
it was. It was very postmodern and it was a
very very stark contrast to the sets that they were
using previously. The sets that they were using previously felt
very like old Hollywood epic like it. It very much
felt like they were re using the sets from like
Robin Hood and and Lawrence of Arabia.
Speaker 2 (23:53):
That's why the budget was five five million dollars. They
didn't have to build a single thing, Like what are
you you to reuse these old sets? No one's using them? Yeah,
be really funny if he actually wasn't greenlit. He just
like raised his own capital and he's like snuck onto
a lot and just started filling nobody was using and
by that and by the time he was done, they
(24:14):
couldn't stop him. They were like, oh, well, you have
a finished movie. We might as well put this out. Yeah, well,
anything else about time Bandage because I don't want to
beat this to death.
Speaker 1 (24:25):
I love Time bound its. I love the storytelling in
the visual style. It's very Terry Gilliam and it's very
an ADHD child telling me telling you about the weird
dream that they had last night.
Speaker 2 (24:40):
There's a I just saw it on TikTok recently. There's
a clip, but I think it was from animaniacs Like
this kid, you know, a little baby kid walks out
of a house and got a ball cap on and
he's telling you this fucking story and he doesn't doesn't
even breathe doesn't take a breath, and he goes through
it and he's like, okay, bye, runs away. It's kind
(25:00):
of time bandits. You know, if you've ever if you've
ever actually listened to like a kid tell a story.
One they're terrible, but you know you but you have
to listen like they're kid. They want your attention and
actually reading something about this today like a kid that
wants your attention. One of the things they'll do is
they'll they'll want to tell you a story. And it's
(25:21):
always terrible. You know this, this doesn't seem to be
any beats to it. You know, they can't seem to
keep the character straight. You know, it feels like a
one man and then exercise.
Speaker 1 (25:33):
Yeah, they're practicing. They're learning how to talk, they're learning
how to put thoughts together coherently.
Speaker 2 (25:40):
Yes, I'm teasing. My point is, but you, you, as
the adult, you have no choice but to sit there
and listen to it. It'd be very interested in this
nonsense that they're viewing. So that's kind of time bandits
for me. So I liked it. I watched it the
other a week or so ago, and were we thinking
(26:01):
at the end of it. I was like, you couldn't
make this movie today, not this way. But for its time,
I think it was a wonderful tale of weirdness and whimsy.
Speaker 1 (26:11):
Yeah, it was absolutely fantastic and very whimsical, and you
could think about it really hard, but you don't have to.
Speaker 2 (26:23):
Yeah, that's why I don't want to talk about the
very end of the movie, because I was like my
friend and I both kind of had what the fuck moments,
like what what happened here?
Speaker 1 (26:32):
That was a little bit of an odd moment. It
kind of felt like he didn't really know how to finish.
Speaker 2 (26:38):
Like Dorothy goes back to Kansas, you know, and instead
of going and you were there, Auntie and you and
you it's like, oh, Dorothy, you dumb bitch. You know
it's fine, go back to sleep now, you know. The
she fucking like suicide bombs the house, like like why
there'll may be no joy in Kansas tonight. That's how
(27:00):
we're gonna end The Wizard of Oz. That's kind of
how this ending feels like, I don't know what to do,
so we'll just we'll just.
Speaker 1 (27:07):
Blow the house up. Explosions.
Speaker 2 (27:11):
Yeah, dead parents, fucking you know what. What people don't
know is a ted time band's led to a Disney movie.
Is what happened there? Because of the dead parents? You
get it? No?
Speaker 1 (27:29):
Oh is is that the nobody has parents in Disney movies,
like they're all one or more of them is dead.
Speaker 2 (27:47):
Yes, that would be the reason, all right.
Speaker 1 (27:52):
They don't think I've seen enough Disney movies.
Speaker 2 (27:55):
You're a weird chick. Chay, it's hard to pick you down.
The Avengers of Baron Munchausen the nineteen eighty eight fantasy
adventure film co written and directed by Terry Gilliam, starring
John Neville, Eric Idol, Sarah Polly Why he likes to
work with the same people, Oliver read Uber Thurbid, Jonathan Price,
(28:18):
and Valentina Cortiss. An international co production of the UK,
US and Germany, the film is based on the tall
tales of the eighteenth century German nobleman Baron Munchausen and
his wartime exploit against the Ottoman Empire. The film, as
you can guess, was a box office bomb, roasting only
(28:40):
eight million domestically and losing millions for Columbia Pictures. Despite this,
it received positive reviews from critics and was nominated for
Best Art the Academy work for Best Art Direction, Best
Costume Design, Best Makeup, and Best Visual Effects, and it
absolutely earns all of that. Oh yeah, no question about
any of us. Yeah. On a budget of forty six
(29:03):
point six million, it made like eight million, so yikes.
It did, however, win Best Costume Design, Best Hair and
Makeup and Best Production Design at the British Academy Film Awards. Uh.
It won a couple of awards at Nasha Argento. It
was nominated for a bunch of Saturn Awards. So that
(29:26):
is Baron Munchausen. The basic premise of this is an
award touring European city in the Age of Reason is
a large Ottoman empire prepairs an invasion outside the city gates.
Baron Munchausen goes on in an adventure that will lead
(29:47):
him back there to stop the invading Ottomans. And there's
this is much like Time Bandits. This is very episodic.
They just because they kind of go from one set
piece to the next. One point, they end up in
this really weird place where Robin Williams head keeps coming off. Yeah. Yes,
(30:10):
And then they go from the moon to the sea
where the when Monstro from Pinocchio was hanging out. And
then they get back to they get back to the
city and they defeat the Ottoman Empire. And that's Baron Munchausen. So, Shay,
this is like the whole reason you're here. So I'll
kick it over to you. Tell me about this movie.
Speaker 1 (30:30):
I loved Baron Munchausen so much. I watched it when
I was already an adult. I think it was like
five or six years ago. Then I first watched Baron Munchausen.
But I absolutely loved it. I loved the nonsensical nature
of it. I absolutely loved the acting and the costumes
(30:51):
and the cinematography. This movie feels like an old like
eighteen hundred's stage play Meant for Two Children. Yeah, and
it just it absolutely tickles every every piece of that
like stagehand and costume designer part of my brain, and
(31:15):
the nonsensical storyline is is something that I very much like,
I don't necessarily need, I don't necessarily need like a
lesson or a solid like through plot. Right in a movie,
(31:38):
it does need to have some kind of movement to it,
and some things need to happen, and this is this
movie definitely hits that there is movement and some things happen,
and it's it's also it's also really kind of refreshing
(31:58):
because I a lot of the films that go in
this direction can get bogged down into the everyone is
silly trope, and this one actually doesn't because the entire
time the kid is concerned about her family, and it
(32:20):
is the.
Speaker 2 (32:20):
Best part of this movie. Like John nevill is great.
Don't have that right john Neville? H Yeah, john nevill
is great, and I think he's like perfect casting. But
that girl make is the backbone of this movie. She
has no time for his fucking around.
Speaker 1 (32:38):
Oh yeah it is, and she is fantastic and she
gets more and more frustrated every time they go off
and do some shit, and it just it's really fantastic
because she does push the she does push the plot
forward along, and she is very much she is very
(32:59):
much the reason for urgency. Like if she wasn't there,
this movie could have been like four or five different
movies before we ever got back to the ever got
back to the city.
Speaker 2 (33:11):
Well, it's funny, you know. I brought up Peter Pan before,
and the first thing I thought of was how she's
kind of the Wendy of this thing of like, look,
I don't I like fucking around as much as the
next person, but like this ship that needs to be done.
Here there's a time for play, and there's a time
for being a grown up. And and it's funny because
(33:33):
without her, Baron Munchausen is very much okay with just
bouncing from one thing to the next, and nobody else
has the wear withal, the toughness, or the frankly the
courage to challenge him. But this girl does. Yeah, you
know which I think is great that that girl is
everybody who's ever worked on a team project that you know,
(33:56):
it was like holding all the various strings together while
everybody else was, you know, picking their nose and falling
over backwards.
Speaker 1 (34:05):
Yeah.
Speaker 2 (34:12):
I got about to the part with the moon and
I'd lost track of time, and I looked at my
son and I said, this has got to be over soon, right,
And he goes and checks the time and he was like,
still another hour to go, and I I almost turned
it off. I was like, oh my god, this movie,
this movie feels I this is somewhat of a craft thing.
(34:38):
This man tells no lies. There's a pacing issue with
this movie. You know, you talked about like there's a
tendency with the movie like this for everyone to be silly,
And you're right, it doesn't get that bad. However, there
(35:00):
is no sense of urgency in the plot. The girl
kind of creates some but this were written today, it
would be Daisy Ridley and she would be nagging and
then and everyone would hate her, like if someone gets
away with it, because at the time this was sort
of a new thing. Also, it's a little girl and
not you know, a young woman, so it doesn't carry
(35:22):
a lot of the same stigma. But uh, you're right,
she's the one pushing it. But the pace of the
movie isn't pushing itself. It very much like if you
get Robin Williams. I understand the need to use Robin Williams,
but they gave him so much like that moon sequence
(35:43):
kills the fucking movie dead and it's a lot of
Robin Williams just doing his comic routine from reality. What
a concept.
Speaker 1 (35:52):
Yeah, I'm honestly, I'm I'm very okay with that. I
have no problem with movies that kind of meander around,
and this this one is it's very much like several
Monty Python sketches put together, which I will. I will
(36:14):
binge watch Monty Python any day, So I think the
pacing issues don't really hit me nearly as hard because
I'm used to binge watching like two or three hours
of Monty Python in a single sitting.
Speaker 2 (36:27):
Mm hmm.
Speaker 1 (36:30):
But it I can definitely see where it meanders and
it doesn't really have its own urgency. That's I think
that's part of why that kid really really needed to
be in there.
Speaker 2 (36:43):
I think also like if you look at the structure
of a Monty Python show and then individually it's skits.
I think the most famous one Dead Parrot. What's funny
about a dead parrot? About the Dead Parrot sketch is
like the premise itself is he's trying to return it.
He's trying to return a dead bird and the pet
and the pet shop owner doesn't want the dead bird back.
(37:06):
Doesn't want to give him his money back, so he
wants to convince him that the parrot is the parrot
is just fine. It's either sleeping or it's molting, or
it's mulling its financial data, like it's something you know.
And and the guy with the bird is like, no,
the bird's fucking dead, asshole. It's dead. And if this
(37:28):
has been America, that's exactly what he would have said,
like this fucking bird is dead, give my money or
kill you. But this is Brittany. You know, this is England,
so you know it's the repetition. It is the very
It is a very funny way of saying the same
thing eighty seven different times, which as somebody who does
that kind of sense of humor in the group uns
(37:50):
out of British television somewhat. I that's what makes it funny,
you know, him exasperatedly telling the telling the guy this
parrot just get dead, fuck off, but finding twenty different
ways to say it. This parrot is no more. He's
(38:10):
gone from beyond it's beyond this, like this on and
on on, and every time he does it it's like
a song, you know, it's like it's poetry at rhymes,
like every time he does it, it just gets funnier
and funnier because like, how many more different ways can
he say the same thing? And yeah, this movie doesn't
(38:31):
do that. It does what a movie should. It shows you,
It doesn't tell you. But showing you, showing you somebody
doing the same thing with that same rhythm is not
the same as watching somebody say the same thing twenty
different ways. So this is you have to be very
(38:52):
patient with John Neville running around with a circle with
his crotch on fire, or this movie loses you instantly.
And again you have Robin Williams and now it's Robin Williams.
You know, it's Robin Williams doing twenty minutes of the
same thing, and then it just kind of goes on
like that.
Speaker 1 (39:11):
So yeah, Williams anything, it just ends up being Robin
Williams doing about as much as he has time for doing. Williams,
You want.
Speaker 2 (39:22):
To see Robin Williams being managed? How about Aladdin? Oh okay, yeah,
obviously they gave Robin Williams a lot and in Aladdin,
that's what that that's a class examples that you have
Robin Williams, you use him, but he doesn't take over
the whole movie. They gave him certain segments and he
was allowed to riff in those segments, and then that
(39:43):
was the end of it. Then we were we were
onto storytelling, trying to think of something some other big
time Robin Williams things like the guy can act. You
know when he when he went through his drama period
where it was like he was doing either like thrillers
or dramas. So like his death just smoochy era. You know,
(40:05):
we're somewhere in there he does good Will hunting and
then this all crashes and burns with I think it's
Patch Adams, Like you get to see where he can
obviously control himself, but when you don't let him control
himself and you just like go crazy. Rob Williams, all right,
he'll give you crazy, but you can't let it take
(40:25):
over the whole movie. In this scene with Rob Williams here,
that's exactly what happens. The scene the scene on when
they finally get back to the city and they're on
the beach with the Ottomans, and uh, it goes through
the whole scenario. I think they just don't have it anymore,
and you know, and Barahmont Johnson just fucking gives up
(40:47):
another past. Their editing would have been nice, a little
too long to get there. My thought anything else about
barahmunt Chausen.
Speaker 1 (41:01):
Not really. Honestly, it was an absolutely beautiful movie. Even
even if you have no interest in the plot line.
I think it's definitely something you should watch. It's an
absolute masterclass and how to make something look like a
Broadway show on film.
Speaker 2 (41:18):
If I was gonna say, if you're if you're teaching,
you know, in a film school, and you want to
show somebody, you want to show the class something where
the plot and the performances really don't matter. You're showing
it to them. For people who want to eventually become
set designers, this is the movie to show them. You
(41:40):
still having a hard time hearing me, Yeah.
Speaker 1 (41:45):
I'm having a little bit of a hard time hearing you.
I think it's I think it's the internet here.
Speaker 2 (41:49):
I would assume, so, all right, well before it craps
out entirely. If you're loathing in Las Vegas is a
nineteen ninety eight American black comedy adventure film based on
Hunter S. Thompson's novel of the same name. It was
co written and director by Terry Gilliaman starts Johnny deppan
Benicio Del Toro as Rule Dou Conductor Gonzo, respectively. The
film details of duo's journey through Las Vegas as their
(42:10):
initial journalistic contentions devolve into an exploration of the cities
under the influence of psychoactive substances. It was released May twelve,
nineteen ninety eight, by Universal. It received polarizing reviews from
critics and was a financial failure, but over the years
it's been regarded as a cult classic. Yeah, this thing made.
(42:31):
This thing budgeted at eighteen point five million, it made
thirteen point seven. It was nominated for a variety of awards.
Terry gilliam was nominated for a Palm d'Or and Cans.
Johnny Depp won Best Foreign Actor from the Russian Killed
of Film Critics. It was also nominated for a Stinker's
(42:53):
Band Movie Awards. So that's fantastic. So the basic premise
of this movie is is Johnny Depp and Benicio Del
Toro are driving to Las Vegas and they are fucked
up on all kinds of drugs, and they get to
Las Vegas and they are fucked up on all kinds
of drugs, and at some point Johnny Depp stays in
(43:18):
Las Vegas, but Pinicio del Toro goes home and they
are fucked up on all kinds of drugs, and eventually
Panicio tel Toro comes back and meets up with Johnny
Depp and they are fucked up on all kinds of
drugs and then the movie ends. Yeah, Fear and Loathing
in Las Vegas. I'll start It's not that I don't
(43:42):
enjoy a good drug movie. Like one of the very
first on trials we did, especially during the video era,
was I made Sean watch Spun, and I like Spun
because it's about meth heads and it's about what meth
heads do. But like a different movie, same era clerks.
(44:07):
Kevin Smith wanted to make a movie about what it
was like to run a convenience store, to do to
be a shiftless lay about in your twenties and going
nowhere nothing jobs. What is this like for them? But
it was his commentary on the suburbs retail, you know,
the bourgeoisie, the blaise MOI, all of it. Just it's
(44:28):
Kevin Smith kind of waxing philosophical about the life he
had lived up to that point, but Clerks has a
plot to it to a degree. Randall's not supposed to
be there that day.
Speaker 1 (44:43):
I think it's Randall, whichever one it is, Dante was
the one that was supposed to be.
Speaker 2 (44:47):
There, right, Dante's not supposed to be there that day,
and because he is there, various things happen. They get
caught up in all kinds of misadventures, and eventually this
leads to sexualists as all things do Clerks, everybody now Spun.
(45:08):
This is about meth heads. This is what met meth
heads do. Follows a very similar thing. We get to
see meth heads in their natural environment. We watch them
do meth, but things happen because they are doing meth.
These things might not have happened had they not been
doing meth, but they do happen, and these meth heads
have to deal with it. Spun and I'm watching Fear
(45:31):
and Loathing in Las Vegas and they are fucked up
on drugs. The entirety of this movie and all that
seems to be happening, is that Hunter S. Thompson is
not doing a very good job of his job, and
Benizio del Toro as his handler is not doing a
very good job of handling him. Why say it with
(45:53):
me now? Because he's fucked up on drugs and I
can only take that facact long mm hmm. I think
Johnny Depp gives a very Johnny Depp performance.
Speaker 1 (46:07):
He does. I saw a lot of a lot of
the other performances that he use.
Speaker 2 (46:13):
Uh this, this feels like earlier ring work for his
What he's gonna come up with for Jack Sparrow.
Speaker 1 (46:19):
Yeah, it feels like a combination of Jack Sparrow and
is Willy Wonka.
Speaker 2 (46:24):
God, I fucking hate it's Willy Wonka. Mhm. Every time
one of you knits tells me how great Tim Burton is,
I look at that movie and go, no, m.
Speaker 1 (46:37):
That was definitely not. I really liked the video game, really,
the Factory Chocolate Factory video game for your game Cub
was a lot of fun.
Speaker 2 (46:48):
I believe you. I was. When I was preparing the
notes for tonight's show, I was going going through some
things with chat Ept Fancy and I said, you know
how like it's a very British style comedy thing to mumble,
and chat Ept said, yes, it is a very British
(47:09):
thing kind of mumble to yourself and you know, it's
kind of having an inner monologue, it's also an outer monologue.
And I was like, okay, so I'm not just imagining that. No,
you're not imagining that. I said, Okay, wonderful, because that's
what Johnny Depp's character is doing. This entirety of this
movie is a is a British inner monologue outer monologue. Yeah,
(47:34):
he just mumbles to the whole fucking thing. And like
normally Bincio del Toro is the one who's completely unintelligible,
but here, like I could understand when he wasn't screaming
like an animal, I could hear what he was saying
the whole time. Johnny Depp is, you know, is paranoid
and talking to himself and mumbling and hiding behind a bar,
and I'm like two hours of this.
Speaker 1 (47:55):
Ah.
Speaker 2 (47:56):
Yeah, again, it's like this. When Gore Verbinski brought him
in to do Jack Sparrow, I almost I almost have
to assume his direction was, you know, your Hunter s
Thompson character from Fear and Loathing in Las Vegas, do that,
but you're also Keith Richards.
Speaker 1 (48:17):
Yeah, yeah, that that pretty much hits it right on
the head.
Speaker 2 (48:25):
So what did you think of Fear and Loathing in
Las Vegas?
Speaker 1 (48:29):
Uh? I guess it might have been a movie. I don't.
I don't really like drug movies, so one I don't.
I don't know how they go. Most of the time,
ninety percent of the time they will either fall into
one of two categories, which is the full shade doctrine.
It's beautiful, it's important. People need to know that these
(48:50):
are the effects effects effects of drugs and all of
that shit. But I fucking hated it, or it's so dumb,
might not even be a movie.
Speaker 2 (49:03):
I had never up to this point, I this is
the one I hadn't seen. I'd never seen Fear and
Loathing in Las Vegas. It comes up on a lot
of people's lists, so it was like a film snob.
I felt like I because you know, we didn't do Brazil.
We could have done Brazil. That's Terry gillia movie, that
one I think he actually won awards for, and one
I haven't seen yet. So it's like all my list
(49:25):
of things. Yeah, it's all my list of things to see.
I know everyone tells me I should see it as
a film snob, but I chose to do Fear and
Loathing and Las Vegas instead one because I thought I
would like it, but also because so many people. It's
kind of like like Swingers or Lockstock and Two Smoking Barrels.
It's one of those movies that I feel like everyone's
(49:45):
seen except me, and they just think it's the best
thing ever. It's not quite people's reaction to Fight Club,
but you know, it's still one of those where I like,
if you if you're at a party when people used
to have those, and you're socializing with other people in
REALI life, which may sound strange gen z people out there,
but this is the thing that used to happen amongst
(50:06):
mortals is we would we would find a domicile, some
sort of institution, a building, perhaps a home even, and
we would bring food and drink and make merry. And
while we were there, before the fornicating would begin, we
would talk to each other like humans. And if you
found her, you find a group of people. See I
(50:28):
can get away with this because I am enunciating and
not mumbling. See there's the difference. We talk to each other.
We would say I am a film person. Another person
would turn around, normally a guy, and he was I
am also a film person, and then he would stand
twelve paces and they would draw, and by draw, I
would say, have you seen as we tricked, you know,
(50:51):
try to trip him up? Well, have you seen Reservoir Dogs? Ah?
Have you seen Donnie Darko? Oh? Oh, well, if I
know there's going to be that kind of body, it
stuck my dick in the mashed potatoes? Have you seen
Requiem for a Dream? And this goes on. So one
of the things that people would say is have you
(51:14):
seen Fear and Loathing in Las Vegas? And it's either
that or The Big Lebowski, And I've seen part.
Speaker 1 (51:21):
I feel like Fear and Loathing in Las Vegas. I
feel like it's one of those movies that is vague
enough that the people who want to seem smart will
tell people that they love it and that it's got
such a deep meaning, as deep as as film dudes
(51:43):
think it is. I think it's literally about two dudes
that went on a drug bender.
Speaker 2 (51:46):
Well, that's the thing. It is, like people really do
conflate meaning for drug for drug addult and and some
of it's because sometimes the twain shall meet, Like if
you've ever talked to somebody who's been on like a
mess trip. You know, it doesn't like Payote or some shit. No,
they've gone on a vision quest. Like people will swear
(52:08):
by those, but look, not every time you you ingest substances,
are you going on Homer's fucking trip out? Like not
not every drug addult fiasco is a vision quest.
Speaker 1 (52:21):
Aren't a lot of those vision quests like the Payote
and the Mescaline aren't a lot of those. Basically, you
are guided through this very specific experience.
Speaker 2 (52:35):
It's been a very loomdr Yeah. Yeah, it's got in
meditation just with drugs. But if you do you know,
but if you're at Antille's house and you happen to
be doing Payote, it's not going to be the same experience.
I don't love Fear and Loathing in Las Vegas. It
(52:56):
was kind of one of those where like I wanted
to do it for the podcast, then I did it,
and I go like, Shay, that's important. So but outside
of that, like, here's the thing, I'm wondering how much
of it is also the material because I actually don't
think Terry Gilliam made a bad movie. But if the
plot of your book is two dudes get fucked up
(53:20):
and go to Vegas and fuck up around Vegas unless
it's like the Hangover, what you know, what else is
he supposed to do with this?
Speaker 1 (53:29):
Yeah, it's it. I just I don't know. I don't
I don't really know what he would do with that. Also,
I'm not sure Terry Gilliam has done a drug like
his his. This is basically how I would direct a
(53:54):
drug movie, primarily because I don't know what drugs do
to you, because I've never done anything harder than a cigar.
Speaker 2 (54:07):
Really, you never swow pot.
Speaker 1 (54:12):
I had a puff of pot once and I fell asleep.
Speaker 2 (54:18):
That sounds about right as there is. And they called
it puff the Magic Dragon. Oh I'm so tired. So anyway,
I'll give you the last word here on fear and
Loathing in Las Vegas. Like I said, I think Johnny
Depp's doing his level best. I think Venic Del is
doing his level best. Not to grace it was a
(54:41):
lot not Elijah would. This is who the hell am
I thinking of? The kid played Spider Man first, Toby McGuire,
That's the one. Toby McGuire is the hittiger. Actually cracked
me up.
Speaker 1 (54:53):
That was pretty funny. It just just seeing him there
and seeing him that fucking confused.
Speaker 2 (55:01):
So any other thing else about Fear and Loathing in
Las Vegas? Otherwise we'll call this to night and you
have to go do podcasts from a better place with
the internet.
Speaker 1 (55:08):
Yeah, honestly, I think the thing that I liked most
about Fear and Loathing in Las Vegas was seeing Benizio
del tour of shirtless most of the time.
Speaker 2 (55:21):
That's what does it for you? Yeah, it's fair all
right home, that's the case. Then, unless you've got anything
else about Turrigem, I do want to end with this.
So these are the three movies that I picked when
you picked, because it was Baron Munchausen, but he's done.
The Holy Grail, Jabberwaukee, Brazil, The Fisher King, Twelve Monkeys,
(55:43):
The Brothers Grim tideland The Imagination of Doctor parnassusis the
Zero Theorem. And then finally The Man Who Killed Don Quixote,
which apparently is quite legendary for its behind the scenes
Shenatigan he's won. He won a Academy Award for The
(56:06):
Fisher King, he's won batht Award for Brazil. And the
Adventures of Baron Munchausen. He won Golden Globes for The
Fisher King and Twelve Monkeys. So I mean I could
have done either one of those Brazil, The Fisher King
or Twelve Monkeys. But I think these three in terms
(56:30):
of like, you know, no, you weird style and something
that's you know, if you're going to point someone to
a Terry Gilliam film and you can only point him
to one one of these three would probably you know,
even more so time Bandits are Baron Munchausen.
Speaker 1 (56:43):
Yeah, definitely.
Speaker 2 (56:45):
Yeah. Give me the final word here on these three movies,
Terry Gilliam, The Cowboys, Eagles Game, whatever you want to
you want to comment on.
Speaker 1 (56:55):
I love Terry Gilliam's children's movies. They hit the eighty
eight HD part of my brain and I just I
absolutely adore them. The Fear and Loathing just kind of
was not my thing. I'm sure somebody loved it. I
do not.
Speaker 2 (57:13):
Okay, uh, well, now you get a break. You're like
two shows too this close together. I can't do it.
Well good because you won't be back for a while.
Like the next time you're back.
Speaker 1 (57:29):
Is October and we do another Devil.
Speaker 2 (57:35):
Yes, that's right, I have you two weeks in a row.
You're coming on for it because I really wanted to
talk about these, and like, you're supposed to be my
musicals person. So you and Mick doing Lame as a
Rob from twenty twelve, The Phantom of the Opera two
thousand and four, and Shweeney Todd the Demon Bobber of
Fleet Street. So that'll be fun. And then the following
(57:57):
week because you all made me you this, this is this,
This was everyone ganged up on me. I'm finally doing
a director focus on Tim Burton, Cinema's greatest monster. So
I'm finally gonna watch Edward Scissorhands because I've never seen it.
Mars Attacks and Dark Shadows, yeah I've Yeah, I know
(58:18):
everybody when it came out just thought that you know that?
And what's eating Gilbert Grape? That's all I ever fucking
heard about. But I have never seen Edward scissor Hands.
I did not give did not give a shit back then,
and I still to be.
Speaker 1 (58:31):
Honest, if I'd have known that it was a romance,
I probably would not have given a shit either. I actually,
the first time I saw it, I was very disappointed
that it was not a horror movie because it looked
scary on.
Speaker 2 (58:45):
The on like box art, isn't it basically syrah No,
but he's got instead of a large nose, he's got
scissor hands.
Speaker 1 (58:55):
Uh, I think so it's it's very similar.
Speaker 2 (58:59):
Okay, well that's what we'll be talking about the end
of October. In the meantime, here's what we did this week.
On Sunday, Jesse and I reviewed Paris Has Fallen. Monday,
Robert and I reviewed the new Toxic Avenger. Wednesday, Alexis
reviewed the new Twisted Metal, and then next few days
(59:21):
and taking a break this Sunday, my second album is
coming out. Just so everyone knows I'm into doing AI
music now, and I'm doing it under the banner of
a band of music experts and aficionados that are also chefs.
So the first one was Frodyavlo Recipes for the Damned
(59:46):
because for some odd reason they decided, you know, what's
better than attacking the church food puns that attacked the church.
So there's that, and then the second album one, you know,
I felt the need to talk about the holidays. So
this next album is called Holidays Are Hell and it
has uh you know, we started Halloween and we work
(01:00:08):
our way all the way to think passover. So it's
it's good stuff. I actually think it's better than the
first one. So I'm hoping everyone will check it out.
That's Freddyavlo. Holidays are Hell. It'll be available so on
Spotify this Sunday. Also this Sunday, myself and Jesse will
be doing a triple feature for a Predator Killer of Killers,
(01:00:30):
The Witcher, Sirens of the Deep, and Love Me. Get this, Shay,
I know you don't want to do three in a row,
but hang on. What if I were to tell you
that Kristen Stewart plays a booie it falls in love
with the satellite.
Speaker 1 (01:00:48):
Uhh, I'm gonna have to watch that because it sounds
insane right. Also, I get really attached to weird characters.
Speaker 2 (01:01:01):
Love Me came out I think last year, and for
like the movie reviewers that I was following on podcasts
at the time, this was all they would talk about.
This was the most bizarre thing they'd ever seen. So
I'm finally getting to talk about it. And because I
am I like the torture Jesse, I'm making him review
it with me. So there's that, and then Monday we've
(01:01:26):
got another Triple Feature because I've overloaded myself. We'll be
doing Queen of the Ring F one in magazine Dreams.
A week from tonight, myself and Jesse will be reviewing Vinyl,
the one and only season of Vinyl, so looking forward
(01:01:49):
to that. Shay tell us where you piss from.
Speaker 1 (01:01:52):
I am Shay Tate of Tata Effects.
Speaker 2 (01:01:54):
I do.
Speaker 1 (01:01:56):
A do special effects, mons, costumes, props, make up, set design,
pretty much anything. If it needs to be built, I
can build it. Whether that is functioning or not will
be determined by how much money you have.
Speaker 2 (01:02:15):
I would like to pay you two shillings at a
hate patty that you will get it poorly working.
Speaker 1 (01:02:18):
Costume absolutely and you can find me at Dat Effects
on pretty much just Facebook.
Speaker 2 (01:02:28):
All right, folks, thanks for joining us here at Triple Feature.
Thanks sche for coming on. Find better Internet. I'm sleepy, Joe,
be well, be safe and behave uck
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