Commentary Track: GoldenEye

Episode Transcript
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Speaker 1 (00:01):
Welcome friends.

Speaker 2 (00:02):
It's the movie podcast podcasting Don John Jacky again Ryan
the Talking Dot movie Mom in the Park has on.

Speaker 1 (00:22):
His name is Bond. James Bond from World's Most Famous
Secret Agent is back.

Speaker 3 (00:29):
I think you're a sexist, misogenious dinosaur, A relic of
the Cold War.

Speaker 1 (00:35):
Trick is to quick while you're still here. I wouldn't
single it. On November seventeenth, United Artist brings you.

Speaker 3 (00:45):
Trust Me James Bond. Welcome to a movie film commentary track.
Mya is Zaki hasn I'm here with Brian Hall. Hey.

Speaker 1 (01:02):
How's it going, Zachie, Hey, it's it's well, it's going.

Speaker 3 (01:05):
It's it's Thanksgiving Day, It's Thanksgiving morning as we record this.

Speaker 1 (01:09):
Yes, and I can't think of something I'm more thankful
for than to be with you this morning talking shop
about James Bond.

Speaker 3 (01:18):
I think we have a fun conversation that awaits us.
So I'm I'm I'm already thankful for that.

Speaker 1 (01:25):
Uh.

Speaker 3 (01:25):
You know, I've always thought of you and I as
having kind of a double oh six, double oh seven relationship.

Speaker 1 (01:33):
Yeah, yeah, So.

Speaker 3 (01:34):
It seems appropriate that time has brought us to this moment.

Speaker 1 (01:38):
Agreed for England, Zachi.

Speaker 3 (01:41):
For me. So GoldenEye celebrates it's thirtieth anniversary this month,
just just just a week ago as we record this,
and and thirty years How in the world is that
a thing? How is it? How is it possible that
GoldenEye is thirty years old already? You know?

Speaker 1 (01:59):
What's funny? I was having the opposite experience because a
lot of times we'll talk about thirty years old, and
I'll think, what, how is that possible? But somehow, GoldenEye,
to me, I'm like, that feels about right to me
in my mind. And maybe it's because we've had, you know,
another bond since and although it does blow my mind
that that bond is as old as he is now,
you know, but this feels like a firmly nineties movie

(02:26):
to me, but in the best way.

Speaker 3 (02:28):
Very much. So yeah, yeah, yeah, because you don't real
it's what is it nineteen years as we record this, right,
is it?

Speaker 2 (02:35):
Was it?

Speaker 1 (02:35):
Yeah? Six? I think?

Speaker 3 (02:36):
Oh?

Speaker 1 (02:37):
Six?

Speaker 3 (02:37):
Good lord? Yeah?

Speaker 1 (02:39):
Yeah, so not long after this, that's crazy.

Speaker 3 (02:42):
That's that. Yeah, a relatively short time. Yeah. Yeah, that
is kind of interesting because they they the Brosman era
four movies, they crammed those into seven years m hm
and the Daniel Craig era, which is five movies. It
was spread out over like fifteen right, right, right, And

(03:04):
so it feels like Craig had more time to sort of,
you know, to really move into the joint. Sure, you know,
and you know, and we'll get into the movie. But
I missed the days when we'd just be cranking these
out and each one didn't need to be the best
one ever, it just needed to be the next one,
Right's right. I kind of you know, that was my childhood,

(03:24):
you know, growing up in the eighties, and every couple
of years we had another one. I I would say
it was a better time, but that's just me. That's
that's old fuddy duddy zachy well, and.

Speaker 1 (03:34):
Then we can get into this, but yeah, these movies
are a little more fanciful, the Bras and ones, and
so you can kind of when they are a little
more silly, like you're okay with that because that's within
that's what they're sort of aiming for in a way,
like not silly, but fanciful is the word I would use.
And I think there was you know, maybe more scrutiny

(03:55):
with the craig ones because they took themselves more seriously,
and so if they did miss a step, it like
stood out a little bit more or something or felt like, well,
I can't take this seriously all this this didn't work
for me, This didn't connect. But I feel like it's
easier to have more fun with the brazen ones. So
when they do get a little over the top, you're like, oh, oh, Bond,

(04:15):
you know what I mean?

Speaker 3 (04:16):
Yeah, Well, the the the analogy I've made before, and
it's and it's an imperfect one, but but roll with me.
I consider the the the the Brozman era of Bond
as roughly comparable to the Burton Schumacher Batman, and and
then the Daniel Craig era as the Nolan Dark Knight films.

(04:37):
Totally sure, you know, sure, and and and then you know,
we can just sort of lump in. We can say
that Roger Moore is like the you know, that's that's
a Bill Doozer Adam West Batman, you know, right right,
that's that kind of tracks. But hey, I I think
we'll have it. We'll have a fun discussion regardless. Certainly,
I expect we're going to be uh getting a little

(04:58):
nostalgic about our nineteen nineties heyday definitely. So, Hey, we're
watching Golden Eye from nineteen ninety five. If you want
to watch along with us, you can do that. If not,
we'll try to keep the discussion engaging for you hopefully.
So I'm ready to go. How about how about you? Ryan?

Speaker 1 (05:15):
I'm ready all right, So we'll do.

Speaker 3 (05:17):
The usual thing. We will hit play on three, So
one two three play. Here we go one two three play.

Speaker 1 (05:26):
And uh, you know, I think worth calling out the
opening logos. You and I had an experience where we
watched started and stopped and started again on different media,
and I watched it on a Blu Ray that had
the Fox logo at the beginning. But the version we're
watching right now at zero is with the MGM lion
and then the United Artists.

Speaker 3 (05:47):
Yeah card here, which itself feels like it might be
an out of date a set of logos because I
think they're using the CGI lion now.

Speaker 1 (05:57):
Oh really pretty sure?

Speaker 3 (05:58):
Yeah see, I've owned the Bond films on enough formats
over the years that I've seen all the ways they
swap out the logos before the gun barrel right right.

Speaker 1 (06:10):
It's funny like Terminator two, all the different over the years,
the different logos of.

Speaker 3 (06:14):
The d Yeah, it's it's like the rings of a
tree trunk, you know. So this this bungee jump sequence here,
it held the record at the time. I don't know
if the record still stands as the highest bungee jump
in history.

Speaker 1 (06:29):
It looks like it, and you know, I was Mark.
I mean, look, we're huge Martin Campbell heads over here, yep,
right man? Does this guy know how to capture action
and make it sizzle? You know, And he's not doing
it with like a ton of you know, wild out
of this world cgi stuff crammed in the screen. You know,

(06:51):
he's just taking like people jumping over tall ledges and
making it you know, you grip your seat, like he
just where he puts the camera, how long he holds
on the guy jumping, and then the clever way that
he lets the guy become obscured behind that rock so
he can do his cut, you know, probably because that
was about when the rope was about to end. Like
It's just I just marveled over and over at the

(07:13):
way that this movie was captured visually. It's it's of
its time, and I wish it's a time that would return.

Speaker 3 (07:21):
So I marvel at the perfectly quaffed Pierce Brosman do
that they have on the stuntman.

Speaker 1 (07:27):
Yes, but this is this is breathtaking.

Speaker 3 (07:30):
Well and pay attention here. This is what I think
because because the the bungee falls and the stunt man,
he's got to get his gun out right before he
gets obscured. So yeah, one shot to do that right.

Speaker 1 (07:43):
Yes, it's it's so perfect. He's one of our best
action directors and he just never comes up in conversation.
Yeah it is weird, yeah, yeah, but yeah, what a
jump you can pay me.

Speaker 3 (07:56):
It's also very nineteen nineties, Like that's that's extremely mid nineties.
That's that's that's like Poocy level of mid nineties. You know.

Speaker 1 (08:04):
They don't like really like hammer into it like some movies,
did you know, like the Triple X series or whatever,
where it's like, yeah, you know, I live my life
to the extreme, you know, like extreme was such a
thing's so much so that yeah, Poochi was like a
riff on that on the Simpsons extreme character. But uh,
but it is funny. I mean there is a lot

(08:25):
of very nineties things in this movie. Yeah, you know,
like that's you know, it depends on your definition. Of
safe sex, you know, and like like you're a misogynistic
dinosaur that's not PC. You know. There's like a lot
of like nineties buzzwords in this movie. Yeah, kind of funny.

Speaker 3 (08:42):
You know. One thing I want to point out what
I think, I think this movie overall holds up holds
up pretty well. There's a few things that that that
nudge me a little bit that I'll point out, But
but the music score has has aged like milk for me.
I think Eric Sarah, who did the music, they him
in to kind of do something a little different than

(09:02):
the big orchestral stuff that was you know, identified with
the series, and I'm just like, man, what a what
a miscalculation in my opinion.

Speaker 1 (09:10):
Yeah, you know, there are parts of it that give
me the nostalgia tingles because I recognize it from the
video game.

Speaker 3 (09:19):
Yeah, which is very true.

Speaker 1 (09:20):
We'll have to get into. But there's that scene where
bonding on the top are like having their little car race, yeah,
and I was like, what is this? Yeah, yeah, this
is terrible.

Speaker 3 (09:31):
It's it's really lousy. Yeah.

Speaker 1 (09:33):
Yeah, you know, I read somewhere that the opening gun
barrel sequence was used with CGI, so that was like
the first CGI used in the Bond series.

Speaker 3 (09:46):
Yeah, that's right.

Speaker 1 (09:47):
Yeah, yeah, it's very sharp. Yeah, it looks good. I mean,
you know, it's fine. Just but you know, entering a
new era, I suppose, which actually is a lot like
a big theme of this movie, right, like Cold war
post Cold War.

Speaker 3 (10:02):
Yeah. Well, so that that was something I wanted to
bring up, is that this movie arrived after a six
year gap. Right, so, License to Kill comes out in
eighty nine, and it didn't do great. It did all right, Right,
there's there's sort of this this retrospective view that it
was a big flop and it wasn't it. It ended
up doing okay, this one, Licensed to Kill.

Speaker 1 (10:21):
Oh, License to Kill. Okay, I'm sorry.

Speaker 3 (10:22):
Yeah, this one was the opposite of the flow.

Speaker 1 (10:24):
Yeah.

Speaker 3 (10:25):
Yeah. But the reason there was a big gap was
because MGM got caught up and it's like you know,
perennial bankruptcy sale cycle, you know, and and it is
the studios in the process of being sold, and the
person that it was being sold to was basically leveraging

(10:47):
the the television rights to the back catalog to get
investors to finance the sale. It was real Kakamamy stuff,
you know, And and anyway, Albert Broccoli, he was still
who was still you know, he had his hand on
the rudder for the Blond franchise, was like, you're not
You're not doing that because you're gonna you're gonna devalue

(11:09):
these films and you're gonna bring the studio down, right,
So he filed a lawsuit and it just went back
and forth. The plan had always been, however, to come
back and do a third film at Timothy Dalton. You know,
in nineteen as in nineteen ninety one, there was a
script written, there were Timothy Dalton's talked about. Oh they
were gonna, they were talking to directors. It was that

(11:30):
far enough, you know. But all of this stuff put
the kai bosh on that, and then you know, it
went far enough along that Dalton was like, all right,
like I got to move on right. And Kubby Brockley.
This is interesting because Cobby Brockley was big on loyalty
and he was a big fan of Timothy Dalton, and
so he convinced him not come on, man, just come back.

(11:53):
And Dalton's like, all right, fine, I'll come back for
one just to wrap it up. And it had been
long enough that Kubby Brockley is like, well, you can't
just come back for one, you got to do a
couple more, and he didn't want to do that. M Now,
was it age or I think he felt like yeah.
I mean I think he felt like, you know, it's
been it's been you know at that point five years

(12:13):
or so, and it's like how many more of these?
You know, because you figure by then he probably thought
he would be wrapping it up. Yeah, I sure, right,
And and I think he was like, do I want
to be doing this for the next five six years?
You know?

Speaker 2 (12:27):
M h.

Speaker 3 (12:27):
I think the studio is more than happy to see
him go because they probably associated him with the movies
not being successful.

Speaker 1 (12:33):
Sure, sure, So.

Speaker 3 (12:35):
Like I think it's one of those things. I think
the studio was like, oh no, don't go, you know,
right right now. And so at that point, you know, uh,
they move on to to Brosnan, although you know they
went to other actors. But really, when you think about it,
I mean, this was sort of an un annoying day.
It was like it was like this was the role

(12:56):
he was destined to have.

Speaker 1 (12:58):
You know, it feels like he was in convert Station
for a long time, but he was when he was
doing Remington Steel. Did they think he was too young
or something.

Speaker 3 (13:05):
Well, he had gotten the role, he had been offered
the role before the Living Daylights. Yeah. So so Roger
Moore leaves after View to a kill that was always
going to be his last one. And at that point
when it came to the Living day Lights, they went
to Timothy Dalton first, and he was doing a movie
called Brenda Starr with Brookshields, so he wasn't able to

(13:27):
do it. So then they go to Pierce Brosnan. Pierce
Brosen gets it. He Pierce Brosenen had been on Remington
Steel and that show had just been canceled. Okay, so
Remington steals over. And by the way, Pierce Brosnen had
a history with Bond anyway, because you know, his wife
at the time was one of the love interests for

(13:50):
Your Eyes Only, Right, I read that in nineteen eighty two,
I think that was, and so or eighty one. So
Brosnen gets the part. They're about to announce it, and
then at that point NBC is who you know, they
canceled Remming cans steal, but they have like this like
a ninety day reversion clause. So Remming is so, so

(14:11):
NBC is like, hey, let's bring back Ramming can Steel
because he's gonna have all his heat on him because
of James Bond. And so at that point, Kubby broccoley
is like, well, you know, James Bond isn't going to
be on TV at the same time.

Speaker 1 (14:24):
Right, which, yeah, back in that time, TV, yeah, was
seen as sort of less less than yeah, less.

Speaker 3 (14:30):
Than exactly for a theatrical yeah. And so, as Brosen
has told it, he was like on his way out
the door to go to the big ceremony, you know,
and he's announced and they're like yeah, never mind, wow, wow,
which I can't even imagine, right, I mean.

Speaker 1 (14:46):
Has there ever been a guy who just seemed more.

Speaker 3 (14:48):
Suited for that? I've said that. I'm like, it's like
Pierce Brosden was grown in a lab to play yes,
you know. Yeah.

Speaker 1 (14:57):
I was talking about this with some people, saying that
even if not all of his movies are my favorite Bonds,
I think he's my favorite Bond because for me, he
just personifies what I like to think of when I
think a Bond, you know, suave, kind of got a smirk,
but can handle the action, you know.

Speaker 3 (15:14):
By the way, speaking of action, can we real quick
talk about what an insanely stupid thing Bond? Just what
a cool stunt though, I mean, it's an amazing stunt. Well,
I mean the plane flies over the cliff. The plane
is crashing, so Bond genius that he is drying racist
his bike off the cliff in hopes that he can
catch up to the plane, get in the cop.

Speaker 1 (15:38):
Make his way to the seats.

Speaker 3 (15:39):
Yeah, there's a lot of variables that.

Speaker 1 (15:42):
Now, don't get me wrong, I think that plane is
a little lower in the sky than I would have
liked if I were jumping toward it. But I was thinking,
you know, that was one of the major stunts in
the second to last mission Impossible movie at this point,
cruise jumping, you know, off the cliff on motorcycles, like, well, look,
ei're doing it right here. I forgot about it.

Speaker 3 (16:04):
That's true.

Speaker 1 (16:05):
Yeah, it's an amazing stunt.

Speaker 3 (16:07):
So it says Albert R. Broccoli Presents. This is the
last film that we'll say Albert R. Broccoli Presents, because
of course he died shortly after this one came out.
He had mainly a tertiary role in this one because
by this point Michael G. Wilson, his stepson, and Barbara
Broccley's daughter had taken over the running of the ship

(16:29):
after this, all all the ones from this to No
Time to Die, say Albert R. BROCCOLI's Eon Productions Presents.
That's a nice way to keep his Yeah, his kids
wanted to continue honoring him. So just to wrap a
bow around what I was saying earlier. Yeah, So Brosnan
gets the call. Sorry, no dice. At that point, it's

(16:51):
been delayed long enough that Timothy Dalton becomes available. He accepts.
The rest is history. And Dalton, it's worth mentioning he
had been offered the back in the late sixties, so
for on her majesty secret service, the one that George
Lazenby got.

Speaker 1 (17:05):
Huh.

Speaker 3 (17:06):
So he had been he had been on Albert Brockley's
radar for a while, and he said in the sixties
He's like, I'm just I don't have I'm not fermented
enough to do it, you know. And I've said it before.
I say it as often as I can. Timothy Dalton
is a great James Bond who does not get the
credit he deserves. And I think it's a goddamn shame.
That from eight between eighty nine and ninety five, we

(17:28):
didn't get at least a couple more Daltons before we
moved on to Brosmen.

Speaker 1 (17:32):
Well, in this day and age, you know, with the
things going on in movies right now, do you think,
what are the odds that we get a multi verse
James Bond movie like Spider Man No Way Home where
all the Bonds show up, and like, you know, I
was just never felt like I was really appreciated, Like, hey,
you know, bros And to Dalton, you're enough, you know,
and then they all work together. You know, that would

(17:55):
be insane and probably very stupid, But there's a little
part of me that would enjoy that.

Speaker 3 (17:59):
You know, well, well, I definitely, you know, I wouldn't
mind a bond like a Sunset Bond with with Brosnan,
you know, who's in his early cities at this point.
I certainly feel like there's there's a market for that.
You know, I would love it, you know, for for
all the my qualms about about Amazon just just gobbling

(18:21):
up the remainder of the rights, you know, and and
you know, the Broccolis being out of the picture, you know,
part of the cynical views they're just gonna they're gonna
just spin off the ship out of it, you know.
But like that's one thing that I would be at
least amenable to, you know.

Speaker 1 (18:38):
Yeah. Well, and and just uh, through a little research
I did some of the people who are considered just
to place this in time.

Speaker 3 (18:44):
Well, real and real quick. Just before we move on,
I wanted to mention, uh, the song Golden Eye performed
by Tina Turner, written by Bono and the Edge. It's
it's one of the one of the great Bond songs
in my opinion.

Speaker 1 (18:56):
Yeah, yeah, I was. I watched all the way through
the credits, and I knew it was Tina Turner, but
when I saw that it was written by Bono and
the Edge, I was like, what. I don't know if
this is true, but I was reading that there. You know,
all three were neighbors in the south of France, and
they went over to Tina's place and started playing the

(19:17):
song on you know, her piano, and I was like,
as as you.

Speaker 3 (19:21):
Do, and she's I mean, she's builting it out like
Shirley Bassey and those early Sean Connery ones.

Speaker 1 (19:27):
You know. Oh yeah, yeah, sorry, you were saying, uh, no, no, yeah,
we're just placing it in time. The people who were
also considered for Bond, Liam Neeson, Mel Gibson.

Speaker 3 (19:38):
I guess mel Gibson, as was the fashion at the time.

Speaker 1 (19:41):
Exactly exactly. Sam Neil, I was like, Sam sing Sam.

Speaker 3 (19:45):
Neil he he auditioned for The Living Daylights mm, and
I'm sure he was considered for for for this one.
But but he said as much about Living Daylights that
you know he he he said, like I knew, and
I did the audition. I wasn't going to get it,
but you can watch it. It's on YouTube. And oh really,
I'm like I wouldn't minded him as James Bond, you.

Speaker 1 (20:07):
Know, that's interesting. And Hugh Grant was another name, and
I was like, yeah, that makes sense.

Speaker 3 (20:11):
Rape Fines, I know, was in the mix also, yeah,
right right, who of course came you know, yeah exactly.

Speaker 1 (20:21):
But yeah, I gotta say, you know, you have those
sort of like sexy, artistic, impressionistic whatever openings, right credit sequences,
and I just found it funny. It's like these naked
women with like Malliking.

Speaker 3 (20:34):
Breaking the symbols of communism exactly.

Speaker 1 (20:38):
These these falling sickles from the sky and they're like
god like hitting them with mala.

Speaker 3 (20:44):
I feel like this might be the last time it
was just like just straight up just naked women just
being all naked.

Speaker 1 (20:51):
Right, like guns like just kind of coming out of
their mouths. Almost feels like something like a Simpsons riff
on fond opening or something. This made me laugh too,
I'd forgotten about this. So it's like this sexy race
between Bond and on the top, you know, on this
like mountain road, and then they do this hard cut
to like but there's a whole group of bicyclists coming

(21:12):
up the other way, which actually kind of made me
mad at our hero. I was like, dude, you really
shouldn't be driving like this, Like people could get hurt.
I guess Martin Campbell is one of them.

Speaker 3 (21:27):
Oh, I didn't know that. Actually that's interesting.

Speaker 1 (21:29):
Yeah, but they yeah, they handle it well. And it's
funny too.

Speaker 2 (21:37):
You know.

Speaker 1 (21:37):
I was thinking about screenwriting, and it's one thing for
him to be driving and to see this woman and
them to have this sexy, challenging race with one another,
but it's a whole other thing to make add something
on top of it. It's like, oh, he's having like
a psych evaluation right as he's doing this and being
evaluated for being crazy, and through doing this, he still
manages to seduce her. You know, It's like a lot

(21:58):
of things are happening in this scene, which is you
know what I mean, They're using it to its fullest potential,
which I think is fun.

Speaker 3 (22:06):
Now now, definitely, And we've talked about this before, you know,
with the whole Bond persona. But but I find this
slightly ick, you know, oh.

Speaker 1 (22:16):
Total, I mean totally. I mean this is this is
like the older Bond where it's just like I will
seduce you.

Speaker 3 (22:25):
Yeah, I mean this movie makes a choice to lean
into it, which I think is interesting because because you know,
during the Dalton films, they made an active effort to
make him less of a creepy pervert. Oh really, yeah,
you know, so he's a little more monogamous, you know,
and certainly in the Living Daylights. And I just find
it funny because I feel like that's probably aged better.

(22:47):
You know.

Speaker 1 (22:48):
You know, I've never seen the Dalton ones. I should
mention that. That's I I started going through all of
them and then I fell off at some point, and
I will get back to it. But I hadn't made
it to those yet. This was my first Bond movies.
This is where I started.

Speaker 3 (23:00):
That's see, so that that you know, they say that
your your first bond is your that's your patient zero,
you know. Yeah, so that that certainly tracks. Dalton was
my first.

Speaker 1 (23:13):
Right Ah? Okay, Okay, you know because because.

Speaker 3 (23:16):
I had seen I had seen Moonraker, so technically Moon
Raker's the first. But like when The Living Daylights came out,
that was the first time I experienced the switchover and
I was aware of the hype, and you know, you know,
I imprinted on him like a like a baby raptor. Sure,
but I have said, honestly, if you like the Craig movies,

(23:37):
then watch the Timothy Daltons.

Speaker 1 (23:39):
Okay, I'm excited. This is making me ready to go back.

Speaker 3 (23:44):
Yeah, I because I think what Brosnan embodies is sort
of a mix of the previous three. Let's just put
George Lazenby to one side. Sorry, George. You know where
a little bit more of the you know, the the

(24:06):
seriousness of Dalton is woven in, and that's something Brasen
wanted more of, but more of the quips like brought
like like Moore and Connery. You know, I think I
can't remember who it is. But somebody talked about how
when it comes to to James Bond actors, there's Sean
Connery and everybody else, and it's it's sort of like

(24:27):
and then you rank everyone else, however, but Sean Connery
has to go first. Sure, and and yeah, you know,
people listening to this can agree or disagree, but I
think what what that's meant to say is that Connery
defined what we expect from the character, right, and so
different actors plug into different aspects of whatever Connery did, sure,

(24:49):
you know. And and so I remember the Ciskel and
Ebert review of this film where Gene Siskel was not
a fan at all. He was not, and his sort
of contention was that he felt like Brosman was sort
of play acting as James Bond, you know. And I

(25:10):
can understand that. I suppose, like.

Speaker 1 (25:12):
I understand, I believe that he could feel that way.

Speaker 3 (25:16):
Right. That's what if you're coming at it from. While
Sean Connery is the shining city on the hill, here's
this guy trying to pretend he's like Sean Connery. You know,
I don't agree with that because I think we've had
so many different actors that everybody's kind of doing their
own thing. Yeah, yeah, that said, I think this movie.

(25:37):
As I was watching it last night, the one note
I made and I underlined was throat clearing. I feel
like this movie is full of throat clearing where they're
trying to situate James Bond in this era totally a
six year gap, and be like, no, no, no, James
Bond is still relevant. So they have to hang a

(25:58):
lampshade on his very as Peccadillo's that were just sort
of taken for granted.

Speaker 1 (26:02):
Yeah, M kind of calls him out for things, right,
you could imagine critics calling him out for and then
so you get the rest of the movie of him
being like proving her wrong or at least establishing his place, like.

Speaker 3 (26:13):
You say, exactly right. So when M has a sit down,
you can imagine her being like, you're a sexist Majo,
misogynist dinosaur, you know. And then later when we see
jo adn Baker, BRIT's in your passwords.

Speaker 1 (26:28):
Right right, right, right, right right.

Speaker 3 (26:31):
So it's throat clearing throughout, and I feel it feels,
honestly like, by about two ors of the way through, I
was like, okay, just stop.

Speaker 1 (26:39):
Yeah, yeah, yeah, we got it. We got it, we
get it. We're happy to be here. We showed up.

Speaker 3 (26:43):
We showed up exactly right. And and that's that's kind
of the interesting thing about the Bond film. It's kind
of like Superman, I guess to some extent where it
feels like every every decade or so, they have to
like remind people why they're relevant.

Speaker 1 (27:00):
Yeah.

Speaker 3 (27:01):
Sure, And I'm like, well, you don't really need to
because at this point we go to see Bond movies,
because we go to see Bond movies and we know
what we're getting, you know.

Speaker 1 (27:09):
Yeah. And I don't remember how much the Craig movies
actually did any meta conversations with the audience about that,
but they definitely did try to, you know, be of
the moment where it's like, you know, we talk about
like the Batman begins a vacation of superhero movies and
movies in that moment where it's like, no, if it's

(27:30):
even if it's about a superhero, it has to be
grounded in some sort of reality so we don't lose you, you know,
you have to take this deadly serious. And the Craig
films definitely feel from that era. Maybe for me sometimes
too much, so I agree with that. I want to
have like a little more fun, although I do enjoy
those movies. But yeah, for me, I mean maybe because

(27:52):
this is where I began. I do like the bad
puns in any windows, and I like but I like
that the stakes are serious, right, but there's also you know,
a watch with a laser in it.

Speaker 3 (28:04):
It's well, there's sort of a caper feel too.

Speaker 1 (28:07):
Yeah, yeah exactly. I mean this is for me, the
perfect mix.

Speaker 3 (28:13):
Yeah. Well, I you know, just to pick up on
what you're saying about the Crag films. In my opinion,
you know, I think those movies lingered too long in
the very serious part of the waiting pool.

Speaker 1 (28:27):
Yeah exactly.

Speaker 3 (28:28):
You know, my preference would have been after Skyfall. Okay,
you did your three, you got your bond origin. Now
let's let's do some you know, world conquering bad guy
type stuff.

Speaker 1 (28:39):
You know.

Speaker 3 (28:40):
Yeah, like you said, yeah, yeah, you know, And I
think that underscores why the series has lasted as long
as it has is because it is that it's like,
you show up, you enjoy it for what it is.
You don't spend too much time thinking about it, and
then you come back in a couple of years and
we do it again. We get to see Bond walk
through the gun barrel and and that's they're they're weirdly

(29:02):
the disposability of it makes it worth hanging on.

Speaker 1 (29:06):
To mm hmm. Sure.

Speaker 3 (29:08):
You know.

Speaker 1 (29:09):
I love that they can be you know, evocative of
their time period. Yep, you know, like this feels very nineties,
and I dig that about.

Speaker 3 (29:18):
It as Fomka Jansen is a crushing this dude to death.

Speaker 1 (29:22):
See this is funny. I mean it's ridiculous maybe even
like kind of cringey, but I also kind of dig it. Yeah,
like it's like, yeah, like her things, she can squeeze
a guy to death with her thighs. Like that's I
don't know, like that's like right where I like these
where I enjoy these movies that kind of But it's
taking it pretty, it's filming it very seriously, right, you

(29:43):
know what I mean. That's that's it's a sweet spot
for me, I think. And by the way, I as
long as I mention it almost every commentary, I love
when they do little light flourishes to make all the
backgrounds interesting. I always use really Scott as an example,
And in that scene where she's on top of him,
because they're in a boat, you have the water reflection
behind her on the ceiling. So it's just making the

(30:04):
whole frame feel alive and in emotion and it's great. Campbell.

Speaker 3 (30:11):
Yeah, well, Martin Campbell was coming off of No Escape
when he made this movie.

Speaker 1 (30:16):
Would you keep recommending to me?

Speaker 3 (30:18):
I'm telling you you got you got a fun movie.
I mean, it's not going to change your life, but
it's like a fun couple hours, you know.

Speaker 1 (30:23):
Yeah.

Speaker 3 (30:24):
But also he had done a lot of television. He
did a what's it called Edge of Darkness.

Speaker 1 (30:29):
Oh this, by the way, this is very I like this,
beat the guy up with a towel then you know,
wipe the sweat off your brow with it. Like that's
that's That's what I'm hoping we have a head with
with the new Well.

Speaker 3 (30:40):
Also, what he's wearing you talk about, you know, yes, man,
he got like this double breasted thing with the gold
buttons and stuff. It's like a he looks like a preppy,
you know.

Speaker 1 (30:53):
You know what's funny is, by the way, so yeah,
he's wearing like a blue suit coat with like khaki
pants and whatever, which he had.

Speaker 3 (31:02):
The ascot in the previous scene, which we didn't even
we talked right past that.

Speaker 1 (31:06):
But what I like is, in one battle after another,
I think something that I called out. You know, Sean
Penn's character throughout the ages, whenever he dresses up, he
wears the same thing, and it weirdly makes you feel
bad for him or makes him seem a little sad.
And this is what he's wearing. He's wearing a blue
blazer coat with khaki pants, so it's like he's like
a man out of time, like he maybe that was

(31:28):
something that was you know, like you know, in the nineties, this.

Speaker 3 (31:33):
Guy he died with a smile on his face, which bad.

Speaker 1 (31:36):
But then through the decades he keeps wearing the same thing.
So it's funny. Yeah, Like I thought of that when
I saw Bond here in the nineties wearing that where
this was the moment where it was like a thing you.

Speaker 3 (31:44):
Know, yeah, it was it was acceptable.

Speaker 1 (31:47):
Yeah, but no, yeah, that is funny. The guy fallen down.

Speaker 3 (31:49):
And see, there is something odd about the pacing of
this movie that that stuck out to me, where like
it it's like a good forty forty five minutes before
the plot really kicks into gear in terms of Bond,
here's your mission.

Speaker 1 (32:06):
Yeah, yeah, that's a good point, right. One of those
guys is the bungee jump guys.

Speaker 3 (32:12):
The stunt Yeah, I believe that the guy in the
left him.

Speaker 1 (32:14):
Yeah, am I wrong? And then one of them was
is Simon Crane, the stunt guy coordinator. I'm not sure.

Speaker 3 (32:23):
I'm not sure.

Speaker 1 (32:24):
By the way, this random trivia that I thought was
worth bringing up. I'm just gonna read it straight up
because I won't be able to recount it perfectly. But
I thought this was interesting. So going back to the
Bacarrat scene or whatever they're playing earlier, so licensed to kill.
Back in nineteen eighty nine, they had a contest where
the winner of the contest was promised a cameo role

(32:45):
in the next James Bond movie okay, which unfortunately that
didn't get made for several years. But the contest winner
was brought into this movie. They remembered her and actually
brought her in and she is behind Fomka Jansen wearing
a golden black evening gown. You can see her clearly, huh,

(33:07):
And I was like, how cool? Like they didn't forget
about her on that contest and she did get to
be in the next James Bond movie.

Speaker 3 (33:14):
That's something.

Speaker 1 (33:15):
Yeah, it's like you don't hear things like that anymore,
these contest winners and you get a walk on roll
in some sort of film, well a TV show.

Speaker 3 (33:28):
Recently, somebody asked James Gunn about that online. Really back
back in the day during the eighties when he had
Superman three, Superman four, DC comics or do this thing like, oh,
contest to get a role in the next Superman movie. Yeah,
And somebody was like, oh, James gun you should do
something like this, and he said, there's too many logistical

(33:48):
hurdles because like what constitutes a role and and it
is the person owed a certain amount of screen time
and it's like too many, too many boxes that need
to be checked that it's just not worth the hassle.

Speaker 1 (34:02):
I can see that, Isn't that that makes sense?

Speaker 3 (34:05):
Yeah?

Speaker 1 (34:05):
And at the same time, like what a bummer. Everything's
just so much, just so complicated. It's like I just
want to like stand for people behind Superman and see
my face on screen, you.

Speaker 3 (34:17):
Know, my face on screen. That's it so alan coming.
First time I ever saw him was in this movie.
Same pretty great pretty a Russian accent, yeah, I think,
or pretty pretty great screen version of a Russian accent action. Yeah. Yeah.
Isabella's Scrop goes. She's twenty five in this movie.

Speaker 1 (34:36):
I love I looked, I looked up everybody as I do.

Speaker 3 (34:41):
Yeah, Brosman was forty two.

Speaker 1 (34:43):
I think here yep, yep.

Speaker 3 (34:46):
And and I'll be honest, I'm not a big fan
of Isabella's Scrop going this movie. I know that at
the time it came out, there's all this hype like
she's like a new modern Bond woman whatever. I'm like,
I don't know, man, it's the same new boss, same
as the old boss kind of thing. For me. I
find the character grading personally.

Speaker 1 (35:06):
Oh interesting. I don't know that she like, I just
accept it.

Speaker 3 (35:11):
She doesn't stand out to me.

Speaker 1 (35:13):
I was literally I was going to say, I don't
know that she stands out per se, but she has
a function. She's She's featured for quite a while before
she meets Bond, which is kind of interesting.

Speaker 3 (35:24):
Like way too long. I think. I think, I think
all of this business like I feel like they should
have intercut this with the stuff that was going on
with Bond. You know, you know, trying to track the
helicopter and stuff intercut back and forth so that it
moves up the rest of the stuff.

Speaker 1 (35:44):
That's a good note, Yeah, right, like I see that.

Speaker 3 (35:47):
You know. One thing I wanted to point out actually
is that, you know, the prologue is set nine years
before the rest of the story, right, so nineteen ninety five,
and then that means the prologue is nineteen eighty six, which,
if you think about it, nineteen eighty six is when
Brosnan was offered the role originally and I prescinded. So
in essence, the movie is sort of like ret conning, like, oh,

(36:10):
it was always Pierce Brosnan.

Speaker 1 (36:12):
That's kind of funny.

Speaker 3 (36:14):
I don't know if that was by design, but I
did find that amusing.

Speaker 1 (36:17):
Yeah. By the way, so there's so many things that
I remember, all the way back to seeing this in
the theater and him on coming being like I am
invincible and then being frozen. That was something I never forgot.

Speaker 3 (36:33):
Yeah. Yeah, So did you go see this with your dad?

Speaker 1 (36:36):
Probably? Yeah, I don't recall, but probably I remember. He's
always been a Bond guy, and I do remember him
really enjoying this one. Oh, you know, uh, something I

(36:56):
thought was kind of interesting. I didn't realize this is
I should say two. You know, I mean I think
it's clear now, but you're a big Bond aficionado, and
I was excited to watch this and kind of just
have my random thoughts, but listen to you, you know,
you know, drop some knowledge on this, and you know,
I was looking forward to being like, oh, you know, oh,
Papa Zechy, you're so learned and you've been great disappoint

(37:21):
no even even great so far. But so I was
surprised to learn that this is the first James Bond
movie that was not based on an Ian Fleming novel
or short story.

Speaker 3 (37:34):
Well that's not entirely true.

Speaker 1 (37:36):
I was gonna say, yeah, that seems that there's a
lot of films that came before this, so I yeah.

Speaker 3 (37:40):
Well, I believe License to Kill is the first one
that doesn't have any uh it's not pulled from any
source material.

Speaker 1 (37:49):
Okay, or maybe the thing I'm looking at says without
any reference, so maybe there. Yeah, so'sychotechnicality somehow, but like, yeah,
the story itself, the plot, yeah, so so, up up
to Living Daylights, every movie is at least title came
from Fleming. Okay, like The Spy Who Loved Me is

(38:10):
has no connection to the book, but the but there
is a.

Speaker 3 (38:14):
Fleming work called The Spy Who Loved Me Licensed Living
Daylights Too is a Fleming title. Licensed to Kill is
the first time that it was. It wasn't a Fleming title.
Gold and I. It's called that because that was the
estate in Jamaica where Fleming used to write his Bond books,
right right, uh, And it's just a little nod to that.

(38:36):
And it is a cool it's a very Bond title totally.

Speaker 1 (38:42):
And it was in that title I read comes from
some sort of contingency plan that the Secret Intelligence Service
had back in the day when Fleming was a part
of that.

Speaker 3 (38:56):
Yeah, Fleming was like a real life James Bond.

Speaker 1 (38:59):
Yeah. Yeah. And in case the Nazis invaded Spain, that
was a contingency plan they had called Golden Eye.

Speaker 3 (39:07):
So this here so Sofamka Jansen Orgasming as she fires
the machine gun. That feels very of the moment of
nineteen ninety five, but thirty years later, like its kind
of it's kind of silly.

Speaker 1 (39:19):
It's silly. I actually find it very disturbing to be
honest right, like again her squeezing people to death.

Speaker 3 (39:26):
But I love how the camera whips to Godfrey John
and we get his reaction or he's like the hell yeah.

Speaker 1 (39:31):
I know, I yeah, I do appreciate that. But it's like, yeah,
like seeing all these dead bodies on the floor and
her getting off on it, It's like, yeah, it's.

Speaker 3 (39:38):
It's there is kind of a try hard like we're
we're you know, keeping pace with with you know, with
your true eyeses and you're you know right.

Speaker 1 (39:48):
Which is weird to think that was a year before
this True Love yep, yeah, wow.

Speaker 3 (39:54):
Yeah, And I'm sure the Bond folks were looking at
something like True Life succeeding and having to question like, okay,
is does you know, business as usual work anymore for
what we do?

Speaker 1 (40:07):
Sure?

Speaker 3 (40:08):
That is weird, right, Like like six years Big Picture
isn't that long, right, But yet geopolitically, between eighty nine
and ninety five a lot had happened. Yeah, right, you know,
And so it's it's weird how how the Bond films
have to sort of account for that. I think I've
said this before, but you know, in two thousand and two,
when I Another Day came out. The movie starts with

(40:31):
him being taken prisoner in North Korea for something like
eighteen months, and when he when he's released, you know,
he comes across the Cia character played by Michael Madson,
and he's just like, you know, a lot happened out
here when you were inside. And I felt like that
was a way of acknowledging, like, oh, Bond wasn't around

(40:52):
for nine to eleven.

Speaker 1 (40:54):
Oh interesting, right, yeah, interesting? Huh. I've only seen I've
seen Golden Eyes several times, but the others maybe only once.

Speaker 3 (41:04):
Well, hey, hopefully you know we're beginning a new journey
together here.

Speaker 1 (41:08):
Yeah.

Speaker 3 (41:08):
No, I'd love it to come back to these every
couple of years.

Speaker 1 (41:12):
You know, going back to the nineties, noess of it.
I read that Ace of Bass at one point was
tapped to do the theme. Oh my god, isn't that
wild to think about that?

Speaker 3 (41:24):
That's hard for me to imagine.

Speaker 1 (41:25):
Yeah, yeah, apparently they wrote something and you know, it
didn't get used, but they changed the lyrics and released
it as one of their own songs years later.

Speaker 3 (41:34):
But really, I saw the eye.

Speaker 1 (41:40):
Like, we gave you six months to write this song.
What will you think? Yes, it's really catchy.

Speaker 3 (41:52):
But so, by the way, I apparently this is the
first movie that explicitly refers to Bond's organization as m
I six. Oh interesting, Like, up to this point it's
always just been you know, her Majesty's Secret Service. So

(42:14):
m I six is made up. M I five is
real thing, right. They also in this one here, see
this is what I mean about throat Clearing, where you've
got Money Penny being like, you can't flirt with me,
James because I'm a modern woman, you know, right right
right right, And and it's like the movie, it's like
after the throat Clearing was over, they just forgot about

(42:34):
all that because by the last by by Die Another Day,
we have a scene where money Penny has like a
VR headset on and she's imagining Bond like doing it
with her on her desk.

Speaker 1 (42:45):
I remember that. Yeah, yeah, you know. Well it's like
they have to like acknowledge it. So it's like, yeah,
we know, we know, but you like it. It's kind
of what it feels like they're doing.

Speaker 3 (42:59):
So that's Samantha A. Bond as Miss Moneypenny. No relation.

Speaker 1 (43:04):
Yeah, that's funny though.

Speaker 3 (43:08):
And this this Michael Kitchen here as Bill Tanner. So,
Tanner's a character in the in the the Daniel Craig films.
He's played by Rory Kinnear.

Speaker 1 (43:22):
Yeah, you're right though, but the plot is kicking in
here and we're thirty eight minutes in.

Speaker 3 (43:26):
Right, and literally we're looking at about forty five fifty
before m is like, I want you to, you know,
like find GoldenEye, right, like that would be minute twenty
you know. Yeah.

Speaker 1 (43:36):
Yeah, So there is.

Speaker 3 (43:38):
Something weird about the pacing that that stuck out to me,
and I don't I don't know if that's just you know,
after thirty years of familiarity, you start noticing this stuff.

Speaker 1 (43:48):
But yeah, like I've been enjoying myself, but I agree
with you that you could up the urgency a bit.

Speaker 3 (43:55):
Yeah yeah, because because the GoldenEye explosion, I mean it
hasn't even happened yet.

Speaker 1 (44:00):
Yeah, that's right. Yeah.

Speaker 3 (44:02):
So in this film, m Judy Densher's first time as
em is new. So she's she's a replacement for Miles
Messer VM who's played by Robert Brown and well yeah,
yeah he was. He was a license to kill and
so she is new and Bond is an old hand.

(44:25):
And then in Casino Royale. Of course she's a veteran
and Bond is new. So that's what some folks are like,
Oh see, this proves that Bond is just an like
an identity that's passed on from one person to the next,
which is a friggin goddamn stupid band theory that refuses
to die, right right, right, It's dumb. It's like, no,

(44:47):
the number gets passed on. Why would the identity get
passed on?

Speaker 1 (44:50):
Right?

Speaker 3 (44:51):
You know?

Speaker 1 (44:56):
Yeah, that's so interesting. I hadn't even thought of this
character super critically, Like, I just I think this really
endears me to her. Actually, the fact that she's like this,
you know, loan survivor and this horrible massacre.

Speaker 3 (45:12):
I think, I think for me, I don't. I don't
sense a real connection with her and Bond. I yes,
And in the movie, the movie is trying to position
her as sort of blazing some new trail when it
comes to Bond women, and I don't really see that.

(45:33):
I mean, granted, during the Brosman era, we got we
got you know, Denise Richards mm hmmm. So I mean
compared to her, Isabelle scrub goes like Jane goodall right,
But but the character didn't do very much for me. Yeah,
I don't know.

Speaker 1 (45:51):
No, I get you, I get you. I can I
can imagine her popping a little bit more. But I
just feel like she gets things to do. She feels critical, Yeah,
in ways which are good. By the way, cartoon lightning.

Speaker 3 (46:07):
That's hear it for the cartoon lightning. These practical effects
that you were talking about, you know, miniatures, you love
to see it. Derek Meddings, who did the effects for this,
he had been, you know, on veteran. He died like
six months after the movie came out, which is a shame,
because these effects are fantastic. They still hold up.

Speaker 1 (46:27):
I was gonna say, I've read that there was a
crap ton of miniatures, and that one with the planes
kind of skidding along the ground, yep. That's the only
one to me that I clocked as a miniature yep.
But otherwise not at all. It looks fantastic, and I.

Speaker 3 (46:45):
Think it helps the movie remain somewhat ageless, you know,
mm hmm. I think that for a long time, what
distinguished the Bond films in terms of stunts and everything
was was that you have a real person doing it.
Doesn't have to be the actual guy, but it's a
human being who's doing it. And you know, at in

(47:05):
Die Another Day, that was the first time we got
like digital stunt doubles and it looked freaking awful.

Speaker 1 (47:11):
And I remember like the surfing thing, the surf yeah see,
you know, I remember that, yeah, yeah.

Speaker 3 (47:17):
And I remember thinking at the time, well, was it
worth it? Was it worth it to throw away the
one thing that that sort of distinguished you guys.

Speaker 1 (47:24):
You know, I know it's it's hard to imagine, but
it makes me think of the second Matrix film where
they had those digital body doubles and I remember them
touting them, like showing them off, like this is the future.
You won't believe this. This is how we get to
have a fight with you know, one hundred mister Smith's
and Neo's and stuff. And at the time, I'm sure

(47:47):
it did feel revolutionary, but they it's hard for those
things to age well because you just continue to refine
and refine and refine over the years.

Speaker 3 (47:55):
You know. Yeah, because right around you know, Die Another
Day and Matrix two, you know, you had Spider Man,
the first Spider Man, and same thing, right, I mean, okay,
granted there's no real way to make that work with
an actor. But I think I think when you watch

(48:16):
the first Spider Man, for me, at least it sticks
out immediately once once Toby Maguire becomes a cartoon character,
you know, m h And And to your point, look,
I mean, you've got hard working technicians doing the best
they can with what was available at the time. But
you know, sometimes limitations are are your ally.

Speaker 1 (48:38):
Yeah, and it's all about using all those things in
concert with one another, right, like for the perfect believable outcome.
I mean, you see the footage of the upcoming Spider
Man movie. I don't know what it's called, but four
let's brand new day, Brand new Day, and you see
all this behind the scenes footage people are capturing of
this giant rig where they have you know, I assume

(48:59):
it's a stuntman and Spider Man suit actually swinging through
the streets, right, And I think that will work amazingly
coupled with shots with a digital body double, you know,
so some of them will get maybe I don't know,
maybe like a nuance of like a it's a close
up or something, so we'll see it move like a

(49:19):
real human body. And then when we have a wider
shot you can go to like a digital double and
that that might be the perfect combination.

Speaker 3 (49:26):
Finally, right, Well, I think when I think of technology
from the turn of the century, you look at like
the Lord of the Rings films, and I think what
Jackson did there very smartly was he employed miniatures, bigatures,
and CGI together, and those movies they hold up extraordinarily.

Speaker 1 (49:47):
Yeah. You know, by the way, that whole EMP sequence
that we saw, I was reading that in earlier drafts.
Basically it just played out like an EMP, just shutting
down all the electronic devices, but they found ways to
kind of amp it up. It's like, well, no, well
then you know the planes and the planes crashed into
this and this thing would fall over to that, and

(50:10):
I thought they did a good job of heightening that
as much as possible, other than just having people like
what is my watch work? Yeah, you know, you know.

Speaker 3 (50:18):
I definitely remember this movie being my first exposure to
the concert of an EMP. Probably me too, so I'm like, wow,
I definitely don't want to get caught in an EMP.
I know that yep, yep, quicksand and EMPs. Those are
my late nineties fears.

Speaker 1 (50:35):
Yeah, things that you feel like you would encounter more
in your life, but you haven't. It's kind of surprising.
Or maybe EMPs are just harder to wield.

Speaker 3 (50:43):
I don't know, but I don't know the protocols that
are necessary.

Speaker 1 (50:48):
Yeah. Kind of like Batman, right, doesn't he have kind
of like an EMP gun in Dark Knight Rises and
he's in that parking garage, and like, it just feels
like that's something we have seen people used to rob
banks or something. By now, not that I'm giving people
ideas or if I am, include me, it was my idea.

Speaker 3 (51:12):
Well, if you're gonna set up the plan, you don't
to go along you think you're gonna get any of it,
then you know why they call you the joker.

Speaker 1 (51:21):
I know why they call him the joker. I love
the way that they talk like their cartoon characters in
that opening or it's just so heightened for a movie
that isn't very heightened at all, the way that they
like talk behind those masks.

Speaker 3 (51:39):
See. I think, just just to tie it back to Bond, right,
I think I think you know, Batman in the in
the nineties was very much trying to be James Bond,
right in the sense that you know, actors come and go,
but the franchise continues. And I do find it amusing
that both made the decision at roughly the same time

(52:03):
to just do a hard reboot. You know, yeah, yeah,
I think I think the Bond films were trendsetters only
at the earliest stage of their existence, and then they
sort of became cultural wallpaper. And there's nothing wrong with that,

(52:24):
but that, you know it, they didn't they didn't have
the immediacy of a you know, I don't know what
of like the thing the pop culture phenoms that that
burned white hot for a minute or two before they
faded away. Sure, so, for example, Rambo was huge in
the mid eighties, right, but by the late eighties, Rambo

(52:47):
had already burnt out. And I think by that time
what the Bond folks figured out is slow and steady, man,
just keep doing your thing.

Speaker 1 (52:55):
Yeah, And the reinvention seems to work. I mean, this
was the first Bond movie to grow over one hundred
million domestically over three hundred million worldwide, and then you know,
there's maybe a little diminishing returns after this, and well,
but but then when the Craig one happens, and that
one comes out of the Gates strong and you know
what I mean, like they keep finding the reinvigoration always

(53:16):
seems to work for them.

Speaker 3 (53:18):
I think Brosnan has the unique distinction that each of
his movies made more than the last.

Speaker 1 (53:24):
Did they really oh okay? At least in terms of reception? Though,
weren't they a little bit more reception?

Speaker 3 (53:31):
I would offer? And maybe this is this is a controversial,
Maybe folks listening will disagree. Personally, I think I think
To Our Never Dies is a stronger movie than this one.
That's just my opinion. But but you know, his movies
are a variable quality, but he's never bad in them, Brosen,
And I think that helps great And I do feel
I feel I've said this before or that that you know,

(53:52):
he should have gotten at least one more just to
he should have been able to wrap on his terms.
I think he can deserve that. It is what it is.
Here's Chuckie Carrio as Secretary Michigan. He was the bad
guy in Bad Boys the same year and as we

(54:15):
record this, he just passed away about a month ago.

Speaker 1 (54:19):
Yeah, oh funny, I didn't notice that.

Speaker 3 (54:22):
Yeah, yeah, he was also in The Patriot, you.

Speaker 1 (54:24):
Know, yeah, yeah, man, that's a movie I haven't seen
in a long time.

Speaker 3 (54:29):
So in the initial drafts of this character, Secretary of
Michigan was written to be General Pushkin, who was a
character in The Living Daylights played by John Rayce Davies. Okay,
but I think as they went on they were probably
you know, they probably wanted to make the connections less
overt between the films, you know. Like I said, I

(54:50):
think there's this unfair sense of like, oh, the Dalton
era is just a big failure. We just want to
ignore it, which which is a shame. I would have
liked to see more connection, you know. But it's not
like the it's not like there's always been strong continuity
between the Bond movies anyway.

Speaker 1 (55:04):
Sure, well it's hard too because I mean, in the moment,
maybe you make harsher decisions, yeah, you know, feeling some
sort of scrutiny or yeah or something. But like, yeah,
when we can look at these thirty years later as
more of a whole, you think, like, oh, it'd be
nice if this connected, this could connect, Yeah, if they

(55:26):
had been willing to take that risk.

Speaker 3 (55:28):
Call it a force awakened syndrome where we don't want
to acknowledge the prequels in any way.

Speaker 1 (55:36):
Right, But now you're like, oh, it'd be nice if
they acknowledge the prequels, right exactly?

Speaker 3 (55:41):
You know, Yeah, we just saw real quick Michael Michael G. Wilson. Yeah,
one of the one of the people there. He has
a cameo in every movie. Oh gosh, I don't know
if his cameo started at this one. I don't think
they did, but.

Speaker 1 (55:57):
But I read somewhere it goes all the way back
to Goldfinger.

Speaker 3 (56:00):
Oh, as a little kid, is that right? That would
be I mean he would have been. He would have been,
he would have been like a teenager right when Goldfinger
came out.

Speaker 1 (56:09):
I don't know, because then it said he he wrote
screenplays for the Yeah.

Speaker 3 (56:13):
Later like into the eighties, like he co wrote I Believe,
License to Kill. So Desmond llewell And as Q. This
his appearance here makes him the only cast member to
carry over he started in For Your Eyes Only, No No,

(56:34):
Sorry Sorry, From Russia with Love he started, so Q
was played by a different actor in the first film, right,
and then and then Desmond luell And came in with
with From Russia with Love. And it's interesting because Q
gets older, Bond gets older, older, older than younger.

Speaker 1 (56:54):
Yeah, yeah, it's interesting that the decisions of what to
carry over and what.

Speaker 2 (56:59):
Yeah.

Speaker 3 (57:00):
Yeah, I mean I think had they not brought Desimon
Llewellen back, I think a lot of folks would have
been sad because he was so beloved in the role,
you know. But you know, his relationship with Connery was
very sort of contemptuous, you know, really sorry, his relationship

(57:21):
with the Connery.

Speaker 1 (57:22):
Bond I should say Connory Bond.

Speaker 3 (57:23):
Oh, I see, yeah, And I'm sure the actors got
a long fine, but like it was like doublo seven, Yeah,
don't joke about my work kind of thing. And by
the time we get to Brosnan, it's almost like a
mentor relationship, you know. Yeah, you know, his his last
appearance was in the World Is Not Enough, And you know,
that's that's the one that introduces John Cleeese as his

(57:45):
associate who's gonna take over? You know, And and Bond
is telling Q like, well, you're not retiring, are you?
And he's like, I've always tried to teach you two things,
you know, And I'm like, is this this very heartfelt
mentor moment, you know? And it's weird because that film
world is not enough functions as a you know, somewhat

(58:07):
emotional goodbye for the character. But it wasn't intended to
be that he had planned to come back. He died
in a car accident shortly after that movie came out.

Speaker 1 (58:15):
Wow, you know, let's cool. I love the comedy happening
in the background here too.

Speaker 3 (58:24):
It's so funny. Now, no this right here where he says,
don't touch that, that's my lunch. The cut is very weird,
like it doesn't it feel like the cut very fast right,
Like that seems like a you'd have like a split
second to hold on that joke.

Speaker 1 (58:40):
You know, it's funny. I actually spent time thinking about
it when I watched this the other night, and I
wondered if it's like they didn't want they wanted the
you know what I mean, Like if they lingered on it,
it might slightly deflate it. If it's a really hard
punt that's my lunch, then you just kind of laugh
and quickly or something.

Speaker 3 (59:01):
But you know, if the goal of the edit is invisibility,
I think they failed there.

Speaker 1 (59:05):
It does You're right, it does call attention to itself
a little bit.

Speaker 3 (59:08):
There's another moment like that later when when Natalia meets
Boris at the church. I had that same reaction where
the edit was very odd to me. I'll point it out,
call that out.

Speaker 1 (59:19):
Yeah, by the way, I looked up out of curiosity
because I was like, I want to get this right.
Michael G. Wilson, Yeah, he was in Goldfinger.

Speaker 3 (59:26):
Yeah, he's always like a teenager though, soldier at Fort Knox.

Speaker 1 (59:29):
Okay, he has all these roles like spy, who love me,
man in audience at Pyramid Theater, Yeah, you know for
your eyes only, Greek priest at wedding.

Speaker 3 (59:37):
Yeah. So so for those listening you don't know. So
Michael G. Wilson, who from this point until no time
did I was the co producer of the series. He
was Albert Brockley's step son and and you know, so
so he had been brought into the essentially the family
business very early. And you know, it is extraordinary how

(59:59):
this really was the family business. And yeah, this big,
you know, behemoth of a franchise, and yet it was
closely held by this small group of people, you know,
mm hmm. So Jodn Baker, this is the same year
he was he was being evil mc evelman in Congo, right, right.

(01:00:23):
He was also the villain in The Living Daylights.

Speaker 1 (01:00:27):
Oh oh, that's kind of interesting.

Speaker 3 (01:00:30):
Yeah, they did that a lot in the Bond film,
so they would just bring folks back and haven't played
different roles. You know. Now, this character Jack Wade, feels
very very Felix Lighter, you know.

Speaker 1 (01:00:41):
I was expecting him to be Felix Lighter.

Speaker 3 (01:00:43):
Yeah, And that's kind of interesting because Brosman is the
only Bond well like okay, other than lazenbe who doesn't
get a Felix Lighter at least one, you know. And
I was wondering why, and then I realized that, well,
at the end of License to Kill, Felix has lost
a leg because he was, you know, due to the

(01:01:05):
events in that film. So maybe he's just laid up,
you know, although I mean they could have had a
prosthetic or something. But regardless, he's he's essentially playing the
Felix role.

Speaker 1 (01:01:14):
Yeah, right, And he.

Speaker 3 (01:01:15):
Shows up in Toward Ever Dies also.

Speaker 1 (01:01:18):
Okay, yeah, I remember that too. The whole hey Jimbo
yep kind of thing. Just fun like it. I like
that because it's like in Bond's world, he is the coolest,
sexiest whatever guy. But it's just funny to see someone
enter his orbit. Yeah, and she's like, oh, what's up, Jimbo. Yeah,

(01:01:39):
you know, it's like the whole world is this cool
sexy place? You know. Oh okay, what were we gonna say?

Speaker 3 (01:01:47):
Uh No. I was just between this and Congo, I
was thinking, you know, that's that's the character actor's life.
It's not a bad not a bad life. If you're
working actor. Oh man, you get plugged in, you play,
you play certain type and you.

Speaker 1 (01:01:58):
Know, yeah, people know what to.

Speaker 3 (01:02:01):
Expect from you.

Speaker 1 (01:02:03):
I thought this was funny the way that she needs
to get on the Internet and then she has to
do this whole elaborate rouse yeah, where it's like just
you know, I mean I probably didn't even have an
email address when this movie came out, so it's you know,
the internet was still sort of an exotic thing, I suppose.

Speaker 3 (01:02:21):
Yeah, now it would be like any given internet cafe.

Speaker 1 (01:02:25):
Yeah, or even she could I mean she probably wouldn't
her character, but you could just steal a phone, you know,
or something.

Speaker 3 (01:02:33):
Well, this really, when you think about it, this was
the first film in the Bond series that you know,
utilized computers as a device in your home, and the
Internet as like part of the story, you know, the
whole the whole final plot involves you know, electronic transfers,

(01:02:54):
you know what I mean. Yeah, yeah, back then, it
was like a whole new thing.

Speaker 1 (01:02:58):
I mean, it's it's yeah, this is the same here
that that Sandra Bullock movie The Net came out, that's right,
you know, where she's like a weirdo for being obsessed
with the Internet. And I didn't have the Internet at
the time that movie came out, and I just believed,
or actually I think I remember finding it a little silly, like, oh,
she can do all this stuff with her computer. I'll
never forget nineteen ninety five being in the theater watching

(01:03:19):
her order a pizza over her computer and thinking that
was silly, you know.

Speaker 3 (01:03:25):
And now I literally, writers, if you're not taking this seriously,
I'm out here.

Speaker 1 (01:03:29):
I'm out yeah. Yeah. But it's yeah, it's ahead of
its time in some ways.

Speaker 3 (01:03:36):
I think the most unbelievable part of that movie is
that the movie they want you to think Sandra Bullock
is some freaking weirdo.

Speaker 1 (01:03:45):
Yeah, some frumpy homebody yuah ew her you know kind
of character for all those people in that movie. And
it's like, what, she's a regular Lainey Bogs. Yes, m
but take those glasses off. Have you seen her?

Speaker 3 (01:04:08):
She's all that.

Speaker 1 (01:04:12):
Wait, I'm excited. Where's Where's I want to see this cut?

Speaker 3 (01:04:15):
Yeah, I don't know. It strikes me as because because
she's here at the church to meet to meet Boris,
right and and there's because at this point we don't
know that he's he's one of the baddies. Yep. We
know he's a bad person because he makes sexist comments
and whatever. So and and by the way, Isabelle Scrupco,

(01:04:39):
she was in Vertical Limit, also directed by Martin Kin.
So right here, look at this so right here, and
then and then as Enny on the top comes up,
and then that's it. It's a weird it's it's too sudden.
We don't sit with that for a second.

Speaker 1 (01:04:58):
You know, I wonder if maybe they're was more to it,
and then they.

Speaker 3 (01:05:01):
Just I feel like we needed to cut to a
reaction on Boris or on her.

Speaker 1 (01:05:08):
Sure sure like she turns, she looks at Boris.

Speaker 3 (01:05:11):
We get we get we get a wonder on him
where he's like kind of evil smile and then we
cut something like that.

Speaker 1 (01:05:18):
I totally see what you're saying. I do wonder. I
wonder if that scene might have gone on for three It.

Speaker 3 (01:05:22):
Feels like they they yeah, they didn't get something usable
or whatever.

Speaker 1 (01:05:27):
This is so random, Mini Minie driver. Yeah, I mean
this is before I was aware of her. I don't
really you know, early in her career, let's say. But yeah,
such a interesting cameo, right, And I think I read
that that's not even her voice singing.

Speaker 3 (01:05:45):
I believe that. Yeah, was this before that movie? Was
it called Circle of Friends with Chris O'Donnell.

Speaker 1 (01:05:52):
Hmmm, I'm not sure. I'll have to let you look
that up. Actually, Goodwill Hunting is two years I think
after this.

Speaker 3 (01:05:57):
Yeah, Goodle Hunting is ninety seven. So yeah, I think
maybe it was just it wasn't even a cameo. It
was just she's a working actor and just yeah, he
needs a part, you know.

Speaker 1 (01:06:07):
I guess that's one of those things right where now
I'm familiar with her in a different way.

Speaker 3 (01:06:12):
So Circle of Friends was the same year, it was
earlier this year.

Speaker 1 (01:06:16):
M okay those have you have you ever seen that?

Speaker 4 (01:06:19):
No?

Speaker 3 (01:06:19):
I just I remember that, like the TV spots that
was back when like Chris O'Donnell was being positioned as
the next big thing right right right right, and then
and then Batman ruined his career for ever. Awhile he
hit it. Okay, he did fifteen seasons on one of
them n CIS shows, like.

Speaker 1 (01:06:34):
Oh yeah, yeah, he found his his groove.

Speaker 3 (01:06:38):
And I think he's on a nine one one show now,
so he's doing all right.

Speaker 1 (01:06:41):
Oh man, that's becoming one of those sort of CSI
and CIS right whatever sorts of shows, right, Like there's
some spin offs of it. You get all these actors,
Rob Low, Jennifer love Hewitt, those kinds of people get.

Speaker 3 (01:06:53):
The to a procedural I say it all the time.

Speaker 1 (01:06:55):
Yep, yep.

Speaker 3 (01:06:57):
So Robbie Coltrane has valentins and coughs. The late, the
late Robbie Gold. Yeah, that's forgotten that he passed away.
He would of course go on to become beloved to
you know, several generations, as as.

Speaker 1 (01:07:11):
Hagrid Yep, yep.

Speaker 3 (01:07:12):
But he came back for the world is not enough mmm.
And I do like that with these films. With certainly
during the Brasenian era, they did try to have little
bits of connective tissue to show that you know, he's
got he has a supporting cast.

Speaker 1 (01:07:32):
Yep. I like that, you know, build out the world
a little bit people.

Speaker 3 (01:07:36):
Yeah, I think it helps, you know, because one thing
that always bugged me about the earlier films is that
even though Felix Lighter appears in you know, probably two
thirds of them, it's a different actor every single time.
It's real weird, you know, because that's that's one of
those things Like for me during the Daniel Craig era,
I liked that we you know, Felix isn't three of

(01:08:00):
those five and so when when his character dies and
no time to die, it means something a little bit,
you know, Yeah, because we built up that relationship. You know.

Speaker 1 (01:08:11):
It is interesting the continuity of this series, isn't it.
You know, like the certain things like the actors that
carry over, characters that carry over, but then certain things
get recast or you know, reinvented, or there really isn't
like a consistency to it.

Speaker 3 (01:08:29):
Yeah. Well, you know what's funny is that I think
I think people trying to pin an exact chronology on
the Bond series are just asking to just get a
hole in the head, you know, like you're going to
create a singularity where everything gets sucked in. Because I

(01:08:49):
don't think you're meant to think that deeply about it.

Speaker 1 (01:08:52):
I was gonna say, I feel like that's something more
recent in the culture. Yeah, you know, I mean there
are people always or obsessives or whatever, I'm sure throughout
the day, but they didn't have the Internet to converse
or feel like they were legion, you know what I mean. Yeah, Well,
like or that they could influence and make the filmmakers
feel bad about their decision making.

Speaker 3 (01:09:13):
That that is new, that's unfortunately, that is new and bad. Yeah,
But like in In On Her Majesty's Secret Service, which
is the first one without Sean Connery, right, that's George
Lazenby the first scene, we have an action sequence and
then you know, the girl runs away, she drives away
lasenb Bond watches her driveway and says, well, it's never

(01:09:33):
happened to the other fellow, right, And to me, I'm like, oh,
that's funny, right, right right, And it's clearly the filmmakers
are like, we do we want to explain this? Do
we want to say Bond had plastic surgery or no,
let's just hang a lampshade on it, crack a joke.

Speaker 1 (01:09:49):
And move on right, right, right right.

Speaker 3 (01:09:51):
To me, It's like in Iron Man two when the
first time we see don Cheedle as Roadie, and Tony
goes up there and says, hey, I didn't expect to
see you here, and Rody says, hey, it's me. I'm here.
Let's deal with it. Move on right. That's a perfect
way to handle it, right, right right. And so anybody
who who takes lays and bees this never happened to

(01:10:15):
the other fella is like, oh see, it's proof it's
a different guy. You know. No, no, no, you're doing it wrong,
you know, right to me. And maybe it's because I
grew up reading comic books, right like Marvel. Comics has
history going back to you know, at least the early sixties,
if not earlier. And obviously it's not moving in real time,

(01:10:37):
so we just say, well, that happened then and this
is now. So don't put a date on it. You
just say, oh, you know, I fought Venom, you know,
a few months ago or whatever, you know, September of
eighty nine, you know. And I think that's the best

(01:10:59):
way to look at Bond it's like comic book time.

Speaker 1 (01:11:02):
M hm.

Speaker 3 (01:11:03):
So time moves on, but it's just it's elastic, you know. Yeah, yeah,
I fought uh Blofeld a few months ago, you know, right,
right right. I think that's the best way to look
at it because otherwise, you know, because even the time,
the timely references, you just have to sort of view

(01:11:26):
it as it's not a marker in time. It's just
a texture within the story. M hm. So like in
Goldfinger when Bond is like, well, if you drink this
said this, it's like listening to the Beatles without wearing
ear muffs, right right right, which is ridiculous, right, but

(01:11:46):
you just roll with it. It says he's just making
a reference to fill in the blank music, you know. Yeah,
it's like sims time, Simpson's time.

Speaker 1 (01:11:57):
Yeah, yeah, exactly exactly. I was funny with the Beatles.
I was picturing like deal Craig being like bye bye bye,
you know, like yeah, you know he's think or something.
Was he shoot somebody?

Speaker 3 (01:12:06):
But that's kind of it would be like in Casino
Royal making a joke about Taylor Swift and how she
sucks or whatever, and then like, you know, twenty years later,
it's like, well, no, she's a beloved artist, and now
that's just a weird, awkward piece of like that's a
reference that doesn't fit anymore. You just roll with it.

Speaker 1 (01:12:25):
Yeah, yeah, you know it's funny because normally I'm kind
of opposed to that, because I'd prefer movies to feel timeless.
But in a series that has spanned this much time,
there's something kind of what are you going to novel
about it? Like kind of fun to see the markers.
I mean, you don't want them to lean in one
hundred percent.

Speaker 3 (01:12:42):
You know. You know what's funny is I look at
the MCU, for example, and I feel like they're doing
themselves a disservice by being so locked into specific dates
and times, you know, cause like if some of these
movies will be like, oh, this happened in nineteen eighty five.

Speaker 1 (01:12:58):
Y oh sure, sure, sure sure.

Speaker 3 (01:13:00):
And I'm like, why not just say this happened thirty
years ago, right, right? And whatever that thirty years ago is?
Whenever you're watching it, it's thirty years ago.

Speaker 1 (01:13:07):
Yeah. But I just want to be clear, I'm not
saying that I want Bond to make pop culture references,
not at all, actually, right, but I do like that
the movie. I mean through the singers doing the opening
song and you know, the attitudes in tone. I do
enjoy seeing them as you know, markers in time absolutely well.

Speaker 3 (01:13:28):
And it is funny that you know you've got in
nineteen sixty three, it's like, oh, I'm listening to the
Beatles without earmufs. And then you know, less than ten
years later you've got Paul McCartney doing Yeah, you know,
one of the best songs in the whole series.

Speaker 1 (01:13:43):
That's a great point. I even thought about that. How funny.

Speaker 3 (01:13:48):
Oh he's back, Sean Bean or as I call him,
scene Bean or Sean Bond. I don't know what.

Speaker 1 (01:14:01):
Oh, by the way, that whole Sauna fight I read
Fumpka Jensen said in an interview that she broke a rib,
and you know, it's funny when you watch it, it
is kind of like sexy and fun and then like tussling,
you know, and slamming into walls, but you really think
about in real life, You're like, damn, that would hurt,
you know, like these like marble floors and walls and

(01:14:22):
they're just like ramming into them, Like yeah, that's one
of those things, you know, the movie does a good
job of selling it this is fun, sexy, danger or something,
but like in real life, yeah, that stuff would really suck,
you know. And also at the beginning, you can see
when Bond is swimming in that little pool, you see
like an attendant sitting in a chair, and I was thinking, like,

(01:14:44):
what in the world is she thinking with them, like
like you know, him throwing her over his shoulder, like
she's just sitting there, Like I get to go home
in an hour.

Speaker 2 (01:15:00):
Now.

Speaker 3 (01:15:00):
This is Bond seventeen, and in seventeen movies, this is
the first time we've had an m I six agent
go rogue. M oh okay, And I'm just like, you know,
the Impossible Mission Force could take some lessons from these cats,
cause cause they got rogue agents coming out of the
every orifice.

Speaker 1 (01:15:19):
It feels like totally totally or it makes me think
of like twenty four. It was like every season is like,
all right, who's the mole?

Speaker 3 (01:15:28):
Now? See what I was thinking while watching this is
like at this point, Sean Bean is like a familiar
enough face that when you watch the opening you probably
have some sense, well, he's probably gonna come back. But
I was like, I was trying to remember. I was like,
did people was it a good swerve when this movie

(01:15:50):
came out?

Speaker 1 (01:15:52):
Yeah, I was too young, you're right, like at the
time to really have an idea about him.

Speaker 3 (01:15:57):
I think, yeah, we were still six years away from
one of the most emotional movie deaths of all time.

Speaker 1 (01:16:07):
Oh the best, the best.

Speaker 3 (01:16:12):
Closing time Jane referring, of course, to a Lord of
the Rings.

Speaker 1 (01:16:17):
Amazing.

Speaker 3 (01:16:19):
Yeah, I saw a meme somebody who's like my wife
gave birth without medication, and now she has some sense
of what it was like to watch Borimir die. That's hilarious.

Speaker 1 (01:16:41):
I do like this jump here with him being knocked
out and then her screaming wake up.

Speaker 3 (01:16:47):
You know, I think I found her screaming so off
putting that maybe that's what has retroactively made me dislike
her character. Lady, What did ease into this?

Speaker 1 (01:16:57):
There's a real ugliness to her screw, like a desperation,
which maybe I kind of like, like.

Speaker 3 (01:17:03):
See, I'm the opposite. I'm like, listen, we can still
remember our manners even if we're moments from death.

Speaker 1 (01:17:11):
Well, if she had been British, then he'd be like, please, sir,
I imploy you.

Speaker 3 (01:17:16):
If it was Karen Niley. She'd be like, oh, I
wake up, we tripped, we are we are.

Speaker 1 (01:17:23):
Wait she's in a Jack Ryan Randy.

Speaker 3 (01:17:28):
Does I have Sean Bean in it? Different one does
Patriot Games as Sean Bean.

Speaker 1 (01:17:33):
Oh I'm screwing it up.

Speaker 2 (01:17:34):
Yeah.

Speaker 3 (01:17:35):
Yeah. That was two years before, three years before this.

Speaker 1 (01:17:37):
Yeah.

Speaker 3 (01:17:38):
When was that ninety I think it was ninety one.

Speaker 1 (01:17:41):
I think ninety one, ninety two something like that. That's
when I started because Harrison Ford was in it and
I was like, oh no, actually I saw him for October.
But I was like, what's this all about? It's funny thinking.
I was like eleven or twelve, and I was like
wanting to read these Tom Clancy novels, which I did.

Speaker 3 (01:17:59):
I We've talked about this before. I found them impenetrable.

Speaker 1 (01:18:02):
Oh dude. I remember I got to some of All
Fears first because it wasn't a movie I had seen,
and I was like, dude, it was like bigger than
the Bible. I was like, this is and it was
all about you know, the specs of you know, submarines
and helicopter. I was like, okay, And so then I
think I watched Patriot Games and then the book was

(01:18:22):
actually a manageable amount of pages. And I did read
that and I did enjoy it, and you know, I
don't know I went on with the movies, but I
don't think I did with the books. Grisham was the
one who like that I could manage and really enjoy it,
and I went like down the rabbit hole.

Speaker 3 (01:18:37):
With those books. Are Patriners? Yeah, yeah, those are great?
So we did. We talked about I just want to
mention they're they're trapped in the helicopter and then there's
this big red ejector button that bond rams his head into. Yes,
And I don't know if that's real, but it seems
like a really bad place to put your ejector.

Speaker 1 (01:18:55):
Button, dude, if you have any turbulence.

Speaker 3 (01:18:58):
Yeah right. I'm like, it just seems like bad design,
you know.

Speaker 1 (01:19:03):
Yeah, maybe it's a prototype and it's something a bug.
They'll work out eventually, but I do. I do like that.
I like them being stuck. I like everything about that scene.
I like it beginning with her already like mid panic,
him like having to figure out where he is and
what's going on, seeing that they have like seconds left,

(01:19:23):
and him having to you know, come up with something fast.
And even though it is ridiculous that button is there,
I do love it. Like he doesn't have his hands,
so he uses his head hit the ejector. That reminds
me of die Hard to actually a little bit.

Speaker 3 (01:19:33):
See. I think the rest of the movie he should
have this big red like in his the middle of
his forehead, you know that.

Speaker 1 (01:19:40):
Yes, And he should have been woozy for the rest
of the movie.

Speaker 3 (01:19:43):
Yeah, yeah, like slightly off.

Speaker 1 (01:19:45):
His game where he thinks.

Speaker 3 (01:19:46):
There's two herds over his head.

Speaker 1 (01:19:48):
Yes, that would have been an you know, it's like
the movie or that trope where someone like gets high
so then they're high for like thirty minutes in the movie,
it's like he's like got a bump on his head
and he's like h his way through the rest of
this adventure.

Speaker 3 (01:20:02):
I think, actually, it would be even funnier if he's
he's exactly the same, he's swave Bond, but he's just
got this big dent in the mid.

Speaker 1 (01:20:09):
He's like a stone bump and she's like, I don't know, Bond,
I really feel like we should go to an urgent care.
I'm fine this huge bump. Yeah, And then she like
at the end, like oh, behave bond this something but

(01:20:29):
like bumps the bump, you know, and she's like having
to awkwardly maneuver around it to get to his lips.

Speaker 3 (01:20:36):
Or it's that cartoon thing where you press the bump
in and then it grows somewhere else on his neck
or something.

Speaker 1 (01:20:48):
Yeah, you know, and she's just like.

Speaker 3 (01:20:58):
Man, I love that. So the video game that came
out in ninety seven.

Speaker 1 (01:21:05):
Oh this is we got to talk about this.

Speaker 3 (01:21:06):
Yeah, for N sixty four. So you know I never
had an N sixty four, right, So I worked at
Montgomery Ward, I worked at Electric Avenue, and so I
had the demo. You know, we had the demo unit
so you could play about whatever, like like eight minutes
of it. You know.

Speaker 1 (01:21:24):
Oh it wasn't the demos, weren't just the games.

Speaker 3 (01:21:29):
Not the one we had. Yeah, it would it would
like reset after a certain amount of time.

Speaker 1 (01:21:33):
I think.

Speaker 3 (01:21:34):
I think because they didn't want you just standing there
playing forever.

Speaker 1 (01:21:37):
That's a great point. I never thought about that.

Speaker 3 (01:21:38):
But yeah, yeah, but did you have an N sixty four?

Speaker 1 (01:21:42):
I did, which, by the way, I just to reminisce
a little bit, that reminds me. I forgot about that
going to the mall and there would be a Nintendo setup,
and I remember like a group of kids and you
kind of you know, there was like a decorum to it.

Speaker 3 (01:21:56):
You know.

Speaker 1 (01:21:56):
Some kid would play for a little bit and then
be like, Okay, oh well there's a bunch of kids here,
I give this up, and then like the next kid
goes in and gets to play.

Speaker 3 (01:22:03):
Wow.

Speaker 1 (01:22:03):
I forgot all about those days. But yes, I didn't
have every Nintendo, but I did have a sixty four
and GoldenEye was seminal. I mean that was like a cue.
I mean in many ways. I mean for me, it
was an enormous game, and it lingered for a very
long time. I mean, like you said, it came out
in ninety seven, but I remember being in college and
we would still be playing GoldenEye, like it aged really

(01:22:25):
really well. I bet it would still be fun now.

Speaker 3 (01:22:28):
Yeah.

Speaker 1 (01:22:28):
But it was very innovative, right, Like it was developed
by these people who didn't have a lot of experience
designing games, and that's what worked for them. Like they
were just like, wouldn't this be cool? Wouldn't this be cool?
What if we tried this? They didn't know they couldn't,
or they shouldn't, and so they came up with you know,
there were games like Doom and things that were these
three D shooters, but they just refined it in such

(01:22:48):
a way, and then they came up with that battle mode.
Also there was the narrative ultiplayer mode, yeah or yeah multiplayer,
and you would be it was a elaborate you know,
you would go through the sets from this movie, the
locations and have to find one another, and you could
pick your weapons, you know, and it was just it

(01:23:09):
was just so different than anything of that time. Now
it feels like a lot of games are really like
indebted to the innovations of that game. You know.

Speaker 3 (01:23:18):
Yeah, they did. They did the thing where they had
like they facially mapped real people onto these three D
constructs and.

Speaker 1 (01:23:27):
They look like, you know, out of nightmares, be fair.
But at the time it was kind of.

Speaker 3 (01:23:32):
Nat I mean, I mean, that was what we had
and and you know, it was exciting. It was it
was the thing. It was one of the things that
allowed us to get to where we are now, you know,
and so you have to appreciate it its role in that.

Speaker 1 (01:23:46):
One percent, but I mean we would do those Yeah,
the multiplayer thing and the I mean just for Through
the Night right, you know, in college, like it was
just it was a blast. I love that game. You
I mean, did you play it ever? Get to play
it beyond that demo?

Speaker 2 (01:24:04):
No?

Speaker 3 (01:24:04):
I never did.

Speaker 1 (01:24:05):
Oh no, okay, yeah yeah, next time you're down, I'm.

Speaker 3 (01:24:07):
Shy, I may need to. Yeah.

Speaker 1 (01:24:09):
Yeah.

Speaker 3 (01:24:11):
I remember Jimmy Fallon had Pierce Brosnan on his show
relatively maybe in the last ten years or so, and
he had a bit where they played Golden Eye together.
Oh fun, and one one presumes that Pierce Brosi did
not actually play the game.

Speaker 1 (01:24:26):
But you know what was cool about it too, was
I remember you you know, you get these different machine guns,
like the Clob. I remember living the Clob machine gun,
and you could shoot this when we're looking at here,
this archive or whatever they're running through. I remember this
was a level and you could shoot stuff. You could
shoot the wall and you would see where the bullets
hit and it was bullet holes.

Speaker 3 (01:24:46):
Yeah.

Speaker 1 (01:24:47):
Yeah. It just you'd never seen anything like that before,
and so it was just one of the most immersive
adventure video game experiences, you know, and up at that moment,
there's been nothing like it.

Speaker 3 (01:25:02):
So I love this bit right now that we just
saw where he pulls out his belt and she's like,
the hell you do? Trust me? I love the One
of the tropes of the Bond films is Q gives
him his gadgets, and those specific gadgets that are gonna
end up being handy. He's never like, man, I wish

(01:25:23):
I had the thing from two movies ago right now. Actually,
they'd be a good gag, right, Yeah, it's it's one
of the best examples of the plant you know you
plant early on. Hey, this is gonna come into play.

Speaker 1 (01:25:40):
Yep, here's a pen, you know. I hit it three times,
you know, and you activate the bomb.

Speaker 3 (01:25:46):
The pen gag, which I love, which we'll talk about
when you get there real quick. I would have mentioned
the music in this sequence, kind of underscoring the point
I was making earlier about how the music score by
Eric Sarah doesn't really do much. This sequence was actually
scored by another composer named John Altman Ah. And I

(01:26:07):
think it's it's the most memorable. It's probably the most
memorable action sequence in the movie in my opinion. That's great,
and and the music does so much mm hmmm, because
there's just something about hearing those horns and that great
Monty Norman James Monty Man, it just does it.

Speaker 1 (01:26:24):
You know, this scene is incredible. I mean beginning with
him using the belt and we're seeing a stunt guy
literally swing through a window yea, and then crash land
onto the top of a truck and you're like, oh
the hell looks like it hurts, you know, but it
feels really visceral, the glass breaking all around him. And
it's captured very well too, you know, it's worth noting.

Speaker 3 (01:26:47):
And it's it's you know, it's fantastical, it's farcical to
some extent, and yet it exists in a real world, right,
And there's this pusiness that play right exactly. There's driving
through a building and that's really happening, you.

Speaker 1 (01:27:02):
Know, yeah, and just collapsing all this stuff around it.
It looks amazing and big and oh that was an
incredible shot. I always love the kind of old school
looking shots where there's a splash of light over people's
eyes and then that one quick moment of him inside
like chasing after them, determined and the splash of light

(01:27:22):
across his eyes. It's so dramatic. But yeah, all this,
you know, there's a weight to it. It feels dangerous,
it feels expensive, it feels destructive. There's something visceral about
it that you just can't replicate no matter how much
you know. Nothing against CG. I really mean that, but
like when they rely one hundred percent on it to

(01:27:43):
be the exciting part.

Speaker 3 (01:27:45):
This sequence really does feel like something you would see
in the Christopher mcquery Mission Impossible movies. Yes, and that's it, right,
Like that's.

Speaker 1 (01:27:53):
A great point. You know, you're you're so right, yep.

Speaker 3 (01:27:58):
I mean this seems like something out of you know,
Mission Possible Fallout or something.

Speaker 1 (01:28:02):
You're you're one hundred percent right, it really does, you know.
And I was even like, I mean, it should be obvious,
but part of me was like, Okay, those buildings can't
be real, or at least they built extensions for him
to drive through. But how are they doing this? And
it turns out, you know, it's a mix between shooting
in a real city and a backlot, but I think
it's seamless.

Speaker 3 (01:28:23):
I yeah, absolutely, you know sort of.

Speaker 1 (01:28:25):
You like to joke and it's hilarious because it's true.
But in Batman eighty nine, how basically that batmobile chase
is just them circling around a block because that's all
they had, you know, and it's filmed really well. But
if you're like really paying attention, you're like, oh, he's
just kind of going in a circle because there's nowhere
else for him to go. But this you would never
think about any of this being a backlot.

Speaker 3 (01:28:50):
Yeah, I think, yeah, it does the trick in that regard.

Speaker 1 (01:28:55):
Yeah, And you know, there's like a I don't want
to call it a trick, but like a style that
Campbell's employing that I love that. I notice a lot
which is he's got the action, but there's a lot
of things flying in front of the screen, you know,
like there's right like there's you know, cars that are
ahead of him that are an extreme close up going

(01:29:16):
like trying to get out of the way as our
attention is actually on the see right here, right here.
But it adds like a real i don't know, like
a visceralness, a vitality, an urgency like this is really
happening and things need to get the hell out of
the way. And I think about that a lot in speed.
That happens a lot in speed, and it just feels
like a lost style that people don't employ anymore. And

(01:29:39):
I really do feel like it heightens things a lot.

Speaker 3 (01:29:43):
Yeah, well we're talking about pretty much. This era right
here was like the demarcation point where CGI wasn't available
and ubiquitous enough to just overtake everything. So people had
to work within limitations and find workarounds, and I think
that allows a lot of these films to stand the

(01:30:04):
test of time better. You know.

Speaker 1 (01:30:06):
Yeah, this is such a great gag too, statue on
top of it and very funny.

Speaker 3 (01:30:11):
Yeah, just just just a trail of chaos. Yeah, there's
that splash the light you're talking about it.

Speaker 1 (01:30:19):
Yeah, I mean I thought about the other night, but
I didn't really look.

Speaker 3 (01:30:24):
At this right here though. I love that.

Speaker 1 (01:30:26):
Yes, that's what I again, that's that's why he's my bond.
This is the bond that I like. This is the tone,
so like, it's this tone.

Speaker 3 (01:30:35):
It's so interesting because because yeah, that that was it's
sort of the the the unflappable man of action, right
and and this isn't a better worse thing, but it's
a different approaches. Uh. Daniel Craig took almost the exact
opposite approach, sure, where you got a sense of his angst,

(01:30:58):
you know, It's interesting because I think that's a great thing.
I think the character allows so many different entry points. Sure,
and that's why you can have you can you can
stack all of these alongside each other and be like,
you know, I like how Brosman did this. I like
how Roger Moore did this. You know, I like all
the diversity of approaches to playing the character.

Speaker 1 (01:31:20):
And it does feel like the Craig Bonds took the
note eventually, Like I remember that one moment when he
gets on that train in a really destructive fashion and
then he like checks his cuff link.

Speaker 3 (01:31:34):
Yeah, yeah, you know that was great. Yeah, yeah, I
like that. Yeah, yeah, that was in Skyfall. Yeah.

Speaker 1 (01:31:40):
But you know, I would say I remember watching Casino
Royale with you for a commentary, which I hadn't watched
in years, and I was like, I think this is
one of the best action movies of the twenty first century.

Speaker 3 (01:31:51):
Agree.

Speaker 1 (01:31:53):
I still feel that way. And I would say, you know,
a lot of times when directors are gonna make a movie,
they'll watch older movies, for instance, Vration and you know,
Spielberg famously watches Lawrence of Arabia every time before he
starts a movie. And I would suggest action directors watch
Casino Royale and at the very least watch that Tank Chase.

(01:32:13):
I think it's a really non showy but one hundred
percent brilliant and effective way to capture action.

Speaker 3 (01:32:23):
Yeah. Yeah, you know, as as we record this, you know,
all we know about the next Bond twenty six is
that Dennis Villaneuve is directing it. Anything else. And as
much as I'm excited by Dennis Villaneub directing, I think
I think before he signed on, I was not particularly
excited about the next one because the Broccolis are no

(01:32:44):
longer involved. Doesn't feel like the same thing anymore. Sure
he signs on, I'm excited, but I don't know what
an action movie looks like from him. Yeah right, yeah,
because the closest he's gotten to action to me is
like Sacario, which I don't think of that as an
action movie per se.

Speaker 1 (01:33:02):
You know, same, Yeah, he's big with grand epics. Yeah,
so to be interesting, Yeah.

Speaker 3 (01:33:08):
Like, I'm very interested to see what he does. But
I'm curious, you know, because because what's what's interesting to
me about Martin Campbell. You can take GoldenEye and Casino
Royale and they are different enough in certain areas that
if you told me they were different directed by two
different people, I believe you.

Speaker 1 (01:33:25):
Yeah, yeah, right, because because.

Speaker 3 (01:33:27):
I don't think he puts a particular authorial stamp other
than just being able to stage these sequences very well,
you know. And and I think I think to some
extent the Bond films have benefited from that, where it
was primarily a producer driven and director comes in and

(01:33:48):
and does does what's asked, you know, the the because
even even the latter films like see I'm trying to
remember who who directed No Time to Die. I'm drawing
a total blank.

Speaker 1 (01:34:03):
I know, it feels like I should know this, but.

Speaker 3 (01:34:05):
Right, it's somebody. It wasn't Danny Boyle. We know that,
Oh Carrie, Uh yeah, who did it? Right? No? No, no, he.

Speaker 1 (01:34:21):
Did the HBO show that everybody's screaming right now at us.

Speaker 3 (01:34:25):
True Detective, True Detective. Okay.

Speaker 1 (01:34:26):
Yeah.

Speaker 3 (01:34:27):
And again like I think it's well directed, yes, but
you're not really paying attention to the direction.

Speaker 1 (01:34:35):
Mm hmm.

Speaker 3 (01:34:36):
I don't know if that's like I'm not meaning to
diminish the work. I think it's a well directed film,
but I mean, I think that's how these movies are
you know. Yeah, your job is to not upset the
apple cart too much.

Speaker 1 (01:34:47):
Right, you know, right? But can't I mean, and you know,
like we said, he did two of the greatest Bond movies,
and in the Mask of Zorro, which I remember fawning
over the incredible way that action is captured in that movie.

Speaker 3 (01:35:01):
Well that's the I mean, because he he did he
you know, he did the Edge of Darkness mini series
and then he he did the movie also with with
Mel Gibson.

Speaker 1 (01:35:13):
Oh yeah, I knew that title, Ring a Bell.

Speaker 3 (01:35:15):
And that's pretty good. If you haven't seen it, it's.

Speaker 1 (01:35:18):
I bet I have. I don't really remember it, to be.

Speaker 3 (01:35:21):
Honest, you know. I mean again, he gets in there.
You know what he did The Foreigner with Pierce Brosman.

Speaker 1 (01:35:30):
Yes, that's the one I'm always trying to think of
for Cinematrix but can never remember the title.

Speaker 3 (01:35:35):
Yeah, Pierce Rosin and Jackie Chan It's not a bad flick.

Speaker 1 (01:35:38):
Okay, I'll look that up.

Speaker 3 (01:35:39):
You He needs to do more stuff. I mean, he's
in his eighties now, so he's probably retire, but still.

Speaker 1 (01:35:44):
Yeah, but he should be doing this new Bond. Let's
face it. I know he's he's he's a rabbits foot
at this point for that lucky charm. I agree. Yeah,
by the way, I love it. Oh yeah, go ahead,
just real quick.

Speaker 3 (01:35:56):
You know when when Travellian has lines here, like, you know,
do all those vodka martini silenced the screams of the women?
You didn't say it. I'm like, all right, let's right,
they're piling on a little thick, you know, right, or
should I say do all the vodka martini?

Speaker 1 (01:36:17):
Yes? We agree to the audience. It was a bit much.
That's really funny. Sorry, I don't mean to cut you off, no,
I just I when you know there was the playing
chicken with the tank and the train, I like that
on the top it's just sitting there licking your lips
totally like turned on. Right, it's just such a funny.

(01:36:39):
You know, they haven't done that in a while, right,
That that kind of weird hyper sexual bond villain villain recently?
Like that's something.

Speaker 3 (01:36:51):
Yeah, because you had like like the Grace Jones character,
you know, ten years before this and you to a
kill and what have they done? Sense? Yeah, I mean
I'm struggling to think of one. Yeah, I guess not.

Speaker 1 (01:37:03):
It's just kind of funny, like it feels like, yeah,
the old and meets New here.

Speaker 3 (01:37:07):
Very much of it's of its time.

Speaker 1 (01:37:09):
Yeah yeah, yeah, you.

Speaker 3 (01:37:12):
Know, even in the latter Pierce Brosman ones, I don't
I don't think you had a character like Xanya on
the Top.

Speaker 1 (01:37:18):
Yeah right right, but she is like slightly ridiculous, like
you have to be on Well, her.

Speaker 3 (01:37:22):
Name is Zanya on the Top, So yeah, yeah, exactly exactly.
I find her not exactly a lot a lot to Vagina,
but it's it's it is, it is.

Speaker 1 (01:37:32):
But I feel like that's about as far as you
can go. And even now, I don't think we would
accept the character like that.

Speaker 3 (01:37:38):
You know. The other I mean, I was making the
Austin Powers reference. I think about how Austin Powers, the
first one came out two years after this.

Speaker 1 (01:37:46):
Yeah, and.

Speaker 3 (01:37:49):
That too probably played some role in them having to
sort of reset their own compasses a little.

Speaker 1 (01:37:54):
Bit totally because they were calling out the Bond tropes.

Speaker 3 (01:37:59):
Yeah yeah, I mean all the puns and and all
that stuff, you know, totally.

Speaker 1 (01:38:07):
I love that too, by the way, this riddle, but sure,
you know, he just knows it right away.

Speaker 3 (01:38:12):
I was thinking about it. You sit on it, but
you can't take it with you. And I'm like, yeah,
but you do take your ass with you, so why
would she be she thinks it's your ass.

Speaker 1 (01:38:19):
Well, and she's doing the wrong amount of letters too.
If she's in a hurry, she's like putting arse and
things like that when we know it's five letters. You
really don't like this woman.

Speaker 3 (01:38:30):
Like her one bit. You know she's no good for you.

Speaker 1 (01:38:33):
James, that's really funny. I like this. Uh, if I
remember it, this is a good leap.

Speaker 3 (01:38:40):
Right there. That was that was in all the trailers.
I remember that.

Speaker 1 (01:38:43):
Actually I was thinking of something else, but shoot, I
had five thoughts. Oh well, I was gonna say I
thought this was just kind of an interesting thing. But
I guess Brosden hurt his hand at some point, and
so to hurry things along in this movie, they used
his son as a hand double for some shots.

Speaker 3 (01:39:03):
A hand double.

Speaker 1 (01:39:05):
Yeah, so like flipping the glove compartment open to reveal
that bottle of champagne earlier, and then cutting through the
floor of the train here with the wristwatch that was
like his son's hand.

Speaker 3 (01:39:17):
Wow, Yeah, that's really interesting.

Speaker 1 (01:39:20):
Kind of cool. See this is kind of a funny
flip here. But she's like you, I mean, yeah, I'll
give you that. I'll give you that. Like this is
like the only series where I'm like, oh, right, of course,
instead of like rejecting it.

Speaker 3 (01:39:36):
When you're when you look like Pierce Brosman, he can
get away with it.

Speaker 1 (01:39:40):
I suppose that's true.

Speaker 3 (01:39:41):
That's true, but yeah, come on.

Speaker 1 (01:39:45):
Oh I was gonna say earlier too, when Sean Bean
is talking to Natalia and he's like forcing himself on her, yeah,
I mean it kind of you're like, Okay, well he's
the villain and so he's gross, and of course he's
not going to go for it, but he's like pushing
really hard, and then she's like pushing him away, pushing
away and slaps him, and then they do this wide
shot where you see all these other people in the train.

(01:40:07):
I was like, aren't you embarrassed? You know what I mean? Like,
I don't know like if she like kind of pushed
away once, would she be like I look like a fool.

Speaker 3 (01:40:15):
He's a cossack. They don't care Brian oh at. But yeah,
this is who I was thinking that that plotline about
the whole cossack thing. I was like, man, that was
that was a pull back then, right right, like people
watching it in twenty twenty five, I'm what are you
talking about?

Speaker 1 (01:40:33):
You know, right, that is a funny by the way,
I mean going along with the noun Natalia is, you know,
madly in love with him. It is kind of a funny.

Speaker 3 (01:40:41):
Total post sex look on her face.

Speaker 1 (01:40:43):
Well not just that. Yes, Like there's you know them
outside this flaming train and she's kind of like well,
you know, and you're like, oh, so this is happening.
And then just like cut to like her in this
like summer dress and they're like in the tropics. You're like, oh, okay,
so we're shift. I was reading too. By the way,

(01:41:06):
so you know, Q sets up that the BMW Z
three is equipped with all these weapons, and you know.

Speaker 3 (01:41:14):
Yeah, but we don't see any used, which I.

Speaker 1 (01:41:17):
Guess is because they got the BMW late because it
was a prototype and it couldn't be damaged, so we
really only see him like strolling around in it instead
of using all the things that Q set up with it.

Speaker 3 (01:41:29):
By the way, Wade here mentions he got the plane
from a friend in the DEA, And you know, Felix
Slider is in the Dea in the last movie. So
I'd like to think that that's a little little nod
to little little continuity. Yeah, I think that works.

Speaker 1 (01:41:45):
Yeah.

Speaker 3 (01:41:46):
Yeah. The the the intro scene with Q and the
and the Beamers, like, yeah, it does this, this, that
and the other thing. And then I it had been
long enough where I was like, wait, we don't do
we see any of that?

Speaker 1 (01:41:58):
Right?

Speaker 3 (01:41:58):
Right?

Speaker 1 (01:41:59):
Right?

Speaker 3 (01:42:00):
And indeed we don't.

Speaker 1 (01:42:01):
Yep.

Speaker 3 (01:42:03):
Yeah. Apparently the Bond folks signed a deal with BMW
for the next three movies, which is why he drives
one in this this turnover dies and the world is
not enough and then he gets he has the Aston
Martin again and die another day. Yeah.

Speaker 1 (01:42:21):
I was reading that they were saying this is considered
one of the most successful product placements in movie history
in terms of how much BMW profited, like they you know,
like two hundred and fifty million in advanced sales just
from exposure.

Speaker 3 (01:42:38):
I mean, that's these Bond movies are paid for before
they even call action because they got all these licensing
deals in place. And for the most part, it's it's
subtle enough where it's not it's not real egregious, it's
just oh, here's the suit that James Bond is wearing, you.

Speaker 1 (01:42:53):
Know, yeah, well sure, yeah, well and you know, previous
to this also, you know, bonded born a Rolex and
then this one he for the first time wears an Omega,
which he still wears to this day. But like, yeah,
like I I do think of like, oh yeah, Sean
Connery Rolex, you know, and I even think now the
new Bond like Omega, Like he really does get tied
to these sorts of things. So I everybody, everybody wins.

Speaker 3 (01:43:17):
So this scene here, I appreciate the intent behind it,
and I know Pierce Brosnan has said they put that
in there specifically for him. He asked them to where
it's him just sort of being morose, but it it's
to me, it feels very like obligation, like we got
to put in a scene that lets Pierce do some acting.

Speaker 1 (01:43:37):
M yeah. Yeah.

Speaker 3 (01:43:40):
It feels slightly off with everything we've seen up to
this point and what we're going to see later.

Speaker 1 (01:43:47):
Yeah, right, because the idea.

Speaker 3 (01:43:50):
You know, she's like, oh, why are you so cold,
and he's like, it's what keeps me alive and that's
what keeps you alone. And I get it. You know again,
you're trying to deepen the character. Yeah, but I don't know,
I just feel like I feel like there was a
way to weave that in more organically.

Speaker 1 (01:44:09):
Yeah, they stopped the movie to do it.

Speaker 3 (01:44:11):
They stopped the movie and then and then it's just
it's odd because it's like, hey, you know, because Wade's like, hey,
here's all your gadgets and stuff, and then here's this
scene and then and then we fade into them post coitus,
so there's time for that at least mm hmm. And
then Okay, now let's go kick the bad guy's ass.
You know.

Speaker 1 (01:44:30):
It's kind of the opposite of what I was saying
at the beginning, where I enjoyed bonds, you know, flirtation
with on the top and them racing the cars. But
they added some business to it, like he's also being evaluated,
you know, like there's a lot of things happening at once,
and this is yeah, slowing the movie down to a
crawl and only focusing on this when we're kind of

(01:44:52):
ready to ramp up and get to Yeah.

Speaker 3 (01:44:54):
I mean that specific conversation you're telling me, they couldn't
have that in the context of them racing towards the
destination while they're in the car, you know what I mean.

Speaker 1 (01:45:03):
Yeah, yeah, some movement, right, yes.

Speaker 3 (01:45:06):
Yeah, Cause it's it's like, let me just go sit
on the beach and be with my thoughts.

Speaker 1 (01:45:12):
And then now we're with them in bed, just nothing
really progresses.

Speaker 3 (01:45:16):
It's very weird.

Speaker 1 (01:45:19):
I mean, you could have kind of combined this maybe
these two scenes sort of.

Speaker 3 (01:45:23):
I don't think you need this scene at all, because
we get it, they've done it already. And again it's like, listen,
I get that your horny and probably chumped up because
of you know.

Speaker 1 (01:45:33):
I like that.

Speaker 3 (01:45:34):
Yeah, but like you got stuff to do. I mean,
there is like a world threatening issue on the horizon,
you know.

Speaker 1 (01:45:41):
No, I agree, I agree. It could even be like
waiting for the plane, you know, waiting for uh what's
his name to arrive and then he then he arrived,
you know what I mean, Like in the middle of
their their conversation gets interrupted. He is opening up a
little bit, but then the plane lands and we got
to get back to business, like just a little more
snap to it.

Speaker 3 (01:46:00):
Look, I mean, right, you have a shot right here
where she glances over at him and he looks all
stoic and she's like, this is your friend, how do
you feel? And he's like, you know, I have to
do what I have to do. And then she said,
how can you be like this? I mean, you're doing
the same exact dialogue, but you're doing in context of
getting somewhere where we need to be. Yeah.

Speaker 1 (01:46:18):
No, that's that's a good point I'm trying to say,
She says.

Speaker 3 (01:46:21):
In the plane. No, it's what keeps you alone, and
he just kind of glances over at her, like, shit,
she's right, you know something like that.

Speaker 1 (01:46:26):
No, I agree, I was trying to fix what was
already there. But you're right, just hack those two scenes
go straight to the plane because we're moving toward the ending,
and they can have the same conversation, you know, like
you're about to.

Speaker 3 (01:46:38):
It's just weird to stop for a sex scene.

Speaker 1 (01:46:40):
Yeah, but maybe it's like there's like a checklist or something,
you know for.

Speaker 3 (01:46:45):
I mean, I guess, but but I mean we've already
established like we did it. We did the like three
minutes ago, you know, outside the train.

Speaker 1 (01:46:54):
Yeah. I don't disagree. I assuming that was a model
the missile. That was cool though, look good.

Speaker 3 (01:47:07):
I agree.

Speaker 1 (01:47:09):
You ever been in a small plane like that.

Speaker 3 (01:47:10):
By the way, I have not and I do not
want to. You know, you know my son, hum's that
he flew one of these what oh.

Speaker 1 (01:47:18):
I remember that? Sorry now that you say it, Yes,
yes's right.

Speaker 3 (01:47:21):
It's like a boy Scott merit badge thing.

Speaker 1 (01:47:23):
That's right.

Speaker 3 (01:47:24):
He's like, hey, you want me to fly you. I
was like, nope, I'm not good. I'm not getting into
one of them planes. I don't care who's flying it.
I don't care if it's an expert pilot.

Speaker 1 (01:47:36):
Yeah. Now, my fourth grade teacher, he was a pilot
and on the last day of school he would take
all the students up, so we would all go to
the airport and we got turns and he would fly
us over our house. So I remember my mom and
my brother standing outside, like in the front lawn with
a sheet waving a sheet, and he flew us kind

(01:47:57):
of over my house and I got to.

Speaker 3 (01:47:58):
See, wow, this is when you were in fourth grade
he sent.

Speaker 1 (01:48:04):
Yeah, fourth grade, mister Thomas. He was the cool teacher.
I remember that was when you know, The Simpsons was
new and the shirts were kind of controversial, and he
wore a don't have a cowman shirt and I remember
We're all like, mister Thomas is cool.

Speaker 3 (01:48:18):
He's he was your mister Bergstrom.

Speaker 1 (01:48:21):
That's right. Yeah, yeah, yeah, he's a nice guy.

Speaker 3 (01:48:30):
This is a nice, nice shot here where there's kind
of this weird impressionistic as as Zanya lands on top
of him.

Speaker 1 (01:48:38):
Yeah, with their legs. I like her legs, like she's
ready to squeeze.

Speaker 3 (01:48:46):
You know. Uh famka Jansen. She managed to launch a
pretty decent career off the back of this movie.

Speaker 1 (01:48:51):
I was literally just thinking about that now. Yeah, I mean,
it's it's amazing that. The first thing I thought of
next was this is really made the movie that Fabream
made after Swingers. She had a good role in that.
But of course X.

Speaker 3 (01:49:06):
Men, I mean she's she She appeared in however many
of those.

Speaker 1 (01:49:10):
Yeah yeah, yeah.

Speaker 3 (01:49:13):
The first time I saw her was actually before this.
She was in an episode of Next Generation Oh okay
called the Perfect Mate?

Speaker 1 (01:49:22):
Was she or did she prove? Yeah?

Speaker 3 (01:49:24):
Yeah, so, I like, I remember when this movie is
ramping up and it says, oh fam god Janson. I
was like, oh yeah, I remember her from the from
the X Men, from the not from x Men, from
from Star Trek. Yeah, and then it just literally occurs
to me just now, and then she would work with
Patrick Stewart again years later. Oh that's right, Yeah, yeah
I didn't. I didn't even think about that until literally

(01:49:46):
just the second.

Speaker 1 (01:49:49):
I like how simple this is too. By the way,
she's hanging from this helicopter. He just uses a machine
gun to shoot the helicopter. It crashes, so it pulls
her cable and squeezes is her Now she's getting squeezed
in uh in the crook of a tree. It's but that.

Speaker 3 (01:50:07):
That's where where where where bond is like she always
did like a tight squeeze or that's a total Austin
Powers thing where you just want him to keep going.

Speaker 1 (01:50:15):
Yes, but she doesn't love it. Natalie's like, yes, I
get just keep going because that's like a I think
it's in the first Austin Powers right where it's like
he just keeps going and and what's her name?

Speaker 3 (01:50:31):
Who's early? She's like, yeah, yeah, he'll never get a
head in life.

Speaker 1 (01:50:37):
Yeah right, And he's like, okay, let's go. Like after
doing it a couple of times that you're so right
that moment, and maybe that's why they don't do that
because now we think of the Austin powers thing.

Speaker 3 (01:50:48):
I mean, the puns in the bras and era got
like ridiculous. Like I remember in the next one, the
character Jonathan Price plays the villain and you know, he's
like a media mogul. And and and so Bond is
captured and he's and Michelle Yeoh is the is Bond's

(01:51:10):
love interest. And so they're in the helicopter and they
see all these buildings with his face on them, and
Bond is like he has an edifice complex or something
like that, and I'm like, bro, come on, come on, man.

Speaker 1 (01:51:23):
I mean, look, I admire it. I'm not gonna lie,
but like kudos to whoever came up with that. But like, yeah,
it's kind of funny, like if you have to think
for like more than a second, like oh, that's that's clever.
Like it's you stop and think about how clever it is.

Speaker 3 (01:51:41):
Yeah, you're probably doing it wrong.

Speaker 1 (01:51:43):
Then you know it's pretty good though, So I'm assuming
this is all model stuff. It looks amazing, looks big
and grand, the big satellite.

Speaker 3 (01:51:56):
Yeah, well that that's the The nice thing is is
there is there is an appropriate amount of scale to
the movie. But you know, I think smartly they they
kept the budget manageable, you know, Like, I mean this one,
this one costs sixty million, which like can you imagine?

Speaker 1 (01:52:15):
No?

Speaker 3 (01:52:16):
Right? And and that's the thing, right I when when
you see these movies spending just ungodly amounts of money,
right like like this is a whole issue about Fast
and Furious ten point two or whatever. Right you know
they Vin Diesel wants to spend the GDP of of
of New Guinea, right right. And I'm like, come on, guys,

(01:52:37):
like find find ways of doing it creatively, not on
the cheap but cheaply, right right, you know? Yeah, like
that's how you get to keep going when you when
when the movies make money, If they're not making money,
it's not gonna happen. So spend less make more. It's not.

(01:52:58):
It's not rocket science totally.

Speaker 1 (01:53:00):
And if you come up with creative enough concepts and
set pieces, you know, we won't notice that the budget
has changed, you know.

Speaker 3 (01:53:12):
And and I mean I really do feel like, and
let's see how well this ages. But I feel like
we may be on the other side of just cgi overload.
I think audiences are kind of done with it.

Speaker 1 (01:53:25):
Yeah, but what makes you say that?

Speaker 3 (01:53:28):
I think I think there at some point you just
max out on getting an emotional response from a bunch
of pixels that are doing things that are that that
don't comport with physics.

Speaker 1 (01:53:44):
I well, I one hundred percent agree, right, I'd rather
see them use to assist certain sorts of things, you know,
exactly right.

Speaker 3 (01:53:53):
So so you know, look, there's always going to be
your big superhero things or your book sci fi think.
But I just think there's room for more. And I
think I think there's something about there's a reason that
people still watch die Hard, Yeah this many years later,
but they don't watch you know, die Hard five.

Speaker 1 (01:54:14):
You know, yeah, many reason.

Speaker 3 (01:54:18):
There's many reasons, but I think one of the primary
ones is, like die Hard the first one, it's about
the human story, and it's about a scale that we
can get our arms around.

Speaker 1 (01:54:28):
You're having to tie a hose around your waist and
jump off the side of a building, which is funny
because you can imagine if you had that scene now.
I was thinking this actually with the tank and the
chicken thing with the train earlier, where I was like,
I wonder if you turned that script in now, if
someone would be like, yeah, but how can we make
this bigger? And it's like, no, that's pretty big.

Speaker 3 (01:54:49):
You know.

Speaker 1 (01:54:50):
The train's gonna And that's the thing too, is we're
going to see a real train crash into a real tank.
It's gonna look and it captured. Well, that's really exciting.
Have faith in that.

Speaker 3 (01:55:02):
That that one bit, I don't know if you saw where
he's there's a bullet just like whizz right by his
head and he just kind of tilts his head. Oh
I love it. Yeah, yeah again, it's just that unflappable,
you know, yep, totally. But yeah, the point you're making
is exactly right, right, It's it's less about how do
you go bigger, but how do you make it go deeper?

Speaker 1 (01:55:20):
Hm, exactly exactly.

Speaker 3 (01:55:21):
I think that's what people are smarting. I think this film,
in particular, like the the the heart is the betrayal
that Bond feels over his former friend, right, And if anything,
I would have liked the movie to delve deeper into that,
you know, yep, because really, when you think about it,
we get the opening sequence and then and then we

(01:55:42):
get Trevillians reveal later and there's like one mention of him,
but there isn't like maybe something in the middle where
where Bond reflects on their friendship.

Speaker 1 (01:55:51):
I totally agree, totally agree. I did like that shot,
by the way, where he's got that bomb that he
plants on the uh that or whatever that is, and
as he's taken away at like the camera slowly like
moves over showing the bomb. And also that the VAT
has been compromised and it's leaking liquid. You're like, oh,

(01:56:12):
rot row yep, that's gonna pay off. It is funny, though,
I do have this feeling when I watched this movie.
Oh I remember this in the game. Oh I remember
this in the game. I remember running around this set.

Speaker 3 (01:56:26):
That's so funny and it's I mean like when you
compare it to video games now where you can recreate
sets with exacting precision.

Speaker 1 (01:56:36):
Yeah exactly.

Speaker 3 (01:56:38):
You know the the RoboCop PlayStation game. Holy moly, I
mean you can you're walking around the precinct.

Speaker 1 (01:56:48):
That's amazing. I know you've you've mentioned that before. I
gotta try that out.

Speaker 3 (01:56:52):
Yeah yeah, well you know, next time you come up,
I can lend it to you if you want.

Speaker 1 (01:56:56):
Yeah. Yeah, no, I do love that. I mean, he
I like Call of Duty and those sorts of games too,
But like I love all these movie games, like movie
worlds that I want to live in. Like there's a
Terminator game that's on PS five that I loved because
it it gave me exactly what I've always dreamed of,
which is going into that world and fighting terminators. And

(01:57:17):
it's just the graphics are so great. It's so immersive
that you know, it's and Indian. Yeah, Indiana Jones in
the Great Circle recently, right, yeah, you know where it's
like I literally felt like I got to live inside
an Indiana Jones movie, you know, because you can do
that now. You know, you can walk through these villages
and get into boats, and you know, and and you

(01:57:40):
you can write Indiana Jones and get an actor who
sounds enough like him. You know, you probably couldn't not
probably you couldn't have done that when Gold and Night
the game came out in ninety seven, but now you can.

Speaker 3 (01:57:52):
Well Gold and I laid the track one percent. You know. Yeah,
I was actually thinking looking at all coming another another
X Men connection, that's right, Crawler, yeah, plain night Crawler
again in Avengers Doomsday. Yeah, yeah, this is right here,

(01:58:13):
all the vodka martinis ever saying it's.

Speaker 1 (01:58:15):
Like all right, right, right.

Speaker 3 (01:58:21):
See I. I I like that this movie got the
throat clearing out of the way and then after that
they could just get on with it with the other ones,
you know, because I that's my I feel like the
more you sort of draw attention to the you know,
the dated aspects of it or whatever, the more it

(01:58:42):
it it, it becomes a harder thing to to to
fully embrace. So just don't go real quick. So so
boris like Natalia, He's what what reaction was bro thinking
she was gonna have?

Speaker 1 (01:58:58):
I know, I know you You're to die this Now
you talk about tension in a scene. So good.

Speaker 3 (01:59:06):
Yeah, as Alan coming is clicking that pen and I
love that we keep cutting to bond as he's like
mentally keeping track of the clicks. Yes, right, it is brilliant.
Ye on brass, you see him, he's like trying to
keep count, which.

Speaker 1 (01:59:28):
Is funny because you've mentioned Austin Powers a couple of times.
Now I'm picturing the Austin Powers version of this where
he's like oh no, one.

Speaker 4 (01:59:34):
Two, three, oh oh phew, no no oh now you know,
and like stop that, stop it, what are you doing?

Speaker 1 (01:59:50):
But yeah, we you know they set it up well
where he's this fidgety guy at the beginning, always playing
with a pen, and then it's pretty good, so it
tracks yeah right there. Yeah, it's like a little relief.

Speaker 2 (02:00:03):
Yeah.

Speaker 1 (02:00:04):
I don't know if I noticed it as much the
other night, but his sort.

Speaker 3 (02:00:06):
Of yeah, it's literally you can see him mentally counting,
you know.

Speaker 1 (02:00:11):
Yeah, Yeah, that's really funny. That is good. You know,
she's got business. She changed the code. She's the one
who brings the Golden Eye, you know, into reentry.

Speaker 3 (02:00:30):
Yeah, she's still.

Speaker 1 (02:00:37):
Yeah, she still sucks. That's really funny.

Speaker 3 (02:00:46):
Yeah, Pierce Brosnan is currently he's seventy two. Wow, And
I was thinking about how when when Brosnan got the
bond gig, Sean Connery with sixty five Wait say that again,
When Brosnan got the bond gig, Conrie.

Speaker 1 (02:01:04):
Was sixty five Okay, okay, okay.

Speaker 3 (02:01:06):
So at this point I think what's cool is that
Purece Brosnan has had a very rich post bond career
at LA Sean Connery. Yeah yeah, right, whereas for example,
Roger Moore basically he just retired, right, he didn't really
work again after George Lazenby obviously was George Lazenbye. You know,

(02:01:28):
even Timothy Dalton, like, you know, he's kept working, but
I don't think he's ever had anything as high profile.
But I feel like Brosnan, you know, he's just he's
even now he's on that TV show with mob Land,
right with Tom Hardy.

Speaker 1 (02:01:42):
Oh yeah, that rings a bell. I haven't seen it.

Speaker 3 (02:01:45):
This is the problem with streaming TV shows.

Speaker 1 (02:01:49):
There's I know, I know, I know, it's hard to
keep tracking. They could be very good, yeah, but you
just can't get to all of them.

Speaker 3 (02:01:57):
You know, I mean, hell real quick. No, he was
in Adam, which I know is a movie neither of
us is thrilled about. But he was pretty freaking great
in that movie.

Speaker 1 (02:02:05):
I agree. He's one of the things I remember most
about that movie, to be honest.

Speaker 3 (02:02:09):
Yeah, he gave it more like emotional depth than it
probably really deserved. You know.

Speaker 1 (02:02:16):
Sure, Yeah, excuse me. You know it's funny. I'm realizing
now that I would have been familiar already with Brosnan
because of Missus doubtfire.

Speaker 3 (02:02:25):
Yeah that's two years before this, ninety two, ninety two
like that. Yeah, Yeah, I mean I knew him from
Remington Steel for sure. Had you not watched Remington's.

Speaker 1 (02:02:34):
Stee No, I know it exists, but i've I don't
think I've ever seen an episode.

Speaker 3 (02:02:39):
So I watched that in the late eighties, early nineties
because they used to show that in Saudi Arabia. Okay,
so I knew him. I knew him from Remington Steel.
And I remember at the time, this is when I
was living overseas. You know. A friend was like, oh,
you know, he was supposed to be James Bond, and
I was like, it could be a good James Bond.
I remember thinking that because I thought on remin Can

(02:03:00):
Steel he was too young, and he was too thin, hmmm,
you know, and he had that big hair. I still think,
in my opinion, his hair is too big in this movie.

Speaker 1 (02:03:09):
Oh yeah, yeah.

Speaker 3 (02:03:11):
I think as as the movies went on, his his
his his haircut got you know, he got his hair
cut shorter. It looks better in my opinion.

Speaker 1 (02:03:20):
Huh.

Speaker 3 (02:03:21):
So like for me, world is not enough and die
another day. I think I think he looks the best.

Speaker 1 (02:03:28):
You know. By the way, I sorry, I keep noticing.
It's it's really fun to watch these movies with the
sound off because I noticed so many more things. But
I was bringing up during the tank chase that a
good way to make this lumbering tank feel very dangerous
and exciting is to have all these things whipping in
the foreground, you know, cars getting out of the way.

(02:03:48):
But there you're not you can't even see there. You
just see the tops of the roofs of the cars,
you know, just and I'm noticing also look at this,
like there's things. There's so much stuff in the foregrad.
He keeps putting the here, you know, even when it's
like through a chain fence or something, as Bond is
dodging bullets, and even like the ricochets are flashing at

(02:04:09):
the front of the screen, you know, the frame with
Bond behind them, like it's a real I think that
adds a lot to the kineticism.

Speaker 3 (02:04:16):
I agree. I mean all this while see what I
think about as I watch this and as you as
you say, without the sound, I think about how a
great music score would have done so much to elevate
this even further. Sure, you know, because you know I'm
watching this and I picture of the music from Like

(02:04:37):
the Rock a year later. Hmmm, you know, because doing
very similar stuff right where good Speed is fighting with
those guys and you know, they really shit the bed
when it comes to getting Eric Sara to the music.
I really don't understand what the thinking was there. Yeah,
because I because and I think they realized their mistake

(02:04:59):
right because he had David Arnold to the movies, the
movie scores for the next I mean all the Brasman
ones he did, think he did Casino, Royal and Quantum, So,
I mean the next five movies David Arnold did right,
and David Arnold very much a big, bombastic composer in
the vein of John Barry.

Speaker 1 (02:05:19):
Yeah, yeah, you know, yeah, so I know, I just
can't look away. I'm just studying every frame and I
just really feel like, yeah, having.

Speaker 3 (02:05:29):
Give us this, this is the stuff I like.

Speaker 1 (02:05:31):
Yeah, good light too, by the way, look at all
those shadows on the wall.

Speaker 3 (02:05:35):
And it's it's two guys just beating the shit out
of each other. Like that's interesting, you know.

Speaker 1 (02:05:41):
Yeah, yeah, in a place that has a lot of
dimensionality to it, interestingly captured. Yeah, I feel like, I,
you know, I think about these things and I feel
these things a lot, and sometimes I feel like I've
I've gotten the lesson, but I feel like I'm still
learning watching this right now, I love it. You know,

(02:06:01):
there is a lot of like point and shoot. There's
the light on the eyes. Again, there's a lot of
like point my complaints in the past decade or so,
it's a lot of point and shoot just point the
camera and capture the action and that that works sometimes
for certain stories. But it just the intentionality of all this,
I feel like, really pays off. Yeah, you know, gives
it that sizzle.

Speaker 3 (02:06:23):
No, absolutely, that's this look at the compositing here with
the blue screen, So that's fantastic, you know what's funny.

Speaker 1 (02:06:30):
Like obviously my modern eyes know that that's a compositive shot.
But I really did feel the oh dang, like, yeah,
that's really high, Like I felt it in my stomach,
like I don't want to fall from that ladder, which
is you know, if I can give a compliment to
that shot.

Speaker 3 (02:06:50):
Well, I think this this whole sequence here, you know,
you we know the gravity literally of the situation.

Speaker 1 (02:06:57):
Yeah, I do not want to fall into that dish.

Speaker 3 (02:06:59):
Yeah right, great, you know.

Speaker 1 (02:07:01):
And by the way, I even if I had the
high ground, you would not catch me doing that cool
slide down the ladder to try to knock my opponent off.

Speaker 3 (02:07:07):
Of it.

Speaker 1 (02:07:08):
Forget that. Yeah, Sean Bean, he just kind of slides down.
Forget that.

Speaker 3 (02:07:13):
You know what. You know what I would have liked
with Trevellian is I would have liked to see him
do something really awful during the course of the movie.

Speaker 1 (02:07:25):
Like that with who and at what point.

Speaker 3 (02:07:28):
I like, at some point in the middle, like something,
because because ultimately we have the GoldenEye explosion and he
wants to do this money scheme. So yes, he's a
bad guy, but like something that demonstrates no, this guy
is a piece of shit. He's not your friend, right right,
And to me that would make it mean more when
when he's like for England, James, no for me, you.

Speaker 1 (02:07:49):
Know, yes, like he couldn't be turned Yeah.

Speaker 3 (02:07:52):
You know what I mean, like something like like something
where he we see like like he has bond captive.
Maybe it's in the train and he he does something
like he he launches a missile or something on somebody
who has no bearing on anything.

Speaker 1 (02:08:07):
He just does it to be cruel, right, right.

Speaker 3 (02:08:11):
I don't know, I'm just I'm just spitballing here. No,
I got you, I got you, because I think I
think this moment when he says for me, I would
have liked it to mean more, yep than just because
essentially it's like, oh, he'd bet trade England and I'm
upset about right right, you know what I mean? Yeah?
By the way, okay, yeah, you are one million percent

(02:08:34):
dead when you land there. There is not a universe
where you can possibly be alive, right right, you should
have been paste flesh bag.

Speaker 1 (02:08:45):
It makes me think of He's you're describing very well
the image in my head in The Departed when Martin
Sheen falls out of that building, yes, remember, and the
DiCaprio like runs around the corner and it just body
let's ketchup explodes on him.

Speaker 3 (02:08:58):
You're like, ah, you're kidding, yeah.

Speaker 1 (02:09:05):
Yeah, yeah, but he just sort of like broke his ankle.

Speaker 3 (02:09:08):
Because we need that one moment. He broke his leg
in like eight different directions. It feels like we need
that moment where he sees the thing fall on top
of him. You know.

Speaker 1 (02:09:17):
Yeah, I feel like we used to get a bunch
of these. This makes me make a last crusade a
little bit, we think.

Speaker 3 (02:09:23):
It makes me think of the Mask of Zoro where
you get the remember the gold bars fall on top
of oh.

Speaker 1 (02:09:29):
Yeah yeah, yeah, yeah, I mean, like that zoom in
on the villain's face when he realizes you know.

Speaker 3 (02:09:35):
Yeah, definitely, yeah, definitely let crusade. Yeah.

Speaker 1 (02:09:37):
Yeah, it's like a horrifying kind of shot, but it's effective. Yes,
sing the Yeah, I remember this all the way from
ninety five when I saw it.

Speaker 3 (02:09:49):
You think this Alan Cumming statue is sitting in a
Planet Hollywood warehouse something next to naked stallone exactly?

Speaker 1 (02:09:58):
Yeah, probably probably, And then I'd be grateful that they
sat me next to Alan Cumming versus versus naked still
naked cryogenics. So that's just alone. Yeah.

Speaker 3 (02:10:11):
How have we not done that commentary track yet?

Speaker 1 (02:10:14):
I don't know. Oh, i'd love it.

Speaker 3 (02:10:15):
Demolition feels like that feels like we need to We need.

Speaker 1 (02:10:18):
To, dude, We'll have to get some taco bell, sit
down and do that commentary. I just rewatched that recently.
It's it's so fun.

Speaker 3 (02:10:28):
That's that's very much an artifact of its time totally.

Speaker 1 (02:10:32):
And speaking of Sandra Bullock pre Speed, Sandra.

Speaker 3 (02:10:35):
Bullock's yeah what was that ninety three? Yeah, pre Speed? Yeah,
that's for sure, because I remember when I watch Speed,
already knew her from from Demolition Man.

Speaker 1 (02:10:45):
Yeah. Yo, Jimbo. It's kind of funny. You got all
these people hiding make love to me, James. You know,
like what are they thinking, like, oh, geez, we're gonna
be here well under their hay. It's a funny geg.
And this is one of those funny movie things too,

(02:11:06):
where like these helicopters appear out of nowhere and descend
as if you couldn't hear that from like two miles
I know, right, Gwintanamo gets a shout out.

Speaker 3 (02:11:18):
I know, I was thinking about that.

Speaker 1 (02:11:21):
What are we gonna say?

Speaker 3 (02:11:23):
No, it reminded this ending with the troops all coming
out of the bush. It reminds me of the interview,
which is how that movie ends. Oh that's right, yeah,
the Seal Team six.

Speaker 1 (02:11:33):
I forgot about that.

Speaker 3 (02:11:34):
That movie has winds of change playing at the end.
I think that's what this movie needed for full effect.
So Gold and I arrived with the marching orders and
the promise of reinventing and revitalizing James Bond for the nineties.

Speaker 1 (02:11:53):
Would you say it succeeded thirty years later completely? I think,
you know. And that's that's going back to what I
was saying earlier. That's part of its charm for me
is it's nineties. Noess, yeah, you what would you what
would you say?

Speaker 3 (02:12:08):
Well, that's kind of you know, this is something you
say often right where the late whenever it's the latest thing,
it carries the weight of being the latest thing, and
so you you tend to look at it with with more,
you assign more weight to it, like it has to
do all this. But you know, this is you know,

(02:12:32):
this is movie seventeen out of twenty five, right, and
so the nice thing is you can view it as
just movie seventeen out of twenty five, right, right. And
that's kind of what I like about it. I like
that that the Bond films allow for that where it's
the catalog itself that that gives it value more than

(02:12:54):
the individual entries. It's the total body of work. And
so I look at this and I see the things
that it carries on from before and the things that
it starts moving forward. And this it really is kind
of like a nexus point in the franchise. I mean,
this is it's at almost the exact halfway point between
the start of the series and now, wow, almost exactly,

(02:13:18):
you know, because yeah, it was sixty two, you know,
sixty two to so it's about the thirty thirty three years, right,
so give or take. But it's it's the last one
that Albert Brockley was involved in. It's it's the first
one with Judy Dent, it's the first one with Brasian,
you know, like all the so you start looking at
what are the ingredients that we have to include, what

(02:13:40):
are the ingredients that we can start to move on from?
And I don't think there is one answer of like
what makes a good Bond movie? And I think that's
a good thing. I think it's a good thing that
there isn't one answer.

Speaker 1 (02:13:56):
Sure, Oh yeah, sure, sure that one.

Speaker 3 (02:13:58):
You know what I mean, Like, I think that's it's
there's a there's a different there's a variety of different approaches.
I remember when this came out, I was so grateful
it did well. I didn't get to see this in theaters,
I should say I because at that time I didn't
get to the theaters often. But my my friend Todd
Martin's who I was on the newspaper with at at
Glen Bardon North who is now he works for the

(02:14:19):
La Times. He used to be their music critic. He
does their like theme park coverage. Now he had the
laser disc and I was like, wow, laser disc he copied.
He copied the laser disc onto a VHS tape for me.
So that's how I watched it the first time.

Speaker 1 (02:14:36):
It's kind of cool, you know, interesting.

Speaker 3 (02:14:40):
Yeah, I remember that very well, and I remember watching
it and and I saw it. It had been long
enough since it came out because I had to wait
the home video that I was able to appreciate what
worked while while noticing the stuff that didn't work for me,
you know, hm, because I was definitely like a die
hard Bond fan by then. I had seen most of
the movies and you know, I was I was pretty

(02:15:01):
well familiar with the history. So it was exciting to
see it back, you know, and and in the present.
But I also it was it wasn't I never doubted
that it would be back. It wasn't like, you know,
I was like, well, they always make James Bond movies,
so that what we just saw at this point, Yeah, exactly.
So you know, just seeing James Bond will return at

(02:15:24):
the end, come on that that that always makes me happy,
even at the end of No Time to Die, where
he has been obliterated, it still says James Bond will
return even death can't kill James Bond, which I kind
of want, does it really?

Speaker 1 (02:15:37):
I didn't know that at the end of that one.

Speaker 3 (02:15:38):
Yeah, it says that.

Speaker 1 (02:15:40):
I like that.

Speaker 3 (02:15:41):
Yeah, but yeah, so that So those are my thoughts
on Gold and I.

Speaker 1 (02:15:46):
Yeah, man, this is a blast. I was excited to
rewatch this one. I've seen it, I want to say,
in the past couple of years. I had also seen it.
But yeah, like, I have great feelings towards this. I
always yeah, going back to it.

Speaker 3 (02:15:59):
Well, like I said, I think it might be fun
to periodically hop in and revisit these Pierce Brosman films.

Speaker 1 (02:16:06):
I would love that.

Speaker 3 (02:16:07):
Yeah, you know, it might be kind of a fun
journey to go on. But hey, everybody listening, let us
know your thoughts on our thoughts on Gold and I.
What do you think about this one? Do you agree
with what we said or disagree either way? You can
email us at Moviefilmpodcast at gmail dot com. You can
also hit like on our Facebook page Facebook dot com
slash Movie Film Podcast. We're also on YouTube, so if
you're listening to this show there, please hit like and

(02:16:30):
lead some comments there. If you are listening to this
on Apple Pad podcasts, please leave a review, leave star rating.
Every little bit helps. If you're listening on Spotify, leave
a star rating. Oh, we also have a Patreon paigde right.

Speaker 1 (02:16:43):
Yes, If you head over to patreon dot com slash
MOVIEFILM podcast and hit subscribe for only five dollars a month,
you'll find every commentary we've ever done and every episode
moving forward absolutely add free. Our free feed will always
be available, but this is our way of providing what
we believe is the most satisfying way to enjoy the show,
and especially with commentaries like this, that's without random interruptions

(02:17:05):
and ads butting into the conversation, especially if you're trying
to follow along with the movie. Plus, your subscription goes
a long way in helping to support us and helping
to sustain producing the show. So if you're interested in Abele,
please head over to patreon dot com slash Movie Film
Podcast and subscribe. We'd be very grateful.

Speaker 3 (02:17:23):
There we go, and if you're looking through me online,
you can find me on social media at Zakie's corner.
That's Zakais Corner. You can also read my reviews at
the San Francisco Chronicle and also at IGN and The
Rap What About You, Brian.

Speaker 1 (02:17:35):
You can find episodes I've written of Puppy Dog Pals
and Young Jedi Adventures streaming on Disney Plus.

Speaker 3 (02:17:41):
Well with that on behalf of my partner Brian Hall.
My name is Zachiason. This has been our movie film
commentary track for Gold and I. We will catch you
next time. Thanks everybody,

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