1976 - Assault on Precinct 13

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This is Napoleon Wilson. Got a
smoke. I want you to know something,

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Wilson, I don't enjoy driving anybody
to death. Row you try anything.

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I've got two guards with shotguns and
O blow you apart. Sure could

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use a smoke. Hello everybody,
and welcome back to nineteen seventy six.

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It is a limited series from a
Film by podcast where we are taking a

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look at some of the iconic films
of nineteen seventy six, given a little

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behind the scenes information, talking memorable
scenes, and sharing some of our favorite

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quotes. For today's conversation about John
Carpenter's Assault on Precinct thirteen, I am

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joined by Warner Brothers animation director Andy
tom Andy. Hello, welcome to uh,

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welcome to the show Man. Thanks
man, thanks for having me pretty

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excited. I'm definitely excited to talk
to you. But before we get into

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Assault on Precinct thirteen, can you
tell tell us all about like an animation

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director? What what how's it?
What's the process involved there? Really,

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you're just a glorified storyboard artist pretty
much, you know, because we're not

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filming it. You know, they're
how most live action directors they deal with

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storyboards we do that, but then
our job kind of ends and then it's

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those storyboards and then shipped overseas to
be animated. But as far as being

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a director, I am essentially a
storyboard artist that has kind of graduated into

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Right now, I'm in television animation, so it's different than the features,

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and you get usually three storyboard artists
per a half hour, you know,

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twenty two minutes shows, and then
you just you look at their boards and

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you give notes and you know,
you want to play out the scenes.

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Sometimes you're involved with timing each each
production I've been involved with. Your Your

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job is kind of different, so
you kind of have to roll with the

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punches as opposed to, you know, your different responsibilities. So uh so,

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right now, I'm a supervising director
on a on a preschool show for

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Warner Brothers, and I'm there from
you know, the earliest stages of pre

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production all the way up to the
final final mix, the final mixdown and

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everything like that. So so,
but then there were some other shows where

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I'm just a glorified storyboard wrangler where
I just take the boards from the the

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the artists and give them to somebody
else and then don you know, so

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any any shows you that you've been
involved with it you can tell us about.

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Sure, sure, I mean,
you know, you could check my

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IMDb because I just forget. But
I've I started on Jumanji, uh,

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the animated show, and that was
the Robin Williams Jumanji. So that was

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ninety six and I directed on that
and for Sony directed this episode. We

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were doing that, you know,
the role in Emeric Godzilla, not the

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good one. And then uh uh, let's see one of the most high

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let's see high profile. Well,
I did Jackie Chant Adventures. I did

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a couple of seconds of that because
I'm alsocial artists, so I think first

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one or two seasons of that show
they had the directors were all martial artists,

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which I don't think really mattered.
But yes, I did that,

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but I did I'm I'm solar opposites. I did an a couple episodes of

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that. That's that's now pretty popular. Yeah, I've seen that one.

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That's an awesome one. Yeah,
yeah, yeah, yeah, yeah,

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yeah. I did the Wall episode. It was a I don't know if

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that means anything to you, but
yeah, it was a good one.

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I was very proud of that one. But remember with them. But yeah,

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anyway, it's a good career.
Awesome. Man, Well, it

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turns out you were a huge seventies
cinephile, big fan of John Carpenter.

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So I thought, who who better
to talk about this film than you?

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Yeah, I have to say,
yeah, I think he is one one

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of my favorite, if not my
favorite director. And it's funny. We

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just moved into a new Warner Brothers
office and I have two things, two

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posters in my office, and that's
it. And the one poster is,

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uh my signed John Carpenter poster.
I still I saw him in concert a

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couple of times out here, and
I live in Los Angeles, So yeah,

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I signed John Carpenter's right above my
computer desk, And yeah, I

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love the guy's films. If that
isn't motivation, I don't know. I

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don't know what it is. Man. I agree, I agree. Let's

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uh, let's go back to where
it began with Carpenter. So nineteen seventy

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four, Carpenter's Dark Star grows from
a student film to a feature and gets

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a limited theatrical running seventy five.
Following some moderate critical praise, producer j

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Stein Kaplan approaches Carpenter to make a
low budget exploitation film. For for those

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listening that that maybe are not familiar
with that term an exploitation, an exploitation

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film is it's a film intended to
attract an audience by means of a sensationalist

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or controversial content. It usually succeeds
financially by exploiting current trends or niche genres.

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Uh, Andy, you're a big
fan of the seventies, any any

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of these types of movies come to
come to mind as favorites for you.

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Yeah, exploitation, I'm a huge
exploitation grindhouse sky I love. I'm a

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big black exploitation kind of sewart.
So yeah, yeah, I don't have

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any particular things that particular movies that
stand out that I'm a big fan of,

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because there's there's some that are really
well done. Exploitation can be done

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really well. Uh Like, if
you look at any Larry Cohen films,

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like you know, Q and and
his Black Caesar movies and stuff like that,

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Like he was very low budget,
but his movies were way better than

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they should have been. Like like
Joe Dante's Piranha, look at that,

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that's a pure exploitation with his artistic
eye. He made that a palpable movie.

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It's it's a great movie. So
yeah, I'm a big exploitation fan.

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And and I don't think what I
what I'm kind of trying to say

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is that it shouldn't be looked down
upon. I think it's I think it's

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a very bid genre. I agree
with you. I mean we were you

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know, all this time, you
know, forty forty years later, thirty

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years later, I mean we're talking. We're still talking about, you know,

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Toby Hooper's Texas Chancel Masker and movies
like I Spit on your Dave.

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We're yeah, we're still talking about
Pam Greer and and stuff like Foxy Brown

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and Coffee, you know, these
these movies, you know, I mean

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thinking about thinking about her, especially
that that was that was that was an

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empowerment movie for for women, you
know, So yeah, I love them.

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Uh. You know, Carpenter is
known for for wanting to operate outside,

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you know, outside of Hollywood.
I think this kind of starts with

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this movie. He's granted full control
on the condition that he keeps the budget

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under a hundred thousand dollars. I
mean, the guy, the guy's got

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one student film and he's already making
deals with producers. I find that fascinating,

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you know. And one of the
things I really find endearing about this

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movie, and which I kind of
deal with in a in a small,

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very small way, is the restraints
that were put upon him as far as

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budget terry. But he worked within
that and to still make a great,

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great movie, you know. And
I think because I think ideally he really

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wanted to make a Western, but
he just knew that wasn't in the cards.

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You know, it's a it's a
bigger budget, you know, and

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you know, a lot more extras, a lot more you know, your

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horses isn't here. He could just
do it like it's almost like a stage

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play if you really think about it, you know, you could have done

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this on a stage, you know, you just have the interior of the

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precinct. So yeah, and but
what he came out with was wonderful.

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You mean, it's just yeah,
So I like working within those strings.

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And like I said, in animation, it's kind of the same deal where

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uh, you know, I've worked
with shows where you can't you know,

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you gotta be careful about how many
designs you throw up the designers and you

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gotta no, no, knock it
down. You can't have a crowd scene,

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so you got to knock it down
to like five people, you know.

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So there's certain constraints also an animation
that I deal with a lot too.

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Well. You could argue whether or
not it's good timing or bad timing.

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But you know, he gets this. He gets this option from from

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Kaplan. He had just sold his
spec script Eyes, which later becomes the

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hit Issilora Mars with Faye Dunnaway and
Tommy Lee Jones. And like you're saying,

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you know, he's got this idea
for a western titled The Anderson Alamo.

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Now, the problem here is this
is a time in Hollywood where Westerns

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aren't currently popular. And granted,
Assault on Precinct thirteen is not a Western,

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it's you know, you more of
a an urban Western, right,

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so it's it's it's hard to get
some distribution until or when Joblin's comes along.

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He gets the film distribution by changing
the title. So I think,

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I think this is pretty this is
a pretty cool thing. You know.

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When you watch the film early on, you hear Austin Stoker's dialogue state that

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he's reporting to Precinct nine District thirteen. So Carpenter throws some suggestions out.

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He says, let's call it Precinct
nine, how about the siege Joblin's vetos

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both and comes up with assault on
Precinct thirteen, which you know, definitely

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sounds a little more dangerous, little
more edgy. Yeah, And I think

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when he did, Laura Mars,
I think he sold the spec script,

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like you said, his eyes.
But then I think it wasn't even it

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wasn't made till what two years later? A year later after Yeah too,

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I think it's I think it's nineteen
seventy eight, you know, And then

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then they end up snagging uh Faye
Dunaway. She's hot off her Oscar Win

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with with Network. So right right, I listen to your pot Well,

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thank you, fantastic film. Now, okay, so you're eight, you're

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a director. I gotta ask you. Carpenter writes this movie in eight days

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and he shoots it in twenty.
Is that just is that insane? Or

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is that like, yeah, he's
he's doing all right, like I've never

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you know, the animation and live
action are two different animals, So I

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really can't say, but I know
that he's I heard him say that he

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this was his first time working twenty
four hours straight on a on a movie

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where he came in at eight am, left at eight am, and that

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was all the stuff that's down in
the in the the jail cell us.

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It sounds brutal, you know,
and then you're dealing with a lot of

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elements like he talked about how it's
really cold at night, and you know,

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the inside the bus scene it was
like scorching. Everybody's dying. That's

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ship I never I'm sorry, that's
stuff I never really deal with in animation.

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Know, the elliots don't bother me. So, yeah, it's it

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seems like a real grind to knock
out a movie of this stature in twenty

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days. I mean, I think
that's the was that the shooting schedule that

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he couldn't have delivered it edited at
that And I think that's the shooting schedule.

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If if my minderstanding is right,
it's the shooting schedule. I'll tell

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you. I think part of his
success probably comes from the fact he's got

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a good scripts supervisor on set.
You probably knew who I'm talking about,

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Yeah, Deborah, Deborah Hill,
Yeah, Deborah yeah, yeah, And

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I'll tell you what and I don't
want to you can go back to Deborah.

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Yeah, because they were a great
team obviously, but I think the

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cinematographer and the lighter, the guy
who the Doug Nap he's he's Douglas Knapp

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was if you One of the things
I love about Carpenter's films is that when

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he shoots nighttime, which a lot
of his movie you know, Halloween and

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whatnot, it's it's just dark night, like the blacks have just suck you

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in. They're just so like he
doesn't resort to like you you're using blue

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light, which I can't stand.
Like Tim Burton ish, it never feels

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like night to me, right,
But carpets are just the shadows and the

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deep, the deep blacks. It's
just so gripping. I don't know,

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it's a tough and that's a tough
sh movie. This was a tough movie

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to light. I can just imagine, you know, because there's so many

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uh dark you know, when they
when they cut the power to that precinct,

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the rest of the movie is pretty
dark, you know. Yeah,

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but you can talk about if you
want. No, I think you're I

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think you're You're honest something there because
you know, obviously I love the eighties,

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the decade of the eighties for for
movies, but there's a distinct nighttime

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lighting, you know, and you
talk you kind of talked about those those

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blues, uh that that you see
it. You know, I'm thinking like

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Michael Mann's Man Hunter for a perfect
example of the of that. But the

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in the seventies, you know,
you're not You're not seeing that. So

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you know, it's very rich,
rich blacks, but it's not. It's

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not like you know, like,
hey, I can't see what's happening.

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So yeah, you're you're right to
call out the lighting on this. It'

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it is. It is fantastic,
you know. And to your point,

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Carpenter like the majority of his films
take place at night, you know,

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I mean, whether you're talking Halloween
or Escape from New York. And you

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know, I think one of the
one of the outliers are probably like they

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live, which is mostly during the
day. But it's not an easy thing

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to do. I mean, if
you've really just go outside of your phone

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and start taking pictures at night without
your flash, I mean, it's it's

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tricky, you know. So there's
ways to light it without looking like artificial

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light, you know, and it's
there's an art to it, man,

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art to light and going again.
Also talking about Nap is the way he

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and I don't know how much I
know. I know Carpenter storyboarded the ice

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cream cone scene. You know,
he said he's storyboarded that whole sequence.

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But but I mean just the blocking
of the shots in this movie, it's

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really beautiful. I mean, like
you know, just like there are scenes

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where they're they're switching precincts, you
know, spoiler alert, you know,

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like this this precinct is getting it
laid out so there, so there's like

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they'll put chairs upside down and then
just put push them way in the foreground.

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So when when when Austin Stokers having
a conversation with with Lorie, they're

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in the middle ground, but in
the foreground, you just legs of chairs

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in the foreground, and it's just
it just adds depth to the shot.

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It really blocks it out nice.
And that's the thing. If you look

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at Carpenter's later flicks, like I
don't know, go some Mars and and

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just stuff, he just just crap
those out, man, Like you can

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tell he really didn't think those those
shots through anymore. He's kind of I

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think because of the thing broke him. You know, the thing was like

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expected that to his masterpiece, and
they're just like he's just like ash screw

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Hollywood, you know. Yeah,
it's yeah. Even the cinematography in this

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movie is just it's it's beautiful.
It's gorgeous. Uh. I'll tell you

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one thing that stands out for me
in this movie. You've got some very

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impressive performances. And I want to
talk about three, three people in particular,

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because the question I have every time
I watch this my my my thought

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is why weren't they bigger stars?
So, you know, let's let's talk

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for a second about Austin Stoker.
You know, he played you know,

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obviously he's our hero. He's he's
he's bishop. He appears in you know,

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six Million Dollars Man, The Incredible
Hulk, Airwolf, Cagney and Lacy.

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He's you know, kind of sticks
to TV never never kind of launched.

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You know, I don't understand that
because he's he's he's just awesome to

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watch on this in this movie.
Yeah, you know, And I'll tell

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you I thought the same thing,
and I have to say, you know

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I saw him live because I because
I'm here in Los Angeles, so I

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go to a lot of these old, these theaters that show old movies and

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the New Beverly is A is a
theater in Hollywood that is owned by Quentin

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Tarantino now and they'll bring in people. And I went and saw Austin Stoker

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a couple of years ago, just
before he died. Uh. I don't

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remember a thing that he said.
I mean, but I was ten feet

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from him, sitting there watching him
talking. So it was really cool.

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It's funny too, because I've seen
so many people talk, you know,

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Joe Dante and Lawrence hil and Jaco
I can't even remember. I got so

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00:16:30.000 --> 00:16:33.399
many different stars that you know,
oh he's gonna be a parent talking doing

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a Q and A. I've seen
Eddie Murphy, I've seen Burt Reynolds.

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But I go out to these and
I had to ask my friend yesterday.

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I'm like, did I did we
go see Austin Stoker? I can't remember,

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so that's that. But he yeah, it was Austin Stoker. But

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yeah, he's he's phenomenal. I
think there's not what I really like.

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There's my favorite scene, and I'll
ask your favorite part, But I really

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like when he's having a little conversation
with with Lori and and he talks about

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carbon that on the desk, you
know, and it's just it's just a

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sweet moment and he's you know,
he ends with thanks for the coffee,

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and he walks away. But I
says, I think if the movie didn't

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have that, it would feel different, you know what I mean, because

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he has this little bonding moment for
no reason. They're talking about they talking

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about the weather, it doesn't matter. But it's just this little niceties between

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them that really make you draw you
into his character. I think, yeah,

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definitely, Uh that that scene you
mentioned, that's that's a good Uh,

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that's a good contender for an underrated
moment. I'll we'll get to that

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00:17:36.039 --> 00:17:42.880
here later on. But moving right
along. So one of the coolest I'm

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00:17:42.880 --> 00:17:47.480
gonna call him an anti hero because
he's you know, because if Bishop is

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00:17:47.480 --> 00:17:52.960
our hero, and the Street Thunder
or you know, the gang, if

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they're the villains. Darwin Jostin playing
Napoleon Wilson, this guy Andy, this

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guy is is John Carpenter's neighbor at
the time. Yeah, he was right,

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Yeah, he likes Yeah, he's
so he's so fun to watch man.

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But again, you know, aside
from a small roll on the Fog,

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he does some limited TV roles again
Airwolf, remonton Steel, night Rider,

254
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Hill Street Blues. Why didn't this
guy take off? I don't get

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it. Yeah, it's weird,
and you know what, it's funny because

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00:18:23.839 --> 00:18:26.400
you know what, I looked at
his IMDb as well, and he and

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he's credited as Transportation Services, so
that means he's like a driver a studio,

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a driver for studios, and this
is in conjunct while he's making other

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movies. If you look at the
Transportation Services, it seems like he's just,

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oh, i'll act in this,
Okay, I'll drive for this.

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00:18:42.319 --> 00:18:47.079
It's crazy. But yeah, he
was really great and it's funny when you

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watch him in this. I don't
know, like I wonder if Carpenter thought

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of him when he was writing for
Jack Burton, because he has those lines

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that are like, you know,
you got a smoke and I don't see

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chairs too well, this is really
cool line, like he's just he's too

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cool for school, Like he's just
he's just the cool dude. And I

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think Carpenter went, all right,
I'm gonna make Napoleon, but I'm gonna

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make him even over the top.
So that's how he came up with Jack

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Bird. I don't know if Napoleon
Wilson doesn't get convicted for murder, maybe

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he's out there on the highways.
He's driving, he's driving the Pork Chop

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Express. I see the connection there
for sure. Alright, one other guy,

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and and maybe I would say this
guy probably has the most fame post

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uh Precinct thirteen talking about Tony Burton, who we we know him. He's

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best known for playing Uh the boxing
trainer Duke in the Rocky franchise. I'll

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tell you where I like him so
much in that his his body acting.

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As I say, it's not not
even his lines, his line delivery.

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Of course in Rocky he's just he's
amazing, more so Rocky two and three,

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Like when he gets when he's on
rock and he in Rocky's corner.

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He's great. But in like I
don't I don't know if I can curse

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on this show, but he has. He has my favorite line in it

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00:20:08.240 --> 00:20:14.960
when he just goes ship ship ship, when he when he realized he's the

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guy that has to go through the
manhole, like he's just he's funny.

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But like, for instance, and
I'm hoping to talk to you about this

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00:20:22.599 --> 00:20:26.000
at some point Rocky where where he's
if you remember the scene where he's watching

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00:20:26.519 --> 00:20:30.519
Rocky Pound the Meat on the TV
and he's like, hey, Champ,

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00:20:30.519 --> 00:20:33.440
you should come look at this.
I don't know if you remember any and

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00:20:33.640 --> 00:20:37.000
he starts he kind of gets into
the chair, a little bit chair like

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00:20:37.039 --> 00:20:41.720
he's just comfortable, just uncomfortable.
That's great. I mean, that's some

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00:20:41.799 --> 00:20:45.039
good acting right there. He's also
he's done a little bit of black politation

290
00:20:45.039 --> 00:20:47.960
and I caught him and he did
I think he was an abbey, which

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00:20:48.000 --> 00:20:51.039
is a black exerciss if you ever
seen that one, that one's I haven't

292
00:20:51.039 --> 00:20:53.480
seen that one, would I get
I gotta check it out now. Yeah,

293
00:20:53.599 --> 00:21:00.839
he's happy and and he's in he'sn't
Sheiva baby with with paim yep,

294
00:21:00.960 --> 00:21:03.359
But yeah, he's he pops up. I mean, he's one of those

295
00:21:03.359 --> 00:21:06.880
guys you know you watch you know
you're watching Wonder Woman and you see him

296
00:21:06.960 --> 00:21:11.599
or you know him. He's a
yeah, I mean I remember he had

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00:21:11.640 --> 00:21:15.319
that small role in The Shining Uh
you know on the phone. But I'll

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00:21:15.319 --> 00:21:23.200
tell you if anyone has a storied
life story as it is. This guy

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00:21:25.200 --> 00:21:29.519
was a professional boxer, you know, heavyweight fighter. You know, I

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00:21:29.559 --> 00:21:33.880
think it's like in the late late
fifties. Yeah, professional heavyweight fighter fallowing

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00:21:33.880 --> 00:21:37.960
a knockout by Lamar. Clark falls
on some tough times. He ends up

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00:21:37.400 --> 00:21:42.640
doing three years in Chino for robbery. And it's in prison where he gets

303
00:21:42.640 --> 00:21:47.160
a high school diploma, he gets
his college degree, and he takes acting

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as a form of therapy. You
know, who would have thought, you

305
00:21:51.799 --> 00:21:53.599
know, you go, you you
got a Chino and you come out of

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you know, an actors studio actor. That's that's mind blowing to me.

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Those are your three, right,
But I'd like to add a fourth is

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00:22:03.640 --> 00:22:07.680
Laurie Zimmer as Lee right she oh
gosh, yeah, mb She's done like

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00:22:07.920 --> 00:22:15.160
four things in total. And I
tell you what, man like she has

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00:22:15.359 --> 00:22:19.200
this like it's it's sexy look like
her eyes are like smolder than they just

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00:22:19.200 --> 00:22:22.160
like her half half open, you
know what I mean. Like throughout the

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00:22:22.880 --> 00:22:26.440
she's tough looking. You know,
it's not like a sexy taking a bed

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00:22:26.440 --> 00:22:30.720
thing. It's more like just a
tough ass and it's just quiet. It's

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like like everybody in this really it's
just this quiet coolness. And I think

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00:22:34.440 --> 00:22:38.720
she's got it. It's crazy that
she wasn't She hasn't done anything else.

316
00:22:38.799 --> 00:22:41.319
You know, she should have been
bigger too, you know, yeah,

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00:22:41.359 --> 00:22:45.240
you know, you know what,
I kind of look at her as she's

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00:22:45.319 --> 00:22:49.839
Meg Foster before Meg Foster. Yeah, you know, those smoldering eyes,

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00:22:49.960 --> 00:22:53.319
like that calm delivery that she has. Like and so you're like, you

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00:22:53.359 --> 00:22:57.039
said, man, she's she's in
a crisis situation. She's in a very

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00:22:57.079 --> 00:23:03.359
scary situation, and she is collected. You know, she's she's showing strength.

322
00:23:03.400 --> 00:23:07.599
Yeah. Good, good call to
to uh to add her into it.

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00:23:07.200 --> 00:23:11.119
You got a couple of a couple
of carpenter or they would go on

324
00:23:11.200 --> 00:23:15.279
to become carpenter regulars, you know. Talking about Charles Seipher's and Nancy Loomis,

325
00:23:15.359 --> 00:23:18.720
you know, Halloween, the Fog. I love both of them.

326
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I have to say Nancy Loomis is
not the best actress. She's she's she's

327
00:23:25.559 --> 00:23:26.720
okay, you know what I mean. But think of her line, think

328
00:23:26.720 --> 00:23:32.960
of all the lines that she's fed
in Halloween and adorable girl, beauty,

329
00:23:33.039 --> 00:23:37.000
really easy on the eyes. Uh
yeah, she's just okay, you know,

330
00:23:37.319 --> 00:23:41.160
but that's fine. I mean Carpenter
must have saw something because he used

331
00:23:41.160 --> 00:23:47.440
her quite a bit. Yeah.
I guess this also reinforces my my love

332
00:23:47.519 --> 00:23:52.799
for Laura Zimmer. I thought she
you know, well, you know,

333
00:23:52.960 --> 00:23:56.119
Nancy Loomis did die early on,
but Laurie took over. But I would

334
00:23:56.160 --> 00:24:00.160
have liked to see Laurie in those
in the fog and and hoween But what

335
00:24:00.200 --> 00:24:03.400
are you gonna do? Oh?
I could have definitely went for that,

336
00:24:04.759 --> 00:24:10.200
you know, you know, I
don't think you're being unkind I know Nancy

337
00:24:10.279 --> 00:24:14.119
Loomis also kind of had those same
feelings like you were kind of pointing out.

338
00:24:14.680 --> 00:24:15.839
You know, she was like,
oh, you know what, this

339
00:24:15.880 --> 00:24:19.519
isn't really for me, but I
enjoy you know, costuming, costume design,

340
00:24:19.960 --> 00:24:25.640
and that's ultimately that's where her career
went in Hollywood. One thing you

341
00:24:25.680 --> 00:24:30.039
can you can count on in a
John Carpenter film is that you're going to

342
00:24:30.119 --> 00:24:37.720
get an excellent John Carpenter film score. And this one, man, I

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00:24:37.799 --> 00:24:41.680
underrated because you know, everyone talks
about Halloween or you know, Eskate fro

344
00:24:41.680 --> 00:24:45.279
New York or the thing, you
know, but but this one has got

345
00:24:45.319 --> 00:24:48.680
so much going for it. It's
my favorite. Yeah, it's my favorite.

346
00:24:48.680 --> 00:24:51.759
And I think I told you previously
when I spoke to you, but

347
00:24:51.920 --> 00:24:57.519
I saw Carpenter in concert out here
twice. I saw him. Actually,

348
00:24:57.559 --> 00:25:00.759
I saw him on Halloween and how
many years ago, four or five years

349
00:25:00.759 --> 00:25:07.160
ago pre COVID but on Halloween,
Halloween night at the Palladium in Hollywood.

350
00:25:07.559 --> 00:25:15.599
So he's he's just when I sit
and I watched him on stage. It's

351
00:25:18.400 --> 00:25:21.440
what that guy's brain. What comes
out of that guy's brain, Like some

352
00:25:21.519 --> 00:25:23.559
of my favorite movies and some of
my favorite scores, like musically and visually,

353
00:25:23.599 --> 00:25:27.079
the guys he's just working on different
level that nobody, I don't know

354
00:25:27.160 --> 00:25:32.000
who else has gotten at that level
and in his in this this score that

355
00:25:32.039 --> 00:25:34.960
he did. So when I saw
him the first time, they were selling

356
00:25:36.480 --> 00:25:41.240
vinyl records twelve inches of just like
a single look so you'll have an Escape

357
00:25:41.240 --> 00:25:45.680
from New York twelve inch, Assault
twelve inch and whatnot. So I the

358
00:25:45.720 --> 00:25:49.759
only twelve inch No, I bought
two, and I bought the one.

359
00:25:51.079 --> 00:25:53.039
I made sure I bought a Salt
Sultan prec in thirteen twelve inch. It's

360
00:25:53.079 --> 00:25:57.000
just my favorite. It's that's the
one that I just loved the most out

361
00:25:57.039 --> 00:26:02.160
of all of his scores. You
know, that's just yeah, he is

362
00:26:02.200 --> 00:26:08.000
simple, and I let me just
go and explain so simplicity that I think

363
00:26:08.839 --> 00:26:14.279
is what I love the most about
Carpenter. He doesn't get overly complex his

364
00:26:14.400 --> 00:26:18.400
movies or his score, Like it's
just what is it? Five notes?

365
00:26:18.559 --> 00:26:21.559
You know what I mean? Pretty
much? Halloween? How many? You

366
00:26:21.559 --> 00:26:25.200
know? But it's so damn affected. I got no I gotta ask you.

367
00:26:25.240 --> 00:26:30.160
So. Carpenter claims he got inspiration
for this score from Dirty Harry's film

368
00:26:30.160 --> 00:26:34.079
score and from Led Zeppelin's Immigrant song. Do you hear that when you hear

369
00:26:34.119 --> 00:26:38.440
this score? No? No,
And what's it's the Immigrant song right or

370
00:26:38.480 --> 00:26:45.319
something? Maybe I don't know.
Here's here's another thing, and I don't

371
00:26:45.359 --> 00:26:48.039
want to so I don't get that
inspiration. But Carpenter says it, and

372
00:26:48.079 --> 00:26:52.079
there's no reason for him to lie, right, So yeah, so I

373
00:26:52.160 --> 00:26:57.519
get that. Also, really credits
Real Bravo. That's his you know template

374
00:26:57.559 --> 00:27:00.960
he kind of used for this movie, and he loves bard Hawks. I

375
00:27:02.000 --> 00:27:06.440
gotta say, like two or three
months ago, I did watch Real Bravo,

376
00:27:07.400 --> 00:27:10.839
and I don't know what it is
man. I just I guess I'm

377
00:27:10.880 --> 00:27:14.680
not just a big I'm not a
big John Wayne fan. Yeah, he

378
00:27:14.799 --> 00:27:19.279
just like I guess maybe it's because
that's what the definition of cool was.

379
00:27:19.839 --> 00:27:23.240
Just like probably people look at us
and they go, you know, Napoleon

380
00:27:23.240 --> 00:27:26.400
Wilson, he's not that cool,
and I'm like, no, he's the

381
00:27:26.400 --> 00:27:30.200
coolest. Or Billy Jack. I
was up. Billy Jack was the coolest.

382
00:27:30.880 --> 00:27:33.960
Yes, And I'm showing my kids, I'm like, this guy is

383
00:27:33.000 --> 00:27:36.759
the coolest. You gotta watch this, and they're like, this is dad,

384
00:27:36.759 --> 00:27:38.920
this guy's corny. I'm what,
are you crazy? I think that's

385
00:27:38.960 --> 00:27:42.200
why I don't kind of I kind
of don't get John Wayne. I mean,

386
00:27:42.200 --> 00:27:47.119
even rio Bravo with this this stupid
upturned hat and his swishy walks,

387
00:27:47.200 --> 00:27:51.759
Like is that cool? But whatever, I'm as far as the structure of

388
00:27:51.759 --> 00:27:55.319
the movie, it's okay, you
know, I like Dean Martin and it's

389
00:27:55.519 --> 00:27:59.880
it's but okay, that's your inspiration. But I don't see. I like

390
00:28:00.039 --> 00:28:04.680
your ship better than than than I
did the real Bravo. So I don't

391
00:28:04.680 --> 00:28:10.119
know. I think that's my take. I like Real Bravo, but maybe

392
00:28:10.119 --> 00:28:15.759
sacrilege to some centophiles out there,
but I don't know. Hey, it

393
00:28:15.839 --> 00:28:22.039
is what it is. Man.
You referenced the ice cream scene, and

394
00:28:22.400 --> 00:28:26.319
we got to talk about that.
We're gonna take a quick break for the

395
00:28:26.359 --> 00:28:29.440
sponsors. When we get back there, we are going to talk about this

396
00:28:29.480 --> 00:28:33.480
ice cream scene, underrated moments and
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403
00:29:03.640 --> 00:29:11.440
are back andy. He referenced a
the ice cream scene. Now here's here's

404
00:29:11.440 --> 00:29:18.400
the deal. This film begins to
achieve cult status and newfound popularity in the

405
00:29:18.480 --> 00:29:22.359
late nineties after a Mel Gibson interview
he does where he cites the film's ice

406
00:29:22.400 --> 00:29:27.319
cream scene as a shocking depiction of
on screen violence. And then all of

407
00:29:27.359 --> 00:29:30.400
a sudden, everyone's like running to
the video store, like, what what's

408
00:29:30.400 --> 00:29:33.519
mel Gibson talking about? You know
what? You know, if Riggs thinks

409
00:29:33.519 --> 00:29:37.440
something shocking and it's violent, we
I gotta check it out. And this

410
00:29:37.480 --> 00:29:41.960
movie kind of gets relaunched. You
know the ice cream scene. Man,

411
00:29:42.079 --> 00:29:47.319
I mean, if there was a
controversial scene in the nineteen seventies, it's

412
00:29:47.359 --> 00:29:49.880
it's got to be this, right, Yeah, Yeah, I think that's

413
00:29:51.000 --> 00:29:55.519
really right. That's the first murder
in the movie. First murder in the

414
00:29:55.519 --> 00:29:59.119
movie. Yeah, and it's it's
always yeah, if you want to grab

415
00:29:59.240 --> 00:30:03.920
people by the short hairs, you
kill a kid. I guess it's kind

416
00:30:03.920 --> 00:30:07.119
of like if you ever saw Once
upon a Time in the West, you

417
00:30:07.160 --> 00:30:11.920
know when the first murder and then
the there's a murder in the turn and

418
00:30:11.960 --> 00:30:15.519
you see Henry Fonda's blue eyes.
It's like, oh, this is this

419
00:30:15.759 --> 00:30:18.960
good guy. You know, it's
like, you need something, and we

420
00:30:19.039 --> 00:30:22.680
do this animation too. You really
want to we do it in the cold

421
00:30:22.720 --> 00:30:25.880
opens. You want to kind of
grab the viewer with something, but you

422
00:30:25.880 --> 00:30:27.519
don't want to be cheap about it. And I think that it was a

423
00:30:27.519 --> 00:30:33.759
decent murder. I think it.
Listen to me telling the same kid is

424
00:30:33.759 --> 00:30:37.279
a decent murder, But I mean
it really just pushed that these guys have

425
00:30:37.400 --> 00:30:42.359
no scruples. They're just wantingly killing
people, and I think what better way

426
00:30:42.359 --> 00:30:45.119
to do it than kill an ice
cream man and this little girl, you

427
00:30:45.119 --> 00:30:49.400
know, Brent, Just so I
think it served its purpose, you know.

428
00:30:49.440 --> 00:30:52.519
I mean, look, you can
kill kick cats all day long,

429
00:30:52.640 --> 00:30:57.400
and and and it's just it doesn't
if it if it doesn't mean anything,

430
00:30:57.440 --> 00:31:00.880
it's just it's just torture your porn. This wasn't torture porn. This was

431
00:31:00.960 --> 00:31:03.519
there was a there was a neat, there was a reason for this,

432
00:31:03.599 --> 00:31:07.359
and I think it was very effective. So I agree with you. This

433
00:31:07.400 --> 00:31:10.680
is a time in cinema when you
know, you don't kill kids, you

434
00:31:10.680 --> 00:31:14.920
don't kill dogs. And Frank double
Day, you know, he's we know

435
00:31:15.039 --> 00:31:17.839
him, we know him. I
know him, love him from from Escape

436
00:31:17.839 --> 00:31:22.440
from New York where he plays Romero. But he's the white warlord. You

437
00:31:22.440 --> 00:31:25.599
know, he's running the gang,
the street gang, and they're looking to

438
00:31:25.680 --> 00:31:30.440
make a statement, and you've got
this adorable little little girl played by Kim

439
00:31:30.519 --> 00:31:33.079
Richards, and you you're just you
know, you're thinking, there's no chance.

440
00:31:33.160 --> 00:31:36.319
You know, Dad's not paying attention
he's on the he's on a pay

441
00:31:36.319 --> 00:31:38.519
phone. You know, she's bugging
the ice cream guy for for ice cream.

442
00:31:38.519 --> 00:31:42.160
And meanwhile, the ice cream man
he is hip to what's going on.

443
00:31:42.319 --> 00:31:47.359
He's watching this car. He knows
there's trouble. You know, she's

444
00:31:47.440 --> 00:31:52.640
kind of you know, pestering him. You just never would have expected Frank

445
00:31:52.680 --> 00:31:56.720
double Day to to just blow our
away the way he does. It's brutal,

446
00:31:56.160 --> 00:32:00.759
you know, and and he's just
bored. He does it too,

447
00:32:00.839 --> 00:32:04.880
like, yeah, it's so beautiful
the way he just it's just kind of

448
00:32:04.920 --> 00:32:08.440
bent, risks, points and shoots
the guy on the ground like he's just

449
00:32:08.599 --> 00:32:12.759
told me he's so bored with everything. Everybody gets shot. He's just bored.

450
00:32:12.799 --> 00:32:15.720
He just looks down at his chest, his chest, and we just

451
00:32:15.799 --> 00:32:21.480
keep shooting. He's just he's great
at looking cycle like he's just face itself

452
00:32:21.519 --> 00:32:24.279
and just oh my god, that
guy's so twisted. He was great,

453
00:32:24.720 --> 00:32:27.799
yeah in this because in this you
know he you know, he's kind of

454
00:32:27.839 --> 00:32:30.559
made up. He's has a makeup
on him in Escape in New York,

455
00:32:30.640 --> 00:32:34.799
but this is just his normal face. And he's still the creep factor is

456
00:32:34.839 --> 00:32:37.880
off the charts with him. Man, you know, what to talk about

457
00:32:37.920 --> 00:32:40.920
creep factor for some reason, the
way he carries that gun in the case

458
00:32:42.000 --> 00:32:44.319
when he just walks to the car, when he gets in the car,

459
00:32:44.480 --> 00:32:46.680
just the way he's carrying like he's
carrying it. Here's his arms straight and

460
00:32:46.720 --> 00:32:50.960
it's just propped against his waist.
He's just walking like it's just so weird,

461
00:32:51.119 --> 00:32:53.079
Like it's just weird, just carried
like a suitcase under your arm,

462
00:32:53.119 --> 00:32:55.480
like you know, like a football, but no, he's carrying it out

463
00:32:55.599 --> 00:32:59.920
and it just he's so odd.
He's just he's just an odd looking guy.

464
00:33:00.160 --> 00:33:04.119
Man. I love him. Yeah, I mean you talk about he

465
00:33:04.200 --> 00:33:07.400
puts the gun in the guy's mouth, it's just so like that's a that's

466
00:33:07.440 --> 00:33:09.640
a weird thing. It's just weird, like just at his head, but

467
00:33:09.680 --> 00:33:14.799
he just holds his opens his mouth. It's just he's a creepy he's creepy.

468
00:33:14.880 --> 00:33:16.359
Like he said, Yeah, I
mean, you mean you're talking about

469
00:33:16.359 --> 00:33:20.039
Tony Burton's physicality, you know,
with his acting. I think it's the

470
00:33:20.079 --> 00:33:23.039
same thing he said about Frank Double
Day. He's he's he's he's using his

471
00:33:23.039 --> 00:33:28.480
his his body mechanics in a way
that just makes you your skin crawl.

472
00:33:29.960 --> 00:33:31.599
You're you know, you're trying for
him to get killed, like you just

473
00:33:31.640 --> 00:33:36.039
want him to die and oh gosh, yeah, what's great, like you

474
00:33:36.160 --> 00:33:39.400
usually like structured today, like he'd
be the last one, the guy like,

475
00:33:39.440 --> 00:33:44.200
you know, the the last guy
you go finally get your revenge one

476
00:33:44.240 --> 00:33:46.079
way. No, he's the first
guy to go. And you know it

477
00:33:46.160 --> 00:33:51.119
just doesn't you don't feel like satisfied, Like it's like, oh my god,

478
00:33:51.160 --> 00:33:54.160
there's like twenty more of them to
take it place. You know.

479
00:33:54.559 --> 00:33:58.839
Yeah, well, this gang,
you know, I know, I know

480
00:33:58.920 --> 00:34:00.480
Carpenter said that, you know,
he wanted this gang the street game to

481
00:34:00.519 --> 00:34:05.279
be, you know kind of he
wanted them to give off the vibe of

482
00:34:05.279 --> 00:34:07.960
like the zombies and Romero's not living
dead. You know, you kill one,

483
00:34:08.039 --> 00:34:10.760
there's just there's five more, There's
ten more. They just keep coming,

484
00:34:10.840 --> 00:34:15.039
right. Yeah, but Frank double
Day man, what a creep.

485
00:34:15.719 --> 00:34:19.559
And I mean that is I mean
that in a complimentary SAIDs of course,

486
00:34:19.800 --> 00:34:22.679
no, I agree, I agree, and for the most part silent,

487
00:34:22.840 --> 00:34:25.400
you know what I mean? Like
I think I think the Street Thunder uttered

488
00:34:27.159 --> 00:34:30.880
well maybe five words throughout the movie, yep, out of those states.

489
00:34:30.920 --> 00:34:35.840
And then they said in the beginning, like when they get gunned down,

490
00:34:35.880 --> 00:34:37.880
there's like, oh, yeah,
I think that's the six or whatever.

491
00:34:38.920 --> 00:34:43.079
Yeah, but you don't hear,
and that's just makes them extra creepy.

492
00:34:43.159 --> 00:34:46.440
So they really had to push their
dead stairs. You know, it's all

493
00:34:46.480 --> 00:34:51.760
body acting because it's yeah, you
know, they don't have dialogue. Yeah,

494
00:34:51.800 --> 00:34:52.760
before we get to the underrated moment, I got it. When I

495
00:34:52.800 --> 00:34:55.880
get when I get in my car
with my buddies, I'll at least say,

496
00:34:55.880 --> 00:34:59.800
hey, how you doing. They
even do that in the car,

497
00:35:00.159 --> 00:35:07.880
just nothing. Where are we going? Dude? It's just very robotic.

498
00:35:07.960 --> 00:35:10.119
Man. Uh. Before we get
to the underrated moment, I do want

499
00:35:10.119 --> 00:35:13.880
to point out I found this out
and I was like, I just thought

500
00:35:13.880 --> 00:35:16.280
it was kind of cool because the
little girl that gets gunned down, she's

501
00:35:16.320 --> 00:35:22.559
played by Kim Richards. Two years
later, her sister Kyle is playing Lindsay

502
00:35:22.599 --> 00:35:27.079
in John Carpenter's Halloween. Man,
right, and she's like, you gotta

503
00:35:27.119 --> 00:35:29.480
wonder, Yeah, why is it
she in Halloween? You gotta wonder?

504
00:35:30.159 --> 00:35:35.920
Yeah? Right, She's also that
her sister, it's in Halloween. She's

505
00:35:35.960 --> 00:35:40.480
in uh like the what do you
call those housewives? Housewives shows? Real

506
00:35:40.480 --> 00:35:45.800
house real housewives. Okay, Yeah, he's one of the big flip My

507
00:35:45.800 --> 00:35:49.639
wife watches all those I've never watched, but she's like, oh, I

508
00:35:49.679 --> 00:35:52.840
love her, she's great. And
she was also in the newer ones,

509
00:35:52.920 --> 00:35:55.679
the newer halloweens Yoh yeah, I
remember she was in the the updated ones,

510
00:35:57.039 --> 00:35:58.880
and it was it was kind of
cool to see her her back,

511
00:35:58.920 --> 00:36:02.840
I think. So, Mandy,
let's talk about let's talk about an underrated

512
00:36:02.880 --> 00:36:07.599
moment. You know, it's not
the favorite scene, it's not in the

513
00:36:07.599 --> 00:36:12.400
trailer for the film, but without
it, the film is less. You

514
00:36:12.440 --> 00:36:19.440
kind of reference the conversation between Bishop
and the the outgoing police chief before.

515
00:36:19.519 --> 00:36:22.119
Is that would that be your your
underrated moment for this one or you've got

516
00:36:22.159 --> 00:36:23.920
something different. Yeah, I think
I'd go with that. I mean,

517
00:36:24.199 --> 00:36:29.400
you know, because there's not much
else that I can imagine being plucked out

518
00:36:29.400 --> 00:36:32.119
of the film, you know,
like it's from then on, like from

519
00:36:32.199 --> 00:36:37.719
from a certain point, it's just
firing and shooting, and yeah, I

520
00:36:37.760 --> 00:36:42.039
can't I like that moment. It's
just a tender moment, which this movie

521
00:36:42.079 --> 00:36:46.079
doesn't have a lot of. Yeah, there's the little discussion on the bus

522
00:36:46.119 --> 00:36:55.960
with with Ciphers and Bishop and Napoleon. Interesting because and I wanted to sidetrack

523
00:36:57.039 --> 00:37:00.840
too much. But I think what
I like about a lot of the structures

524
00:37:00.039 --> 00:37:04.000
in Wade Carpenter does his things,
it's what he doesn't show, right,

525
00:37:04.119 --> 00:37:08.239
So you're asking me what I couldn't
imagine without like he already does that,

526
00:37:08.400 --> 00:37:13.519
like he takes stout, Like you
don't know Napoleon's backstory. You know he

527
00:37:13.800 --> 00:37:15.360
murdered some people, but that's it, you know, you don't know.

528
00:37:15.599 --> 00:37:20.760
You don't even see what Bishop says
He's carved on the desk, like you

529
00:37:20.800 --> 00:37:22.639
know what I mean, Like you
just like don't see it. And and

530
00:37:22.719 --> 00:37:27.119
it's okay, you know, Mike
Myers, you never know why he's killing

531
00:37:27.159 --> 00:37:30.280
people. You just don't. That's
where his magic is is what he doesn't

532
00:37:30.360 --> 00:37:32.840
show, doesn't explain. You just
gotta figure it out. And you just

533
00:37:32.840 --> 00:37:36.719
just like, why are these guys
That's the whole theme of those whole movie,

534
00:37:36.800 --> 00:37:39.360
Like why the hell are they just
attacking this one precinct? They just

535
00:37:39.480 --> 00:37:44.360
are and that's it. You don't
need to know. And well that's magic

536
00:37:44.400 --> 00:37:47.280
to me. So well you are
on track, because if there's an underrated

537
00:37:47.320 --> 00:37:52.599
moment for me, it's definitely Napoleon
Wilson and Starker chatting on the prison bus.

538
00:37:53.960 --> 00:37:57.679
No mind if I sit on a
minute or two days, got a

539
00:37:57.719 --> 00:38:00.840
small gun? Yeah, you asked
me before. I never got a definitive

540
00:38:00.880 --> 00:38:06.599
answer. I don't smoke. That's
a definitive answer. And you're in my

541
00:38:06.719 --> 00:38:10.800
position. Days are like women.
Each one is a goddamn precious. It

542
00:38:12.000 --> 00:38:15.719
always end up leaving you. I
don't understand you, Wilson. You're not

543
00:38:16.400 --> 00:38:22.519
You're not a psychopath, You're not
stupid. I am an asshole. Yeah,

544
00:38:22.639 --> 00:38:25.199
take everything away from me. The
main reason, you know, to

545
00:38:25.280 --> 00:38:29.599
your point, Wilson is a convicted
killer. You know, we don't know

546
00:38:29.639 --> 00:38:32.599
what we don't know what the context
is. We just know he's he's head

547
00:38:32.639 --> 00:38:36.920
to death row. So we shouldn't
like this guy. Automatically, we shouldn't

548
00:38:36.960 --> 00:38:39.079
like him. But this this little
chat they have on the on the prison

549
00:38:39.119 --> 00:38:45.079
bus, it kind of humanizes his
character and and it begins to make him

550
00:38:45.119 --> 00:38:47.960
likable, you know, because he's
kind of coy, you know, you

551
00:38:47.960 --> 00:38:52.360
know, how'd you get a name
like Napoleon? And you know, God

552
00:38:52.400 --> 00:38:53.760
a smoke. You know, he's
just like like you said, he is,

553
00:38:53.840 --> 00:38:59.320
he's the essence a cool and you
shouldn't like him, but but you

554
00:38:59.360 --> 00:39:01.559
don't have a choice. You have
to like him, you know. That's

555
00:39:01.639 --> 00:39:06.440
that's the one for me. Could
be the most horrible human. He could

556
00:39:06.440 --> 00:39:10.239
have murdered a family, an elderly
couple, or for no reason, you

557
00:39:10.280 --> 00:39:14.199
know what he did, So he
could be the most horrible person. But

558
00:39:14.599 --> 00:39:17.039
from what I'm hearing and seeing,
like, hey, it's cool, but

559
00:39:17.119 --> 00:39:21.440
by me, Yeah no, it's
uh yeah, yeah, that's He's a

560
00:39:21.440 --> 00:39:24.519
great character, very complex, but
it's simple. Yeah he I mean he

561
00:39:24.559 --> 00:39:28.679
can't I mean, yeah, he
could be he could be evil incarnate.

562
00:39:28.800 --> 00:39:34.400
But the bottom line is he is
helping these people defend this uh this,

563
00:39:34.719 --> 00:39:37.360
this defunct precinct. He could have
he could have been off for himself.

564
00:39:37.400 --> 00:39:40.760
And he steps right up next to
next to bishop. He's like, yeah,

565
00:39:40.800 --> 00:39:44.440
let's let's run this, let's do
this. Man. So I dig

566
00:39:44.519 --> 00:39:49.280
that about him. Yeah, totally
tragic because you know he's going he's going

567
00:39:49.480 --> 00:39:53.679
right back to death row. Yeah, exactly like he could he you know,

568
00:39:54.280 --> 00:39:57.800
even if he's credited you know,
well, you know I love that

569
00:39:57.840 --> 00:40:01.320
moment too at the end when when
uh, when bishops like I would I

570
00:40:01.320 --> 00:40:06.000
would love it if you'd walk out
with me, you know, because because

571
00:40:06.000 --> 00:40:07.719
at that point the point is just
you know, he's assuming, all right,

572
00:40:07.800 --> 00:40:12.519
let's slap the iron bracelets on and
let's get back to it. But

573
00:40:12.559 --> 00:40:16.679
you know it's like it's like Bishop
shows him, uh, shows him respect

574
00:40:17.280 --> 00:40:21.960
that he probably has him been getting. Uh you know that that you see

575
00:40:21.960 --> 00:40:23.280
actually that you see at the beginning
of the movie, which leads me to,

576
00:40:23.519 --> 00:40:29.360
uh to the words that matter.
Man. The most famous line's gotta

577
00:40:29.360 --> 00:40:36.800
be gott a smoke, right,
gotta smoke? Nope, sorry, anybody

578
00:40:36.840 --> 00:40:39.840
got a smoke? Yeah? Yeah, yeah, yeah, because there's a

579
00:40:39.920 --> 00:40:44.679
runner. You know, it's said
a couple of times, which I think

580
00:40:46.000 --> 00:40:51.760
because that's the one that stands out
right, but I'm thinking I really like

581
00:40:51.920 --> 00:40:58.000
the end. It's it's where right
when we were talking where he said where

582
00:40:58.000 --> 00:41:00.440
Bishop says it would be an honor. He was that it would be an

583
00:41:00.480 --> 00:41:05.000
honor to walk out with you.
It would be a privilege if you'd walk

584
00:41:05.039 --> 00:41:19.199
outside with me. I know I
would. You're pretty fancy, wisnt I

585
00:41:19.320 --> 00:41:22.599
have moments? Yeah? I know
it would. Or so he gives a

586
00:41:22.679 --> 00:41:29.079
han solo like reply like yeah,
yeah, that's cool. That like right

587
00:41:29.079 --> 00:41:32.599
there at the end, like you
know, like there's there's that little tension

588
00:41:32.639 --> 00:41:37.519
because he's a cop and he's a
convict and and he's he's he's yeah,

589
00:41:37.679 --> 00:41:39.639
I love that little moment. That's
a nice little moment for me. Well,

590
00:41:39.679 --> 00:41:44.320
he's even got that, like to
your point with the Han Solo type

591
00:41:44.360 --> 00:41:47.920
of attitude, like earlier, like
during the you know, once the gang

592
00:41:49.039 --> 00:41:52.079
is actually breaking in and you know
it's it's it's truly the last stand.

593
00:41:52.119 --> 00:41:55.000
You know, someone talks about that. You know, we're you're gonna run

594
00:41:55.039 --> 00:41:59.440
out of time, and he has
that great line at least four problems that

595
00:41:59.559 --> 00:42:04.840
we out of time. It's an
old story with me. I was born

596
00:42:04.840 --> 00:42:07.760
out of time. I mean yeah, yeah, that's I mean people got

597
00:42:07.760 --> 00:42:12.159
that tattooed on their arms and risks
and stuff. Man, after after this

598
00:42:12.199 --> 00:42:15.239
movie, you know, that's an
iconic one. That's yeah, that might

599
00:42:15.280 --> 00:42:19.920
be my favorite. Yeah, that's
really great and that and that's also great

600
00:42:20.039 --> 00:42:22.840
right there, Like that's the moment
the final you hear you hear it off

601
00:42:22.880 --> 00:42:28.119
screen, you hear them breaking down. And I'll tell you what, like

602
00:42:28.599 --> 00:42:31.760
a lot of this is just him
not having a butt. Here's what I

603
00:42:32.199 --> 00:42:35.639
So he didn't have a budget,
right, so he gets a lot of

604
00:42:35.679 --> 00:42:37.320
you see a lot of insert shots. You know, there's not a lot

605
00:42:37.360 --> 00:42:43.480
of coverage, right, And I
think what I like to do in animation

606
00:42:43.519 --> 00:42:46.559
too is have off screen noise and
just you're on the characters. So you're

607
00:42:46.599 --> 00:42:50.599
not showing all this animation or you're
not showing all this action, but you

608
00:42:50.599 --> 00:42:52.920
can kind of picture it in your
head and it makes you know your picture.

609
00:42:52.920 --> 00:42:55.519
And even worse, so that moment
when they're behind the barricade and they're

610
00:42:57.239 --> 00:43:00.199
hearing this and I like out,
you know, it's kind of like this,

611
00:43:00.440 --> 00:43:01.559
it's over, you know, and
he goes, you're gonna tell me

612
00:43:01.719 --> 00:43:06.679
what you're a means or something like
that, like this is the point I'm

613
00:43:06.719 --> 00:43:08.559
might in a second, like they're
about to die and they're just ready,

614
00:43:08.719 --> 00:43:14.159
all right, we're about to die. Let's just but so that's that's a

615
00:43:14.199 --> 00:43:17.199
really great moment for me. But
I think where and this, I think

616
00:43:17.199 --> 00:43:21.880
that's the only point where it's suffered
for me the movie that the restrict the

617
00:43:21.880 --> 00:43:28.039
budgetary restrictions and the lack of insert
shots is where Bishop is lining up with

618
00:43:28.079 --> 00:43:30.719
the he's shooting the flare that's gonna
hit the settlene and it's gonna blow up,

619
00:43:31.320 --> 00:43:35.599
and I'm fine without seeing the giant
explosion, right, I get it.

620
00:43:35.639 --> 00:43:37.679
You just do flash some lights and
throw some smoke. That's fine.

621
00:43:38.000 --> 00:43:43.280
But I would have liked to have
seen the flare next to the settling,

622
00:43:43.320 --> 00:43:46.920
you know, establishing shot and then
like maybe maybe a shot of the of

623
00:43:46.960 --> 00:43:52.000
the of the flare and a ricochet
like he missed, you know, building

624
00:43:52.000 --> 00:43:54.880
a little more tention with some cross
cutting. There's that's not there, right,

625
00:43:55.079 --> 00:44:00.400
you just see there's one one shot
where he's he's just aiming a fog

626
00:44:00.440 --> 00:44:02.519
and you don't see anything. So
that's it's a little storytelling. That's like

627
00:44:02.559 --> 00:44:07.199
part of my director thing where I
see storytelling lacking in certain parts. And

628
00:44:07.239 --> 00:44:10.480
that's the only part where I think
the storytelling suffers. It still gets the

629
00:44:10.559 --> 00:44:13.760
point across and you know what happens, you know, but it's all a

630
00:44:13.960 --> 00:44:21.000
screen. I would have like to
see that on screen. I'm with you

631
00:44:21.039 --> 00:44:23.159
on that one. Let's take one
more quick break and when we get back,

632
00:44:23.719 --> 00:44:30.840
we're gonna talk prequel, sequel,
remake. It's been almost two hundred

633
00:44:30.960 --> 00:44:37.280
years since Paul Revere rode this way
to Rouse the countryside and wherever the Budweiser

634
00:44:37.360 --> 00:44:43.920
client tales travel. Like other symbols
out of our past, they too renew

635
00:44:44.039 --> 00:44:53.599
and reaffirm a similar concern and regard
for traditions worth preserving. Traditions like the

636
00:44:53.639 --> 00:45:00.280
way Budweiser is brewed in New England
and all across America. Brewing beer right

637
00:45:00.920 --> 00:45:07.079
does make a difference. It always
has, it always will. When you

638
00:45:07.119 --> 00:45:13.239
say bud Riser, you've said it
all. We are back. We are

639
00:45:13.280 --> 00:45:20.039
talking with Andy Tom about John Carpenter's
assault on Preset thirteen. So Andy,

640
00:45:20.360 --> 00:45:23.000
you know fun hold out from our
eight our nineteen eighty six series, we

641
00:45:23.039 --> 00:45:27.440
always talked about, you know,
if you had your hands on this ip

642
00:45:28.559 --> 00:45:30.280
and you had to present something,
to to do something, you know,

643
00:45:30.320 --> 00:45:32.960
if you had to bring it back, are you going to do a prequel,

644
00:45:34.519 --> 00:45:37.440
a sequel, or a remake?
Here we go, buddy, because

645
00:45:37.480 --> 00:45:42.320
I thought this through all right,
so pretty cool. Here's here's where that

646
00:45:42.320 --> 00:45:45.800
will suffer. I think, all
right, what I like about Street Thunders,

647
00:45:45.840 --> 00:45:47.960
You don't know anything about them,
right, They don't speak right,

648
00:45:49.480 --> 00:45:52.360
yep. So you do a prequel, you got to include that gang.

649
00:45:52.079 --> 00:45:57.119
And if you treat him the way
they were treated in this with little dialogue

650
00:45:57.119 --> 00:46:00.599
and just an attack, it'd be
like you're really not getting anything but more

651
00:46:00.639 --> 00:46:04.960
of the same. Right, It's
just so I think prequel, and I

652
00:46:04.960 --> 00:46:08.320
think if you start to delve into
how like, let's say, the formation

653
00:46:08.360 --> 00:46:13.360
of Street Thunder, then you're getting
into like rob zombies, you know,

654
00:46:13.440 --> 00:46:17.440
Halloween pre prequels, which you're garbage
to me. Let's do that. It's

655
00:46:17.440 --> 00:46:22.599
just why you explain that he's an
abused kid. It's just horrible, horrible,

656
00:46:22.639 --> 00:46:27.079
horrible idea, right, So get
rid of that. Remake. I

657
00:46:27.079 --> 00:46:30.400
don't give a crap. You can't
remake this movie. I don't I'm not

658
00:46:30.559 --> 00:46:36.440
interested. I didn't watch the new
one stuff, and I have no desire

659
00:46:36.480 --> 00:46:39.360
to watch it. I never will
watch it, right, So remake that's

660
00:46:39.400 --> 00:46:43.119
like, you know, let's remake
Jaws. Oh great, it's just stupid.

661
00:46:43.119 --> 00:46:46.320
It's already been done. Right,
So here's here's my pitch. Sequel.

662
00:46:47.559 --> 00:46:52.480
Okay, uh, Bishop is still
alive. Uh you know there there

663
00:46:52.519 --> 00:46:59.280
there, he's offered another precinct,
the Street Thunder. So those guys were

664
00:46:59.320 --> 00:47:02.960
pissed that six of them got killed, So now amplify that how many got

665
00:47:04.000 --> 00:47:07.360
killed in this movie? So they're
ex so they're taking out and then I'm

666
00:47:07.360 --> 00:47:12.639
assuming some of them got arrested,
some of them are going to go to

667
00:47:12.679 --> 00:47:15.519
trial, someonem are gonna go to
jail. So Street Thunder we don't realize

668
00:47:15.519 --> 00:47:20.119
how how how many of them are. So they're spread out all over Los

669
00:47:20.119 --> 00:47:23.079
Angeles and they start attacking all these
institutions. They start attacking the judges,

670
00:47:23.119 --> 00:47:29.320
and then these a little silent attacks
throughout the night, and Austin Stoker's dealing

671
00:47:29.360 --> 00:47:31.519
with them again. Boom boom,
boom, keep going, spread it out,

672
00:47:31.599 --> 00:47:35.199
keep going more and more and more. As soon as you kill one

673
00:47:35.199 --> 00:47:37.920
of them, they put a beat
on you and they start killing. So

674
00:47:37.960 --> 00:47:45.039
basically they're gonna spread all throughout the
nation, right, Street Thunder, all

675
00:47:45.079 --> 00:47:49.400
of them, the little pockets here
and there, people sympathizing with the street

676
00:47:49.440 --> 00:47:52.639
Thunders. So they're taking New York
full of all these street Thunder gangs.

677
00:47:53.280 --> 00:47:59.400
Then nineteen ninety seven they decide,
we gotta do something. Put a wall

678
00:47:59.480 --> 00:48:05.000
up around in New York. Holy
shit again a minute, wait a minute.

679
00:48:05.119 --> 00:48:08.320
So then you end with a silhouette
on top of the wall around New

680
00:48:08.400 --> 00:48:13.679
York. You have the Chicano,
you have the Street thunder standing there against

681
00:48:13.719 --> 00:48:15.519
the night sky. You pull out
and then you start to Escape of New

682
00:48:15.559 --> 00:48:21.960
York soundtrack. Boom, oh my
god. That is fantastic, man,

683
00:48:22.119 --> 00:48:25.280
Like I never would even thought to
connect. You go, oh man,

684
00:48:25.519 --> 00:48:30.079
I'm assuming we're calling. We're calling
the film Street Thunder, would that be?

685
00:48:30.159 --> 00:48:35.280
Would that be correct? Yeah?
Okay, awesome dude, Yeah you

686
00:48:35.559 --> 00:48:38.119
okay, So that wins because I'm
like you, man, it's it's tough

687
00:48:38.199 --> 00:48:42.599
too to think of anything, you
know, that could come before this.

688
00:48:43.280 --> 00:48:45.039
You know, I was teeing up
like I had the idea, like it's

689
00:48:45.519 --> 00:48:50.480
in twenty twenty five, it will
have been twenty years. Let's let's try

690
00:48:50.480 --> 00:48:53.519
again. I was gonna say,
let's let's use the late seventies time period

691
00:48:53.800 --> 00:48:58.880
and get someone like Frank Grillo to
play the Poulian Wilson because that would have

692
00:48:58.880 --> 00:49:01.480
been awesome. But I'm scrapping that. Man. I'm I'm all in on

693
00:49:01.559 --> 00:49:07.000
Street Thunder, the movie that connects
Assault on Precinct thirteen and Escape from New

694
00:49:07.079 --> 00:49:09.920
York. That is genius, my
friend. Yeah, I can see it,

695
00:49:10.519 --> 00:49:15.159
absolutely love it. Andy. You
know, I got a I got

696
00:49:15.159 --> 00:49:17.639
a good idea what you're gonna go
with here? But I'm gonna ask you

697
00:49:17.679 --> 00:49:22.719
anyways, because you know I've seen
I've seen your ratings on letterboxed. Out

698
00:49:22.719 --> 00:49:24.800
of four possible stars, out of
four possible stars, what are you given

699
00:49:24.800 --> 00:49:30.639
assault on Precinct thirteen? Yeah,
definitely for definitely four. Yeah. I

700
00:49:30.199 --> 00:49:34.760
think there's not too many Carpenter films
I would not give a four. I

701
00:49:34.800 --> 00:49:37.719
mean, yeah, you know you
Ghost at Mars and all that. But

702
00:49:37.400 --> 00:49:40.480
but a lot of his early stuff, like they're just done to perfection with

703
00:49:40.519 --> 00:49:44.840
his score and yeah, he's he's
one of me, He's the favorite.

704
00:49:44.840 --> 00:49:46.199
He's my favorite. That's why.
Obviously why is my favorite? So yeah,

705
00:49:46.280 --> 00:49:50.639
he can't. He can almost do
no wrong in my eyes, except,

706
00:49:51.239 --> 00:49:53.079
like I said, vampires and Ghost
of Mars and stuff like that.

707
00:49:53.199 --> 00:49:57.480
Not a fan of vampires, huh, I like vampires. It's okay,

708
00:49:58.079 --> 00:50:00.400
he's another I look at James Woods, I look at John Wayne, like,

709
00:50:00.599 --> 00:50:06.519
I don't get it. Is he
cool? Cool? He's just wait,

710
00:50:06.760 --> 00:50:07.960
he's trying to be cool over the
time. Look at look at look

711
00:50:07.960 --> 00:50:14.039
at Pachito and heat like he's like
he's just way too cool for school,

712
00:50:14.199 --> 00:50:17.119
Like but yeah, a bad way. Oh man, I don't know.

713
00:50:17.239 --> 00:50:21.840
So I get that when I go
when I watch vampires, I get that

714
00:50:21.880 --> 00:50:24.920
with James Woods like he's just I
don't know. It's almost a parody of

715
00:50:25.039 --> 00:50:29.079
you know, he's a he's he's
a Jack Burton, but take but there's

716
00:50:29.159 --> 00:50:31.400
without the humor, you know,
a dry Jack. But yeah, I

717
00:50:31.679 --> 00:50:36.679
get it. Well, I'm with
you here, man. Uh And I'm

718
00:50:36.679 --> 00:50:38.360
not trying to be biased because I
love John Carpenter, but this is definitely

719
00:50:38.559 --> 00:50:43.519
for its time. Four stars.
The seventies are known for gritty films,

720
00:50:43.559 --> 00:50:46.800
and it does not get much grittier
than John Carpenter's Assault on Precinct thirteen.

721
00:50:47.679 --> 00:50:51.400
Andy, I want to thank you
for your time today. You know,

722
00:50:51.519 --> 00:50:55.159
we we just talked Assault on Precinct
thirteen and uh, I believe you will

723
00:50:55.199 --> 00:50:59.559
return next month. We got you
one more time, right, no,

724
00:51:00.239 --> 00:51:05.559
here, Absolutely, we'll see you
next month. Until then, listeners,

725
00:51:05.760 --> 00:51:08.760
you can let us know what you
think of Assault on Precinct thirteen at www

726
00:51:08.880 --> 00:51:14.679
dot a film by podcast dot com, or on social media. Thanks for

727
00:51:14.760 --> 00:51:23.480
lenning your ears. Catch you on
the flip side.