A Film at 45 - Invasion of the Body Snatchers

WEBVTT

1
00:00:00.080 --> 00:00:04.120
Hello everyone, and welcome back to
the year nineteen seventy eight in a film

2
00:00:04.160 --> 00:00:09.720
by Limited Series A Film at forty
five. I am David Burns and I'm

3
00:00:09.759 --> 00:00:13.599
Scott Hoffman, and once again you're
joining us to dust off the end of

4
00:00:13.599 --> 00:00:18.239
a decade that changed cinema forever with
a fresh look at modern classics and hidden

5
00:00:18.280 --> 00:00:23.600
gems that we can't stop watching even
forty five years after their debut. In

6
00:00:23.600 --> 00:00:26.679
this episode, we're showing some love
to the scary side of seventy eight with

7
00:00:26.839 --> 00:00:34.280
psychological sci fi classic Invasion of the
Body Snatchers. How do you know my

8
00:00:34.399 --> 00:01:00.119
name? I didn't tell you my
name? Something terrible. They're coming and

9
00:01:00.280 --> 00:01:03.159
one of us might be next.
They're already here. They're already here.

10
00:01:03.599 --> 00:01:07.040
We have an evasion on our hands, and they could be lurking in anyone.

11
00:01:07.719 --> 00:01:11.480
What I like about this? This
is considered by some critics to be

12
00:01:11.480 --> 00:01:15.079
one of the best remakes in film
history. Did you know that? Yeah?

13
00:01:15.239 --> 00:01:19.680
I've been hearing that a lot and
looking into this and yeah, absolutely

14
00:01:19.719 --> 00:01:25.400
see why I've I haven't seen this
before watching for this. This is one

15
00:01:25.400 --> 00:01:30.040
of the first movies that I watched
for this podcast, and I've probably seen

16
00:01:30.079 --> 00:01:34.920
it like five times since then.
It's just fantastic. It's so good.

17
00:01:34.200 --> 00:01:37.920
And for those who don't know this, you know, this movie came out

18
00:01:37.920 --> 00:01:42.200
the original came out in nineteen fifty
six, which I have not seen,

19
00:01:42.359 --> 00:01:45.760
Scott, did you see it?
I have not seen it except for that

20
00:01:46.000 --> 00:01:51.120
classic you know, Kevin McCarthy close
up at the end, right, which

21
00:01:51.159 --> 00:01:53.280
we get the similar stuff with Donald
Sutherland. No, no, no,

22
00:01:55.040 --> 00:01:57.400
but we'll talk about it. We'll
get there, we'll get out there.

23
00:01:57.359 --> 00:02:01.239
But yeah, and it's also based
off a novel by Jack Finney, which

24
00:02:01.400 --> 00:02:06.599
you know, I haven't read the
book either, but just by what I

25
00:02:06.640 --> 00:02:08.199
have seen in the nineteen seventy version, I really do want to go back

26
00:02:08.240 --> 00:02:12.879
and revisit, or not revisit,
but see the nineteen fifty six version and

27
00:02:12.919 --> 00:02:15.759
maybe even pick up the book,
you know, Yep, yep. So

28
00:02:15.919 --> 00:02:21.319
I would say we'll probably due for
another remake of this movie, yeah,

29
00:02:21.360 --> 00:02:23.199
which will be interesting because it and
we can talk about that in a little

30
00:02:23.199 --> 00:02:29.319
bit, but you know, it
kind of captures a different sense of psychological

31
00:02:29.319 --> 00:02:31.960
paranoia in the different decades that it
comes out in, right, Yeah,

32
00:02:32.000 --> 00:02:36.080
absolutely, I would agree with that. So Scott, I know there's quite

33
00:02:36.120 --> 00:02:38.400
a few people who probably have not
seen Invasion on the Body Snatchers. How

34
00:02:38.439 --> 00:02:44.719
would you describe this to them?
An insidious threat is growing in nineteen seventy

35
00:02:44.719 --> 00:02:49.080
eight San Francisco, and the danger
maybe everyone around you. At first,

36
00:02:49.120 --> 00:02:52.439
the person sleeping next to you just
seems a little odd. You think it's

37
00:02:52.439 --> 00:02:54.159
all in your head, until you
notice a subtle change in someone else.

38
00:02:54.680 --> 00:02:59.560
Then everyone seems different. But have
they always been this way? By the

39
00:02:59.599 --> 00:03:02.479
time you're realize you're not the only
one seeing this, that comforting thought becomes

40
00:03:02.479 --> 00:03:07.719
a terrifying realization. You're not alone. It's everywhere, It's everyone. It's

41
00:03:07.719 --> 00:03:12.719
a paranoid sense of panic that you
can't escape because there's no one nowhere to

42
00:03:12.800 --> 00:03:19.360
run from the invasion of the Body
Snatchers. Now, it's likely that even

43
00:03:19.360 --> 00:03:23.159
if you haven't seen any of the
movies, you probably understand the idea.

44
00:03:23.240 --> 00:03:28.759
It's the whole pod people right,
people being replaced. In this remake of

45
00:03:28.800 --> 00:03:31.759
the nineteen fifty six classic, the
threat comes in the form of microscopic spores

46
00:03:31.879 --> 00:03:37.120
that drift on solar winds from the
desolate wastelands of space to Earth as a

47
00:03:37.159 --> 00:03:42.280
seemingly innocent invasive species of plant life. They grow into tiny pods that become

48
00:03:42.360 --> 00:03:46.599
human sized cocoons, where they hatch
perfect replicas of humans designed to replace us,

49
00:03:46.840 --> 00:03:49.800
consume the planet, and move on
to the next one. It's a

50
00:03:49.840 --> 00:03:53.759
sci fi classic that pulls you in
wraps its tendrils around you and never let's

51
00:03:53.800 --> 00:03:58.479
go. So let's start getting into
it and talk about all the aspects of

52
00:03:58.520 --> 00:04:03.360
this crazy, weird, kind of
chilling movie. It really is chilling.

53
00:04:03.680 --> 00:04:08.199
I mean, this movie starts off
with you know, kind of you know,

54
00:04:08.560 --> 00:04:11.759
calm, and you're trying to figure
out where this film is going to

55
00:04:11.800 --> 00:04:15.360
go. I mean, we meet
Matthew Binnell who's played by Donald Sutherland.

56
00:04:15.000 --> 00:04:20.120
He's a health department worker and he
visits the that that restaurant where you know,

57
00:04:20.199 --> 00:04:25.439
everyone's like giving him that dirty look
because coming in and investigating their kitchen.

58
00:04:25.879 --> 00:04:29.680
Yeah, and he finds what is
it, the the rat turd in

59
00:04:29.720 --> 00:04:34.040
the soup, Yeah, the ret
turd caper um. And what I find

60
00:04:34.079 --> 00:04:38.160
really so funny about that scene is, you know, later on, you

61
00:04:38.160 --> 00:04:41.079
know, he makes that was a
phone call to Elizabeth. I believe it

62
00:04:41.199 --> 00:04:45.439
was to say that the guy got
really mad at him, so he threw

63
00:04:45.480 --> 00:04:48.319
like the bottle of champagne or wine
or whatever that is windshield and broke the

64
00:04:48.360 --> 00:04:51.920
windshield. And later and later on
we see him driving the car with the

65
00:04:51.920 --> 00:04:58.560
broken windshield, which I found hysterical, yes, and very clever. It

66
00:04:58.600 --> 00:05:00.920
wasn't until a couple like this one
of those movies where there's layers to it

67
00:05:01.360 --> 00:05:06.040
and you start noticing things in every
viewing. M Yeah, let's let's get

68
00:05:06.040 --> 00:05:12.439
back to the windshield in just a
minute. But like getting to getting what

69
00:05:12.519 --> 00:05:15.120
you were saying, like it's a
health inspector. Like you assume that the

70
00:05:15.920 --> 00:05:19.160
kind of the title character, kind
of a hero of the movie is going

71
00:05:19.199 --> 00:05:24.040
to be like a you know,
a detective or something like that. Nope,

72
00:05:24.439 --> 00:05:28.040
this is the guy that comes into
restaurants and when he sees things out

73
00:05:28.079 --> 00:05:30.639
of order, he can shut them
down, he can have a letter send.

74
00:05:30.839 --> 00:05:33.920
He seems to really not like this
restaurant. I don't know what he

75
00:05:33.959 --> 00:05:40.360
has against Henri, but he's really
got it on for him. Yeah,

76
00:05:40.399 --> 00:05:45.399
so's he's investigating these restaurants, finding
these things and you know, looking for

77
00:05:45.759 --> 00:05:49.639
little subtle clues all around. But
he's not the first one that starts to

78
00:05:50.319 --> 00:05:55.959
notice it. Like you said,
he makes a phone call to a friend

79
00:05:55.959 --> 00:05:59.839
of his. I guess more of
a I don't know if it's more of

80
00:05:59.879 --> 00:06:01.600
a colleague than a friend. Maybe
a little bit of both. But we're

81
00:06:01.639 --> 00:06:09.199
a little bit of a girlfriend too, leaning towards that. Yeah, yeah,

82
00:06:09.240 --> 00:06:11.920
but you know they're both into kind
of, you know, looking a

83
00:06:11.959 --> 00:06:15.399
little bit closer and looking behind the
scenes at things. And the person he

84
00:06:15.439 --> 00:06:20.519
calls, Elizabeth drisco Will played by
Brook Adams, is one of the first

85
00:06:20.519 --> 00:06:28.279
people we see that starts to notice
something a little bit different because her boyfriend,

86
00:06:28.879 --> 00:06:36.879
Jeffrey Beyonce maybe starts acting a little
strange, and she carries a lot

87
00:06:36.920 --> 00:06:43.800
of the kind of dramatic paranoia weight
in this one, because she seems like

88
00:06:44.839 --> 00:06:47.560
something is off. But it's not
just like he seems like he might be

89
00:06:47.639 --> 00:06:53.439
cheating or he might be you know
that means something inappropriate, but it's more

90
00:06:53.519 --> 00:06:57.240
like he seems like he's very different. Yeah, I mean, it's it's

91
00:06:57.240 --> 00:07:00.560
her that pulls Matthew into this,
and you know, I mean you really

92
00:07:00.560 --> 00:07:03.199
look at it and you see Matthew
as like the main character, but it's

93
00:07:03.240 --> 00:07:08.439
Elizabeth actually, who you know,
uncovers all this and pulls him into all

94
00:07:08.480 --> 00:07:15.079
of this, right, right,
and starts kind of yeah, starts starts

95
00:07:15.160 --> 00:07:19.240
looking at things a little bit differently
and very quickly starts getting into a little

96
00:07:19.279 --> 00:07:23.720
bit of panic. And then Matthew
has to try to call him her down

97
00:07:23.759 --> 00:07:27.240
and say, like, listen,
you've you've been stressed. I'm sure it's

98
00:07:27.279 --> 00:07:31.959
nothing wrong. Like let me get
you to talk to a psychologist friend of

99
00:07:31.959 --> 00:07:39.560
mine, um, doctor David Kibner, who played doctor Kidner Leonard die boy

100
00:07:40.319 --> 00:07:46.759
Um in his It's not his cinematic
debut because he's he's already been in several

101
00:07:47.120 --> 00:07:54.560
productions, obviously best known for mister
spock Ye on the original Star Trek series,

102
00:07:54.639 --> 00:07:59.839
but this is a year before he
brings Spock back to the big screen

103
00:08:00.199 --> 00:08:03.079
for Star Trek the movie, Right. And I think it's funny is he

104
00:08:03.120 --> 00:08:07.959
actually took on this role in Philip
Kaufman, who directed this, even said

105
00:08:07.000 --> 00:08:11.600
he tried to bring any more into
this to kind of break that typecasting that

106
00:08:11.680 --> 00:08:16.800
he had as Spok. But even
when he becomes the you know, the

107
00:08:16.920 --> 00:08:20.480
pod person later, he really does
seem to be Spok again, right,

108
00:08:22.240 --> 00:08:24.560
right, kind of that emotionless Ben, because that's one of the things about

109
00:08:24.600 --> 00:08:33.480
the pod people is that they they
inherently don't have any emotion, which,

110
00:08:33.960 --> 00:08:35.279
as they kind of describe later in
the film, it's kind of like the

111
00:08:35.279 --> 00:08:39.679
one difference between them. They're replicating
humans in every way, You're still you,

112
00:08:41.559 --> 00:08:46.320
but it's not you. It's a
replica of you that doesn't have any

113
00:08:46.320 --> 00:08:50.480
emotions. But they also kind of
act with emotion. They can, you

114
00:08:50.559 --> 00:08:54.600
know, turn it on and play
the part and all this other kind of

115
00:08:54.639 --> 00:09:00.879
stuff. But inherently it's it's not
necessarily even like a mustache twirling um,

116
00:09:00.919 --> 00:09:05.519
you know, vengeful takeover um.
They just simply drift here and just want

117
00:09:05.559 --> 00:09:09.399
to take us over and consume the
planet. I mean, that's all right,

118
00:09:09.480 --> 00:09:13.600
exactly, that's not at all,
Scott, not at all. One

119
00:09:13.639 --> 00:09:16.440
of the things too, that I
love about this movie is did you notice

120
00:09:16.480 --> 00:09:20.000
the garbage trucks? Yes? How
how subtle that is in the background.

121
00:09:20.000 --> 00:09:22.879
And if you're really not paying attention, because I mean, you know,

122
00:09:22.960 --> 00:09:26.600
your focus should be on the characters
and their dialogue as the cameras moving along

123
00:09:26.679 --> 00:09:31.440
following them, and if you're not
paying attention, you won't catch that.

124
00:09:31.480 --> 00:09:37.240
Their garbage trucks are always at the
location of someone who has turned into one

125
00:09:37.240 --> 00:09:41.720
of the pod people. Right.
I really loved that, and it happens

126
00:09:41.759 --> 00:09:46.440
quite a few times throughout the movie. Yeah, and that's that's something that

127
00:09:46.799 --> 00:09:50.799
um, you know on initial watches
of it when you first see so the

128
00:09:50.840 --> 00:09:56.240
first person that you see that's that's
kind of replaced is um is Jeffrey the

129
00:09:56.320 --> 00:10:01.799
boyfriend. And let me start by
saying, obviously, spoiler warning, it's

130
00:10:01.000 --> 00:10:07.440
it's a seventy eight movie. You
hide your chance. However, I will

131
00:10:07.519 --> 00:10:11.000
say, um, if you're listening
to this podcast, if you're a fan

132
00:10:11.039 --> 00:10:15.279
of what we're saying, and you
haven't seen this movie yet, do yourself

133
00:10:15.559 --> 00:10:18.559
a favor and don't watch the trailer. Yeah, don't put this up at

134
00:10:18.600 --> 00:10:24.320
all, because there is a there's
an ending scene that has a big spoiler,

135
00:10:26.320 --> 00:10:30.320
and I'll just get out of the
way, just like, just trust

136
00:10:30.399 --> 00:10:33.240
us and go watch the movie because
I really want to talk about the ending.

137
00:10:35.000 --> 00:10:39.399
But I went into this having seen
that ending scene as like the iconic

138
00:10:39.440 --> 00:10:43.759
scene, and it was like I
was waiting for it to happen. So

139
00:10:43.559 --> 00:10:46.639
if you like spoiler free things,
go ahead and crack this open and then

140
00:10:46.679 --> 00:10:50.360
come back to us and hear about
the rest. Right, getting back to

141
00:10:50.399 --> 00:10:56.480
those garbage trucks, the first time
that we see that. So Jeffrey is

142
00:10:56.519 --> 00:11:01.000
taking garbage out to this garbage truck
and like, you know, bringing garbage

143
00:11:01.000 --> 00:11:03.879
out to them, and you're kind
of wondering what's going on. Subsequent viewings

144
00:11:05.320 --> 00:11:07.919
you see that those garbage trucks never
actually have any garbage in them. Nope,

145
00:11:09.360 --> 00:11:16.559
it's always this gray, whispy fabric
material that's people exactly. It's all

146
00:11:16.559 --> 00:11:20.200
that's left of them is this husky
stuff, which is kind of gross for

147
00:11:20.279 --> 00:11:22.960
Jeffrey in that first scene that he
stuffs his old body into a garbage kid

148
00:11:24.000 --> 00:11:28.679
and takes it out to them.
But yeah, those garbage structure all over

149
00:11:28.679 --> 00:11:33.879
the place, and it's just taking
away the people. So even that they're

150
00:11:33.879 --> 00:11:37.159
in that first scene, it's not
the it's not a bunch of garbage,

151
00:11:37.159 --> 00:11:41.320
and he takes that whispy stuff out, it's a garbage truck that's full of

152
00:11:41.360 --> 00:11:45.200
it. So by the time we
see our first replacement, it's already pretty

153
00:11:45.200 --> 00:11:48.720
persuvasive, and it just goes to
show you the intelligence of these aliens.

154
00:11:48.720 --> 00:11:52.200
Do they know what people that need
to take over in order to make this

155
00:11:52.120 --> 00:11:56.720
happen? Right, right, right
right? It just adds that again another

156
00:11:56.840 --> 00:12:01.559
layer as you mentioned earlier to this
film. You don't really catch on to

157
00:12:01.639 --> 00:12:05.240
that until a little bit lately.
Oh wow, okay, I get it.

158
00:12:05.279 --> 00:12:07.320
That's pretty that's pretty neat, right, And how quickly it happens,

159
00:12:07.559 --> 00:12:11.440
Yeah right, I mean really quick. I was kind of surprised by that.

160
00:12:11.519 --> 00:12:15.279
I would think that, you know, with this thing being based on

161
00:12:15.399 --> 00:12:18.600
plants and all these things needing time
to grow, I would think it would

162
00:12:18.600 --> 00:12:22.799
take quite a while for this to
happen. Apparently not. No, not

163
00:12:22.879 --> 00:12:26.799
that they can kind of replace you
overnight while you sleep, exactly. So

164
00:12:26.919 --> 00:12:30.440
just to talk a little bit further
about some of the casts, We've already

165
00:12:30.440 --> 00:12:35.120
mentioned Donald Sutherland and Brook Adams and
Leonard Emoy, but we also have Jeff

166
00:12:35.200 --> 00:12:43.240
Goldbloom in this movie. I'm very
young Jeff Goldbloom proto Proto Brundle, as

167
00:12:43.279 --> 00:12:46.360
we've talked about in nineteen eighty six
to Fly. This is the first time

168
00:12:46.399 --> 00:12:50.320
he's getting into a remake of one
of these black and white sci fi classics

169
00:12:50.320 --> 00:12:56.720
and really turning it on its head
and becoming so much more. It's it's

170
00:12:56.759 --> 00:13:00.759
fascinating meeting him for the first time
in that party. Is the frustrated writer

171
00:13:01.679 --> 00:13:07.360
you get this Obsession book. Yeah. Yeah, oh yes he does.

172
00:13:07.480 --> 00:13:11.240
Man, I'd love to see when
he just finally just got disturbed just through

173
00:13:11.279 --> 00:13:16.120
that book in a yeah. Man, yeah so cool. But then Um

174
00:13:16.120 --> 00:13:22.440
playing his wife Veronica Cartwright, who
plays Nancy Um. One of the things

175
00:13:22.519 --> 00:13:28.840
I love about Veronica and when you
meet her in this and later on what

176
00:13:28.840 --> 00:13:31.679
happens towards the end when she's like
freaking out. She's really good as an

177
00:13:31.679 --> 00:13:37.960
actress of just getting really upset and
having those great facial expressions and just you

178
00:13:37.960 --> 00:13:41.399
know, completely flipping out. You
know. When I when I saw that,

179
00:13:41.440 --> 00:13:43.759
I'm like, I know, I've
seen that somewhere else. And clearly

180
00:13:43.759 --> 00:13:48.720
it was a year later that she
would play Lambert an Alien. Yeah,

181
00:13:48.919 --> 00:13:52.080
you know, where she does a
similar thing where you know, she starts

182
00:13:52.120 --> 00:13:54.919
crying and freaking out and she just
does a great job. I see why

183
00:13:54.960 --> 00:13:56.799
she got the role in Alien because
of this. Yeah, And I mean

184
00:13:58.480 --> 00:14:05.240
at first it seems very reminiscent of
Um Alien because there's kind of you know,

185
00:14:05.279 --> 00:14:09.360
that that freak out. Like you
said, she does a great job

186
00:14:09.399 --> 00:14:13.360
of that, and I felt like
in this one, it's one of the

187
00:14:13.440 --> 00:14:20.240
things that kind of pulls you into
it because she's she's not somebody who is

188
00:14:20.320 --> 00:14:26.279
just beside herself and crumbling in this
panic. She's ready to do something about

189
00:14:26.320 --> 00:14:31.399
it. She's got a plan,
she wants to do something to to kind

190
00:14:31.399 --> 00:14:37.480
of combat the threat that she's kind
of facing her. But she's she's giving

191
00:14:37.559 --> 00:14:41.600
kind of a voice to the paranoia
and the panic that everybody's feeling, right,

192
00:14:41.720 --> 00:14:43.320
and that helps to kind of pull
the audience in a little bit too,

193
00:14:43.360 --> 00:14:50.080
Like it's not just being replaced,
it's it's not knowing who the person

194
00:14:50.159 --> 00:14:54.759
next to you really is, right
and how much they're changing that. The

195
00:14:54.879 --> 00:15:00.840
first time that we see that kind
of panic is in the bathhouse or in

196
00:15:00.879 --> 00:15:07.559
the Moldhouse run by the Belichicks,
and she she's looking for her husband,

197
00:15:07.799 --> 00:15:13.759
peels back the sheet and there's this
weird, kind of gooey, kind of

198
00:15:13.799 --> 00:15:20.279
tendril covered body. Yeah, yeah, that she doesn't recognize too much at

199
00:15:20.320 --> 00:15:26.000
first, but then just within a
scene, it slowly begins to take on

200
00:15:26.039 --> 00:15:30.240
more and more of a resemblance to
her husband, right, Yeah, And

201
00:15:30.600 --> 00:15:35.679
her reactions to that are just,
I don't know, it's very it's very

202
00:15:35.720 --> 00:15:41.240
emotionally charged, and it's very quick
to kind of draw you into that panic

203
00:15:41.440 --> 00:15:45.120
sense of how how creepy this would
really be in real life to see.

204
00:15:45.320 --> 00:15:48.279
Oh yeah, and then the casting
director did a wonderful job of everything everyone

205
00:15:48.320 --> 00:15:52.639
she poured into this movie. And
for those who listened to the limited series

206
00:15:52.720 --> 00:15:56.440
nineteen eighty six, we discussed run
a cart right in another film, Flight

207
00:15:56.480 --> 00:16:00.600
in the Navigator. Yeah yeah,
I forgot about that. Yeah, absolutely,

208
00:16:02.240 --> 00:16:07.000
And for somebody like um Nancy Belichick
to react this way to a pod

209
00:16:07.039 --> 00:16:11.200
person, you know that, it's
it's it's got to be pretty gross to

210
00:16:11.240 --> 00:16:15.320
see in real layer. She's in
that in that bath house that she has

211
00:16:15.360 --> 00:16:22.679
to run, she's helped the rather
large gentleman get out of the mud pip

212
00:16:22.759 --> 00:16:27.639
and walk into the shower and then
do that slapping massage thing. I mean,

213
00:16:29.200 --> 00:16:34.600
she's got a pretty good tolerance for
weird and you know, yeah,

214
00:16:34.639 --> 00:16:38.879
what a complete opposite of a husband
and wife on what they do, you

215
00:16:40.480 --> 00:16:44.360
know, like their reactions to it. Yeah, yeah, it's it's just

216
00:16:44.399 --> 00:16:45.360
I mean, it's just just to
make the way. I guess it makes

217
00:16:45.360 --> 00:16:51.320
you realize that their characters and how
they react differently. So I guessing that's,

218
00:16:51.360 --> 00:16:53.000
you know, again just one of
those layers again that we've talked about

219
00:16:53.039 --> 00:16:57.399
how this movie just builds on all
that and each Chara just it's so in

220
00:16:57.519 --> 00:17:03.519
depth if you really dig into this
movie. Yeah, yeah, And Jack

221
00:17:03.600 --> 00:17:08.480
definitely has that. From the first
moment you read him. He's like a

222
00:17:08.640 --> 00:17:14.000
very stream of consciousness kind of guy, Like you can't stop him talking even

223
00:17:14.000 --> 00:17:18.319
though Matthew's on the phone and he's
like talking in the background. You have

224
00:17:18.400 --> 00:17:21.799
that weird fun house beer in the
background that kind of distorts him and gives

225
00:17:21.799 --> 00:17:26.920
you the you know, skyscraper gold
bloom face. When he meets the pod

226
00:17:26.960 --> 00:17:32.480
replacement of himself, it's a little
bit more of like a scientific fascination or

227
00:17:32.799 --> 00:17:37.640
I was right, look at what's
happening right, kind of reaction. I

228
00:17:37.680 --> 00:17:45.359
think it's a it's a very clever
scene with the nosebleed to pops his mind.

229
00:17:45.680 --> 00:17:48.640
Ye, like he gets he gets
hit in the head, hit in

230
00:17:48.640 --> 00:17:52.160
the nose, which causes the nosebleed, and then as they come back into

231
00:17:52.160 --> 00:18:00.480
the room they see that the pod
person's nose is also bleeding. And there's

232
00:18:00.640 --> 00:18:04.440
a lot of like subtle weirdness,
like the fact that he's when he's looking

233
00:18:04.480 --> 00:18:07.400
at that pod and as it's becoming
more and more developed and more of a

234
00:18:07.559 --> 00:18:12.279
replacement for him. You see that
his lips are a little dry, just

235
00:18:12.480 --> 00:18:17.000
a little bit like you haven't warned
Chapstick in a while, right, and

236
00:18:17.039 --> 00:18:19.160
then it's a little bit more like
there's dried glue all over his face or

237
00:18:19.400 --> 00:18:26.559
whatever. You see him kind of
drying out. Uh, it is.

238
00:18:26.640 --> 00:18:32.160
It is so another you know,
we've mentioned this actor last week or last

239
00:18:32.319 --> 00:18:34.799
podcast when we were at House of
Plastic when we're talking about Piranha, Kevin

240
00:18:34.880 --> 00:18:41.480
McCarthy, who was in the original, the nineteen fifty sixth version, and

241
00:18:41.599 --> 00:18:45.519
this he has a small role,
but kind of unusual and important role as

242
00:18:45.599 --> 00:18:48.960
the they're saying the running man.
Yeah, you know where he runs into

243
00:18:49.119 --> 00:18:53.960
Matthew and Elizabeth who are in his
car basically like pounding on the window of

244
00:18:55.000 --> 00:18:57.640
the driver side, you know,
saying you're next. You know, basically

245
00:18:57.640 --> 00:19:00.559
they are already here, and he
takes off running and then gets hit by

246
00:19:00.559 --> 00:19:06.079
a car. Yeah yeah, And
and not only hit by a car,

247
00:19:06.119 --> 00:19:11.200
but then um kind of chased by
a crowd of random people, right,

248
00:19:11.640 --> 00:19:17.319
yeah. And that's one of the
kind of fun things about this is that

249
00:19:17.359 --> 00:19:22.839
they throw in so many random people
and they put them in outfits or I

250
00:19:22.839 --> 00:19:26.119
guess costumes that that show you that
it's kind of like, all right,

251
00:19:26.200 --> 00:19:32.680
so this guy that went screaming down
the street is being chased by a bunch

252
00:19:32.680 --> 00:19:36.640
of people that are kind of dressed
for business. They're in suits and whatever.

253
00:19:36.799 --> 00:19:40.960
But then there's a construction worker and
a baker and a piece of livery

254
00:19:41.000 --> 00:19:45.559
guy and like a bunch of random
people that are running after this guy that

255
00:19:45.599 --> 00:19:48.640
gets hit in the street and then
just kind of standing over him staring at

256
00:19:48.720 --> 00:19:53.720
him. Yeah, and they're just
like, what is going on? Why

257
00:19:53.720 --> 00:19:56.279
are all these people doing this?
And why are they just standing there looking

258
00:19:56.319 --> 00:20:00.799
at it. They're not screaming,
they're not you know, kind of like

259
00:20:00.839 --> 00:20:03.759
hey, look at that, right. It's just hands of that creepiness level

260
00:20:03.799 --> 00:20:08.440
of this movie. Yeah, you
know, just just so disturbing fact that

261
00:20:08.480 --> 00:20:11.839
you can't you can't really see his
face too well, and kind of getting

262
00:20:11.839 --> 00:20:15.680
back to that cracked windshield, which
was a very clever kind of plot device

263
00:20:17.519 --> 00:20:22.960
visually because you can't quite make out
his features. You know who he is,

264
00:20:22.000 --> 00:20:25.640
because eventually he goes to the side
window and you're able to see his

265
00:20:25.640 --> 00:20:30.119
face pretty clearly. But I feel
like it's that whole. You know,

266
00:20:30.559 --> 00:20:34.759
Matthew and Elizabeth constantly having this kind
of slightly distorted, slightly splintered view of

267
00:20:34.799 --> 00:20:38.519
the world in front of him,
right, and the director did it on

268
00:20:38.559 --> 00:20:42.359
purpose. Yeah. If you notice, it happens quite a bit throughout the

269
00:20:42.400 --> 00:20:48.920
movie. You mentioned the mirror with
Jeff Goldblum's character, you know, within

270
00:20:48.039 --> 00:20:53.000
that scene, if you notice,
there's quite other scenes where characters are like

271
00:20:53.000 --> 00:20:59.039
like looking through a window or looking
through some kind of glass. There's even

272
00:20:59.039 --> 00:21:03.599
the scene in the Dry Cleaning where
the wife had already been taken over and

273
00:21:03.759 --> 00:21:07.880
she kind of like when she's like
walking away in the husband saying, that's

274
00:21:07.920 --> 00:21:11.559
not my wife. Right, she's
looking through like that those plastic like shingle

275
00:21:11.680 --> 00:21:17.160
things that are like hanging down,
She's like looking through them. I believe

276
00:21:17.200 --> 00:21:21.359
the director did all of that on
purpose. Did like that Juck suppose of

277
00:21:21.920 --> 00:21:25.759
you know, you don't know who
who's who, who's changing, you know,

278
00:21:25.759 --> 00:21:27.880
who's the creatures, who's not those
kind of things. You're absolutely right,

279
00:21:27.880 --> 00:21:32.680
Scott, Yeah, and it's just
kind of um. It didn't really

280
00:21:32.880 --> 00:21:37.319
come to mind until I was watching
them drive at night and the light,

281
00:21:37.839 --> 00:21:38.920
you know, as they're driving out
a dark street, and it's a city

282
00:21:40.039 --> 00:21:42.039
street, so they've got a bunch
of lights like stoplights and you know,

283
00:21:42.119 --> 00:21:48.319
street lights and signs and whatever,
and each one of those different lights are

284
00:21:48.359 --> 00:21:52.640
getting caught in the cracks of that
splintered windshield. So you're kind of like

285
00:21:52.759 --> 00:21:57.880
seeing these lights move along those lines. So it's just distortion that's connected and

286
00:21:57.960 --> 00:22:03.440
that spreads and kind of changes everything
around them, so that that one little

287
00:22:03.480 --> 00:22:07.759
thing that cracked windshield really became interesting
to me. The more I watch this

288
00:22:07.119 --> 00:22:11.000
movie and those of those kind of
scenes, that is really unique. You

289
00:22:11.039 --> 00:22:15.359
know. I love it when directors
do that kind of stuff and you don't

290
00:22:15.400 --> 00:22:17.799
catch it at first, and then
when you go back and watch it again,

291
00:22:18.119 --> 00:22:19.799
they're like, oh, I see
what he did there. That is

292
00:22:19.839 --> 00:22:25.039
really neat right, and different uses
of light, Like there's the scene where

293
00:22:26.720 --> 00:22:33.279
Matthew comes to check on Elizabeth because
he can't get her on the phone,

294
00:22:33.440 --> 00:22:37.240
and he's a little bit more convinced
that something is wrong and something's going on,

295
00:22:37.160 --> 00:22:41.480
so he sneaks into their house.
There's this great scene where he's hiding

296
00:22:41.480 --> 00:22:44.000
in a closet. Do you remember
this scene, Yeah, I know exactly

297
00:22:44.039 --> 00:22:48.960
what's talking about. And he steps
into the light and there's this undercast of

298
00:22:48.039 --> 00:22:52.400
light yep, that lights his face
up, and it looks so much like

299
00:22:52.559 --> 00:22:56.119
Kiev in The Lost Boys. It
does, absolutely, it does. You're

300
00:22:56.200 --> 00:23:00.319
right. It really brought me back
to that, like there's something men thing

301
00:23:00.440 --> 00:23:03.319
just about, like the a certain
look that both of them can give.

302
00:23:03.680 --> 00:23:08.559
Yeah, but in that scene,
it's it's not meant to be like making

303
00:23:08.599 --> 00:23:15.119
the audience scared of of Matthew.
It's more to kind of give this kind

304
00:23:15.119 --> 00:23:21.039
of sinister air to what's going on. Yeah. And Philip Philip Comman did

305
00:23:21.039 --> 00:23:23.680
a really good job throughout the movie
and stuff like that. I mean,

306
00:23:23.680 --> 00:23:29.759
he always had like very unusual camera
angles, camera movements when things were going

307
00:23:29.839 --> 00:23:32.920
on. And one of the scenes
that in particular that I want to talk

308
00:23:32.960 --> 00:23:37.960
about is when Matthew and Elizabeth get
away from when they're being chased, remember,

309
00:23:38.480 --> 00:23:41.480
and they're off on that street,
and then all of a sudden,

310
00:23:41.480 --> 00:23:45.000
like the camera angles are just on
people's feet. Yeah. You see them

311
00:23:45.000 --> 00:23:48.559
talking about yeah, and like you're
you're watching, like you know, them

312
00:23:48.599 --> 00:23:52.799
slowly walking away and they're trying to
like blend in as as they're moving.

313
00:23:52.480 --> 00:23:56.559
And then all you know, when
the cameras on the the people's feet.

314
00:23:56.559 --> 00:24:00.480
All of a sudden, you see
them like slowing up, stopping, turning

315
00:24:00.480 --> 00:24:04.119
around, and then they start going
towards Matthew and Elizabeth like they're going after

316
00:24:04.160 --> 00:24:07.079
them. And now, yeah,
I just I just that added so much

317
00:24:07.119 --> 00:24:11.640
stress, so much attention to that
scene. That's something so simple, but

318
00:24:11.680 --> 00:24:18.759
man it added another layer. Yeah, yeah, yeah, And they use

319
00:24:18.839 --> 00:24:22.000
that device a lot, which is
very clever because you can reuse extras like

320
00:24:22.079 --> 00:24:27.119
crazy, absolutely, so it's very
efficient. There's another scene that I heard

321
00:24:27.160 --> 00:24:33.200
them talk about in the documentary.
They're kind of the behind the scenes you

322
00:24:33.240 --> 00:24:38.799
know features on the DVD. The
scene where Matthew is trying to confront Jeffrey

323
00:24:38.880 --> 00:24:44.640
after he's seen Elizabeth's duplicate in the
greenhouse okay, where they're back at his

324
00:24:44.720 --> 00:24:52.039
place, right, Yeah. So
apparently to shoot that scene, it's a

325
00:24:52.160 --> 00:24:56.480
very small, very confined space,
that room in that apartment with that greenhouse

326
00:24:56.559 --> 00:25:00.599
kind of space next to it,
So in instead of trying to set up

327
00:25:00.599 --> 00:25:06.079
a bunch of different camera angles,
they actually took the cinematographer and had him

328
00:25:06.160 --> 00:25:11.519
stand there in all black with the
camera kind of handheld. So you see

329
00:25:11.559 --> 00:25:15.319
this very interesting kind of like pan
back and forth within the scenes to the

330
00:25:15.400 --> 00:25:21.119
different characters as they're saying their dialogue. Wow, And they did this great

331
00:25:21.200 --> 00:25:25.519
job of just pretending that he wasn't
there, and you get these interesting like

332
00:25:26.000 --> 00:25:32.799
close ups of Jeffrey's face and you
get zooms into Belichick, and it really

333
00:25:32.839 --> 00:25:38.799
helps to accentuate that kind of panicky
paranoia, that idea that everybody around you

334
00:25:40.400 --> 00:25:45.960
is changed, and it just it
does such a great job in that scene.

335
00:25:47.640 --> 00:25:49.960
And once I knew about that extra
layer, it made me so much

336
00:25:49.960 --> 00:25:53.960
more interested in that scene and how
they would have shot it and how it

337
00:25:55.000 --> 00:26:00.200
wasn't really just kind of a convenience, kind of an efficiency of shots for

338
00:26:00.359 --> 00:26:04.599
helping to kind of like accentuate that. A similar kind of thing when they

339
00:26:04.640 --> 00:26:11.319
were shooting some of the street scenes
with Donald Sutherland, it was just him

340
00:26:11.319 --> 00:26:15.960
walking with the cinematographer with kind of
them. They had the camera in a

341
00:26:15.000 --> 00:26:21.160
bag, so there wasn't extras.
They were just literally walking around in the

342
00:26:21.599 --> 00:26:26.240
in the streets of San Francisco,
and without that, it's it's a very

343
00:26:26.279 --> 00:26:30.759
clever use of kind of like people
having that aloof kind of look every day.

344
00:26:32.960 --> 00:26:36.839
They're not necessarily trying to be pod
people they're actually just that's how people

345
00:26:36.880 --> 00:26:40.599
look, so it's harder to find
who's the replacement exactly. You know that

346
00:26:40.599 --> 00:26:42.720
that when you mentioned that, the
scene where Donald Thrilling was just wandering around

347
00:26:42.720 --> 00:26:45.599
the streets and stuff like that and
the cameraman's just following him, you know,

348
00:26:45.799 --> 00:26:49.799
that was one of my favorite scenes
of this movie, um, because

349
00:26:49.880 --> 00:26:53.720
it's when he's calling trying to get
a hold of somebody, and it keeps

350
00:26:53.720 --> 00:26:57.039
going back and forth between him walking
around and you know, calling and trying

351
00:26:57.039 --> 00:27:00.160
to get somebody to you know,
to let him nderstand that something's going on.

352
00:27:00.599 --> 00:27:03.640
Yeah, I love that because you
know, with the camerangles, with

353
00:27:03.680 --> 00:27:07.119
the sound effects, with you know, him talking on the phone, is

354
00:27:07.160 --> 00:27:15.079
just added so much more tension to
something that would not normally be so stressful,

355
00:27:15.480 --> 00:27:18.599
but it is to your audience,
and it adds to this movie,

356
00:27:18.240 --> 00:27:22.559
yeah, on the content that we're
dealing with, you know. Um,

357
00:27:22.599 --> 00:27:25.799
So yeah, I completely agree with
that. That's one of my favorite scenes.

358
00:27:25.839 --> 00:27:27.920
So it's really cool that you taught
you mentioned that, Yeah, and

359
00:27:29.079 --> 00:27:32.799
I mean, you know, just
you're bringing up the telephone is a very

360
00:27:32.799 --> 00:27:37.039
interesting seventies device to this. You
know, obviously it's you know, here

361
00:27:37.119 --> 00:27:44.880
comes Old Man River kind of time. But um, but the technology at

362
00:27:44.880 --> 00:27:49.559
the time, having the phones where
it's just the corded landline that you have

363
00:27:49.680 --> 00:27:56.000
to get to that that um,
that's that sound of a phone that's left

364
00:27:56.000 --> 00:28:00.359
off the hook. Yeah, that
really annoying sound. Or that they using

365
00:28:00.440 --> 00:28:04.640
this to kind of add to that, Um, the scenes a little bit

366
00:28:04.680 --> 00:28:10.079
more panic because I don't know about
you, but that sound makes me it's

367
00:28:10.119 --> 00:28:14.960
like a hearing a crying baby or
something. Yea, do something about it.

368
00:28:15.000 --> 00:28:22.440
Yeah, Um, but the number
of times that Matthew is getting on

369
00:28:22.480 --> 00:28:26.759
the phone to try to, um, you know, address the situation and

370
00:28:26.839 --> 00:28:30.440
getting in touch with anybody that might
be able to help. UM. I

371
00:28:30.519 --> 00:28:34.039
love the fact that the first time
he tries to use it with Jeff Goldblum,

372
00:28:34.079 --> 00:28:37.200
he's like, don't give them.
Don't give him your name, Matthew.

373
00:28:37.319 --> 00:28:40.640
Don't that's that's how they get you. That's talking about the police,

374
00:28:40.680 --> 00:28:41.799
not even the pod people. But
he's just kind of like, no,

375
00:28:41.839 --> 00:28:44.960
don't give them your name. Don't
ever do that. Don't you know that?

376
00:28:45.839 --> 00:28:51.160
And then later on in the movie
a great turn on that when he

377
00:28:51.240 --> 00:28:55.519
calls basically the equivalent of nine on
one and he says all right, mister

378
00:28:55.519 --> 00:28:59.359
Bennett, all right, all right
on somebody. He's like, I didn't

379
00:28:59.359 --> 00:29:02.279
tell you my name, and yeah, right, and that's so cool.

380
00:29:02.680 --> 00:29:07.359
Yeah. Oh, it's hard to
describe it, but you know, it's

381
00:29:07.440 --> 00:29:11.200
it's it's a really clever use of
that device. It really is just knowing

382
00:29:11.240 --> 00:29:15.839
how how hard it is to really
get a hold of somebody in nineteen seventy

383
00:29:15.839 --> 00:29:18.480
eight. If you're in that situation, you did some help. It's it's

384
00:29:18.519 --> 00:29:22.400
not easy. No, not at
all, not at all. Well,

385
00:29:22.400 --> 00:29:25.599
I do you want to mention a
couple of other small cameos that we saw

386
00:29:25.640 --> 00:29:29.880
in this movie. The original director
of the nineteen fifty six version, Don

387
00:29:29.880 --> 00:29:33.720
Siegel, within this movie. Yes, he played the taxi driver who was

388
00:29:33.799 --> 00:29:37.920
driving around Matthew and Elizabeth in the
movie. I thought that was really cool.

389
00:29:37.039 --> 00:29:41.000
Yes, and had a very interesting
role in the When you you know

390
00:29:41.960 --> 00:29:45.079
this is a rewatch movie, This
is a really one where you're kind of

391
00:29:45.119 --> 00:29:48.160
like watch it once just to get
the idea of, you know, watching

392
00:29:48.200 --> 00:29:53.000
the movie and then start to notice
some things like the fact that Donald Sutherland

393
00:29:53.000 --> 00:30:02.319
and Brooke Adams, their look of
kind of heightened work was genuine because Don

394
00:30:02.400 --> 00:30:07.599
Siegel needed glasses and couldn't see too
well, and they were a little worried,

395
00:30:07.680 --> 00:30:11.640
like, don we're gonna be okay. We're actually driving on the actual

396
00:30:11.160 --> 00:30:14.640
streets of San Francisco, are we
right? Be okay here? Because I

397
00:30:14.720 --> 00:30:18.799
can't see can't see it all.
And he has one of those I think

398
00:30:18.839 --> 00:30:25.039
he has a great line where he's
like type h h, like there's two

399
00:30:25.039 --> 00:30:26.279
of them, and he's like,
yeah, they're in the back, like

400
00:30:26.319 --> 00:30:30.119
it's even the taxi driver. Ye. But they're great at faking it and

401
00:30:30.480 --> 00:30:33.480
letting you know that, you know
they're they're already here, They've already taken

402
00:30:33.519 --> 00:30:37.160
over. It's already too late by
the time you notice it. Yep.

403
00:30:37.200 --> 00:30:44.960
And the other cameo is at the
beginning of this movie Robert Duvall, which

404
00:30:45.000 --> 00:30:48.559
is one of the most unusual scenes
in this movie. But when you go

405
00:30:48.599 --> 00:30:52.920
back and read what the director talks
about about that scene, and I did

406
00:30:52.960 --> 00:30:57.519
not know this, um. He
claims that the priest played by Robert Duvall

407
00:30:57.839 --> 00:31:04.920
on that swing is the very first
pod person, which is why you get

408
00:31:04.960 --> 00:31:11.240
that really weird camera angle with him
as he's watching like the kids and stuff

409
00:31:11.240 --> 00:31:12.920
like that. Yeah, I didn't
know that because when it goes to that

410
00:31:14.039 --> 00:31:17.000
really weird camera angle, you're like, what what is going on? Why

411
00:31:17.000 --> 00:31:18.920
are we seeing this? Is this
for a priest a creep or something?

412
00:31:19.359 --> 00:31:25.240
Right, But the director explains that
that was actually the very first pod person

413
00:31:25.279 --> 00:31:27.559
and that's why they did that,
which I thought was pretty cool. Interesting.

414
00:31:27.799 --> 00:31:34.839
Yeah, and it's somebody that seems
like it seems odd, but you

415
00:31:34.880 --> 00:31:38.480
could probably understand why it's happening,
right. It might just be that he's

416
00:31:38.519 --> 00:31:42.680
he's there with kids, it's you
know, at the school where he has

417
00:31:42.759 --> 00:31:48.359
involved or whatever. But he's just
constantly looking over you know, he did

418
00:31:48.400 --> 00:31:52.440
the scene for free. He just
happened to be there, and yeah,

419
00:31:52.480 --> 00:31:57.519
and um, but no, that's
that's an interesting angle, Like somebody in

420
00:31:57.519 --> 00:32:04.079
that kind of position of trust and
of access to a lot of people and

421
00:32:04.240 --> 00:32:07.799
a lot of people that probably wouldn't
think much of anything about getting a you

422
00:32:07.839 --> 00:32:13.559
know, a weird looking flower from
a priest exactly, and the ability to

423
00:32:13.880 --> 00:32:15.559
take them over. I guess that
makes a lot of sense given to the

424
00:32:15.559 --> 00:32:20.559
first time you see that garbage truck
it's full of whispy human garbage. Yeah,

425
00:32:21.079 --> 00:32:23.240
again, just shows you the intelligence
of these aliens, right, And

426
00:32:23.279 --> 00:32:27.119
it's almost like a do you get
a sense that it's like a hive mind?

427
00:32:27.640 --> 00:32:30.240
I do, yeah, yeah kind
of thing. Yeah. I was

428
00:32:30.319 --> 00:32:35.359
kind of back and forth on that
because on the one hand, if they

429
00:32:35.359 --> 00:32:37.839
were a hive mind, they'd be
able to sense the people that weren't part

430
00:32:37.880 --> 00:32:42.960
of it, and there'd be a
little bit more kind of telepathic communication between

431
00:32:42.960 --> 00:32:47.839
them. True. But on the
other hand, when the when Kidner is

432
00:32:47.920 --> 00:32:52.839
kind of describing themselves, he's like, we've been around for thousands of years,

433
00:32:52.920 --> 00:32:58.400
and you know, they all seem
to kind of operate with maybe more

434
00:32:58.440 --> 00:33:07.240
like a collectiveness rum, and they
all communicate with these really chilling screams.

435
00:33:07.799 --> 00:33:13.160
Oh my gosh, helse that they
have that just goes through you. Man,

436
00:33:13.480 --> 00:33:15.920
when you hear that, oh my
gosh, terrifying. Yeah, it

437
00:33:16.039 --> 00:33:21.759
pulled me back to the uh any
fans of Batman, the animated series who

438
00:33:21.839 --> 00:33:25.720
probably recognize the man bat scream,
Yeah, absolutely, very similar to this,

439
00:33:27.759 --> 00:33:30.559
but um, even the use of
it. You know, when they

440
00:33:30.599 --> 00:33:37.640
have that scream, the actor opens
their mouth as why as they possibly can

441
00:33:37.680 --> 00:33:40.839
and points with this big scream.
That's another one of those noises you want

442
00:33:40.839 --> 00:33:45.000
to kind of get away from,
right and you just want to make it

443
00:33:45.079 --> 00:33:50.200
stop you, which is all the
You know, that's a great segue into

444
00:33:50.240 --> 00:33:52.519
the one of the geniuses of this
movie. Oh my gosh, Yes,

445
00:33:52.680 --> 00:34:00.160
Ben Burt. Wow, sound technician
extraordinariir uh. You know, everyone one

446
00:34:00.160 --> 00:34:04.880
who knows Ben Burt gonna know he
has connected a lot with Lucas film Yeah,

447
00:34:05.039 --> 00:34:08.039
did Star Wars Indiana Jones sound effects. And he's even the one who

448
00:34:08.039 --> 00:34:12.400
came up what didn't come up with
but found the Wilhelm scream. Yes,

449
00:34:12.280 --> 00:34:15.079
yes, and use that a lot
in Lucas Films stuff throughout the years.

450
00:34:15.599 --> 00:34:22.800
But yes, what a brilliant man
when it comes to sound and using it

451
00:34:23.039 --> 00:34:29.079
and creating it in movies. What
he did in this film was just phenomenal.

452
00:34:29.079 --> 00:34:32.639
Scott, I know one of one
of another one of my favorite scenes

453
00:34:32.960 --> 00:34:38.239
is when we get to see the
pods actually turning into somebody. And the

454
00:34:38.280 --> 00:34:42.920
scene I'm talking about is when Matthew
and his friends are at his place and

455
00:34:42.960 --> 00:34:49.000
they fall asleep and we get to
see Matthew getting turned into one of the

456
00:34:49.000 --> 00:34:52.679
pot one of the pod people.
The sound effects that Ben Burt came up

457
00:34:52.719 --> 00:34:55.199
with there, did you what did
he use there? Do you know?

458
00:34:57.440 --> 00:35:05.079
So his wife was pregnant, and
he used a lot of ultrasound, a

459
00:35:05.119 --> 00:35:10.239
lot of sounds from his from her
ultrasound. His own unborn child makes a

460
00:35:10.320 --> 00:35:15.559
debut in this movie, used for
the heartbeat, but then there's a lot

461
00:35:15.559 --> 00:35:20.039
of I remember hearing one of the
you know, the Pine the Scenes featurettes

462
00:35:20.039 --> 00:35:22.880
about um. He wanted to focus
on a lot of sounds that were related

463
00:35:22.880 --> 00:35:29.000
to birth, right, something that's
pretty constant, ye, something that's that's

464
00:35:29.719 --> 00:35:36.679
familiar. He used a lot of
sounds of babies that are kind of you

465
00:35:36.679 --> 00:35:39.159
know, when they're kind of waking
up and having that first like you know,

466
00:35:39.320 --> 00:35:44.960
kind of moaning sound, kind of
pleading sound. Taking those kind of

467
00:35:44.960 --> 00:35:49.719
things and slowing them down so it's
familiar enough to seem like you recognize what

468
00:35:49.760 --> 00:35:53.719
it is, but just turned in
a little bit of a creepy way enough

469
00:35:53.760 --> 00:36:00.360
to make it very very unsettling and
give so much more. I feel like

470
00:36:00.360 --> 00:36:04.639
it gives more texture to the scene
and to the effect. You know,

471
00:36:04.760 --> 00:36:10.079
it's not just kind of the squishing, but kind of that that slow moaning

472
00:36:10.119 --> 00:36:15.840
sound when they're kind of like,
um, they're first waking up, right

473
00:36:15.199 --> 00:36:21.280
and kind of shaking to life,
and that kind of UM. I don't

474
00:36:21.280 --> 00:36:24.280
know how to even describe it.
That whoooo yeah kind of sound that sounds

475
00:36:24.280 --> 00:36:27.639
about right. Sure, we'll go
with that. Yeah, I'm no sound

476
00:36:27.639 --> 00:36:32.840
doesn't. But you know, just
the genius of that art form to be

477
00:36:32.880 --> 00:36:37.239
able to take subtle things you hear
in real life and notice that there are

478
00:36:37.280 --> 00:36:44.559
ways to turn it in little little
ways and turn it into something else entirely

479
00:36:44.760 --> 00:36:47.119
and make it sound like it's definitely
something that's not of this earth. Yeah,

480
00:36:47.320 --> 00:36:50.760
just go back a little bit about
the screams that the pot people go,

481
00:36:50.880 --> 00:36:53.440
I believe didn't he use a pig
squeal? Yeah? To to pull

482
00:36:53.519 --> 00:36:58.239
that off. The dude is a
genius. If you don't have anything about

483
00:36:58.280 --> 00:37:00.960
him Ben Burt, but he's a
genius. But another layer, just talking

484
00:37:00.960 --> 00:37:04.519
about the sound. The sound,
Let's go back to the fact that,

485
00:37:04.599 --> 00:37:09.960
like when this movie starts, you
get more of a natural sound of like

486
00:37:10.159 --> 00:37:15.800
birds, chirping, crickets, those
kind of things. But all of a

487
00:37:15.880 --> 00:37:21.840
sudden as the film progresses, that
stuff fades away and you turn more into

488
00:37:21.920 --> 00:37:28.280
mechanical sounds, sirens, garbage trucks, you know, even go garbage cans

489
00:37:28.320 --> 00:37:31.000
and stuff like that. That then
burt you throughout the movie to just set

490
00:37:31.039 --> 00:37:37.320
you on edge and you may not
realize that's what's going on. But again,

491
00:37:37.679 --> 00:37:40.440
if you've seen this, go back
and watch it again. They do

492
00:37:40.559 --> 00:37:45.559
such a brilliant job with the sound
effects that blend in with the score of

493
00:37:45.599 --> 00:37:51.079
the movie that it puts you on
edge because you don't realize it, but

494
00:37:51.119 --> 00:37:55.360
the sound bothers you as it should. Right. That is just so unique.

495
00:37:55.400 --> 00:38:00.519
Man. Yeah, and not in
ways that are menacing or sinister,

496
00:38:00.639 --> 00:38:05.920
but just things that are kind of
calling for urgent attention. Exactly. Yeah,

497
00:38:05.960 --> 00:38:08.119
it's it's it's it really is a
brilliant movie when you break it down

498
00:38:08.119 --> 00:38:10.639
and look at the and I'm gonna
keep using it again because you brought it

499
00:38:10.719 --> 00:38:15.159
up. The different layers of this
film. It's just so unique and just

500
00:38:15.559 --> 00:38:20.360
you don't usually see that in a
sci fi film or horror film, but

501
00:38:20.480 --> 00:38:22.639
this one has it and it is
loaded with it. You No, it

502
00:38:22.719 --> 00:38:25.440
just goes to show you what a
fantastic job. And you know, let's

503
00:38:25.440 --> 00:38:28.880
talk about it a little bit.
The guy who directed this, um,

504
00:38:29.039 --> 00:38:31.599
Philip Kaufman. You know, he
does such a good job with this film.

505
00:38:32.079 --> 00:38:35.760
Um, I don't let's just talk
a little bit about his background.

506
00:38:36.199 --> 00:38:39.880
He actually went to the University of
Chicago and Harvard Law School. Who turn

507
00:38:40.000 --> 00:38:44.760
turns into a screenwriter and film director. Kind of a turn of what he

508
00:38:44.800 --> 00:38:47.280
was going to school. Four But
hey, um, I believe he won

509
00:38:47.400 --> 00:38:52.239
a big award, the Cans Film
for his nineteen sixty five film Goldstein in

510
00:38:52.320 --> 00:38:58.119
the sixty four sixty four. I
did not know this fact, Scott.

511
00:38:58.159 --> 00:39:00.920
This is the first time I realized
this. I did not know he wrote

512
00:39:00.960 --> 00:39:05.639
The Outlaw Josie Wales. Yeah,
I did not know that. Yeah,

513
00:39:05.679 --> 00:39:09.239
he's got a lot of interesting writing
credits that go into a lot of Indiana

514
00:39:09.320 --> 00:39:14.840
Jones. Yeah, that story.
Yeah. I did not know that either

515
00:39:14.880 --> 00:39:19.679
until I started digging into, like, holy crap, and he adapted the

516
00:39:20.159 --> 00:39:23.519
right stuff. The Unbearable Lightness of
Being and The Rising and Rising Sun.

517
00:39:23.960 --> 00:39:28.480
He adapted those. I know he
directed the right stuff too. But I'm

518
00:39:28.480 --> 00:39:31.800
like, man, I did not
realize the filmograph the credits this guy has.

519
00:39:31.840 --> 00:39:36.760
But he's like loaded, man.
Yeah, yeah, and it's like

520
00:39:36.800 --> 00:39:38.840
you said, layers, Yeah,
just watch it for the movie itself.

521
00:39:38.880 --> 00:39:45.000
But then dig into how connected this
movie is to so many other things.

522
00:39:45.000 --> 00:39:47.559
Exactly incredible. And did you know
he was supposed to direct a Star Trek

523
00:39:47.599 --> 00:39:52.800
movie in the seven Yeah, he
and I guess that's where he got his

524
00:39:52.840 --> 00:39:55.079
connected with Leonard Nimoy. I'm I'm
supposed, which is why Lennimoy is in

525
00:39:55.079 --> 00:40:00.360
this movie. Um yeah, he'd
actually already was like working on his ripped.

526
00:40:00.559 --> 00:40:04.320
He was going to be directing it, and then Paramount just pulled the

527
00:40:04.320 --> 00:40:06.559
plug from him and said, never
mind, we're not going to do it.

528
00:40:07.079 --> 00:40:09.280
Um. So, I wonder what
we would have got from Philip Kaufman

529
00:40:09.719 --> 00:40:13.719
in a Star Trek movie. I
just wonder what that would have been about.

530
00:40:14.440 --> 00:40:16.159
Yeah, that'd be interesting to see. It would be interesting if we

531
00:40:16.199 --> 00:40:21.679
could get that story. Yeah,
that's just told in another medium. You

532
00:40:21.719 --> 00:40:23.639
know, obviously there's a lot that
we can't do with casting and whatnot.

533
00:40:24.079 --> 00:40:30.599
Right, if we saw an animated
version of that, yes, right,

534
00:40:30.000 --> 00:40:35.320
yes, like Star Wars Visions does, right, that would be very interesting

535
00:40:35.320 --> 00:40:37.519
to see. I would love to
see that. You know, you're onto

536
00:40:37.559 --> 00:40:38.800
something there, Scott, somebody do
it. Whoever's listening to this, go

537
00:40:38.840 --> 00:40:43.920
find that and let's let's figured out. Because I wouldn't see it and maybe

538
00:40:43.960 --> 00:40:49.159
send a check. That would be
that wouldn't be too bad. Sum So

539
00:40:49.880 --> 00:40:58.800
yeah, kind of getting into um
the menace that he's able to subtly add

540
00:40:58.800 --> 00:41:04.159
to this, you know what he's
able to do with everyday things like making

541
00:41:04.320 --> 00:41:08.119
plants menacing, because that's essentially where
it starts, and it does something like,

542
00:41:08.280 --> 00:41:13.880
you know, water on a leaf
shouldn't be all that threatening, but

543
00:41:14.000 --> 00:41:19.599
it absolutely is. There's a lot
of scenes where you see ferns all over

544
00:41:19.599 --> 00:41:23.400
the place, like when Matthew is
sneaking back into the house and it's kind

545
00:41:23.440 --> 00:41:27.719
of like, why should I be
worried about the plants are everywhere? Yeah,

546
00:41:27.800 --> 00:41:30.760
all over the place. And he
does such a great job of just

547
00:41:30.840 --> 00:41:36.480
kind of like sprinkling in little subtle
elements like that. Yeah, it would.

548
00:41:36.519 --> 00:41:40.599
You see the pedigree of what he's
done, and you understand the nuance

549
00:41:40.599 --> 00:41:45.559
that he brings to every one of
these features in so many different ways.

550
00:41:45.599 --> 00:41:50.360
It's it's it's fascinating, it really
is. And what's also fascinating, you

551
00:41:50.400 --> 00:41:52.760
know, we've mentioned this a lot
before. We mentioned in the Liminu series

552
00:41:52.760 --> 00:41:54.960
of nineteen eighty six. We've mentioned
practically everything that we do when we're talking

553
00:41:54.960 --> 00:42:00.440
about older films, but you know, the practical effects that are in this

554
00:42:00.480 --> 00:42:04.400
movie that we see throughout the movie. You know, they again just add

555
00:42:04.639 --> 00:42:07.599
another depth, another layer to this
movie because you know, I know CGI

556
00:42:07.679 --> 00:42:10.719
has its place. You know,
I've mentioned this before another podcasts that we

557
00:42:10.800 --> 00:42:15.320
have done, but man, I'm
telling you, nothing beats a physical,

558
00:42:15.400 --> 00:42:20.320
practical effect that you can pull off
on screen. Nothing. Nothing can.

559
00:42:20.760 --> 00:42:22.199
And what I found unique too,
is that that very opening shot when you

560
00:42:22.199 --> 00:42:28.480
see like the alien the creatures that
apparently that only costs like twelve dollars to

561
00:42:28.559 --> 00:42:32.039
create, but that they did like
they used like some material from an art

562
00:42:32.159 --> 00:42:36.119
store and put it into like a
big vat of like a what solution and

563
00:42:36.199 --> 00:42:40.119
just reversed the film is all they
did. Yeah, Yeah, looks which

564
00:42:40.159 --> 00:42:45.199
is fascinating because I've heard I've tried
to dig into like what exactly it was,

565
00:42:45.480 --> 00:42:49.639
because it does have that kind of
like, um, it almost looks

566
00:42:49.639 --> 00:42:52.119
like cellular. It looks like something
you'd be seeing through a microscope, right,

567
00:42:54.039 --> 00:43:00.639
But nobody seems to want to say
what that stuff was. We found

568
00:43:00.679 --> 00:43:02.000
stuff in in our supply store.
We don't know what it was. We

569
00:43:02.079 --> 00:43:07.360
just had a bat of it.
Um. But yeah, and the um

570
00:43:07.400 --> 00:43:14.239
the tendrils on the leaves. When
I finally heard what they did, it

571
00:43:14.360 --> 00:43:15.280
was like Oh, well, I
guess that's kind of obvious, but it

572
00:43:15.320 --> 00:43:22.559
doesn't look obvious so well crafted,
so it's basically just reverse photography. Tendrils

573
00:43:22.559 --> 00:43:27.159
were already there. They sprinkled the
you know, the water and kind of

574
00:43:27.199 --> 00:43:30.079
the goo on them, and then
just pulled the tendrils back through the back

575
00:43:30.079 --> 00:43:37.000
of the leaf like that when you're
seeing its like there's this chunk of goo

576
00:43:37.159 --> 00:43:42.480
that shouldn't be there, um,
like somebody's hawkda lugie on a leaf,

577
00:43:43.159 --> 00:43:46.079
um, and all of a sudden, these little tendrils kind of kind of

578
00:43:46.079 --> 00:43:52.199
reach out from it. Yeah,
and they stayed very true to that idea

579
00:43:52.440 --> 00:44:00.559
of um. Obviously, the plot
that they're hatching is sinister, right,

580
00:44:00.920 --> 00:44:06.039
but the methods that they do to
achieve that are not overtly threatening. It's

581
00:44:06.079 --> 00:44:12.800
these very subtle, wispy kind of
it's almost like hairs that are reaching out

582
00:44:12.840 --> 00:44:15.639
to grab somebody. But it makes
it so threatening, like in that scene

583
00:44:15.639 --> 00:44:22.079
that you mentioned with Donald's otherland sleeping
on the patio and those hairs start to

584
00:44:22.159 --> 00:44:24.719
kind of reach for his arm and
kind of crawl up it. I know,

585
00:44:24.960 --> 00:44:28.519
right, I got chills right now
thinking about it. It's crazy,

586
00:44:28.639 --> 00:44:32.639
and the how they did it.
It's We've talked about this several times.

587
00:44:32.639 --> 00:44:37.960
It's not necessarily that you can you
know, you can see the wires or

588
00:44:37.000 --> 00:44:43.199
you can understand how they did it, but the way they do it,

589
00:44:43.320 --> 00:44:50.079
the way they kind of build that
entire scenario, gets you so into it

590
00:44:50.119 --> 00:44:52.599
that you're not looking for it.
And that's the trick. Yep. It's

591
00:44:52.639 --> 00:44:55.760
not hiding the wires. It's getting
people to not care about it and still

592
00:44:55.800 --> 00:44:59.760
get sucked into the magic of it, which they absolutely do with this,

593
00:45:00.039 --> 00:45:02.480
Oh, absolutely they do. Um. Let's talk about another one of the

594
00:45:02.480 --> 00:45:07.480
effects that I think both of us
were really creeped out about, and that's

595
00:45:07.519 --> 00:45:10.760
the dog, Scott, you want
to talk about that a little bit,

596
00:45:10.960 --> 00:45:19.280
the bundle dog. Yeah. So. And another interesting connection that surprised me

597
00:45:19.440 --> 00:45:24.320
with this one. Um. So, there's a banjo player, um who

598
00:45:24.360 --> 00:45:29.760
plays in the park pretty often,
and he has this dog that's his buddy,

599
00:45:30.360 --> 00:45:32.320
and he sits there playing the banjo
in the park and at one point

600
00:45:32.360 --> 00:45:37.119
Donald Sutherland stops by and you know, gives Harry a couple of dollars or

601
00:45:37.119 --> 00:45:43.800
something like that. Um. The
banjo playing happening in the scene is performed

602
00:45:43.880 --> 00:45:50.480
by Grateful Dead frontman Jerry Garcia yep, Um, I guess it's a song

603
00:45:50.599 --> 00:45:54.159
called going down the Road feeling Bad, and he's just you don't recognize it.

604
00:45:54.159 --> 00:46:00.679
It's just this jaunty little dinging.
Um. It's one of the a

605
00:46:00.760 --> 00:46:04.639
few scenes where there seems to be
a little bit of I don't know if

606
00:46:04.639 --> 00:46:08.159
they were going for humor, but
it actually seems like a funny moment that

607
00:46:08.199 --> 00:46:14.199
almost takes out for a second unless
you take a breath, because apparently when

608
00:46:14.960 --> 00:46:20.079
Harry falls asleep in the park next
to his dog, I guess there's kind

609
00:46:20.079 --> 00:46:23.039
of a malfunction in the pod.
Can't tell between the two. Yeah,

610
00:46:23.119 --> 00:46:32.239
And it creates this this little dog
that has a person's head, right creepy

611
00:46:32.280 --> 00:46:39.159
And I think it it's creepy enough
because when it walks up, and who

612
00:46:39.239 --> 00:46:43.840
is it that notices it? Isn't
it Veronica Cartwrights character, I believe,

613
00:46:43.880 --> 00:46:46.320
so Fellow Yeah, yeah, I
remember. Yeah. So they're all in

614
00:46:46.400 --> 00:46:50.239
with the pod people and they're trying
to be subtle and not getting noticed.

615
00:46:50.400 --> 00:46:52.960
So they're saying, don't show any
emotion. So what should happen to saunter

616
00:46:53.119 --> 00:46:59.679
up to them? But this dog
with a man's head that not only walks

617
00:46:59.760 --> 00:47:02.039
up and licks its own face,
which I thought was a nice little,

618
00:47:02.639 --> 00:47:09.440
nice little thing. But there's like
banjo music playing, so was that was

619
00:47:09.480 --> 00:47:13.719
that part of the scene, like
they wanted to play that music, so

620
00:47:13.880 --> 00:47:17.719
you were associating like this is Harry
the banjo player or was it such a

621
00:47:17.840 --> 00:47:25.599
pod malfunction that it's spoken banjo?
I like that version better, Scott,

622
00:47:25.679 --> 00:47:29.480
let's go with that way, right. It's just kinda like, so why

623
00:47:29.519 --> 00:47:34.559
did the pod people decide to keep
this this little guy around? Like,

624
00:47:34.679 --> 00:47:37.800
right, is his job to just
walk up to people and be like,

625
00:47:37.840 --> 00:47:40.119
hey, come chase me. I'm
a dog speaks banjo and has a man's

626
00:47:40.159 --> 00:47:45.039
head. So weird, but I
love Brendle Dog. It's a great little

627
00:47:45.079 --> 00:47:47.880
moment. Yeah, and it catches
you off guard. I don't care if

628
00:47:47.920 --> 00:47:51.159
you've not seen this movie, you're
gonna be like, whoa where did that

629
00:47:51.199 --> 00:47:53.400
just come from? Yeah, because
there's nothing else they're doing in this that

630
00:47:53.519 --> 00:47:57.719
that's trying to be funny, No
at all, no nothing, and no

631
00:47:57.840 --> 00:48:00.320
one kind of comes out of nowhere. Yeah, you know, any to

632
00:48:00.400 --> 00:48:02.400
that. They might have just done
that just to catch the characters off guard

633
00:48:02.400 --> 00:48:06.440
too. You know, you know
you've got this weird thing that comes out

634
00:48:06.440 --> 00:48:07.920
of nowhere. Because you're right,
they're trying to blend in right there.

635
00:48:08.199 --> 00:48:13.360
So what other way can you do
to throw off your characters in a in

636
00:48:13.400 --> 00:48:16.400
an area that they're they're trying to
keep calm if it's just throw something crazy

637
00:48:16.400 --> 00:48:21.360
and whacky like that at them?
Right So wait, because they've already seen

638
00:48:22.239 --> 00:48:25.559
quite a lot that's disturbing enough,
So how when you ratch that up exactly?

639
00:48:25.719 --> 00:48:34.880
Bundle dog? Um. Yeah,
And the effect of seeing um the

640
00:48:34.960 --> 00:48:40.840
pod people hatch U when they're when
they're not formed yet, that's that's horrifying.

641
00:48:42.280 --> 00:48:47.440
But then's the you're making. You're
reminding me of the scene where um

642
00:48:47.639 --> 00:48:54.360
Matthew is is holding um Elizabeth as
she's turning into more of the husk.

643
00:48:54.599 --> 00:49:00.880
Yeah, there's a lot of a
lot of staging to that where you see

644
00:49:00.920 --> 00:49:04.559
her face get more and more dried
out. Ben Burt does a great job

645
00:49:04.599 --> 00:49:13.800
of having those kind of like chunky, kind of crumbling sounds, and at

646
00:49:13.840 --> 00:49:17.000
one point it almost seems like they
have some I'm sure it's like a fishing

647
00:49:17.000 --> 00:49:22.360
wire or something like that that's pulling
at her face. Yea, of distorting

648
00:49:22.360 --> 00:49:27.559
it and making it look very painful
and then she just breaks down into nothing

649
00:49:28.280 --> 00:49:31.920
like oh yeah, it's like it's
it's such a tactile kind of horror,

650
00:49:32.079 --> 00:49:37.519
which is interesting. You've got that
connection with Jeff Goldbloom and The Fly,

651
00:49:37.760 --> 00:49:39.519
which again is one of those kind
of I don't know if would you quite

652
00:49:39.559 --> 00:49:45.960
call this body horror maybe I kind
of. I mean it's because it's so

653
00:49:45.039 --> 00:49:50.119
familiar. I don't know, it's
just so tactile and if somebody gross things

654
00:49:50.119 --> 00:49:53.519
that happen, yeah, yeah,
but very cleverly well done. It is

655
00:49:53.639 --> 00:49:58.119
it really is is um so I
Again, let's let's talk a little bit

656
00:49:58.159 --> 00:50:04.920
about the score itself. Denny Zeitlin, who did the score for this movie.

657
00:50:05.400 --> 00:50:10.760
He's an accomplished American jazz pianist and
this is his only motion picture that

658
00:50:10.800 --> 00:50:15.719
he ever composed in his entire career. Really yeah, I don't know why

659
00:50:16.400 --> 00:50:20.559
he was picked for this movie.
I'm assuming Philip Coaufinman maybe had hurt him

660
00:50:20.559 --> 00:50:22.760
and just basically talked him in it. Hey, I got a job for

661
00:50:22.800 --> 00:50:23.239
you, buddy, if you want
to, if you want to try it

662
00:50:23.239 --> 00:50:27.679
outright, But with this being his
first movie he ever composed, I thought

663
00:50:27.719 --> 00:50:30.840
he did an incredible job of giving
us a level of creepiness just in his

664
00:50:30.960 --> 00:50:36.280
music yeah. Yeah, and the
arrangement of the music yea, knowing when

665
00:50:36.920 --> 00:50:39.880
when to leave it out and when
to add it in. Yeah. I

666
00:50:39.960 --> 00:50:44.159
started to hear it so much more
toward the end of the movie, when

667
00:50:44.199 --> 00:50:46.239
there's that panic when they're being chased, when it's you know, yep,

668
00:50:46.960 --> 00:50:54.679
they're under the gun. A great
and clever use of amazing grace on the

669
00:50:54.679 --> 00:51:00.559
bagpipes, yes, which was used
in the Wrath of khn Yeah for Spox

670
00:51:00.639 --> 00:51:06.719
funeral, I might add, yeah, Yeah, but it's that there's kind

671
00:51:06.760 --> 00:51:08.880
of this sense of false hope,
like I used. I'm used to hearing

672
00:51:10.199 --> 00:51:15.199
that being played because of Wrath of
Condom, used to being associated with funerals,

673
00:51:15.480 --> 00:51:19.800
yep. But in this one they
kind of turn it into this sense

674
00:51:19.840 --> 00:51:22.199
of hope because he's hearing it,
he's thinking, Oh, that's the ships,

675
00:51:22.239 --> 00:51:24.920
we can get up on the ships. We're free, Yeah, and

676
00:51:24.960 --> 00:51:30.000
then notices that they're hauling a crate
full of you know, those human sized

677
00:51:30.039 --> 00:51:34.679
pods under the ship, and he's
just like, oh no, so you

678
00:51:34.800 --> 00:51:37.320
know that. It's kind of that
that song then comes back into that familiar

679
00:51:37.360 --> 00:51:44.599
context of kind of like you know
an ending. Yeah, very well done,

680
00:51:44.960 --> 00:51:51.039
very very clever use of knowing when
to use song and when to just

681
00:51:51.119 --> 00:51:55.239
let silence fill the air exactly,
and you know some of the chasing scenes

682
00:51:55.400 --> 00:51:59.880
that to add tension, you know, he just used very strange music most

683
00:52:00.000 --> 00:52:02.679
situations, you know, like like
hitting instruments, you know, really oddly.

684
00:52:04.280 --> 00:52:09.199
Um and and mixing that in with
Ben Burt's sound just they blended extremely

685
00:52:09.360 --> 00:52:14.039
well and just made you want to
be on the edge of your seat.

686
00:52:14.079 --> 00:52:19.440
Just uncomfortable. Yeah, yeah,
very disquieting. Yeah, just brilliant,

687
00:52:19.599 --> 00:52:22.840
brilliant. And another thing that I
love too is there's no music at the

688
00:52:22.920 --> 00:52:28.079
end when it when it ends,
it just goes to quiet for the credits.

689
00:52:28.519 --> 00:52:31.960
Yeah. I thought that was unique
because to me, it made me

690
00:52:32.039 --> 00:52:37.519
feel again uncomfortable, because it's like
it gives you that time to like,

691
00:52:37.639 --> 00:52:42.519
now I need to think in process
what just happened, what I just watched,

692
00:52:42.800 --> 00:52:47.559
and what's next for the world.
Right, and that now that you're

693
00:52:47.559 --> 00:52:52.719
mentioning it, let's you know another
spoiler warning. Yeah, let's talk about

694
00:52:52.880 --> 00:52:59.199
the iconic the iconic scene. Ye, go ahead, So um, at

695
00:52:59.280 --> 00:53:02.280
the at the very ends, you
know, And I didn't catch this until

696
00:53:02.360 --> 00:53:09.840
later, but so so Matthew is
turned at the very end. There's a

697
00:53:09.920 --> 00:53:15.480
he's hiding at one point and somebody
comes by with a flashlight and it kind

698
00:53:15.480 --> 00:53:17.639
of the light fills the screen,
but you don't know what's happening, and

699
00:53:17.760 --> 00:53:22.639
you cut to Matthew just kind of
being out in the world in a trench

700
00:53:22.679 --> 00:53:28.039
coat, and at first, especially
with the way Donald Tulland has carried that

701
00:53:28.199 --> 00:53:31.960
character the whole way, you can't
quite tell if he's been turned. But

702
00:53:32.039 --> 00:53:36.400
you've been following him with this sense
of trust so long that you assume that

703
00:53:36.400 --> 00:53:39.639
he hasn't, that he's just there
existing in the world. He's cutting out

704
00:53:39.480 --> 00:53:45.360
a news clipping and he's he's learned
how to kind of blend in with them,

705
00:53:45.400 --> 00:53:50.760
and he's kind of walking through the
streets and eventually kind of turns the

706
00:53:50.760 --> 00:53:57.920
corner and happens to catch Nancy's I
and you see her kind of you know,

707
00:53:57.960 --> 00:54:00.880
she's also seeming like she's had a
chance to blend in. She was

708
00:54:00.920 --> 00:54:02.519
the first one to figure out how
to how to do that, how to

709
00:54:02.559 --> 00:54:07.119
pull those emotions down, and she's
so overjoyed to see Matthew that she calls

710
00:54:07.199 --> 00:54:13.039
him out and she has that great
look of you know, hope and joy

711
00:54:13.079 --> 00:54:17.679
on her face that Veronica Cartwright generally
felt because she thought that what was happening

712
00:54:17.760 --> 00:54:21.800
was what we thought was happening,
that Matthew was fine, but he's not.

713
00:54:22.679 --> 00:54:25.039
Then he opens his mouth, he
tilts his head back, points at

714
00:54:25.039 --> 00:54:31.199
her and has that terrifying like pig
squeal scream, and the camera zooms way

715
00:54:31.320 --> 00:54:38.199
into his you know, amazing mustache
face follows into his mouth and goes completely

716
00:54:38.280 --> 00:54:44.079
black for a silent. Roller credits
her reaction in that scene, knowing that

717
00:54:44.119 --> 00:54:49.679
it was you know, it's not
just that it was genuine surprise, but

718
00:54:49.840 --> 00:54:58.840
how she is expertly turns that into
accentuated shock and horror. Yeah, you

719
00:54:58.920 --> 00:55:01.840
know that there's kind of she's like, what that's oh God, now that's

720
00:55:01.840 --> 00:55:05.480
who I have to be, and
just shakes her head in that way and

721
00:55:05.480 --> 00:55:09.039
it's just like screaming. I feel
so bad for Nancy in that moment,

722
00:55:09.199 --> 00:55:13.599
especially knowing that Nancy has gotten as
far as she has. Yeah, I

723
00:55:13.599 --> 00:55:17.400
mean think how long she's been probably
wandering around by herself, trying to blend

724
00:55:17.440 --> 00:55:22.480
in and keeping her emotions away,
to only have find somebody that fee she

725
00:55:22.519 --> 00:55:24.599
thinks she finally found somebody and had
that carpet ripped out from underneath her.

726
00:55:24.920 --> 00:55:29.360
Yeah, it's such a It's such
an amazing ending of the movie. And

727
00:55:29.440 --> 00:55:34.360
I can understand why it appears in
so many trailers and spots and whatever,

728
00:55:34.440 --> 00:55:37.239
but I think it's kind of a
shame that that's happened, because it would

729
00:55:37.239 --> 00:55:39.880
be great to keep that as a
surprise for a first time viewer. I

730
00:55:39.960 --> 00:55:44.239
know that I found myself kind of
waiting for that scene to happen here.

731
00:55:44.320 --> 00:55:46.039
Yeah, but even though I knew
it was coming, I was like,

732
00:55:46.639 --> 00:55:51.039
oh, that was a surprise twist. Yeah, very well done. It

733
00:55:51.159 --> 00:55:55.320
was. It really was very well
done. So did you find any quotes

734
00:55:55.320 --> 00:56:01.079
for this movie from anybody? I
found so many but great things that people

735
00:56:01.079 --> 00:56:06.519
had to say from those featurets,
from those documentaries. I just wasn't able

736
00:56:06.559 --> 00:56:08.400
to capture them. But there's there's
a lot of people that have a lot

737
00:56:08.440 --> 00:56:15.320
of respect for the cinematography, the
direction that I think and the sound design

738
00:56:16.280 --> 00:56:22.039
is so amazing for this movie.
If you're a fan in the slightest of

739
00:56:22.079 --> 00:56:25.440
Star Wars, of of sci fi, this is really one that you owe

740
00:56:25.519 --> 00:56:30.239
yourself to give it a watch.
Yeah. So I actually found one from

741
00:56:30.360 --> 00:56:35.800
from Philip Kaufman himself talking about this
movie. Um, he said, I

742
00:56:35.840 --> 00:56:38.719
thought, well, this doesn't have
to be a remake as such, it

743
00:56:38.800 --> 00:56:43.800
can be a new envisioning. That
was a variation on a theme. He

744
00:56:43.920 --> 00:56:47.119
said this on the film's fortieth anniversary. The first change to anticipate was filming

745
00:56:47.159 --> 00:56:51.920
in color. The second was changing
location to San Francisco. He said,

746
00:56:51.960 --> 00:56:53.519
could it happen in the city I
love the most, the city with the

747
00:56:53.519 --> 00:56:59.480
most advanced progressive therapies, politics,
and so forth. What would happen in

748
00:56:59.480 --> 00:57:05.039
a place like that if the pods
landed there and that element of podness was

749
00:57:05.079 --> 00:57:08.440
spread. So that's why he moved
the I guess the original nineteen fifty sixth

750
00:57:08.480 --> 00:57:13.599
version took place like out in the
country and like a small town kind of

751
00:57:13.639 --> 00:57:19.039
thing, and so he decided to
move it to San Francisco, which really

752
00:57:19.079 --> 00:57:24.199
makes sense to me because it gives
it that more world global epic feeling to

753
00:57:24.320 --> 00:57:29.000
it, you know, because it's
San Francisco's connected so much to the world

754
00:57:29.559 --> 00:57:31.719
that if they invade there, there's
no matter, no telling where they're going

755
00:57:31.760 --> 00:57:36.079
to go at that point. Yeah, yeah, you know, that was

756
00:57:36.519 --> 00:57:38.239
a great choice, and I'd love
to see. I know that there's been

757
00:57:38.280 --> 00:57:43.920
several remakes of this since then.
Yea, I think a lot of people

758
00:57:44.000 --> 00:57:47.480
agree that this is this is pretty
Um, this is the lead. Oh

759
00:57:47.559 --> 00:57:52.079
absolutely versions of it. Obviously the
original is very iconic, but this is

760
00:57:52.079 --> 00:57:55.880
the one that stands out. And
I can absolutely see why I'd be interested

761
00:57:55.920 --> 00:58:00.880
to see a modern take on this. Yeah, you know, given what

762
00:58:00.920 --> 00:58:06.480
we've all had to go through with
with COVID and and you know, technology

763
00:58:06.559 --> 00:58:09.199
wise, a certain sense of detachment
to one another as much a people connected.

764
00:58:10.519 --> 00:58:15.440
To see what they would do in
modern day would be very interesting,

765
00:58:15.519 --> 00:58:17.639
especially if this became like a mini
series or something like that. I think

766
00:58:17.639 --> 00:58:22.199
that'd be very interesting. Yeah,
I do too. So let's rewind and

767
00:58:22.239 --> 00:58:24.480
talk about some of our favorite scenes
and stuff like that. So any favorite

768
00:58:24.480 --> 00:58:30.400
scenes, Scott, um, So, two that come to mind, Well,

769
00:58:30.480 --> 00:58:36.599
one that comes to mind is just
a scene, um is the introduction

770
00:58:36.639 --> 00:58:42.719
of m Leonard Nimoy and Jeff Goldbloom
at that party, all the way through

771
00:58:43.159 --> 00:58:47.679
to the moment when Elizabeth is driven
home. Um, there's so much that

772
00:58:47.719 --> 00:58:52.880
they do there, with the reflection
in the mirror, with you know,

773
00:58:52.960 --> 00:59:00.800
introducing Goldbloom's kind of frantic view on
things um introducing um doctor Kimner as somebody

774
00:59:00.840 --> 00:59:06.199
who has a lot of reach and
a lot of influence with this book party

775
00:59:06.199 --> 00:59:12.280
and being seen by so many as
this um psychiatrist that's there to help them

776
00:59:12.320 --> 00:59:19.840
in this role of this this occupation
where a lot of people would trust him.

777
00:59:19.920 --> 00:59:23.599
That's an easy way for him to
kind of um kind of infest and

778
00:59:23.679 --> 00:59:32.920
kind of spread the invasion. But
there's the scene where he grabs Jack and

779
00:59:34.079 --> 00:59:37.199
yells at him yeah, and he's
like Belichick and he kind of like whips

780
00:59:37.280 --> 00:59:40.039
him around and he grabs him by
the collar, and it's just like,

781
00:59:40.039 --> 00:59:46.400
oh jeez, all right, gone
boy. Um. Just that dynamic that

782
00:59:46.440 --> 00:59:51.280
they established between the two of that
kind of you know, this this role

783
00:59:51.360 --> 00:59:54.280
of trust and this guy who's not
buying it and is kind of seeing through

784
00:59:54.360 --> 00:59:59.639
his his BS. I think it's
a great introduction. Yeah, what about

785
00:59:59.679 --> 01:00:02.360
you. I've talked a little bit
of a couple of the scenes that I

786
01:00:02.360 --> 01:00:07.719
absolutely love. One of those is
when Matthew was walking around town. You're

787
01:00:07.719 --> 01:00:13.239
getting those odd angles with that unusual
score as he keeps taking the phone calls

788
01:00:13.320 --> 01:00:16.800
when he's trying to warn everybody what
was going on. I just love how,

789
01:00:17.440 --> 01:00:22.400
you know, you feel what Matthew
is feeling as an audience where you're

790
01:00:22.440 --> 01:00:27.599
confused, You're you're you're freaking out
because you're trying to feel with this character's

791
01:00:27.599 --> 01:00:31.239
feeling and warning everybody and no one's
wanting to listen to you or are you

792
01:00:31.280 --> 01:00:35.679
able to believe the person that's on
the other end of that phone. You

793
01:00:35.679 --> 01:00:38.119
know, you're feeling all that frustration, fear, stress, all at the

794
01:00:38.199 --> 01:00:43.719
same time. You know that's added
from the cameraman's work, that's from the

795
01:00:43.760 --> 01:00:46.639
director of you know, directing,
and what Donald Southerlone was able to pull

796
01:00:46.679 --> 01:00:52.880
off in that performance. So much
going on in that scene that you can't

797
01:00:52.920 --> 01:00:55.760
help but feel the tension, in
the stress of what's going on. So,

798
01:00:55.880 --> 01:01:01.079
you know, kudos to everybody who
is involved with that scene. Um,

799
01:01:01.079 --> 01:01:05.679
But clearly the other one is the
iconic scene at the very end with

800
01:01:05.880 --> 01:01:07.960
Donald with Donald Suthern. You know, we've already talked about that, so

801
01:01:07.960 --> 01:01:09.559
we don't even need to go in
depth with that again. Um, but

802
01:01:09.599 --> 01:01:14.239
you just can't get around that iconic
shot. You just can't. Yeah,

803
01:01:14.320 --> 01:01:15.519
you know, I do want to
point out one other thing that we didn't

804
01:01:15.519 --> 01:01:20.480
talk about Philip Kaufman actually had a
cameo in this movie. Did you know

805
01:01:20.519 --> 01:01:23.119
that? I remember hearing about this. What was the scene? It was

806
01:01:23.440 --> 01:01:27.400
when Donald Suthern was in the phone
booth and he's on the phone. That

807
01:01:27.440 --> 01:01:30.000
guy comes up and taps up on
the window. Oh yeah, yeah,

808
01:01:30.039 --> 01:01:34.599
that's Philip Kaufman. Interesting yep.
I love when they do that. I

809
01:01:34.639 --> 01:01:37.360
love when they sneak in there and
themselves into it. Yeah. Um,

810
01:01:38.039 --> 01:01:44.599
what's your favorite hatching? Favorite hatching? I have to go with Matthew I

811
01:01:45.679 --> 01:01:50.679
when you know he fell asleep by
yea in the balcony and you get that

812
01:01:50.679 --> 01:01:52.519
that it's coming out of the pod. I have to go at that one.

813
01:01:52.519 --> 01:01:57.960
I thought that one was just freaking
brilliant. It was very uncomfortable to

814
01:01:57.960 --> 01:02:00.760
watch, but yet at the same
time you don't want to like divert your

815
01:02:00.760 --> 01:02:06.000
eyes from the screen because it's done
so well. But then with with Bert's

816
01:02:06.039 --> 01:02:08.360
sound effects that everything added to it
and the music, years is like,

817
01:02:08.400 --> 01:02:12.760
oh my god, he should I
be watching this? I feel still uncomfortable.

818
01:02:13.039 --> 01:02:19.360
Yeah, yeah, that was fantastic. Um. Donald Sutherland adds a

819
01:02:19.400 --> 01:02:22.199
little bit to it where he has
his eyes kind of rolling back in his

820
01:02:22.239 --> 01:02:24.960
head. Yes, but just slightly
open as he's asleep, so you can

821
01:02:25.079 --> 01:02:29.360
kind of see the transfer. You
see the speed at which this is happening.

822
01:02:29.480 --> 01:02:31.679
You see that they're you know,
all they really need is to be

823
01:02:31.719 --> 01:02:38.760
in proximity and m the moment of
pause that he has when he's you know,

824
01:02:38.840 --> 01:02:42.360
he ushers everybody out. He's like, go get out of here.

825
01:02:42.719 --> 01:02:45.119
I'll be right there. And he
goes back with the gardening tool and he's

826
01:02:45.159 --> 01:02:50.280
ready to you know, take them
out, and he has a hard time

827
01:02:50.360 --> 01:02:53.400
doing it. Yeah, he pauses, right, He's like, he sees

828
01:02:53.480 --> 01:02:58.599
Elizabeth's face and he's like, I
can't do this, and then even sees

829
01:02:58.639 --> 01:03:04.480
his own and he's like again.
Subsequent viewings, at first it seems like,

830
01:03:04.519 --> 01:03:07.079
well, I'm going to have a
hard time doing this because I recognize

831
01:03:07.119 --> 01:03:10.280
myself so much, so can I
do that? But then also noting that

832
01:03:10.320 --> 01:03:14.639
there's probably some kind of connection that
he has to that pod replica at the

833
01:03:14.639 --> 01:03:17.000
time, that probably makes it a
little bit more difficult. It'd be like,

834
01:03:17.079 --> 01:03:21.960
you know, amputating an arm or
something like that. Right, kind

835
01:03:21.960 --> 01:03:24.840
of getting out of the bear trap
kind of situation. Very well done.

836
01:03:24.840 --> 01:03:35.119
I'm very very squishy, kind of
moment there. I would probably say the

837
01:03:35.119 --> 01:03:45.639
one that I found most interesting on
rewatches was Jeff Goldbloom's hatching because of some

838
01:03:45.679 --> 01:03:50.719
of the other subtle elements that they
used, like when he how he's feeling

839
01:03:50.800 --> 01:03:52.360
very parched, and he's just like, I need I need to lay down.

840
01:03:52.400 --> 01:03:54.639
I need to lay down here,
I need to guess some water.

841
01:03:54.679 --> 01:03:57.800
I'm very dry. Can I go? Can I go? Lay down?

842
01:03:58.719 --> 01:04:03.239
And then as he's falling asleep,
his replica wakes up and scares Rotic car

843
01:04:03.360 --> 01:04:09.199
rate and she freaks out. She's
like, it's eyes opened, you know,

844
01:04:09.400 --> 01:04:11.880
you have to get back in here. It's eyes just open. This

845
01:04:11.960 --> 01:04:15.280
is a nice level. And then
as soon as Jeff Goblum wakes up,

846
01:04:15.280 --> 01:04:20.400
the replica falls back asleep. So
I just thought that was very I don't

847
01:04:20.440 --> 01:04:25.280
know, it's hard to find the
right words to just say clever for the

848
01:04:25.920 --> 01:04:29.800
it's clever, you're right, yeah, but it's it's very well done,

849
01:04:30.039 --> 01:04:34.079
and um, it just it draws
you into not only how quickly that can

850
01:04:34.119 --> 01:04:41.280
happen, but kindada the method that
it happens, right, and it kind

851
01:04:41.280 --> 01:04:43.639
of pulls you in with a little
bit of scientific interest too, because you

852
01:04:43.679 --> 01:04:45.360
kind of want to know a little
bit more about how it's happening, but

853
01:04:45.400 --> 01:04:48.599
you don't want to get close to
it because it's super gross. Exactly.

854
01:04:48.840 --> 01:04:53.679
Yeah. Again, just you know, another one of those layers again using

855
01:04:53.960 --> 01:04:56.320
hate. You keep using that phrase, but it's true with this movie.

856
01:04:56.480 --> 01:05:00.440
It really is very nique. All
right, God, go ahead, go

857
01:05:00.480 --> 01:05:05.639
ahead. Well I have another question. Yeah, so, um letter Nimoy,

858
01:05:05.960 --> 01:05:11.880
known for the iconic you know,
mister Spock, um has become kind

859
01:05:11.880 --> 01:05:15.239
of this trusted character, right,
which I think is very well used for

860
01:05:15.760 --> 01:05:20.039
the character that he has. Like
culturally, I think when we were watching

861
01:05:20.039 --> 01:05:25.440
this movie, we just want to
trust Spock because why not. Um.

862
01:05:26.440 --> 01:05:30.559
But he's had more than one turn
as a villain, So I know I

863
01:05:30.599 --> 01:05:32.639
can ask this of you. I
can ask this of you and probably not

864
01:05:32.719 --> 01:05:35.760
anybody else in the world. But
I'd like to know which is the better

865
01:05:35.840 --> 01:05:43.880
Nimoy villain, Doctor Kimner or Galvatron. Oh, good question, Scott.

866
01:05:43.960 --> 01:05:47.519
That's that's a replacements. Yes,
both are replacements. Both are very good

867
01:05:47.599 --> 01:05:51.679
villains. Um. You know,
I've got to go with one of my

868
01:05:51.719 --> 01:05:57.800
first loves. I gotta give it
to Galvatron. Yeah, and Transformers the

869
01:05:57.840 --> 01:06:02.159
movie. Uh yeah, just because
you know he's really replacing Megatron, and

870
01:06:02.239 --> 01:06:06.119
you know he kills Megatron. Yeah, so I gotta give it to Almatron.

871
01:06:06.280 --> 01:06:12.599
Yep. Well, what I love
about that character is that there's so

872
01:06:12.679 --> 01:06:16.519
much anger coming out of that character
that we don't really ever hear from Leonard

873
01:06:16.599 --> 01:06:18.719
Nimoy. And a lot of the
characters are a lot of the ones that

874
01:06:18.719 --> 01:06:24.119
we associating with, So to see
him really kind of let loose with that

875
01:06:24.199 --> 01:06:28.360
side, I think is an amazing
side to that and makes it a very

876
01:06:28.400 --> 01:06:32.440
different kind of villain. I would
normally agree, but I think in this

877
01:06:32.480 --> 01:06:35.400
case, after seeing this one,
I'm going with Kimner. Oh okay,

878
01:06:35.639 --> 01:06:41.079
because I don't know when he was
actually replaced. This is true for the

879
01:06:41.159 --> 01:06:45.199
party because you know, he might
be using that moment to kind of,

880
01:06:45.320 --> 01:06:50.000
you know, draw everybody in,
but he's not handing out little flowers and

881
01:06:50.039 --> 01:06:55.440
pods to everybody, which is probably
what he would be doing. But he

882
01:06:56.320 --> 01:07:00.760
the whole way through he uses that
idea of trust, and Leonard Nimoy,

883
01:07:00.760 --> 01:07:03.639
I think, has one of those
voices that's very calming, very soothing,

884
01:07:03.760 --> 01:07:10.320
has a great baseline to it,
yep. And and he absolutely uses that

885
01:07:10.360 --> 01:07:16.039
to his advantage to pull people in
to kind of give that chase. Aside

886
01:07:16.079 --> 01:07:23.559
from that, just the the facial
expressions that he's able to explore in the

887
01:07:23.639 --> 01:07:28.400
range that he's able to explore to
kind of a sinister end, especially when

888
01:07:28.400 --> 01:07:30.480
he's trapped in the meat locker and
you see him how to like open his

889
01:07:30.519 --> 01:07:34.519
mouth and get that scream go to
it. I don't know. I think

890
01:07:34.519 --> 01:07:38.599
he does. He does a great
villain m It makes me want to go

891
01:07:38.639 --> 01:07:41.719
and check out more of his work
and see where else we'd see him take

892
01:07:41.760 --> 01:07:43.960
that kind of sinister turn. That's
a good way of looking at it.

893
01:07:44.000 --> 01:07:46.239
I didn't think of it that way, but you're right, that gives it

894
01:07:46.280 --> 01:07:51.719
a whole other level of creepiness there
of the fact that when did he get

895
01:07:51.719 --> 01:07:54.960
taken over by the pot people?
You don't you don't know. They never

896
01:07:54.960 --> 01:07:59.559
show it right, right, Well, even when you mentioned about Robert Daval

897
01:07:59.599 --> 01:08:04.719
being the first crazy like they're they're
not. They're not twirling their mustaches,

898
01:08:04.760 --> 01:08:10.400
they're not, you know, they're
not even like his speech where he's like,

899
01:08:10.679 --> 01:08:13.920
you know, um, we're not
trying to hurt you. This is

900
01:08:13.960 --> 01:08:17.079
like the next step in evolution,
right, you know, you'll simply become

901
01:08:17.119 --> 01:08:19.439
this thing, and it makes me
think about, like, what was their

902
01:08:19.520 --> 01:08:27.359
ultimate plan do they you know,
Um, it'd be interesting to see maybe

903
01:08:27.479 --> 01:08:30.520
even like a spoof of it,
like after they take over. It's like,

904
01:08:30.600 --> 01:08:33.079
yeah, well we stopped all that
Greenhouse effect that you guys were worried

905
01:08:33.079 --> 01:08:36.000
about. We got ahead of that
and eventually we got hold of emotions.

906
01:08:36.119 --> 01:08:41.279
So I don't know, maybe thinks
maybe it's a good reason to go and

907
01:08:41.319 --> 01:08:45.600
read the book. Maybe they explain
more exactly, you know. So definitely

908
01:08:45.640 --> 01:08:51.039
an opportunity to go pick up a
book and read and see what the author

909
01:08:51.079 --> 01:08:56.880
had intended for them. Yeah,
yeah, where did you catch this one?

910
01:08:57.720 --> 01:09:00.840
Um? I actually watched this on
each Bo Max. Yeah where I

911
01:09:00.880 --> 01:09:04.840
got it? Yeah? Same here
yeah, HBO Max. I'm glad that

912
01:09:04.880 --> 01:09:08.479
they had it. I'm glad that
they're given that kind of spotlight. So

913
01:09:08.520 --> 01:09:11.119
a lot of you know, subscribers
can access it. I know, it's

914
01:09:11.159 --> 01:09:15.319
on a lot of other platforms like
Amazon Prime and and whatnot. Um.

915
01:09:16.399 --> 01:09:19.199
Well, one of the other ways
I was able to catch more of this

916
01:09:19.319 --> 01:09:28.239
movie was by going through the local
library. There's a lot of DVDs,

917
01:09:28.359 --> 01:09:32.439
blue rays, um, a lot
of harder to find movies like Near dark

918
01:09:33.079 --> 01:09:39.760
UM is one that seems like it's
almost impossible to find UM on any streaming

919
01:09:39.800 --> 01:09:43.520
platform. You can reserve a lot
of these movies to local library, just

920
01:09:43.560 --> 01:09:46.279
look them up. A lot of
places can put them on hold, even

921
01:09:46.319 --> 01:09:49.079
deliver them to your local branch,
and you just go pick it up and

922
01:09:49.520 --> 01:09:55.159
give it a watch. UM for
somebody like Dayton Johnson of the Ducum Base

923
01:09:55.199 --> 01:09:59.840
seventy seven podcast. UM, it's
one of those situations where physical media is

924
01:10:00.079 --> 01:10:02.840
better and gives you a little bit
more access to some behind the scene of

925
01:10:02.880 --> 01:10:08.479
secrets. I would have never I
completely forgot of using the library for something

926
01:10:08.520 --> 01:10:11.399
like this. But that's a great
idea of Scott. Well done. Yeah,

927
01:10:11.600 --> 01:10:15.600
I've got way too many hours,
too many movies. Well but before

928
01:10:15.640 --> 01:10:17.600
we get we've in this, let's
talk a little bit about the impact of

929
01:10:17.640 --> 01:10:21.800
this film. And you know,
we really have talked about a lot of

930
01:10:21.800 --> 01:10:26.640
it already. One of the things
is, you know what Ben Bird has

931
01:10:26.680 --> 01:10:30.319
done. We know he already worked
with Star Wars, you know, because

932
01:10:30.359 --> 01:10:33.600
this was in seventy eight, but
you know, just his impact on the

933
01:10:33.600 --> 01:10:39.319
sound industry that he would show throughout
the eighties and nineties and on, and

934
01:10:39.399 --> 01:10:44.840
what he would do for that part
of the industry, but just this in

935
01:10:44.880 --> 01:10:48.960
general, what this movie did for
sci fi films. You and I were

936
01:10:49.000 --> 01:10:53.960
in a conversation for the limited series
nineteen eighty six about another movie that was

937
01:10:54.039 --> 01:11:00.520
remade, and that is Invaders from
Marsh. We talked with Jazz. Yeah,

938
01:11:00.520 --> 01:11:02.159
you know, this is a very
similar situation that we see in this

939
01:11:02.239 --> 01:11:04.399
movie, you know, except this
time it was you know, more of

940
01:11:04.439 --> 01:11:09.640
a country town like the original Invasion
of the Body Snatchers was, um,

941
01:11:09.720 --> 01:11:12.119
you know, but a very similar
film. You know, we get to

942
01:11:12.159 --> 01:11:15.199
see a lot more science fiction.
You know. I want to say,

943
01:11:15.199 --> 01:11:17.960
you know, the fifties were obviously
loaded with sci fi, classic sci fi,

944
01:11:18.000 --> 01:11:23.119
I might add, um, so
seeing this resurgeon of newer movie Star

945
01:11:23.159 --> 01:11:27.119
Wars obviously had a big hand in
that, but clearly this one did too.

946
01:11:27.800 --> 01:11:31.640
Yeah. Yeah, I think it
definitely cemented the um the validity of

947
01:11:33.119 --> 01:11:38.479
remaking some of those those classics from
the fifties, Knowing that in the seventies

948
01:11:38.560 --> 01:11:42.199
there was a lot of kind of
you know, retro nostalgia for that time

949
01:11:42.199 --> 01:11:45.960
period. We've already talked about things
like Greece, but that carried it through

950
01:11:46.039 --> 01:11:50.359
into the eighties, and it not
only shows how it can be profitable,

951
01:11:53.079 --> 01:12:00.920
but can can give another another way
of seeing the story. Another reimagining of

952
01:12:00.960 --> 01:12:08.039
it, which we saw in Invaders
of Mars is great. Like that one

953
01:12:08.079 --> 01:12:11.000
totally took me by surprise because I
was just expecting, like, oh,

954
01:12:11.000 --> 01:12:13.079
it's going to be kind of a
fifties movie, so it'll be a little

955
01:12:13.119 --> 01:12:15.039
bit campy. Yeah, but they
really take it into that, you know,

956
01:12:15.399 --> 01:12:19.640
extra layer of sinister that is that
is so well done. The Fly

957
01:12:20.399 --> 01:12:25.239
is an amazing example of that.
Like I think when people think of the

958
01:12:25.239 --> 01:12:29.239
Fly, they're they're not really thinking
of the black and white, They're thinking

959
01:12:29.239 --> 01:12:32.119
that Jeff Goldblum. Yeah, and
this is another one of them. Um

960
01:12:32.159 --> 01:12:38.000
So yeah, I love seeing when
when things like this come around. Yeah,

961
01:12:38.319 --> 01:12:41.119
same with me. Well all right, well I want to thank all

962
01:12:41.159 --> 01:12:45.800
of our listeners out there for joining
us to listen to what Scott and I

963
01:12:45.000 --> 01:12:49.279
have to say. Um So,
coming up next for a film buy,

964
01:12:49.960 --> 01:12:55.039
they have Scott Coopers out of the
furnace, Scott, what's up next for

965
01:12:55.159 --> 01:12:59.840
us? I think we're getting in
another aspect of the seventh the scary side

966
01:12:59.840 --> 01:13:01.840
of the seventies with Dawn of the
Dead. Yeah, which is a very

967
01:13:01.880 --> 01:13:05.159
fun movie, very hard to find. But George Romero's Dawn of the Dead

968
01:13:06.720 --> 01:13:11.479
Get Back to the Mall with the
gray faced zombies. Yep. Can't wait

969
01:13:11.479 --> 01:13:14.640
to be talking about that one.
So I just want to say if you

970
01:13:14.680 --> 01:13:16.720
want to leave a comment, discuss
what's next, or even half suggestions,

971
01:13:16.720 --> 01:13:20.760
you can find us at www dot
a film by podcast dot com, a

972
01:13:20.840 --> 01:13:25.880
film by podcast at gmail dot com, a film by podcast on Facebook,

973
01:13:26.000 --> 01:13:30.720
Twitter, and Instagram. Until our
film real start rolling again, go out

974
01:13:30.760 --> 01:13:33.279
watch something new, watch something different, and who knows what you would discover

975
01:13:33.399 --> 01:13:36.279
next. Thanks everyone, Thanks everybody, See you next time.