April 13, 2025

Steven Spielberg - Duel

Steven Spielberg - Duel
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Season 6 A Film By...

David, Jeff, and Wayne hit the open road to discuss their favorite director, Steven Spielberg, and his directorial film debut, the high octane road thriller Duel!

For exclusive episodes and content, check out A Film By... Podcast on our Patreon with a FREE 7-day trial. You can also sign up as a free member! 

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Email us at afilmbypodcast@gmail.com with your questions, comments, and requests.
Find us on Instagram, X, and Facebook @afilmbypodcast.

WEBVTT

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So we all love Toho Monster movies, right, absolutely. Godzilla

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was a huge part of a lot of our childhood

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growing up, at least it was for me. Well that

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is what we were talking about today. Sort of just

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take Godzilla and swap him out with an eighteen wheeler

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tanker truck and you will have a film by Steven

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Spielberg in his nineteen seventy one underrated film Duel. Hello

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and welcome back. I'm David Burns, I'm Jeff Johnson, and

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I'm Wayne Whiten, and this is a film by podcast.

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Welcome everybody.

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Jeff.

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I know we love to do shout outs here before

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we get things rolling.

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What do we have today, Dave, I want to call

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it two of our listeners who are always hooking us

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up with great feedback. So today's episode is a week

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late because we kind of did an impromptu Val Kilmer

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episode last week. We did well and yeah, well definitely

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well worth. It had a huge response to it. There's

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two guys I want to shout out though. Jason Coslet

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contacted us. I got I'll uh, he's got. He's got

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one heck of a top ten because you know that's

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what we did. We did kind of like a valcomer.

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Top ten. Jason Coslet wrote, good afternoon, finally getting to

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your Val Kilmer tribute episode, thank you. Val Kilmer was

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an actor that I loved, grew up with, and just

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respected so much. Admittedly had to be consoled by my

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wife for a while. She knew because I speak of

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him often. Okay, my favorite Rules I'm just gonna say

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here and now. I first saw vow in Real Genius

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as Chris Knight and will always sentimentally be my favorite

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Val Kilmer movie. Next would be The Doors Val as

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Jim Morrison Jesus Christ enough said, Third would be Tombstone

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I'm in my prime. Four would be Thunderheart. I fucking

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love this movie, always have, always will. Sam Shepherd and

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Graham Green were also great in this movie. Five is

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vow and true romance as the mentor Elvis. Six is

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Batman Forever, the only other Batman I like other than Keaton.

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Wow Wow Okay. Seven is top gun Iceman Rules. Eight

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is top secret and underrated classic. We didn't even mention

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that one. I don't we didn't.

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It does a good pick.

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Yeah. Nine is Mad Martigan and Willow. Ten is gonna

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be the Ghost in the Darkness, another underrated classic. Thank

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you again, rest in peace, Val Kilmer. Jason fantastic. Yeah,

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uh top ten there, and thank you for reaching out

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and letting us so our buddy, our Patreon producer, friend

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of the show. He's been on the show once or twice.

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James Buckley had this to say, Kilmer's passing was a

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tragedy and this spur of the moment episode was a

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noteworthy tribute. I cannot fault any of their selections or

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their placement. The breath of this man's work was pretty astounding.

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As for the quotes, I have to side with Doc.

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It's hard to go against a guy who wins a

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Latin off against Kyle Reese. That's right.

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See thank you, Jim, Yeah yeah.

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And Dave's that's that's kind of the tip of the iceberg.

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There's a lot of people that reached out and gave

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us some feedback on the valcolmra episode. And I don't

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want to make this the Valcilmer episode recap, but I

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just want to point those two guys out because they

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always give us great feedback. So so, Jason, James, thank

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you very much.

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Yes, thank you very much.

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Thank you.

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All right, guys, So have you ever had road rage

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enough to take a semi and try and run someone down?

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I can tell you driving the highway every day and

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I drive at what fifty and the thought crosses my mind.

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You know, I had no word? How about you, Wayne?

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Oh, definitely every day, every day. Just an hour ago

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I thought the same thing, that I want to run

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this guy off the road.

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Yeah, well, I mean that has something to do with

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we're talking about today, that is for sure. I gotta see, guys,

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I'm very excited to finally be discussing a film from

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Steven Spielberg, a guy that I have idolized, that wanted

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to be when I was growing up, still do actually

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still yeah, the man that has given us so many

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gifts over the years and truly changed Hollywood on many

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occasions with his talent and envision. And here we are

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discussing one of his very early works. And when you

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look at it, you can see so much from Steven

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in this that just gives us hints of what's in

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store for us from this director in the future. Would

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you guys agree with that?

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Yeah?

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It's it's amazing, it really, it really is. So when

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did this come up on radar? For you guys. For me, obviously,

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Raiders of the Lost Ark was the first one that

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I saw, and I watched more and more of until

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I got to know who Steven Spielberg would was. And

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later in my life then I went back and caught

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a lot of his older stuff. So I didn't catch

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this one until later in life. But again, this was

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came out before I was even born, so I didn't

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know much about it. But when I did watch it,

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I was very impressed by it. So what about you, guys.

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I think every film buff goes through their quote unquote

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college years where you grew up loving movies. You grew

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up loving maybe a certain actors movies or a certain

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director's movies. But then you get a little bit older,

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and that's when you start doing the research. You start

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going down the rabbit hole to find out all their

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other work and and and check it out. Yeah, Dave,

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like you, Spielberg is my all time favorite director. I love.

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I've loved everything he's done. And I want to say,

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probably like in my twenties, when I started like, oh

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he did some television, Oh he did this, you know,

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when I started doing the research and trying to find

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his old older stuff. That's when I found Duel. I

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believe the first time I saw Duel was The Sun

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Coast Years for Us, you know, showed up on it

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on the shelf and I was like, wait, it's a

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Steven Spielberg movie. Yeah, that I haven't seen, and I

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got excited, you know, so wait.

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What about you?

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Well, I mean I saw a lot of Spielberg's films

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during the eighties, but I really didn't get into his

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work until the early nineties. But I remember this movie

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playing frequently on television, and so I had seen parts

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of it. I mean, you know, there are parts of

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it is so memorable, but I don't think I saw

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the whole film in its entirety until about like ninety

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one or ninety two, was right after Hook, because that's

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when I just first discovered Spielberg and started watching all

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this other stuff. And I think I watched it on

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amc IS when they played it. But you know, it's brilliant.

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It's a brilliant film, you know, like all of his work.

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Absolutely, and so young, you're just seeing what's coming. I

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mean at that time you didn't know, but you know,

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looking back now, you're like, wow, you could really see

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the Spielberg that we're going to get to know later

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on in the in those later years.

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Oh yeah, And since I watched it, I've went back

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and tried to watch all of his original TV work.

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I love his work, even his early stuff.

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Absolutely well, I'm let's go to talk about some of

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three facts trivia about the director and a quote. Since

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we started that with a film at forty five, and

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we've carried that on too, a film by which I

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love very much, So Jeff, thank you for bringing that

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onto a film by podcast. I love quotes, I really do.

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It's always easy when you're stealing film yourself.

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It is absolutely so. Stephen once screened Lawrence of Arabia

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with director David Lean, who gave a live director's commentary.

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Spielberg said it was one of the best moments of

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his life, learning from a true master. Spielberg stated that

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it helped him make better pictures and that directly influenced

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every movie he made, since I just cannot imagine getting

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a live commentary from somebody that famous.

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That's like us sitting down next to Spielberg and him

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talking through an entire film, which would typically drive me insane.

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But I would love that my commentary by Steven Spielberg.

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You know'st to tell you.

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Yeah, absolutely absolutely. During filming of an episode of Night

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Gallery in nineteen sixty nine, Detroit Free Press reporter Shirley

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Etter was speaking with the famous Joan Crawford, who was

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in this particular episode, pointed out Steven Spielberg and said,

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go interview that kid, because he's gonna be the biggest

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director of all time. Boy, was she right? Guys?

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Wow, what a compliment.

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Yes, and that young nineteen sixty nine, My goodness, man,

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coming from somebody like that, that caliber of an actress,

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Good grief, what a compliment. You just can't imagine.

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Well, have both of you in his Night Gallery pilot

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the first half he directed you, Jeff, Yeah, I mean

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it's it's different. It's very, very different from anything else

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on television at the time.

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Yeah, I agree, but it's just again shows you his vision.

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I think they were even taken aback bite a little

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bit because it was just out of the ordinary for them.

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Yeah. With the story I heard I remember reading in

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his biography is that the Serling loved it. The studio

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hated it. They said he went a little bit too artsy,

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and Serling took him off the side and because he

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still had more Night Gallery to direct, and told him

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that he needs to back off a little bit. Yeah,

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you know, go back and do the more normal, cookie

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cutter type of directing and and just give the studio

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what they want, because eventually they will give you what

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you want.

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And he did.

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He backed off. It's still everything he's done is very Spielberg,

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but it's not nearly as as crazy or as wild

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as what he did the Night Gallery. But then Serling

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was right. I mean, he backed off for a while

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and then finally he got what he wants. And we're

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talking about that right now.

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Duel, Yeah, yeah, absolutely.

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Another thing I found interesting was he was very irritated

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when footage from his movie Duel was used as stock

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footage in an episode of The Incredible Hulk in nineteen

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or seventy seven.

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I forgot about that.

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What but yes, But since Universal Studios owned the rights

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to The Incredible Hawk and Duel, Spieberg couldn't do anything

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about it. He couldn't take any kind of legal action.

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But because of this, he made sure going forward everything

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in his contract made it had of clause that protected

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his material that couldn't be used a stock footage anymore.

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I love the see now I want to go back

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and watch The Incredible Hulk and find the dual episode

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right that'dolok, it would be It would.

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Be so the quote that I found. I've actually live

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and breathed by this quote from Steven Spolberg. I've done

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it for quite a many years. It's a little lengthy,

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but just bear with me. He says. I get the

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same queasy, nervous, thrilling feeling every time I go to

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work that's never worn off since I was twelve years

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old with my dad's eight millimeter movie camera. The thrill

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hasn't changed at all. In fact, as I've gotten older,

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it's actually increased because now I appreciate the collaboration. When

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I was a kid, there was no collaboration. It's you

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with the camera bossing your friends around. But as an adult,

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filmmaking is all about appreciating the talents of the people

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you surround yourself with and knowing you could never have

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made any of these films by yourself. My job was

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constantly to keep a movie family going. I'm blessed with

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the same thing that john Ford Howard Hawks and Alfred

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Hitchcock were blessed with a mini industry very similar to

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the one from the Golden era of Hollywood, where it

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was the same people making movies with you each and

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every time. And it makes life so much more enjoyable

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when you get to go home to your family and

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go to work with your other family.

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Great quote, fantastic quote.

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Yeah, it makes me feel good. Like you know, when

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I go to make my little film, I get so

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nervous about a shot that day or whatever we're doing.

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To know that Steven Spielberg at his caliber, still gets nervous.

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I'm going making a film that's crazy to think about,

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isn't it?

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Absolutely?

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It is? All right, Well, let's get to duel. This

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is kind of awkward for me because this is a

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part that I am usually doing the synopsis. So Jeff

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tell us, for those listeners out there who don't know

239
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about this Spielberg film, give us what this synopsis is

240
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all about.

241
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Well, if I can paraphrase the Spielberg quote, you know,

242
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as far as appreciating the talent I'm surrounded with, Dave,

243
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I know I can't hold a candle to you, but

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I'll do my best. Okay, Okay, David Mann a businessman

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traveling a remote California highway and route to an appointment

246
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finds himself the unwilling participant in a deadly game of

247
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cat and mouse against a mysterious homicidal truck driver. His

248
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weapon of choice weathered menacing forty ton tanker truck that

249
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hammers down on the desperate motorist, escalating the terror with

250
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each passing mile marker. If Jaws made you wonder whether

251
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it was safe to go in the water, Steven Spielberg's

252
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duel will have you wondering whether it's safe to hit

253
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the open road.

254
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You get the David Seal of approval that means a

255
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lot of done, well done, well done. Couldn't have said

256
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better at myself for sure. But you know you are

257
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right when you mentioned Jaws in this, because I mean,

258
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it's very It's got some similarities here. One of the

259
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things I love about this film is that you never

260
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see this driver. You get hints of him, you get

261
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like the arm the cowboy boots sometimes maybe like a

262
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little tiny of silhouette in the cab, but you don't

263
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ever see him, which makes this even creepier because it

264
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could be anyone mm hm.

265
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And the fact that this truck is here, and then

266
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it's gone, and then it's right on your bumper again. Yeah,

267
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it is absolutely a twenty five foot great white shark

268
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and it's just it's just on the on the on

269
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the blacktop. That's all. Yeah.

270
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Absolutely, And how about them license plates on that bumper?

271
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You got so good?

272
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I was I was wondering and maybe maybe this is intended,

273
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but I kind of get the idea that this guy

274
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is just out on the road stalking people, and like

275
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it's like, yeah, he's like a trophy hunter. Like the

276
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plates are the cars the people that he's that he's murdered.

277
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Is that would that be the exactly that's what I

278
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read impression I got. Yeah, okay, absolutely, which makes that

279
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even scarier. Yeah, and there's just no way, no thank you.

280
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But I know that was part of Spielberg of working

281
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with this and coming up with this creation. And I

282
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kind of talked and talked about at the beginning of

283
00:14:44.279 --> 00:14:46.759
it calling this Godzilla but just with an eighteen wheeler.

284
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Spielberg had that vision when he was making this. He know,

285
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he looked at it that way, and it works so well,

286
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uh in this film, and it's very visual, you know,

287
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there's very little words. If you look at this, you know,

288
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I mean, it's really a one man show. You get

289
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a little bit of other characters in this, but it's

290
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just fantastic. But we'll get to that a little bit.

291
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You guys, got anything else before we.

292
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Go to our first break. That's what I think is

293
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brilliant about this is that there's such a minimal cast

294
00:15:15.440 --> 00:15:18.360
to this. Really, I mean, Dennis Weaver's carrying the entire thing,

295
00:15:19.120 --> 00:15:21.720
and that's what makes it brilliant that, you know, a

296
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whole movie can be centered around one person and the

297
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suspense and the terror that he's experiencing. That's Spielberg and

298
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his finest.

299
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In my opinion, absolutely, I couldn't agree more with you.

300
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When well, guys, let's go ahead and take our first

301
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break and we come back. We'll talk about the cast,

302
00:15:37.799 --> 00:15:43.080
we'll talk about Dennis Weaver, we'll be back. Welcome back,

303
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listeners to a Film by podcast where Wayne, Jeff and

304
00:15:46.360 --> 00:15:51.879
I are discussing Steven Spielberg's nineteen seventy one film Dule.

305
00:15:52.679 --> 00:15:55.440
As we said, this isn't a very big cast, almost

306
00:15:55.440 --> 00:15:58.519
a one man's show. But let's start talking about the

307
00:15:58.559 --> 00:16:02.600
man himself, David Man, that is played by Dennis Weaver.

308
00:16:04.480 --> 00:16:06.360
He did a lot of Westerns and stuff before this.

309
00:16:06.399 --> 00:16:08.799
I know he was in Gunsmoke, Is that correct, guys?

310
00:16:09.120 --> 00:16:12.080
He he was the deputy. I think Marshall Dyllon's deputy.

311
00:16:12.039 --> 00:16:15.519
He was, That's right. I just think he was fantastic

312
00:16:15.559 --> 00:16:17.320
in this movie. And I know Dennis Weaver was a

313
00:16:17.320 --> 00:16:19.399
big fan of it because my understanding is he watched

314
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this twice a year.

315
00:16:21.240 --> 00:16:24.399
Oh wow, I can understand that.

316
00:16:25.159 --> 00:16:28.679
I could too, I mean, and the funny thing is,

317
00:16:28.720 --> 00:16:31.000
I know we recently got back from steel Fest. We

318
00:16:31.080 --> 00:16:34.200
met Clint Howard. He was in General Ben, the TV

319
00:16:34.279 --> 00:16:38.360
series which Dennis Weaver was also in Gentle Ben. So

320
00:16:39.039 --> 00:16:42.399
you know, I think it was perfect casting for this.

321
00:16:43.120 --> 00:16:48.279
He's got that everyday guy walking down the street vibe

322
00:16:48.320 --> 00:16:49.519
to him. Would you guys.

323
00:16:49.360 --> 00:16:51.559
Agree with that? Oh he's the everyman.

324
00:16:52.039 --> 00:16:56.320
Yes, he is the everyman and he fits this part perfectly.

325
00:16:57.000 --> 00:17:00.279
And you know, seeing him in this film as the

326
00:17:01.799 --> 00:17:05.200
one man show, that's hard to do to pull that off,

327
00:17:05.519 --> 00:17:07.880
and he does it so well. I mean, you even

328
00:17:07.920 --> 00:17:10.200
hear him talking to himself in some of those scenes,

329
00:17:10.240 --> 00:17:13.119
the restaurant scene, you know, where you know he's trying

330
00:17:13.119 --> 00:17:15.440
to figure out is the guy in the bar with

331
00:17:15.519 --> 00:17:18.000
him or in that restaurant with him. What's he gonna do?

332
00:17:18.160 --> 00:17:19.519
How's he gonna talk to his way out of this?

333
00:17:19.559 --> 00:17:21.559
Maybe he should approach him, you know those kind of

334
00:17:21.559 --> 00:17:23.599
things that just that monologue that's going on in his

335
00:17:23.680 --> 00:17:25.400
head was just brilliant.

336
00:17:26.039 --> 00:17:29.319
Can I can I offer a little fun fact about

337
00:17:29.319 --> 00:17:32.680
Dennis Weaver. You mentioned you mentioned our buddy Clint Howard,

338
00:17:33.119 --> 00:17:37.480
who we were talking to recently. So in the mid

339
00:17:37.559 --> 00:17:43.440
nineteen forties, Dennis Weaver is a student studying drama at

340
00:17:43.480 --> 00:17:48.279
the University of Oklahoma in Norman. He's got a couple

341
00:17:48.240 --> 00:17:51.519
of theater friends that he introduces to one another. Those

342
00:17:51.559 --> 00:17:57.519
two friends guys were Gene Spiegel and Rance Howard, which

343
00:17:57.559 --> 00:18:01.440
means Dennis Weaver is the one who introduced Ron and

344
00:18:01.440 --> 00:18:03.000
Clint Howard's parents to one another.

345
00:18:03.880 --> 00:18:04.640
That's crazy.

346
00:18:05.119 --> 00:18:07.359
How about that for going down the rabbit hole. There's

347
00:18:07.359 --> 00:18:08.160
a nugget for you.

348
00:18:09.839 --> 00:18:12.720
Man, Tell you them Howards are everywhere, aren't they?

349
00:18:13.000 --> 00:18:17.279
I love it. There are Oklahoma natives, those Howards's that's fantastic.

350
00:18:17.279 --> 00:18:19.039
I did not know that, Jeff Man, that is going

351
00:18:19.079 --> 00:18:22.000
down a deep hole to find some information. So well done.

352
00:18:22.279 --> 00:18:24.400
I knew I knew you'd love it, and any any

353
00:18:24.519 --> 00:18:27.960
kind of Oklahoma Norman Oklahoma trivia back and throwed for

354
00:18:28.279 --> 00:18:30.640
our good buddy Jason Colvin. You know I'm going to

355
00:18:30.720 --> 00:18:31.160
do that.

356
00:18:31.160 --> 00:18:33.039
That's right, throw it out there for him, no doubt.

357
00:18:33.680 --> 00:18:35.400
So we've got some other cast members in this who

358
00:18:35.400 --> 00:18:40.039
are not there very much. Jacqueline Scott plays missus Man,

359
00:18:40.480 --> 00:18:43.559
who is not very in this movie at all, except

360
00:18:43.559 --> 00:18:45.559
for that little tidbit that we see her at.

361
00:18:45.400 --> 00:18:48.680
Home link and you miss her link and you miss her.

362
00:18:48.759 --> 00:18:50.960
Yes, the only thing I really know her from was

363
00:18:51.039 --> 00:18:53.720
the TV series of The Fugitive. That's the only thing

364
00:18:53.759 --> 00:18:54.559
I know her from.

365
00:18:55.119 --> 00:18:56.440
You I'm not too familiar with her.

366
00:18:57.200 --> 00:18:57.799
Yeah, you're right.

367
00:18:57.920 --> 00:19:00.119
I don't think she's done too much now.

368
00:19:00.279 --> 00:19:01.559
I know a lot of the people that you see

369
00:19:01.559 --> 00:19:04.960
in this movie did a lot of television. Obviously, Spielberg,

370
00:19:05.039 --> 00:19:08.920
you know, in that Worth getting his start with Night

371
00:19:08.960 --> 00:19:11.119
Gallery and all that kind of stuff. You know, he's

372
00:19:11.279 --> 00:19:13.039
meeting a lot of TV people, So it's probably where

373
00:19:13.039 --> 00:19:16.079
a lot of this was coming from. Eddie Firestone is

374
00:19:16.079 --> 00:19:18.599
the cafe owner. I know he was in Barbibie Jones

375
00:19:19.599 --> 00:19:23.440
in Glactica nineteen eighty, which is not the thing, but hey,

376
00:19:25.400 --> 00:19:29.599
still Blue Frizzle as the bus driver. Interesting thing about

377
00:19:29.599 --> 00:19:30.960
that scene, but I know we're going to talk about

378
00:19:30.960 --> 00:19:33.160
that a little bit later because there are a few

379
00:19:33.200 --> 00:19:37.160
other scenes that we could talk about yet. Jean Danarski

380
00:19:37.319 --> 00:19:39.720
as the man in the cafe. The reason why I

381
00:19:39.759 --> 00:19:42.599
bring this gentleman up is, as you guys know, I

382
00:19:42.640 --> 00:19:45.680
always talk about everything comes back to Star Trek.

383
00:19:46.720 --> 00:19:47.480
You say that a lot.

384
00:19:48.200 --> 00:19:51.599
You're right. So Gene is in the original Star Trek

385
00:19:51.720 --> 00:19:56.440
and Star Trek the next generation, so there's that connection.

386
00:19:56.480 --> 00:19:58.519
He's also in Close Encounters of the Third Kind as Ike,

387
00:19:59.440 --> 00:20:01.759
because as you know, Steve's go breaking his quote says,

388
00:20:02.839 --> 00:20:04.960
he you know, it's like a family, keep bringing them

389
00:20:04.960 --> 00:20:07.240
with you, and he continues to do that with some

390
00:20:07.319 --> 00:20:12.240
of this cast. Jeff Lucille Benson as Lady at Snakerama.

391
00:20:12.319 --> 00:20:13.319
Do you know where she's from?

392
00:20:14.079 --> 00:20:14.759
I couldn't tell you.

393
00:20:15.599 --> 00:20:18.200
She is miss l Rod in Halloween two.

394
00:20:19.079 --> 00:20:20.440
Oh my lord, are you kidding me?

395
00:20:20.720 --> 00:20:21.279
No, I'm not.

396
00:20:21.519 --> 00:20:23.519
She is that sweet woman that was trying to make

397
00:20:23.559 --> 00:20:24.319
Harold a sandwich.

398
00:20:24.640 --> 00:20:28.480
Yes, that's her. Well, yep, that's where I knew her from.

399
00:20:28.480 --> 00:20:30.000
Since the Star is like, oh, hey, I know where

400
00:20:30.039 --> 00:20:33.279
she's from. But yeah, Halloween too, And of course we

401
00:20:33.400 --> 00:20:39.680
have Carrie Lofton as the truck driver, who is probably

402
00:20:39.720 --> 00:20:44.200
one of the busiest Hollywood's stunt men. Up to this point,

403
00:20:44.720 --> 00:20:48.039
the man had three hundred and eighty four credits. Okay,

404
00:20:49.160 --> 00:20:53.880
he is known for motorcycles, cars, trucks, you name it.

405
00:20:53.960 --> 00:20:56.880
He has done the stunts for Hollywood in the sixties

406
00:20:56.920 --> 00:21:01.920
and the seventies. He's done the love Bug, Lit Vanishing Point,

407
00:21:02.000 --> 00:21:06.039
Diamonds or Forever, the French Connection, Thunderbolt, and Lightfoot, White

408
00:21:06.039 --> 00:21:08.880
Line Fever, just to name a fuel few, and of

409
00:21:08.920 --> 00:21:12.720
course Gold. You couldn't have gotten anybody better to be

410
00:21:12.759 --> 00:21:16.680
a stuntman in this movie. So Steven Spielberg obviously chose

411
00:21:16.720 --> 00:21:20.240
wisely when it came to the stuntman in this Dave.

412
00:21:20.559 --> 00:21:25.240
This guy has sixty one years in the industry, and

413
00:21:25.279 --> 00:21:28.160
you mentioned some of his heavy hitters, you know, the Bullet,

414
00:21:28.200 --> 00:21:31.279
the French Connection, the idea that he is behind the

415
00:21:31.279 --> 00:21:35.000
wheel of Steve McQueen's sixty eight Ford Mustang GT fastback

416
00:21:35.559 --> 00:21:40.599
on those San Francisco streets. It's awesome, you know. You

417
00:21:40.599 --> 00:21:43.119
gotta remember his villainous driving can be seen in both

418
00:21:43.160 --> 00:21:47.079
Christine and Maximum Overdrive. This guy's behind the wheel of

419
00:21:47.119 --> 00:21:50.319
Christine and the Green Goblin truck. Yeah, that's unreal, man,

420
00:21:50.720 --> 00:21:54.440
I know. And in nineteen eighty four, at the age

421
00:21:54.480 --> 00:21:57.960
of sixty eight, he performed the car chase in a

422
00:21:58.039 --> 00:22:01.200
really good Jeff Bridges movie called Against All Odds. He

423
00:22:01.279 --> 00:22:05.000
was he was driving the Ferrari three eight because even

424
00:22:05.039 --> 00:22:07.480
at at that age his reputation was being the best

425
00:22:07.480 --> 00:22:08.359
carman in the business.

426
00:22:08.880 --> 00:22:09.480
Well he was.

427
00:22:09.559 --> 00:22:11.759
He's a legend, absolutely legend, absolute.

428
00:22:11.480 --> 00:22:12.839
Legends, absolute legend.

429
00:22:12.920 --> 00:22:15.440
Yeah. I'm looking down his credits right now, and so

430
00:22:15.599 --> 00:22:17.640
many of these great films that he's been in, they're

431
00:22:17.680 --> 00:22:18.440
they're incredible.

432
00:22:18.960 --> 00:22:21.440
Yeah, I mean, you got somebody who does all of that.

433
00:22:21.680 --> 00:22:24.720
You know, he knows what he's doing. Clearly, when you

434
00:22:24.799 --> 00:22:27.039
need somebody to drive a big truck like that, that's

435
00:22:27.240 --> 00:22:29.079
you know, throughout the entire film that's gonna be doing

436
00:22:29.119 --> 00:22:31.440
some crazy stuff like it does. You didn't need somebody

437
00:22:31.440 --> 00:22:34.279
really good behind that wheel, somebody you can trust, and

438
00:22:34.359 --> 00:22:37.480
clearly he is the man for sure. All Right, let's

439
00:22:37.480 --> 00:22:40.039
talk about some of the inside of the film's background

440
00:22:40.079 --> 00:22:44.200
and production. Speaking of Kerry Lofton, I found this kind

441
00:22:44.240 --> 00:22:48.680
of interesting he approached Steven Spielberg and asked him, what

442
00:22:48.839 --> 00:22:53.119
is my motivation for tormenting this car driver? Spielberg looked

443
00:22:53.119 --> 00:22:55.200
at him and goes, you're a dirty, rotten, no good

444
00:22:55.200 --> 00:22:58.680
son of a bitch. Lofton replied, kid, you hired the

445
00:22:58.720 --> 00:23:06.000
right man. Good stuff there. According to Richard Matheson, who,

446
00:23:06.079 --> 00:23:08.599
as we know, wrote the original short story, do you

447
00:23:08.640 --> 00:23:11.680
guys know where how he got the idea for Duel?

448
00:23:12.519 --> 00:23:16.240
I happen to know this one, God, Jeff, what is it? So?

449
00:23:17.599 --> 00:23:21.759
Matheson claimed he was inspired to write it after being

450
00:23:21.839 --> 00:23:25.440
tailgated by a menacing trucker on his way home on

451
00:23:25.519 --> 00:23:29.880
Highway one twenty six in California on November twenty second,

452
00:23:30.240 --> 00:23:31.480
nineteen sixty.

453
00:23:31.160 --> 00:23:33.759
Three, of all days of all day.

454
00:23:33.799 --> 00:23:36.559
Yeah, the same day as the jfk assassination.

455
00:23:36.920 --> 00:23:39.599
Yeah, that is just crazy to think about.

456
00:23:39.720 --> 00:23:43.920
Dave, I happen to know Matheson, you know this this

457
00:23:43.960 --> 00:23:47.319
short story? Mathison writes, The script obviously adapts his own

458
00:23:47.319 --> 00:23:49.880
short story. Do you know where that short story was

459
00:23:49.920 --> 00:23:50.920
originally published?

460
00:23:51.440 --> 00:23:55.000
I believe it's got some bunnies involved. Am I correcting this?

461
00:23:55.519 --> 00:23:59.519
Well? Yeah, we're talking. We're talking about the April nineteen

462
00:23:59.559 --> 00:24:03.599
seventy one issue of Playboy magazine, which Wayne Wayne reads

463
00:24:03.640 --> 00:24:04.640
only for the articles.

464
00:24:04.799 --> 00:24:07.839
Uh oh yeah, get some of the great stories in there.

465
00:24:09.240 --> 00:24:11.920
They do. I gotta be honest, man, that'd be a

466
00:24:11.920 --> 00:24:14.920
great collector's item to have a Matheson story that's adapted

467
00:24:14.920 --> 00:24:17.759
into a Spielberg film. Yeah, gotta look that one up

468
00:24:17.799 --> 00:24:18.279
on eBay.

469
00:24:18.519 --> 00:24:19.920
I'd frame then hang on the wall.

470
00:24:22.519 --> 00:24:25.559
You know, Richard Matheson's he's a fantastic writer. I mean,

471
00:24:25.599 --> 00:24:27.960
he's written some of the my favorite episodes of the

472
00:24:27.960 --> 00:24:30.960
Twilight Zone. He wrote Outer Limits. He's just a great writer.

473
00:24:31.039 --> 00:24:33.279
And this this script shows just how well of a

474
00:24:33.319 --> 00:24:34.599
write good writer he is.

475
00:24:35.319 --> 00:24:35.839
Yeah, he is.

476
00:24:36.960 --> 00:24:38.759
I gotta say, you know, because I love his I

477
00:24:38.759 --> 00:24:41.839
love his Twilight Zone work. But if I had to

478
00:24:41.839 --> 00:24:43.799
pick a favorite Matheson, I'm probably gonna go with the

479
00:24:44.240 --> 00:24:47.640
I Am Legend. Oh yeah, I think. I mean a

480
00:24:47.640 --> 00:24:51.200
movie that's been adapted three different times in three different generations.

481
00:24:52.599 --> 00:24:54.359
I don't think they've I don't think they've quite cracked

482
00:24:54.400 --> 00:24:58.640
it just yet. I'm still holding out. But we'll see.

483
00:24:58.920 --> 00:25:00.079
Yeah, we'll see.

484
00:25:00.160 --> 00:25:00.279
Well.

485
00:25:00.319 --> 00:25:02.880
Another thing that I found interesting and I mentioned earlier

486
00:25:03.240 --> 00:25:07.000
about the school bus Driver, this movie originally had a

487
00:25:07.039 --> 00:25:10.559
runtime of seventy four minutes and it was made for

488
00:25:10.599 --> 00:25:13.160
TV movie, which they wanted to release it in the theaters,

489
00:25:13.200 --> 00:25:15.880
but it was way too short to put that in

490
00:25:15.920 --> 00:25:18.839
the theater, so Universal had Steven Spielberg come back and

491
00:25:18.880 --> 00:25:23.400
shoot some additional scenes to make it a ninety minute film.

492
00:25:23.799 --> 00:25:26.079
So he went back and he redid what Nott redid.

493
00:25:26.079 --> 00:25:29.640
He filmed some new scenes. One of those is the

494
00:25:30.160 --> 00:25:32.160
opening scenes that you see where he comes out of

495
00:25:32.160 --> 00:25:35.480
the garage and get all those POV shots going down

496
00:25:35.519 --> 00:25:39.319
the city with the credits rolling. He also did the

497
00:25:39.400 --> 00:25:43.079
scene where David phones his wife the school bus scene

498
00:25:43.160 --> 00:25:45.599
is obviously new, and added the other one that I

499
00:25:45.799 --> 00:25:47.720
was really amazed that they added, because I actually love

500
00:25:47.759 --> 00:25:50.880
the scene is the railroad crossing. That scene is just terrifying.

501
00:25:51.039 --> 00:25:53.640
Oh yeah, that's one of my favorite scenes of the film.

502
00:25:53.839 --> 00:25:56.319
Yes, and I cannot believe that was not in the original.

503
00:25:57.000 --> 00:25:58.240
Yeah. I never would have guessed that.

504
00:25:58.519 --> 00:26:01.759
No, I think it's amazing. We're talking about an ABC

505
00:26:01.880 --> 00:26:04.519
Movie of the Week that is so popular that Universal

506
00:26:05.119 --> 00:26:08.559
pays to go back into production film extra so they

507
00:26:08.559 --> 00:26:11.640
can get it out in theaters. Now that beginning, that

508
00:26:11.680 --> 00:26:14.000
opening that just feels like filler.

509
00:26:14.440 --> 00:26:14.839
It does.

510
00:26:14.960 --> 00:26:17.720
It does, so I totally get that. But I'm I'm

511
00:26:17.759 --> 00:26:20.319
really surprised to know that the school bus scene and

512
00:26:20.519 --> 00:26:24.039
the railroad crossing scene weren't in the original story because

513
00:26:24.839 --> 00:26:27.480
there are two of the more terrifying moments, especially the

514
00:26:27.480 --> 00:26:30.359
school bus scene, where like you're just ratcheting up the tension.

515
00:26:30.680 --> 00:26:32.799
Yeah, and you see him at the out of the

516
00:26:32.799 --> 00:26:36.400
tunnel parking, just waiting, just waiting. Yeah, just oh man,

517
00:26:36.519 --> 00:26:40.319
just terrifying for sure. Here's the craziest thing that I

518
00:26:40.440 --> 00:26:43.640
found in researching this film. Do you know how long

519
00:26:43.680 --> 00:26:46.119
it took Steven Spielberg to make this film? To direct

520
00:26:46.119 --> 00:26:46.559
this film?

521
00:26:47.319 --> 00:26:49.599
Take a guess, well, I mean, if it's if the

522
00:26:49.680 --> 00:26:52.839
story is out in Playboy in April seventy one and

523
00:26:52.880 --> 00:26:55.359
this movie is nineteen seventy one, he had to have

524
00:26:55.440 --> 00:26:58.160
like probably what two three months of production time.

525
00:26:58.960 --> 00:27:02.559
It took twelve days to film this Get Out of

526
00:27:02.599 --> 00:27:07.319
Here twelve days. Twelve days? It is it is Steven

527
00:27:07.359 --> 00:27:09.559
Spielberg's personal benchmark.

528
00:27:10.119 --> 00:27:15.559
Yeah, I guess, so that's some that's some gorilla filmmaking.

529
00:27:15.160 --> 00:27:18.119
Right, that's ed Wood.

530
00:27:20.839 --> 00:27:23.119
I couldn't imagine doing something like that in twelve days,

531
00:27:23.119 --> 00:27:24.079
there's just no way.

532
00:27:24.880 --> 00:27:25.279
Wow.

533
00:27:26.039 --> 00:27:27.000
Yeah, crazy stuff.

534
00:27:27.039 --> 00:27:30.440
But didn't he didn't he do like a an aerial

535
00:27:30.519 --> 00:27:33.440
map of the highway, like storyboarded out?

536
00:27:33.519 --> 00:27:34.079
I thought, I did?

537
00:27:34.359 --> 00:27:35.319
I read? Yeah?

538
00:27:35.359 --> 00:27:37.279
So I mean he had it really planned out. So

539
00:27:37.440 --> 00:27:39.400
maybe he had it so planned out that's why he

540
00:27:39.480 --> 00:27:42.960
moved so fast. It was crazy to think about.

541
00:27:43.039 --> 00:27:45.359
Man, he's got those David Byrne storyboards.

542
00:27:46.759 --> 00:27:51.039
That's right, man, let's go move, move, move. Absolutely, But no,

543
00:27:51.160 --> 00:27:54.359
that's that's pretty cool to think about. All right, guys, Well,

544
00:27:54.440 --> 00:27:58.400
let's let's let's talk about something that we dina Wayne

545
00:27:58.880 --> 00:28:01.559
to talk about, and that, of course is the music

546
00:28:01.759 --> 00:28:04.599
to this film, which is not John Williams, even though

547
00:28:04.640 --> 00:28:07.720
he would come later on in life and follow Spielberg everywhere,

548
00:28:08.079 --> 00:28:10.480
but this is not one of them. So what can

549
00:28:10.519 --> 00:28:14.240
you tell us about who did this music? Wayne?

550
00:28:14.759 --> 00:28:17.720
The nineteen seventy one Universal telefilm Duel was the first

551
00:28:17.759 --> 00:28:20.599
of three made of for television movies and the first

552
00:28:20.599 --> 00:28:24.519
feature leaf movie directed by Steven Spielberg a few years

553
00:28:24.599 --> 00:28:27.119
before Jaws and bringing us a different kind of monster,

554
00:28:27.759 --> 00:28:32.119
a rust covered behemoth Peterbilt truck calling a massive tanker

555
00:28:32.160 --> 00:28:36.519
trailer full of gasoline. The film featured a suspensely played

556
00:28:36.640 --> 00:28:40.759
game of wits between the truck's insane murders driver and

557
00:28:40.839 --> 00:28:45.519
a panicky every man played by Dennis Weaver. Steven Spielberg

558
00:28:45.640 --> 00:28:48.359
was a fresh face and knew to the Hollywood directing game,

559
00:28:49.240 --> 00:28:51.519
and he turned to his friend and frequent composer on

560
00:28:51.640 --> 00:28:55.200
many of his works at the time, Billy Goldenberg. Spielberg

561
00:28:55.240 --> 00:28:57.519
had worked with Goldenberg since the beginning of his career

562
00:28:57.880 --> 00:29:00.319
on the director's first TV work, for the pilot episode

563
00:29:00.359 --> 00:29:03.440
of Rod Serling's Night Gallery. He also did the music

564
00:29:03.440 --> 00:29:07.039
for two of Spielberg's high profile series episodes, the Colombo

565
00:29:07.160 --> 00:29:09.599
episode Murdered by the Book and the Name of the

566
00:29:09.599 --> 00:29:13.680
Game episode La twenty seventeen. Duel was a different kind

567
00:29:13.680 --> 00:29:17.039
of project for Steven Spielberg, his first film, one that

568
00:29:17.119 --> 00:29:19.680
allowed him to bust away from the by the numbers

569
00:29:19.720 --> 00:29:21.799
type of TV directing that he had been forced to

570
00:29:21.839 --> 00:29:25.480
follow and direct the way he wanted to direct. He

571
00:29:25.559 --> 00:29:28.279
knew that he needed a musical score that was his

572
00:29:28.480 --> 00:29:31.680
kind of difference, something outside the box, and he knew

573
00:29:31.680 --> 00:29:35.759
that Billy Goldenberg could deliver exactly that for him. Goldenberg

574
00:29:35.799 --> 00:29:39.720
succeeded in bringing this rust colored score to Life, one

575
00:29:39.720 --> 00:29:42.640
of his most abstract and experimental works of his career.

576
00:29:43.480 --> 00:29:46.359
It's a very different type of musical approach, jarring and

577
00:29:46.440 --> 00:29:49.920
harsh at times, but matching to Spielberg's visuals with perfection.

578
00:29:50.880 --> 00:29:54.039
There are certain tracks that burst into your ear, such

579
00:29:54.039 --> 00:29:56.720
as the second tract on the CD Passing the Truck,

580
00:29:57.039 --> 00:29:59.680
that immediately shows you the direction of what we're going

581
00:29:59.680 --> 00:30:03.880
to hear, with a sound of something like strings being twisted,

582
00:30:04.079 --> 00:30:07.400
repeating over and over, building such an intense feeling of

583
00:30:07.480 --> 00:30:10.559
terror that rides up the back of your neck. There

584
00:30:10.599 --> 00:30:12.759
is no way that it cannot get under your skin.

585
00:30:13.599 --> 00:30:17.599
Goldenberg's music gets inside your brain of David Mann producing

586
00:30:17.599 --> 00:30:20.480
a portrait of terror as manstros to fight back against

587
00:30:20.480 --> 00:30:24.519
his unknown foe. Using a lot of strings throughout his score,

588
00:30:24.759 --> 00:30:28.000
Goldenberg was able to create some intense sounds before going

589
00:30:28.240 --> 00:30:31.440
full throttle, with screeching as well as slower and almost

590
00:30:31.519 --> 00:30:36.200
grating notes that create a wonderful and powerful audio impact. Also,

591
00:30:36.359 --> 00:30:39.160
with the use of cowbells, wind chimes, and some other

592
00:30:39.279 --> 00:30:42.839
metal banging sounds, it gives such a uniqueness that only

593
00:30:42.839 --> 00:30:47.440
Goldenberg could produce. Another track titled The Final Duel, is

594
00:30:47.480 --> 00:30:50.039
a perfect example of what he can do, running the

595
00:30:50.039 --> 00:30:53.279
gambuit from slower and softer sounding music and background sounds

596
00:30:53.519 --> 00:30:56.279
to a fast paced and screeching use of the strings,

597
00:30:57.160 --> 00:31:01.200
sending your pulse into overdrive. Well, there's so much I

598
00:31:01.240 --> 00:31:04.200
love about this score. The end titles, which is aptly

599
00:31:04.240 --> 00:31:08.000
named the Duel, is particularly noteworthy. After the dust settles,

600
00:31:08.039 --> 00:31:11.839
Goldenberg opts for incredibly stark and profound useages two tones

601
00:31:12.240 --> 00:31:16.039
from the synth and water phone, slowly reducing further to

602
00:31:16.119 --> 00:31:20.240
the sense that plays repeats and then ultimately fades to

603
00:31:20.359 --> 00:31:23.599
silence to accompany the memorable closing shot of the film,

604
00:31:24.039 --> 00:31:26.960
choosing to allow the actual credits to roll without music

605
00:31:27.000 --> 00:31:30.559
at all. It's a lovely and haunting finish to a

606
00:31:30.680 --> 00:31:36.839
high octane powered score. It's brilliant. Duel has remained the

607
00:31:36.880 --> 00:31:40.599
final project that Billy Goldenberg has scored for director Steven Spielberg,

608
00:31:41.880 --> 00:31:44.519
as only a few short years later Spielberg could find

609
00:31:44.519 --> 00:31:47.519
another composer to join him in his theatrical film debut,

610
00:31:47.599 --> 00:31:51.559
Sugar Lane Express, and that is John Williams. Spielberg and

611
00:31:51.559 --> 00:31:55.319
Goldenberg's path would cross only once more, when in nineteen

612
00:31:55.319 --> 00:31:58.119
eighty five you join among the list of composers along

613
00:31:58.119 --> 00:32:01.039
with John Williams, Jerry Goldsmith, Danny Elfman, Bruce Brought and

614
00:32:01.079 --> 00:32:04.640
James Horner and many more, and scoring Spielberg's epic television

615
00:32:04.680 --> 00:32:08.839
series Amazing Stories, delivering some great music for the episodes

616
00:32:08.839 --> 00:32:12.759
of The Amazing Fallsworth, What Iff and Secret Cinema. Goldenberg

617
00:32:12.799 --> 00:32:15.960
passed away in August twenty twenty, leaving behind an incredible

618
00:32:15.960 --> 00:32:19.000
career in film and television for his fans to remember

619
00:32:19.039 --> 00:32:22.720
and enjoy. For over forty years, the music to Duel

620
00:32:22.720 --> 00:32:27.079
has remained unreleased and unavailable to all soundtrack collectors, and

621
00:32:27.200 --> 00:32:30.680
it wasn't until twenty fifteen that Introtter Records finally released

622
00:32:30.680 --> 00:32:33.160
the music of this film on CD for all to enjoy,

623
00:32:34.079 --> 00:32:37.240
containing the entire score in nineteen tracks with full length

624
00:32:37.319 --> 00:32:41.319
cues as Goldenberg originally composed and conducted them. This release

625
00:32:41.400 --> 00:32:45.200
has the full nine channel score beautifully remoused with crystal clarity,

626
00:32:45.640 --> 00:32:49.160
using all nine layers, and topping it off with three

627
00:32:49.200 --> 00:32:52.559
more with Bell's organ, guitar and an extra lay of synth.

628
00:32:53.359 --> 00:32:56.559
This release also contains the four country music instrumentals scored

629
00:32:56.599 --> 00:32:58.880
by Goldenberg that were used as source music for the

630
00:32:58.920 --> 00:33:02.200
background radio heard only in brief fragments in the film,

631
00:33:02.200 --> 00:33:06.079
but presented here on the CD in full. But unfortunately

632
00:33:06.119 --> 00:33:08.960
the CD is now long out of print, available only

633
00:33:08.960 --> 00:33:11.359
in the secondary market like eBay or in your u

634
00:33:11.440 --> 00:33:14.079
CD bins. But if you're lucky enough to get a

635
00:33:14.079 --> 00:33:16.440
hold of a copy of Duel, snatch it up without

636
00:33:16.480 --> 00:33:20.440
thought and enjoy this on unique an unusual approach to

637
00:33:20.559 --> 00:33:23.440
music from a seriously underappreciated composer.

638
00:33:25.519 --> 00:33:29.440
I gotta say, I always love the scoring sessions you

639
00:33:29.440 --> 00:33:32.640
you you send us Wayne when we're doing episodes, But

640
00:33:33.720 --> 00:33:35.519
you know, this was kind of like the hey we're

641
00:33:35.519 --> 00:33:37.720
doing it's the your one. Are your network shows, your

642
00:33:37.759 --> 00:33:40.079
your favorite network shows? Where they went they did the

643
00:33:40.119 --> 00:33:43.400
live episode and to see to watch you just do

644
00:33:43.480 --> 00:33:46.400
it live and be that amazing at it. You've got

645
00:33:46.440 --> 00:33:48.640
you've got to You've got a you know, a full

646
00:33:48.720 --> 00:33:52.240
orchestra behind you playing music from Duel. It's it's pretty impressive, man,

647
00:33:52.599 --> 00:33:53.279
very impressive.

648
00:33:53.359 --> 00:33:55.720
I was looking forward to doing this one. I really

649
00:33:55.759 --> 00:33:59.519
do like this score. It's very unusual. But I love

650
00:33:59.519 --> 00:34:01.480
Billy gold Bird's score. I have quite a few of

651
00:34:01.480 --> 00:34:06.640
his his his soundtracks. He's a phenomenal composer. I wish

652
00:34:06.680 --> 00:34:08.719
Spielberg would actually used Hi more. But I love John Williams.

653
00:34:10.000 --> 00:34:12.599
But yeah, he's got an incredible career.

654
00:34:13.159 --> 00:34:15.880
I mean, you're correct. The music just matches perfectly, especially

655
00:34:15.880 --> 00:34:18.159
when you get those close shots of the truck as

656
00:34:18.199 --> 00:34:20.960
it's moving along the road, you know, with the mountains

657
00:34:20.960 --> 00:34:24.800
and stuff moving behind it quickly as it's bearing down

658
00:34:24.400 --> 00:34:28.079
on man. I love it. It's a really good score.

659
00:34:28.760 --> 00:34:30.039
You're right. I would have liked to have seen more

660
00:34:30.079 --> 00:34:31.760
from him at Spielberg, but of course that would have

661
00:34:31.760 --> 00:34:34.079
mean we probably wouldn't have had Williams, and I can't

662
00:34:34.079 --> 00:34:38.679
have that exactly. All Right, Well, guys, let's let's talk

663
00:34:38.719 --> 00:34:40.880
about this film. I know we've been talking about it.

664
00:34:40.960 --> 00:34:43.760
Let's kind of break it down to our pivotal moment

665
00:34:43.800 --> 00:34:47.559
of the film, some noteworthy scenes. Jeff, what do you got?

666
00:34:47.880 --> 00:34:51.119
Let's start with the gas station stop, because the question

667
00:34:51.159 --> 00:34:53.519
I have for you, guys, is do you do you

668
00:34:53.559 --> 00:34:58.840
actually stay? No? I'm getting the hell out of there, man. Yeah,

669
00:34:58.920 --> 00:35:00.840
we get that first look at the those those menacing

670
00:35:00.880 --> 00:35:03.719
cowboy boots and you know he's checking the tires. Like

671
00:35:03.800 --> 00:35:05.760
that's the time you get in your car and you

672
00:35:05.960 --> 00:35:09.159
haul ass down the highway. Man, go get some distance

673
00:35:09.199 --> 00:35:11.519
between you and this guy. I don't know what he's doing.

674
00:35:12.960 --> 00:35:14.920
If Paul isn't hanging out, I'm like, come on, man,

675
00:35:15.000 --> 00:35:19.880
let's go. Yeah, do any of those house says.

676
00:35:19.800 --> 00:35:23.920
Get it, get out, Let's not get into that.

677
00:35:26.440 --> 00:35:29.719
But I think it. I think it segues to this,

678
00:35:30.000 --> 00:35:33.599
uh you know this amazing moment though, with the diner

679
00:35:33.639 --> 00:35:37.559
lineup with the cowboy boots, and I gotta say, this

680
00:35:37.639 --> 00:35:42.079
is this is Spielberg doing his best Alfred Hitchcock, right,

681
00:35:44.519 --> 00:35:46.519
it's a it's a it's such a tense scene, all

682
00:35:46.599 --> 00:35:49.280
the dudes sitting there eating a cheese sandwich and drinking

683
00:35:49.320 --> 00:35:53.519
some water, and I'm just on the edge of my seat, like,

684
00:35:54.000 --> 00:35:56.480
you know, get out of there, Like who is it?

685
00:35:56.559 --> 00:36:01.880
You know, our brown cowboy boots that popular in that area?

686
00:36:01.920 --> 00:36:03.079
Apparently apparently?

687
00:36:03.320 --> 00:36:05.840
Yeah, But then you get all the guys that are

688
00:36:05.840 --> 00:36:07.719
turning around and looking back at him as he's doing

689
00:36:07.760 --> 00:36:10.199
that inner monologue and stuff, and You're like, oh my god,

690
00:36:10.280 --> 00:36:12.960
who the hell is it? So yes, I agree with you.

691
00:36:13.000 --> 00:36:15.360
It is definitely Spielberg putting on his Alfred his Cock

692
00:36:15.599 --> 00:36:16.039
hat here.

693
00:36:16.599 --> 00:36:18.920
And you mentioned it early, Dave the whole his whole

694
00:36:19.400 --> 00:36:23.360
rationalizing his inner monologue. You know, do I confront this guy,

695
00:36:23.719 --> 00:36:25.679
should just say hey, let me let me buy your

696
00:36:25.679 --> 00:36:28.960
beers with no hard feelings, and you know he for

697
00:36:29.039 --> 00:36:30.679
him to make the call that he does and like

698
00:36:31.000 --> 00:36:34.079
go on the offence and then you pick the wrong guy,

699
00:36:36.280 --> 00:36:36.920
damn dude.

700
00:36:37.719 --> 00:36:39.760
And I like how Spielberg's filmed that too though, Like

701
00:36:39.840 --> 00:36:42.360
when the guy left, he goes around the truck and

702
00:36:42.400 --> 00:36:43.559
it looks like he's getting.

703
00:36:43.280 --> 00:36:44.679
In, looks like he's getting in the truck.

704
00:36:44.800 --> 00:36:47.239
Yeah, and then another vehicle pulls out behind it. I

705
00:36:47.400 --> 00:36:48.599
love that. That was fantastic.

706
00:36:48.639 --> 00:36:51.159
Yeah, yeah, that's I think that might be one of

707
00:36:51.239 --> 00:36:54.519
the more scarier moments in the movie because we think,

708
00:36:54.559 --> 00:36:56.480
like we've just we've just come face to face with

709
00:36:56.480 --> 00:36:59.239
the truck driver. Yeah, here he is, and get hey,

710
00:36:59.280 --> 00:37:02.000
you know what he's not that he's not that intimidating.

711
00:37:02.760 --> 00:37:05.679
But it's not him, right Yeah, man, dude, that's the thing.

712
00:37:05.719 --> 00:37:08.079
He could be anybody because you've not seen him, you

713
00:37:08.079 --> 00:37:11.159
don't know who this is. It says an added factor

714
00:37:11.199 --> 00:37:13.119
to this film that just makes it that much better.

715
00:37:13.480 --> 00:37:15.639
Is incredible. You know another thing that I really loved

716
00:37:15.679 --> 00:37:18.280
what Spielberg did here, and he did it with schendless list.

717
00:37:18.639 --> 00:37:21.239
He has the red car in this, the bright red car,

718
00:37:21.639 --> 00:37:24.880
which stands out among this the shots of the desert.

719
00:37:25.119 --> 00:37:26.840
And remember he did that with the little girl's coat.

720
00:37:27.199 --> 00:37:28.639
Yeah, yeah, the red the red coat.

721
00:37:29.639 --> 00:37:32.280
You know, I love his use of that because he

722
00:37:32.320 --> 00:37:35.159
really wanted that vehicle to stand out, and and it does.

723
00:37:35.679 --> 00:37:38.320
You have this big, this big semi who's just it's

724
00:37:38.360 --> 00:37:41.280
just rusted, falling apart and just looks like a monster

725
00:37:41.679 --> 00:37:45.280
up against this little red vehicle. I love the choices

726
00:37:45.280 --> 00:37:47.800
here that Spielberg did for this film.

727
00:37:48.000 --> 00:37:51.199
Yeah, the fact that he is telling the production I

728
00:37:51.199 --> 00:37:53.639
don't care what kind of car drives. I don't. It

729
00:37:53.760 --> 00:37:55.519
just has to be bright, cherry red.

730
00:37:55.760 --> 00:37:57.280
Yeah, that's simple.

731
00:37:57.320 --> 00:38:00.440
And it pops, it pops against that that California desert.

732
00:38:00.800 --> 00:38:04.079
Yeah. You guys know me that I love good camera shots.

733
00:38:04.239 --> 00:38:06.519
I always talk about them and I try to pick

734
00:38:06.519 --> 00:38:08.559
them out of a lot of films, and Spielberg always

735
00:38:08.599 --> 00:38:13.079
has amazing camera shots. But the one that absolutely stands

736
00:38:13.079 --> 00:38:16.079
out to me that I absolutely love is the shot

737
00:38:16.119 --> 00:38:20.559
where you get the shots on this un man and

738
00:38:20.599 --> 00:38:24.119
then the camera just starts pulling forward, I guess on

739
00:38:24.159 --> 00:38:26.760
another vehicle goes past the semi and comes out in

740
00:38:26.760 --> 00:38:30.320
front of the semi all in one shot. That was

741
00:38:30.400 --> 00:38:32.920
amazing and that had Spielberg written all over it. It

742
00:38:33.000 --> 00:38:33.400
really did.

743
00:38:33.920 --> 00:38:38.119
And think about this, it's technically it's his it's his

744
00:38:38.199 --> 00:38:42.119
theatrical film debut. It's nineteen seventy one, and we are

745
00:38:42.280 --> 00:38:44.519
just starting with this man's amazing career.

746
00:38:44.719 --> 00:38:47.519
Yeah, when you saw that and got some of those

747
00:38:47.519 --> 00:38:50.000
shots of the semi, Jeff, did you not think of

748
00:38:50.079 --> 00:38:51.840
the truck scene and Raiders of the Lost Arc?

749
00:38:52.239 --> 00:38:52.440
Oh?

750
00:38:52.480 --> 00:38:57.079
Absolutely. I Again, he's I kind of feel like he's

751
00:38:57.119 --> 00:39:00.880
cribbing some of his greatest hits from you know, it

752
00:39:00.920 --> 00:39:03.679
all comes back to duel because you see a lot

753
00:39:03.679 --> 00:39:05.880
of his work. You know, you if you don't watch

754
00:39:05.960 --> 00:39:08.320
this movie and see Jaws, I don't know what movie

755
00:39:08.320 --> 00:39:11.039
you're watching, but it's to your point with some of

756
00:39:11.079 --> 00:39:14.760
the more action oriented moments with the truck, like, yeah,

757
00:39:14.800 --> 00:39:17.400
it's it's definitely it's that. It's that German convoy truck

758
00:39:17.440 --> 00:39:19.800
that that Endies trying to take over.

759
00:39:20.280 --> 00:39:21.360
Yeah. Absolutely.

760
00:39:21.800 --> 00:39:25.440
And you know, Spielberg is the master of building suspense

761
00:39:26.000 --> 00:39:28.639
and this is probably one of the best examples of

762
00:39:28.679 --> 00:39:33.119
it because this is really suspenseful and you know, like

763
00:39:33.159 --> 00:39:36.079
you said, we we have no idea who it is

764
00:39:36.119 --> 00:39:39.280
that's driving that truck. And that's the point, you know,

765
00:39:39.559 --> 00:39:43.519
we we relate with with Man because we don't know

766
00:39:43.559 --> 00:39:45.679
who he is and he doesn't know who he is.

767
00:39:45.960 --> 00:39:47.960
And it's that that build up of suspense.

768
00:39:48.000 --> 00:39:48.159
You know.

769
00:39:48.199 --> 00:39:52.480
We see that later in Jaws, we see that again Raiders,

770
00:39:52.559 --> 00:39:55.360
and and we see that in this Amazing Stories episode.

771
00:39:55.400 --> 00:39:59.480
You just he is so great with using camera angles

772
00:40:00.159 --> 00:40:06.639
and just simple silence and facial movements to create that suspension.

773
00:40:06.840 --> 00:40:10.079
And he he put his fingerprint on Hollywood right away

774
00:40:10.079 --> 00:40:13.159
with this film. It's just I can't. I just love

775
00:40:13.239 --> 00:40:16.079
this film. Yeah, I love his work in it.

776
00:40:16.079 --> 00:40:18.559
It's a great film, and it's it's funny. One of

777
00:40:18.599 --> 00:40:20.559
these days that we're gonna have to watch this together

778
00:40:20.760 --> 00:40:24.119
and make it a drinking game to tell you how

779
00:40:24.119 --> 00:40:27.400
many times David Mann looked in the rearview mirror or

780
00:40:27.639 --> 00:40:31.119
over his shoulder, Because I can tell you David Man

781
00:40:31.119 --> 00:40:34.280
looked in the rearview mirror sixty five times and over

782
00:40:34.320 --> 00:40:35.800
his shoulder fifty four times.

783
00:40:36.079 --> 00:40:36.880
I don't blame him.

784
00:40:38.719 --> 00:40:41.400
It better be it better be light beer man, you know,

785
00:40:41.480 --> 00:40:44.480
because we're not gonna make it the all ninety minutes.

786
00:40:44.719 --> 00:40:47.559
No, we're not not at all.

787
00:40:47.800 --> 00:40:49.920
I mean, I mean Marion would make it. You know,

788
00:40:50.519 --> 00:40:55.239
of course she would come on speaking to Marion. Can

789
00:40:55.280 --> 00:40:57.039
we can we talk about the phone booth Rundown?

790
00:40:57.679 --> 00:40:58.639
Oh yes, please do.

791
00:40:58.760 --> 00:41:04.519
And I say that because Dave Snakes, I know you're

792
00:41:04.559 --> 00:41:07.559
watching this and you're just your skin's growling. Dude.

793
00:41:07.679 --> 00:41:09.519
When when the table got knocked over and he got

794
00:41:09.559 --> 00:41:11.320
near one of the rattles things and it jumps out

795
00:41:11.320 --> 00:41:13.880
of dude, I forget jumped again.

796
00:41:14.239 --> 00:41:17.400
It's it's it's raiders right with with the with the

797
00:41:17.400 --> 00:41:20.079
snake jumping at him. I gotta be honest. It's one

798
00:41:20.079 --> 00:41:22.719
of the more terrifying moments though, because this truck is

799
00:41:22.760 --> 00:41:25.519
just out there, free range, ready to mow him down.

800
00:41:26.960 --> 00:41:28.719
The one place I don't want to be is a

801
00:41:28.880 --> 00:41:33.719
is a small steel box a phone booth next to

802
00:41:33.960 --> 00:41:37.360
a bunch of live snakes, Like, nope, what do you

803
00:41:37.440 --> 00:41:39.039
do with Get out of there?

804
00:41:39.039 --> 00:41:39.239
Man?

805
00:41:39.880 --> 00:41:42.039
But that shot is great and we've seen that before,

806
00:41:42.159 --> 00:41:44.559
like where someone's in in a phone booth, even in

807
00:41:44.559 --> 00:41:47.679
the matrix, you know where someone's in a phone booth

808
00:41:48.440 --> 00:41:52.519
just seconds before it gets destroyed by an oncoming vehicle. Yeah,

809
00:41:52.840 --> 00:41:55.440
it's great, and you got to remember Spielberd did it first.

810
00:41:55.840 --> 00:41:59.679
Yeah, and he's he's touching into three you know, primal

811
00:41:59.719 --> 00:42:03.079
fear right there. You know, the snakes, the confined spaces,

812
00:42:03.119 --> 00:42:05.360
and the being stalked all there at once. That's just

813
00:42:05.360 --> 00:42:08.400
again good example of his building suspense.

814
00:42:08.840 --> 00:42:09.239
Yeah.

815
00:42:09.280 --> 00:42:12.039
Absolutely, there's so much to like about this film, and

816
00:42:12.079 --> 00:42:14.239
we can be sitting here talking forever about it, that's

817
00:42:14.280 --> 00:42:16.719
for sure. Jeff, I got a question for you, what

818
00:42:17.079 --> 00:42:19.400
do you think your pivotal moment of this film is.

819
00:42:20.079 --> 00:42:22.960
It's a tough one for me, but I think the

820
00:42:22.960 --> 00:42:26.280
pivotal moment would be if we go back to the

821
00:42:26.280 --> 00:42:30.280
diner scene and he makes the decision. David Mann makes

822
00:42:30.320 --> 00:42:34.760
the decision to confront the truck driver, and he's taking

823
00:42:34.800 --> 00:42:38.039
the chance because he doesn't truly know which guy it is.

824
00:42:38.679 --> 00:42:41.119
But the fact that he it's a turning point for

825
00:42:41.159 --> 00:42:43.320
his character because he makes the stance that he's not

826
00:42:43.360 --> 00:42:46.199
going to be a victim. He's going to stand up.

827
00:42:46.199 --> 00:42:48.440
He's in a faces fear basically, because this is ninety

828
00:42:48.480 --> 00:42:51.760
minutes of fear, you know, wondering what did I do

829
00:42:52.000 --> 00:42:55.199
to upset this guy? Where is he? Why is he

830
00:42:55.239 --> 00:42:57.480
after me? Why is he trying to kill me? I mean,

831
00:42:57.559 --> 00:43:01.480
he's got his inner monologues going throughout the entire film,

832
00:43:01.480 --> 00:43:03.679
and he's asking himself these questions. But I like this

833
00:43:03.760 --> 00:43:06.800
moment because it's the moment where he decides he's not

834
00:43:06.840 --> 00:43:09.840
gonna be the victim. He's gonna be the hunter, becomes

835
00:43:09.840 --> 00:43:13.960
the hunter in essence, you know. And again years later,

836
00:43:14.000 --> 00:43:16.920
we're gonna sit it in Jaws. You know, we're seeing

837
00:43:16.920 --> 00:43:20.400
people terrorized by this shark until three guys decide, Nope,

838
00:43:20.440 --> 00:43:22.039
we're done with this. We're gonna go out on on

839
00:43:22.079 --> 00:43:23.559
the on the water. We're gonna get the shark.

840
00:43:23.920 --> 00:43:24.119
Yeah.

841
00:43:24.239 --> 00:43:25.760
So that, for me, is the pivotal.

842
00:43:25.400 --> 00:43:27.639
Moment exactly, Wayne, What about you? What can you think

843
00:43:27.719 --> 00:43:29.039
is the pivotal moment for this film?

844
00:43:29.719 --> 00:43:33.159
I think for me it's the railroad track scene. You know,

845
00:43:33.559 --> 00:43:36.320
just that's always been a fear of mine. You know,

846
00:43:36.360 --> 00:43:41.639
when he's being stalked and you know he's he's trapped

847
00:43:42.280 --> 00:43:43.960
and the train, you know, are the the truck is

848
00:43:43.960 --> 00:43:46.800
pushing him closer and closer to the train. That freaks

849
00:43:46.840 --> 00:43:49.519
me out. That's just freaking me out. But it's I mean,

850
00:43:49.559 --> 00:43:52.039
I'll be honest, that's a fear of mine too, you know,

851
00:43:53.719 --> 00:43:58.199
it's just you know, his life's in danger, Yeah, he's

852
00:43:58.280 --> 00:44:01.800
it's it's now, you know, a battle of wits.

853
00:44:01.840 --> 00:44:02.039
You know.

854
00:44:02.519 --> 00:44:05.119
Really for me that that would be the scene. That's

855
00:44:05.159 --> 00:44:06.760
one of my favorite scenes too of the film.

856
00:44:07.079 --> 00:44:08.480
It was a great scene and it's so hard to

857
00:44:08.480 --> 00:44:09.760
believe that it was not in the original.

858
00:44:10.239 --> 00:44:12.039
Well his my mind, I'm still blown.

859
00:44:13.480 --> 00:44:16.199
So Dave, you've heard, you've heard our choices. What would

860
00:44:16.239 --> 00:44:17.880
be your choice? What is the pivotal moment?

861
00:44:18.639 --> 00:44:22.719
So for me, it's actually the second time man makes

862
00:44:22.719 --> 00:44:24.519
a stand, and that's when he gets out of his

863
00:44:24.519 --> 00:44:27.639
car and starts walking towards the truck. You remember that

864
00:44:27.679 --> 00:44:29.840
scene where the truck is kind of playing with him,

865
00:44:30.079 --> 00:44:32.280
you know, he's just sitting there waiting on him, and

866
00:44:32.360 --> 00:44:34.119
David doesn't know where he wants, what he wants to do.

867
00:44:34.199 --> 00:44:36.800
So finally he gets fed up and starts walking towards

868
00:44:36.880 --> 00:44:38.840
the car, and the truck takes off. But of course

869
00:44:38.880 --> 00:44:41.159
you know where it's going to go with that, but

870
00:44:41.239 --> 00:44:45.320
it leads up to the Rambo moment what I like

871
00:44:45.400 --> 00:44:48.159
to call where he puts his glasses on, gets the

872
00:44:48.239 --> 00:44:52.039
seatbelt put in place, you know, prepares for that final

873
00:44:52.280 --> 00:44:55.440
showdown because he knows there's no way he's getting out

874
00:44:55.480 --> 00:44:58.400
of this. He's going to have to do something about it. Now,

875
00:44:58.480 --> 00:45:00.119
there's no way he's going to escape this truck. He's

876
00:45:00.119 --> 00:45:02.320
got to figure out a way to make that happen,

877
00:45:02.400 --> 00:45:06.639
and sure enough he does. So that's my What do

878
00:45:06.679 --> 00:45:10.360
you guys think about the sound of the truck going

879
00:45:10.400 --> 00:45:12.800
over the cliff? You guys okay with that?

880
00:45:13.679 --> 00:45:13.840
Oh?

881
00:45:14.119 --> 00:45:17.800
I think it's rar sound. Oh yeah, yeah, it's a monster. Yeah,

882
00:45:18.039 --> 00:45:20.760
it's it's it's a monster. And then yeah, if the

883
00:45:20.840 --> 00:45:23.480
sound matches perfectly, I agree, you.

884
00:45:23.440 --> 00:45:25.679
Know, you you know, harkens back to you know, you

885
00:45:25.760 --> 00:45:28.960
open this with, you know, talk of Godzilla. M h.

886
00:45:29.880 --> 00:45:31.960
And it's one of those things like even in Jaws,

887
00:45:31.960 --> 00:45:35.039
when the shark, you know, explodes, and it's you hear

888
00:45:35.079 --> 00:45:38.800
that that fate roar. It's it's not that the shark

889
00:45:38.840 --> 00:45:40.440
can roar, it's not that the truck can roar. It's

890
00:45:40.480 --> 00:45:45.000
just it's the monster's sound, exact essence, the essence of

891
00:45:45.039 --> 00:45:46.760
the monster, I think, and I dig it. I think

892
00:45:46.760 --> 00:45:48.400
it's ready too. I'm glad.

893
00:45:48.400 --> 00:45:49.840
I'm glad he put it in there, because I think

894
00:45:49.840 --> 00:45:51.719
it's a nice at a touch.

895
00:45:52.320 --> 00:45:56.360
Speaking of sound though, Uh, am I wrong? But when

896
00:45:56.400 --> 00:45:58.320
he the scene where he stops the old couple, he's

897
00:45:58.320 --> 00:46:01.360
trying to get get help from him. Am I crazy?

898
00:46:01.519 --> 00:46:04.079
Or are we getting a hint of the psycho theme?

899
00:46:04.840 --> 00:46:07.519
It does sound like it. I yes, it does kind of.

900
00:46:07.519 --> 00:46:10.159
See it does. The truck's backing up to the car. Yes,

901
00:46:10.400 --> 00:46:14.519
I was like, is that that psycho? I think we're

902
00:46:14.519 --> 00:46:16.280
getting a little bit of Bernard Herman there.

903
00:46:16.480 --> 00:46:19.320
Little taste. I think I think Goldenberg kind of touched

904
00:46:19.320 --> 00:46:21.719
on that too, you know. I mentioned that, you know,

905
00:46:21.760 --> 00:46:24.480
he heavily used strings at the time, and I think

906
00:46:24.480 --> 00:46:25.440
that's what he was going for.

907
00:46:25.599 --> 00:46:28.079
Really, Yeah, and it was very fitting for it. I

908
00:46:28.079 --> 00:46:29.920
mean it does have a little bit Hitscock going on

909
00:46:29.960 --> 00:46:31.920
in this film, so I mean it's very appropriate.

910
00:46:32.079 --> 00:46:33.599
Yeah, completely agree.

911
00:46:34.400 --> 00:46:36.719
All right, So let's go ahead and take another break

912
00:46:36.719 --> 00:46:38.719
and we come back. We would do the wrap up,

913
00:46:42.199 --> 00:46:45.400
Welcome back everybody, as we are going to finish our

914
00:46:45.400 --> 00:46:52.039
discussion of Steven Spielberg's nineteen seventy one film Dual. So, guys,

915
00:46:52.159 --> 00:46:54.880
I know this is probably going to be a tough

916
00:46:54.920 --> 00:46:59.199
one to talk about here. So for someone who's very

917
00:46:59.320 --> 00:47:02.239
unfamiliar with this director. I don't know how that's possible.

918
00:47:02.559 --> 00:47:03.599
It's not, it's not.

919
00:47:04.360 --> 00:47:09.159
Which three films would you suggest they watch? Jeff, I'm

920
00:47:09.159 --> 00:47:10.480
gonna let you go first.

921
00:47:11.039 --> 00:47:13.119
I think, like a lot of people listening, it's really

922
00:47:13.159 --> 00:47:17.559
easy to come up with two choices immediately. Jaws and

923
00:47:17.679 --> 00:47:20.960
Raiders of the Lost Arc have got to be on

924
00:47:21.000 --> 00:47:23.880
your list. They just got to be. And the hard

925
00:47:23.920 --> 00:47:27.639
thing for me was was choosing that third from such

926
00:47:27.639 --> 00:47:30.079
an impressive body of word, because there really are no

927
00:47:30.119 --> 00:47:34.920
wrong answers. I gotta go with Saving Private Ryan.

928
00:47:35.719 --> 00:47:37.920
Good choice, Good choice Wayne. What about you?

929
00:47:38.760 --> 00:47:41.800
Well, I agree with Private Ryan. I think there's two

930
00:47:41.880 --> 00:47:44.639
completely different films, but in a way it's very similar

931
00:47:44.679 --> 00:47:47.599
to Duel in the fact that it uses sound in

932
00:47:47.719 --> 00:47:52.639
silence very effectively, you know, to portray it. It's the

933
00:47:52.719 --> 00:47:57.280
suspense of that film. But I'm going to include two

934
00:47:57.320 --> 00:47:59.119
more that I think you should watch, and of course

935
00:47:59.199 --> 00:48:02.840
one I think Everybody Is Seen Et because that is

936
00:48:03.280 --> 00:48:07.360
Spielberg's masterpiece when it comes to pulling at the hard strings.

937
00:48:07.360 --> 00:48:11.760
That's probably one of the few films where I'm in

938
00:48:11.840 --> 00:48:13.440
tears at the end of that film. It's just so

939
00:48:13.480 --> 00:48:16.800
perfectly directed. But For my third one, I am going

940
00:48:16.880 --> 00:48:18.559
to go off to a little bit of a tangent

941
00:48:19.119 --> 00:48:23.599
and say that I think his episode of Amazing Stories

942
00:48:23.639 --> 00:48:26.760
called The Mission is also one of his finest work

943
00:48:26.800 --> 00:48:30.000
and sing right up with et. It's another example of

944
00:48:31.079 --> 00:48:35.840
building suspense between his directing and camera angles, the silence,

945
00:48:35.960 --> 00:48:38.599
and then Williams's score is just perfection.

946
00:48:39.119 --> 00:48:43.480
Yeah, it's it's hard because his body of work is

947
00:48:43.519 --> 00:48:47.199
just absolutely amazing. Raiders of Law of Sark obviously takes

948
00:48:47.320 --> 00:48:51.039
takes it for sure, Jaws absolutely because you get that

949
00:48:51.079 --> 00:48:53.840
fear of any any movie that you can get people

950
00:48:53.920 --> 00:48:56.000
to have, that fear of going into the water, You've

951
00:48:56.039 --> 00:49:00.280
done your job. You really, you really have SIMI prevarnother

952
00:49:00.320 --> 00:49:02.360
really really good choice, Jeff, and I had that one,

953
00:49:02.360 --> 00:49:04.320
but since you chose it, I'm going to pick another one,

954
00:49:04.800 --> 00:49:08.559
and that's Jurassic Park. The reason why I'm choosing Jurassic

955
00:49:08.599 --> 00:49:13.199
Park is because Steven Spielberg has been known to change

956
00:49:13.199 --> 00:49:17.039
Hollywood quite a bit. He did it again with Jurassic Park.

957
00:49:17.639 --> 00:49:22.320
With it brought on CGI and changed Hollywood forever. Remember,

958
00:49:22.679 --> 00:49:24.519
he was going to do a lot of animatronics with

959
00:49:24.599 --> 00:49:27.039
that and it wasn't working and he needed to find

960
00:49:27.039 --> 00:49:29.800
a way to make that work. So he blended that

961
00:49:30.280 --> 00:49:34.480
with CGI and we got Jurassic Park, which is an

962
00:49:34.480 --> 00:49:38.000
outstanding film. All those movies are outstanding, don't get me wrong.

963
00:49:38.320 --> 00:49:40.320
So that's the reason why I'm going with Jurassic Park

964
00:49:40.360 --> 00:49:43.440
on that one, is just because once again in the nineties,

965
00:49:43.519 --> 00:49:48.119
he's changing Hollywood and pushing them forward. He's a master

966
00:49:48.199 --> 00:49:49.800
of that and he's been doing that for a very

967
00:49:49.800 --> 00:49:52.800
long time. I know he has another UFO movie coming out,

968
00:49:52.880 --> 00:49:55.239
and I'm hoping he does it again because I would

969
00:49:55.280 --> 00:49:57.320
love to see Steven Spielberg go back to his roots,

970
00:49:57.360 --> 00:49:58.800
and I'm hoping that's what we're going to get soon.

971
00:49:59.199 --> 00:50:01.119
You know, we all know you pick Jurassic Park because

972
00:50:01.159 --> 00:50:02.360
you love dinosaurs.

973
00:50:02.639 --> 00:50:11.199
Dinosaurs, Yeah, you got it. Well, do we recommend seeing

974
00:50:11.199 --> 00:50:11.960
this film? Guys?

975
00:50:12.320 --> 00:50:15.320
I think we do right, Oh, yes, definitely.

976
00:50:16.280 --> 00:50:19.480
Well, you know it's available, it's available to rent on Prime.

977
00:50:20.360 --> 00:50:22.280
The four k Stel books should be on the shelf

978
00:50:22.320 --> 00:50:27.159
of any Spielberg fan. Yes, and you know Spielberg sadly,

979
00:50:27.360 --> 00:50:30.639
we're not gonna He's never done an audio commentary, but

980
00:50:30.679 --> 00:50:34.360
the one thing he does more often is like the

981
00:50:34.400 --> 00:50:38.960
behind the scenes documentary type stuff. Duel has an amazing

982
00:50:39.159 --> 00:50:43.559
behind the scenes documentary. Yeah, so I strongly urge you

983
00:50:44.119 --> 00:50:46.679
if you're a Spielberg fan, if you're a fan of Duel,

984
00:50:47.159 --> 00:50:48.559
pick this one up. It's on you know you can.

985
00:50:48.679 --> 00:50:51.960
You can buy it pretty reasonably priced. It's like twenty

986
00:50:51.960 --> 00:50:54.239
bucks I think for a still book Blu Ray.

987
00:50:54.920 --> 00:50:57.000
One of the reasons why I really highly recommend this film,

988
00:50:57.039 --> 00:50:59.440
it's not just because it's a Spielberg film, but you're

989
00:50:59.480 --> 00:51:03.559
beginning to you're seeing the birth of a master. You're

990
00:51:03.599 --> 00:51:07.719
you're you're you're seeing cinema getting ready to be changed

991
00:51:07.800 --> 00:51:12.039
because of this guy. And you see those elements throughout

992
00:51:12.079 --> 00:51:15.599
this film. It is a fantastic film from beginning to end.

993
00:51:16.159 --> 00:51:20.000
So yes, I highly recommend it. Have you guys, either

994
00:51:20.000 --> 00:51:21.639
one of you seen the movie called The Car from

995
00:51:21.719 --> 00:51:23.000
nineteen seventy seven.

996
00:51:23.199 --> 00:51:30.280
Oh yeah, with James Boyd. Yeah, awesome.

997
00:51:30.840 --> 00:51:34.119
It's funny because I recommend that film too. Not to

998
00:51:34.119 --> 00:51:37.880
get on tangent, but what reminded me when the truck

999
00:51:37.960 --> 00:51:40.159
was coming over the cliff and you're hearing that roaring sound,

1000
00:51:40.519 --> 00:51:42.800
That's exactly what I got from the Car when it

1001
00:51:42.800 --> 00:51:45.039
gets killed at the end of that film was that roar,

1002
00:51:45.400 --> 00:51:47.679
so I recommend that film too. If you love Duel,

1003
00:51:47.800 --> 00:51:48.519
go see the Car.

1004
00:51:48.800 --> 00:51:50.280
Yeah sure, all right?

1005
00:51:50.320 --> 00:51:53.320
So what do you listeners think of Duel? Have you

1006
00:51:53.360 --> 00:51:56.320
seen it? Did we get this one wrong? I don't

1007
00:51:56.360 --> 00:51:59.880
think we did. Let us know on social media on Facebook, Instagram,

1008
00:51:59.880 --> 00:52:03.719
and check out www dot a Film by podcast dot

1009
00:52:03.719 --> 00:52:07.400
com for film and TV articles and our entire library

1010
00:52:07.679 --> 00:52:10.280
streaming free. Write to us at a Film by a

1011
00:52:10.320 --> 00:52:13.880
Podcast at gmail dot com with your questions, comments and concerns.

1012
00:52:14.360 --> 00:52:16.559
We may just read your response to the show.

1013
00:52:16.559 --> 00:52:19.639
As Jeff did today and send you some a film

1014
00:52:19.679 --> 00:52:23.039
by swag Wayne. Jeff, thank you so much for joining

1015
00:52:23.039 --> 00:52:25.880
me on this. It is always a pleasure to talk films.

1016
00:52:25.559 --> 00:52:26.280
With you tuesus.

1017
00:52:26.280 --> 00:52:27.159
Thank you for having me.

1018
00:52:28.000 --> 00:52:31.960
Thank you for yeah, Dave, thank you for having me now.

1019
00:52:32.039 --> 00:52:32.599
It's awkward.

1020
00:52:32.599 --> 00:52:35.679
Doesn't been hosting this one, But yes, I loved it, Jeff.

1021
00:52:35.480 --> 00:52:38.920
I I enjoyed it. It's nice to to you know,

1022
00:52:38.960 --> 00:52:41.320
when you when you when you hop in the the

1023
00:52:41.360 --> 00:52:44.159
forty ton tanker truck, it's nice to hop into the

1024
00:52:44.159 --> 00:52:47.119
passenger side for a change and let someone else drive

1025
00:52:47.159 --> 00:52:51.440
the episode. So thank you for being so homicidal. Dave.

1026
00:52:51.719 --> 00:52:55.199
You're very welcome. It was my pleasure. It's all of

1027
00:52:55.239 --> 00:52:57.519
you listening to the show, following us on social media,

1028
00:52:57.559 --> 00:53:00.440
and subscribing to our Patreon. We thank you.