Halloween Special sort of..... Part 1 - Escape From New York

[00:00:02] This is a special Film Rage episode only for patron members. As part of your membership, you get special episodes, weekly updates of what Film Rage is seeing for the week and much, much more. Thanks to all our subscribers, you are helping this independent podcast bring content we hope you love or rage over. We don't care.

[00:00:25] Now, this week, we have a special guest, Casey from The Nerdy Photographer, who is going to be joining us all the way from New York City! New York City? Exactly! Casey, welcome aboard! Thank you guys for having me. It's one of my favorite things to do as a guest on your podcast because it means I don't have to edit anything. That's right!

[00:00:52] You know that on Film Rage, everything is live all the time. Now, tell our listeners a little bit about what The Nerdy Photographer is.

[00:01:06] I'm the host of The Nerdy Photographer podcast. We discuss photography, business, art, a little science fiction and nerdery of all sorts. So come on over, give it a listen. If nothing else, it's a lot of fun.

[00:01:20] It is a lot of fun. I can attest to that for sure. Casey put a challenge out to us because he didn't want to just do one movie special for our patrons. He wants to do three. So we've, this is the first in our trilogy. Casey, maybe you can tell us what this trilogy means and what it's about.

[00:01:45] It is the great collaboration partnership between director John Carpenter and Kurt Russell. I think that they created some really iconic films together in three different genres distinctly. And it's, and I think that their collaboration is amazing. I still watch these films on a regular basis, even though they've been out for, you know, 30 some years at this point.

[00:02:16] And so we are going to be talking about the first of the trilogy, which is Escape from New York. And I'm going to go, not first, it's going to be the Murr.

[00:02:30] All right. Well, I am one of the few who have not seen this movie. Of all the John Carpenter movies, this is one that I hadn't seen. So Jim and I had a little afternoon tea.

[00:02:43] We did.

[00:02:44] Watched a little Escape from New York.

[00:02:45] And crumpets.

[00:02:47] So just the general gist of it, a futuristic 1997. The U.S. president's plane crashes into Manhattan, which is now a giant maximum prison.

[00:03:01] But only one man can save him.

[00:03:03] Only one.

[00:03:04] That's Snake Bliskin.

[00:03:05] There he is.

[00:03:07] I don't know.

[00:03:09] When seeing this the first time ever, it reminded me of a few different movies that I've seen in the past.

[00:03:16] Namely one of Jim's favorites, The Warriors.

[00:03:19] I throw a little Mad Max in there.

[00:03:21] It definitely had its 80s cheese.

[00:03:27] There were some interesting things about it.

[00:03:30] Kurt Russell was good.

[00:03:31] Most everybody else in the movie was basically a cartoon character.

[00:03:35] Didn't have a whole lot of depth.

[00:03:38] Adrien Barbeau was memorable for various obvious reasons.

[00:03:43] And just digging up a little bit of tidbits of trivia like I like to do.

[00:03:47] I just found out, just reading here, I was wondering why the girl, the chock full of nuts,

[00:03:54] got a higher billing than Harry Dean Stanton and Andrew Barbeau.

[00:04:01] Turns out, she was actually married to Kurt Russell at the time.

[00:04:05] Oh!

[00:04:07] And Adrian Barbeau was married to John Carpenter at the time.

[00:04:11] What?

[00:04:11] So, there you go.

[00:04:14] And J.B.D. Curtis actually did the opening female voice of the prison at the start of the movie.

[00:04:20] There you go.

[00:04:21] Probably Casey knows this already.

[00:04:23] Bobby knows this, being one of his favorite movies.

[00:04:25] But our listeners might know.

[00:04:26] Yeah, I don't know.

[00:04:27] It was all right.

[00:04:28] It was a fun little ride.

[00:04:29] A little cheesy at moments.

[00:04:32] I'd say it was definitely a man for me.

[00:04:35] All right.

[00:04:37] Well, I will go next.

[00:04:40] Because, as we already know, usually Bryce is not really that organized.

[00:04:46] Kurt Russell drops into New York for a good time, not a long time.

[00:04:55] Not a long time.

[00:04:55] Only 22 hours to get the president, Donald Pleasance, when Air Force One was taken down in a post-apocalyptic world where New York is a prison.

[00:05:10] I love how in 1988 they turned New York into a prison, especially because, from my understanding, and this is where Casey will add extra value, that's what New York was going to probably be after the 1970s if they hadn't changed it a bit.

[00:05:25] So, I found that part very, very humorous.

[00:05:28] Plus, they had sweet, and I mean sweet, state-of-the-art computer animation through the entire movie.

[00:05:37] I want to know, I want to know, though, how Kurt Russell goes from the computer who wears tennis shoes to the badass motherfucker of Snake Plissken.

[00:05:48] But I'm sure glad he left Disney to become so.

[00:05:51] That's what I'm going to say.

[00:05:53] I remember the first time I saw this, it was one of those experiences, I think, maybe Casey will go into this a little bit more deeper.

[00:06:04] I think it's kind of the beginning of that whole dystopian film features that happened in the 80s.

[00:06:09] I think maybe Mad Max was maybe the first, or the first at least that I remember.

[00:06:15] And then, of course, if my memory serves me correctly, and Murray will usually fact-check me,

[00:06:21] that I think Mad, not Mad Max, but Road Warrior came out the same year as this one.

[00:06:28] It's possible.

[00:06:30] Possible.

[00:06:31] Possible.

[00:06:32] Possible.

[00:06:34] Yeah, so this film is a little bit dated, and probably doesn't hold up as well as, I think, some other movies, maybe.

[00:06:41] And possibly that is because of, you know, when you're using technology and pretending it's a different age,

[00:06:46] it doesn't always go so well.

[00:06:49] But what it does have is we have a drag show.

[00:06:51] We have Ernest Borgnine.

[00:06:53] We have Harry Dean Stanton.

[00:06:55] We have Adrienne Barbeau and her awesomeness breastesses.

[00:06:59] We got a chandelier Cadillac and the greatest walking tour of New York since The Warriors.

[00:07:07] And like most movies that involve the government, never trust the government.

[00:07:14] That's a secret in case you didn't know.

[00:07:17] This is one of those ones that I had such fond memories of in the past,

[00:07:22] but I hadn't rewatched it probably since maybe the 90s.

[00:07:26] I'm not sure.

[00:07:27] So I did find on rewatch again that it had a bit of some pacing issues, in my opinion.

[00:07:34] With this type of film and the fairly tight runtime of an hour and 39 minutes,

[00:07:39] it does get a bit draggy.

[00:07:41] And I think Carpenter might have wanted to put his pedal on the metal for the entire film

[00:07:48] because there was a little bit of dragginess.

[00:07:50] Donald Pleasance in the end with the machine gun is definitely worth the price of admission

[00:07:56] because that scene alone was like icing on that candy cake.

[00:08:02] So I love this from Kurt Russell's badassness.

[00:08:09] But for me, rewatch on the amount of times, for me, I also have to give it a man, fortunately.

[00:08:17] All right, then.

[00:08:19] All right.

[00:08:19] Now, is that Bryce now is taking over the realms?

[00:08:23] We want to leave Casey with the last word.

[00:08:25] Well, yeah, we definitely do because he's going to have a lot more to say about it than me

[00:08:29] because I remember watching this probably I didn't get to see it in theaters

[00:08:34] because I would have been seven.

[00:08:36] That's no excuse.

[00:08:38] But I think I watched it for the first time in about 88 or so.

[00:08:43] I remember at that point absolutely hating this movie.

[00:08:48] So we fast forward many, many years later, and I still hate this movie.

[00:08:59] It's, you know, it's got Kurt Russell doing Kurt Russell, and there's just nothing here.

[00:09:05] I did not enjoy it at all on this second watching, and this is only the second time I've ever watched it

[00:09:11] because why would I watch it again?

[00:09:15] This, in my opinion, is John Carpenter.

[00:09:18] John Carpenter has made some bad movies.

[00:09:21] This is the worst.

[00:09:23] But didn't he make Escape from L.A.?

[00:09:27] Yeah.

[00:09:27] Because that's way worse.

[00:09:29] At least he upped the campiness even higher with Escape from L.A.,

[00:09:33] and I can respect it on that.

[00:09:34] It was awful, too.

[00:09:35] Don't get me wrong.

[00:09:36] But this did not connect with me at all when I was young,

[00:09:41] and now that I'm an old man, it still doesn't.

[00:09:44] I really don't get it.

[00:09:46] But if there's any bright spot at all in it.

[00:09:52] It was Adrienne Barbeau and her assets.

[00:09:54] No.

[00:09:55] That's right.

[00:09:55] You know what?

[00:09:57] Yeah, no.

[00:09:58] Like, nobody was even any good in this.

[00:09:59] Like, I was so disappointed in Isaac Hayes.

[00:10:02] Harry Dean Stanton, that was just phoning it in.

[00:10:05] I didn't like this movie.

[00:10:06] I'm sorry.

[00:10:08] Okay.

[00:10:08] It was a rage.

[00:10:10] All right.

[00:10:11] Let's hear the true fan of Escape from New York

[00:10:15] and see what Casey has to say about this fun film.

[00:10:20] Call me Snake.

[00:10:22] I got to say that I do feel, I will agree,

[00:10:24] this is the weakest of the three films that Kurt Russell

[00:10:29] and John Carpenter do together.

[00:10:31] But I will say, I still love this movie.

[00:10:34] Even, like, I see more, like,

[00:10:36] it's been a long time since I've watched this movie in full.

[00:10:40] Uh, I regularly would watch it on cable if it came on,

[00:10:43] just from wherever it picked up.

[00:10:45] And I think last time I watched it,

[00:10:47] all the way through was probably, like,

[00:10:49] six or seven years ago.

[00:10:52] But watching it with a more critical eye this time,

[00:10:55] yes, it is dated.

[00:10:56] The effects are dated.

[00:10:57] But I will, like, one thing I would like to mention is

[00:10:59] the shot of Snake, the computer,

[00:11:03] grid of New York City, the buildings,

[00:11:06] that is not a computer graphic.

[00:11:07] That is done with an actual model.

[00:11:10] They did, like, neon tape

[00:11:11] or paint on the edges of the buildings

[00:11:13] to make it look like a computer graphic.

[00:11:16] Whoa.

[00:11:16] When he's, like, flying into New York City.

[00:11:19] Also, I have to say,

[00:11:20] speaking of flying into New York City,

[00:11:22] um, seeing a plane,

[00:11:24] like, I forgot

[00:11:25] that they actually crashed the plane

[00:11:27] into Manhattan

[00:11:28] at the very beginning.

[00:11:29] I thought that the plane kept going

[00:11:31] and the president ejected out.

[00:11:33] Like, that was just my memory of it.

[00:11:34] And maybe I blocked that out

[00:11:35] because of September 11th.

[00:11:37] Um, yeah.

[00:11:38] But yeah, just like the whole,

[00:11:39] that whole secret,

[00:11:40] I'm like, oh, yeah.

[00:11:41] Oh, that's how that went.

[00:11:42] Or that the plane had, like,

[00:11:44] broken up before.

[00:11:46] Because the thing,

[00:11:47] we start this whole thing

[00:11:48] with the American imperialism

[00:11:51] is the reason that the president,

[00:11:55] the Air Force One,

[00:11:56] has been taken over.

[00:11:57] And Carpenter has a lot of,

[00:11:58] there's a lot of social commentary

[00:12:01] in this film.

[00:12:03] Uh, Snake Plissken is a decorated,

[00:12:05] twice decorated,

[00:12:07] uh, American war hero.

[00:12:09] America is at war with Russia.

[00:12:12] We've had a,

[00:12:12] we're in a ground war

[00:12:14] in, in Asia.

[00:12:16] Say what you will about that.

[00:12:17] Made a major mistake there.

[00:12:19] But then, you know,

[00:12:20] he's Leningrad and, uh, Siberia,

[00:12:23] I think are the two places

[00:12:24] he got Purple Hearts.

[00:12:25] Um, so,

[00:12:27] and this is an ongoing war.

[00:12:29] But yet this guy,

[00:12:30] who is an, you know,

[00:12:32] American hero,

[00:12:34] has to rob banks.

[00:12:36] He's trying to,

[00:12:37] he robbed the National Reserve.

[00:12:39] Um, so there's a lot of commentary here

[00:12:41] about, like, you know,

[00:12:42] how people are treated.

[00:12:43] Most likely the prisoners

[00:12:45] and, you know,

[00:12:45] this guy who, like,

[00:12:47] how do you treat your vets?

[00:12:48] Um, Carpenter,

[00:12:49] this is a theme that Carpenter has

[00:12:51] through a lot of movies.

[00:12:52] Um, as far as, like,

[00:12:54] the social commentary.

[00:12:55] Yep.

[00:12:55] Which I think that he and, uh,

[00:12:57] George Romero

[00:12:57] are very good at doing.

[00:13:00] Um, that being said,

[00:13:01] yes, there are some dated

[00:13:02] things here.

[00:13:03] A, the fact that the,

[00:13:05] the, the World Trade Center

[00:13:06] is still there,

[00:13:07] uh, shows you how dated it.

[00:13:09] But Jim is correct.

[00:13:10] Like, the way that New York City

[00:13:11] was going

[00:13:11] in the 70s

[00:13:13] and early 80s,

[00:13:14] they were planning to, like,

[00:13:17] just bulldoze

[00:13:17] major sections of it

[00:13:19] and turn it into

[00:13:20] freeway

[00:13:21] to go from

[00:13:22] Long Island

[00:13:22] to New Jersey.

[00:13:24] Um, so this,

[00:13:25] that was just kind of

[00:13:25] the, the thought of how

[00:13:26] things were

[00:13:27] gonna happen to

[00:13:28] New York.

[00:13:29] And I, and

[00:13:30] I kept thinking as I watched it

[00:13:32] over again, like,

[00:13:33] going, wow,

[00:13:33] I think they actually shot

[00:13:35] all of this

[00:13:36] on location

[00:13:38] in the city.

[00:13:39] Yeah.

[00:13:39] Like, obviously,

[00:13:39] they weren't up on the roof

[00:13:40] of the, of the buildings,

[00:13:42] but, like, a lot of this stuff

[00:13:43] I think was shot

[00:13:44] on the streets

[00:13:45] of, actually,

[00:13:46] in New York.

[00:13:47] Um,

[00:13:48] I think this is a

[00:13:49] wonderful ensemble

[00:13:50] cast.

[00:13:51] Everybody's got their

[00:13:51] little bits.

[00:13:52] And I think that,

[00:13:53] I did not realize,

[00:13:54] I knew that Carpenter

[00:13:55] was married to

[00:13:55] Adrienne Barbeau,

[00:13:56] but I did not realize

[00:13:57] that, uh,

[00:13:58] Kurt Russell was married

[00:13:59] to the Chalk Full of Nuts

[00:14:00] woman.

[00:14:01] I think the reason

[00:14:02] that she gets,

[00:14:04] she gets, uh,

[00:14:05] they think that they do

[00:14:06] this twice in this film

[00:14:07] is they set you up

[00:14:08] like, oh,

[00:14:09] this is gonna be

[00:14:10] the love interest.

[00:14:11] Yeah.

[00:14:12] He's gonna have a lot

[00:14:13] of interest and that's,

[00:14:14] that's gonna,

[00:14:14] nope, gone.

[00:14:15] And then later on,

[00:14:16] you think that

[00:14:17] Adrienne Barbeau is,

[00:14:18] like, he's gonna be like,

[00:14:18] come on, come with me.

[00:14:19] Let's see,

[00:14:20] she's like, nope.

[00:14:21] Yeah, I gotta give kudos

[00:14:22] to that, actually.

[00:14:24] Like, that's one thing

[00:14:25] I hate about those

[00:14:26] action movies is they'll

[00:14:27] throw a love interest

[00:14:28] there for no apparent

[00:14:29] reason whatsoever.

[00:14:30] And they,

[00:14:31] you're right,

[00:14:31] they didn't,

[00:14:32] they didn't do that

[00:14:32] with this one.

[00:14:34] This movie also changed

[00:14:36] the trajectory of

[00:14:37] Kurt Russell's career.

[00:14:38] Yeah.

[00:14:38] Like, as Jim mentioned

[00:14:39] before,

[00:14:40] he was the Disney guy.

[00:14:41] He was Mr.

[00:14:42] Family Friendly.

[00:14:44] And this changed his,

[00:14:45] you know,

[00:14:46] the trajectory of,

[00:14:49] you know,

[00:14:49] what Kurt Russell

[00:14:50] would have been.

[00:14:51] I wonder if it's

[00:14:52] because he was,

[00:14:53] well, yeah,

[00:14:54] according to this,

[00:14:54] he actually,

[00:14:55] he fought hard

[00:14:55] to get the role

[00:14:56] because he wanted

[00:14:57] to get away

[00:14:58] from Disney.

[00:14:58] Yeah.

[00:14:59] But he,

[00:15:00] didn't he do Elvis

[00:15:00] before this one?

[00:15:02] I don't remember.

[00:15:03] I think Elvis was

[00:15:03] before this.

[00:15:05] Yeah.

[00:15:05] And so,

[00:15:06] if he was Elvis,

[00:15:07] maybe,

[00:15:07] maybe he's,

[00:15:08] maybe Carpenter

[00:15:09] saw him in Elvis

[00:15:12] and that's what

[00:15:13] helped him to say,

[00:15:13] you know what,

[00:15:14] maybe you can do this.

[00:15:15] Maybe.

[00:15:16] Possibly.

[00:15:17] So,

[00:15:18] you're saying

[00:15:19] this is the reason

[00:15:20] we got Tango

[00:15:20] in Cash?

[00:15:22] Oh.

[00:15:23] I don't think

[00:15:23] it's the only reason.

[00:15:25] Basic.

[00:15:26] I happen to like

[00:15:27] that movie.

[00:15:29] The armored SUV.

[00:15:30] That's right.

[00:15:32] Good old Jack Palance.

[00:15:35] Exactly.

[00:15:35] I loved it.

[00:15:37] That was cheesy

[00:15:39] 80s at its best.

[00:15:41] The characters

[00:15:42] in this movie,

[00:15:43] you got Lee Van Cleef,

[00:15:44] Ernst Gorgneheim,

[00:15:45] Brady and Snake

[00:15:46] and Isaac Hayes,

[00:15:48] Donald Pleasant.

[00:15:49] Yeah,

[00:15:50] a number one.

[00:15:51] Yeah,

[00:15:52] the Duke of New York.

[00:15:53] It's just brilliant.

[00:15:55] And like that moment

[00:15:56] at the end

[00:15:56] when like Snake

[00:15:58] says to him,

[00:15:58] like,

[00:15:59] hey,

[00:16:00] a lot of people died

[00:16:02] trying to get you

[00:16:03] out of here.

[00:16:03] What do you have

[00:16:03] to say about this?

[00:16:04] I'd like to thank

[00:16:05] all the little people

[00:16:06] for their sacrifices.

[00:16:09] It's again,

[00:16:10] it's that commentary

[00:16:11] on like,

[00:16:12] you know,

[00:16:13] he realizes

[00:16:14] at this point

[00:16:14] this guy does not

[00:16:15] give a shit

[00:16:17] about the little people

[00:16:18] who literally gave

[00:16:20] their lives

[00:16:21] to save him.

[00:16:23] And you see it

[00:16:24] in that moment

[00:16:24] when he bails

[00:16:25] out of the Air Force One.

[00:16:27] He's like,

[00:16:28] Godspeed, gentlemen.

[00:16:29] You know,

[00:16:29] I hope you all do well.

[00:16:30] Like, great.

[00:16:31] I'm in the pod.

[00:16:32] Yeah, I'm in the pod.

[00:16:34] I'm good.

[00:16:34] Bye, see ya.

[00:16:35] I think

[00:16:35] the most dated

[00:16:37] things here

[00:16:38] are the

[00:16:40] tech,

[00:16:40] not tech,

[00:16:41] obviously.

[00:16:42] I mean,

[00:16:42] basically,

[00:16:42] the snake

[00:16:44] and the president

[00:16:45] are both wearing

[00:16:47] Apple watches,

[00:16:48] basically.

[00:16:51] what you'd have

[00:16:52] at this point.

[00:16:52] Like, oh,

[00:16:52] it tracks his heartbeat

[00:16:53] and location

[00:16:55] and everything.

[00:16:55] But it's this giant

[00:16:57] thing on his wrist.

[00:16:58] Like, no,

[00:16:59] that's not what it would be.

[00:17:01] Not today.

[00:17:02] That's how we see it today.

[00:17:04] Yeah,

[00:17:04] apart from like dated

[00:17:05] graphics and thoughts

[00:17:07] on like what technology

[00:17:08] would have been like

[00:17:08] in the future,

[00:17:09] I still think that

[00:17:10] the rest of this movie

[00:17:11] hits pretty hard

[00:17:13] as far as its commentary

[00:17:14] on like

[00:17:16] what prisons,

[00:17:18] how we treat prisoners

[00:17:19] how we treat

[00:17:20] or we're not trying to

[00:17:20] there are obviously

[00:17:22] different cultures

[00:17:24] on this island.

[00:17:26] I mean,

[00:17:26] there's much like

[00:17:27] the Warriors,

[00:17:28] which people have

[00:17:29] brought up before.

[00:17:30] There are different.

[00:17:31] We're not going to

[00:17:31] take Broadway.

[00:17:32] Don't take Broadway.

[00:17:33] It's a whole,

[00:17:34] there's like some group.

[00:17:36] We don't even get into it.

[00:17:36] I honestly love

[00:17:38] that Carpenter

[00:17:40] doesn't try

[00:17:41] to explain

[00:17:43] a lot of like

[00:17:44] what happens

[00:17:45] in the prison

[00:17:47] because you get

[00:17:48] bogged down

[00:17:48] really easily

[00:17:49] and like

[00:17:49] the pacing issues,

[00:17:51] if you're just like

[00:17:51] trying to explain

[00:17:52] all the things

[00:17:53] that happen here,

[00:17:53] like I think

[00:17:55] where the pacing

[00:17:56] kind of falls

[00:17:57] is the fight.

[00:17:58] Like the ring

[00:17:59] in the ring.

[00:18:00] Yeah.

[00:18:01] That's where things

[00:18:01] fall apart.

[00:18:03] He's fighting

[00:18:03] the big dude.

[00:18:04] Like I think

[00:18:05] I thought that could

[00:18:06] have just gone

[00:18:06] really fast

[00:18:07] because honestly

[00:18:08] like Snake,

[00:18:09] I'm sure Snake's

[00:18:10] fought a big dude

[00:18:11] before,

[00:18:12] even though he's

[00:18:12] got a head taken

[00:18:13] and crossbow bolt

[00:18:15] to the knee.

[00:18:16] You know,

[00:18:17] just take out

[00:18:18] that guy's knee.

[00:18:19] Yeah,

[00:18:20] I had the same

[00:18:21] questions.

[00:18:22] I'm like,

[00:18:22] the guy is like

[00:18:23] a two-time

[00:18:25] Purple Heart winner.

[00:18:26] He's like a

[00:18:26] special forces guy

[00:18:27] and he can't

[00:18:28] handle some big

[00:18:28] fat guy

[00:18:29] who's moving slow.

[00:18:30] Who's swinging

[00:18:31] a club around?

[00:18:32] Who's swinging

[00:18:32] a club slowly

[00:18:33] at him.

[00:18:35] He's a,

[00:18:36] well,

[00:18:37] he was wearing

[00:18:37] his tactical

[00:18:38] lycra pants

[00:18:39] and maybe

[00:18:40] slowed him down

[00:18:40] a little bit

[00:18:41] to the fashion.

[00:18:43] And also,

[00:18:44] we'll say one thing

[00:18:45] this movie

[00:18:45] I think starts

[00:18:46] the first time

[00:18:48] you get this

[00:18:50] kind of like

[00:18:50] repeated line.

[00:18:52] Everybody,

[00:18:53] I thought you were

[00:18:54] dead.

[00:18:55] Yeah.

[00:18:56] Yep.

[00:18:56] If you played

[00:18:57] I thought you were

[00:18:57] dead drinking game,

[00:18:58] you would be dead

[00:18:59] by the end of this film

[00:19:00] because everybody

[00:19:01] says it.

[00:19:02] But it's funny.

[00:19:03] Everybody who says

[00:19:04] it dies.

[00:19:06] Right.

[00:19:07] Pretty much everybody

[00:19:08] who says it

[00:19:09] ends up dead

[00:19:10] at the end of the movie.

[00:19:10] Yep,

[00:19:11] exactly.

[00:19:13] I think there's

[00:19:14] a lot inside

[00:19:15] kind of

[00:19:17] like

[00:19:18] to your point

[00:19:19] about social commentary

[00:19:20] based on

[00:19:21] the society

[00:19:22] at that time.

[00:19:23] I think

[00:19:24] that it makes

[00:19:25] it a good

[00:19:25] timepiece film

[00:19:26] for sure.

[00:19:27] But it is

[00:19:28] interesting.

[00:19:29] I think you're right.

[00:19:30] The science part

[00:19:31] of the movie

[00:19:32] it doesn't hold up

[00:19:34] like the technology

[00:19:34] because they use

[00:19:35] technology

[00:19:36] from way back then

[00:19:37] it just doesn't

[00:19:37] hold up well.

[00:19:39] Commodore 64.

[00:19:42] You know,

[00:19:42] I think

[00:19:42] when you compare

[00:19:43] 42 years.

[00:19:45] Yeah.

[00:19:45] I think

[00:19:46] you know

[00:19:46] where

[00:19:47] if you're

[00:19:48] watching it now

[00:19:49] with these new eyes

[00:19:50] right

[00:19:51] and you compare

[00:19:52] this movie

[00:19:53] to say

[00:19:54] Mad Max

[00:19:55] the new

[00:19:56] Mad Max

[00:19:56] that came out

[00:19:57] with

[00:19:57] yeah

[00:19:58] with

[00:19:59] Cherie's Theron

[00:20:00] and Tom

[00:20:02] Tom Hardy

[00:20:02] yeah

[00:20:03] like

[00:20:04] which I thought

[00:20:05] was

[00:20:06] way better

[00:20:07] because it was

[00:20:08] just pedal to the

[00:20:09] metal.

[00:20:09] I think that's

[00:20:10] where the gap

[00:20:10] is

[00:20:10] when you rewatch

[00:20:11] it in today's

[00:20:12] eyes I think

[00:20:14] yeah I think

[00:20:15] it needs to be

[00:20:15] like it suffers

[00:20:16] from

[00:20:17] yeah it was

[00:20:17] slow

[00:20:18] yeah

[00:20:19] but

[00:20:19] that overall

[00:20:20] though I think

[00:20:21] that like

[00:20:21] you're

[00:20:22] I think

[00:20:22] that a lot

[00:20:23] of those

[00:20:23] issues

[00:20:24] American

[00:20:25] imperialism

[00:20:25] is still

[00:20:26] a problem

[00:20:27] as well

[00:20:28] as you know

[00:20:29] like

[00:20:29] the woman

[00:20:30] who like

[00:20:31] gives them

[00:20:32] the

[00:20:33] the speech

[00:20:34] at the

[00:20:35] you know

[00:20:35] like when

[00:20:36] they

[00:20:36] they

[00:20:36] take

[00:20:37] course one

[00:20:38] she's like

[00:20:39] it's

[00:20:39] it's the

[00:20:40] workers party

[00:20:41] yeah

[00:20:41] you know

[00:20:42] they're all

[00:20:42] trying to get

[00:20:43] you know

[00:20:43] stuff for like

[00:20:44] the workers

[00:20:45] and socialized

[00:20:47] you know

[00:20:47] they're socialists

[00:20:48] which is interesting

[00:20:49] because they are

[00:20:50] also at war

[00:20:50] with the

[00:20:52] communist

[00:20:52] well socialism

[00:20:53] is different

[00:20:54] than communism

[00:20:55] Casey

[00:20:56] it is

[00:20:56] it's so different

[00:20:57] I agree

[00:20:58] and I can

[00:20:58] separate those

[00:20:59] two and I

[00:20:59] think that

[00:21:00] John Carpenter

[00:21:00] probably that

[00:21:01] did too

[00:21:02] from like

[00:21:03] watching interviews

[00:21:04] with him

[00:21:04] I think that

[00:21:04] those are two

[00:21:05] different things

[00:21:07] but there's

[00:21:08] there was also

[00:21:08] I don't know

[00:21:09] if anybody

[00:21:09] else has seen

[00:21:10] the gym

[00:21:11] maybe you've

[00:21:11] seen it

[00:21:13] there was

[00:21:14] originally

[00:21:16] a scene

[00:21:16] shot

[00:21:17] when

[00:21:18] snake

[00:21:18] gets captured

[00:21:20] after the

[00:21:21] robbery

[00:21:22] and it's

[00:21:22] boring

[00:21:24] like honestly

[00:21:25] like watching

[00:21:25] I'm like

[00:21:25] I'm glad

[00:21:26] that John

[00:21:27] Carpenter cut

[00:21:27] this because

[00:21:27] it's like

[00:21:28] them getting

[00:21:28] on a train

[00:21:29] and it's

[00:21:30] like

[00:21:30] the one

[00:21:31] piece of

[00:21:32] science fiction

[00:21:34] is that there

[00:21:34] are these

[00:21:35] high speed

[00:21:35] trains

[00:21:36] that traverse

[00:21:37] the whole

[00:21:37] country

[00:21:38] where they

[00:21:39] were getting

[00:21:40] on in

[00:21:40] Cleveland

[00:21:41] and then

[00:21:42] they're

[00:21:42] going to

[00:21:43] next stop

[00:21:44] is Chicago

[00:21:45] and they're

[00:21:46] there in

[00:21:46] a few minutes

[00:21:48] but it's

[00:21:49] pretty boring

[00:21:50] and dull

[00:21:52] and honestly

[00:21:52] I thought

[00:21:53] that

[00:21:54] we see

[00:21:55] the first

[00:21:55] time we

[00:21:55] see snake

[00:21:56] is like

[00:21:56] he's being

[00:21:57] brought in

[00:21:58] like off

[00:21:58] the bus

[00:21:59] and then

[00:21:59] like walked

[00:22:00] through the

[00:22:00] facility

[00:22:01] I honestly

[00:22:02] if I were

[00:22:02] going back

[00:22:03] and just

[00:22:03] like cutting

[00:22:03] this for

[00:22:04] pacing

[00:22:05] and like

[00:22:05] to make

[00:22:06] it go a

[00:22:06] little

[00:22:06] faster

[00:22:06] I would

[00:22:07] have

[00:22:07] cut

[00:22:09] like the

[00:22:09] first time

[00:22:10] you see

[00:22:10] snake

[00:22:10] Plissken

[00:22:10] is when

[00:22:11] they just

[00:22:11] bring him

[00:22:12] into Lee

[00:22:12] Van Cleef's

[00:22:13] office

[00:22:14] that's the

[00:22:14] first time

[00:22:15] that should

[00:22:15] be the first

[00:22:15] time you see

[00:22:16] because he's

[00:22:17] just this

[00:22:17] character of

[00:22:18] mystery

[00:22:19] and you

[00:22:20] know

[00:22:21] who is

[00:22:22] this guy

[00:22:22] and his

[00:22:23] like whole

[00:22:24] like

[00:22:24] yeah the

[00:22:25] name's

[00:22:25] Plissken

[00:22:26] or call me

[00:22:27] snake

[00:22:27] is like

[00:22:27] is just

[00:22:28] like the

[00:22:28] perfect

[00:22:28] response to

[00:22:29] all these

[00:22:29] people

[00:22:29] saying like

[00:22:30] I thought

[00:22:30] you were

[00:22:30] dead

[00:22:31] yeah

[00:22:31] like he

[00:22:31] he doesn't

[00:22:32] let anybody

[00:22:32] in

[00:22:33] no

[00:22:33] you can see

[00:22:34] the moments

[00:22:35] when he has

[00:22:35] feelings like

[00:22:36] about

[00:22:36] cabby dying

[00:22:37] and brain

[00:22:38] dying

[00:22:39] and all

[00:22:40] those things

[00:22:40] like he

[00:22:41] feels bad

[00:22:43] but he's

[00:22:44] a tough

[00:22:44] guy

[00:22:44] he's got

[00:22:45] a job to

[00:22:45] do and

[00:22:46] he's got

[00:22:46] to get

[00:22:46] shit out

[00:22:47] of his

[00:22:47] system

[00:22:47] otherwise

[00:22:48] he's got

[00:22:48] to get

[00:22:49] x-rayed

[00:22:50] because

[00:22:50] he's got

[00:22:50] to get

[00:22:50] his next

[00:22:51] x-rayed

[00:22:51] which

[00:22:52] here's a

[00:22:53] little point

[00:22:54] that I picked

[00:22:54] up on that

[00:22:54] I had never

[00:22:55] noticed before

[00:22:57] the doctor's

[00:22:58] name is

[00:22:59] Cronenberg

[00:23:03] and the

[00:23:04] guy who

[00:23:04] is like

[00:23:06] the Duke's

[00:23:07] number one

[00:23:08] guy who

[00:23:08] looks like

[00:23:09] he just

[00:23:09] walked out

[00:23:09] of a

[00:23:09] production of

[00:23:10] Midsummer Night

[00:23:10] Extreme

[00:23:10] is named

[00:23:11] Romero

[00:23:13] no way

[00:23:14] that's

[00:23:14] awesome

[00:23:15] so he's

[00:23:15] giving props

[00:23:16] to his

[00:23:18] equals

[00:23:19] maybe

[00:23:19] yeah maybe

[00:23:20] I think

[00:23:22] people he

[00:23:22] considers

[00:23:22] as horror

[00:23:23] director

[00:23:25] who are

[00:23:26] ultimately

[00:23:26] both better

[00:23:28] directors than

[00:23:28] he is

[00:23:29] but that's

[00:23:29] okay

[00:23:32] well

[00:23:37] I'm

[00:23:38] obviously

[00:23:38] a mondo

[00:23:39] for me

[00:23:40] like I

[00:23:40] just love

[00:23:40] this movie

[00:23:41] because I

[00:23:41] think that

[00:23:42] it does

[00:23:43] influence

[00:23:43] it I

[00:23:44] think what

[00:23:45] you said

[00:23:45] about like

[00:23:47] post-apocalyptic

[00:23:48] this really

[00:23:49] wasn't like

[00:23:49] this is not

[00:23:50] post-apocalyptic

[00:23:51] it's dystopian

[00:23:52] yeah

[00:23:53] for sure

[00:23:54] if you lived

[00:23:55] in New York

[00:23:56] it's post-apocalyptic

[00:23:58] though

[00:24:00] get some

[00:24:00] cheap

[00:24:01] cheap real

[00:24:02] estate

[00:24:04] I think

[00:24:05] that

[00:24:05] influenced

[00:24:07] a lot

[00:24:07] of movies

[00:24:08] yeah

[00:24:08] I think

[00:24:08] it has

[00:24:09] a wider

[00:24:09] influence

[00:24:10] than maybe

[00:24:12] it's

[00:24:12] like

[00:24:13] it's

[00:24:13] actual

[00:24:15] like

[00:24:15] the

[00:24:16] content

[00:24:16] of it

[00:24:17] and again

[00:24:17] I think

[00:24:18] that

[00:24:18] everything

[00:24:18] outside

[00:24:19] of like

[00:24:19] the

[00:24:19] the

[00:24:21] effects

[00:24:21] shots

[00:24:23] it

[00:24:23] this feels

[00:24:24] like

[00:24:25] you're

[00:24:25] really

[00:24:26] there

[00:24:26] and it's

[00:24:26] like

[00:24:27] really

[00:24:27] taking

[00:24:27] place

[00:24:27] in this

[00:24:28] world

[00:24:29] it does

[00:24:30] not feel

[00:24:30] like

[00:24:30] it's

[00:24:31] being

[00:24:31] shot

[00:24:31] on a

[00:24:31] set

[00:24:32] it

[00:24:33] doesn't

[00:24:33] feel

[00:24:33] like

[00:24:33] it's

[00:24:34] you know

[00:24:34] that

[00:24:35] that's

[00:24:35] the scene

[00:24:35] at the

[00:24:36] end

[00:24:36] when they're

[00:24:36] driving

[00:24:36] across

[00:24:36] the

[00:24:36] bridge

[00:24:37] oh the

[00:24:37] bridge

[00:24:38] was real

[00:24:38] it was in

[00:24:39] St. Louis

[00:24:39] though

[00:24:41] but he

[00:24:42] actually bought

[00:24:42] the bridge

[00:24:43] just so he could blow

[00:24:44] shit up

[00:24:44] he bought it

[00:24:45] yeah he bought

[00:24:45] it for like a dollar

[00:24:46] apparently

[00:24:47] I'm guessing

[00:24:48] it was probably

[00:24:49] out of

[00:24:49] commission

[00:24:50] it was out

[00:24:50] of service

[00:24:50] already

[00:24:51] probably

[00:24:51] yeah

[00:24:51] yeah

[00:24:52] yeah

[00:24:53] no it

[00:24:53] says he

[00:24:54] bought it

[00:24:54] from the city

[00:24:55] for like a dollar

[00:24:55] then he gave

[00:24:56] him back to

[00:24:56] when he was

[00:24:57] done

[00:24:57] wow

[00:24:58] yeah

[00:24:58] the bridge

[00:24:59] scene was in

[00:24:59] St. Louis

[00:25:00] but everything

[00:25:00] else was like

[00:25:01] Liberty Island

[00:25:01] in New York

[00:25:03] but

[00:25:03] yeah

[00:25:05] yeah that's the best

[00:25:06] type of filmmaking

[00:25:06] yeah

[00:25:07] just blow shit up

[00:25:08] on the real set

[00:25:09] you know what

[00:25:09] I think

[00:25:09] it's one of those

[00:25:10] movies

[00:25:11] this movie

[00:25:11] is one that

[00:25:12] if you grew up

[00:25:13] with it

[00:25:13] you're gonna have

[00:25:14] a little bit more

[00:25:15] heart towards it

[00:25:17] and if you didn't

[00:25:18] people are gonna

[00:25:19] watch it and think

[00:25:20] that

[00:25:21] that

[00:25:21] the newer versions

[00:25:23] of that are gonna

[00:25:24] be better

[00:25:24] is what I would

[00:25:25] probably say

[00:25:26] right

[00:25:26] the more updated

[00:25:27] this is a film

[00:25:28] which you know

[00:25:29] I would not

[00:25:31] reboot

[00:25:32] just because

[00:25:35] even if you got

[00:25:36] Wyatt Russell

[00:25:38] like you know

[00:25:39] to play Snake

[00:25:39] Plissken

[00:25:40] you can't

[00:25:42] remake this

[00:25:43] it's just

[00:25:43] it's one of those

[00:25:44] ones where you

[00:25:44] don't touch

[00:25:45] certain things

[00:25:45] and this is one

[00:25:46] of the

[00:25:46] you don't let

[00:25:47] somebody else

[00:25:47] play Snake Plissken

[00:25:48] I don't know

[00:25:49] I've seen a lot

[00:25:50] of people like

[00:25:50] saying like

[00:25:51] oh they should

[00:25:51] remake it

[00:25:52] with Wyatt

[00:25:54] yeah I

[00:25:55] personally don't

[00:25:56] don't agree

[00:25:57] with that

[00:25:58] but you know

[00:25:59] I think that

[00:26:00] yeah like

[00:26:00] the sort of

[00:26:01] updated graphics

[00:26:02] and like

[00:26:03] other things

[00:26:04] would certainly

[00:26:05] help it

[00:26:06] but I think

[00:26:07] that for me

[00:26:08] like most of

[00:26:08] what I get out

[00:26:09] of this

[00:26:09] is the

[00:26:11] messages

[00:26:12] of it

[00:26:13] as opposed

[00:26:13] to

[00:26:13] yeah

[00:26:16] reading through

[00:26:17] the cheesewire

[00:26:17] line

[00:26:19] yeah

[00:26:20] exactly

[00:26:23] any closing

[00:26:24] comments

[00:26:24] from me

[00:26:27] I think

[00:26:27] again like I

[00:26:28] said I think

[00:26:28] this is probably

[00:26:29] the weaker

[00:26:30] of the

[00:26:31] of the

[00:26:32] collaborations

[00:26:33] between

[00:26:33] Kurt Russell

[00:26:34] and

[00:26:35] John Carpenter

[00:26:36] but I think

[00:26:37] it sets the

[00:26:37] table

[00:26:38] for the

[00:26:39] future

[00:26:40] collaborations

[00:26:41] but I think

[00:26:41] it just keeps

[00:26:43] getting stronger

[00:26:43] and stronger

[00:26:44] as we go

[00:26:44] along

[00:26:45] well

[00:26:46] everyone

[00:26:46] who's listening

[00:26:47] to us

[00:26:48] if

[00:26:49] you believe

[00:26:50] this also

[00:26:50] you're going

[00:26:51] to get more

[00:26:52] Casey in the

[00:26:52] future

[00:26:53] we're not going

[00:26:53] to say when

[00:26:54] but we are

[00:26:56] going to do

[00:26:56] this as a

[00:26:56] trilogy

[00:26:57] so Casey

[00:26:59] tell our

[00:26:59] listeners

[00:27:01] where they

[00:27:01] can find you

[00:27:02] and what

[00:27:04] they can

[00:27:04] expect

[00:27:05] is coming

[00:27:06] up for

[00:27:06] the nerdy

[00:27:07] photographer

[00:27:07] in the

[00:27:08] future

[00:27:10] you can

[00:27:11] find the

[00:27:12] nerdy

[00:27:12] photographer

[00:27:12] podcast

[00:27:13] wherever

[00:27:13] you get

[00:27:14] your

[00:27:14] podcasts

[00:27:15] any

[00:27:16] platform

[00:27:16] that you

[00:27:17] listen on

[00:27:18] most likely

[00:27:19] you will

[00:27:19] find the

[00:27:20] nerdy

[00:27:20] photographer

[00:27:20] podcast

[00:27:21] there

[00:27:21] you can

[00:27:21] also

[00:27:21] find

[00:27:22] the

[00:27:23] nerdy

[00:27:23] photographer

[00:27:23] on social

[00:27:24] media

[00:27:24] or on

[00:27:24] threads

[00:27:25] or on

[00:27:26] x

[00:27:26] formerly

[00:27:27] known as

[00:27:27] twitter

[00:27:28] instagram

[00:27:30] and

[00:27:30] tiktok

[00:27:31] at the

[00:27:32] nerdy

[00:27:33] photo

[00:27:34] and

[00:27:34] nerdy

[00:27:35] photographer

[00:27:35] podcast

[00:27:35] we just

[00:27:36] went over

[00:27:37] 100 episodes

[00:27:38] recently

[00:27:38] and I've

[00:27:39] got a

[00:27:39] whole

[00:27:41] slew of

[00:27:41] new

[00:27:42] interviews

[00:27:43] coming up

[00:27:43] we've got

[00:27:44] interviews

[00:27:44] with people

[00:27:46] who put

[00:27:46] out new

[00:27:46] photo books

[00:27:47] some really

[00:27:48] interesting

[00:27:48] topics

[00:27:49] coming up

[00:27:50] that are

[00:27:51] not just

[00:27:51] based on

[00:27:52] photography

[00:27:53] itself

[00:27:54] but also

[00:27:54] mental

[00:27:55] health

[00:27:55] and other

[00:27:56] topics

[00:27:57] of note

[00:27:58] as well

[00:27:59] as just

[00:27:59] fun stuff

[00:28:00] there's a

[00:28:00] lot of

[00:28:00] fun

[00:28:02] I'm

[00:28:02] relaxing

[00:28:03] in my

[00:28:04] old age

[00:28:04] and just

[00:28:05] allowing

[00:28:06] myself

[00:28:06] to have

[00:28:07] a little

[00:28:07] bit more

[00:28:07] fun

[00:28:08] well if

[00:28:09] the people

[00:28:11] that are

[00:28:11] listening

[00:28:11] will know

[00:28:12] what we

[00:28:13] already know

[00:28:13] how much

[00:28:14] fun Casey

[00:28:14] is then

[00:28:16] make sure you

[00:28:17] listen to

[00:28:17] the nerdy

[00:28:18] photographer

[00:28:18] because

[00:28:19] it is

[00:28:20] awesome

[00:28:21] well

[00:28:23] thanks

[00:28:23] Casey

[00:28:24] for joining

[00:28:25] us on

[00:28:26] this special

[00:28:27] patron

[00:28:29] episode

[00:28:29] please find

[00:28:30] the nerdy

[00:28:31] photographer

[00:28:32] everywhere

[00:28:33] you find

[00:28:33] your podcast

[00:28:34] thanks again

[00:28:35] to our

[00:28:35] patrons

[00:28:35] we cannot

[00:28:36] do this

[00:28:36] without

[00:28:36] your help

[00:28:37] and

[00:28:39] we're happy

[00:28:40] to let

[00:28:40] you know

[00:28:41] that you

[00:28:41] can feel

[00:28:42] the rage

[00:28:42] whenever you

[00:28:44] need to

[00:28:44] but you

[00:28:45] can find

[00:28:45] us on

[00:28:45] social media

[00:28:46] at

[00:28:46] filmrage

[00:28:46] yyc

[00:28:47] or you

[00:28:48] can send

[00:28:48] us emails

[00:28:49] to

[00:28:50] filmrage

[00:28:51] calgary

[00:28:52] at gmail

[00:28:52] dot com

[00:28:53] dare us to see

[00:28:54] terrible movies

[00:28:55] to fuel our

[00:28:55] rage but no

[00:28:56] matter what

[00:28:56] you do

[00:28:57] please

[00:28:57] please

[00:28:58] please

[00:28:58] make us

[00:28:59] rage

[00:28:59] that's it

[00:29:00] for this

[00:29:00] special episode

[00:29:02] rage on

[00:29:03] rage on

[00:29:09] yeah

[00:29:10] rage on