Epic Movie Week: Film Composer Shirley Walker's many collabs and dark scores (with Vern from Cinema Recall!)

[00:00:06] It's a Jacked Up Review Show It's a Jacked Up Review Show

[00:00:44] Hello, welcome all, welcome all to this show.

[00:00:49] Once again, Vern from Cinema Recall enters the...

[00:00:54] Why hello?

[00:00:55] Why hello?

[00:00:56] Hello there, I'm sorry.

[00:00:58] Thank you so much for having me back on.

[00:01:05] Anytime.

[00:01:06] We are going into Shirley Walker.

[00:01:08] Shirley Walker.

[00:01:09] One of the most progressive earlier female composers in Hollywood.

[00:01:15] She is best known for collaborations with Brad Fidel, Mark Snow, Richard Van at Empire Pictures, Hans Zimmer, Trevor Jones, Graham Ravel, and most notably, Danny Elfman.

[00:01:29] She has scored Batman the Animated Series and Mask of the Phantasm movie companion.

[00:01:35] She is composed as well Superman the Animated Series, a spawn animated show for HBO.

[00:01:43] Oh, that was good.

[00:01:45] That's a great show.

[00:01:47] Absolutely.

[00:01:49] Okay.

[00:01:50] syndicated shows such as Falcon Crest, The 90s Flash, Viper, and the cult sci-fi epic Space Above and Beyond.

[00:02:01] Nice.

[00:02:02] And Kayden and Lacey.

[00:02:03] Kayden and Lacey. She started out there on Kayden and Lacey, and she has provided additional music for films such as Pacific Heights, Night Breed, and the Dungeon Master, and also contributed main score isolated scores to the first free final destination films which never got an official CD release but had promo CDs that are now collectors items out there.

[00:02:29] Okay.

[00:02:30] And she's also done the remix of Willard and 2006 Black Christmas, as well as Escape from LA turbulence, White Fang, and Chicago Joe and the showgirl.

[00:02:45] Yes.

[00:02:46] Very much so. So, and I saw her too that she had a rejected score.

[00:02:51] A lot of rejected scores.

[00:02:53] So many tunes. Yeah.

[00:02:55] Tiny tunes as well as true lies is just mystery man is like so many times she's the helper and there's other times where it's like who kind of like the directors is like whoever starts it has to get the main credit even if it's bullshit.

[00:03:09] Because you mentioned that you kind of got to start doing working with Tim Burton for a score. Well, that's how I was you guys start I know you guys start back in like the 70s.

[00:03:20] Yeah, but when it comes to, you know, working with Danny Elfman for Naper read.

[00:03:29] It seems so she did she does like a lot of like additional music and helping out or something to with the escape from LA, because I really just watched that movie. And I remember all the iconic music that John Carpenter and Alan Horwath had for that

[00:03:44] Well, I don't think I don't think Alan Horwath helped so much with escape from New York. I think that was all John Carpenter score.

[00:03:51] But he came back in Alan Horwath helped out with the escape from LA with additional music from Shirley Walker.

[00:03:58] And I'm listening I'm watching the movie listen to the score from that and I'm like, I don't know what you added to this.

[00:04:04] Miss Walker I don't know what you did to make this thing is the answer guitars because we listen to escape from New York score. It's very minimalized with this rock soundtrack by Carpenter but yeah I mean there's other ones where it kind of stands out and I think that's

[00:04:18] this is it you know this was before everyone was checking everyone was just looking at your resume and hiring you on that.

[00:04:24] But yeah I know they he was just I have not listened to score for naped read because it just seemed like that's all Danny Elfman scores so it's really hard for me to tell, which is her stuff.

[00:04:35] And which is his stuff. Same thing with like Pacific Heights, because I'm going to the score for that one, and she did a digital musical Lee.

[00:04:43] Is that like maybe small is dental like not the main stores but maybe like the small ones transitions. Yeah, stuff like that.

[00:04:53] So basically, your best luck is definitely I mean the first score I where she got in my radar was the space above and beyond soundtrack that's just an epic Star Trek like score but what really got it made it for me was just all together it was possibly

[00:05:11] definitely the Batman cartoon show as well as Superman is just like lots of trumpets blaring and is like so it's pretty much at just the DC cartoon shows that's pretty much a bread and butter.

[00:05:24] And I like very much the score she's done for the animated series, as well as Batman master phantasm because she does take that initial Danny Elfman score that he had specifically for the first two Batman movies.

[00:05:40] The came out in 89 and I want to say 92 for Batman returns. And she definitely knows how to like copy that tip of style that Danny Elfman had, and is able to make that work for TV show because when you watch the Batman

[00:05:56] animated series. It feels like a continuation of the Tim Burton movies that were made. And the store really helps out with that. I think that Batman master phantasm is a really excellent Batman movie, you don't need to watch the TV show to watch to watch a

[00:06:16] good standalone movie. I still think Mark Hamill is probably one of my favorite jokers. Yeah, ever. I just I like the fact to that it's so much focus more on Batman and Bruce Wayne I think it's like probably like one of the best Batman movies and

[00:06:35] the Shirley Walker score really adds a lot to it. But I'll be honest with you every time I hear the theme song and stuff going on there I'm thinking Danny Elfman I know that she Walker will allow this for pieces, but her music sounds so much in tuned with

[00:06:50] Danny Elfman that she never kind of stands out on her own.

[00:06:55] It's alright. No, we're all about constructed like we did that a lot when we did the Trevor Raven and Mark Mancina special where we're like hey Raven might be not as well known, but he just stands out so much more with his percussion and guitar while

[00:07:09] Mancina kind of just got, you know, other than speed and Lion King kind of was mainly just the Hans Zimmer backup, you know, protege, you know, it's yeah, and that's kind of you can easily probably say that here too she just studied with Zimmer and Elfman and then kind of just went from there.

[00:07:29] And I do like that every time she does work with the composer. She does a great job of assimilating that score and that tone, and I can see why she just hired a lot because she does understand the job and rule for the director and the other composer to have things work in the

[00:07:52] confines of that particular movie. The way the soundtrack where I believe she actually had her own voice and is actually one of my favorites is Willard, the remake that came out with a Crispin Glover.

[00:08:07] Yeah, fair enough. So that was kind of her kick in the door she just, you know, ever since Space Above and Beyond she hung out with James Wong and some of the other lead X files guys on their own projects you know that's where you know final destination was you know, conceived

[00:08:24] you know they were using rejected scripts for X files and that became that whole franchise and Willard was the same deal where they were just saying hey let's remake one of our favorite horror movies from the 60s.

[00:08:36] Yes.

[00:08:38] And I still think I mean I have seen both versions of a Willard, and I think the way it would have been like a great star making vehicle for everyone involved in it did better at the box office.

[00:08:50] I felt bad that they were influenced by studio interference by making it change from an R rated film to a PG-13 because the voice did an R rated film. I don't think we've got as much backlash.

[00:09:02] Right, but then help that the original was made before you know just, you know, ratings were really a thing you either got a PG or an R.

[00:09:12] Yeah, and if this is totally what Willard's about, it's about this Willard, by Christian Glover.

[00:09:19] A bully kid getting back using Mother Nature basically to kill those who have wronged him.

[00:09:25] Yeah, yeah he's picked on a lot there. He adopts his pet rat and he trains other rats to do his bidding and attack people and it's great and Christian Glover is great.

[00:09:33] I love the story, but I love best about the score for Willard is the use of the accordion. Because for me the accordion is always like the sort of like the music of the outcast.

[00:09:43] Yeah, you know the, the nerd of life right there and I thought it was so great it's got this tight circus feel to it like the free show and I'm sure everyone kind of considers Willard to be a free show.

[00:09:55] I mean, Christian Glover himself is always considered to be kind of like a free show especially with his eccentric behavior, especially interviews with shows and if you ever listen to any of his songs.

[00:10:06] That's great. His cover of his.

[00:10:08] Yes, he did cover metal Jackson's Ben and it's absolutely great. The music video is even greater too. It's just freaking insane and I love it very much. It's one of my favorite things ever in the world.

[00:10:23] But the use of the accordion I'm pretty sure that should walk up composed the remake of Ben because it's got this accordion sound to it too and the same type of accordion is used throughout the score for Willard, and I thought it was absolutely just great and the use of it through almost the whole soundtrack was absolutely epic.

[00:10:41] I saw the behind the scenes. There was like a great, like two hour documentary about the making of Ben or about the making of Willard and all the problems that it went through with its studios heads and everything and interviews with James Wan and composer Shirley Walker.

[00:10:57] But it shows a sequence when they're composing the score for Willard and Shirley Walker has like about six or seven accordion players playing together with an orchestra and it's actually just died back in the DVD days.

[00:11:11] Oh yeah, oh yeah they had that. So you got like a two hour documentary about what went wrong with the movie and why it became a failure of the box office.

[00:11:20] It was kind of a fun thing too. Then they have the audio commentary from the directors and stars. Yeah, it was very cool.

[00:11:26] Maybe you really appreciate the movie even more and I love it when there is a documentary or a commentary track on a movie that failed because I'm more interested in that.

[00:11:36] I'm interested in knowing why a movie failed or what happened.

[00:11:39] One of the big complaints when some of these Walter Hill movies were getting on DVD and Blu-ray was people were like, I just want to listen to the commentary here are the guys take because sometimes you need to understand where they're coming from and know to understand the material better.

[00:11:52] It's just easier, especially if again like the damn, you know, film has just been so over marketed and it's only fair because it's not the same as script to scream at that point now it's just, it is what it is.

[00:12:12] Yeah.

[00:12:14] No, but like that when I thought that event. She did so she did a store for you know found this nation series or at least the though you said that he first three up.

[00:12:26] Alright, and the score was never officially release you could isolate the score on the first movie but the rest were just like there's a promo for movie to as well like a promo CD but it's again this is collector side stuff you would probably have to go through track not net or something

[00:12:44] like that or I think it's soundtrack net and even eBay to just find something like that that's like a promo thing that they give out a target or what have yours certainly event.

[00:12:58] Right.

[00:12:59] And I saw two even before she did the store for a different ballet. She did the store for memoirs of an invisible man with chibi chase and Joe Hannah.

[00:13:08] Interesting. So that started with carpenter thing so yeah the main thing I was seeing was the Tim Burton X Fuzz guys and even Charles band you know empire picture so it seems like she's been all over the map before she got into doing prime time show TV and cartoon shows.

[00:13:28] And I was just like she just kind of did everything but when I'm listening to like her stuff besides like, you know Batman and Mrs. Basin, the spawn is another great soundtrack to.

[00:13:42] And I remember very much that show. And but even the spawn one, you know, like in my 97, I still feel like she was time so kind of copying that Tim Burton style in a way.

[00:13:55] And I don't just thought the same thing to for Superman the enemy series that still copied a certain table.

[00:14:01] Yeah it's either what she was inspired by or she was getting notes from producers and used to sound like this, you know.

[00:14:08] Yeah, so it does make you wonder is like what's the real deal.

[00:14:15] Exactly. And yeah just from like listen to quick little clips of the foundation score. I know she can serve a scene very well but I don't know there's something about her work just seems like it's good.

[00:14:29] It serves a purpose, but it's never a score that I want to like buy the whole thing of and it's hard for a lot of first verse to because there is no just score for a different Malay.

[00:14:41] If they have the soundtrack with music from other bands that were in the movie like white zombie and stabbing westward and Tori Amos.

[00:14:49] But it may be like one or two tracks to the score but naturally a full score soundtrack and start to find especially for older movies and actual full score soundtrack.

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[00:16:14] We're back with a new show every week and almost always am I the winner. In the past we've discussed such matches as Captain America vs Darth Vader, Solid Snake vs the Iron Giant, Classic matchups like Robocop vs Terminator and even the Muppets vs Sesame Street.

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[00:16:41] Yeah, unless you rip it from the DVD Blu-ray itself.

[00:16:48] And the only company right now that's sort of like releasing original score soundtracks is Mondo Records.

[00:16:57] They do a damn good job.

[00:16:59] Oh yeah.

[00:17:00] Yeah, they just have so much the, it's like they got the actual back in tracks or the actual live tracks.

[00:17:09] It's like these Blu-ray companies, they have been knocking on the guys door saying what will it take? What do we need to pay?

[00:17:15] Yeah.

[00:17:15] It's a reality.

[00:17:17] And they do just a great job with that. So yeah I would be, if they actually did release a Blu-ray store I would probably get that.

[00:17:24] That's probably my favorite thing that she's done.

[00:17:28] I liked what she did very much for the Batman Master of the Phantasm.

[00:17:33] That's sort of what she was just finding. I'm very curious about Black Christmas because I've seen the 1974 original from Bob Clark and I like that.

[00:17:43] And people, I know a lot of my horror fans, I say that the one in 2006 was pretty good.

[00:17:49] It was actually a lot more graphic and much more disturbing, horror-wise.

[00:17:55] But they said that's a very good store.

[00:17:59] Yeah, so I will see that one out.

[00:18:02] It was kind of funny too because I know you mentioned that she did the Foundess Nation stuff like oh yeah it's okay.

[00:18:07] She did and those ones were kind of cool.

[00:18:09] I'm very curious to check out the DVD of this guy, Commentary Track, which I'm bringing about, which I love very much when Duretchi is a store.

[00:18:17] I like that too when DVDs have a score from composers.

[00:18:25] Yeah, it's kind of more common now than it was then.

[00:18:29] I mean the only store I can think of right now because I know they did this for, I believe it was the Matrix DVD.

[00:18:37] There is a commentary from Don Davis.

[00:18:42] The composer of that.

[00:18:44] And it's kind of cool too because it does feature not only his music, but also he comments on the songs used in the movie from other artists.

[00:18:53] Wow.

[00:18:54] So that was actually kind of a fascinating thing to see and I would love to have more composers do with that.

[00:19:00] I think that'd be kind of a cool thing.

[00:19:01] Yeah, the only one who I can think of who did that was Christopher Frank from Tangerine Dream as well as Christopher Young.

[00:19:09] They would merge two giant scores from two movies they did and every once in a while they would sneak in two additional movies, like two tracks from two other movies.

[00:19:23] Yeah.

[00:19:24] On there and it's like, and again, you know, just the market is very crazy. Don't ever buy these on Amazon or you will go broke.

[00:19:33] Yes, yes.

[00:19:34] Oh yeah.

[00:19:35] I try my best to listen to them on iTunes but sometimes it's still not even the full score.

[00:19:39] It's the generic, you know, what got released or it just doesn't sound as epic as the remaster.

[00:19:44] So yeah.

[00:19:45] Or it's always done by some other, other like band or other, it's the same composer but it's orchestrated by someone else.

[00:19:55] It's not quite the same. It's a different version of it. Not quite the one you heard in the movie itself is like a different alteration of it.

[00:20:04] And that could be kind of a difficult to get to because they connect it.

[00:20:09] They don't have the resources to find the actual copy of the original be your score. Yeah.

[00:20:18] Oh, I mean, did you have like a favorite. I mentioned my favorite score from Ashley Walker is will definitely space above and beyond like that.

[00:20:27] That goes beyond just the typical Star Trek, you know, or Babylon five type of score and really just what has a lot of intense claustrophobic kind of moments, let alone just kind of like a typical kind of people prepping at a Navy Academy mixing it in with a sci-fi kind of fill.

[00:20:47] So I do order for a lot of those because that's not easy. And, you know, it's especially not a walk in the park because there's just so much.

[00:20:57] There's so many other times where I mean, these people who we've been comparing them to, you know, have had plenty of scores where it's like you listen and you're like, Well, I mean, that's cool but it just doesn't fit this movie for whatever reason.

[00:21:13] Yeah, I mean was there something like no kind of a because you mentioned that it's not like your typical sci-fi store but yeah, like a lot of things where they're trapped in space or trying to.

[00:21:28] pilot around and it's a cop it's just complimenting all the just the speeches that the actors are giving or the sweat induced, you know moments on their faces so it's.

[00:21:39] It is a pretty standout score, I think that compliments what's on screen and it's very epic to listen to itself.

[00:21:46] Alright.

[00:21:48] Well, for this is out there I was doing some look of a show Walker she's born in Napa, California on April 10, 1945.

[00:21:56] She was a piano solist with a San Francisco Symphony during high school and their attendant seven sisters to university on the piano scholarship.

[00:22:04] Her film career actually began in 1879 when she was hired to play the synthesizers on Carmine's topless store for a part of it now.

[00:22:15] And she became one of the first female composers to earn a solo store credits on a major Hollywood picture for John Carpenter's memoirs of an invisible band.

[00:22:25] So that's kind of cool the first kind of female to do that.

[00:22:28] And she served as a board member from 86 to 94 and vice president from 88 to 92 for the society for the Society of composers and lyricists office become on behalf of composers and the work conditions up to this work of media.

[00:22:44] But yeah she did work with DC Universe like I mentioned before.

[00:22:50] She was when you think about it hard you know because like she's basically trying to make a living trying to overcome, you know, circumstances at that time and then, you know, trying to find her own voice and good honor for stick a stick with it because it's

[00:23:06] not an easy industry.

[00:23:08] No, it's like that.

[00:23:11] Given what we've been reading about the industry you know from the past and today you know so much of it is just, it has to sound the same but it can't sound the same if that makes sense.

[00:23:21] So you're again when you've got contradictions to work with.

[00:23:25] Where do you go.

[00:23:27] I'd like I just during the 79 Academy Awards during the in memoriam section.

[00:23:33] Her name was not mentioned, even though she's one of the very few female composers and she actually did help conduct Batman with Danny Elfman she was a conductor for both Scrooge and Batman, which I thought was really kind of cool.

[00:23:49] So she does.

[00:23:50] And this is kind of like with the cinematography you know we've gotten to issues with that. Like, what was it I think, what's his name.

[00:24:00] I think it's a very interesting name.

[00:24:03] Moro Fiori, you know who's worked with some of the best Peter Berg and even Michael Bay and Antoine Fuqua you know, movies like the equalizer and training day and he said, you know, when he won the Oscar for best cinematography on avatar is basically he was like thank

[00:24:21] you. And by the way, I don't deserve this space essentially. It's like, I did not do those stunning effects that you're seeing right there. You know, that was that was the computer animation team, but many noted just don't seem to understand that they just

[00:24:37] think, Oh, you did that all I'm like no I shot the green screen.

[00:24:41] Yeah, they did.

[00:24:42] That's all I did.

[00:24:44] That's absolutely all I did so it is cool to know see when you see someone just both acknowledging something and, you know, is like thank you but really, I don't deserve this, you know that's what else deserves this.

[00:24:59] And I helped, you know,

[00:25:03] you know, and I'm pretty sure with all the people that Ashley Walker collaborated with me that is pretty much a huge thing in and of itself.

[00:25:12] People like the industry, but they don't know what it's why it works it's kind of like when you see producers that a convention, you know, like you see in the 90s how they saw the success of movies like Independence Day or Terminator to, and then

[00:25:29] they're like every movie should look or sound like that Oh, screams a big hit. So we should make it look every horror slasher must be like that but oh, didn't you not realize that you know, Independence Day is a 50s movie but wasn't known for the good having any

[00:25:44] good story Terminator to you, you're paying attention to the effects but you're not copying what mainly makes it work which is the story, you know the score the art direction and same deal with

[00:25:55] the other one that had a bunch of issues is yeah scream is very satirical and so if you're just going to do it to death then you're ultimately going to become a mundane very bad slasher.

[00:26:08] That's why you have like urban legend or something like that.

[00:26:11] Yeah, what you did last summer and pretty soon. That's why we would see you know once everyone would do a mega hit, then they eventually just kept getting a script for a knock knock off that was never going to be as good.

[00:26:25] You can't work with shit.

[00:26:26] Yeah, 100%. Yeah, but that's the way that that's the way the market works you know you find the way the cooking trends.

[00:26:32] And you're just trying to keep going on from there.

[00:26:37] But yeah, no I was grateful to see for Ashley Walker that she actually, you know did do a lot of work with all this great filmmakers and it seemed like a lot of people like really kind of respected her work, which is very cool.

[00:26:53] Yeah, she didn't say she just kind of just kept burrowing out from whatever restriction was placed upon her.

[00:27:01] Yeah, and she just kind of just did her own thing and she said to be the type of person that doesn't seem to care so much about you know, awards, right people get you.

[00:27:12] She had work. It was her job. She had worked to do and she did the job to the best of her abilities and she's able to keep finding work and doing things and she kind of did her own stuff but she like collaborating with people.

[00:27:26] I think she was just a fan of, you know, working on business stores and doesn't matter if she's like just doing collaborative work.

[00:27:34] She's doing conduct in the work for Batman and how cool that is because we remember that Batman theme.

[00:27:40] Oh yeah very moody very iconic Batman theme. She helped conduct that. All right, and the conductor, it does play a big part, and how it's going to sound for the actual finished feature.

[00:27:52] And if you put like another conductor, what's all the same. Maybe but maybe not I think both her and Daniel.

[00:28:02] I'm pretty sure I think that her and Daniel had the same mind wavelength when it came to store in Batman. So when the Adam and Sirius came out. Well, Daniel is busy with other projects.

[00:28:13] The best thing to do is to get he was really in the man people forget about that there's some who kind of just tuned out or didn't put two and two together.

[00:28:22] It's like, this is the dude from Oingo Boi got. Yeah. And I don't want people to be like, well and maybe I made that same assumption that she's you know copy in the store from Daniel.

[00:28:31] No, she's not copy this course she's just taken that initial tone that's familiar for Batman and put her own, you know, things to it because she doesn't make that store her own.

[00:28:44] And yes, is she taking certainly tones and cues from Daniel.

[00:28:48] Men, most likely yes. I mean that's really the blueprint. That's like the main.

[00:28:54] Everything you know, yeah, but you know that they don't score for the first two Batman is just so iconic. So when they made it Batman and made series.

[00:29:02] That's what's people. That's what some people's heads is that music that they have been dead. So when Shirley Walker did the store for this now keep in mind folks that this is a series is not like just a tour movie.

[00:29:13] This is like, you know, 24 episodes a season. And you have like, you have to you know make music for each characters and I remember when she just stuff where the Joker, you know it has like this very much like the circus vibe it to it which I actually really

[00:29:29] love it. It's a big top sort of vibe and she puts that element to it and she just does a really great job of making each episode stand out on its own. And it's very kind of cool to watch yet it still feels like a continuation of those movies, which is perfect.

[00:29:49] And you don't want someone that's going to like take a score like I can't score from a movie, and then do something completely different with it. So I respect that very much what she's done for the world of film composing because she obviously loves music very much, and wants to just

[00:30:10] honor that original composer, but yet she wants to make her own, you know, contributed contributions to that.

[00:30:19] I think I may have the word there contributions that's not a word I'm sorry contributions. Okay I was about to say contributions.

[00:30:27] I'm making all new words here, contributions. Alright that's right. No pressure.

[00:30:32] I'll make no decisionary or Kjam I think I can do that.

[00:30:36] Do it.

[00:30:37] Do it.

[00:30:39] Oh man.

[00:30:41] And so yeah we've been over what stands out the most to us.

[00:30:47] It's a shame she died so young at like, a 61 and oh yeah.

[00:30:53] But at least she was still kind of just very heavily remembered and it wasn't just in, you know,

[00:31:01] a, you know, industry only thing I see. I'm seeing a lot of cool reviews about her and it seems like many remember fondly.

[00:31:10] And again, I definitely think those later TV show scores are definitely what is giving her the most attention right now. Yeah, you know, 100%.

[00:31:23] Yeah, and I like this before I will definitely want to make seek out some of those that we like I want to know her found store was that black Christmas remake.

[00:31:33] I'm very kind of curious about that and see what she does.

[00:31:37] I love the I love to, you know score for the will it remake.

[00:31:41] I thought that so much more that movie than the original with the Ernest Bordnein as the mean boss remember him in the original and forgot to Bruce Davidson played willard in the original.

[00:31:53] And I thought that the cast of our RR the army as they mean boss the remake and the Christmas Glover.

[00:32:02] I thought that was absolutely great their commentary on that just actually really kind of fun that's a lot of great. Yeah, I early is always a wacky guy.

[00:32:10] And I like I love because love but yeah that score for willard is still probably like my still favorite use of accordions. It's just so great because it's not something you normally hear any score and and that and that's one of the main focal points of that

[00:32:26] story is the accordion is like you're here in accordion and that yes, it sounds off and off putting, but yet it was so great to because the character willard is off and I'll put in is weird.

[00:32:40] It's a weird store.

[00:32:40] And so therefore the scores weird.

[00:32:43] Yeah, exactly. And I, I do like what she kind of did for the escape from LA, even though I know a lot of people hate that movie because it essentially is a remake of a different New York.

[00:32:55] That's that's what it's the same kind of plots over again.

[00:32:59] But it's just done that a higher budget, I guess you would say I'm not quite sure I mean it's annoying to I mean I'm kind of seeing this with some of the Star Trek stuff where people are complaining about

[00:33:11] serialized versus standalone and like guys it's literally all the same formulas. Yeah, just doing it going about it and same deal here it's the same formula but people are acting like oh it's a bigger budget I'm like this is big budget doesn't mean it sucks.

[00:33:23] Yeah, yeah, like, I kind of like you know some of the changes they put in there but yes Stephen York is a great dystopian movie and it's always started me in the classic, but I laid the bad cheesiness of Stephen Malay come on you got Bruce Campbell.

[00:33:37] All right, you got Pam Greer you got freaking Peter Fonda even in San Roe or so Michelle Forbes. Yes, very yes very well yeah you know it's got the serfing scenes and I thought that Peter Fonda yeah and the shamy serfing yeah it's crazy her music and that one basically kind of like you know ups the minimalistic

[00:33:58] electronic score that John Carpenter had and the first one and it makes it much more of a blockbuster type in a way but it's really not it's a very much like overdone score but I kind of like how cheesy this is a lot more cheesier it's got more of that rock soundtrack

[00:34:17] like we're afraid to get cheesy nowadays and seems like everybody has to have just like have it out and got a bitch slap each other.

[00:34:27] And they're like, it's not such a serious together one of these the other ones like this no very down and daughter this very down and dirty.

[00:34:35] You know, movie and I'm blatant my words right now, but the original is very much gritty and it has takes place in the this near future is very much for dark and the other ones is too silly and late that's that's stick plus skin and like I just, I don't know.

[00:34:52] I'm like, we'll ask with it. It's fine. I don't I do I do wish they would have made a bitch open low China movie. Instead, another bitch open low China movie instead of a skim from LA but still, I have both movies.

[00:35:04] I watch them back to back. I enjoy him. Nice.

[00:35:08] Nice.

[00:35:11] Oh, yes.

[00:35:12] I got another safe but this Walker.

[00:35:16] I'm so I'm just glad you picked this person you know because this was someone I knew the name but I just I hadn't an investigator work as much and so this was just cool to just go through her material and see why it appealed and this is what we kind of try to do we try to do all kinds of just

[00:35:32] just numerous films that and TV and music and video game material that everyone can just say you know that's one hell of a fun outing. Yeah.

[00:35:45] 100% Yeah.

[00:35:47] No.

[00:35:49] What do you have coming up on your shows.

[00:35:52] Oh, well, right now some recall, we are doing a lot of like horror themed episodes throughout the month of October so each episode you come on there while we're going to different horror topic or different or

[00:36:05] Yeah, I got my calendar mark for that day. So yeah, so that's where I know we just tough on horror tropes and some of our favorite horror movies and we're most likely to try to do a review of the new the monsters, as well as focus

[00:36:19] focus to and then other things I want to try to read article about the movie.

[00:36:25] The blonde and the backlash I got for Lakeland that movie. And so I'll do stuff with that tells from the double R which is a Twin Peets podcast I host with Ryan Louise Rodriguez of one track of mine, we're going to

[00:36:39] I didn't know you were on that.

[00:36:41] Wow.

[00:36:42] Yeah.

[00:36:43] I'm Ryan is a cool dude.

[00:36:44] Yeah, right. And I hosted a Twin Peets podcast over that coming but I didn't. Wow. Yeah, small world. Okay. Yeah, very cool. Yeah. So yeah, we do like every month over at wrap up

[00:36:55] whole podcast we're going through every episode of Twin Peets and we're setting it inside the double arc diner. And we're playing investigators investigating every episode.

[00:37:04] All the things of Twin Peets because love the show, and we're going to do each season.

[00:37:10] So yeah, so rabbit hole podcast calm. As far as cinema recall, cinema recall net is a website for that.

[00:37:18] Yeah, finance and all the social media apps you just tap into cinema recall we're there. We have an upcoming right now we have an interview with the lead actor from the stylist.

[00:37:29] Nezara Thompson.

[00:37:31] She's going to be on our upcoming episode.

[00:37:34] And then we have a local Minnesota author named Scott Burtness to talk about favorite world movies. So that'll be another show come up soon. That has to be fun.

[00:37:44] I just don't doubt it.

[00:37:46] Oh yeah.

[00:37:48] So very cool.

[00:37:50] Twin Peets is one hell of a fun show to go through and I got to go first, again myself, you know, I've just seen.

[00:37:58] It was always one of those you know it everything is due for rediscovery I think a lot of people just don't allow themselves.

[00:38:04] If you, I kind of wish we'd see less than toxic fan if you don't like what's out now. Watch a show you haven't seen that you meant to see years ago. Instead of, I'm going to just go back and rewatch, you know, only what I've already seen and then complain.

[00:38:18] This is like, we have so many people who deny themselves just fun.

[00:38:24] Yeah.

[00:38:25] And that's not get to a baby.

[00:38:28] If you laid something fine.

[00:38:30] If you don't listen, that's fine but don't go and attack someone for like, I don't ruin their enjoyment. Don't get in the way don't act like there isn't anything good out when you just got to look for it like instead of just waiting on a friend to, you know, say something that may or

[00:38:45] may not be helpful. I still am just seeking out just stuff that, you know, like has my taste like if you go to best taste net or something like that it'll just literally be looking for stuff based on keywords it a lot of people like this because it shares a lot of the same

[00:39:01] themes or cast and crew or material as this.

[00:39:06] Yeah. I don't mind if someone has like just leave it on stuff that I like or post right there that's great. You know, let's have a conversation about that.

[00:39:16] Don't post articles about something that has nothing to do with what we're talking about. Good.

[00:39:22] Okay, so you're part of the problem you're just contributing to.

[00:39:26] Yeah, I don't like when I, you know, do my thing about blonde and to I had so many people post articles saying that you know how Brad Pitt, you know, abused people and everything like that how he's a producer on this I'm like, I just like the movie I had nothing to say

[00:39:42] about Brad Pitt or any of his allegations are at him and Angelina Jolita I had. No, it's not what I'm here to talk about I just not what this is and yeah.

[00:39:53] There are other times where it just seems like people also just want to complain about something nonstop to where it's like, so what do you want to do. Do you want to file a lawsuit against this person who you've heard that shitted out do you have a personal connection to this.

[00:40:08] And will any kind of legal action be good and there's plenty of that too they're like, I just don't think anything will be good enough. And it's like well in that case we just don't have anything to talk about.

[00:40:17] Yeah, it's just one. I don't think anything good is going to come out of something the last thing I do is just hamper on it non nonstop that is the equivalent of beating a dead horse.

[00:40:30] Yeah, really does not bring anything to anybody and if there's I mean eventually a conversation has to come to an end if it just feels like an unpleasant forum bickering back and forth.

[00:40:42] That's a turn off so many times came I will actually tell someone I see your points, and especially point of view. And let us leave it as we just don't agree.

[00:40:54] And like, alright, thanks so much for commenting. And then they'll keep going with it.

[00:40:59] And they'll keep posting other things to my alright that's obviously yours been a troll and I'm done. I'm just no and some, I don't know some people want to just keep reposting and making sure you saw what they saw and I'm like, okay I'm going to kick you out of this group like I had.

[00:41:11] And I commented on one guy's post and he deleted the comment and it's like, okay.

[00:41:18] Oh, I said what I said, I'm sorry, it didn't appeal but it's going to leave it there and there's others who would probably just go to town and be like your sensory me and it's like no, no one's being censored.

[00:41:32] It's just.

[00:41:33] And then there's the other. Oh, why do you not agree with it? It's like, maybe I don't have to disagree. There's been plenty of topics we've been we brought other people on and I just said, hey, you know, sometimes I would give fair warning and I had others is like oh I want to hear a different

[00:41:51] perspective and there's others as they will get so freaked out into the whole your tech to me I'm like, okay, let's see.

[00:41:57] Let's not even. Okay, I know you're down.

[00:42:02] Because these people I mean no one is any lesser person for liking something or disliking something that I may or may not like I really don't see the point.

[00:42:13] The whole point is sometimes someone will even in the review positive or negative bring up another thing that is overlooked the whole thing is we are observers we there's no truth to observe other than

[00:42:26] just what we witnessed and what we just factor in. And I don't know it seems like many.

[00:42:34] I find that the ones who say I can respect different opinions or even the biggest ones like that's just a legit lie that they just put out there just as a

[00:42:45] what's it called just

[00:42:49] explanation or disclaimer but the disclaimer is empty because it actually does not mean anything it's just to so that no one has to hold whatever their responses accountable and I've even seen people block each other just because they're just liking stuff and do the

[00:43:03] then they would follow up with a text to me. Can you believe what he just I'm like, yes I can.

[00:43:09] He said before he does not like this kind of thing.

[00:43:11] Oh, he's a dick bag.

[00:43:13] Why is he a dick bag?

[00:43:16] Like sports bring but he doesn't like play run.

[00:43:19] Okay, well why does that make a difference.

[00:43:22] It doesn't make any difference.

[00:43:23] I don't.

[00:43:24] He likes some old school war movie and he hated more modern sci-fi adventure movie.

[00:43:31] It's okay.

[00:43:32] It's okay.

[00:43:32] But it's just like like what you like, you know, there are a lot of fans.

[00:43:40] I will go to get some cookies just so you can be okay because I'm a Blader fan.

[00:43:45] So I will tell him that you're okay.

[00:43:46] I like Blade Runner or versions you like.

[00:43:49] I don't know.

[00:43:49] I think the theatrical cut theatrical cut.

[00:43:51] No, you're not.

[00:43:53] How dare you lay it?

[00:43:54] No one lays the theatrical cut theatrical cut of Blade Runner.

[00:43:57] How dare you see that too.

[00:43:59] I don't know.

[00:43:59] I don't know.

[00:43:59] I will sometimes let people know by the way.

[00:44:04] That's actually, I love all versus the Blade Runner.

[00:44:07] I do not, I cannot pick a favorite, but it depends on my mood.

[00:44:10] Sometimes I want to hear a ranking of all the cuts of it.

[00:44:13] But yeah, it does get annoying when you just see just so many just.

[00:44:20] They just cannot let it go.

[00:44:22] And it's just like nothing is going to change anytime soon.

[00:44:24] So maybe we should just.

[00:44:28] Shift the conversation to something that is eventually going to end.

[00:44:32] Because it, I think all together.

[00:44:35] It's the internet.

[00:44:36] It never ends.

[00:44:37] It's just, it's one of those things is one of the bad things.

[00:44:40] It's great that the internet can bring a whole bunch of people

[00:44:42] together, which is a great thing.

[00:44:44] You know, it's great that it does think it allows the opportunity

[00:44:47] for you and I to talk.

[00:44:48] Like this and do shows.

[00:44:49] It's great.

[00:44:50] It's a great thing.

[00:44:51] It brings two meetings together very well.

[00:44:54] But you got to the bad.

[00:44:56] And the bad is all the toxicity that happens with it because if

[00:45:01] you go and bring people together, there's always people out there

[00:45:04] that are going to be like, well, I feel bitter and I feel low

[00:45:08] and I'm just going to shit on what you like and I'm just

[00:45:10] going to just be.

[00:45:11] But I mean, even the version nowadays with so many movies

[00:45:14] that were released with an on rated or extended, you know,

[00:45:17] TV or director's cut is like, I now even have to tell people now

[00:45:21] it's like whatever version you saw definitely determines your

[00:45:25] interpretation.

[00:45:26] You know, like we're never going to get a definitive version of

[00:45:28] Michael Manj the keep, but you can watch a different version

[00:45:30] of Heaven's Gate or even Waterworld.

[00:45:34] Oh yeah, this right.

[00:45:35] Oh, I had everyone who I've introduced to the on cut

[00:45:39] version Johnny Mott has generally liked it,

[00:45:41] but I know so many others who only saw the theatrical to

[00:45:44] them, they will never rewatch that movie because it was so such

[00:45:48] an awful version.

[00:45:48] But for me when I saw it, I was kind of just man, I'm like

[00:45:51] this looks like a bad episode of Star Trek or Babylon 5 with

[00:45:56] some Blade Runner tech, but there's clearly a good movie in

[00:45:58] there somewhere.

[00:45:59] I don't think he would have done the Matrix without it.

[00:46:01] I see the on cut version.

[00:46:03] Oh, it makes so much better sense.

[00:46:04] Does it now say I actually like the theatrical cut of Johnny

[00:46:07] Mononik.

[00:46:08] I do.

[00:46:08] I find to be kind of a fun.

[00:46:10] It was intriguing.

[00:46:10] I just felt like the acting was hammy and the plot didn't make

[00:46:15] any sense to me.

[00:46:15] And here I watch it.

[00:46:16] There's a narration.

[00:46:18] There's a different score.

[00:46:20] There's a different.

[00:46:21] I'm so.

[00:46:22] And I will give you a digital copy if you want, just give

[00:46:25] me your email.

[00:46:27] Oh hell yes.

[00:46:28] I would love that.

[00:46:29] I got the Blu-ray version of it so I could even see it.

[00:46:32] And I was defying even more.

[00:46:33] It said the 2020 the year has been plagued.

[00:46:37] So this totally predicted COVID.

[00:46:40] Yes.

[00:46:41] Oh, is that the black and white cut that I've heard about?

[00:46:44] Is that the.

[00:46:44] That doesn't come out yet, but I'm going to find that interesting

[00:46:48] because that's going to definitely give it kind of an iron

[00:46:50] flux kind of.

[00:46:52] Is that going to be the director?

[00:46:53] Is that going to be the, you know, the new version,

[00:46:56] the black and white cut?

[00:46:57] Is that going to be the.

[00:46:58] I think so.

[00:46:58] And because the director really did.

[00:47:00] He was done documentaries and music videos.

[00:47:02] He actually did want to do it in that way,

[00:47:04] but the on cut version was just cool because that's where

[00:47:07] everyone in Germany and Japan basically saw it.

[00:47:10] You actually knew what you actually knew why talk to you.

[00:47:12] Katana and Delph Lundgren's predicament was instead of just

[00:47:15] coming out of nowhere with a weapon trying to kill.

[00:47:19] Oh, that's fun.

[00:47:20] Okay.

[00:47:21] I'm very intrigued by that.

[00:47:23] I had no idea that that she made another version of that was

[00:47:25] this cool.

[00:47:26] Can I actually like it very much?

[00:47:28] And that's great to have it all as different cuts.

[00:47:30] Like I saw the.

[00:47:31] And there's some other movies people were doing that with

[00:47:33] even the Snyder cut.

[00:47:34] They were like, I hate it so much.

[00:47:36] Fuck it.

[00:47:36] It's like, I mean, my sister, we made time for it and we finished

[00:47:40] it over two days.

[00:47:40] I was like, totally different movie.

[00:47:42] And then what's funny is afterwards is like,

[00:47:43] I still want to kind of blend this from the theatrical versus

[00:47:45] the directors.

[00:47:46] I'm like, I, this isn't as good as you're going to get.

[00:47:49] It's too different.

[00:47:50] You can like both or you can like one or the other.

[00:47:51] But what you've got,

[00:47:53] you should watch a different version of a movie instead of

[00:47:55] just acting like it is beyond repair or you can,

[00:47:58] they cannot be good.

[00:47:59] They cannot be improved upon.

[00:48:01] No. Yeah.

[00:48:02] That's that is kind of bull.

[00:48:04] I agree.

[00:48:05] There's even extended versions of certain TV shows.

[00:48:08] Like right now the Highlander TV shows getting a remaster

[00:48:10] and it's the uncut French version.

[00:48:12] Really? Oh, damn.

[00:48:14] So you're going to see.

[00:48:14] Well, shit.

[00:48:15] Tits and ass.

[00:48:16] I love it.

[00:48:17] Tits and ass.

[00:48:18] Now it's only daily.

[00:48:19] It's extended versions of.

[00:48:22] Heartache to Hawaii.

[00:48:24] Oh,

[00:48:25] that's all the anti-Satiric movies to bring them back on

[00:48:28] Blu-ray and 4k.

[00:48:31] Nice.

[00:48:32] Return to Savage Beach.

[00:48:33] The Far-Wore Cuts by Suki Tari.

[00:48:36] Cool.

[00:48:37] Or bring out trauma movies,

[00:48:38] but it has trauma movies being 4k with the special extended

[00:48:41] versions of the Tusk adventure.

[00:48:43] And now it looks even worse because it can't.

[00:48:45] It wasn't made.

[00:48:45] Yes.

[00:48:46] Which adds to the fun and hilarity of it.

[00:48:49] Yeah.

[00:48:50] I don't know.

[00:48:50] Everyone needs to just have fun with pop culture.

[00:48:53] I mean,

[00:48:53] there's some people who would like deliberately will send a bad

[00:48:57] movie that they think someone will hate for their

[00:48:59] Patreon and like, you know, I'm not,

[00:49:01] I'm not,

[00:49:01] I'm not here to destroy something.

[00:49:03] Yes. Sometimes we might record an angry reaction or negative

[00:49:07] review, but ultimately one,

[00:49:09] I'd tell everyone a little bit about the thing and why there's

[00:49:11] a big divide or difference of opinion on it.

[00:49:15] Probably, you know.

[00:49:16] Yeah.

[00:49:17] Exactly.

[00:49:18] Why is it very by audience so much?

[00:49:21] Why is it too weird for a mainstream audience?

[00:49:24] Why is it?

[00:49:26] So bad.

[00:49:26] It's good, you know, trashy fun.

[00:49:30] A lot of times of this, but it happens like the year,

[00:49:33] you know, depends on what's going on in pop culture at

[00:49:36] the time too. I mean, I think right now people are,

[00:49:39] people have a lot more celebration of the whole so bad.

[00:49:43] It's good.

[00:49:44] But I've seen some of those that are claiming to be so bad

[00:49:47] that they're good, but they try to be just even movies that

[00:49:49] are my audience, you won't get a consistent take on Evil Dead.

[00:49:52] You'll just see people say, Oh, I love it.

[00:49:55] And if you want to actually know their opinion,

[00:49:56] you got to actually kind of wait a while.

[00:49:58] I was like, I legit love it.

[00:49:59] I am freaked out by it or I think it's trashy fun or I think

[00:50:02] it's so awful, but I got to know more about it or I

[00:50:05] didn't like it, but it's just a comedy guys with Gore.

[00:50:10] Yeah.

[00:50:10] I mean, some people are kind of terrified by it.

[00:50:12] Some people think it is a complete.

[00:50:13] Japan.

[00:50:14] Yeah.

[00:50:15] An amazing rumor to be inspired.

[00:50:17] Oh, I bet.

[00:50:18] Oh, 100%.

[00:50:19] Yeah.

[00:50:20] They got to be out there somewhere.

[00:50:22] Oh, I love it, man.

[00:50:25] I can do it with anything.

[00:50:28] So, uh, I'll conclude it here.

[00:50:31] I think I heard so much.

[00:51:00] Yeah.