Monkeybone 25th Anniversary Review with Anastasia Elfman

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[SPEAKER_02]: And, hello, I'm Ruby Liner, some of the cool shows.

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[SPEAKER_02]: It's not actually my very good friend anesthesia.

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[SPEAKER_02]: I often would mean we're here to break down monkey bone.

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[SPEAKER_02]: This is the cult classic that made you wonder, why do they decide to go with Chris Kintane and not Brandon Fraser for the Ruby trimmer?

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[SPEAKER_02]: But let's go ahead and let's break this down.

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[SPEAKER_02]: I'm excited to have the anesthesia back again.

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[SPEAKER_02]: And let's go ahead and do this, guys.

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[SPEAKER_02]: and welcome back to the studio.

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[SPEAKER_03]: Oh, thanks for having me back.

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[SPEAKER_03]: Help fun.

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[SPEAKER_02]: You're very welcome.

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[SPEAKER_02]: It's good to have you back.

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[SPEAKER_02]: And I noticed while I was doing the intro, they were holding up some mickey bone stuff.

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[SPEAKER_02]: So I want to see what you have.

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[SPEAKER_03]: Yes.

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[SPEAKER_03]: I've got the DVDs.

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[SPEAKER_03]: I've got, I mean, it doesn't fit drip.

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[SPEAKER_03]: Japan when I haven't opened it.

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[SPEAKER_03]: But I've had it for a while.

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[SPEAKER_03]: And then this one.

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[SPEAKER_03]: is, you know, just the regular U.S. one, but it has a fun, um, I don't know if you've ever seen the, oh no, I left it in my, my tweet.

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[SPEAKER_00]: It's okay.

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[SPEAKER_03]: I was just watching it just to prep for this.

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[SPEAKER_03]: So, uh, we're going to have to do like a little commercial break at some point.

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[SPEAKER_03]: I want to have to go get it because it's like as a

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[SPEAKER_03]: We have this guy.

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[SPEAKER_03]: Oh, it's getting the glare for my lights.

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[SPEAKER_03]: It's like you.

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[SPEAKER_02]: I like the cover for it It's good.

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[SPEAKER_02]: It's just glare cover to it.

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[SPEAKER_02]: I really like it.

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[SPEAKER_03]: Yeah, then we've got bridge it over here Got nutty monkey bone.

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[SPEAKER_03]: We've got death herself.

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[SPEAKER_03]: I think

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[SPEAKER_03]: So yeah, and then this one's fun.

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[SPEAKER_03]: Okay, so the Japanese one, so bridge it.

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[SPEAKER_03]: So my sister-in-law is Bridger Fonda as, you know, she was cleaning out some stuff.

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[SPEAKER_03]: And she found this proper, here, that's in downtown.

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[SPEAKER_03]: It's like kind of featured down there and she came in to me.

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[SPEAKER_03]: So I have that.

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[SPEAKER_03]: Yeah, so I'm keeping it safe.

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[SPEAKER_03]: And yeah, so I just noticed that it was on the cover.

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[SPEAKER_02]: Okay.

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[SPEAKER_02]: You see, I actually haven't written this from YouTube for like four bucks because I wanted them to do a four cave release of this movie.

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[SPEAKER_02]: Cause they'll hate you.

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[SPEAKER_03]: Yeah, and I want to get into that because I want to see that happen, too.

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[SPEAKER_03]: I swear, you're just like a business man.

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[SPEAKER_03]: I didn't jump ahead too much.

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[SPEAKER_02]: Right.

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[SPEAKER_02]: I'm just telling you about how I feel about it.

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[SPEAKER_02]: I want to have it on physical media.

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[SPEAKER_02]: Because I have another thing, too, is I want to get into it in a few minutes, too.

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[SPEAKER_02]: But this has cool world vibes.

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[SPEAKER_02]: and I actually own cool world on Blu-ray, but I would like to actually have this as far as this being in my physical media collection as well because I love this movie, I really do.

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[SPEAKER_03]: It's such a great film, right?

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[SPEAKER_03]: I mean, it's totally, we can get into this later, but it's such a masterpiece, a misunderstood masterpiece.

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[SPEAKER_03]: Because when I came out, there was so much like people didn't understand it, you know, the studio didn't really support it, there was not much advertising done and what little there was.

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[SPEAKER_03]: It was a little confusing to what who the audience was.

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[SPEAKER_03]: And so I think that kind of left an odd taste in, you know, the audiences mouth and also like critics weren't that nice to it.

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[SPEAKER_03]: But I think that if you watch this as like a first time viewer, I feel like this film could totally blow any big budget film out of the water today, you know, it has such a craftsmanship, it has such attention to detail, such artistry, so much, um,

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[SPEAKER_03]: you know, but the set motion and the practical effects and the makeup and the costuming and the insane set design, all of that just like so above and beyond anything that we're seeing in theater right now, I feel like, right?

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[SPEAKER_02]: I agree because we talked about practical effects versus teaching eye effects a bunch of times on here.

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[SPEAKER_02]: but I just love the fact that you can actually go to a set and physically touch it, walk on it and be able to feel like that you're actually in debts doorway or if you feel like you're in that dream sequence as well.

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[SPEAKER_02]: So I really like that.

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[SPEAKER_02]: I also like the look of downtown steel.

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[SPEAKER_02]: I still love that stuff.

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[SPEAKER_02]: Um, but, you know, I really, I still have to say I enjoy this from for what it is, I still have fun with it.

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[SPEAKER_02]: Um, I've watched it twice since I rented it.

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[SPEAKER_02]: I also used to watch this all the time on Direct TV, but I've heard people rush stuff on satellite.

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[SPEAKER_02]: So it still holds up in my part of my heart.

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[SPEAKER_02]: But my question is this, how did you come across my key bone and what, what did you, how do you feel about it nostalgicly?

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[SPEAKER_03]: Well, I mean, obviously, I love it through the nostalgia.

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[SPEAKER_03]: I love, you know, I mean, it's an interesting film, right?

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[SPEAKER_03]: Because it's not like the classic, I mean, I wouldn't say it's locking three X structure, but there's a lot happening and expecting the viewer to know certain things that we later kind of find out in like exposition, you know, like the talking,

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[SPEAKER_03]: how her and a stew Brendan Frazier's character, how they met and, you know, at the sleep clinic and stuff.

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[SPEAKER_03]: Like things kind of like, I mean, the first, I feel like we get 10 minutes in and we're early into downtown, right?

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[SPEAKER_03]: Like, so fast.

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[SPEAKER_03]: But so anyways, I love it.

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[SPEAKER_03]: It's a fast

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[SPEAKER_03]: And you have to pay attention, and when did I see it?

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[SPEAKER_03]: I mean, I saw it in theater, so yeah.

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[SPEAKER_03]: And then I, you know, I don't know.

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[SPEAKER_03]: I mean, I have the physical copies, but I don't remember how I got them.

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[SPEAKER_02]: So, that's always a plus.

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[SPEAKER_02]: I had a 10, how do you feel about it?

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[SPEAKER_02]: Like is it like a nine or a 10?

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[SPEAKER_03]: It's like a thousand and it's a million and it's so great.

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[SPEAKER_03]: Well, also because I really love like underdog projects.

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[SPEAKER_03]: You know what I mean?

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[SPEAKER_03]: Like where they're like set up to fail in a way.

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[SPEAKER_03]: But then they come up and have this like whole underground fan base.

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[SPEAKER_03]: You know, like you and I.

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[SPEAKER_01]: right exactly.

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[SPEAKER_03]: I feel like at this point I'm like the monkey bone historian.

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[SPEAKER_03]: I've done so many different interviews like just trying to rally and get some love for monkey bone which ironically I don't love the character monkey bone that much.

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[SPEAKER_03]: I like Chris I like I like the Brendan Fraser version of monkey bone, you know like the little monkey bone character is like kind of a

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[SPEAKER_02]: agency for me, I've actually, the thing that always draws me into movies like this is like a creator that reminds of dying because of his work, ultimately kills him, look at cool world, for example.

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[SPEAKER_02]: Like ultimately, the cartoonist ones I'm getting into that world of cool world because Dali wants to go into the real world.

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[SPEAKER_02]: And there was just something about the draw of downtown.

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[SPEAKER_02]: The this gothic kind of feel to it that really draws me which is why I'm addicted to Danny's music and stuff and also Tim Burton stuff is because of the gothic look and the realistic look of what I would actually be what death would look like to us as an audience.

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[SPEAKER_02]: And that's where it really draws me into this is like this is a creator that winds up accidentally dying because of his own work and he winds up going into being into downtown going into the gates of hell basically to try and get

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[SPEAKER_03]: Yeah, yeah, I will, I guess in the film, it's kind of like stew and, uh, you know, Dr. girlfriend, Bridget's character.

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[SPEAKER_03]: So they have a little like her accident and then hands up in a coma and you get that beautiful sequence of him dipping down into, you know, downtown in a way and with the, um, the sheets going down, do you remember that part and with the animation

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[SPEAKER_03]: yeah he goes into like the roller coaster thing and yeah it's like it's almost like I don't think he technically dies it's a coma and it's almost like it's a limbo and it's like the hand that catches you between you know life and death so you're just kind of like

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[SPEAKER_02]: Right, and that's what drew me in there because they basically when me watching it do because of the fact I see in the trailer first when I was a kid Then watching it still as a kid as a teenager And realizing, okay, this is a call my not someone that actually died but from the way they were pitching it if pitched like it was supposed to be him dead And now Mikey bones in this particular with him and stuff like that.

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[SPEAKER_02]: So that's what I got from the trailer as a teenager

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[SPEAKER_02]: The watching it is a totally different perspective.

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[SPEAKER_03]: Yeah, did you end up seeing the trailer on like cartoon network?

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[SPEAKER_03]: No, you know the history about that.

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[SPEAKER_03]: About how they like did trailers for this and I believe it was cartoon network and like some group like moms against fun or something like that like some mom group wrote into the network complaining about the the monkey bone trailer and so they ended up coming up with adult swim.

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[SPEAKER_03]: So isn't that cold like how it's like that?

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[SPEAKER_02]: Oh wow, so that's what created adults was because of monkey bone.

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[SPEAKER_03]: Yeah.

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[SPEAKER_02]: They went from monkey bone, we wouldn't even have adults one.

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[SPEAKER_03]: Yeah.

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[SPEAKER_03]: So like you need to have like more adult content, you know, that's still like goony and wacky, which is like totally, I guess us, right?

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[SPEAKER_03]: We love it.

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[SPEAKER_03]: Exactly.

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[SPEAKER_03]: We think so.

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[SPEAKER_02]: I could definitely see that.

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[SPEAKER_02]: But yeah, for me, necessarily, I have to go at least at 9.9 or 10 for me, necessarily.

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[SPEAKER_02]: Because of the fact that I just love this movie, I love Brennan Frazier.

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[SPEAKER_02]: I love this movie to death.

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[SPEAKER_02]: So with that, let's go ahead.

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[SPEAKER_02]: Let's dissect this thing, see my scene.

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[SPEAKER_02]: So.

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[SPEAKER_02]: Welcome back to movie loves night.

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[SPEAKER_02]: The podcast will be explored that the films that shaped our love love for cinema The bold ones the creative ones.

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[SPEAKER_02]: They have forgotten forgettable ones and then there's monkey bone A movie we're brain and phasier plays a cartoonist who dies goes to a nightmare realm It's his body stolen by his warning cartoon monkey Yes, this is a real movie This was released in theaters people paid money for this and somehow it exists

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[SPEAKER_02]: is it misunderstood genius early 2000 chaos or proof that nobody was supervising Hollywood at this time.

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[SPEAKER_02]: Tonight we find out, so prepare yourself for a nightmare fuel, cartoon possession, and Brandon Frazier, fighting his fighting for his own body.

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[SPEAKER_02]: This is movie Love Machine Night.

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[SPEAKER_02]: and we are here to break this thing down soon by seeing.

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[SPEAKER_02]: So, do Miley is a delusionalist cartoonist whose comic strip features a classical monkey name monkey bone.

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[SPEAKER_02]: Stu is in love with a sleepinist to work a name Dr. Julie McNeckleroy, who helped him deal with his terrible nightmares by changing his drawing hand.

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[SPEAKER_02]: When I do crashes his car on a bunch of tubes after accidentally activating an inflatable monkey bone,

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[SPEAKER_02]: and slips into a coma.

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[SPEAKER_02]: So like you said, right off the bat, this movie is fast-paced, right?

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[SPEAKER_02]: Because it's because at first I'm like, okay, it's going to take us a while to get to the coma and stuff like that.

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[SPEAKER_02]: Because in my mind, as a teenager, I'm thinking, uh, I totally remember it differently.

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[SPEAKER_02]: You know, I forgot about the fact that the opening scene where we actually see them watching the cartoon of Mucky Bone and it's like as an audience who's watching this footage as they are and we're actually just that much excited force to be able to present this to the audience and loving Mucky Bone and then there's also the other process of advertising the PR stuff

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[SPEAKER_02]: I'll probably say you're not overboard, but just the whole type of anxiety of being successful in meaning that you actually have to promote stuff.

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[SPEAKER_02]: You have to actually have toy line going and have money coming in besides just the show.

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[SPEAKER_02]: And I like how Stu is like, look, I'm not about that.

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[SPEAKER_02]: I just wanna go ahead and show my cartoons for people that loves this.

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[SPEAKER_02]: and lived my life.

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[SPEAKER_02]: And that's what I get out of.

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[SPEAKER_02]: He's not among money hungry person.

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[SPEAKER_02]: He cares about people.

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[SPEAKER_02]: He's very humble.

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[SPEAKER_02]: And he doesn't care about this twirline stuff.

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[SPEAKER_02]: But that's what ultimately sent him into that coma, was because of his friend who went to the print and inflatable monkey in the back of the trunk of his car that he didn't want to begin with.

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[SPEAKER_02]: And that's what the thing that he doesn't want is actually the thing that puts him into a coma.

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[SPEAKER_03]: Yes, I mean, okay, so that's so much, and again, that's like five minutes into the film, but yeah, so I mean, just starting off with the beginning credits, we see we don't know who it is, but

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[SPEAKER_03]: it's supposed to be stew and he's drawing what we find out later is a banner to help propose to his girlfriend, Dr. Julie.

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[SPEAKER_03]: And so we see that he's drawing with his left hand right and so you find out later like what you said that she had him switch hands, which is a kind of

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[SPEAKER_03]: interesting call back to what happened actually in real life to Selik when he was looked like younger.

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[SPEAKER_03]: I forget if it was like he was sick or he hurt his hand and he had to switch hands, it changed his art style.

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[SPEAKER_03]: And so he actually a fun little leg tidbit is that in that sequence in the film, that's actually Henry Selik's hand

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[SPEAKER_03]: So yeah, um, where are we going to the that animated cartoon, which is like so launching and wild and kind of weird like, you know, because it's like supposed to be a young kid.

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[SPEAKER_03]: I don't know.

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[SPEAKER_03]: It's like vibing a little awkward, right?

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[SPEAKER_03]: It kind of sets the tone of like what kind of humor we're going to get throughout the film right it's kind of like juvenile it's kind of like you know silly Billy stuff and then we come out and it's a screening room and everybody's kind of there and

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[SPEAKER_03]: Stu's manager is, you know, like giving the speech about how they've, you know, been greenlit for like six episodes or something.

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[SPEAKER_03]: And I guess, apparently, that this series was like a comic, maybe like a comic strip in a newspaper or something.

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[SPEAKER_03]: So this is his first kind of like,

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[SPEAKER_03]: claim to fame, you know, for stew, right?

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[SPEAKER_02]: Because those basically underground still.

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[SPEAKER_03]: Yeah, yeah.

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[SPEAKER_03]: And then I guess also it's kind of a tale about like artists selling out, because right there when this film comes out, it's kind of like the switch.

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[SPEAKER_03]: It feels like we're, you know, artists aren't really coveting too much.

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[SPEAKER_03]: They're trying to sell out and sell themselves and, you know, just get

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[SPEAKER_03]: you know like market all of their art where it seems like Brendan Fraser's character wants to like kind of be more mysterious, you know?

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[SPEAKER_02]: Right, he's more of the fact of like, look, I don't want to make money off of this off of the merch off of people.

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[SPEAKER_02]: I just want people to make, I just want to make money off of the cartoon, which I'm normally when I'm famous for.

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[SPEAKER_02]: Not something for a toy line or anything like

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[SPEAKER_03]: Yeah, they're definitely shoving this all down his throat.

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[SPEAKER_03]: They're trying to get him to green light, not green light, but like approve everything so that they can go and go to the factory and start printing out and making these like monkey bone dolls, which I want one of those.

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[SPEAKER_03]: Yeah.

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[SPEAKER_03]: And then just before we move on, also what's kind of interesting, we find out later, we get to see stews artwork before he switched hands when he was having those nightmares.

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[SPEAKER_03]: And it's so killer.

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[SPEAKER_03]: It's like, woe the compared to like the cartoon series.

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[SPEAKER_03]: But it feels like it's woe the to be in a museum.

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[SPEAKER_03]: It's so great.

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[SPEAKER_02]: And so I'm like, oil painting,

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[SPEAKER_02]: Yeah, they were too it.

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[SPEAKER_02]: They would probably see hanging up in Tim Burton's house or something for example.

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[SPEAKER_03]: Exactly.

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[SPEAKER_03]: Well, I think the artist Mark Ryanland I right in I think I was mixing up the actor and the artist so he's yeah, he's like huge famous painter and so he He did the those paintings for and then we'll later see I mean I'm assuming that anybody watching this

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[SPEAKER_03]: You know, spoilers I had were to deny it, but this movie is 24 years old.

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[SPEAKER_03]: So, I think 25, which is kind of like the anniversary episode, let's say, right?

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[SPEAKER_02]: Right, exactly.

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[SPEAKER_02]: This is the anniversary episode.

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[SPEAKER_02]: And if you guys haven't seen it, I recommend that you guys go on ahead, either get a physical copy, like any stage or has or go on YouTube and run it for like four bucks.

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[SPEAKER_02]: And it's a fun watch.

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[SPEAKER_03]: It's available everywhere.

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[SPEAKER_03]: I thought I actually like rented it before from like prime.

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[SPEAKER_03]: I think it's also on like Apple TV.

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[SPEAKER_03]: It's really everywhere, which is great.

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[SPEAKER_03]: But we do need a new physical like release copy.

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[SPEAKER_03]: We need a 4K.

18:24.664 --> 18:26.065
[SPEAKER_03]: We'll dive into this stuff later.

18:26.085 --> 18:31.431
[SPEAKER_03]: But there's like 30 minutes of footage that, you know, will be great to see.

18:31.471 --> 18:35.055
[SPEAKER_03]: There's an extended, we need like a director's cut of this.

18:35.135 --> 18:39.319
[SPEAKER_03]: So I'm always working for like justice for monkey bone.

18:39.299 --> 18:44.728
[SPEAKER_02]: I think Aaron needs to release this in 4K and give us a bunch of buttons.

18:45.489 --> 18:52.159
[SPEAKER_03]: I mean, is this still like a 20th century fox?

18:52.420 --> 18:57.107
[SPEAKER_02]: Yeah, fox is distributed by 20th century fox.

18:57.267 --> 19:04.699
[SPEAKER_03]: Yeah, they still own a they need to release it and make it and promote it and do screenings because we need, we need people to see this.

19:04.679 --> 19:13.152
[SPEAKER_02]: Because this movie is actually, if you're trying to go to film school and try to learn different techniques as far as a director goes.

19:13.232 --> 19:28.054
[SPEAKER_02]: If you have that unique flavor applying something different in your unique, even yourself more of a creative, like Kim Boon or any or any by like Sam Ramey for example, this movie would actually probably be a great

19:28.507 --> 19:30.049
[SPEAKER_03]: or a Henry Sandlick.

19:30.490 --> 19:32.512
[SPEAKER_03]: Yeah.

19:32.533 --> 19:33.093
[SPEAKER_02]: But yeah.

19:33.213 --> 19:39.642
[SPEAKER_02]: Then the way that it happens is when he gets into the coma is he flies up and flating the monkey bone on an accident.

19:39.682 --> 19:41.885
[SPEAKER_02]: He crashes in the back, back of his car.

19:42.406 --> 19:46.752
[SPEAKER_02]: And his head flies up slamming against the seat, locks him into a coma.

19:47.204 --> 19:50.548
[SPEAKER_02]: And then he runs up going down into downtown.

19:51.429 --> 19:56.675
[SPEAKER_02]: And his bird ends up in downtown and limbo like Carnival landscape populared by human beings.

19:57.136 --> 20:02.362
[SPEAKER_02]: The school creatures and fragments of people's imaginations where nightmares are entertainment and downtown.

20:02.462 --> 20:04.965
[SPEAKER_02]: Mucky Bone is real during that time.

20:05.346 --> 20:13.195
[SPEAKER_02]: She befriends a cat girl named Miss Kitty when students that his sister, Kimmy, is about to pull the plug on him.

20:13.175 --> 20:17.243
[SPEAKER_02]: Yes, hip-nose God of sleep for advice.

20:17.343 --> 20:29.246
[SPEAKER_02]: It knows how to do that, to get back in the living, he has to infiltrate the land of death to steal and exit past from death, which are given to coma victims by repeat.

20:29.266 --> 20:34.997
[SPEAKER_02]: Reapers given down permission to leave downtown and awaken from their coma.

20:35.467 --> 20:38.631
[SPEAKER_02]: So what I want to say is, I love the look of the roller coaster.

20:39.212 --> 20:59.500
[SPEAKER_02]: I like the fact that, you know, you get that, you go into this comma state, then all of a sudden you land inside a roller coaster, that takes you all the way down to downtown, and I like this idea of, like, everybody else we were on these commas, it's like in between the living and death, and they all have to wait the turn to see if they're going to get that exit pass.

21:00.307 --> 21:02.309
[SPEAKER_02]: And I like the look of it.

21:02.449 --> 21:03.090
[SPEAKER_02]: I still do.

21:03.170 --> 21:06.714
[SPEAKER_02]: I like how the creepiness of it, especially when Stu is just getting there.

21:07.175 --> 21:13.422
[SPEAKER_02]: It's not used to any of these characters is what I want to say of how they look or anything like that.

21:14.603 --> 21:22.872
[SPEAKER_03]: Yeah, well, it's a wild, it's a wild scene down there in downtown, but so yeah, so he.

21:23.577 --> 21:51.964
[SPEAKER_03]: Okay, so like with the car accident, there was a extended there there's like deleted scenes where originally and that's like kind of a running theme through this film I feel like there are scenes that I feel were cut but also they were kind of crucial to the plot and I feel like, you know, they included some stuff that I don't know if it was necessary all the way, but um,

21:51.944 --> 22:06.090
[SPEAKER_03]: But at least with accident, there was a deleted scene where he gets, they both, you know, his girlfriend and himself, they get out of the car and then a light poll comes and hits him on the head.

22:06.571 --> 22:09.396
[SPEAKER_03]: So that kind of makes more sense because it's kind of like,

22:09.376 --> 22:12.782
[SPEAKER_03]: you know, like how did he get hurt and then she she's totally fine.

22:12.822 --> 22:13.202
[SPEAKER_03]: I don't know.

22:13.323 --> 22:14.424
[SPEAKER_03]: It's whatever.

22:15.647 --> 22:17.650
[SPEAKER_03]: But so yeah, he goes downtown.

22:17.870 --> 22:20.014
[SPEAKER_03]: Yes, I love the roller coaster.

22:20.234 --> 22:22.999
[SPEAKER_03]: I wish that we actually had more of that.

22:23.259 --> 22:29.249
[SPEAKER_03]: Like I wish that was a little bit longer because I just love the look of that like like rickety roller coaster going down.

22:29.269 --> 22:35.620
[SPEAKER_03]: I thought it was so gorgeous and then just going down

22:35.600 --> 22:37.863
[SPEAKER_03]: that moment was so cool.

22:38.343 --> 22:44.991
[SPEAKER_03]: And then we, I guess when he pulls up, he sees his like emotional baggage, right?

22:45.111 --> 22:46.372
[SPEAKER_03]: And so he looks through that.

22:46.513 --> 22:58.907
[SPEAKER_03]: And the world in downtown is kind of a mix of his original art from even when he was a kid, because like in the emotional baggage, you can see that it's like

22:58.887 --> 23:07.918
[SPEAKER_03]: And it's that it seems to be also other people in a coma like what you said which is so random and then like it seems like it's like

23:08.624 --> 23:11.588
[SPEAKER_03]: riffs off of like mascots.

23:11.708 --> 23:22.903
[SPEAKER_03]: Like there's like a camel guy trying to bum cigarettes off of him, but it's not like the official camel, you know, like camel cigarette guy, I don't know.

23:23.303 --> 23:30.953
[SPEAKER_03]: And then there's like some big pig trying to like sell, like barbecue products or something, it's so weird.

23:31.053 --> 23:34.598
[SPEAKER_03]: And then also I think one of my favorite is,

23:34.578 --> 23:43.110
[SPEAKER_03]: are the the pigeons that have little heads on them, though I feel bad for the pigeons and I hope that they treated them right on set.

23:43.130 --> 23:47.657
[SPEAKER_03]: I keep on forgetting when I watch the credits to see if like no animals were harmed.

23:47.717 --> 24:00.916
[SPEAKER_03]: You know, like I need that little bit of validation to make that those moments okay for me, but the pigeons it seems so goofy, like to have like little faces on live pigeons.

24:00.976 --> 24:02.458
[SPEAKER_03]: Did you notice that at all?

24:02.675 --> 24:22.624
[SPEAKER_02]: Yeah, I did and I was wondering too about the same thing is like that's interesting that they actually play around with the pigeons and the way they look and I was also wondering like did they actually put them on their heads or what it seems like they did and I hope that the pigeons were okay with it and I hope that they treat I mean I assume that they treated them nice because like you know

24:23.279 --> 24:25.501
[SPEAKER_03]: who's going to hurt a little pigeon, but- Exactly.

24:25.621 --> 24:28.724
[SPEAKER_03]: You know, it was kind of, it was so goofy.

24:29.244 --> 24:34.990
[SPEAKER_03]: And then also there was that guy who might be the most frightening who, God, what is it?

24:35.030 --> 24:42.416
[SPEAKER_03]: He has like this huge head and it was like a stunt performer inside that suit and he was actually upside down.

24:42.476 --> 24:47.020
[SPEAKER_03]: So he was on his hands walking around with his legs up in that head.

24:47.060 --> 24:47.781
[SPEAKER_03]: Isn't that nuts?

24:48.402 --> 24:52.105
[SPEAKER_02]: That is nuts.

24:52.439 --> 24:56.867
[SPEAKER_03]: Yeah, yeah, it's one of the most terrifying like visuals in downtown.

24:56.907 --> 25:10.971
[SPEAKER_03]: I feel like and then also like, okay, so there's the Yeti and I believe that was played by Doug Jones, which is so cool to know, because I love him and his work, you know, like Pan's Labyrinth and then I do focus.

25:10.951 --> 25:19.303
[SPEAKER_03]: Um, and then yeah, and then we get into the bar and we've got what's your face Rose McGowan who is just stunning.

25:19.323 --> 25:20.284
[SPEAKER_03]: I love her.

25:20.385 --> 25:21.586
[SPEAKER_03]: I love her little dress.

25:21.706 --> 25:25.692
[SPEAKER_03]: I think I found what I wanted where for Halloween this year.

25:25.732 --> 25:27.134
[SPEAKER_02]: Miss Penny.

25:27.154 --> 25:27.635
[SPEAKER_02]: Miss Penny.

25:27.655 --> 25:28.336
[SPEAKER_02]: I love Miss Penny.

25:29.197 --> 25:30.018
[SPEAKER_03]: Isn't she gorgeous?

25:30.118 --> 25:30.559
[SPEAKER_03]: I love her.

25:30.659 --> 25:31.100
[SPEAKER_03]: I can't.

25:31.280 --> 25:32.622
[SPEAKER_03]: I'm more of her too.

25:32.939 --> 25:37.945
[SPEAKER_02]: That's what I, you know what though, as a teenager, I thought that she had more screen time than what she did.

25:37.985 --> 25:48.999
[SPEAKER_03]: It felt like she, I know every time I watch this, I forget about crucial subplots, and then I forget that she's not in it for that long, but she just leaves such a lasting effect.

25:49.700 --> 25:52.744
[SPEAKER_02]: Right, I would mind like a span off of just Miss Kitty.

25:52.784 --> 25:54.066
[SPEAKER_03]: Yeah.

25:54.987 --> 26:01.275
[SPEAKER_02]: And then, because I feel like there should have been more to her than just her being in the bar a couple of scenes and stuff.

26:01.255 --> 26:04.570
[SPEAKER_03]: Yeah, I feel like downtown could have totally been a fun spinoff.

26:04.610 --> 26:08.366
[SPEAKER_03]: Like hypnosis is great, death is great.

26:08.547 --> 26:11.299
[SPEAKER_03]: I think it would have been like a fun sequel.

26:11.836 --> 26:12.437
[SPEAKER_02]: I think so too.

26:12.477 --> 26:14.599
[SPEAKER_02]: I think they should have played around with the mythology around it.

26:14.779 --> 26:21.087
[SPEAKER_02]: I think it would have been a cool spin off to do it, but it's just the fact that the movie didn't generate enough money or anything like that either.

26:21.127 --> 26:33.702
[SPEAKER_02]: At the Himalayan classic much later, which sucks, because this had so much going for it, it's just that I don't know if it's just a misinterpretation of what the audiences were going for.

26:34.563 --> 26:39.649
[SPEAKER_02]: And also too, the advertising as well, whether that's centered around brand

26:39.629 --> 26:47.423
[SPEAKER_02]: I was sitting at the center around Chris Catean and I think that they should have went on a head and put it around Brandon Frazier.

26:47.503 --> 26:50.929
[SPEAKER_02]: He had the money movies that was probably popular in the early 2000s.

26:51.631 --> 26:53.274
[SPEAKER_02]: Let's Catean, I love him, I think he's funny.

26:53.895 --> 27:00.186
[SPEAKER_02]: I liked him in how strong a haunted hill, I liked him in the middle of the rock spurry, I liked him in Ricky Romano.

27:00.419 --> 27:03.224
[SPEAKER_02]: But to me, he's not a leading person.

27:03.264 --> 27:06.650
[SPEAKER_02]: He's more of a side person and stuff.

27:06.831 --> 27:09.095
[SPEAKER_02]: But that's just my perspective on love him.

27:09.836 --> 27:19.153
[SPEAKER_02]: But I just think that Prana Frazier was actually the right person to do this with to put him out in front and center so you can tell your tickets because that was the golden age of the actor.

27:20.281 --> 27:21.925
[SPEAKER_02]: where people were going because of the actor.

27:22.646 --> 27:31.586
[SPEAKER_02]: That how it is today, where people don't really go for the actor or anything anymore, because they're just going for the plot, they go for that, or sometimes made it the director.

27:32.107 --> 27:34.592
[SPEAKER_02]: But during the early 2000s, it was always about the actor.

27:35.735 --> 27:38.982
[SPEAKER_02]: And I think that they should have centered around Brandon instead of Chris.

27:40.312 --> 27:44.407
[SPEAKER_02]: And I don't want to, I don't hope that is anything disrespectful, but I just think that Chris Katan was a great guy.

27:44.487 --> 27:45.290
[SPEAKER_02]: I was a good actor.

27:45.310 --> 27:47.197
[SPEAKER_02]: I like him as a funny comedian.

27:47.599 --> 27:50.710
[SPEAKER_02]: I just think that playing in the future was the spotlight of the early 2000s.

27:51.162 --> 27:58.933
[SPEAKER_03]: Yeah, it's a little confusing to have, you know, the center be around Chris Katan, because he's organ donor, Stu.

27:58.993 --> 28:14.115
[SPEAKER_03]: He doesn't come up until like the third act, which is like he's not in it a ton, but I mean, I guess he's in more than when we get, like Brendan Fraser and Bridget Bonded together as like he, as Stu.

28:14.095 --> 28:23.654
[SPEAKER_03]: We get more of Brendan as a monkey bone, you know, like we hardly get, we get like maybe like three to five minutes or something like that with them together.

28:23.674 --> 28:30.788
[SPEAKER_03]: We're just hard to root for still, you know what I mean, like we're going to see there like I feel like

28:31.055 --> 28:47.655
[SPEAKER_03]: Every time I watch the film, I feel like we're missing a scene where like there should have been like a breakfast table scene to like see them interact a little bit because we only see them interact at the screening right and then they're like a totally different planets.

28:48.476 --> 28:56.185
[SPEAKER_02]: I just wish I were going to learn more, but I want to more time with doing his relationship to build up to where I can care more about that.

28:56.553 --> 29:02.284
[SPEAKER_02]: because that's the only downfall I have to say is I'm wanted more of the chemistry between the two of them.

29:02.304 --> 29:07.935
[SPEAKER_02]: And law was to had that moment of like their love.

29:09.538 --> 29:11.862
[SPEAKER_02]: That's the only takeaway I have to say about that.

29:11.842 --> 29:19.129
[SPEAKER_03]: Yeah, because she, uh, Brickett's character definitely has, uh, you know, chemistry with organ donors do.

29:19.189 --> 29:33.123
[SPEAKER_03]: They have like such a heart-wrenching scene later on, like almost at the end of the film, uh, which is like, I wish that we had a little bit of that, you know, because like, at that point, I'm rooting for organ donors, too.

29:33.143 --> 29:34.625
[SPEAKER_03]: Like, no, I'm just sticking around.

29:34.705 --> 29:36.066
[SPEAKER_03]: I don't even care about it.

29:36.126 --> 29:37.007
[SPEAKER_02]: I don't even care.

29:37.027 --> 29:39.790
[SPEAKER_02]: I don't even care if it gets re-botted back at that time at that moment.

29:39.770 --> 29:41.834
[SPEAKER_03]: I'm like, can we, how do we make this work?

29:41.894 --> 29:48.726
[SPEAKER_03]: Like we need to get a little bit of, uh, like a death becomes her potion from Lisa to help keep him together.

29:48.746 --> 29:51.972
[SPEAKER_02]: That would be an interesting concept.

29:51.992 --> 29:54.477
[SPEAKER_02]: I have those two universe cross between them.

29:54.577 --> 29:55.198
[SPEAKER_02]: That would be awesome.

29:55.398 --> 29:56.120
[SPEAKER_03]: Oh yeah.

29:56.781 --> 29:56.901
[UNKNOWN]: Right.

29:57.674 --> 30:00.877
[SPEAKER_02]: But yeah, when Stu learns about his sister, Kimmy is about to pull the plug.

30:01.498 --> 30:04.721
[SPEAKER_02]: And this is where we get that whole concept of, he had a switch hands.

30:05.001 --> 30:10.367
[SPEAKER_02]: We got that little bit of the past drawings that he did and then his nightmare drawings.

30:10.607 --> 30:27.124
[SPEAKER_02]: So I definitely like how they showed us the difference of darkness and lightness, because basically his girlfriend was the person that brought him out of that darkness and helped him through it and told him, hey, look, switch hands and see what you can create.

30:27.813 --> 30:55.508
[SPEAKER_03]: yeah which is crazy like okay so what is their background he was having nightmare so he went to some sleep institute and she's like a doctor and doctor truly is like okay i think i can fix you let's just like switch your drawing hands and then that fix him and then what they start dating now you know it's so crazy it really gets us like okay well now i'm in love with you

30:58.677 --> 31:04.418
[SPEAKER_02]: But I also like the fact that we actually get to meet Mickey Bown in the club.

31:05.613 --> 31:06.334
[SPEAKER_02]: downtown.

31:07.295 --> 31:11.739
[SPEAKER_02]: Because it reminds me of who framed Roger Rabbit where you get to see Eddie walking into the bar.

31:12.139 --> 31:13.360
[SPEAKER_02]: You see all these other tunes.

31:13.961 --> 31:15.422
[SPEAKER_02]: This interacting with each other.

31:15.602 --> 31:19.205
[SPEAKER_02]: And then you see monkey bone on stage doing his thing.

31:19.826 --> 31:20.967
[SPEAKER_02]: And it's hilarious.

31:21.067 --> 31:24.170
[SPEAKER_02]: I still find that monkey bone hilarious and downtown a little bit.

31:24.490 --> 31:26.032
[SPEAKER_02]: But at the same time though, he's pervert.

31:26.412 --> 31:33.038
[SPEAKER_02]: But I like him better as Brandon Frazier versus him being a cartoon character.

31:33.743 --> 31:34.724
[SPEAKER_03]: Yeah, yeah.

31:34.744 --> 31:38.450
[SPEAKER_03]: I love the stop motion puppet of monkey bones.

31:38.610 --> 31:40.954
[SPEAKER_03]: I don't know if I found it super funny.

31:40.994 --> 31:42.175
[SPEAKER_03]: It's so goofy.

31:42.756 --> 31:47.664
[SPEAKER_03]: You know, like him, what was he like dancing on like the piano or something like that?

31:47.684 --> 31:53.572
[SPEAKER_03]: And he turns into male Marilyn Monroe and he grabs his ears like makes little boobies.

31:55.115 --> 31:55.615
[SPEAKER_03]: Thank you.

31:55.696 --> 31:57.799
[SPEAKER_02]: I want to be loved by you.

31:58.760 --> 31:59.141
[SPEAKER_02]: Yeah.

31:59.161 --> 32:00.643
[SPEAKER_02]: He was dancing on stage.

32:00.663 --> 32:00.763
[SPEAKER_03]: Yeah.

32:00.743 --> 32:04.507
[SPEAKER_03]: like the coma bar where you can drink yourself to live in.

32:04.527 --> 32:06.909
[SPEAKER_03]: I need a coma teeny.

32:06.949 --> 32:08.030
[SPEAKER_03]: That's what I'm missing right now.

32:08.050 --> 32:12.034
[SPEAKER_03]: I just have my like uh my little coffee mug.

32:13.856 --> 32:15.918
[SPEAKER_03]: That's actually an interesting kind of a coma teeny.

32:16.739 --> 32:30.632
[SPEAKER_02]: But I like that idea of like you can still drink in your coma and you're making decisions based on the fact that you're in a coma and then because the decisions you're making you're gonna be in a coma even longer because you are drinking into oblivion.

32:31.355 --> 32:43.140
[SPEAKER_03]: I mean, okay, that's a really interesting point because yeah, you look at the other people and they're almost like ghosts like right they're like a shallow of themselves that feels like a little bit right.

32:43.881 --> 32:52.519
[SPEAKER_02]: Right, because if you look at that old man that got the exit pass, he was on and he's like, you mean to tell me this old geyser got an exit pass before I did.

32:52.786 --> 32:55.533
[SPEAKER_02]: So you can definitely tell these people have been in there for a long time.

32:55.553 --> 33:03.252
[SPEAKER_02]: And according to Stu, because Stu's only been in there for a couple of days, these people could have actually been in there for God knows how many days.

33:03.569 --> 33:04.890
[SPEAKER_03]: Yeah, about the years.

33:05.011 --> 33:32.260
[SPEAKER_03]: Here's, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh,

33:32.240 --> 33:41.730
[SPEAKER_03]: because like kind of Picasso asked Mask, I don't know if it works for that, but it was done practically, but then they wanted to give it more life.

33:42.171 --> 33:47.676
[SPEAKER_03]: And so they scanned it and did like a CGI version and kind of like mapped it.

33:47.777 --> 33:52.221
[SPEAKER_03]: So he has a practical mask on and then so like the movement and everything.

33:52.341 --> 33:56.946
[SPEAKER_03]: I mean, it kind of like looks like it glazes over to be like early CGI.

33:57.006 --> 33:57.607
[SPEAKER_03]: You know what I mean?

33:57.627 --> 34:00.390
[SPEAKER_03]: Like how you kind of a little bit more shiny.

34:00.370 --> 34:07.523
[SPEAKER_03]: You know, like it's hard to tell CGI now, but back then you can kind of tell, you know, because they're definitely telling me.

34:07.543 --> 34:08.985
[SPEAKER_02]: But I think that it actually works though.

34:09.065 --> 34:16.118
[SPEAKER_02]: I still think that mask actually still holds not even though it's like part CGI part practical and I like it.

34:16.216 --> 34:23.723
[SPEAKER_02]: like the look of it, but yeah, who's looking at it now, and especially with 4K, you probably tell that is actually, you know, a little CGI in there.

34:24.303 --> 34:27.366
[SPEAKER_03]: Yeah, but I want them if they ever do a re-release.

34:27.406 --> 34:29.268
[SPEAKER_03]: I want them to leave everything alone.

34:29.308 --> 34:32.351
[SPEAKER_03]: Don't do like a George Lucas and upres things.

34:32.371 --> 34:36.855
[SPEAKER_03]: Like, I want to keep it is like, you know, originals possible.

34:36.955 --> 34:40.698
[SPEAKER_03]: Except like, I would like, Henry Salleck to have his director's cut.

34:40.738 --> 34:46.223
[SPEAKER_03]: So add in whatever he wants, but don't, you know, leave the effects leave the stop motion,

34:46.203 --> 34:51.772
[SPEAKER_02]: But I want them to do is like have you choose as an audience is like, okay, we have the Directors cut on here.

34:51.972 --> 34:54.577
[SPEAKER_02]: You can either watch the Directors cut or you can watch the theatrical cut.

34:54.917 --> 34:55.979
[SPEAKER_02]: And like you choose that.

34:56.420 --> 34:59.685
[SPEAKER_02]: So that way you don't have to, you can have anything in pristine condition still.

35:00.086 --> 35:05.815
[SPEAKER_02]: You just have to update a little bit to 4k and that's it and have it in pristine condition.

35:05.795 --> 35:06.876
[SPEAKER_02]: And that's what I want from it.

35:07.517 --> 35:08.238
[SPEAKER_02]: Be honest with you.

35:10.561 --> 35:20.134
[SPEAKER_02]: But yeah, in order for him to get out of this whole entire situation, he has to go and steal this exit pass.

35:20.154 --> 35:26.783
[SPEAKER_02]: And then at the same time, his girlfriends also having a dream about the life support and then him deflating.

35:26.803 --> 35:30.688
[SPEAKER_02]: And then it's also giving stew.

35:30.770 --> 35:35.799
[SPEAKER_02]: anxiety in, in downtown because he's actually watching these dreams happen.

35:37.122 --> 35:40.789
[SPEAKER_02]: And he realizes he has to try and get out of there as much as he can.

35:41.250 --> 35:48.122
[SPEAKER_02]: And then you have to have, you know, his girlfriend also telling it, uh, wanting to actually scare the big Jesus out of him.

35:48.904 --> 35:50.567
[SPEAKER_02]: So the way he can get out of the coma.

35:52.117 --> 35:54.862
[SPEAKER_03]: Yeah, isn't that a wonderful dream sequence?

35:54.902 --> 36:00.131
[SPEAKER_03]: I thought it was so gorgeous and Bridget looks so lovely and perfect.

36:00.772 --> 36:02.374
[SPEAKER_03]: I love the costumes.

36:03.396 --> 36:04.718
[SPEAKER_03]: I love the set.

36:05.340 --> 36:06.862
[SPEAKER_03]: I just, I love it.

36:06.902 --> 36:13.293
[SPEAKER_03]: And then I love how, like, okay, so like it's Brendan and Bridget on like a little dreamy hill.

36:13.413 --> 36:15.036
[SPEAKER_03]: And then it goes to,

36:15.016 --> 36:43.234
[SPEAKER_03]: like the doctor and her and Brigitte's friends and stuff in his sister popping up and I thought that was so cool the way that they just like pop up and like turn around and that whole sequence about, you know, cutting life support and then him like just turning into like a rubber skin suit was so killer and it was all done practical and I believe that

36:43.214 --> 36:46.079
[SPEAKER_03]: and effects artists, his name is Steve Johnson.

36:46.099 --> 36:50.347
[SPEAKER_03]: I think his company did like all the practical effects.

36:50.387 --> 36:54.434
[SPEAKER_03]: I believe I have to, I didn't get a chance to check, but I believe so.

36:54.474 --> 36:55.236
[SPEAKER_03]: I'm hoping I'm right.

36:55.737 --> 37:03.771
[SPEAKER_03]: But if so, he also did like the month, I think he did the mummy, maybe the mummy

37:03.751 --> 37:10.041
[SPEAKER_03]: kind of skins to before, you know, like kind of like, like, rubbery and stuff, right?

37:10.242 --> 37:14.809
[SPEAKER_03]: And I forget what found my, I noticed that, but I was like, oh, the connections are all there.

37:14.849 --> 37:19.397
[SPEAKER_02]: And you see, that's what I like too is, I like the black and white.

37:19.377 --> 37:20.298
[SPEAKER_02]: aspect of it.

37:20.858 --> 37:32.148
[SPEAKER_02]: And then also to the nightmare that she's having is also the same kind of thing that she that was on Stoose nightmare for his painting and stuff goes as far as his drawing goes.

37:32.789 --> 37:33.790
[SPEAKER_02]: So I thought that was interesting.

37:33.810 --> 37:35.211
[SPEAKER_02]: It was like the same kind of hardship.

37:35.952 --> 37:43.218
[SPEAKER_02]: If you didn't okay remember when they were they going to Stoose Artun office and stuff like that where you see the black and white painting.

37:43.759 --> 37:49.384
[SPEAKER_02]: It's kind of like the similarities between that painting

37:49.364 --> 38:04.520
[SPEAKER_02]: I guess I'll fall in black and white, but instead of like him laying down in the operating table and stuff like that, it's him laying down in the, in that homeless state and his sister wanted to cut the oxygen from him.

38:04.600 --> 38:06.362
[SPEAKER_02]: So that's the only thing that's switched.

38:06.382 --> 38:14.190
[SPEAKER_02]: It's just that I think it's subconsciousness that was still drawn into our brain was that dark painting

38:14.170 --> 38:30.711
[SPEAKER_02]: And I like the fact that the black and white were actually seeing them being in love and then all the sudden changes from life to death to where now she wants to try and get help and get out of this coma state so she can have the life that she wants with stew.

38:31.773 --> 38:34.997
[SPEAKER_02]: So I like that I like that disposition of that.

38:35.855 --> 38:42.163
[SPEAKER_03]: Yeah, I love the black and white because that's like it feels very dreamy like, you know, do we dream and color?

38:42.203 --> 38:43.705
[SPEAKER_03]: Do we dream in black and white?

38:44.106 --> 38:45.548
[SPEAKER_03]: And it's consistently done, right?

38:45.568 --> 38:48.972
[SPEAKER_03]: Because we get a nightmare with hypnosis later.

38:49.053 --> 38:52.998
[SPEAKER_03]: And then we get like a dog's nightmare later on which is hilarious.

38:53.639 --> 39:00.928
[SPEAKER_03]: Um, but so yeah, I love that it's one of my favorite moments actually.

39:01.749 --> 39:02.250
[SPEAKER_02]: Mine too.

39:02.416 --> 39:03.338
[SPEAKER_03]: it's so perfect.

39:04.079 --> 39:05.482
[SPEAKER_03]: It's seen once.

39:05.502 --> 39:06.063
[SPEAKER_02]: No, no.

39:07.025 --> 39:07.746
[SPEAKER_02]: My other thing is too.

39:07.766 --> 39:10.892
[SPEAKER_02]: What did you think of hypnosis in this though, too, right?

39:11.273 --> 39:19.108
[SPEAKER_02]: I like the fact that you have this little warming devil like being that's trying to tell him if you do something shady and sneaky.

39:19.088 --> 39:23.775
[SPEAKER_02]: that you can actually get out of the place that you, that you're wanting to get out of.

39:23.815 --> 39:26.138
[SPEAKER_02]: This is that you have to steal one of the exit passes.

39:26.198 --> 39:31.626
[SPEAKER_02]: And at this moment, Stu's already pissed off because of the fact that this old man got the exit pass.

39:31.646 --> 39:35.531
[SPEAKER_02]: And I like how Stu's actually trying to talk to one of the reapers.

39:36.953 --> 39:39.477
[SPEAKER_02]: He's like, why does that geezer get to go home?

39:39.497 --> 39:40.078
[SPEAKER_02]: And I don't.

39:40.478 --> 39:41.620
[SPEAKER_02]: There's my exit pass.

39:41.680 --> 39:43.423
[SPEAKER_02]: And then all of a sudden he was, I'm off duty.

39:43.943 --> 39:47.188
[SPEAKER_02]: And just rides off.

39:47.759 --> 40:04.283
[SPEAKER_03]: Yeah, yeah, yeah, I like the little groom reaper well not little that actually really tall right it was like they're like nine feet tall But fun little fact about them so their costume is kind of based off of

40:04.752 --> 40:23.672
[SPEAKER_03]: Break Constance monster like the bride of Frankenstein and then also like their head is kind of like you know, like the grim reapers like sickle so their head is shaped and that kind of way and then they have a red hands because you know like

40:24.125 --> 40:29.711
[SPEAKER_03]: They've got blood on their hands, but there's a kind of an interesting moment that was cut.

40:30.151 --> 40:41.444
[SPEAKER_03]: There was some kind of thing because, okay, I'm trying to remember, I guess so HIPNOS tells, I'm trying to remember where we are in the film right now.

40:41.884 --> 40:48.631
[SPEAKER_03]: We talked about HIPNOS telling us to do that he's got a steel like an asset as to get out, right?

40:50.113 --> 40:50.233
[UNKNOWN]: Right.

40:51.040 --> 40:53.423
[SPEAKER_03]: So he tries to do that, right?

40:53.684 --> 41:09.847
[SPEAKER_03]: And then, so when Stu and Monkebone are in one of the Grim Reaper's costumes, like it has like green, green piece soup or something like that all over him, but we don't see why.

41:09.867 --> 41:17.217
[SPEAKER_03]: And so there was a whole scene I guess were something goofy happened, but I would have loved to see that because it's like,

41:17.197 --> 41:19.379
[SPEAKER_03]: it's carried on still in the film.

41:19.399 --> 41:24.565
[SPEAKER_03]: It's like it's I guess it was cut in the added at you know right and they come next to it.

41:25.085 --> 41:34.436
[SPEAKER_02]: The thing that made me laugh was like when Mikey bones standing on top of stews shoulders and then they have to try and blend in with the other reapers.

41:36.858 --> 41:39.941
[SPEAKER_02]: Then you have, this is named from Wings.

41:42.084 --> 41:43.305
[SPEAKER_02]: No time out.

41:44.247 --> 41:46.309
[SPEAKER_03]: Oh, yeah, her like henchmen guy.

41:46.329 --> 41:47.371
[SPEAKER_02]: Yeah, henchmen.

41:47.831 --> 41:49.453
[SPEAKER_03]: Oh my god, I'm blanking and blanking.

41:49.473 --> 42:13.461
[SPEAKER_03]: Back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back, back,

42:13.812 --> 42:22.364
[SPEAKER_02]: Yes, he played a rich knob in that movie, but I like him as the henchmen from what the goberks catcher for death.

42:23.185 --> 42:25.188
[SPEAKER_02]: And then I like how they're trying to blend in.

42:25.248 --> 42:29.294
[SPEAKER_02]: And death is like, you, I need to see you and he's like me.

42:30.376 --> 42:38.487
[SPEAKER_02]: So I like how they're, and it's just like a total feel because then she gets her little chihuahua dog to go ahead and remove

42:38.753 --> 42:46.369
[SPEAKER_02]: be like it's in some fun from the reaper and then there's two and there's monkey bone.

42:46.389 --> 42:51.980
[SPEAKER_03]: Yeah, it feels it feels like a three stages moment doesn't it or like a little party.

42:52.020 --> 42:54.044
[SPEAKER_03]: Yeah, the dog used so cute.

42:54.065 --> 43:00.137
[SPEAKER_03]: I think it was a pug with like a wrestler, mask on or something like that with the like allusia's.

43:01.248 --> 43:12.339
[SPEAKER_03]: You know, those masks, I think so, but it was so cute, but I love, I see, that's another thing, I wish we would have seen more of death herself, more scenes with her.

43:12.379 --> 43:14.886
[SPEAKER_03]: And I like the fact, um,

43:15.203 --> 43:20.053
[SPEAKER_03]: that when she gets upset, she like blows a fuse, you know, and her head explodes.

43:20.093 --> 43:21.335
[SPEAKER_03]: I think that's so cool.

43:21.435 --> 43:27.367
[SPEAKER_03]: And then her, he gets another head and like, it's like a light ball.

43:27.487 --> 43:30.914
[SPEAKER_02]: He screws her like a man ahead and he has to like see.

43:31.255 --> 43:33.820
[SPEAKER_03]: Yeah, I thought that was really funny and cool.

43:34.205 --> 43:35.367
[SPEAKER_04]: I didn't feel like that.

43:35.387 --> 43:38.935
[SPEAKER_03]: I noticed these like a little artistic choices that I really love.

43:38.955 --> 43:40.397
[SPEAKER_03]: I didn't think that.

43:40.418 --> 43:43.163
[SPEAKER_03]: Make sure you like feel like you're very in that universe.

43:43.744 --> 43:44.586
[SPEAKER_03]: You know exactly.

43:44.626 --> 43:48.113
[SPEAKER_03]: I feel like those kind of,

43:48.363 --> 43:50.549
[SPEAKER_03]: little things to add in to films.

43:50.649 --> 43:54.318
[SPEAKER_03]: It's like when you watch it over and over again because I have watched it.

43:54.378 --> 43:57.266
[SPEAKER_03]: I might be the person who is seeing monkey boom the most.

43:58.509 --> 44:02.459
[SPEAKER_03]: When you see it, so much it's like you notice all these little new things.

44:02.600 --> 44:04.144
[SPEAKER_03]: I feel like I see something with every time.

44:04.444 --> 44:05.106
[SPEAKER_03]: You know,

44:05.322 --> 44:24.664
[SPEAKER_02]: me to ask do I and you're right about the universe though that they create a forward death because you actually do feel like you're in that world and then when her head explodes like oh is death gone no she just has to go ahead and reattach her head and screw back on and then it's like this thing of death is never is always going to bring around

44:24.644 --> 44:29.716
[SPEAKER_02]: So I like that concept of like, yeah, she's gone for a minute, but she's only back again.

44:29.736 --> 44:35.650
[SPEAKER_02]: So it's like treating death in the sense, it's like, yeah, you treat a death here, but death is always going to find you.

44:36.625 --> 44:59.629
[SPEAKER_02]: Yeah, just like in what fund destination exactly, but you know, then you have hypnosis plans to use do's body to get a chemical substance that truly develop, that gives people, that gives people and animals nightmares, the on-ricks upon being sent to the Institute of hypnosis upon

44:59.609 --> 45:05.614
[SPEAKER_02]: reminding him of the admission, Mickey Bowen and Stu's body ends up successfully stealing the Andrics.

45:06.155 --> 45:29.616
[SPEAKER_02]: Swishing it with another juice, Mickey Bowen obtained the analytics and puts it on, puts it inside stuff, Mickey's toys of himself, so that those who touched them will be infected in given nightmares, with help from Miss Kitty, stew ex-gaps from his imprisonment, Mickey Bowen and Stu's body prepares to

45:29.596 --> 45:39.530
[SPEAKER_02]: So, you know, now we have this whole entire thing now where Hibil wants to tell up, making Mikey boom go into his body.

45:40.271 --> 45:59.299
[SPEAKER_02]: At the same time as when his girlfriend is also trying to scare the crap out of him with her nightmare serum, and he wants up waking up as Mikey boom.

45:59.802 --> 46:00.523
[SPEAKER_03]: with all of that.

46:00.663 --> 46:06.152
[SPEAKER_03]: Cause like the nightmare juice, she like pumps him full of that.

46:06.272 --> 46:15.306
[SPEAKER_03]: Like I think before she used like a small amount and then she ends up using some like gigantic dose to like scare him awake.

46:16.548 --> 46:19.633
[SPEAKER_03]: And yeah, it's this whole,

46:20.002 --> 46:36.222
[SPEAKER_03]: Interesting subplot that I always forget about right that hypnosis has his own agenda and he's trying to, you know, he has this long standing kind of con that's happening where he gets.

46:36.877 --> 46:52.455
[SPEAKER_03]: somebody like Juan Juan famous for scaring people, like later on we'll find, you know, a Stephen King, you know, Jack the Ripper, I think, Lizzie Bourbon.

46:52.435 --> 46:59.949
[SPEAKER_03]: And he switches them with the kind of, like, I guess a character that they have in downtown.

47:00.009 --> 47:01.432
[SPEAKER_03]: I don't know how they create these.

47:02.153 --> 47:06.842
[SPEAKER_03]: I don't really know the whole thing for that, but we've got monkey bone, right?

47:06.882 --> 47:11.811
[SPEAKER_03]: And so he wants to switch, he wants monkey bone to go into...

47:11.791 --> 47:16.718
[SPEAKER_03]: stew's body so that he could create more nightmares, right?

47:17.119 --> 47:17.319
[SPEAKER_02]: Right.

47:17.379 --> 47:18.641
[SPEAKER_03]: Because that's what they feed on.

47:18.701 --> 47:21.385
[SPEAKER_03]: They feed on nightmares in downtown, right?

47:21.446 --> 47:21.646
[SPEAKER_02]: Right.

47:21.666 --> 47:31.781
[SPEAKER_02]: I think whenever you look at it, like you had Igarale and Poe in there, Lizard Gordon, I think at that time that was like, okay, well, these people are no longer afraid of you anymore.

47:31.981 --> 47:36.088
[SPEAKER_02]: Looking at what Stephen King or whatever, I was like, okay, well, we'll wash them.

47:36.208 --> 47:40.414
[SPEAKER_02]: Now I have to get somebody else to go ahead and give other people nightmares.

47:40.394 --> 47:42.877
[SPEAKER_02]: So now you're trapped here down here with everybody.

47:43.297 --> 47:48.122
[SPEAKER_03]: Yeah, it seems like different time frame because also we've got like a tell of the hunt and stuff.

47:48.142 --> 47:58.173
[SPEAKER_03]: So I think like within different, you know, times they just have to get a new one because like they die or disappear, whatever happens to them.

47:59.154 --> 48:00.255
[SPEAKER_03]: But yeah, crazy.

48:00.395 --> 48:03.138
[SPEAKER_03]: And then so like a fun fact on the Stephen King.

48:03.218 --> 48:09.405
[SPEAKER_03]: So it's a look alike in the film, but it was supposed to be actually

48:09.385 --> 48:18.478
[SPEAKER_03]: But when they were filming those scenes like a week or two before, Stephen King, like he was part of some kind of hit and run where he got hit.

48:18.598 --> 48:22.423
[SPEAKER_03]: And so he was, you know, he was like healing from that or something.

48:22.443 --> 48:28.832
[SPEAKER_03]: And then that's what it was at, then they ended up finding some guy who looks enough like him.

48:28.852 --> 48:33.739
[SPEAKER_03]: And then so he ended up taking his spot, right?

48:33.888 --> 48:35.150
[SPEAKER_03]: It was crazy.

48:36.432 --> 48:43.181
[SPEAKER_02]: The fact that they even got the cosmetic statement look like Stephen was amazing because that's exactly how he looked back in the early 2000s.

48:43.722 --> 48:44.083
[SPEAKER_03]: Yeah.

48:44.103 --> 48:47.187
[SPEAKER_03]: Well, I think the guy just naturally kind of looks like Stephen King.

48:47.227 --> 48:50.031
[SPEAKER_03]: I don't know if he was like an impersonator or what.

48:50.332 --> 48:54.077
[SPEAKER_03]: Because I haven't done a deep dive on that person yet.

48:54.578 --> 48:57.642
[SPEAKER_03]: But I think that it's just like kind of a natural thing.

48:57.662 --> 49:01.768
[SPEAKER_03]: And maybe they just added some glasses and tweaked his hair a little bit.

49:02.828 --> 49:03.489
[SPEAKER_02]: I think so too.

49:03.669 --> 49:04.871
[SPEAKER_02]: I think it's interesting though.

49:04.971 --> 49:14.202
[SPEAKER_02]: And yeah, it was a hidden run because I remember in the early 2000s, he was jogging and then he or had somebody ended up hitting him while he was jogging and then they drove off.

49:15.604 --> 49:16.085
[SPEAKER_03]: Wild.

49:16.666 --> 49:16.926
[SPEAKER_02]: Yeah.

49:17.346 --> 49:24.255
[SPEAKER_03]: Imagine, imagine that you do that one, how evil to hit somebody and then just leave them for dad, right?

49:24.616 --> 49:25.697
[SPEAKER_01]: Exactly.

49:25.913 --> 49:38.083
[SPEAKER_03]: And then too, you probably find out later that you just like hit and left for dead like this like one of our American icons and legends, see even freaking king.

49:38.198 --> 49:38.579
[SPEAKER_01]: Right.

49:38.819 --> 49:39.260
[SPEAKER_01]: No.

49:39.300 --> 49:40.021
[SPEAKER_01]: Listen for dead.

49:40.261 --> 49:40.521
[SPEAKER_01]: All right.

49:40.822 --> 49:41.162
[SPEAKER_03]: Yeah.

49:41.222 --> 49:42.684
[SPEAKER_03]: How do you not turn yourself in?

49:42.705 --> 49:55.743
[SPEAKER_02]: I want to be able to sleep at night to be honest with you knowing that I hit somebody and then on top of that, you end up hitting the most iconic harps writer ever created.

49:56.384 --> 49:56.625
[SPEAKER_03]: Yeah.

49:56.685 --> 50:02.072
[SPEAKER_03]: Such a prolific writer who's given so much to America literature.

50:02.113 --> 50:02.934
[SPEAKER_03]: You know it.

50:02.954 --> 50:06.619
[SPEAKER_03]: I couldn't imagine.

50:07.038 --> 50:16.335
[SPEAKER_02]: But I do like the fact that, you know, really developing gives people, well, I also like the fact that, you know, you have this gas now for this nightmares.

50:16.716 --> 50:24.951
[SPEAKER_02]: If you just has a conveniently enter house, instead of putting it back in the lab or belongings in the sleep center.

50:26.373 --> 50:30.160
[SPEAKER_03]: So I wait, are you just, okay, I think,

50:30.562 --> 50:38.532
[SPEAKER_03]: I'm not sure what you're like, the gas would, I know that she has nightmare juice, but I think that that her sleep institute.

50:38.552 --> 50:39.473
[SPEAKER_03]: So that's her office.

50:39.774 --> 50:45.080
[SPEAKER_03]: So I think Monkebone's stew breaks into her office in the middle of the night for actually.

50:45.901 --> 50:53.751
[SPEAKER_03]: And then he has a little run-in with the arrangating or some kind of,

50:53.832 --> 50:55.876
[SPEAKER_03]: Uh, monkey-type animal.

50:55.896 --> 51:00.124
[SPEAKER_01]: Yeah, with a ring-a-tank, but he has a ring-a-tank and only thing in there.

51:01.467 --> 51:08.781
[SPEAKER_02]: It's weird, but it's totally monkey bone though, because I think that the animals can see inside of him, or we're kind of... Yeah.

51:09.663 --> 51:11.046
[SPEAKER_03]: That's what it's called.

51:11.527 --> 51:11.967
[SPEAKER_03]: Right.

51:12.488 --> 51:15.334
[SPEAKER_03]: So they can see them for their true form, I feel like.

51:15.517 --> 51:16.018
[SPEAKER_02]: Me too.

51:16.178 --> 51:20.266
[SPEAKER_02]: And I like how the ringeting is wanting him to kiss him and make out with him.

51:20.847 --> 51:26.998
[SPEAKER_02]: So he ended up just making out with their ringeting just to basically just a sucker.

51:27.419 --> 51:31.166
[SPEAKER_02]: And then walk off with whatever he wants because remember it landed in his cage.

51:32.008 --> 51:34.913
[SPEAKER_02]: And so, you know, I just thought it was funny.

51:34.933 --> 51:35.995
[SPEAKER_02]: I thought that was a funny moment.

51:36.195 --> 51:37.137
[SPEAKER_03]: And then yeah.

51:37.117 --> 51:39.940
[SPEAKER_03]: and then he goes into like the shed or something.

51:39.960 --> 51:45.306
[SPEAKER_03]: Is that what you're talking about and starts like doing like creating some kind of a gas with it?

51:45.827 --> 51:47.008
[SPEAKER_02]: Well, after that.

51:48.009 --> 51:51.673
[SPEAKER_02]: Well, after that happens, remember he tries to think back into the bedroom.

51:52.214 --> 51:52.934
[SPEAKER_04]: Oh, yeah.

51:53.635 --> 51:56.038
[SPEAKER_02]: And she goes issues.

51:56.058 --> 51:57.119
[SPEAKER_02]: I think you snack out of the house.

51:58.080 --> 51:59.321
[SPEAKER_02]: No, that thing that's on your head.

51:59.341 --> 52:07.090
[SPEAKER_02]: And then here he is with us with a slicker on and his ass is actually showing out of the

52:07.070 --> 52:12.237
[SPEAKER_02]: Even there's also the strip TZ does for her when it gets out of the coma.

52:12.368 --> 52:21.402
[SPEAKER_03]: I was gonna say like we totally zip past that and it's always awkward because like I'm, that's my sister-less as, that seems always like a little awkward for me.

52:21.422 --> 52:22.123
[SPEAKER_03]: I can imagine.

52:22.143 --> 52:26.730
[SPEAKER_03]: It's so goofy, but I'm like okay, so I watched the film so many times.

52:26.830 --> 52:30.536
[SPEAKER_03]: I watched it with like a heteroselects commentary as well.

52:30.596 --> 52:39.810
[SPEAKER_03]: And so I remember he said that like Brendan was so like physical with it that he was actually

52:39.790 --> 52:46.611
[SPEAKER_03]: that Brendan had research like how, um, you know, uh, monkeys.

52:47.502 --> 52:55.593
[SPEAKER_03]: like they're their maneuvers and they're like not dance moves, but he kind of created dance moves based off of innocent.

52:56.314 --> 53:04.405
[SPEAKER_03]: But like like mating kind of wooing habits, let's say, of monkeys, which I thought that was really cool because I love it when an actor prepares.

53:04.545 --> 53:08.531
[SPEAKER_03]: I love it when they create these characters and they do their work.

53:08.631 --> 53:13.998
[SPEAKER_03]: And I love Brendan, he's so great in everything that I've seen him in, you know, he's wrong.

53:14.018 --> 53:14.739
[SPEAKER_02]: He's really capable.

53:14.759 --> 53:16.902
[SPEAKER_02]: He's 110% on everything he does.

53:16.882 --> 53:22.107
[SPEAKER_02]: Yeah, that's also why one of the Academy Award for the Wheel is because of the dedication that he does.

53:22.848 --> 53:27.213
[SPEAKER_02]: But I just love how Mickey Bones doesn't see himself as a human still.

53:27.633 --> 53:38.004
[SPEAKER_02]: He still thinks that this is a way to attract a woman that's engaged or is going to marry Stu and thinks that this is actually going to woo her into having sex with him.

53:38.284 --> 53:40.987
[SPEAKER_02]: And instead, it just comes off as off putting.

53:41.448 --> 53:44.531
[SPEAKER_02]: I think it's supposed to be this crazy cringy.

53:44.591 --> 53:45.572
[SPEAKER_02]: Yeah.

53:45.552 --> 53:58.489
[SPEAKER_02]: I'm supposed to be crunchy, I think, because of the fact that she also feels like, okay, this is a little weird, and then he wants a head dide off the bed real.

53:58.509 --> 54:08.522
[SPEAKER_02]: He moves, she moves right out of the way, and then she kicks him on the, he lands on the, on the rails of the bed, and then she wasn't accidentally kicking him in the face, and then falls.

54:09.704 --> 54:14.310
[SPEAKER_03]: Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, that's

54:14.594 --> 54:27.661
[SPEAKER_02]: I do like to sing though, I mean, I like the fact like I said with how the monkey is actually thinking that this is how he's supposed to act, even though he's a human, and he doesn't even know how to even act like a human, because he's never been a human.

54:27.842 --> 54:30.527
[SPEAKER_02]: So he's thinking that this is actually how you're supposed to act.

54:31.630 --> 54:35.117
[SPEAKER_02]: But I do like the whole entire deal of, okay.

54:35.452 --> 54:46.210
[SPEAKER_02]: the next morning you actually have the toy line with the people that's in charge of these monkey-bone toys is like well can you go ahead and take that gas out and put another liquid in there?

54:48.093 --> 54:52.600
[SPEAKER_03]: Yeah he's asking some really suspicious questions you know.

54:53.575 --> 55:03.710
[SPEAKER_02]: because this is how you know that this is corporate and how how the rich they want to be without even having to ask questions, because anybody else would have asked questions like, well, guess what?

55:03.830 --> 55:08.597
[SPEAKER_02]: In order for us to get this tool line done, we actually have to do what the creator wants us to do.

55:09.238 --> 55:14.686
[SPEAKER_02]: So they want, so it's kind of weird that they would actually get to do this.

55:15.447 --> 55:22.637
[SPEAKER_02]: It's like, okay, well, if we're getting to do it, if you're going to do that, you have at it, this is what we're not going to do in touch

55:22.853 --> 55:29.063
[SPEAKER_02]: be in a sign of waiver saying that you're responsible for whatever happens to anybody that prison that's chemical because we don't want nothing to be a part of it.

55:30.686 --> 55:34.412
[SPEAKER_02]: That's why I'm thinking that maybe that's why stew was the one I'm like he's do.

55:35.454 --> 55:39.681
[SPEAKER_02]: Was actually the one that was actually putting the chemicals in there not the toy line of cells.

55:40.150 --> 55:50.688
[SPEAKER_03]: Well, yeah, I mean, I'm trying to think like in that scene where he's with his manager herb, Dave Foley, you know, from like kids in the hall.

55:52.070 --> 55:57.420
[SPEAKER_03]: So I'm trying to think if I think there is a gas that comes out, right?

55:57.500 --> 56:02.629
[SPEAKER_03]: Like when he moves his thumb from the monkey bone tall.

56:03.049 --> 56:04.592
[SPEAKER_00]: Yes, that's a good gas.

56:04.712 --> 56:04.892
[SPEAKER_00]: Yeah.

56:04.913 --> 56:05.213
[SPEAKER_03]: That's like

56:05.193 --> 56:09.762
[SPEAKER_03]: kind of get his little monkey brain going about like, oh, could I put something else?

56:09.782 --> 56:17.035
[SPEAKER_03]: Because at that point, I kind of, I'm trying to remember, did he already get the nightmare juice or at that point?

56:17.055 --> 56:19.821
[SPEAKER_03]: That's what, like, inspires him to get it.

56:20.402 --> 56:21.143
[SPEAKER_03]: But yeah.

56:22.169 --> 56:37.176
[SPEAKER_02]: Yeah, that's how he lines up with the lucky bone toy and put it in the gas and it because he already had the gas to begin with the nightmare trees already He just need to find a way to be able to use it and you didn't know how to so he actually and that he was afraid to talk.

56:37.196 --> 56:37.697
[SPEAKER_02]: Yeah

56:37.677 --> 57:04.883
[SPEAKER_03]: Yeah, on a big scale right because he's like trying to get this out to people and corrupt their dreams on like a massive scale because he's, you know, trying to make his boss hypnosis happy in a way, you know, I mean, I feel like monkey bone doesn't care at all about anything.

57:05.825 --> 57:13.959
[SPEAKER_02]: Yeah, I also like how, you know, you have Julia over there talking to her friend and she's like, I don't know, maybe I gave too much juice and everything like that.

57:14.159 --> 57:16.063
[SPEAKER_02]: Maybe that's what happened with the nightmare juice.

57:17.184 --> 57:27.462
[SPEAKER_02]: We need to, and she's like, well, let's go and have maybe we can maybe you just over-analyze in this, maybe we can, you know, you know, we need to go and take a moment of sleep planning and then at that point, he's chasing after his own dog.

57:27.712 --> 57:30.697
[SPEAKER_02]: to grudging with the nightmare juice.

57:31.157 --> 57:33.641
[SPEAKER_03]: Yeah, super interesting point there.

57:33.661 --> 57:50.428
[SPEAKER_03]: I always like to think of this film like from Julie's perspective, like because she had this nice, like very, you know, stew was very low-key, you know, and shy and kind of,

57:51.758 --> 57:55.104
[SPEAKER_03]: You know, he wasn't as outgoing as monkey stew.

57:55.144 --> 57:56.387
[SPEAKER_03]: I mean, no, it's just how.

57:56.807 --> 58:07.287
[SPEAKER_03]: And so it's kind of interesting from her perspective, like she probably thinks that she made him insane by like pumping him full of nightmare juice, right?

58:08.149 --> 58:10.493
[SPEAKER_02]: Exactly, because he's like, I'm so scared.

58:10.658 --> 58:11.659
[SPEAKER_03]: What do we're filming?

58:11.919 --> 58:38.826
[SPEAKER_03]: She's experiencing, because later on, we get Chris Katan's character, Orgen donor Stu comes in and out where, and he's this corpse with Orgen's falling out, left and right, and then he's got Bob Odenkirk, who is like a comedy genius, running after him, demanding his organs, and then she's like seeing all of this play out while her boyfriend or fiancee, whatever Stu,

58:38.806 --> 58:40.849
[SPEAKER_03]: is acting insane.

58:40.869 --> 58:44.934
[SPEAKER_03]: He's like all over all of these different women.

58:45.014 --> 58:53.264
[SPEAKER_03]: He's selling out just like totally night and day difference from who he was before the Nightmare G. So you know what I mean?

58:53.304 --> 58:59.072
[SPEAKER_02]: Exactly, because yeah, we just more reserved, more quiet, we kept it in the cell.

58:59.092 --> 59:04.138
[SPEAKER_02]: If he was the shy, shy, timid person, and then you have Nike band that just

59:04.118 --> 59:08.523
[SPEAKER_02]: does a toll 360 on Stu, different personality, like you said.

59:08.543 --> 59:10.625
[SPEAKER_02]: And he's more outgoing.

59:10.665 --> 59:12.607
[SPEAKER_02]: He's making impulsive decisions.

59:13.107 --> 59:16.971
[SPEAKER_02]: He's also not being very charismatic towards Julie and her feelings.

59:18.493 --> 59:20.555
[SPEAKER_02]: Yeah, no, no, he doesn't.

59:20.575 --> 59:22.697
[SPEAKER_02]: He's just making deals just to make deals.

59:23.218 --> 59:28.183
[SPEAKER_02]: Because there was even the, he's like, well, how much was the McDonald's paying us for that hamburger?

59:28.984 --> 59:30.926
[SPEAKER_02]: I, it goes, they're actually paying you more.

59:30.986 --> 59:33.028
[SPEAKER_02]: Okay, then forget about McDonald's.

59:33.008 --> 59:34.111
[SPEAKER_03]: Let's go with them.

59:34.131 --> 59:37.741
[SPEAKER_03]: The one with the guts in the burger.

59:37.761 --> 59:46.444
[SPEAKER_02]: And then even the appearance of stew, having to change the little, like the little douchebag, go to the thing right there too.

59:47.302 --> 59:55.194
[SPEAKER_02]: Yeah, and they come to the different, and truly she said, wait, there's something going on on my boyfriend, and I like how she's second guess when she's up, did I do this to him?

59:55.674 --> 59:56.375
[SPEAKER_02]: What happened?

59:56.415 --> 59:57.557
[SPEAKER_02]: Let's make him do this.

59:58.178 --> 01:00:04.588
[SPEAKER_02]: But I like the fact that you have the separation between regular stew and monkey bones stew that determine the difference between them.

01:00:05.148 --> 01:00:10.997
[SPEAKER_02]: So I like that, and then, you know, I just think that this is the scene's actually work.

01:00:12.074 --> 01:00:28.032
[SPEAKER_03]: Yeah, and then like what you were saying, so we see monkey bones do chasing the dog around and so at that point that's kind of like around where monkey bones do gives the dog a dose of the nightmare juice.

01:00:28.072 --> 01:00:40.225
[SPEAKER_03]: And then we get a wonderful nightmare dream with the dog with the cat and their

01:00:40.205 --> 01:00:52.189
[SPEAKER_02]: Right, and it's like a, one of those other Gothic painting dreams or something like you would actually see, but I also like how hypnosis is like, wait, you're slugging animals.

01:00:52.827 --> 01:01:04.786
[SPEAKER_03]: This yeah, I did I send him up there to get me dog nightmares or something like that right to basically get me animal nightmares because this is such a let down.

01:01:06.990 --> 01:01:13.941
[SPEAKER_02]: So I like the comedic aspect of it is like I'm such a let down with wave monkey bones doing it, but.

01:01:13.921 --> 01:01:26.142
[SPEAKER_02]: You know, I like how the, how that is actually being set up, so then you have hidden those plans of death upon capture to convince us or to send him back and send stew back.

01:01:26.915 --> 01:01:50.982
[SPEAKER_02]: So that those are who touched with it being affected and given to nightmares with Helper from miskitties do escapes from his imprisonment But my keep on farting dolls at the party meanwhile still reveals it knows Hittinus plans to death upon Capture and convince her to send them back to the only for only an hour only to find himself in the body of a dead athlete

01:01:50.962 --> 01:02:15.619
[SPEAKER_02]: Oregon donor, as he flees the morgue, attends student finds out about Mikey about Mikey bones playing party, and heads there with the extraction and still him pursued at the party, stews agent her, exposes himself to the onerics in the Mikey bone doll, and ends up seeing in the mirror that his clothes are coming to life.

01:02:16.055 --> 01:02:42.298
[SPEAKER_03]: I would love to even go back a little further when we're in the kind of the jail cell where we have that moment with hip nose and he kind of tells stew his evil plan and stuff and then we get Miss Kitty and kind of a different version of Mickey Mouse right and then she attacks him and so like a fun little note there is that.

01:02:43.392 --> 01:02:49.359
[SPEAKER_03]: that the studio didn't want to include that scene, which I think is such a crucial and wonderful.

01:02:49.379 --> 01:02:51.061
[SPEAKER_03]: I thought it was so great.

01:02:51.201 --> 01:02:57.069
[SPEAKER_03]: I mean, I love horror films, so that felt like a very cold back to like a classic horror film.

01:02:57.189 --> 01:03:04.017
[SPEAKER_02]: Well, I also felt like when this kitty biting the mouse is actually per acting as if she's a cat.

01:03:04.486 --> 01:03:07.510
[SPEAKER_02]: That's actually something that you can't really do, of course.

01:03:07.570 --> 01:03:10.073
[SPEAKER_02]: It makes sense for that character to do that.

01:03:10.294 --> 01:03:12.957
[SPEAKER_02]: And you need to have a way to have stew break out of the prison.

01:03:13.518 --> 01:03:19.566
[SPEAKER_02]: So I think this is actually the public way to do it is have those kind of like instincts and not cut that out of the movie.

01:03:19.586 --> 01:03:24.493
[SPEAKER_02]: I think it actually has been official towards the character that actually do this.

01:03:25.574 --> 01:03:27.837
[SPEAKER_02]: This is a representation of that character.

01:03:28.358 --> 01:03:33.885
[SPEAKER_03]: Yeah, well, the studios, I guess, at that time were worried

01:03:34.675 --> 01:03:35.136
[SPEAKER_03]: too much.

01:03:35.196 --> 01:03:36.477
[SPEAKER_03]: Like it was too scary.

01:03:36.578 --> 01:03:42.406
[SPEAKER_03]: It was too gory or whatever, which I found it very light and low key, but also I'm a huge horror fan.

01:03:42.446 --> 01:03:44.709
[SPEAKER_03]: So like I can take a lot of stuff.

01:03:44.729 --> 01:03:45.470
[SPEAKER_00]: So I'm here as well.

01:03:45.630 --> 01:03:49.295
[SPEAKER_03]: I love I think that's that was such a killer scene.

01:03:49.335 --> 01:03:51.077
[SPEAKER_03]: I like how her eyes glow.

01:03:51.198 --> 01:03:52.840
[SPEAKER_03]: I like the moody lighting.

01:03:53.341 --> 01:03:54.482
[SPEAKER_03]: I love all of that stuff.

01:03:54.502 --> 01:03:59.569
[SPEAKER_03]: And then I like were before that like Miss Kitty has like kind of a moment was still because the

01:03:59.549 --> 01:04:05.429
[SPEAKER_03]: And then I'm like, oh, maybe I'm rooting for him to stay there and like have a life with Miss Kitty or something.

01:04:05.469 --> 01:04:07.215
[SPEAKER_02]: You know, that's what I was thinking too.

01:04:07.235 --> 01:04:10.707
[SPEAKER_02]: I'm like, dude, I love just for you to stay there.

01:04:11.530 --> 01:04:17.377
[SPEAKER_02]: You know, yeah, your life is I'm trying to mess up up above you because of what my keep on is doing.

01:04:18.218 --> 01:04:19.460
[SPEAKER_02]: I guess I'll just stay down there.

01:04:20.020 --> 01:04:31.935
[SPEAKER_03]: Yeah, again, let's just keep like organs to organ donors to up there with Dr. Julie and then we'll keep stewed down downtown with Miss Kitty, right?

01:04:31.915 --> 01:05:01.922
[SPEAKER_02]: right exactly we have both the best of both worlds yeah but you know I do like the fact that you know you have to deal with death now and then I like how she tells she picks them up and she tells them okay now bend over a little bit more and just sends them back up and then he sends her

01:05:01.902 --> 01:05:10.944
[SPEAKER_02]: And I like this whole entire thing in the, in the, you know, one, you know, when I'm talking about like when they work in donor things like that is like, well, what happened to me?

01:05:10.984 --> 01:05:13.650
[SPEAKER_02]: Why you broken neck or stars?

01:05:14.221 --> 01:05:20.349
[SPEAKER_02]: And he's over there like fine everything in the woodwork to try and keep his head attached.

01:05:20.469 --> 01:05:21.671
[SPEAKER_02]: So I definitely like that.

01:05:21.871 --> 01:05:24.995
[SPEAKER_02]: I also like it when, you know, he's running away from them.

01:05:25.055 --> 01:05:28.960
[SPEAKER_02]: He says Olympic star that's that got killed and we find that out.

01:05:29.100 --> 01:05:32.985
[SPEAKER_02]: There's somebody else reading a newspaper and it's not like overly done.

01:05:33.025 --> 01:05:35.969
[SPEAKER_02]: I'm glad that, you know, they was like a severness to it.

01:05:35.989 --> 01:05:36.810
[SPEAKER_02]: It's like, oh, okay.

01:05:36.830 --> 01:05:42.658
[SPEAKER_02]: So this guy was a Olympic star track runner who winds up getting killed.

01:05:42.638 --> 01:05:50.485
[SPEAKER_02]: So I like that whole idea of explaining his origin story without having to go on a deep level of trying to explain who he is.

01:05:50.845 --> 01:05:58.753
[SPEAKER_02]: Then he goes back over to Stoose House, anyone's up finding the ring that he was going to give, give Julie, because he was blunt to his grandmother.

01:05:58.793 --> 01:06:05.459
[SPEAKER_02]: And at that point, you also have Mikey Bohn who's also trying to propose to her with an expensive ring.

01:06:06.099 --> 01:06:10.283
[SPEAKER_02]: And he's like,

01:06:10.263 --> 01:06:15.300
[SPEAKER_02]: because she's like, well, you're supposed to be proposing me for years when you're going on this ring.

01:06:15.380 --> 01:06:18.230
[SPEAKER_02]: Because well, wait, when I do this ring, I didn't know that.

01:06:18.932 --> 01:06:23.327
[SPEAKER_02]: But, you know, there's a lot going on within those scenes, but with the good thing.

01:06:24.657 --> 01:06:40.422
[SPEAKER_03]: Oh, yeah, okay, so we're going to have to bring it back a little bit for me because okay, so the whole scene with, um, so we get introduced to

01:06:40.402 --> 01:06:42.265
[SPEAKER_03]: brilliant character work.

01:06:42.565 --> 01:06:47.231
[SPEAKER_03]: He was so nuanced in his physicality of that character.

01:06:47.251 --> 01:06:50.195
[SPEAKER_03]: The physical comedy is just like perfection.

01:06:50.215 --> 01:06:54.361
[SPEAKER_03]: I mean, he's a true comedian.

01:06:54.461 --> 01:06:56.784
[SPEAKER_03]: I think I would love to go on record.

01:06:56.844 --> 01:07:00.289
[SPEAKER_03]: I think this might be Chris Katan's best performance.

01:07:00.409 --> 01:07:02.872
[SPEAKER_03]: I think it's so nuanced.

01:07:02.892 --> 01:07:05.616
[SPEAKER_03]: I think

01:07:05.866 --> 01:07:25.039
[SPEAKER_03]: So he also did a lot of work on his own to make his neck flexible enough to do that broken neck kind of gag that he has in the film and I think it just he did it wonderfully and

01:07:25.019 --> 01:07:26.241
[SPEAKER_03]: I love the scene.

01:07:26.261 --> 01:07:35.739
[SPEAKER_03]: I mean, also he's dealing, he's in a scene playing off a Bob Oden Curth, you know, and he's so funny and he's a brilliant comedian as well.

01:07:35.779 --> 01:07:43.213
[SPEAKER_03]: So you see where the funny really starts to like come to life, kind of in this like, you know,

01:07:44.189 --> 01:08:08.037
[SPEAKER_03]: Last act kind of I don't know if you was like, if you also like the whole movie could have been like this insane lay funny, you know what I mean it's just like I feel like with different cuts and stuff and deleting footage I feel like we kind of lost our way a little bit but then we get it in the end it feels like this is what the movie was supposed to be this kind of like

01:08:08.017 --> 01:08:11.962
[SPEAKER_03]: just insanity, you know, and it's just so great.

01:08:12.082 --> 01:08:17.149
[SPEAKER_03]: So in the operating room or the morgue, I guess it would be in his case.

01:08:17.730 --> 01:08:27.302
[SPEAKER_03]: So the studio didn't want to go too gory, and so Henry Selichas, I just stay away from like blood, like no red.

01:08:27.683 --> 01:08:30.126
[SPEAKER_03]: Instead he had

01:08:30.106 --> 01:08:33.690
[SPEAKER_03]: the surgeons, the doctors weren't red.

01:08:33.710 --> 01:08:40.038
[SPEAKER_03]: It kind of like give that vibe that, you know, like there's still red in the room and everything.

01:08:40.078 --> 01:08:46.466
[SPEAKER_03]: But where he wasn't getting it flagged by the studio for like making organ donors, too.

01:08:46.786 --> 01:08:50.731
[SPEAKER_03]: So he doesn't get, you know, like there's no like going stuff really there.

01:08:50.971 --> 01:08:58.240
[SPEAKER_03]: Which I thought was like a really unique and artistic way to still express that feeling.

01:08:58.220 --> 01:09:00.244
[SPEAKER_03]: feel like gross in there.

01:09:00.284 --> 01:09:05.994
[SPEAKER_03]: And I got before like hearing that on the commentary, I kind of really put my finger on it.

01:09:06.034 --> 01:09:07.997
[SPEAKER_03]: And I was like, oh my god, that's so brilliant.

01:09:08.298 --> 01:09:09.059
[SPEAKER_02]: And make sense.

01:09:09.079 --> 01:09:14.689
[SPEAKER_03]: I mean, you know, to use the red around to still give that impression of blood.

01:09:15.230 --> 01:09:17.494
[SPEAKER_03]: But without being any blood there.

01:09:17.474 --> 01:09:23.543
[SPEAKER_02]: It also represents, then, as surgeons, as well, without having to really show blood.

01:09:24.023 --> 01:09:30.993
[SPEAKER_02]: And then, also, even the look of the organs and stuff, too, looks very realistic with a being gray like that, just being bloody.

01:09:31.133 --> 01:09:33.637
[SPEAKER_02]: So, I'm actually happy with the way that came out.

01:09:33.677 --> 01:09:36.681
[SPEAKER_02]: I thought it was very realistic on how they handled it.

01:09:36.661 --> 01:09:45.397
[SPEAKER_03]: Well, there was a scene when they're chasing, where the surgeons are chasing, you know, who's getting his character around.

01:09:45.437 --> 01:09:49.825
[SPEAKER_03]: And so, we're one of the Oregon's falls, and then there's a lawnmower.

01:09:49.945 --> 01:09:56.256
[SPEAKER_03]: And so, they were supposed to get sprayed by a bunch of blood, which I thought would have been hilarious.

01:09:56.236 --> 01:09:58.018
[SPEAKER_03]: but the studio made him cut that.

01:09:58.038 --> 01:10:13.654
[SPEAKER_03]: So there's like a jarring kind of cut in between that, the end of that scene and then going to I mean, I feel like a handle that well, but I also wouldn't love to see, you know, Henry's like full artistic expression with that kind of stuff.

01:10:13.674 --> 01:10:24.285
[SPEAKER_02]: This is a suddenness of something happening and like, oh my gosh, those people actually got sprayed with blood and had that kind of like this dark humor comedy aspect to it.

01:10:24.417 --> 01:10:41.599
[SPEAKER_03]: Yeah, I mean, that's such a dark comedic film and then and then also like how hilarious is it just to see Chris Katan just run away and then like jump on like um what do you call it like dumpsters do you remember that part.

01:10:41.679 --> 01:10:47.927
[SPEAKER_00]: Yeah, he runs on the dumpsters and he's also like I was using his Olympics.

01:10:47.907 --> 01:10:50.531
[SPEAKER_03]: Yeah, because he's a gymnast, right?

01:10:50.551 --> 01:10:54.396
[SPEAKER_03]: And so he's like doing all of these Olympic type things.

01:10:55.177 --> 01:10:55.297
[SPEAKER_02]: Right.

01:10:55.318 --> 01:11:14.725
[SPEAKER_02]: So that's what I like is the fact that even though Stu doesn't know this person from a whole, or even like that, he's still on body's personality to even know that he's actually a gymnast, which allows him to be having that little bit of running room for him to be able to get away from the surgeons and stuff.

01:11:15.262 --> 01:11:35.076
[SPEAKER_03]: Yes, and I love that moment where okay, there's so many great moments with Chris Katan like on the bus that's so great and his like shocked to read that he's hit, you know, because I guess he passed by a mirror or something I don't know how he knows he looks like that picture, but I guess he figured it out somehow.

01:11:35.056 --> 01:11:48.149
[SPEAKER_02]: But remember, it gets on the bus and then he sees everybody just like looking at him and then one guy's looking at the paper and he winds up seeing his own self in the paper, I believe and that's how he finds out that he died.

01:11:48.570 --> 01:11:52.854
[SPEAKER_03]: Yeah, okay, so at some point he got to see what body he's in.

01:11:52.974 --> 01:11:58.399
[SPEAKER_03]: I don't remember him showing that, but it's, we're just going to let the audience figure it out, right?

01:11:58.419 --> 01:11:59.561
[SPEAKER_03]: Right.

01:11:59.581 --> 01:12:00.962
[SPEAKER_02]: I know the three two is one.

01:12:01.229 --> 01:12:05.235
[SPEAKER_03]: The bus scene is so hilarious with everybody leaving because he's stinky, right?

01:12:05.655 --> 01:12:05.916
[SPEAKER_03]: Right.

01:12:06.477 --> 01:12:15.430
[SPEAKER_02]: I have a question though, like, you know, before like we actually feel like the film kind of speeds up the very beginning and then the middle of kind of slows down just a tiny bit.

01:12:16.491 --> 01:12:21.238
[SPEAKER_02]: And I feel like, by the third act of this film, we actually get the payoff where we deserve.

01:12:21.598 --> 01:12:22.820
[SPEAKER_02]: But at that point, I have a question.

01:12:22.840 --> 01:12:30.291
[SPEAKER_02]: Do you feel like that they should have kept turned scenes and so that way the audience

01:12:30.271 --> 01:12:31.052
[SPEAKER_02]: as an audience.

01:12:31.713 --> 01:12:40.986
[SPEAKER_02]: Everybody else also feel the same type of way that we do, or would you feel like it's too little to relate for that third act to be able to have that?

01:12:43.510 --> 01:12:45.112
[SPEAKER_03]: Do you want what's the question?

01:12:45.172 --> 01:12:51.942
[SPEAKER_03]: Do I feel like it would have been better if we

01:12:52.057 --> 01:12:57.805
[SPEAKER_02]: Well, having the same tone as the third act where we actually had the lives in those moments.

01:12:57.825 --> 01:13:10.343
[SPEAKER_03]: But yeah, I mean, if you kind of get, I mean, okay, so maybe I was a little harsh before, but like I guess we do get funny, we get funny stuff with a monkey stew, right?

01:13:10.483 --> 01:13:20.157
[SPEAKER_03]: Like that's goofy, that's zany, that's fun, but yeah, there are some places where I guess

01:13:20.137 --> 01:13:25.146
[SPEAKER_03]: notes of sadness and stuff where we're with Bridget's character.

01:13:25.166 --> 01:13:31.097
[SPEAKER_03]: And she's kind of like talking about like different stuff and you're kind of feeling bad for her.

01:13:31.117 --> 01:13:36.347
[SPEAKER_03]: And then we get some stuff with the sister and things.

01:13:36.587 --> 01:13:38.210
[SPEAKER_03]: But yeah, I don't know.

01:13:38.230 --> 01:13:39.452
[SPEAKER_03]: I don't know.

01:13:39.552 --> 01:13:40.474
[SPEAKER_03]: I feel like...

01:13:41.213 --> 01:13:46.720
[SPEAKER_03]: I feel like what was missing is that maybe we needed to have more comedians in the middle.

01:13:47.301 --> 01:13:48.082
[SPEAKER_03]: You know what I mean?

01:13:48.362 --> 01:13:52.908
[SPEAKER_03]: Like because what stands out to me is that Chris Kutan knows what's funny.

01:13:52.968 --> 01:13:53.930
[SPEAKER_03]: He's a comedian.

01:13:53.990 --> 01:13:55.031
[SPEAKER_03]: He's hilarious.

01:13:55.572 --> 01:13:57.735
[SPEAKER_03]: You know Bob Orenkirk.

01:13:57.835 --> 01:14:00.839
[SPEAKER_03]: I feel like he was so underused in this film.

01:14:00.919 --> 01:14:02.541
[SPEAKER_03]: I would like to see him earlier.

01:14:02.601 --> 01:14:08.689
[SPEAKER_03]: I would like to see him like check in or something

01:14:08.855 --> 01:14:13.802
[SPEAKER_03]: with uh, when Bridget and the sister are visiting, like, oh, is he ready yet?

01:14:13.882 --> 01:14:28.602
[SPEAKER_03]: Like, can I get his organs or, you know, like, to have a little organ donor, the food is files exactly exactly have a little banter in there, like if he was another person in there kind of like screwing up the conversation, right, like that would have been funny.

01:14:28.582 --> 01:14:30.584
[SPEAKER_02]: I don't like that a lot more, but yeah.

01:14:30.684 --> 01:14:45.038
[SPEAKER_03]: Because it's like, we see it's like, and then sometimes it's like the comedian's like, you know, like, woopy, she's hilarious, but I don't know if she was really like super, like shining, like I feel like maybe some of her scenes were cut or something.

01:14:45.098 --> 01:14:54.707
[SPEAKER_03]: Because it seems like she's really having fun and letting loose, but it's like, I would have like to see more like have more time with these like funny comedians.

01:14:54.687 --> 01:14:55.369
[SPEAKER_02]: I think so too.

01:14:55.389 --> 01:14:59.799
[SPEAKER_02]: I think they need a more time to be able to get them fleshed out a little bit more to give us more laughs.

01:15:00.520 --> 01:15:04.349
[SPEAKER_02]: Because these actors and communities are actually having fun with it.

01:15:04.930 --> 01:15:08.899
[SPEAKER_02]: It would have been a lot better if it was fleshed out a little bit more for them.

01:15:09.233 --> 01:15:14.919
[SPEAKER_03]: Yeah, or just having like monkeys to more, could we get so much time with monkeys to, right?

01:15:14.939 --> 01:15:18.623
[SPEAKER_03]: I think that's like the most time we get is like dealing with him.

01:15:18.703 --> 01:15:33.278
[SPEAKER_03]: So I feel like if they had him crossing over more with people or whatever, like maybe he goes into the doctor's office and then he's having a check-up or something and then Bob O'Rourke is like, oh wait, I thought I was gonna get his org, you know, like something, you know?

01:15:33.298 --> 01:15:33.878
[SPEAKER_02]: Exactly.

01:15:34.659 --> 01:15:35.460
[SPEAKER_02]: So,

01:15:35.660 --> 01:15:46.341
[SPEAKER_02]: Well, actually, in the part where we actually see, uh, basically, Stoos Asian herb gets shot in the face with the, with the chemicals.

01:15:46.401 --> 01:15:49.908
[SPEAKER_02]: And now we actually have his clothes kissing in this clothes are coming to life.

01:15:50.008 --> 01:15:52.813
[SPEAKER_02]: He winds up taking up his tie, takes off his clothes.

01:15:53.254 --> 01:15:57.803
[SPEAKER_02]: Then, actually, you know, he runs into where the party is, but naked.

01:15:57.783 --> 01:16:07.899
[SPEAKER_02]: And then after that, you actually have this also causes her to go through the naked telling everyone that is close, have come to life and try to evil.

01:16:08.059 --> 01:16:11.284
[SPEAKER_02]: After that, monkey bone and stew's body tells everyone to forget about it.

01:16:11.705 --> 01:16:18.576
[SPEAKER_02]: As he brings down this stew's pin to a pinata,

01:16:18.556 --> 01:16:25.085
[SPEAKER_02]: Two uses Mickey bones, main characteristics from the comics, to cause him to panic and escape.

01:16:25.666 --> 01:16:44.833
[SPEAKER_02]: A chase ensures a, uh, commonly, let's do and Mickey bone battling each other while clinging to a giant Mickey boob, uh, Mickey bumping balloon is eventually shut down by a passing and competent police man and both do and Mickey ball fall to their deaths.

01:16:46.855 --> 01:16:52.525
[SPEAKER_03]: So also let's back it up.

01:16:52.605 --> 01:16:57.955
[SPEAKER_02]: Yeah, let's go with the whole brick house thing that Stu was also singing as well.

01:16:58.396 --> 01:17:02.603
[SPEAKER_03]: Let's let's go a little bit.

01:17:02.864 --> 01:17:11.479
[SPEAKER_03]: Let's get back to her.

01:17:11.459 --> 01:17:24.873
[SPEAKER_03]: But then through that sequence, when he supposed to be running through naked, and so Henry Selleck was like, you know what, actually, we're catching, we're catching the, like, underwear, whatever it was he was wearing.

01:17:25.473 --> 01:17:27.736
[SPEAKER_03]: And so Dave Holy was like, I got you.

01:17:27.896 --> 01:17:32.220
[SPEAKER_03]: And so with the next take, he goes and he does the whole scene naked.

01:17:32.460 --> 01:17:40.048
[SPEAKER_03]: And so there's a real reaction from people because he's, but naked, which I was like, I love it when an actor commits like that.

01:17:40.028 --> 01:17:47.386
[SPEAKER_03]: I'm going to go in and have a little awkward for the extras and stuff.

01:17:48.008 --> 01:17:52.499
[SPEAKER_03]: They might not have wanted to see that, but I think I think it's great.

01:17:52.579 --> 01:17:54.203
[SPEAKER_02]: I think so too.

01:17:54.223 --> 01:17:56.569
[SPEAKER_03]: I think so too.

01:17:56.633 --> 01:18:12.398
[SPEAKER_02]: Yeah, he took one for the team and I really love the commitment that he'd made to it is like look I'm going to go all out with this and get and I love the reactions the reactions are very real that's actually how I would react if I saw something like that and that is actually not scripted either so that's even better.

01:18:12.952 --> 01:18:20.801
[SPEAKER_03]: Yeah, and I love that whole scene where it's like we go, we dip in and out of, uh, you know, day folies nightmare.

01:18:20.841 --> 01:18:22.103
[SPEAKER_03]: So we're black and white.

01:18:22.143 --> 01:18:27.489
[SPEAKER_03]: And then we've got the like suit, uh, kind of coming to life and this necktie and all of that.

01:18:27.529 --> 01:18:33.997
[SPEAKER_03]: So I love the way that he moves and manipulates, um, you know, his props and his costume and different things like that.

01:18:34.017 --> 01:18:39.043
[SPEAKER_03]: And I thought he was so committed like what you said, um, you know, he's like purple faced.

01:18:40.222 --> 01:18:49.017
[SPEAKER_02]: And also too, like I like the idea of like there's chaos going on inside where Stew is just as there's chaos in the bathroom with herb.

01:18:49.638 --> 01:18:53.665
[SPEAKER_02]: So this, this part is off the reels because of monkey bone.

01:18:54.246 --> 01:18:58.433
[SPEAKER_02]: So this is exactly how it's supposed to be in downtown with monkey bone took control over there.

01:18:58.582 --> 01:19:02.008
[SPEAKER_03]: Yeah, he's bringing the chaos from downtown, uptown, right?

01:19:02.689 --> 01:19:20.539
[SPEAKER_02]: Yeah, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown, uptown,

01:19:20.806 --> 01:19:29.584
[SPEAKER_02]: I think that they could have done a lot with that because he's amplifying it to a even more greater scale than what hit us, what even thought of.

01:19:30.374 --> 01:19:35.920
[SPEAKER_03]: Yeah, and it also would have been cool because I guess we never really get the pay off.

01:19:36.520 --> 01:19:46.430
[SPEAKER_03]: Okay, you know how like in Batman, like Tim Burton's Batman, we get the Joker and he gasses everybody at the museum.

01:19:46.530 --> 01:19:56.280
[SPEAKER_03]: Well, at this museum, because this is like supposed to be at like the natural history museum or whatever, here in LA, and it's like some benefits.

01:19:56.480 --> 01:20:01.526
[SPEAKER_03]: Um, dinner with like all of the social lights and stuff, but like nobody gets gased.

01:20:01.546 --> 01:20:08.894
[SPEAKER_03]: And so I feel like I was like, I wouldn't love to see all of, like, everybody kind of acting crazy, you know?

01:20:08.914 --> 01:20:09.515
[SPEAKER_02]: Oh, no.

01:20:09.615 --> 01:20:10.055
[SPEAKER_02]: Perfect.

01:20:10.075 --> 01:20:20.547
[SPEAKER_02]: To be honest with you, and sitting there being the Mickey-bone toys toy line, it might be like an inflatable Mickey-bone that the same kind of thing that haps caused their coma.

01:20:21.148 --> 01:20:21.488
[SPEAKER_03]: Yeah.

01:20:21.508 --> 01:20:25.052
[SPEAKER_03]: Like, that gas is everybody or something like that, you know?

01:20:25.218 --> 01:20:29.143
[SPEAKER_02]: Right, and let's have we get the whole entire Pinyana thing that happens.

01:20:29.563 --> 01:20:35.531
[SPEAKER_03]: Yeah, I would have rather had that than like the brick house music video.

01:20:35.691 --> 01:20:38.154
[SPEAKER_02]: Yeah, even Julie is like, I don't know about this.

01:20:38.174 --> 01:20:39.275
[SPEAKER_03]: I don't need this.

01:20:39.295 --> 01:20:40.938
[SPEAKER_03]: Yeah, he's like living in rural.

01:20:41.018 --> 01:20:45.944
[SPEAKER_03]: These poor dancers, like looking at their dresses and stuff, they're like brick dresses.

01:20:47.025 --> 01:20:49.408
[SPEAKER_02]: And even Julie is like, what are you doing?

01:20:49.428 --> 01:20:52.592
[SPEAKER_02]: Like you can actually see the look on her face is like, this is not stew.

01:20:53.129 --> 01:21:15.631
[SPEAKER_03]: Oh, no, of course not, because yeah, because we have that moment where he does this grand gesture in front of everybody, which is so unstudent, right, because he's like a little shy and stuff, but where he proposes to Julie and then what you were saying before about the engagement ring, he's like, oh, yeah, it's brand, because she was like taking back and shot, because she's like, what happened to your grandmother?

01:21:15.711 --> 01:21:20.335
[SPEAKER_03]: You know, like, you're keep saying, ring, and he's like, why would you want an old ring?

01:21:20.315 --> 01:21:22.178
[SPEAKER_02]: Why would you want to use rape?

01:21:22.739 --> 01:21:33.919
[SPEAKER_02]: And then I also like how the fact monkey bone does not do too much about stew because No, and stew had in a hidden Compartment that he didn't even know about.

01:21:34.520 --> 01:21:44.398
[SPEAKER_02]: So therefore now you can tell the difference between monkey stew according to Julie on her perspective and the difference between organ donor stew.

01:21:45.425 --> 01:21:48.590
[SPEAKER_03]: Yes, because doesn't he wait, does he bring the ring to her?

01:21:49.050 --> 01:21:49.150
[SPEAKER_03]: Yeah.

01:21:49.170 --> 01:21:49.771
[SPEAKER_03]: I think so.

01:21:49.931 --> 01:21:50.232
[SPEAKER_03]: Yeah.

01:21:50.713 --> 01:21:53.777
[SPEAKER_03]: And then he's like, I would be proud, but I'm, I'm a little dried up.

01:21:54.338 --> 01:21:55.419
[SPEAKER_00]: Right, I'm a little dried up.

01:21:56.661 --> 01:21:57.402
[SPEAKER_03]: Because, and she's this one.

01:21:57.582 --> 01:22:00.386
[SPEAKER_03]: Right, but you was robbed of the Oscar.

01:22:00.446 --> 01:22:03.090
[SPEAKER_03]: He deserves an Oscar for this performance.

01:22:03.971 --> 01:22:06.956
[SPEAKER_03]: Henry Selling deserves an Oscar for this film.

01:22:07.156 --> 01:22:09.860
[SPEAKER_03]: You know, I'm so biased to Bridget.

01:22:09.880 --> 01:22:13.525
[SPEAKER_03]: So give her one, too.

01:22:13.943 --> 01:22:18.470
[SPEAKER_02]: But I do like the whole entire chase scene and then this is the chase scene is happening.

01:22:18.490 --> 01:22:25.863
[SPEAKER_02]: You have the organ donors going after it, like you mentioned, and then you can see some of those quotes.

01:22:26.123 --> 01:22:27.405
[SPEAKER_03]: Get back your dead man.

01:22:27.465 --> 01:22:28.427
[SPEAKER_03]: We don't want to hurt you.

01:22:28.447 --> 01:22:30.450
[SPEAKER_03]: We just want your organs.

01:22:30.430 --> 01:22:34.115
[SPEAKER_03]: And so Bob ordered her just improvise those lines.

01:22:34.155 --> 01:22:35.837
[SPEAKER_03]: That's how funny this man is.

01:22:35.897 --> 01:22:37.940
[SPEAKER_03]: He's a national treasure.

01:22:38.120 --> 01:22:39.302
[SPEAKER_03]: I love him so much.

01:22:39.322 --> 01:22:41.244
[SPEAKER_02]: And he will have to talk so smoothly, though.

01:22:41.325 --> 01:22:42.947
[SPEAKER_02]: It's like it's supposed to be there.

01:22:42.967 --> 01:22:45.310
[SPEAKER_02]: He's like, yeah, slow down, didn't mean.

01:22:45.570 --> 01:22:46.772
[SPEAKER_02]: We just want your organs.

01:22:47.252 --> 01:22:53.781
[SPEAKER_02]: It's a perfect line for someone that's chasing after somebody that's dead, that's actually supposed to be dead.

01:22:54.362 --> 01:22:56.625
[SPEAKER_03]: And then he's hilarious.

01:22:56.665 --> 01:22:57.887
[SPEAKER_03]: He's like common gold.

01:22:57.947 --> 01:23:00.370
[SPEAKER_03]: He's such a comedic genius.

01:23:00.535 --> 01:23:01.196
[SPEAKER_02]: I love Bob.

01:23:01.356 --> 01:23:09.170
[SPEAKER_02]: I really do ever since, you know, breaking bad and stuff like that and also but Saul, I love him.

01:23:09.250 --> 01:23:09.771
[SPEAKER_02]: Yeah, better.

01:23:10.111 --> 01:23:24.957
[SPEAKER_03]: I mean, it's so incredible how deep of an actor he is to do those dramatic because, you know, like, you end up kind of like hating, not to give too much way about a different show, but...

01:23:24.937 --> 01:23:40.968
[SPEAKER_03]: he's just so dynamic and nuanced and he's such a wonderful creator and a little like thing is that I don't know if he lives here anymore, but he's the living the neighborhood and I would bump into him like when I was like driving my car and saying walk his dog or like at our grocery store.

01:23:41.008 --> 01:23:47.080
[SPEAKER_03]: I was like, I never said hi because I like to leave people alone, but

01:23:47.060 --> 01:23:50.554
[SPEAKER_03]: I hope to meet them or work with them.

01:23:50.915 --> 01:23:55.112
[SPEAKER_03]: I'm going to raise the bar very very high.

01:23:55.936 --> 01:23:57.718
[SPEAKER_02]: But I do like just chasing a lot.

01:23:57.838 --> 01:24:00.341
[SPEAKER_02]: I really like how they do this.

01:24:00.381 --> 01:24:09.252
[SPEAKER_02]: And then I also like how organ donor, and you actually have an organ donor stew, he finds out doing his Olympic thing to get into the party.

01:24:09.693 --> 01:24:12.496
[SPEAKER_02]: But they tell the organ donors, oh, this is invitation only.

01:24:12.777 --> 01:24:19.926
[SPEAKER_02]: So you tell me this guy just happened to be a Olympics star, was able to get into there with no problem.

01:24:20.246 --> 01:24:22.669
[SPEAKER_02]: But you know, I had to let the organ donor in.

01:24:22.649 --> 01:24:27.017
[SPEAKER_02]: I'm not the people that my not organizing, but the people who are actually trying to get his organs.

01:24:27.217 --> 01:24:28.639
[SPEAKER_03]: Yeah, we don't need an invitation.

01:24:28.700 --> 01:24:29.701
[SPEAKER_03]: We have diplomas.

01:24:29.761 --> 01:24:30.603
[SPEAKER_03]: There's something like that.

01:24:30.623 --> 01:24:32.226
[SPEAKER_03]: He says some kind of goofy line.

01:24:32.266 --> 01:24:32.686
[SPEAKER_03]: I love it.

01:24:32.706 --> 01:24:39.398
[SPEAKER_03]: Yeah, well, he probably let the organ owners do go in because one of these like flipping through and he's probably stinky.

01:24:40.119 --> 01:24:40.420
[SPEAKER_02]: Right.

01:24:40.841 --> 01:24:43.185
[SPEAKER_02]: I mean, the doctor tape around his stomach.

01:24:43.245 --> 01:24:46.851
[SPEAKER_02]: You also have the ruler that's helping you.

01:24:46.831 --> 01:24:48.453
[SPEAKER_03]: where I love that.

01:24:48.473 --> 01:24:54.139
[SPEAKER_03]: I know we kind of graze past that scene that is that's a beautiful scene where he's trying to get it.

01:24:54.219 --> 01:25:11.438
[SPEAKER_03]: Chris Katan is getting into his the house and he goes and he just like how wonderful that take was where he gets the tape and he puts it on his head and then he does like a little spin, a couple spins and tapes and it's just it's genius it's so funny.

01:25:11.553 --> 01:25:13.776
[SPEAKER_02]: I also like how his neighbor spots him though too.

01:25:14.217 --> 01:25:16.219
[SPEAKER_02]: He's like, hey, you didn't see anything.

01:25:17.661 --> 01:25:18.543
[SPEAKER_03]: Don't call the police.

01:25:18.803 --> 01:25:19.804
[SPEAKER_02]: Don't call the police.

01:25:20.866 --> 01:25:21.747
[SPEAKER_03]: Everything's fine.

01:25:21.807 --> 01:25:22.448
[SPEAKER_03]: Look away.

01:25:24.010 --> 01:25:27.254
[SPEAKER_02]: But yeah, then you also have the copper ones of shooting the balloon down.

01:25:27.415 --> 01:25:32.281
[SPEAKER_02]: And then now, stewing my keyboard up both it back down to downtown.

01:25:33.723 --> 01:25:34.945
[SPEAKER_02]: And then you have, yeah.

01:25:35.532 --> 01:26:00.578
[SPEAKER_03]: Okay, let's not forget or like go, oh, I know we're like hovering so much, but this is such a nice insane film, but how funny is it while they're like flying over the city and like those moments where Chris get hand is is like whole he's like he's like this and he's like going around he's like doing his like gymnastics training and stuff on the balloon and there's like

01:26:00.558 --> 01:26:05.004
[SPEAKER_03]: punching each other and then throwing uh Oregon's all around like that.

01:26:05.424 --> 01:26:06.245
[SPEAKER_03]: That's so great.

01:26:06.265 --> 01:26:20.023
[SPEAKER_03]: See, I wouldn't, I would love if we just, if somebody were to like, I was telling my daughter Audrey does like if somebody were to upload a video just of them like fighting and have it go for like two hours or so away that wouldn't that be funny?

01:26:20.103 --> 01:26:20.804
[SPEAKER_02]: I'm something better.

01:26:20.904 --> 01:26:23.968
[SPEAKER_02]: What if we make a minto's commercial out of it?

01:26:23.988 --> 01:26:24.689
[SPEAKER_03]: Oh my god.

01:26:24.889 --> 01:26:25.369
[SPEAKER_03]: Genius.

01:26:25.409 --> 01:26:26.010
[SPEAKER_03]: Let's do it.

01:26:26.371 --> 01:26:28.253
[SPEAKER_03]: I'm sure that'll be fine with it.

01:26:28.672 --> 01:26:34.118
[SPEAKER_02]: Because I think I actually made a mentalist commercial out of the goonies before, also did one.

01:26:34.698 --> 01:26:36.360
[SPEAKER_02]: You have to look at that.

01:26:36.380 --> 01:26:37.001
[SPEAKER_02]: I'll do that.

01:26:37.401 --> 01:26:41.506
[SPEAKER_02]: Also did another one, I believe, for the warrior's movie as well.

01:26:42.106 --> 01:26:44.369
[SPEAKER_02]: Actually, I did Scooby Doo, never mind.

01:26:44.429 --> 01:26:45.850
[SPEAKER_02]: Scooby Doo thing for that one.

01:26:46.211 --> 01:26:50.255
[SPEAKER_02]: But I try to incorporate different things just to make people laugh.

01:26:50.776 --> 01:26:55.641
[SPEAKER_02]: But I think that the mentalist commercial for that one will be perfect, especially when you have the cop.

01:26:55.621 --> 01:26:59.546
[SPEAKER_02]: That shoots it and then obviously you have a freeze frame of them falling.

01:27:00.206 --> 01:27:01.588
[SPEAKER_03]: Yeah, that would be hilarious.

01:27:02.749 --> 01:27:06.634
[SPEAKER_02]: But yeah, I definitely love the whole type of actor backs of him.

01:27:06.694 --> 01:27:07.255
[SPEAKER_02]: I'm on there.

01:27:07.355 --> 01:27:09.578
[SPEAKER_02]: Don't the organs at Mikey bone.

01:27:10.198 --> 01:27:11.600
[SPEAKER_02]: It's Mikey bones do.

01:27:12.101 --> 01:27:14.704
[SPEAKER_02]: And then you finally get them back in downtown.

01:27:14.784 --> 01:27:17.447
[SPEAKER_02]: And I first thought that maybe the roller coaster would actually catch them.

01:27:17.847 --> 01:27:19.369
[SPEAKER_02]: And they have to beat each other up.

01:27:19.650 --> 01:27:22.653
[SPEAKER_02]: And then that goes through all the way back down to downtown.

01:27:23.034 --> 01:27:24.295
[SPEAKER_04]: That was really great.

01:27:24.275 --> 01:27:33.424
[SPEAKER_02]: That's what I would want to have to be honest with you, of just dumping the crap at each other, and then finally ranting in the hands of death.

01:27:34.197 --> 01:27:38.443
[SPEAKER_02]: and then she rises up, and then she winds up, catching the both of them.

01:27:39.004 --> 01:27:49.057
[SPEAKER_02]: That's what I would like to see, but instead of we got the other stuff we actually just have death catching them, and then, you know, and then she winds up saying, well, I give no, me, I had to dress up for the occasion.

01:27:49.398 --> 01:27:50.259
[SPEAKER_02]: So how was your girlfriend?

01:27:50.499 --> 01:27:51.200
[SPEAKER_02]: Oh, she was great.

01:27:51.220 --> 01:27:53.323
[SPEAKER_02]: I got to see her for an hour.

01:27:53.544 --> 01:27:55.727
[SPEAKER_02]: She was like, well, you're gonna go back up there.

01:27:55.967 --> 01:28:00.373
[SPEAKER_02]: And then she winds up taking monkey bone in here, and then pulling them together,

01:28:00.353 --> 01:28:03.498
[SPEAKER_02]: And I thought it was like, my key done is part of you and who you are.

01:28:03.939 --> 01:28:06.343
[SPEAKER_02]: You would not be here if it wasn't for my key, though.

01:28:06.824 --> 01:28:11.632
[SPEAKER_02]: So yes, he calls all this havoc, but at the same time, he's also the reason why you're with Julie.

01:28:12.293 --> 01:28:16.039
[SPEAKER_02]: He's also the reason why you're getting engaged, why you have in the success.

01:28:17.562 --> 01:28:22.530
[SPEAKER_02]: The thing that ultimately you're trying to stop, it's also the thing that you had the most success with.

01:28:23.523 --> 01:28:36.098
[SPEAKER_03]: Yeah, which is so crazy right when you think about it because he had this whole artistic expression, words very high art and it looks like it should be, you know, in a museum and then we

01:28:36.820 --> 01:28:43.771
[SPEAKER_03]: dip down into the cartoon, like the simplicity of that cartoon, which is great.

01:28:43.911 --> 01:28:52.365
[SPEAKER_03]: I love that cartoon's style, but it's so vastly different from the art, you know, his paintings and everything, so switching hands totally switch that.

01:28:52.766 --> 01:28:59.176
[SPEAKER_03]: And then it's kind of almost like commentary on, you know, like what sells.

01:28:59.697 --> 01:29:01.680
[SPEAKER_03]: Maybe you're true art.

01:29:01.863 --> 01:29:03.065
[SPEAKER_03]: isn't going to sell.

01:29:03.305 --> 01:29:06.910
[SPEAKER_03]: And maybe you have to sell out a little bit to gain that recognition.

01:29:07.010 --> 01:29:10.134
[SPEAKER_03]: It's just like a weird thought.

01:29:10.254 --> 01:29:11.015
[SPEAKER_03]: You know what I mean?

01:29:11.035 --> 01:29:23.832
[SPEAKER_03]: On, you know, what true art is versus like maybe, you know, what the masses let's say of people like want to consume.

01:29:23.932 --> 01:29:29.980
[SPEAKER_03]: You know, like something

01:29:29.960 --> 01:29:45.167
[SPEAKER_03]: You know, like Henry Selig's backstory and how he's constantly compared to Tim Burton, or Tim Burton gets credit for his work, you know, like with Nightmare, like actually Henry Selig directed that, not Tim Burton.

01:29:45.147 --> 01:29:55.424
[SPEAKER_03]: And so it kind of also I feel like as a viewer and I don't know if this was done on purpose or not, so or maybe I'm really into it, I don't know, I'll ask him one day.

01:29:55.805 --> 01:30:01.895
[SPEAKER_03]: But it's like I feel like also the little mouse getting killed, you know, it feels like Mickey Mouse, you know?

01:30:02.176 --> 01:30:10.750
[SPEAKER_03]: And like commentary on commercialism, like you know how like Nightmare Before Christmas is like massively commercial.

01:30:10.730 --> 01:30:18.622
[SPEAKER_03]: like it had so much like merchandise and it's radical and it's like everything sold out all the time, you know?

01:30:18.642 --> 01:30:24.811
[SPEAKER_03]: And so I just feel like there's like a little bit of an under like big thought happening.

01:30:24.832 --> 01:30:27.135
[SPEAKER_03]: I don't know, did you notice that at all?

01:30:27.419 --> 01:30:35.271
[SPEAKER_02]: Yeah, I can see something going with like consumerism and how we yeah, we take in certain things and how we are concerned by certain stuff.

01:30:35.973 --> 01:30:45.127
[SPEAKER_02]: So especially with the merchandise that they're selling and just as the merchandise for Nightmare before Christmas and how that is a big thing that people love and things.

01:30:45.147 --> 01:30:55.283
[SPEAKER_03]: Yeah, and I feel like that also hits notes like for Henry Sally, he doesn't like like it vibes like he doesn't like like the mass like

01:30:55.263 --> 01:31:01.329
[SPEAKER_03]: You know, like all of this work, yeah, of like nightmare and everything like that, you know.

01:31:02.090 --> 01:31:02.530
[SPEAKER_02]: I got you.

01:31:03.591 --> 01:31:08.736
[SPEAKER_02]: So now we actually have it to where Mikeybone tries to have death, let him go to the bathroom but death.

01:31:09.157 --> 01:31:12.520
[SPEAKER_02]: This is like he went back and stews head, which is where he belongs.

01:31:12.680 --> 01:31:24.392
[SPEAKER_02]: Death then tells do that she will send him back because he likes his comic strips and does not want them to stop just now and because she needs to make room for the guys from

01:31:24.372 --> 01:31:35.466
[SPEAKER_02]: And as she heard that they are dying to me her, she then uses her robot to sense due back to the living and he wakes up in his own body.

01:31:35.666 --> 01:31:38.370
[SPEAKER_02]: She then proposes the journey and they get married.

01:31:38.490 --> 01:31:52.067
[SPEAKER_02]: And erratic her breaks the fourth wall, urging the audience to take off their clothes in the film cuts to an animated sequences where cartoon characters strip their human disguises revealing monkeys underneath.

01:31:52.047 --> 01:32:00.943
[SPEAKER_02]: So I like how he's back now in his own body, he has American ball head ambulance driver He's like, hey, can I see your shaver?

01:32:01.413 --> 01:32:25.058
[SPEAKER_02]: show he was up taking it, shave it, now he's back to being just stew and then Julie is over there morning, the fact that she might even get to see, or didn't don't her stew or stew for that matter ever again and then here comes stew and his dog winds up walking up to him and he passed him and then Julie winds up finding out that's actually actually stew.

01:32:26.202 --> 01:32:26.783
[SPEAKER_03]: Yeah.

01:32:26.923 --> 01:32:34.395
[SPEAKER_03]: I mean, poor Bridget, like her whole character, it's she, it's so heartbreaking.

01:32:34.576 --> 01:32:42.389
[SPEAKER_03]: She is so sad about, you know, the fact that she lost both versions, I guess, in a way.

01:32:42.409 --> 01:32:50.522
[SPEAKER_03]: And then, thank God, you know, like that gets fixed, but what a wild day she's had.

01:32:50.603 --> 01:32:58.211
[SPEAKER_02]: But because now it's like, okay, what personality am I getting today am I getting organ donor stew or am I getting monkey bones stew?

01:32:58.772 --> 01:33:09.083
[SPEAKER_02]: You know, but it's also sex is like I fell love it's do and even though stew is an organ donor stew and at least I have somebody and now I have nobody.

01:33:09.103 --> 01:33:17.472
[SPEAKER_02]: You know, it just sucks on that level on the till stew actually shows up and it ones up being him.

01:33:18.768 --> 01:33:31.296
[SPEAKER_02]: But, often like this other thing too, whenever they're actually in the world of death, there are two where you actually have Tom's Hayden Church's character, where he's actually ties stew up, a stretching him.

01:33:31.316 --> 01:33:36.106
[SPEAKER_02]: I love that bondage scene though.

01:33:36.166 --> 01:33:36.968
[SPEAKER_02]: I thought that was funny.

01:33:37.289 --> 01:33:37.890
[SPEAKER_02]: Bye.

01:33:38.984 --> 01:33:43.290
[SPEAKER_03]: But yeah, I kind of like a moment where he gets like a little cut out of like, I don't know.

01:33:43.350 --> 01:33:45.073
[SPEAKER_03]: I think she had like something with Pompeii.

01:33:45.433 --> 01:33:47.937
[SPEAKER_03]: She gets a little, he gets a little cut out of somebody.

01:33:47.997 --> 01:33:49.920
[SPEAKER_03]: He's like, ooh, a little McGroul friend.

01:33:50.581 --> 01:34:01.036
[SPEAKER_03]: He's like, he was like talking, uh, stew was, he's mocking stew, who was like able getting like tortured, you know, in front of death herself.

01:34:01.797 --> 01:34:05.903
[SPEAKER_03]: And, uh, so he's just, because stew is,

01:34:05.883 --> 01:34:16.655
[SPEAKER_03]: confessing like how much he loves, you know, his girlfriend, and so he's like, oh, a little bit girlfriend, but yeah, I think it's a little moment.

01:34:17.516 --> 01:34:17.816
[SPEAKER_02]: I agree.

01:34:18.677 --> 01:34:20.219
[SPEAKER_02]: So now we dissected it.

01:34:20.319 --> 01:34:27.547
[SPEAKER_02]: I know that there's no way that we are disturbing a way that we couldn't strip away the nostalgia for this because of how attached we are with this film.

01:34:28.308 --> 01:34:31.772
[SPEAKER_02]: So I'm still going with like a 9.9.

01:34:32.495 --> 01:34:44.935
[SPEAKER_03]: Yeah, if anything, my score has gone up and I hope everybody who's listening or watching, I hope their score has gone up too and I hope that they've watched it and if not, like catch it because it's available streaming.

01:34:44.975 --> 01:34:55.752
[SPEAKER_03]: There are if you're, if you're savvy, you can find like physical copies online, um, you know, like on events, that they're pretty easy to get, I think.

01:34:55.732 --> 01:35:06.900
[SPEAKER_03]: Um, but yeah, it's such a great film in the start motion, the practical effects, the costumes, the world building, the set design.

01:35:06.920 --> 01:35:08.303
[SPEAKER_03]: I love all of it.

01:35:09.205 --> 01:35:10.669
[SPEAKER_03]: Um, and then also.

01:35:12.050 --> 01:35:28.472
[SPEAKER_03]: like what I was saying that there's we need a director's cut of monkey bone because Henry Salik has gone on record to say that there's like at least 30 minutes of unseen stop motion footage and I will.

01:35:28.452 --> 01:35:29.574
[SPEAKER_03]: I would love to see that.

01:35:29.655 --> 01:35:43.785
[SPEAKER_03]: There's so many when you get the, you know, on this, this version of the DVD, there's like, you know, there's deleted scenes, there's like, kind of behind the scenes, and then there's like commentary.

01:35:43.805 --> 01:35:47.794
[SPEAKER_03]: So I really suggest getting this if you're like a diehard fan.

01:35:47.774 --> 01:35:50.718
[SPEAKER_03]: of Henry's Alec or monkey bone.

01:35:50.798 --> 01:35:51.859
[SPEAKER_03]: It's so worth it.

01:35:53.461 --> 01:35:58.368
[SPEAKER_03]: You know, I've learned so much just by dissecting the physical release.

01:35:59.870 --> 01:36:10.103
[SPEAKER_03]: But there's so much that they did, just with the stop motion, they built like, I think like a life size, like kind of puppet of

01:36:10.083 --> 01:36:35.145
[SPEAKER_03]: Brendan Frazier so that they could get the monkey bone to scale like all it was so much work done on this film so like years I feel like of work done on the stop motion to capture it all and so I just I feel like justice for monkey bone it's such a great film yes it's like a little

01:36:35.125 --> 01:36:35.646
[SPEAKER_02]: I do too.

01:36:35.746 --> 01:36:37.069
[SPEAKER_02]: I like the fact that it's wonky.

01:36:37.109 --> 01:36:45.828
[SPEAKER_02]: I love the fact that it's just a fun movie that you can just stop popcorning your face for an hour and just have some laughs and you don't need to take it seriously.

01:36:45.908 --> 01:36:49.777
[SPEAKER_02]: It's just one of those good movies that I can actually just turn on.

01:36:50.077 --> 01:36:50.839
[SPEAKER_02]: Watch.

01:36:50.819 --> 01:36:57.948
[SPEAKER_02]: and just relax for a change instead of having to, you know, just like, well, how is this connected to this or that or whatever?

01:36:58.409 --> 01:37:04.897
[SPEAKER_02]: You just watch the 90-minute movie and have a good time laughing with a brand-in-fraiser or any of the other scenes that we talked about.

01:37:05.658 --> 01:37:08.322
[SPEAKER_02]: I'll get this a 10 because of the fact of how much I love it.

01:37:08.782 --> 01:37:10.785
[SPEAKER_02]: I cannot really have problems with it.

01:37:10.765 --> 01:37:34.410
[SPEAKER_02]: So my score came up, but I really have to say guys, check this movie out, it's really funny, it's hilarious, and like I said, the third act is actually why you're even there at the begin with is your override and just like you guys know, like I'm looking at prices for monkey bone right now on the blue ray, there's actually a four, it's $420 for one of the.

01:37:34.627 --> 01:37:39.355
[SPEAKER_03]: Okay, not the blue right, this one's the DVD, so the I think the DVD is easier.

01:37:39.395 --> 01:37:47.810
[SPEAKER_03]: I don't I don't know I have to look like I don't think I have a blue ray probably because of that price point like insane.

01:37:47.851 --> 01:37:52.078
[SPEAKER_02]: The regular DVD itself is like 23 dollars.

01:37:52.514 --> 01:38:01.268
[SPEAKER_03]: Yeah, yeah, they come up and they go away and they come up so like just if you want just keep your finger on the polls, right?

01:38:01.288 --> 01:38:01.769
[SPEAKER_02]: Exactly.

01:38:01.809 --> 01:38:02.590
[SPEAKER_02]: That's what I would do.

01:38:02.991 --> 01:38:04.413
[SPEAKER_02]: And guys, tell us what you think.

01:38:04.433 --> 01:38:06.997
[SPEAKER_02]: Did you guys like monkey boners like how much we did?

01:38:07.378 --> 01:38:08.319
[SPEAKER_02]: Tell us in the comments.

01:38:08.339 --> 01:38:10.903
[SPEAKER_02]: We were like, no, just your favorite scene in this movie.

01:38:11.685 --> 01:38:15.130
[SPEAKER_02]: Uh, what do you think of Brandon Flasher being in this movie Chris Katan?

01:38:15.110 --> 01:38:16.712
[SPEAKER_02]: They'll be go over, tell us the comments.

01:38:16.732 --> 01:38:19.214
[SPEAKER_02]: I'd really like to actually go with you afterwards.

01:38:19.375 --> 01:38:20.576
[SPEAKER_02]: So go ahead and check this out.

01:38:20.596 --> 01:38:22.698
[SPEAKER_02]: Don't forget to like, subscribe, and all that other good stuff here.

01:38:22.718 --> 01:38:23.279
[SPEAKER_02]: I'd really love you tonight.

01:38:23.299 --> 01:38:28.184
[SPEAKER_02]: Don't forget to go on Spotify, iTunes, where you guys get your podcasts.

01:38:28.204 --> 01:38:30.126
[SPEAKER_02]: They're me over there on Apple Podcast.

01:38:30.146 --> 01:38:31.027
[SPEAKER_02]: Give me a five star review.

01:38:31.047 --> 01:38:32.149
[SPEAKER_02]: Tell me what you guys think.

01:38:32.609 --> 01:38:34.371
[SPEAKER_02]: And that's going to be as far as the show brings.

01:38:34.411 --> 01:38:35.773
[SPEAKER_02]: I hope you have a great and safe night.

01:38:36.193 --> 01:38:37.194
[SPEAKER_02]: Thank you again in a state show.

01:38:37.214 --> 01:38:40.678
[SPEAKER_02]: I do appreciate you being on the show and talking about monkey bone with me.

01:38:41.367 --> 01:38:43.029
[SPEAKER_03]: Thank you, thanks for having me.

01:38:43.129 --> 01:38:53.940
[SPEAKER_03]: I love coming back, love chatting with you and love monkey bone, and it's this is gonna be the 25th anniversary episode.

01:38:54.120 --> 01:38:57.823
[SPEAKER_03]: So congrats to everybody who's involved on the film.

01:38:57.843 --> 01:39:11.357
[SPEAKER_03]: We love it, and we support it, and I'm so excited to celebrate later on in February.

01:39:11.759 --> 01:39:14.222
[SPEAKER_02]: I'll see you guys in the next one.

01:39:14.242 --> 01:39:29.744
[SPEAKER_02]: I'll see you in the next one.

01:39:35.392 --> 01:39:35.472
[UNKNOWN]: Bye.