Movie RX
Dr. Benjamin prescribes movies that help and heal through his own experiences or the experiences of others.
Movie RX
The Crow (1994) ft. Derrick
How does a cult classic from the '90s continue to haunt our memories and influence our lives years later? This week on Movie RX, we uncover the layers of Alex Proyas' 1994 film, "The Crow," featuring Brandon Lee in a performance that eerily echoes his father Bruce Lee’s legacy. Joined by Derek, we dissect this gothic superhero tale, exploring its dark, gritty visuals, and unforgettable soundtrack that defined a generation. The Good Doctor and Guest share the influence that The Crow held over their lives.
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Hello and welcome to MovieRx, where I prescribe entertainment one movie at a time. I am your host, dr Benjamin MD. What does the MD stand for? Murder Defender, but not in the murder in the way that you think. Or do you think Crow Crow murder? It's like a community defender. That's what I do. I'm just getting a head shake from Jen, that's all I'm getting. Alright. So returning for the first first time. On for the second run, the one and thankfully the only Derek. Welcome, derek.
Speaker 2:Yep, yes, thankfully, the only yeah. I don't think the world would be ready for any more of me.
Speaker 1:We couldn't handle two Derricks. No, no.
Speaker 2:The universe would split.
Speaker 1:It'd be like a starbucks across from the starbucks, yeah, and cds across the street.
Speaker 2:I mean it would be.
Speaker 1:Yeah, it'd be anarchy. Yeah, yeah, we don't need any of that. No, no, that might be something that we'd find in our movie that we're doing today. Now, this, this movie, can be kind of divisive really. Some people really love it, some people really hate it. Some people really love it, some people really hate it. Some people really love to hate the people who love it. This today we're talking about the crow. Um this. This is a Miramax film released in 1994, uh, directed by Alex Proyas. Did dark city and I robot. Uh stars Brandon Lee, michael Wincott and Rochelle Davis. Uh, which this is this is the last appearance of Brandon Lee in a movie, sadly. Imdb description the night before his wedding, musician Eric Draven and his fiancée are brutally murdered by members of a violent gang. On the anniversary of their death, eric rises from the grave and assumes the mantle of the Crow, a supernatural Avenger. I think they could have done without calling him an avenger uh, yeah, yeah, a little bit yeah, I mean, although I did notice in your notes, this is not.
Speaker 1:This is not a like righteous superhero movie.
Speaker 2:Oh no, no no, fuck no not at all no, this is not a, you know, like, yes, love story. Yes, it's a comic book movie. Yes, there is, you know, a little bit of like, you know, vengeance coming in and you know, killing the bad guys. You know, but this is not like your standard good versus evil. Like everybody goes home with a, you know, with a like bright, shiny feeling, you know, a happy, warm, fuzzy or anything like that at the end of the movie. No, this is just straight up fucking revenge.
Speaker 1:Yes, this is gothic John Wick. Yeah, there's no sugarcoating anything in this movie, because there's no defense of the innocent, there's no, you know, any of that. He is just out for blood because he was, because he was, he was hurt and I mean granted, like, as as the movie goes, like the story, and it is when you start finding out why the people were in his apartment and things like that, then you just start getting really pissed and you're like good oh, yeah, yeah, I mean you do you yeah, you feel no sympathy, uh, for like any of the bad guys whatsoever, like no, you know, there there is no at all where you go.
Speaker 2:Oh, you know, that guy was kind of a good guy. No, fuck him. Every, every last one of these guys. They were bad people, very bad people right, so on.
Speaker 1:Uh, right about now is when I do my my initial impression of the movie, and I'll go ahead and go first. It was. It was pretty spectacular visually. I mean it was a tiny bit hokey in the effects at the very, very, very beginning. That very first fly into the city looked a little bit like it was out of Duke Nukem. You know some of the fires and stuff like that, but it's forgivable considering the rest of the movie, I mean, and that was actually pretty big for being in a live action movie at the time. It was pretty spectacular too. But, um, but I also think that that that sort of over contrasted fire and stuff like that on the buildings kind of added to the atmosphere in the way that it needed to be, in the way that it needed to be added. So again, like the visual effects could really be kind of forgiven.
Speaker 1:In that the music was fantastic. The only thing that really could have made it better was, you know, music that came out after this movie was made. I mean there were a couple of nine inch nails tracks that I was like that would have been really good in that. But other than that, the use of the Japanese wood flute and the deuduke and things like that were just. It was perfect the timing on it, just the style, and it felt like a comic book origin story, which I mean that's just cool, but gothic in nature, so I don't know. How did you feel about it?
Speaker 2:so, um yeah, I I have a lot of strong opinions about this movie. Is it because I have strong opinions or is it because I'm frozen again?
Speaker 1:you were frozen for a moment. Okay, go ahead. Okay, all right cool uh.
Speaker 2:Yeah, as far as, like you know, my, my, my thoughts and opinions on this movie, um, I mean, holy shit uh. So, like I, I discovered this movie when it came out in 1994, so I was like 10 uh, when I when I watched this so through the lens of a 10 year old, this movie was fucking awesome.
Speaker 2:Uh, you know you had, you had a soundtrack that was just killer, right, you know you had, just like everybody that mattered in like the mid 90s was on this soundtrack. Um, you have a world that was built up that was like the grittiest, gnarliest, fucking uh depiction of detroit you could ever fucking imagine, right, I mean it was like if heroin was a film, uh, you know that would be this movie. You know that would be the background of this whole fucking thing, right. So you've, you've got that, you've got. You know the, the action sequences, you know of all of the things. I mean Brandon Lee definitely inherited a lot of shit from his old man, so you know definitely a lot of that kind of stuff with, like, the fight sequences and everything were thoroughly entertaining. And then you've got just stylistically slick as hell the direction, the cinematography, I mean everything just looked awesome. So, through the lens of somebody in 1994, this movie was fucking amazing. But then you also have the underlying story.
Speaker 2:It was groundbreaking, you know yeah, right, you know, yeah, you've got the underlying story. That was just absolutely awesome, uh. And then when you pay attention to the comic itself and you get into like james obar and you get into his background and everything, and like it just keeps going and going and going and going and going, uh, to where you can really just fucking like continue to unpack that. For just fucking well, you know, 30 years we've been just continuing to unpack this thing right and and that's, and that's something that doesn't go away there.
Speaker 1:There are some movies that, of course, the best example that I have is actually a tv show. There are so many things that you watched as a kid when you were 10 and you just thought were the greatest thing on the planet. And then when you go back and watch them again when you're 35 or 40, you're like that was hot, fucking garbage. I don't know why I enjoyed it so much all the time. The best example that I have of something like that is beavis and butthead now you watch your mouth, sir no, I can't, I can't.
Speaker 1:I went and I bought all of beavis and butthead, the whole fucking thing on dvd and, like I hadn't seen it in years, and I sat down and I started watching it and I was like god, this is so dumb. I noticed that the big change was that I started to. I enjoyed the music video portions of the show more than when I was a kid. But other than that like I was just like, wow, I don't know, I can't believe my dad actually sat and watched this shit with me.
Speaker 2:It was so bad. I'm actually amazed that your dad sat and watched that shit with you.
Speaker 1:Are you kidding me? All of my friends parents were all like you know, I can't believe you. Let your kid watch that shit with you. You know, watch that shit, jim. And he's just like fuck. I sit and watch it with him, it's funnier now. Oh, no way, man.
Speaker 2:I don't know how, but no, I got fucking grounded, like if my mom caught me watching, like any of that shit. Uh, no, if I got busted.
Speaker 1:No, I got, I got out that's backwards my dad, my dad like he, he would, uh, I would, I would get in trouble if I watched a new episode without my dad. Then he'd get mad at me. And it was the same thing with south park too, like I mean all those, all those things that I wasn't supposed that. I wasn't supposed that I wasn't supposed to watch because society said so. My dad watched with me.
Speaker 1:Um, he took me to see beavis and butthead do america in the theater without screening it. He took me to see bigger, longer, uncut in the theater without screening it. Why? Because he was just like fuck, who cares my kids? Smart like just that's kind that's. That's really awesome best, like, of course, my dad was also the kind of guy that was like you can't, you can't buy edited cds. Why? Because that is not the way the artist wanted them to be heard, so like could your dad be like, be like my dad?
Speaker 1:no, I'm kidding my dad, I'm kidding, but holy shit, man, that's cool yeah, it was, it was awesome growing up, but I mean, but the point is, is that, like all of those things, you watch them now and they just they really fall apart. But you watch the crow now and, yeah, some of the acting is still a little like overblown, like it used to be, you know, and stuff like that, but you, but it's still, it's still just there and you and you take it in and you watch it and you love it and it's and it's really hasn't changed no, no, it still holds up, has that?
Speaker 1:impact. Yeah, um, and and that that gothic stuff in it is just it plays to a whole different generation of the darker part of society. Because, like, what is gothic then and what is gothic now? It's the difference between an attitude and a fashion.
Speaker 2:Right, yeah, I mean like back in the late 80s, mid 90s, you had to work for that shit, you had to actually earn that look right, when you couldn't just wander into a fucking hot topic or or you know, you, you had to more than just declare it.
Speaker 1:You know, right, like I mean, you had to live it. And now it's like you, you ask the gothic kids. Now you ask them, you know, hey, do you even know what, what a goth is like? If, if I were to say, tell me who the goths were, can you do that and none of them tell me who the goths were, can you do that and none of them can tell you? You know, I mean they, they don't understand any of the roots of any of it or anything like that. But but the people, at this time there were so few things that that tailored to the Gothic, you know, to the Gothic people, right, and so it was like so, when there was finally a Gothic movie, then it really spoke to that group of people.
Speaker 2:And a good one, like a Gothic movie that actually had like a budget behind it and it had like a real fucking, like a big boy fucking movie studio behind it and like real actors.
Speaker 1:And real actors and real stunt people. I mean brandon lee. Brandon lee was his father. Like I mean it's so crazy how like like there. There are so many times in that movie where he stops and turns around and he's got that. That lee smile on right as he's turning away from the camera and you're just like, oh my God, he looks like his dad. Like it's crazy how much he looks like his dad sometimes.
Speaker 2:There's a part in there. There's a specific scene where he's talking to Albrecht when he's in his apartment and Albrecht's asking him like are you some sort of a ghost? And he looks at him and goes boo, and then he hands him a beer. And he's got this. He looks at him and goes boo, and then he hands him a beer. You know, and he's got this. Like this goofy-ass, look on his face when he does the boo. When he does that, that's Bruce, like that's Bruce coming out and handing the dude a fucking beer. Like that is some shit that his old man would have done 100%.
Speaker 1:Yeah, it's so crazy. Well, and then you add in his physicality in the movies.
Speaker 1:Oh, totally yeah, you know, doing stunts and things like that, himself and whatever, I mean, that was again his dad. You know, his dad was all about it, and it's so tragic how the stories were so similar. With as similar as they were, we, we lost, lost a hell of a performer before they even really had a time to show the world what they were capable of. I mean, and I would say that that when, when he went out, he was just as skilled in cinema performance as his father was, oh easily, yeah, easily just getting into it yep, yeah and, yeah.
Speaker 1:And so I mean, what kind of things could we have seen moving forward had he been able to continue?
Speaker 2:yeah, uh, I and yeah, I think that from like both of them where they were, just they were, they were cut down like just before they were about ready to pop off. If I remember right, I think bruce dot uh, bruce died like 10 days before the premiere of enter the dragon, something, something along those lines, to where it was like just before his american debut. Uh, that was going to be like the biggest fucking thing ever. That would have launched him off the planet, uh, and he died like a week before that. And then, yeah, brandon, I mean this movie would have absolutely broken him, uh, you know where, he would have just been everywhere, uh, especially in the mid 90s, like that, because I mean, there wasn't, there wasn't a single role he couldn't have done, because he did. He displayed all of the emotions in this movie, all of them, every fucking one. Yeah everything.
Speaker 1:Yeah, yeah, and well enough to pull those emotions out of you as he was performing them. Yeah, that heartbreak with his. You know his girlfriend. And then you know the anger Every time he met one of the bad guys. You know anybody, from Tintin to.
Speaker 2:You know, to Funboy, how he was able to really draw those emotions out of you while he was doing it. Yeah, um, and I mean, and he, he taps into like it's, it's almost fucking like bipolar or something, like you know, I mean, he, he taps into where he can, in like the blink of an eye he goes from like ptsd you know I'm I'm really like emotional and you know, and fucked up about being in the presence of this person to just like outright rage of like I'm, I'm really like emotional and you know, and fucked up about being in the presence of this person to just like outright rage of like I'm gonna tear this person apart yeah, that kind of diversity, like, and he doesn't, he doesn't need time in between, like he can do all of that in one shot.
Speaker 1:Yes, you know, like yeah, um, yeah, no, just great stuff.
Speaker 1:The next portion I have here is is characters, and and I kind of put Eric and Shelly together for the first ones, I mean they're, they're the whole reason why we're here, you know the reason why we watch this movie, you know they're.
Speaker 1:They're a couple that are getting married on devil's night and Shelly lives in an apartment that isn't good, in a bad neighborhood, and she has complaints and she files a lot of complaints and unfortunately, the people who own the neighborhood are criminals and they send their thugs to to kind of hush it up a little bit and people die, both of them, eric and Shelly, both At least for a year, both at least for a year. I'm and that's that's the other thing about about Eric that I that I'm not really sure like, cause they don't really like there's, and there doesn't really need to be, but there's no explanation, like he's not a zombie, obviously, but was he resurrected, was he actually alive again? But he, he comes back a year later to seek his revenge and exact it and he he does have a little bit of help on the way. So we're going to talk about the, the very few good guys next in this movie there are not many good guys, no no, no who we got.
Speaker 1:We got, we got the cop and the girl. What are their names?
Speaker 2:uh you, uh, albert, and um sarah sarah, that's right.
Speaker 1:Yeah, I mean they just that's. That's pretty much it like of all of the people in this movie.
Speaker 1:Those are the two good people that he has yeah, yeah, as far as, like, the people that actually participate in anything, yeah uh, sarah's mom comes around a little bit later, like she kind of comes around back to being herself a little bit after after a visit from the crow Right, but I mean, but maybe again that's just him being a superhero inadvertently. But yeah, I mean, that's that's really all they got. Now, the cop, the cop Albrecht he has, he has like a he has kind of a tragic story too, because he used to be a detective right and now he's just a beat cop. Yep, and that was because he kept sticking his nose in on, on you know it was this particular case.
Speaker 1:Yeah, he kept, uh, yeah, he kept fucking around and kept poking around and he pissed off the wrong people and they, they bust his ass down to uh, you know, back to being a guy on the street yep, and so anybody anybody who knows a cop personally knows that they don't always know when they have those hats on in in departments that wear hats, and and when he was walking around his apartment in his underwear with his hat still on and then and then eric comes in and tells him you still have your hat on, yep, it was like. I don't know anybody who knows a cop that that works in a precinct where they still wear hats can, can definitely be like yeah, that happens, they.
Speaker 1:They wear that shit so much they don't even know they got it on anymore. Oh, and it's.
Speaker 2:I mean it's it's any job where you've got to wear that kind of shit. I mean, you know how many times like a like a food service job not comparing law enforcement to food service, don't come at me but how many times you've been in like a food service job or a retail job where you've got to wear a stupid fucking hat and you're walking around the house still wearing the damn?
Speaker 1:thing you didn't even realize, or a net.
Speaker 2:Yep, oh, no, yeah, the hair nets. I always knew, because that son of a bitch was immediately coming off.
Speaker 1:Or your aprons, yep, yeah, yeah. The hairnets I always knew because that son of a bitch was immediately coming off.
Speaker 2:Your aprons, yeah those do come off pretty quick.
Speaker 1:Beardnets, man. I hated beardnets. Oh my God man, those were the worst.
Speaker 2:Yeah, working at Perkins and having to do both a hairnet and the beardnet, where it was like, Jesus Christ, all I wanted was a cigarette and I feel like I'm getting done up for surgery. Dude, I bet you I wanted was a cigarette and I feel like I'm getting done up for surgery.
Speaker 1:Dude, I would have paid. I bet you, I could have sold tickets to an event of your beard versus a beard net.
Speaker 2:Yeah, yeah, I'd wear a couple of them because that's pretty formidable.
Speaker 1:But yeah, the good guys in this movie, just like I don't know. There they were so few that Eric was really the one standout with Albrecht and then Sarah, but the bad guys are everywhere. Absolutely everybody else in this movie is a bad guy and I mean, with there being so many of them, I don't know that we can really talk about them all, but we can talk about our favorites. I know where one of them is going to be. One of them is going to be 10, 10. Yeah, everybody loves 10, 10. Why? Because did you see that man? Like when you just watch him stand up in that alleyway and then pull those knives out from his jacket and then he just starts dancing with him, it's like, oh shit, that's a guy. I mean, most of that's, most of that's fucking.
Speaker 2:Lawrence Mason. Man, like most of that is, you know, like most of that's Larry Mason playing that role. I mean that guy is just he is. He hasn't been in a whole lot of stuff, but everything he's been in he's just been fucking top shelf the entire time.
Speaker 1:Oh yeah, well, and like like we had, we had been talking about with, with hackers. He was Nikon and hackers yeah, yeah, right, yeah, and he was. He was kind of that like when they introduce him, he was that imposing sort of you know, like who are you? What do you want? Like everybody's, like reverent about his door, you know.
Speaker 2:And then you know they ask him in an instant, like he turns into matthew lillard's counterpart yeah, and then he, and then he's doing kung fu in the doorway Roar, exactly. That's fucking basic man, talented, yeah.
Speaker 1:And then Michael Wincott the voice makes this man.
Speaker 2:Yep top dollar that gruff. It's almost like Clancy Brown, clancy Brown or the Kurgan, just that gruff rumble it's one of those where you hear his voice and you know exactly what it is and it's a little bit of a Southern drawl. It's a shitload of gravel and it's usually like he's got something. That's just like poignant and kaboom that he's about to say right, and it's usually something he got from his daddy. My daddy always said every man's got his devil right the, the whiskey voice.
Speaker 1:That's what they call it right exactly, yeah, yeah, the jack daniels voice yeah, he's, he's always got it, and his voice really does make that character and give it. Give it the character that it needs you know yeah. Um, but no, I just, I just love the way the loves, the love, the way he does it. And then, uh, god, what was that guys, the, the, the guy that was like impish running around with, uh, you're talking about the speed freak. Yeah, oh skank, yeah.
Speaker 1:Yeah, yeah, oh skank, yeah, yeah, yeah, fucking skank, yeah that moment when he's talking with him, you know like I've got, I've got a soundbite for that. Hey, you, what's your name? You don't feel that. I feel like a little worm on a big fucking hook. That voice is just perfect and uh, and, and that's the most animated he gets throughout the whole movie. So he also has this imposing presence that he gives, just in the calmness that he has. And when he starts getting worked up, then that's when you start to worry. Oh yeah, ok, what's he about to do?
Speaker 2:Like, yeah, like top dollars character is just fucking. Top dollars character is terrifying throughout the whole fucking thing Because, yeah, he, just he, he stays very steady through everything. And then like, yeah, as you said, you know the few times where he raises his voice like they're very intense parts of the whole fucking movie.
Speaker 1:Right and everybody around him worries, you know. And then there's. Then there's the other guy, he. He also had kind of the same sort of thing. I mean, he was, he was a little bit more fly off the handle, but but at the same time oh, what was his name?
Speaker 2:uh, t-bird t-bird t-bird was was obnoxious and everything but that calmness that he had in the car oh yeah, uh yeah, t-bird was like, it was like a he, he almost hits me as almost like a, like a beatnik. Uh, you know, we're like. Well, I mean, he's quoting fucking Milton the entire time. You know, with the Abash, the Devil Stood and Felt how Awful Goodness Is Like, yeah, he's quoting John Milton the entire time. Like this guy that's like a street thug. You know like that's not a thing that you commonly see. And then he would say you know, he said weird shit. You know like, when Tintin dies, he's like. You know, yeah, one of my crew went and got himself perished. Somebody stabbed all his blades and all of his organs, in alphabetical order you know, like shit like that.
Speaker 1:It's like who the?
Speaker 2:fuck says that.
Speaker 1:He also, you know, had a penchant for his very favorite saying, for, uh, for his very favorite saying they get rowdy, those guys, and that little interaction around the table with tintin I loved it, you know oh everybody's standing up and putting guns up against each other's cheeks and everything it's like yeah, that shows you exactly the kind of people these are yeah, just just all, all sorts of just toxic masculinity yeah, all over there and they're swallowing bullets right like what the hell right exactly who does that shit?
Speaker 2:I get which which one of you motor city motherfuckers wants to bet me. This one isn't just like yeah, the the dialogue amongst all of them, where you're just like holy shit man.
Speaker 1:And that's the. That's the average people in this movie. Yeah, the average is the people sitting around that table, correct? And so when you have that, you have to have a pretty extreme good to come in to counterbalance that. But they didn't. They didn't use an extreme good. Not saying that Eric Draven was a bad person. I mean, he was a goth. It wasn't wholesome. His reason for being there was selfish and dark, but ultimately it neutralized everything that makes this movie so dark, and he did it completely. There's no ifs, ands or buts about it. He really came in and cleaned house right about here. I'm going to take some time out, same. Let's talk about some of our favorite moments and quotes in this. I'll let you go first. Oh boy.
Speaker 2:Probably. I mean some of the oh man, um, as as far, as far as favorite quotes, this whole movie. It's a comic book movie, right? So every single soundbite in this movie, almost everything fits in a bubble in a comic book, so almost everything in this movie is quotable. You have so many great lines to where it's just really difficult to pick just one. But I mean your soundbite from earlier of the. Uh, you know, I feel like a little worm on a big fucking hook. That is definitely one that, like burrows itself into the brain right, of course I mean skank and t-bird, both.
Speaker 1:They just had those, those weird off-putting I don't have any other way to put it besides uneducated things that they would say like I, I catch myself all of the time using the other, the t-bird line.
Speaker 2:You know, this is the really real world right, oh, that was a good one.
Speaker 1:When he was in the car just getting ready to go off the pier and he's like this is the really real world there ain't no coming back there ain't no coming back and uh, well, he did and he's uh, and he's right in your wheelhouse, man. Yeah, god, that was. That was a really good line.
Speaker 2:I did like that uh the the the one, the interaction between uh eric and albrecht towards the end of the movie. Uh, you know, after the crow has been shot, he's like kind of lost his powers and things like that. And he's sitting there, he's, you know, he's been shot to shit. He's bleeding all over the place. But albrecht doesn't know it yet and he's just like you know, yeah, you know, you go first and uh, they'll shoot you until they run out of bullets and then I'll just arrest everybody. You know, and he's like, yeah, it's a great plan, except shit, you're bleeding all over the place like I. I thought you were invincible. And you see the annoyance like set into his face where he's like I was, I'm not anymore, like catch up, like come on, man.
Speaker 2:You're like don't fuck with me right now.
Speaker 1:I'm shot, it hurts I mean a little bit of pain, dick, right? Yeah, exactly one other quote that I really liked from this movie, and it's actually the one quote that I think of every time I think of this movie, the very first quote that I think of every time I think of this movie I don't know why that scene sticks with me and it always has.
Speaker 1:Like I didn't watch that movie, like I mean, I watched it when it first came out on vhs, on vhs, and then I watched it when it was first released on dvd. And since then I haven't watched it and like what was it? Maybe two or three days ago, the day before, I watched this car, car bang. Fuck, I'm dead like I'm just like that that I don't know why that stuck with me.
Speaker 2:And I noticed that you had that down in your in your some of your favorite quotes too and I was like I mean like that, that casual insanity that, uh, that wincott brings to the role of top dollar, uh, that's, that's where just so much of that shit sticks in your head, because you're thinking, okay, this is like the uh, this is that last act. You know, big baddie shootout thing, who the fuck says something like that, like, who makes a joke like that, just so casually of like, you know, bang, fuck, I'm dead. All right, now we have problems. I love it for a ghost.
Speaker 1:You'll bleed, just fine I'm glad that I'm not the only one that that that that really stuck out to another one. I still use it to this day and I'm not entirely certain whether I got it from my dad or I got it from this movie, or even if my dad got it from this movie and I got it from my dad who got it from this movie. I don't know but the term. What's this happy horse shit? You see my producer throwing her head back. That's because jen hears me say that shit all the time yes what is this happy horse shit?
Speaker 2:yep, and I love it. I think that's just a midwestern colloquial, but it like snuck its way into this fucking movie I love it yeah, yeah, yeah what's this shit right?
Speaker 1:here, man, you know, and then there's the whole, you know, the whole jolly club with a jolly pirate, nicknames, and yep, yeah, that whole interaction between him and gideon in the pawn shop.
Speaker 2:Oh my god man it's it is. It's hilarious, but it's also just terrible the entire time. I mean, he's taking glee in the torture of uh, of this, this pawn shop owner, right, like when he stabs him in the fucking hand and he's just like Mr Gideon, you're not paying attention and then stabs him in the fucking hand, right.
Speaker 1:Yeah.
Speaker 2:Cracking jokes the entire time, you know.
Speaker 1:Yeah, yeah, you know you're, you're nothing but street grease. You, motherfucker, is that gasoline? I smell like oh shit that. I loved that scene, oh yeah, yeah, the way that they filmed it, the angle that they got him at the lighting that they had on him yep, that is that gasoline. I smell like shit on me.
Speaker 2:Just great, great stuff oh my god, man like the you know that the, the dude that played gideon, uh, you know fucking. Uh, john palito, that guy is like, he is that guy in everything he's ever been in, like, oh yeah, he does nothing but like bit parts or you know smaller roles and everything he's ever done, but he is that guy and everything he's in he's got one fucking speed but goddamn does he do it well.
Speaker 1:That last scene that he has with Top Dollar. Yeah, His annoyance with the whole, you know. Oh, just die already, will you? Yeah?
Speaker 2:It's so good. I mean, that's another one with, yeah, just Top Dollar being just terrifying the entire way. He's like would you just fucking die.
Speaker 1:I love it. So there is one very specific facet of filmmaking that I kind of wanted to talk about with this one, and it's mostly because I'm not real familiar with Grim Revelle.
Speaker 2:Oh yeah, grim Revelle, yeah, yeah. So yeah, he was the composer that put together the score for the movie and this is like I mean even to him, he's like this was my signature piece, this was like my magnum opus. But I mean, this guy's worked on all sorts of shit that people like us would probably consider to be like classic movies. He worked on things like Street Fighter, tank girl, uh ghost in the machine like the you know the animated ghost in the machine, um, you know he worked on like all sorts of really cool shit. Uh, he worked on um the craft, um fuck what, uh, what the hell else do you work?
Speaker 1:oh, I guess I do hear that there's something.
Speaker 2:Uh, there's something sticking in my head that, like he worked on, it was a biggie. Uh, it was another comic book movie. Um god, son of a bitch, what the hell was it? Hang on a minute um, you did say tank girl I did yes and you know that would have been another really big, uh, really big one, but um, oh, motherfucker, where the hell are you? It's a black and white comic book movie. Um uh, sin city.
Speaker 1:Yeah, there you go okay, yeah, you worked on, you worked on sin city.
Speaker 2:Uh worked on daredevil. Um, you worked on like all sorts of shit okay. So I mean he's got a particular sound to him that is almost industrial, but it also has, like he's all about like vibe and sound design and things like that.
Speaker 1:It's not like a john williams type of a score he is very similar to han zimmer, where he likes to use those ethnic yes, ethnic instruments, a lot of percussion, um.
Speaker 1:He's very much trying to create like a vibe in an atmosphere right, and now that you've mentioned a whole bunch of those, I can kind of hear, I can kind of hear, I can kind of hear his style in most of those, like in my head as I'm, as I'm kind of replaying some of the music from those movies in my head, the similarities, but yeah, I mean I just the the name. I feel like I should know it, but I just didn't. I'm like huh, I'm going to have to, I'm going to have to ask him about that. Um, but I, I did notice in this movie, though as I was listening to it, I was just like, you know, especially with that do Duke and the and the, you know, the Japanese wood flute played at the same time together as he was walking down the alleyway and stuff like that.
Speaker 1:It was like God, I don't know what kind of sound that is, but it's, but it's haunting and and they picked it like perfectly for that scene just to give it that that little bit of mysticism right needed to be had.
Speaker 2:Yeah, just really, really good stuff yeah, a lot of times like, unless you are, you know, an orchestral nerd. A lot of times like movie scores and the the common listener is not able to listen to like a score from like beginning to end and actually give a shit, like most of the time, you know, just a regular listener, they, they just don't care. Uh, this is one of them, though. We're like you can, you can have this going in the background and it's just going to be like lo-fi tunes for like the whole fucking time that it's running.
Speaker 1:Like you're even as just a normal listener, you're okay with it yeah, see in and growing up, growing up in a musical home and a movie theater, music, movie music was always really important for me, sure, and and so, like my dad had kind of taught me the like, the things to look for between the different, between the different composers, and how you can kind of see their signature right. A lot of them have a signature, like john williams. Obviously his is that octave jump that you know he's he octave jumps, musically, technically, are ballsy and they tell you not to do it.
Speaker 2:Yep, yeah, they go against the rules.
Speaker 1:They tell you not to do it because it's not because it is too. It is too epic to do you know John. Williams does it like he's taking a fucking walk in a park, right Everything he does.
Speaker 2:John Williams does it for a reason because when you have that, that giant like octave jump, it's a kick in the pants Right, you know where you're like yeah all right, let's do this shit. And I mean most of his scores are, you know, epic, like heroic let's, let's fuck up the empire kind of you know kind of scores.
Speaker 1:Yeah, and then, and then you've got movies like Harry Potter that, like you know, I mean they're everywhere. I mean just the whole fucking theme is nothing but octave jumps, and he just does it so casually, and so I kind of look for some of those signature sounds and things like that. And his I just I didn't recognize, and that's kind of why I put that in there. But it really did fit in with kind of the, like you said, the vibe.
Speaker 2:Yeah, it's world-building, it's how you put on there.
Speaker 2:I like how you put on there, even though I hate that term, but it really did build a vibe it's because anymore, man, I mean that's, that's become so much of a zoomer term, uh, or yeah, zoomer, kind of a term of like you know, yeah, you know the vibe, right, you know everything's, everything's a vibe and it's like just yes, no, you like it's not a noun, all right, you know you it's. It's like, don't, don't do it that way. I know it makes me sound like the cranky old fuck, but I mean, I am who I am right?
Speaker 1:well we're, we're starting to get into that age where we have to start practicing to being the the the cranky old guy in the neighborhood dude, I've been the get off my lawn guy, since I was like 12.
Speaker 1:Okay, I'm going to get up on my mic here real quick so that I can tell this to you here I, when I was looking to buy a house, I specifically found one that kids would walk by from school, so that I could become the local legend. Don't go into that yard. That's old man here. What's yard? I got this big looming house and I've got windows up in the top of the house that I am so going to just make, mysteriously lit up at night with a silhouette.
Speaker 2:It's just going to be a cardboard cutout or some shit, and I mean I'm going to you're in midday, that's not going to be that difficult. Like you going to you're in that's not gonna be that difficult.
Speaker 1:Like you know, you're, you're in small town, nebraska, that's not going to be that difficult to uh, to be able to create that kind of legend. I am going to be a legend, that's. That's exactly what I was out for I'm not going to be famous.
Speaker 1:I may as well be infamous see jen's got her hand in her head because she knows every time we went to a new house to go look at it with our realtor, I went, I went straight to the front window and was like, yeah, I could, I could terrify kids from this place.
Speaker 2:Yeah, there you go, yeah yeah.
Speaker 1:So, uh, I mean speaking of vibe. So, uh, cinematography, set design, you know direction from proyas and and walski, uh, cinematography was set design. You know direction from Proyas and Walsky. Cinematography was really great. And, yes, you can definitely see how they had kind of recycled some of their work with, you know, having worked in Dark City, I think.
Speaker 1:Now there's this quote that my dad used to say years ago all the time, and it was when I was at home by myself with my trumpet and I was just learning how to play and I had a Dizzy Gillespie CD and I had that in the CD player in my room and I was trying to play along with Dizzy Gillespie, which when you're in your first like five weeks of learning how to play, you know that that's not possible, but I was trying. Anyway. My dad comes home and I'm like I'm turning off the CD player, I'm putting my trumpet away and all that stuff, and my dad was like, what are you doing? I was like, well, I was just playing along with a CD and he was like, yeah, what were you doing? I was like Dizzy Gillespie and he was like, oh okay. I was like, just okay, you're just going to tell me that it's okay and he's like. He's like, yeah, why? And I was like I just figured that, you know it's well above my, you know my skill, you know my skill level and everything. And he was like and then he stopped and he looked at me and he goes there is nothing wrong with emulating greatness, and so that stuck with me.
Speaker 1:Now, when somebody does something right and then they do it again, you find it excusable. So even if they did copy themselves when making one movie and then going to another and doing the same thing, they captured it, they figured it out. They successfully found the formula that made what they captured it. They figured it out. They successfully found the formula that made what they wanted to make. And then they then they just recreated it for another project. And some people really hate that. I mean, some people will will talk a lot of trash about people doing that. They'll be like you know well, this movie was just like that movie and you can totally tell because it was the same people that did this. I think it's.
Speaker 2:I think it's fine, yeah, like, if you figure out the skills yeah, there are some people that have like an identifiable style to them, you know. Like there there are, uh, you know there are a lot of films where, like yeah, there's sure you could say that they just made the the same movie over and over again. Like, uh, uh, oh, god damn it, the the fucking name is escaping me right now.
Speaker 2:But the other, the guy that made like all of the teenager movies back in the 80s, uh, he worked on like weird science and uh, 16 candles and um, you know who I'm talking about, right, like, yeah, I mean that, yeah, yeah he he's known for, like, he made all the teenager movies, right, and they they all have, you know, very, very similar plots and they're all about, you know, kids that are like 16, 17 years old, they're coming of age, they're all that kind of story, but they're all fucking great, right, you know, yeah, he had a particular style and he did it very well and he did it very well.
Speaker 2:You could say the same thing about the combination of Proyas and Walsky were like they discovered their particular style and when they were working on something like Dark City, it fucking works. That's exactly what they're going for on that With Walski and his cinematography. When you look at what he did later, when he's working on the Alien movies, the newer ones like Prometheus and Covenant, it's still that kind of video style and it works for what it was that they were trying to capture.
Speaker 1:So if you've got a style, fuck it man, go for it. Kind of breaking away from, from a little bit of what is typical for me the, the movie, the movie thing in video games. I remember when halo, when halo 2 was just getting ready to come out do you remember halo 2?
Speaker 2:uh, yeah, because of who I lived with. Yeah wait.
Speaker 1:Which one did you live with at the time?
Speaker 2:I was living with Chris.
Speaker 1:Yeah, of course. Yes, you were a Halo fan.
Speaker 1:Now the whole thing with Halo is at the time they had a making of Halo thing that came out around that time and one of the game testers had said that the reason why Halo was successful was because they figured out the formula for fun, and that was 20 seconds of intense action gameplay, split up and recreated over and over and over again, with a little bit of walking time in between to give you time to recoup. Sure, and so once you figure that formula out for success, then you just copy and paste that formula and, like I said, I don't see any problems with people doing that.
Speaker 2:No, absolutely not. You don't have to reinvent the wheel every time. Sometimes the wheel is just really fucking good.
Speaker 1:Right, so some of the things that I was kind of looking at here with some of the other things, some of the other aspects here. Now we talked about the orchestral music. The soundtrack on this movie was banging. Oh dude dude, Three times platinum selling, selling over three million copies. That's just domestically. I mean it really contributes to the movie's atmosphere, reflects the subcultures in the city, with the varying different styles within the soundtrack itself. I mean this soundtrack was amazing.
Speaker 2:Oh, I mean, dude, you've got. I mean you know, some of the names of people on here. I mean you got, you know, you got. Stone Temple Pilots, Nine Inch Nails, rage Against the Machine, rollins Band pantera, the one good song by the cure, uh, I mean I'm like the one, the one good song by the cure I'm surprised that you didn't have matt pinfield just show up in the movie, because all of these, all of these guys were on 120 minutes. Uh, I mean, like this was, this was alternative 90s, right there.
Speaker 1:Right, yeah, it was. It was such a good soundtrack and like I'm starting like I, as I think back on it, I'm like I don't know that I that I ever owned it, like in that first probably I'd say probably five years maybe after the movie came out, I wasn't really old enough to go buy that kind of stuff by myself. Uh, after the movie came out, I wasn't really old enough to go buy that kind of stuff by myself. But, uh, but I do know that before I was 20 I owned this soundtrack and I loved it.
Speaker 1:I, I literally wore out a cd listening oh, yeah, yeah because you you don't even have to stop it, like you don't have to skip anything, you don't have to jump over anything. It's all just really great music. I don't know, I feel like there were a few parts where I had a hard time identifying where some of the songs were in the movie.
Speaker 2:Um well, a lot of them were really like just kind of low-key in the background, like the other, like stp uh that was, I mean that was playing on the radio as they're driving away from the arcade, uh, you know, from the arcade games place where they blew that up right and you just barely hear in the background while you have the other, the little fucking uh uh, tachio watch or whatever the hell.
Speaker 2:Uh, you know ticking away before the bomb goes off and you just barely hear in the background. You know that time to take her home. You know like, yeah, you barely hear that while, like that arcade's about ready to blow up right, yeah it's, I don't know it.
Speaker 1:Just it doesn't get any better than the soundtrack. Man Like I mean okay, well, I don't know, there's been some other really good soundtracks out there too.
Speaker 2:Yeah, there's a lot of them that are like when they're good, they're fucking good yeah.
Speaker 1:Now some of the stuff that wasn't really soundtrack movie or movie soundtrack and wasn't orchestral. You know when Eric Draven is playing the guitar on the on the rooftops? Oh yeah, thank you. Thank you for that promotional video. By the way, that was spot on. Like, yeah, I was like is he just miming?
Speaker 2:Yeah, I did that on devil's night. Uh, you know, like this this past year, uh, you know, did that. Uh did that on devil's night and was like, uh, you know, yeah, we're we're talking about the crow.
Speaker 1:It like, hey, fuck it. Yeah, no, I still have this old video floating around. Yeah, why not? I'll just throw that up there. That's what I'm talking about. I love it good, good stuff, and I mean it was it added something. Something that I I really wish that they would have hit on a little bit more in the movie was was his band. I really wish that they would have had more about the band in there yeah, um, I think, if I remember correctly, in the comics they do.
Speaker 2:Uh, you know, in the graphic novel they do talk more about, like the other, the band, but uh, you know, like they, they do have the, the one song, the, uh, it can't rain all the time. Uh, that was supposed to be like his band doing that song. I'm probably, I'm probably gonna have fans of this movie come after me for this, but that band sucked, they weren't good. They weren't good you know it's well, I mean, and he, I think the people that you have to worry about.
Speaker 1:I don't think he'd have had a music career right now, the, the people that you have to worry about, those were the people that I, that I'd kind of talked about in in the very beginning. The, you know, the some people who love to hate the people who love it, right, like the people that, like the people that love this movie, that hate the people that love it. Those are us because, yeah, because the people, the people who, who the people who love the movie hate the people who love it, those people are weird, like they're, they're just absolutely fucking weirdos and they go crazy about that shit. Man, I mean, we're talking people who, who, like, modeled their whole lives after this movie, which I love.
Speaker 1:This movie, this movie actually gave me some. My active ingredient for this movie has stuck with me since I was 10 years old until today, right, and it still continues. So, like this, this movie was huge, awesome, amazing and impactful and just ginormous in every way. But, man, some people really need to be careful. So the next part that I really wanted, wanted I'm actually look, really looking forward to, to kind of your thoughts on this one the sequels in a remake okay I'm just gonna turn my microphone off, yeah yeah, all right.
Speaker 2:So the sequels are all fucking hot garbage. Every last bit of them, just fucking dog shit.
Speaker 2:Um the uh like city of angels, had a chance. Like maybe, um, I'll give it a little bit because Iggy pops in it, uh, you know. So like maybe, just because he's there, uh, it gets maybe a little bit above. But like the the rest of them, holy Christ man, bit above. But like the the rest of them, holy christ man. Just absolute fucking dog shit. Like how in the fuck did these things get made? Like the worst made for sci-fi tv movie. That, uh, that you could get your hands on is still probably better than most of these sequels. They're bad.
Speaker 2:They're they're saying a lot, fucking bad um, especially considering that, like the first one was so good, you'd think that, given the source material, that that would save it at least a little bit yeah, I think, uh, so, like, I've got a couple of theories on why, like, there are failures in, like, the sequels and where, where we might get to on the remake, and I got a lot of thoughts on the remake we'll get to that here in a minute, uh, but my, my thought is that, okay. So the, the original movie, you know, the with, uh, you with brandon lee, alex prius, you know whatever, that was lightning in a bottle, right, and everybody kept trying to make a riff off of that right, all of the uh, all of the sequels they were trying to. They weren't going to the source, source material, they were trying to riff off of the movie and that's what they were trying to build their uh, you know, base their uh, their sequels off of. And that's the wrong thing to fucking do.
Speaker 2:When you look at other things that exist in the Crow universe, like other comics or novels, there are several books that are based in the Crow universe and they have nothing to do with the original story. They have nothing to do with Eric Draven, like he's not even a footnote in there. The only thing that connects them is the concept of the Crow Right, and you know that's the only thing that connects any of those and the books are fucking great. Like, some of those books are really really fucking great. One of them's a little twisted, but they're, they're really. They're really really great books. Um, you know, but it's because they're not trying to recapture the lightning in the bottle that they already got back in 94, right? Um, so I think that's where the failure was of all of these sequels, because they're fucking dog shit.
Speaker 1:You know, I think, all of the sequels the best way that I could describe those. The reason why I told most people to just kind of stay away from most of the sequels was imagine, imagine, imagine that they wanted to make sequels to to the crow, and so they they present the idea to you know, miramax, I guess, in this case. And Miramax goes yeah, we're not going to give any money for it though. So if you guys can pay for it out of pocket, that's great. And then, instead of using that money out of their pocket to pay for sets and things like that, they went and paid people who had made bad knockoffs and said we're going to pay you for this bad knockoff of the crow and we're going to give it to miramax and they're going to turn it into a crow movie.
Speaker 1:And and then miramax just took it and put it onto a cassette and started selling it oh yeah yeah, that is really what it feels like, like they were intentionally poorly made mimics just to piss you off when you're scrolling through on netflix yeah, mirabax, I don't think that this is actually part of that movie yeah, yeah, mirabax was just like we really like money, we'll take your money.
Speaker 2:Uh, yeah, I mean like the, the sequels are uh, especially like the, the third and the fourth one man, like the, the, the sequels are you, especially the third and the fourth one man. The sequels are. These are like what happens when you want to watch the Crow and you order it from Wishcom.
Speaker 1:Yes, that is exactly it. Have you ever seen on? I think it was.
Speaker 2:I think it might have been on Amazon, it could have been Netflix A movie called taint light excuse me, it was in taint light taint light I'm I'm gonna need to know the context yeah, huh, I'm gonna need to know the context of that word tank think twilight, but bad well, I mean twilight's already bad so it was.
Speaker 1:It was a twilight knockoff where I think it was filmed on a sony handycam and it was just a bunch of kids and and instead of baseball they did froth. Instead of sparkling in the sun they would get boners and bubbles would fly around them. I mean just a really, really bad remake of twilight. That is what I feel. The crow the crow sequels like three and oh yeah yeah, three and four is to the crow. What taint light is to twilight?
Speaker 1:I'm gonna have to take your word on that one, but holy goddamn I'm you know what that that might be something that I might have to do. I might have to, I might have to, to prescribe people to watch movies and then come back and tell me how bad they were. I, I, yeah, see if you can find taint light I don't think I'm gonna. It doesn't seem like a thing I'm gonna do oh, come on, it could be worse, I could be uh I've done a lot of bad things in my life.
Speaker 2:I've done a lot of dumb things in my life. I don't done a lot of dumb things in my life. I don't think that's something I'm going to do.
Speaker 1:That's awesome. So now the big question, the really big question, and that's you know, we've gone this long with having nothing but garbage sequels, and now they're rebooting the movie.
Speaker 2:Okay, so the reboot on this? First off, there's a huge misconception that everybody thinks that this is a reboot of the movie. It's not Okay. Okay, this is where they're being different, in that this is a reimagining of the graphic novel, so they're not rebooting the movie, they're not fucking with that, they're redoing. It's a reimagining of the actual novel. They're going back to Obar's material. They're not messing with Alex Proyas and Brandon Lee, they're leaving that alone. However, there are a lot of there's still a lot of controversy in there and there's still a lot of risk in there and, I think, a lot of the reaction that, because you've got some people where they look at it, they're like dude, this looks fucking good, and then you have the reaction of like what the fuck is this happy horse shit? Um and it's.
Speaker 2:It's because, uh, you, we've we've been burned so many times by just the, the absolute, god-awful, fucking trash sequels that I I can't stop cussing over. Uh, yeah, I mean, they're just fucking hot garbage anyway. Uh, you know, so like we've been burned so many times by it. So, like, when there's, when there's something that comes out and it's not a sequel, we're, we're like, we're back to eric draven and shelly here. It's like, no, don't you fuck with me here, don't you fuck with this, right, uh, especially all like any of us that like grew up in that time period. You know those of us that are like the, the elder millennials, you know the of the gen xers, uh, like that was, that was our movie man, don't fuck with our movie. Uh, so there's a lot of like trepidation. You know to where we're just like, wait a minute, and I mean when the, when the red band trailer came out, it like the red band looks really cool because it's incredibly violent. Right which the, uh, the, the graphic novel.
Speaker 2:The graphic novel is incredibly violent, uh, because of all the shit nobar went through and like how this was his process for being able to get through that. You know the, the shit that he was going through. Uh, so yeah, like the, the graphic novel, incredibly violent. So you look at that, you're like, okay, maybe. But then you look at like what they did to draven's look right where he's in, like the, the track suit and he's got the shitty face tattoos and he's got a mullet, uh, and you're just like what the he looks like a fucking uh, like a, a zoomer, fucking fever dream and you're just like what the fuck did you do to my eric draven like this.
Speaker 2:This guy has been like the uh, the fucking poster child for mid-90s goth for like 30 years and you've got him looking like. He looks like machine gun, kelly. You're like what the fuck man, what did you do?
Speaker 1:a you do A little bit like Billy Ray Draven man Well, no he doesn't look redneck, he looks like fucking, like.
Speaker 2:what the hell is it? There's a style now that the Zoomers are doing where they're purposely looking like they're white trash. They look like they just wandered out of Valley View, you know, in like 1997. And you know, you're and like you look at it and you're like what the fuck? Go, wash your ass. What are you doing?
Speaker 1:What the fuck is this? Yeah, with the, I guess with the, with the mullet and you knowuit and you know, riding on some stolen bike, um, and and all of that. Yeah yeah.
Speaker 2:So I mean there are. There are some things where, like, you look at it and you're like, oh, but I don't know, like I'm I'm trying to go into it with an open mind, we will see what it looks like. I mean, they're just there are a lot of things that don't bode well. I mean, this has been in development hell since like 2008. Right, you know, you've got like 25 years of development hell for this, uh, but you know that, like, is it going to be a reboot of the original movie? Is it going to be a reboot of the comic? Are we going to just make this another sequel? Uh, you've had like everybody involved with this. Like, I think, at one time you had like jason momoa, you know, involved. He was going to be Eric Draven, like you know, yeah.
Speaker 1:Well, I mean, I think Jason Momoa I have a lot of respect for him. Okay, that's a bit much Right, yeah?
Speaker 2:Yeah, I mean, yeah, you've got like some crazy shit in there. Like James Obar, at one point he was, you know he was involved. Uh, you know, as, uh, as an advisor, he's not anymore. Uh, you know, so like just all sorts of weird shit. And then like all of a sudden, boom, we have this and you're like I don't fucking know, man, like it might be good it might be just god awful, uh, but I like it's.
Speaker 2:Also, you have to, you have to try to think of who is their audience going to be, right, you know, I, I and I think we might have. We might have touched on this a little bit last time when we were talking about clerks. We're old, right, you know we're, we're going into our, we're going into our 40s and when this movie came out, it was, you know, it was directed towards a specific generation, right, 1994, gen x generation, when the uh, when the book itself came out, it had a lot of cues, stylistically, from like late 80s, uh, you know, goth and punk, uh, to where you had like you know, I mean eric draven originally was modeled off iggy pop.
Speaker 2:So uh, you know you have that kind of uh, you know that kind of look to it. So who are they marketing this to? Are they marketing it to like old fucks in their 40s or are they marketing it to the zoomer generation? Because if that's who they're marketing it to, then I mean, it looks like it's probably gonna be a fucking slam for them. We'll just see if it applies to their set of values for this day and age.
Speaker 1:Otherwise there's going to be a lot of pissed off Gen.
Speaker 2:Xers.
Speaker 1:Right, it kind of goes back to what we were talking about before, we were recording the Roadhouse thing. Right, roadhouse, the new Roadhouse, if you stop thinking of, stop thinking of it as as a, as a remake, and just think of it as as its own movie, it's, it's fine, right, like, as long as you're not going. This is, this is a roadhouse that is made now and it's and it was made because of the one that came before. Like, just think of it as oh, this is a with jake gyllenhaal and some fuck stick from overstays and and I'm sorry I was was that somebody important in that movie? I don't know. Some people, some people say that you know, oh, I couldn't believe they got him and I'm like I don't know who the fuck he is, because he sure as shit ain't an actor.
Speaker 2:I'll tell you oh god, no, no, no, no, no. He make, he makes his bones by punching people.
Speaker 1:He should not be talking yeah, yeah, and I mean I'm not gonna, I'm not gonna challenge him in that in that arena because he would fuck me up.
Speaker 1:He could. He could reach me from wherever the fuck he's at overseas, like what is that ireland? Yeah, he could probably punch me from ireland right now. So I'm gonna, I'm gonna like try to be a little bit of quiet about it, but god, I hate that guy. Um, no, I think, I think that I'll probably watch the new, the new crow movie, I mean I'll definitely give it a shot. Yeah, uh yeah, as far as I'll definitely watch it, I'll give it a shot.
Speaker 2:Um the you're, you're not wrong. You know, like talking about you have to like separate it from the original yeah it's difficult, though, with this, uh, because there's there's a lot with this movie.
Speaker 2:I mean one, it means, it means just so much to a lot of people, right, um right. But also, I mean, this was, this, was brandon lee swan song, and, uh, I mean alex preyes himself has come out and said you know, this is, this is lee's legacy, so don't fuck with it. You know, leave it alone, don't mess with it. This was, you know, this was the greatest performance that this guy ever did and he died on this, this movie. You have the other actor, the guy that shot him.
Speaker 2:We're like he spent the rest of his life fucked up over what happened in this whole thing. Um, you have a lot of people that are affected by this. Just leave it the fuck alone is what proyes always says, like every time everybody, you know, anybody ever tried to talk about a reboot, he did his damnedest to get it squashed because, uh, you know, he always thought it was disrespectful, uh, to brandon and his legacy and his memory. So it's difficult to be able to like, separate the the two things, which is why I think it's important to really make sure to hit home that, like this is about reimagining of the book and not not the movie itself see, and it's.
Speaker 1:It's funny. You'll notice that, as you were saying that, my producer was nodding her head. That's because we watched that again. What? The night before last we watched it again and, uh, we were talking about the remake and I that was exactly what I told her was you know, there's it's, it's different. It's different because brandon lee died making it. It changes things. Like, you want to reboot any movie, like it's whatever, but someone literally died to make this movie. It should remain a legacy, but but again, like I mean, you're not going to stop anything like that from happening it's going to happen.
Speaker 2:Yeah, no, I mean they've been. They've been trying for anybody that they've been trying for 25 years to remake this fucking movie, you know, or to, or to reboot this franchise, right right and well, I mean in my whole thing with it is that I think back on things like Dune.
Speaker 1:You know the original Dune. Would the person who made the original Dune movie be OK with them making a reboot on sci-fi? No, would they be OK with Denis Villeneuve making his own? No. But guess what it fucking happened. And you know what I love all three of?
Speaker 1:them I don't give a shit what anybody says. I love all. They could make a new Dune remake every 15 years for the rest of my life and I'm a fucking happy guy. I love Dune. I don't care, I don't care who's making it, I love watching new reimaginings of that. But this one, god, it's so hard. It's so hard to be like, yeah, go ahead. No, like, okay, I'll watch it and I'll I'll try to separate my, I'll try to separate my connection with it from from what I'm feeling about watching a new one. So, yeah, anyway, I guess, I guess we'll see right, but when does that come out?
Speaker 2:uh, that comes out in like two weeks. I think you know the oh geez uh 22nd, 23rd, somewhere on there jen, you want to go watch it, yeah yeah, well, we can go watch it date night.
Speaker 1:yeah, there we go. I just say date night, and she's okay with it. All right, so now, now we get into the active ingredient. Did you have an active ingredient in this movie, something that made, something that made you better, something that changed you, something that influenced you?
Speaker 2:I have several actually it's, it's like a fistful of pills. No, I so like with with this one, I think, probably the the biggest one, without getting too much on like a soapbox on this, it's, it's catharsis, you know it is the other. The creation through trauma is the other. The big one is, like you know, I know we only kind of glossed over it a little bit, but like James Obar, the guy that created the, he grew up in the system. You know he, he was essentially an orphan, grew up in, grew up in the system, got the shit kicked out of him by foster parents. The only good thing that to fucking get through something. That was just that horrific.
Speaker 2:He created the crow. He created, uh, you know, draven and he created these characters and he did his damnedest to work through all of his, his grief. He tried to work that through these, uh, you know, these particular characters. For him, unfortunately, it didn't work. Uh, you know he, he said it himself that the other, the more that he worked on the other, on the book, the worse it just got for him.
Speaker 2:So it was, you know, just continuously, you know, pulling the scab and making the wound deeper and deeper and deeper, which is very unfortunate for him, but for the rest of us, I mean, you know, if you've been through anything like that, you know I mean this. This definitely hits to where you can look at that kind of cathartic experience and being able to go. You know, this was this amazing story, this amazing movie that got created out of the worst experience that this poor son of a bitch ever had to go through. So it's, it's a reminder that you know you can, you can create good things as a way to try to process pain. So, yeah, that catharsis was definitely a big one. That kind of stuck in my brain, even as a even as a kid, you know, 10 years old, watching this.
Speaker 1:Like I got that message, you know, straight to the eyes like a fucking lightning bolt. Yeah, for me, mine, mine was a little bit more, it was a little bit more, I guess, kind of guidance, I guess would be the way to put it. So there was actually. I recorded a sound bite for it. It's funny, Little things used to mean so much to Shelly. I used to think they were kind of trivial, Believe me nothing is trivial.
Speaker 1:Now, the reason, the reason why that, why that one's kind of important, is because that that kind of inspired me at a very young age, that when I did start getting into into my relationship years and everything like that, some of the things that I was really looking forward to was I wanted to make sure that I found somebody who who appreciated those little things, those trivial things, those those teeny tiny little details that everybody thinks is so unimportant most of the time, and so actually had a little, a little test sort of thing to.
Speaker 1:You know that I had developed, that I sort of used over time it's. It was like, uh, every time I came home from work or something like that, I'd bring just some little thing, whether it was uh, whether it was something to drink or just a little snack, or even you know a trinket from a store somewhere you know like uh, uh, like a beanie, baby, you know key chain or some shit like that. Um and the, and what I looked at was I looked at the, at the people who appreciated it and and recognized what it was, rather than you know, rather than just, oh, I brought you something. They would see it as you thought about me and me, and you took time out of your day for you know to, you know to show me that you did, and so, yeah, those little trivial things were something that I kind of looked forward to, kind of discovering somebody who appreciated those things.
Speaker 2:I mean, those little things are the things that kind of stick out after a while things.
Speaker 1:I mean, those, those little things are the things that kind of stick out after a while, yeah, and that that becomes I think it was, I think it was uh, robin Williams in Goodwill hunting. He says that's that's the good stuff. Yep, you know, that's that's the stuff that really matters. So, so, yeah, uh, the crow, the crow and Robin Williams gave me, gave me my tactics for, for, for finding the person that I eventually became attached to.
Speaker 2:Now I think that Robin Williams line, though I think that's right after he was telling the line about his wife farting in his sleep.
Speaker 1:Right, yeah, exactly Right after Good stuff, and of course that's right when Jay Right good stuff and of course, that's that's right. When, uh, that's right when jay right, she's, she's like no, I'm not, I'm not playing this game, I'm the bigger culprit. I promise all right. So, um so, yeah, thanks, derek, it was nice having you on. If there's anything you want to plug, go ahead.
Speaker 2:Yeah, not really. Well, I guess you know, always on the music side of things, you know, feel free to look up my YouTube channel, deke the Gnome. It's the YouTube handle. You can also find me on Instagram with you know, reels and guitar nonsense that I put up on a regular basis. And then Mortal Desire D-E-Z-I-R-E is the name of one of the major music projects that I've been working on for the last 20 years. So if anybody's interested in hearing loud, angry noises, go for it.
Speaker 1:That's awesome, all righty. And hearing loud angry noises? Go for it. That's awesome, alrighty. Well, I'm definitely looking forward to having you on again, because every time I have you on it's just a good time. Now, if you have a movie that's been medicine for you and you'd like to be on a show, you can email me at contact at movie-rxcom, or you can also leave a voicemail or text me at 402-519-5790. If anxiety is what's keeping you from being on the show, you can write me a couple of paragraphs about a movie and I can read them on air. Remember, this movie is not intended to treat, cure or prevent any disease, and we'll see you at the next appointment. So Thank you, you.