Les Fugitifs

Weird w every goddamn got it? No more patent words? You kind out right? We can't. We can't talk about Gerard Depardus Perry Delicto's anymore.

But what we can talk about is how much of a sex icon he is, how how much animal magnetism he has on screen, and also how old Pierre Richard looks in this movie? Which is which one is Pierre Richard? Is? That? Is that the Martin short?

Yes? Okay short Martin yes? Yes. Over this month of Francis Weber films where we've become very familiar with mister Richard. Has he been in everything, He's been in every French version?

Yeah, except for the Dinner Game right that wh where where he wouldn't have even made sense to be in that one? Frank and this is his last time working with Ebber. Apparently Weber just dropped him like you he was hot. Maybe he thought this guy's looking old. He's not hot anymore, Speaking of not being hot, So, Mike, you've you've been reading a book about Weber and and so you have some knowledge.

I have some theories, but I haven't read anything. I'm curious of my theories match with your knowledge Okay, we'll find out. Yes, sounds good. So so yeah. In this episode of the Culture Cast, Richard had Him is here.

He's got his own podcast. Now, this is right. This is not the visual This is not the visual medium. This is the audio medium. I promise this.

This is not that are we doing are we doing plugs? I'm just saying you have your own podcast. Now you didn't the last time you were on this show. That's a factual piece of information. Oh oh, that's right, because we've done recordings but not this show.

Okay, yeah, that's right. Richard Hadam's paranormal Bookshelf. Check it out. Come for the books, Stay for the over sharing, Stay for the shelf, Stay for the come. It's all about my shelf.

Shelf what Booty get that shelf? Booty also joining us on this episode because it's Mike white May. Mike White of the Projection. Dude, I'm here. You sure are all right?

So it's the final episode of Mike white May. We've made it all the way to the end and we're talking about it feels like a kind of a culmination of a lot of things. You know. Pierre Richard Gerard Depardu showed up it's them again, kind of doing the thing that they've kind of done before. But yeah, on this episode, we're rounding out Mike white May with a look at less Fugitives and the American remake once again with Martin Short, because hey, he's not doing anything.

Three Fugitive Touchstone Pictures percents, the US Worst Backlobber and the ex con he took hostage and they have two mismatch partners who can't send to work together, Nick noldan Martin Short. Three Future Split a DG thirteen No playing at a theater near you. Check newspapers for showtime. Mike, I'm gonna kick it to you first. What did you think of these two films?

If you want to give a plot synopsis while doing it, cool, If not, we can just talk about the plot. The plots of these movies are literally fucking identical, just like so many other things we watched this month. Uh yeah, Well, I had to do a little research too as far as this one, just to see how many times directors have actually remade their own films, and it's a lot more than you guys might know or think. I found a list that had at least thirty films that had been remade so sixty altogether by their own directors. So I think we can all think of a few things, you know, like a funny game that's the first one on a night watch.

Yeah, but didn't you even get, like, you know, the story of floating weeds and floating weeds, you know, just there's a lot of these, which is interesting because I didn't know that. And this is a weird period of Weber's career because it's he does the three Fugitive Sorry, he does Lay Fugitives in nineteen eighty six. He has no other credits between then and nineteen eighty nine when he actually comes over to the United States and directs his own movie again right after. So what a weird, weird time. And then after that he goes on to do Out on a Limb, the Matthew Broderick film.

So yeah, just a bizarre period of his career. Yeah, exactly the same these two movies. Basically, it is the story of a guy who was accused of justly and put away for bank robbery and I think maybe some jewelry stick ups as well. He gets out of prison, goes to a bank to make a deposit because he has either in the French version, he's got some jewelry that he sells and then has the money and he wants to open up account, or in the American version, he's made a lot of money doing laundry, imprisoned for years and years, seventeen hundred dollars and he goes to the bank to open up account, only to have a imbecile coming in and try to rob the bank, and that puts them in cahoots because then he gets taken hostage by the bank robber, and of course the cops think that he's actually the bank robber because he's had a track record, and then they go on the lamb.

There's a little girl mixed up in there as well. The NF the bank robber has a little girl who like, yes, he's afraid she's gonna get taken away from him, and he's broke and all kinds of stuff. Yeah, and then it turns into a heartwarming tail and the man who was accused of robbing a bank is treated like a dog by a veterinarian in one films anything In one film it's Nick Nolty and the other it's dipperd looking really good. In the here, though not nearly as good as just that fucking hair. Man.

It's the hair in the nose that goes to Departare you're saying, yes, yes, yeah, No, it's it's Nick Nolty's steely blue eyes. He kept it. So, Richard, have you seen any Francis Webber films? And what do you think of these two? I don't.

I don't think I have. I mean you might, although you might inform me different. I came at this, I was saying before we started taping that Mike's done, obviously some research about the careers of all the filmmakers involved, and I came to this. I had never seen Three Fugitives, which was the American release. I also had never seen the French version that preceded it by three years.

So this was all brand new to me over the past twenty four hours. And yet I did, you know, confirm this for me? It did sort of make me go, oh, lead a second. Was this during that time when there were a handful of three men and a baby, you know a handful of French films that got remade as American films, And when that happens, especially with this one, and please inform me if I'm right or wrong, But it feels like a film gets made in a different country, but it's made in the American idiom, and it's clearly influenced by certain American tropes and styles, and then it is then either either by plan or by chance, noticed by Americans who then go, wait a second, that could very easily be an American movie, either recognizing or not recognizing that it was made under the influence of American movies.

And then they, in a weird ways just sort of retranslated back into the American idiom with greater or lesser success. That's what this feels like, Mike. This is that golden time. It's very funny because Chris and I and I can't remember was the father Malone talked about, Yeah, talked about The Man with One Red Shoe, Yeah, Yeah, Yeah, with Taught with som Hanks of all pos which came out in eighty five, which was a remake of another Wember film, The Tall Blonde Man, One Black Shoe in any One Buddy, was a remake of his Pain in the Ass from early in the seventies. Eighty two, he writes and produces the film Partners, which I'm sure you remember Richard, the one with John Hurt and Ryan O'Neil where they're both gay guys but once closeted.

I think Brian O'Neil's closeted and John Hurt is not. That's eighty two, as well as the remake of The Toy, which was another Weapper film that we've talked about. Eighty three is The Competitis, which eventually gets made as is that my father? That's no, that's father, that's that's the fatherhood father, No, Father's Day. The Robin Williams still, yeah, lost competitis.

Otherwise, the comm Dads, Yes, the com dads yeah, okay, so what what? What was? Was Weber like this sounds like a very calculated career move, like I want to do American movies, and I'm just going to do American movies in French until they realize I'm doing American movies. Then they're going to bring me over and then I'm going to start doing American movies. I don't know if that was his end goal, but I will tell you that when it came to all of these other films that we've talked about, they've had limited American runs.

So the Toy played in America a little bit, Leshuette pain in the As probably played in America a little bit. All of these had a little bit of an American run, art house theaters, those kind of things, except before except for the Fugitives, because they said, we're going to hold this sucker back because we're gonna we bought the remake rights, so the distributors blocked it from America so that there would not be a comparison to Three Fugitives. Oh so you're right there. That is so interesting, and that was a very canny move because it is it's not shot for shot, but it is beat for beat, a just a retelling of the French film. So then, okay, but now I got to ask you, and again I'm just going to I'll be the care character in this podcast who doesn't know anything and pushes exposition because I need my questions answered.

Did Weber go on to make American movies, like, here's an American script and I'm just directing it. He did out on a limb, He wrote and directed that, which was not originated in France. Okay, otherwise, no, I think that was about it. So I'm not so strange because clearly. I don't know what he wanted to do.

I'm trying to remember. Yeah, what's really weird is My Father the Hero from ninety eight, sorry, ninety four four was a remake of Montperce Airos, which I don't know if Weber had anything to do with that. I don't think he did. He did not. It was Gerard Depardieu in both of the Yeah, so he writes a remake, an American remake, but it stars Gerard Depardieu.

I can't. Yes, it's just bizarre. And then yeah, like eventually they make The Bird Cage, which was based upon his script for La Caaga Foe, which was an adaptation of Oh So Wait till was Lakasavall. Yeah, it was a play that he adapted, so it wasn't his play, I believe. I think it was somebody else's play and he wrote the script.

Yeah, So by ninety four with My Father the Hero, I think he by ninety six he's back in France making The Jaguar. So I don't think that in like Dinner Game and The Closet, Ruby and Quentin all these that they are all French movies. So I think he just had a little like two year period here in the States, maybe three, and then went back to France. My father the hero by the way, Richard, because I could see your face. The plot of the movie, and I'm not joking it is it is beyond fucking insane.

So a father and daughter go on vacation and do you know what? You know what the plot is? Remember seeing the trailers. That's when my movivie came out, a little cinematic triumph entitled Underseas two Dark Territory, also starring Catherine Heigel. Also starring Katherine Heigel.

So in ninety four and the summer of ninety four when that movie came out here right yep, our movie was already in production. And so it's like, oh, so this is Catherine Heigel. Okay, so this is what American audiences will know of this actress. Let's see what this trailer looks like. And it looks like fucking Porky's with you know, middle aged men or something.

I mean, a father and daughter having to pretend that their lovers is beyond fucking insane and may and is like a born hub setup at this point, Like I mean, it is like I don't know how you would take it seriously in this day and age, like it's such an absurd concept that it it doesn't even seem like like the Fugitives is in a absurd concept. Obviously that's kind of the point of the setup. But a movie about a father having to pretend to be his daughter's lover is well, okay, fucking's bizarre to say the least. But what it comes down to is was that, you know, there are things. Look, every culture is different.

There are things that make sense in terms of comedy in France or name your country, but right now we're talking about France. So there are things that a French audience might go, yeah, we're cool, we can laugh at that, that's that's funny, that's absurd, it's a sex farce whatever. And because of our culture, we're we're not squeamish about that necessarily, whereas American audiences I think we're or are squeaming. I mean I'm squeamish, and it's that was thirty years ago. Well, there was also blame It on Rio, which I think had a little bit of a like weird pederasty type of thing.

Oh, I'm saying it right, and blame it on Feel was We're going on vacation, and I'm the dad who suddenly realizes that everybody wants to have sex with my daughter, right yes, oh, okay, real quick, before I forget. I started a thought and I didn't complete it, which was when we were talking about The Man with One Red Shoe. I believe Father Malone and I both brought up the idea of the Woman in Red, and I used to get the Man with One Red Shoe and the Woman in Red mixed up. I just recently found Richard you were talking about Three Men and a Baby, which it was also a French film that got remade, and that was right around this time. The Woman in Red was actually a French film as well, so which had did not have read in the in the title.

I think it was hard in my affair, and so yeah, I just wanted to make sure that that was. Probably another reason why I was getting those two movies fixed up is because they're both French remakes and they're coming out right around the same time. Mike is there in your research maybe this has come up. Was there like a sort of behind the scenes financial studio interrelationship that was sort of saying, okay, so here's kind of what this American studio wants to do is partner with the French and we're gonna we're gonna sort of use their movies as sort of a jumping off, Like, like, how calculated was this in general? What was the what was behind all this?

I'm not sure if I have those answers. I don't know of any sort of cabal that I'm just kidding. I don't know if there was any like larger thing other than for this just one movie. As far as we're not going to release it in the States so that we can keep the audience for three fugitives and not get the inevitable comparisons from these snotty snotty snotty movie critics. I just think they know everything well.

You know, the seventies going into the eighties was such a time of technological leaps forward in filmmaking and film distribution, and also such a dominant period of American filmmaking that I tend to assume, maybe rightly maybe wrongly, that other countries were sort of like, look, we either have to we have to get on this train. We either have to make films that will appeal to American audiences, or we have to or we have to make films that will appeal to American studios to be remade, because and then our artists might want to matriculate to America to continue their careers for a larger audience, because when you make a French comedy, you're going to have an audience, but it's going to be limited compared to if you make an American comedy.

And so I think a lot of people in the eighties were like, if we want to be filmmakers, we have to go either go to America or appeal to America somehow. Right now, there's definitely there was a major concern, especially in France, but I think all of Europe overall about the idea of Americans exporting their culture to other countries. And so I believe there was a little bit of fear around Veba actually leaving the country and like will you ever come back? It was basically, you know, like the brain drain or talent drain of Europe and they were afraid of that and they also didn't want the American films coming in and influencing stuff either. So yeah, it is it is interesting just how easily, well sometimes easily, because over the last month, we've found some of these translate well and some of them don't.

And for the most part, I think, in correct me if I'm wrong, Chris, I think almost always we've been falling on the side of the French version just because it has a little extra ooof a little extra push to it well, and it has been more or less the French one I think. I want to say, in terms of this month, the Man with One Red Shoe I think was the one that's kind of close in terms of it's similar, but it does something different. And then the other one. But I mean Dinner for Schmucks was so different that it felt like it didn't feel like the same thing. But yeah, pure Luck and le Chevra and what was the other one, Oh, the toy and Leguette.

I mean, oh my god, the American version of the toy is insufferable, and then Leshevra Pure Luck is equally insufferable. I will say, look in this for this movie for three Fugitives, Martin Short is less insufferable than he was in the last movie. I actually like Martin Short in this movie more than in the last movie. However, that is damning with Fate braised because I didn't like him in all. In the last movie, he was intentionally abrasive and obnoxious, and I mean again, that's the way the character was portrayed, but that's not the way Pierre Richard portrayed the character.

That was the way Martin Short did it. And so in this movie it made sense because Martin Short and Pierre Richard are playing the same character, the same tone exactly, and I think it works better for Martin Short because it's like, Okay, he's being driven by this external locus of control because he needs to take care of his daughter, and he's taking care of his daughter. And I believe Martin Short and Pierre Richard. I believe both of them respectively, and both of their movies. In Pure Luck, I did not, for a second believe that Martin Short had any right or business being in that fucking movie.

The way that he's portrayed, and then the way that he's portrayed in the movies, like every scene that he's in, I just can't wait for him to shut the fuck up, like really, like he's that abrasive here he's not what year was Pure Luck? Was it before this? No? It's actually two years after. Here's that Okay, that's what I thought, So so it will.

I mean, there's a whole other interesting conversation. I think about Martin Short's film career. Boy isn't there well kind of, but I mean think about it for a second. I mean think about the time and think about him and where he was coming from and what the what everyone's hopes and dreams were, because he's not you know, he's he's not John Belushi, He's not he's not any Murphy. He's very different than a lot of the other eighties comedy you know, Dan Akroyd, Chevy Chase, whatever.

But he's got the cred of Saturday Night Live and SCTV and people in Hollywood loved him, and so these so movies like Innerspace and This and Pure Luck and probably a few others, but but really this one, I think were what I would say was, can we turn Martin Short into the next Gene Wilder? Interesting, Gene Wilder's name came up on last week's episode because that's who That's who was That was that Ryan who said or was that you that said? Like I could see Gene Wilder playing this character in Pure Luck, And that even went back to I think the Man of One Red Shoe or and Leete actually toy. Yeah, it was that, it was the toy. Yeah, it sure was.

Yeah, because we kept saying, rather than Richard Pryor should have been Gene Wilder and this, which because he has some of that look that Pierre Richard has and he plays his comedy a little bit closer as well, the curly hair. Thought like, like I thought Pierre Richard in in Uh the Fugitives almost looked like Harpo mart with the with the trench and the curly hair. I was sort of like, I'm getting like a little bit of a Harpo Marx vibe. But and I really enjoyed him. I don't know him, and you guys, so I'm again i'mind we don't know him either, but it feels like we do for whatever reason, like there's something that there's just something about him.

I I just look Gerard dipperdu his personal shit aside, there's just something about him that's like I kind of vibe with you and Pierre Richard. I like, he's considered to be one of the great French comedians, so like it makes sense, but he's Yeah, there's something about him that seems like he just seems genuine, which is a hard quality to fake. Let's put it that way. Yeah, yeah, and Martin Short, it comes down to iconography. How is Martin Short best used?

And I think what you know with the span of time, what we now know is that Martin Short works best when he's being kind of kind of insane and very very unseelf aware. In other words, ernestiness does not suit him, and he doesn't carry it off as well as for example, Gene Wilder, who can have those moments, who can also be manic, but you can also then completely I mean, he can shift immediately and you can take him for all the dramatic beats right Mark give out him wanting what was its blanky? And uh in the producers Yeah, just yeah, that complete craziness. And then you get those little moments like in Blazing Saddles where he talks about you know, and then I hear this voice behind me that says, draw mister, and then he ends up with that great yo, the little fucker shot me in the ass.

You know, It's like he knows how to use his tool. I mean, I mean, will he want I mean, you know, Charlie the Troup Factory and when he plays Willie Wonka. I mean, look, I mean we could, we could do and I hope we do the Gene Wilder podcast at some point. But but Martin Short, who I love. I'm a huge Martin Short fan.

You know, what exactly is his range and how did it get expressed in those late eighties early nineties movies that seemed like they were really trying to find in him a unique comic voice that could then be in a bunch of movies. You know, he wasn't Tom Hanks, he was in Chevy Chase. There was a lot of people that he wasn't. He was this other thing. But it depended upon us accepting him as a legit human being so that he could he could play a deeper level of comedy.

And I don't know if he ever pulled that off. Three Amigo's fantastic when he's in Father of the Bride. Awesome, when he's in the Kevin Bacon movie about film school, The Big Big Picture, The Big Picture, and he's playing that insane agent, hysterical, the bigger, weirder characters where it's not a lead. I think that's his sweet spot. And literally up to and including only murd in the building.

I think the best season was this most recent one that allowed him to be almost like an SETV character where he's just losing his mind trying to direct this show and things are going wrong, and watching him melt down and have a heart attack is fantastic and hilarious. And that's where we want him. Now that he's older, maybe we can take the sincerity of an older man, but as a younger man in this film, those were the beats that I felt were the least successful. I just want to know why you haven't mentioned Jimmy Glick yet. Well, yeah, okay, and Jimminy Glick and Ed Grimley.

Well there you go. I mean, I don't. I mean, that's the one, right, I mean it is. I mean Ed Grimley is the movies, Like he didn't know that's Grimmory movie. There was no Jimmy Glick movie.

You know. That's the that's the thing that you did hit on it, and we didn't. We talked about short Martin last week, but we didn't talk about this aspect of it, which is he was on SNL for a year. He was on SNL that long. He was on SETV for two years, so he kind of like they saw something in him and they were like, he needs to be on SNL.

He was on SNL for a year. That's it Like that. That's not much of a way, not much of an bye. I know. That's the thing too.

It's like it wasn't the good SNL either. By the way. You take Martin Short out of this movie and put in Robin Williams and it's already ten times better. Yeah, boy, isn't it. I mean, take Martin Short out and put Jane Wilder, take Martin Short out and put Oh man, this is gonna sound terrible, but I think I come back to this from last week.

Put anybody, because Martin anybody, I don't it's anybody. It's not Martin Short. That's what's be somebody who you buy in in that character who's got a manic you know, sort of obsession. But who but who can who you don't who you care about when they're being like Robin Williams when he is being sentimental. It works.

Oh my god, it does. I cried at the beginning of Missus Doubtfire, and not at the begetting of the goddamn movie like in others. Yes, put Martin Short in Missus Doubtfire. Now does that work? Everybody would be singing its praises still in twenty twenty four, remember Martin Short in by the way, what about what was the name of that movie that Martin Short?

Because I mean again, this is an induscreet trying to do something with Martin Short. It's like, we've got this thing called Martin Show. We got to do something with him. Remember that movie he did with a net otool, The Romantic Comedy, and it was all about the third date Cross my Heart. It may have been that, but but like on the poster, it was like everything is about the third date.

Like they were sort of inventing this thing where it's like, on the third date you sleep together. And that's and these two people are coming up on their third date and it's either going to go right or it's going to go wrong. It's Martin Short and a net otool boy. I only met her, the one I've been looking for my whole life. Now, how's a guy like me going to get a girl like that?

Any way? I can Ross my Heart nineteen eighty sevens Armani and burn Steenville comedy You Can't You will respect in the morning. Oh my god. I mean, it's so fascinating to sort of wretcon what Hollywood was trying to do because you can. It's so beautiful because there was a studio system.

Hollywood was understandable in the eighties and into the early nineties, and then it's sort of then it sort of became diffuse, and now it is completely indecipherable. But in the eighties, you knew what Hollywood was trying to do, and this is what they were trying to do with Martin Short and in this movie, it's not a disaster at all. It just wasn't super strong, you know. And by the way, oh, I have another recasting. I have another recasting.

Nick Nolty is a great stand in for Gerard Depardieu. But I want to toss this into the conversation, like what would what would this movie have been if Theaber didn't do it and if they just bought it as a property and gave it to an American director and an American writer, And it's like, here's the material, make it into an American movie. Well, what would those changes have been. I'm going to pitch a guy I think would have been great in the nignolty role, and that is Burt Reynolds. I could see you that.

I could see you even going as far as like a Schwarzenegger type really like again x con like maybe punch it up a little bit more, but again like part of it is the dichotomy between the straight man and you know, who is melted by the child and then the manic moron. Right, Like I've always said that Jim Carrey and Ernold Schwarzenegger should have done him together. Oh my god, could you Oh can you imagine in the in like the in like the mid nineties, for fuck sake, could one screen hold them? No? No, I don't think so.

Now that's why they'd never made that movie together. Cod I literally would have been like a speedball. Audiences would have died. Yeah, what partner serious? The other is funny and that's all it is.

It's like ace Ventura meets Red Heat. Look, I would watch that movie. I'd watch that movie now, like I would still watch that movie. Now. There's also something weird about the movie.

Okay, this story, now that we've seen it twice, it's like, okay, I'll reflect on my experience of watching the French version, which was. When I'm watching any foreign film, I'm taking a step backward because I'm like, Okay, I'm not French, I don't live in France. I don't really know the nuances of the culture. So if certain emotional beats are off to me, I'm gonna blame me, and I'm going to assume, well, maybe I don't get it. Maybe in France it makes perfect sense if two people act that way, or if a person does this instead of that, I'm just gonna I won't judge right now.

Whereas with an American movie, you're like, well, we're an American, we know what American movies look like, So why is this so slow or weirdly not funny or the beats are And here's what's strange about this. This is not a comedy drama. This is safe comedy melodrama. This is we're gonna have laughs. But the dramatic beats are all gonna be melodrama.

It's all gonna be Charlie Chaplin and a little child and sentimental, I mean, just the gooey sentimentality of it that in the French version version is unapologetic, But in an American version, I think you need to reformat a little, because that's not the way we consume comedies, dramas, action movies. That's not the way we consume anything. Melodrama really isn't a part of the American film idiom of the last fifty years. So those are the moments again also that I think are the ones that ring the most false or that feel like, huh, sums off here. This isn't passing the smell test.

Somebody wrote this with their left hand. This ain't working. Everything with Nick Nolty and the child actor in the American one is just the most insufferable shit possible, I really like. And here's the thing. I say that because in the French one it's so endearing.

The American one just feels like a poor fact simile and in a way that in a way, like you said, Richard, it just rings hollow. I don't believe for a second, like I believe Nick Nolty a little bit. I don't believe that this child is Martin Short's child at all. I believe that is Pierre Richard's child in the French one, and I can believe their interactions, and I can believe the three of them, and I can believe the moment that the French film gets to which, on top of everything else, they're identical until like the last two minutes, and then the American film and I'm again putting this lightly shits the bed in a way that's really hard to imagine, which is, haha, it's just the same movie's gonna happen again.

You really thought that this movie was that funny that that's how you end this movie to rob the entire emotional core of the movie away from the movie at the last second for a cheap, fucking gag. What is this? Friday the thirteen. It was shocking, like I in the French one because I watched the American one verson the French one. Second at the end of the French one, I was like, Oh, okay, are they gonna is something gonna happen?

I was like no, no, no, And then the credit crawl came at the bottom. I was like, Oh, this movie actually understands that there is something here that matters. The American one doesn't give a shit, like it doesn't care that there's an emotional core to the movie because it's that's because there never should have been a kid in the American one. Is what the reality is why even I know, I know it changes the movie. I mean, I mean, the kid could be off screen the entire time.

I mean, but the thing is, no, no, no, I think you you You've got to give it to an American writer who then goes, Okay, well see, here's I'll tell you another weird thing. An American audience does not expect a movie that ends with, oh, they're just leaving America and there's still criminals, and we didn't like like the deal an American movie makes with our audience when it's comedy is at the end, they're all suddenly they're all going to be in a place where they all explain what they haven't explained yet, and some reasonable person in a place of authority is going to go, Okay, of course, Martin Short, you and your daughter get to stay here in America. There were you know, we'll figure out your case you didn't mean to do that, or we're going to let you off with probation, and this guy's going to help you out, and everyone's going to stay in America and everything is going to come back to stasis.

It's like it gets blown up, but then it all comes back. This one it gets blown up, and then it's just like we've got to get out of town. And that's what makes sense. What's an American story, It's no. Well also, I mean again, also, the size of this country is part of the problem.

I mean in Europe, I mean Europe. I mean Europe is a densely populated place with a lot of borders that are easy to get to. I mean that's part, I mean to part in parts of the story, they have to go to Canada in the American one, Like, yeah, that's no way to end an American films. It's weird that they didn't go down to Mexico and that could have almost been a prequel to That's worse the Chevra. Yeah.

Yeah, but yeah, there are things, there are decisions in the American movies that I'm just like. But there's also a couple things that I actually liked better. As far as I really like James Earl Jones and Alan Rock and I like them, and I like how they laugh after they can of Millen characters and they're talking about how he was treating him like a dog and everything. I like to when Martin Short and Nick Nolty are under the car and the gun goes off and the oil comes pouring out. I was so surprised that that didn't happen in the French version.

This was the first time that I've watched the American version before the French version, which puts a whole different spin on things. But I will say there are a lot of things in the French one I like more, especially the gag at the beginning with the little guy who runs out and tries to get the bag off of the light. I thought it was much more effective to have it as almost I think it's like a wonner where the guy runs out from behind the counter and then starts jumping, rather than they're being like cut back to Martin short, cut back to this guy, cut back, you know, and I'm like, stop cutting, you know, you don't need all these cuts in here. It's much funnier if you think he's a normal size person.

He runs basically down a ramp that you can't necessarily see that clearly, and then comes out and he's so super short. And then he's shorter than Pierre Richard, who is not a short person, but he's definitely, you know, he's taller than Martin short. But that little guy just jumping and just I do like when Martin short though, just pushes the guy against the counters, just like get out of here kind of thing. But yeah, there's some there are some good things in the American version. I won't say that it's all bad, but it is just it was a really weird experience to see these two movies back to back and just have them be so similar for me, having seen the French one first, American one second, the and I love Kenneth McMillan, but that was the most disappointing part.

I think the I think that gag worked better, and I think it works specifically better because he never in the American version, it's almost like he literally thinks Nick Noldy is a dog, whereas in the French version it's just like it's just like I just I treat every patient the same way, so I'm just gonna come up. He's not calling him a doggie, or he's not acting like he mistakes him for doggie. He says, well, let me feel his nose. Okay, here, bite on this, you know, okay, And it's just that, I mean I laughed out loud. I mean those were that was I found that to be very very funny and super effective and super charming.

And there I and it made me try to think, well, are there movies sort of in the eighties that just get by on character charm and like a cast of eccentric people. And for some reason my mind went to Roxanne, the Steve Martin movie. I thought you were about to say Clue, Well, but Clue was again. Clue was such a mannered farce. I mean it was very, very divorced from reality, and it was it was heightened, whereas Roxanne was just sort of sweet and low key and charming, which I think this is what they were going for.

And my god, that nineteen eighties sort of saxophone synth score, Oh so eighties. It hurt. It's so eighties it hurt. There was a moment in The American Fugitives where I started doing like the steel drums because I was like, this is basically the the Commando soundtrack without the steel trumps. Sucks.

Like this is so obnoxious. Thank you for pointing that out, because when I heard I was like, oh God, it's it's all it's it's all over the place, all over the movie. That music, to me, doesn't evoke anything specific other than sort of generic, non threatening, relaxing good time. Kenny. You know, it's it's almost it's, Kenny G.

It's almost like elevator music or like music you listened to out you know, on the beach in nineteen eighty seven. It's like there's a radio station out here in Los Angeles called the Wave and it's it's you know, it's all of that sort of yes to day and and but then a lot of it that just that, Yeah, Kenny G. David Sanborn, God rest his soul so that those soundtracks don't age very well. And it didn't help here either. Also, I didn't like the little I thought the little girl in the French version was more had a more inviting face, like a sweeter face.

This girl had a little bit of a like she was smelling a bad smell kind of HERBF. Yeah. I don't want to say that about a child, but right right, you know, I was so surprised that in the French version, you know, the whole thing is when Pierre Richard's character Okay, a couple of things. Sorry, I'm gonna go for a little ramp here. First off, Pierre Richard and Merton Short they're both coming into the bank and they both are wearing stockings over their head, and they pull the pin from the grenade and the stocking opens up.

It's really fucking funny. What killed me, though, was I was reading the trivia for this on IMDb. The Source of all all knowledge right in the universe, Yes, in the entire universe, man, and they were like, oh, it was just a lucky thing that the the dye line ripped over Merton Short's head. I was like, bullshit, it's lucky. The exact gag in the French version, of course, they meant to do this.

Then I went and I fucking watched the Rex Yourself, the Filipino version of the film, and they have the same gag with the thing with the stockings. I'm just like, all right, this is part of it. But I was gonna say that. So when when these characters come into the bank, they're holding a grenade and they pull the pin and they're like, we're gonna let go of this grenade. The American version, of course, the grenade goes off and blows up the car.

I was so surprised they didn't do that in the French version. I was kind of glad that they didn't do it. They just left that joke. They didn't need to feel the need to show up. Yeah, my favorite gag in both movies, I think, I mean, it works pretty well in both just because the physicality of all the actors is with Nick Nolty and or Gerard Depardu is throttling Pierre Richard and or Martin Short against the police like oh, bench, podium, booking desk, and he's just throttling him so hard that the whole thing is just rattling.

That for me is just like okay, like you're getting across what I need to understand about this pairing by him just throttling him physically, and then they never kind of go back to that physical comedy. But in the two of them as much. But I again like there are moments in the American one that I laughed at I mean really only because I laughed at him in the French one, and it's the exact same thing. Well, I think the best example of that is when Nick Nolty tells Martin Short, or when Depardier tells Pierre Richard, when you're out walking in public, look down, don't look up in my eye contact and that hitting that poll the two times, and it's and literally and I love the fact that that Weber is just like, no, We're going to literally the same lens, the same exact timing, framing everything, because it was perfect in both movies.

The The Hit and then The Double Hit. There were a number of those that I found impressive. That scene you were just talking about Chris in the police station that then led to pushing the one cop who falls over backwards, then the then the Karen Larry Miller the gun lare by the way Larry Miller. Oh my god. Inside I'm like, is that Larry Miller?

And what was then? But then running out and like damn hitting that cop and then bam hitting the other cop. And it's done in a real tight frame, so that though, you really feel those hits in both versions, and I'm like, wow, you know, now we're almost getting shot for shot. But Haskell Wexler in the American version, that was surprising. Yeah, It's like okay, I mean maybe he maybe he loved French film and just wanted to hang out on set and talk to Weber about French cinema.

I mean the real question is why is Brian Thompson just being cast as man who gives pants to Nick Nolty after giving pants to Ornld Schwarzenegger a couple of years earlier. A nice night for walk Huh, I like that again, IMDb, the source of all knowledge in the no Universe, they have him as built as second Thug, also known as Yah Hoots Magundy right right, which which if I've ever heard a fake name before, Yeah, Hoots Magoundy is like who Who's the Hoodie? The old song that everybody used to sing it back in the nineteen forties media of throttling. So the little girl is just she's kind of a MacGuffin in this whole film, right, She's just like right, now she's here, and now she's there. Now she's gonna, you know, give Nick Nolty a glass of water.

Now she's gonna be in the orphanage. Oh, but she's in the the Uh, she's sick. And one moment when they kidnap her, well, first off, I love when they kidnapped the wrong kid. That's pretty damn funny. Yeah, but there's one moment after they kidnap her from there and take her back to they find like a rich person's house.

Nick Nolty grabs this little girl, and I just I hope that it was a dummy instead of a real person, because he starts shaking her so hard, and I'm laughing like crazy. And my wife, who used to work child protective services, says, I don't think that's funny, and I'm like, oh, oh, please don't tell her. I laughed at that. I laughed so hard, man, that was so funny. Just to wake up, wake up?

What happens? It's it's like it's like got a scary movie three. It's like a shake the child so much ahead falls off for books. No, that was upsetting, and it wasn't a funny beat anyway, because it wasn't supposed to be a joke. It was supposed to be like people in emotional extremists shaking a child, which is what leads to those children dying.

Yeah, I am with your wife, Mike. Oh you're such a funny duddy. WHOA. I agree with you, Mike, because I found the humor and the child being shaken by Nick Nolty giant. Can we talk about Nick Nolty for a second.

Yeah, I love him. He's great. I haven't seen him in enough stuff other than this and tropic thunder where he's just I mean, no, first off, he's great, he's did we have seen forty eight hours? Did we know about forty eight hours? No?

God damn it, Reggie, what are you doing? Yeah? So have I seen? Who did I talk? Who?

Did I talk about? Two? About paranormal aspect of it? Richard? Did you do it on Richard Adams Paranormal Bookshelf?

Available on all podcasting platforms. You shameless, shilster? You how could you on this on this network, on this show? Your shill? God?

You know what, Richard? You're in this economy. Yeah, I did do an episode on forty eight hours. I just didn't remember. But that's literally it for things I've seen, I guess, and that and that mugshot, which is really let's give them.

Let's give Chris a little bit of a to toro here, Chris, Richard, I mean, what are you Mark Dallas for Beverly Hills or what? Which was another remake of a French film? Guys Omaha, Nebraska's Nick Nolty mind you? Oh wow? All right?

So Nick Nolty, okay, real quick here, let me let me give you a Nick Nolty break down the Mandalorian God, I have spoken? Who'll Stop the Rain? North Dallas forty I remember liking Cannery Row a lot paus Pause, pause, you give us the years for North Dallas forty, North Dallas forty seventy nine, Who'll Stop for the Rain? Seventy eight, forty eight hours eighty two, Down and Out in Beverly Hills eighty six, Extreme Prejudice eighty seven. Now these are I'm not just reading titles here, Chris.

These are reckoning. Yeah, yeah, no, I believe I'm listening. Yeah, okay, I just assumed you were reading everything and you're gonna say the zoo Keeper next where you voiced a gorilla. No, no cape Fear ninety one. I never saw Prince of Tides, never saw Lorenzo's Oil, even though that's our boy trige own.

Oh yeah, no, I saw that, and I saw that in high school. You're right, boy, What a movie to show to high school. There's a child screaming for an hour and a half. Oh yeah, and his Italian accent. Hey it's to me, Lorenzo, would you like some oil?

Uh? Mother Night in ninety six is one of his best performances. I think which was the one? What was the the bus movie? Was that a fliction?

Or was that something else? That was the one? The bus? No? I was like, I thought he was in that one.

I must be thinking of a fliction because that was that also Adam McGuigan because I get that, and uh oh no, that was Paul Schrader ship. There was one I thought that he worked on, which was you know, this bus crashes and I want to say was based on a novel, wasn't it. Yeah, of course hull Say directed the Height of Art. How superhero films. Yeah, I can't really recommend too much more paths that because I'm not familiar with a lot of these, but yeah, those ones that I listed off, and apparently we will be seeing him in Noah or was this a different Noah?

But uh yeah, those are the ones. No, it is that, No, it is that Noah. Okay, and then of course his turn in poker Face the last year was great. That's true. Yeah, for me to recommend forty eight hours is like recommending Ghostbusters or something.

It's like or lethal weapon. Yeah, it's like you've probably already seen it, but if for some reason you're out there listening to this and for some reason you're interested in Nick Nolty. I think forty eight Hours is a very good movie, but also a very good representation of of what the Nick Nolty iconography is. Yea, right, Well, he he his role. His work with Walter Hill, I think is the best stuff that he did.

I think Extreme Prinjudice A and that and even another forty eight Hours. I remember liking that and not as much as the first one, but I think when he was working with Walter Hill, he was doing a really good job. Yeah. I mean we did cover Richard You Cullen and I covered forty eight Hours during the years of twenty twenty two when we did Buddy Cop movie, which is when I also watched Letha Weapon. Yeah man, Yeah, pastoral times.

Even the one I was trying to think of was The Sweet Hereafter That does not have Nick Noltty in it. That has Ian Holme in it. Also though based on a book by Russell Banks, who also wrote the movie that Affliction was based on. So huh. Maybe that's why I'm getting mixed up to Russell Bank movies coming out in nineteen ninety seven.

I'm just more unfamiliar with Dick Nolty's voice work when he was in Cats and Dogs The Revenge of Kitty Galore. Obviously, wow little the screen is ug Knott was pretty great. Tug Na wasty. That's true. Agah, yeah again.

You know when he died that of spoilers for The Mandalorian several years ago. But when he died that was actually very hard for me. I actually remember liking him in that. I like Nick Nolty a lot. That's why I mentioned it, Like he's he is not miscast.

I don't think not. I think in terms of, like is he an analog for Gerard Depardue. I think he has the similar physicality, the similar kind of he's more gruff. I don't really get gruff from Gerard Depardue. I just get like he's not going to suffer any fools.

I get that from both of them. But Nick Nolty, I mean that voice that he has. God damn man, I wish I had his voice really, like they almost have the same hair color and hair style as well. And by the way, Chris, I can't imagine listening to an hour and a half podcast by Nick Nolty. I think that might get a little much after what can you imagine?

This is sponsor by cast for Mattresses. I sleep great every now I don't my Casper Mattress. God, oh my god? Yeah, Nick The Nick Nolty Hour featuring Nick Nolty and who else? Uh if that boy?

Yeah, Richard had him. Everybody, If you guys could see Richard right now, the faces that he's making it us. I was going to say something, but then this became so entertaining. I just I just want to hear the Nick Nolty Hour. But that's the question.

Is Nick Nolty and who? Like Gilbert Godfreed? You gotta have two like disparate voices between the two of them. I think Tom Waite saying the Gargling Gravel Podcast featuring Nickolty and Tom Waits this is now an SNLS guy pretty much? Yeah, who can gargle more gravel?

I actually I love again, like I think in terms of what the movie needs out of Nick Nolty, it's great, But I just wish what why is? Why is Martin short? Is not a question worth asking because again I don't want to besmirch the existence of him, But why both Francis Weber boobies isn't that the real question. Yeah, well it is interesting, yeah, because like this one was Weber. I mean, obviously you've got your casting people and everything, but him choosing to work with Martin shortan having him be that stand in for people start.

I don't was he involved in I'm trying to see if he was even pure luck Okay, yeah, he was an executive producer. Yeah, yeah, so he must have liked what Martin Short was doing. So Martin Short really is the American Pierre Rash. Yeah, yeah, I mean there is a certain logic to do the casting I guess. However, I will say though I think we were talking about it a little earlier, but I think the main thing that that would have changed in an American version is that in the end, they would not have left the country.

There would have been a way for them to all remain to gather with you know, everything would get explained, but the devotion of this group would still be you know, they would still be a bonded group. But I also think the very next thing, as an American screenwriter in the nineteen eighties or any time, the very next thing you would do is create a female lead character to be the ex wife of Martin Short or the or the long suffering girlfriend of Nick Nolty, and then they would come back on the scene and they would have two or three scenes and they would be they would be part of that family possibly, but you would have a female lead character. And that is something that neither of these films had.

I'm not saying that's a good idea. I'm saying that would happened. Box office a poison. I love how they are not having a female lead except for Martin Short. I'm being completely serious here.

When I put both him and Pierre Richard in Drag at the end, and you've got like them literally in the French version, he never changes out of the dress, and it's Pierre Richard, it's Gerard Depardieux and the little girl all walking off hand in hand across those mountains like this is their new family you now have. And really the way that the little girl climbs onto Nick Nolty, she's got a father there, but it's almost like, no, he's not any good as a father. I want I want this guy to be my father. You can be my mommy, I mean like she yeah, it turns that on really quick, like oh mommy, don't worry about it. Oh mommy, you look so pretty, and he's just like, quick, call me mommy, and I'm like, no, no, that's your role in this movie now, and that's your role in life pretty much.

I think you are now the bitch and uh yeah it so I wanted to mention the sexual politics in this movie. It it becomes a thing all of a sudden in the movie where yeah, like they Martin Short or Pier Richard has to go because what we say in not in drag, but I mean he's in its drag. I guess, yeah, like he's he's in it in a dress and in a wig, and I like to right, right, right, and I like that. I like that. In the French one that actually factors into the payoff of the movie, he sees him tripping in his dress and goes, oh, man, like I'm gonna have to stick around.

The American one, it's oh, look, he's about to be murdered. I need to help him, but I get the stakes are very disparate. And and again at the end of the American one, it's just like, you didn't earn this, and if anything, you're you're robbing the movie of any emotional like steaks that it had well and because it was a uniquely American filmmaking touch to write sort of complete the conceptual circle at the end that it In other words, it stood out in a discordant way because they didn't they didn't really do do that throughout the rest of the movie. They didn't really try to go I mean, just did this orphanage and the nurse who runs the orphanage who has a gun. There were just so many beats that felt like what part of America are we?

It didn't feel like America at all, which is why it doesn't like so much of the second and third act of the movie doesn't really translate in the American one because I'm like, where is it like this anywhere? It's it's like when they all right, when they go into the police station, and the American one, I was like, how are they how are they realistically realistically going to get out of this short of Schwarzenegger driving a car through the front of it, because it's so unrealistic for them to be in a police station in the United States and they're not just immediately cuffed and dragged to the back. It's like this man, right here. It's like I believe it in the French one. But even in the French one, all of a sudden they pull out a a machine gun and start shooting at the back of their car, so which was amazing.

I mean I was like, whoa, they have like a grease gun and they're just lighting the street up. Okay, sure, sure in the in the French one, there there was a marked lack of dialogue, and and to me, I thought, I wonder if they still have a comedy tradition that is more almost silent. Yeah, yeah, I mean this is only a few years. I mean, Tati might still have been making movies at this point, but I think it was just a little past this time. But yeah, between him, between him, I mean Marcel mar So, but I mean Jerry Lewis, almost all of his stuff was silent.

I mean The Bell Boy, I don't think he says a word in it. But you're right. But which was an outlier, and by the eighties, comedies weren't really even even comedies that were very physical, like Jim Carrey, comedies that came in the nineties were still just packed with dialogue. Every moment people are on screen, they're talking including carry in this movie. That lack of that sort of feeling of quiet again not common in big, major releases that are supposed to be wild comedies, And I think that's another thing that would have changed.

There would have been a lot more of the of the Oscar Felix back and forth, what are you doing? What do you mean? What am I doing? I'm doing the thing? Why are you doing the thing?

You know, that's the sound of American comedy. French comedy is quietly watching someone walk, walk, then fall. Yeah, I mean The Man with One Red Shoe and the tall blonde Man with One Black Shoe that the tall The Man with One Red Shoe is a dialogue driven movie. The Man with One Black Shoe is a is a like you're talking about a movie with very little dialogue, and the dialogue that it has is not being spoken by the Pierre Rishard character. It's by everybody else.

He's just kind of fumbling and bumbling his way through things, which does work. But when they do the American one, it's like, we have to explain everything that's going on, Like I don't need you to explain to me why a man walking into a closed door is funny. I get it. I don't need you to be to hang a fucking lantern on it. It makes perfect sense.

I mean, I know that the Pink Panther movies were not ever foreign films, but because of their setting and because of Peter Sellers, the early ones shot in the dark, Pink Panther almost had the feeling of being British if nothing else, and those sort of got away with it. But the Steve Martin remakes were just as much about his weird accent and wordplay. They were very verbal movies. Just for the record, the last Monsieur Hudeo film was nineteen seventy one, and the first film that Pierre Richard directed and started in was nineteen seventy, So for me, it was almost a passing of the torch. And then we got Roberto Benini.

He he galiant, but yes, but yeah, he would have been good, and he was making Jim Jarmish movies by this time. Kind of yeah, Pierre Rishard and and him kind of have the same energy, don't they. Huh Yeah, Yeah, it's not surprised that Martin short hasn't remade Life is Beautiful. God, can you imagine that or or that live action Pinocchio that Roberto Benini did. Yeah, well, well he was both Pinocchio and Geppetto.

Just depends on which movie you're watching. God, I think we could do an entire podcast on like late eighties early nineties cop like not cop movies, but like criminals forcing themselves upon unsuspecting people, cops and Robertson's this goddamn movie, the critically acclaimed Arthur Hillard directed Carpool, starring David Paymer and Tom Arnold. Criminals forcing themselves on normal people? Don't you want to watch that? Richard?

Right now? Jack Man, I mean sort of Cops and Robertson's with Chevy Chase and what Jack balance, We'll be watching that. Yeah. Well, weird enough time is that it is a little bit easier to watch these movies and not be crushingly disappointed that they aren't as funny as the funniest movies that were coming out, right, which is how they were well, I mean that's how you experienced them at the time totally came out. It was just sort of like, well, yeah, but you know, what were the other comedies in nineteen eighty nine.

I'm sure there were a handful that were just fantastic, And I don't think this was one of them. No, And again, what's weird is like we've kind of already alluded to, like I can't imagine holding holding the American like holding the original one back is so bizarre to me, By the way, to answer your question, such great films as a weekend Bernie's came out of Guys soneteen eighteen. That was a big year. Don't forget that. That was Ghostbusters two, uy, Jeff, Yeah, major League National, Impun's Christmas Vacation where acoust talking back to the Future part three, horrible era.

No, it was actually good, Eric, because this was also the same year that Batman first came out and Roadhouse, and you don't get better than Roadhouse. So it's kind of a it's kind of a shame that that nothing that none of the American ones other than I mean again, because Dinner for Schmucks is so its own thing. Really, the only American version of any of the films that I would say like that are close in terms of the plot. The only one I could really suggest anyone watching is really The Man with One Red Shoe. So three Men and a Baby is no good.

No, I would not. I still do not like The Man with One Red Shoe. Just fair Tom Hanks, and it does not do anything for me. I No, Three Men and a Baby was a different filmmaker. I'm sorry, Richard, but it was French.

It was French. Yes, the American version with Gudenberg any good? The American version. I mean, that's the only one I've ever seen. I mean, how is it You've never seen Three Men and a Baby?

No, I just did. I haven't either. Chris has never seen a healthy film. Okay, that's oh yeah, but I saw them. I saw the one.

I saw the one with the gorilla voiced by Nick Nolty. That counts. I honestly thought that everybody our age, Richard had to have seen Three Men and a Baby. It's it's it's funny, there's some good lines. I mean, fucking dancing is amazing, Leonard boy.

Yeah. It was the first non star trek thing directed by Leonard Nimoy, not to be confused with Holy Batrimony, which is a film where a child marries an adult. Exactly, but I'm a child. Did Leonardy Mooy get to follow up Three minut and a Baby like did they? You know?

Did he get a prime lady. You know, I wouldn't be surprised if he did, because that was a huge hit. Yeah. And by the way, uh, before I forget, I did want to say that Tony mack a big mena Wilongan x men not as good as either one of these. So just so you know, and what was that the the fuck did you just say to me that the Filipino version, yes, the English translation is true friends leave no One behind x men.

I don't know why pex men is at the end of the title, but Mike, I didn't know you spoke tagalog I do not having a stroke inspector. I was like, what is he? What are you? Are you like chewing us out? Or did we just yeah, I was having a stroke.

Yeah, no, it it was so funny because I kept thinking, I mean, IMTB just sucks so fucking much like that. Sometimes you can find where it says a remake of or a version of, but not every single thing that is the remake gets the same, you know, trivia or connections type of thing. So it's like, finally I find because I'm like, they never made this in another country. This feels like it would be a perfect like Indian film or something. Right, looked around and found no, it was a Filipido film from nineteen ninety four.

Yeah, where where's the version of this? With? Who would be in the Indian version? It would be sho U Khan and Sanjay Dutt. That's who would be because you have to have one guy who's gruff and the other guy who's very charmed.

Well that's the thing to charming. Yeah, oh oh yeah, that's true, both roles. Yeah, by Kan in a double role like a bunch of other movies he's also been in. Yeah, and you know, because it's like, is he the is he the hostage? No, he went and he went in.

He was wearing this, but now he's wearing that. They must have switched clothes. Yeah, the prench of the pauper and what's his name? Troprah oh yeah oh yeah yeah yeah. Yeah.

The two of them would be pretty good. Yeah, you couldn't. You couldn't have Shavru Khan be the Martin short character. He's way too endearing to be that, like a brace a mer Khan could do that though. Yeah, yeah, I could see I could see that.

He's played like in p K. He played kind of a weird. Oh yeah, yeah, that'd be fun. Or they should remake it now with Will Smith and Martin Lawrence. No, right now would be Wayne rock Johnson and Kevin Hart.

No, no, it's it's Will Smith and uh uh and Chris rock Rock. Yeah, we're bringing them back together through the magic of comedy. Everything they could never they were never on screening, they were never on set at the same time. Right, all done in post Yeah. Yeah, they both fingered it.

And it's Will Smith. Didn't even know he was in the movie. I think we we should pencil in a time to do Three Men and a Baby. Apparently, Richard, we've missed out on the cultural touchstone that is seeing a ghost child in a crib. Yeah, I've never seen Three Men and a Little Lady the sequel.

Butt, guys, I'll do whatever you want. Wow, don't put don't put yourself into that position. The dancing cast, Ted Dance and everybody fucking Ted Dance has got his own podcast, him and sometimes Woody we'll be talking about cheers on there where everyone knows your name. Podcasting this is a big thing now, everyone's doing it, and they're not all as good as the original. Or you mean they're not as good as people who podcast all the time, not pretending to be it just because we want to win awards at a bullshit award show.

Well, but they're getting huge I mean, I look, oh, I know, oh we know. I don't. I don't. I don't know where they're getting big numbers. Wait a second, really, one day you know what I was going to say, though, is one day you know the story will be told.

I don't know if they went in. I think they went in and it became a big deal, and then suddenly other people were like, I will happily talk about the show. I start in for a million dollars or for some giant And I think that's why you're seeing all these now the Red and I was just talking about the Rewatch, the to Dance and stuff like that. The now the ones like SmartLess, I think those are just big entertainment companies going you. Three guys were gonna throw money at you, and you go to a podcast, and who knows, maybe it's paying off.

I'm I have no idea. I mean, we do know, we have an inkling of an idea. Maybe we don't have all the proof in the world. But look, if you were on a TV show at some point in the last thirty years. Even if you're like a B or C lister, somebody's gonna be like, hey, you want to make like easy dumb money really quickly for no real I don't, but but you know what I mean, Like, I don't know what those numbers like, Like, okay, there is a New Girl Zoe deachannel and and Jake Johnston.

No, no, no, I don't know the guy who plays Winston and the girl who plays c Seed and Henna Simone and oh god Winston by Winston's zenim war Wasson. Yeah no, no, no, no. Anyway, those three cast members do a rewatch podcast of New Girl that is not as good. It just isn't and they're not always all there, and they don't. I mean, I'm I really like Office Ladies.

I use that as a high water mark in terms of content. I like the way they do theirs. I don't know what these others are, but they're clearly trying to jump on that easy money because you figure, well, if people like that and these are the stars talk, Oh there's a Parks and recollection. Oh yeah, crap, Okay, Rob Lowe was doing that for a long time, I think, until he got busy and now it's the guy who playa Jered Wait wait, wait a second, Rob Lowe is busy doing what oh being an actor and not pretending to be a podcaster. Huh yeah, yeah I'm not.

This is a hot button. This is as hot it is true crime podcasts. Yeah, you know, Look, you're you're talking to three guys who are just trying to do original content more or less, I mean, by making fun of other people's stuff for talking about it. Yeah, pretty much. We're just swooping off their intellectual purpose.

I mean, we're just really ripping off how did this get made? At this point, we're just three jokers jacking away, saying Geo storm a bunch, and having nothing of value to really add to the conversation other than just dragging other people because they made something. Huh that sucks. Would be a shame if they won an award for that. Richard, just like, where where can we find you?

When I heard like the beeping in Richard's head as the car started to back out of the dead end alleys, that's right, how do we get out of here? We around? We seem to have wandered into podcasters being angry part of town. All right, Richard, final thoughts on didn't you can talk about Bruce McGill and as mustache or anything, but hey, time Chris McGill's mustache could have its own podcast because I haven't seen him clean shaven in a very long time. Yeah, I think he does in uh that in ailes.

I can't remember what showing. Oh yeah, yoh yeah, I think yeah, yeah. I mean he's one I've been trying to get him for years. Man, big oh yeah, he helps so many awesome things. I love that soda.

Here's what I would say if if the one of the purposes of this particular podcast episode is to is to steer people towards something, I would steer them for the French version. Oh wait, I think he is worth seeing and and still possesses charm and some big laughs and and you know, I don't know if I would necessarily direct people toward the American version, whether they'd seen the French version or not. I just don't know if it has enough on its own to make it your favorite either Nicknolty movie, your favorite Martin Short movie. I don't think it's either one of those. I don't think it's your favorite comedy of the year.

I just I don't know that there's anything about it that demands a viewing thirty years later. So I'm gonna say, if you have any interest, check out the front version. What about you, Mike. Yeah, as far as this in the filmography of Vebber, I think I did like it a little bit more than The Chevrette. I still think that those earlier ones, the Juette and The Tall Blond Man with One Black Shoe, and even The Dinner Game, I think I prefer all of those more.

But yeah, it was a solid one for me as far as of all the movies that we've seen this month, and I think The Tall Blonde Man and The Dinner Game are probably my favorites from this entire month. But like I said last time, I'm excited to watch more of his films and I've been grabbing him as much as I possibly can. And now to our earlier point, I've even started looking at Pierre Richard's filmography and picking some stuff out that he directed himself. So here's to see that as well. I quite may next year Pierre returns, but we will not talk about the return of The Tall blonde man with one black shoe at all.

So yeah, but yeah, no, I think that this was a very solid entry filmography. And I'm I'm actually curious because I don't remember if I ever saw Out on a Limb. I might be mixing it up with Doc Hollywood. Different actor, of course, but maybe a similar situation. So I'm curious to actually watch that one.

So you can find me watching some Pierre Rashard films when I'm not podcasting. I actually want to watch less Competitis, the like the one the Father's Day movie, because again I like Pier Rashard and Gerard Depardo. I actually think of the things I've seen this month, the pairing of the two of them has been the most rewarding. I think they work well off of one another. I wonder if that movie is where that falls in terms of the relationship and the comedy between the two of them, if that's a peak a valley or somewhere in between these two.

So yeah, I similarly with Richard, I think at this point, check out the French one and the American one. Look the Ultimately, at the end of the day, the highest compliment I can give it is it works better than pure luck. And I think that's because uh, Nick Nolty's in it. And can you imagine to end this conversation, to bring it all the way back to the end here, imagine if Danny Glover had been in this movie whoa Man? Because that's see, that's the thing, Richard.

In the last movie we did, it was Martin Short and Danny Glover, and boy did that not work. That was so it was so tone deaf and comedy like starved. This movie at least made me laugh a couple times. But that Danny Glover and Martin Short together is like water and oil, and boy, no matter what you do, you cannot get them to mix because it is. It was not funny.

But yeah, that's that again damning with faint praise, But yeah, I think uh, and I think overall, Mike, this has been a yet another successful Mike White may or Mike White month. I guess probably may or March. I mean it kind of that's between the two. But yeah, definitely a lotless depressing lens that we've had March at twenty twenty. Everybody, what a bad timing to watch Soviet post apocalyptic movies while the world is literally falling apart, so that's always fun.

And yeah, so we'll we'll take a break, play some ads for some podcasts, and then we'll play a TV spot for the next episode. From weirding Way Media, Cambridge, and with Shawn is a podcast about two guys, obsessions, passions and hobbies. Those two guys are Mark Bigley, host of Wake Up Heavy, Recollections of Horror, and Ronald Zuriggian, host of the Skelevator YouTube channel. Each month, we talk about the toys, comics, movies, books, TV shows and other cultural phenomena that captured our imaginations and helped shape who we are today. From Masters of the Universe to Saturday Night Live, Star Wars to Harry Houdini, the Muppets to The Elephant Man.

Ronnie and Mark dive deep into the recesses of their minds to pull out treasured memories of things lost but never forgotten. Join us on the first Tuesday of each month over at Weirdinwaymedia dot com or wherever you listen to podcasts. Join me Jamie Benning on the film Ementaries podcast, particularly if you enjoy stories like designer Nila Rhodis, jamiro Convincing, George Lucas to push him around to help gain the support of his crew on the ailing Howard. The duck plam. The door opens, It's George.

Everybody gas. George makes a bee line to me. I'm literally back against the wall. Well here, puppeteer tim emotional story behind that iconic Amerlac bar shot in Return of the Jedi. I believe it or something to be proud of, but not the Cellburg or how Star was.

Editor Paul Hirsch tackled cutting so many successful films. The thing that I learned from work with the Palm is that tension depends on a clock. You need to have the sense that time is running out. Maybe Oscar winning sound designer Mark Manngini's insightful chat about his work on Blade Runner twenty forty nine. Not a single sound from the original Blade Runner in the new film, A great deal of inspiration.

That's the film Youmentary's podcast with me Jamie Benning, Hello, Twisted humans. Do you find yourself wanting to know more about the latest murder, conspiracy, cult or haunting than this is the podcast for you. In nineteen fifty two, there was a record high of UFOs reported fifteen hundred sightings, there has been evidence of human sacrifice worship, and it is haunted by more spirits than can be counted. A family of two adults and two kids reportedly saw a giant flying thing with glowing red eyes. And meanwhile, the family is nanny that helped Veronica to care for her and Lucian's children was found bludgeon to death in the basement of their family Hope, I'm Alicia and I'm Sierra, and this is twisted and uncorked.

Want to have freedom? You gotta go where the freedom is, don't you. You're gonna go to waste and Portland, come to New York? What is? What is?

What is? Your girlfriend? Just tell me what has? It's nearly Thanksgiving? Why don't you come as a turkey?

I don't want to play in your I don't like you anymore. What would you think if I asked you to do something? It might seem a little selfish. I think you should good. Good because I'd like you to take a look at my work and tell me what you think, and you'll be sorry when you see the sighting down the other door.

I'd say you tell mister Morgan and mister DuPont mister Rockefeller, get over and Irena do some of the fighting. You can't holder down or rain barreled. You can't climb my apple tree. I can't work around you. You tell me why you're doing it.

I'm not taking seriously when you're around. When I'm around, you're not taking seriously. Oh God, this is not good. I don't play in your your Yes, you won't be good to me. If you were mine, I wouldn't share you with anybody or anything.

There's something that I have to tell you. You don't have to tell me anything. No, No, I want to get married. Does this mean that we have to cheat? Or is the supreme independent marriage?

You're lying Irish or from Portland, and you use me to get Jack Read to marry you. Who? What do you mean? Who? Who was it?

Who was what? Jack dreams that he can hustle the American working man whose one dream is to be rich enough not to have to work into a revolution led by his party. Is the party prepared to take a position on the draft or not? The officer of these men have the legal right to assemble? What tell you doing me?

All right? You're right, you're wrong. I'd rather be with a fighter who wants to change the world and a critic who wants to mourn it. Well, the place to be now is Russia. You have to tell me what's happening in Russia.

I read the papers. Well, come with me, join you in revolution. But you know, write what I write. The next episode we're given to talking about Reds, not communists, though I think they are, aren't they Is that what it's about? Is it about communists?

It could be I don't know. Movie, yeah, which I thought I was on the hook for because I got an email from your guest and he said, whenever we recording that, I said, what the hell you're talking about? You're not on that one? Best I know it. It is a busy episode.

There will be three guests, so I won't name who because if one of them doesn't show up, at least I didn't promise something that didn't happen. But yeah, it's gonna be I can only imagine, and I know you know two of the three, so I could only guess which one it is. But yeah, that's going to be a packed episode, and we'll be kicking off epic month, I think is what we're going for. Because yeah, like you alluded to Mike, you and I and father and Malone are going to be watching Noah at some point, which, okay, I'm excited because I've never seen it. Also talking Apocalypto gangs in New York.

Yeah, so gonna be a pretty packed month until then. Where can people find you and the things that you work on? Richard Adam, We're in the middle of our We're in the middle of season one. We're getting some really nice reviews on Apple Podcasts and on our Facebook group. People are really seeing mean to enjoy it.

I talk about paranormal books and I talk about my life and the connection therein It's funny, sometimes it's moving. Check it out. What about you, Mike White? Did you give me one star review where I talked about how political you are and it doesn't belong in your podcast? I've been looking for that one.

My favorite one so far is the one where it's like, I like this podcast. My eyes glaze over when he starts talking about his personal life, when talks about his wife or going to college, and then I suddenly listened again when he's just talking about the book, but can't wait for the next one. Didn't somebody take issue with you saying Jesus christy you know what they I said Jesus fucking Christ in one episode and someone took issue with it, and I'm like, you know, the great thing about podcasts I can go back and take it out of that episode was Jesus not fucking Christ. I was thinking that the best thing about podcast is you can choose not to listen. Then fuck you?

Why as I just say, Richard, Richard, you haven't have been doing this long enough. There were no But it's funny because there were, Like I thought about it, and I'm like, well, you know, is that was that super important? Like? Was that a point I wanted to make? There are other points that I've made that if people complained about it, I wouldn't change.

But I'm like, you know what, you know what, all right, I cant take out the Jesus fucking Christ. That's fine with me. So you ared it here first. If you're out there somewhere, I took out Jesus fucking Christ. It's no longer in there.

It was also in the script for an upcoming one. I noticed I took it out of that one too. Wow. I wonder if I have the real version downloaded the player, Jesus fucking Christ. You've took out the guns and just put in class lives.

That's right, that's right, man. This is that we're getting a Snyder cut all over again with had them over here, Mike, you're acquiescing Jesus. Man. You know what they say, it's a slippery slow Yeah, it's a slippery slope out here in podcast. Lee.

Well, if you want to hear about me, I'm over fucking Jesus Christ on my podcast, Projection Booth Podcast, which is available at Projection Booth podcast dot com. And that's part of the Weirdingway media network, unlike Richard had on her normal bookshelf. Mike, So what you're trying to say is if people want to hear, if they want to hear somebody say Jesus fucking Christ, yours is the podcast for that. It's basically Mike, Jesus fucking Christ White. So gotta go, got it?

Okay, change it on your fucking business card at this point, because man, I'm not gonna be able to unthink that. Yeah. So you know, it's like we always say about, you know, cancel culture and stuff. You know, you don't you don't alienate an audience. You just gain a new one, right, that's happened here today.

You just yeah, it's not called being canceled, it's just called you found your audience. I don't get it. Jada Carano's still fine. All those right wing psychos just love her. Oh god, yeah, yeah.

I mean Luisa kay is getting more specials, you know, and and Dave Chappelle never has stopped getting special Yeah, and just think only one of them jerked off in front of people. Yeah, translate, it's fine. I've never heard more from anyone in the world than people who got canceled. Well, yeah, well that's the way, and often paired with a bullshit apology even sometimes and then they just go back and do the same thing. I'm weing censored as my message gets to more ears than it ever has before.

It would never be censored on a platform like x formerly known as Twitter, which was taken over by a psycho who doesn't care about censorship, right weird. Speaking of places you can't find me, I don't interact on social media too much, but you can find everything that I do work on, Like Mike already alluded to a weirding way media aside from one thing which the three of us do once a month, which is sitting and talking about James Bond. And if you are into that, you can find that at Mike's Patreon or my patreon as patreon dot com, slash culturecasterpatreon dot com, slash Projection booth, respectively, for ten dollars a month or more. You can hear me and Mike and sometimes Richard who's drinking.

Richard's there, but sometimes he's drinking and sometimes he's not. You were like, I'm gonna do a cocktail every episode, and sometimes you do it and sometimes you don't. Second, I drink every single time, but I don't think you always talk about it. No, you got to talk about the cocktail. You're right, Yeah, you're I don't highlight moll.

Yeah. In this movie, we go to Jamaica having a special had like some gold schloger for the Goldfinger episode. You should have been doing fireballs for Thunderball. Levin, let die what like a cold forty five live and let diet coke. Livin, let diet coke and go, yeah, yeah, that will write that cookbook.

We'll just be like James Bond cocktail wanted. Just all the titles, the stupidest way possible. That's what the world's waiting for. But yeah, that's where you can find that. And yeah Weirdingway media dot com.

Like rate and review the show on iTunes please, regardless of where you get it, iTunes is a place where most people get it. We're more than seventy percent of people listening to podcasts can find podcasts. So like, rate and reviewed on iTunes. Take a second, please do it. It helps us out and it's just a moment of your day.

As for the three of us, thank you Mike for programming the month. It's been fantastic. Richard, thank you for joining us and rounding out the month as well. It's you know, it's always a pleasure for the three of us to get together and talk something not James Bond, which you've talked a lot of James Bond in the last year. So it's all yeah, no, of course, and as always, we'll catch you on the next episode.