Join Preston and Nathaniel as they embark on an adventure to discover the Temple Of Doom!! Our Lord Dan appears in Temple for a meer 18 seconds, but delivers an unforgettable powerhouse performance that connects him to one of the biggest trilogies of the 1980s. Come listen as they even pitch their top secret idea for their own Indiana Jones film and Dan also discusses snow plows.
Be sure to check out this great Making Of Documentary that we discuss on this episode
Join Preston and Nathaniel as they embark on an adventure to discover the Temple Of Doom!! Our Lord Dan appears in Temple for a meer 18 seconds, but delivers an unforgettable powerhouse performance that connects him to one of the biggest trilogies of the 1980s. Come listen as they even pitch their top secret idea for their own Indiana Jones film and Dan also discusses snow plows.
Be sure to check out this great Making Of Documentary that we discuss on this episode
Good morning, you are listening to the best legs in Chicago, a journey through the life, career and mind of Dan acro. And today we are talking about
Speaker 2:Indiana Jones and the Temple of Doom,
Speaker 3:Ah, Dr. Jones. I'm AWeber. I spoke with your assistant, so we've managed to secure three seats, but there might be a slight inconvenience as you will be riding on a cargo all of life. He's the best. Michael, do Sean notice
Speaker 2:Kevin?
Speaker 3:Aren't you Willie Scott, the famous American females, vocal
Speaker 4:Friends, family, politicians of both sides. You might be wondering why are we recording an episode on Indian Jones in the temple of doom? Well, I'm here to tell you that our Lord Dan appears in this movie for exactly 24 seconds.
Speaker 1:I was looking at YouTube comments on that clip. And every one was like, I had no idea. This was Dan Aroy mind blown. And one person is like, I don't think this is Dan Aroy
Speaker 4:And he's not. And that's a 24 seconds from when you first see him to when he shakes Andy's hand and leaves frame. But there's shots in between that where he's not in it. So one could say his actual screen time is probably closer to about 15 seconds and there's not even a closeup on him. I, I don't think if you didn't know it was Dan aro, you, you you'd have no idea. It was him. You think it was just some random actor and
Speaker 1:Yet his performance is like Alec Baldwin and Glen Gary, Glen Ross. He he's only, he only appears in the movie once, but yes, he makes the movie it's the scene. Everyone talks about.
Speaker 4:I'm really glad that what you're comparing a Dan Aros portrayal of Weber in temple of doom to Alec Baldwin and Glen Harry Glen.
Speaker 1:Yeah. Well, they're both powerhouse performances, you know,
Speaker 4:Not the first Spielberg collaboration,
Speaker 1:No second collaboration with Spielberg and well
Speaker 4:Sort of,
Speaker 1:Sort of, obviously they hang out in blues brothers
Speaker 4:And they're no 1940 one's and then also they, they, he was in Twilight zone.
Speaker 1:Yeah, I guess so
Speaker 4:They, I don't know if he saw Spielberg on set, but Spielberg produced though.
Speaker 1:They were good buds hanging out, you know, they were,
Speaker 4:They were good buds. Well, you know, a previous episode I put as our little tail bumper, that there was an AFI, uh, award given to Stevens, Spielberg, lifetime achievement award. And the man chosen to give one of the big speeches was Dan, the man himself.
Speaker 1:And, and boy, does he give a speech? This speech is like, he gives five minutes long. It's very stirring.
Speaker 4:It's so good. But he mentions all of the connections that, that they have. And he's like, Steven was like one of the first people to embrace, uh, the second city comedians and the first cast of SNL. He took them on to a lot of other films acted with them in the blues brothers. He brought Coneheads back on TV. Many years later, he put Aroy as a go was Buster and Casper because
Speaker 1:He produced, he produced Casper. Right,
Speaker 4:Right, right. But he was the one, uh, pushing to have that happen, which by the way, supposedly Casper confirmed by the director exists within the cannon of the Ghostbusters world. So apparently hell
Speaker 1:Casper, that makes
Speaker 4:Sense is part of the universe of Ghostbusters.
Speaker 1:I barely remember Casper. So of those movies, if I saw it as a kid, I don't remember it. And I don't even know if I've seen the whole thing.
Speaker 4:Well, get ready cuz we have to watch it because he's also on screen for about eight seconds in that one. Oh God, I love you. You know how I love YouTube comments. I found somebody that had like pitched an idea for a movie about, about like what, what was actually happening at Ray stands is point in life when this incident happens in Casper. Okay. And he claims that stands, who is played by Dan Aros. Uh, ego gets so out of control that he deviates from the Ghostbusters and he becomes a washed up like drunk and he can't do anything. And he realizes that he can no longer ghost bust by himself and he's just a washed up. And he has to reconvene with his, his other ghost busting mates.
Speaker 1:This is what happens after the events of Casper and this person's head cannon
Speaker 4:That's what's happening during Casper. That's why he's there alone. And that's why he can't do his job.
Speaker 1:The, the speech that Dan Aykroyd gives about that, that it appears at the end of our 1941 episode, I believe where Dan Aykroyd gives this very auditor speech about Spielberg. He labels Spielberg, the first artist industrialist. Do you remember this? And he cuz he, he talks about the science industrialists and all these different industrialists of the past and how Spielberg is continuing like some kind of distinct American tradition. And what's funny is that that label has and used both in support and in extreme criticism towards Spielberg or at least that idea has been, has been applied both ways towards true Spielberg as a filmmaker. And I think something we're going to talk about is that I think more and more Spielberg moved towards that, but I think temple of doom is maybe I'm going on a limb here. Maybe this is a hot take, but is a Supreme example of, of artistry and how a film when made well. And when a bunch of people come together can be like a showcase for some, for just some amazing, you know, crafts, people and technicians and workers and their skill.
Speaker 4:I think you're totally right. I don't think you're going out on a limb. I think it's true. And I think good after rewatching temple of doom, I think it, you know, I think Raiders holds a place in my heart is the first one I saw. But I think arguably temple of doom might be the best of
Speaker 1:No, no God Preston
Speaker 4:Or no seriously. Think about it from a craft and how it was made. Like you pointed out like how well the miniatures are, it moves so quick. I don't know.
Speaker 1:I don't even know if I can do this podcast anymore.
Speaker 4:What, oh, I just told you that Raiders holds like it's would never, you know, leave my heart as like the best in my head, but like what a good film. I think it's a good, it's at least a really great movie. It's a very well
Speaker 1:Done. Oh, it's so good. It has its problems which will get, which we are going to, which have to be addressed. But Raiders Of The Lost Ark. and you know, the kind of movies that I think, I mean, I think we're both attracted to, to a certain extent, but maybe more. So me is that Raiders of the Lost Ark is so scrappy and uh, it is a little rougher around the edges than temple of doom. Just in terms of like its production. Like it feels like a little more strained. It really feels like they're swinging slower
Speaker 4:Budget.
Speaker 1:It is, yes, it was a lower budget, but it really feels like Spielberg. I mean his career was on the line after 1941.
Speaker 4:Yeah. The stakes were much different when he was making Raiders of the Lost Ark and
Speaker 1:It just really feels like a swing for the fences cuz temple of doom is great, but it is great because the first one was such a huge hit that they were able to like go all in. And I think even though I love that sometimes with sequels, uh, but I just, I don't know, Raiders of the Lost Ark, Raiders of the Lost Ark come on.
Speaker 4:Yeah. It's really good. You you're you're right. I'm wrong. I'm wrong. You
Speaker 1:Don't have to. No, you, you don't have to. I'm I'm only trying to give the audience what they want. They, they love it when we argue, you know, they like, they like a little,
Speaker 4:Little spark
Speaker 1:I knows flying on the podcast.
Speaker 4:They want us to be enemies, our own enemies, but
Speaker 1:Rip us apart.
Speaker 4:Let's let's just get into it. Let's get into it.
Speaker 1:Preston. I'm sorry. I'm I'm sorry that I argued with
Speaker 4:You. That's okay. I don't really
Speaker 1:Care. No, I think it, I think it's great that I, I, I like how we can bring different opinions to the podcast and maybe I reacted a little too harshly that's
Speaker 4:Okay.
Speaker 1:All right. Well still, but what about Las crusade?
Speaker 4:I used to like Last crusade the best. So
Speaker 1:Did I it's
Speaker 4:So it's funny. I, I love the father son relationship it's I love that they ride off into the sunset, but I think after watching temple of doom, I'm not gonna lie. I think maybe, maybe my favorite Raiders, temple of doom, Las crusade. Now
Speaker 1:Your favorite can be temple of doom. I, I don't wanna talk you out of what your
Speaker 4:Heart tells you. No, I'm saying Raiders Raiders of the law dark is my favorite personally, but you can always have a favorite and it and be is not the best, you know, like, oh, that's true. Just like for instance, like the James Bond series, right? My favorite bond is Roger Moore. Yeah. Arguably people would say he's, he's their least favorite because he's so silly. But that's why I like him the most. I'm like, I love Roger Moore's take on bond. Yeah. Roger Is the best. I think that he he's said that once he was like, you know, Sean Connery had done it and George layby had done it and they were Sowa and hard, you know, like big guys and rough and, and like, he was like, when he would like look at an action sequence, he'd be like, I don't know if I could do that. So instead I'm just gonna make a joke about it, you know, you know, or like something like that. He, and I just think it's so he's so silly. He's so funny. But anyways, my point is that you can have a favorite thing and it, that doesn't make that it's the best thing.
Speaker 1:The point is that temple of doom is great. Temple
Speaker 4:Of Dom is great. It was made after Raiders and lost arc. Obviously here's a quick fact, most movies if they come out because people wanna see how they do financially, they don't necessarily, unless it's like preexisting IP, they, they may not necessarily have contractual obligations to make a sequel. Right? So often if a movie is successful, like for example, Ghostbusters, which we did last week, Ghostbusters was always going to be a one oh off movie. They had not planned to do any more than that, but when they made it and it was explosively successful, it left room financially for them to make a second one. And so that's why they went and did the second one with Indiana Jones. It was a little bit different even though Raiders of the lost dark was kind of a, I don't wanna say hail Mary for Spielberg, like, but he was not in a great point in his career. He needed to make a movie cheap that could make money because of the flop of 1941 financially. Uh, but they had conceived Indiana Jones to be a trilogy. It was going to be three films. And they even had in their contracts that there would be a second and a third film. And they weren't obligated to like Spielberg was not obligated to direct it, but he had first dibs to direct it. If he wanted to. I guess my point in that is that that the temple of doom is not like a sudden like, oh, Raiders in the lost art came out and oh, it's made a lot of money now we're gonna make a sequel. It's scavenge together, a story they had already, they knew they were gonna go into it and make a second one. And they were going to make a third one. Um, although you pointed out it, George Luke is pretty famously lied about having ideas. They, they were in their contract to make number two and number three. And when the first one was very successful, they're like, okay, we, we're gonna officially make number two. And they're like, George, what's your idea? And he's like, I lied. I don't have any ideas.
Speaker 1:So that was when they began to throw my of ideas around. They wrote this with
Speaker 4:Willard Hayek and Gloria KA, I think
Speaker 1:Yes, they began to have story conferences, which is the exact same thing they did with Raiders, Spielberg, Lucas and Lawrence, Kaden sat down and recorded hours of discussions about what the movie and what the characters would be like that Lawrence Kaden took and wrote. They did the exact same thing this time with Willard Hayek and Gloria KA and early on the idea was that Indiana Jones would go to a haunted castle in Scotland and fight a ghost. Right.
Speaker 4:I think George Lucas has some kind of crazy fascination with haunted castles.
Speaker 1:Yeah. What was the other, what, what's the other evidence towards
Speaker 4:That? It was for the third Indiana Jones, which was going to be, uh, a few different titles, but Indiana Jones and the lost monkey king or something like that. And which indie was inside of a haunted castle, where there were eight murders and a ghost and then ghosts inside of a silver, uh, Knight of armor that were fighting Indy. Ah, that sounds so. And somebody was possessed by a demon or something like that. Ver very silly ghost kind of thing, which I, I loved, but
Speaker 1:That's a lot more like obviously in the inner Jones inspired by the adventure cereals of the thirties and forties, a, a plot like that feels much more like an, an adventure serial, cuz it's a lot popier and broad and it's not quite as it's it's a little more like this happens, this happens. This is the situation, a haunted castle, the villain, the fight, the end. Yeah.
Speaker 4:I, I completely agree. And they ended up recycling elements of all that and putting them in different, for instance, last crusade, there, there is a sequence where they go to a kind of a, it's not haunted, but it's, it's a castle. Do you remember that? And not these come to
Speaker 1:Inspect the tapestries.
Speaker 4:Yeah. Is we become inspect tapestries. Yeah. So they have, there's a big, there's an opening, um, master wide shot that I think is like a matte painting of a castle with like a bolt of lightning behind it. If you know, and you see Indy like driving up the hill, that's what they had imagined that the movie would be like totally. It would just be all be set at like that haunted castle. Ugh. That
Speaker 1:Honestly sounds great. Okay. The plot of temple of doom, everyone knows temple of doom. Anyone listening to this, certainly a nose temple of doom, but real quick, quick, what
Speaker 4:Was it originally going to be titled temple of death?
Speaker 1:It's true. And they changed it cuz it was too scary. Just like how originally return of the Jedi was called revenge of the Jedi. Right. They decided that was too aggressive.
Speaker 4:Oh, I'd just like to say too, like when they were developing a temple of doom and when George Lucas and SP because a lot of people say, oh, temple of dooms, so dark, but it was purposely made really dark it's it's the darkest of the series. And George Lucas said that he wanted the second Indiana Jones to be very dark, the dark ballad to the Indiana Jones trilogy, just like in his mind, empire empire strikes back was the darker ballad of the star war trilogy. Cuz he thought that that would be the, you know, you would have your, your opener, your dark ballad and then your like uplift awesome action filled closer. That was his idea of a trilogy for like these, these two action trilogies. He made the original star wars trilogy and then Indiana Jones. So it was purposely made and intended to be very, very,
Speaker 1:I think it rules. And I think they did a very good job to set it apart from Raiders. They wanted to let the audience know immediately that this is not the exact same movie. We're not redoing everything. So the way they did that is the movie opens with a Buzzby Berkeley style dance number.
Speaker 4:Right.
Speaker 1:And the first time you see Indiana Jones, he's not out in the jungle, he's not wearing his fedora and bull whip. He's wearing a white tuxedo. He looks just like James Bond. And he's in a nightclub in Shanghai.
Speaker 4:Yeah. Club OB one.
Speaker 1:Yes. Club OB one, which is they get, they get a little star wars reference in each Indiana Jones movie.
Speaker 4:Yeah.
Speaker 1:The first one is the higher RTD two and C three P and hieroglyphics. And then in the third one, isn't the plane on the Zeppelin have like three PO on the side of it.
Speaker 4:I, I believe so. And then in, and then in all three of them, the sound of the engines turning on are the same sound effects from star wars. And then obviously club OB one and this one also in close encounters of the third kind, the ship at the end, if you look closely cuz you know what, uh, it's got like mechanical stuff on top and then underneath, it's got like long spires. You actually, if you actually look closely on one of the shots where it's taking off and Flipp over, there's actually R two D two and C three PO upside down on the ship. God
Speaker 1:Man, why do we know that, that we are some
Speaker 4:Nerds silly? I just like, you know, filmmakers that are all friends that put them their, you know
Speaker 1:Yeah, no, it's very fun.
Speaker 4:Although is this a dumb question? Not nevermind, no ask the
Speaker 1:Question
Speaker 4:Is Indiana Jones references in star wars though was Spielberg. The only one that was like, Hey, I'm gonna make an homage to my friend George. And was George like, well I'm not gonna do that.
Speaker 1:I have no idea it'd be harder to reference be. But I, I don't know. Well,
Speaker 4:A lot of the, a lot of the, even a lot of the crews would cross over when they would make these films because pretty famously there's, you know, I was really interested in the Raiders, the lost our crew hat that I think is awesome. The khaki one with like the huge Raiders patch. Yeah. That production was happening the same time as empire strikes back. And a lot of the crew crossed over on both productions. So if you go sometimes on like prop websites and like eBay, you can find crew hats for on that movie. And there's a huge patch that says Raiders. And then on the side of it, there's a huge patch that says empire strikes back.
Speaker 1:Oh, that's so cool. A lot of the same crew from Raiders came back for temple of doom as well.
Speaker 4:Yeah. It's like a big family reunion.
Speaker 1:The opening sequence of temple of doom. I wanna talk about because when we were watching it, we were talking about how great it is and the idea that what's Spielberg and Lucas wanted the opening sequence to be is that now that you've established the character of Indiana Jones and Raiders, we can start at the third act climax of a Indiana Jones adventure that you don't see. So they wanted it to really feel like you're being dropped in at, at the end or at like the not, but at the climax of a movie that doesn't exist, which is what the beginning Shanghai nightclub scene is. And you pointed out that this scene feels a lot like 1941.
Speaker 4:No. Yeah. I agree. It does feel like dance halls. Here's a question. Yeah. Is Spielberg the king of movie prologues. He's pretty,
Speaker 1:He's pretty good.
Speaker 4:He does it in a, a lot almost. I don't wanna say all of his movies, but think about it. Jaws, prologue, close encounters are the third kind prologue.
Speaker 1:1941. Prologue.
Speaker 4:Yeah. Close encounters are the third kind I think has one of the best prologues ever.
Speaker 1:Yeah. Cuz you get Bob Alabama with that
Speaker 5:Big old 60 beer,
Speaker 6:4, 7, 4, 9, Jack. Tell me something. What the hell it's happening here? It's flight number night, day 19. What? It's that training mission from the day of last station at Fort Lauderdale, they were doing target products on an oh ho who flight. Great like these anymore. No one. These planes were reported missing in 1945, But it looks brand new
Speaker 7:It's house. How they, oh, I'm not talk.
Speaker 5:He says the sun came up last night. He says it sang to him
Speaker 4:An master Prolog.
Speaker 1:Well in this prologue in temple of doom, this is such a well done action sequence. And it's very good. It introduces all these characters like his, the, the waiter who has the gun under the tray. Who's kind of, you know, Indy's I guess sidekick in, in this story at the beginning, uh, you, he dies at the beginning before he really gets to do anything, but you are immediately endeared to him. It is like incredibly well done. As soon as you see this guy, you, or like on board, like, oh, this guy's awesome. He has a gun under the tray. He's got Andrew Jones' back. Andrew Jones gets poisoned by this guy named lache and he's gotta find the antidote, which he trades back a diamond that he got from lache in order to get the antidote in this amazing chaotic action sequence in Sioux, across the dance floor that sends everyone running. And this is such an excellent example of, I mean, we're not saying anything new about Spielberg. Everything that could possibly be observed about Spielberg has been observed before, but he is such an, an excellent director of maximalist action choreography. And GE you never are confused where you are in the nightclub at any given moment. And the transitions, the cuts from one part of the nightclub to other characters and everything. It sometimes doesn't make sense, but you don't notice it in the moment you don't get confused. Like there's a scene where a guy, one of the gangsters runs down a stair and grabs a Tommy gun and starts firing at Indiana Jones. And he knocks, he cuts down that GNG and is running behind it. Right. It's never explained how that guy got up the stairs to run down them. It's just visually dynamic and it doesn't matter. And everything's moving so fast and is cut so effectively that you just buy it moment to moment. Uh,
Speaker 4:Let me, let me quote you. Yes. And I mentioned, that's why we were watching it. And you said one of those brilliant things I've ever heard when we were watching the film neighbors, which we released several weeks ago, the film does not allow logic to get in the way of what needs to happen. And I feel that that's very much the same thing in this opening prologue, because you there's a lot of kind of weird. Yeah. Like weird. Like when they show the dancers and suddenly you're like on a massive sound stage, it's like this sound stage is not there. Like don't make any sense, like what the heck. And then, and then they pull out for the fog and it's like, you're back on the little stage. Like, but it doesn't matter. It doesn't have to logically make end because it, it just, it's making way for the movie and what needs to happen. And, and I feel the opening of this movie really almost like all the way until they get to, uh, like the temple. It feels that way. Because even when they fly out of the plane on the inflatable boat thing, it's just like, what in the God's name? There's no way this could happen.
Speaker 1:It's so good though. Same. I have one more thing to say about the nightclub scene, which is suddenly all these pink balloons start falling from the ceiling. And it's such a, it's not a necessary thing to happen. All it is is just, is just adding texture to the scene. And it's adding more visual flavor, but it is used as a tool because just like a peoples site, an example of this kind of cutting, they refer to the scene in jaws when Brody is on the beach and we're cutting back and forth between his POV and a shot of him every time someone crosses the, the frame. So someone will cross and then on the cross, we'll cut to a reverse of him. Very similar with the balloons is that you see, and inner Jones like chasing after, through the antidote on the dance floor and then balloons are released from the ceiling and start falling. And as balloons cross the frame, we cut to the gangsters as the balloons continue to clear the frame, which on its own is not that like, obviously that's just like basic editing and basic cutting. That is that that's just an example of good editing, but the idea of doing it through balloons, for some reason, I just think is so much fun because it is also like comedic that this there's people like firing machine guns and he is being poisoned and running around. And then it's like balloons and balloons small. I just, I love it. I think this opening sequence is so good. He jumps out of the window with cake Capshaw and lands and an old car driven by a kid, uh, short round, played by ki wan who I'm sure I'm not pronouncing that. Right. Who
Speaker 4:Is Mr. Round?
Speaker 1:Yeah, Mr. Round.
Speaker 8:I love that movie. And this is Mr. Round. I also,
Speaker 1:I think it's such a miracle that he is not annoying because kid sidekicks and movies rarely works, but he is, I think so endearing and so cool. And, and he's such a good actor that at, at every point when he is on screen, I'm never like, Ugh, can we move away from this kid, please? Like, I'm on. I'm like ready to see what his side of the adventure is.
Speaker 4:Well, I think that Spielberg felt that way too, because you had sent me this documentary about the making of, in
Speaker 9:An open casting call in Chinatown, Los Angeles. And he spoke very little English when I first met him. Uh, when I gave him a piece of paper to read, he really couldn't read the English very well when I gave him a scene to prepare and to, uh, and to do so. What I did was I said, well, let's, let's make it up. As we go along, let's pretend like Harrison Ford happened to be in the office at the time. And I asked Harrison that he would take part in an improvisation and not wanting the confuse key by using the word improvisation with him. I just said, just play cards. And this man is gonna cheat you and he's gonna, he's gonna pull fifth ACE. And when he pulls that fifth ACE and he takes all your money and he's a cheater, you don't let him get away with that. You know, you have to win that card game. And he says, okay, I can do that. And the improvisation began on videotape and he was wonderful. He was a little boy you see in the movie, matter of fact, the scene with the cards that's now in, in the Jones was inspired by the improv. I came up with one day for the two of them to, uh, test. He is one of the greatest, uh, experiences I've ever had directing a only a child actor, but directing a complete unknown, a complete newcomer, a little kid struggling with English in school in Chinatown who suddenly this little movie star.
Speaker 1:Wow. And that scene that made his way in the movie was based on that. Cuz spiel was so impressed by how he played through that scene and the lines he came up with.
Speaker 4:Wow.
Speaker 1:Yeah. So they, um, there's a car chase through the streets of Shanghai and they make it to an airport. And luckily one of Indiana Jones' many contacts around the globe is there to assist them to escape from Shanghai. And this man is art Weber and art Weber is played by
Speaker 4:Dan Aroy our Lord and savior. Dan Aroy he's on screen for 18 seconds.
Speaker 1:It's such a funny cameo too.
Speaker 4:Oh my God. What? I just Googled art Weber. I don't know who made this, but there's an art Weber in action figure. What?
Speaker 1:Oh my God.
Speaker 4:I, I don't think that this is a released action figure. I think that this is like a fan made action figure. Something makes custom figures. This
Speaker 1:Looks so good. Look at those. Look at those knee, those knee high socks.
Speaker 4:I, I know, I know. I love it. I love it.
Speaker 1:Um, Preston, this should be the, um, image on this podcast episode. So Dan Aroy helps them escape. And then just to kind of get through the rest, the plane crashes, they escape in a, a, a raft that lands on a Snowy mountain. They ride that down into a river. They float down the river to an Indian village that has been decimated by drought and plague. And all the children have been kidnapped ever since a sacred stone that protected the village was stolen. And Jones goes to retrieve the stone and in the process discovers this underground death cult that are trying to find all five stones. Cuz when you find all five stones, you uh, have immense power or something. The end
Speaker 4:That's the whole movie.
Speaker 1:That's pretty much the, the plot. And I, I just wanted to, I was excited to focus on the opening cuz it's so exciting and I love it.
Speaker 4:It is exciting, but you, we skip over a lot. I mean, India has to go get the stones back. He becomes possessed and then not becomes not possessed. They
Speaker 1:Eat monkey brains.
Speaker 4:There's a whole underground child slave, uh, thing that's happening. When the mines beneath the thing and then have to escape, they release the kids, they save the kids and then, and then, uh, Willie Indy short round, all get in a mine car and do the most absurdly incredible mine car chase that would make a great roller coaster.
Speaker 1:What's funny is thinking about the construction. Obviously these mines, I don't know how long these mines have been in operation within the film, but Molo rum should fall. Whoever was in charge of designing the, the mine tracks the mine card tracks because that person did a terrible job and there is no way that it is conducive to an efficient mining operation.
Speaker 4:Well, you know what part of his problem was? Huh? Is probably because he hired kids to build it. I mean, there's your first problem. I don't know why you think, oh, we're gonna save money on child labor, but guess what? You're gonna have an eight year old design of mind shaft underneath the ground. It's gonna be a disaster.
Speaker 1:Yeah. You get what you pay for.
Speaker 4:Yeah. You get what you pay
Speaker 1:For. Okay. Yeah. Good point. There is a problem with this movie.
Speaker 4:It's a little racist. It's a little
Speaker 1:Racist.
Speaker 4:It's pretty racist when there we have the dinner scene.
Speaker 1:So I think there's a, the problems throughout it. It's interesting when he lands in the village, there is a white savior problem because Indiana Jones oh, right.
Speaker 4:Is
Speaker 1:Scene literally as a savior that they prayed for. That's the, the whole impetus for the story is, is, is a white savior narrative.
Speaker 4:Yeah. And it kind of makes you feel like, yeah, it's like white savior. It's like when he arrives, it's like, it's like, nobody else could possibly do this or go try to save the kids. It's like, oh, they're just sitting there and waiting until, you know, this heroic figure shows up to save the day.
Speaker 1:And it feels very much like the only, like the only thing preventing them from doing it is a kind of a superstition that I, I mean, I'm, I am ignorant when it comes to the, you know, any beliefs of Rural, you know, India, I guess, but it seems very manufactured for the sake of plot, which in and of itself, something like that is not a bad thing, but it is, again comes across as, as a little like ERY, like, oh, look at their they're weird spiritual beliefs and it takes someone from outside. However, conversely, I think one interesting thing about the character of Indiana Jones, which I'm sure at the time would almost set like in, in the real world had this, had this be reality would set him apart from other outsiders, especially Americans is that Indiana Jones is incredibly knowledgeable and respectful and adaptive to other cultures. He, he under arrives, knows the language, familiar with their customs, follows their customs. He does not treat them as an other, the character himself. Does that make sense?
Speaker 4:Yeah, that makes sense.
Speaker 1:Which, which seems for the time and maybe I'm off here, but for the time it feels like that is, that is oddly progressive though. The mechanations of the plot itself incredibly, uh, antiquated and, and, and unfortunate what you were gonna talk about the um, the, the dinner scene.
Speaker 4:Yeah. The dinner scene feels, uh, racist to me. The thing is that when you watch it, it feels kind of childish. Like, uh, like when I, when I'm watching it, I'm not, I'm not like, oh, somebody is like just playing into offensive stereotypes, like on the same level of somebody doing blackface, it's it doesn't feel like that. It feels like Spielberg is who is a guy that loves, you know, pretty famously loves like bugs and insects and dinosaurs. Like he's just a God kid. Like, it just feels like this dinner scene. He's like, Ooh, let's get really, let's get really, let's make it really nasty. You know, very much plain on the fact to make the character of Willy like gross out the whole time, which is something that later then sets up a, a plot point for Indian her, where he brings fruit. And that brings her, him to her room and all that. So it's like a device to propel the narrative for it a little bit, but they lean so hard into the grossness of it, trying to like, you know, have a gross factor for Willie that they bring in like, you know, chilled monkey brains. And they, they serve it, you know, in a monkey's head, then they remove the skull cap and they're just eating it out of it. Or they, or they serve like snake on this giant thing and they cut it open and all the snakes come out. Like it's pretty, groty it,
Speaker 1:It doesn't help that the narrator of the dinner that is explaining each and every meal in delicacy is this man sitting next to Kate Capshaw, who is this big fat guy in this ornate robe and a big turbine and a huge silly exaggerated mustache and this exaggerated accent talking about the monkey brains. And it is right. Kind of rub rub salt into the wound.
Speaker 4:I mean, I mean really the only thing to me and correct me if I'm wrong, that I, that I think that they, that it is benefited from that scene at all, is purely the fact that Willie doesn't eat any food and is very hungry. And so then later when Indy shows up to a room, he has, you know, this plate of fruit and that is like a, you know, his foot in the door to get into her room. But beyond that, there there's no real means to, to have that. And I, I don't know, unless you think this is also offensive, I, I don't know, maybe I'm missing something, but I feel like something that would've been more realistic if they were trying to play into that of like kind of a culture shock, uh, bit with food, because that can be real, you know, people of all different cultures are sometimes a little bit, you know, hesitant to explore other cultures, foods. There's a scene when they first arrive. Um, when we were talking about the kind of white hero aspect of it, when they first arrived to the village where the children have been taken, they are offering indie short round and Willy food. And Indy's like, you need to eat this. Like, this is more food than they get in like a whole week. Like, this is, this is a gift to us, like eat it. And, but they don't have silverware in it. And it, you know, I'm not sure totally what it is, but it looks like some kind of like, you know, uh, mashed food and beans and like that. And they don't have silverware. And so her Indy is trying to show her to eat it with your, her F you know, your fingers. And then she's really scared and hesitant and kind of grossed out by it. And she like just puts all of her fingers in her mouth and eats it. And she's just like, like that, that doesn't feel racist to, to me that feels like, oh, somebody that it doesn't know how this culture eats might be grossed out by it. And that's just like her character like that. It's not a great trait to have, but I could buy that. She's like a, you know, this kind of, uh, showgirl from the big city doesn't know how to do this. And I just feel like something like that, would've been a little bit more grounded if they, if they really felt the need to have to do something like that, again, like that felt more organic to me than, than having all the silly monkey brains and like that. Come out on top of all of it. You know, I still, I don't, I don't like that. They did that at the table at the dinner table, but that all, I don't know, does that feel like it would be something that would be in like one of those 1940s cereal adventure things, whereas somebody like they bring out like a giant snake to eat at a at dinner table.
Speaker 1:It, it does. And that's what I was gonna say is that I actually, I love the dinner, like the, the Beatles, the snake, the monkey brains. I think all of it's so much fun. I think the exact same scene could have happened in, in a framework that was less racist. Oh, the eyeball soup too is so fun.
Speaker 4:Oh yeah. The eyeball soup. That's
Speaker 1:The best part.
Speaker 4:Do you think in movies about, um, stories and films where they make up cultures like a fictitious land or in country where maybe there's inspiration from a real place, but it's totally fictional.
Speaker 1:It just, I think it really depends on, on what kind of culture is being coded there.
Speaker 4:Right? The
Speaker 1:Similarly, once they go into the, the cult that's led by Mola Ram at that point, what is actually going on to me, obviously the village and then the scene at Panco palace with the Maharaja is, is all coded, is not even coded it's all the movie is presenting it as what Indian culture is. The scenes with Mola Ram feel so divorced from any kind of reality that I am no longer thinking of that character or that belief system or anything as anything grounded in reality at all, because it's so extreme. But the problem is that they are taking theories and basically bending them to whatever they want them. I, I, I, I don't know if it's a problem it's I don't, I, I don't have a cultural studies in any of this and I, so I'm just like shooting from the hip here, but it does seem like they are just sort of like taking names like, oh, Cheva the God of death. Let's throw that in there and make it crazy. Uh, yeah. So,
Speaker 4:Well, um, correct me if I'm wrong. Did didn't they cuz it's set in India, right?
Speaker 1:Yeah. They, but they filmed,
Speaker 4:But they filmed in Sri Lanka.
Speaker 1:Yes. Because India was like, no,
Speaker 4:Right. Yeah. They were concerned about the script. I don't know what they were you, are you familiar with what they were concerned about? Was it the portrayal of,
Speaker 1:Uh, I think it was a combination of filming locations and the portrayal of their different de and stuff like that. It was for multiple reasons and also just government regulations and working with the Indian government. So that aside that has, that has to be addressed. I mean, Raiders of the law star also has issues with racism in terms of, you know, the depiction and you know, when they're in Egypt, but
Speaker 4:Luckily in last crusade, nobody gives a cuz it's Nazis.
Speaker 1:Yeah. Well there it's mostly in Europe that film.
Speaker 4:Yeah. They, you can all over Nazis. How many
Speaker 1:Watch Las crusade soon?
Speaker 4:It's so good. I, I really love how, um, I don't know if we mentioned this, but temple of doom is technically a pre-cool uh, to Raiders in the lost arc happens before Raiders, the lost arc. And I, I remember Spielberg and Lucas talking about how they were like, well, I don't really wanna do Nazis again. So that was one of the motivations to do a pre cool because they could do without Nazis. And then after temple of doom, they were like, ah, screw, we're going back to Nazis again. Yeah.
Speaker 1:They
Speaker 4:Rules sport in time to world
Speaker 1:War II, like 38 or whatever when those were. Yeah. So temple of doom as an exhibition of all the different kinds of artistry that go into a filmmaking is almost unmatched.
Speaker 4:Yeah.
Speaker 1:And I would love to talk about that for hours,
Speaker 4:But let's do it. Okay.
Speaker 1:It looks like you're about to say something.
Speaker 4:No, no, no, not at all. I, I was looking up Indiana Jones stuff again,
Speaker 1:Anything good?
Speaker 4:I I'm wondering, I thought I had saw a picture of a castle in the fifth one and I was curious if it was gonna be about a haunted castle.
Speaker 1:You know, I, I really want Dan Aros character of art Weber to come back in Indiana Jones five.
Speaker 4:We were talking about this actually because,
Speaker 1:And I want it to take
Speaker 4:In the behind
Speaker 1:Castle.
Speaker 4:Yeah. Yeah. So they should bring art Weber back also. Do you think our fans should know about our version of Indiana Jones five? Okay.
Speaker 1:So this is how Indiana Jones five. This is how it's in our version. When, when I visited LA, we went to the racetrack out where was, was out
Speaker 4:Where the Santa Anna horse
Speaker 1:Track. We went to the Santa, a horse track and we came up how, and the Jones five should open, which is the classic paramount logo. The paramount logo fades into a dirt mound. And then the dirt, dirt mound starts to shake. And then, and then horse Hoves tear by and crush the dirt mound. And then we, we pull back and write a horse track. And then we, we cut to the, to like hands clenching, like the list of, um, races that day and like twisting them nervously. As we see the horses, like pull around the bend and he, the hands open up the, uh, flyer and he's got horse number five and horse number seven circled. And then we cut back the horses and five and seven are in last place. And those horses lose. And of this man who just placed the be is this old Haggard, Indiana Jones. And, and it's like shows him and at the bottom it, the text is like Santa Anna horse track 1963.
Speaker 4:Yeah. He's like, he's like a drunk and he is a washed up. And he's like, he's, you know, wearing the hat still. He's got so many sweat bands around it and his shirt's disgusting. And he's just like, and
Speaker 1:He's a gambling addict.
Speaker 4:Yeah. 1930s serial kind of archeology has fallen out of style and it's the sixties
Speaker 1:And it's just, he's just
Speaker 4:Washed
Speaker 1:Up. And he goes, he goes home to his house and he is, his house is a wreck. And he is, he is.
Speaker 4:So he lives in like, no, he's not, he don't even live in a house. He lives in like one of those men's hotels, you know? Exactly.
Speaker 1:Yeah. And he sold off all of his artifacts and all of his treasures cuz he's needed. He needs the money. And then who shows up at his door, but short round, an adult short round who needs his help to cuz short, well, wait, why did we decide short round shows up
Speaker 4:Because he Indy at one point had an incredibly important artifact and he pawned it off to because he needed for like 50
Speaker 1:Bucks
Speaker 4:Pay his yeah. And short round needs it. And so their adventure and maybe not the whole plot of the whole movie, but is started by them having to go track down this artifact that he ponded into a pawn shop.
Speaker 1:You know, what's funny is that the first stop they would've to go to is a pawn shop. Like,
Speaker 4:That'd be so funny. I feel like this is full of humor. We even joke. Now this is this not a real opening. Um, this would be too comical, but we even joked like this just to show how bad of a place he's in the paramount logo would open on like what looks like a dirt mound. And then all of a sudden, like more stuff starts falling on it and you pull out and it's not a dirt mound. It's a pile of.
Speaker 1:Oh, pile of horse, like right.
Speaker 4:The horse is just over it. And you keep pulling out even further. And you're like over at the racetrack. But that just to, you know, just to kind of show like how bad of a place Indiana Jones is in.
Speaker 1:And then at some point he needs to get back in touch with art Weber, his, you know, his, his old friend from Shanghai. Who's now living in a, in a back in England and they have to go to England. Art Weber is like living in this cottage and it's just old Dan acro, um, reminiscing about his glory days and obvious since he was like in the British army in the thirties, he's like talking about his time, like, you know, serving in north Africa and
Speaker 4:Blowing up the bridge on the river.
Speaker 1:Yeah. That's exactly. Yeah, exactly. Yeah. Anyway, our idea for in inner Jones, five is really good. Whatever, how however, in inner Jones, five is going to pan out when that movie comes out next year or whatever, it's not gonna be as good as our idea. Our idea is so good.
Speaker 4:Our idea is so good. And our idea literally connects the universe as of bridge in the river, quiet it Raiders, little lost
Speaker 1:And Dan Aros in it
Speaker 4:And
Speaker 1:Dan a come on. Right? So, and also it ties in, it has to tie in the Honda castle. That's all the only thing I really care about.
Speaker 4:Hey, I have another idea connect all these different universes, cuz this would make sense year wise. What if it turned out that art web Webber, art
Speaker 1:Web art
Speaker 4:Webber, some at some point in the movie you find out that he had had a relationship and he had a son and estranged son that, uh, and art Weber had had a divorce. And so his son took his German mother's name and the name was Stan and his son knows born Raymond Weber.
Speaker 8:So art Webber is the father of Raymond stands from Ghostbuster.
Speaker 1:That is such a good idea. So, and this is the thing if I actually, if I like read, if I like saw someone on Twitter, like tweet an article where it's like new indie new, like indie five ties in universe with Ghostbusters, I would be so annoyed. I would be like, this is the stupidest I've ever heard, but when we come up with it, I'm like, this is the most brilliant idea we've ever had.
Speaker 4:It's so good. We, I mean, we just, the trife of Ghostbusters, Indiana Jones bridge
Speaker 1:And Dan
Speaker 4:Aroy and Dan Aros faces in the middle of it. We have done it.
Speaker 1:Can, can we talk about the temple of doom in the, like all the stuff in it? That's so cool.
Speaker 4:Yeah. We should get back to the
Speaker 1:Template. Yeah. We've been recording for like an hour. Um, but also any, all the, all the, I know we have several dozen Hollywood executives and agents and studio heads and uh, chop
Speaker 4:At the bit to finances
Speaker 1:S everyone. So you guys can reach out to us best legs in chicago@gmail.com and just offer however much you want. And uh, we'll start a bidding war. Um, okay. Yeah, yeah, no, the making of this is really excellent. It was ma it was a made for TV feature rat in the eighties to promote the film. And the, the special is broken up into focusing on the background of the storys Spielberg, directing the, the choreography at the beginning, the practical effects on set the bug scene, the, and the, uh, mini miniatures. Let me try that again. Miniatures. What I love about this is that you see all these amazing. We talk about this all the time. We're, we're a broken record at this point, all these amazing crafts, people and technicians doing their job so well, creating an incredible world that is so detailed and vibrant and lived in and immersive the set built for the mine, the miniature there's. We found behind the scenes photos where the, a human is standing in the middle of the set and the set rises to their height standing in the middle of the, uh, mine miniature. It's unbelievable.
Speaker 4:Yeah. It's believable. Well, something that blew, uh, I guess not blew my mind, but it, because I guess I already knew how they did it, but like going specifically to the miniature of the mine car track. Oh, cuz something else I wanted to talk about was the practical full scale mine car track. But first, since you were mentioning that, that giant and miniature Dennis, how do you say his last name? Dennis Muren me. He, he did the special effects, uh, on Dennis miniature work, but he went on to famously do jurasic park. Um, but he is featured in this of doing the stop motion work on the, uh, mine car track and the mine car track. I don't remember the, a scale of it, but essentially the mine car would have these figurines in it of indie, Willy and short round. And they would, they would just do stop motion with it. They'd move it about, you know, an inch and take a picture an inch and take a picture. And I, not that it blew my mind, but it's just funny to see like this incredible effect sequence on, on the big screen. I, and then when you see how they did it, they were just using a standard Nikon 35 millimeter camera. Well,
Speaker 1:I think it was a large format camera or something.
Speaker 4:Well, they had, they had, I know they extended the magazine, so they had, they had like a custom back, uh, extension put on it so
Speaker 1:That, but it would also have to accommodate the aspect ratio.
Speaker 4:Yeah. I'm sure it was modified to some degree, but it wasn't don't think it was a 70 millimeter, large format camera. It was, it was just, it looks, it resembles like Anik on home camera with this big box on the back of it so that you could run a, a bigger magazine of film through it. And just to see that like on a small scale, this little camera with these little figurines of indie, like, I don't know. And, and then you, you see, and then you see the actual effect sequence. It's just incredible.
Speaker 1:The, I was surprised how much of the mine car chase was full scale though. And like how large that set was. And, and they built it in a circle
Speaker 4:That was the, one of the most brilliant things I've ever heard anybody do.
Speaker 1:Can you explain it since you, you? I think
Speaker 4:So. They Spielberg was talking about, because obviously they wanna do some, you know, practical work, right? You wanna have camera angles on the actors, in the mine car, seeing the set go by, you know, panning and tilting with the car. And they had talked about it for the length of the scene. It would be physically impossible and probably just too expensive to build the higher thing. It would stretch through multiple sound stages. You just couldn't do it. And so what he had the idea to do was, was to build a smaller set that went in a circle and then they would just ha they would basically be able to continuously shoot in a circle. And as the mine car would go by, if they were setting up for another composition or, or segment within the actual chase sequence, they would relight it so that you couldn't with shadows. You couldn't quite tell where you are. So if you pay really close attention in the movie, it's very hard because they did such a good job with it. They're actually just repeating the same circular or motion, like over and over and over again. They're just changing the angles, the camera position, the lighting, they
Speaker 1:Use a lot of long lenses too, so that the characters
Speaker 4:Are
Speaker 1:Focused. And the background is they're moving at about five miles an hour. The, the mine carts are motorized, but because the, the long lens, the characters, the, the background is out of focus that we seconds moving very quickly. Right. Does, is that, is that right? Am I getting my lenses correct?
Speaker 4:Yeah. Yeah. You're you're right. It's a, it's a longer lens. So that it's blown out. But also some of the stuff they said they did was there's a shot of Spielberg riding it with, uh, I don't even think he has a lens or of you finder. He's just riding the cart and he's like, how fast are we going? The guy's like eight miles an hour or whatever. He's like, yeah, I think we gotta go profile because he talks about speed. And he's so smart. He's like, if, if you were to put a camera on a car facing forward, going eight miles an hour, it would feel incredibly slow. But if you were to take that same camera and rotate at 90 degrees to show the profile of the driver, passing the scenery, moving at eight mile miles an hour, it would seem like it's going twice as fast, you know, and that's just like the eye and how, how cameras work and perspective. And so he's very brilliant in how he covered that whole sequence to make it seem like they were going insanely fast. But in reality, they were going pretty slow. They, they also under cranked it a little bit too.
Speaker 1:They, they, and they shot the, the tracking shots behind the mine car in front of are shot at 18 frames per second,
Speaker 4:18 frames per second. So if you, and that's, and to explain that what under cranking and over cranking means is back in and people do sh do still shoot film. But what it physically means is that if you were to under crank something like with an old silent movie camera, where you crank the camera, you know, to, to actually roll the film through like an Buster Keaton film, if you were to slow your cranking down to 18 cranks, uh, 18 frames a second, and then you were to take that film, stock process it, and then play it back at a projector at 24 frames a second, it's gonna speed everything up. So by under cranking the action sequences at 18, and then speeding it back up to 24 in post-production, it gives the illusion to the human eye that everything is moving incredibly fast. And there is a level to when you under crank where it gets dangerous and messy. If you were to go to like 12 frames, a second, you can kind of start to tell things are looking a little bit wonky, but yeah, anyways, a lot of that was under cranked to 18. And I think that combination of the like positions and the angles and the relighting, it it's just like master work in how to cover a scene and save a lot of money while doing it. I just
Speaker 1:Think the production design in the whole movie, the miniatures and the full scale sets, and also the there's incredible matte paintings that shot of them walking through the cave. And it's this giant matte painting of like these stalagmites and these stag tights, and it's all red and it looks like the cave goes on forever.
Speaker 4:It's so good that
Speaker 1:It's, it's like some, uh, Ray, Harry Housen type stuff. Like it, it looks like something from voyage of Simba it's so, man, I just, I love it. It's so fun. And I just, I feel like seeing the results of all of these, I keep saying crap, like I keep saying this I'm a broken record, but seeing the results of these crafts people and these technicians, the way they come together to build design and, and paint and sculpt and, and mold everyth thing that CR creates this world is so inspiring that it, it makes it hard not to kind of lament this idea that filmmaking used to be more romantic, like oh, sure. Does that, do you think that's true or do you think I'm being silly?
Speaker 4:I, I think that we're just like old souls because I, I know a lot of people that
Speaker 1:When you're, I just feel like when you are working in a physical space on something that is in front of you and you're using like these kinds of skill sets, you you're around other people and it's like more collaborative and you kind of enter a flow state cuz you're actually working on something in, in front of you. I know that I benefit from things like that, cuz I've done. I mean, you saw that miniature. I made with the doll house. Awesome. And I turned it into like a haunted house for that little short I made and yeah, that was, I don't know. I was happier doing that than I would've been trying to like sculpt it digitally or, or, or whatever. I just, I feel like now instead of, and again, I'm very worried. I'm gonna sound like old man yells at clouds. But in, instead of all these people coming together to build things like this, everything's done in an office on computers or in sets with, with, you know, green screens. And I don't mean this as a slight towards the people who do that work because those people design that design digital elements, like they are working artists and what they're doing is like a skillset. And, but it it's impossible for me to not feel like those people wanted to go into the business to make films with in a way like, like who is like, man, when I grow, maybe it's different now, man, when I grow up, I wanna sit front of a computer and design like a bland gray planet for people shot on a green screen to be super superimposed onto in this production. Right. I, I just like, feel like the people who were doing that work probably went into it for different reasons and like would, would be happier if we were, if they were like on a set building and creating like this like immersive fun, like textured physical environment and the films would, would benefit from it.
Speaker 4:I agree. Uh, and I also have said this before. I think I said a humans ago too. So I, I think it genuinely affects the performances too, of the, of the actors. I mean there, have you seen that photo of um, Ian McLellan on one of the Hobbit films where he's like, um, sitting in a completely green room with all these tennis balls that are supposed to be the hobbits. And I think he's like breaking down, crying or breaking down then frustration. And he's like quoted saying like this, isn't why I got into acting because he is just surrounded by green cuz they're gonna like composite all of them in there versus the original Lord of the rings where Peter Jackson and them were so creative with forced perspective and all that stuff obviously used computer generated imagery, but they used substantially more miniatures and Bigos and forced perspective and, and that, and it's so creative.
Speaker 1:It's like an energy it's just so much more exciting. I don't know. I'm I might, I'm just always gonna be a cranky about it. I'm just gonna be cranky.
Speaker 4:Well to get out of our cranky state, should we talk about some cones?
Speaker 1:You may be wondering Dan Aroy 28 seconds. 24 seconds. How long?
Speaker 4:Uh, I think he's on his scene is about 25 seconds. I think he's on camera about 18 seconds.
Speaker 1:There's no way. There's a single I cone. That's what you're thinking.
Speaker 4:Well, Nathaniel, I'm here to correct you on that.
Speaker 1:No way. Are you serious?
Speaker 4:He got, he got a cone in 18 seconds.
Speaker 1:He got a cone. Yeah. Preston. What is the cone?
Speaker 4:Weird voices. Yeah. That's right. Yeah. He
Speaker 1:Does a British accent. And again, favorite in our YouTube comments. Many people point out that it sounds like he's doing a Michael Palin impression.
Speaker 4:Yeah. Ah, yes. Dr. Jones. How are you?
Speaker 1:And do you know what this goes back to?
Speaker 4:No,
Speaker 1:The bad ballet sketch. I talk about in our first episode.
Speaker 4:Oh, from Saturday night live. Cause
Speaker 1:In that episode I say he's doing a British and I say, it sounds like he's doing a Michael Palin impression. And also in, in both, in, in both the sketch and his line in this movie, he says the word poultry.
Speaker 4:Ah, yes. Poultry. Oh my God. He loves KFC.
Speaker 1:Oh, it's all good. Oh my God.
Speaker 4:Oh my God. Wow.
Speaker 1:Anyway. Good stuff.
Speaker 4:Okay. Well that was temple of doom. Great film
Speaker 1:Everyone should. I mean yes. Temple of doom has problems, which we talked about, but man, this movie is so much fun.
Speaker 4:It's a lot of fun.
Speaker 1:Next week we will be talking about nothing lasts forever, which is I, I'm very excited to watch this with you. This film is so unique, so special and never really got a release. Not enough people know about it. And I'm hoping that maybe people will, will go check it out. So go try to try to see if you can find it a copy online somewhere and watch it before next week.
Speaker 4:Um, before we go, Nathaniel, I just wanna ask you this. Yes. Did you know that in 1983, the company rank and bass, are you familiar with them? Oh yeah, of course. Did an animated feature film called the cone heads? No, it was, it was a TV film that rank invest to stop motion. No, it was, it was animated. It was a cartoon that they did. And it has the voice of Dan Aroy and Jane cur and they all reprise their roles and it's an animated. Now we have to watch it. How did we miss that? Well, but also it's a, it's not a theatrically released film. That's true. I didn't, I skipped over all this TV credits cuz we thought that'd be too much, but maybe we should get to that eventually. Anyway, the pictures of it look ridiculous. Are we gonna do his guest appearance on the nanny? I think we should at least do that as a footnotes or something. Maybe we can do one episode on all the TV stuff. Don't don't include this in the episode. This is us. This is, this is inside baseball. Do you have anything to add? Hold on to your potatoes.
Speaker 10:Let's say you did retire. You moved up north. What would you do with your spare time?
Speaker 11:Oh, there's no problem where I live. I would, uh, get into the snow plow business immediately.
Speaker 10:Are you
Speaker 11:Serious? Are you kidding me man? The load up there. We see if you look on the map on the today show I kind of live right there where the St Lawrence river meets the, the right of the great lakes. The snow load is. I said, when I was a kid growing up, it was not unusual to, you know, have 15, 16 foot high drifts. And so I'm gonna go into the snow plow business and um, give all my money to, uh, causes social causes, but I'm gonna buy the right equipment. I'm gonna use the money I've made in my career to really, you know, get into that business and buy the right kind of equipment.
Speaker 10:Probably the strangest idea I've ever heard someone working for 30 years, 60 in show business, big star takes the money and buys snow PLA industrial size, snow plows, correct? To clear the snow in Canada.
Speaker 11:Yeah, but, but you've got to, you've got to see the Zen of it. Conan the Z, the Zen. Yeah, the Zen.
Speaker 10:And you've done this before. You've you've driven the snow plan.
Speaker 11:Absolutely. Now the Zen is that you're on a highway that no one else can go on. And uh, with the road size plows, I'll be able to clear both lanes at the same time.
Speaker 10:God, what about an oncoming car? What if there's a car coming in there? Wait, you're on both sides. The highway with this thing,
Speaker 11:I've got lights to let'em know I'm coming spotlights and green, a green stro. You see
Speaker 10:Now what happens when? So people think they're being abducted by aliens is what they think. I saw a green stroke, giant. I saw a giant shape. That's
Speaker 11:How I'm gonna get you. And Jamie, I'm gonna pretend that, that, you know, I'm an alien ship coming down to bring them to my colony. But
Speaker 10:You, you say you've, you've plowed the, the snow before and the highways of Canada. Yes. You must get recognized. What do people do when they're driving along? There's a snowstorm and a giant plow goes by and Dan Aros and going, oh, everybody looks like the McKenzie's brothers are up there. Right, right, right. They
Speaker 11:All got Toks on. So I look like they, you know, Doug and Dave, you
Speaker 10:Know? Right, right. So they don't know. They just think, why not? It's well,
Speaker 11:It's, you know, up where I live, everybody wears the same kind of wool, long, long underwear and the, and the plugin suit, you
Speaker 10:Know, sounds like the strap on again. Yes.