Raising Arizona (1987) vs. The Big Lebowski (1998): Part 2

<v Speaker 1>So, Jason, why isn't you use the word trapped? Why
<v Speaker 1>do you say you feel trapped in a man's.
<v Speaker 2>Body in a brown paper bag?
<v Speaker 1>But then, hello everybody, and welcome back to the shir
<v Speaker 1>That You Can't Be Serious podcast. We are about four
<v Speaker 1>part two of Raising Arizona versus The Big Lebowski The
<v Speaker 1>Dude El Duderino. If you're not into the whole brevity thing,
<v Speaker 1>we are here to talk about production of the movies.
<v Speaker 2>We're talking about the tidbits, we're talking about funniest parts,
<v Speaker 2>and then ultimately final judgment between these two classics.
<v Speaker 1>Yeah yeah, I mean they're the eleven years apart. You know,
<v Speaker 1>one is basically their kind of big masterpiece first funny movie,
<v Speaker 1>and the next one is their big masterpiece funny movie
<v Speaker 1>eleven years later, after some very sketchy stuff in between,
<v Speaker 1>and then of course then they start, you know, they're
<v Speaker 1>on the roll. They go off with a Brother, Where
<v Speaker 1>Art Thou right? And No Country for Old Men and
<v Speaker 1>all these other fantastic Oscar winning movies. But we're not
<v Speaker 1>here to talk about those today. We're here to talk
<v Speaker 1>about these two Cohen Brothers movies. But I mentioned last
<v Speaker 1>time that there's kind of this similarity that these movies have.
<v Speaker 1>I mean, you watch a Coen Brothers movie and you go, Okay,
<v Speaker 1>this is a Coen Brothers movie. Like it's distinct. It's
<v Speaker 1>not like other movies. People aren't doing this. I mean,
<v Speaker 1>Elmore Leonard kind of writes that witty type of dialogue,
<v Speaker 1>but it's not the Coen Brothers style at all. It's
<v Speaker 1>a whole, big masterpiece of stuff. And I was talking
<v Speaker 1>to AI yesterday a chat Yes, yes, that is exactly.
<v Speaker 1>I was talking to chat BT, good old chat GPT
<v Speaker 1>and I kept trying to say, okay, just write this
<v Speaker 1>in the style of the Coen Brothers and it was like,
<v Speaker 1>I can't do that. I'm like, well, just to analyze
<v Speaker 1>this script, yes, and they'll tell me about that script.
<v Speaker 1>I'm like, okay, so just write it like that. I
<v Speaker 1>can't do that. It's a I have Like I literally
<v Speaker 1>I was like, can you just analyze all the scripts?
<v Speaker 1>And it's the response was this, yes, but that would
<v Speaker 1>take a lot of time and trouble. I'm not kidding.
<v Speaker 1>That's what the AI said to me. I'm like, you're AI,
<v Speaker 1>like you can read everything in a millisecond and still no, really,
<v Speaker 1>it is they are so good at what they do
<v Speaker 1>they cannot be penned down. But whenever I first started
<v Speaker 1>watching these movies again, I noted to you there is
<v Speaker 1>something unique that they do not and there are other
<v Speaker 1>people that do this. But just to hone in on
<v Speaker 1>one thing, I told you, it seems like every time
<v Speaker 1>in these movies, the characters basically end up right where
<v Speaker 1>they start off. Yeah, that is interesting, like especially in
<v Speaker 1>these two movies, right, I mean, there's really no huge
<v Speaker 1>difference from where High starts off to where he ends up.
<v Speaker 1>There's no huge difference from where the dude starts off
<v Speaker 1>to where he ends up. And it made me think
<v Speaker 1>of the Hudsucker proxy. Right. He holds up this picture
<v Speaker 1>of a circle and he says, you know, for kids,
<v Speaker 1>and it's this thing that comes up like they have
<v Speaker 1>like you've got the circle coin and no country for
<v Speaker 1>old men. You've got the bowling balls in the yeah,
<v Speaker 1>the Big Lebowski. And there's not a circle thing in
<v Speaker 1>raising Arizona. But he's a recidivist, which is I mean,
<v Speaker 1>that's what the circle is, right, he keeps.
<v Speaker 2>A repeat old Fender. Interesting the circle analogy. I like it.
<v Speaker 1>Yeah, And I don't know if this is related or not.
<v Speaker 1>But the company that produced their first two movies, maybe
<v Speaker 1>three movies was Circle Films.
<v Speaker 2>Nice. That's good. That's good.
<v Speaker 3>So.
<v Speaker 1>And then the other thing that's in the Raising Arizona
<v Speaker 1>that I saw that seems to keep like working its
<v Speaker 1>way around is the Doctor's Bock Baby Book, which is
<v Speaker 1>obviously not a circle, but it's got a circle on it,
<v Speaker 1>and it seems to rotate through all the characters along
<v Speaker 1>with Nathan Junior.
<v Speaker 2>And gets beat up a whole bunch along.
<v Speaker 1>The way, not unless rounds funny.
<v Speaker 2>Nice, I like it. I like that's good analogy.
<v Speaker 1>So there's my analogy for you. There's my thing you
<v Speaker 1>see over and over in the Coen Brothers movies. But
<v Speaker 1>beyond that, I'm not ai smart and I cannot en
<v Speaker 1>it down. It's just incredible what they do. But here's
<v Speaker 1>one other thing. We're talking about two comedies here. They're
<v Speaker 1>both very well lit, very bright, vibrant colors. You see
<v Speaker 1>all of the colors. I mean, like I said, it
<v Speaker 1>was like a cartoon like Looney Tunes. For Raising Arizona.
<v Speaker 1>You look at the bowling Alley. I mean there's colors
<v Speaker 1>all over the place, the pinks and the neons and
<v Speaker 1>all of these things. If you look at their more
<v Speaker 1>serious movies, if you look at No Country for Old Men,
<v Speaker 1>or you look at Fargo, color is drawn out of
<v Speaker 1>the movie. The same for Miller's Crossing. You know it
<v Speaker 1>is it's neat how color means funnier With the Coen Brothers,
<v Speaker 1>you know the guy.
<v Speaker 2>That they based some of the ideas from Big Lebowski
<v Speaker 2>on X line. Uh huh, excelly, Yeah, he was a
<v Speaker 2>softball player, okay, not a bowler. Not a bowler, and
<v Speaker 2>so me being a softball player.
<v Speaker 1>Obviously you're not a golfer.
<v Speaker 2>I would have liked to have seen the softball aspect
<v Speaker 2>of it. I know the bullying is kind of where
<v Speaker 2>the movie is set and stuff, But back when we
<v Speaker 2>played you know, beer league softball, we took it very seriously.
<v Speaker 2>So I can see when he yells at the guy
<v Speaker 2>for a stepping over the line and spoking, you're about
<v Speaker 2>to enter a world of pain. We took our softball
<v Speaker 2>very seriously back in the day.
<v Speaker 1>So yeah, well, you got to have some respect for
<v Speaker 1>the web.
<v Speaker 2>The only one around he who cares about the rules.
<v Speaker 1>So other similarities in criminals, you got inept criminals. Anytime
<v Speaker 1>there's comedy with the Coen Brothers, you're gonna have some
<v Speaker 1>inept criminals. You got high who just he can't he
<v Speaker 1>piqued the wrong profession, right. Yes, you've got the nihilists
<v Speaker 1>in the Big Lebowski. Yes you've got the three escaped
<v Speaker 1>convicts in Old Brother. Where art thou? It's another sort
<v Speaker 1>of standard thing that they do.
<v Speaker 2>But you know, our buddy Duff Dave reached out and
<v Speaker 2>said that Old Brother We're Out though, is his favorite
<v Speaker 2>of the Coen brother movies, and I haven't seen that forever.
<v Speaker 1>So good and the album and the music is so good.
<v Speaker 2>I mean I remember the music being real prominent.
<v Speaker 1>Oh yeah, I mean I think it may have won
<v Speaker 1>a Graham and he may be an Album of a
<v Speaker 1>Year or something. I mean it was, it was really
<v Speaker 1>really big. But on that note, we've got the same
<v Speaker 1>composer in both of these movies. His name is Carter Burd. Well,
<v Speaker 1>now you just finished editing our first episode on this,
<v Speaker 1>and so you got to get familiar with some of
<v Speaker 1>his music. What do you think? What do you think
<v Speaker 1>of these styles between Big Lebowski and Raising Arizona.
<v Speaker 2>Well, Raising Arizona is the one that stands out of
<v Speaker 2>my mind the most, just because it's such hillbilly music.
<v Speaker 2>You know, it's yodeling and banjo's and just hillbilly stuff.
<v Speaker 2>But it's very distinct. Right when you hear it, you're like, man,
<v Speaker 2>that's raising Arizona. No, big Lebowski tends to use some
<v Speaker 2>more folk rock and some sort of old style rock
<v Speaker 2>and roll. I will tell you this though, Dee, I
<v Speaker 2>am a huge Eagles fan. I love the freaking Eagles.
<v Speaker 1>Man.
<v Speaker 2>So that scene in the back of the car when
<v Speaker 2>he's like, man, I've had a bad day and I
<v Speaker 2>freaking the Eagles, Yeah, get out of mark care That
<v Speaker 2>hurt me.
<v Speaker 1>So you've been talking about the needle drop music that
<v Speaker 1>they use. You've been talking about the songs that they choose,
<v Speaker 1>And for that one, they brought in a guy called
<v Speaker 1>t Bone Burnett, and he's the one that would go
<v Speaker 1>through and pick all those perfect songs. Pick out the
<v Speaker 1>Bob Dylan song for the intro, pick out the Gypsy
<v Speaker 1>Kings for Jesus introduction, pick out Kenny Rogers and first
<v Speaker 1>Edition for the dream sequence. By the way, did we
<v Speaker 1>talk about the fact that you kind of you hit
<v Speaker 1>me up about this about the dream sequence, and I said, well,
<v Speaker 1>this is a throwback to that Chandler thing. You know,
<v Speaker 1>if you look at the old black and white private
<v Speaker 1>detective movies that they had back in the forties and
<v Speaker 1>the fifties, a lot of times those guys would be
<v Speaker 1>either addicted to drugs or alcoholics, are getting knocked out
<v Speaker 1>like The Big Lebowski did, and they would go into
<v Speaker 1>these kind of weird dreams sequences. And that's what the
<v Speaker 1>Coen Brothers decided to do with this one. You got
<v Speaker 1>two different dreams sequences with this. My favorite part is
<v Speaker 1>that this is supposed to be this Jackie Treehorn porno movie, right,
<v Speaker 1>but they stage it like a Busby Berkley musical. It's hysterical.
<v Speaker 1>I mean, I just how do you How does the
<v Speaker 1>mind put these random, crazy things together and make it
<v Speaker 1>so entertaining.
<v Speaker 2>When he's lying on his back and like drifting down
<v Speaker 2>the bowling lane and he's looking up the women's skirts
<v Speaker 2>and he's like smirking and smiling laughing, that cracked me up.
<v Speaker 1>Yeah.
<v Speaker 2>And actually, if you go back to the beginning of
<v Speaker 2>the dream sequence, the bowling ball and the bowling pins
<v Speaker 2>make some very phalic looking.
<v Speaker 1>Yeah, movements exactly, and.
<v Speaker 2>That cracked me up. Yeah, I didn't notice that the
<v Speaker 2>first time. Oh yeah.
<v Speaker 1>And so that's kind of another thing that you'll see
<v Speaker 1>a lot of times in their movies, and definitely in
<v Speaker 1>these two movies is dream sequences, right, because Hi has
<v Speaker 1>the dream where he I mean, it seems like he
<v Speaker 1>creates that's like a vision. Yeah, he creates the Horsemen
<v Speaker 1>of the Apocalypse or whatever he is in his dream,
<v Speaker 1>and it's it's like his dual character, right, this is
<v Speaker 1>the guy that is his evil side, that wants to
<v Speaker 1>go do those bad things and be that bad guy.
<v Speaker 1>The thing he struggles with, which is why he ends
<v Speaker 1>up going and knocking over a convenience store while he's
<v Speaker 1>got and Nathan Junior in the car. I mean, one
<v Speaker 1>of the best chase sequences of all movies of all time. Dogs, guys,
<v Speaker 1>it's so freaking funny. Pimple faced kids with guns which
<v Speaker 1>in curlers running down the street or down the aisles
<v Speaker 1>with their grocery carts.
<v Speaker 2>I mean, dude, let's talk about that scene for a second,
<v Speaker 2>because that's one of my all time funniest scenes from
<v Speaker 2>Raising Arizona. So number one, he pulls over and spontaneously
<v Speaker 2>decides he's gonna knock over this gas station, which, by
<v Speaker 2>the way, I told you the other day. I vacationed
<v Speaker 2>in Phoenix, Arizona Christmas, but we hadn't really gotten into
<v Speaker 2>this very much. And I was very very close to
<v Speaker 2>where all this was filmed, and I'm kicking myself that
<v Speaker 2>I didn't look down the road a little bit more.
<v Speaker 2>But when he spontaneously decides to knock over that gas station,
<v Speaker 2>uh huh, he puts pantyhose on his head, goes inside
<v Speaker 2>while Holly Hunter is reading to Nathan Junior in the car,
<v Speaker 2>and she looks up and notices the panty hose, and
<v Speaker 2>of course the kid behind the counter has already pushed
<v Speaker 2>the alert button for the cops. And he says that
<v Speaker 2>great line. I'll be taking these Huggies and whatever cash
<v Speaker 2>you got, And then he gets in the car with
<v Speaker 2>that guy and the guy's like, son, you got a
<v Speaker 2>penny on your head.
<v Speaker 1>And that guy's screaming over and over again. Oh wow.
<v Speaker 1>So Michael Lerner is a professor down in Berkeley in
<v Speaker 1>the late sixties early seventies. He moves up to Washington
<v Speaker 1>starts doing an assistant professorship up in Washington. He starts
<v Speaker 1>this that is called the Seattle Liberation Front, right, okay,
<v Speaker 1>And it is this radical anti Vietnam group that decides
<v Speaker 1>to stage these protests, and it's pretty They do one
<v Speaker 1>in February of nineteen seventy that gets pretty violent. They
<v Speaker 1>start like throwing bombs and rocks the courthouse. It gets
<v Speaker 1>really bad. And then they're about like two thousand people
<v Speaker 1>there like staging this big protest. And so when that
<v Speaker 1>gets bad, that gets really bad really fast. Right, And
<v Speaker 1>so about two months later, a grand jury decides to
<v Speaker 1>indict some of the members of the Seattle Liberation Front.
<v Speaker 1>So they are all ultimately tried for inciting a riot.
<v Speaker 1>And it's Michael Lerner and six other folks Seattle seven.
<v Speaker 1>You got it nice. So the Seattle seven is real.
<v Speaker 1>The port Heuron statement is real. Both of these things
<v Speaker 1>came from these anti wars that they've referenced in this movie.
<v Speaker 1>You know who's not real, Arthur Digby Sellers. There is
<v Speaker 1>no author of the series branded named Arthur Digby Sellers. Okay,
<v Speaker 1>he didn't write one hundred and fifty six episodes the
<v Speaker 1>bulk of the series because there were only forty eight
<v Speaker 1>episodes in the entire series, and so all of that
<v Speaker 1>is fake. The guy who did write it and created
<v Speaker 1>the show, his last name is Cohen, really not related.
<v Speaker 1>He's got an H. They don't have an H. Oh wow. Okay,
<v Speaker 1>But on that note, there is a Joel Cohen with
<v Speaker 1>an H. You know what he wrote No Garfield the movie.
<v Speaker 1>You know who voiced Garfield in.
<v Speaker 2>That Bill Murray?
<v Speaker 1>Do you know why he voiced Garfield? And that being
<v Speaker 1>as terrible a movie as it was, Tell me it
<v Speaker 1>was because he heard it was written by Joel Cohen
<v Speaker 1>and he thought it was the Joel Cohen of the
<v Speaker 1>Cohen Brothers, not this other random H Cohen guy. And
<v Speaker 1>so without having read the script, he went ahead and said, yes.
<v Speaker 2>That's what happens when you don't have an agent and
<v Speaker 2>all you've got is a phone number.
<v Speaker 1>So Seattle seven is real, Arthur Digby Sellers is not real, okay,
<v Speaker 1>and the Speed of Sound Tour is also not real. However,
<v Speaker 1>Metallica are a bunch of holes.
<v Speaker 2>I did hear that? Kirk Hammett really thought that part
<v Speaker 2>was funny, yeah, and they were like looking for a
<v Speaker 2>way to incorporate it into a Metallica show.
<v Speaker 1>Yeah. So we've mentioned how many times the word man
<v Speaker 1>is used and how many times the word dude is used. Yes,
<v Speaker 1>and the fact that this is far outweighed by the
<v Speaker 1>uses of the F bomb.
<v Speaker 2>Right, nearly two to one. Yes.
<v Speaker 1>So you know they showed this on TV.
<v Speaker 2>Right, let me have it.
<v Speaker 1>How is that possible? How is it possible that you
<v Speaker 1>can change the word to this is what happens when
<v Speaker 1>you fuck a stranger in the How do you change
<v Speaker 1>that for TV? Can you tell me?
<v Speaker 2>I think you probably would just cut the whole thing?
<v Speaker 1>Right? Is that what they? No? What they do?
<v Speaker 2>They said, this is what happens when you find a
<v Speaker 2>stranger in the Alps.
<v Speaker 1>This is what happens, Larry, this is what happens when
<v Speaker 1>you find a stranger in the Alps. This is what happens.
<v Speaker 2>Oh, I gotta give him the A for effort on
<v Speaker 2>that man.
<v Speaker 1>Where else are you gonna find this information?
<v Speaker 2>Guys? Exactly? Hey? By the way, on that note, John Goodman,
<v Speaker 2>the man who said that line, Yes, said this was
<v Speaker 2>the most fun he ever had making a movie. And
<v Speaker 2>that's the Big Lebowski.
<v Speaker 1>This is his favorite movie that he's ever been a
<v Speaker 1>part of. Yes, And he's a common thread through both
<v Speaker 1>of them. You've got him in both Raising Arizona and
<v Speaker 1>The Big Lebowski.
<v Speaker 2>So in just in talking about John Goodman, I was
<v Speaker 2>on YouTube the other day and I was just watching
<v Speaker 2>videos and I found the video of John Goodman at
<v Speaker 2>his Hollywood Walk of Fame ceremony and who is there,
<v Speaker 2>none other than Jeff Bridges. Okay, so for me, Jeff Bridges,
<v Speaker 2>he's Flynn and Tron, which we're getting ready to cover
<v Speaker 2>Tron here shortly.
<v Speaker 1>Yeah, that'll be great.
<v Speaker 2>He's in Against All Odds, and he's Obadiah Stain in
<v Speaker 2>Iron Man.
<v Speaker 1>Oh yeah, yeah, yeah.
<v Speaker 2>So he does this wide range of characters, is a
<v Speaker 2>great actor. And he comes up there and he's got
<v Speaker 2>a package and he's got a suit and tie on,
<v Speaker 2>and he takes his suit like his jacket off, he
<v Speaker 2>hands it to John Goodman. He reaches in the package
<v Speaker 2>and he pulls out the dude's sweater. Oh nice, and
<v Speaker 2>he starts speaking and acting again like the dude.
<v Speaker 1>Fantastic great. I love it's great. So this is the
<v Speaker 1>first movie that Jeff Bridges had done with them, right,
<v Speaker 1>but it's like fifth or something that John Goodman had
<v Speaker 1>done with it, right, So When Jeff Bridges shows up
<v Speaker 1>to start the production, he asks John Goodman, when are
<v Speaker 1>we going to get the rewrites? Like how often do
<v Speaker 1>those come out? And John Goodman just looks at him
<v Speaker 1>and says, Coen Brothers write this and that's the end.
<v Speaker 2>There are no rewrites, no rewrite themselves.
<v Speaker 1>Nope, it's good. It is. It's really awesome. Okay. So
<v Speaker 1>at the very end of the movie, Yes, you've got
<v Speaker 1>the dude saying the dude abides Yes, and the stranger
<v Speaker 1>Sam Elliott, talking about how that can give us all comfort.
<v Speaker 3>I don't know about you. When I take comfort in
<v Speaker 3>that it's a good moon. He's out there, the dude
<v Speaker 3>taking her easy for all this sinners.
<v Speaker 1>This comes from a Bible verse. It's Ecclesiastes one four. Yes,
<v Speaker 1>says one generation passes away and another generation comes, but
<v Speaker 1>the Earth abides forever. Preach much like the Earth. The
<v Speaker 1>dude is eternal.
<v Speaker 2>You know, we talked last week about how they brought
<v Speaker 2>Sam Elliott in to be the narrator.
<v Speaker 1>Yeah, and they.
<v Speaker 2>Wanted him to be the very most Sam Elliott cowboy.
<v Speaker 2>He can be right and he's like, guys, I don't
<v Speaker 2>really get this, Like what am I doing. You know
<v Speaker 2>what am I? They like, look, just be Sam Elliott
<v Speaker 2>and read these lines, like, all right, I have a
<v Speaker 2>couple of tidbits for you on the Big Lebowski before
<v Speaker 2>we move back to raising Arizona.
<v Speaker 1>Okay, sounds good.
<v Speaker 3>Yeah.
<v Speaker 2>So, according to an early draft of the script, the
<v Speaker 2>way that the dude has money and doesn't have to
<v Speaker 2>have a job is he's an heir to the Rubik's
<v Speaker 2>Cube fortune, the Ruby's Cube fortune.
<v Speaker 1>Sure, are you employed, sir? Employed? You don't go out
<v Speaker 1>looking for a job dressed like that?
<v Speaker 3>Do you?
<v Speaker 1>On a weekday?
<v Speaker 2>Is this? So?
<v Speaker 1>What day is this? Okay? So I always keep an
<v Speaker 1>eye out for license plates, yes in movies. Okay, So
<v Speaker 1>toward the end of the movie, when we finally see
<v Speaker 1>that it is true, Bunny actually kidnapped herself. Yes, they're
<v Speaker 1>going to kill that poor woman. No, so she kidnapped herself.
<v Speaker 1>She has all of her toes. She's driving in her
<v Speaker 1>car listening to Viva Las Vegas by Elvis, right right,
<v Speaker 1>and as it takes off, you see her license plate
<v Speaker 1>and the license plate says lapi in lapin, which is
<v Speaker 1>French four Bunny.
<v Speaker 2>Really, that's good, that's good.
<v Speaker 1>I like it Bunny Knutson, Who are the Canutsins? Okay?
<v Speaker 2>We talked a little bit about how the dude hates
<v Speaker 2>the Eagles Man. Yeah, I had a really long day
<v Speaker 2>and I freaking hate the Eagles man. Come on, I
<v Speaker 2>had a rough night and I hate the Eagles Man.
<v Speaker 2>So Alan Kleine wanted one hundred and fifty thousand dollars
<v Speaker 2>for the use of the rolling Stone song Dead Flowers,
<v Speaker 2>but he cut that bee once he saw that scene
<v Speaker 2>where he hates the eagles. He waved that feet.
<v Speaker 1>That's fantastic.
<v Speaker 2>How cool is that?
<v Speaker 1>Yeah, that's hilarious.
<v Speaker 2>Okay, do you I've got some tidbits for you. Let's
<v Speaker 2>jump back to Raise in Arizona.
<v Speaker 1>But the doctor explained that our inside were a rocky
<v Speaker 1>place where my sea could find no purchase. Okay, yeah,
<v Speaker 1>hit me.
<v Speaker 2>So we talked about the number of people that really
<v Speaker 2>love this film. Spike Lee is one of those guys, right,
<v Speaker 2>Simon peg is one of those guys, okay, sure, which
<v Speaker 2>we just talked about, and Peg on our Ready Player
<v Speaker 2>one episode og Tomorrow himself. Yes, absolutely, I thought it
<v Speaker 2>was funny. He calls it a living breathing Looney Tunes cartoon.
<v Speaker 1>Yeah, well that's what it is. By the way, the
<v Speaker 1>Ready Player one episode the movie just came out. It did,
<v Speaker 1>be sure and check that out at the White Rocket
<v Speaker 1>Entertainment podcast. We are with our friend Def Dave and
<v Speaker 1>Van Allen Plexigo, the host of that podcast.
<v Speaker 2>That was fun and we love the book Ready Player one,
<v Speaker 2>and we have opinions about the movie Ready Player one,
<v Speaker 2>So go check us out over there. Yeah, okay, I
<v Speaker 2>thought this was funny. One day, Nick Cage and Sam McMurray.
<v Speaker 2>Sam m murray is the guy who plays Glynn.
<v Speaker 1>Right.
<v Speaker 2>They went out to lunch in costume uh huh, and
<v Speaker 2>there's a girl there who sort of recognized Nick Cage.
<v Speaker 2>But he looks so weird and funny and his hair
<v Speaker 2>is messed up and he's got a mustache and he
<v Speaker 2>looks like trailer trash.
<v Speaker 1>Side note, the crazier his character got, the higher his hair,
<v Speaker 1>that's right, Yeah, keep going.
<v Speaker 2>So she came up to him and was like, you know, hi,
<v Speaker 2>are you Nick Cage because you look like him and
<v Speaker 2>I want to get an autograph. He's like, yeah, I'm
<v Speaker 2>Nick Cage.
<v Speaker 1>Whatever.
<v Speaker 2>So he took and he signed Tomorrow you will die
<v Speaker 2>Nick Cage. What in the world. He's a different cat man.
<v Speaker 1>He is a weird dude.
<v Speaker 2>He is a weird dude.
<v Speaker 1>Have you seen The Unbearable Weight of Massive Talent? No, well,
<v Speaker 1>it's it's interesting. It's Nick Cage plays Nick Cage in
<v Speaker 1>this right.
<v Speaker 2>Ask me if I've heard of that movie.
<v Speaker 1>Have you heard? Okay, it just came out last year.
<v Speaker 1>It's got Nick Cage and Pedro Pascal I mean cutting out.
<v Speaker 2>Oh yeah, I remember that.
<v Speaker 1>Yeah, lots of memes going on with it right now
<v Speaker 1>where they've dropped acid or whatever. But he Nick Cage
<v Speaker 1>is like kind of in this washed up stage and
<v Speaker 1>he keeps talking to his younger self, and his younger
<v Speaker 1>self has the same hair that h I McDonough has
<v Speaker 1>in Raising Arizona.
<v Speaker 2>Really, yes, that's fantastic.
<v Speaker 1>It's really uncomfortable when they kiss. Hey, I saw spoiler alert.
<v Speaker 2>Bando and Hi sharing a kiss.
<v Speaker 1>No, no, not man, not Mando, Nick Cage and Nick Cage.
<v Speaker 2>Oh my gosh, okay. I saw a video where Nick
<v Speaker 2>Cage was in Las Vegas. This is toll side note. Yeah,
<v Speaker 2>Nick Cage was hanging out with Vince Neil, and Vince
<v Speaker 2>Neil was drunk and belligerent.
<v Speaker 1>I saw that and Nick.
<v Speaker 2>Cage, like, dude, you got a chill out man with.
<v Speaker 1>Nick Cage is telling you to calm down. You know
<v Speaker 1>you've gone too far. That is a wake up call,
<v Speaker 1>right there, buddy, that's right.
<v Speaker 2>Vince Neil of Motley Crue. If you haven't listened to
<v Speaker 2>our Girls Girls Goos episode from last summer, go check
<v Speaker 2>that out. Okay, I've got something for you. Yeah, I
<v Speaker 2>got a trivia question.
<v Speaker 1>Actually, okay, yeah, I'm ready for it.
<v Speaker 2>Nicholas Cage, Holly Hunter. Yeah, both have superhero connections.
<v Speaker 1>Okay, can you name.
<v Speaker 2>The superhero connections?
<v Speaker 1>Yes? I can, can you? Yeah? Holly Hunter is the
<v Speaker 1>voice for this is incredible. On The Incredibles, Elasta Girl,
<v Speaker 1>Elasta Girl.
<v Speaker 2>Settle down?
<v Speaker 1>Are you kidding?
<v Speaker 3>I'm at the top of my game.
<v Speaker 1>I went up there with the big dogs.
<v Speaker 3>Girls.
<v Speaker 1>Come on, leave the staging the world to the men.
<v Speaker 1>I don't think it so. And Nick Cage is the
<v Speaker 1>father of one of the young kid superheroes in the
<v Speaker 1>movie kick Ass. Really yeah. Also Nick Cage is ghost writer.
<v Speaker 1>Also Nick Cage really wanted to be Superman, and.
<v Speaker 2>That's what I was hoping you.
<v Speaker 1>There's a lot of Nick Age comic book connections. But
<v Speaker 1>the only one that doesn't suck is kick Ass. By
<v Speaker 1>the way, as long as we're referencing other movies, yea,
<v Speaker 1>you know the scene where Jackie tree Horn takes a
<v Speaker 1>phone call and then steps out of the room, and
<v Speaker 1>so the dude, being very you know, espionage, sneaks over
<v Speaker 1>and rubs the pencil on the pad of paper to
<v Speaker 1>see what he's writing. And it's the dude with a
<v Speaker 1>gigantic cart on. Yes, okay, so I was I was
<v Speaker 1>watching Alfred Hitchcock's movie north By Northwest and that they
<v Speaker 1>stole it straight from Yeah, out of here it is.
<v Speaker 1>It is a fact.
<v Speaker 2>That is fascinating. Way to go. That's a good that's
<v Speaker 2>a good one.
<v Speaker 1>Except in north By Northwest it was not a giant penis.
<v Speaker 2>It wasn't what was it? Okay, they made that part
<v Speaker 2>up other movies I want to talk to you about
<v Speaker 2>real quick.
<v Speaker 1>Okay.
<v Speaker 2>So Nick Cage and William Forsyth were in a movie
<v Speaker 2>in the nineties.
<v Speaker 1>Uh huh, which was The Rock The Rock Okay, yeah, right, gotcha?
<v Speaker 2>Okay, Now, then The Rock is a great action movie.
<v Speaker 2>That's a Shirley movie. I would love to cover that
<v Speaker 2>at some point. Sure, Sean Connery helps the good guys
<v Speaker 2>break back in Alcatraz. Our buddy Pat Cannagallo of the
<v Speaker 2>thirty something Movie Podcast sent me this video the other day.
<v Speaker 1>By the way, guys, if you're not listening to the
<v Speaker 1>thirty something Movie Podcast, you should be. Those guys are
<v Speaker 1>freaking awesome.
<v Speaker 2>They are they are they are good friends. He sent
<v Speaker 2>me this video that explains why The Rock is actually
<v Speaker 2>a James Bond movie, not like James Bond, an actual
<v Speaker 2>James Bond movie.
<v Speaker 1>Oh so we're saying that the Sean Connery character is
<v Speaker 1>in fact James Bond in an American prison.
<v Speaker 2>Yes, huh, it's interesting.
<v Speaker 1>I'm gonna have to check that out.
<v Speaker 2>Yeah, it's really good.
<v Speaker 1>All right, Okay, have you ever seen the movie The
<v Speaker 1>Professional Yes, okay, Natalie Portman as a young kid and
<v Speaker 1>a hit man. Yes, with her.
<v Speaker 2>It's a really good movie. Yes, it came out what
<v Speaker 2>seven years after Raising Arizona.
<v Speaker 1>Yeah, ninety four, a bit more dramatic.
<v Speaker 2>But the very end of that movie, oh yeah, Leon
<v Speaker 2>kills the Gary Oldman character in basically the same way
<v Speaker 2>that High kills the Apocalypse guy at the end of
<v Speaker 2>Raising Arizona.
<v Speaker 1>Yeah. So, if you don't know what we're talking about.
<v Speaker 1>At the end of Raising Arizona. Close to the end
<v Speaker 1>of Raising Arizona, in that battle scene between High and
<v Speaker 1>Lenny Small's there's this moment where, I mean, Nick Cage
<v Speaker 1>is just getting his ass handed to him, yes, and
<v Speaker 1>his face is all lopsided from getting beat up, and
<v Speaker 1>he's trying to crawl into the car to get away
<v Speaker 1>any low motion gets and he's getting this bare and
<v Speaker 1>then there's this like moment where everything just stops and
<v Speaker 1>they realize they both have the woody woodpecker tattoo. Yes,
<v Speaker 1>because it's that's what he is, right, It's the duality
<v Speaker 1>of man. It's the same guy, right, all of that.
<v Speaker 1>It's his evil self, it's his evil size, it is
<v Speaker 1>his his criminal past that he was trying to put
<v Speaker 1>to rest, right, Yes, and then he gets thrown. Lenny
<v Speaker 1>Small throws him, and it looks like he's about to
<v Speaker 1>get it handed to him for the final time, and
<v Speaker 1>then all of a sudden raises up his hand and
<v Speaker 1>he shows Lenny Small's the gnade, the grenade pen and
<v Speaker 1>Lenny Smalls is decorated with grenades all over him, and
<v Speaker 1>he's got this you have this one moment, the only
<v Speaker 1>moment where Lenny Small shows fear and he panics, drops
<v Speaker 1>his guns awkwardly tries to get it but it's too late.
<v Speaker 1>And it is one of the best explosions I've ever seen.
<v Speaker 1>I mean, you got the boot with the leg still
<v Speaker 1>in it, falling to the ground on fire. It's freaking awesome.
<v Speaker 1>And the same thing happens in The Professional, right, that's right? Oh,
<v Speaker 1>spoiler alert. Sorry guys, if you haven't you didn't know
<v Speaker 1>that movie was coming up.
<v Speaker 2>It's a fantastic movie as well.
<v Speaker 1>Guys, the movie's twenty nine years old. I'm sorry I
<v Speaker 1>spoil it, right, right, but yeah, so same thing except
<v Speaker 1>that he hands the grenade pin to Gary Oldman's character,
<v Speaker 1>who's the bad guy, after Gary Oldman has just shot
<v Speaker 1>him in the back of that head basically and says
<v Speaker 1>it's from Matilda. And I think the explosion was even
<v Speaker 1>bigger in the Professional and it blew.
<v Speaker 2>Out of that building. It was awesome. Hey, you know
<v Speaker 2>you mentioned something I was going to talk about. I
<v Speaker 2>told you when we first watched Raisin Arizona's a couple
<v Speaker 2>of guys after football practice one night and we swung
<v Speaker 2>by the video store and we grabbed a pizza or whatever.
<v Speaker 2>And one of the movies we watched was Rais in Arizona.
<v Speaker 2>One of the funniest scenes to us, or not even
<v Speaker 2>a scene, just a small little part, was when the
<v Speaker 2>Apocalypse guy Lenny Smalls is driving by and there's like
<v Speaker 2>a gecko sunning on a rock, and he takes out
<v Speaker 2>his shotgun and just blasted off that rock for no reason.
<v Speaker 2>We laughed our butts off and we kept rewinding and
<v Speaker 2>watching that scene. It's just really funny.
<v Speaker 1>How do they do that?
<v Speaker 2>Like, no animals during the production. Okay, d have you
<v Speaker 2>ever heard of Herb drink.
<v Speaker 1>Water, this character in James Bond movie.
<v Speaker 2>No, No, it's not.
<v Speaker 1>Actually, wasn't that like mister Bean's character in uh.
<v Speaker 2>Because Nigel small Johnson or something like.
<v Speaker 1>That, Small Tapper, small Fawcet. That's it.
<v Speaker 2>That's it.
<v Speaker 1>It's not that guy.
<v Speaker 2>Never say never again.
<v Speaker 1>Yeah, that's pretty good.
<v Speaker 2>Recall right there.
<v Speaker 1>Thanks for both of us. Yeah, okay, so.
<v Speaker 2>Herb drink Water was the mayor of Scottsdale at the
<v Speaker 2>time they filmed Raised in Arizona.
<v Speaker 1>Oh okay, okay, yeah, yeah, yeah.
<v Speaker 2>So good old Herb. You know, here's what he says
<v Speaker 2>about the movie Raising Arizona that film has no redeeming
<v Speaker 2>social value, and it certainly isn't the image that Arizona
<v Speaker 2>wants to project.
<v Speaker 1>What I mean, They're gonna only let the kid watch
<v Speaker 1>educational television and sports involving, obviously the University of Arizona.
<v Speaker 2>Come on, lighting up, Francis.
<v Speaker 1>Geez, that's fantastic.
<v Speaker 2>Okay. One more person I want to bring up before
<v Speaker 2>we leave Raised in Arizona is Trey Wilson.
<v Speaker 1>What did the pajamas? I don't know.
<v Speaker 2>They were jammies and yodasn't on them.
<v Speaker 1>Okay, oh yeah, yeah, yeah.
<v Speaker 2>Trey Wilson plays Nathan Arizona.
<v Speaker 1>Sir. It says hither that your real name is Nathan huffheins, Yeah,
<v Speaker 1>what of it? Is there a reason you changed it? Yeah?
<v Speaker 1>Would you buy furniture from a place called unpainted hoffhins?
<v Speaker 2>This is the same guy who played the manager in
<v Speaker 2>bull Durham, right.
<v Speaker 1>Lollygaggers, Lollygaggers.
<v Speaker 2>He died like just shortly after Bullderam came out.
<v Speaker 1>Yeah, so they were actually writing a part for him
<v Speaker 1>for Miller's Crossing. Okay. The leader of the bad guys,
<v Speaker 1>the bad guy gang in Miller's Crossing with the supposed
<v Speaker 1>to be Trey Wilson that was playing that part. It
<v Speaker 1>was a surprise death. He was a young guy, like
<v Speaker 1>early fifties, I think, very young, very young guy. So
<v Speaker 1>suddenly they're without the guy that they had written the
<v Speaker 1>part for, and so they said, hey, let's see if
<v Speaker 1>Albert Finnie will do it. I don't know why. Albert
<v Speaker 1>Finnie does not remind me of Trey Wilson in any way,
<v Speaker 1>shape or form, but he's got one of the most
<v Speaker 1>memorable parts in the movie. I mean he's there's this
<v Speaker 1>attack scene. It's super awesome. He dresses in drag, which
<v Speaker 1>you know, they said, you know he's British, so they're
<v Speaker 1>halfway there anyway, right, anyway, sorry for our British listeners.
<v Speaker 1>That's just a joke. I was quoting the Coen Brothers
<v Speaker 1>on that one. But anyway, Yeah, like Albert Finnie last
<v Speaker 1>minute is available and walks in in his off book.
<v Speaker 1>I mean, he is a pro and nails the part. Wow,
<v Speaker 1>he's one of the best parts of the movie.
<v Speaker 2>Okay, you know I haven't seen that, so I'd like
<v Speaker 2>to watch that.
<v Speaker 1>Yeah, so good homage to Trey Wilson. I guess okay,
<v Speaker 1>one final thing we mentioned. Obviously, they've got all these
<v Speaker 1>actors that are in there, so many of their movie movies,
<v Speaker 1>they've got the crew that they go to, and in
<v Speaker 1>their beginning movies, they almost always had the same editor.
<v Speaker 1>And that guy's name was Roderick James. But the only
<v Speaker 1>movies that he's ever edited are Coen Brothers movies. Okay,
<v Speaker 1>you know why no, because it's actually the Coen Brothers.
<v Speaker 1>It is a fake name. What that they gave. I
<v Speaker 1>guess what they saw. You know, you've got them both writing,
<v Speaker 1>you've got them both producing, you've got them both directing,
<v Speaker 1>and you just see Cohen after Cohen after Cohen, and
<v Speaker 1>so finally they're like, you know what, I don't want
<v Speaker 1>to see our name again. Let's make up a name
<v Speaker 1>and we'll make that guy that's pretty good roder Janes.
<v Speaker 1>There you go.
<v Speaker 2>One more thing on that, just touching on that as well. Yeah,
<v Speaker 2>the the news camera guys who are interviewing Nathan huffheines, yes,
<v Speaker 2>right on their microphone, it says KOI in, like radio
<v Speaker 2>station KOI in or TV station koi in.
<v Speaker 1>Uh huh.
<v Speaker 2>You know why? It says KOI in no Cohen.
<v Speaker 1>Oh, but that that's great.
<v Speaker 2>The little nod right there, that is good.
<v Speaker 1>I like it.
<v Speaker 2>Okay, before we do final judgment, I've got some interesting
<v Speaker 2>things I think that happened at the box office in
<v Speaker 2>nineteen eighty seven, Yes, and in nineteen ninety eight. I
<v Speaker 2>just want to drop these on you real quick. Yeah,
<v Speaker 2>all right, so before we do that.
<v Speaker 1>Yeah, this is this stick up.
<v Speaker 2>Everybody freeze, everybody on the ground.
<v Speaker 1>Well, which is it, young fella? You want I should
<v Speaker 1>freeze or get down on the ground. I mean to say,
<v Speaker 1>if and I freeze, I can't rightly drop. And if
<v Speaker 1>and I drop, I'm want to be in motion.
<v Speaker 2>You see that? Far cracks me up. We're the big television,
<v Speaker 2>We're the tilling We're down here, sir.
<v Speaker 1>Oh my gosh.
<v Speaker 2>Okay, So just some interesting things going on in nineteen
<v Speaker 2>eighty seven.
<v Speaker 1>Okay.
<v Speaker 2>So the top movies of nineteen eighty seven are littered
<v Speaker 2>with Shirley movies. Okay, Yeah, movies that either we've covered
<v Speaker 2>or we want to cover. Okay, So just at the top,
<v Speaker 2>Heaverly Hills, Cop two, Platoon, Fatal Attraction, Untouchables, three Minute
<v Speaker 2>of Baby, Secret of My Success, Stakeout, Leave the Weapon. Okay.
<v Speaker 1>Wow.
<v Speaker 2>Number ten for the year is Predator. Number fourteen is RoboCop.
<v Speaker 2>Number sixteen is Dirty Dancing, Okay. Number forty eight is
<v Speaker 2>Ernest goes to Camp. That finished ahead of Raising Arizona
<v Speaker 2>for final box office shut up. Number forty nine is
<v Speaker 2>Raising Arizona. Number fifty one Jaws the Revenge? What and
<v Speaker 2>bringing up the Rear Number seventy three Superman for the
<v Speaker 2>Quest for Peace.
<v Speaker 1>You're telling me that this ranked only two places higher
<v Speaker 1>barely then Jaws the Revenge barely? What is wrong with it?
<v Speaker 1>They're just too far ahead of their time.
<v Speaker 2>It's pretty crazy, man, Wake up son, Okay, same thing
<v Speaker 2>kind of happened in ninety eight. Okay.
<v Speaker 1>Uh huh.
<v Speaker 2>So interesting that the Cohen Brothers were originally slotted to
<v Speaker 2>release The Big Lebaski Christmas of ninety six seven. Okay. Yeah,
<v Speaker 2>And we've talked before that June of nineteen eighty one
<v Speaker 2>is one of the greatest months for movies in the eighties. Yeah,
<v Speaker 2>December of nineteen ninety seven is pretty freaking stout. So
<v Speaker 2>just listen to what was going on around Christmas December
<v Speaker 2>of nineteen ninety seven. Okay, Goodwill, Hunting, Amistad, Screamed two,
<v Speaker 2>Tamorrow Never Dies. Okay, James Bond movie, You've got Jackie Brown,
<v Speaker 2>The Postman, which Kevin Costner was a big thing American
<v Speaker 2>well from Paris. And oh, by the way, Titanic was
<v Speaker 2>released that month, so the Coen Brothers said, forget that,
<v Speaker 2>we're not competing with all those guys, will get washed away.
<v Speaker 2>They moved it to March.
<v Speaker 1>Of ninety eight. Gotcha.
<v Speaker 2>The biggest thing they had to compete with at that
<v Speaker 2>time was the Man in the Iron Mask coming, so
<v Speaker 2>a little bit wiser, but still. The Big Lebowski finished
<v Speaker 2>ninety eighth at the box office for nineteen ninety eight.
<v Speaker 1>What it was?
<v Speaker 2>Still buried? I mean, you're talking Titanic, Armageddon, saving Private Ryan,
<v Speaker 2>something about Mary, the water Boy, The Truman Show, Grease.
<v Speaker 2>The re release of Grease finished at sixty six, way
<v Speaker 2>ahead of the Big Lebowski. Wow.
<v Speaker 3>So wow.
<v Speaker 2>Half Baked finished one notch ahead of the Big Lebowski.
<v Speaker 2>It's kind of crazy.
<v Speaker 1>Off Baked is another cult classic. Yeah, but nothing, nothing
<v Speaker 1>compared to the Dude.
<v Speaker 2>I know, right, some interesting things happening at the box office. Okay,
<v Speaker 2>are we ready for final judgment.
<v Speaker 1>I yes, okay, Yeah, I knew that I had a
<v Speaker 1>preference when we started this process. Yeah, I hesitated through
<v Speaker 1>watching the two movies. But I know where I stand. Okay, Okay,
<v Speaker 1>let me go first.
<v Speaker 2>Sure, Okay, go ahead.
<v Speaker 1>It is, without question the Big Lebowski for me every day,
<v Speaker 1>all day, and twice on Sunday.
<v Speaker 2>Okay.
<v Speaker 1>I love Raising Arizona. I love it to death. I
<v Speaker 1>think it's great. It's quirky. I like how the Coen
<v Speaker 1>Brothers and Nick Cage worked together, even though they didn't
<v Speaker 1>like working together themselves. It is one of those classics
<v Speaker 1>that I will go back to again and again. I
<v Speaker 1>don't remember if I mentioned this in these episodes, but
<v Speaker 1>Raising Arizona was the first movie my wife and I
<v Speaker 1>watched together on our very first date. Really, yes, so
<v Speaker 1>it's it's got a special meaning to me. You know what.
<v Speaker 1>The second movie that we watched together was Big Lebski.
<v Speaker 1>You got it right?
<v Speaker 3>Well?
<v Speaker 1>Wow, yes, So we watched Raising Arizona. She had seen
<v Speaker 1>it before, I had seen it before. But we both
<v Speaker 1>loved it, so why not we? You know, I brought
<v Speaker 1>over a DVD. Now this was before DVDs. I brought
<v Speaker 1>over a VHS and a bottle of wine, and we
<v Speaker 1>laid on the floor and enjoyed raising Arizona and we're
<v Speaker 1>behaved well and all of that good stuff. And I thought, man,
<v Speaker 1>if she loves the Cohen Brothers, I'm gonna wow her
<v Speaker 1>with The Big Lebowski because she hasn't seen it, and
<v Speaker 1>I bring it over and I had forgotten how many
<v Speaker 1>f bombs there are in this movie. And whenever we
<v Speaker 1>got done, I was like, she's about to ream me out,
<v Speaker 1>and she's like, that was awesome, and she's right and
<v Speaker 1>it works. It was I mean, that was a long
<v Speaker 1>time ago, twenty two years ago. Yeah.
<v Speaker 3>Yeah.
<v Speaker 1>So The Big Lebowski is what I might call a
<v Speaker 1>perfect movie. It has a plot that's complicated but actually
<v Speaker 1>comes together and makes sense. It's got characters that are
<v Speaker 1>so memorable and so perfect. The coloring is perfect, the
<v Speaker 1>cinematography is perfect, the song choices are perfect. There is
<v Speaker 1>literally nothing wrong with this movie. And it is by
<v Speaker 1>two of the guys that I regard in the top
<v Speaker 1>notches of all writers and directors in Hollywood. The Big
<v Speaker 1>Lebowski is my final choice.
<v Speaker 2>Okay, yeah, that's fantastic.
<v Speaker 1>Okay, Okay, I'm waiting to see okay before I.
<v Speaker 2>Give my final judgment.
<v Speaker 1>Yeah.
<v Speaker 2>One of the things I want to mention to you
<v Speaker 2>that I forgot to mention. I love Jeff Bridges as
<v Speaker 2>the dude. I love how he reacts to crisis, okay,
<v Speaker 2>or to bluntness right right. He's just trying to get
<v Speaker 2>his rug back. He doesn't really care about your feelings.
<v Speaker 2>He's just trying to get back to his apartment and
<v Speaker 2>get back to life as it should be.
<v Speaker 1>Right.
<v Speaker 2>So when he meets Maud, this was the one that
<v Speaker 2>every time I see it, he just cracks me up.
<v Speaker 2>She's like, she's talking to him about all these weird
<v Speaker 2>things like vagina oil.
<v Speaker 1>Yes, they don't like hearing it and find it difficult
<v Speaker 1>to say, whereas without batting an eye, a man will
<v Speaker 1>referred to his or his rod or his Johnson.
<v Speaker 2>Johnson Johnson, right, like what are we talking about here?
<v Speaker 1>Right?
<v Speaker 2>So he just gets this very peaceful look on his face,
<v Speaker 2>like what are you talking about?
<v Speaker 1>Coitus?
<v Speaker 2>And when Jesus comes over and rips them a new one.
<v Speaker 2>You know, I'm gonna get you guys on Wednesday, and
<v Speaker 2>he's like, Jesus, that's right. Yeah. So I just love
<v Speaker 2>his reactions Okay.
<v Speaker 1>So it's just like your opinion, man, I.
<v Speaker 2>Know I love his just take on life. So with
<v Speaker 2>that said, my final judgment is Raising Arizona all day,
<v Speaker 2>every day and twice on Sunday. It's not even close
<v Speaker 2>in my book. Okay, So for me, Raising Arizona is funny,
<v Speaker 2>just outright funny. And I'm a Looney Tunes I'm a
<v Speaker 2>slapstick kind of guy. To me, that plot is clearer,
<v Speaker 2>it's easier to understand, it's simpler. Yeah, it's a fun ride.
<v Speaker 2>I'm on board from the get go. I love Raising Arizona.
<v Speaker 2>I have since fallen in love with The Big Lebowski
<v Speaker 2>and it's funny, but it is convoluted. It's a little
<v Speaker 2>bit tougher to understand. I had to call you and
<v Speaker 2>I'm like, so, am I understanding this right? So for me,
<v Speaker 2>it's all day, every day Raising Arizona.
<v Speaker 1>Yeah, I understand, I understand. I love the movie. I'm
<v Speaker 1>not gonna follow you.
<v Speaker 2>But I like them. I enjoyed both of them in
<v Speaker 2>this episode.
<v Speaker 1>Well, there you go, Shirley fans. You have our take
<v Speaker 1>on it. Once again, we are on opposite sides of
<v Speaker 1>the matchup. But tell us what you think. You can
<v Speaker 1>find us on Facebook at Shirley Podcast. You can find
<v Speaker 1>us on Twitter at Shirley Podcast. You can email us
<v Speaker 1>at Shirleypodcast at gmail dot com. Those are some of
<v Speaker 1>our best comments. I mean, we got one that we
<v Speaker 1>read last episode from Best Sloan, which is absolutely fantastic.
<v Speaker 1>We've had Chad Briggs write to us about Tron and
<v Speaker 1>wargames and it looks like he might co host with
<v Speaker 1>us when we do that episode, and that's gonna be fantastic.
<v Speaker 1>Def Dave is the one that emailed us and ended
<v Speaker 1>up has become one of our best friends. So please
<v Speaker 1>email us or contact us through Twitter and Facebook. We
<v Speaker 1>would love to hear how you feel. Tell us what
<v Speaker 1>do you pick? You pick Raising Arizona? Do you pick
<v Speaker 1>the big Lebowski? Do you pick? Oh Brother? Where art thou?
<v Speaker 1>Tell us what your thoughts are? We would love to hear.
<v Speaker 2>Okay, listen to what we got coming up. D I'm
<v Speaker 2>so excited about our future schedule. Okay, next week. But
<v Speaker 2>we got together with the guys from a film buy
<v Speaker 2>uh Huh, the thirty Sethy Podcast, White Rocket Entertainment, and
<v Speaker 2>Def Dave and we did a bond Girl's draft. This
<v Speaker 2>is a best of the James Bond Girls discussion.
<v Speaker 1>You you did rate my bondgirl dot com.
<v Speaker 2>It was It's gonna be about I'm telling you, is
<v Speaker 2>so good.
<v Speaker 1>I do not know how this cannot be a sexist pig.
<v Speaker 2>Fast Well, you'll just have to come and listen.
<v Speaker 1>Are the girls gonna enjoy this episode as well as
<v Speaker 1>I think?
<v Speaker 3>So?
<v Speaker 2>Okay, I think so we are a gentleman as we discussed.
<v Speaker 1>Okay, well, good features. I'm excited because I listened to
<v Speaker 1>our episode every week and usually I'm surprised. I'm like,
<v Speaker 1>did I say that this one, I'm gonna be completely
<v Speaker 1>surprised because it wasn't even there. So I'm excited.
<v Speaker 2>Turned out really well. Yeah, So that one's already done
<v Speaker 2>and in the books. After that, you and I are
<v Speaker 2>gonna sit down and we're gonna discuss two of the
<v Speaker 2>biggest movies of nineteen eighty eight, Turn in thirty five,
<v Speaker 2>Tom Hanks, Big and Arnold Schwarzenegger and Dan DeVito in Twins.
<v Speaker 2>We're gonna compare those two, get into it on that,
<v Speaker 2>and then after that we will be discussing Open Up
<v Speaker 2>and say Ah by Poison, going track by track with
<v Speaker 2>our good friend and Patreon Dale Selby and then compare
<v Speaker 2>that to Living Color Vivid with.
<v Speaker 1>James Bugley Smoking Hot albums.
<v Speaker 2>Those are and the interesting thing is those two albums
<v Speaker 2>were released on the same day in nineteen eighty eight.
<v Speaker 1>Guys, we need your help in making these episodes. So
<v Speaker 1>if you want to be an executive producer on one
<v Speaker 1>of the episodes that Jason just mentioned, all you have
<v Speaker 1>to do is go to our Patreon page and sign up.
<v Speaker 1>Can be as little as five bucks a month, and
<v Speaker 1>it's not as though you don't get something in return.
<v Speaker 1>We give you access to our secret episode modes that
<v Speaker 1>we have once a month, and we usually hit one
<v Speaker 1>hit wonders, but we've hit some big hitters as well.
<v Speaker 1>But these are some special episodes that we do only
<v Speaker 1>for our Patreon members and they're some of our best.
<v Speaker 1>So go to patreon dot com back Slash Shirley Podcast
<v Speaker 1>and become a Patreon supporter and you can be an
<v Speaker 1>executive producer of one of the episodes we just discussed.
<v Speaker 2>That's right, those are the stories behind the song and
<v Speaker 2>last month we did Aha Take On Me.
<v Speaker 1>This month we're doing Soft Cell Tainted Love, and next
<v Speaker 1>month we're doing I don't know yet because I'm waiting
<v Speaker 1>to find out.
<v Speaker 2>I know, I know, I can't wait to drop that one.
<v Speaker 2>I know it's my pick this year, this month.
<v Speaker 1>Yeah, guys, that's it. Thank you so much for joining us.
<v Speaker 1>We can't do it without you. Please tell your friends.
<v Speaker 1>If you can't afford to sign up on Patreon, feel
<v Speaker 1>free to help us out by giving us a five
<v Speaker 1>star rating on Apple Podcasts or whatever your podcast listening
<v Speaker 1>platform is. And if you're so inclined, leave us review.
<v Speaker 1>If we pick your review, we might send you something
<v Speaker 1>super special, like an engraved tumbler cup with your name
<v Speaker 1>on it and a Shirley logo.
<v Speaker 3>Yeah.
<v Speaker 2>Hey, check us out on YouTube. We got some stuff
<v Speaker 2>on YouTube. Yeah, some pretty cool stuff.
<v Speaker 1>Absolutely, guys, it's been great. We will talk to you
<v Speaker 1>next week, I guess