Dune (1984)

[00:00:00] Welcome to Movie Oubliette, the film review podcast for movies that most people have

[00:00:09] mercifully forgotten. I'm Dan and I'm Conrad and in each episode we

[00:00:14] drag a forsaken film out of the Ubleot. Discussed and judging to decide whether

[00:00:19] it should be safe or free or whether it should be thrown back and consigned

[00:00:24] to oblivion forever.

[00:00:25] Hello listeners, welcome to Movie Oubliette episode 145, the continental traversing podcast

[00:00:47] with me, Dan. Having to buy a DVD drive for my computer down here in Melbourne, Australia

[00:00:54] and me, Conrad saving up for a film festival holiday in Cambridge, UK.

[00:01:00] Oh, it's always about the films. In this podcast we discuss forgotten genre films,

[00:01:06] sci-fi horror and fantasy because we all like un-rhythmically traipsing through

[00:01:12] the desert to avoid sandweeds.

[00:01:15] Yes.

[00:01:16] Gotta have an irregular rhythm.

[00:01:19] Yeah, yeah.

[00:01:20] How are you today, Conrad?

[00:01:23] I'm a little bit under the weather, I think I've got a cold.

[00:01:27] I did do a COVID test, it came up negative so I think it's just a cold time of year.

[00:01:32] Oh, yeah, yeah.

[00:01:33] So film excursion coming up?

[00:01:37] Yeah, so obviously I went on my first ever international trip last year and now I've

[00:01:42] been bitten by the book.

[00:01:44] So what I'm trying to do now is save up to go on holiday again to visit an international

[00:01:51] film festival at some point this year.

[00:01:54] So yeah, but it's not cheap then.

[00:01:57] Yeah, well that's travel for you.

[00:02:00] Yeah, it costs money, that's why people save up to travel.

[00:02:03] That's what people do.

[00:02:05] Yeah, that's what I'm doing.

[00:02:06] See, I was lucky, I was hosted by Michael and Melinda of Retro Blasting last time.

[00:02:11] Yes.

[00:02:12] Hotels, good grief, they charge a bit don't they?

[00:02:15] Yeah.

[00:02:16] Yeah.

[00:02:17] Yeah, I've been looking at hotels that have their own little kitchen area so that I can

[00:02:21] self cater most of the time because it's too expensive.

[00:02:27] Yeah, yeah, yeah.

[00:02:28] Yeah, that does get like that.

[00:02:30] And you're trying to get a DVD drive?

[00:02:33] Well, because computers don't cover DVD drives anymore but I've got all these DVDs that

[00:02:39] I need to write notes about and make socials for TikTok and I don't have a DVD drive.

[00:02:46] I've got a MacMedia and it doesn't come with it.

[00:02:49] So yeah, to buy an external drive to actually play DVDs on my computer which is, I don't

[00:02:56] know, it's a feels straight, a feels like, oh, you know, old technology but why do I have

[00:03:03] to buy a separate thing?

[00:03:04] I used to come with everything now.

[00:03:07] It did.

[00:03:08] I remember my first iMac that had the little slot in the side for you to slide your CD in.

[00:03:14] Yeah, yeah, yeah.

[00:03:15] I mean, my first stereo had a DVD player in the stereo.

[00:03:21] So I can watch DVDs.

[00:03:23] I mean, with a TV attached obviously and also you know, play music on the same stereo.

[00:03:29] So nice.

[00:03:30] Yeah.

[00:03:31] It's good.

[00:03:32] Yeah, no, that's long gone.

[00:03:34] I know.

[00:03:35] My brother actually, he does a really good business, I shouldn't say this but he goes

[00:03:39] on Facebook marketplace finds people that are sort of clearing houses or just getting

[00:03:44] rid of old stuff.

[00:03:45] And they're selling old stereos but they're actually really nice ones and he knows how

[00:03:51] to sort of go through and give them a good clean, replace the belts, clean the heads on

[00:03:56] the tape deck and all this kind of things.

[00:03:58] Bruce is them up and then sells them on to people that are desperate for a decent stereo

[00:04:03] because you just can't buy one anymore.

[00:04:06] Yeah, yeah, yeah, especially one that plays the things that you wanted to play like sit

[00:04:12] tapes or CDs or vinyl.

[00:04:15] Like everything is just Bluetooth.

[00:04:18] What if you don't want to cast Spotify from your phone?

[00:04:23] Yeah, because they haven't got everything and yeah, it doesn't sound great.

[00:04:28] I know it's supposed to be perfection.

[00:04:30] I don't know.

[00:04:31] It's all compressed to hell.

[00:04:34] It's not great all the time.

[00:04:35] Yeah.

[00:04:36] Yeah.

[00:04:37] The times are changing.

[00:04:39] They are indeed.

[00:04:40] So correct.

[00:04:41] Anything in the mailbag today?

[00:04:43] Well, we had a comment on JabbaWokki from our friend Melinda at Retro Blasting and she

[00:04:50] said, I mostly remember this movie as being filled with gross dirty people being really

[00:04:57] boring and also that it wasn't really about Alice through the looking glass.

[00:05:02] So I was super unimpressed.

[00:05:05] Right.

[00:05:06] Yeah.

[00:05:07] It's definitely got a lot of sort of expectations from people going into watching the movie and

[00:05:13] not meeting any of those expectations no matter what they are.

[00:05:18] I know.

[00:05:19] So Melinda was not impressed and does not wish to return to and I'm not surprised.

[00:05:27] And of course we heard from Serge of Cold Crash Pictures.

[00:05:30] Hello, Serge.

[00:05:31] Hello, Serge.

[00:05:32] He's got a new video out on dinosaurs at the moment.

[00:05:35] His story in cinema series, it's really good.

[00:05:38] Check it out.

[00:05:40] And he said couldn't engage with JabbaWokki on much of any level.

[00:05:45] No scene feels like it leads directly into the next one which makes it easy to write

[00:05:49] off as an unfunny sketch series floundering within Monty Python's shadow.

[00:05:55] I think it needed to either be a lot more like Monty Python or a lot less.

[00:06:01] Yeah.

[00:06:02] Yeah.

[00:06:03] And as he said in a reply tweet, he said that we gave it an extremely fair shake pointing

[00:06:09] out its many strengths and the dangers of priming audiences for the wrong movie.

[00:06:15] And I think obviously that's what Melinda saying to you.

[00:06:18] She went in expecting the JabbaWokki from through the looking glass.

[00:06:21] Other people are expecting Monty Python.

[00:06:23] You go in and it's just it's not any of these things really.

[00:06:27] It's very terribly of those.

[00:06:29] Yes.

[00:06:30] Yes.

[00:06:31] But do keep writing to us.

[00:06:32] We love hearing from you.

[00:06:33] Yeah, let us know what you think about JabbaWokki.

[00:06:37] So Conrad the movie for today, what is it?

[00:06:40] Well, let me just walk with an uneven pace over to the ublea to find out.

[00:06:45] Yeah.

[00:06:46] It's a very dark room with a strange British lady wants me to put my hand in a box.

[00:06:54] Okay.

[00:06:55] That seems harmless.

[00:06:56] Yeah.

[00:06:57] Okay, just slide it in there.

[00:06:58] Feel it tingling sensation.

[00:07:00] Oh, it feels like I'm burning.

[00:07:04] Are you okay Conrad?

[00:07:05] No, my skin's blistering and falling off.

[00:07:09] Take it out.

[00:07:10] The pain!

[00:07:11] The pain!

[00:07:12] Okay, I've taken it out and I'm holding a copy of Doob by David Lynch.

[00:07:20] Okay.

[00:07:21] Come back with it.

[00:07:22] Doobie, your home one has been filmed.

[00:07:25] Right.

[00:07:26] Yes.

[00:07:27] I am indeed holding a copy of Doon, the adaptation of the very famous Frank Herbert novel

[00:07:36] which of course is now in cinemas in part two form from Danny Villeneuve.

[00:07:41] But this is the first attempt to adapt it for the big screen written and directed by

[00:07:46] David Lynch.

[00:07:48] It's 40 years old this year, amazingly.

[00:07:51] Yeah.

[00:07:52] Yeah.

[00:07:53] And it stars.

[00:07:55] Take a deep breath.

[00:07:57] Yes.

[00:07:58] Kyle McClochlan, Francesca Annis who is in Croll, Brad Dorif, Chucky No Les, Jose Ferrer,

[00:08:07] Linda Hunt, Freddie Jones also from Croll, Richard Jordan, Logan's Run, Virginia Madson

[00:08:14] from Candy Man, Silvana Mangano, who's like Italian superstar, Everett McGill, Kenneth

[00:08:23] Mcmillan, Jack Nance from Eraserhead, Sean Phillips, Jürgen Procknell of Das Boot, Paul

[00:08:31] Smith, Patrick Stewart, so Jean-Luc Picard, Dean Stockwell from Quantum Leap, Max von

[00:08:40] Siddell from The Exorcist, Sean Young from Blade Runner and Sting.

[00:08:51] This is like some sort of casting fever dream.

[00:08:54] What the hell is this?

[00:08:55] Yeah, yeah.

[00:08:56] I thought that this was more of a modern casting choice.

[00:09:02] Anyway, what's what's June about?

[00:09:07] Well, a beginning is a very delicate time there.

[00:09:12] No then, that it is the year 10,191.

[00:09:20] The human race has apparently learned nothing.

[00:09:23] There's an evil emperor who's scheming to eliminate a more handsome political rival,

[00:09:29] Duke Lito or Trades.

[00:09:32] There's a huge military industrial complex exploiting one planet's natural resources,

[00:09:38] the all-powerful spice on Dune, while subjugating its indigenous people, the Fremen.

[00:09:45] And there are jealous, fat, strangely orange, disturbingly incestuous people called the

[00:09:52] Harkinans who want to win back power by cheating and killing everyone.

[00:09:58] After his father is betrayed and murdered, will Paul the Trades avenge Duke Lito?

[00:10:04] Tonight the Fremen harness the gargantuan sandworms who roam the deep desert, successfully

[00:10:11] survive drinking the powerful water of life, unlike any man before him and prove he's

[00:10:16] the prophecy chosen one that Quizzats had a rack?

[00:10:19] Well, of course he will.

[00:10:21] Otherwise, what kind of hero's journey epic space opera would this be?

[00:10:26] But will it be full of David Lynchian weirdness, unnecessary vocoder weaponry, fighting in

[00:10:33] yellow and interminable whispering, find out after the break?

[00:10:41] Yes, there's a lot of questions that should be answered.

[00:10:46] Indeed.

[00:10:47] Let's give it a try.

[00:10:59] And we're back to talk about the 1984 American epic space opera Dune Dan.

[00:11:07] Yes, you hadn't seen this one before?

[00:11:10] Yes, so I had always endeavored to read the book first and it had been sitting on my shelf

[00:11:17] for years, like literally like ten years before I finally read it.

[00:11:25] And then yeah, I watched the movie for the first time for the podcast.

[00:11:29] It's quite faithful to the book actually, remarkably faithful for a good chunk of the movie

[00:11:36] and then the second half or the second third feels like we're pushing fast forward on

[00:11:43] like a lot of things.

[00:11:45] So it feels really slow for the first half of the movie and then it feels like really

[00:11:53] rushed.

[00:11:54] Yes, it feels like they just like come on, get through the events.

[00:11:58] Here's one year, here's another year.

[00:12:01] We have to get to that scene with sting fighting Paul.

[00:12:05] Yeah, in the end, it's like what just happened?

[00:12:11] Yeah, and there are a lot of casualties to that.

[00:12:14] So for example obviously there is a romance being an epic space opera you have to have

[00:12:19] one of those in there.

[00:12:20] Yeah, but what romance?

[00:12:22] Exactly, yeah.

[00:12:23] Sean Young plays Charney, a member of the Fremen who pulled a trade his meets when he's

[00:12:30] exiled to Dune.

[00:12:31] Yeah.

[00:12:32] Yeah, they meet, they have no conversation whatsoever beyond tell me of your homeworld

[00:12:36] Usal.

[00:12:37] Next scene, they're in love apparently.

[00:12:40] We miss that.

[00:12:41] Yeah, they're sucking faith and then wow, like there are things now.

[00:12:46] Like is she a character at all?

[00:12:49] Like I did the main thing I was annoyed with the adaptation was just a lack of any character

[00:12:57] development for anyone, especially having really famous actors play characters.

[00:13:03] Like Max Fonsadau playing Dr. Kynes.

[00:13:07] He's in it for like what five minutes and then he's kind of bloody at one point and then

[00:13:13] shipped off to the desert you never see him again.

[00:13:16] No.

[00:13:17] I mean, he's a point in casting Max Fonsadau in that role.

[00:13:21] Well, I don't know.

[00:13:23] I mean, he's mesmerizing for the five minutes that he's in the back.

[00:13:27] Yeah, he does a lot of basil exposition, but I mean this movie is just rife with exposition.

[00:13:34] It's awful to the point where like there we may as well just turn it into an audio book

[00:13:40] because you're just you're explaining everything in this internal monologue that you're hearing.

[00:13:47] It's not even narration, it's literally people's thoughts that you're hearing characters

[00:13:52] thoughts with speed as well.

[00:13:56] Oh yeah, we're sped it.

[00:13:58] Just the whole plot with speed is just not exactly great filmmaking and I cannot believe

[00:14:07] that David Lynch would choose it.

[00:14:09] He would never choose that as a way of portraying this novel.

[00:14:14] Well, there's an argument that he did that in some way that because he wanted to be faithful

[00:14:20] to the book and because the book has so much political intrigue where you know, a simple

[00:14:26] gesture or a turn of phrase could indicate something as people are sort of jostling for

[00:14:31] power.

[00:14:32] So you've got the Benadjeseric women who are trying to breed the quizaxe had a rack.

[00:14:38] You've got the Fremen, you've got all these different warring houses and the emperor

[00:14:42] trying to manipulate them all against each other.

[00:14:45] There's supposed to be a lot of this sort of internal thinking, you know, to sort of expose

[00:14:50] their motives.

[00:14:51] Yeah.

[00:14:52] So the idea is that he's actually trying to be very faithful to sort of draw some of that

[00:14:57] stuff out of the book because you wouldn't get it otherwise and put it on screen in the

[00:15:02] form of these whispered words.

[00:15:04] But some of it is so bloody redundant.

[00:15:07] It's like how Paul dreams of Chani before he meets her in the dream.

[00:15:11] She says, tell me of your home world, Oosl.

[00:15:14] Then he meets her.

[00:15:15] She asks him that question and you cut to Paul or trade ease and you hear him whisper in

[00:15:20] his own head.

[00:15:21] Tell me of your home world, Oosl.

[00:15:22] Yeah, I know he's going to recognize that.

[00:15:25] You don't really need to sort of hammer it in.

[00:15:28] Yeah, yeah.

[00:15:29] Oh, yeah.

[00:15:30] And I'm pretty sure he has a line like she's from my dream.

[00:15:33] It's like we know she's from your dream.

[00:15:35] We know.

[00:15:36] Maybe you're dreaming.

[00:15:37] You don't have to tell us.

[00:15:39] Or even during an action scene where he's flying the ornithopter, the sort of flying

[00:15:44] ships that they have on Dune and they're trying to escape and he's trying to get control

[00:15:49] of it.

[00:15:50] And finally, he levels it out and you hear his mind whispering to himself, it's under

[00:15:55] control.

[00:15:56] I know.

[00:15:57] I can see it.

[00:15:59] Not getting any more insight into your character.

[00:16:02] I can see relief on your face, your Karl McCloughlin.

[00:16:04] Yeah.

[00:16:05] You're a very good actor.

[00:16:08] It's his first movie but I mean he's still damn good in this trying to hold the whole

[00:16:12] thing together but good grief.

[00:16:16] It's so redundant.

[00:16:17] Yes.

[00:16:18] So you've rid the book.

[00:16:19] I did read the book but I read the book after I saw the movie.

[00:16:23] The movie I saw as a kid, you know in my 80s video rental anything to do with space is

[00:16:30] fine with me.

[00:16:31] You know, I wanted to just slap it all up.

[00:16:33] I found it a very frustrating movie as a child because I just did not understand really

[00:16:38] what was going on or why it was important.

[00:16:41] Yeah.

[00:16:42] It felt very grand and slow and political and not much by way of action and excitement.

[00:16:52] So as a kid it left me cold except for there's just something about the atmosphere that

[00:16:57] it creates, the mystery, the wonder.

[00:17:01] And I think a lot of that is Lynch, a lot of that is the performances and also the music

[00:17:06] as well which we'll talk about but the film's weird and so that kind of stuck with me.

[00:17:12] Yeah.

[00:17:13] I mean it's not like full blown Lynch weird.

[00:17:16] It's not Mulholland Drive lost highway weird.

[00:17:19] But it isn't your normal fantasy epic.

[00:17:23] Like it feels different and it feels complex as well because of this source material

[00:17:30] and so many components going on like you mentioned the Bennay Jesuit and you've got the

[00:17:35] MENTATS as well, the sort of opposing force kind of sometimes and you've got the emperor

[00:17:42] and the Hakenons.

[00:17:43] I wasn't sure about the Hakenons portrayal in this movie because they just look mad like

[00:17:51] Jess absolutely insane.

[00:17:55] Yeah, especially the Baron.

[00:17:57] I don't know he's supposed to be the big scary villain and he's not.

[00:18:03] I noted down in one scene you cut to the Hakenons right and it's like Raban is pulling

[00:18:10] the tongue off of an upside down suspended cow.

[00:18:15] The Baron is spinning around and then sting emerges empirically from a steam shower in

[00:18:22] a winged thong.

[00:18:24] And I'm just looking at all of this and just thinking what the actual fuck?

[00:18:28] Yeah, I mean reading the book that is not at all what I visualized.

[00:18:34] I visualized the Baron being an enormous man like a big obese giant and really intimidating

[00:18:44] and scary.

[00:18:46] He's just not that in this, like he's comical and they've put all these pussy boils all

[00:18:52] over his face which I swear it wasn't in the book right?

[00:18:56] That's not in the book.

[00:18:57] No, it's not.

[00:18:58] He is suspended which is what is in the book.

[00:19:01] They have these suspenser machines I guess that make him able to float around because

[00:19:06] of his weight I guess.

[00:19:08] So there's that but everything else regarding the Hakenons just didn't give off these

[00:19:14] are evil villains they just mad.

[00:19:18] Yeah, well that's the one part of the films where you know I've seen various write-ups

[00:19:24] where they're trying to figure out how much lynches in here and I've seen various people

[00:19:28] say the Hakenons is really where he went to town and where he felt most at home.

[00:19:32] Right.

[00:19:33] I have a quote of lynch saying Gidey Prime and the Hakenons was his favorite thing to film

[00:19:40] and turning their moral decay and evil into like physical grotesquery make it come out

[00:19:49] in their bodies in physical form.

[00:19:51] So it's not surprising that he would visualize the Hakenons in this way.

[00:19:56] Yeah.

[00:19:57] It's your right to undermine them because they're just hilarious.

[00:20:00] They look like a bunch of bungling idiots.

[00:20:02] Yeah and very grotesque, just covered in muck and spit and food and sweat and it's just

[00:20:13] yeah I mean I guess it's that sort of we want to hate these disgusting people I guess.

[00:20:21] But yeah it's not the same malicious evil that you get in the book.

[00:20:36] Another set of characters I want to talk about is the Fremen don't really get explored

[00:20:42] as well in this movie whereas in the book there's a lot of ritual, there's a lot of customs

[00:20:48] and culture that you get to find out as Paul and Lady Jessica get to know them and get

[00:20:55] sort of adopted into their way of life.

[00:20:58] Yeah they're very much portrayed as indigenous people, people who are very serious that have

[00:21:04] a faith certainly have completely adapted to the environment that they live in and know

[00:21:11] how to work in harmony with it.

[00:21:14] Yeah.

[00:21:15] It's drawing on themes of indigenous people everywhere so even the Americas but obviously

[00:21:21] they think that people are mostly thinking about because of the parallels between the

[00:21:24] spice in hot desert regions and oil and Middle Eastern people from which Herbert drew

[00:21:33] much of the language, the words and the sound of the words even if they're not literal translations.

[00:21:39] So yeah it's drawing on those influences as a sort of visual shortcut in the movie

[00:21:45] but that's all you get really.

[00:21:47] It's not delved into in the detail that you have in terms of the rich culture that's

[00:21:52] in the book.

[00:21:53] Yeah I mean it's a lot of book as well.

[00:21:55] It's a bit of a door stop.

[00:21:57] Yeah, like I do feel like the new remake was a good choice to split it into two movies.

[00:22:02] Normally I hate that but I kind of feel like it was needed for this sort of adaptation.

[00:22:08] There's just so much and they did film a lot for the Lynch version which they just had

[00:22:14] to cut down and cut down and cut down and that's what I mean for me that's the reason why

[00:22:20] there's so much whispered narration slash internal monologue just to bridge all the cuts

[00:22:28] that they made.

[00:22:29] There's quite a few scenes that they cut out that I wish they kept it.

[00:22:34] Yeah.

[00:22:35] In Paul and Lady Jessica first meet the Fremen there's a character Jamis, Jamis who has

[00:22:41] a bit of a beef with Paul because Paul is able to overcome Jamis and Jamis has a

[00:22:47] bit of a he's a bit sore about that.

[00:22:50] So he challenges him to this fight to the death that they have in the Fremen culture

[00:22:55] and they do have a fight and it is to the death.

[00:22:58] Like I think Paul in the book doesn't want to kill him but it's custom like he can't

[00:23:02] not kill your opponent.

[00:23:04] So he does end up killing him and that scene is really important in terms of establishing

[00:23:10] Paul as someone that the Fremen would admire because they really just take him in the movie

[00:23:19] for no reason and treat him like a god, for no reason at all.

[00:23:24] And I feel like that scene if they kept it in because they did film it and it's in the

[00:23:28] extended version.

[00:23:30] I think it would have made more sense if they'd kept that in certain parts of the extended

[00:23:36] version which I know David Lynch hates and Ellen Smithy production.

[00:23:41] Yeah.

[00:23:42] I wish they had kept it.

[00:23:43] Yeah, you're right.

[00:23:44] I mean her but himself said that the film was a visual feast and said that it was

[00:23:50] quote true to the book even though most of it stayed on the cutting room floor.

[00:23:54] So I think he knew how much lynch had shot.

[00:23:57] So I think there was a rough assembly at one point that was about four hours long.

[00:24:02] But contrary to popular belief, there isn't a director's cut.

[00:24:06] There never has been.

[00:24:07] Yeah.

[00:24:08] Yeah.

[00:24:09] He assembled the theatrical version to two hours and 17 minutes because Dino D'Lorentis,

[00:24:14] the world's last movie mogul, he had decided that two hours and 17 he calculated that that

[00:24:20] was the ideal length to maximize the number of screenings to get the most money.

[00:24:26] Okay, wow.

[00:24:27] Okay.

[00:24:28] Wow.

[00:24:29] So yeah, the extended version you mentioned was one where they just took all of the footage,

[00:24:33] jammed it together, added even more exposition including sort of production art sometimes and

[00:24:39] showed it on cable TV I think pay-per-view over two nights.

[00:24:44] Yeah.

[00:24:45] And then eventually jammed it together as a three hour version on DVD.

[00:24:49] Yeah.

[00:24:50] And there's one part that I know that David Lynch absolutely despises and they've added a

[00:24:55] prologue to it.

[00:24:57] And it's just a huge explanation into the backstory of June first as a planet and all the people

[00:25:06] and then also the Benagesaret and the Mentech, the Guild.

[00:25:12] Also talking about how in this universe used to be controlled by robots.

[00:25:18] Yeah.

[00:25:19] Is that right?

[00:25:20] Humans overthrew the robots and that's why they have the Gondobar test with Paul to prove

[00:25:29] that he's not a robot.

[00:25:30] Which I don't know, they don't really even explore that in the book to be honest.

[00:25:34] They kind of mention it but it's not a thing really.

[00:25:38] Yeah.

[00:25:39] The society is outlawed thinking machines because AI took over and humans had to revolt

[00:25:45] against it and destroy it and then they've made it so that computers are not a thing

[00:25:49] anymore so you end up with these Mentech people who can train their brain to do complex

[00:25:54] calculations.

[00:25:55] Yeah, but then you, I mean, spoilers for the second box.

[00:25:58] You've got characters that are brought back to life but machines as well which is kind

[00:26:05] of interesting.

[00:26:06] I don't know.

[00:26:07] Well that's a second box.

[00:26:08] That's not a movie yet.

[00:26:10] It's not but it's coming.

[00:26:12] Hopefully.

[00:26:13] Hopefully.

[00:26:14] Anyway, this prologue is just extreme exposition.

[00:26:19] It's like treating the viewers as idiots and just like giving an entire backstory to June.

[00:26:25] We don't need that.

[00:26:26] It's fine.

[00:26:27] We don't need the history of June and it's pretty much an audiobook because it's gestination

[00:26:32] and illustrations.

[00:26:33] It's not even any footage.

[00:26:36] It's just pictures.

[00:26:38] Yeah.

[00:26:39] It's terrible.

[00:26:40] It's not good.

[00:26:41] It did not come out of it pleased.

[00:26:43] In interviews as referred to it as a nightmare, it's a classic example of a very original artist

[00:26:50] suddenly being swept up into the Hollywood movie making machine after making one original

[00:26:55] largely independent film for Mel Brooks and not coming out of it well like the combination

[00:27:01] of his originality plus the demands of a blockbuster movie making it very hard for him

[00:27:07] and it had to be PG as well.

[00:27:09] It had to be kid friendly so he couldn't really go as far as he wanted to and for many,

[00:27:15] many, many years of the 40 years that have passed since he would not talk about it.

[00:27:22] He refused to talk about June.

[00:27:24] Wow.

[00:27:25] But recently in an interview, he shocked the interviewer by referring to it and saying

[00:27:31] that he would be open to looking at the footage again, to see if there is a version of it

[00:27:37] he could assemble that he would be happy with but expressed out that there would be,

[00:27:42] that there wouldn't be the raw material to do what he wanted.

[00:27:46] That was a shocker.

[00:27:47] Yeah.

[00:27:48] A hovering over all of this is the knowledge that Danny Villeneuve has done this now

[00:27:55] and I haven't seen part two.

[00:27:56] I'm seeing part two tomorrow.

[00:27:58] Oh.

[00:27:59] I haven't seen part two either.

[00:28:00] Yeah.

[00:28:01] The reviewer, all you know, it's 95% fresh on Rotten Tomatoes and the first one I just

[00:28:06] thought okay he's nailed it.

[00:28:08] It's fucking brilliant.

[00:28:09] That's great.

[00:28:10] That's everything you ever could want.

[00:28:11] The depth of the characters, the visual design of it, the emotional pull of it as well.

[00:28:17] I mean you've really drawn into the Jessica's character and what they're going through

[00:28:24] and the things that they're having to deal with is such a profoundly moving spectacular

[00:28:30] movie.

[00:28:31] And then you look at this and it's just kind of weird.

[00:28:37] But so rich and inventive and fascinating, it kind of stayed with me anyway but it doesn't

[00:28:43] resonate, the characters don't resonate anyway.

[00:28:46] Yeah.

[00:28:47] I mean what's interesting is both movies have stellar casts like really good casts for

[00:28:54] all their time.

[00:28:55] Yeah.

[00:28:56] But just in this movie, just not utilised at all like even the Patrick Stewart, like it's

[00:29:02] really in the movie.

[00:29:03] He's such an amazing actor.

[00:29:06] Yeah.

[00:29:07] He gets one fight in a Jello mould and then he runs into battle with a pug in his arms at

[00:29:11] one point.

[00:29:13] The pug, the first ridiculous, why?

[00:29:17] Just the raw animal pug everywhere.

[00:29:21] Like, into battle pug in hand.

[00:29:24] The battle pug?

[00:29:25] Wow.

[00:29:26] Yeah it's like Prince Charles with a corgi under his arm just roaring into battle.

[00:29:30] It's insane.

[00:29:31] What the hell sat about it?

[00:29:33] No, I don't know.

[00:29:37] I did feel like there was a lot of wasted opportunities with some of these characters.

[00:29:51] The Fades character Sting, nothing.

[00:29:55] He's nothing character.

[00:29:56] He has like three lines in the movie.

[00:29:58] One of those lines is just I will kill you.

[00:30:01] I will kill him.

[00:30:03] His line readings are terrible.

[00:30:06] They're awful.

[00:30:08] And I mean, I don't know.

[00:30:11] Like a felt, did it feel very homo-rotic to you?

[00:30:15] Oh yeah.

[00:30:16] Just like every scene he's just glistening.

[00:30:20] Glistening specimen of man posing as well.

[00:30:24] Well, yeah.

[00:30:25] I mean, and as I said, there's the incestuous thing with the Baron as well.

[00:30:29] I mean, he's clearly got the hots for, I think it's his nephew, isn't it?

[00:30:33] Yeah.

[00:30:34] But I mean, the whole gay people equals evil was in the book.

[00:30:38] So we can't really blame Lynch for that because in the book, the Baron asks for a young

[00:30:44] man that they abducted to be delivered to him suitably drugged so that he could

[00:30:49] rape him without too much effort as he's tired.

[00:30:52] Yeah, the Baron was evil in the book.

[00:30:55] He kills people at the blink of an eye.

[00:30:58] He doesn't care.

[00:30:59] Well, he does it in this movie too.

[00:31:02] Like he rips out the heart plug.

[00:31:04] Yeah.

[00:31:05] A twink in plastic.

[00:31:06] Was that in the book?

[00:31:07] No.

[00:31:08] The heart plug wasn't in the book.

[00:31:09] Don't think so.

[00:31:10] Yeah, I don't remember there.

[00:31:11] So I feel like Fade's character was more interesting in the book.

[00:31:15] Like he was definitely sort of like your typical almost like Mopey teenager.

[00:31:21] Yeah.

[00:31:22] The Baron wanted to eventually give all of his inheritance and glory to Fade.

[00:31:27] Fade just doesn't give a shit.

[00:31:29] He's just like, what have you uncle?

[00:31:31] I don't care.

[00:31:32] And he's also in all of these gladiatorial fights where he cheats as well.

[00:31:37] He puts poison on his weapons and he's winning but he's cheating.

[00:31:41] And so having that big fight at the end with him and Paul and he's still cheating.

[00:31:46] He's got that hidden blade that comes out of nowhere in the movie.

[00:31:51] But there's this more explanation behind it and how he he wants to win but he wants to

[00:31:56] win the easiest way possible without actually earning it.

[00:32:00] That is a shame.

[00:32:01] I mean, sting in fairness apparently he was asked by somebody who was working on the

[00:32:06] production.

[00:32:07] Why are you doing this?

[00:32:08] You know, you're riding high.

[00:32:10] Yeah.

[00:32:11] Well, you know, I mean, he's not giving a lot to do.

[00:32:15] No.

[00:32:16] But yeah, he does.

[00:32:17] He does kind of suck.

[00:32:18] Yeah.

[00:32:19] There's another part of the book I want to quickly mention is a story about him.

[00:32:26] He's got a lot of things to do with him.

[00:32:28] He's got a lot of things to do with him.

[00:32:33] He's got a lot of things to do with him.

[00:32:37] Yeah, there's another part of the book I want to quickly mention is a so the planet

[00:32:42] June has got the spice and it was occupied by the Hakanons.

[00:32:48] But the Emperor sent them off and they've sent their tradeys onto June to sort of manage

[00:32:53] the spice trade.

[00:32:54] But there is also a secret plot where the Hakanons are going to come and invade June and

[00:33:00] take over the tradeys again.

[00:33:01] I don't really understand the Hakanons were there.

[00:33:05] I mean, I guess it's to kill June leader.

[00:33:07] Yeah.

[00:33:08] It's because the Emperor wants to get rid of Lito because he's more popular than the Emperor

[00:33:12] is so he's worried about it.

[00:33:13] So he's just using the Hakanons to get rid of him.

[00:33:16] Yeah.

[00:33:17] So they have the secret plot where they're using Dr. Uey as their sort of traitor to let

[00:33:22] the Hakanons in to turn off the shield.

[00:33:24] But they also put this red hearing, I guess, where they framed Lady Jessica as being

[00:33:30] the traitor.

[00:33:31] Oh yeah.

[00:33:32] And there's like a leak to Duke Lito that actually Lady Jessica is doing secret things and

[00:33:39] is in co-hooks with the Hakanons.

[00:33:41] And then he questions whether she is or she is.

[00:33:44] And that's really interesting that they don't put in the movie whatsoever.

[00:33:48] And also, that's how the character Thufa played by Fridi Jones.

[00:33:52] He thinks Lady Jessica has killed Duke Lito and has betrayed the family.

[00:33:59] And that's why he kind of joins the Hakanons as their sort of menta, the new menta.

[00:34:04] That's right because she's his daughter, isn't she?

[00:34:06] She's the Baron's daughter.

[00:34:08] Yeah, that's right.

[00:34:09] There's a big twist.

[00:34:10] So it ends up that Paul is actually half Hakanon.

[00:34:14] It's really interesting.

[00:34:15] So all of that, not in the movie, no.

[00:34:18] Lady Jessica in the book is my favourite character.

[00:34:22] She is like unstoppable.

[00:34:24] She is a highly skilled fighter.

[00:34:28] She can do some anyone.

[00:34:30] She has the voice which is this power that these people have, the Trady seem to learn where

[00:34:38] they can, they put on this voice where they can control, like pretty much mind control

[00:34:43] people to doing things like the Jedi mind track and the thing.

[00:34:47] There's a bit of the force in there.

[00:34:49] Yeah, yeah.

[00:34:50] So she can do that flawlessly.

[00:34:52] She can control anyone with her voice, literally with her voice.

[00:34:56] And also the bit of Jesserit which she's part of, they're trained to know when someone's

[00:35:03] lying.

[00:35:04] So they have a very keen eye on facial cues or texts or anything.

[00:35:10] So no one can lie or get away with anything with Lady Jessica.

[00:35:14] She is just unstoppable boss.

[00:35:19] But she's just nothing against me.

[00:35:21] No.

[00:35:22] She just doesn't do a thing.

[00:35:23] No, she doesn't.

[00:35:24] I mean pretty much from the point where after the Harkinans have come back and destroyed

[00:35:29] everything, killed Duke Lito and they're forced out into exile in the desert.

[00:35:35] He just starts ordering his mother around.

[00:35:38] She Jedi senses that Lito is dead and sort of screams he's dead.

[00:35:43] Yeah.

[00:35:44] And then becomes just worthless for the rest of the movie.

[00:35:47] Yeah.

[00:35:48] Apart from drinking the water of life, becoming the Fremen's new Reverend mother and giving

[00:35:54] birth to Paul's younger sister who unfortunately has been changed by the water of life and

[00:35:59] is now also a Reverend mother at an unnatural young age.

[00:36:03] Oh, it's quite strange in the bog.

[00:36:06] So the sister Alia, she's pretty much has the intelligence of a grown woman as a baby

[00:36:13] which is quite a strange concept to grasp in the book.

[00:36:18] So she's, it flicks forward like two or three years in the book and she's just like a

[00:36:22] little toddler walking around talking like a 40-year-old.

[00:36:27] Yeah.

[00:36:28] Which is bizarre.

[00:36:30] It is yeah.

[00:36:31] And she's creepier as hell in this movie played by Alicia Witt.

[00:36:34] Yeah.

[00:36:35] I think she was nine, maybe eight or nine when they made the movie.

[00:36:38] I think she's dubbed by somebody else.

[00:36:41] Yeah, I think so.

[00:36:42] She's creepy as anything.

[00:36:45] Yeah, I mean it's creepy.

[00:36:48] All the Fremen are creepy as well because of the blue, blue on blue eyes is that what

[00:36:53] they call it in the book.

[00:36:54] So they've got these bright blue eyes not like normal people with blue eyes like their

[00:37:00] entire eye is blue including the whites.

[00:37:04] Yeah.

[00:37:05] So they are quite creepy to look at and I was interested how they would portray that

[00:37:11] in film.

[00:37:12] Yeah, which is just optically rotoscope blue overall.

[00:37:16] Yeah.

[00:37:17] All of their eyes start the whole movie.

[00:37:19] And also the Princess Irolan is a much bigger character.

[00:37:22] Yeah.

[00:37:23] And maybe develop a bit better in the first book than in the movie because she just shows

[00:37:28] up I think at the end where they start for a little bit and then they end and that's

[00:37:34] it.

[00:37:35] Yeah.

[00:37:36] She has one line father.

[00:37:37] That's it.

[00:37:38] Yes.

[00:37:39] Apart from her towering image in space where she just spews exposition and then she does

[00:37:47] a sort of columbo of exposition because she pops back after fading out and says, oh yes

[00:37:52] I forgot.

[00:37:53] Just one more thing.

[00:37:54] Sorry, just one more bear with me.

[00:37:56] I've got to explain something else.

[00:37:58] Yeah.

[00:37:59] And you're right about the women although I do love Sean Phillips as Reverend Mother Gaius

[00:38:03] Helen Mojiam who is formidable and terrifying.

[00:38:09] Yeah.

[00:38:10] So seeing Paul get to the point where he can actually control her and put her in the

[00:38:14] place at the end of the movie is quite a nice arc for him.

[00:38:19] But at the same time as the women not really registering very much Chani has nothing to

[00:38:23] do, Jessica has nothing to do.

[00:38:25] Nothing.

[00:38:26] They don't really have characters either after a certain point.

[00:38:30] I don't get much from Paula Trady's as played by Kyle either.

[00:38:34] I mean, there's a lot of hand ringing and desperate father at one point.

[00:38:41] And then all of a sudden he's like really certain of what his future is that he is the quiz

[00:38:46] ads had a rack and he's going to drink the water of life and he's going to get it all

[00:38:49] down and get his revenge and free the people and change a rackess and it's all going

[00:38:54] to be great and it's all tied up in a quip rush in the last 30 minutes.

[00:38:59] So quick, yeah.

[00:39:00] With very little insight into him.

[00:39:02] Yeah.

[00:39:03] It feels like he doesn't really earn his place as the chosen one, the prophesized

[00:39:09] savior of the people of the women.

[00:39:12] Like it just seems to happen for no reason.

[00:39:17] And then he introduces to them the sonic weapon.

[00:39:22] Which that's not in the book, right?

[00:39:24] No, I feel like that's one of the biggest parts of the movie that wasn't in the book.

[00:39:28] What's it?

[00:39:29] No, that's the thing that purists have the biggest problem with in terms of this adaptation

[00:39:33] apart from just how weird and creaky it can be in terms of its pacing and depth.

[00:39:38] Yeah, the weeding modules, that's got nothing to do with what was in the book at all.

[00:39:45] Yeah.

[00:39:46] The weeding way was like Jedi karate or something.

[00:39:48] It's got nothing to do with like vocoders that kill people.

[00:39:52] No.

[00:39:53] No, because it made the battle scenes a little bit funny.

[00:39:58] Yeah.

[00:39:59] Because they're pretty much like throat singing like beams out and everything's exploding.

[00:40:06] It just wasn't, I didn't give the effect I think they were going for.

[00:40:11] No, it doesn't.

[00:40:12] It's a bit silly.

[00:40:14] It is Lynch's invention.

[00:40:15] It's his contribution to it.

[00:40:17] He wanted to visualize this ability, this Benajezerit trained fighting technique that he

[00:40:23] brings to the fremen who wanted to visualize it in some way as a technology which purists

[00:40:29] feel is kind of anathema to what Herbert was going for in terms of the relationship with

[00:40:34] this culture and technology.

[00:40:36] I don't know about that so much.

[00:40:37] Yeah, I don't mind it.

[00:40:39] I quite like what he gets out of it like that scene where somebody says more deep which

[00:40:43] is his fremen name.

[00:40:45] Yeah.

[00:40:46] And it sets off his weeding module so they say, even your name is a killing word.

[00:40:51] Oh yeah.

[00:40:52] It's interesting.

[00:40:53] Because that ties into something that you lose in this version because at the end is quick

[00:40:57] voice over.

[00:40:58] He is the quizass had a racquet.

[00:41:00] He makes it rain, changes the ecology of June.

[00:41:04] Yeah.

[00:41:05] It's all great role credits, total song.

[00:41:08] And that completely misses the point that you're going to get in June Messiah which is

[00:41:13] that we really need to examine this hero's journey and how this can go horribly wrong when

[00:41:20] a sort of religious further and a cult of personality builds up around one man.

[00:41:26] And what the consequences of that can be when it gets out of his control, yeah, and turns

[00:41:30] into a crusade.

[00:41:32] That's what Herbert was going for but this movie is just like yep, neat bow all good.

[00:41:37] Yeah, yeah, yeah because you find out in the book that Paul isn't really the hero.

[00:41:44] No.

[00:41:45] He is, but then he doesn't really turn out to be the man they all thought he was or it's

[00:41:52] one of those universes where you know you can never have a happy ending.

[00:41:55] No one's going to be happy with like the leader of whatever.

[00:41:58] Mo.

[00:41:59] Now it's time for random trivia.

[00:42:03] So Dan, what fabulous piece of trivia did you lure out of the desert with your thumper

[00:42:09] today?

[00:42:10] Did you know in New Zealand there is a heavy rock band with a name inspired by a

[00:42:15] movie June.

[00:42:17] This is a quote from Tom Larkin, the drummer of the band.

[00:42:21] He said when we were 15, we were all into the sci-fi movie June.

[00:42:27] See, June uses all these Arabic words throughout the movie and the end battle is a G-hard.

[00:42:34] He was stupid and thought it would be a great name for a band so he called ourselves She

[00:42:39] Hard.

[00:42:41] So she had a pretty big band in New Zealand massive in the 90s and early 2000s still going

[00:42:47] on.

[00:42:48] But 9-11 happened and the band wanted to sort of break out into the international music

[00:42:55] scene and they didn't really want to be associated with G-hard and anything to do with terrorism.

[00:43:04] So they had to change their name to pacifier between 2002 and 2004 to avoid any of that

[00:43:13] because they were doing tours in America and everything and playing concerts.

[00:43:17] And yeah, probably not great to be associated with an ongoing war.

[00:43:25] No, it's kind of like poor Corona beer during COVID.

[00:43:29] They didn't do too well did they?

[00:43:32] Yeah, yeah, yeah.

[00:43:33] But anyway, yes the band She Hard in New Zealand.

[00:43:36] I'd love them.

[00:43:37] I've seen them like three or four times life.

[00:43:40] Really?

[00:43:41] Oh my god.

[00:43:42] Bank of my 20s, yes and early days so yeah.

[00:43:46] That's cool.

[00:43:47] Influence by the movie.

[00:43:48] Yeah.

[00:43:49] And that's not true, yeah.

[00:43:57] There are a lot of things I liked about the movie.

[00:44:00] The production design is phenomenal.

[00:44:02] Yes.

[00:44:03] Like the sets, I can't even describe these just so interesting.

[00:44:07] They're so intricate.

[00:44:08] They're like so opulent as well.

[00:44:11] There are these gold in places.

[00:44:14] It feels almost Middle Eastern, like almost Turkish but not at the same time does still

[00:44:21] feel futuristic but not in a tacky way.

[00:44:26] Some of the scenes look almost giga-esque as well.

[00:44:30] The costumes are exquisite, like exquisite detail in terms of all the costumes.

[00:44:37] We've got all the sort of army military costumes for Paul and all the sort of male characters

[00:44:43] and even the still suits are not badly designed and also the Benjets, right?

[00:44:49] Look great, just really great.

[00:44:51] Yeah.

[00:44:52] It's a beautiful production.

[00:44:54] They were shooting for six months, 53 speaking parts, 20,000 extras, four camera crews, 16

[00:45:02] sound stages in Mexico, 70 sets, some of which were over 100 feet high and then filming

[00:45:10] out in the desert Las Aguillas Desert.

[00:45:12] Oh okay.

[00:45:13] That's terribly wrong, in a 120 degree heat which is a 49 degrees C for us.

[00:45:20] Oh, that is hot.

[00:45:21] Yeah.

[00:45:22] The elaborate gargantuan spellbinding visual feast as Herbert called it.

[00:45:29] Yeah.

[00:45:30] And then there's the cinematography from the British cinematographer Freddie Francis, who's

[00:45:35] one two Academy Awards for his work on films like Glory.

[00:45:40] He started out in Hammer Horror movies.

[00:45:42] He worked with Lynch on Elephant Man and then later again on the straight story.

[00:45:47] The visuals are just incredible to look at.

[00:45:51] It does have almost like a timeless look to it.

[00:45:54] It doesn't look 80s at all.

[00:45:57] No.

[00:45:58] It doesn't have that ridiculous neon lighting or really stylized lighting.

[00:46:02] The film for some reason that came to mind in how it looks is the King and I from 1956.

[00:46:09] Right, yeah.

[00:46:10] I don't know.

[00:46:11] It's just like a lot of intricate costuming and set design but that type of, not bright

[00:46:17] lighting but you can see everything.

[00:46:20] There's not a lot of shadow.

[00:46:21] No, and I love how Baroque it is that like it's almost like a costume drama for the political

[00:46:27] intrigue amongst the warring houses.

[00:46:29] I mean, it's gold, baroque ornate spaceships.

[00:46:33] Yeah.

[00:46:34] You know, it's not Ralph McQuarrie's stripped down simple futuristic look that he created

[00:46:40] for Star Wars.

[00:46:41] It's like a really weird costume drama in space.

[00:46:44] Yeah.

[00:46:45] It does feel quite lived in as well.

[00:46:47] It looks quite realistic in terms of its sort of wear and tear.

[00:46:53] And also the spaceship designs in the onathopter, the sort of weird helicopter vehicle like really

[00:47:00] well designed.

[00:47:01] It has almost like steam punk but not quite.

[00:47:04] Like it's almost retro futuristic.

[00:47:06] Yeah, same thing.

[00:47:07] Very lynchy.

[00:47:08] I mean, you can tell how much she's had a hand in the visual design of everything that's

[00:47:12] in the movie, right down to the look of the guild navigators that weird like, it was

[00:47:18] straight out of a razor head.

[00:47:20] There's massive, hideous monster in a tank.

[00:47:23] I mean, that's not in the book at all.

[00:47:25] I don't know what.

[00:47:26] No, it's not.

[00:47:27] It's that from...

[00:47:28] There is a creature like that in the second book but from my own sort of how I visualized

[00:47:34] it.

[00:47:35] It was still humanoid in its look.

[00:47:37] It was a creature but it did kind of swim around this tank.

[00:47:41] But it did still have blimps like an arms and legs.

[00:47:45] It wasn't a big, fleshy blob with an anus-like looking mouth.

[00:47:51] Oh yeah.

[00:47:52] Yeah.

[00:47:53] Well, some people said vaginal as well.

[00:47:55] It's a bit Freudian.

[00:47:56] Yes, I think some reviewers who are being a bit unkind about the movie because it was

[00:47:59] savaged when it was first released.

[00:48:02] They said it looked like a mutant peanut floating in a tank.

[00:48:07] I think the effects...

[00:48:09] I mean, that's created by Carlo Rambaldi who was kind of the front runner in terms of animatronics

[00:48:15] back then.

[00:48:16] He did ET and versions of the alien where the jaws had to come out.

[00:48:21] So Carlo Rambaldi was who you went to if you wanted to do this kind of stuff.

[00:48:25] And I think everything that's being shot practically on set looks great.

[00:48:32] Yes.

[00:48:33] The effects on the other hand, the visual post-production effects, like the matting and so

[00:48:39] on.

[00:48:40] Not good.

[00:48:41] It's all dog shit.

[00:48:42] Yeah, it's not good.

[00:48:43] And it's also sort of the second half of the movie as well.

[00:48:47] So all the scenes where they're riding the sandworms kind of hilarious, like quite bad,

[00:48:56] quite bad.

[00:48:57] And to the point where it looks like TV quality sort of optical effects, like a lot of

[00:49:04] double exposure.

[00:49:05] They've just put like fog double exposure on everything and it just...

[00:49:10] Oh, you can't see what's going on.

[00:49:13] He gets on the worm and suddenly it's nighttime.

[00:49:16] For some reason when the previous shot was complete daytime in the desert, like it just

[00:49:22] doesn't make any sense.

[00:49:24] No, I think that might be a victim of the editing.

[00:49:27] But you're right, it doesn't ever look good or there's matte fringes everywhere.

[00:49:32] It looks cheap, it looks rushed and it's such a shame because on the one hand you've

[00:49:36] got this stunningly beautiful or horrifically weird in the case of the Harkinans.

[00:49:41] I mean, the visual coding of who is who and what they're like is really clear.

[00:49:47] But all of that practical stuff, you know, it's a bit like Lawrence of Arabia in the desert

[00:49:53] for some of that stuff.

[00:49:54] It looks great and then as soon as you get to a visual effects shot, it looks like dog

[00:49:58] shit.

[00:49:59] Yeah.

[00:50:00] And it's such a shame.

[00:50:01] That's the only bit that really dates it.

[00:50:02] You say it's timeless and I agree.

[00:50:04] Yeah.

[00:50:05] As soon as you get a visual effects shot, it's terrible.

[00:50:08] Yeah.

[00:50:09] And some of the battle scenes towards it and you've got these guns shooting at or shooting

[00:50:15] projectile, these explosions happening on the San worms but they just look like video

[00:50:21] game quality explosions.

[00:50:23] Yeah.

[00:50:24] Sort of thing you would see in like, I don't know, doom or something.

[00:50:27] It just wasn't cutting it.

[00:50:28] No, it wasn't.

[00:50:29] I have a feeling that the original special effects people, I think John Dyke's drove

[00:50:34] was supposed to be doing it who is a former member of ILM and created the motion control

[00:50:39] multi-pass optical compositing approach.

[00:50:44] I think he quit some right.

[00:50:47] Okay.

[00:50:48] The movie just was not going well.

[00:50:50] So I think he walked away.

[00:50:52] So they were scrambling for people to do the special effects shots.

[00:50:55] I don't think the result was very good.

[00:50:57] Oh, no.

[00:50:58] It's ugly.

[00:50:59] It does feel very influential to movies to come.

[00:51:02] Like this movie felt very much like the matrix, the trilogy of the matrix.

[00:51:07] Right.

[00:51:08] So not just the first one but the second one in terms of you've got the chosen Messiah

[00:51:13] figure and you've got all of these sort of indigenous people in a cave.

[00:51:19] But you know, like worshipping this guy against the bigger imperial rulers.

[00:51:27] I mean it has become such a cliche premise for a movie having the chosen one that's

[00:51:33] been prophesized to lead them into victory against the oppressors.

[00:51:39] But I guess at the time it was a bit sort of pioneering in that sort of genre of fantasy

[00:51:44] or sci-fi.

[00:51:45] I think it is a touchstone for a lot of people this movie, even though it was not a success.

[00:51:51] I mean, bombed pretty hard.

[00:51:54] Yeah.

[00:51:55] I mean, I guess source material wise that sort of premise was sort of template for lots

[00:52:01] of movies to come.

[00:52:02] Definitely.

[00:52:03] And I mean, I know that is also the style was premise which came out before this movie.

[00:52:08] But I don't know.

[00:52:09] That was feels much more, yeah, like space operarie.

[00:52:12] This feels much more, we are set on a planet.

[00:52:16] This is the planet sort of uprising of rebellion against the oppressors as opposed to deep

[00:52:23] space.

[00:52:24] Yeah.

[00:52:25] This feels more serious for sure.

[00:52:28] This does feel like game of thrones in space rather than with bang excitement and

[00:52:33] adventure.

[00:52:34] This is much more serious.

[00:52:36] Yeah, exactly.

[00:52:37] Yeah.

[00:52:38] One thing we should quickly touch on before we finish the music by Toto.

[00:52:45] Can you hear the drums in Africa?

[00:52:48] I think that didn't Brian Eno also do some stuff for this, like the prophecy theme was

[00:52:54] Brian Eno.

[00:52:55] Yes he did.

[00:52:56] Yeah.

[00:52:57] And also this is James Newton Howard's first experience of film scoring because he co-composed

[00:53:04] one queue of Toto's orchestral score.

[00:53:09] Now Toto he used pretty much as a joke, I mean I kind of did it there where you're sort

[00:53:13] of like and music by Toto.

[00:53:15] Yeah.

[00:53:16] And it's silly, it's funny but these are classically trained musicians, they're a super group.

[00:53:22] There's nothing weird about this.

[00:53:23] Danny Alffman came from the Mystic Knights of Oingo, Boingo.

[00:53:26] He was a rock star before he started composing movies and now he's got, you know, armfuls

[00:53:31] of awards and is well loved by both of us.

[00:53:35] So there's nothing really bad about that.

[00:53:37] And actually I think the music is pretty damn good.

[00:53:41] And what Lynx asked for was low, slow and momentous.

[00:53:46] He was saying Shostakovich, that's what he wanted.

[00:53:48] Right.

[00:53:49] I think that's what he got.

[00:53:50] I think the music's good.

[00:53:51] I mean when I saw Toto in the credits I was expecting 80s cheese which it is sometimes

[00:53:58] there's no doubt about that.

[00:54:01] It is a little cheesy at times, but some of the sort of the textural layers that they

[00:54:07] accomplished was pretty amazing, like quite sonically interesting, like experimental,

[00:54:13] synthy stuff.

[00:54:14] I mean there's a lot of strings in choir in there as well, but yeah, they do some interesting

[00:54:19] things.

[00:54:20] They do.

[00:54:21] I'm not so sure of the electric guitar.

[00:54:23] Yeah, the electric guitar was, yeah, that's the cheesy, that was what it was.

[00:54:28] Yeah, I've never been convinced of electric guitar in orchestral film schools until I heard

[00:54:36] Johnny Mars contribution to inception and then I thought, oh, okay, yeah, that works.

[00:54:41] Yeah, yeah.

[00:54:42] I mean the Squirrels' bandit's pretty amazing.

[00:54:46] There's a lot of synth in the electric guitar.

[00:54:48] Yeah.

[00:54:49] I'd like to score for June.

[00:54:51] I thought it was like decent.

[00:54:53] And it wasn't what I expected.

[00:54:56] No.

[00:54:57] I mean, Lynch, for my recollections of Lynch scores, they're generally tonal.

[00:55:03] Like a lot of just noise layers or tone layers, not a lot of melody, not a lot of the

[00:55:10] magic material, whereas this was very thematic.

[00:55:14] Like the prophecy theme, it's like Hummable.

[00:55:17] And quite sad tragic, like there's some cues for the death of Duke Lito that are so mournful

[00:55:24] and serious.

[00:55:25] And there's something about the tone that it creates of it being much deeper and

[00:55:31] grander than when you actually watch it and try to engage with the characters, actually

[00:55:35] turns out being gives it a certain spice for what they were.

[00:55:41] Going to your life from the movie at theatre, it's the prestigious movie awards.

[00:55:51] Yes, it is that special time on the part of the movie awards where we nominate our favourite

[00:55:55] Sandwim maneuvering parts of the film in a number of spice prophesising categories.

[00:56:02] Best quote.

[00:56:04] My favourite quote comes from one of my favourite characters, the Reverend Mother Gaius Helen

[00:56:09] Mahayam and it's when she's talking about people taking the water of life, which the

[00:56:16] women do to become a Reverend Mother, but every man that tries it, they fail.

[00:56:21] And it's just the line where Paul says to her, they tried and failed and she replies,

[00:56:27] they tried and died.

[00:56:29] Yes, and it's so sort of like, whoa, this is serious.

[00:56:33] Yeah, yeah, yeah.

[00:56:35] It's just her line delivery is great.

[00:56:38] Yeah, yeah, I agree.

[00:56:40] There is a funny quote that I wanted to point out.

[00:56:44] Maybe it's just funny for me, but it's after the duel between Paul and Fade.

[00:56:51] And he has killed Fade.

[00:56:52] He's like jabbed a knife straight up through his chin into his brain.

[00:56:57] It's pretty gruesome, but anyway, he doesn't stop there.

[00:57:02] He sonic blasts Fade's body into the ground with his voice, just cracking the floor open.

[00:57:09] It's pretty epic and then still got behind him just exclaims, more deep.

[00:57:16] And it's got this kind of tone to it as if he's saying, holy shit.

[00:57:23] Best hair or costume?

[00:57:25] I mean, it's got a bee sting's winged cold peace, hasn't it?

[00:57:29] I mean, yeah, that was a bit of a standout, yeah, that scene.

[00:57:34] Well, I don't, I sting in a pretty impressive specimen with a steps out of that steam shower,

[00:57:39] but I don't know, a winged, cost piece.

[00:57:42] Yeah.

[00:57:43] That's not great.

[00:57:45] It looks bit silly.

[00:57:49] Well, I mean, here on costume for me, I really love Lady Jessica's hair.

[00:57:54] So towards the start of the movie where she's in the palace and everything.

[00:57:58] Like it's, I don't even know how to describe it.

[00:58:01] How would you describe it?

[00:58:02] It's kind of got like wings of quiff.

[00:58:06] They're kind of curved backwards.

[00:58:08] It's got like body as well.

[00:58:10] I don't know.

[00:58:11] It almost feels like retro futuristic in its appearance.

[00:58:16] Yeah, it reminds me a bit of the way that Rachel looks in play, Drona, maybe.

[00:58:21] Yeah, I was thinking that and then seeing her actually into this movie as well, the save actor.

[00:58:28] Yeah, Sean Young playing Charlie.

[00:58:30] Most serious.

[00:58:32] She's moving it.

[00:58:34] 80s for me is the end credits.

[00:58:37] It looks like the opening sequence of a soap opera from the 80s.

[00:58:42] Like it's got, and because it's got the characters or the actors fading in and out

[00:58:48] with their title cards as well,

[00:58:51] with the most 80s sort of slow love ballad instrumental playing in the background.

[00:58:58] Got like 80s drums, like piano, electric guitar.

[00:59:02] Like who chose this?

[00:59:04] How are we?

[00:59:06] For the in credits, it's ridiculous.

[00:59:08] Yeah, this is a total track called Take My Hand, which apparently was used for a soap opera later on.

[00:59:14] What's it?

[00:59:15] Oh, what's that?

[00:59:16] In another country I read somewhere, it was used as the main title for some soap.

[00:59:21] Wow.

[00:59:22] It's perfect.

[00:59:23] It is perfect.

[00:59:24] My suggestion would be sting.

[00:59:26] Is the most interesting in this movie.

[00:59:29] Yeah, because they really were riding high at this point.

[00:59:32] This is right after the release of their fifth and final studio album Synchronicity,

[00:59:38] which reached number one in seven countries including the UK and New Zealand.

[00:59:44] Yeah.

[00:59:45] June 1983, and they were called the biggest band in the world, the police,

[00:59:50] and led the second British invasion of the United States music scene.

[00:59:56] Wow.

[00:59:57] So there you go.

[00:59:58] Favorite scene!

[01:00:00] My favorite scene in this movie, in both this movie and the Denny Villeneuve movie, is

[01:00:05] the Gomja Bar scene.

[01:00:08] There is just something about this incredibly serious and profoundly powerful woman testing

[01:00:16] the main character in this way.

[01:00:20] In terms of his mental strength, his ability mentally to overcome his animal instinct to

[01:00:28] pull his hand out of this box.

[01:00:30] Something about it, I've always found just fascinating and riveting and really powerful

[01:00:35] to watch both with Sean Phillips and with Karl McLaughlin doing it and also with Timothy

[01:00:41] Chalemy and Charlotte Rampling in the Villeneuve movie.

[01:00:46] Both incredibly powerful and potent scenes.

[01:00:49] I don't know.

[01:00:50] Just love it.

[01:00:51] Hmm, hmm.

[01:00:52] Favorite scene for me would be the Hunter Seeker scene.

[01:00:57] So this is Paul.

[01:00:59] He's in his chamber and he's just had spice.

[01:01:03] So recent, he's taken some spice.

[01:01:06] It looks like gum in this movie.

[01:01:08] I don't know why, but it just looks like a stick of gum that he just pops in his mouth.

[01:01:13] Anyway, out of the corner of his eye, this little device or machine thing, that's tiny.

[01:01:21] It's like the size of, I don't know, a battery or something pops out from the wall and it's

[01:01:26] a Hunter Seeker.

[01:01:27] It's been programmed to kill him to assassinate him.

[01:01:32] And it's such a great sort of tense moment in this scene where this Hunter Seeker is just

[01:01:37] slowly kind of floating across the room trying to find him but he's trying to stay very,

[01:01:43] very still so that it doesn't detect he's in the room.

[01:01:47] Yeah, it's just really well built in terms of suspense and pacing.

[01:01:53] And also when I watched the behind the scenes about it, they had to use the thinnest wire

[01:01:59] because it's obviously not floating, it's all practical effects so it's on a string.

[01:02:04] They had to use a wire man at a tungsten, it's the thinnest wire that they could find.

[01:02:09] And they had to map, I think they map painted it so that it wouldn't reflect.

[01:02:13] So you wouldn't actually see the wire reflecting then.

[01:02:17] So yeah, I don't know, it's just a really well executed practical effect.

[01:02:22] Yeah, you can't see the wires at all, it's very, very well shot.

[01:02:26] Most cliche moment.

[01:02:28] My biggest cliche in this movie, evil people abuse animals and in particular, I'm focusing

[01:02:36] on the scene where they give Thufa a cat to milk in order to act as an antidote to the

[01:02:46] poison they've given him.

[01:02:47] And then when you get a close of it, there's a Syme's cat strapped up in a box in a very

[01:02:52] uncomfortable position with a rat to sit.

[01:02:54] With a rat to take to it.

[01:02:56] Yeah, I don't know how that happened.

[01:02:59] I don't know, I don't know.

[01:03:01] I don't know.

[01:03:02] Yeah, there was a confusing scene.

[01:03:05] That's David Lynch again.

[01:03:08] There's a cat strapped to a rat.

[01:03:12] It's David Lynch, holy.

[01:03:15] Best special effect.

[01:03:17] My favourite special effects in this movie are all of the practical ones but in particular

[01:03:23] the miniatures by a man named Emilio Ruiz del Rio who creates instead of matte paintings

[01:03:31] he creates these incredibly detailed miniatures and puts them in the foreground in front of

[01:03:39] the camera.

[01:03:40] So for example, when they first land on Dune and you get this shot of all of these spaceships

[01:03:46] and all of these soldiers lined up as far as the eye can see, almost all of it is a miniature

[01:03:53] that's right in front of the camera and he's up on a tower filming this and there's a little

[01:03:59] hole in the miniature and in that hole is lined up with a ramp with everybody walking down

[01:04:04] the ramp coming out of it.

[01:04:07] And you cannot tell, it's beautiful.

[01:04:09] It's like a lost art.

[01:04:11] It's incredible work.

[01:04:13] Yeah, I mean I was really impressed by all of the machines and all of the vehicles and

[01:04:19] there's like a cable car, sort of gondola thing at one point.

[01:04:24] It looks amazing.

[01:04:26] Yeah, it's great stuff, all the practical stuff they're doing.

[01:04:30] I do have to pick out the worst effect in this movie and it's the shields, the personal

[01:04:38] shields that they activate so at one point at the start Paul and Gurney have a bit of a

[01:04:45] practice duel and then they activate the shields and they just look like blocks, blocks

[01:04:52] of cubes, you can't see anything at all.

[01:04:56] Like they're supposedly having a knife fight but it's just cubes everywhere and it's laughable,

[01:05:05] it's really bad.

[01:05:08] It visually distinct though.

[01:05:10] It is.

[01:05:11] It has never been anything like it before or after on cinema and it's quite interesting

[01:05:17] that the corridor crew, I don't know if you follow them on YouTube, the special effects

[01:05:22] guys.

[01:05:23] I've seen a few of their videos.

[01:05:24] Yeah, they did one where they talked about how this effect was created and they try to

[01:05:28] recreate it digitally now and they find it really hard but they're talking just in

[01:05:33] awe at how somebody had to cut pieces of film physically and then defocus it and like build

[01:05:42] a box out of defocus bits of film and animate it one frame at a time for every single shot

[01:05:49] that's it.

[01:05:50] And it's painstaking, weird, visual thing but looks like dog shit and you can't see what's

[01:05:58] going on.

[01:05:59] Yeah, it has to go on.

[01:06:00] It's distinct and it was achieved through quite a laborious process.

[01:06:04] Yeah.

[01:06:05] Favorite song do you think?

[01:06:07] I think the easy one to pick would be The Voice.

[01:06:11] I wouldn't say it's the best sound effect.

[01:06:13] I mean, it works but they kind of just sound like monsters when they use The Voice to

[01:06:22] mind control people.

[01:06:24] I don't know.

[01:06:25] It kind of takes me out of it.

[01:06:27] That was my pick.

[01:06:28] It's really weird and the bit that I really like is there's like a slowed down synthesized

[01:06:34] version of it that sort of echo these afterwards in Linger so she'll say come here and then

[01:06:39] later on you'll just say come.

[01:06:41] Yeah, that's true.

[01:06:43] The funniest moment in the movie for me comes courtesy of Brad Duriff as Pytor and it's

[01:06:52] the famous scene where the Duke has given a false tooth full of poison gas which Dr.

[01:06:58] Yuy is hoping he will chomp down on and blow in the face of the barren and their bias

[01:07:04] kill him and get his revenge for murdering Yuy's wife.

[01:07:08] And he gets confused and he actually blows it in the face of Pytor instead.

[01:07:14] And Brad Duriff's reaction to being poisoned is just priceless.

[01:07:19] He just does this one sort of, wow, and goes over immediately.

[01:07:24] Yeah, yeah, yeah.

[01:07:26] It's great.

[01:07:27] It's so Brad Duriff but just so weird.

[01:07:31] Funny moment for me was the barren's death so he's killed by Alia.

[01:07:38] Alia who's supposed to be a toddler but she's she's nine in this movie so she pricks him

[01:07:44] or slices him with a poison needle thumb thing and he just kind of spins around and he

[01:07:53] ends up outside at one point and then he gets swallowed by a worm but the whole scene

[01:07:59] just cracked me up.

[01:08:02] That was so funny.

[01:08:03] It's utterly ridiculous, yeah.

[01:08:06] And especially when he's spinning because the effect isn't that great.

[01:08:09] It isn't great.

[01:08:10] No.

[01:08:11] Yeah.

[01:08:12] Um, that's how move please.

[01:08:15] Yes.

[01:08:16] Hi, I'm Bernard Rose, the director of Paperhouse and you're listening to movie Ubley

[01:08:24] Act.

[01:08:25] Alright, everyone it's time for our final verdicts.

[01:08:34] Should David Lynch's June from 1984 be set free to eat spice and be worshiped by all

[01:08:42] or should it be Sonic weapon exploded and left in the desert to be carried away by a

[01:08:48] Sanworm back into the Ubley Act replaced by the new Denis Villeneuve remake and thus

[01:08:56] forgotten.

[01:08:57] Conrad, should June have a revival?

[01:09:02] I don't know it's a really tricky one this one because a lot of people have treated this

[01:09:07] like a bizarre footnote in David Lynch's career that he would rather forget that it's

[01:09:14] not terribly successful.

[01:09:16] It's not engaging on a human level as a drama because the characters aren't treated in any

[01:09:22] depth, but it looks spectacular.

[01:09:26] It's really memorable and influential.

[01:09:29] The music is great.

[01:09:32] There's certain scenes in it that probably due to the source material are just unforgettable

[01:09:38] and really powerful like the Gomgerbar scene.

[01:09:41] But some of that is because of Lynch's approach to it and the performance as he gets

[01:09:45] from an absolutely stellar cast.

[01:09:49] But I think if I'm really forced to say do I think this deserves to be out of the

[01:09:54] Ubley Act?

[01:09:55] I think I'm going to pull a bit of a fast one and say no because this is not the version

[01:10:02] that Lynch wanted so I will say I want a memory hole this one and wait until he's had an

[01:10:09] opportunity to look at the raw material and see if he can release a version that is his

[01:10:15] true vision of this movie and maybe isn't ruined by a rushed last third and just endless

[01:10:22] exposition.

[01:10:23] So I'm going to say no on the basis there is a better version of it out there and I don't

[01:10:30] just mean the Dennyville nerve which is kind of perfect.

[01:10:36] So that's my half-assed attempt to justify my decision.

[01:10:40] Yeah, yeah I agree.

[01:10:42] I think this movie does look amazing visually like set design props like costumes it's stunning

[01:10:49] it really is.

[01:10:51] The cast do what they can with what they've got.

[01:10:56] I mean it's an incredibly underutilized cast as well you have so many greats in there

[01:11:02] just with nothing to do or just all of their lines just cut out of the movie.

[01:11:10] So I don't know if people not reading the book were knowing anything about June would

[01:11:15] even understand this movie and they tried so hard to explain it with like whispered exposition

[01:11:22] I don't know whether it makes it better.

[01:11:25] It's almost nonsensical at times like I watch it with my wife I'm just constantly

[01:11:31] pausing and having to explain are they doing this because of this because of this because

[01:11:36] of this.

[01:11:37] And the film is really only watchable because I have read the book so I don't know whether

[01:11:45] I would recommend this to anyone because it is quite confusing because there's so much

[01:11:50] they've had to cram in as well and the stuff that they have film most of its edited out

[01:11:56] so there's not much left.

[01:11:59] No.

[01:12:00] Yeah I would agree I don't think I would recommend this and I'd love Lynch as well.

[01:12:06] Yeah me too.

[01:12:07] I was so excited first 40 minutes I was in I was like this is way better than I expected

[01:12:14] it to be but then yeah second half not so much.

[01:12:20] No it's a real shame isn't it that's why I think there is probably a really great Lynch

[01:12:24] movie in the raw footage somewhere.

[01:12:27] Yeah.

[01:12:28] I don't think this is it.

[01:12:29] No.

[01:12:30] I really don't know and Villeneuve's just so bloody good it's yeah it is yeah so it's

[01:12:39] a no from us but better check in with our patrons hello hell yes Conrad I bet you can

[01:12:46] guess what time it is let me guess vote count yes please they disagreed with you they

[01:12:53] want to set it free oh I am quite surprised by this

[01:12:57] yeah by an overwhelming majority 92% to 8% and a lot of people voted so Eddie Colter

[01:13:06] said the spice must flow for all its faults I still find Lynch's June to be a fascinating

[01:13:12] film that I revisit every other year bonus June trivia Lynch was also developing a script

[01:13:18] for June Messiah while working on this film.

[01:13:21] Hmm I would have loved to see that.

[01:13:24] Hmm me too yeah so they had a three movie deal I think they were going to do.

[01:13:29] Wow oh wow yeah didn't happen after it came out and crashed and burned but yeah iconographer

[01:13:38] says June 1984 is like a fever dream to me I remember growing up and it was always playing

[01:13:43] on TV on random Saturday afternoons I would only catch parts of it so I had no idea what

[01:13:49] was actually going on but the showdown between Alia and Baron Harconan always terrified

[01:13:56] and intrigued me I finally watched it in my 40s and one it has its flaws I understand

[01:14:02] the choices they made let's ride this sandworm out of the uble yet.

[01:14:07] Oh okay okay yeah Dr. Doggy says set aside the internal monologues and exposition as clumsy

[01:14:14] as a man with 17 thumbs this film has a couple of rather interesting science fiction ideas

[01:14:22] which weren't in the book and some scenes which are highly memorable in and of themselves.

[01:14:28] Leonardo Chimino's Puss Extraction scene is my own personal highlight.

[01:14:33] Oh my god what's going on there?

[01:14:39] And they finally concludes with better let this one free lest its name becomes a killing

[01:14:44] word.

[01:14:47] And finally Chazilla came up with a fantastic riff on one of Brand Dorif's lines in the

[01:14:54] film.

[01:14:55] I am the Assassin's Hadarak it is by Willalone I set June 1984 in the DVD player it is

[01:15:01] by the extended cut the film requires its cult status studying the film acquires knowledge

[01:15:06] with knowledge I must watch again it is by Willalone I set June 1984 in motion.

[01:15:13] Beautifully done.

[01:15:17] But yeah everybody loves it people love it's just weird memorable oddness of it so I can

[01:15:23] understand that.

[01:15:24] Yeah I mean for something that came out in the 80s as well really doesn't look like an

[01:15:28] 80s film like it does not yeah for me it does seem very timeless for the most part

[01:15:35] not not all of it but a lot of it yeah it's distinct and astonishing and just a feast

[01:15:42] to look at and weird and powerful in odd ways but it doesn't work as a narrative or

[01:15:47] as a drama so I feel like that's kind of important.

[01:15:52] As a fellow yeah generally yeah so I think June I'm afraid we are going to poke you with

[01:16:01] the gom jibar and send you into the mouth of a sound worm.

[01:16:08] Goodbye so what is up on the plate next time what are we doing Conrad?

[01:16:18] Well we're doing a Patron's choice next time so our Patrons have been sending us lots

[01:16:24] of nominations to put on the Ublea Trule.

[01:16:31] Okay but I give that sucker a spin there.

[01:16:33] Okay and there we go ran and ran.

[01:16:38] Where's he going to stop?

[01:16:40] Where's he going to stop?

[01:16:42] Oh it's the abominable snowman.

[01:16:46] Oh right right who chose this one?

[01:16:49] This was nominated by Eddie Kulter who's keenly trying to help us expand our year range

[01:16:55] of movies by nominating films from the 50s and 60s and this is an old hammer horror movie

[01:17:01] I believe.

[01:17:02] Oh wow it's a ticking two boxes already old movie and hammer horror.

[01:17:07] Yes it's from 1957 and it stars Forest Tucker Peter Cushing Maureen Connell and Richard

[01:17:17] Watis directed by Val Guest and written by Nigel Neal and Val Guest.

[01:17:23] Oh yeah and I feel like we have another like a good solid creature feature in a while.

[01:17:28] No we haven't and this also fits into a surge of cold crash pictures is fascination with

[01:17:35] cryptids as well so that's for me.

[01:17:38] Oh wow making everyone happy today.

[01:17:41] Yeah I'll look forward to that.

[01:17:43] Haven't done a 50s movie.

[01:17:45] Yes.

[01:17:46] At all?

[01:17:47] Have we ever done one?

[01:17:49] What's the conquest of space?

[01:17:50] Where was that?

[01:17:51] Oh that might be it yeah you're right I think conquest of space was 50s but yeah that

[01:17:55] was a while ago.

[01:17:56] Yeah that was a while ago brilliant okay looking forward to it indeed yeah.

[01:18:01] Okay so listeners if you want to keep up to date with our episodes and that movie that

[01:18:07] we're going to be doing you can follow us on all platforms as a movie uble edge and

[01:18:13] you can also email us at movie.ubbleyategmail.com.

[01:18:17] Yes and if you'd like a chance to nominate a film for us to cover in a future episode

[01:18:21] head on over to patreonware for as little as a dollar you can do just that and get access

[01:18:25] to extended portions of the show.

[01:18:28] For five dollars you get to vote on the final verdict and get access to our monthly

[01:18:32] minisodes and for ten dollars you can be an executive producer with exclusive behind

[01:18:37] the scenes info like chisilla eddy culture Isaac Sutton, Dr. Doggy, Surge and iconographer.

[01:18:44] Yes yes we also have merchandise at red bubble and a youtube channel with it video essays

[01:18:51] and if you haven't already please rate and review us on all podcast platforms because

[01:18:58] it does help us out it gets the word out and you know makes us feel good.

[01:19:04] It does yeah and follow us on TikTok.

[01:19:06] Yeah yeah I'm posting a bunch of different things I'm just still tasting the waters

[01:19:13] so you know yeah find us there.

[01:19:17] Yeah please do.

[01:19:19] Okay well let's ride on out on that sandwich.

[01:19:22] Yeah yeah let's do that until next time listeners goodbye.

[01:19:28] Goodbye.

[01:19:36] They tried and failed they tried and died.