A fugitive stumbles onto a movie set just when they need a new stunt man, takes the job as a way to hide out and falls for the leading lady while facing off with his manipulative director.
With that let’s welcome back Steve & Izzy from EILFM, Brad, as well as executive producer of the Drive Thru Tania, and Mountain Man Dan to Break/Fix!
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Spotlight
Steve and Izzy - Hosts for Everything I Learned from Movies Podcast
Steve and Izzy watch bad movies, drink good beer, funny third thing. Cheers!
Contact: Steve and Izzy at Visit Online!
Notes
- Review of the 1980 Film “The Stunt Man” featuring Peter O’Toole, Steve Railsback and Barbara Hershey
and much, much more!
Transcript
Ashley McAnelly: [00:00:00] The following episode is intended for mature audiences. Please note that listener discretion is advised.
Crew Chief Eric: I was catching up on your guys episodes. I had some windshield time, so I enjoyed some love on film and Marky Mark and April and it’s been good. But you know what’s funny, is I find myself Sitting in the exact same spot where I do our show and it feels different when I’m on somebody else’s show, magically, it’s suddenly different.
Steve Kondrick: Yeah. You barely have notes. You just sit back, let the other person do the drive in. Just throw out your five star jokes the whole time. A hundred percent. You’re a sniper. That’s what it is when you’re a guest, . Yeah, trust me. We’ve guessed it on probably
hundreds,
Steve Kondrick: 500 episodes or something like that. Yeah.
Some of them were just like, yeah, let them do all the heavy lifting. And then it’s like, insert poop joke here.
I’ve
Steve Kondrick: been waiting 45 minutes to
Crew Chief Eric: drop this bomb. Well, [00:01:00] I did re listen to the episode we did about Lamborghini and it turned out better than I
Steve Kondrick: remembered. Oh, yeah. So it’s like, well, yeah, with adding like from the movie, it’s like, Oh, Steve’s not just being a racist, Scottish, Italian stereotype or whatever.
That’s your real
Crew Chief Eric: bird. I had to do it. And that was the first one I did. And I was like, you know what? We need to really bring the audience. It’s really going to help because otherwise you’re right there. Like, why is this guy will
Steve Kondrick: be the greatest Atari
Crew Chief Eric: and my name is in Kaiser. So they, you know, what else is funny?
This particular film for whatever reason, like Jess. My better half, she will partner with me to watch the films. I love her color commentary. I write it down, all that kind of stuff. This time, it was just so funny. I was like, Steven, is he have a movie for us to watch? Not tonight, honey. You know, try a couple of days later.
We’ve got to watch this movie. Steven is he sent us not tonight, honey. Try it a third time. She’s like, all right, let’s get this over with [00:02:00] spoilers. It’s a little over two
Steve Kondrick: hours. Oh God.
Crew Chief Eric: Well, that’s exactly,
Steve Kondrick: I say, I said, you know, the running times like two 11. She’s like, are you serious? And if you’re watching on like freebie or whatever, they’re going to add like an extra commercials, 9, 000 commercials.
Exactly. Tubi’s not so bad. Like whenever I get the choice of Tubi and literally anything else other than streaming, then it’s like, okay, there we go. Here’s the stupid part. Freebie, I guess was IMDbTV,
Crew Chief Eric: so I hit sign in and now it’s linked to my Amazon with my freebie and now forever hold its own. piece.
Stuntman is a link to my watch history in Amazon. And it’s like, Oh, because you watch this, we recommend these 9, 000 other films. Great. Thanks. These other movies, Steve and Izzy
Steve Kondrick: have watched for Stuntmonk, which by the way, All amazing. Every last one that we’ve watched. Oh, yeah. Oh, yeah. Spoilers for this one.
I didn’t know this one existed. And then watching it, I’m like, screw you guys for not telling me this movie existed. [00:03:00]
Executive Producer Tania: Not you guys.
Steve Kondrick: People born before 1981. Yeah, right.
Ashley McAnelly: Those guys. I think the rest of us are going screw you guys for telling us it existed.
Steve Kondrick: What? No!
Ashley McAnelly: All
Steve Kondrick: right, we’ll get into it.
Executive Producer Tania: Yes,
Steve Kondrick: we will.
Executive Producer Tania: It’s a wonder Bill didn’t just die sometimes.
Steve Kondrick: Well, we’ll get into it. I mean, we also live on a mountain.
Crew Chief Eric: He called you Mike too, Don did the same thing. What is this? Dan, wait, what the hell? Just Mike’s Pizza.
Steve Kondrick: Yeah, that’s what it is. Mount Mike’s Pizza. That’s
Executive Producer Tania: exactly
Crew Chief Eric: what
Steve Kondrick: they said.
Executive Producer Tania: Is this a like a national chain? It’s kelps. It’s a west coast thing. Oh, okay.
You now see when the pizza is delicious.
So I have an alias on the West Coast. Apparently you do everything. Help me, guys. Isn’t this pretty? [00:04:00] Where there be work, there be home! It’s time to get dancing! Friends team dancing! Step right up, folks. Ride the ride of the century on Eli’s killer crane.
Stuntman, a man on
the woman. Who to know why.
Izzy Fischer: Who the hell are you? And
the director, who offered him a hiding place. You shall be a stuntman. [00:05:00] Who is an actor. Who is a character in a movie. Who is an enemy soldier. Who’ll look for you, amongst all those. The Stuntman. In a world where nothing is what it seems, the hardest stunt is to hold on to reality.
It doesn’t change the fact that the man is crazy.
It’s the insanity of violence. Madness of make believe. You’re cheating me. You look at me like I’m some kind of damn movie. Well, I’m not. I’m real.[00:06:00]
In a nightmare, in a movie, outrageously,
into the unexpected.
Steve Kondrick: Yes! Ladies and gentlemen, I’m Steve. And I’m Izzy. And this is
Executive Producer Tania: Everything I Learned From Movies! And tonight! Oh, tonight! Ah,
Steve Kondrick: we are continuing May Cause Injury!
Maybe, maybe, maybe!
Steve Kondrick: With 1980’s The Stuntman!
Izzy Fischer: Yeah!
Steve Kondrick: All but babe. We’re not alone for this one.
Izzy Fischer: We’re not.
Steve Kondrick: We may have the most guests we’ve had on at one time.
More
Executive Producer Tania: than the campout?
Steve Kondrick: No, not quite that many, but still. On the main episode, we’ll say. Because we have from Grand Touring Motorsports, we have Eric, Tanya, Brad, and Mountain Man Dan. Definitely not Mountain Mike. Woo . Thanks
Crew Chief Eric: guys. Thanks for having us.
Crew Chief Brad: Good to beer.
Executive Producer Tania: Thanks for being on. Yeah.
Crew Chief Brad: A [00:07:00] thousand dollars for this, right?
Not six 50 .
Crew Chief Eric: That’s 10 Dogecoin for you, my man. We’ll split
Steve Kondrick: the difference. 707
Crew Chief Brad: 7 50. Yeah, you, you always wanna split the difference. Tanya.
Steve Kondrick: Sorry, the checks in the mail. . It’s on the helicopter. So was this your guys’ first time watching this movie? Yes. Yes.
Crew Chief Brad: No, I watch it annually.
Steve Kondrick: I got the 4k restoration along with the original 35 millimeter.
Man.
Crew Chief Brad: I have it signed by the cast. The can.
Executive Producer Tania: That would be worth a lot.
Steve Kondrick: Exactly. Well, one in particular, at least. Yeah. That’s our first time to even know this thing existed. And
Crew Chief Eric: so this reminds me a lot of when we debate on our, what should I buy sub series on break where we talk about things that were made in the decade prior and then positioned as something of that time.
This is clearly a seventies film, even though it has a release date of 1980.
Steve Kondrick: Spoilers. It was filmed in [00:08:00] 1977 and we’ve learned this month. It would have been one of like eight stunt movies released that year. So that’s why they should have let it out. Let the cat out of the bagel. Before we get into this, I’m a little thirsty.
I don’t know about you.
Executive Producer Tania: Oh, I’m still sober, so we should fix this.
Steve Kondrick: Oh, well, what you got to fix that?
Executive Producer Tania: We have from Bohemian Brewing their Dortmunder Export Lager, 6 percent alcohol by volume. Not
Steve Kondrick: bad. It’s a Bohemian brewery in Midvale, Utah, home of the original KFC.
Executive Producer Tania: All right, be prepared for my scream because I have a cat in my lap.
I’m about to pop my top. My top. And the cat’s still here. Seems interesting. She wants some. And the poor. Yeah. Yeah. This is a beautiful, very pale colored beer,
Steve Kondrick: and it’s like golden straw color.
Executive Producer Tania: Yeah. It has a gorgeous white foamy head, very effervescent
Steve Kondrick: and there probably . Ooh.
Executive Producer Tania: The AR aroma is very mild. It’s basically just a little bit of almost [00:09:00] cereal, and you get a little bit of like carbonic bite on the nose.
Steve Kondrick: Yeah. Let’s melt forward. But not much, like, like it’s very light and airy and
Executive Producer Tania: Sneaky 6%.
Steve Kondrick: Oh yeah, yeah, definitely. Yeah, it’s almost like, like a light lager, but
Executive Producer Tania: Yeah. Oh, it’s just in the can!
Steve Kondrick: 12 fluid ounces,
Crew Chief Eric: allegedly.
Executive Producer Tania: Allegedly. Are you guys over there drinking anything tonight?
Crew Chief Eric: In honor of you guys, I’ll see your 6 percent and raise you 2 percent with Delirium Red, Belgium’s finest imported through the great state of Maryland, fortified with cherry and elderberry.
It’s a Belgian ale.
Crew Chief Brad: Ooh! I will see yours and raise you 43%. Woo! Oh, McClelland! This is the only way I could survive that movie.
Crew Chief Eric: Izzy, it is a red color and it has a pink foamy head. It smells like Cherry Gojo, but it doesn’t taste like that. [00:10:00]
Izzy Fischer: Look at you being a beer judge.
Are you guys going to force me on alcohol content to go grab a quart of shine out of the fridge?
Crew Chief Eric: I knew it. I knew you had shine in the fridge.
Crew Chief Brad: He’s got it just for this occasion. No, it’s Somalia. That’s what it is. Oh, no, no, no. Yeah. We
Executive Producer Tania: are a certified beer judges.
Steve Kondrick: Oh, nice. We are certified alcoholics.
Executive Producer Tania: We are BJCP certified, which means we are certified to judge both home brewer and professional beers.
Crew Chief Brad: I’m sensing a side project podcast just for beer. We mix it in. It’s far too
Steve Kondrick: boring when it’s just about the mechanics of beer and the history of the Dortmunder express lager. Like you don’t need any bigger beards
Executive Producer Tania: than Steve’s who have that podcast.
Steve Kondrick: If you do it anything like the way you judge the deviled eggs, I’m all in.
That was excellent. Those I don’t know, Eric’s a bit of an ASMR freak. And so I
Crew Chief Eric: just [00:11:00] loved you chewing on the eggs.
Steve Kondrick: You should hear us when we’re doing like the Japanese flavored chips and stuff like that. Like the cherry blossom potato chips. We’re like, Oh man, this is definitely something I put in my mouth.
Executive Producer Tania: It’s not just Japanese flavored. It’s a all of Asia and the Pacific Rim. We have an international Asian market, Ocean Mart for the, for anybody who happens to be in Ogden or Roy, Utah, they have a great chip selection.
Steve Kondrick: Speaking of great ship selection, 1980s, the stunt man from writer, director, Richard Rush, who’s that? Oh, I’m glad you asked. He did movies such as too soon to love of love and desire. Hell’s angels on wheels, thunder alley, a man called dagger psych out the savage seven, three B and the bean. This. And then when you may have heard of the color of night, the one where you see Bruce Willis’s Wang during the love scene or something like that.
Executive Producer Tania: Have you seen Bruce’s Willis? [00:12:00]
Crew Chief Brad: No. I feel like we need to watch a man called Dagger. A man called Dagger. That sounds like a good one. I think we need to watch that. He lost
Crew Chief Eric: me at the something and the bean.
Steve Kondrick: I’m afraid to look it up cause I’m pretty sure Bill Cosby’s one or the other, it’s from the seventies. But basically, unfortunately he passed away in 2021. This course based on the novel by Paul Bril Dev. Oh, see, Steve, this is the only thing you had on IMDb. So the only thing adapted for a movie. I
Crew Chief Eric: did notice that this was based on a book and where would I even find this book?
The book was better. That’s what I wondered. I want to know if there’s something that was left out. I need to fill in.
Crew Chief Brad: But someone like Dan is reading it. So I don’t know if that’s better or worse. I was going to say the movie is two hours long, the audio book, 200 hours long. Oh
Izzy Fischer: my God. Probably.
So much to explain.
Got to get every [00:13:00] detail in there.
Steve Kondrick: But if it were narrated by the star of this film, Peter O’Toole as Eli Cross, I don’t know. I’ve listened to that show. This guy, he
Crew Chief Eric: has a voice that is unforgettable. It’s very distinct. But was he born old? Because he’s looked the same
Executive Producer Tania: forever. Yes. He came out of the womb at 40.
Maybe.
Steve Kondrick: You go back to Lawrence of Arabia, he still looks like he’s in his mid fifties. Yeah. Also starring in this movie, we have favorite of the podcast, Steve Ralesback as Cameron.
Executive Producer Tania: We love
Steve Kondrick: Steve Ralesback.
Executive Producer Tania: I love Steve Ralesback anyway. I’m not
Steve Kondrick: sure how Steve feels about him. He pops up in movies we enjoy.
I’ll give him that.
Executive Producer Tania: We love this guy.
Steve Kondrick: Lifeforce and Turkey Shoot.
Executive Producer Tania: The 60s, 70s, and 80s was a time of like leading guys who probably should have never been leading guys. And then there’s like leading guys who definitely should have been leading guys. Steve Railsback, I feel like walks that line. Like he looks like a leading guy, but he sort of acts like a background.
And I love it. I just, I love it. [00:14:00]
Steve Kondrick: Also in this movie, we have Barbara Hershey as Nina Franklin, Alex Rocco, one of our favorites from Rockford Files as Jake, the detective. And did anyone see James Avery in this movie, aka Uncle Carl from Fresh Prince of Bel Air?
Executive Producer Tania: Okay, so I saw that he was in there, but there was only one person of color the whole time.
And that was like the first five minutes. So was he the dude that walked by the pinball machine?
Steve Kondrick: Yeah, he was a customer at diner is his official.
Crew Chief Brad: At diner. I thought that was, and I thought it was a lot thinner and taller.
Steve Kondrick: Well, it was,
Crew Chief Eric: you know, 15 years before or something. So you mentioned Barbara Hershey.
Does anybody recognize her from anything else? More recent?
Steve Kondrick: Nope. Not offhand.
Crew Chief Eric: Okay, well, Boxcar Bertha aside, and we can talk about that more later. She played the Queen of Hearts, Korra, on ABC’s Once Upon a Time. Oh, yeah, I never watched it.
What? That
Crew Chief Eric: whole Alice [00:15:00] in Wonderland arc that they did, she was the Queen of Hearts.
It was at like season three or four or something like that. It started almost right away at the tail end of season one into season two. I’m actually watching it with my girls now and they love it.
Steve Kondrick: Oh, nice. Let’s check that out. Yeah. And of course, if you want to watch this movie, which I mean, I’ll say I, I think you should, it’s on Tubi, it’s on Amazon Prime, Freebie, Plex, Sling TV.
Apparently they’re just throwing this away so you can find it for free.
Executive Producer Tania: Depends. Do you want it to be two hours or do you want it to be four hours? If you want to be four hours, go freebie.
Steve Kondrick: I went freebie and it was torture. Yeah, go the Tubi way with that one. Yeah, freebie, uh, I forget which one we watched it recently, but it was like, we’re watching like an hour and a half movie and it took us legit over three hours to watch it.
Crew Chief Eric: With these streaming services now, if you’re not willing to pay the premium package, yeah, they give you add one of two or whatever. Freebie is like add one of nine. I’m like, all right, cool. Well, I’m gonna go make a sandwich and wash the car. I’ll be back. All right, cool. I’m gonna go walk the dog. Bye. Let’s just talk for a [00:16:00] moment about the opening of this film, shall we?
Let’s do it. I will say this. I kind of got excited. I was thinking stunt people, it’s going to be cars and ramps and explosions and this and that. That whole beginning with the clapboard, I was ready to turn it off about 30 seconds in. Is anybody else super annoyed by that? Oh, with the clapboard credits or S Oh my goodbye.
Oh my
Executive Producer Tania: God. Story clap.
Steve Kondrick: Yeah,
Executive Producer Tania: I was, it was full like the first two times and then yeah, after that it was too much. I was so triggered. Right. But I think it sets us up for this movie being too much. And if you want less, go somewhere else. A hundred
Crew Chief Eric: percent, but what I thought was neat, maybe there was going to be a pattern building.
Cause if you notice during the clapboard intro and all the things going on in the diner with the uncle from fresh prints or whatnot, there was like multiple shots of dogs. And I was like, Oh, there’s going to be like a dog theme here. Cause there’s like three or four dogs within that whole first thing.
And I was like, okay, where are we going with this? And then it turned into the fugitive. So I got excited. I was like, this is cool. Like we [00:17:00] have started off something amazing here. This might actually be a good movie.
Winning scene with the dog laying there, like in on himself as the car pulls up. I was like, okay, this movie might have some potential.
That’s what you judged it on. What can I say? The dog’s reaction, growling at them for honking the horn. I just thought it was pricey. I laughed way harder than I probably should have at that. I thought it was hilarious.
Crew Chief Eric: You find the weird stuff, but the dog was awesome. .
Steve Kondrick: Yeah, so we had a dog lying on the road and like barks at a passing car and then there’s like a bunch of like semis and choppers and the highway patrolman and everything pulling up and then like the choppers flying by and some random vulture just like hits the chopper and they’re like, oh, what the hell was that?
Oh, nothing. A born just a damn bird, you know, blah. I was thinking like, oh no, they’re gonna like lose control and crash or something like that. Nope. I was waiting
Executive Producer Tania: for this whole final destination thing and like everybody in the first five minutes was going to die or something.
Crew Chief Eric: What’s awesome is at this point, I have a note here.
My wife turns to me and she goes, I can guarantee that there is at least five minutes of bullshit before this movie even starts, [00:18:00] right? Kind of knowing how these late seventies films are. It’s about the credits.
Steve Kondrick: We don’t see the gentleman in the back. We just see is. And as he brings a bitten apple into screen, I’m like, Oh, he’s eating an apple.
So he must be an asshole. That’s movie code.
Executive Producer Tania: If somebody is eating an apple, they’re always an asshole.
Steve Kondrick: And they just throws it out the side of a chopper rolls down like the top of the diner hits the cop car.
Executive Producer Tania: Yeah. And the cops are like, so hit the roof. Well, call the chief after we catch this scumbag.
Steve Kondrick: And they go into the diner and we see the, like, diner lady, like, taking orders and she has this, like, tiny dog, like, tucked in her armpit and she’s, like, leaning over, like, here’s your egg, sweetie.
And I’m like, nope. And then the guy’s
Executive Producer Tania: like, one day I want to get you. And the dog starts, like, trying to take his finger off. Wait, did nobody notice that he, like, grabbed her boob?
Oh! No, he was going for her boob
Executive Producer Tania: and the dog got him. Exactly! Yeah,
Crew Chief Brad: yeah, yeah, yeah. He said, I’m gonna, I’m gonna get you, Mary.
Executive Producer Tania: I think he made it and then he had to back off because the dog started snapping.[00:19:00]
That’s why she brings her dog to the diner for this guy.
Crew Chief Brad: Maybe Mary was the dog and he was talking to the dog. I’m gonna get you.
Steve Kondrick: Then it cuts to that commercial of A model and her dog acting all seductive, like holding her like, yeah, yeah. Make it like, make it love to the camera. And I’m like, wait, what, what?
Crew Chief Eric: So that foreshadowing that comes up later in one of my favorite quotes from this film. So that’s Barbara Hershey in the commercial. Okay. It was Barbara Hershey. Okay. Cause it kind of looked like her, but you know, it was real quick and it was just like. What
Steve Kondrick: the hell?
Crew Chief Eric: There’s a quote later that references back to that commercial.
And we’ll see if you guys picked it up or not, but we’ll keep going. We also see at the diner. No, no, no. Where she’s selling douche powder.
Executive Producer Tania: Yes.
Crew Chief Eric: Oh, is
Executive Producer Tania: that what that was for? Yes. Yes. Cause they’re going to bring it up later again.
Steve Kondrick: Yes, exactly. All right. That explains the seductive part of it, I guess. Yeah.
Yeah. We also see someone sitting at the diner. It’s, uh, Steve Roelsbeck looking like Charlie Manson with the beard and the haircut and everything. The [00:20:00] best he looked in the entire film. Look, Steve Roelsbeck, he’s not a handsome man. He’s an awful looking guy. He’s horror, but yeah, he’s got the super high cheekbones and, I don’t know, dead doll eyes for the most part.
Executive Producer Tania: Look, mr. Respect, please come on our podcast. Please. I’d love to, I’d love
Steve Kondrick: to talk about you playing Ed Gale and like five different movies, kind of gets up, trying to act all nonchalant and goes like, plays the pinball machine. And the cops just kind of like get on either side of them. They’re like, Oh, it looks like someone gave you a free ball.
Get them. And they like jump on them and like try cupping them and all that. So at this
Crew Chief Eric: point, we don’t know why they want to detain him. It just
Steve Kondrick: sort of happens.
Executive Producer Tania: Yeah.
Steve Kondrick: That’s gonna be the thing that carries you through the movie. You don’t know why they’re after him. I’m like, I really don’t care either.
Right?
Executive Producer Tania: But is he wanted for murder? Is he wanted for throwing a penny off the Empire State Building? Like what is he wanted for?
Steve Kondrick: Also known as murder.
Executive Producer Tania: Murder.
Steve Kondrick: But yeah, he basically like fights them off and goes running away and ends up like beating the crap out of [00:21:00] like the linemen. Like the wire runner guy.
Yeah.
Executive Producer Tania: The linemen for the county. He’s on the back roads.
Crew Chief Eric: So at this point, the quote for my wife, she yells parkour, just like it was on the office because he’s rolling and diving and ducking and dodging. I mean, he’s everywhere. And again, I got excited. I was like, this is turning into the fugitive. This is pretty cool.
Steve Kondrick: Yeah. He kind of looks like Richard Kimball or whatever, when he gets off the bus, all long haired and just kind of scraggly and all that. I did enjoy the handcuffed
Crew Chief Eric: throat punch. That was pretty slick. I was like, good thinking there.
Well, not to throw out any surprises for anybody listening, but you’re talking about like when the police try to detain him and you don’t know why later in the movie, there’s a scene where he’s with Barbara’s character.
He starts talking about it. And I’m like, okay, he’s talking about why they were trying to arrest him. And then you find out it was just like, they’re practicing pretending for a screen role or something like that. And I’m like, well, now I’m back to where I was not knowing what they wanted him.
Crew Chief Eric: Exactly.
Comes full circle several times.
Steve Kondrick: Oh, he also ends up grabbing, like, one of their bags or whatever, [00:22:00] because I guess it has the bolt cutters in it. Mm hmm. the bolt cutters or whatever to cut the cuffs and stuff, so it’s great. And he gets to the bridge, and instead of going through the river, he goes across the bridge.
Hold on, hold on. Wait a
Executive Producer Tania: second. He used his buttholes to operate those bolt cutters. Well, yeah. How else are you going to do it? How effective is that
Steve Kondrick: detail?
Ashley McAnelly: How
Steve Kondrick: effective
Ashley McAnelly: is
Steve Kondrick: that from
Ashley McAnelly: the
Steve Kondrick: menfolk? Have you seen Steve rail’s next cheats? I have
Crew Chief Eric: seen Dan take a two by 12 to the nutsack. It is possible.
Steve Kondrick: The man’s taint is made of iron.
Crew Chief Eric: Apparently, because I was thinking the same thing. I was like, he’s pressing down on that with his balls. It’s like, Holy hell. But
Steve Kondrick: yeah, it was effective. You learned that one at NOM, we’ll find out. No. Yeah. He’s, uh, crossing the bridge or whatever. And, uh, he sees a car coming by and like, you know, The thumb out trying to hitch.
And what kind of car was it a a Dusen? Dorf or something like that?
Crew Chief Eric: We’re gonna get to that later. I have an issue with this, but yes, we’re gonna call it quote unquote [00:23:00] Dusenberg. The doozy?
Steve Kondrick: Yeah. Okay. So the car stops and he like hops in. He is like, Hey, thanks for the ride. And, and the driver’s instantly like, I get the fuck outta here, blah, blah, blah, blah.
Like, you’re the one that stopped and opened the door, dude. Right? Yeah, he like, peels off the end of the bridge, turns around, and then starts coming at him to like, ram him? Okay, what’s going on here? Railsback or whatever, he just grabs the nearest bottle, throws it at the windshield, dives out of the way, cargoes off the side of the bridge, into the water.
Of course, you don’t see it. It’s all off screen, because there’s no way they’re going to do more than one time. And in swoops. The helicopter, you see this guy operating a giant camera or whatever on the side and like, Oh shit, they caught all that on film. And then we see in the back seat, the man in the back that used to have the Apple and it’s Peter O’Toole.
Oh shit.
Crew Chief Eric: Again, I am still thinking this is like good cop, bad cop fugitive. This is going to be an action flick, like nonstop because he’s the stunt man, right? We’re going to find out that maybe he was a stunt man and he’s on the [00:24:00] run or whatever. And I’m like, I’m super stoked. To this point. Hey,
Steve Kondrick: you’re expecting the Fall Guy TV series, right?
Exactly. You don’t want Lee Majors to be in this. I get it. At the end of the scene, we see the chopper kind of like flying around the bridge and it looks like it’s just about to hit the bridge and then you get like a flash wipe to the next scene, which is cutting to the hotel Coronado. Did anybody else think like, wait, did that chopper just crash into the bridge?
Crew Chief Eric: Yes, I did.
Steve Kondrick: Okay. Okay.
Crew Chief Brad: There was lots of very abrupt scene changes in editing in this movie. There’s a
Crew Chief Eric: very special one that we’ll talk about in a little bit, but yeah.
Crew Chief Brad: I think I know where you’re going.
Crew Chief Eric: I’ve been to the hotel Coronado. So I immediately identified with it because it hasn’t changed in forever.
And I was like,
okay,
Crew Chief Eric: so this is shot in San Diego. Nobody’s going to spend the money to build a replica of that thing. And then they spend the, let’s say the rest of the time there, which is all well and good. But yeah, I’m glad you picked up on that too. I was like, oh,
Steve Kondrick: that’s the landmark. Earlier this month, we watched the movie Stunts that was filmed at the Madonna Inn, [00:25:00] another historic property that hasn’t changed in the last 50 years.
Crew Chief Eric: I’ve been there too. That’s the most amount of pink I’ve ever seen in one place in my life. It is incredible.
Executive Producer Tania: The Madonna Inn is magical.
Steve Kondrick: So yeah, we’re at the hotel Coronado now. Just okay, cool. We’re in San Diego suite and we see, uh, you know, Charlie Manson rail back or whatever, coming around the corner and he’s making himself some jean shorts with that’s good.
Camouflage. I guess. I mean, he’s just trying to blend into the boardwalk and all the people doing their thing there on a sunny afternoon, there’s a film shoot going on on the beach and it looks like it’s a world war one movie because you see all the guys dressed as like the German troops, pointy little Kaiser helmets and whatnot.
Yeah, it was graphic. I wasn’t expecting that.
Executive Producer Tania: I got thrown off because I’m like, okay, they’re shooting this movie. Cool. This fake movie inside this movie. Right. And then all of a sudden it took like a 90 degree turn and I’m like, Oh my God, like
Ashley McAnelly: they just
Steve Kondrick: murdered everybody. So we got this plane, the little biplane or whatever coming in, like, you see all the squibs going off and people [00:26:00] like, ah, like, you know, there’s Filming Saving Private Ryan or something.
And it’s just, ah, everyone’s falling over, you know, explosions and stuff start going off like mortars or whatever. And then after one, it’s just boom, big explosion, a lot of dust in the air. And then as it settles, you see all the actors just laying down, like in bits, like it’s a fucking Eli Roth movie, like people in half and like missing limbs and shit, everybody watching, you know, the audience or whatever there’s told to be quiet, there’s like, Oh
Executive Producer Tania: my God.
Oh my God. What happened? Everybody’s dead. And Charles Manson rails back. It’s like somebody call
Steve Kondrick: an ambulance, a non flashback comes
Executive Producer Tania: up and like pretty realistic, isn’t it?
Steve Kondrick: When they started moving, cause there was a good, like 10 Mississippi where nobody was moving.
Executive Producer Tania: So like with the car trying to drive him off the road earlier, and this really sets the tone for this movie in that, like, it really points out that he is a, not a reliable narrator.
We can’t trust him. His perception and it really starts blending what is movie magic, what is in [00:27:00] his head, who are actors, who are people. To me, that seemed to be like the real like theme of this movie.
Crew Chief Eric: Once my balloon had been popped and I realized this wasn’t the fugitive, I suddenly went, this is the original inception.
Which Izzy, it was like, you didn’t know what was real and what was fake. And that perpetuates throughout the rest of the film.
Executive Producer Tania: Yeah, because I assumed on the bridge, because I didn’t realize what was happening with the car, like he stopped and then the guy got angry. I’m like, what is this tool doing? And then he went forward and all of a sudden you saw like camera crews.
I’m like, Oh, he must’ve stopped to prepare for whatever move he was doing. He did this J turn, goes back across the bridge. I assumed that he was still filming and then dude throws something at him and we don’t know what happens, but then you find out like, He went over the bridge, so it’s like, he caused this accident, even though the guy wasn’t trying to kill him at all, he was just trying to shoot his scene.
Like, I don’t think we ever got the answer as to what actually happened on that bridge. But that’s because our [00:28:00] character never got the answer. Exactly. Like, that’s part of the whole movie. Whereas in the dark is this character who doesn’t have his wits about him.
Yeah. Yeah. When the brakes came to the stop and when he opens the door, he looks at me, he’s like, Oh, you’re not going to get his car.
Cause you know, it’s a fancier car. Something, the reason he was like, get out. It was because he thought he wasn’t worthy to be in the car or something. Then he sped off. But then when he came back, I threw it off completely. That’s what it was like. It
Crew Chief Eric: didn’t make any sense as to why he stopped in the first place.
It was sort of like, if you don’t want to pick up a hitchhiker, just keep driving. It was really bizarre. Right?
Executive Producer Tania: Well, he stopped at the beginning of the bridge. Yeah. He was so focused on his. Yeah, he wasn’t expecting anyone
Steve Kondrick: to be there.
Executive Producer Tania: He didn’t stop, like, at him. He stopped in front of him, and then dude ran up to the car and opened the door.
So I don’t, I think he was ignoring him. He didn’t realize there was a person on the road, because he’s getting ready to do this very dangerous stunt that people die doing. Sushi has big opinions about this.
Crew Chief Eric: Where we sort of left off there. At first, I didn’t pick up on the pointy Kaiser helmets and think World War I, [00:29:00] the biplane for me was the giveaway because the beach scene didn’t seem right for World War I because it should have been trench warfare.
I mean, the plane was correct. It sort of gave me that to your point, Steve, you said like kind of saving private Ryan sort of situation there in Normandy beach. So that was a little out of whack, you know, okay, fine. They’re shooting a movie who cares, but the next kind of abrupt cutaway. To when we see Barbara Hershey for the first time, not on a douche powder commercial, I was really lost
Steve Kondrick: where she walks up in the, uh, old lady makeup and basically like, here’s me.
Okay. Well, that’s obviously somebody wearing makeup, like a mask, right? I just thought it was the
Executive Producer Tania: quality of the movie. They couldn’t get an old lady to do this far. So they’ve just really makeup up someone.
Crew Chief Eric: Well, that was just it too. I was disappointed. I was like, Barbara Hershey is going to play like Estelle Getty in this movie.
Like, I don’t understand. Like they cast her to play old lady. Like they could have found anybody to do this.
Steve Kondrick: Sicily 1917.
She did take a lot of pride in the fact of she [00:30:00] went up to the one guy and got his autograph and he didn’t even recognize it was her. So she was very proud of how well it was done.
Steve Kondrick: Yeah. The star of the movie that spoilers, Rails Beck’s going to be the stunt double for her. What was his name? Mr. Bailey or, uh, Yeah, she basically walks up, gets an autograph. You have the director, Eli, he comes chopperin in and he like tells everybody like, Hey, so somebody died. No big deal. We’ll move on.
Crew Chief Eric: So hold on a second. As Peter O’Toole is helicoptering in, I want to talk about the cinematography here for a second, because the helicopter gets used quite a bit in this
Crew Chief Brad: movie.
Crew Chief Eric: But why were we looking up his nose? The entire time that he’s coming down. It’s like when Glinda the Good Witch came down, right?
He’s like circling down to the beach and he’s landing, but we’re looking up his nose. Was there any particular reason
Steve Kondrick: to do that? Do you want to look down through helicopter blades? Is that what you want to do, Eric? Cause that’s the other option.
Crew Chief Eric: No, but my wife did point out to me. She goes, why are his eyes completely bloodshot?
Like he’s in [00:31:00] a zombie film. What? kind of drugs was he on? And then I said, it’s got to be the backwash from the props on the helicopter, probably kicking up sand and everything. Did you guys notice how just gory he looked?
Executive Producer Tania: I just noticed the whole time how Willem Dafoe could have. Yes. His cousin or brother.
Steve Kondrick: Later we were comparing him to a Marvel supervillain the entire time. It was fantastic. Like Willem Dafoe, he’s got the very pronounced features and everything. The booming voice. He’s a director, blah, blah, blah. He’s just like, well, somebody died. We’re gonna continue on. And then just hops back in the chopper and flies off.
And that blows the old lady into the water.
Crew Chief Eric: Did you also notice the 1960s Batman music that they were using when he took off in the helicopter?
Executive Producer Tania: Oh, the music throughout this is wild. I’ll make
Crew Chief Eric: reference to 60s Batman again as we progress here, but I was just like, what the hell is going on?
Steve Kondrick: Real quick, he sees the old lady get blown into the water and he’s like, Somebody’s got to help her and goes like running, [00:32:00] diving, saver.
And they’re like picking her up. And so the lady starts peeling her face off.
Executive Producer Tania: She rips
Steve Kondrick: her wig
Executive Producer Tania: off. She starts peeling her face off.
Steve Kondrick: Oh, I know you. I’ve seen you in that. Uh, definitely not a douche commercial. Uh, that one show. Yeah, nice to meet you. Thank you for saving me. Thank you for coming and saving me so gallantly.
He’s like, oh wow, just like in the movies.
I am the movie.
Steve Kondrick: What? I guarantee you that was in the book. And then something along the lines of, oh yeah, my name’s Nina and I’m like the lead actress in this movie and I’m the director’s daughter. Okay, cool, cool, cool. Steve, I believe you paused this and was like, wait, did she say daughter?
Daughter? Okay, okay. I can dig that up to a point in this movie. Wait. She’s like, Oh yeah, this guy saved me. Blah, blah, blah. And the director is like, instantly like, I know you from the bridge. Come on over here, buddy. And he basically like pulls him aside and is basically like, so you ever done any stunt work?
You want to be in this movie? You don’t know this guy, but all right, [00:33:00] whatever. You’re Peter O’Toole. You’ve been nominated for Academy Award. Not me. With a local sheriff or whatever, Jake, he starts coming around and he’s like, God damn it, director, I heard about what happened at the bridge and Bert’s missing and presumed dead and blah, blah, blah.
Crew Chief Eric: That guy. That’s another guy that never aged. He looked the same in everything he was in, and he played the exact same character. Like, you want stereotypical New York City cop, you hire that guy.
Steve Kondrick: Alex Rocco, as seen in multiple episodes of The Rockford Files, Murder, She Wrote. Think I’ve been to like Quantum Leap.
Yeah.
Steve Kondrick: Yeah, he’s that guy. Director’s like, no, no, what do you mean? Bert’s right here. Look, talk to him, Bert. And he’s pointing at a Steve Railsback, who we don’t even know this guy’s name yet. So I’m just calling him Steve in my notes and stuff
like,
Steve Kondrick: yeah, Bert here, Bert, tell him what happened to the bridge.
You see anybody on the run? Cause they’re like looking for a fugitive or something too. They mentioned it like, Nope, I didn’t see him.
Crew Chief Eric: So this is after he met with the onset hairdresser and went through his transformation and his [00:34:00] bleaching and everything else. No, not yet. Not yet. No, he’s still looking like Charlie Manson.
He just came out
Executive Producer Tania: of, he just rescued Barbara from the water. So he’s dripping wet. That’s right. That’s why they’re like the divers pulled him out and brought him directly here on the helicopter. Hence why he’s wet and his jeans magically ripped off. Yeah. Cause that’s right. Cause then the sheriff is like, I’m on arrest everyone on your production team.
He says something like I’m going to arrest the stuntman twice. Yeah.
Steve Kondrick: He’s super skeptical, but he’s like, all right, this checks out. You got three days to finish this fucking movie. And I want everybody out of here. I’m arresting all of you and the stunt guys twice. All right, get them out. This wonderful, magical lift thing that the director has.
And this is where he starts becoming like a Marvel supervillain for the rest of the movie because it just kind of like comes in like screen right and he hops on there and pulls Steve Rails back on his side and they start having a chat as they’re like panning over the beach and spinning around. Like it’s a shot where on the big screen I can see you like getting a little car sick.
Because the background’s spinning around and he’s talking about [00:35:00] like, to save your ass, you’re gonna assume the identity of Bert, the stuntman that we lost at the bridge there for whatever reason. Or I could just tell him the truth and they can take you off to jail. And he’s like, Sure, sounds like fun, whatever.
And then it drops him off there at the entrance to Hotel Coronado. Every scene at the entrance of the Hotel Coronado has a lot of lens flares. Like there’s so much Vaseline and special effects sparkles and stuff in these things. Like, and welcome to Wonderland, the movie industry. Care to join us?
Executive Producer Tania: Yeah, well, I mean, come on, Steve Rosbach’s been like homeless and on the run and everybody’s out to get him and he’s about to enter a luxury hotel and like this whole world where like he’s gonna get paid per stunt and this is a whole new world to him.
A whole
Executive Producer Tania: new world. And again, we’re back to he’s our unreliable narrator.
When they first tell him that he’s going to make money, he’s like super stoked. Cause it’s like more money than he’s ever imagined to get that. He was so excited.
Executive Producer Tania: Yeah. Wait, the guy didn’t tell him that hundred dollars. I didn’t tell him that till after he started working.
And then he was like hanging off the roof. That’s right. During the training. [00:36:00]
Steve Kondrick: Yeah. So we get a little scene where he gets a haircut from, you know, the hair and makeup, like basically makes him blonde, shaves his face, all that stuff. Find out her name’s Denise and she gives great hair. And so then they start banging.
I’m like, must be nice. She’s
Crew Chief Eric: my second favorite character in the movie, actually. I’ll let you guys guess who my favorite character is.
Executive Producer Tania: No, no, before they started banging, he sees the star of our movie. Oh yeah. Friends. And yes, the hairdressers are like, what’s her story? And I’m like, well, I think she’s better at douche commercials than she is at movies, but she didn’t hear that from me.
Steve Kondrick: Sells that douche powder. Cut to the next scene they’re shooting and it’s like the aftermath of the everybody dead on the beach scene. All the men are dead and we get this little stunt where like there’s a hand out of the sand and then it turns and the middle finger inflates to a big balloon that said something like eat at Eli’s kitchen or some shit.
I don’t know, I couldn’t quite tell before it popped. And I wasn’t going to rewind it. That’s some more sixties
Crew Chief Eric: Batman stuff right there too. I was like, come [00:37:00] on now. What is this?
Executive Producer Tania: Oh, sushi disagrees. This feels like something though, like stunt guys would and prop guys would pull on a director.
Steve Kondrick: And then the director’s like telling everybody like, okay, we know that’s not really Bert.
What really happened there at the bridge? And, uh, the director’s like, I don’t know. I don’t know. Move on. We got to, we got a movie to finish. Who cares?
Executive Producer Tania: We got a new guy.
Steve Kondrick: We got three days. And our new guy here, uh, we’ll call him Lucky just for clarity sake. Cool. Cool. Don’t need no real names. I think it wasn’t until like a good hour and 15 minutes in where they mentioned his name is Cameron, right?
I
Steve Kondrick: think he even said it like, Oh, just good old Cameron here. Like, so by this point he’s introduced to the stunt coordinator, right? Yeah. Yeah. So yeah, we meet the stunt coordinator. My favorite character, by the way. I like him so much. He’s cool as shit. Yeah. Oh my God. Everybody is wearing the Canadian tuxedos throughout this movie.
Oh yeah. I guess that’s late seventies. That’s Probably like the work uniform, you know, easier on road rash and stuff like that. Right. Yeah. It’s not [00:38:00] coroner. He’s basically like, you ever done any stunt work before? I don’t know. Kinda. He’s like, look, either you’ve done stunts or you haven’t like, Oh, I went to NAMM.
Is that close enough? All right, cool. So here’s what we’re going to do. I’m going to show you how to jump and roll. Like, you know, the stuff he was doing, he was getting away from the cops and he’s like, Oh, like this. All right, don’t get too cocky. That’ll get you hurt. And then they like, start wrestling for a bit.
Throwing each other over their shoulders. That’s how you take a fall. Just teaching them the ropes. And then, yeah, this is where Tony mentioned like, he was like, hanging off the gutters or whatever. Like, yeah, all right, your hands are strong enough for this scene. And, uh, you know, if you do this right, you’ll get sick.
600 and he’s like, 600, I could buy a house with that
Executive Producer Tania: screaming. And we’re like, is he happy or mad? And then he’s just like, I can buy all the douche powder.
Ashley McAnelly: Barbara wants.
Crew Chief Eric: So, yeah, they went from the Tommy Matt practice in the middle of the courtyard to. On the roof of the Coronado hotel, kind of just running around and to your point, [00:39:00] hanging from the gutters and stuff.
And I was like, wait, what? No nets, no nothing. We’re just going to practice up on the roof. We’re stuntmen, right?
Steve Kondrick: Also working in the industry. I’m like, Oh my God, did they buy out the hotel Coronado for like three months to shoot this movie or something? And how much would that have
Executive Producer Tania: cost? I’m talking about
Steve Kondrick: the real movie.
Executive Producer Tania: Oh, the real movie. Oh yeah, probably. And just to clarify, Steve is not in the stunt game. Steve is in the hotel game. The
Steve Kondrick: hotel game. Yeah, exactly.
Yeah, yeah.
Executive Producer Tania: Steve does not hang from roofs. Steve provides roofs over people’s heads. That’s
right. In fact, they were just hanging off the roofs and everything.
When this movie was created, there probably was no OSHA standards, so they were just doing what they wanted to.
Steve Kondrick: Yeah. It was
the 70s, man.
Steve Kondrick: Look, there were nets. They were just down on the first floor. So yeah, you’ll fall a little bit.
Executive Producer Tania: Oh no, they just got one of those big inflatable bounce houses. Yeah, that’s where they catch him.
Steve Kondrick: Yeah. So then we cut from them hanging off rafters and stuff and then cut to a torture scene, I guess, the basement of the Coronado that they have like a World War I dungeon, turned the restaurant into this location or something. I like, [00:40:00] I don’t know where the director comes in and like, no, no, no. It’s all wrong.
And the writer’s like, what’s wrong about it? Blah, blah, blah, blah, blah. Then we just got to a big dinner where all the other players of the crew, like, I feel like we missed a scene here somewhere because now we’re talking around the dinner table. Exactly.
Crew Chief Eric: And you know, what else was super distracting is whoever was playing the part of the Caterpillar from Alice in Wonderland and blowing the giant smoke rings out over the table.
It’s all I could
Steve Kondrick: focus on. Same thing here. Cause we’re like, you know, we see the director with his Parasol cigarette being all Peter O’Toole ish. But then like these giant things of smoke are coming from the side. Every time it showed everybody on there, I’m like, nobody else is smoking. Exactly. Exactly. I was so distracted.
I had no idea what they were talking about because of that. You weren’t missing much. I have things written down. Like war is a symptom of a disease. And this guy knows what the disease is like talking to lucky. And he’s like, look, I don’t know if you’re talking about, but it sounds dumb.
Crew Chief Eric: I was expecting like a Dom Toretto speech.
And I’ll be like, family, [00:41:00] family.
Steve Kondrick: Firmly something like that. And the only time it really even got kind of showing is when they’re talking about, like, you know, you’re going to go over a budget on this film and they’re just gonna end up cutting it or whatever. Anyway. And the director’s all like, that’d be like, if you had a daughter and I said, I was going to cut off her fingers and stuff like that.
If you touch my film, I’ll kill them. Not quite that over the top. Then
Executive Producer Tania: I’ll eat them.
Steve Kondrick: Yeah. What’s that over the top? Yeah. But you know, more English. No, it’s just, I
killed them.
Steve Kondrick: I killed them. Then I’ll eat them. Jake, the sheriff basically kind of walks up, shows up at dinner and he’s like, Hey, so I understand you have some film about what happened to the bridge earlier.
I’d love to see that. Like now, if that’s cool, maybe we can, we’ll glint some of them like in a white shot or something at the guy we’re trying to find. Okay, cool, whatever. Basically says, I’m like, oh yeah, I’ll have that ready for you in the morning or something like that. Like it’s tucked away for the night.
Lucky’s like ready to like bail. Like he’s like packed up his little bag or whatever.
Executive Producer Tania: Surround me, they’re gonna have that footage. They’re gonna see me. I
Steve Kondrick: think he was like waiting [00:42:00] for a taxi or something. And then yeah, Barbara Hershey, she comes walking in with like the rest of the crew. And he’s like trying to like stand off to the side.
But he sees her and all the Stole the vest from
Executive Producer Tania: the stunt coordinator or one of the camera guys or something. He stole the vest, remember?
Steve Kondrick: Yeah, he’s just trying to blend in as they’re like walking by. But yeah, we got the little lens flares and everything and whimsical music. Barf central. Don’t tell me these two are getting together.
I was thinking like, okay, cool. He’s a little delusional, whatever. Blah, blah, blah. He like turns around and is like looking around for a cap. And then she pops up behind him like. What are you up to? They’re like, Oh boy. Okay. I hear you’re going to jump that tower over there tomorrow. Cause they’re at the front lobby or whatever.
And he’s like, I don’t know. Maybe let’s go up there right now and try it. Okay. This is
Executive Producer Tania: actually a really bad idea. I’m afraid of heights and I don’t like it.
Steve Kondrick: And then they start playing like some Charlie’s angels music. Yeah. I don’t know, like you’re scared of a, and then they just start kissing and pigeons are
Crew Chief Eric: flying all around.
Um, you mentioned the Charlie’s angels music. And that’s when I turned to my wife and I said, [00:43:00] you know, Barbara Hershey, she’s like in this category with like Linda Carter and Jacqueline Smith in terms of natural beauty, whatever, she never changed. And she still kind of looks the same today. And at that moment, cause the music and the setting and the spotlight and everything, I was like.
Wow. Like I just had this moment, aside from everything that was just going on, it was well put together and it very much highlighted her. It was romantic in a way, but really cheesy at the same time. I had a moment too and
Executive Producer Tania: it was, what the fuck is going on?
Crew Chief Eric: Very different than my moment.
Steve Kondrick: Especially when the spotlight hits him too, and it’s like, wait, is this going to be like the cops or something?
No, it’s just the director. Her
Executive Producer Tania: father?
Steve Kondrick: Yeah, who we saw just walk in and then like, all of a sudden he’s back out there. He’s going, Sorry guys, this is our life now. Yeah, so yeah, the director, he’s got the spotlight on him, and he’s like, Brilliant! Brilliant! We’re not here just testing lighting, no big deal!
No, you weren’t, but whatever, it doesn’t matter. This movie’s off the rails, right? And then, like, [00:44:00] when they get down from the tower and they’re walking by, this is where the director is still on this, like, mechanical arm lift that’s just, like, Following behind them and the way he’s like, kind of like gliding behind them as the scenes going.
I’m like, this is like Doc Ock in a Spider Man movie. Like this is a super villain. Just kind of like gliding behind them talking about like, no, you’re going to be great in the movie. Ah, definitely not the devil with
Crew Chief Eric: the propeller spinning on top of that thing.
Steve Kondrick: You’re right. And then, yeah, just like a Marvel villain, he ends up snagging Steve or, you know, Lucky or whatever we’re calling him right now.
Lifts him up, you know, as high as it goes to, like, the top of the Coronado and they’re like, Hey, the cops are looking for this Cameron guy. You don’t know who that is, do you, Lucky? Okay, so what’s the plan? Am I gonna do this movie thing or are we just waiting a couple days and I run? He’s like, look, just stick around for a couple days.
Be at the airport Sunday morning at 3 p. m. and just fly off with us. And then when we get back to L. A. or whatever, you can just go wherever. But I see potential in you. You definitely be the thing my movie needs. All right, sure. Why not? The next day, setting up for the shoot where he’s gonna like [00:45:00] jump the towers.
This little action scene that happens here for the next, let’s say, seven to eight minutes. Right. Pretty fucking awesome because jumping from tower to tower and along the roof lines of the Corridora, which if you haven’t seen, super steep red shingle roofs. And there’s like explosions and squibs and guys getting tossed off the side and falling on mats.
Falling through like windows, but
Crew Chief Eric: none
Steve Kondrick: of that compared
Crew Chief Eric: to the guy that slipped and smashed his balls on the roof. Did you guys catch that?
Steve Kondrick: Yeah, was that the stunt coordinator or something that did that like oh, oh man, that’s gonna sting Oh, and then there’s of course the gratuitous boobies like popping in windows stuff.
They’re like, oh get out of here Oh my god
Wind up in a brothel that’s
Steve Kondrick: later. Yeah. Yeah Yeah, he’s being chased like a dozen dudes at the top, and he gets, like, cornered onto this steel pipe or whatever he’s holding on. Of course, it breaks, and it falls over, and he goes crashing through, like, an atrium window, and there’s a couple people fucking on a bed or whatever, then he interrupts, and they’re like, oh, get out of here, blah, blah, blah.
He rolls over into, like, the [00:46:00] debaucherous orgy dinner room, I guess. It was like a scene from Caligula suddenly.
Crew Chief Eric: It was like, what are we doing inside of this other film that’s being filmed while they’re filming this World War I reenactment thing? It was so bizarre.
Steve Kondrick: And they start tearing his clothes off and shit too.
And I’m like, okay, what is happening? And the director’s right there like perfect, perfect. We got it all in one take. God, what exactly? Like, we heard you go over the scene like, oh yeah, you do this, and then you run over here, and that’s basically it. Not an eight minute action scene. And then he’s basically like, why didn’t you tell me that was all gonna happen?
Like, oh, this. Spontaneity makes it look realistic. That’s what I’m going for in my film. A recurring
Crew Chief Eric: theme as we move along too. It’s like, ugh,
Steve Kondrick: all these surprises. Cut to them watching the dailies of it. Look, he’s like trying to talk to Nina or whatever. And she’s like all kinds of upset. The end of the raffle thing, he kind of told off the director.
He was kind of angry, whatever. And she’s like, you can’t talk to him like that. He’s the one giving us all a chance here and we got to make a movie. Otherwise we don’t get paid and we never
Crew Chief Eric: work in this town again. So next is [00:47:00] like the big jump. That the stunt coordinator ends up making you think he got killed.
And that leads to the biplanes.
Steve Kondrick: Yeah, yeah, yeah. The biplanes where they’re like watching, like that crash looked so hokey as they have like the worst scarecrow dummy hanging out of the airplane, like, no, no, no, that’s all wrong.
Crew Chief Eric: Did anybody else notice that all of the planes crash? Like they’re in the Charlie Chaplin film straight down snidely whiplash is in it and wacky races or something.
It’s completely like asinine the way they set up those crashes for those planes. What happens next out of this boggles my mind because it’s another sort of like really striking cut from that jump from when the stunt coach comes off the building and you think he dies and he lands in that big balloon and they’re like, Oh, okay, great.
And then he’s drunk riding on one of the wings of the biplane. I’m like, what the hell happened here? How did we get to this point?
Steve Kondrick: The whole time I’m thinking like, okay, the movie, the director is trying to make. Has even more severe tonal shifts than this movie does. Like I want gritty war film. So nobody will [00:48:00] ever want to be a part of war again.
And then I’m going to have a guy dance to Charleston on a five plane wing. Like, wait,
which is it? The whole conversation about doing the dance on the wing of the plane. This makes no sense.
Crew Chief Eric: It was bizarre. You could have deleted all that, but if you did, you would have missed a really important part, right?
Brad, when the plane is about to crash, what do we cut away to? We make a heart.
Crew Chief Brad: Yes, the plane crashed, he jumps off and
Steve Kondrick: oh man,
Crew Chief Brad: what a jump.
Steve Kondrick: Oh my God. Cuts right into his own faces. He’s blasting into Barbara Hershey. Oh.
Crew Chief Eric: And I have to say, I busted out laughing. I heard my wife chuckle too. And at that moment, I had that very adolescent curiosity where I’m like, are we going to see the goods? Like, what happens next? Like, where do we go from here? It was so shocking. Are we going
Steve Kondrick: to see the Hershey Kisses? I know what you’re thinking, Eric.[00:49:00]
Crew Chief Eric: Yeah, yeah.
Steve Kondrick: Yeah, basically like roll over. And she’s like, Oh man, that’s twice today. Once when you were doing your stunt. And then now this is all a Jacob’s ladder situation, right? Like he got ran over by that car and this is all in his head. It had to be.
Crew Chief Eric: Cause it makes no sense. Other ones,
Steve Kondrick: her alarm starts going off.
Cause like, Oh no, I got to get on the shoot. Hey, could you turn that alarm off for me? And look, he’s just like standing next to her, but like not turning off. Like, no, I want you to think it’s Eli just screaming at you. And then I want to make love to you while Eli screaming at you. What the,
Executive Producer Tania: that’s so weird.
Steve Kondrick: Tonya, you mispronounced hot. That’s what it is. Oh,
Executive Producer Tania: I’m sorry.
Steve Kondrick: Steamy sensual from the director of color of night, a skin 15 years later.
Crew Chief Eric: Then we pan back to the mechanical bear and the swing, right? That’s the next part of this, because now we’re in another screening situation,
Steve Kondrick: watching
Crew Chief Eric: the be real.
Steve Kondrick: Yeah, yeah, we see the footage, uh, Lucky in the stump corner, they’re looking at the footage of Burt’s death, basically, because he had a camera in [00:50:00] the back of the car, and you like, see him like gasping for air and shit like that, and then like, I don’t know, before he depressurizes or whatever, he’s like, okay, I think that’s enough.
We saw what happened. Yeah, then we get this weird scene where Nina, she’s in the old lady makeup again, God bless her.
Crew Chief Eric: Yep.
Steve Kondrick: And the writer’s like, alright, I think I have an idea for this next scene where she’s gonna be at the cemetery, you know, the tomb of the unknown soldier, basically. And he pulls out of this bag this like, bronze statuette.
Like a girl on a swing and a bear like when was like animatronic or like the cuckoo clock motion kind of thing where it just plays and it’s like her just banging up against this erect bear. It’s overtly sexual.
Crew Chief Eric: I mean, there’s no hiding it. You’re just like, Oh my God. Then you ask yourself, why, why are we looking at this?
Why is this important? What does this have to do with
Steve Kondrick: anything? Anything in this film, keep in mind, he’s pitching this to the director who we, at least, I don’t know if you all thought the same thing. Maybe you heard something I didn’t. Is this [00:51:00] actress’s father? And it’s like, yes, this is of the period. And it’s more intimate than, you know, like leaving roses or like a picture of them or something like that.
No, this is more personal, have more meaning. And the director’s like, Yes, dude, let’s do it. High five.
Executive Producer Tania: I never thought Barbara’s character and Peter O’Toole’s character were related.
Crew Chief Eric: We saw that later. Her parents were in the screening that’s coming up.
Executive Producer Tania: But even up to that point, what made you people think that he was her father?
Steve Kondrick: I swear to Christ. I don’t know if it was Denise, the makeup person, or somebody said like, Oh yeah, that’s why she’s in this movie because she’s like the director’s daughter or something.
Executive Producer Tania: Who is this? She slept with him in Sanctuary. Yeah, that’s what
I thought of her too.
Steve Kondrick: Which we come to find out later.
Crew Chief Eric: It’s part of the plot, which is super thick.
Steve Kondrick: Okay, synopsis here. New stuntman takes the job. Haya falls out. Okay, leading lady while facing off with his manipulative director. Okay, so it doesn’t say daughter in there. That must just have been me being weird. I
can’t imagine how much more strange the movie was at that point while you were thinking that [00:52:00] though.
Crew Chief Eric: This whole time, that’s
Steve Kondrick: for dad.
Crew Chief Eric: How did that come together for you at the end of the movie, by the way? No,
Steve Kondrick: I was gonna say, you mean in the second act when we find out they were banging? I’m like, what? Hold the tick. What? No. What? Is this like a Woody Allen and like Stepdaughter? No. No, no, no, no, no. You’re gonna have to watch
Crew Chief Eric: it
Crew Chief Brad: again.
Steve Kondrick: She said dad and not daddy. Yeah. Maybe that was But anyway, back to Barbara Hershey, we get to see her as an old lady at a gravestone acting in a terrible accent. Was it German or Russian? It was a very Bratislavian dialect. 70s
Crew Chief Brad: European.
Steve Kondrick: I see nothing. And then, yeah, after this scene, somebody mentioned like, uh, you know, the only reason she’s in this movie is because they’re banging or something like that.
I’m like, wait, what now? No, Eli and Ina, they’re, no, no, no, no, no, just, like, my next eight notes are, no, no, this isn’t a thing in this movie. I’m an idiot. What can I say? Um. Later that night, [00:53:00] Eli, he’s like, catching up with Lucky, and he’s like, hey, I got this new script, we’re gonna be filming in Amsterdam, and you can stick your finger in it like, ha, ha, ha,
Crew Chief Eric: ha.
We missed something really important about watching the film of the guy dying on the bridge after the whole original bridge thing. And it comes back later. We’re all car nerds here on break fix. So did you guys pick up on anything important about this? I’m going to call it alleged air quotes. Doosenberg.
Steve Kondrick: Is it going to be something like the suicide doors?
Executive Producer Tania: After about 30 to 40 minutes into this movie, I was listening more than watching, so I have no comments. Was it the Mercedes emblem
Crew Chief Brad: on the
Crew Chief Eric: hood? Hey! We got a winner, winner, winner, chicken dinner. When you look through the windshield, there’s the three pointed star on the hood.
It’s a Mercedes that they’re using,
but here’s the funny thing about that, Eric. So I sent you guys a link for the website I used for seeing what the cars are in the movies. And it doesn’t listen. It says made for movie is what it says for the model.
Steve Kondrick: Even better, even better. It’s a hybrid, it’s a, it’s a [00:54:00] Mercedes burger or something like that.
Yeah, de and bend sounds better. We’ll go with that. When they’re watching the footage or whatever the stunt coordinator’s like that red light should have kicked on. ’cause the director at that point would like unlock the doors and stuff, so he’d be able to get out and it never happened. And so why didn’t the light turn?
I don’t know. It might have been mechanical failure or maybe just the button didn’t get pushed or something. And I’m like, why would you have that as an option? Or maybe electronics
Crew Chief Eric: and water
Steve Kondrick: don’t mix. Why would that even be a thing? It’s just like, oh no, you just flip this. Manual switch right here and boom, the door will open and you’ll be free.
That’s all you need. So yeah, obviously Lucky and everybody, they’re like, Oh, he just wanted to get the footage of his last moments before he died. Weird, cryptic. So now he’s like, Oh yeah, we’re going to be filming in Amsterdam. We’re going to be doing another underwater stunt and you’ll be great. And I’ll pay you a thousand dollars, 1978 or whatever year it’s supposed to be.
And Jack’s just like super. skeptical of everything now and they’re like walking to show, [00:55:00] uh, the sheriff or whatever, Jake, the footage from the ridge and the crash and everything. It’s edited, you know, obviously like it’s just like, Hey, here’s the top shot. Don’t see anybody there. Don’t see anybody there.
Blah, blah, blah. Jake or whatever. He’s like, yeah, pretty cut and dry. All right. You guys have fun shooting the rest of your movie. Tick tock. You got like a day and a half left. Then we cut to Steve Railsback being chased. By a tank coming through walls and shit, like we’re on the scene of fury right now and he’s like running through windows and diving through and then the walls are coming down as the tank’s coming through and that happens about five times and there’s more explosions and like planes crashing again that same way where it’s like straight down like slightly whiplash.
I assume that’s because that was a prop they had handy from like the old days or whatever. And so it’s like, Oh, that’s a cheap way. We just use that instead of crashing a real plane or something like that, you know? So that makes sense. Right.
You don’t get by, I had him hanging from a cord, just released it and it got straight down.
It’s probably
Crew Chief Eric: more than likely. Yeah. Yeah. But it was comical because it happened like three times and you’re just like, seriously, guys, you can’t come up with a [00:56:00] better, you know, way to crash this plane than straight down
camera at an angle. So it looks like it’s coming in at an angle,
Steve Kondrick: right? Well, then it gets super over the top because then a baby bassinet gets tipped over and a bunch of piglets come running out.
I’m like, wait, what the fuck is going on here?
Crew Chief Eric: Cut! I expected a motorcycle to go by. It’d be like a Fellini film where it’s like a random dude on a Harley. You gotta fulfill the prophecy here.
Steve Kondrick: Not even Harley. Like, Suzuki crotch rocket or something. Like, wait, this wasn’t around World War I? But yeah, somebody else cut, and the director was like, Who the fuck said that?
Only I say cut on my set. Who said it? Like, we were down to 33 feet of film. Yeah? And how long is 33 feet of film? Like 22 seconds. I can do so much in 22 seconds. I could snap your fucking neck. I could shoot you a dozen times and blah blah. He’s like losing his shit. Don’t you ever say cut
Crew Chief Eric: on my set. I’m Peter O fucking Toole, goddammit.
Is that the scene he got his Academy Award for? Because it really felt forced. Like, this is what the Academy is going to be judging me on.
Steve Kondrick: Every major actor has their [00:57:00] one scene in this movie where they’re like, This is the one they’re going to play at the Oscars, Barbara Hershey at the grave site. Yep.
We’re going to get rail specs here towards the end. I’ll be sure to point that out. And Peter O’Toole, this entire movie in my case is just over the top villain. Magneto. Oh dude, he’d have been a great Magneto. We cut to a scene where Nina is like dumping Lucky in a Southern Belle accent in his room. Like, he’s like, ah, we were never meant to be blah, blah, blah.
You were just a little fling. And now I’m going to go bang my daddy. Steve’s still kind of thinking.
This is the scene where I thought he was explaining why the police were after him. Cause you think that for like, what? A couple of minutes of the scene runs and then all of a sudden you realize, Oh, They’re just acting through me to another giant
Crew Chief Eric: crisis of conscience too, because that’s when he sort of puts two and two together about her and Eli and he’s like freaking flipping out.
And I’m like, once, twice, like who gives a shit? Like, does it matter? It’s in the past, right? I mean, move on. I wonder for [00:58:00] what? Two days. I mean, come on.
Steve Kondrick: Yeah. So you and the director are Eskimo bros. It’s okay. Maybe that’s what he was upset about. Yeah. We all seem like, how, how could you bang Eli? It’s like, Don’t you know?
That’s how you get movies here in Hollywood. It’s brutal. This is the part where he ends up consoling with the writer, right? Apparently they’re sharing a room. And this is the first time I noticed that. Like, oh wow, he’s sharing a room with the writer? How
Executive Producer Tania: awkward was that whole scene where that dude is just sitting there and he’s not even typing, okay?
Because he’s just awkwardly sitting there. And they’re like, Arguing with each other, you should be more of a gentleman than having your wanger hanging out right now. And whatever the hell she said, dude is just sitting there and then she leaves, another guy like storms about, then he starts like clack clacking a little bit on the typewriter.
Crew Chief Eric: How awkward are you? What made it even more cringey is my favorite Quote from the movie comes at this moment, the writer is trying to console [00:59:00] Lucky Cameron, whatever his name is, and he says, and I quote, I had a virgin once I had to go to Guatemala. She was blind in 1 eye with a stuffed alligator that said, welcome to Miami Beach.
I did the slow clap. I was like, the writers on this were just amazing. Just blew my mind.
Steve Kondrick: Yeah. It was like, okay, yikes. At least you’re on the right set, I guess. Super cringy, super cringy. That’s right. Part of their discussion was she was like, I know I wanted you to come meet my parents or whatever at dinner, but you’re no longer invited, blah, blah, blah.
So Lucky then decides he’s just going to crash that dinner anyway and shows up and I couldn’t tell if it was Barbara Hershey because she was like super small compared to the parents. It was the parents and apparently like her little sister that you just kind of walked up on and was like, mind if I join you?
Oh, yeah, she’s non flust about him. Just kind of showing up at the dinner or whatever after saying like no do not come, you know Then she walks into the restaurant. I’m [01:00:00] like, hey she was Oh, and of course she is just over the moon about him being there, like they hug and kiss or whatever. And it’s like, why?
I was right in their two day romance again. And at this point, I’m like, okay, yeah, Jacob’s ladder situation. This is all going on in his head. His blood is leaving his brain. And yeah, I don’t
Crew Chief Eric: know.
Steve Kondrick: One more thing we got to talk about at this dinner though, he goes to the bar to, I guess, get some drinks and he runs into one of the crew guys.
The crew guy is like drunk. I don’t know if he was a stuntman or what, but he pulls out a dime and he’s like, I’m going to drop this on Eli. And I’m like, we’re going to drop a dime on him for what he’s like. Yep. I know we got the footage. I’m going to turn him in and blah, blah, blah. And of course, like, he’s like, no, no, you can’t do that, dude.
Then I go to jail and this is nope. Can’t do that. Can’t do that. Basically stops them and like carry them out. Cause he’s like super drunk. And it’s like, okay, that’s the end of that conflict. So this leads into the second screening. Yeah. So he’s screening the dailies for Barbara Hershey’s parents. Oh yeah.
Here’s the scene at the grave site, you know, acting blah, blah, blah. And then [01:01:00] what pops up on the screen? Her butt.
Crew Chief Eric: Was that even the same movie? He did that on purpose. Wasn’t
Executive Producer Tania: the bear statue thing in this, in that? It ends
Crew Chief Eric: with the bear swinging. Yeah. As they pull back from her in bed with somebody else.
And I was like, This isn’t even the same movie. Like again, he did it on purpose. I think to piss him off and the ma and pa kettle expression on her parents and the mom’s grip in the husband.
So you look at it when she was there at the grave site, she was the order person. I thought that was like a flashback.
That’s why that box of the bear donut had meaning. Cause I guess the guy in the ground was who she was in the bed with.
Steve Kondrick: Maybe I was
Crew Chief Eric: overthinking to do with nothing.
Steve Kondrick: So they’re upset, but then it’s like, no, why don’t you come the next morning? And you’ll see the next scene that she’s shooting and it’ll be great.
And you’ll see that she’s a real actress now. And she’s like talking to Eli, like, why’d you do that? Eli? He’s like, I don’t know. I’m definitely not evil or whatever. And then it, like the screen transitions and we see her and like, they [01:02:00] start bringing in like the swastikas and like fire, like chanting, like March music.
We are, we’re a picture of the parents. From their point of view of it. It’s like, what has our baby done? Fucking nuts. Had they not seen a
Executive Producer Tania: douche commercials up to that point? I mean,
Steve Kondrick: Nope. Oh, it was, it was just her being, you know, somewhat seductive with a puppy. No big deal. They’ve seen those shampoo commercials.
That’s nothing. I don’t know. It was like the fruit tease commercials. Y’all remember those. Oh, do you remember the
Crew Chief Eric: ones where the perfume that they would black out and they’d spray themselves? So that was like back in the 90s. I forget, they had one for men and it ends with the guy and he just does one spritz over his dong.
And then like, then the commercial ends. Wait, are you talking about Axe commercials? Yeah. It was before Axe, but there was a perfume or cologne or whatever. It was ridiculous. Is this where we get the big reveal? Where we finally figure out what he did wrong?
Steve Kondrick: I think they’re in, um, Lucky’s room. Him and, uh, Barbara [01:03:00] Hershey.
He gets a phone call and she’s like, no, no, don’t. If it’s Eli, I’m not here. You know, whatever. I’m not going on set, blah, blah, blah. But he answers it. And he’s like, ha ha. Okay, I’ll meet you at the church in an hour. And then he, like, leans over to her and he’s basically like, What if I didn’t do the stunt?
What if I just decided to leave tonight and never come back? Maybe you could come with me? And she’s like, I can’t, I’ve got two more scenes, but I could meet you somewhere, though. Yes, we could run away together. It’d be great.
At this point, was he paranoid about the director trying to kill him yet? Yeah,
Steve Kondrick: yeah, yeah.
He’s basically like,
Steve Kondrick: the director is crazy. He’s crazy like me. He’s going to kill me. He was willing to kill Bert to get that shot of him underwater dying. And he’s going to do the same to me. I guess he does meet him at the church or whatever, the stunt coordinator, like check out the car or whatever. And some coroner is like, all right, here’s how this is going to go down.
Notice in this car though, there’s no roll bar. And when you’re down 200 feet, that thing’s gonna, like, crush like a Coke can. But it’s okay, because you got the steel in the back where you can hide. You’re gonna have a harness, but they’re not gonna be able to see. It’s just gonna be around your waist, not over the shoulder, so don’t [01:04:00] worry about that.
You’re gonna have to just brace yourself hitting the, uh, steering wheel or whatever when you crash in the water. Alright, so then you’re gonna wanna roll down the window sill. Slowly, not all at once, because that could cause a major issue, and then the red light’s gonna come on, you’ll know the scene’s over, that’s when you can bail out of the car, but not before then, otherwise we’ll just have to do it again, we only have one Duesenberg, and I’m just like, okay, okay.
Stunt coordinator’s like, look, make sure you stay sitting upright as long as you can, we don’t want to mess up this shot. He was very adamant about it, and he’s like, and don’t look back.
Steve Kondrick: If you look at the camera, we just have to do it again and we’re not going to do it again. So the whole thing’s going to be scrapped.
Do not do that.
Crew Chief Eric: Because there’s the whole scene where they try to go steal the car and the whole Olin Mills thing where her face is superimposed over his ghost face and all that stuff, you know, just before he gets the briefing on how to do the stunt. But I wrote down and I circled the big reveal. He explains why he’s a fugitive.
Steve Kondrick: After they check out with the stunt coordinator, where he goes back to the room and she’s like, look, I’m thinking of running away with you, but who the hell are you? And Eric, who is he?
Crew Chief Eric: He’s a war vet. When he came home from the [01:05:00] war, I wrote down, came home to run a Baskin Robbins and tried to kill his partner.
He
Steve Kondrick: goes a little more elaborate. It’ll be like, you know, just shooting anything that moved just to survive for two years. It could have been both sides. I don’t know. I was just trying to survive. And then I came home and expected like I was gonna get some kind of a medal. Instead, they just called me a baby killer.
I’m like, Oh yeah, she wants to go now. Yeah, no, never. She’s like, Oh, forget the scenes. We could just go now. And then he’s like, no, but that’s not why they’re after me. They’re after me because yeah, the Baskin Robbins thing. And like, he’s supposed to be my partner and he said, shove off baby killer. And so I just snapped and you know, was that what happened?
Yeah.
Executive Producer Tania: I thought he came home and found out his betrothed was sleeping with that dude. And so he went ballistic because the bitch should have waited for him forever.
Steve Kondrick: Yeah, yeah, it was that. And that he was also like, no, you’re no longer going to have a job at this here, Baskin Robbins or whatever. And that’s when he just snapped.
And, uh, he did kill the store owner, right? Like I couldn’t quite. No, nobody knows. No, nobody died. Okay. Attempted [01:06:00] murder. He got
Executive Producer Tania: frostbite. Yeah, the guy got frostbite was on his nose and ear. He lock,
Crew Chief Eric: would he lock him in the fridge?
Executive Producer Tania: No, he knocked the ice cream back. That’s right. That’s over his head. Yeah, that’s right.
And then he got knocked out and his head stayed laying in the frozen ice cream and he got frostbite on his ear.
Steve Kondrick: But from the Rocky Road and the mint chocolate chip, Bavarian chocolate cream. What did you have it under? Like
Executive Producer Tania: dry ice? Yeah. Come now.
Steve Kondrick: It was those Dippin Dots. Liquid nitrogen Dippin Dots.
That’s what did it. Makes way more sense. Okay. And then this is the scene where Steve Railbeck starts Lipping the fuck out. Like it’s the end of first blood. And I’m like, this is the one where he’s going balls out, trying to get that Academy award nomination. Cause he’s just like, kill everybody. And he’s like tossing paint around and Barbara Hershey just started laughing like a maniac.
He’s like, and then I start beat the shit out of them. And maybe if I did full nuts, she’s laughing. And I’m like. Okay. This movie’s almost over. Great. Like we’re going to [01:07:00] get to a climax here. Nope. And then she’s like, that’s great. And she goes to the shitter.
Great story,
Executive Producer Tania: Mark. She pissed herself. She didn’t make it.
Yeah. Well,
Crew Chief Eric: you know what I’m telling you, it is without fail in American films, there is an obligatory toilet scene in every movie. And I don’t understand why it’s sort of like when it snows, people go out and buy milk and toilet paper and bread. In movies, we have to have a toilet scene and this was the moment we had to have it.
Steve Kondrick: Yeah, and then she like comes out like, Hey, what if we woke up Eli, you know, blah, blah, blah, and told him we were just leaving? And they’re like, no, that’s a dumb idea. So they just like hop in the car to like drive off, but the garage is locked and the security guy comes down. He’s like, whoa, whoa, whoa, what’s going on here?
We’re locked up until 7 a. m. Unless the director himself gives the okay. And they’re like, well, this is bullshit. Boo. He wants everybody arrested for last day of the shoot. Okay, cool. We got another speech from Lucky or whatever. He’s like, I feel like I’m in a character in this [01:08:00] movie. Like, I’m just pretty destined to do this thing.
And what if we could just change that last page? You know, wait, that’s it. We’ll do a rewrite. Okay. Here’s the plan. Now stop me if I’m wrong. She’s going to hide in the trunk. Uh huh. While he does the final stunt off the bridge crashing and driving blah, blah, blah. And then he’s going to like free her as he’s freeing himself.
And then just swim off to Canada or whatever from there?
Crew Chief Brad: I didn’t gather that as the plan. I thought he was just not going to do the stunt. And they were just going to leave. They were just going to keep driving. Just drive. Just keep on driving. That makes a lot more sense.
Crew Chief Eric: Actors on the set, security guys should know them.
He could have just said, I’m going to take the car out because I want to practice driving it. And they could have just driven away, both of them in the front seats. This whole elaborate plan for what? We got to get, they
Steve Kondrick: had to get the okay from the director. He’s the God and or devil of this movie. So nothing happens without his okay.
Crew Chief Eric: Now, this is where [01:09:00] we do get the Olin Mills, ABBA album cover thing happening with their faces and the ghost. And I was like, what the hell is this? We had extra money. We had to do some special effects. Pretty much.
Steve Kondrick: Yeah, she hops in the trunk and lock it up and then he, I assume, goes off to sleep for an hour or whatever.
I don’t know. And then we cut to the morning and we see like the movie caravan rolling in to shoot the scene there at the bridge. And they set everything up in like minutes, like the giant mechanical arm, the director’s going to be in all trailers, all the camera crew chopper.
Crew Chief Eric: Was that guy riding on the hood with the bullhorn at like 45 miles an hour?
What was going on? He just didn’t want to walk.
We’re shooting the scene.
Crew Chief Eric: So you’re telling me all the seats in the basically Griswold mobile were queued up.
Steve Kondrick: I can only ride on the hood seemed that way. He was yelling out the Siri directions. He’s like in a quarter mile, we’re going to turn left on state road.
12 so bad. So they’re setting up the car with all the [01:10:00] cameras in the back and all that stuff. The director, you know, he comes out and like on the bullhorn is basically like, Hey, we only have one Duesenberg. So don’t fuck it up. And no matter what you do, keep rolling those cameras. No matter what I said, I yelled back.
It’s a
Crew Chief Eric: fence. Get a Duesenberg. Did you guys notice the little third Reich Falcons on the door or whatever they were? I only noticed them in that scene and not in the early scene with the guy that died off the bridge. So maybe that’s how the car was unique, but stamped on the doors were these black Falcons, very German or whatever there.
And I thought that was interesting. I was like,
Steve Kondrick: Whoa, like black Eagle or whatever. It was definitely just a German thing in general, not specific to the third, right? I swear there was swastikas popping up along with those in that scene with Barbara Hershey and like the fire and everything that was coming in.
I’m like, wait, this just turned a world war two now. Oh, I guess she is older. Maybe. Yeah, I don’t know. So yeah, they’re setting up detective Jake. He’s on set too. Apparently the security guy and all the other cop buddies are dressed up and they have guns and like Brailsback’s talking with them. [01:11:00] Like those are blanks.
Right. And they’re like, it’s not what it said on the box. I got the bullets in. So I wrote down,
Crew Chief Eric: yeah, those better be blanks. Doesn’t say so on the box. And I wrote Alec Baldwin moment, right?
Steve Kondrick: Guys, we’re about to see Brandon Lee be shot down. Hold on to your hats. This is
Crew Chief Eric: also the part where Eli Peter O’Toole requests the helicopter, right.
To come in, but we don’t see it until a little bit. And I also wrote down this quote. He said, this is the crooked cross to the lame duck requesting the helicopter. And I was like, why did you pick that exact phrasing? Because his name is Eli Cross. No, I knew that, but the crooked cross, again, kind of going back to what you were saying about how he is both the good and the evil.
Were we supposed to pick up on that? Was he confirming it at that point? It was very specific language. And I was just like, that’s odd. Everything
Steve Kondrick: in this movie is pointing to the director is going to kill Lucky. Other [01:12:00] live rounds in the guns, they’re going to be shooting him when he gets on the shore, if he makes it out of the car that may or may not unlock to let him release, dangerous as it is.
And then when the male star he’s stunning for, Mr. Bailey or whatever, comes up and says to him, there’s no need to check if she’s in the trunk. If she’s in there, she loves you. And if not, then it doesn’t matter. And I’m like, So they know she’s in the trunk or at one point knew they’re in the trunk because he’s coming up and telling her, I’m like, okay, okay.
This is kind of overkill on this point. So then he hops in the driver’s seat and is like, fuck it, punches the gas and starts driving off. And the director’s like, what’s he doing? Got action, roll cameras, action, action. He’s like, we’re going to get out here, blah, blah, blah, crossing the bridge. And then we see that the director has a little button in his hand.
Boop! Tire blasts out. Oh, shit! Swerves off of the bridge. Splash into the water. Oh, shit! Oh, shit! Instantly, he’s like, unbuckling himself, crawling into the back like where the camera [01:13:00] is and stuff. I’m like, well, they’re not going to be able to use any of that footage. Good for them. He’s going back there, I guess, to like, dig through the back seat to make sure Nina’s okay.
But as he’s like, trying to do that, he’s looking out the back window and he sees the director looking down from the bridge and then Nina’s next to him looking down from the bridge. She’s not in there.
Executive Producer Tania: I’ve got confused. I was like, great. So she set him up this whole time. For a while. I was like, so did she just set him up with Eli? And she’s been like this backstabbing hoe the whole time.
Steve Kondrick: And so, yeah, the car’s just sinking and sinking because it’s a solid metal Mercedes and like the handles are like falling off.
Like it looked like they were like held on with glue or something. Like they were just for decoration. Yeah. Water starts filling in super quickly. Like it takes about three seconds for just things. He was told there was like an air tank under the seat, but the tube was cut or whatever. So it was like, it’s not going to work.
It goes out the window out to the surface, swims over to the shore, pulls [01:14:00] himself up on there. And then the cops with the guns are basically just waiting there with like the rifles and they like point the guns at him point blank And start grabbing them and yelling them and like pulling them around Got Congratulations.
We got it. It’s perfect. Everybody everybody and then like there’s like playful music and everybody’s laughing and the choppers like Flying around and
Crew Chief Eric: so my favorite character Arrives again, the stunt coordinator, right? The stunt coordinator. Yes. Oh my God. Like he goes ass over tea kettle and they tried a hard cut there, but it was obvious.
He wrecked that thing when he hit the shore of that river or whatever it was. It was beautiful. Like I stopped. I had a moment. I laughed. I cried. I felt for him. It was
Steve Kondrick: amazing. I can’t even say it was a jet ski. It was a legit water cycle. Like it was a motorcycle with a ski on it that he just, we can’t roll up.
I’m like, what’s that? I have not seen one of those. And then you have flips over. It’s like, Oh, well that’s why there was only [01:15:00] one and you just broke it. Offers him like some whiskey and stuff, like, Hey, this is probably the greatest thing I ever shot. Good job, buddy. And Nina’s there and she’s like, Oh yeah, they found me like five minutes after you left in the trunk.
And Eli said that you were going to do the stunt and I should be here to support you and blah, blah, blah. You were wonderful. Anyway, I’m going to go shoot my two scenes and then we can go off together. It’s going to be great.
Executive Producer Tania: I
Steve Kondrick: can’t come
Executive Producer Tania: 10 foot closer cause my dress is going to get muddy.
Steve Kondrick: Oh, screw it.
And she runs across and they hug and kiss and oh my God. And then the director comes flying in on his super villain arm again. Hello, Peter Parker. You know, it’s even better. He shows up on that thing and he’s like, Oh, like how white man? Like, Oh Jesus, dude. Yeah, it was like, look, I know I was kind of seedy here the past couple of days.
I just wanted to get the best reaction out of you. So it looked realistic. I hope we can still be friends. You know, I’m just trying to convince. People, there’s another way to get this kind of reaction without killing you. [01:16:00] Wait, what are you trying to make yourself up as a good guy in this? And then this is where you start discussing the fee.
The stunt coordinator told me a
Crew Chief Brad: thousand dollars. You were going to give me a thousand dollars. No, the stunt paid six 50. No, I want a thousand dollars. You owe me a thousand dollars. No, six 50 thousand dollars. I’m going to come up there and tear you off that helicopter. I’m a down, down, down, down, down, down, down, down, Let’s look Yeah.
Steve Kondrick: Yeah. And the music was just kind of like, do, do, do, do, do, do, do, do, do, do, do, do, do, like curb your enthusiasm or something.
Crew Chief Eric: Back to that sixties Batman stuff again. Yeah. Yeah. He gets in the helicopter. And did you notice they use the same smoke grenades that used the Batman? So now he’s flying around with all this pink and green shit in the air.
It’s like, what is the point
Steve Kondrick: of this? Joker has just taken over the helicopter. Weren’t all around doing like a little work you lose around the bridge coming within feet of that bridge It looked like and I was waiting for him to like throw a bottle or something I don’t like you did before and then it [01:17:00] crashes, but yeah, no, he
Executive Producer Tania: just stood there Well, he threw a rock or something at it and I was like, oh here it is gonna crash
Crew Chief Brad: It was like a handful of dirt.
He just grabbed some dirt from the ground and picked it up and threw it right before the credits. So did you all catch the symbolism, I guess, or the connection from the beginning of the movie to the end of the movie, basically the movie started and ended with Bert getting ready to ride in a police car.
Crew Chief Eric: Like Burt and Ernie, like, what did we talk
Crew Chief Brad: about Bert, Bert,
Steve Kondrick: Cameron, Steve, whatever we’ve been calling them, the whole movie started
Crew Chief Brad: with the police getting ready to take him for a nice little ride. And it ended with him. He was going to willingly hop into a police car.
Steve Kondrick: Yeah, Jake was getting him a ride to the airport or whatever.
And yeah, the airport, it just
Crew Chief Eric: ends so
Steve Kondrick: abruptly. Yeah. It’s like the credits are rolling. You see the helicopter is still flying around and it’s like, you know, it’s only like two minutes of credits. Cause you know, whatever, no special effects or whatever. Did you guys wait till the end? No. Oh man, [01:18:00] there was more?
Yeah, basically at the end, we get Peter O’Toole saying, Son, rewrite the whole damn thing and crash him in the first act. Ha ha ha! That’s it. The end. Wow. That just brings it all together for me now.
Crew Chief Brad: What happens
Steve Kondrick: basically like the freeze frame shot or whatever is the credits are rolling. And at the end, yeah, you just get a little voiceover of Peter O’Toole saying like, rewrite the whole thing and kill him off in the first act.
That’s like the last three seconds of the movie.
Crew Chief Eric: Here’s my problem though, because I watched it on freebie. If I want to go back and watch those three seconds, it means I don’t, I need to back up, watch nine commercials and then get to that. And I had already done that once because I kid you not the way this movie ended.
I thought. I had passed out. You know, you’re watching like a movie and you’re so tired and you forget, you know, you just fall asleep. I went back and I’m like, nope, that is how it ended. Roll credits. We’re done. And I could not believe it. So there’s no chance I’m going back for three
Steve Kondrick: seconds of Peter [01:19:00] O’Toole.
All right. Well, I guess going around the room, that’s the stunt man, Eric, would you recommend it?
Crew Chief Eric: To my enemies? Sure. No, I’m kidding. If you’re into this sort of late 70s, I’m gonna use the word, if you’re like these mindfuck movies like this, this is a movie for you to dissect and pull apart and try to figure out what they intended.
I mean, it reminds me of high school literature when you’re trying to philosophize about what the Author intended by what they were writing. No, they wrote the cat was black and crossed the street. That’s how I viewed this movie. And that’s it. An allegory for good and evil, just like star Wars is okay.
Great. If that’s your thing, watch this, but if you’re looking for a good stunt movie and stuff, that’s blowing up. Yeah, this isn’t the one. All right. How about you, Tonya?
Executive Producer Tania: Hard pass. I am not clearly intended for these 70s movies. As I said in the beginning, it’s a wonder that film progressed with these [01:20:00] gems that came to us.
Crew Chief Brad: Excellent. How about you, Brad? Recommend this movie? Or would I watch it again? Just, no. It wasn’t terrible. I didn’t see the point of the movie. There was no really awesome van or Corvette that I could really grab hold of, fall in love with.
Crew Chief Eric: There was Azenberg Dusenberg
Crew Chief Brad: there, there was a pork and beans. Uh, that was it.
Um, but now I, in
Steve Kondrick: five seconds of a water cycle. True. Did a hell
Crew Chief Brad: of a j turn though. I will say the helicopter pilot was, he was pretty good. Oh yeah, Matt Gross. He was the real hero of the film. I wouldn’t recommend it to anybody. I am I sorry that I spent two hours watching it. I actually paid money to
Steve Kondrick: Oh, no.
No. So I didn’t have to sit
Crew Chief Brad: through two hours of commercials. It still wasn’t worth it. .
Steve Kondrick: All right. How about you, Mel? Man, Dan. As for
recommending it, I can’t say that I would because when you see the title of the stuntman, you think it’s going to be like a lot of stunts and everything, but it wasn’t in the sense of what I thought it was going to be.
If anything, I’m curious with the [01:21:00] movie they were filming inside the movie, where do we act? Access that movie to watch it. .
Steve Kondrick: You wanna watch the uh, world War I brothel comedy Love across time and generations. You already saw it though. You saw all the footage, IM sure. All good stuff. Anyway,
with the way this was, I was confused through a majority of it.
It’s probably one of the movies. If I were to sit down and watch it multiple times, I’d probably find things I missed the first time. I don’t know that I want to spend that time outta my life to go back and search for those things.
Steve Kondrick: Well, guys, I’ve loved this movie, . I can’t even joke. It was crazy. I love just how over the top, like Peter O’Toole was great, I thought.
I’ve only seen him in three movies in my life. It’s like, man, like Lawrence of Arabia and stuff, and it’s like, am I comparing this to Lawrence of Arabia? Probably not. But no, I really enjoyed this movie. It was just nutso enough, and I watched a lot of stunt movies this month, and they’ve all been pretty great.
Even like, low budget stuff like Death Cheaters. I mean, I’ll get Izzy’s comments. I’m pretty sure she liked it too. Uh, Izzy, what did you think?
Izzy Fischer: Hey everybody, so this is [01:22:00] Izzy. I had to go, uh, take care of the little sushi dog, but I have opinions! Basically, it just sums up to this movie’s freaking awesome. If you didn’t like it, okay.
If you thought it was boring, you didn’t get it. You weren’t paying attention. This movie is a lot about an unreliable narrator. And somebody who does not have a good grip on reality, their version of what the movie industry is, was sort of a sadistic director. And we’ve seen quite a few movies with sadistic directors.
It’s kind of an interesting theme that could be explored in and of itself. But that is too much film school information for this year. Basically, go watch this movie.
Executive Producer Tania: Make your own decision. This movie is freaking awesome. The ending is amazing. Watch it with like a bit of humor and knowing that you can’t trust anything that’s going on because our main character doesn’t trust anything that’s going on.
Steve Kondrick: See, she agrees with me. But guys, we’re gonna take [01:23:00] a quick commercial break. When we come back, we have more beer, fun facts, and what we learned from The Stuntman.
Ashley McAnelly: There’s so many podcasts out there. How do I find the one for me?
For so long, I’ve searched for podcasts all over, but none of them seem to fit my needs.
Where’s my Nick Cage pissing fire podcast? Where’s my monkey tickling? I couldn’t find it anywhere. Until, I found everything I learned from Louie’s podcast with Steve and Izzy. And now I get to hear about all the monkey tickling I want, baby.
Steve Kondrick: So many podcasts out there are all talk and no congo. That’s why I listen to everything I learn
from movies.
Greatest Living Actor? Nicolas Cage, of course. That’s why I listen to everything I learn from movies.
Executive Producer Tania: One liners, plot holes, virtuitous boobies? Fun fact, that’s why I listen to everything I learn from movies.
Steve Kondrick: See if everything I learn from [01:24:00] movies is right for you at EILFmovies. com. Everything I learned from movies on Twitter, Facebook, or Patreon, free on all the major podcatchers.
Have you ever watched a movie and thought to yourself, What were they thinking? Because we sure have. So much so that we named our podcast after it. What were they thinking? Starring me, Nathan. And Brendan. Every week we take a bad to questionable movie and unpack it so you don’t have to. And then sometimes we ate your cues in our mailbag.
No big whoop. Yeah, no big whoop at all. So that’s What were they thinking? You can find us on your favorite podcatcher, or follow us on the World Wide Web on Twitter and Instagram at WWTT Podcast. Who the hell says World Wide Web anymore? This guy So, uh, yeah, see you soon wave at [01:25:00] Microphone. Hi guys, we interrupt your favorite podcast to interrupt you with an ad for your new favorite podcast Wait, wait, isn’t this playing on somebody else’s show?
Exactly. So then how are we I thought we were their new favorite podcast Well, we’re gonna become their new favorite podcast after they hear this advertisement for our show. What’s our show called Justine? Superiority complex. Yeah, where can they find us? Patrick. Uh, Twitter and Facebook. Yeah, exactly. You can go to at SupComplex on Twitter, S O U P Complex, and you can go to Facebook.
com slash SupComplex. But our main page is on PodBean, and you can find us there at www. superioritycomplex. podbean. com. New episodes are out every Thursday. Justine, what do we talk about on The Superiority Complex?
Steve Kondrick: Nerdy stuff.
Perfect. Don’t get all sensual with your voice. Yeah, did you hear that? I heard it.
That’s a little inappropriate. If you want to hear a little more of that, tune in to The Superiority Complex. One more time, Justine, what do we talk about? Nerdy stuff. Nah, it [01:26:00] wasn’t the same. You tried.
Steve Kondrick: Hi, this is Johnny C. McGinley, and you’re listening to Everything I Learned From Movies. And we’re back! Oh my god, Steve, those were the greatest ads that ever added in the history of adding!
Ah, he said it! Think about it every week! Did it all by myself, guys. Nice. Well, I’m a little thirsty, so I got from Rogue Brewing, a Dead Guy Ale, you know, after good old Burt. Tops off for Burt.
Crew Chief Eric: Oh, my top
Steve Kondrick: is a logo,
Crew Chief Eric: just a silhouette and a mustache.
Steve Kondrick: Oh, oh, not that Bert,
Crew Chief Eric: Bert from them. I’ll never mind.
Steve Kondrick: But speaking of that, the opening, like production logo that popped up Melvin productions.
I thought it was just like somebody’s hairline and then what filled in the rest. And it was like a vulture with the arms down, like on a branch. I was like, Oh, it’s a vulture. Okay. Road brewing. Dead guy, Yale. It’s an American Maybach. It’s 6. 8 percent alcohol by volume. We’ve had it on the podcast a bunch.
It’s [01:27:00] fantastic.
Crew Chief Eric: I’m still enjoying my delirium. It’s not something you can blast through.
Steve Kondrick: Yeah. So you said it was what, like 8%? Yeah, it’s 8
Crew Chief Eric: percent and it’s in a big rig. Pretty much the cans that comes in. So how many ounces is this? It’s quite a lot. It’s a full pint in a can. So yeah, it’s a big red can, like you’d expect, like bigger than a monster.
So, you know, normal humans probably plow through it. Me, I like to sip my beer, like to enjoy it. There’ll be some leftover tomorrow, I think.
Steve Kondrick: How’s the McAllen there, Brad? Quite tasty. Yeah. Well, since Tonya is wanting to go straight into the fun facts, what do you say we, uh, get into it? Yeah. Fun facts, guys.
Rotten tomatoes. What do we think the critics thought of the stunt man?
Crew Chief Brad: I think
Steve Kondrick: they gave it what? 90%. It is 90 percent positive reviews on the stunt man. So guess what? Steve’s right.
Crew Chief Eric: Woo.
Steve Kondrick: I was not
Executive Producer Tania: expecting that.
Crew Chief Eric: Do we watch movies differently than everybody else? Is that what it is? 90
Steve Kondrick: percent with the critics and 73 percent with the audience.
You guys are wrong, wrong, wrong, wrong, wrong. [01:28:00] Think about it. Who’s going to go watch The Stuntman and review it on these things? People specifically looking for stunt movies.
Crew Chief Eric: True. The people that dissect these kinds of movies, looking for their inner meaning in Deception Level 7.
It’s an avid reader. Like, the stunt work in it, a lot of it was crazy, and I can imagine the actual filming of it was insane to do.
Was there
Crew Chief Eric: actually stunt work in this? That’s the whole thing. It’s a movie about Stuntman. And I felt like there was no stunts. The guy who smashed his The sequence on the
Steve Kondrick: top of the Hotel Coronado?
Crew Chief Eric: That’s it! The guy who smashed his balls! That was the biggest scene!
Steve Kondrick: The tanks going through walls, the planes crashing, the guy doing the Charleston on a biplane, saving geriatric Barbara Hershey in the water.
The opening chase with the cops and stuff
Crew Chief Brad: in the woods, man, the tank going through walls and losing its main cannon as it went through the wall. It
Steve Kondrick: was made out of cardboard, you know,
and Brad did already point out the helicopter pilot was a phenomenal pilot. He was good. He was quite good. [01:29:00]
Crew Chief Eric: And that chopper had a glass bottom.
My wife pointed that out. Did you notice? They were shooting through the bottom of it for some of those scenes. I thought that was pretty cool.
Steve Kondrick: Any guesses on the budget for this movie with all of its amazing stunts and star studded cast and whatnot?
Crew Chief Eric: I’m gonna quote another movie. 50. More than you can afford, pal.
Executive Producer Tania: 65 grand. It’s probably a
Steve Kondrick: lot of money. It was 3. 5 million, which I think for inflation makes it like 50 today or something, 3.
Executive Producer Tania: 5 million. They spent like a hundred grand on this.
Steve Kondrick: 3. 5 million. Look, you have to keep those actors on cocaine. Like, let’s be real.
Crew Chief Eric: That explains the red eyes. I
Steve Kondrick: get it. There’s a reason Peter O’Toole’s in this movie.
Other guys, last name is rails back. All right.
Executive Producer Tania: Oh, that’s why it cost so much to pay Peter O’Toole.
Steve Kondrick: The crooked cross. Yes. He had to get paid. All right. How much money do you think it made since we had never heard of it before?
Crew Chief Eric: After 50 years, it’s got to have made its money back by now. So let’s say it [01:30:00] made 10 million.
7.10,
Steve Kondrick: that’s pretty good. Yeah, not bad. The film was a dream project for Director. Richard Rush has frequently been publicized as taking nine years to get to the screen. However, rush said on the website, the sinister saga of making the stuntman to the picture took 10 years from inception to release, seven years to finance it, and then three years to release it.
That’s right. It was written in 1970. The film was shot in 1977, and post production finished in late 1979. So then 20th Century Fox picked it up and released it in 1980.
Crew Chief Eric: I want to go back to what Tanya said. The Ramey brothers could have done this for 35 grand, and we already know who the cast would have been, and it probably would have come out the same.
Come on, Steve.
I know they did.
Steve Kondrick: So like, all right, we get a time machine instead of evil dead. We get the Ramey brothers to do the stunt man and then Bruce Campbell starring now in like stunt man, 24, the search for more money.
Crew Chief Eric: See, I could see Bruce Campbell replacing [01:31:00] Peter O’Toole. If we were to recast this, I think it would be perfect.
Put a little chalk in his hair. Boom, done. Or
Steve Kondrick: just take the coloring out, whatever works. The scene where the old car crashes off the bridge into the river was filmed on the American River in Rancho Cordova in Sacramento, where my wife’s from.
Crew Chief Eric: I’ve been there. Nice.
Steve Kondrick: When they first tried this, the car actually jumped the track and let it off the bridge and continued down the bridge.
The driverless car was on a pulley system with a rail on the bridge road to guide it. The driverless car chased down a few cameramen and crew and took out a camera before it finally came to rest. Oh, wow. Yeah. And they got it all on film, and Burt died! I mean, I’d be interested in this, but the movie’s original runtime?
2 hours and 30 minutes. There’s an additional 20 minutes somewhere! Ah, director’s
Crew Chief Eric: cut! No!
Executive Producer Tania: The lost
Steve Kondrick: footage!
Crew Chief Eric: It’s
Steve Kondrick: on the Blu ray. Guys, I think you’ll be okay. Unfortunately, Richard Rush is no longer with us, so I’m sure they’re not going to be pulling for that Rush cut. I liked that one. That was good. [01:32:00] And director Richard Rush had said in a 2001 interview with Paul Hupfield, I was lecturing at a university film school to a bunch of potential film students and asked them if any of them had seen my films.
I started with Color of Night. I saw about 80 hands went up out of the room of 200 kids. Then I asked if anyone had seen The Snutman. The film I’d actually wanted to talk to them about, and only two hands went up. Wow. Two hands in a room of 200. I thought, Oh boy, my film is totally lost on this generation.
Guys, watch it on Tubi. This gets the Steve Thumbs Up Zilv approval. Don’t listen to these other guys. No, I’m just kidding. Certified fresh on Rotten Tomatoes. I’m
Crew Chief Eric: never trusting the reviews again.
Steve Kondrick: Look, there are movies, they’re like 90 something on Rotten Tomatoes. Like for me, Midsommar is the stupidest movie I’ve seen in forever.
And like the Nicolas Cage Wicker Man is 10 times better. Oh man.
Crew Chief Brad: Wicker Man and Midsommar are both so slow and dumb.
Steve Kondrick: There’s movies like that where it’s like, Oh yeah, 95 percent of Rotten Tomatoes. And I’m like, but. I didn’t enjoy it. Teach their own. So
Steve, do you have [01:33:00] any additional trivia regarding the movie?
Cause I got one little key thing that happens.
Steve Kondrick: Yeah, that’s all I go for it. Okay.
So for any individuals out there trying to find this that are not in the U S or can’t find it on to your locations, you’ve mentioned this movie. Apparently it was also released in Argentina, Brazil, Canada, Germany, Spain, Italy, and Portugal.
Since Eric was thinking fugitive at the beginning, the irony of that is in Portugal, it was released as. Oh, and then Brazil, it was, Oh, substitute. Oh,
Germany, they’re laying Todd. This Stuntman’s camera. So at least that one, we would’ve gotten his name at the beginning of it and known what it was because it’s in the title.
Steve Kondrick: Yeah, there we go.
Executive Producer Tania: Did you mention the cover art of this movie already?
No, go for
Executive Producer Tania: it. So has anyone looked at the cover art for this movie?
Steve Kondrick: Yes.
Executive Producer Tania: A naked Peter O’Toole. As the devil with wings sitting on his whatever the hell camera
Steve Kondrick: [01:34:00] mechanical arm thing. Yeah,
Crew Chief Brad: that’s the cover of every Peter O’Toole movie.
Executive Producer Tania: Oh my God.
Crew Chief Eric: Oh, is that what that is? It
Steve Kondrick: just looked like super blurry on freebie now. Wow. Yeah. Cause you know, the devil was an angel and now he’s a director in a movie.
Oh yeah. Because the other cover
Crew Chief Eric: art makes it look like the hotel Coronado is exploding. Yeah. And everybody’s face looks like,
Steve Kondrick: ah, some great cover art in the seventies. I miss those days.
Crew Chief Eric: Oh, it looks like there’s a followup DVD that you need to get Steve. The sinister saga of making.
Steve Kondrick: Yeah, that’s where Richard Rush talked about taking 10 years or whatever.
And my, uh, fun facts. I’m like, I got to hunt this down somewhere, but then it
Crew Chief Eric: has two naked Pedro tools, one on a blue camera and one on a red camera, like good versus evil.
Steve Kondrick: That’s the
Crew Chief Eric: cover art. It’s super special.
Steve Kondrick: It’s an allegory. No, all right. Lady gentlemen, we’ve reached the most important part. What did we learn from the stunt man?
I learned that Eric [01:35:00] pays a lot more attention to little details that most average people don’t. It
Crew Chief Eric: was a Benz, damn it. It was a Benz.
Crew Chief Brad: Especially when it comes to anything else worth watching. He found the one piece of something interesting from the movie that he could grasp onto.
Crew Chief Eric: I also led with Tanya going, what does this have to do with cars?
Steve Kondrick: Well, I learned the original King Kong was three feet, six inches tall.
Crew Chief Eric: Oh yeah. That’s all of
Steve Kondrick: it. Yeah. That’s
Executive Producer Tania: right. What was the point of that?
Steve Kondrick: It’s all about perspective.
Executive Producer Tania: Oh, okay. Oh, I said I missed it. Okay. With the
Steve Kondrick: magic of movies, you can take just some bum off the street in terms of an international superstar or something like that.
Brad, did you learn anything?
Crew Chief Brad: I learned never to watch a movie from the eighties again. But
Crew Chief Eric: there’s so many good ones from the eighties.
Crew Chief Brad: That’s good
Executive Producer Tania: movies. This was a made in the 70s movie released in 1980. This is
Crew Chief Eric: the Ford Mustang two of movies. Okay.
Crew Chief Brad: What I learned is that I don’t know why we did this movie because I want to do one [01:36:00] of the movies when you do the van month or whatever.
No, I got it.
Crew Chief Eric: I got an idea for that too. Spoiler alert. We need to do the gumball rally because we might have Linda Vaughn on the show who is the large chested well endowed woman that Raul Julia is all about in the gumball rally. So I think it’d be kind of fun to do another crossover with Steve and Izzy about that.
What do you think, Steve? Oh, hell yeah. We’re always down for Raul Julia. So Tanya, what did you learn?
Executive Producer Tania: I learned that I have difficulty in slow, drawn out movies with little dialogue. Oh, you must really
Steve Kondrick: hate the seventies.
Crew Chief Eric: She can’t watch Lamont’s. I mean, talk about movies with no dialogue.
Steve Kondrick: Yeah. I was named after Steve McQueen and that’s a rough one to get through.
Crew Chief Eric: That’s a classic. Don’t you blaspheme.
So I may be the only person who thinks this, but I enjoyed when all the credits were at the beginning of the movies, like back then. I don’t know why, but movies nowadays, I don’t like
Crew Chief Eric: Monty Python did that stuff. And it was just [01:37:00] annoying as all get out and took forever to get through the beginning of the movie.
That’s blasphemy. Monty Python movies are great.
Crew Chief Eric: They are. I want to do clockwise with you guys. I’d be going to, but do you guys want to know what I learned? What’d you learn, Eric? I learned something really important. Unlike Hershey’s chocolate, Barbara is all natural.
Steve Kondrick: Yeah. Well, on that note, Grand Touring Motorsports, thank you so much for joining us here on Everything I Learned From Movies.
I understand you also have a podcast. We do indeed. It’s called Break Fix. You can
Crew Chief Eric: find it pretty much anywhere on the planet where you download music or catch your pods. We’re available on all the majors, Google, Spotify, Apple, and then, you know, you could venture down and find us on Ghana too if you’re in the middle of India.
We’re available on social at Granatory Motorsports just about everywhere. We’ve got a bunch of different YouTube channels and this and that. If you’re interested, please tune in. We talk about more than just nerdy car stuff. And we are always happy to get together with Steven Izzy to review [01:38:00] bad car movies, which are always a lot of fun.
Crew Chief Brad: Yeah. Graduated. Just hang out with Steven. Is he just do bad movies now?
Steve Kondrick: I’m okay with that. I’m
Crew Chief Brad: okay with that.
Steve Kondrick: We got to do the Jackie Chan Grand Prix movie or whatever these days. Torque
Crew Chief Brad: and biker boys.
Crew Chief Eric: There’s a long list of bad car movies.
Steve Kondrick: Izzy, where can we find you? Oh, we can find me at Untidy Venus where I sell all my goods and wares.
And yeah, we’ll, we’ll, we’ll get Izzy on here for the whole thing at the end. Yeah. We
Crew Chief Eric: missed her. We missed her the last time too.
Steve Kondrick: I know the puppy dog and yeah, I guess until next time I’m Steve. And I’m here
Executive Producer Tania: and I’m tiny. Oh yeah. Sorry. I thought it was your pause for I’m
Crew Chief Eric: Izzy. We’re the crew from Break Fix from Grand Touring Motorsports.
And this
Steve Kondrick: is everything I learned from movies.
Crew Chief Eric: You gotta sing it with Brad this time. Come on, Brad, get in there. Did a little, a little lower than expectations.
Everything I learned from movies. Yeah, I’ll
Steve Kondrick: fix that in post. Or
Executive Producer Tania: [01:39:00] Everything
Steve Kondrick: I learned from movies. All right, Tonya, your turn.
Crew Chief Eric: I
Executive Producer Tania: think Brad nailed it for everybody.
Crew Chief Eric: I think you did. You did a great job.
Executive Producer Tania: Everything
I learned from movies.[01:40:00]
Steve, always enjoy coming on doing these because you throw out movies that I’ve never heard of. So I’ve purposely like almost every time I create a list when we have these. And I’ve pulled down so many of the movies you’ve mentioned and been watching. Some of them are phenomenal. Some on my complete train wreck is when I see them.
Crew Chief Eric: I got to say this movie to me was on par with the first movie you did for April, which was that Jennifer Connelly disaster. And it was like six movies in one. As I know. Yeah.
Steve Kondrick: It’s all the movies in one. Yeah.
Crew Chief Eric: Cause this kind of felt
Steve Kondrick: like that too. I was like, what are we doing here? Exactly. Yeah, the tone is just all over the place.
I got the same kind of feelings with this one, too, and I loved Fina Mina, just, yeah, just ass crackers crazy, but it was like, you have a dozen things in this movie, just one of them could be its own movie, like, oh, it’s a girl that talks to bugs, cool. Oh, there’s a monkey with a straight [01:41:00] razor. Okay, cool. Oh, there’s a little person going around and killing people.
Okay, that’s its own movie. Nope, throw them all in. Throw in Dr. Donald Pleasence, too. It’s fantastic. Yeah, it was bizarre. Yeah.
Crew Chief Eric: We hope you enjoyed another awesome episode of Brake Fix Podcast brought to you by Grand Touring Motorsports. If you’d like to be a guest on the show or get involved, be sure to follow us on all social media platforms at GrandTouringMotorsports. And if you’d like to learn more about the content of this episode, be sure to check out the follow on article at GTMotorsports.
org. We remain a commercial free and no annual fees organization through our sponsors, but also through the generous support of our fans, families, and friends through Patreon. For as little as 2. 50 a month, you can get access to more behind the scenes action, additional Pit Stop minisodes, and other VIP goodies.
As well as keeping our team of creators fed [01:42:00] on their strict diet of fig Newtons, gumby bears, and monster. So consider signing up for Patreon today at www. patreon. com forward slash GT motorsports, and remember without you, none of this would be possible.
Highlights
Skip ahead if you must… Here’s the highlights from this episode you might be most interested in and their corresponding time stamps.
- 00:00 Introduction and Listener Discretion
- 00:10 Guest Appearances and Podcast Dynamics
- 00:59 Revisiting Past Episodes
- 01:36 Watching Movies with Commentary
- 02:08 Streaming Services and Viewing Experiences
- 02:55 Introducing ‘The Stuntman’
- 06:33 Special Guests and First Impressions
- 08:17 Beer Tasting and Certified Judges
- 11:27 Movie Background and Director’s Filmography
- 15:58 Opening Scene Analysis
- 19:52 Character Introductions and Plot Setup
- 34:01 The Wet Rescue and the Skeptical Sheriff
- 34:35 Marvel Supervillain Vibes and Hotel Coronado
- 36:00 Stuntman Transformation and New Beginnings
- 36:35 Beach Scene Shenanigans and Director’s Secrets
- 37:32 Stunt Training and High Stakes
- 39:21 Romantic Tensions and Director’s Manipulations
- 39:47 Torture Scene and Dinner Distractions
- 44:57 Action-Packed Tower Jump
- 47:04 Plane Crashes and Unexpected Twists
- 01:04:46 The Big Reveal and Final Confrontations
- 01:07:14 The Obligatory Toilet Scene
- 01:07:39 Locked in the Garage
- 01:08:07 The Rewrite Plan
- 01:09:17 Setting Up the Final Stunt
- 01:12:30 The Bridge Stunt Goes Wrong
- 01:14:01 The Aftermath and Final Thoughts
- 01:19:00 Reviewing ‘The Stuntman’
- 01:27:28 Fun Facts and Trivia
- 01:37:22 Final Thoughts and Sign-Off
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Steve and Izzy watch bad movies, drink good beer, funny third thing. Cheers! Learn more about them by catching their podcast “Everything I Learned from Movies (EILFM)” on all your favorite podcast apps. Or follow them on social @eilfmovies. Look forward to more quarterly crossovers with this dynamic duo and the GTM team!
Fun, Fun facts – in fact… they are Super Fun Facts!
- 7.0 on IMDb, 90% on RT critics, 73% audience score!!!
- $3.5 M Budget, $7.1 M US Gross, $7.1 M worldwide gross!!!
- The film was a dream project for director Richard Rush. The film has frequently being publicized as taking nine years to get to the screen. However, Rush has said on the website for The Sinister Saga of Making “the Stunt Man” (2000), that the picture took ten years to make from inception to release, seven years to finance it and then three years to release it. The script was first written in 1970 when the rights were first sold. The film was shot in 1977 with post-production conducted in 1979. The picture had trouble getting distributed until 20th Century Fox picked it up and released it in 1980.
- The scene where the old car crashes off the bridge (“The Old Fair Oaks Bridge”) into the river was filmed on the American River in Rancho Cordova and Fair Oaks, Sacramento County, California. When they first tried this the car actually jumped the track to lead it off the bridge and it continued down the bridge. The driver-less car was on a pulley system with a rail on the bridge road to guide it. The driver-less car chased
down a few cameramen and crew and took out a camera before it came to rest. - The movie’s original running time was 150 minutes
- Director Richard Rush has said of this movie in a 2001 interview with Paul Hupfield: “I was lecturing at a university film school to a bunch of potential film students and asked them if any of them had seen my films. I started with Color of Night (1994), and I’d say about 80 hands went up out of a room of about 200 kids. Then I asked if anyone had seen The Stunt Man (1980), the film I actually wanted to talk to them about, and only two hands went up. Two hands in a room of 200! I thought, ‘Oh boy, my film is totally lost on this generation…’.”
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