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[SPEAKER_04]: Michael Mera, Radio Entertainment.

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[SPEAKER_00]: Hi, Ed, good to see you again.

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[SPEAKER_00]: And in the finale lobby, you're quite with us.

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[SPEAKER_00]: We will start the show.

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[SPEAKER_10]: T-M-O-S, classic.

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[SPEAKER_10]: Right, a flashback.

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[SPEAKER_10]: Why don't you do a nostalgia corner about a catty shack?

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[SPEAKER_11]: Mm, yes.

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[SPEAKER_10]: Or animal house.

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[SPEAKER_10]: Something that has chocolate syrup or something about Mary.

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[SPEAKER_10]: Yeah.

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[SPEAKER_10]: Or something.

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[SPEAKER_10]: Why do you have to go back to the Mark's Brothers and Gloria Swanson and people that are not only weren't there long since been warm food, it's all but dust now.

00:37.652 --> 00:38.573
[SPEAKER_10]: There's skeletons here.

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[SPEAKER_02]: Well, the beautiful thing about the nostalgia corner is that there are no limits and my, we're setting limits on them.

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[SPEAKER_02]: Okay, Oscar.

00:45.659 --> 00:47.201
[SPEAKER_02]: Shut the f**k. Oh, yes.

00:47.721 --> 00:48.702
[SPEAKER_02]: And passion.

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[SPEAKER_02]: She's right though, we're giving you parameters.

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[SPEAKER_02]: Yeah, but the thing about it is colorless by the line.

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[SPEAKER_10]: Who gives you feed positive feedback on nostalgia corner?

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[SPEAKER_10]: Yeah.

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[SPEAKER_10]: When you do one like the Mark's Brothers or, uh, because I read them, I read there.

01:01.775 --> 01:02.976
[SPEAKER_10]: There's some nice comments on mine.

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[SPEAKER_02]: I don't, I don't, I don't, I don't, I haven't read your past.

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[SPEAKER_10]: No, I don't, I don't pay attention.

01:07.260 --> 01:08.602
[SPEAKER_10]: I don't pay attention to comments.

01:08.742 --> 01:10.764
[SPEAKER_10]: Jack, I don't pay attention to movie magazines.

01:10.784 --> 01:11.585
[SPEAKER_10]: Nothing at all, Jones.

01:11.605 --> 01:14.367
[SPEAKER_02]: Nothing jumps out really, but I'll say this.

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[SPEAKER_02]: My interests are varied.

01:16.930 --> 01:17.611
[SPEAKER_02]: Incredibly.

01:17.691 --> 01:18.913
[SPEAKER_02]: I mean, I like modern stuff.

01:19.013 --> 01:21.096
[SPEAKER_02]: I do, but I do also like older stuff.

01:21.116 --> 01:24.400
[SPEAKER_02]: So I can do Newer stuff too, and it's just as entertainment.

01:25.161 --> 01:25.902
[SPEAKER_02]: No talk.

01:25.982 --> 01:26.804
[SPEAKER_02]: Newer stuff.

01:26.824 --> 01:27.484
[SPEAKER_02]: Don't know.

01:27.605 --> 01:27.865
[SPEAKER_02]: No.

01:27.945 --> 01:32.031
[SPEAKER_02]: This is between me and Mike right now And you are like nails on a show for you.

01:32.411 --> 01:32.652
[SPEAKER_11]: Okay.

01:32.672 --> 01:32.972
[SPEAKER_11]: Go ahead.

01:33.012 --> 01:33.733
[SPEAKER_11]: This is going to be good.

01:33.773 --> 01:34.334
[SPEAKER_11]: We'll be worth it.

01:34.354 --> 01:34.614
[SPEAKER_11]: Good.

01:34.895 --> 01:36.196
[SPEAKER_11]: What is nostalgia to you?

01:36.277 --> 01:37.198
[SPEAKER_11]: Like what are we talking about?

01:37.218 --> 01:42.465
[SPEAKER_02]: 70 years 100 years when nostalgia is me thinking back to the great times before I knew you

01:43.947 --> 01:44.748
[SPEAKER_11]: That's what 2004.

01:44.768 --> 01:46.349
[SPEAKER_11]: No, I would say nostalgia in those back.

01:46.369 --> 01:47.130
[SPEAKER_11]: No, I would say nostalgia.

01:47.150 --> 01:49.913
[SPEAKER_11]: It would be defined by me as bringing back something that doesn't exist any more in a fall.

01:49.993 --> 01:51.535
[SPEAKER_02]: How long will you're in nostalgia corner?

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[SPEAKER_02]: Today's probably eight or nine ten minutes ten minutes.

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[SPEAKER_02]: Let's do it right now.

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[SPEAKER_02]: Right now.

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[SPEAKER_02]: Let's do it right now.

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[SPEAKER_02]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_02]: Right now.

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[SPEAKER_02]: Right now.

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[SPEAKER_02]: Right now.

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[SPEAKER_02]: Right now.

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[SPEAKER_02]: Right now.

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[SPEAKER_02]: Right now.

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[SPEAKER_02]: Right now.

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[SPEAKER_02]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_02]: Right now.

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[SPEAKER_02]: Right now.

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[SPEAKER_02]: Right now.

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[SPEAKER_02]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_10]: Right now.

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[SPEAKER_11]: Right now.

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[SPEAKER_11]: Right now.

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[SPEAKER_11]: Right now.

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[SPEAKER_11]: Right now.

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[SPEAKER_10]: after he's ever made after and I've seen the movie and it is a good movie after giving him that hard time ladies and gentlemen.

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[SPEAKER_10]: I now present Rob Speedwax and I'll give you one sunset boulevard for one relatively modern history comedy.

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[SPEAKER_02]: All right, you know what I've got.

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[SPEAKER_02]: I know what I'll do.

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[SPEAKER_02]: I will do next week.

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[SPEAKER_10]: I will do the blues brothers because it's one of

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[SPEAKER_10]: It's it was a trendy movie.

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[SPEAKER_10]: It was a I'm talking about great classic comedies.

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[SPEAKER_10]: All right.

02:45.363 --> 02:54.217
[SPEAKER_02]: Something about Mary Caddy Shack Caddy Shack is probably got the best back story.

02:54.257 --> 02:57.702
[SPEAKER_02]: The replacements of the one of the key on a ring and Jean Hackley.

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[SPEAKER_10]: Very good.

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[SPEAKER_10]: Blue's brothers immediately goes with his.

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[SPEAKER_10]: Narrow little world one of the greatest makes me never made it was not the blues brothers Music in the blues brothers.

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[SPEAKER_10]: Oh, come on.

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[SPEAKER_10]: You bad thing think about let your dad a dear Yeah, all right, uh, but I know this is going that way.

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[SPEAKER_10]: What's it?

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[SPEAKER_02]: All right, go ahead and ready first thing you need to know about before we talk about since at Boulevard, which came out in 1950, it's an example of a genre called film noir film noir sort of was birthed in the early 40s and it had certain characteristics the easiest way to think about it is a hard boiled like detective movie like a multi-variant very lit with lots of shadows exactly exactly the theme the thematics of film noir are predestination like persons in the movie you already know at the beginning

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[SPEAKER_11]: There's going music from this, this is the overture from sensible idea.

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[SPEAKER_11]: Like Avengers, you already know the characters and the Avengers.

03:50.878 --> 03:56.909
[SPEAKER_02]: In a way, yeah, you understand that there's always a femme fatale, some evil woman that's going to have to do with the undoing of the man.

03:57.209 --> 04:01.917
[SPEAKER_02]: There's also a lot of mirrors and reflections, showing the dual sides of man.

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[SPEAKER_02]: And that's not only done with mirrors, but with two face and that.

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[SPEAKER_02]: Like with water.

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[SPEAKER_02]: Do you never notice in an old movie the streets are always wet?

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[SPEAKER_02]: like it night yeah they made that makes uh uh makes it uh with the streets look better on the camera right what what it does is also shows reflections of light which is another theme of film noir and also just plain evil people now when the movie sons of boulevard starts is not a spoiler alert the lead character is floating dead in a swimming pool

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[SPEAKER_02]: So you already know it's beginning of the movie that he's going to meet a bad ending, but Phil Hartman sadly enough.

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[SPEAKER_02]: Well a little bit more like Mrs. Shattner got you guys.

04:37.767 --> 04:43.718
[SPEAKER_02]: I don't know that Phil Hartman had a pool involved, but anyhow, so he starts with the voiceover.

04:43.878 --> 04:48.006
[SPEAKER_02]: So he narrates the movie about his own death and

04:48.256 --> 04:50.139
[SPEAKER_02]: He tells a story about a failed.

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[SPEAKER_02]: It's talking about himself.

04:51.120 --> 04:56.889
[SPEAKER_02]: He's a failed screenwriter who has to try to keep his car because they're going to repossess his car.

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[SPEAKER_02]: So he is actually out trying to sell a script.

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[SPEAKER_02]: The repossessionmen, the repo guys, see him and chase him.

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[SPEAKER_02]: So he pulls off the road on sunset Boulevard into what he thinks is in a abandoned house.

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[SPEAKER_02]: Ooh, and he hides the car.

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[SPEAKER_02]: And that way he'll get to keep it.

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[SPEAKER_11]: I realistic already because that's pricey property.

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[SPEAKER_11]: Why would there be a abandoned house in that Boulevard?

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[SPEAKER_02]: Well, the house looks abandoned and this is also remember 1950 Hollywood was sort of going through transition.

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[SPEAKER_02]: Got it.

05:23.150 --> 05:24.111
[SPEAKER_02]: You say I get it.

05:24.252 --> 05:32.886
[SPEAKER_02]: And so he pulls in there and he's immediately mistaken as an undertaker because this crazy old lady wants to bury a champ.

05:33.507 --> 05:36.792
[SPEAKER_02]: She's got a dead monkey and she brings a monkey.

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[SPEAKER_02]: And there are elements of dark comedy here because it's funny, you know, she's talking about the funeral for the monkey and the color that she wants for the coffin and all of this stuff.

05:46.885 --> 05:48.868
[SPEAKER_02]: So he comes in and he finally reveals to her.

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[SPEAKER_02]: He says, I'm not an undertaker.

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[SPEAKER_02]: I'm a screenwriter.

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[SPEAKER_02]: And then he recognizes the crazy lady.

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[SPEAKER_01]: Wait a minute.

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[SPEAKER_01]: Have a nice scene you before.

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[SPEAKER_01]: I know your face.

05:58.400 --> 05:59.942
[SPEAKER_05]: Get out of the shell I call my son.

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[SPEAKER_01]: You know I'm a Desmond.

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[SPEAKER_01]: Used to be in silent pictures.

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[SPEAKER_01]: Used to be big.

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[SPEAKER_05]: I am big.

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[SPEAKER_05]: It's the pictures that got small.

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[SPEAKER_04]: I knew there was something wrong.

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[SPEAKER_06]: They did.

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[SPEAKER_06]: They finished.

06:18.096 --> 06:21.923
[SPEAKER_06]: There was a time in this business when they had the eyes of the whole world.

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[SPEAKER_06]: But that wasn't good enough for them all though.

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[SPEAKER_06]: They had to have the ears of the world too.

06:27.212 --> 06:31.399
[SPEAKER_06]: They opened the doors and now came talk talk talk.

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[SPEAKER_04]: That's where the popcorn business comes in by yourself a bag and plug up your ears.

06:36.531 --> 06:49.312
[SPEAKER_02]: The thing about it is the overacting that you hear there actually works in this motion picture because she's nuts and the whole movie is her unraveling and thinking she's going to make her big Hollywood comeback.

06:49.612 --> 06:51.956
[SPEAKER_02]: She hires him to work on a script that she's working on.

06:51.976 --> 06:56.644
[SPEAKER_11]: She mad that she used to be a silent film star and now that there's talkies.

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[SPEAKER_11]: audio?

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[SPEAKER_11]: Yeah.

06:58.385 --> 06:59.226
[SPEAKER_02]: That's what makes her mad.

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[SPEAKER_02]: That's so weird.

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[SPEAKER_02]: And so another neat thing, this is a movie of Hollywood looking at itself.

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[SPEAKER_02]: It's one of the first movies that actually used to push him you and she couldn't talk?

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[SPEAKER_02]: No, she could talk, but there was a time about 1927 when a lot of Hollywood stars just sort of went away because they couldn't act and talk.

07:16.866 --> 07:20.149
[SPEAKER_11]: They weren't that's not how they were talking about going from black and white to color.

07:20.329 --> 07:21.771
[SPEAKER_11]: Did that affect Hollywood that way?

07:21.751 --> 07:30.703
[SPEAKER_02]: Not as much, but this movie was purposely shot in black and white, and although Paramount wanted to do it in color to make it a bigger movie, but about 1080 to 4K.

07:31.924 --> 07:34.508
[SPEAKER_02]: I don't know if that affects the Hollywood as much as someone's pop-mars.

07:34.528 --> 07:36.210
[SPEAKER_02]: As television, right?

07:36.230 --> 07:36.330
[SPEAKER_02]: Yeah.

07:36.350 --> 07:36.571
[SPEAKER_02]: Yeah.

07:36.931 --> 07:38.453
[SPEAKER_02]: So this is Hollywood-looking at itself.

07:38.493 --> 07:43.960
[SPEAKER_02]: There are people in here that actually play themselves that are Hollywood-grates had a hopper, the most important advice-coloring.

07:43.980 --> 07:44.461
[SPEAKER_02]: Happy!

07:44.541 --> 07:50.509
[SPEAKER_02]: Hopper, the most important gossip columnists at the time, even Cecil B. Demill plays himself in this movie.

07:50.489 --> 08:02.403
[SPEAKER_02]: So she goes on and on and what happens is she hires William Holden and Mike you're remember William Holden from network who is a great in that movie as well, but he's young in this movie and he also a people like him.

08:02.423 --> 08:10.091
[SPEAKER_02]: He was also in the bridge on the river quad bridge on the river quad and Stahlag 17 and he had a great role on I love Lucy playing himself.

08:10.472 --> 08:12.634
[SPEAKER_02]: He's a very funny guy and he's good in this movie.

08:13.135 --> 08:15.838
[SPEAKER_02]: She hires him to be like a script doctor.

08:15.886 --> 08:18.069
[SPEAKER_02]: And he's a young buck in this point.

08:18.470 --> 08:20.492
[SPEAKER_02]: Oh, definitely a leading man type.

08:20.953 --> 08:22.735
[SPEAKER_02]: But what he does like Ryan Reynolds leading.

08:22.755 --> 08:25.479
[SPEAKER_10]: Real noted alcoholic and heavy smokers.

08:25.599 --> 08:30.426
[SPEAKER_02]: Oh, and also there was a Hollywood model back then was a call Bill Holden for Huckers.

08:31.007 --> 08:33.410
[SPEAKER_02]: He was also quite a really he knew how to do that.

08:33.470 --> 08:34.732
[SPEAKER_02]: He was quite the Lothario.

08:35.112 --> 08:36.895
[SPEAKER_10]: But what's a Lothario?

08:36.935 --> 08:38.537
[SPEAKER_10]: What's the dictionary that that does?

08:38.637 --> 08:39.478
[SPEAKER_02]: I think it's type of watch.

08:39.659 --> 08:42.923
[SPEAKER_02]: I know it's a lover sort of a guy who can get things done.

08:42.903 --> 08:44.307
[SPEAKER_10]: Oh, like a p-tip.

08:44.327 --> 08:48.838
[SPEAKER_10]: Well, I mean, and both of them, well, why we do a lover and get a guy who's not a guy that would go on and get hookers.

08:49.059 --> 08:50.362
[SPEAKER_02]: Well, he was connected in that way.

08:50.402 --> 08:53.811
[SPEAKER_02]: I think he was noted as a, the impractical authorial was misuse.

08:53.831 --> 08:54.934
[SPEAKER_02]: I mean, I, I, I, I was drawn.

08:54.954 --> 08:56.217
[SPEAKER_10]: Well, I'm, I'll look it up, go ahead.

08:56.238 --> 08:57.000
[SPEAKER_02]: All right, keep going.

08:57.020 --> 08:58.363
[SPEAKER_02]: So there was a lot of,

08:58.343 --> 09:00.625
[SPEAKER_02]: action between the two of them as he's rewriting the script.

09:00.646 --> 09:02.067
[SPEAKER_02]: He's really using her for money.

09:02.167 --> 09:05.471
[SPEAKER_02]: He's getting paid to rewrite her script, but she's falling in love with him.

09:05.911 --> 09:18.385
[SPEAKER_02]: And there's like date nights and it's very creepy and very, uh, you make you very uneasy and every night, they actually watch a movie, a silent movie in her living room, which is another chance to hear her do this great overact.

09:18.825 --> 09:20.848
[SPEAKER_05]: Still wonderful isn't it?

09:20.868 --> 09:23.510
[SPEAKER_05]: And no dialogue.

09:23.530 --> 09:24.472
[SPEAKER_05]: We didn't need dialogue.

09:24.832 --> 09:25.853
[SPEAKER_05]: We had

09:27.655 --> 09:29.780
[SPEAKER_05]: The just aren't any faces like that anymore.

09:29.820 --> 09:32.566
[SPEAKER_05]: Maybe one, go above.

09:35.211 --> 09:35.993
[SPEAKER_10]: You know what I was eating?

09:36.013 --> 09:36.855
[SPEAKER_10]: Talk about herself, yes.

09:37.196 --> 09:39.982
[SPEAKER_05]: Those in this hills, empty got any eyes.

09:40.022 --> 09:41.665
[SPEAKER_05]: Have they forgotten what a star looks like?

09:42.387 --> 09:46.255
[SPEAKER_05]: I'll show them, I may be up there again, so help me.

09:47.939 --> 09:49.905
[SPEAKER_10]: Now, as you know, the dating doesn't go well.

09:49.925 --> 09:54.678
[SPEAKER_10]: Your story is a man who behaved selfishly and irresponsibly in his sexual relationships with women.

09:54.698 --> 09:54.838
[SPEAKER_10]: Hmm.

09:54.898 --> 09:55.941
[SPEAKER_10]: So I guess it could be part of the abuse.

09:55.961 --> 10:02.961
[SPEAKER_10]: I also know, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no,

10:02.941 --> 10:14.946
[SPEAKER_02]: to think of this as the ultimate Hollywood film because it celebrates Hollywood while simultaneously showing how it destroys itself because of her vanity and all of this stuff.

10:14.966 --> 10:15.627
[SPEAKER_02]: It hung around.

10:15.647 --> 10:18.253
[SPEAKER_02]: It was nominated for 11 Academy Awards.

10:18.293 --> 10:19.415
[SPEAKER_02]: It ended up winning four.

10:19.936 --> 10:21.419
[SPEAKER_02]: It is very highly rated.

10:21.499 --> 10:24.325
[SPEAKER_02]: The Library of Congress has preserved it.

10:24.305 --> 10:39.445
[SPEAKER_02]: the thing about it is that it has remained sort of in the national consciousness as recently and let me get the date right in 1993 they did a Broadway adaptation of it in London with Glenn Close playing Norma Desmond and it ran for a hundred and perfect casting for the modern nora Desmond.

10:39.425 --> 10:41.749
[SPEAKER_02]: I think it ran for like a hundred and ninety three performances.

10:41.809 --> 10:45.194
[SPEAKER_02]: It was a hit and it's a great, great film.

10:45.314 --> 10:46.816
[SPEAKER_02]: It leaves you feeling unsettled.

10:46.876 --> 10:48.338
[SPEAKER_02]: It leaves you feeling uneasy.

10:48.499 --> 10:54.408
[SPEAKER_02]: If you're a person who loves classic movies, it has a modern feeling while showing old Hollywood and Oscar.

10:54.628 --> 10:56.130
[SPEAKER_02]: You actually toured Paramount Studios.

10:56.170 --> 10:56.691
[SPEAKER_02]: Yes.

10:56.671 --> 11:01.801
[SPEAKER_02]: Great behind the scenes stuff at Paramount where you see the gate and the motion picture studios.

11:01.821 --> 11:06.671
[SPEAKER_02]: And as I said, Cecil B. Demill, one of the great directors of all time, we did the Ten Commandments, plays himself.

11:07.051 --> 11:10.518
[SPEAKER_02]: But the ending of the movie is killer.

11:10.839 --> 11:14.005
[SPEAKER_10]: And it is a free set boulevard that Rob is talking about.

11:13.985 --> 11:17.992
[SPEAKER_10]: So you got to go back to that occasionally, say we're talking about sunset.

11:18.012 --> 11:26.688
[SPEAKER_10]: So you're assuming everybody knows what you know, but they don't also got to remind people here's a movie you need to watch and I can back Rob up on this.

11:27.049 --> 11:28.572
[SPEAKER_10]: This is an entertaining film.

11:28.592 --> 11:30.255
[SPEAKER_10]: It's an entertaining black and white movie.

11:30.235 --> 11:34.500
[SPEAKER_10]: 1950 is when it was made and this last nine years before I was born.

11:34.840 --> 11:35.401
[SPEAKER_10]: I'm 62.

11:35.441 --> 11:41.288
[SPEAKER_11]: This is like the modern I mean, this is an earlier version of bookie nights when they went from film to video tape.

11:41.328 --> 11:56.445
[SPEAKER_02]: You know actually that is a the first valid thing you've said during the entire conversation No, it's not your line, but the the ending where and you already know that Joe Gillis is dead I won't I'll spare you how she died Joe Gillis the guy the lead character that was in the pool

11:56.425 --> 11:58.468
[SPEAKER_02]: Remember he didn't move me open to that part.

11:58.488 --> 11:59.029
[SPEAKER_10]: I don't remember.

11:59.049 --> 12:01.493
[SPEAKER_10]: I just remember that it's like it's a CSI.

12:01.513 --> 12:08.283
[SPEAKER_11]: You see the crime before and then yeah, they show it's really em Holden and it's a serious month.

12:08.323 --> 12:11.688
[SPEAKER_02]: William Holden is the one who's found dead in the pool in the first scene of the movie.

12:11.708 --> 12:13.050
[SPEAKER_11]: Is CSI filming a war?

12:13.030 --> 12:15.312
[SPEAKER_02]: There are aspects of it.

12:15.352 --> 12:20.158
[SPEAKER_02]: You could say, but not really just glorious swans and older than Greta Garbo.

12:20.998 --> 12:23.421
[SPEAKER_02]: Yes, but she's not that old in this movie.

12:23.461 --> 12:26.444
[SPEAKER_10]: I think she was only like 50 in this movie, which is okay.

12:26.624 --> 12:28.807
[SPEAKER_10]: I get I get is this normal.

12:28.827 --> 12:32.230
[SPEAKER_10]: I get glorious swans and in Greta Garbo confused absolutely 100%.

12:32.250 --> 12:33.472
[SPEAKER_02]: Okay, 100% that's very common.

12:33.492 --> 12:38.397
[SPEAKER_02]: So at the end, what about hunts and hines catch up the only way to get

12:40.233 --> 12:44.197
[SPEAKER_10]: That's actually what Rob and I a lot of people don't realize.

12:44.237 --> 12:47.100
[SPEAKER_10]: Rob and I just took a really brief respite.

12:47.120 --> 12:49.563
[SPEAKER_10]: It's actually right after the layoff.

12:49.803 --> 12:52.406
[SPEAKER_10]: And Rob and I went over to Munich where we had a wonderful show.

12:52.426 --> 12:55.809
[SPEAKER_10]: We were known as a comedy team of hunts and hunts and hunts.

12:55.829 --> 12:56.590
[SPEAKER_02]: And it was great.

12:56.790 --> 12:57.351
[SPEAKER_02]: And it was great.

12:57.371 --> 12:58.932
[SPEAKER_10]: We did all the stuff we normally did.

12:59.132 --> 13:00.133
[SPEAKER_10]: You know, we did it.

13:00.774 --> 13:02.356
[SPEAKER_10]: But we did it with those accents too.

13:02.376 --> 13:04.398
[SPEAKER_10]: You know, we had a great day at this once.

13:04.718 --> 13:05.399
[SPEAKER_10]: Hi.

13:05.419 --> 13:05.719
[SPEAKER_10]: Hey.

13:05.739 --> 13:06.660
[SPEAKER_02]: I want to ask you hines.

13:07.381 --> 13:09.463
[SPEAKER_02]: What if Charlie was running the tank?

13:09.443 --> 13:11.627
[SPEAKER_08]: What would be a disaster?

13:11.827 --> 13:13.911
[SPEAKER_02]: It could be a total disaster once.

13:13.931 --> 13:14.432
[SPEAKER_02]: Good night.

13:14.633 --> 13:15.394
[SPEAKER_02]: A fetal saying.

13:16.216 --> 13:17.378
[SPEAKER_02]: Good night.

13:17.398 --> 13:23.710
[SPEAKER_02]: So the final scene, the lead character, Norma Desmond, is played by Gloria Swanson, has totally lost her mind.

13:24.111 --> 13:26.054
[SPEAKER_02]: The only way to get her to leave her house.

13:26.455 --> 13:27.818
[SPEAKER_02]: And she's a little scary.

13:28.098 --> 13:29.140
[SPEAKER_08]: There's a horror over there.

13:29.120 --> 13:44.293
[SPEAKER_10]: there's a horror element to this old like like 1920s mansion she lives in and it's dark and it's generally in this game right our famous film writer named Richard Coralis who described sunset Boulevard as the ultimate Hollywood horror film.

13:44.273 --> 13:46.636
[SPEAKER_02]: Yes, because it really is, there are horrific things.

13:47.036 --> 13:52.362
[SPEAKER_02]: So the only way they can get her to leave the house, press corps is there because there's been a horrible murder.

13:52.942 --> 13:55.445
[SPEAKER_10]: To tell her that something special is happening.

13:55.725 --> 13:56.126
[SPEAKER_02]: This is right.

13:56.286 --> 13:58.488
[SPEAKER_02]: That she's going to suit her last close-up.

13:58.749 --> 14:01.271
[SPEAKER_02]: They have to let her think she's making a movie.

14:01.812 --> 14:03.974
[SPEAKER_06]: Is it a middle of your mind if I say a few words?

14:04.375 --> 14:04.855
[SPEAKER_06]: Thank you.

14:06.737 --> 14:11.142
[SPEAKER_06]: I just want to tell you all how happy I am to be back in the studio, making a picture again.

14:11.847 --> 14:14.591
[SPEAKER_06]: You don't know how much I've missed all of you.

14:15.452 --> 14:17.375
[SPEAKER_06]: And I promise you I'll never deserve to again.

14:17.415 --> 14:21.361
[SPEAKER_06]: Because after so many, we'll make another picture on another picture.

14:22.823 --> 14:25.126
[SPEAKER_06]: You see, this is my life.

14:25.146 --> 14:26.328
[SPEAKER_06]: It always will be.

14:26.368 --> 14:30.715
[SPEAKER_06]: There's nothing else.

14:30.735 --> 14:31.736
[SPEAKER_06]: Just as... in the camera.

14:33.018 --> 14:41.230
[SPEAKER_06]: And those wonderful people out there in the dark.

14:43.032 --> 14:48.179
[SPEAKER_02]: And that creeping this is how Sunset Boulevard ends who killed the person in the pool.

14:48.499 --> 14:49.060
[SPEAKER_02]: Well, you know what?

14:49.200 --> 15:05.682
[SPEAKER_02]: I don't I don't I won't even say spoiler or because the movie is 71 years old Gloria Swanson shot him shot him to death because it was Gloria Swanson shot William Holden because he spurned her advances There's another romantic sub plot that she finds out about that I left out in the interest of time

15:05.662 --> 15:06.864
[SPEAKER_10]: Oh, she murders William Holden.

15:06.884 --> 15:08.507
[SPEAKER_10]: And she said, I wasn't sure.

15:08.688 --> 15:09.429
[SPEAKER_10]: Now I get it with that.

15:10.251 --> 15:13.757
[SPEAKER_10]: One criticism with the film, and of course, it's all the films of that era.

15:13.898 --> 15:16.542
[SPEAKER_10]: Yeah, overbearing soundtrack.

15:16.643 --> 15:17.745
[SPEAKER_10]: Yeah, that sounds right.

15:18.065 --> 15:18.446
[SPEAKER_10]: Score.

15:18.566 --> 15:20.590
[SPEAKER_10]: Yeah, for overbearing.

15:20.610 --> 15:23.215
[SPEAKER_10]: Yeah, not necessary without...

15:24.258 --> 15:25.660
[SPEAKER_02]: Although I will say this.

15:25.740 --> 15:50.890
[SPEAKER_02]: There is one effective device that you sound track wise is they the house You talked about the creepy house is almost a character in the movie because it is so big and so large and such a part of the story There's a pipe organ and when the wind blows they set this up early on when the wind blows the pipe organ makes eerie sounds So they have actual eerie sounds that are lightly in the background made by the organ that are actually built in

15:50.870 --> 15:55.615
[SPEAKER_10]: Yeah, let me play a clip of it.

15:55.936 --> 16:19.543
[SPEAKER_10]: Aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

16:19.523 --> 16:20.004
[SPEAKER_10]: Right.

16:20.965 --> 16:21.565
[SPEAKER_10]: I understand.

16:21.966 --> 16:27.391
[SPEAKER_02]: Did you ever feel like you were watching a TV and you had the primary audio and the secondary audio on at the same time?

16:27.752 --> 16:28.933
[SPEAKER_02]: That's how that felt.

16:29.433 --> 16:29.534
[SPEAKER_10]: Yeah.

16:30.054 --> 16:35.620
[SPEAKER_10]: And now I routinely watch everything I watch, which is disturbing me a little bit with subtitles.

16:36.061 --> 16:37.742
[SPEAKER_10]: Julie is really starting to freak me.

16:37.782 --> 16:38.703
[SPEAKER_10]: Yeah, I mean, I, I, I, why?

16:38.984 --> 16:40.445
[SPEAKER_10]: Because why do you do it?

16:40.525 --> 16:43.168
[SPEAKER_10]: Because she has modern Hollywood is, is the land of mumbles.

16:43.148 --> 16:47.535
[SPEAKER_11]: The land of mumbles, the younger the actor, the more they mumbles, that's the way it goes.

16:47.776 --> 17:00.678
[SPEAKER_11]: I actually disagree, because Rob is right, the technology that we currently have, even if you have a soundbar, if you don't soundbar, if you don't tune your soundbar correctly, you're going to get a lot of imperceptible speech.

17:01.479 --> 17:07.249
[SPEAKER_11]: When I was in Los Angeles, they have the whole setup, and the kids watch TV with the subtitles on.

17:07.651 --> 17:14.397
[SPEAKER_11]: because the televisions that are now built, unless you have one of those $5,000 Sony XBRs whatever they're called, right?

17:14.598 --> 17:17.107
[SPEAKER_11]: Where the speakers are behind the screen and they're coming out at you?

17:17.208 --> 17:17.489
[SPEAKER_11]: Sure.

17:17.509 --> 17:19.095
[SPEAKER_11]: The speakers are shooting down.

17:19.396 --> 17:30.899
[SPEAKER_11]: Well, what's the world mind you mind you saying I have I have the speakers shooting down and it is not when we were younger Think about the TVs we had even the square was up front.

17:30.979 --> 17:32.743
[SPEAKER_11]: Oh, oh, but sometimes a panel.

17:33.104 --> 17:40.138
[SPEAKER_02]: Yeah, I had of the TV and you would go and you would go over to change it and you'd change the channel and your father would say not so fast you'll strip it

17:40.388 --> 17:55.562
[SPEAKER_10]: Yeah, this house came with a phenomenal sense and however I have on my little remote for the program So I can do I can do drama sports

17:55.542 --> 18:01.810
[SPEAKER_10]: But they're there four or five and then you have contouring porn concert hall.

18:01.830 --> 18:02.931
[SPEAKER_10]: A lot of low end.

18:02.951 --> 18:06.936
[SPEAKER_10]: Oh, by the way, I got in trouble yesterday, because I flipped on Monsters ball.

18:07.757 --> 18:12.723
[SPEAKER_10]: And it's where Billy Bob is taking the trip.

18:12.763 --> 18:14.565
[SPEAKER_10]: Let me see how how do I phrase this?

18:14.585 --> 18:17.909
[SPEAKER_10]: Well, it's after their first initial, which I did that was that's loud.

18:18.109 --> 18:18.810
[SPEAKER_10]: And I understand that.

18:18.850 --> 18:18.950
[SPEAKER_03]: Yeah.

18:19.171 --> 18:24.317
[SPEAKER_10]: It's when Billy Bob Thornton and Halle Berry,

18:24.297 --> 18:32.627
[SPEAKER_10]: Billy is introducing Halley to the ways of of cunning magic.

18:32.767 --> 18:33.428
[SPEAKER_10]: I understand.

18:33.468 --> 18:37.833
[SPEAKER_10]: And she's reacting very loudly to this.

18:38.274 --> 18:48.246
[SPEAKER_02]: Isn't it funny how a really well-recognized piece of art, something that was embraced by critics and public alone, that when you can turn on to one moment and it ruins it for you.

18:48.226 --> 19:09.407
[SPEAKER_10]: forever make me feel good maybe maybe you could uh... could you chop up the uh... that scene uh... and just the uh... just the uh... just the hallyberry parts which he says make me with his you could probably or just for your own what for the show for the show i'd love i'd love one or two of those i think it'd be what happened

19:09.877 --> 19:22.068
[SPEAKER_10]: I got yelled at because you know, I believe the comment from Carlos we have a chart in the house and like force around town in Yes, yeah, because I'm deaf and I have it.

19:22.188 --> 19:27.261
[SPEAKER_10]: It's blaring out so you like some titles that said make what I mean good

19:27.241 --> 19:29.386
[SPEAKER_10]: It wasn't that scene.

19:29.406 --> 19:30.187
[SPEAKER_10]: It was after that.

19:30.227 --> 19:37.543
[SPEAKER_10]: They're too all pretty heavy-duty sex scenes with Halle Berry Which is a very weird movie very dark.

19:37.563 --> 19:39.126
[SPEAKER_02]: Well, it's weird again like the time.

19:39.267 --> 19:41.091
[SPEAKER_02]: What was that series that was so hot about?

19:41.151 --> 19:41.812
[SPEAKER_02]: Why it's months ago?

19:41.952 --> 19:44.237
[SPEAKER_11]: I'll be looking over your show.

19:44.257 --> 19:45.741
[SPEAKER_11]: I'll tell you later.

19:45.761 --> 19:45.861
[SPEAKER_02]: Okay.

19:45.881 --> 19:46.903
[SPEAKER_02]: There was a ride

19:47.947 --> 19:55.423
[SPEAKER_02]: The movie there was a team of activity streaming series about six months ago where the guy actually Deficated in the suitcase of the hotel.

19:55.683 --> 19:56.665
[SPEAKER_02]: What was that show called?

19:57.286 --> 19:59.170
[SPEAKER_02]: Oh Oh, yeah, why was it?

19:59.511 --> 20:00.373
[SPEAKER_02]: The white Lotus.

20:00.393 --> 20:01.916
[SPEAKER_02]: Yeah, that was the one secret.

20:01.936 --> 20:06.746
[SPEAKER_02]: I had been streaming it all day I came into the room knowing that one scene and it's so nasty.

20:06.786 --> 20:08.149
[SPEAKER_09]: Why are you watching?

20:08.129 --> 20:16.239
[SPEAKER_10]: So that's it that 20 years ago that never would have been allowed in a movie at all and now you see it on a rake Well, they did it on in some training show.

20:16.259 --> 20:25.270
[SPEAKER_10]: They did it on since at both of all right Oh, my god, but no more older than a hot biscuit like the luggage was beautiful.

20:25.310 --> 20:31.217
[SPEAKER_10]: It was a steamer truck Classic

20:31.197 --> 20:34.123
[SPEAKER_10]: Here we are, that was a very long birthday segment.

20:34.143 --> 20:38.793
[SPEAKER_10]: And I know there are certain segments of the listening public that doesn't care for that.

20:38.813 --> 20:41.017
[SPEAKER_10]: And I'm sure I'm here to say screw off.

20:41.037 --> 20:42.220
[SPEAKER_11]: I thought it was a door to one.

20:42.300 --> 20:45.246
[SPEAKER_11]: I still, you know, I'm a public.

20:45.566 --> 20:46.388
[SPEAKER_11]: That was fun.

20:46.368 --> 21:01.346
[SPEAKER_11]: like to hear Rob do what he did right here do what you do what you did and it was great to hear you do what you do I did not think you're putting nearly I was doing my taxes to hear you do one of the two that you do is I wish I did more is really try them.

21:01.506 --> 21:01.746
[SPEAKER_10]: Yes.

21:01.846 --> 21:03.588
[SPEAKER_11]: I try them at home in the bathroom.

21:03.668 --> 21:05.130
[SPEAKER_11]: What did you try at home?

21:05.150 --> 21:06.071
[SPEAKER_11]: Oh, no, it's embarrassed.

21:06.091 --> 21:06.352
[SPEAKER_02]: No, try.

21:06.412 --> 21:07.012
[SPEAKER_02]: What would be one?

21:07.313 --> 21:09.916
[SPEAKER_02]: Maybe if you don't do it at least tell us what you were motivated to try.

21:09.936 --> 21:11.818
[SPEAKER_11]: I try garrison killer.

21:11.798 --> 21:13.882
[SPEAKER_02]: Okay, this is what you're guessing now.

21:13.962 --> 21:27.327
[SPEAKER_09]: I can't I'm not a mimic here

21:27.307 --> 21:32.216
[SPEAKER_10]: You know what, when you say me, it's like you should put a tap on the phone line, it has to be a little bit audible.

21:32.517 --> 21:34.641
[SPEAKER_10]: You have to hear a little bit of it.

21:34.661 --> 21:36.063
[SPEAKER_10]: You know, I do it all the time.

21:36.404 --> 21:38.007
[SPEAKER_10]: And sometimes it drives Carla nuts.

21:38.027 --> 21:39.690
[SPEAKER_10]: I've been doing one the last couple of weeks.

21:39.710 --> 21:41.133
[SPEAKER_10]: You know the one that I'm obsessed with.

21:41.253 --> 21:42.034
[SPEAKER_10]: Francis Underwood.

21:42.054 --> 21:42.936
[SPEAKER_10]: Uh, no McGonaghan.

21:42.916 --> 21:43.798
[SPEAKER_10]: Oh, that one too.

21:43.818 --> 21:44.400
[SPEAKER_10]: Yeah, all right.

21:44.440 --> 21:44.841
[SPEAKER_10]: All right.

21:44.861 --> 21:45.603
[SPEAKER_10]: All right.

21:46.104 --> 21:47.087
[SPEAKER_10]: Yeah, sorry.

21:47.227 --> 21:51.658
[SPEAKER_10]: And then I do the true detective Matthew McConaughey and he's almost inaudible.

21:51.979 --> 21:52.320
[SPEAKER_07]: Okay.

21:52.380 --> 21:53.263
[SPEAKER_07]: So what you're saying?

21:53.784 --> 21:56.611
[SPEAKER_07]: She said about the lady out in the woods, antlers in her head.

21:57.092 --> 21:57.353
[SPEAKER_07]: All right.

21:57.433 --> 21:57.874
[SPEAKER_07]: All right.

21:57.935 --> 21:58.356
[SPEAKER_07]: All right.

21:58.476 --> 21:58.917
[SPEAKER_07]: I mean,

21:58.897 --> 22:00.601
[SPEAKER_11]: Now Mike has been here.

22:00.621 --> 22:01.924
[SPEAKER_07]: I'm going to drink this.

22:02.064 --> 22:03.166
[SPEAKER_07]: I'm going to drink this at whiskey.

22:03.467 --> 22:04.609
[SPEAKER_07]: I'm going to drink Jameson's whiskey.

22:04.630 --> 22:05.251
[SPEAKER_07]: That's what he drinks.

22:05.271 --> 22:05.872
[SPEAKER_07]: Doesn't really.

22:05.992 --> 22:06.233
[SPEAKER_07]: Yes.

22:06.454 --> 22:07.135
[SPEAKER_07]: Hello, Rob.

22:07.396 --> 22:09.119
[SPEAKER_02]: It's been years since Mike has done this.

22:09.139 --> 22:09.540
[SPEAKER_02]: She's good.

22:09.620 --> 22:10.122
[SPEAKER_02]: She's good.

22:10.322 --> 22:10.583
[SPEAKER_02]: All right.

22:10.703 --> 22:11.384
[SPEAKER_02]: She's a big fan.

22:11.585 --> 22:12.006
[SPEAKER_07]: She's great.

22:12.447 --> 22:12.807
[SPEAKER_07]: Hey, Mike.

22:12.827 --> 22:14.491
[SPEAKER_07]: How's Carla?

22:14.511 --> 22:14.892
[SPEAKER_02]: How's she?

22:15.333 --> 22:16.315
[SPEAKER_07]: Carla.

22:16.295 --> 22:19.180
[SPEAKER_02]: Yeah, all right all right all right.

22:19.340 --> 22:20.322
[SPEAKER_02]: It has been so long, Mike.

22:20.362 --> 22:21.904
[SPEAKER_07]: Since you've got to keep pushing all the girls.

22:21.924 --> 22:22.866
[SPEAKER_07]: Stay the same age.

22:22.886 --> 22:27.594
[SPEAKER_02]: Do you think you could put together a crash course for Oscar at least get them started on the places?

22:27.654 --> 22:36.008
[SPEAKER_10]: I mean start something easy like like Ed Sullivan or Jimmy Stewart when when you are doing garrison killer he attempts to be soft spoken and

22:35.988 --> 22:39.031
[SPEAKER_10]: And he has the face of a pug dog.

22:39.092 --> 22:39.432
[SPEAKER_10]: He does.

22:39.532 --> 22:42.295
[SPEAKER_10]: So his nose is smashed into his face.

22:42.696 --> 22:45.319
[SPEAKER_10]: So the first thing I do is I crinkle my nose down.

22:45.339 --> 22:47.962
[SPEAKER_10]: So it's like, I close off the airway.

22:48.062 --> 22:49.183
[SPEAKER_02]: I've never noticed that.

22:49.223 --> 22:53.408
[SPEAKER_02]: You actually move your nose, you actually move the nose down.

22:53.428 --> 23:04.020
[SPEAKER_10]: Oh, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no,

23:04.979 --> 23:07.002
[SPEAKER_08]: It's covered after it's after the stroke current.

23:07.022 --> 23:08.345
[SPEAKER_08]: I don't think it's a curmer.

23:08.605 --> 23:09.527
[SPEAKER_08]: I don't know.

23:09.587 --> 23:14.054
[SPEAKER_08]: Now, I'm going to tell you that I don't think you're making a legitimate move.

23:14.314 --> 23:15.176
[SPEAKER_08]: I am.

23:15.336 --> 23:17.520
[SPEAKER_08]: How do you even close a new nasal part?

23:17.540 --> 23:17.600
[SPEAKER_09]: No.

23:17.620 --> 23:19.082
[SPEAKER_09]: What are you doing?

23:19.102 --> 23:19.723
[SPEAKER_09]: I don't know.

23:19.804 --> 23:21.827
[SPEAKER_09]: I don't know.

23:21.847 --> 23:22.168
[SPEAKER_09]: I don't know.

23:22.188 --> 23:23.089
[SPEAKER_09]: I don't know.

23:23.069 --> 23:25.213
[SPEAKER_10]: But see you're doing two things at once.

23:25.233 --> 23:25.955
[SPEAKER_10]: Yeah, what you want to do.

23:26.255 --> 23:27.839
[SPEAKER_10]: I'm speaking the way I normally speak.

23:27.879 --> 23:31.987
[SPEAKER_10]: I just close off the nasal passage Just so for example Give me something to say Robin.

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[SPEAKER_10]: I'll repeat it by closing off my nasal path.

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[SPEAKER_09]: These are the best biscuits I've ever had

23:38.678 --> 23:39.359
[SPEAKER_10]: Now, that's it.

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[SPEAKER_10]: Now, I don't that's not the full impression because I also have a mask.

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[SPEAKER_08]: Best cancer.

23:43.343 --> 23:44.024
[SPEAKER_08]: No, you can't both.

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[SPEAKER_10]: You're no close both.

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[SPEAKER_10]: No, it's no.

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[SPEAKER_08]: Can you can you do it by then?

23:46.286 --> 23:51.211
[SPEAKER_10]: Do a lower voice, do a lower register and kind of whisper it and say these are the best biscuits I've ever had.

23:51.231 --> 23:52.993
[SPEAKER_09]: I'm not fast, but it's I've ever had.

23:53.013 --> 23:54.014
[SPEAKER_10]: That's really not going to work.

23:54.594 --> 23:55.455
[SPEAKER_09]: I'm not going to work.

23:55.495 --> 23:56.576
[SPEAKER_02]: I just take my spreadsheets.

23:57.517 --> 23:59.099
[SPEAKER_02]: How low can you make your voice go?

23:59.780 --> 24:01.341
[SPEAKER_09]: Well, hello there, little lady.

24:02.042 --> 24:07.808
[SPEAKER_09]: Well, that's what's his first biscuit.

24:08.328 --> 24:11.812
[SPEAKER_02]: Do you think with his low register you can walk him through John Wayne?

24:11.832 --> 24:12.652
[SPEAKER_10]: You don't what I'd like to do.

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[SPEAKER_10]: I'd like you to talk about yourselves and then I'm going to read the agenda for the Prairie Home Companion.

24:17.717 --> 24:18.438
[SPEAKER_02]: Oh, please.

24:18.458 --> 24:19.719
[SPEAKER_10]: I want to really see what that is.

24:19.740 --> 24:23.984
[SPEAKER_02]: Are there any impressions you'd love to be able to do since you've mastered me and the gingerbread man?

24:24.524 --> 24:25.005
[SPEAKER_02]: Oh, okay.

24:25.025 --> 24:26.646
[SPEAKER_02]: I said do Marvin the Martian.

24:26.767 --> 24:29.389
[SPEAKER_02]: Well, you see, that's almost that because Marvin the Martian the Warner Brothers?

24:29.529 --> 24:30.150
[SPEAKER_08]: Yeah, you know.

24:30.290 --> 24:31.672
[SPEAKER_08]: They were going to go this way.

24:31.772 --> 24:33.273
[SPEAKER_08]: Precisely.

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[SPEAKER_11]: Precisely.

24:33.513 --> 24:35.095
[SPEAKER_11]: Do you think you can call back on that?

24:35.075 --> 24:36.478
[SPEAKER_02]: Um, what is it?

24:36.558 --> 24:37.780
[SPEAKER_02]: He's the same thing about his planet.

24:38.261 --> 24:40.185
[SPEAKER_02]: Well, the the U.P.

24:40.205 --> 24:43.712
[SPEAKER_02]: 38 space modulator I think is one of his quotes a U.P.

24:43.732 --> 24:44.734
[SPEAKER_02]: No, no try it.

24:44.794 --> 24:45.455
[SPEAKER_02]: Go with it run.

24:45.475 --> 24:47.359
[SPEAKER_02]: I mean, you know what I hate Rob.

24:47.379 --> 24:48.922
[SPEAKER_02]: No, no, we're gonna make this work.

24:49.002 --> 24:49.884
[SPEAKER_11]: This is horrible.

24:49.964 --> 24:50.625
[SPEAKER_11]: No, it's great.

24:50.645 --> 24:51.487
[SPEAKER_11]: No, it's horrible.

24:51.527 --> 24:53.511
[SPEAKER_11]: I've never been more I can do.

24:54.132 --> 24:55.615
[SPEAKER_11]: Well, what else could I do?

24:55.595 --> 24:58.482
[SPEAKER_11]: I can't do anybody, I don't want any people from your foreign land.

24:59.204 --> 25:00.166
[SPEAKER_11]: Uh, no, I don't do anything.

25:00.186 --> 25:01.449
[SPEAKER_11]: Like, don't, Francisco.

25:01.469 --> 25:03.715
[SPEAKER_11]: Don't fret, Salvador, you got him there!

25:03.995 --> 25:04.717
[SPEAKER_11]: He's, that's good!

25:04.757 --> 25:08.727
[SPEAKER_09]: Now, that's a full-journal theater, it's a full-journal song.

25:08.747 --> 25:12.456
[SPEAKER_09]: I stay very home-compet, the news, like, well, but gone.

25:16.148 --> 25:19.555
[SPEAKER_10]: I want to see some of the stuff he has.

25:19.715 --> 25:29.736
[SPEAKER_10]: I'd like to do because the one thing about doing anything like this when I've done this since I was a kid and I was really hired the first time I was hired in major market stage of what's to do impressions.

25:30.057 --> 25:32.282
[SPEAKER_10]: So you always want to have better material.

25:32.302 --> 25:36.250
[SPEAKER_10]: You always want to have new the voice is the voice, but you always want to have more stuff.

25:36.230 --> 25:44.357
[SPEAKER_10]: Sometimes when you get bogged down with that, like you want to make it so authentic, that you're delivering the exact lines, that will kind of destroy the thing.

25:44.397 --> 25:46.359
[SPEAKER_10]: And what you want to do is you want to just make it silly.

25:46.880 --> 25:48.501
[SPEAKER_10]: And that's what I've always tried to do makes it.

25:48.521 --> 25:57.069
[SPEAKER_10]: If I get too hung up with doing the lines, but at the same time, if you've really got the voice down, like a James Gandalfini, and you can say the whole tray.

25:57.109 --> 26:00.732
[SPEAKER_10]: You know, you can you get a line that he's used for them sopranos, that's fun too.

26:00.832 --> 26:01.293
[SPEAKER_10]: Yeah.

26:01.313 --> 26:03.655
[SPEAKER_10]: So it's weird, but I think it's always thinking about it.

26:03.635 --> 26:10.749
[SPEAKER_02]: My favorite for you is when you would say you're doing garrison killer and you would do four sentences absolute straight and accurate and then the fifth sentence.

26:10.970 --> 26:12.653
[SPEAKER_02]: That's the curve ball that doesn't make any sense.

26:12.673 --> 26:15.238
[SPEAKER_10]: Well, for example, I don't know the biscuits that they sell.

26:16.020 --> 26:16.481
[SPEAKER_10]: No, I don't know.

26:16.561 --> 26:18.965
[SPEAKER_02]: I remember the motto is Heaven's their tasty.

26:19.126 --> 26:20.749
[SPEAKER_09]: Hepits their tasty.

26:20.729 --> 26:38.012
[SPEAKER_02]: Have them through Tuesday, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah,

26:37.992 --> 26:39.434
[SPEAKER_09]: It's powder milk biscuits.

26:40.275 --> 26:40.755
[SPEAKER_09]: There they go.

26:40.795 --> 26:41.596
[SPEAKER_09]: I don't know what they are.

26:42.037 --> 26:43.078
[SPEAKER_11]: Evans, they're tasty.

26:43.098 --> 26:43.839
[SPEAKER_09]: They're tasty.

26:44.219 --> 26:49.325
[SPEAKER_11]: I'll say this, that out again, I can try, but it's funny because channel catch me sometimes.

26:49.866 --> 26:51.187
[SPEAKER_11]: Should I just let Mike do them?

26:51.247 --> 26:53.530
[SPEAKER_11]: I said, no, I don't want to do them on the radio.

26:53.610 --> 26:54.872
[SPEAKER_11]: I want to see how he does them.

26:54.892 --> 26:55.933
[SPEAKER_11]: I'm fascinated by it.

26:56.514 --> 26:59.397
[SPEAKER_11]: And then now, as they look, if you're going to do handstands, just do handstands.

26:59.637 --> 27:00.458
[SPEAKER_11]: Don't show the whole world.

27:00.478 --> 27:01.299
[SPEAKER_11]: Well, it's fun though.

27:01.319 --> 27:02.801
[SPEAKER_11]: I think everybody likes your impression.

27:02.821 --> 27:03.762
[SPEAKER_09]: So I think you've got to know.

27:03.782 --> 27:04.523
[SPEAKER_11]: That's very horrific.

27:04.503 --> 27:08.633
[SPEAKER_09]: Oscars and press is brought to you by Brother Andrew's Ablebook.

27:12.823 --> 27:13.305
[SPEAKER_00]: Want more?

27:13.746 --> 27:15.650
[SPEAKER_00]: Make sure you check out the Michael Marabona show.

27:16.091 --> 27:18.417
[SPEAKER_00]: Get it at Michael Marabona show.com.

27:18.437 --> 27:20.402
[SPEAKER_08]: Michael Marabona radio entertainment.