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The Art of Film Analysis: Dissecting Maverick's Narrative Techniques
Episode 468th October 2025 • Fellowship Of The Reel • Philip A. McClimon
00:00:00 00:58:14

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This episode delves into the film "Maverick," exploring its intricate narrative structure and character dynamics, particularly focusing on the protagonist, Brett Maverick. We address how the screenplay, crafted by the esteemed William Goldman, employs a format akin to episodic storytelling, reflecting the original television series it is based upon. The discussion further highlights the film's blend of humor and drama, showcasing Mel Gibson's portrayal of a charming yet hapless hero navigating a world filled with deception and wit. As we dissect various scenes and character interactions, we underline the film’s thematic explorations of friendship, trust, and self-discovery, ultimately positing that "Maverick" serves as an exemplary model of entertainment that transcends mere comedic value. In conclusion, we assert that the film, through its engaging narrative and character arcs, invites viewers to reflect on the essence of adventure and the pursuit of one's goals amidst life's uncertainties.

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The podcast delves into the cinematic artistry of the film 'Maverick,' a work that exemplifies the intricate interplay of humor and storytelling within the Western genre. The hosts engage in a profound discussion regarding the film's narrative structure, character development, and thematic elements, drawing comparisons to the original television series from which it is adapted. They analyze the motivations of the protagonist, Brett Maverick, portrayed by Mel Gibson, as he navigates a world rife with deceit and adventure, embodying the quintessential rogue archetype. The dialogue is rich with insights, invoking the works of acclaimed screenwriter William Goldman, whose influence is evident in the film's witty dialogue and engaging plot twists.


Throughout the episode, the hosts dissect various scenes, highlighting the film's use of episodic storytelling techniques that mirror the structure of a television series. They assert that each segment of the film serves as a self-contained narrative that contributes to the overarching story arc. This analytical approach not only enhances the listener's appreciation of 'Maverick' but also prompts a reevaluation of how modern audiences perceive character arcs and development in contemporary cinema.


The conversation further explores the film's reception, juxtaposing critical reviews against the hosts' personal experiences and nostalgic connections to the film. They reflect on the cultural impact of 'Maverick' within the context of 1990s cinema, emphasizing its role as a comedic yet heartfelt homage to the Western genre. By the conclusion of the episode, listeners are left with a renewed sense of admiration for the film's craftsmanship and the nuanced performances that bring its characters to life.

Within this episode, the discussion centers on 'Maverick,' a film that exemplifies a blend of wit, charm, and the Western genre's traditional tropes. The hosts explore the character of Brett Maverick, as portrayed by Mel Gibson, who embodies a unique combination of cunning and vulnerability that resonates throughout the narrative. They elucidate how the film navigates the conventions of the genre while simultaneously offering a fresh perspective through its comedic undertones. The analysis extends to the film's structural elements, drawing upon the episodic storytelling that reflects the television series' origins. Each sequence serves a dual purpose: advancing the plot while providing opportunities for character exploration and comedic relief.


Listeners are treated to an in-depth examination of pivotal scenes that define the film's tone, including its clever dialogue and engaging character interactions. The hosts emphasize the importance of William Goldman's screenplay in crafting a narrative that feels both timeless and relevant. They also engage in discussions about the film's reception, juxtaposing critical assessments with personal anecdotes that highlight its enduring appeal. By the episode's end, the hosts collectively affirm the film's status as a classic, urging listeners to appreciate its intricacies and the thematic depth that underpins its comedic exterior.

In this insightful episode, the hosts take a comprehensive look at 'Maverick,' dissecting its narrative structure, character dynamics, and the thematic elements that make it a standout within the Western genre. They delve into the protagonist, Brett Maverick, expertly portrayed by Mel Gibson, analyzing his journey through a landscape filled with treachery and humor. The conversation illuminates the film's clever use of episodic storytelling, echoing the format of the original television series, and how this technique enriches the viewing experience by creating distinct yet interconnected narratives.


As the dialogue unfolds, the hosts reflect on key scenes and character interactions that exemplify the film's charm and wit, attributing much of its success to the brilliance of William Goldman's screenplay. They discuss the film's critical reception, contrasting it with their personal fondness for the film, which evokes nostalgia and appreciation. The episode culminates in a celebration of 'Maverick' as a film that not only entertains but also resonates on deeper levels, prompting listeners to consider the intricacies of storytelling and character development in their own cinematic explorations. The hosts encourage a reevaluation of the film's legacy, positioning it as an enduring classic that continues to captivate audiences with its humor and heart.

Takeaways:

  • The podcast episode discusses the film 'Maverick' and its connections to the original television series, emphasizing the episodic structure of its narrative.
  • Throughout the discussion, the speakers express their admiration for the screenplay written by William Goldman, highlighting his wit and ability to craft engaging dialogue.
  • The speakers reflect on the themes of friendship and loyalty in 'Maverick', noting how these themes are woven into the character dynamics and plot progression.
  • In analyzing the film's structure, the speakers draw parallels between 'Maverick' and classic storytelling techniques, suggesting that it exemplifies the 'golden egg' narrative trope.
  • The podcast highlights the film's ability to blend humor and action, elevating it beyond a traditional Western and showcasing Mel Gibson's charisma as the lead.
  • The speakers conclude that 'Maverick' remains an entertaining film that resonates with audiences due to its clever writing and engaging characters.

Companies mentioned in this episode:

  • Top Gun
  • Maverick
  • James Garner
  • Mel Gibson
  • William Goldman
  • Alfred Molina
  • James Coburn
  • Lethal Weapon
  • Toy Story
  • Clint Black
  • Waylon Jennings
  • Nickelback

Transcripts

Speaker A:

I think this, I think this series has gone off the rails on more than one occasion.

Speaker B:

I felt like all the exposition was very, very tight.

Speaker B:

Well done.

Speaker C:

Does William Shatner know that he's not a captain of a starship?

Speaker D:

That's like Ricky Bobby.

Speaker D:

He's covering his base.

Speaker A:

Same with Tom Cruise, you know.

Speaker C:

Yeah, go ahead and say it, Phil.

Speaker C:

Put it in the trailer.

Speaker D:

It's like, once you start it, it's like, okay, I gotta see where this is going.

Speaker B:

Yeah, I like the up.

Speaker B:

It would be a lot.

Speaker A:

That was the weakest part of that scene.

Speaker B:

Sure.

Speaker C:

That's a.

Speaker C:

That's an emotional swing for 24, 48 hours.

Speaker A:

Okay.

Speaker A:

Fellowship of the real four friends in a movie.

Speaker A:

This time we're doing Maverick, a western with Mel Gibson.

Speaker A:

This was James Pick.

Speaker A:

Yeah.

Speaker B:

Oh, wait, we didn't.

Speaker B:

This is not the Top Gun.

Speaker A:

The not Top Cruise version.

Speaker C:

When I went to buy this movie.

Speaker B:

No, I watched the right one just playing.

Speaker A:

Oh.

Speaker C:

Went to buy a physical copy of this movie at half price movies.

Speaker C:

And I was like, hey, do you guys have Maverick?

Speaker C:

That was his first question.

Speaker A:

Yeah.

Speaker C:

Are we talking Top Gun?

Speaker C:

Are we talking 90s Mel Gibson?

Speaker C:

I was like, mel Gibson?

Speaker A:

Well, I mean, all right.

Speaker A:

I mean, he is a top gun in this movie.

Speaker B:

Top Gun's very good too.

Speaker D:

It is based on a character that came way before.

Speaker A:

Before with Garner.

Speaker A:

James Garner.

Speaker A:

Yeah.

Speaker C:

I loved that TV show when I was a kid.

Speaker B:

I couldn't.

Speaker A:

I love James G. Don't leave any.

Speaker B:

Of that till the end, naturally.

Speaker C:

This movie.

Speaker B:

Wait till the movie's over to talk about that.

Speaker C:

When I was a kid, I watched Maverick and Wild Wild west, the TV shows, and I loved them.

Speaker C:

And then this movie came out.

Speaker C:

I was like, I love Maverick.

Speaker C:

And then Wild Wild west came out with Will Smith.

Speaker C:

I was like, oh, I hope it's as good as.

Speaker C:

No.

Speaker C:

Wild Wild West.

Speaker C:

The movie sucks.

Speaker B:

Stacy loves it and I keep trying to tell her that it's not good.

Speaker A:

Babe.

Speaker D:

No, we bought it.

Speaker A:

I.

Speaker B:

You talk about.

Speaker B:

Yeah, I owned it at one point.

Speaker B:

Salon Theater.

Speaker D:

I liked it, but it's.

Speaker D:

It's a little out there.

Speaker A:

Yeah.

Speaker D:

Say.

Speaker D:

Yeah, I haven't seen it in forever, so I don't remember what it was like.

Speaker B:

Hey, Phil, we started the podcast, man.

Speaker B:

You can't just.

Speaker A:

I. I was talking about.

Speaker B:

Sorry.

Speaker A:

James Garner.

Speaker B:

James Garner.

Speaker A:

James Garner.

Speaker A:

And James had talked about watching the.

Speaker A:

The Maverick series, whatever.

Speaker A:

But I grew up on the Rockford Files.

Speaker A:

I don't know if.

Speaker A:

Oh, yeah.

Speaker A:

You guys ever heard of it?

Speaker A:

Yeah, yeah, it's.

Speaker A:

Yeah.

Speaker A:

He, he's every bit the snarky cool guy.

Speaker A:

And James Garner has always been one of my favorites.

Speaker C:

Cool.

Speaker A:

But yeah.

Speaker A:

Grew up on the Rockford Files.

Speaker A:

All right, all right.

Speaker A:

Sherry's gonna do her thing.

Speaker B:

Yep.

Speaker A:

All right, let's do Sherry's thing.

Speaker A:

Notable Quotables.

Speaker B:

Does it have a name anymore?

Speaker A:

There is Notable Quotables.

Speaker C:

If you just call it a thing.

Speaker C:

That's.

Speaker B:

No, you got to say the title.

Speaker A:

No, no, of course.

Speaker B:

Put effort into coming up with that.

Speaker B:

Can just be Sherry's Things.

Speaker A:

No, no, we are very, very happy for Sherry's Notable Quotables.

Speaker D:

Those things she looked up at 3:00'.

Speaker D:

Clock.

Speaker B:

Yeah, that's right.

Speaker C:

Put a lot of effort into it.

Speaker A:

For sure.

Speaker C:

I was gonna say her half effort still stumps us.

Speaker A:

Yeah.

Speaker A:

It blew me away last time.

Speaker B:

Right.

Speaker B:

3am bleary eyed and we're like, I.

Speaker D:

Didn'T have my glasses on and I.

Speaker D:

So I hope I spelled everything correctly.

Speaker D:

And I'm afraid I'm going to start repeating some of these because some of them I'm like, oh, that's a cool line, but did I do that one already?

Speaker A:

Whatever.

Speaker D:

So we'll see.

Speaker D:

All right, first one.

Speaker D:

I don't know why I picked this one.

Speaker D:

And y' all know it.

Speaker D:

Fat guy in little coat, Tommy boy.

Speaker D:

And I laugh every time I hear it.

Speaker D:

Yes, do that.

Speaker D:

Okay.

Speaker D:

All right.

Speaker C:

So Farley movie.

Speaker B:

Yeah.

Speaker A:

Another Gone before his time.

Speaker A:

Yeah.

Speaker D:

Oh, yeah.

Speaker D:

All right.

Speaker D:

And I know y' all know this one.

Speaker D:

I will look for you, I will find you and I will kill you.

Speaker A:

Taken.

Speaker A:

Yeah.

Speaker D:

Okay.

Speaker D:

I didn't know if you'd remember the name of it.

Speaker D:

I remember who said it.

Speaker A:

Yeah.

Speaker A:

Yeah.

Speaker D:

But I didn't know if you'd read.

Speaker A:

No.

Speaker C:

The Liam Neeson.

Speaker C:

Taken.

Speaker A:

Yeah.

Speaker C:

You've seen the.

Speaker C:

The trailer for the Naked Gun.

Speaker A:

I have.

Speaker C:

I might.

Speaker C:

I might watch this movie.

Speaker B:

Yeah.

Speaker B:

I think he's perfect for.

Speaker A:

No, no.

Speaker A:

He could.

Speaker B:

Leslie Nelson like the, the drive.

Speaker A:

Yes, yes.

Speaker B:

Humor.

Speaker B:

And then.

Speaker B:

Yeah.

Speaker B:

And it looks like it has the same.

Speaker B:

I didn't think.

Speaker B:

I thought maybe they would.

Speaker B:

I'm glad they didn't.

Speaker B:

I thought they would maybe update some of the, I guess the style of comedy.

Speaker B:

But it's that old slapstick.

Speaker B:

It's the same.

Speaker C:

I love.

Speaker B:

Yes.

Speaker B:

And I'm glad they didn't like.

Speaker B:

It's.

Speaker A:

Yeah, yeah.

Speaker A:

No, we saw a preview for that.

Speaker B:

It looks.

Speaker B:

Yeah, it looks fun.

Speaker A:

When we went and saw.

Speaker A:

Just stupid stuff.

Speaker B:

He's driving down the freeway and a guy hands him a coffee.

Speaker B:

I mean just.

Speaker C:

Yeah, but I thought it was funny.

Speaker C:

The Liam Neeson, Leslie Nielsen thing.

Speaker A:

Yeah, yeah.

Speaker C:

Names.

Speaker C:

I was like that.

Speaker B:

Oh, yeah, right.

Speaker A:

Yeah, yeah.

Speaker A:

That is crazy.

Speaker A:

Yeah.

Speaker B:

Just kind of bit with her, he's like, hi, dad.

Speaker B:

And they're all.

Speaker B:

And then they're all sitting there, you know, crying with their dads.

Speaker B:

And then.

Speaker B:

Yeah.

Speaker B:

The one guy looks at OJ and goes, nah, no, Cameron.

Speaker B:

Good stuff.

Speaker A:

All right.

Speaker B:

Yeah, that one.

Speaker B:

Naked Gun.

Speaker A:

All right.

Speaker D:

This last one, I was gonna.

Speaker D:

I'll tell you the line in just a second, but I have to add.

Speaker D:

What's the first movie that comes to mind when I say this line?

Speaker D:

Because I actually found a video that was 3 minutes and 46 seconds of all these movies that have this line that I didn't realize this was a quote in all these movies.

Speaker B:

Well, it's not.

Speaker B:

Luke, I'm your father.

Speaker D:

No, but the first movie that came to mind.

Speaker D:

All right, I'll just say it.

Speaker D:

My line was going to be.

Speaker D:

Is Showtime.

Speaker A:

Oh, yeah.

Speaker D:

Well, what's the first movie that comes to mind?

Speaker C:

Beetlejuice.

Speaker D:

Yeah, that's.

Speaker D:

That's what was first of mine.

Speaker D:

But like I said, there's a video out there of.

Speaker D:

It's 3 minutes and 46 seconds of nothing but movies of people saying, it's Showtime.

Speaker D:

And there are several movies I recognized.

Speaker D:

Don't ask me to name them, because I don't remember.

Speaker D:

But there are several movies you would.

Speaker C:

Recognize that stupid English.

Speaker C:

Using the same words in different capacities.

Speaker C:

Why can't we be the.

Speaker C:

Like the French.

Speaker C:

They got a word for everything.

Speaker D:

But anyway, so at least y' all pick the one.

Speaker D:

I was thinking.

Speaker C:

Okay.

Speaker C:

Yeah, that's what I was thinking.

Speaker A:

Yeah.

Speaker A:

I'm looking up.

Speaker A:

I didn't do Money creates fans.

Speaker A:

I was looking up the stuff for Maverick.

Speaker D:

I'm done.

Speaker A:

Okay.

Speaker C:

You had all that time to look it up earlier.

Speaker A:

Well, I got.

Speaker A:

I'm looking for the budget.

Speaker A:

Let's see.

Speaker C:

Got Sidetracked by James Garner.

Speaker A:

Yeah.

Speaker D:

I did Nickelback Song.

Speaker D:

Do y' all want to hear?

Speaker C:

I've.

Speaker C:

I've seen here budget 75 million.

Speaker A:

Okay.

Speaker A:

All right.

Speaker C:

I got estimated.

Speaker A:

Other stuff.

Speaker A:

All right.

Speaker A:

All right.

Speaker A:

Yeah.

Speaker A:

So that's good.

Speaker A:

Sherry, ready for money.

Speaker A:

Money.

Speaker A:

Critics, fans.

Speaker B:

Yeah.

Speaker A:

Okay.

Speaker A:

James, you said a budget of 70 million.

Speaker C:

75 is what it's showing on IMDb.

Speaker A:

Yeah.

Speaker A:

Box office Mojo has the domestic at 101 million.

Speaker A:

The international, 81 million.

Speaker A:

For worldwide, 183 million.

Speaker A:

31,000, 272.

Speaker A:

So it made his money.

Speaker C:

Yeah, that's a success.

Speaker C:

Doubled its money and then some.

Speaker A:

And Then some.

Speaker A:

Now I did not know this and in light of some of my earlier comments and comments that I will make about this movie, I was not aware of this and it kind of makes me scratch my head.

Speaker A:

Apparently William Goldman wrote this script which yeah hands down is one of my favorite screenwriters all time.

Speaker B:

Yeah.

Speaker B:

I thought you knew who you were talking about earlier.

Speaker A:

Yeah, no.

Speaker B:

Yeah, his name was there in the credits there, Phil.

Speaker A:

Okay, again, apparently I was because I didn't catch Val Kilmer in the credits of True Romance and I didn't catch William Goldman.

Speaker B:

I had forgotten he wrote this to episode in the credit.

Speaker A:

Yeah, I did not see it.

Speaker B:

But you're right, his stuff is normally amazing.

Speaker B:

Yeah, very, very.

Speaker B:

Maverick is amazing.

Speaker B:

It is as far as the guy's a very talented writer.

Speaker B:

Pretty solid on structure.

Speaker B:

So.

Speaker A:

Yeah.

Speaker B:

The fact that it's.

Speaker B:

Now he was an old up to which I don't know did he adhere to Catboy?

Speaker B:

I mean this was written before.

Speaker A:

Yeah.

Speaker A:

Well, I asked.

Speaker A:

I don't know when did William Goldman wrote the script for Maverick?

Speaker A:

In the early:

Speaker A:

Is based on the:

Speaker B:

Yeah.

Speaker B:

I don't know when Blake Snyder's like beat sheet became, you know, well widespread with Hollywood, you know.

Speaker A:

Yeah, I mean.

Speaker A:

Well, I mean Blake Snyder just added names to a structure that was essentially known, I guess.

Speaker A:

I mean.

Speaker A:

Yeah, I don't know but it just seems, it just seems out of character that the script is all over the place now.

Speaker A:

The, the idea was that he was trying to capture some of the, the wit and fun of the original series.

Speaker B:

Yeah.

Speaker A:

So I, I think that is accomplished.

Speaker A:

So what he wrote I think is, is amazing and entertaining.

Speaker A:

But I was, I am surprised at sort of the structure which we'll get into.

Speaker C:

Well, I mean when this was written, I wonder if they knew it was going to be a Richard Donner, Mel Gibson, I don't know, you know, Los Angeles, Hollywood, money making type of movie.

Speaker C:

Or would they.

Speaker C:

Was he just writing Maverick to.

Speaker A:

Well, it says according to Goldman in his book which lie did I tell?

Speaker A:

He developed the script in.

Speaker A:

In the window aligning with pre production starting in 93.

Speaker A:

So it may very well be that he was aware of some of the parties attached.

Speaker A:

I guess.

Speaker A:

I don't know.

Speaker B:

Yeah.

Speaker C:

So he was writing this maybe not necessarily to.

Speaker C:

He's writing this maybe as an episodic thing all slammed together in a movie.

Speaker A:

It is, it's very much that because he does move from Episode to episode of.

Speaker C:

That's what it seemed like to me.

Speaker C:

That's why I liked it.

Speaker C:

And I couldn't track it.

Speaker C:

I'm like.

Speaker C:

It's like he does this thing and it's a solid chunk of time and then he goes over here.

Speaker C:

Solid chunk of time.

Speaker C:

But then it's an overall arc like a TV season would be.

Speaker A:

Yeah, yeah, yeah.

Speaker C:

And he gets to the thing at the end.

Speaker B:

I hadn't thought about that.

Speaker A:

Yeah.

Speaker B:

It feels.

Speaker B:

Until we know was based on a show.

Speaker B:

But I didn't think about.

Speaker B:

You're right.

Speaker B:

It feels like individual episodes slammed together and then it's like if it's.

Speaker B:

You break it up into a solid season one of a show or whatever ends with the game and stuff.

Speaker A:

And each sequence could be an hour long.

Speaker B:

But.

Speaker B:

Yeah.

Speaker B:

So maybe there was.

Speaker A:

Maybe that explains it.

Speaker B:

Which means other episodes he was paying homage to.

Speaker B:

Maybe with each little segment.

Speaker A:

Yeah.

Speaker A:

So in that.

Speaker A:

In that sense, maybe it does align with the genius of Goldman, as I say, because.

Speaker C:

Can I get an ooh and an ah?

Speaker A:

Yeah, yeah, that.

Speaker A:

That is.

Speaker A:

I was.

Speaker A:

I was so relieved that Goldman is salvaged.

Speaker C:

That's what I'm thinking is like, how can Goldman.

Speaker A:

Yeah.

Speaker A:

And the.

Speaker C:

And Richard Donner and thing.

Speaker C:

And in some.

Speaker A:

It.

Speaker A:

Yeah, no, definitely.

Speaker A:

Most assuredly.

Speaker C:

I had to ask for it.

Speaker C:

You gotta come.

Speaker A:

No, no, no.

Speaker A:

If I.

Speaker A:

Once I recovered, I might have.

Speaker B:

But I was like, also gold in that room we were talking about with Tarantino.

Speaker B:

We're like, learn the rules.

Speaker B:

He can do it.

Speaker A:

Right.

Speaker B:

94 or whatever.

Speaker A:

@ this point.

Speaker B:

Do what he wanted.

Speaker A:

Yes, at this point.

Speaker A:

Yes.

Speaker A:

But I think that's absolute genius.

Speaker A:

What James said about each section being an homage to an episode or like an episode with an overarching season in the movie.

Speaker A:

That's good.

Speaker A:

That's.

Speaker A:

That's brilliant.

Speaker A:

Okay.

Speaker C:

To be fair, I just thought of that.

Speaker A:

Right.

Speaker A:

It doesn't matter.

Speaker A:

That's.

Speaker A:

I did not think of it.

Speaker A:

And that's amazing.

Speaker C:

So it must be great.

Speaker A:

All right.

Speaker A:

All right.

Speaker A:

So.

Speaker A:

Oh, so the critics.

Speaker A:

Let's see.

Speaker B:

They think it was amazing.

Speaker A:

Well, the scores are a little low, in my opinion.

Speaker A:

The critics give it a 68% and the fans the 71%, which I think is low, especially in light of James comments.

Speaker A:

Had critics maybe taken a little time to think about it and.

Speaker A:

And come up with what James had said, Maybe more of the genius of the movie shines through.

Speaker A:

You know, I'm saying.

Speaker C:

Oh, I am.

Speaker C:

I'm well aware of my genius.

Speaker C:

Thank you.

Speaker A:

And now everyone else will Be.

Speaker A:

That's good.

Speaker C:

I'm humble, too.

Speaker A:

Humble, too.

Speaker A:

Yeah.

Speaker A:

All right.

Speaker A:

So the scores, in my opinion, are a little low because regardless, this movie, I love it.

Speaker A:

Is a fun ride the whole way through.

Speaker C:

When's the first time you saw.

Speaker C:

Seen it?

Speaker C:

Saw it.

Speaker D:

I think we saw it in the theater.

Speaker A:

Did we?

Speaker A:

I thought, well, maybe.

Speaker A:

Yeah.

Speaker B:

I don't think Assault in theater.

Speaker B:

I think I must have caught it.

Speaker B:

When you could rent it, you know, the old blockbuster or whatever.

Speaker C:

Yeah, yeah, we were.

Speaker C:

We were a big, big Mel Gibson household.

Speaker C:

So we saw.

Speaker A:

Yeah.

Speaker C:

In the theater and owned it.

Speaker C:

I watched this movie a ton.

Speaker A:

Yeah.

Speaker B:

Definitely owned it.

Speaker A:

And.

Speaker B:

Yeah.

Speaker B:

Big Mel Gibson fan.

Speaker B:

I guess we just.

Speaker B:

I don't remember seeing the.

Speaker B:

I feel like we missed it.

Speaker A:

Yeah, I don't remember.

Speaker D:

So then you probably would have really.

Speaker D:

You would have guessed because I was.

Speaker D:

I'd always meant to do the line.

Speaker D:

Was that fast?

Speaker D:

I thought that was fast.

Speaker A:

Probably the one I quote the most.

Speaker B:

That's one of Stacy's favorite from the movie.

Speaker D:

Yeah.

Speaker D:

So.

Speaker A:

Yeah.

Speaker B:

And the guy.

Speaker B:

Yeah.

Speaker A:

Yeah.

Speaker A:

Anyway.

Speaker A:

Yeah, so that's.

Speaker D:

Know we named a dog after Annabelle and called her Bell.

Speaker A:

Oh, did you or.

Speaker D:

I did.

Speaker A:

Okay.

Speaker B:

Well, she always called her puppy what?

Speaker A:

We thought it was a straight dog.

Speaker B:

Always stealing stuff.

Speaker A:

Yeah.

Speaker C:

Living life on the streets is a stray dog, probably.

Speaker B:

I'm just.

Speaker A:

Yeah.

Speaker A:

Anyway, good stuff.

Speaker A:

All right.

Speaker A:

Anything else on money, critics, fans?

Speaker A:

Now, I will say this.

Speaker A:

I didn't notice this, but both these movies, True Romance and.

Speaker A:

And Maverick, essentially True Romance is a complete flashback because she's telling the story, but Maverick does what?

Speaker A:

And always get the number.

Speaker A:

Was it 13 blocks?

Speaker A:

16 blocks.

Speaker A:

What is it?

Speaker B:

16.

Speaker A:

16 blocks.

Speaker A:

Pulls what they do.

Speaker A:

The movie starts at what I eventually will call the midpoint and then loops back to current and then continues on 16 blocks.

Speaker B:

Did that also another Richard Donner film?

Speaker A:

Oh, yeah.

Speaker A:

Oh, absolutely.

Speaker A:

Yeah, that's.

Speaker A:

That's true.

Speaker A:

Yeah.

Speaker A:

Let's get more.

Speaker C:

How many Richard Donner movies has this been?

Speaker A:

But we done two.

Speaker C:

Two.

Speaker B:

We haven't done any, like, the weapons yet.

Speaker C:

I think on purpose, honestly.

Speaker A:

Yeah.

Speaker A:

For sure.

Speaker B:

Yeah.

Speaker B:

No, no, no.

Speaker A:

Right.

Speaker A:

Because it's like the Die Hard.

Speaker A:

I mean.

Speaker B:

Exactly.

Speaker B:

Yeah.

Speaker B:

Saving those for I don't know what.

Speaker A:

I know.

Speaker A:

Right.

Speaker A:

They're the Holy grails, you know, 16.

Speaker B:

I feel like there's three, but I can't think what the third one is.

Speaker A:

Yeah.

Speaker B:

About to go back and look, 16 blocks, this one.

Speaker B:

And then I thought there was another one.

Speaker B:

Goonies.

Speaker C:

Goonies.

Speaker A:

Goonies.

Speaker A:

Yes.

Speaker A:

Yes.

Speaker A:

That's Crazy.

Speaker C:

Just.

Speaker C:

Just crazy.

Speaker B:

That's the same guy?

Speaker B:

Yeah, he's.

Speaker A:

Now this also occurred to me, Superman.

Speaker A:

And this is happy accident.

Speaker A:

But in Maverick, Brett Maverick is always trying to.

Speaker A:

Bert.

Speaker A:

Bart is always trying to visualize the card and have the card appear.

Speaker B:

Yep.

Speaker A:

And this is.

Speaker A:

It never has worked out.

Speaker B:

Is that from the TV show as well?

Speaker A:

I. I don't know.

Speaker B:

Okay.

Speaker B:

I didn't know.

Speaker B:

I was just curious.

Speaker A:

Yeah.

Speaker B:

Okay.

Speaker A:

And he says it never works out.

Speaker A:

But then of course, spoiler alert at the end.

Speaker A:

It absolutely works out.

Speaker B:

Yeah.

Speaker B:

We've got excited when he realized he's like, oh, he's gonna do his drink.

Speaker A:

Yeah.

Speaker A:

Right.

Speaker B:

Excited.

Speaker A:

And that kind of thing happens in true romance.

Speaker A:

It's a shitty world.

Speaker A:

Things don't always work out, but sometimes they do.

Speaker B:

Way nice.

Speaker A:

Yeah.

Speaker A:

So there is always like when our.

Speaker B:

Movies that are, you know, they're picked, they're completely random.

Speaker A:

Yeah.

Speaker A:

There's no way we picked that.

Speaker B:

That's happened several times.

Speaker B:

Yeah, we just.

Speaker B:

We pick these random movies and then they find there's.

Speaker A:

There's like this.

Speaker B:

Yeah.

Speaker A:

This synergy.

Speaker B:

It's cool.

Speaker A:

Yeah, it's very cool.

Speaker C:

It's very cool.

Speaker A:

Very cool.

Speaker A:

All right, we ready for the beats?

Speaker B:

Yeah.

Speaker A:

Yeah.

Speaker B:

Such as they are, I guess.

Speaker A:

Yeah.

Speaker A:

Such as they are.

Speaker A:

All right, this.

Speaker A:

This review will either be 12 minutes or we'll talk about a lot and we'll enjoy it, and that'll be fine.

Speaker A:

Opening image.

Speaker A:

Opening image is the opening image.

Speaker A:

All right.

Speaker A:

First image of the movie.

Speaker A:

But as I had said, it takes place in what I have labeled as a midpoint false defeat.

Speaker A:

And then we go back to the beginning leading up to that and then carry forward at the end of the movie.

Speaker A:

So my opening image, he's Brett Maverick is in dire straits, hanging in the desert with snakes.

Speaker A:

Now, Brett Maverick is a hero, but he's one of these hapless heroes.

Speaker A:

He's, you know, almost like a Jackie Chan type.

Speaker A:

You know, he's.

Speaker A:

He's a hero, but it's sort of in a roundabout way and.

Speaker A:

And isn't going to be your square jawed, everything goes right.

Speaker B:

Yeah.

Speaker A:

Type of guy.

Speaker A:

This is Brett Maverick, the.

Speaker A:

Yeah.

Speaker B:

I mean, he admits to being gutless and spineless.

Speaker A:

Yeah, you're right.

Speaker A:

Yeah.

Speaker B:

Never has worked out what's so great about being brave.

Speaker A:

He runs away today, can run away another day.

Speaker A:

Love that line.

Speaker C:

That's a philosophy I. I love.

Speaker A:

Hey, keeps you going.

Speaker A:

Any other thoughts?

Speaker A:

I mean, what did you guys have for the opening image?

Speaker A:

That's the first time we see him since it's a.

Speaker B:

Of like it tells that story.

Speaker B:

It starts there and then goes back and so we catch up to that point in the story.

Speaker A:

So the first time we see him.

Speaker B:

Yeah, the first time we.

Speaker A:

Chronologically.

Speaker B:

Yeah, yeah, yeah.

Speaker B:

So I moved my opening image later to make it chronological with the story just riding through and I just put.

Speaker B:

He's riding on an ass.

Speaker A:

You're right.

Speaker A:

Yeah.

Speaker A:

Heroes don't come in riding on donkeys.

Speaker A:

Yeah, donkeys.

Speaker A:

And when they do their Clint Eastwood and Fistful of Dollars and it's.

Speaker B:

Yeah.

Speaker A:

Badass.

Speaker A:

I don't think it's funny, you laughing, you apologize like I know you're going to.

Speaker A:

To his mule.

Speaker B:

Exactly.

Speaker B:

This guy is never saying no, someone else is.

Speaker B:

He's going to laugh with him or something.

Speaker B:

He's not going to defend his.

Speaker A:

This is the antithesis of.

Speaker B:

Yeah.

Speaker A:

The Stranger with no Name.

Speaker B:

You know, forget about that.

Speaker B:

I don't think that's funny, you laughing.

Speaker A:

If you apologize like I know you're going to.

Speaker B:

Oh, get five coffins.

Speaker B:

Right.

Speaker A:

Yeah, My mistake.

Speaker B:

Six or whatever the numbers were.

Speaker A:

Talk about a movie laced with style.

Speaker B:

Yeah.

Speaker A:

Oh, my God.

Speaker A:

Anyway.

Speaker B:

All right.

Speaker B:

What.

Speaker C:

So Mav.

Speaker C:

Brett Maverick is not Clint Eastwood.

Speaker C:

Is what?

Speaker A:

Right.

Speaker A:

He is the comedic hero, the hapless hero, the.

Speaker A:

Yeah, snarky.

Speaker A:

I, I, later on, Annabelle will sum him up perfectly.

Speaker B:

I think our conversation earlier, it's going to take me a minute to like, I keep thinking the doll every time.

Speaker A:

Right, right.

Speaker B:

Anyhow.

Speaker B:

All right.

Speaker A:

She calls him.

Speaker B:

Got it.

Speaker A:

Yes.

Speaker A:

She calls him so irritable and likable, which I think is exactly who he is.

Speaker B:

Yeah.

Speaker A:

He is gonna annoy you.

Speaker A:

He's gonna, you know, but you can't help but like him.

Speaker A:

And I think it was during that.

Speaker B:

Scene, or close to it, somewhere around that, when it just dawned on me, I was like, you know, this is, this was Mel Gibson at his peak.

Speaker B:

You know, like started in the late 80s and then went through, you know, maybe even towards the, you know, mid to late 90s, like that kind of decade.

Speaker B:

Was Mel Gibson at his peak?

Speaker A:

Yes, yes.

Speaker A:

Probably the hottest actor at the time.

Speaker B:

Because this, this was 94.

Speaker A:

Yeah.

Speaker B:

He done Lethal Weapon 3 before.

Speaker A:

Yeah.

Speaker B:

The year before.

Speaker B:

And this was 94 with Maverick and then he did Braveheart and then Handsome was after that.

Speaker B:

So just hit after hit after hit, you know.

Speaker A:

Yeah, yeah.

Speaker B:

It was time for him and he.

Speaker C:

Was winning Oscars and Oscars.

Speaker A:

And Oscars.

Speaker A:

Yeah.

Speaker A:

All right.

Speaker A:

I, I have a theme stated and I'm interested, very interested to see if you guys have one.

Speaker A:

And maybe what it might be because like I said, the beats are what they are.

Speaker A:

And.

Speaker A:

And I was hard pressed, but I think this might be the theme.

Speaker A:

What, what do you guys.

Speaker A:

Any ideas?

Speaker C:

I got no theme whatsoever.

Speaker A:

Right.

Speaker B:

Yeah.

Speaker B:

I'm looking at a blank page.

Speaker A:

Okay.

Speaker B:

It's like John Cena.

Speaker B:

You can't see.

Speaker A:

The only thing I could come up with.

Speaker A:

And I think this is his pattern throughout the whole movie.

Speaker A:

I'd rather be rich than dead.

Speaker A:

Okay, Come on, let's just play poker.

Speaker A:

I'd rather be rich than dead.

Speaker B:

No, that's good.

Speaker A:

His motivating factor is to, you know, get what he wants.

Speaker A:

Usually that's money.

Speaker A:

And nothing else is a higher priority.

Speaker A:

Not bravery, not sacrifice.

Speaker A:

Look, man, if Run Away lets me live another day for me to make some more money, then so be it.

Speaker A:

Yeah.

Speaker B:

It's interesting though.

Speaker B:

Like, he wanted money, but I felt like he.

Speaker B:

I thought he said it kind of in the voiceover.

Speaker B:

The beginning is he wanted to know how good he really was.

Speaker A:

Yeah.

Speaker A:

When the money's gone.

Speaker B:

Yeah.

Speaker B:

Like, I mean, yes, he's motivated by money, but like he needs the money.

Speaker A:

To get into the game to prove to himself.

Speaker A:

Yeah, yeah.

Speaker A:

Right.

Speaker B:

Because even when it.

Speaker B:

Well, never mind, never mind.

Speaker C:

Well, I, I was, I was going to say, like he's coming about his money honestly, like he's for it.

Speaker C:

He's not cheating people, but everybody he comes across is trying to cheat him out of his.

Speaker A:

Right.

Speaker C:

Money.

Speaker A:

Yeah.

Speaker A:

Even my friends are stiffing me, you know.

Speaker B:

Yeah.

Speaker C:

They owe him money.

Speaker B:

What are friends for?

Speaker A:

Right.

Speaker C:

But he's trying to come about it honestly, to see how good he really is.

Speaker B:

Yeah.

Speaker A:

Right.

Speaker A:

Right.

Speaker A:

So along with that, I said he uses his.

Speaker A:

And uses his wits to become so rich or whatever.

Speaker A:

So he is not going to sacrifice sort of his intellect or wit that can get him out of something just for appearance sake.

Speaker A:

You know, everybody.

Speaker A:

Oh, you're a coward.

Speaker A:

Everybody sort of looks at him like he's disgusting, you know?

Speaker B:

Right.

Speaker A:

Even when, when harden.

Speaker A:

You know, when he.

Speaker A:

Oh, you're a coward.

Speaker A:

Yeah.

Speaker A:

You know, but the whole time he's doing that, he's studying their tell.

Speaker A:

So it's all, all about wit and, and intelligence.

Speaker B:

Yeah.

Speaker B:

She lost.

Speaker B:

Interesting.

Speaker B:

Even at that point.

Speaker A:

Yes, yes.

Speaker A:

Which.

Speaker A:

So I think the setup for his character has done very well.

Speaker B:

Yep.

Speaker A:

You know.

Speaker B:

Yeah.

Speaker B:

No, I agree with that.

Speaker A:

Now the.

Speaker A:

I. I don't know that I came up with a catalyst, especially if we are talking about the episodic nature and then it's sort of all being Part of a unified season.

Speaker A:

The main thing he wants to do is get into this poker game.

Speaker A:

And what sets him.

Speaker A:

Well, I guess he's going to the poker game.

Speaker A:

But what sets him on this series of adventures is trying to make up the $3,000 he needs.

Speaker B:

Yeah.

Speaker B:

It's almost.

Speaker B:

To me, it's like we.

Speaker B:

We started with the like broken.

Speaker B:

He already broke into two.

Speaker B:

And we're starting like the fun and games.

Speaker B:

You know what I mean?

Speaker B:

Like, it's like all that's kind of.

Speaker B:

Because his goal of getting to the.

Speaker B:

To the big tournament.

Speaker B:

And I need, you know, because he already acquired 22 grand some way.

Speaker A:

Right, right.

Speaker B:

I mean, gambling or whatever.

Speaker B:

So he needs the last three.

Speaker B:

It's like that's his goal and that's set up clearly.

Speaker B:

But yeah, like when did something happen to him to make that his goal?

Speaker B:

Right.

Speaker B:

None of that.

Speaker A:

Yeah.

Speaker A:

We don't see.

Speaker B:

We don't see any of that.

Speaker B:

We don't see his.

Speaker A:

His catalyst would have been I need to see if I'm the best.

Speaker B:

Yeah.

Speaker A:

And what spurred him on to think that.

Speaker B:

Right.

Speaker B:

Yeah.

Speaker B:

We sound like we saw him lose or something.

Speaker B:

And, and, and you know.

Speaker A:

Right, right, right.

Speaker A:

Or Absolutely.

Speaker B:

That's kind of.

Speaker B:

Right.

Speaker B:

So I was like lost on the first bit.

Speaker B:

I was like, wait a minute.

Speaker B:

I just.

Speaker A:

Yeah.

Speaker A:

Cuz there doesn't seem to be.

Speaker B:

Nothing happens to him.

Speaker B:

I thought maybe C was meeting her, but that doesn't really have.

Speaker B:

She's just kind of the fun love.

Speaker A:

She's a funny game.

Speaker B:

Yeah.

Speaker B:

It's like it.

Speaker B:

It would have no effect on the story.

Speaker B:

He'd still.

Speaker B:

He never meets her.

Speaker B:

He still ended up on that boat playing the game.

Speaker A:

Yes.

Speaker A:

And even at the end, he lets her get away with the money so he could chase her.

Speaker A:

So he's just.

Speaker A:

Yeah.

Speaker B:

She's where.

Speaker B:

I guess I was thinking about not caring about the.

Speaker B:

The money as much.

Speaker A:

Right, right, right.

Speaker A:

Yeah.

Speaker B:

He got what he wanted, you know.

Speaker A:

Yes.

Speaker A:

Yeah.

Speaker A:

So like, I think to your point, I think a lot of that starts off at the beginning of the movie before we even start the movie.

Speaker A:

Yeah.

Speaker B:

It was almost like they.

Speaker B:

Hey, this is Maverick based off TV show.

Speaker B:

Every so TV show.

Speaker B:

So we don't need to explain.

Speaker A:

Right.

Speaker B:

Which is weird.

Speaker B:

You know.

Speaker A:

Yeah.

Speaker B:

They do a good job of setting them.

Speaker B:

So you know who he is.

Speaker C:

Well, I think a lot of the.

Speaker C:

A lot of the motivation, I guess you'd say, happened off screen.

Speaker C:

And it's told later on in the finale with James Garner when you realize.

Speaker A:

Yeah.

Speaker A:

There's some of that they were all together, like.

Speaker A:

Yeah, yeah, yeah.

Speaker B:

Right.

Speaker B:

And you couldn't.

Speaker B:

To your point, they couldn't show that because then you're ruining the ending.

Speaker A:

Yeah.

Speaker A:

Yes.

Speaker A:

Yeah.

Speaker A:

Because one of the things I wrote down was everything in this movie is the long con.

Speaker B:

Yeah.

Speaker A:

His.

Speaker A:

His thing with the Indians.

Speaker A:

Well, he's got history with these.

Speaker A:

These guys, so everything's a con with him.

Speaker B:

Right.

Speaker A:

You know, I'm saying.

Speaker A:

Yeah.

Speaker A:

Even to the point of, like, James saying them being together at the end, everything was the long con.

Speaker A:

Father, his father, the Indians, everything.

Speaker A:

Now this.

Speaker A:

This is how sort of confused I was.

Speaker A:

The catalyst, I'm saying, is being $3,000 short.

Speaker A:

And I wrote a question mark because.

Speaker A:

Okay.

Speaker A:

Setting him on a journey.

Speaker A:

Now then we get to this part about the missionaries, which is an episodic scene, but I was thinking, okay, well, they are debating whether they should help the missionaries or not help the missionaries.

Speaker A:

Is that the debate with the breaking into two being them helping the missionaries?

Speaker D:

You mean helping Mary Margaret and Margaret.

Speaker A:

Margaret Mary.

Speaker A:

Yeah.

Speaker D:

That just cracks me up every time.

Speaker D:

I'm sorry.

Speaker A:

Yes.

Speaker A:

Which to me, didn't seem like a solid.

Speaker A:

Because they don't spend the rest of the movie with the missionaries.

Speaker B:

Right.

Speaker A:

Yeah.

Speaker B:

No, I wrote the same thing.

Speaker B:

Looking for a catalyst.

Speaker B:

I wrote needs three grand to get into the big game, but yes.

Speaker A:

And then the break into two, he's done it.

Speaker B:

Right.

Speaker A:

So at the bottom of the page here, I wrote under Fun and games, I wrote the whole movie.

Speaker A:

Question mark.

Speaker A:

Yeah.

Speaker C:

Yeah, pretty much.

Speaker A:

And I think that's probably the most accurate thing I wrote down.

Speaker A:

Because as far as the B story, he does not change.

Speaker A:

Maybe Annabelle's the B story in terms of love interest.

Speaker A:

Because I think up to this point, he has not been interested in any particular woman.

Speaker A:

Yeah.

Speaker B:

No.

Speaker B:

And she doesn't change.

Speaker B:

So I thought.

Speaker B:

Because I was thinking about, well, maybe he's flat arc and.

Speaker B:

Right.

Speaker B:

And he's a B story for everybody else, but they don't change enough for that to happen.

Speaker B:

So.

Speaker A:

Yeah, nobody really changes something.

Speaker B:

They're just.

Speaker C:

No, the bad guys get caught and the good guys win.

Speaker A:

Right.

Speaker C:

Live to see it another day.

Speaker C:

Just like an episodic TV show would be.

Speaker B:

Right.

Speaker A:

Yes.

Speaker A:

Yes.

Speaker A:

So.

Speaker A:

So I think that's really the key to the whole movie.

Speaker B:

You did you hit the nail on the head.

Speaker B:

Because in season two, we're watching him chase after her.

Speaker B:

And you're tuning into that.

Speaker A:

Right, right.

Speaker A:

And that'll be a series of adventures.

Speaker C:

Yeah.

Speaker C:

They catch up to each other in the first third of the Movie.

Speaker C:

Then it's a bigger batter challenge.

Speaker A:

Yeah, sure.

Speaker A:

Something else.

Speaker A:

Yeah.

Speaker A:

She gets kidnapped.

Speaker A:

I don't know, whatever.

Speaker A:

Yeah.

Speaker B:

Angel had a twin brother and he's mad that Maverick killed his brother.

Speaker A:

Yes.

Speaker A:

Yeah.

Speaker A:

Yes.

Speaker B:

And another poker game.

Speaker B:

Of course.

Speaker A:

Of course.

Speaker A:

Yes.

Speaker C:

We're a shooting competition, like.

Speaker B:

There you go.

Speaker A:

Let's have a spelling contest.

Speaker A:

Yes.

Speaker B:

Which poker just is new game.

Speaker A:

Right.

Speaker A:

God damn it.

Speaker A:

Holiday hang.

Speaker A:

Okay, so midpoint occurs about an hour and 16.

Speaker A:

Hanging from the tree.

Speaker A:

A false defeat, which.

Speaker A:

So now we're back up to where the movie started and ready to proceed into actual time.

Speaker A:

I guess after the missionaries and the Indian thing.

Speaker C:

Yeah.

Speaker A:

With the Russian.

Speaker C:

And there was a lot of fun.

Speaker C:

Fun and games in that.

Speaker C:

The whole thing.

Speaker C:

Oh, I thought your hands got cut off.

Speaker C:

And he holds them up.

Speaker C:

Flash.

Speaker C:

Doesn't matter.

Speaker A:

What.

Speaker A:

What's the actor's name who played the gray?

Speaker A:

What?

Speaker A:

Green?

Speaker A:

Lauren Green.

Speaker B:

Yeah.

Speaker B:

Graham Gr.

Speaker A:

Graham Green.

Speaker A:

Yeah.

Speaker A:

Yeah, he.

Speaker A:

He was amazing.

Speaker A:

I. I thought the whole Indian motif was very played with very well.

Speaker A:

I wants the damn drums beat all the time.

Speaker A:

Gives me a headache.

Speaker B:

Right.

Speaker A:

Oh, white man.

Speaker A:

Yeah.

Speaker A:

Each of these sequences is fun, like.

Speaker A:

Like James was saying, and episodic.

Speaker A:

And I think that's a good point about.

Speaker A:

Yeah.

Speaker A:

If it was a season two, he'd be chasing Annabelle.

Speaker A:

Now the bad guys close in again.

Speaker A:

I don't know, but I have it.

Speaker A:

The.

Speaker A:

The game start.

Speaker A:

The poker championship starts where all the tables and.

Speaker A:

Because at this point, why is that a bad guy's closed end.

Speaker A:

Because he's in the tournament now and there are people trying to beat him.

Speaker A:

His opponents are all the bad guys that he could lose.

Speaker C:

You know, everybody he's been running into this whole time are now on the boat.

Speaker C:

Alfred Molina, James Coburn.

Speaker A:

Yes.

Speaker C:

These guys.

Speaker A:

Yeah.

Speaker A:

They're all.

Speaker B:

Yeah.

Speaker A:

Assembled.

Speaker A:

You know, any other.

Speaker A:

I mean, I. I think that the episodic thing really is the key because you'd almost have to do these beats for each sequence, which I think probably would be more tight within the sequence.

Speaker A:

Yeah.

Speaker C:

It reminded me a lot, I guess, just now of more like Rocky and Rocky 2, how it's broken up into different little things.

Speaker C:

You have a beginning, middle and end in the first third of the movie.

Speaker A:

Yeah.

Speaker C:

So each of these episodic things have its own little arc.

Speaker A:

Yeah.

Speaker A:

Okay, so like, okay, for the missionary sequence, right.

Speaker A:

So they're riding along onto their necks.

Speaker A:

And so the setup is there.

Speaker A:

Trying to get to the poke game.

Speaker A:

The.

Speaker A:

The catalyst would be they meet the missionaries.

Speaker B:

Right.

Speaker B:

Debate.

Speaker A:

The debate.

Speaker B:

Do they help or not do they help them.

Speaker A:

The fun and games going with the Indians, you know, break into two.

Speaker A:

He goes with the Indians, you know, so, so there is.

Speaker B:

Right.

Speaker A:

I think, Yeah.

Speaker A:

I think very clearly within each sequence there would be some tight structure.

Speaker A:

Yeah.

Speaker C:

And now you got the Russian guy needing.

Speaker A:

Yeah.

Speaker C:

Pay the money.

Speaker C:

But he's got to shoot this now.

Speaker C:

He's got to overcome this whole thing.

Speaker A:

Yes.

Speaker A:

Yeah, yeah.

Speaker B:

So now greatest Western throw of all.

Speaker C:

I mean, even in the, the first poker scene, like, you see the bad guys close in on that one.

Speaker A:

Yeah, yeah, yeah, yeah.

Speaker A:

So each, that, that's, that's the key that, that opens up the understanding of this movie, I think better than probably because I've always thought this was a fun ride.

Speaker A:

Yeah.

Speaker A:

You know, but it taken as a whole, it's a little bit like spaghetti until you, till you see what's going on here.

Speaker A:

And that that has to be by design.

Speaker A:

And I think that that makes William Goldman, in my mind, even more genius because he had to know what he was doing at that point.

Speaker B:

Right.

Speaker C:

He went from struggling to see why William Goldsmith would even write this damn movie to be like, he's a genius.

Speaker A:

He's a genius.

Speaker C:

He's even more genius than I thought he was.

Speaker A:

Yes.

Speaker A:

Thanks to James, you know, and Chris, all is lost.

Speaker A:

Maverick wins, which I'm calling a false victory.

Speaker A:

If we had a false defeat at the midpoint.

Speaker C:

Well, it's when he gets robbed after the thing that would be in all his loss because they took his money.

Speaker C:

They.

Speaker A:

When was that?

Speaker B:

That was when the bag.

Speaker B:

When Alfred Molina.

Speaker A:

Yeah.

Speaker C:

Like right after the.

Speaker C:

Oh, I'm sorry, I must be lost.

Speaker C:

Where, which part are we talking about?

Speaker C:

When he wins to go to the final table.

Speaker C:

Well, wins the final table.

Speaker A:

Matt Maverick wins to go to the final table.

Speaker B:

Okay.

Speaker A:

Okay.

Speaker C:

Yeah, I, I jumped ahead.

Speaker B:

Yeah.

Speaker A:

I'm calling a false victory.

Speaker B:

I was off.

Speaker B:

Sorry.

Speaker A:

Well, I, I, I don't think that's anybody's fault, except that we were coming at as from it as a whole, rather than.

Speaker A:

Because these are all weak in my opinion, because they're probably part of a different sequence.

Speaker A:

Like.

Speaker A:

So the dark night of the soul that, that I want to have for the whole movie is, is probably not the dark night of the soul, but some other beat would be the dark night of that sequence.

Speaker B:

Right.

Speaker A:

You see what I'm saying?

Speaker B:

Yeah.

Speaker A:

Because I have dark night of the soul.

Speaker A:

We.

Speaker A:

He gets locked in his room.

Speaker A:

Like the lowest part of the movie.

Speaker A:

He's not, he's gonna have done all this.

Speaker A:

He's not gonna make the game because Annabelle locked him in his room.

Speaker A:

Now that's weak.

Speaker A:

Yeah.

Speaker A:

Unless you look at the sequence.

Speaker B:

Sitting on the horse with a noose around his neck and snakes trying to scare the horse away is like.

Speaker B:

That's stronger in a lower moment than being locked out of the room.

Speaker A:

Sure, yeah, that's true.

Speaker B:

That's where I had the.

Speaker B:

All was lost.

Speaker B:

Right.

Speaker B:

But then his.

Speaker B:

If that's the case.

Speaker B:

Right.

Speaker B:

He gets out of that.

Speaker B:

But his dark night, he's chasing after the horse and you know, come back here early, come back here and like his dark night's off screen because next he's getting on the boat.

Speaker B:

You know what I mean?

Speaker B:

So you don't even see his dark night.

Speaker B:

If that's the.

Speaker B:

All is lost.

Speaker A:

And then.

Speaker A:

And then what?

Speaker A:

What happens like when the garner runs off with the money?

Speaker A:

I mean, he's lost everything.

Speaker C:

Exactly.

Speaker B:

Yeah.

Speaker B:

So was that like hightower surprise?

Speaker B:

Like to me, in my head it was like the gambling thing.

Speaker B:

That's what he's been chasing after the whole time.

Speaker A:

That's the castle.

Speaker B:

Yeah.

Speaker B:

That's what I had was the breaking three.

Speaker B:

Was getting on the boat, doing all that.

Speaker B:

But it was.

Speaker A:

Yeah, yeah, yeah.

Speaker A:

Because.

Speaker A:

Because like I said, this is fairly weak.

Speaker A:

Dark knight locked in the room.

Speaker A:

Break into three.

Speaker A:

He gets out of his room and makes the game finale.

Speaker A:

He plays in the finals.

Speaker A:

So.

Speaker A:

So it's all.

Speaker A:

It was all very.

Speaker A:

What?

Speaker A:

You know, and.

Speaker A:

But now that being said, had we gone back and had to analyze each sequence.

Speaker B:

Yeah.

Speaker B:

I think they're there.

Speaker A:

This would have been a three day episode.

Speaker A:

I don't know that we could have done that.

Speaker B:

Right.

Speaker A:

But I think that any study of the movie, that would be a beneficial exercise.

Speaker B:

Yeah.

Speaker A:

You know, if you wanted to understand the structure of this movie, break down each of those major sequences as a episode in sort of homage and tribute to the series.

Speaker B:

Right.

Speaker A:

Yeah.

Speaker A:

I think that's the best way to understand this movie.

Speaker B:

Yeah.

Speaker B:

Because if he's captured on the horses, all is lost.

Speaker B:

And what's his midpoint?

Speaker B:

And I couldn't really nail one down that wasn't weak, you know?

Speaker A:

Yes.

Speaker A:

So there would be a midpoint of each sequence.

Speaker B:

Yeah.

Speaker A:

Like for the.

Speaker A:

For the thing with the Russian and the.

Speaker A:

And the natives.

Speaker A:

I'd have to go back and look.

Speaker A:

But let's say for instance, the midpoint false victory, midpoint false defeat would be.

Speaker A:

He doesn't.

Speaker A:

He.

Speaker A:

His friend doesn't have the money.

Speaker A:

You know, he's gum there.

Speaker A:

Doesn't have the money.

Speaker A:

And then so.

Speaker A:

So the.

Speaker A:

The all is lost would be a false victory where they come up with the Russian thing, Right.

Speaker A:

To shoot him or whatever.

Speaker B:

Right, yeah.

Speaker A:

So I think.

Speaker C:

I think each sequence, same thing with the banker guy.

Speaker C:

He goes in, no, sorry, I don't have your money.

Speaker C:

Then Danny Glover comes in to rob the place.

Speaker C:

Not only did he have the money right now, he really doesn't have any money.

Speaker A:

Yes, you're right.

Speaker A:

Right, right.

Speaker A:

Yeah.

Speaker A:

Yeah.

Speaker A:

So.

Speaker B:

Yeah.

Speaker B:

And his friend lied to him.

Speaker B:

Yeah.

Speaker C:

He was loaded, so he's a midpoint.

Speaker A:

Yeah.

Speaker A:

All my friends are Stephanie.

Speaker B:

Yeah, yeah, yeah.

Speaker B:

It's funny that right before that scene happened, we were.

Speaker B:

I don't know, I guess just he was Mel Gibson, just some of his stuff was giving Lathe, you know, Riggs vibes.

Speaker B:

And he said.

Speaker B:

And I was.

Speaker B:

Just Kept my mouth shut and.

Speaker A:

Yeah, yeah.

Speaker A:

He knew what was coming.

Speaker B:

Yeah.

Speaker B:

Then two seconds later, yeah, he's like, oh, hey, it's Riggs and Rick.

Speaker B:

He was like, so this is Rigs and Merch on the.

Speaker B:

In the Old West.

Speaker B:

I go, no, you never see him again.

Speaker A:

Like.

Speaker A:

Right.

Speaker B:

No cameo.

Speaker B:

Don't worry about it.

Speaker D:

But clever how they.

Speaker A:

I mean, that's.

Speaker A:

And that's the playful nature of this movie.

Speaker B:

Right?

Speaker C:

Yeah.

Speaker C:

They're always winking at the camera.

Speaker A:

Right, right.

Speaker A:

Which is very much in nature and in line with Brett Maverick's character.

Speaker B:

Right.

Speaker A:

In the series and in the movies, this.

Speaker A:

He's.

Speaker A:

He's the irritable but lovable rogue, essentially.

Speaker B:

I mean, he could have, like, fourth wall, Ferris Bueller, you know, his narration, and it, like, it still would have worked.

Speaker A:

Right.

Speaker A:

And there was a.

Speaker A:

Like a voiceover much of the time.

Speaker B:

Yeah, but I mean.

Speaker B:

But he could have, like, turned and drifted.

Speaker A:

Right, Right.

Speaker B:

Talked right to the camera and I think, you know, like Ferris Bueller or Deadpool.

Speaker B:

And it would have worked.

Speaker A:

It would have worked.

Speaker A:

Yes.

Speaker A:

Final image, he gets the money and the girl, so to speak, because he wants.

Speaker A:

He.

Speaker A:

He is enjoying the chase.

Speaker A:

And I think my guess is she.

Speaker A:

Probably half of her motivation to take the money was to get him to chase her, you know?

Speaker A:

Yeah.

Speaker B:

I like the.

Speaker A:

This is the nature of their relationship now, right.

Speaker B:

Yeah, yeah.

Speaker B:

I mean, just letting her try to steal his stuff again or whatever.

Speaker A:

Yeah.

Speaker A:

Because he only put half of it.

Speaker B:

Yeah, yeah.

Speaker B:

Well, even when they first met.

Speaker B:

Right.

Speaker B:

You know, in the kissing and all that.

Speaker A:

Yeah, yeah.

Speaker C:

Trying to steal his wallet.

Speaker B:

Right.

Speaker C:

Drinking the shirt.

Speaker A:

Yeah, yeah.

Speaker B:

The.

Speaker B:

Giving her a shirt to do the laundry.

Speaker B:

Lathe was like, that's so sexist.

Speaker A:

And I was sure.

Speaker A:

No, that's exactly the point.

Speaker B:

Yeah.

Speaker B:

I was like, this is a Old West.

Speaker C:

Wait till he hears about how they treated the Oriental people.

Speaker B:

Right, right.

Speaker B:

And then the.

Speaker B:

Right.

Speaker B:

But her response to it, well, I'm going to shrink your shirt.

Speaker B:

You did this on purpose.

Speaker B:

Well, of course I did.

Speaker A:

And when he realized that she stole her money and she thinks she's getting out and he grabs by the skirt and pulls her back.

Speaker A:

Hold on there.

Speaker B:

Right.

Speaker C:

Yeah, it's a good time.

Speaker B:

The.

Speaker C:

The snarky comments between the background stuff.

Speaker B:

Knowing the ending, like this time, I guess I'd been in a while since I'd seen it, but I guess I remember thinking the first time, like, that Garner, I was like, man, he's just.

Speaker B:

He's on Maverick's ass all the time.

Speaker B:

Bickering at his ass.

Speaker A:

Yeah, yeah.

Speaker B:

Like, man, this old guy or whatever, you know?

Speaker A:

Right.

Speaker B:

But once you realize the ending, you're like, oh, that's his dad.

Speaker B:

Of course.

Speaker C:

Now, I love that turn when he's like, I never said it like that.

Speaker B:

Right.

Speaker B:

No, that's good review.

Speaker A:

They had.

Speaker A:

They had good banter, you know, the.

Speaker B:

With the whole stage coach thing.

Speaker B:

Go check on that.

Speaker B:

Well, this wheel's about to come off later on.

Speaker B:

He's like, how's the wheel?

Speaker B:

Oh, the wheel wasn't as bad, I thought.

Speaker B:

Oh, I got a really good.

Speaker B:

From underneath.

Speaker A:

Don't either of you help me ever again.

Speaker A:

Help.

Speaker A:

What was that?

Speaker A:

I'm sorry, what?

Speaker B:

Yeah, Le called him bipolar at that point.

Speaker B:

I'm like, he's been through some.

Speaker B:

What do you mean?

Speaker B:

I'd be mad, too.

Speaker A:

Yeah, yeah.

Speaker A:

And.

Speaker A:

And, and you saw a little bit of Riggs when he's after the staged fight and his shirt gets real.

Speaker A:

What was that you said?

Speaker A:

I was just kidding.

Speaker A:

And he laughs.

Speaker A:

Yeah.

Speaker A:

But then he says, oh, he starts laughing.

Speaker A:

Oh, yeah, you were just kidding.

Speaker A:

And then his face instantly goes to that dead Riggs look.

Speaker B:

Right.

Speaker A:

You know?

Speaker A:

Yeah.

Speaker A:

Good stuff.

Speaker A:

So there are so many fun spots in this movie, you know, that you could talk about.

Speaker A:

I think the spaghetti nature of the overall structure is irrelevant.

Speaker A:

And then it becomes even a better movie to me when.

Speaker A:

When we talk about the sequences.

Speaker A:

I really think that's the key.

Speaker A:

Yeah.

Speaker C:

I found in my years and years and years of watching this movie, it's one of those ones you can turn on at any point.

Speaker C:

Just.

Speaker A:

Yeah, just put it on it.

Speaker C:

Just finish it.

Speaker A:

Yes.

Speaker C:

Like if it was on HBO and you're in the middle and the, you know, the.

Speaker C:

The Russian scene, it's like okay.

Speaker C:

Yeah, just finish it.

Speaker C:

It's got about an hour left.

Speaker A:

I'll watch it.

Speaker A:

Yeah, I'll be in the middle of something.

Speaker A:

It'll be on.

Speaker A:

I'll be like, I'll be standing there for five minutes.

Speaker A:

Finally, I'll just sit down.

Speaker C:

You know, even the poker scene, the.

Speaker C:

The music, the Clint Black song.

Speaker C:

I forgot the name.

Speaker A:

Would run a bad luck.

Speaker C:

Yeah, dude, I. I still remember all the lyrics.

Speaker A:

No, no, it's.

Speaker A:

That's.

Speaker A:

That's.

Speaker A:

It's perfect tone for the.

Speaker A:

And that's Clint Black.

Speaker A:

They throw over the side.

Speaker A:

Yeah.

Speaker B:

You know, I like that his cameo was a guy that was, you know, cheating and get tossed overboard.

Speaker C:

Being an older guy now, I was like, that's Waylon Jennings.

Speaker C:

Oh, that's this dude.

Speaker A:

Yeah, yeah, yeah.

Speaker D:

And.

Speaker A:

Oh, it's her gun.

Speaker A:

It's her gun.

Speaker A:

Uncle.

Speaker D:

And Uncle Jesse from Dukes of Hazard.

Speaker A:

Yeah.

Speaker A:

The original Uncle Jesse.

Speaker B:

And then the.

Speaker B:

Stacy noticed it.

Speaker B:

The.

Speaker B:

The dealer at the end.

Speaker B:

Not in the.

Speaker B:

The final round, I guess, but the one where Maverick.

Speaker B:

Maverick won before he.

Speaker B:

The one that the dealer goes stand up with his chair stuck.

Speaker A:

Oh, yes, yes, yes.

Speaker B:

That's the captain from the weapon.

Speaker B:

That's captain.

Speaker B:

Yeah.

Speaker B:

Stacy recognizes his voice.

Speaker A:

I did not know that around it.

Speaker B:

And I was like, oh, that is him.

Speaker A:

Now the whole chair stick.

Speaker A:

It.

Speaker A:

Was that staged or was that.

Speaker B:

I don't know, because, like, when we rewound it to.

Speaker B:

To hear the guy's voice again, I noticed when he got up, he's shaking his head and kind of laughing, so it's almost like it.

Speaker A:

It happened.

Speaker B:

Wasn't supposed to happen.

Speaker B:

And they just left it.

Speaker A:

Yeah.

Speaker B:

I would think Mel Gibson would have left his ass off, but he stayed in character if it wasn't supposed to happen.

Speaker B:

You know, Kind of weird, but he didn't, like, bust up laughing.

Speaker A:

Yeah.

Speaker A:

Because I'm sure they didn't want to ruin the scene.

Speaker B:

Right.

Speaker A:

Because of that.

Speaker A:

So they just played it out and then.

Speaker B:

Yes.

Speaker A:

Left it or whatever.

Speaker B:

Yeah, the guy's definitely laughing and shaking his head.

Speaker B:

So I don't know if he was like, that was a stupid bit, or can't believe my chair got stuck.

Speaker A:

Yeah.

Speaker A:

Oh, great.

Speaker C:

You're gonna use that.

Speaker C:

No, it did it fit well, because, like, these guys have been sitting here so damn long, the chairs are glued to their ass.

Speaker A:

Yeah, yeah, yeah, yeah.

Speaker B:

He told the director.

Speaker B:

He told Dunner, you're gonna use that take, aren't you?

Speaker B:

Well, of course I am.

Speaker A:

Yeah.

Speaker A:

Yeah.

Speaker C:

You know how this business goes.

Speaker B:

Film ain't free and Then the.

Speaker B:

A couple things.

Speaker B:

I noticed the shirt shrinking.

Speaker B:

They did that bit and let the weapon as well in the second one is they.

Speaker B:

They made it more comical in a bigger deal in this movie.

Speaker B:

But, yeah, he just.

Speaker B:

He gets it out the dryer and he goes to put it on.

Speaker B:

Yeah, but Leo.

Speaker C:

Leo gets.

Speaker B:

But feeling.

Speaker B:

He's like, might as well give that to Nick.

Speaker B:

But yeah, but same thing.

Speaker A:

It's.

Speaker B:

The sleeves are just like, what the.

Speaker A:

That's funny.

Speaker B:

And then the.

Speaker B:

In the end of the first Lethal Weapon, how they kill Gary Busey is Myrtle.

Speaker A:

Oh, yeah.

Speaker A:

Yeah.

Speaker A:

Both of them.

Speaker B:

And they.

Speaker B:

Both of them.

Speaker B:

And they did it similar.

Speaker B:

But Maverick shoots because he takes.

Speaker B:

Yeah, they both shoot, but he shoots at different people.

Speaker A:

Yeah, yeah, yeah.

Speaker B:

It was very similar beat.

Speaker A:

Yeah, that's cool.

Speaker B:

That was kind of cool.

Speaker A:

Yeah, so.

Speaker A:

Yeah.

Speaker A:

Yeah, that's cool because.

Speaker A:

Because that would have been.

Speaker A:

Those movies would have been very much in the public mind.

Speaker B:

Yes.

Speaker A:

Oh, yeah.

Speaker A:

I mean, 80s 90s, right?

Speaker A:

I mean.

Speaker B:

Yeah.

Speaker A:

And so this movie.

Speaker B:

I mean, three was a year before.

Speaker B:

Yeah.

Speaker C:

When they.

Speaker A:

When they.

Speaker C:

When Mel Gibson was in a movie then, like, nodding towards Lethal Weapon and all that success.

Speaker A:

Yeah, yeah, yeah.

Speaker C:

That's huge.

Speaker A:

It would have been fun for the audience, and it's.

Speaker A:

It's fun now, you know.

Speaker A:

Yeah.

Speaker A:

And I think this movie had one purpose, and that was to entertain.

Speaker A:

And I think it nails it, you know?

Speaker C:

Yes.

Speaker B:

Lee thought the music sounded like Toy Story, like Woody.

Speaker A:

Some of it did.

Speaker A:

Yeah.

Speaker A:

Yeah, yeah.

Speaker B:

I didn't.

Speaker B:

Like.

Speaker B:

I was going along, watching the movie.

Speaker B:

Music was fun.

Speaker B:

As soon as he said it, I.

Speaker C:

Was like, yes, There.

Speaker C:

There might be things.

Speaker C:

Let me check to make sure I'm not wrong.

Speaker C:

Well, I mean, I think Randy Newman.

Speaker A:

If it's Randy Newman.

Speaker A:

Newman, most likely.

Speaker B:

All right.

Speaker C:

Yeah.

Speaker C:

That's why it would sound a lot like.

Speaker A:

Because Maverick is a lot closer to Woody than he is to Clint Eastwood.

Speaker A:

Yeah.

Speaker C:

There's the song Ride, Gambler Ride, written and performed by Randy.

Speaker A:

There you go.

Speaker B:

There you go.

Speaker A:

Yep.

Speaker C:

So that's why.

Speaker A:

Crazy.

Speaker A:

Yeah.

Speaker A:

Because he's very.

Speaker A:

Because he very much like a Jackie Chan hero.

Speaker A:

When Jackie Chan fights, you could see him.

Speaker A:

His hand hurts.

Speaker A:

And.

Speaker B:

Yeah, he punches and.

Speaker A:

Yeah, when Gibson comes back in, he's shaky, shakes his hand.

Speaker A:

You know that.

Speaker A:

Yeah.

Speaker B:

I like when he's meeting up with him later.

Speaker A:

Yeah.

Speaker B:

And he's like, well, some of my best shots.

Speaker B:

Yes.

Speaker B:

They're like, yeah, some of those punches are pretty good.

Speaker A:

Yeah, that rung my bell.

Speaker B:

Yeah, those were my best shots.

Speaker A:

That's good.

Speaker A:

Stuff.

Speaker A:

Yeah, yeah, because I mean.

Speaker A:

And that's the hapless hero, right?

Speaker B:

I mean, that's the good fighter, sir.

Speaker B:

I'm glad I didn't have to choose you.

Speaker B:

Oh, me too.

Speaker A:

Make sure this gets no dirt on it.

Speaker A:

Yeah, yeah.

Speaker A:

So that's a good time, man.

Speaker B:

Yeah, it was fun.

Speaker A:

Any other thoughts on Maverick?

Speaker A:

I rec.

Speaker A:

Well, we'll get to that in a minute, but, yeah, I'd love this movie.

Speaker A:

Yeah, I do, too.

Speaker A:

All right, cool.

Speaker A:

That is Maverick.

Speaker C:

Wait, we didn't do past recommended.

Speaker C:

Are we gonna do that?

Speaker A:

Yeah, yeah.

Speaker A:

Well, yeah, we definitely are going to do that.

Speaker A:

Yes, yes.

Speaker A:

The quick nature of this, that threw me off.

Speaker A:

Yes, let's do.

Speaker A:

Pass.

Speaker C:

Consider.

Speaker A:

Consider.

Speaker A:

Recommend.

Speaker A:

Yeah, so that's sort of western music.

Speaker A:

That's like the standoff.

Speaker A:

I think they call that bumper, but fits with Maverick or Westerns.

Speaker A:

All right, James, go ahead.

Speaker C:

Yeah, totally recommend.

Speaker C:

Love this movie.

Speaker C:

Since I was a kid when it came out.

Speaker C:

So see it, own it, and tell your friends about it.

Speaker A:

Absolutely.

Speaker A:

Yeah.

Speaker C:

That's it.

Speaker B:

Yeah.

Speaker B:

Recommend for me as well.

Speaker B:

Yeah, it's a fun Western.

Speaker B:

If you're a fan of Mel Gibson, you're a fan of westerns, fan of comedies.

Speaker B:

Yeah, it's.

Speaker B:

Yeah, we covered it.

Speaker B:

It's.

Speaker B:

It's a fun movie.

Speaker A:

Fun movie.

Speaker A:

I think.

Speaker A:

I think I've gotten some revelations about this movie.

Speaker A:

I really think that's the key.

Speaker A:

I. I just can't get over to me that that's the whole thing that opens the door for this movie for me, you know, from a writer, structures, perspective.

Speaker A:

But even before then, I've owned it on every format.

Speaker A:

I know I had it on VHS.

Speaker A:

I think we even got it on LaserDisc.

Speaker D:

It's hanging on the wall.

Speaker A:

Yeah, we got.

Speaker A:

And I've had it on DVD or Blu Ray, and I have it on digital.

Speaker A:

So there's not been a format really, that this has been put on that I have not owned, because this is one of the keepers for me.

Speaker A:

This is a movie that I always sort of go to, you know, So I highly recommend as a fun, you know, fun time.

Speaker B:

To your point about, you know, Goldman writing a movie based off a TV show to decide to structure it, you know, like a.

Speaker A:

Like a series of shows.

Speaker A:

Yeah, that's very, very cool.

Speaker A:

That shows the mind of the writer that, you know, how the sausage is made.

Speaker A:

But that's.

Speaker A:

That's.

Speaker A:

That's great.

Speaker A:

I mean, to me, that's like, gosh, I wish I was that smart, you know?

Speaker C:

Well, I'm glad to be that Smart pointed out to you, at least.

Speaker A:

Yes, sir.

Speaker A:

I didn't write it.

Speaker C:

Don't get me wrong.

Speaker A:

No, no, no.

Speaker A:

That's.

Speaker A:

That.

Speaker A:

That's the key right there.

Speaker A:

That tells everything.

Speaker B:

Yeah, but I feel like that's part of what we.

Speaker B:

You know, the big part of what we do with the podcast.

Speaker B:

You talk about, show how this house is made.

Speaker B:

I feel like that's what we do.

Speaker A:

Yeah.

Speaker A:

That's what we do.

Speaker B:

And discuss it.

Speaker A:

Because I guarantee, I would say 99% of the people who see this movie would not have come to that conclusion.

Speaker A:

And maybe they think it's crazy, but.

Speaker D:

And I'm part of that.

Speaker D:

99.

Speaker A:

I am, too.

Speaker D:

I don't talk about.

Speaker A:

Well, I mean, in terms of knowing what Goldman was trying to do.

Speaker A:

And nobody would even really ask, like, on.

Speaker B:

Not just this movie, but any.

Speaker B:

Like, she doesn't care how Sasha is made.

Speaker A:

Right.

Speaker D:

Me either.

Speaker B:

That's what she did.

Speaker A:

Yes.

Speaker B:

She likes movies.

Speaker B:

She doesn't.

Speaker A:

It's almost like.

Speaker A:

It's almost like, you know, you're seeing blurry and you put glasses on and all of a sudden it becomes clear.

Speaker B:

Sure.

Speaker A:

My understanding of this movie has gone from blurry, but I like those shapes to glasses.

Speaker A:

Oh, I see it clearly now, and I love it.

Speaker A:

You know?

Speaker A:

Yeah.

Speaker B:

Stace.

Speaker B:

I guess if she can't see it clearly and it looks blurry to her, well, next.

Speaker A:

Well, I guarantee that's why some of the critics and fans have low scores on this.

Speaker A:

Those scores, to me, are too low.

Speaker A:

60 and 70%.

Speaker A:

Because I think people get the impression that, what is this movie about?

Speaker B:

Right.

Speaker A:

Okay.

Speaker A:

But I.

Speaker A:

That I think, opens the door, and I think those scores, if you were a thinking movie fan, that that would elevate those scores.

Speaker B:

Sure.

Speaker B:

And I guess to run with the analogy, what you.

Speaker B:

You were talking about earlier, James, like, if you watch a movie and most of it's blurry, but some of it's clear, you know, for.

Speaker A:

Yeah, me.

Speaker B:

That's worth.

Speaker B:

All right, I'm missing something here.

Speaker B:

Like, it was blurry.

Speaker B:

Not because the movie was a shitty blurry movie because I was not paying enough attention or whatever.

Speaker B:

So you want to check it out.

Speaker A:

Now, that being said, to clear it up, I haven't.

Speaker A:

I personally have not got a set of glasses that makes Buckaroo clear yet in terms of what is going on in that movie.

Speaker B:

Okay.

Speaker A:

Yeah.

Speaker A:

I sort of have an idea of what the story is.

Speaker B:

Fun fact.

Speaker B:

Big Trouble China was written by the same person, so.

Speaker A:

Yeah.

Speaker A:

Yeah.

Speaker B:

I like that movie.

Speaker B:

I do, too.

Speaker B:

But they are Equally.

Speaker B:

Some of the exposition is equally.

Speaker B:

What the fuck's going on?

Speaker A:

Right, right.

Speaker C:

Well, big trouble in Little China.

Speaker C:

I know we haven't covered that one yet.

Speaker C:

Yeah, there is a ton of exposition in the dialogue all the way.

Speaker C:

They're explaining to you what's happening.

Speaker A:

Yeah, yeah, yeah, yeah.

Speaker B:

I think it may have been before you got here, James.

Speaker B:

We were, we just.

Speaker B:

We watched that one last night with my son.

Speaker B:

Like, he picked it, it was random.

Speaker B:

So he, he watched it and like the expedition was like you said, it's very, very heavy.

Speaker B:

And he was like, whoa, this move, this is moving really, really fast.

Speaker B:

I was like, just, just wait.

Speaker B:

And then like two seconds later, Kurt Russell goes, well, someone tell me what the fuck's going on here.

Speaker B:

I'm like, see, you're not the only Jack Burton's there for us, so we can understand what's going on.

Speaker B:

But anyhow.

Speaker A:

So well, and I think.

Speaker B:

But once I read that last night, I was like, oh, yeah, that tracks.

Speaker A:

Sure.

Speaker A:

Well, there's a Buckaroo and that one.

Speaker B:

Were written by the same person.

Speaker A:

There's a.

Speaker A:

There's a scene in Buckaroo Banzai that almost sort of is a turn to the audience to say, because they're walking through this lab and there's a watermelon stuck in a.

Speaker A:

In a big vise.

Speaker A:

Why?

Speaker A:

And one of the characters says, why is there a watermelon stuck in the vise?

Speaker A:

And the other character says, don't worry about it, I'll tell you later.

Speaker A:

And I think that's the sum of the movie.

Speaker A:

What is happening in this movie?

Speaker A:

Don't worry about it.

Speaker A:

I'll tell you later.

Speaker A:

You know what I'm saying?

Speaker A:

In terms of the overall movie, what Buckru Banzai is the watermelon stuck in the vice.

Speaker C:

So a movie.

Speaker C:

You're not selling it.

Speaker A:

Okay.

Speaker C:

You're not selling it.

Speaker A:

I can tell you.

Speaker B:

No, you said no, bunker.

Speaker A:

It has a plot.

Speaker A:

Okay.

Speaker A:

Aliens from planet 10 have invaded our world through the 8th dimension.

Speaker A:

Okay.

Speaker A:

When we get to it, there is a plot.

Speaker A:

That's it.

Speaker C:

You.

Speaker C:

I'm picking it next week.

Speaker C:

We're doing it.

Speaker A:

Oh, no, I. I understand.

Speaker A:

I'm reading the room and so that's.

Speaker A:

I would try.

Speaker C:

I would love to try again.

Speaker D:

I would try watching it.

Speaker B:

I've said it before.

Speaker B:

I watch.

Speaker A:

Okay, all right.

Speaker D:

I mean, because we can.

Speaker B:

We can watching it.

Speaker A:

Yeah.

Speaker C:

It's like Late Night with the Devil man.

Speaker A:

Yeah.

Speaker C:

There's something I'm missing.

Speaker A:

Sure.

Speaker A:

It may not be Jace, but I know.

Speaker B:

I mean.

Speaker B:

Yeah.

Speaker B:

When you pick buckaroo and she picks sounding music, that's gonna be okay.

Speaker A:

No, we can't do both those at the same time.

Speaker B:

It's gonna be a rough weekend.

Speaker B:

But watch them, you know, that's the way it goes.

Speaker A:

All right, you're.

Speaker D:

Yeah.

Speaker D:

I was wondering if I was gonna.

Speaker B:

Sorry, I. I'm the.

Speaker D:

No, I'm just the.

Speaker D:

The casual.

Speaker D:

Yeah, you're the watcher.

Speaker A:

You're the every man into this.

Speaker D:

I'm the every man?

Speaker A:

Yeah.

Speaker D:

Yeah.

Speaker D:

No, I love this movie.

Speaker A:

Yeah.

Speaker D:

Mel Gibson at this age.

Speaker D:

Need I say more?

Speaker D:

I would have gone to see him, read the phone book or whatever.

Speaker C:

Hell, Mel Gibson now.

Speaker D:

Yeah.

Speaker C:

He's a good looking.

Speaker A:

No, he's age.

Speaker A:

Well, he's a tough guy.

Speaker D:

I like just.

Speaker D:

The whole movie was so fun to me.

Speaker A:

Yeah.

Speaker A:

There's not a boring.

Speaker D:

You know, they're sitting asleep on the stagecoach and then next thing you know, he's hanging over the cliff.

Speaker D:

I mean, it's just one thing to another.

Speaker A:

Yeah.

Speaker D:

There's never hilarious to me, Coop, him standing there behind that tree shooting and, you know, while Maverick's over there shooting the guys, you know, but he's helping.

Speaker D:

Not.

Speaker D:

Not helping.

Speaker D:

You know what I'm saying?

Speaker D:

It's.

Speaker D:

It's like.

Speaker A:

Yeah.

Speaker A:

No, there's another contrast to say, okay, so look at these two movies.

Speaker A:

In True Romance, these characters are completely.

Speaker A:

I mean, that's who they are.

Speaker A:

In Maverick, virtually no characters who they are.

Speaker A:

Everybody's trying to con somebody by not by keeping their cards close to the vest.

Speaker A:

If you want a poker reference.

Speaker B:

Right, yeah.

Speaker A:

So you have almost blatant honesty in.

Speaker B:

True Romance, where all characters are not what they seem.

Speaker A:

Not what they seem.

Speaker A:

In Maverick, you know, intentionally, you know, trying to be someone else.

Speaker A:

Because.

Speaker A:

Because if Brett.

Speaker A:

If, If.

Speaker A:

If Brett.

Speaker A:

Maverick's father is.

Speaker A:

Is.

Speaker A:

What's his name?

Speaker B:

James Werner.

Speaker B:

Coop.

Speaker A:

Coop, yeah.

Speaker A:

Coop is not his name.

Speaker A:

His name would be Maverick.

Speaker B:

Right.

Speaker A:

That.

Speaker D:

In fact, why is the name not Maverick?

Speaker A:

That's what I'm saying.

Speaker A:

So I think his whole Persona as Coop has been a reason for a long con or whatever.

Speaker B:

Right.

Speaker D:

I think maybe his name is Maverick.

Speaker C:

The long con I think was Maverick and Coop.

Speaker A:

Yeah.

Speaker C:

Were part of a federal investigation program to catch whoever was going to be robbing this.

Speaker A:

Sure thing.

Speaker A:

Yes.

Speaker A:

They work for the treasury or something?

Speaker C:

Yeah, yeah, it was something like that.

Speaker C:

But they don't explain it.

Speaker C:

I don't know if that's true or not.

Speaker A:

Right, right.

Speaker C:

It seems like they were in cahoots the whole time.

Speaker A:

Well, they talk about this.

Speaker A:

Because the bad guy, you know, if.

Speaker A:

Because the.

Speaker A:

The Commodore had a plan if Maverick won or didn't win.

Speaker A:

Right.

Speaker A:

Or.

Speaker C:

Yeah.

Speaker C:

Commodore was gonna rob everything.

Speaker D:

I was going to finish what I was talking.

Speaker A:

Okay.

Speaker A:

Sorry.

Speaker D:

Because y'.

Speaker A:

All.

Speaker D:

Y' all go through this whole thing of the structure or whatever.

Speaker A:

Yeah, yeah.

Speaker D:

How I saw the movie is the man needs money.

Speaker A:

Yeah.

Speaker D:

And this is just his journey going from place to place.

Speaker D:

Okay.

Speaker D:

He owes me.

Speaker D:

Let me get his.

Speaker D:

He owes me.

Speaker D:

Let me go get his.

Speaker D:

Oh, well, wait a minute.

Speaker B:

Now.

Speaker D:

They've got money that I can go rescue and I can get a portion of it.

Speaker D:

So that's how I saw it.

Speaker D:

And then about the.

Speaker D:

Maybe.

Speaker D:

Maybe the father and son were traveling because they.

Speaker D:

They already had a plan.

Speaker A:

No, no, they.

Speaker A:

They.

Speaker D:

He knew exactly where he was with the Commodore.

Speaker A:

No, I think their plan was to hook up.

Speaker A:

Yeah.

Speaker D:

But I guess James Garner, he had to do what he had to do because that was the.

Speaker D:

The boat.

Speaker D:

Is he the boat captain?

Speaker D:

The Commodore.

Speaker D:

He knew nobody was gonna win.

Speaker D:

I mean, whoever won maybe sure wasn't going to get the money.

Speaker A:

Right.

Speaker A:

Right.

Speaker A:

Though.

Speaker A:

Yeah.

Speaker A:

The whole thing is a long con.

Speaker A:

Everybody's conning everybody.

Speaker D:

I mean, that was just my summary, you know, That's.

Speaker A:

Yeah.

Speaker A:

Now, notice, everybody owes Maverick money, but that means Maverick lent them money at some point.

Speaker A:

So Maverick is, you know, the irritating rogue with a good heart because he'll lend his friends money, but his friends.

Speaker B:

She.

Speaker B:

She's not in the game if he doesn't get her four grand.

Speaker A:

Right, right.

Speaker B:

From the Russian.

Speaker A:

Yes.

Speaker A:

Which.

Speaker B:

And then he beats her in poker.

Speaker B:

Yeah.

Speaker A:

Yeah.

Speaker A:

So he put me out of the game.

Speaker B:

Yes, I did.

Speaker A:

Yes, I did.

Speaker A:

Yeah.

Speaker A:

But.

Speaker A:

But he's willing to lend, but his friends aren't.

Speaker A:

Are not as.

Speaker B:

Right.

Speaker A:

Roguishly lovable as he is.

Speaker A:

They're kind of.

Speaker B:

Lace kept comparing them to.

Speaker B:

Never mind.

Speaker B:

Never mind.

Speaker B:

Wrong movie.

Speaker A:

All right.

Speaker A:

Yeah.

Speaker A:

So irritatingly likable.

Speaker B:

Yeah.

Speaker A:

You know.

Speaker A:

Any other thoughts?

Speaker A:

No.

Speaker D:

Did I say I.

Speaker D:

Highly recommend.

Speaker C:

Is this.

Speaker B:

Wait, wait, wait, wait.

Speaker C:

What kind of movie is this?

Speaker C:

Road trip, golden egg type of thing.

Speaker A:

Golden egg, yeah, yeah.

Speaker A:

The Golden Fleece.

Speaker B:

Golden Fleece.

Speaker B:

Yeah.

Speaker B:

Probably right.

Speaker A:

Because poker's like a sport, right.

Speaker B:

He's trying to get to the.

Speaker B:

Yeah.

Speaker A:

If they were playing soccer, he'd be trying to get to the finals.

Speaker B:

Yeah.

Speaker A:

Each one of these would be a poker match.

Speaker A:

I mean, a soccer match or something.

Speaker A:

Right.

Speaker B:

Yeah.

Speaker C:

It's just adventures along the way because it reminded me kind of, I guess, of the Iliad and Odyssey and like those old stories of.

Speaker C:

Yeah, happens on your way to go do this thing.

Speaker A:

Yeah, yeah.

Speaker B:

No, that's.

Speaker B:

Yeah, that's.

Speaker B:

I love it.

Speaker B:

That's a new definition for golden egg happens.

Speaker A:

Yeah.

Speaker A:

One of them golden egg happens movies.

Speaker A:

Yeah, James, It's a golden egg.

Speaker A:

Should I.

Speaker B:

That's essentially what it is.

Speaker B:

What happens.

Speaker A:

Yeah.

Speaker A:

No, what is True romance.

Speaker A:

That's.

Speaker B:

That is a trailer.

Speaker C:

Yeah, we didn't.

Speaker C:

We didn't talk about true romance.

Speaker A:

I mean, it's dude with love, right?

Speaker A:

Yeah, I bet it is.

Speaker A:

Buddy love makes sense because.

Speaker B:

Could be due with a problem, though, too.

Speaker A:

Yeah, yeah.

Speaker C:

Everything's.

Speaker A:

Everything's a dude with a problem.

Speaker A:

But these two sort of do face the odds together.

Speaker A:

Buddy love because.

Speaker A:

Because you can have a buddy love romance, right.

Speaker B:

To complete each other, I think.

Speaker B:

Yeah.

Speaker A:

Oh, they do.

Speaker A:

My God.

Speaker A:

Yeah.

Speaker A:

So I.

Speaker A:

Buddy love romance because you can have buddy love romance.

Speaker A:

Buddy love.

Speaker A:

Right.

Speaker A:

And they're different.

Speaker B:

Like, he defines lead the weapon as a buddy love because they complete each other.

Speaker A:

Yeah, yeah, yeah, yeah.

Speaker A:

I mean, these two.

Speaker B:

Yeah.

Speaker A:

There is no other person for either.

Speaker B:

One of these are the same.

Speaker A:

Yeah.

Speaker A:

All right, we'll call it buddy love then.

Speaker C:

That's true romance.

Speaker C:

But this one is a golden egg.

Speaker A:

Golden egg happens.

Speaker B:

An egg happens along the way.

Speaker B:

It's like it.

Speaker A:

I think.

Speaker C:

I think that should end it right there.

Speaker A:

Yeah, yeah, no, that's.

Speaker A:

That's going in the trailer, right?

Speaker A:

Gold Nation.

Speaker B:

This is one of those golden eggs happens along the way.

Speaker A:

James has got his own genres, which may be more accurate than ours.

Speaker C:

I got my own English sometimes.

Speaker A:

That's right, from the old English.

Speaker A:

The golden egg should happen.

Speaker A:

All right, that's.

Speaker A:

That's Maverick.

Speaker A:

We are out sa.

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